If I wanted to get anything out of this business," Roger Daltrey says, "it was never to have to go back and work in a factory again. And I've got that. But the one thing I've learned is that money never buys you out of being working-class. The middle classes don't ever let you forget where you come from."
Daltrey has no intention of forgetting. Despite the 12 years that have passed since the Who's apocalyptic "My Generation" and the criticism from today's punk rockers that the Who have lost touch with their roots, Daltrey is adamant that – as the title of his latest solo album insists – he's still very much One of the Boys. The album's title track, written for Daltrey by Steve Gibbons, begins: "He speaks with a terrible stammer/Doesn't have much to say," and, sure enough, the song is marked by the Who's classic amphetamine stutter. Daltrey, in fact, describes the song as "a 1977 'My Generation.'"
Daltrey's conflict with the middle class also stems from a more immediate personal experience. When he recently erected an eight-foot penis (a prop from the film Lisztomania in which he starred) on the grounds of his 200-acre farm in Sussex, complaints from outraged neighbors led to a visit from high-ranking police officers who requested that the offending organ be removed. "It could only happen in England," sighs Daltrey. "There were probably banks being robbed and people being murdered, and the police force were concentrating their efforts on my eight-foot penis." Unbowed, the singer simply planted another next to it.
Daltrey has taken advantage of a six-month sabbatical from the Who to work his farm and record his third solo album. While his previous two LPS were commercial successes (the last, Ride a Rock Horse, went Top Ten in Britain and America), Daltrey feels that One of the Boys will be the first to establish a coherent musical direction for his solo career. "It's always been difficult for me to do that up till now," he says. "I've always said that if I wanted to make a rock & roll album I'd do it with the Who, because that's the finest rock & roll vehicle in the world. It would be pointless to do second-best to that. But there are all kinds of music the Who don't touch."
Certainly the album showcases an eclectic and well-balanced collection of songs – ballads, tough rockers and even some country-flavored tunes (although Daltrey insists he is "too British" to consider a full-fledged Nashville album) – by such writers as Andy Pratt, Colin Blunstone and Paul McCartney, whose "Giddy" was written especially for Daltrey. The album's three original compositions, which mark the singer's belated songwriting debut, were done in collaboration with the album's producer, Dave Cortney. Daltrey says he was always inhibited by Peter Townshend's prolific output, "but a solo album seemed a good opportunity to put my own material to the test."
His first attempt as a lyricist includes a song about life in jail, "The Prisoner." It was inspired by the autobiography of John McVicar, who is currently serving a 26-year term in an English prison for armed robbery. Daltrey was so taken with McVicar's account of prison life that he acquired the film rights to the book. "McVicar doesn't make any excuses," he says. "He is a criminal, no question of it. But the book really illustrates how prison isn't the answer to anything. It really made me think what it must be like. I've been in the nick for a maximum of a week out of my life, and every day of that week seemed like a year. To think of a guy who's doing 26 years, and nobody cares . . ." Daltrey leans forward on the leather couch, his voice rising with intensity as he pummels his leg with a clenched fist. "Where I come from, anyone with the least bit extrovert tendencies either became a footballer, a boxer, a rock musician or a thief. If I hadn't found rock & roll I would have ended up like McVicar," he allows a laugh," 'cause I'm not very good at football."
Tracks
1. Parade (Phillip Goodhand-Tait) - 3:42
2. Single Man's Dilemma (Colin Blunstone) - 3:03
3. Avenging Annie (Andy Pratt) - 4:31
4. The Prisoner (David Courtney, Todd, Daltrey) - 3:32
5. Leon (Goodhand-Tait) - 4:46
6. One of the Boys (Steve Gibbons) - 2:46
7. Giddy (Paul McCartney) - 4:46
8. Written on the Wind (Paul Korda) - 3:23
9. Satin And Lace (David Courtney, Tony Meehan, Daltrey) - 4:05
10.Doing It All Again (Murray Head) - 2:27
11.Say It Ain't So, Joe (Murray Head) 4:19
12.You Put Something Better Inside Me (Gerry Rafferty, Joe Egan) - 3:50
13.Martyrs and Madmen (Steve Swindells) - 4:18
14.Treachery (Swindells) - 4:58
First time around Gnidrolog had a fairly short career running from 1969-1973, but in that time they managed to play some of the classic venues alongside some of the most illustrious names in the history of rock music. Sadly, despite producing some truly inspiring works, they never quite achieved the level of acclaim that they richly deserved.
The lineup on this album are Colin and Stewart Goldring, Peter Cowling (bass) and Nigel Pegrum (drums) - who after leaving Gnidrolog went on to join Steeleye Span. The music is a real blend of guitar work and vocals augmented by recorders, flutes, saxophones, harmonicas, and such like. The end result is a unique style that was leading edge for it's time. Now, looking back it's really very hard to tell exactly who was influencing who, but this album certainly has some elements that are strongly reminiscent of the likes of VDGG, Gentle Giant and Jethro Tull.
The album opens with 'Long Live Man Dead' and from the outset one is struck by the starkness of the powerful vocals set against some very harsh guitar riffs. After the initial opening the sound throttles back a little and there is a nice passage with woodwind sounds contrasting well with the guitar and percussion work. Vocals continue with less harsh tone, but they are charged with emotion and feeling. 'Skull' is effectively a continuation of the first track and is marked by gently echoing flute work set against the acoustic guitar. The track finishes with a reprise of the opening vocal and guitar theme, before lapsing into a series of musical echoes reminiscent of King Crimson's earlier works.
'Peter' has a very mellow opening with Peter Cowling's cello coupled with a beautiful flute arrangement which plays alongside. Acoustic guitar and vocals add to the air of melancholy on the track.
There is a brooding sense of unease as 'Snails' starts up with recorder and oboe. A repeating pattern on the electric guitar soon joins in, the percussion part is gradually introduced and the pace slowly builds up. The vocals intially come in short, fairly quiet sections, alternating with heavy oppressive, and somewhat disharmonious, guitar work. The track is musically very advanced for its time and it provides a relentless assault on the senses as the frenzied pace and feeling of dischord contiues to build - it's almost above likes and dislikes - it simply is! It takes a little getting used to but is very effective.
In complete contrast 'Time and Space' is another piece that opens peacefully, a recorder and oboe passage is set against acoustic guitar and a lightly tripping vocal line. It gives way to some far more progressive elements with a much heavier sound. The song seems to have it's roots set in renaissance period music but overall, I am tempted to draw comparisons to King Crimson and Gentle Giant. The following song ,'Who Spoke', is a quiet acoustic guitar track with some very plaintive, almost anguished vocals, very akin to Peter Hammill.
The final track 'Goodbye-Farewell-Adieu' is another piece split into two parts. The first section 'Goodbye-Farewell-Adieu' contains woodwind sounds winding gently around, with gentle trills and more quiet guitar work. The vocals are very melancholic with harmonizing that is truly superb. The second part of the piece, 'Harry's Toenail', is an instrumental piece which is suddenly more upbeat with driving drum rhythms and pacey guitar work. Harmonicas give a really nice bluesy feel to the track. The eight tracks referenced above, which made up the original album, were all recorded in 1972.
Following hard on the heels of 'In Spite of Harry's Toenail' Gnidrolog produced what is, for me, a much more coherent and polished performance with their second album, 'Lady Lake'. The nucleus of the band consists of the Goldring twins; Stewart on lead guitar and Colin providing rhythm guitar, vocals, recorder and lead horn. As before, Nigel Pegrum provides drums and flute, while Peter Cowling plays bass and cellos. A new face to the lineup this time around came with the addition of John Earle on soprano, tenor and bass sax and second flute - John also sings lead vocals on one of the tracks, more of which later ...
The CD follows the same format as the original album, consisting of just six tracks, with a playing time of just under forty minutes, which actually strikes me as quite long for the year! As with my previous Gnidrolog review I have to reiterate the point that, even with hindsight, it's actually very hard to tell who influenced who, but again there are certain similarities to bands such as Van der Graaf Generator and Gentle Giant - although I find the music here to be much more emotional and capable of creating moods.
The opening track, 'I Could Never Be A Soldier', is the longest on the album at 11'36". Although it is, in many ways, a product of its time - written when the the Vietnam war was very much in the media spotlight - it is a song with a clear and powerful message. Having said that, the song is written without any direct reference to time or country and, due to this, the message is humanitarian rather than political and it works perfectly. Musically this is a song of contrasts; at times light and airy, at other times a darker heavier feel prevails - and it is these contrasts that help create a sense of urgency as we move through the track. The verse/chorus structure is apparent in the early part of the song where flute and recorder work feature prominently and create beautiful additions that are woven around the main theme. The instrumental section that follows is a real joy to listen to as a repeating motif comes into play with gentle percussion rhythm, excellent bass work and very subtle echoes cutting in from the guitar. Bit by bit the layers of sound are built up as the percussion becomes more complex and the guitar part fills out, while the flute/recorder sounds really break free from any constraint. The final vocal section is sung with real passion as the song launches into a final instrumental section with a truly breathtaking lead guitar line which is finally joined by the saxophone for the last climactic moments.
'Ship' is one of the highlights of the album. It is a very moving and inspired song and, of all of Gnidrolog's early work, is probably the one I like the most. The song, basically, deals with refugees finally finding a place to call home - but Stewart tells me it actually works on a number of levels. It kicks off with some great sax playing which makes way for acoustic guitar work that supports the vocals for the song verses. The vocals have a slightly raw edge to them, but they command the whole performance gliding effortless through the verses and soaring to ecstatic heights during the chorus, where the saxophone rejoins with magnificent effect. As with the first track this is another number that just builds and builds to a peak ... and the way the guitar and saxophones run rings around each other towards the finish has to be heard to be appreciated.
The shortest track of all is 'A Dog With No Collar' at just over two minutes. Although, on first hearing, it seemed a little weak by comparison to its immediate predecessors, it has grown on me with time and is now very high in my estimation. The main feature is the very bleak, but well defined, vocal line supported by acoustic guitar. Despite my early misgivings, I love the production on this track as you can hear the finger movements across the guitar strings - and this seems to really heighten the intensity of the piece. The addition of a sensitive saxophone line from about half way through adds to the air of melancholy
The album's title track 'Lady Lake' is the one most at odds with the rest of the featured material - and is most likely to be a problem for those not familiar with the genre of early experimental prog. Musically this one is very avant garde in its outlook and it seems to be very jazz-influenced. Throughout the early stages of the track there is a sense of structured dischord with driving bass lines and swirling sax sounds which have a very anarchic feel. This starts to die down at the point where the vocal line is first introduced and, at this point, I can sense strong similarities with the style later adopted by Gong offshoot Here and Now. Overtones of an angst ridden Peter Hammill echo through the remaining vocals while instrumentally things seem to settle down into a more structured pattern although the style becomes quite heavy and oppressive.
'Same Dreams' is another very compact song at under three minutes, but it is strong on content. The lead in features some gentle piano playing which continues throughout the whole piece building strongly where appropriate. This is, in fact, the only early Gnidrolog track that I'm aware of which features any kind of keyboard. It is played by Charlotte Fendrich and the style seems to have a classical edge, giving a slightly Procol Harum feel to the proceedings. Pleading vocals and fine harmonisation from the sax come across well and the strong percussive build up to the choruses, supported by fine bass work, is masterful.
I have heard it said that the final track, 'Social Embarrasment', sounds more like Gentle Giant than Gentle Giant did themselves, and I have to concede that this is not far off the mark! My only criticism here is that the incessant repetition in the closing section of the song tends to jar the nerves a little after a while but other than that this is a good, if at times quirky, track which makes a strong end piece to the album.
Often overlooked and rarely imitated, Gnidrolog represent many of the best aspects of true progressive rock music. Not only has their album stood the test of time well but it has also retained a freshness that should be a source of real inspiration - and with the exception of piano on one track, still not a keyboard in earshot ... but don't let this put you off! This CD comes highly recommended to all fans of seventies prog or to those who want to discover where it all began!
by Simon Hill
Tracks
Disc 1 In Spite Of Harry's Toe Nail 1972
1. Long Live Man Dead - 9:44
2. Peter - 3:28
3. Snails - 7:12
4. Time And Space - 7:34
5. Who Spoke - 2:22
6. In Spite Of Harry's Toe-Nail - 9:25
7. Snails (Instrumental First Version) - 6:46
All songs by Stewart Goldring, Colin Goldring, Nigel Pegrum, Peter Cowling
Bonus Track 7
Disc 2 Lady Lake 1972
1. I Could Never Be A Soldier - 11:34
2. Ship - 6:42
3. A Dog With No Collar - 2:08
4. Lady Lake - 8:51
5. Same Dreams - 2:47
6. Social Embarrassment - 6:33
7. Baby Move On - 4:11
All compositions by Stewart Goldring, Colin Goldring, Nigel Pegrum, Peter Cowling, John Earle
There has been understandable confusion for decades about the overlap and differences between Colosseum's second UK album and their second US album. Their second UK LP was titled Valentyne Suite; their second US album, however, was not only given a different title, The Grass Is Greener, but featured a substantially different track listing, with only four of the eight tracks overlapping with Valentyne Suite (although the version of "The Grass Is Greener" on the US release has a guitar overdub by Clem Clempson, the original part by James Litherland getting lost in the process). The variance can partially be traced back to the US version of Colosseum's debut Those Who Are About to Die Salute You, which included three tracks yet to be issued in the UK, including the first two (but not the third) of the sections comprising "The Valentyne Suite." It's enough of a mess to instigate a booming headache among those trying to assemble Colosseum's complete early output.
This deluxe expanded edition of Valentyne Suite, thankfully, completely sorts out this hassle for the CD era. With the sort of logic too uncommon in the record industry, it places the whole of the UK Valentyne Suite album on disc one, and the whole of the US The Grass Is Greener album on disc two, as well as adding a couple of tracks recorded for BBC radio in November 1969. That does mean that four of the tracks are heard twice, and that only the third part of "The Valentyne Suite" ("The Grass Is Greener") is heard on The Grass Is Greener, since the first two parts had already been issued in the US as part of the altered version of Those Who Are About to Die Salute You. But the redundancy is forgivable, considering this finally allows listener to hear all of the band's studio material from this era in the same place, with lengthy liner notes that explain the discographical tangle as well as possible.
Not to be overlooked, of course, should be the music, which in both albums found the band expanding their rock-blues-jazz format in interesting directions that encompassed more improvisation and a richer range of melodic colors, though the songs sometimes could have used some editing. Especially satisfying was the deft insertion of some classical influences from time to time, particularly in parts of the 17-minute "The Valentyne Suite." "The Kettle" was as close as the band got to catchy blues-rock-pop, and the jazzier "Elegy" (in which the vocals almost sound like a foreshadowing of Sting) was also one of their best songs.
Both "The Kettle" and "Elegy" were placed on both Valentyne Suite and The Grass Is Greener, but the songs unique to the The Grass Is Greener (all recorded, unlike the rest of the studio material here, with new guitarist Clem Clempson replacing James Litherland) aren't filler. Of these, "Jumping Off the Sun" in particular got Colosseum more in the swing of hard-charging psychedelic-pop-influenced rock than anything else they did, while "Rope Ladder to the Moon" was a cover of a quality song from Jack Bruce's debut solo album, and Ravel's "Bolero" gave them a chance to plunge further into classical material. Finally, disc one adds the aforementioned two November 1969 BBC tracks, including a version of "Lost Angeles" (from The Grass Is Greener) and the fusion instrumental "Arthur's Mustache," which didn't find a place on either of the two albums.
by Richie Unterberger
Tracks
Disc 1
1. The Kettle (Heckstall-Smith, Hiseman) - 4:29
2. Elegy (Litherland) - 3:14
3. Butty's Blues (Litherland) - 6:47
4. The Machine Demands A Sacrifice (Heckstall-Smith, Litherland, Hiseman, Brown) - 3:54
5. The Valentyne Suite - 16:55
.a Theme One - January's Search (Greenslade, Hiseman)
.b Theme Two - February's Valentyne (Greenslade, Hiseman)
.c Theme Three - The Grass Is Always Greener (Heckstall-Smith, Hiseman)
6. Arthur's Moustache (Reeves) - 6:31
7. Lost Angeles (Farlowe, Greenslade, Heckstall-Smith) - 8:37
Disc 2The US Album 'The Grass Is Always Greener'
1. Jumping Off The Sun (Tomlin, Taylor) - 3:38
2. Lost Angeles (Farlowe, Greenslade, Heckstall-Smith) - 5:34
3. Elegy (Litherland) - 3:14
4. Butty's Blues (Litherland) - 6:46
5. Rope Ladder To The Moon (Bruce, Brown) - 3:45
6. Bolero (Ravel) - 5:30
7. The Machine Demands A Sacrifice (Heckstall-Smith, Litherland, Hiseman, Brown) - 2:53
8. The Grass Is Greener (Heckstall-Smith, Hiseman) - 7:35
With their second album Rides Again, the James Gang came into their own. Under the direction of guitarist Joe Walsh, the group -- now featuring bassist Dale Peters -- began incorporating keyboards into their hard rock, which helped open up their musical horizons. For much of the first side of Rides Again, the group tear through a bunch of boogie numbers, most notably the heavy groove of "Funk #49."
On the second side, the James Gang departs from their trademark sound, adding keyboard flourishes and elements of country-rock to their hard rock. Walsh's songwriting had improved, giving the band solid support for their stylistic experiments. What ties the two sides of the record together is the strength of the band's musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads.
Larry Murray was born in Gram Parsons’ hometown of Waycross, Georgia, but moved to Los Angeles, California in the early 60s.There he co-owned the Blue Guitar, a guitar store which also served as an important meeting place for folk musicians and fans. Before long he’d formed a bluegrass group named the Scottsville Squirrel Barkers, with future Byrd Chris Hillman and future Burrito Brother and Eagle Bernie Leadon. When that folded in 1964, Murray and Hillman joined the Green Grass Group, a folk collective in the style of the New Christy Minstrels. By 1966, however, Murray’s interests had shifted towards the burgeoning folk-rock movement, and he formed Hearts and Flowers with Dave Dawson and Rick Cunha.
Though they released two classy collections of pioneering country rock (1967’s Now Is The Time For… and the following year’s Of Horses, Kids & Forgotten Women, on which Cunha was replaced by Bernie Leadon) under the supervision of producer Nik Venet (also responsible for work by the Beach Boys, the Stone Poneys, Fred Neil and many others), good reviews didn’t translate into the deserved sales. By the decade’s end, the group’s members had scattered to the Flying Burrito Brothers, the Eagles, and the backing bands of Linda Rondstadt and Emmylou Harris, and have only received their due acclaim in recent years.
Murray went on to produce sessions by artists including Elektra folk duo Kathy and Carol, Mary McCaslin and others before signing to Verve and recording this superbly mellow collection of acid-tinged country rock. Featuring stellar support from cult singer-songwriter J.D. Souther, pedal steel legend Buddy Emmons, Gib Guilbeau (and his band, Swampwater, also produced by Murray) and members of the Nitty Gritty Dirt Band, it’s an expertly-played mixture of earthy originals (Headed For The Country, All I Need Is A Friend) and judiciously-chosen covers (Elton John and Bernie Taupin’s Country Comfort, Paul Parrish’s When I See Jamie (Jaynie) and Souther’s classic Out To Sea).
When it failed to sell, however, Murray focused his energy on production work instead, as well as collaborating with Johnny Cash on a variety of projects. It is to be hoped that this first full CD release of Sweet Country Suite will help to consolidate his reputation as both a country-rock pioneer and a fine singer-songwriter in his own right.
CD Liner-Notes
Tracks
1. Headed For The Country (Murray) - 3:44
2. Big Bayou (Guilbeau) - 2:21
3. Country Comfort (John, Taupin) - 4:07
4. Back To The Good Earth (Murray) - 2:22
5. Sweet Country Suite (Murray) - 3:05
6. Dakota (Murray) - 2:37
7. Bugler (Murray) - 3:09
8. When I See Jamie (Jaynie) (Parrish) - 3:02
9. Out To Sea (Souther) - 5:33
10.Nora’s Boy (Murray) - 4:40
11.All I Need Is A Friend (Murray) - 3:57
A one-stop roundup of Affinity rarities probably won't dislodge their one official album from the top of most fans' lists, but it does complete the story in enjoyable fashion. Kicking off with both sides of their "Eli's Coming" single, If You Live then divides itself between early (1968-1969) demos and material intended for the group's abandoned second album.
A seven-minute jazz workout, "Yes Man," is as strong as anything on the first album, while there's also a powerful revision of "I Am the Walrus" that might not be as intense as their "All Along the Watchtower," but still rates among the most dynamic Beatles covers of the age. It all adds up to the most consistent of the manifold Affinity outtakes, off cuts, and oddities collections to have surfaced since the early 2000s, and a well-deserved indication of just how far they could have traveled if they hadn't imploded so tragically early.
by Dave Thompson
Tracks
1. Eli's Coming (Laura Nyro) - 3:32
2. United States of Mind (Alan Hull) - 2:50
3. Yes Man (M. Foster, L. Naiff, L. Hoyle) - 7:25
4. If You Live (M. Allison) - 3:16
5. I Am The Walrus (J. Lennon, P. McCartney) - 4:08
6. You Met Your Match (S. Wonder, D. Hunter, L. M. Hardaway) - 3:03
7. Long Voyage (Carol King) - 4:19
8. Little Lonely Man (M. Foster, L. Hoyle) - 3:58
The tragic irony behind Roger Kynard "Roky" Erickson's vaunted legacy as the father of psychedelic rock is that the very things that make him so important to so many fans and that keep him prominent in so many listeners' memories also ensured him a hard life spent in sanitariums and studios. Granted, for many that hard life is an integral part of his cachet: Arrested in 1969 and charged with possession, Erickson pleaded insanity rather than face jail time, and was committed to Rusk State Hospital. As legend has it, his mind was so devastated by the shock therapies and medications that he spent the rest of his life battling serious mental illness that left him easy prey for unscrupulous record promoters (who had him sign away his royalties for numerous reissues) and sabotaged almost every attempt at a comeback.
There are, of course, scores of 1960s cautionary tales, but the music Erickson helped to make and the lifestyle he promoted with the 13th Floor Elevators explicitly advocated drug use as mind expansion, as true spiritual freedom-- a bunk idea he shared with Jim Morrison, although even at his most obtuse, Erickson never descended to the empty-headed blathering and lounge-act crooning that were the hallmarks of the celebrated Lizard King. Erickson's psychedelia was not passive aural wallpapers-- all pretty shapes and colors to listen to while tripping-- but an active force of social, musical, and psychological change. Aside from the infamous album starter "You're Gonna Miss Me", which Erickson wrote for his previous band the Spades before rerecording with the 13th Floor Elevators, The Psychedelic Sounds is awash in narcotic philosophy. And in case you miss it, Tommy Hall explains it all in his original liner notes.
However, what makes The Psychedelic Sounds powerful 50 years later isn't its questionable philosophy but, as the title makes clear, its psychedelic sound. The 13th Floor Elevators were a remarkable band: Erickson's wild-man vocals create an atmosphere where unfettered mayhem reigns. Stacy Sutherland's piercing guitar puts a dark mood on "Roller Coaster" and "Reverberation (Doubt)", while drummer John Ike Walton ties it all together. It's a dynamic that's even more pronounced on the eight live tracks on this UK reissue, which were recorded in San Francisco following the album's release. Their covers of Solomon Burke's "Everybody Needs Somebody to Love", the Beatles' "The Word", and even their take on that '60s live staple "Gloria", are anything but placid drugs trips or by-the-numbers re-creation; instead, the songs get the full psychedelic treatment as the Elevators play them like they're handling snakes.
As with any historical legacy, however, Erickson's reputation as the father of psychedelia is largely oversimplified. He was a late addition to the 13th Floor Elevators, which was the brainchild of Tommy Hall. Hall's acid poetry informs every song on The Psychedelic Sounds (aside from "You're Gonna Miss Me", Erickson's lone contribution). And, perhaps most important, it was Hall who plugged in his jug and provided the psychedelic sound that evokes the chemical weightlessness of a trip. It's the wiggedly-wiggedly of a dream sequence, the sound of your hands melting or of a dimensional door squeaking open. That the 13th Floor Elevators could translate that concept into an aural sensation is perhaps the root of their reputation and would have been impossible without Hall.
Erickson, however, undoubtedly was a creative force in the band, as a vocalist on Psychedelic Sounds and also as a songwriter on the follow-up, Easter Everywhere. Selections from those two albums, as well as from subsequent aborted comebacks, are collected on the two-disk I Have Always Been Here: The Roky Erickson Story, which is, unbelievably, the first overview of his long, strange career. Erickson's is a long career to capture on only two disks, but Shout! Factory makes judicious use of the space not only to provide a chronology of Erickson's development over four decades, but also to paint him as a sort of outsider artist rather than as a victim.
Emphasizing Erickson's solo output over his reputation-making Elevators material, the collection includes only a handful of tracks from The Psychedelic Sounds and Easter Everywhere. "Slip Inside This House" is a masterpiece of psychedelic inventiveness, a spacey blues jam that circles back on itself and eats its tail. On "I Had to Tell You" and the heartbreaking same-session outtake "Right Track Now", Erickson foregoes his usual hysterical vocals for a much more direct, reflective approach.
But I Have Always Been Here is more interested in Erickson's less-explored post-Elevators period, roughly from the mid-70s to the present. Whether solo or with the Aliens, he churned out potent and patently weird Texas blues rock similar to Stevie Ray Vaughn or early ZZ Top and often mimicked the vocal hiccups of fellow Texan Buddy Holly. In the 1970s, Erickson became fascinated with science fiction, re-creating B-movies with songs like "Creature With the Atom Brain" and "Stand for the Fire Demon". What makes these songs so kick-ass is that it's the sound of someone going right off the page of the rock script-- like so many B-movie auteurs of the '60s (Ray Dennis Steckler and Hal Warren, ill-fated director of Manos: The Hands of Fate, come to mind), he's doing whatever he wants with no one to tell him that's not how it's done.
As a result, very few of the songs on I Have Always Been Here Before depend for their impact on the listener's knowledge of Erickson's mental health at the time. This is perhaps the singer's true achievement, which this compilation generously spotlights: even when he was suffering, his strange music sounds wholly idiosyncratic and spiritually curious, the sound of a man who won't let the world's ugliness diminish his enjoyment of life or hinder his search for something solid and secure.
by Stephen M. Deusner
Tracks
Disc 1 Original Mono Album
1. You're Gonna Miss Me (R. Erickson) - 2:31
2. Roller Coaster (R. Erickson, T. Hall) - 5:04
3. Splash 1 (C. Hall, R. Erickson) - 3:53
4. Reverberation (R. Erickson, S. Sutherland, T. Hall) - 2:47
5. Don't Fall Down (R. Erickson, T. Hall) - 3:01
6. Fire Engine (R. Erickson, S. Sutherland, T. Hall) - 3:19
7. Thru The Rhythm (S. Sutherland, T. Hall) - 3:07
8. You Don't Know (R.P St John) - 2:56
9. Kingdom Of Heaven (R.P St John) - 3:08
10.Monkey Island (R.P St John) - 2:40
11.Tried To Hide (S. Sutherland, T. Hall) - 2:48
Disc 2 Original 1966 Stereo Mix
1. You Don't Know (How Young You Are) (R.P St John) - 2:58
2. Through The Rhythm (S. Sutherland, T. Hall) - 3:08
3. Monkey Island (R.P St John) - 2:38
4. Roller Coaster (R. Erickson, S. Sutherland, T. Hall) - 5:05
5. Fire Engine (R. Erickson, S. Sutherland, T. Hall) - 3:20
6. Reverberation (R. Erickson, S. Sutherland, T. Hall) - 2:48
7. Tried To Hide (S. Sutherland, T. Hall) - 2:47
8. You're Gonna Miss Me (R. Erickson) - 2:31
9. Splash 1 (C. Hall, R. Erickson) - 3:53
10.Don't Fall Down (R. Erickson, T. Hall) - 3:00
11.Kingdom Of Heaven (R.P St John) - 3:08
12.Fire Engine (R. Erickson, S. Sutherland, T. Hall) - 3:21
13.Monkey Island (R.P St John) - 2:44
14.Roller Coaster (R. Erickson, S. Sutherland, T. Hall) - 5:04
15.Thru The Rhythm (S. Sutherland, T. Hall) - 3:03
16.Tried To Hide (S. Sutherland, T. Hall) - 2:52
Tracks 12-16 Bob Sullivan's Original Stereo Desk Mix
The 13th Floor Elevators
*Roky Erickson - Vocals, Rhythm Guitar
*Stacy Sutherland - Lead Guitar
*Tommy Hall - Amplified Jug
*Benny Thurman - Bass
*Ronnie Leatherman - Bass
*John Ike Walton - Drums, Percussion
The Aynsley Dunbar Retaliation's third and fourth (and final pair of) albums, To Mum, from Aynsley and the Boys and Remains to Be Heard, are combined into this two-CD reissue, which adds lengthy historical liner notes by British blues-rock expert Harry Shapiro. Although Remains to Be Heard would be cobbled together from outtakes and recordings done without Dunbar, their third LP, To Mum, from Aynsley and the Boys, was truly the final proper full-length release by the original group. Dunbar had expressed some interest in moving further afield from the blues-rock format around the time the record was done, and the addition of keyboardist Tommy Eyre (from the Grease Band) to the lineup was one step in that direction.
The enlistment of John Mayall as producer was perhaps another step in attempting to refine their sound. Still, much of To Mum, from Aynsley and the Boys is pretty standard late-'60s British blues-rock, in line with the previous two albums by the band. Eyre does inject some of the arrangements with a jazzy, more R&B feel, particularly on "Leaving Right Away" and the instrumental "Unheard," the latter of which sounds like a rock band trying to do modern jazz and finding themselves a bit out of their depth. You also hear the quintet trying to stretch boundaries a little with the eerie, trumpet-overlaid intro to "Don't Take the Power Away," which has the downcast ambience typical of quite a bit of the Victor Brox-sung Aynsley Dunbar Retaliation material. There's also some exceptionally funereal organ in the march-plodding instrumental "Journey's End." Otherwise, though, much of this is rather-run-of-the-mill, if always well played, British blues-rock.
Although The Aynsley Dunbar Retaliation broke up in late 1969 after To Mum, from Aynsley and the Boys, Brox was convinced by manager Bryan Morrison to assemble a posthumous fourth LP. Unfortunately, Remains to Be Heard came close to being The Aynsley Dunbar Retaliation in name only. For drummer/founder Dunbar is only on four of the ten tracks, and the rest include contributions by various musicians who weren't in the group, among them Brox's wife (singer Annette Brox), drummer Keith Bailey (who played with Graham Bond for a while), and some African drummers. The material isn't up to the group's usual standards, either, with three of the tracks being leftovers from their third LP, 1969's To Mum, from Aynsley and the Boys; recorded by the quartet of Dunbar, Brox, guitarist Jon Morshead, and bassist Alex Dmochowski, these recordings had been left off that record since they were cut prior to Tommy Eyre (who appears on all of that LP's tracks) joining the band. Sadly, even some of the tracks with Dunbar aboard aren't up to snuff; you know an outtake should remain an outtake when it begins with the lyric "be my monkey woman, I'm gonna be your monkey man" (as "Invitation to a Lady" does), though "Downhearted" is a worthy effort in the downer-blues-with-organ style that was perhaps the group's strongest suit.
Many if not all of the post-Dunbar recordings sound kind of like demos and/or unfinished songs in progress, and none sound especially worthy of future attention, except maybe for the brooding, jazzy "Toga" (with violin, wordless hummed vocals and African-tinged percussion) -- though even this seems like a sketch with lyrics that have yet to be filled in. It all adds up to a sad and unrepresentative end for a worthy group, desirable only for completist collectors.
by Richie Unterberger
Tracks
Disc 1 To Mum From Aynsley And The Boys 1969
1. Don't Take The Power Away (V.Brox) - 4:01
2. Run You Off The Hill (A.Dunbar, V.Brox, J.Moorshead, A.Dmochowski) - 5:43
3. Let It Ride (A.Dunbar, V.Brox, T.Eyre) - 4:59
4. Journey's End (A.Dunbar, J.Moorshead, A.Dmochowski, T.Eyre) - 5:37
5. Down, Down, Down (A.Dunbar, V.Brox, J.Moorshead, A.Dmochowski) - 5:51
6. Unheard (A.Dunbar, V.Brox, T.Eyre) - 2:22
7. Sugar On The Line (A.Dunbar, V.Brox, J.Moorshead) - 4:25
8. Leaving Right Away (A.Dunbar, V.Brox, T.Eyre) - 6:54
Disc 2 Remains To Be Heard 1970
1. Invitation To A Lady (A.Dunbar, V.Brox, J.Moorshead, A.Dmochowski) - 4:06
2. Blood On Your Wheels (A.Dunbar, V.Brox, J.Moorshead, A.Dmochowski) - 5:20
3. Down Hearted (A.Dunbar, V.Brox, J.Moorshead, A.Dmochowski) - 6:14
4. Whistlin' Blues (V.Brox) - 2:56
5. Keep Your Hands Out (V.Brox) - 4:04
6. Sleepy Town Sister (V.Brox) - 4:17
7. Fortune City (V.Brox) - 4:07
8. Put Some Love On You (V.Brox) - 3:40
9. Bloody Souvenir (V.Brox) - 4:26
10.Toga (V.Brox) - 5:06
The Aynsley Dunbar Retaliation 1969 To Mum From Aynsley And The Boys
*Aynsley Dunbar - Drums
*Victor Brox - Vocals
*John Moorshead - Guitar
*Tommy Eyre - Keyboards
*Alex Dmochowski - Bass 1970 Remains To Be Heard
*Victor Brox - Keyboards, Harmonica, Trumpet, Percussion, Vocals
*John Moorshead - Guitar
*Alex Dmochowski - Bass
*Annette Brox - Vocals
*Aynsley Dunbar - Drums
Of the numerous British blues-rock bands to spring up in the late '60s, the Aynsley Dunbar Retaliation was one of the better known, though solid reception on tours did not translate into heavy record sales. Musically, the group recalled John Mayall's Bluesbreakers during the 1966-1967 era that had produced that group's A Hard Road album, though with a somewhat more downbeat tone. The similarities were hardly coincidental, as the band's founder and leader, drummer Aynsley Dunbar, had been in the Bluesbreakers lineup that recorded the A Hard Road LP. Too, bassist Alex Dmochowski would go on to play with Mayall in the 1970s, and guitarist Jon Morshead was friendly with fellow axeman Peter Green (also in the Bluesbreakers' A Hard Road lineup), whom he had replaced in Shotgun Express.
Though he was only 21 when he formed the Aynsley Dunbar Retaliation, the drummer had already played with several bands of note in both his native Liverpool and London. Stints in several Merseybeat groups had culminated in his joining the Mojos, and Dunbar played on a couple of singles by the group, though these were cut after their British chart hits. Shortly after leaving the Mojos, he did his stint with the Bluesbreakers, after which he played for a few months in the Jeff Beck Group, also appearing on their 1967 single "Tallyman"/"Rock My Plimsoul." Wanting to lead his own band, in mid-1967 he formed the Aynsley Dunbar Retaliation, joined by Morshead, who'd previously been in the Moments (with a pre-Small Faces Steve Marriott), Shotgun Express, and Johnny Kidd & the Pirates; singer/guitarist/keyboardist Victor Brox, who worked for a while with British blues godfather Alexis Korner; and bassist Keith Tillman. Shortly after forming, however, Tillman left to join John Mayall's Bluesbreakers, replaced by Dmochowski, who'd played in Neil Christian's Crusaders and Winston's Fumbs.
On their self-titled debut album, the Aynsley Dunbar Retaliation flashed a British blues-rock approach that was rather similar to that of John Mayall & the Bluesbreakers circa 1967. That was unsurprising considering that leader and drummer Dunbar had played on the Bluesbreakers' 1967 A Hard Road album, and that bassist Alex Dmochowski would later play with Mayall himself. Although everyone in the Aynsley Dunbar Retaliation was a skilled player, the record ultimately comes off as rather second-division late-'60s British blues, though in a little heavier and darker a style than Mayall's. That's not to say it's mediocre, but the material (mostly original) is only average, and not quite up to the level of the musicians' instrumental proficiency. Too, Victor Brox isn't the greatest singer, though he's okay, and while Jon Morshead plays guitar well, his style sometimes seems quite influenced by Peter Green (listen especially to his work on the cover of Percy Mayfield's "Memory of Pain").
Additionally, some of the original material wasn't all that original; the work song-style "Watch 'N' Chain" certainly bears similarities to the tune that Donovan popularized under the title "Hey Gyp" (itself similar to a song that Lonnie Young, Ed Young, and Lonnie Young, Jr. had recorded under the title "Chevrolet" on Atlantic's 1960 Roots of the Blues LP of Alan Lomax field recordings [reissued in 1993 under the title Sounds of the South]). It's not a bad record overall, however, with the players getting a chance to take extended solos on the instrumentals "Sage of Sidney Street" and "Mutiny."
The Aynsley Dunbar Retaliation's second album was much the same as their first, offering competent late-'60s British blues, given a slightly darker cast than was usual for the style via Victor Brox's somber vocals. Like their debut, it was dominated by original material, and as on its predecessor, the compositions were rather routine blues-rock numbers, though they benefited from arrangements by highly skilled players.
The best of these tracks were the ones that utilized Brox's gloomy, almost gothic organ, if only because it made them stand out more among the company of the many similar bands recording in the prime of the British blues boom. Otherwise the main fare was straightforward blues-rock that was well played, but rather average and forgettable, the most distinguished ingredient being Dunbar's hard-hitting, swinging drums. If only because it has some original songs that were better than anything on the first album ("Fugitive," "Till Your Lovin' Makes Me Blue," and "Tuesday's Blues," the last of which has some songwriting and guitar work quite similar to Peter Green's late-'60s style in those departments), it's a slightly better listen, though not up to the standards of somewhat similar groups like Fleetwood Mac and John Mayall & the Bluesbreakers.
by Richie Unterberger
Tracks
The Aynsley Dunbar Retaliation 1968
1. Watch 'N' Chain (Aynsley Dunbar, Jon Morshead, Alex Dmochowski, Victor Brox) - 2:36
2. My Whiskey Head Woman (Aynsley Dunbar, Jon Morshead, Alex Dmochowski, Victor Brox) - 4:24
3. Trouble No More (Jon Morshead, Alex Dmochowski, Victor Brox) - 2:56
4. Double Lovin' (Jon Morshead, Victor Brox) - 3:52
5. See See Baby (Ma Rainey) - 2:20
6. Roamin' And Ramblin' (Victor Brox) - 3:00
7. Sage Of Sidney Street (Aynsley Dunbar) - 4:57
8. Memory Of Pain (Percy Mayfield) - 6:06
9. Mutiny (Aynsley Dunbar, Jon Morshead) - 7:25
Doctor Dunbar's Prescription 1969
1. Change Your Low Down Ways (Aynsley Dunbar, Jon Morshead, Victor Brox) - 2:23
2. Fugitive (Victor Brox) - 4:35
3. Till Your Lovin' Makes Me Blue (Victor Brox) - 4:57
4. Now That You've Lost Me (B.B. King) - 3:31
5. I Tried (Larry Davis, Don Robey, Joseph Scott) - 2:52
6. Call My Woman (Jon Morshead) - 3:07
7. Devil Drives (Victor Brox) - 2:46
8. Low Gear Man (Victor Brox) - 2:58
9. Tuesday's Blues (Victor Brox) - 3:37
10.Mean Old World (Walter "Little Walter" Jacobs) - 3:03
Well known Vertigo release (at least in progressive circles) of early 70's Hammond-dominated progressive with some jazz-influences. The band had an excellent female singer in Linda Hoyle. The material on the album is quite strong all the way through. "I Am and So Are You" and "Three Sister" do both use horns to good effect. "Mr. Joy" is a relaxed and excellent jazzy track, while "Night Flight" is a more typical early 70's progressive rock track. There are two excellent cover versions here too.
You would may not expect much from a cover of The Everly Brother's "I Wonder If I Care As Much", but its sounds awesome with a incredible symphonic and great arrangement. And their 11-minute version of "All Along the Watchtower" is a irresistible Hammond-orgy you must hear to believe. Definitively one of the classic Vertigo releases.
Tracks
1. I Am And So Are You (Hull) - 3:31
2. Night Flight (Jopp, Hoyle) - 7:15
3. I Wonder If I Care As Much (Everly, Everly) - 3:20
4. Mr. Joy (Peacock) - 5:02
5. Three Sisters (Naiff, Hoyle) - 4:57
6. Cocoanut Grove (Sebastian, Yanofsky) - 2:35
7. All Along The Watchtower (Dylan) - 11:36
8. Eli's Coming (Nyro) - 3:26
9. United States Of Mind (Hull) - 2:44
Bonus Tracks 8-9
