Thursday, September 29, 2022

The Rhythm Dukes - Flashback (1970 us, fantastic west coast psych rock, from Moby Grape and Sons Of Chamblin fame, 2005 release)



The Rhythm Dukes was created in the late summer of 1969. Before, there was a trio called The Boogie with Barry Bastian, John Barrett and John "Fuzzy" Oxendine. Fuzzy had replaced Kilos Kowalski (aka Mike Kowalski), who had left to play with the Beach Boys. Before Kilos left, The Boogie was called The California Memorial Band and included two sax players named Goose and Crow. Crow went on to play in the Silver Fox Band and Goose moved to L.A.

Barry had a brush with the law and had to do 90 days. Subsequently John Barrett and Fuzzy Oxendine were 'loose' and after Barry left for good (he later formed the already mentioned Silver Fox Band in Northern California.), John and Fuzzy decided to do something else as a rhythm section. As a matter of fact Moby Grape broke up around that time.

Jerry Miller who had been with Moby Grape wanted to start a new band and called Fuzzy and John. Jerry was living in Boulder Creek and John and Fuzzy were living in Marin County. So both packed up and moved to Santa Cruz to an old stagecoach stop called 1906 Glen Canyon. A great place for a band, away from the road on 80 acres of meadows and redwoods.

The house was funky, but they fixed it up real nice, built a rehearsal room and started writing and playing music. The original Rhythm Dukes members were Jerry Miller and Don Stevenson from Moby Grape, plus John Barrett and Fuzzy Oxendine.

Don Stevenson left the band after a short while, though. He probably prefered to play drums instead of guitar as John Barrett recalls. Subsequently the Rhythm Dukes played all over the place as a trio, but soon yearned for more substance in the music. Right around that time the Sons of Champlin disbanded for a while and Bill Champlin joined up with the Rhythm Dukes trio adding his voice, guitar and his B-3. Along with Bill came faithful roadies Charlie Kelly and Hog Steve. The Rhythm Dukes trio added their own Bill Leidenthal to the crew and they were ready to rock. 

The band was very popular - by some rated as one of the best West Coast bands in 1970 - and played lots of venues before disbanding in 1971. Jerry Miller had contract obligations with Columbia Records and was not available a lot of the time. That did not go well, as the band's income was suffering, and they had to cancel some big gigs on very short notice. When Bill Champlin went back to the Sons of Champlin the Dukes had other members for a while, i.e. Russell Dahneke, a fine guitarist from the club scene in San Francisco and Ned Torney from the Chocolate Watch Band.

Eventually Moby Grape was trying to make a comeback, so it was the end of the Rhythm Dukes. Due to the fact that some tapes and the studio recording made in Marin County survived, the Rhythm Dukes' music has become available for the first time now. The album is entitled "FlashBack" and highly recommended as it not only includes members of Moby Grape and The Sons of Champlin but some cool West Coast music as well. Some of the tracks were later even recorded by the Sons of Champlin on their albums "Follow Your Heart" (1971) and "Welcome To The Dance" (1973).
Bay-Area
Tracks
1. Love Your Daddy (Jerry Miller) - 6:28
2. Hey Children (Bill Champlin) - 7:00
3. Children Pt 2 (Bill Champlin) - 5:03
4. She's a Woman (Bill Champlin) - 5:06
5. Can't Make It That Way (Jerry Miller) - 6:35
6. Kansas City (Jay McShann) - 5:42
7. If I Was Right (Jerry Miller) - 3:22
8. Get to Know You (Bill Champlin) - 9:07
9. For Joy (Bill Champlin) - 14:21
10.Seven Four (Bill Champlin) - 5:01

The Rhythm Dukes
*Bill Champlin - Guitar, Keyboards, Vocals
*Jerry Miller - Guitar, Vocals
*John Barrett - Bass, Vocals
*Fuzzy Oxendine - Drums, Vocals 

Related Acts
1966-69  Live (Sundazed digipak issue)
1967  Moby Grape - Moby Grape (2007 remaster)
1967-68  The Place And The Time (2009 Sundazed release)

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Wednesday, September 28, 2022

Allan Taylor - Sometimes / The Lady (1971 uk, exceptional acoustic baroque folk)



Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel." The Oxford Book of Traditional Verse felt as strongly, writing that Taylor was "one of the most literate and sensitive of contemporary songwriters in terms of words and music and one who is capable of exploring more complex subjects than most of his contemporaries."

Inspired by the folk revival that swept the United Kingdom in the mid-'60s, Taylor left school at the age of 16 to run a local folk club. Stepping out as a professional musician five years later, he was greatly supported by members of Fairport Convention. Their friendship was cemented when he toured as opening act for the group's national tour. His 1971 debut album, Sometimes, featured instrumental accompaniment from Fairport's drummer Dave Mattacks, fiddler Dave Swarbrick, and bassist Dave Pegg. 
by Craig Harris
Tracks
1. Sometimes (Allan Taylor, Myles Wootton) - 3:07
2. Searching For Lambs (Traditional) - 2:36
3. Nursery Tale - 3:12
4. Robin Hood (Traditional) - 4:05
5. Song For Kathy - 3:37
6. Swallow Sallow (Allan Taylor, Myles Wootton) - 2:34
7. Scarlet And Grey (Allan Taylor, Myles Wootton) - 3:01
8. Our Captain Cried All Hands (Traditional) - 4:14
9. Tudor Pop - 3:11
10.The Leaves Of Spring (Allan Taylor, Myles Wootton) - 3:52
11.The Pied Piper (Allan Taylor, Myles Wootton) - 3:31
12.The Kiss (Allan Taylor, Robert Herrick) - 5:03
13.Belfast '71 - 4:51
14.Still He Sings - 2:24
15.The Morning Lies Heavy - 3:14
16.Something's Chenged - 2:38
17.Let Me Be - 4:21
18.The Boy And The Mantle - 6:43
19.The Lady - 2:33
20.Cain - 2:54
21.Simple Song - 3:06
22.My Lady (Ian Matthews) - 1:43
Words and Music by Allan Taylor except where indicated
Tracks 1-12 from "Sometimes" 1971 written between 1967-1970
Tracks 13-22 fom "The Lady" 1971

Musicians
"Sometimes"
*Allan Taylor - Acoustic Guitar, Vocal
*Dave Mattacks - Drums
*Dave Pegg - Bass
*Dave Swarbrick - Violin
*Tony Cox - Orchestral Arrangements

"The Lady"
*Allan Taylor - Acoustic Guitar, Vocal
*Andy Roberts - Electric, Acoustic Guitar
*Dave Mattocks - Drums
*Bob Ronga - Bass
*Pete Stanley - Banjo, Dulcimer
*Tony Cox - Keyboards
*Ian Matthews - Backing Vocals
*Royston Woods - Backing Vocals
*Tony Halsted - Horn
*Robbie Hewlett - Bass
*John Wibraham - Trumpet

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Tuesday, September 27, 2022

Atlantis - Get On Board (1975 germany / uk, classic rock melted with blues and funky vibes)



Atlantis formed in late summer 1972 by Inga Rumpf (vocals), Jean-Jacques Kravetz (keyboards) and Karl-Heinz Schott (bass). These musicians previously played in the band called Frumpy. The original line-up also included guitarist Frank Diez and drummer Curt Cress (ex-Emergency).

After a few live performances in Germany, the first LP was produced at the Island Records studios in London, which was particularly well received in the USA, where Rumpf's blues-oriented voice was appreciated. Diez and Cress left the band after the recordings. George Meier joined Atlantis on guitar and Udo Lindenberg on drums for a four week tour of England with Procol Harum and Traffic. They were replaced after the tour by Dieter Bornschlegel (formerly with the band Traumtorte) and Ringo Funk (formerly with Jeronimo), with whom the second LP It's Getting Better (1973) was recorded.

During another four-week tour of England, Jean-Jacques Kravetz left the band to join the band Randy Pie. Reiner Schnell stepped in for him for a short time. At the end of 1973 the band ranked among the three most popular groups among the readers of the magazine Musikmarkt.

The next personnel change took place in the summer of 1974. British keyboarder Adrian Askew replaced Reiner Schelle, and guitarist Alex Conti from the band Curly Curve replaced Dieter Bornschlegel. In this occupation, the third album Ooh, Baby was recorded in 1974.

In 1975 there was a tour of the USA (mostly as a support act for Lynyrd Skynyrd), after which the band parted ways with Alex Conti, for whom the former guitarist Frank Diez and, for the first time, a second guitarist, Rainer Marz (formerly as Ringo Funk at Jeronimo), joined the group. The subsequent fourth LP Get on Board 1975 recorded and released with sound familiar to the America's hard rock bands, but it failed in sales.
Tracks
1. Get On Board (Frank Diez) - 3:46
2. Change My Mind (Adrian Askew) - 4:31
3. The Man (Adrian Askew, Karl-Heinz Schott) - 3:45
4. Let Me Stay For A While (Frank Diez) - 3:57
5. Keep The Music Going On (Adrian Askew, Rainer Marz) - 2:49
6. Chartbuster (Frank Diez) - 3:12
7. The Captain And The Ship (Inga Rumpf) - 3:46
8. If I Couldn't Sing (Inga Rumpf) - 3:38
9. Tried To Climb A Mountain (Adrian Askew, Rainer Marz) - 4:34
10.Mainline Florida (George Terry) - 2:55
Bonus track #10

Atlantis
*Inga Rumpf - Lead Vocals
*Frank Diez - Guitar, Vocals
*Rainer Marz - Guitar, Vocals
*Adrian Askew - Keyboards
*Karl Heinz Schott - Bass, Vocals
*Ringo Funk -  Percussion, Drums

1972 Atlantis - Atlantis
1975  Atlantis - Live In The Fabrik (2008 remaster and expanded)
Related Act
1970  Frumpy - All Will Be Changed (2008 remaster with extra tracks)
1971  Frumpy - Frumpy II
1972  Frumpy - By The Way

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Sunday, September 25, 2022

Jack Schechtman - Jack Schechtman (1972 italy / us / canada, essential amalgam of folk rock, baroque and jazzy tunes)



It was a feeling rarely experienced. Have you ever felt encased in a halo? That's about the most honest way to express it. His style is oh so soft and mellow, yet totally original. Lyrically, it's nothing short of brilliant. With touches of blues, funk and good ole rock and roll Jack creates an atmosphere of unmitigated joy. He stopped by Record World two weeks later. We were eager to learn more about this gifted individual. Jack was born in Italy and when he was only three his family moved to the south Bronx. As the years flew by, Jack realized his destinywas music, but as he said,"I felt too introverted in New York. Musically, I couldn’t express my self. So I moved to Toronto, not to drop out mind you, but to seek a kind of slow withdraw alI so desperately  needed."

The Toronto folk scene became a part of his life, playing at places like Grumbles and the Riverboat, and learning from artists like Leon Redbone. Jack appears frequently on Canadian network radio and television, including "The Ian Tyson Show, "which is syndicated in several U.S. markets.

Jack's material has come to the attention of several major artists. Buzzy Linhart, Man hattan Transfer and Bette Midler have requested his songs and one is set for the next Lighthouse album.  So the album comes in and each listening gets better and better. A wonderful assortment of Jack Schechtman songs and ideals. I guess it’s kind of fitting that Jack’s album arrives at a time when he and Suzan are preparing for a first child.  
by Mitchell Fink, Record World Magazine, 1972
Tracks
1. You Of All People - 3:48
2. Blind Faith - 3:50
3. Sing And Sway - 3:14
4. Criss-Crossing - 3:39
5. A Lady To Love - 3:45
6. Up And Down - 3:37
7. Razor - 2:51
8. Sharpshooter Delight - 3:13
9. On Cherry Mountain - 3:42
10.The Road Rolls On - 3:50
11.Glory Come, Glory Go - 2:25
All Music and Lyrics by Jack Schechtman

Personnel
*Jack Schechtman - Vocals, Guitar
*Suzie Schechtman - Harmony Vocals
*Maribeth Solomon - Piano, Organ, Vocals, Electric Maestro
*Micky Erbe - Bass, Vocals, Strings Arrangements
*Brian Leonard - Drums
*Tony Nolasco - Drums, Groans
*Yehuda Wolk - Tumba, Quinto Drums
*Michael McKenna - Lead Guitar (Track 8)
*Adam Mitchell - Guitars, Bass, Organ, Mouth Harp, Vocals
*Warren Bernhardt - Piano
*Frank Owens - Organ
*Donald McDonald - Drums
*Marugai - African Talking, Clay Drums
*Bill Keith - Pedal Steel Guitar
*Tony Levin - Bass
*Ralph Casale - Guitars
*Artie Schreck - Percussion
*Phil Bodner - Flute
*Maretha Stuart, Lesley Miller, Linda November, Helen Miles, Hilda Harris, Pattie Austin - The Up and Down Power Chorus

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Saturday, September 24, 2022

Alan Hull - Phantoms (1975 uk, remarkable folk rock, 2007 remaster and expanded)



Alan Hull's third solo album, and his last before Lindisfarne reconvened in 1979, follows firmly in the footsteps of its two predecessors, while advancing their musical outlook towards entire new pastures. Indeed, a crack band and lush production could lure you into mistaking the opening "I Wish You Well" for any number of contemporary MOR troubadours, although the self-deprecating "Anywhere Is Everywhere" quickly brings your ears back to basics, a rock & rolling singalong that finds Hull sounding as sharp and sassy as he ever did in the past… and ever would in the future. Brilliant stuff. 
by Dave Thompson
Tracks
1. I Wish You Well - 3:31
2. Anywhere Is Everywhere - 3:51
3. Make Me Want To Stay - 4:17
4. Dancing (On The Judgement Day) - 3:56
5. A Walk In The Sea - 3:11
6. Corporation Rock - 5:48
7. Madmen And Loonies - 3:11
8. Somewhere Out There - 4:17
9. Love Is The Alibi - 2:24
10.Love Is The Answer - 3:37
11.Isn't It Strange - 3:42
12.Spittin' In The Wind (Ken Craddock, Colin Gibson) - 3:29
13.Lay Back And Dream (Pete Kirtley) - 4:26
14.Something Got The Better Of You (Ken Craddock, Colin Gibson) - 4:52
15.Somewhere Out There - 4:19
16.Raw Bacon - 4:00
17.A Walk In The Sea - 3:15
18.Evening - 4:17
19.Dancing (On The Judgement Day) - 3:55
All songs by Alan Hull except where noted
Bonus tracks 11-19
Tracks 11-14 From Radiator's "Isn't It Strange" 1977 LP
Tracks 15-19 Previously Unreleased 1975 Demos

Musicians
*Alan Hull - Bass, Guitars, Keyboards, Percussion, Vocals
*Bob Barton - Guitars, Vocals
*Bud Beadle - Horn
*Ken Craddock - Guitars, Keyboards, Percussion, Vocals
*Lesley Duncan - Vocals
*Keith Fisher - Drums, Percussion
*Colin Gibson - Bass, Percussion
*Steve Gregory - Horn, Vocals
*Pete Kirtley - Guitar
*Ray Laidlaw - Drums
*Joanna Newman - Vocals
*Rab Noakes - Vocals
*Terry Popple - Drums
*Liza Strike - Horn, Vocals

1973  Alan Hull - Pipedream (2005 remaster and expanded)
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Friday, September 23, 2022

Hog Heaven - Hog Heaven (1971 us, potend country boogie rock, 2008 bonus tracks remaster)



Renegades from 60s US pop idols Tommy James & The Shondells, Michael Vale and Peter Lucia formed this outfit in 1970 to follow The Byrds, Burritos and Band in the newly fashionable country-rock direction. A lone self-titled album was the result. Their instrumental ace in the hole was steel guitarist Buddy Cage, whose signature is everywhere here, though his defection in 1971 to replace Jerry Garcia in New Riders Of the Purple Sage effectively ended the Hog’s story early. Five tracks that were canned as a result of this eventuality augment the original Roulette album, making this the definitive document on a little known but interesting outfit.
by Michael Heatley, 08 January 2009
Tracks
1. Wilma Mae - 3:29
2. Glass Room - 4:11
3. Bumpin' Slapcar Mama (Buddy Cage, Ronnie Hand, Chuck Demorat, Peter Lucia, Michael Vale) - 2:09
4. Prayer - 2:21
5. Happy - 6:53
6. Pennsylvania - 3:33
7. Come Away - 7:01
8. We All Go Down - 4:17 
9. Theme From A Thought - 3:48
10.Stoned Feelin' - 4:23
11.Light Of The Lord - 2:05
12.You And Me - 4:06
13.If It Feels Good Do It - 3:45
14.Free Spirit - 4:41
All songs by Michael Vale, Peter Lucia except where noted
Bonus Tracks 10-14

Hog Heaven 
*Buddy Cage - Pedal Steel Guitar
*Ronnie Hand - Drums, Percussion 
*Chuck Demorat - Lead Guitar 
*Peter Lucia - Drums, Vocals
*Michael Vale - Bass, Vocals
*Ronnie Rosman - Keyboards, Vocals

Related Act

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Thursday, September 22, 2022

Days - Days (1970 denmark, magnificent psych proto prog with jazz elements, 2007 remaster)



The Danish group Days was formed in Copenhagen in the winter of 1967/1968 by Peter Lindhe (drums), John Kjaergaard (vocals/rhythm guitar), Ole Fester (vocals/bass) and Lars Reinau (vocals/lead guitar). The band's repertoire was mainly rock and blues-oriented with cover versions of songs from John Mayall's Bluesbreakers, Cream, Jimi Hendrix and The Rolling Stones. Lindhe and Reinau started writing original material for the band and the repertoire started changing from rock/blues cover versions to self-composed, more lyrical songs with elements of The Beatles, Procol Harum and (early) Deep Purple. 

In 1969, Jørn Anker (Hammond organ) joined the band and he, too, started contributing new original songs. The Days LP was recorded in the early summer of 1970 and in 1971, the band split up. Days came out on the Spectator label, and is one of the rarest albums from Denmark. It is full of amazing prog tunes with great organ elements and strong fuzz guitar.
Tracks
1. Preambulum (Sound Track In G-Major)/Discovery In Blue (Jørn Anker/Lars Reinau) - 6:24
2. Believe In Me (Ole Fester) - 4:32
3. Feel The Joy (Peter Lindhe, John Kjærgård) - 6:55
4. What Can I Do (Lars Reinau) - 6:44
5. The Lonely Shepherd Boy (Jørn Anker) - 4:32
6. Globe Without A Soul (Jørn Anker, Steen Christiansen) - 6:01

Days
*Ole Fester - Bass 
*Peter Lindhe - Drums 
*Lars Reinau - Guitar, Vocals  
*Jørn Anker - Keyboards, Vocals 

 

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Tuesday, September 20, 2022

Alan Hull - Squire (1975 uk, a wonderful crash, through with its dryly humorous lyrics, to the bluesy rock boom and flavored air melodies, 2013 bonus tracks remaster)



A talented, versatile and prolific musician, Alan Hull rose to prominence with Tyneside folk rockers Lindisfarne, and in 1973 released a Top 30 solo album, Pipedream. Released two years later, the follow-up Squire was written as the soundtrack to the TV play by Tyneside playwright Tom Pickard, broadcast in 1974 with Hull playing the lead role on screen. His character, Alfy, is an unemployed Newcastle boy who has Walter Mitty-like fantasies about being wealthy (and how wonderful is the cover portraying that?).

Produced by Hull at Morgan Studios, the album still sounds exquisite and crystal clear. Shades of The Kinks, solo Lennon and early ELO imbue the mid-tempo title track, rock’n’roller Nuthin’ Shakin’ and heartbreaking One More Bottle Of Wine.

While it’s not a prog album per se, the Mellotron on instrumental I’m Sorry Squire pins it to its mid 70s period and, themed around Pickard’s play, it might even qualify as a concept album of sorts. Regardless, Hull (who died 20 years later, aged just 50) was firing on all cylinders here.
by GRM, September 25, 2013
Tracks
1. Squire - 5:08
2. Dan The Plan - 4:20
3. Picture A Little Girl - 2:43
4. Nuthin' Shakin' (Cirino Colacrai, Diane Lampert, Eddie Fontaine, Johnny Gluck) - 3:45
5. One More Bottle Of Wine - 4:14
6. Golden Oldies - 3:57
7. I'm Sorry Squire - 3:57
8. Waiting - 3:43
9. Bad Side Of Town - 3:56
10.Mr. Inbetween - 2:37
11.The End - 0:41
12.Crazy Woman - 3:00
13.Carousel - 2:59
All compositions by Alan Hull except where noted
Bonus Tracks 12-13

Musicians
*Alan Hull - Guitar, Keyboards, Percussion, Vocals
*Brian Chatton - Keyboards
*Kenny Craddock - Guitar, Keyboards, Percussion, Vocals
*Lesley Duncan - Vocals
*Colin Gibson - Bass, Percussion
*Ray Jackson - Harmonica, Mandolin
*Ray Laidlaw - Drums
*Albert Lee - Electric Guitar
*Micky Moody - Electric Guitar
*Joanna Newman - Vocals
*Terry Popple - Drums
*Jean Roussel - Keyboards 

1973  Alan Hull - Pipedream (2005 remaster and expanded)
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Monday, September 19, 2022

Freddy Lindquist - Menu (1970 norway, noisy freak guitar rock, 2004 remaster)



Freddy Lindquist was a veteran of several Norwegian beat bands before embarking on his solo album in 1970. Moving on to heavy rock he produced an album in the classic vein of Cream and Taste - the comparison being even more apt as the addition of two help-mates made the band into a trio. The guitar-work on the opener 'Sundae Sellers' is very Clapton-influenced, although in no way just a copy-cat, and the jazzy 'Green And Pink Little Man' shows Lindquist is equally at home with hard rock. 'Shakaro' is a flute-led instrumental which nicely breaks up the album, before 'How Nice' re-introduces the guitar as the lead instrument for it's own showcase. 

In 1970 he gathered friends from the Club 7 environment and got free access to Arne Bendiksen's studio to record the now legendary album "Menu". Freddy Dahl (Junipher Greene), Calle Neumann, Espen Rud and Geir Wentzel, among others. - a bit of a star team. The result is one of the best Norwegian freak-rock albums of all time and a must for anyone interested in that sort of thing.

A heavy, heavy version of Los Bravos' 'Black Is Black' - done a la Vanilla Fudge - is one of the highlights of the album, but Lindquist's own offerings like 'Women Running Around' and 'Join In And Freak Out' are equally fine, and make this a truly excellent album. All the songs are sung in English, and have a definite British vibe to them, making them accessible to a worldwide audience. 
Tracks
1. Sundae Sellers (Bent Birkholm) - 4:43
2. The Green And Pink Little Man (Freddy Lindquist) - 4:08
3. Ridin', Huggin' And Kissin' (Bent Birkholm, Freddy Lindquist) - 3:40
4. Sharako (Freddy Lindquist) - 3:42
5. How Nice (Keith Emerson) - 4:40
6. Black Is Black (Michelle Grainger, Steve Wadey, Tony Hayes) - 4:27
7. Woman Running Around (Bent Birkholm) - 5:48
8. Join In And Freak Out (Bent Birkholm, Freddy Lindquist) - 3:25

Musicians
*Freddy Lindquist - Guitar, Bass, Flute, Percussion, Vocals
*Freddy Dahl - Vocals
*Espen Ruud - Drums
*Leif Jensen - Drums (Track 4)
*Kalle Neuman - Alto Saxophone

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Sunday, September 18, 2022

Brett Smiley - Breathlessly Brett (1974 us, a fabulously fey, coyly campy, and smashingly swishy glam pop, 2003 release)



Brett Smiley was no David Bowie, in fact, the album the 18-year-old Mr. Smiley made with the Rolling Stones producer Andrew Loog Oldham in 1974, “Breathlessly Brett,” didn’t even see the light of day until 40 years had passed.

But he was someone you should know. And in what seemed like some sort of cosmic coincidence, he died on Jan. 8, just two days before his immeasurably more successful contemporary.

The failure of Mr. Smiley — or Brett, as I came to know him — to take his own place in the pantheon of 1970s glam legends wasn’t because of a lack of effort. He was young, American, gorgeous and wrote compelling songs delivered in a breathy, achingly vulnerable voice. Some $100,000 had been invested in starting his career. Disco magazine declared him “the Most Beautiful Boy in the World.” He was poised, on the precipice, ready for his close-up.

But “Breathlessly Brett” was shelved. “I just refused to let them release the album,” Mr. Oldham said recently in an email. “I knew it would be a disaster, and we’d already had one — the 45 r.p.m. release of ‘Space Ace,’ ” a song from the record.

The astronaut-themed “Space Ace,” with its military-style snare drum rolls, “launchpad” sound effects and lush strings might have been titled “Not Quite Space Oddity.” The up-tempo, catchy B-side, “Va Va Va Voom,” would have made a much better debut. Either way, Brett’s glam career crash-landed, and Mr. Bowie — and the rest of the world — moved on.

In 1977, Brett landed a part in “Cinderella,” a low-budget soft-porn flick. Appearing in a movie wasn’t such a big stretch; he had understudied the lead role in “Oliver” on Broadway for a little over a month in 1965. But it was the last major gasp from Brett, who like so many in the hedonistic ’70s and ’80s was wooed by assorted mind-altering substances. And off he went.

By the time I met Brett in Central Park in 1988 while playing Frisbee, his time had passed. To me he was a skinny, friendly, vaguely beat-up-looking man who, like me, carried a guitar everywhere he went. We talked, we jammed, he played me one of his new songs — “From the Head to the Heart” — and he told me to throw out one line of a new song I had just written called “Quittin’ Time.” It was good advice.

We kept seeing each other in the park on weekends and then one last time, for a few hours, at a mutual friend’s house. Eventually, he told me the story of his 15 minutes of almost-stardom, but I didn’t really care. There was no Internet and I could not look up photos, hear recordings or see his and Mr. Oldham’s appearance on Russell Harty’s British TV show.

I just liked the guy; he wasn’t a dude or a bro, but neither was he overly touchy-feely. I was aching at the time for guidance, particularly with music, and Brett gave it to me without being asked. There was something lovable about him. Such is the nature of born stars, whether they become famous or not; you just want to be around them.

When Brett suddenly disappeared and I eventually made inquiries, I was told he’d succumbed again to drugs and had fled to California. I soon left New York to live in an Indian ashram. The past rapidly seemed a millennium away, and the ’80s were cemented in pop culture almost as soon as they were over.

I remembered Brett all through the next three decades, though — his face, his manner and especially the fact that he never complained about his faded career or his drug addiction; he didn’t seem to feel sorry for himself.

Shaken to the core in the wake of David Bowie’s death, I thought of glam and decided, after all these years, to Google Brett Smiley.

I wasn’t surprised, knowing his history, to see the headline “Brett Smiley Dies at 60,” but was gobsmacked to see he’d died in his Brooklyn apartment just 48 hours before Mr. Bowie. He’d been found, the obituaries said, by family members and a friend who had been unable to contact him by phone.

And thus I spent the better part of the day getting to know the Brett I had never known and falling in love with the tiny, beautiful creature on the cover of “Breathlessly Brett” as one might have in 1974 — in the den with friends gathered around a turntable or in one’s bedroom. There was also Andrew Loog Oldham and a nervous Brett Smiley debuting on British TV with “Space Ace,” which Brett had expected to mime but had to perform live. His songs have played nonstop on my iPod since I downloaded them two days ago. It’s all Brett, all the time.

David Bowie, by contrast, does not need me to mourn him. I saw the 1976 film “The Man Who Fell to Earth” when it came out (though I didn’t understand it). I pulled my car over to listen to “Ashes to Ashes” in 1980 the first time it came over the radio because the snapping bass guitar opening the song was so compelling; I didn’t even know it was Mr. Bowie’s song until he started singing. I watched him at Live Aid during a break from the restaurant I was working at near Washington Square Park in 1985, and I’ve sung the words “This is ground control to Major Tom” in public about 500 times since I was 15. I’ve given him more than 40 years of my life, and the world will no doubt see to his legacy without my help.

But maybe Brett Smiley does need me to mourn him. I asked Mr. Oldham for his thoughts, and they were kind. “He was an irresistible spirit, a warrior, superb writer and chronicler of his and our times,” Mr. Oldham said. “A good person to have as a friend, a lovable rogue. He will be missed.”

Brett wasn’t Ziggy Stardust, the Thin White Duke or Major Tom, he didn’t end up getting to record and hang out with John Lennon and Mick Jagger and he didn’t make millions of dollars — not even close. But he was the Space Ace, as well as a talented, slightly mysterious guy who was nice to me when he had no reason to be. Brett Smiley didn’t change the world, but he’s left it now. He lived a life, and it mattered.
by Josh Max, Jan. 16, 2016
Tracks
1. Brett's Lullaby - 0:31
2. Highty Tighty - 2:59
3. Space Ace - 3:50
4. April In Paris - 3:29
5. Solitaire (Neil Sedaka) - 4:03
6. Va Va Va Voom - 3:12
7. Run For The Sun (Brett Smiley, Tony Freed) - 2:44
8. I Want To Hold Your Hand (John Lennon, Paul McCartney) - 2:55
9. Pre-Columbian Love - 2:14
10.Queen Of Hearts - 3:49
11.I Can't Help Myself / Over The Rainbow (Brian Holland, Edward Holland, Jr., Lamont Dozier / Isidore Hochberg, Harold Arlen) - 2:49
12.Young At Heart (Carolyn Leigh, Johnny Richards) - 2:08
All songs by Brett Smiley except where indicated

Personnel
*Brett Smiley - Vocals
*Jim Keltner - Drums
*Ken Ascher - Piano
*David Spinozza - Guitar
*Steve Marriott - Guitar
*Andrew Loog Oldham - Producer

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