Kevin Ayers - The Harvest Years (1969-74 uk, a unique blend of psych, avant-garde, and songwriting talent, 2012 five disc box set remaster)

The Soft Machine, not long after recording their first album and touring America, began breaking up -- just the first in a long series of personnel changes and subsequent new directions that formed one of art rock's winding sagas of the '70s. Kevin Ayers was the first to leave, mostly because of that American tour, and he soon became one of the first acts to release music on Harvest, a new progressive label from EMI that promised to offer the best and brightest in the new vanguard of British rock. 

Ayers recorded and released five albums over the next five years, all of which appear on separate discs of The Harvest Years 1969-1974, and each of which comes with bonus tracks (most of them entertaining BBC sessions). Ayers was quite the chameleon during this time, beginning with a set of psychedelic-pop whimsy akin to Syd Barrett (Joy of a Toy) but soon detouring into free-form epic prog (Shooting at the Moon, with young hotshot guitarist Mike Oldfield), and later arriving at a surprisingly straight-ahead vision of bluesy pop (Bananamour). 

The set offers the albums in the best sound they've ever been heard, and the bonus tracks are excellent as well. The unavoidable caveat comes, though. Why not include all the bonus tracks from previous editions, especially when they include a track actually recorded with Syd Barrett? (That would be "Religious Experience (Singing a Song in the Morning)," available on the 2003 Joy of a Toy reissue.) Quibbles aside, this is a hugely entertaining set from one of art rock's most beguiling figures. 

by John Bush

Tracks

Disc 1

 1. Joy Of A Toy Continued - 2:54

 2. Town Feeling - 4:51

 3. The Clarietta Rag - 3:20

 4. Girl On A Swing - 2:50

 5. Song For Insane Times - 4:01

 6. Stop The Train (Again Doing It) - 6:06

 7. Eleanor's Cake (Which Ate Her) - 2:54

 8. Lady Rachel - 5:18

 9. Oleh Oleh Bandu Bandong - 5:35

 10.All This Crazy Gift Of Time - 3:53

 11.Singing A Song In The Morning (Single Version) - 2:56

 12.Clarence In Wonderland - 4:53

 13.Stop This Train - 5:48

 14.Why Are We Sleeping (Kevin Ayers, Mike Ratledge, Robert Wyatt) - 8:52

 15.You Say You Like My Hat - 3:14

All compositions by Kevin Ayers except Track #14 

Tracks 1-10 released as Joy of a Toy (Harvest SHVL 763, 1969)

Bonus Tracks 11-15

Track 11 released as Harvest single A-side HAR 5011, 1969

Tracks 12-15 from BBC Top Gear Session, recorded 10 February 1970 for BBC Radio 1 at BBC Maida Vale Studios

Disc 2

 1. May I? - 4:02

 2. Rheinhardt And Geraldine / Colores Para Delores - 5:41

 3. Lunatics Lament - 4:54

 4. Pisser Dans Un Violon - 8:03

 5. The Oyster And The Flying Fish - 2:37

 6. Underwater - 3:54

 7. Clarence In Wonderland - 2:06

 8. Red Green And You Blue - 3:53

 9. Shooting At The Moon - 5:50

 10.Butterfly Dance - 3:44

 11.Puis Je? - 3:40

 12.Gemini Child - 3:14

 13.The Lady Rachel - 6:21

 14.Shooting At The Moon - 3:17

 15.Derby Day - 3:07

 16.The Interview - 0:58

 17.We Did It Again / Murder In The Air 11:39

All tracks written by Kevin Ayers

Tracks 1-9 released as Shooting At the Moon (Harvest SHSP 4075, 1970)

Bonus Tracks 10-17

Tracks 10-11 released as Harvest single HAR 5027, 1970

Tracks 12-14 BBC Alan Black Session, 20 May 1970, recorded for BBC Radio 1 at Playhouse Theatre, London

Tracks 15-17 BBC Top Gear Session, 9 June 1970

Disc 3

 1. There Is Loving/Among Us/There Is Loving - 7:23

 2. Margaret - 3:20

 3. Oh My - 3:00

 4. Song From The Bottom Ofa Well - 4:37

 5. Whatevershebringswesing - 8:13

 6. Stranger In Blue Suede Shoes - 3:25

 7. Champagne Cowboy Blues - 3:59

 8. Lullaby - 2:12

 9. Stars - 3:31

 10. Fake Mexican Tourist Blues - 4:39

 11. Lunatic's Lament - 4:29

 12. Oyster And The Flying Fish - 3:02

 13. Butterfly Dance - 3:37

 14. Whatevershebringswesing - 7:45

 15. Falling In Love Again - 3:26

 16. Queen Thing - 0:53

Music and Lyrics by Kevin Ayers

Tracks 1-8 released as Whatevershebringswesing (Harvest SHVL 800, 1972)

Bonus Tracks 9-16

Track 9 released as Harvest single B-side HAR 5042, 1971

Track 10 from Odd Ditties (Harvest SHSM 2005, 1976)

Tracks 11-16 BBC Bob Harris Session, 17 May 1972, recorded for BBC Radio 1 at Aeolian Hall

Disc 4

 1. Don't Let It Get You Down - 4:05

 2. Shouting In A Bucket Blues - 3:45

 3. When Your Parents Go To Sleep - 5:47

 4. Interview - 4:43

 5. International Anthem - 0:44

 6. Decadance - 8:05

 7. Oh! Wot A Dream - 2:49

 8. Hymm - 4:35

 9. Beware Of The Dog - 1:28

 10.Connie On A Rubber Band - 3:00

 11.Caribbean Moon - 3:05

 12.Take Me To Tahiti - 3:37

 13.The Interview - 5:20

 14.Oh! Wot A Dream - 2:44

 15.Shouting In A Bucket Blues - 3:47

All Words and Music by Kevin Ayers except  /Among Us/ written by David Bedford

Tracks 1-9 released as Bananamour (Harvest SHVL 807, 1973)

Bonus Tracks 10-15

Track 10 released as Harvest single B-side HAR 5064, 1972

Tracks 11-12 released as Harvest single HAR 5071, 1973

Tracks 13-15 BBC Bob Harris Session, 11 April 1973

Disc 5

 1. Day By Day - 3:51

 2. See You Later - 0:28

 3. Didn't Feel Lonely Till I Thought Of You - 4:10

 4. Everybody's Sometime And Some People's All The Time Blues - 3:08

 5. It Begins With A Blessing / Once I Awakened / But It Ends With A Curse - 8:18

 6. Ballbearing Blues - 0:56

 7. Part One: Irreversible Neural Damage - 4:43

 8. Part Two: Invitation - 1:12

 9. Part Three: The One Dance Chance - 7:49

 10.Part Four: Doctor Dream Theme - 5:12

 11.Two Goes Into Four - 1:41

 12.The Up Song - 3:17

 13.After The Show - 2:36

 14.Thank You Very Much - 3:01

 15.Another Whimsical Song - 0:23

 16.The Lady Rachel - 3:53

 17.Stop This Train - 6:12

18.Didn't Feel Lonely Until I Thought Of You - 4:36

All songs by Kevin Ayers

Tracks 1-11 released as The Confessions of Dr. Dream and Other Stories (Island Island ILPS 9263, 1974)

Bonus Tracks 12-18

Track 12 released as Island single A-side WIP 6194, 1974

Tracks 13-14 released as Island single WIP 6201, 1974

Tracks 15-18 BBC John Peel Session, 9 July 1974. Recorded for BBC Radio One's John Peel Show at Langham Studio on 9 July 1974

Personnel

Disc 1

*Kevin Ayers - Guitars, Bass, Melodica, Harmonica, Vocals

*Robert Wyatt - Drums

*David Bedford - Piano, Mellotron, Arranger

*Mike Ratledge - Organ

*Hugh Hopper - Bass (1, 5)

*Paul Buckmaster - Cello

*Jeff Clyne - Double Bass (2, 7)

*Rob Tait - Drums (Tracks 6, 9)

*Paul Minns - Oboe

*Syd Barrett - Guitar (Track 14) 

*Richard Sinclair - Bass (Tracks 11, 14, 16)

*Richard Coughlan - Drums (Tracks 11, 14, 16)

*David Sinclair - Organ (Tracks 11, 14, 16)

*The Ladybirds - Backing Vocals (Tracks 11, 14, 16)

Disc 2

*Kevin Ayers - Guitar, Bass, Vocals

*David Bedford - Organ, Piano, Accordion, Marimbaphone, Guitar

*Lol Coxhill - Saxophone, Zoblophone

*Mike Oldfield - Bass, Guitar And Vocal

*Mick Fincher - Drums, Percussion, Bottles & Ashtrays

*The Whole World Chorus - Backing Vocals

*Bridget St. John - Vocals (Track 5)

*Robert Wyatt - Vocals (Track 2)

Disc 3

*Kevin Ayers - Vocals, Guitar, Bass (Track 6)

*David Bedford - Keyboards, Orchestral Arrangements

*Mike Oldfield - Bass (Tracks 1,3-5), Guitar (Tracks 5,7,9)

*Dave Dufort - Drums (Tracks 1,4-5)

*William Murray - Percussion (Tracks 2-3,7)

*Tony Carr - Drums (Tracks 6,12)

*Robert Wyatt - Harmony Vocals (Track 5)

*Didier Malherbe - Saxophone (Track 1), Flute (Track 8)

*Gerry Fields - Violin (Track 3)

*Johnny Van Derrick - Violin (Tracks 2,7)

*Bruce Malamut - Flugelhorns (Track 1), Incidental Brass (Tracks 1-2,5-6,8,12)

Disc 4

*Kevin Ayers - Guitar, Vocals

*Archie Legget - Bass, Harmony Vocals, Lead Vocal (Track 3)

*Eddie Sparrow - Drums

*Steve Hillage - Lead Guitar (Tracks 2,6)

*Mike Ratledge - Organ (Track 4)

*Robert Wyatt - Harmony Vocal (Track 8)

*David Bedford - Orchestral Arrangement (Track 9)

*Howie Casey - Tenor Saxophone

*Dave Caswell - Trumpet

*Tristan Fry - Cymbal

*Lyle Jenkins - Baritone Saxophone

*Ronnie Price - Piano

*Barry St. John, Liza Strike, Doris Troy - Backing Vocals

Disc 5

*Kevin Ayers - Guitars, Vocals; Piano, Organ (Track 7)

*Mark Warner - Electric Guitar (Tracks 1,3,5,10), Acoustic Guitar (Tracks 2,7)

*Sam Mitchell - Electric Guitar (Tracks 1,3-4)

*Ollie Halsall - Electric Guitar Solo (Track 3)

*Cal Batchelor - Electric Guitar (Track 4)

*Mike Oldfield - Electric Guitar Solo (Track 4)

*John Perry - Bass (Tracks 1-3,5)

*John Gustafson - Bass (Track 8)

*Trevor Jones - Bass (Track 9)

*Michael Giles - Drums (Tracks 1-3,5,7-10)

*The G'Deevy Ensemble - Percussion (Track 1)

*Ray Cooper - Percussion (Tracks 2,9)

*Henry Crallan - Piano (Track 4)

*Rupert Hine - Keyboards (Tracks 5-10)

*Mike Moran - Piano (Track 5)

*Steve Nye - Organ (Track 5), Electric Piano (Track 8)

*Mike Ratledge - Organ (Track 9)

*Lol Coxhill - Alto Saxophone (Track 5)

*Nico - Vocals (Track 7)

*Doris Troy, Rosetta Hightower, Joanne Williams - Backing Vocals (Tracks 1,3)

*Sean Milligan - Backing Vocals (Track 2)

*Hulloo Choir - Backing Vocals (Tracks 5,10)

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Artful Dodger - Artful Dodger (1975 us, warm, melodic, passionate power pop soft rock)

Emerging from a vibrant musical backdrop, Artful Dodger initially graced the scene as “Brat”. With the ensemble of Gary Herrewig, Billy Paliselli, Gary Cox, Robb Michael Inglis, and Steve Brigida, this group showed promise right from the beginning. The bass reverberations that you might associate with tracks like “Not Quite Right” and “New York City” were from none other than Inglis, who, by 1974, had handed the baton to Steve Cooper.

The energy in “Long Time Away” captures attention, not only for its rhythmic lure but also for the band’s decision to re-record it with a peppier tempo, adding a dash more pop to its feel. It was Gary Cox’s journey to the Big Apple with a demo tape that marked a significant twist in their tale. This tape charmed the Leber-Krebs management firm, laying the path straight to Columbia Records. A union with Jack Douglas as the producer birthed their debut, self-titled album in September 1975. A name change was in order, with ‘Brat’ already taken, thus, Artful Dodger became their new identity.

Following their debut, “Honor Among Thieves” hit the stands in 1976. While it showcased a compelling power ballad “Scream”, it couldn’t replicate the success of its predecessor. However, the summer of that year was memorable as Artful Dodger shared the stage with the iconic band, KISS. Yet, the winds of change were blowing, and by their “Babes On Broadway” album in 1977, changes in lineup were evident, and commercial success was elusive.

Fast forward to the early 80s, and the band saw the exit of Paliselli. This departure didn’t deter Cooper and Brigida, who teamed up with Jeff Smith from Washington DC, and to this day, entertain as the Band of Steves. Meanwhile, Peter Bonta showcased his prowess behind the glass window of a studio, working on various projects and collaborating with notable artists like Mary Chapin Carpenter.

In a heartwarming turn of events, the dawn of the 90s witnessed an Artful Dodger reunion in Cleveland, marking the 25th anniversary of the Cleveland Agora. Their music found its way back to fans, with several reissues of their classic albums in the subsequent years. A noteworthy nod to their impact came with the celebration of the Cleveland Agora’s 40th anniversary, where they once again enthralled audiences.

While the band’s legacy remains etched in the annals of rock history, it’s essential to remember the contributions of each member. Tragically, in 2012, Gary Cox, one of the original guitar maestros of the band, passed away. Yet, the spirit of Artful Dodger persists, as they continue to engage with fans online, reminding everyone of the timeless nature of their music.

From the vast expanse of musical galaxies, Artful Dodger’s self-titled album doesn’t just shine—it dazzles with the luminosity of a cosmic event. The craftsmanship poured into the songwriting is evident in every track; not a single filler in sight, only premium musical content. What sets Artful Dodger apart is their enviable musical prowess—a skill level that many contemporaries could only aspire to reach.

Their repertoire seamlessly transitions between robust hard rock rhythms and soulful ballads, each infused with irresistible hooks that linger. One of the album’s defining characteristics is the rich vocal harmonies. They serve as a harmonious backdrop to the raw, earthy vocals of lead singer, Billy Paliselli, creating a balance that’s both powerful and melodious.

Yet, in the whirlwind of mid-70’s music trends and shifts, this gem somehow slipped through the cracks. But that’s the thing about timeless treasures—they always find their way back to the spotlight. Whether you’re a seasoned music enthusiast, a budding collector, or just someone with an ear for great rock, do yourself a favor: dive into the world of Artful Dodger’s debut. It’s not just an album; it’s an experience, waiting to be rediscovered.

Immersing ourselves in the nostalgic sounds of the 70s, the self-titled debut album by Artful Dodger emerges as a shimmering beacon amidst the rock anthems of the time. Each track, meticulously crafted, encapsulates the very essence of a musical decade where emotions ran deep and melodies were infectious. As we traverse this sonic landscape, we’re invited to relive the captivating moments and unique artistry that made this era unforgettable. From the impassioned guitar riffs to the evocative lyrics, prepare to be taken on a musical journey that celebrates the rich tapestry of 70s rock.

In the vast universe of 70s rock, Artful Dodger’s self-titled debut holds its own as a luminous gem, embodying the raw passion and unbridled energy that defined the era. From impeccable songwriting to harmonic crescendos, it’s an album that seamlessly bridges the past and present, inviting listeners of all generations to revel in its timeless allure. Whether you’re a rock aficionado or a curious explorer, this album stands as a poignant reminder of the golden age of rock ‘n’ roll and the undying spirit of music that resonates, inspires, and captivates. Dive into the world of Artful Dodger and let the music rekindle that fiery passion within.

VinylBro

Tracks

1. Wayside - 4:26

2. You Know It's Alright - 3:34

3. It's Over - 4:06

4. Follow Me - 3:44

5. Long Time Away - 2:38

6. Think Think - 2:56

7. Silver And Gold - 3:23

8. Things I'd Like To Do Again - 4:51

9. Waiting Place - 4:34

10.New York City - 3:05

All songs by Bill Paliselli, Gary Herrewig except track #7 written by Gary Cox

Artful Dodger

*Steve Brigida - Drums, Percussion

*Steve Cooper - Bass

*Gary Cox - Rhythm Guitar, Background Vocals

*Gary Herrewig - Lead Guitar, Background Vocals

*Bill Poliselli - Lead Vocals

With

*Eric Troyer - Keyboards (Tracks 1,3,6,8)

*Luther Rix - Congas (Track 1)

*Jackdaw - Background  Vocals

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Scrubbaloe Caine - Round One (1973 canada, fine bluesy classic rock)

The version of Scrubbaloe Caine that recorded Round One was a sextet from Western Canada, primarily Calgary, consisting of Al Foreman (keyboards, harmonica and lead vocals), Henry Small (violin and lead vocals), Paul Dean (lead guitar), Jim Harmata (lead guitar), Bill McBeth (drums, percussion and vocals) and Jim Kale (bass and vocals). Kale, who had previously performed with the Guess Who, replaced original bassist Bob Kidd.

I recently spoke to Henry Small about the band, asking him about his recollections of those heady days. Small grew up in the community of Beacon in New York State and relocated to Canada around 1969, joining a popular group in Calgary called the Gainsborough Gallery. Shortly thereafter, he and Dean started Cannonball, which then turned into Scrubbaloe Caine. Small points out that there was no real significance to the band's name; like many other musical groups, the members were just kidding around and created it. They were very tight, both musically and personally. The boys spent a lot of time together and the music they created was a collective effort, with each bringing his particular talents to the arrangements.

Foreman was the main songwriter. He would bring songs in that he was working on and the rest of the band would pitch in. Small handled most of the vocals, although Foreman would often add a harmony line. As well, Dean and Harmata had a ripping twin guitar sound. During my conversation with Small, I remarked how Scrubbaloe Caine enjoyed quite the reputation as a live act. He agreed wholeheartedly, saying the group had wonderful chemistry on stage. He told me that in their formative years, they had an extended stay at a club in Quebec City called the Electric Circle, playing up to six sets a night several nights a week for seven months. Spending all that time at the Electric Circle really brought the group together, both on and off stage. In fact, Small considers them "the most exciting live act I ever played with". He recalled the time they opened for the Guess Who at the Canadian National Exhibition in Toronto as an example of the band's prowess on stage and how that translated into an enthusiastic response from the audience.

Around the same time that Kale joined the band, Don Hunter became their manager. Hunter had a strong presence in the Canadian music scene at the time as the manager of the Guess Who. The next step was for Scrubbaloe Caine to sign a deal with a record label and get into the recording studio. They had interest from several labels, but they settled on RCA, the same record label that the Guess Who recorded for.

Scrubbaloe Caine headed off to Los Angeles to record Round One in the summer of 1973. The producer was David Kershenbaum, who would go on to have a very successful career in the music business, producing such artists as Joan Baez, Tracy Chapman, Bryan Adams, Joe Jackson and Duran Duran. I reached out to Kershenbaum to ask him what his recollection was of the session. He very generously replied, indicating that he did recall the group and loved them. However, with the passage of time, and with all the other artists he had worked with and the music he had been involved in over the years, he couldn't recall many details. Small had mixed feelings about the sessions, feeling that the finished product really didn't reflect the musical capabilities of the group. While the songs themselves were excellent, he felt the amount of time available for the recording - the whole project was completed in less than a week - didn't allow for the band to perform at the level of musicianship they were capable of.

Round One was released during the latter part of the summer in 1973. It is a classic example of a group of up-and-coming young musicians ready to show the listening public what they were capable of. Scrubbaloe Caine had paid their dues with years on the road, playing night after night, and honing their musical skills and developing their sound. The cohesiveness of the band leaps out of the record's grooves. Not only do they have that tightness that comes from countless hours of playing and rehearsing together, the songs on Round One display the musical intuitiveness that musicians develop when they are used to performing together.

Two tracks on Round One are especially notable: their cover of 'Trouble', written by Lieber and Stoller and performed by Elvis Presley in the movie King Creole, and the Al Foreman ballad 'Travelin''. The decision to cover 'Trouble' was an inspired one. Small recalled that it came about after the group was jamming one time over the old blues riff that is used to open the song. This number plays to the band's strengths particularly well. Small delivers a strong vocal and the twin guitar stylings really work well. We also get to hear some stirring harmonica playing from Foreman. The rhythm section lays down a cool groove and just propels the other musicians forward, holding everything in place. One of my favourite parts of the tune is the tempo change about halfway through. The band pulls this off brilliantly, and it really adds to the excitement the song generates.

'Travelin' is a wonderful ballad played with a gospel feel. The lyrics are thoughtful and sincere, and reflect the age-old emotional challenge facing a couple in which one of the partners tries to explain why he (or she) has to follow their dreams and travel, with the other partner imploring them to settle down, and not understanding why they won't...very apropos I suppose for young men in a musical group out on the road seeking fame and fortune. The song opens with a soulful vocal by Small, with just piano accompaniment for the first half of the first verse, and then Jim Kale joins in with a bass figure for the next two lines. The rest of the band then subtly enters at the commencement of the second verse. We get another tremendous guitar solo and then some inspired vocal call and response between Small and the others for the song's finale.

Unfortunately, the emotional letdown the guys felt after the recording sessions for Round One really caused a rift in the band, according to Small. This was the beginning of the end for Scrubbaloe Caine, and led to the group's eventual dissolution. To be fair, there were other factors as well. For one, Foreman wanted to spend less time on the road and instead pursue a career as a songwriter. All that being said, however, Small still has fond memories of his time with Scrubbaloe Caine.

Round One achieved moderate success, appearing in the RPM Hot 100 Albums chart, while Scrubbaloe Caine was nominated for a Juno Award for Most Promising Group the following year. Nevertheless, the album has not made the transition to compact disc, nor is it available for download on iTunes. Not to worry, though, as used vinyl copies are fairly easy to find and sealed versions do occasionally come up for sale.

by Mike Milner

Tracks

1. Edmonton Rain - 3:03

2. Do I Love You (Does A Guitar Play The Blues) (Al Foreman, Henry Small) - 3:50

3. Rosalie (Al Foreman, Henry Small, Jim Harmata) - 3:26

4. Gonna Keep An Eye On You (Bill McBeth, Brian Newcombe, Clyde Harvey, Henry Small) - 3:31

5. Daybreak - 5:29

6. Trouble (Jerry Leiber, Mike Stoller) - 5:03

7. Feelin' Good On Sunday (Al Foreman, Henry Small) - 3:04

8. Travelin' - 3:46

9. Crazy `bout A Blues Guitar - 7:10

All songs by Al Foreman except where noted

Scrubbaloe Caine

*Al Foreman - Keyboards, Harmonica, Lead Vocals

*Henry Small - Violin, Lead Vocals

*Jim Kale - Bass, Vocals

*Bill McBeth - Drums, Percussion, Vocals

*Jim Harmata - Lead Guitar

*Paul Dean - Lead Guitar, Slide Guitar

Related Act

1976  Small Wonder - Small Wonder (Big Pink 2023)

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Fludd - From The Attic (1972-76 canada, exciting multicolored classic rock)

Fludd was a Canadian rock band formed in Toronto in 1969, known for their innovative blend of rock, folk, and glam elements. The group was founded by brothers Brian and Ed Pilling, who, after an early stint in England performing as Wages of Sin and backing Cat Stevens under the name Zeus, returned to Canada to establish Fludd. They were joined by bassist Greg Godovitz, guitarist Mick Walsh, and drummer Jorn Andersen.

The band's self-titled debut album, released in 1971, featured the Canadian Top 20 hit "Turned 21." Following lineup changes, including the replacement of Walsh with Mick Hopkins and later the addition of keyboardist Peter Csanky, Fludd released their second album, "...On!" in 1972. This album included tracks like "Always Be Thinking of You" and "C'mon, C'mon."

In 1973, the single "Cousin Mary" became one of Fludd's biggest hits, reaching the Top 20 in Canada. Despite facing challenges, including health issues of Brian Pilling and various lineup changes, the band continued to produce music, releasing the album "Great Expectations" in 1975, which featured the Top 10 hit "What an Animal."

After disbanding in the late 1970s, members pursued various musical endeavors. Notably, Jim Crichton and Steve Negus went on to form the band Saga, while Greg Godovitz founded Goddo. Brian Pilling sadly passed away in 1978 due to leukemia.

Fludd's legacy in the Canadian rock scene is marked by their willingness to experiment with different musical styles and their resilience in the face of adversity.

by Robert Williston

Tracks

1. Always Be Thinking Of You  3:27

2. Yes! - 3:13

3. C'mon C'mon - 3:40

4. Cousin Mary - 2:44

5. I Held Out - 3:08

6. Brother And Me - 2:23

7. Dance Gypsy Dance - 2:43

8. What An Animal - 2:55

9. I'm On My Way - 3:18

10.Help Me Back - 4:23

11.With You - 4:03

All songs by Brian Pilling, Ed Pilling

The Fludd

*Ed Pilling - vocals, percussion

*Brian Pilling - guitar, vocals

*Mick Walsh - guitar

*Greg Godovitz - bass, vocals

*John Andersen - drums

1971  Fludd - Fludd (2010 reissue)  

1972  Fludd - Cοck On! 

Related Act

1977  Goddo - Goddo (2019 extra tacks remaster)

1978  Goddo - Who Cares ? (2000 remaster)  

1979  Goddo - An Act Of Goddo (2000 rema

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rep> The Dog That Bit People - The Dog That Bit People (1971 uk, elegant progressive rock, 2010 remaster)

In my recommended review of the sole album by Birmingham band Locomotive (which incidentally was also recently reissued on the Esoteric label [ECLEC 2228]), I ended by posing the question "Perhaps they [Eclectic] will get round to reissuing the Dog That Bit People album which featured Mick Hincks and Bob Lamb after the demise of Locomotive?" And I am happy to say that after only six years and a change of label name to Esoteric, my wish has come true!

The recording of the Locomotive album was somewhat traumatic and resulted in the splintering of the group, leaving only bassist Hincks and drummer Lamb. The pair were determined to carry on recruiting keyboard and guitar player Keith Millar and guitarist John Caswell. It was this line-up that released the final Locomotive single Roll Over Mary b/w Movin' Down The Line both of which are included on the Eclectic/Esoteric reissues. A desire to move away from the "doomy prog-rock kind of sound" resulted in a somewhat bizarre name change to The Dog That Bit People, chosen randomly by dipping into a book of short stories by the American humorist James Thurber.

Symptomatic of the faith that record labels had of their artists at that time, Parlophone keep the band on their roster, despite the poor sales of the Locomotive album. Following extensive, low budget, touring throughout Europe, the group entered Abbey Road Studios, rubbing shoulders with The Beatles who were busy with their final album, and started to lay down the tracks for their debut album.

Mostly recorded live with only essential overdubs added later, the album maintains a rather fresh feel, even after 40 years. The variety of the song styles also helps to give the album a diversity which adds to its enjoyment factor. Noticeably drawing on influences from the West Coast of America, the album successfully combines subtle acoustic passages with more rockier elements. A prime example of this is Sounds Of Thunder which could almost derive from the catalogue of Crosby, Stills, Nash and Young (although without the vocal harmonies) with the twin electric guitars intertwined with their acoustic relatives.

The group do provide excellent harmony vocals on the opening track, Goodbye Country, a lovely summer ballad that makes one instantly forget that currently outside all is frozen and snowbound. Elsewhere the spirit of Neil Young, an artist Bob Lamb recalls the group were heavily into, infuses many of the instrumental passages, such as on The Monkey And The Sailor where Lamb's drumming is precise and enticing at the same time. Lovely Lady, the single taken from the album, is melodic, catchy and yet, bizarrely was nowhere near becoming a hit; the more progressive elements of the group are covered in the effortless Cover Me In Roses which does indeed, as the sleeve notes state, sound in places not dissimilar to early Barclay James Harvest.

The early '70s were a time of great musical experimentation and The Dog That People were not immune to such experiments. Take Reptile Man for instance, with its strangely treated vocals and heavy riff that might have found place on a Black Sabbath album. Or at the other extreme there is the brief Country and Western number Someone, Somewhere which, if nothing else, shows that the band were thoroughly enjoying themselves! The rest of the material is just as enticing and entertaining.

Red Queen's Dance standing out with great harmonies, more twin guitars and even a jolly honky tonk piano part. Tin Soldier (not the same as the Small Faces song!) is majestic and once again plaudits go to Lamb for his interesting drum patterns. Finally, Walking another ballad, is lifted by the Mellotron parts that add to the warmth and sumptuousness of the piece.

Bonus track, Merry Go Round, the b-side of Lovely Lady, bears resemblance to Badfinger and its inclusion on this reissue totally justifies the replacement of my current CD version of this album with the new Esoteric version. Of course, it is not just the bonus track that makes this version, the label's typically excellent re-mastering and the informative booklet all add up to an excellent reissue of an obscure but delightful album.

by Mark Hughes 

Tracks

1. Goodbye Country (Keith Millar) - 3:41 

2. The Monkey And The Sailor (Bob Lamb, John Caswell, Mick Hincks) - 5:09 

3. Lovely Lady (John Caswell, Keith Millar) - 3:10 

4. Sound Of Thunder (Keith Millar) - 4:22 

5. Cover Me In Roses (John Caswell) - 5:21 

6. Someone Somewhere (Mick Hincks) - 1:29 

7. A Snapshot Of Rex (John Caswell) - 3:36 

8. Red Queen's Dance (Keith Millar) - 4:23 

9. Mister Sunshine (John Caswell, Keith Millar) - 2:57 

10.Tin Soldier (Keith Millar) - 4:13 

11.Walking (John Caswell) - 2:04 

12.Reptile Man (Bob Lamb, John Caswell, Mick Hincks, Keith Millar) - 4:14

13.Merry Go Round (Keith Millar, Mick Hincks) - 3:12

The Dog That Bit People
*John Caswell - Guitar, Vocals
*Mick Hincks - Bass, Vocals
*Keith Millar - Guitar, Keyboards, Mellotron, Vocals
*Bob Lamb - Drums

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rep> Neutral Spirits - Neutral Spirits (1972 us, raw garage acid psych, 2003 reissue)

The short-lived garage combo Neutral Spirits played around the small communities surrounding Decatur, Tennessee, throughout the early 1970s, and, like most such bands, would have been all but forgotten if not for a fortuitous trip into the recording studio. Mike Gable and Mike Henry both picked up guitars at early ages, and after meeting and talking music at high school, the two began practicing them together. 

Henry's older brothers Calvin, an accomplished saxophone player, and drummer Rex, both school marching band members, soon began jamming along, and the Neutral Spirits -- named, like a lot of teenage garage combos, after a random search through Webster's dictionary -- were born. After weeks of nightly rehearsals, they began to play out, taking gigs at private parties, fund raisers, pizzerias -- even backing the Henrys' mother in church -- and doing the usual talent shows, eventually becoming a regular on the local Battle of the Bands circuit. 

Finally, with additional member Mickey Debusk, also a high school buddy, on second guitar and vocals, they landed a plum job as the Saturday night house band at a local skating rink, and as crowds surged, an increasing number of requests came in for a Neutral Spirits recording. With the connections Calvin Henry made by playing on several gospel sessions, and with mostly Mike Gable original songs in tow, the quintet traveled to Melody Studios in Atlanta in 1972 and recorded their lone, eponymous LP, which was thereafter sold at all their live shows, and from a stand at the local IGA grocery store. 

The band continued playing for several years after until dissolving upon the marriage of one member and the matriculation to college of another. 

by Stanton Swihart

Tracks
1. Flying- 3:04
2. Power City - 6:50
3. Look What You Done to Me - 4:36
4. Speak Freely - 2:39
5. Scenic Void (Mickey Debusk) - 2:03
6. Holding On - 2:26
7. Can't Leave It This Way (Mike Henry, Rex Henry) - 3:21
8. I'm Calling Chicago - 2:18
All songs by Mike Gable except where noted.

Neutral Spirits
*Mike Gable - Vocals, Guitar
*Mike Henry - Guitar,  Vocals
*Calvin Henry - Saxophone
*Rex Henry - Drums
*Mickey Debusk - Guitar, Vocals

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rep> Painter - Painter (1973 canada, stunning hard classic rock)

After one album in 1969 and one subsequent single with minimal success, 49th Parallel packed it in a year later, and from the ashes rose guitarist Danny Lowe's new project, Painter.

Based out of Edmonton and with a reformed lineup that consisted of Doran Beattie on vocals, Royden Morice on bass and drummer Bob "Herb" Ego (formerly of Witness Inc), they played the local bar scene while writing their own material, blending light rock with a harder edge (if that makes sense), crossed with ballads and was held together with tight hooks and singable lyrics.

They caught the attention of London Records executives, who shipped them off to San Francisco's Wally Heider Studio in the summer of 1971. The single "Country Man" was released later that year to little fanfare. After switching to Molten Records (owned by Randy Bachman), they released another single later that year, "Daybreak," but again couldn't help but feel disappointed with the response.

After moving to Seattle, they augmented their sound with Barry Allen (also ex of Wes Dakus & The Rebels) as a second guitarist, and agreed to be managed by Bob Zimmerman, who got them a deal with Elektra Records. They travelled back to San Francisco, as well as Seattle's Kaye-Smith Studio, and put their abundance of material they'd written on tape. The result was their self-titled debut album in September of '73. With Jim Gaines serving as co-producer with the band and engineer, "West Coast Woman" was released as the first single and the band had its first Top 20 song.

Before long they were on the road, headlining shows at LA's famed Whiskey A Go Go, backing up KISS, Jethro Tull, Canned Heat, Rod Stewart, and Steely Dan, among others. They were also featured on the nationally syndicated "King Biscuit Flower Hour" radio program while in New York. It was while in the Big Apple that they co-wrote a couple of tracks with Frank Zappa while backstage one night, "That's When I Knew It Was Love" was played on stage later that night for the first and only time.

But when the follow-up singles "Going Home To Rock" and "Song For Sunshine" in '74 both failed to make an impression, Elektra lost interest and dropped the group. Allen left the group soon after, shortly before the band pulled the plug.

Lowe, Beattie, Ego and Morice would team up again to form Hammersmith shortly after. But before the first of two albums for Mercury Records were on the shelves, Ego was gone, who went on to join Streetheart. He also become a studio musician and session player for various artists, including 451 Degrees, Mavis McCauley, and Paul Hann, among others. Allen hung up the guitar and put on a managerial hat, and took a number of groups under his wing, including Hammersmith. 

With notes from Bob Ego

Tracks

1. West Coast Woman - 2:48

2. Tell Me Why - 2:02

3. Song For Sunshine - 3:03

4. Goin' Home To Rock 'n' Roll - 2:59

5. Space Truck - 2:37

6. Kites And Gliders - 3:45

7. Oh! You - 2:24

8. Slave Driver - 3:02

9. For You - 3:57

10.Crazy Feeling - 2:43

11.Goin' Down The Road - 8:49

All compositions by Barry Allen, Bob Ego, Dan Lowe, Doran Beattie, Wayne Morice

Painter
*Danny Lowe - Lead Guitar
*Doran Beattie - Lead Vocals
*Wayne Morice - Bass, Vocals
*Barry Allen - Rhythm Guitar, Vocals
*Bob Ego - Drums

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rep> The Fraternal Order Of The All - Greetings From Planet Love (1997 us, fabulous orchestrated psychedelia with folk drops and experimental mood, 2023 remaster)

The Fraternal Order of the All is guitarist Andrew Gold in a home studio overdubbing mode, making the record he always wanted to make back in 1967 and 1968. To call this album retro-flavored would be putting it mildly, as Gold's tongue is firmly planted in his cheek all throughout the record and attendant booklet, right down to the fake names for all the musicians. With the exception of guest turns from Jimmy Caprio, Jimmy Herter and Graham Gouldman (who also produced one track and like Caprio and Herter, wrote one other), this is pretty much Andrew's ballgame here, with him playing and singing all the parts. 

The British rock, Beatles-styled psychedelic sounds truly abound on this disc, in the production values, instrumental work, and songwriting style. Highlights include "Tuba Rye and Will's Son/Balloon in the Sky" (with its Beach Boys-like vocal intro), "Rainbow People," "Freelove Baby," the three instrumentals that help the mood along ("Swirl," "Twirl," and "Whirl" and don't forget the "Groovy Party at Jimmy's Magic Pad"), and the trippy title track. 

Gold successfully nails all the sounds and cosmic junk that came with these kind of albums back during those heady times, and if the music wasn't so darn good on here, you'd declare this record just a nostalgic joke that works, but it is so much more than merely that; it's a tucked-away little gem that deserves a much wider audience. 

by Cub Koda 

Tracks
1. Greetings From Planet Love - 0:35
2. Rainbow People - 2:46
3. Love Tonight (Graham Gouldman, Mike Botts) - 5:45
4. Chasing My Tail - 2:29
5. Swirl - 1:19
6. Tuba Rye And Will's Son / Balloon In The Sky - 3:44
7. King Of Showbiz (Andrew Gold, Graham Gouldman) - 4:12
8. Whirl - 0:58
9. Freelove Baby - 2:44
10.Groovy Party At Jimmy's Magic Pad - 2:29
11.It's Beautiful - 0:52
12.Wink Of The Third Eye - 2:00
13.It Has No Eyes But Sight - 0:55
14.Twirl - 0:58
15.Space And Time - 3:24
16.Time Is Standing Still (James Caprio, Jim Herter) - 4:48
17.Ride The Snake - 1:47
18.Mr. Plastic Business Man - 4:14
19.Ccosmicc Ccarnivall - 0:32
20.Tomorrow Drop Dead - 4:34
All songs by Andrew Gold except where noted

Musicians
*Andrew Gold - Vocals, All Instruments
*Jim Caprio - Bass, Vocals
*Gene Pool - Drums, Guitar, Keyboards, Vocals
*Graham Gouldman - Bass, Guitars, Vocals
*Kid Williy - Drums, Guitar, Keyboards, Vocals
*Nicole - Vocals

1978  Andrew Gold - All This And Heaven Too (2005 bonus tracks remaster)

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Peregrine - Songs Of Mine (1972 uk, gorgeous acoustic folk rock, 2024 korean remaster)

A really great British group – one who are mostly acoustic, but hardly sound folksy at all – and who are only a trio, yet manage to come across with a much fuller sound than you might expect! It would be easy enough to link these guys with the acid folk scene of the time, but their phrasing is different and their vocals, even while harmonized, have a sense of darkness that sets them apart from the warmer tones of the Cali scene when in similar territory. The record almost feels more like some lost indie set from a decade later – touched with some of the melancholy of a Nikki Sudden album, but again with a different sort of phrasing – in ways that only further make it a standout set. Titles include "Clock Watcher", "Hard World", "People & Places", "Red Sun", "Lazy Day", "Newspaper Seller", "Brief Encounter", and "Songs Of Mine.

The only work of Peregrine, released in 1972. Steve Torrington, Chris Brighton, and Neil Bonner are all in charge of guitar and vocals, and they also use a 12-string guitar.The sound is a folk trio with only three guitars and beautiful harmonies. thing. It has a dark side that is irresistible for British folk lovers.The sad melody, refreshing harmonies, and three acoustic guitars are wonderful. The soft folk-pop songs are great, but the crunchy, trad-flavored songs are numbing. This is a dark folk masterpiece that reminds you of the sunlight filtering through the trees in a lake in the forest, or the forest at dusk just before darkness falls, as you feel when listening to rare British folk records.

Free-Space

Tracks

1. Songs Of Mine (Neil Bonner) - 3:46

2. Lazy Day (Steve Torrington, Neil Bonner) - 4:09

3. All Through The Night (Chris Brighton) - 4:16

4. Red Sun (Steve Torrington) - 2:51

5. People And Places (Steve Torrington) - 4:43

6. Hard World (Chris Brighton) - 3:08

7. Newspaper Seller (Steve Torrington, Neil Bonner) - 2:57

8. To Be Somebody (Neil Bonner) - 3:17

9. Brief Encounter (Chris Brighton) - 3:06

10.Clock Watcher (Steve Torrington) - 3:00

11.The Strangest Fears (Chris Brighton) - 3:24

Peregrine

*Neil Bonner - Guitar,Vocals

*Steve Torrington - 12 String Guitar, Vocals

*Chris Brighton - Guitar, Vocals

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Westwind - Love Is... (1970 uk, majestic soft acoustic folk rock, 2021 korean remaster)

Simple stories, enchanting harmonies and soft, acoustic music that is Westwind. Three friends, Sarah Dyson, Nick Storey and Chris Stowell, writing and singing together because they enjoy it. Their fresh-as-an-English-rose vocals allow no concessions to the mid-Atlantic accents favoured by many a British folk group. Similarly, there is no place here for the electric guitar of the folk-rock exponents. And in their songs you'll find only the faintest hint of protest.

The music of Westwind, then, is a simple delight. No clever effects, no huge orchestras - though arranger Michael Moores makes sparing, and subtle, use of strings and horns. Just three people singing their songs, and singing them superbly. Ironically, in view of their name, much of Westwind's singing has a becalming effect. And what better fate than to let your mind drift and enjoy the clear, soaring voice of Sarah cutting through the pretty love story "Harbour Lights" or "Sleepy City".

The material to be heard on this album is as much a testimony to the group's songwriting ability as to their singing. Most of the songs are fragile, wispy in construction - notably the beautiful "Robin Hill", my favourite of the 12, with its excellent guitar work and the ethereal vocal from Sarah. But there is also a fair representation of brisk up-tempo tracks like "Goodtimes", one of those familiar folk cris de joie, with skiffle influences, and the happy skipalong "Sun Across The Snow". They reveal their sense of humour on an up-dated tale of "Sweeney Todd - a bar-barous chap was he" - which even in includes reference to P.C. Dixon of Dock Green.

My first hearing of Westwind, in September of this year, came with the release of a delightful single, "Love Is A Funny Sort Of Thing". The contents of this album, played at times of stress, will soothe even the most troubled of brows. It has that kind of effect. And it is an album you will want to come back to again and again. Westwind are a very welcome addition to the ranks of British pop-folk groups. With the help of record buyers such as yourself, they should rightly become a permanent fixture.

by Peter Robinson, Music Business Weekly

Tracks

1. Goodbye Butterfly - 3:54

2. Sleepy City - 3:00

3. Love Ia A Funny Sort Of Thing - 3:00

4. Sun Across The Snow - 2:53

5. How Many Stars - 2:49

6. Robin Hill - 3:02

7. Goodtimes - 2:00

8. Fisherman's Song - 3:33

9. Sweeney Todd - 2:59

10.Rosemary - 4:26

11.Harbour Lights - 3:36

12.Home Is Where My Heart Is - 3:00

Words and Music by Chris Stowell, Nick Storey, Sarah Dyson

Westwind

*Chris Stowell - Vocals, Guitar

*Nick Storey - Vocals, Guitar

*Sarah Dyson - Vocals, Guitar

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Fate - Sgt. Death (1967-68 us, outstanding anti-war fuzz guitar organ driven psych rock)

Jay Sneider's first band The Electrons came together in Saco, Maine in 1963. They soon changed their name to The Id and would release two 45s that have become highly prized by collector's, the second as Euphoria's Id to differentiate them from several other Ids around at that time. Around 1967 Sneider (now Snyder) and drummer Skip Smith formed Fate. The album was recorded in 1968 under the guidance of Thomas Jefferson Kaye at Studio 3 in New York, where Billy Joel's Hassles would record their debut LP. Demos were sent out and the popular DJ Roscoe (also the voice on an album by John Berberian) started playing it. It would be picked up by a couple more NYC stations, yet the only record label to show any interest was Musicor. 

Still the band's production company (Elephant 5) chose to pass on the offer, nothing further happened and a disillusioned band went their separate ways. Such a shame; this is an accomplished opus and so evocative of its time. The mood is reflective, often sombre, but also confrontational (as in the overtly anti-Vietnam title track). Stylistically it varies from baroque-rock with psychy flashes to hard melodic rock, and a strong hint of The Doors on the more introspective cuts. The latter comparison used to irritate Jay Snyder but the setting, key and timbre of Frank Youngblood's vocals makes this unavoidable. Sexual Fantasy #8 is an immediate stand-out; it has a pealing George Harrison-like guitar motif that'll haunt you for months. Elsewhere they take on the blues and Bo Diddley in a hard-rock setting with searing guitar. Jay Snyder recounts his musical odyssey and the stories behind his songs in revealing detail on both CD and LP. 

A very welcome and recommended release. Incidentally, the opening track on the original demo album, Prelude, was omitted from the reissues as it was not recorded by Fate, instead being put together by their producer. An article in Billboard magazine in October 1968 reported that "Fate's demonstration discs are being played on three radio stations in New York", but the only original copy so far to turn up has a mastering date of February 1969 etched in the vinyl trail-off. It could be that there were different demo discs in circulation at different times.

Free-Space

Tracks

1. Sergeant Death - 5:04

2. Simone - 3:59

3. Sexual Fantasy #8 - 3:40

4. Having A Cigarette - 2:11

5. I Need A Woman - 4:13

6. Hungry Lovin' Blues - 2:45

7. Mannequin - 5:43

8. Tribute To The Bo - 4:20

9. Smoke And Stone - 5:10

All songs by Jay Snyder

Fate

*Steve Dore - Guitar

*Skip Smith - Drums

*Jay Sneider (Snyder) - Keyboards, Vocals

*Art Webster - Bass

*Frank Youngblood - Vocals

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The Stories - The Stories (1972 us, marvelous baroque power pop soft rock)

Stories was always an odd creature, bearing echoes of Michael Brown's delicate work with Left Banke, a more mainstream McCartneyesque pop also reminiscent of a sweeter Raspberries and, thanks to Ian Lloyd's light rasp, hints of Rod Stewart. That hoarse soulfulness served Lloyd well on the band's only hit "Brother Louie" -- which appeared on their second album, About Us -- but he was never a true blue-eyed soul vocalist, and not just because Stories didn't often delve into blues-rock: his touch was too light, his voice too high and thin to dig deep into R&B. He was stuck between two sounds, between precious pop and soulful rock, which was completely appropriate for Brown's artful pop writing. Brown's songs for Stories weren't immediate, they were elliptical and gentle, just melodic enough to hint that these tunes are hookier than they are, having just enough structure to suggest big pop arrangements that never quite materialize, at least on their debut Stories. 

The touchstone for Stories is quite plainly Paul McCartney, as this is music that places the melody at the forefront; it's proudly precious and willfully whimsical, music crying out for listeners with a sweet tooth. Here, Stories make Badfinger seem like muscular macho men, as their hardest-rocking song "Take Cover" -- with its big, cascading chorus, it's a tune that could have slipped onto No Dice -- almost perversely avoids power chords. Then again, "Take Cover," while it does point the way to About Us, is atypical on Stories, as it's built upon Baroque ballads and lovely, lilting midtempo pop, signatures of Michael Brown from the days of Left Banke. While it's interesting to hear Brown navigate the valleys of modern rock production here, Stories could have used more definition in its arrangements, more power in its production, to really grab listeners. As it stands, it's ideal music for cultists: music that requires a bit of work, but not too much, to truly appreciate, and it does pay back the effort it demands.

by Stephen Thomas Erlewine

Tracks

1. Hello People - 3:54

2. I'm Coming Home - 2:38

3. Winter Scenes - 4:18

4. Step Back - 3:20

5. You Told Me - 3:06

6. Saint James - 4:30

7. Kathleen - 3:14

8. Take Cover - 3:01

9. Nice to Have You Here - 3:25

10. High and Low - 4:28

All compositions by Michael Brown, Ian Lloyd

Stories

*Michael Brown - Harpsichord, Keyboards, Moog Synthesizer, Organ, Piano, Synthesizer

*Ian Lloyd - Bass, Vocals

*Bryan Madey - Drums, Percussion

*Steve Love - Guitar, Vocals

With

*Harry Lookofsky - Violin

*Larry Wilcox - String Arrangements, Strings

*Peter Buonconsigilio - Violin

*Peter Hofmann - Guitar

1973  Ian Lloyd And Stories - Traveling Underground

Related Acts

1966-69  The Left Banke - There's Gonna Be A Storm The Complete Recordings   

1966-67  The Left Banke - Walk Away Renee...Pretty Ballerina (2011 remaster)  

1968-69  The Left Banke - The Left Banke Too (2011 remaster)  

1969  Montage - Montage (2001 Bonus Track)

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Bodacious DF - Bodacious DF (1973 us, remarkable funky bluesy rock feat Marty Balin, 2002 and 2023 remaster)

Marty Balin was co-founder and along with Grace Slick the lead singer of San Francisco legends Jefferson Airplane. After he left the band in 1971 Marty produced and later joined the hot new San Francisco group Grootna. Grootna mutated into Bodaciouus DF featuring Marty Balin as the group's lead singer. 

Tracks

1. Drifting (Jesse Osborne) - 4:10

2. Good Folks (Lonnie Talbot) - 7:37

0. The Witcher (Marty Balin, Vic Smith) - 6:36

4. Roberta (Marty Balin, Vic Smith, Trish Robbins) - 4:44

5. Second Hand Information (Charlie Hickox) - 4:57

6. Drivin' Me Crazy (Vic Smith) - 7:13

7. Twixt Two Worlds (Marty Balin, Vic Smith) - 5:45

Bodacious DF

*Mark Ryan - Bass, Vocals

*Dewey DaGreaze - Drums, Percussion, Vocals

*Vic Smith - Guitars, Vocals

*Charlie Hickox - Keyboards, Vocals

*Marty Balin - Vocals

Related Acts

1971  Grootna - Grootna

1966  Jefferson Airplane - Takes Off (2013 audiophile remaster)

1967  Jefferson Airplane - Surrealistic Pillow (2013 audiophile and 2003 xpanded)

1967  Jefferson Airplane - After Bathing At Baxter's (2013 audiophile and 2003 xpanded)

1968  Jefferson Airplane - Crown Of Creation (2013 audiophile and 2003 xpanded issue)

1969  Jefferson Airplane - Volunteers (2013 Audiophile, 2003 xpanded)

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Mike Harrison - Rainbow Rider (1975 uk, excellent bluesy classic rock, 2011 remaster)

Mike Harrison promptly resumed his solo career with the release of 1975's "Rainbow Rider".  Released in the UK on the Goodear label (Goodear catalog number  7002), Island Records acquired US distribution rights where for some reason the company decided to slap different cover art on the album.  

Produced by Chris Kimsey, the set found Harrison recording in Nashville with a mix of American and English studio musicians. Musically the set wasn't a major change from earlier efforts. Harrison's voice remained instantly recognizable with tracks such as "Maverick Woman Blues", "You and Me" and "I'll Keep It with Mine" offering an enjoyable set of R&B flavored rock.  Highlights included a weird cover of "Somewhere Over the Rainbow" and his collaboration with longtime buddy/former Spooky Tooth guitarist Luther Grosvenor on "Okay Lay Lady Lay" (the latter redeemed by some nifty voice box guitar work.).  

Highlight songs, the opening "Maverick Woman Blues" with some blazing twin lead guitar (Bob Cohen and Micky Jones) and pounding keyboards (courtesy of Morgan Fisher), 'Maverick Woman Blues' was the album's toughest rocker and one of the most Spooky Tooth-styled numbers on the set.  At least to my ears Harrison even sounded a bit like Gary Wright on this one.   Nice way to start off the collection. Dylan's "I'll Keep It with Mine" with a Spooky Tooth/Gary Wright-styled arrangement may have seemed like a good idea at the time, but the keyboard-propelled arrangement never gathered much energy and the backing gospel church choir simply blew Harrison off the stage.  The song's highlight came in the form of the nifty lead guitar.

The driving blues-rocker, "Okay Lay Lady La" actually came in the form of Luther Grosvenor's voice box guitar solo. The finale with 'Friend'  a breezy, slightly jazz-tinged ballad that actually benefited from Harrison's laid back and measured delivery.  One of the best performances on the album .

by Scott R. Blackerby November, 2024

Tracks

1. Maverick Woman Blues (Don Nix) - 3:37

2. You And Me (Will Jennings, Troy Seals) - 2:40

3. I'll Keep It With Mine (Bob Dylan) - 4:22

4. Like A Road (Leading Home) (Don Nix, Dan Penn) - 4:40

5. We Can Work It Out (John Lennon, Paul McCartney) - 3:24

6. Okay Lay Lady Lay (Luther Grosvenor, Mike Harrison) - 6:33

7. Easy (Aitkin, Brown, Mike Harrison) - 4:25

8. Somewhere Over The Rainbow (Harold Arlen, E.Y. Harburg) - 2:39

9. Friend (Arthur Belcher, Mike Harrison) - 4:32

Personnel

*Mike Harrison - Vocals,Harmonica

*Kenneth Buttrey - Drums

*Morgan Fisher - Keyboards

*Norbert Putnam - Bass

*Bob Cohen - Guitar

*Kirk Lorange - Guitar

*Mick Jones - Guitar

*Arthur Belcher - Saxophone

*The Memphis Horns - Horns

*Corona Stage School - Vocals

*Del Newman - String Arrangements

1971  Mike Harrison - Mike Harrison (2011 remaster)  

1972  Mike Harrison - Smokestack Lightning (2011 remaster)

Related Acts 

1965-67  V.I.P's - The Complete V.I.P.S (2006 double disc remaster)
1966  The V.I.P's - Beat Crazy (2004 remaster extra tracks edition) 
1967  Art - Supernatural Fairy Tales (extra track issue)

1968  Spooky Tooth - It's All About (2005 and 2010 SHM)

1969  Spooky Tooth - Spooky Two (2005 remaster and 2010 japan SHM expanded)  

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