Why do so many people react with a sniff of the upturned runny nose when Detroit bands are mentioned, and why do Detroit bands come on so macho-honk self-conscious? Brownsville Station are from Ann Arbor, not Detroit, but they have always been lumped with the shortlived Detroit Bands hype, this despite the fact that most of the Detroit bands snubbed ’em mercilessly.
Why were they snubbed? Because Brownsville didn’t put on any badass streetpunk revolutionary airs, that’s why. They were just kids from the duplexes of America, not the belly of the beast, and cared shit less about politix and just wanted to rock ‘n’ roll. The Frut, good reviews of whose first album inspired a record number of why – did – you – fucking – critics – con – me – into – buying – this – piece – of – shit? letters to rock magazines around the country but were liked ’cause they played their part in the Detroit scene, once said that “We’re the guys who used to beat up Brownsville Station in the parking lot.” Maybe so, but Brownsville Station are the guys who right now will blow Frut right off the stage.
Still, I gotta admit that their new album ain’t as good as their first one, which is mainly a production problem, but so what? Their first, released on Warners nearly two years ago, was a monster, and there’s enough monstro moves in here to make this well worth shelling out a few sheckels for, in this day when most of the stuff on the radio is shit and you don’t know who to trust anymore and even the Rolling Stones have fucked up.
“Rack with the Music” isn’t particularly original, but it’ll get you off your ass. It sounds like Creedence and Sly together, but both of them are great and declining now along with lotsa other heavies, and besides, if you ever once heard Brownsville Station in your life and Leonard Feather hit you with this in a Blindfold Test you’d tag it right snappy.
“Mister Robert,” drives full throttle from here cross every dragstrip coast to coast, and is every bit as good as the fastest, furiousest things on the first Moby Grape album, and has a secret message. One thing I can tell you, it ain’t about Bob Dylan. And the lazied-back Rock Prince it’s addressed to (“Get up off your ass and move!”) could well be taken as Everystar who ever lost his fire in the fog of fame, but that ain’t quite the truth either. So listen and puzzle over it awhile, and if you’re really buffaloed you can write me a letter and I’ll tell you.
“Wanted (Dead Or Alive)” starts out with a riff so banal it took some nerve for Cub Koda to pick it up when he wanted to write a song one day, but that makes it even better, the gall and glee of that is what all this noise’s been about for most of our lifetimes now, and besides it gets into something a little more “inventive.” “Country Flavor” is currently the highlight of their live show, because it’s catchy as a bitch and has an indestructible hook and they always get the whole audience to clap and sing along and not a cynical zhlub in the house refuses, they’re that infectious. “Leavin’ Here” is Motown raved-up neat as Rod Stewart ever did and less axes to grind too, and “The Man Who Wanted More” is, believe it or don’t, a high energy takeoff on “When the Saints Go you know what.” And “Jonah’s Here To Stay” even has a fine soprano sax solo out of the Coltrane fakebook by lead singer Mike Lutz, and that takes care of side two making it 100 percent good, so what are you waiting for? The pick of the litter.
by Lester Bangs, July 6, 1972
Tracks
1. Rock With the Music (Michael Lutz) - 3:22
2. I Got Mine (Michael Lutz) - 2:46
3. Lovin' Lady Lee (Tony Driggins) - 3:33
4. Mad for Me (Pookie Shark) - 2:39
5. Mister Robert (Pookie Shark) - 4:06
6. Wanted (Dead or Alive) (Cub Koda) - 3:28
7. Country Flavor (Tony Driggins) - 4:27
8. Jonah's Here to Stay (Michael Lutz) - 6:48
9. Leavin' Here (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:04
10.The Man Who Wanted More (Saints Rock 'n' Roll) (Traditional) - 2:13
Brownsville Station
*Cub Koda - Lead Guitar,Vocals,Harmonica
*Michael Lutz - Lead Vocals,Guitar,Kaeyboards
*Tony Driggins - Bass,Vocal
*David Henri Weck - Drums
Renaissance made considerable impact and won an enthusiastic cult following when they first emerged at the beginning of the seventies. The British art rock band was born from the ashes of the original Renaissance founded by ex-Yardbirds Jim McCarty and Keith Relf in 1969. The new band continued with the concept of mixing classical music with poetry, blended with elements of rock, jazz and folk. The result was a highly individual sound blessed with hauntingly beautiful themes.
A variety of artists played with different versions of Renaissance, but the key members were guitarist and composer Michael Dunford, and singer Annie Haslam, who worked mainly with the gifted musicians John Tout (keyboards) and John Camp (bass). The lyrics to their romantic songs were contributed by the Cornish poetess Betty Thatcher, who listened to demo tapes of Dunford's songs and then posted on her lyrics. Annie Haslam, from Bolton, Lancashire, joined the band in 1972 to record their first album with the post McCarty-Relf line-up, called Prologue. Its success led to a more ambitious follow up album Ashes Are Burning.
Guitarist Rob Hendry who contributed to Prologue had left the band, and composer Michael Dunford joined the ranks as acoustic guitarist. "I went to visit the band and played them a few songs with my acoustic guitar," recalls Michael. "The acoustic sounded quite good and after a few rehearsals I became a full time member. In fact the piano was the main lead instrument which suited the orchestrated songs. There was a strong classical feel to the music. On Ashes Are Burning we worked with a string arranger called Richard Hewson who was great. The album was recorded at CTS Music Centre, which was than called De Lane Lea Studios, in Wembley.
The band line-up was John Tout, Terry Sullivan, John Camp, Annie and myself, and that was the line-up that continued until 1979. We used a 22 piece string section with woodwinds for two of the songs, "Can You Understand" and "Carpet Of The Sun". It was such an emotional feeling because we'd always wanted to work with an orchestra. Hearing the run through was absolutely fantastic, and we felt it was the way to go in the future. Over the next few years we did several "live" shows with orchestras. In the later years we changed too much, and got away from that sound, which was probably a bit of a mistake! But it was a breath of fresh air when we first recorded with the orchestra.
We didn't get any hit records off Ashes Are Burning but we gained a cult following and that album did very well in America. We were managed by Miles Copeland at the time and we went to America in 1974 for the first time. American audiences respond instantaneously and if they like you, they tell you. We were overwhelmed at the reaction to our first show, in a college in Brooklyn. We were astonished at the fact that people knew our songs. It was such a boost."
The title track "Ashes Are Burning" is an extended piece which became the band's encore number at concerts. "It gave everybody a chance to play a solo and have a bit of blow, because ninety per cent of the songs were heavily arranged. I remember one show we did at Radio City Music Hall in New York, where Betty Thatcher came out to see us play to 6000 people. We did three nights there on a huge stage, and I remember Betty introduced us. There was a cab strike in New York at that time, and we got hold of a Yellow Cab and put it on the hydraulic ramp under the stage and as the curtains opened, the cab came up with us inside it. We were greeted with rapturous applause!"
Annie Haslam remembers the Wembley recording sessions as: "A fantastic experience. We had a great engineer, Dick Plant, who really helped us a lot. The most incredible part of that album was when the orchestra came in. The first number they stuck up was "Carpet Of The Sun". I was standing next to John Tout and our eyes were welling up with tears, because all of a sudden, there was an orchestra playing our music. It felt so emotional because we had taken a step further from Prologue, and the music was progressing." The song title came from a child's inspired turn of phrase, as lyricist Betty Thatcher explains. "A child living in my home asked if the grass in the garden was a carpet, "Oh yes," I said, "It's the carpet of the sun", and I wrote the song for that child."
Renaissance rehearsed their new set of songs in a church hall before they took the plunge and started recording. Annie suggested they start the album with the sound of a gong, which can be heard on the opening track "Can You Understand". Says Haslam: "It's such a great album I love all tracks, but "At The Harbour" is one of the best things we ever did. Jim McCarty wrote "On The Frontier", which was the last time we used any of his music."
The title track "Ashes Are Burning" became one of the most important numbers in their act, and says Annie: "I have been doing it recently in my own stage shows. It's a great piece to show off the musicians in the band and I can do an operatic vocalise thing at the end. Of course since this album was made my vocal range has stretched, so I can sing higher than I did then. On the album the piece lasts about 12 minutes and Andy Powell from Wishbone Ash does a solo at the end. In the show it went on for half an hour." Betty Thatcher recalls that the song was inspired by a very strange set of circumstances. "I had a so-called "near-death experience" and I was told to go back as I didn't finished. I actually argued with God, but God won and I came back and wrote "Ashes Are Burning"."
After the album was released in 1973 Renaissance went on to create such works as Turn Of The Cards (1974), Scheherazade And Other Stories (1975), Live At Carnegie Hall (1976), Novella (1977), A Song For All Seasons (1978), Azure D'Or (1979), Camera Camera (1981) and Time Line (1983), before they finally broke up.
In recent years Annie Haslam has relocated to live in America where she tours with her own band and has released a solo album Blessing In Disguise with producer Tony Visconti. Michael Dunford has also returned with a new album called The Other Woman while in Spring 1995 there were plans afoot to revive the original Renaissance with Jim McCarty, John Hawken and Louis Cennamo. The music of Renaissance seems to be spreading outwards likes ripples in a sea of talent. Says Annie: "I don't think there was anything like the music Renaissance used to produce in the seventies and eighties. We were put in the pigeon hole of classical folk rock, but there wasn't another band like us and the albums just got better and better. Looking back - I feel blessed with everything that happened."
by Chris Welch
Tracks
1. Can You Understand - 9:53
2. Let It Grow - 4:18
3. On The Frontier (Jim McCarty, Betty Thatcher) - 4:58
4. Carpet Of The Sun - 3:31
5. At The Harbour - 6:49
6. Ashes Are Burning - 11:21
7. At The Harbour - 3:19
All compositions by Michael Dunford, Betty Thatcher except track #3
Renaissance
John Tout - Keyboards And Vocals
Annie Haslam - Vocals
Jon Camp - Bass Guitar And Vocals
Terry Sullivan - Drums, Percussion And Vocals
Michael Dunford - Acoustic Guitar With
Andy Powell - Guitar On "Ashes Are Burning"
Richard Hewson – Strings Arrangements
Although perhaps less adventurous, Illusion was on a par with its predecessor, being more disciplined and tunefully stronger, sign posting later Renaissance albums and the growing maturity of Relf and McCarty as songwriters. Unsurprisingly given its title, the opening song Love Goes On is a straight forward ballad with a chorus that’s both compelling and hypnotic. Golden Thread harks back to the first album with an extended piano intro although it’s more melodic in its structure. It develops into another memorable choral chant, with lead vocals by McCarty, interspersed with intimate piano moments that put me in mind of very early Genesis.
Love Is All echoes the sentiments of the opening song with a very similar feel whilst Mr. Pine is the track recorded with the Dunford/Crowe/Korner/Slade line-up. Written by Dunford, it’s arranged in three separate sections. The short opening song is folky and engaging, the mid-section more strident with echoes of King Crimson and Hawken (uncharacteristically) playing Hammond which he swops for harpsichord when the song returns to the mellow opening.
The tranquil Face Of Yesterday shows how Jane has developed as a vocalist, sounding more confident for the most delicate song recorded by the line-up thus far with beautiful instrumental work from Hawken, Cennamo and Relf. It’s a perfect foil for the bands lengthiest piece to date, Past Orbits Of Dust which follows. The edgy atmosphere is characterized by the rhythmic electric piano of guest keyboardist Don Shin and although very well played, for my money the more refined playing of Hawken is sadly missed. It also drags on longer than necessary with much self indulgent soloing contributing to the tracks length.
The three bonus tracks included by Esoteric are not in reality Renaissance material but are worthy additions anyway. These include two songs composed by McCarty and recorded in September 1970 for the soundtrack of the film ‘Schizom’. The dreamlike Prayer For Light is reminiscent of KC’s Epitaph although taken at an even slower pace and Walking Away continues in a similar vein with some lovely classical guitar playing. The last track All The Fallen Angels is a demo assembled by Keith Relf in April 1976 for a new band Illusion which was to feature the original Renaissance line-up. His voice seems to have deserted him on this occasion although the Mellotron backdrop and Cennamo’s poignant bass compensate. Sadly Relf was the victim of a fatal heart attack the following month after he was electrocuted at home playing guitar.
Possibly due to the fractured recording of the Illusion album it was only initially released in mainland Europe, Renaissance fans in the UK had to wait until 1976. In the meantime Michael Dunford assumed leadership of the band and the departure of Jane Relf soon after opened the door for Annie Haslam to begin another chapter in the bands history. But that’s another story, for now these two excellent releases, restored to pristine condition by Esoteric, are here to enjoy.
by Geoff Feakes, 2011
Tracks
1. Love Goes On (Keith Relf) - 2:50
2. Golden Thread (Jim McCarty, Keith Relf) - 8:15
3. Love Is All (Jim McCarty) - 3:39
4. Mr. Pine (Michael Dunford) - 6:59
5. Face Of Yesterday (Jim McCarty) - 6:05
6. Past Orbits Of Dust (Jim McCarty, Keith Relf) - 14:43
7. Prayer For Light (From The Film "Schizom") (Jim McCarty) - 5:27
8. Walking Away (From The Film "Schizom") (Jim McCarty) - 4:19
9. All The Fallen Angels (Jim McCarty, Keith Relf) - 5:27
Tracks 1 - 6 recorded at Olympic Studios, Barnes, London and Island Studios, Basing Street, London.
Track 7,8 recorded at Advision Studios, London for the soundtrack to the film "Schizom" in September 1970.
Track 9 recorded during the Illusion demo sessions in April 1970.
Outward Bown is the first album by the R&B/psych-pop ensemble led by English trumpeter Alan Bown, recorded in 1967 and released in 1968 on Music Factory.
One of the most popular club bands of the Swinging London era, the Alan Bown Set abruptly changed direction in the Summer of 1967, shedding their soul/R&B togs to reinvent themselves as flower power pop merchants the Alan Bown! Under this new guise, they cut one of the lost jewels of the British psychedelic pop scene, the magnificent Outward Bown.
In this release features the original album plus obscure B-sides and alternative single versions. Pieced together from recording sessions that spanned the summer of 1967 to spring 1968, Outward Bown deftly embraces all points of the psychedelic pop compass, taking in proto-hard rock, blue-eyed mod soul and, perhaps most notably of all, the voguish toytown pop sound.
Tracks
1. Toyland (Tony Catchpole, Jess Roden) - 2:32
2. Magic Handkerchief (Alan Bown, Jeff Bannister, Tony Catchpole, Jess Roden) - 3:16
3. Mutiny (Alan Bown, Jeff Bannister) - 2:59
4. All Along The Watchtower (Bob Dylan) - 3:09
5. Sally Green (Alan Bown, Jeff Bannister) - 3:18
6. Penny For Your Thoughts (Alan Bown, Jeff Bannister) - 3:38
7. Story Book (Alan Bown, Jeff Bannister) - 3:09
8. Technicolor Dream (Alan Bown, Jeff Bannister) - 2:51
9. Love Is A Beautiful Thing (Lee Pearl, Lewis Bellin, Harvey Pearl) - 3:31
10.Violin Shop (Tony Catchpole) - 2:59
11.You're Not In My Class (Alan Bown, Jeff Bannister) - 3:33
12.My Girl The Month Of May (Dion DiMucci) - 2:45
13.Little Lesley (Single B Side,1968) (Tony Catchpole, Jess Roden) - 2:10
14.We Can Help You (Single A Side,1967) (Alex Spyropoulos, Patrick Campbell-Lyons) - 2:25
15.Toyland (Single A Side,1967, Mono Mix) (Tony Catchpole, Jess Roden) - 2:53
16.Technicolor Dream (Single B Side 1967, Mono Mix) (Alan Bown, Jeff Bannister) - 2:52
17.Penny For Your Thoughts (BBC Session, September 1967) (Alan Bown, Jeff Bannister) - 2:41
18.Technicolor Dream (BBC Session, September 1967) (Alan Bown, Jeff Bannister) - 2:59
19.My Girl The Month Of May (BBC Session, September 1967) (Dion DiMucci) - 3:06
20.Pandora's Golden Heebie Jeebies (BBC Session, November 1967) (Gary Alexander) - 2:56
21.Toyland (BBC Session, November 1967) (Tony Catchpole, Jess Roden) - 2:32
22.Love Is A Beautiful Thing (BBC Session, Novovember 1967) (Lee Pearl, Lewis Bellin, Harvey Pearl) - 2:26
23.Magic Handkerchief (BBC Session, July 1968) (Alan Bown, Jeff Bannister, Tony Catchpole, Jess Roden) - 3:17
24.All Along The Watchtower (BBC Session, July 1968) (Bob Dylan) - 3:13
25.Gypsy Girl (BBC Session, June 1969) (Alan Bown, Jeff Bannister) - 2:02
26.Movie Star Baby (BBC Session, June 1969) (Tony Catchpole, Jess Roden) - 2:47
Bonus Tracks 13-26
Musicians
*Alan Bown (Alan James Bown) - Trumpet
*Jess Roden - Vocals
*John Anthony Helliwell - Tenor Saxophone, Clarinet, Recorder
*Jeff Bannister - Organ, Piano
*Tony Catchpole - Lead Guitar
*Stan Haldane - Bass Guitar
*Vic Sweeney - Drums 1965-67 The Alan Bown Set - Emergency 999
Among the many bands to have albums released by EMI in 1968 none may have had a stranger back story than Rainbow Ffolly, whose “Sallie Fforth” hit record shops the first week of May. EMI, home to The Beatles, among others, was one of the most respected labels of the day, with “The Beatles” better known as the “White Album” being perhaps the best known LP issued on the label that year. January, 2019, more than fifty years after its original release sees “Sallies Fforth” reissued on Cherry Red’s Grapefruit Records imprint as part of its three disc box set “Spectromorphic Iridescence” containing the complete works of Rainbow Fflolly.
First formed under the moniker Force Four, by 1967 brothers John and Richard Dunsterville, on lead and rhythm guitar respectively, along with bassist Roger Newell and drummer Stewart Osborn had rechristened themselves Rainbow Ffolly, as John Dunsterville was reading a book on names with impact that suggested using colours and misspellings. Rainbow included all colours and the double F in Folly meant fun, and so in April or May of that year the quartet entered Jackson Recording Studio run by brothers Malcolm and John Jackson and laid down their first two tracks, “Come On Go” and “Sun Sing.” The former was a rather restrained number featuring John Dunsterville’s Chet Atkins style guitar work, while the latter was a harder,edged psychedelic number. The Jackson Brothers were sufficiently impressed to request the band return in a week or so with a dozen songs of different styles, which the Jacksons would record and see if they could get a recording deal for the band, and do this cost free. With John Dunsterville being a prolific writer capable of penning that many new tunes within the time restraint it seemed a no brainer that Rainbow Ffolly accept the offer.
Thinking these would be demo recordings of song ideas Dunsterville did not craft the songs, in fact he said “he spent no time on them whatsoever, they just happened.” The band returned to the studio and by the end of 1967 the LP was recorded. The Jacksons decided to link the songs with the aid of various jingles and sound effects to form their “sound package.” Without the knowledge of the band the Jacksons shopped the LP and the first label they offered the recordings to, EMI, took them up on the offer, but on the condition that the album be taken as was, with no re-recording. The group was frustrated by what they considered sketches being released, not fully realized paintings, but having no contract at all, everything being done on a handshake with band members having never heard of “artistic control” the release of “Sallies Fforth” came in the first week of May, 1968. The best the band could do was take control of the album artwork which was filled with inside jokes like codes for birthdays, eye colour and instrument played of members without including their names. To add insult to injury, the album itself garnered rather good reviews while the artwork was panned by all the major publications of the day such as New Music Express, Melody Maker and Record Mirror.
However, when taken in proper context, “Sallies Fforth” stands as an accurate documentation of the works of a band of eccentric musicians who were much more closely related to The Bonzo Dog Doo Dah Band than true psychedelic bands of the day on EMI such as Tomorrow and Pink Floyd. In fairness to the band, it is in this light that the musical output of Rainbow Ffolly must be, and is examined in this review. “Spectromorphic Iridescence” is the final word on the band, containing the mono and stereo mixes of “Sallies Fforth” as well as the band’s lone single, early demos and outtakes from the Jackson Studio sessions, unreleased recordings done for broadcast on Radio One, radio jingles recorded for a hospital, the 2016 reunion LP “Follow Up!” recorded by John Dunsterville, Alan Stewart and Stewart Osborn, and all ancillary recordings related to the reunion album. But, let us begin at the beginning.
Disc one opens with the thirteen tracks comprising “Sallie Fforth” in its stereo mix. “She’s Alright” is an acid pop type number with vocals reminiscent of The Beatles, a theme that was employed nicely on several tracks by the band. Following its humorous intro including a female speaking in French the band enters with jangling guitars and the light hearted tune includes a nice guitar solo and luscious vocal harmonies. “I’m So Happy” reflects the band’s love of British musical hall tradition, employing gentle country style guitar and within its cabaret influenced lyrics are a reference to “Itchycoo Park” a hit by The Small Faces. “Montgolfier ‘67” is based around medieval lute music, celebrated the 185th anniversary of the Montgolfier brothers first public demonstration of their hot air balloon and features a folk rock intro and more gorgeous vocal harmonies mixed with the band’s unique brand of humor, this time including references to giraffes. With “Drive My Car” the band took a Beatles title and wrote something completely different around it. The track is heavier while retaining gorgeous vocal harmonies and the ever present element of humor. The track was also released as the a-side of the band’s sole single, hitting record shops about a month after “Sallies Fforth.” “Goodbye” is a winsome McCartneyesque ballad with gentle guitar intro and vocals reminiscent of Ruby & The Romantics hit single “Our Day Will Come.” “Hey You” opens with sound effects of a thundershower and ping pong match before settling into a fuzz laden guitar track with a legitimately psychedelic edge. “Sun Sing” is another psychedelic rocker with lots of fuzz and a tasty guitar solo. “Sun And Sand” is a bit of acid pop in the style of South African singer Miriam Makeba and with its Beatlesque vocals is a good indication of the talent the band possessed and the potential of their music. “Labour Exchange” is a tongue in cheek number referencing unemployment offices, with its heavy bass and drums hinting at the rock sensibilities of the band and includes another nice guitar solo. “They’m” reflects the band’s love of good time music a la The Lovin’ Spoonful. “No” arose from the guitar/bass battle between John Dunsterville and Alan Thomas and has flashes of heaviness with horns added for texture even as the beat roars. “Sighing Game” is a gentle pop rocker with nicely echoed vocals and gorgeous harmonies.
The album closer “Come On Go” begins with a humorous reference to acne treatment before settling into a country style melody with John Dunsterville displaying the influence Chet Atkins played in his guitar work. The bonus tracks begin with the single version of “Drive My Car” and its non-LP b-side “Go Girl” which features primitive phasing with John Dunsterville singing into a hair dryer hose, evidence of the group’s creativity, which coupled with beautiful vocal harmonies, results in a very nice pop tune A demo version of “Sun Sing” features a lovely guitar intro and is a mixture of The Beatles and The Bonzos, featuring humor and heaviness with John Dunsterville supplying another tasty guitar solo. A demo take of “Come And Go” features jangling 12-string guitar supplemented by delightful percussion in the form of tambourine with an organ interlude complementing more gorgeous vocals which taken together are further indications of what Rainbow Fflolly was capable of and leaves one wondering what “Sallies Fforth” would have sounded like had the band been given an opportunity to flesh out the recordings released on the album. The disc closes with a cover of the Beatles’ classic “The Continuing Story Of Bungalow Bill” with Rainbow Fflolly’s version featuring a recorder intro, piano interlude, impressive changing beats and more of the band’s vocal harmonies and humor. An impressive closer for the disc reminding the listener of the possibilities contained in the performances of Rainbow Ffollly…
Disc two contains the mono version of “Sallies Fforth” as well as no less than twenty five bonus tracks, thirteen of which are radio jingles done for a hospital located near the home base of the band which opened just prior to the release of Rainbow Ffolly’s album. The radio jingles are short takes reworking famous tunes, the most creative and humorous of the lot being a redo of Louis Armstrong’s “What A Wonderful World” which in the hands of the band morphs into “What A Wonderful Ward” and is definitely good for a smile. The real highlights of the disc are seven home demos recorded throughout 1968 and five tunes recorded for the Dave Cash Show and Radio One Club in December, 1968, but were never aired and have remained unreleased until this box set. Ten of the twelve cuts are covers but serve as examples of what Rainbow Ffolly was capable of and what fans experienced seeing the band live. First up is an incendiary cover of Cream’s “Sunshine Of Your Love” with screaming lead guitar, booming bass and pounding drums. This track takes away any doubts one might have as to whether Rainbow Ffolly was capable of rocking. A take on The Beatles’ classic Sgt. Pepper track “Lucy In The Sky With Diamonds” is filled with trippy guitar and gorgeous vocal harmonies. In typical fashion the band could not help but mention other Beatles titles during the outro. A soulful pop rendition of “Gimme Some Kind Of Sign” a huge hit for Brook Benton appears as “Gimme Little Sign” with a spoken intro followed by another prime example of the lead and harmony vocals delivered so effortlessly by the band. “I Can’t Let Maggie Go” made popular by The Honeybus, gives the band a chance to show how nicely they could handle a ballad, and includes yet more incredible vocal harmonies. “Sabrosa” finds John Dunsterville in Chet Atkins mode once again as the band delivers a wonderful rendition of this energetic instrumental and features some delicate guitar picking.
Pete Seeger’s “Bells Of Rhymney” a hit for The Byrds, another of the band’s major influences, is filled with jangling guitars and lovely vocal harmonies. The final home demo “Bonita” is another instrumental that the band runs through handling the lovely melody effortlessly and makes this listener wish Rainbow Ffolly had been afforded the opportunity to record more instrumentals as they seem to fit the band so well. The tunes recorded for radio broadcast begin with a cover of The Move’s “I Can Hear The Grass Grow” which the band handles with ease, showcasing John Dunsterville laying down some heavy rock guitar and the group reprising their vocal harmony abilities. The band’s cover of Eddie Cochran’s “Something Else” is short and sweet, the guitar and vocals again shining. Johnny Nash’s “Hold Me Tight” suits the band perfectly as they again disply the ease with which they could handle ballads, including this reggae style number. A partial take of the band original “I’m So Happy” is a crisp pop number. “She’s Alright” features jangling lead guitar and swirling vocals over the top of a heavier sounding rhythm section, a fine bit of pop rock. It’s truly a shame that record buyers were never afforded the chance to hear these radio recordings as they could have helped prolong the band’s life.
Disc three centers around the reunion album “”Ffollow Up!” released in 2016 by John Dunsterville, Roger Newell and Stewart Osborn, as Richard Dunsterville had relocated to the US and was not available for the recording. The tracks on the album span several decades, “My Love Has Gone” was written in 1965 but was not included on “Sallies Fforth” and features bassist Alan Thomas, having been dedicated to tape while the band was still known as the Force Four. “Noah” was recorded for a second album that didn’t happen, “Cars” was from 1975 when Roger and John were working with keyboardist Rick Wakeman and “Shy Angels” was written in 1976 for the English Rock Ensemble a year after they had parted ways with Wakeman. “Bathers Of The Lost Ark” includes a laugh lifted from “Sallies Fforth.” Furthermore, the artwork for “Ffollow Up” was mostly drawn by John Dunsterville 1969. The style and sound of the band is completely different on the album, as the whimsical element was replaced by serious tunes that display the talent of Rainbow Ffolly hinted at on their 1968 LP. .
“Ffollow Up!” opens with “Single Cell Amoeba” a short, one minute, sound effects number with a nod to“Sallies Fforth.” A 2014 band original “Postcard” is a story about the need to rush to the aid of a distant love if she calls for help, told with a driving beat, bouncing bass line and tasty lead guitar with wah wah added for accentuation. A heavy guitar solo segues into an Eastern influenced sound, the tasty rocker containing few of the signature sound effects found on “Sallies Fforth.” “My Love Has Gone” narrowly missed inclusion on the band’s debut LP, having been written in 1965. The mid-tempo number is dominated by jangling 12-string guitar and vocal harmonies with stinging lead guitar stabbing in and out of the mix, the tune’s heavy bass line and fiery solo soaring over the top before the tempo slows again with the return of jangling 12-string, flute and vocal harmony outro. “White Swan” a 2016 composition by Dunsterville and Newell uses a bowed electric dulcimer to create nostalgic images aided by flute as it tells the story of lost love in a dramatically changing world. “Cars” is a road song describing John Dunsterville and Newell endlessly traveling the world with Rick Wakeman. The song has a sound bringing The Who to mind with its strumming guitar, bounding bass and driving drums which eventually give way to steel and strumming acoustic guitars and gentle percussion flavored with a jazzy guitar interlude. “Sky Angels” features an expansive sound with choral effects and lead guitar sat to stun over solid bass and drums.
The vocals are absolutely ethereal and this magnum opus’ fuzz guitar fills the air, complemented by horns guiding the way to an Eastern influenced outro. “Noah” uses the classic Rainbow Ffolly sound in telling the tale of God trying to convince Noah to build an ark. Waterfall and thunderstorm sound effects are perfect as the song gently glides in all its majesty. “Slow Down Zone” is a Simon and Garfunkel type number and lives up to its title with no forcing of any instruments, just the gentle beauty of woodwinds and acoustic guitars with the lead guitar restrained as it bounces from channel to channel. “Countdown” is a psychedelic rocker with its heavy bass driving the tempo over a lead guitar that holds back as it chugs and the drums keep perfect time while the song reminds people to think before they act, with a gorgeous guitar solo playing the song out. “Shoes” is a jazzy blues tune mixing horns and drums with relaxed vocals and a perfectly measured lead guitar. “Is It Over” is another “lost love” song with forlorn vocals joined by a breezy guitar solo and relaxed keyboards.
The first of five non-LP tunes “Wot Do They Know” is an uptempo number with driving lead guitar and snarling vocals. The songs’ chorus gives way to an all out guitar and keyboard attack a la Mott The Hoople as the sound rises to a crescendo, before relenting. “Crazy Woman” is a country type tune with gentle guitar, percussion and vocals, a most pleasantly short, minute and a half, ditty. “All We Have Left” opens with growling guitar and machine gun drums, but the vocals are gorgeous as ever on this tasty rocker that is deceptively heavy with its driving drums and gorgeous lead guitar to the fore. “Parcel Of Pigs” is a delightful ditty with restrained guitar and vocals which gives a nod to early Rainbow Ffolly opening with a voice counting in German. “Nonesuch Sweetness” is an uptempo tune, its climbing guitar having a jazzy feel and delivering a tasty solo. The beat is driving but not overplayed, with a keyboard interlude perfectly timed.
The disc closes with the last two tunes from “Ffollow Up!” the first “Tour De Force” is an autobiographical story about band manager John Sparrowhawk who sadly the band have lost touch with. It is a country folk flavored acoustic tune, with vocals and a feel reminiscent of “Sallies Fforth.” The track’s mid-tempo beat rises as fiery guitars fill the air, but the tune returns to its relaxed tempo with its folkish outro. “Bather Of The Lost Ark” closes “Follows Up!!” with a return to the irreverent humor of “Sallies Fforth” having been written in 1967, an absolutely perfect ending to an incredibly well realized reunion album. “Ffollow Up!” is evidence sure of the talent within Rainbow Ffolly and proof positive of what the band could have delivered if only given the chance by EMI and the Jackson Brothers. Though it may have come some fifty years later it certainly deserved wider distribution and with only 500 LP’s printed it already fetches $50-$100 per copy, while “Sallies Fforth” will set collectors back $400 or more for original Parlaphone pressings in very good plus condition and near mint or mint minus copies going for considerably more. The hefty price and collectable interest in the band’s original album lead one to wonder what would have happened had the band been able to polish the album up and release it as they envisioned, but that is a matter of pure speculation left to the mind’s of collectors of rare 1960’s recordings that can never be truly answered.
“Spectromorphic Iridescence” and its seventy four tracks come in a tortoise shell box with each disc housed in a mini-LP sleeve with the original artwork. The twenty page full color booklet comes with an essay by David Wells, who compiled and annotated the collection, and is filled with photos of the band and its recordings as well as related memorabilia. Rainbow Ffolly has never sounded better, thanks to the mastering job of Simon Murphy for Another Planet Music. The set will be of great interest to fans and collectors of obscure 1960’s recordings, psychedelic and otherwise, but will also be a wonderful discovery for those not familiar with the 2016 LP “Ffollow Up!” a fine bit of British rock and roll in its own right which has hitherto been nigh on impossible to procure. Many thanks to the folks at Cherry Red Records, UK, for offering this wonderful collection and at a most reasonable cost as icing on the cake.
by Kevin Rathert, 2019
Tracks
Disc 1
1. She's Alright - 3:43
2. I'm So Happy - 2:34
3. Montgolfier '67 - 2:37
4. Drive My Car - 2:15
5. Goodbye - 3:42
6. Hey You - 2:20
7. Sun Sing - 4:00
8. Sun And Sand (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:33
9. Labour Exchange - 2:26
10.They'm - 1:55
11.No (Jonathan Dunsterville, Roger Newell) - 3:11
12.Sighing Game (Jonathan Dunsterville, Roger Newell) - 2:49
13.Come On Go - 3:03
14.Drive My Car - 2:18
15.Go Girl - 2:39
16.Sun Sing - 3:31
17.Come On Go - 2:09
18.The Continuing Story Of Bungalow Bill (John Lennon, Paul McCartney) - 3:25
All compositions by Jonathan Dunsterville except where noted
Tracks 13 The album Sallies Fforth, Parlophone PCS 7050, released May 1968
Tracks 14-15 Single, Parlophone R5701, released May 1968
Tracks 16-17 Previously unreleased studio demos, recorded circa May 1967
Track 18 Previously unreleased studio demo, recorded circa December 1968
Disc 2
1. She's Alright - 3:44
2. I'm So Happy - 2:34
3. Montgolfier '67 - 2:38
4. Drive My Car - 2:16
5. Goodbye - 3:44
6. Hey You - 2:22
7. Sun Sing - 4:05
8. Sun And Sand (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:33
9. Labour Exchange - 2:26
10.They'm - 1:56
11.No (Jonathan Dunsterville, Roger Newell) - 3:13
12.Sighing Game (Jonathan Dunsterville, Roger Newell) - 2:51
13.Come On Go - 3:05
14.Hospital Radio Jingle #1 - 0:17
15.Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 4:01
16.Hospital Radio Jingle #2 - 0:14
17.Lucy In The Sky With Diamonds (John Lennon, Paul McCartney) - 3:11
18.Hospital Radio Jingle #3 - 0:07
19.Gimme Little Sign (Alfred Smith, Jerry Winn, Joseph Hooven) - 2:41
Disc 3
1. Single Cell Amoeba (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 0:52
2. Postcard (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:10
3. My Love Has Gone - 5:15
4. White Swan (Jonathan Dunsterville, Roger Newell) - 3:27
5. Cars - 3:35
6. Sky Angels (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 6:46
7. Noah - 4:13
8. Slow Down Zone - 3:50
9. Countdown (Jonathan Dunsterville, Roger Newell) - 3:17
10.Shoes - 3:14
11.Is It Over - 4:25
12.Wot Do They Know? (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 2:36
13.Crazy Woman - 1:24
14.All We Have Left (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 4:14
15.Parcel Of Pigs (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 1:04
16.Nonesuch Sweetness (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:39
17.Tour De Fforce (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 2:41
18.Bathers Of The Lost Ark (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 0:43
All tracks by Jonathan Dunsterville except where stated
Tracks 11, 17, 18 The album Ffollow Up!, Footprints Vinyl Records FV 16002, released
Tracks 1,16 Extra tracks, previously unreleased Rainbow Ffolly
*Jonathan Dunsterville - Vocals, Guitar
*Richard Dunsterville - Vocals, Guitar
*Roger Newell - Vocals, Bass
*Stewart Osborn - Vocals, Drums
Marty Balin and Paul Kantner met during 1965 and their resultant musical relationship would lead to the creation of the Jefferson Airplane. This influential and successful American rock ‘n’ roll band would eventually be elected to the Rock and Roll Hall Of Fame. While there would be several personnel changes early in their existence, by the time of their first album release, guitarist Jorma Kaukonen, bassist Jack Casady, drummer Skip Spence, and co-lead singer Signe Anderson had all joined the band. Spence and Anderson would soon give way to Spencer Dryden and Grace Slick.
Jefferson Airplane Takes Off, released during 1966, is an album that often slides under the radar. It failed to crack the Billboard Magazine Album Chart top 100 and is frequently overshadowed by the brilliance of the releases that would follow. This is unfortunate as it is an album that can stand on its own merits.
The group’s early sound has been classified as folk-rock, but it also contains the beginnings of American psychedelic music. They would take the sound of such early psychedelic practitioners as The Holy Modal Rounders and the 13th Floor Elevators and refine and expand it until the experience was just as important as the music. This was especially true live, as the Airplane quickly became an innovative and popular concert draw.
Signe Anderson may have only recorded this one album with the group, but in some ways she was a good fit for Marty Balin. They tended to support one another rather than challenge each other, as would happen when Grace Slick joined the band following Anderson’s departure. “Bringing Me Down” is a good example of this supportive style. Anderson’s best moments come as the lead vocalist on “Chauffeur Blues” where her powerful voice just soars.
Takes Off is in many ways a Marty Balin album. The Paul Kantner-Grace Slick axis did not exist as yet, and the other group members had not begun to assert themselves. As such, Balin wrote or co-wrote eight of the eleven songs. His “Blues From An Airplane” is the first track on the album and was a great way to kick off a recording career. His performances on “It’s No Secret” and the cover song “Let’s Get Together” show his versatility and the purity of his voice. He and the band even manage to pull off an interesting version of the often-recorded “Tobacco Road.” It would be a Balin-Kantner collaboration, “Come Up The Years,” that would point the way toward the group’s future.
Jefferson Airplane Takes Off remains a formidable debut album from a group that would form an important part of the American rock heritage from 1965-1974. It is an excellent and interesting listen 50-plus years after its initial release.
by David Bowling, 11/15/2010
Tracks
1. Blues From An Airplane (Marty Balin, Skip Spence) - 2:10
2. Let Me In (Marty Balin, Paul Kantner) - 2:56
3. Bringing Me Down (Marty Balin, Paul Kantner) - 2:22
4. It's No Secret (Marty Balin) - 2:36
5. Tobacco Road (John D. Loudermilk) - 3:27
6. Come Up The Years (Marty Balin, Paul Kantner) - 2:30
Luv Machine were victims to the classic business meets artist rip off paradigm and the band disintegrated almost as quickly as they came together. Thankfully they were able to record this wonderful album on the way and RAR deserve credit for bringing to our ears. The album is a wonderful boogie down fuzzed out rock feast. It combines elements of the sounds of Cream, 10 Years After and touch of Santana (during their initial psych-boogie incarnation). The music is punchy and filled with urgent soulful vocals and great harmonies. Main-man Michael Bishop wrote all of the songs and they manage to channel a funkified blend of Traffic era Steve Winwood with the propulsive rock of the aforementioned Cream.
The disc is a treat from beginning to end. It leaves you wondering why these songs weren't instant classics of the era and didn't propel the band to superstardom. In particular tracks such as Lost and My Life is Filled with Changes present the diverse punch of the bands sound. The densely packed booklet that comes with this reissue is full of pictures of the band and a wonderfully complete bio written by Lee Dorian.
Luv Machine might have not scaled the heights of glory during their brief career but as this CD proves financial success doesn't necessarily equate with artistic mastery. Ultimately this thoroughly enjoyable CD leaves the listener wondering what other dusty gems are out there in the dust bins of history waiting to be discovered. It also gives us caution to pay attention to current underground acts due to the fact that we just might be ignoring a contemporary masterpiece.
by Keith Boyd, Feb.27.2007
Tracks
1. Witches Wand - 2:49
2. You're Surprised - 2:47
3. It's Amazing - 3:27
4. Happy Children (Errol Bradshaw, Michael Bishop) - 3:19
5. Everything (Martin Hall) - 3:20
6. Maybe Tomorrow - 4:20
7. Reminiscing (Vernon Pereira) - 2:56
8. Change Your Mind - 2:59
9. Corupt One - 3:50
10.Lost - 3:09
11.My Life Is Filled With Changes - 3:08
12.Portrait Of Disgust - 4:58
13.Don't Let The Blues Take Over Part 1 (Early Demo Version) - 2:58
14.In The Early Hours (Single B-Side) - 3:29
15.Dark Clouds (Early Demo) - 2:33
16.Do You Want My Love? (Unreleased Single B-Side) - 3:07
17.Break The News Gently (Post LP Line Up Demo) - 2:51
18.Don't Let The Blues Take Over Part 2 (Unreleased Single A-Side) - 2:45
All titles by Michael Bishop except where stated
Tracks 1-12 from original album " Luv Machine" 1970
For a band that quickly evolved into a radio-friendly prog-leaning outfit, it's a wonder that Wishbone Ash started out as the boogie and blues-based group that this debut reveals. If the term "jam band" existed in 1970, Wishbone Ash surely would have been a major player in that genre. As it was, this album stacked up nicely when compared with other British hard rock releases that year.
The dual lead guitar attack of Andy Powell and Ted Turner was a component that none of the above bands possessed, but unfortunately their (shared) lead vocals lacked the punch and authority necessary for hard rock bands to be taken seriously. So while they could rock as loudly and convincingly as virtually anyone, their lead singers, perhaps, held them back from being the force they should have been.
The follow-up, Pilgrimage, took steps to rectify Wishbone Ash's odd position, but this album nevertheless opened eyes and ears and revealed to the rock & roll community a band with incredible potential and talent.
by Dave Sleger
Tracks
1. Blind Eye - 3:45
2. Lady Whiskey - 6:12
3. Errors Of My Ways - 6:57
4. Queen Of Torture - 3:25
5. Handy - 11:35
6. Phoenix - 10:27
All songs by Andy Powell, Martin Turner, Steve Upton, Ted Turner
British rock singer Terry Reid could have been a lot more famous if he had been able to accept the slot of lead singer for the New Yardbirds in 1968. That slot, of course, went to Robert Plant, and the New Yardbirds became Led Zeppelin. Unlike Plant, Reid was also a guitarist, and the opportunity to head his own group no doubt played a part in his decision to gun for a solo career. Leading a guitar-organ-drums power trio, he recorded a couple of respectable, though erratic, hard rock albums while still a teenager in the late '60s. Some bad breaks and creative stagnation combined to virtually bring his career to a halt, and he never cashed in on the momentum of his promising start.
A teen prodigy of sorts, Reid had turned professional at the age of 15 to join Peter Jay & the Jaywalkers. His first couple of singles as a headliner found him singing in a sort of poppy blue-eyed soul vein. But by the time of his 1968 debut Bang, Bang You're Terry Reid, produced by Mickie Most, he'd switched to more of a hard rock approach. Most was also handling Donovan and the Jeff Beck Group at the time, and similarities to both of those acts can be heard in Terry Reid's first two albums -- proto-hard rock on the louder tunes, sweeter folk-rock on the mellow ones (Reid in fact covered a couple of Donovan compositions, although he wrote most of his own material). Reid's high voice was reminiscent of Robert Plant's, though not nearly as shrill, and his folky numbers especially are reminiscent of Led Zeppelin's most acoustic early cuts.
Reid, oddly, was considerably more well-known in the U.S. than the U.K. His first album, very oddly, was not even issued in Britain, although it made the American Top 200. It's been reported that he at least in part declined Jimmy Page's offer to join Led Zeppelin owing to his contractual commitments to record for Mickie Most as a solo artist, and to perform as an opening solo artist on the Rolling Stones' late-'60s U.S. tour. He did influence Led Zeppelin's history in a big way by recommending Plant and drummer John Bonham as suitable candidates for the group's lineup, after Plant and Bonham's pre-Led Zep outfit (the Band of Joy) played support at one of Reid's early gigs. Reid felt confident enough in his solo prospects to also turn down an offer to join Deep Purple (Ian Gillan was recruited instead).
An opening spot on the Rolling Stones' famous 1969 tour of America seemed to augur even brighter prospects for the future, but this is precisely where Reid's career stalled, at the age of 20. First he became embroiled in litigation with Mickey Most, which curtailed his studio activities in the early '70s. After a couple of personnel changes, he disbanded his original trio, leading a group for a while that included David Lindley and ex-King Crimson drummer Michael Giles (this quartet, however, didn't release any records). He moved to California in 1971 and signed to Atlantic, but his long-delayed third album didn't appear until 1973. Reid would release albums for other labels in 1976 and 1979, but none of his '70s recordings were well-received, critically or commercially (though 1976's Seed of Memory did briefly chart). He rarely recorded, though he did play some sessions and The Driver appeared in 1991.
Reid's catalog was reissued on various labels in the 21st century, and there was a resurgence of interest in his music as well. The Raconteurs recorded "Rich Kid Blues" for inclusion on 2008's Consolers of the Lonely, and made it a centerpiece of their live shows. He provided three songs to the soundtrack for Rob Zombie's horror film The Devil's Rejects. In 2009, he played the Glastonbury and WOMAD festivals. Two years later, he toured Ireland for the first time in 30 years and released the Live in London; it included performances of several new songs.
In 2012, Reid was invited to play London's most famous jazz club, Ronnie Scott's, in celebration of their 50th anniversary -- he sold out three nights. He also returned to Glastonbury and played the Isle of Wight Festival for the first time since 1971. Reid's songs gained traction with 2000s pop artists. Rumer featured "Brave Awakening" on her charting Boys Don’t Cry album. America’s Got Talent winner Michael Grimm included "Without Expression" on his album Gumbo. DJ Shadow collaborated with Reid, who wrote lyrics for "Listen" that appeared on Reconstructed: The Best of DJ Shadow.
Reid toured the U.K. in 2013 and 2014, and performed the whole of Seed of Memory at the Borderline. In April 2016, the Washington Post ran a story about Reid working in Johnny Depp's home studio with Aerosmith's Joe Perry on a song for the guitarist's forthcoming solo album. The same month, Light in the Attic announced the release of The Other Side of the River, a collection of unreleased material and alternate takes from the 1973 album sessions for the twice-recorded River -- some that Reid didn't even remember. It was released in May.
by Richie Unterberger
Tracks
Disc 1 Bang, Bang You're Terry Reid 1968
1. Bang, Bang (My Baby Shot Me Down) (Sonny Bono) - 4:15
2. Tinker Tailor - 2:55
3. Erica - 3:52
4. Without Expression – 4:47
5. Sweater - 2:06
6. Something's Gotten Hold Of My Heart (Roger Cook, Roger Greenaway) - 5:02
7. Season Of The Witch (Donovan Leitch) - 10:09
8. Writing On The Wall / Summertime Blues (Terry Reid / Eddie Cochran, Jerry Capehart) - 10:14
9. When You Get Home - 3:40
10.Loving Time (Eric Leese, Terry Reid) - 3:40
All compositions by Terry Reid except where noted
Disc 2 Terry Reid 1969
1. Superlungs My Supergirl (Donovan Leitch) - 2:41
2. Silver White Light - 2:54
3. July - 3:32
4. Marking Time - 3:48
5. Stay With Me Baby (George David Weiss, Jerry Ragovoy) - 4:12
2. Baby I Love You (Phil Spector, Ellie Greenwich, Jeff Barry) - 3:52
3. Stop And Think It Over - 3:40
4. Rogue Wave - 5:42
5. Walk Away Rene (Bob Calilli, Mikel Brown, Tony Sansone) - 4:18
6. Believe In The Magic - 6:32
7. Then I Kissed Her (Phil Spector, Ellie Greenwich, Jeff Barry) - 4:44
8. Bowangi - 4:014
9. ll I Have To Do Is Dream (Boudleaux Bryant) - 5:26
All tracks by Terry Reid except where indicated
Disc 5 The Driver
1. Fifth Of July (Louise Goffin, Reid Savage) - 5;11
2. There's Nothing Wrong - 5:05
3. Right To The End (Gerard McMahon) - 4:55
4. The Whole Of The Moon (Mike Scott) - 4:13
5. Hand Of Dimes - 3:04
6. The Driver (Part I) (Hans Zimmer, Terry Reid, Trevor Horn) - 0:45
7. If You Let Her - 4:28
8. Turn Around - 3:49
9. Gimme Some Lovin' (Muff Winwood, Spencer Davis, Steve Winwood) - 4:19
10.Laugh At Life - 4:48
11.The Driver (Part II) (Hans Zimmer, Terry Reid, Trevor Horn) - 4:37
All songs by Terry Reid except where stated
