Rick Saucedo - Heaven Was Blue (1978 us, mindblowing haunting acid folk psych rock, 2005 remaster)

In the brightly colored beehive where rare psychedelia drips like honey from the walls there's been buzz on this mysterious LP for several years, partly due to its musical appeal, partly due to the background story, which is a tale worth telling. Rick Saucedo is mainly known as an Illinois-based Elvis impersonator, and a successful one at that, but some time when the King's ghost wasn't looking he sneaked out and cut himself two sides of music that were as far to the other end of the spectrum as you can imagine; dreamy, melodic 60s-style psychedelia. The acidrock sleuths and dead wax bloodhounds tracked him down (of course), but were forced to deal with his manager -- possibly a "connected" guy -- who wasn't likely to see the merit of throwing light on this bizarre sidetrack in Saucedo's career. In fact, when a bunch of psych fans rounded up a healthy bag of coins in the hope of getting a few "Heaven Was Blue":s in return, the manager simply kept the money and made himself scarce!

Thus: a $900 price tag, continuing buzz, and the exact reissue now present before us. But the strangeness doesn't end quite there, because this LP has a skeleton in the closet, one that the psych mafia honchos were reluctant to share except behind locked doors. If you pressed your ear to the wall you could pick up references to a dread "50s medley" that screwed up the LP and, it was said, kept it from being bootlegged. It certainly explained why most tapes of the LP being traded only contained about 28 minutes of music; I know because I had one, and it was one of my most played tapes of an incomplete album ever. The "50s medley" rumor seemed a terrible waste as the rest of the LP was spellbinding, almost like a psych head's fantasy invention rather than an actual vinyl object.

So let's get that brylcreem skeleton out into direct sunlight and see what it's made of. Well, to begin with it's two separate tracks rather than a medley. Secondly, I wouldn't call them "50s" in some heinous Sha-Na-Na retro manner, but rather examples of the roots rock material you can find on albums by thousands of 1970s artists big and small. They're originals (I think) and do sound like a tribute to a bygone era, but I actually was expecting worse. My guess is that the Elvis impersonator angle influenced this urban myth out of proportion. These two tracks do not exactly improve or belong on the LP, and I'll probably skip by 'em -- easy to do as they close side 1 -- most times I play it, but that's about how bad it is. Case closed. Onward to the real meat.

"Heaven Was Blue" opens with "Reality", a dreamy yet concise trip of rich guitar tapestries and nice folky hooks. It sounds rather similar to those two other lost-in-time psych masters, Bobb Trimble and Michael Angelo, and could be seen as the perfect halfway house between them -- flowing and multilayered like Bobb's music (even to the point of having ghostly voices speak in the background), while the wistful vocals and droning melody come straight out of the 1967 Lennon school of Michael A. Rick Saucedo was obviously unaware of these competing acts, yet it's remarkable that three such outstanding psych timewarps exist with so much in common. If anyone finds the explanatory "X" factor be sure to send it my way. It's one hell of an album opener anyway.

Saucedo then spins a few wheels on his kaleidoscope and via a single echoing guitar note we flow into "In my mind", a counterpart and alternative to the "Reality" of almost the exact same duration. It's at least as strong as the opening track, a little heavier with fuzz chords chugging underneath the multilayered guitars and a more cutting vocal style, albeit still totally in a 1967-68 flowerpsych mood, while a reference to Jesus towards the end may recall D R Hooker. Along with the great use of organ and booming bass the track is reminiscent of the best tracks on Rain Parade's classic 1983 debut album, and one could spend a few hours discussing why "Heaven was blue" is one of the last relics of the original acid music era while the Parade's "Emergency" is instead one of the first (and best) retro LPs. We don't have time for such nonsense here, though.

Skipping past the two roots rockers discussed above it's time to flip the LP over and parachute into the marvelously painted landscape that constitutes Saucedo's sidelong title track. If it seems that "In my mind" and "Reality" gave promises of melodic psych nirvana, then "Heaven was blue" is the realization. Clocking in at almost 19 minutes it is something unique in the psych world; a successful transportation of the acid heritage from John Lennon's "Revolver" into the domains of carefully composed suites usually associated with bad 70s rock. It could have been just another J D Blackfoot, except that Saucedo pulls it off like a charm, don't ask me how -- stacking new melodies, guitar figures and arrangements atop the old ones every 3 minutes or so, each more swirling and enchanting than the last, and retaining a sense of progression throughout. The fact that it's less than a perfect performance, with guitars occasionally strolling off-key and the drummer seeming to wing it as he goes along, enforces the human warmth and removes any progrock specter forcefully. 

There is a particular segment that begins around the 5:30-minute mark and lasts about 120 seconds which I am inclined to take as a glimpse of a place BEYOND psychedelia, beyond Lennon and Trimble and Michael Angelo and all the other acid geniuses, great or small, and everyone must hear this because it's the place where we should be. Exactly how a moonlighting Elvis impersonator found it is one for our children's children to ponder; in any event the whole "Heaven was blue" track is an amazing display of creativity and control, and when it's over it's like having been subjected to a dazzling Ludovico-method technicolor montage of everything you hallucinated on the walls when discovering the greatness of psychedelia long ago: "Sunshine superman"; "Porpoise song"; "Renaissance fair"; "Matilda mother"; they're all in there, along with thunder and rain sound FX, meandering acid guitars, and howling dogs.

You will notice I haven't said much about Rick Saucedo's lyrics and I have to admit it took a while for me to even notice them, considering the spellbinding nature of the music. But they're rather interesting I must say, and just like Trimble and to some extent Michael Angelo there's a darkness lurking beneath the hippie vibe. The lyrics for Saucedo's title track are thankfully printed on the back cover and at first I took them as some kind of agnostic love & brotherhood statement, but if you really get down to it they look a bit, um... sacrilegious, like maybe it isn't a coincidence that his dog is named Satan. The three psych tracks all deal with Death, its consequences and meaning; a theme reinforced by the back cover drawing of a graveyard with tombstones for the various people involved in making the LP. I've heard say that the whole LP came about after the shock Saucedo got from the King's death in 1977, and if so that provides an interesting subtext for the ambiguous message he delivers.  

The "Heaven was blue" album as a whole is a challenge for a reviewer, and for once I'm going to abandon my principles and comment directly on the numerical rating. The three psychedelic tracks are as perfect "10"s as I've come across, while the two rockers get slapped with a "4" each. Taking the playtime of the tracks into account, this yields the formula (9*10 + 7*4 + 19*10) / 35 = 8.8. Quod Erat Demonstrandum. I could take another point off for Saucedo being such a schmuck to screw with what could have been one of the greatest psych LPs of all time, but truth is that about 5 minutes into side 2 those two rockers seem a distant memory, like a bad dream about to be forgotten. Oh yeah, the current reissue is a bootleg but looks and sounds real nice, certainly better than my old CD-R, so get it quick before it sells out.

Lysergia

Tracks

1. Reality - 4:25

2. In My Mind - 4:12

3. Country Shakin'History Makin' - 2:48

4. Ka Mon We're Gonna Rock All Night Long - 3:52 

5.a.Heaven Was Blue

   b.Graveyard

   c.Set Us Free

   d.Empty Pillow

   e.Angels March In Hell

   f.Some Call It Magic

   g.Angels March Out Of Hell

   h.Heaven Was Blue (Reprise)  - 18:29

All compositions by Rick Saucedo

Personnel

*Rick Saucedo - Vocals, Lead, Rhythm Guitar, Bass, Drums, Piano, Synthesizer

*Joe Lentino - Drums

*Jim Johnson - Piano

*Peggy Counsell - Backing Vocals

Free Text 

Just Paste

Head Shop - Head Shop (1969 us, stunning rough fuzz garage psych, 2004 bonus tracks remaster)

The Head Shop were a short-lived band that only managed this one LP in 1969 on Epic and broke up shortly thereafter for lack of promotion and performance opportunities. The mastermind of the group was a certain Milan who came from Serbia in the fifties. Along with Max Ellenhe was responsible for the songwriting and the musical orientation.

The Head Shop make truly psychedelic music! Stereo effects, screams from Milan and alienated sounds of the instruments are interspersed and spread a spooky atmosphere or sound futuristic, as if the band were about to reach new musical dimensions. Track 10 starts out as a regular rock song, but fades out after less than two minutes. They are replaced by sci-fi-like sound collages that take you on a fascinating journey. "Infinity" doesn't walk on well-trodden paths - still psychedelic or ahead of the progressive revolution?

The opening title track is a psychedelic song that starts with some effects but ends in a tangle of guitars and voices all screaming "The Head Shop" - a humorous calling card. The boys must have been particularly fascinated by the vastness of the universe, because the theme is taken up again in "Heaven Here We Come" and the organs determine what is happening. Then we get the first cover version with "Sunny" (how often was that song actually covered?), the 1966 hit by Bobby Hebb , which gets the typical Head Shop sound. Here comes the exalted-theatrical, but at the same time convincing singing by Joe Sianoas well as on the following "Listen With The Third Ear", which unfortunately faded out much too early.

"Opera In The Year 4000" is including a version of the Beatles evergreen "Yesterday". The Fab Four are back - the interpretation of "Revolution" is convincing, it rocks and rolls as if punks are about to dismantle the kings of the beat. "I Feel Love Comin' On" is a solemn, ballad-esque jam number, featuring famed fusion guitarist Larry Coryell as a guest. With its spoken texts, "Prophecy" looks like an excerpt from a theater play - you can tell the standards Milan and Max Ellen had.

The original LP is supplemented by 7 bonus tracks, all of which seem like a footnote to the Head Shop story. Two numbers come from the previous formation The Aladdins . The later sound is revealed on "Scars", while "Second Best" could be a The Doors outtake. The last 5 songs have been compiled from Milan's earlier projects, ranging from folk with acoustic guitar accompaniment ("Sunshine", "In Central Park") to psychedelic pop ("Groovy Feelings") to rock flower power -Songs ("Flowers", "Kissing Game").

Another well done and beautifully presented release from World In Sound, as The Head Shop were able to create an original, almost unique form of Psychedelic. Pretty good stuff you music addicts! 

by János Wolfart

Tracks

1. The Head Shop (Maxim Ellen, Milan Radenkovich, Ron Craig) - 3:00

2. Heaven Here We Come (Milan Radenkovich) - 2:45

3. Sunny (Bobby Hebb) - 3:14

4. Listen With The Third Ear (Milan Radenkovich) - 2:35

5. Opera In The Year 4000 / Where Have All The People Gone / Yesterday (Milan Radenkovich, John Lennon, Paul McCartney) - 4:23

6. Revolution (John Lennon, Paul McCartney) - 2:29

7. I Feel Love Comin' On (Milan Radenkovich) - 5:50

8. Prophecy (Maxim Ellen, Milan Radenkovich) - 2:19

9. Infinity (Milan Radenkovich) - 4:51

10.Scars (Danny Prosseda, Drew Sbordone, Lew Schatzer) - 2:34

11.Second Best (Danny Prosseda, Joe Siano) - 2:14

12.Flowers, Flowers (Milan Radenkovich) - 2:00

13.Kissing Game (Milan Radenkovich) - 2:03

14.Sunshine (Milan Radenkovich) - 1:12

15.Groovy Feelings (Milan Radenkovich) - 1:50

16.Milan Radenkovich (Maxim Ellen) - 1:53

Tracks 10-11 as The Household Sponge

Tracks 12-13 as The Licorice Schtik

Tracks 14,16 by Rick Rodell "Milan Radenkovich"

Track 15 as The Breeze

The Head Shop

*Danny Prosseda - Guitar, Fuzz Bass (Track 2)

*Drew Sbordone - Bass

*Joe Siano - Vocals

*Jesse Luca - Drums, Percussion

*Rick Rodell "Milan Radenkovich" - Rhythm Guitar, Screams, Vocals, Producer

With

*Maxim Ellen - Producer, Violin Solo (Track 8)

*Geoff Wright - Hammond/Farfisa Organ, Fuzz Bass (Tracks 6,7)

*Larry Coryell - Second Guitar Solo (Track 7)

Free Text

Just Paste

Pan - Pan (1970 denmark, remarkable heavy bluesy psych rock, 2011 Flawed Gems bonus tracks remaster)

Pan was a Danish rock band, formed in October 1969 in Copenhagen by Robert Lelièvre and Arne Würgler . The band released just one album, which bears the group's name and is considered to be among the very best in Danish rock history.  Lelièvre and Würgler joined four other Danish musicians: Brothers Thomas and Michael Puggaard-Müller (guitar and drums), jazz organist Henning Verner (who had previously performed with Dexter Gordon  ) and singer and songwriter Niels Skousen, who initially shared lead vocals with Lelièvre but left Pan as early as January 1970.   

Their first single "In a Simple Way" / "Right Across My Bed" released January 1970, followed by their debut album Pan in May.  All music and lyrics were written by Lelièvre (with two of the songs in French and the rest in English), and the production highlights the sophisticated mix of rock, blues, folk, jazz and even a few splashes of classical.  At the time of its release, Pan was praised by the Danish press, and Dagbladet Information proclaimed it "the best Danish rock album so far". Over time, the record has achieved the status of a classic in Danish rock history. It is thus mentioned as the fourth best Danish rock album from the 1970s in Politiken's Dansk Rock .  It was released in 2010 on a CD – boxset Dansk Rock Historie 1965-1978, vol.II. Besides that, it is also available on the original vinyl edition, and on the occasion of Record Store Day in 2016, it was reprinted on vinyl in a limited edition. The 2016 pressing itself is also in green vinyl .

Pan gave countless concerts in 1970, played at festivals in Denmark and Germany and appeared in two Danish radio broadcasts and a TV programme.  The two radio broadcasts were recorded by DR and released on CD in 2004 by the Danish company Karma Music under the title Pan on the Air – Danish Radio Sessions 1970 .  They also wrote and recorded 20 minutes of instrumental music for the Swedish film Deadline and themselves filled the role of a touring band in the film.  However, despite the success on stage and in the media , Pan did not sell well and the band slowly disbanded during the autumn of 1970.

Tracks

1. My Time - 0:36

2. If (Robert Lelievre, Mic Hannant) - 4:02

3. Song To France - 2:11

4. They Make Money With The Stars - 4:55

5. Il N'y A Pas Si Longtemps De Ca - 5:22

6. Many Songs Have Been Lost - 1:46

7. Tristesse - 5:01

8. To Get Along Alone - 5:46

9. We Must Do Something Before The End Day - 3:23

10.Lady Of The Sand - 6:44 

11.In A Simple Way - 3:46

12.Right Across My Bed - 5:56

13.To Get Along Alone - 6:28

All songs by Robert Lelievre except where noted

Bonus Tracks - 11-13

Pan 

*Robert Lelièvre - Guitar, Vocals

*Thomas Puggård-Müller - Guitar

*Henning Verner - Organ, Guitar

*Arne Würgler - Bass

*Michael Puggård-Müller - Drums

Free Text

Just Paste

rep> Writing On The Wall - The Power Of The Picts (1969-73 uk, solid heavy psych with prog traces, 2007 double disc edition)

Writing on the Wall, from Edinburgh, Scotland is the epitome of an underground rock band. Their one and only album was entitled The Power of the Picts, released in 1969 on a label called Middle Earth (the band also happened to perform at the Middle Earth Club as well). 

The label only had something like five albums released between 1969 and 1970 before disappearing. The band consisted of vocalist Linnie Paterson, guitarist Willy Finlayson, bassist Jake Scott, drummer Jimmy Hush, and keyboardist Bill Scott. Anyway, since this album came out in 1969, it should come as no surprise that Writing on the Wall sounds like how many other prog rock bands sound like at the time: not having yet abandoning their roots, in this case, hard rock, blues, and psychedelia. You can tell these influences right away from songs like "It Came On Sunday" or the ever heavy "Ladybird". 

The real gems on this include "Mrs. Cooper's Pie", "Aries", and "Bogeyman". "Mrs. Cooper's Pie" is amazing, because with a title like that you might think it should sound some shitty song your mother sung to you in bed as a kid, but that's hardly the case at all! Basically, this is simply a wonderful, ingenious psych and prog number, with great Hammond organ work. "Aries" is the epic on this album, at over eight minutes, it really lets the band stretch out. 

You'll hear some spoken dialog with a uniquely Scottish accent, some unbelievably heavy guitar riffs, and parts of it sounding like The Crazy World of Arthur Brown. Plus there's a way cool jazzy solo as well. "Bogeyman" is a rather short number, and it starts off the most stupid way: a polka version of the famous Scottish song played on concertina (a song that everyone associates with bagpipes), but it's only 30 seconds, and the real song come in, and it's a totally amazing heavy bluesy piece that's the total epitome of underground. "Shadow of Man" starts off borrowing from Holst's The Planets, then it kicks in with Hammond organ and spoken dialog not unlike "Aries". "Ladybird" is another song, like "Bogeyman" that shows the band at its heavier side. 

Most of the rest don't stick out for me, a couple songs seem to drag on too long (particulary the last song, "Virginia Water"), but none of them are bad. "Hill of Dreams" is a rather mellow number, and also least bluesy, so it ends up sounding like many countless early '70s British prog rock bands. The CD reissue also contains two bonus cuts, "Child on a Crossing" and "Lucifer's Corpus", both were originally released as a single in 1969 on the same label The Power of the Picts was released on (Middle Earth). 

Unsurprisingly, these two songs are in the very same vein and could easily fit on the album. Oddly, the band won't be heard from again until 1973, when they released a single called "Man of Renown" and "Buffalo", but no followup LP materialized. After that the band broke up, with Linnie Paterson joining Beggars Opera for their 1973 album Get Your Dog Off Me (Beggars Opera being a prog rock band also from Scotland, although you should apparently only worry about their first three albums, 1970's Act One, 1971's Waters of Change, and 1972's Pathfinder). 

Willy Finlayson was later a member of the final verson of Bees Make Honey, and made a guest on Manfred Mann's Earth Band's Chance (1980) and was a member of Meal Ticket. The rest of Writing on the Wall, unsurprisingly, hadn't been heard since that band broke up. The Power of the Picts is recommended if you like the bluesy and heavy end of the early prog rock spectrum, although it falls short of being the long lost gem I hoped it was, it's still worth having. 

by Ben Miler

Tracks

Disc 1

1. It Came On A Sunday (Robert Smith) - 4:18

2. Mrs Coopers Pie (Billy T. Scott, Willy Finlayson, Jake Scott) - 3:21

3. Ladybird (Jimmy Hush, Billy T. Scott, Willy Finlayson, Jake Scott, Linnie Patterson) - 3:46

4. Aries (Unknown) - 8:06

5. Bogeyman (Billy T. Scott, Willy Finlayson, Jake Scott) - 3:45

6. Shadow Of A Man (Billy T. Scott, Jake Scott) - 5:57

7. Tasker's Successor (Willy Finlayson, Jake Scott) - 3:42

8. Hill Of Dreams (Billy T. Scott, Willy Finlayson, Jake Scott) - 3:08

9. Virginia Waters (Pete Gage, Kenny Bernard) - 5:56

10.Child On A Crossing (Robert Smith) - 3:30

11.Lucier Corpus (Donald Cameron) - 5:43

Disc 2

1. Felicity Jane - 3:17

2. Nobody Knows - 3:59

3. Buffalo - 6:54

4. Henry Dawson - 4:55

5. Diane's Big Daddy - 5:29

6. Live And Learn - 4:57

7. Dream Yourself A Hero - 7:09

8. Fishers Of Men - 6:28

9. Tripsy Lady - 4:03

10.Bellyful Of Rock - 5:55

11.Man Of Renown - 3:07

12.Buffalo - 6:12

All songs by Willy Finlayson, Jimmy Hush, Billy T. Scott, Jake Scott, Linnie Patterson

Writing On The Wall

*Willy Finlayson - Guitar, Vocals

*Jimmy Hush - Drums

*Billy T. Scott - Keyboards 

*Jake Scott - Bass, Vocals

*Linnie Patterson - Vocals

*Alby Greenhalg - Wind Instruments

Free Text
Just Paste

Laser Pace - Granfalloon (1974 us, exciting experimental prog cosmic funk rock, 2008 digipak remaster)

The only prog LP Takoma Records ever released -- the 1974 slab by L.A.'s Laser Pace. The album's title, Granfalloon, is a term created by the late Kurt Vonnegut to describe a bunch of people who pretend to be an affinity group without having any actual affinity for each other. We're uncertain if that is suppose to refer to factions inside Laser Pace, but no matter. The album is probably the strangest pieces of wax dripped by Takoma (apart from Charlie Nothing, natch) and seems wildly out of synch with the label's presumed focus. But is a goddamn monster of odd charm, no two ways about it.

Doug Decker had a very successful career doing recording engineering working with Johnny Cash, the Beach Boys, Band of Gypsies, Roger Miller, and John Fahey among many, many others. He also did sound for the "Win Ben Stein's Money" TV show. Doug and his wife Maureen O'Connor recorded "Granfalloon", very experimental, lots of electronics.

Tracks

1. Closet Casualty - 4:01

2. Avatar - 5:29

3. (Whoever) You Are (You) - 3:56

4. Sky Fell (Chris Christensen, Doug Decker) - 4:37

5. Endless - 3:11

6. Oh Yeah? (Chris Christensen) - 4:45

7. Redemption - 5:05

8. Scatter (Doug Decker) - 8:05

All compositions by Maureen O'Connor except where noted

Lase Pace

*Maureen O'Connor - Vocals, Guitar, Synthesizer, Piano, Mellotron 

*Doug Decker - Bass, Synthesizer, Mellotron 

*John Chris Christensen - Vocals, Drums, Percussion 

*Larry Parsons - Fender Rhodes, Piano, Organ, Synthesizer 

*Jim Divisek - Synthesizer, Keyboards 

*Carl Van Young - Clavinet 

*Larry Wolf - Soprano Saxophone 

*Weldon - Drums 

*George Belle - Percussion

Free Text

Just Paste

Rustix - Bedlam (1969 us, nice soulful funky psych rock, Vinyl edition)

Outside of their native Rochester, New York it's unlikely many folks will remember The Rustix.  That's unfortunate since they were a rather talented blue-eyed soul outfit who also happen to have been one of the first rock bands signed by Motown (well, signed by Motown's short-lived, rock-oriented Rare Earth subsidiary).

Formed in 1967, The Rustix showcased the talents of drummer Bobby Bladino (replaced by former Invictas drummer David Colon Jr.), singer Chuck Brucato,, lead guitarist Bob D'Andrea, singer Albin Galich, bassist Kit Nelson, and keyboardist Vince Strenk, the group became quite popular throughout New York state, eventually scoring a one-shot contract with Chess' Cadet subsidiary resulting in the release of a cover of Eddie Holland's 'Leaving Here' as their debut single.

While the single did little commercially outside of upper New York, manager/Rochester DJ Ferndinand Jay Smith III was responsible for getting the band signed by Motown's newly formed Rare Earth subsidiary.  Apparently signed as part of the label's attempt to dip it's corporate toe in rock and roll, the band was teamed with Motown artist R. Dean Taylor in the producers role.  The group's 1969's debut "Bedlam" offered up a mixture of popular covers (Marvin Gaye, Traffic) and band originals - the latter largely penned by singer Brucato.  From a couple of online items I've read, the band were apparently quite an impressive live act, but judging by the debut album, Motown was seemingly more interested in turning these guys into a second tier blue-eyed soul entity. 

Listening to tracks like 'I Can't Make It Without You', 'Can't You Hear the Music Play' and 'Lady In My Dreams' it wasn't too hard to imagine a sub-par version of the Young Rascals.  Ironically, by 1969  Rascals-styled blue-eyed soul was no longer in vogue with the buying public.  Showcasing two lead singers, Brucato and Galich were both good, , though neither had a truly awe-inspiring voice and when they harmonized, their voices seldom blended very well.   Galich actually reminding me a bit of Three Dog Night's Chuck Negron - if you doubt the comparison check out his performance on 'Wednesday's Child'.  That song also demonstrated how good these guys could have been had they been given a little more flexibility and control over their careers.

Bad-Cat

Tracks

1. Feeling Alright (Dave Mason) - 3:50

2. Guess This Is Goodbye (Chuck Brucato) - 3:00

3. I Heard It Through the Grapevine (Barrett Strong, Norman Whitfield) - 6:16

4. I Can't Make It Without You (Debbie Dean, Dennis Lussier) - 2:28

5. Can't You Hear the Music Play (Chuck Brucato) - 3:05

6. Lady In My Dreams (Chuck Brucato) - 2:57

7. Country (Chuck Brucato) - 2:39

8. Wednesday's Child (Al Galich) - 3:05

9. Free Again (Chuck Brucato) - 5:49

10.That's What Poppa Told Me (Chuck Brucato) - 2:46

The Rustix

*Chuck Brucato - Vocals

*George Cochini - Lead Guitar 

*Ron Collins - Bass, Backing Vocals 

*David Colon Jr. - Drums, Percussion 

*Albin Galich - Vocals

*Vince Strenk - Keyboards, Accordion

1970  The Rustix - Come On People (Vinyl edition)

Free Text 

Just Paste

Yezda Urfa - Boris (1975 us, spectacular prog rock, 2019 japan SHM bonus track remaster)

Yezda Urfa, with a name like that, you know these guys have to be unique.  The name has a rather simple origin, however: flipping through a dictionary, the band came across the names of two small villages, Yazd, Iran and Urfa, Turkey.  (Yazd was changed to Yezda in order to aid in pronunciation.)

The band itself consisted of five members: Rick Rodenbaugh (vocals), Mark Tippins (guitars), Marc Miller (bass), Phil Kimbrough (keyboards and flute), and Brad Christoff (drums and percussion). The Chicago area band released two albums, one in 1975 (Boris) and one in 1989 (Sacred Baboon).

Yezda Urfa are America’s response to England’s Gentle Giant: they are not copycats, but they are equally eccentric and talented.  Like Gentle Giant, the members of Yezda Urfa played their respective instruments with the utmost skill and precision. Sudden tempo changes, diverse and complex time signatures, and a variety of instruments are featured on both Boris and Sacred Baboon.  Although Rick Rodenbaugh’s vocals are not the strongest aspect of Yezda Urfa (which also applies to Derek Shulman of Gentle Giant), the musical talent of the band cannot be understated. Give them a listen, and I think you will enjoy their quirky sound. 

The names of the songs alone should grab your attention: Give ’em Some Rawhide Chewies, To-Ta in the Moya, Three Tons of Fresh Thyroid Glands, etc.  Their bizarre, idiosyncratic style will not appeal to everyone, but overall Yezda Urfa is one of the more creative bands I have ever had the pleasure of listening to. Give them a shot. Who knows, you may end up wanting some rawhide chewies.

by Connor Mullin, October 8, 2013

Tracks

1. Boris And His 3 Verses. Including Flow Guides Aren't My Bag - 11:00

2. Texas Armadillo - 1:48

3. 3, Almost 4, 6 Yea - 8:46

4. Tuta In The Moya And Tyrenzimmage - 10:50

5. Three Tons Of Fresh Thyroid Glands - 10:20

6. The Basis Of Dubenglazy While Dirk Does The Dance - 9:51

All compositions by Mark Tippins, Phil Kimbrough, Rick Rodenbaugh, Marc Miller, Brad Christoff

Yezda Urfa

*Rick Rodenbaugh - Lead Vocals

*Mark Tippins - Acoustic, Electric Guitars, Banjo, Backing Vocals

*Phil Kimbrough - Keyboards, Synthesizers, Mandolin, Winds, Backing Vocals

*Marc Miller - Bass, Backing Vocals

*Brad Christoff - Drums, Percussion

Free Text

Just Paste

Mike Harrison - Smokestack Lightning (1972 uk, fine bluesy classic rock, 2011 remaster)

This 1972 release by the former and future Spooky Tooth singer is split between four tight, melodic white boy blues tunes and two extended jams. The album is capped by an overlong yet powerful cover of the Howlin' Wolf classic "Smokestack Lightning." Hats off to whomever decided to record this album in Alabama with the always-soulful Muscle Shoals studio band. Barry Beckett, Roger Hawkins, David Hood, and company elevate the proceedings a notch above an average white band. 

by Mark Allan

Tracks

1. Tears (Jimmy Stevens) - 4:12

2. Paid My Dues (Jimmy Stevens) - 4:19

3. What A Price (Murphy Maddux, Jack Jessup, Fats Domino) - 5:52

4. Wanna Be Free (Joe Tex) - 4:14

5. Turning Over (Mike Harrison, Luther Grosvenor) - 6:31

6. Smokestack Lightning (Chester Burnett) - 12:28

Musicians

*Mike Harrison - Harmonica, Vocals

*Pete Carr - Guitar

*Jimmy Johnson - Guitar

*Wayne Perkins - Slide Guitar

*Luther Grosvenor - Acoustic Guitar

*Barry Beckett - Keyboards

*Clayton Ivey - Keyboards

*David Hood - Bass

*Roger Hawkins - Drums

*Harrison Calloway - Trumpet

*Mike Stacey - Trumpet

*Harry Thompson - Tenor Saxophone

*Ronnie Eades - Baritone Saxophone

*Charles Rose - Trombone

1971  Mike Harrison - Mike Harrison (2011 remaster)  

Related Acts 

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

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

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

Free Text

Just Paste

Stepps - Waltz For Tiger Joe (1976 australia, superb canterbury-like jazz rock, stable rhythm section, supple guitar sound, flowing electric piano, 2022 korean remaster)

Stepps was a band from the Australian 70s scene and closely related to the group Snakes Alive, who enjoyed success among collectors due to the fact that only 50 copies of the record were pressed. At the time, several bands managed to record their music but did not find a record deal for distribution, remaining published only as private pressings. As a result of collectors’ interest in Snakes Alive, the Stepps‘ record entitled “Waltz For Tiger Joe” was reissued on November 01, 2022 via the South Korean label Merry-Go-Round Records. Compared to the Snake Alive lineup, the sound evolved by incorporating elements of British Progressive Rock with marked references to the Canterbury Scene. The 1976 version contains 8 tracks, while the reissue adds 4 Bonus Tracks from the recordings of the previous lineup simply called Steps, entirely instrumental as Bernie Morgan had not yet joined the group. It should be noted that the most significant “Charred Ducks” was also included as a Bonus Track on the Snakes Alive album. 

The album opens with “Kolour Kode,” which immediately plunges us into the Canterbury-esque atmosphere of the band’s sound with elaborate textures intertwined with Bernie’s dynamic vocals. The song’s structure is complex, characterised by continuous tempo changes with frenetic accelerations and load-bearing bass lines on which melodies and keyboard phrasing are drawn. A very well-structured mixture of distinctly Jazzy Progressive traits, with all artists carving out their own space to enhance their individual technique put at the service of the band’s sound. Softer, deeper melodies and a more jazzy atmosphere characterise “If I Knew,” where from the very first bars Bernie’s sweet voice comes to the fore. Delicate arpeggios and a Jazz rhythm section create the structure of the song, which evolves into a continuous musical crescendo enriched by tempo changes and forays into the Fusion sounds of the 70s, with a Prog touch provided by the keyboards. 

A track that is both energetic and technical, alternating between sung passages and instrumental passages with virtuoso guitar and keyboard solo inserts. “Kryptonite” opens with percussion, lyrics and a deep bass line, moving slowly and creating an enveloping atmosphere with mystical traits. With a sudden change the track accelerates and returns to the band’s characteristic sounds with a Jazz Prog with Canterbury-esque traits loaded with groove and virtuoso keyboard solos that accompany us for most of the track. In the finale there is room for a bass solo that takes us to the finale. Pulled and intricately structured at times, “Make Me” features a killer bassline that gives body to the song. The drumming is pulled and elaborate and is enriched by continuous tempo changes, while the guitars and keyboards blend with Bernie‘s dynamic vocals. Solo inserts, virtuosity and more Progressive openings alternate with Jazz sounds and lead into Fusion, an energetic and engaging track and at the same time very elborated and technical. Sweet piano notes and a softer, more delicate vocal open “Flowers,” showing another facet of the band’s sound. A softer, dreamier-sounding track that softens the tone between the more intricate tracks that make up the tracklist. “End Of Play” returns to more sophisticated sounds by incorporating elements ranging between Fuzion and Canterbury, with the band’s unmistakable touch. The tempo changes are an added value to the song, which in the second half offers an extended solo section where guitar and keyboards alternate, accompanying us to the finale where the opening theme returns and closes. 

A deep bass line opens “Step Up Behind” to which vocals and keyboards are added, creating an enveloping atmosphere with dreamy overtones. Tempo changes allow for alternating frenetic accelerations and softer openings over which Bernie’s vocals stand out, a real added velour. A continuous musical crescendo that results in the finale in a prolonged solo of keyboards and guitars enriched by effects to conclude with the last vocal verse. The last piece in the original version, “Cumulus,” is a composition for classical guitar reminiscent of the instrument’s Mediterranean sounds. Very intense and technical, it offers an original interpretation with personal traits of said sounds, concluding pacevolemnte this first part of the disc. The first of the Bonus Tracks “Charred Ducks,” which was already on the Snakes Alive record, is an instrumental with intense phrasing between guitar and keyboards. 

The rhythm section is always very elaborate and full of tempo changes, resulting in a track with more Progressive connotations, always with that Jazz and markedly personal edge that will later be Stepps‘ trademark. “Floating” is the seond of the Bonus Tracks also instrumental, while elaborate and well crafted it presents a more ensemble sound with fewer solo passages. The melodies are more delicate, flowing nicely but sounding a bit less punchy than the previous ones. “Silly Song” traces in the first part the more ensemble sounds of the previous one, with enveloping melodies and a more linear sound. In the middle part with a change it develops with intense and elaborate solo keyboard phrasing that accompanies us to the finale, ending with a softer, softer section. The last of the Bonus Tracks “Wooly’s Song” concludes the album with a softer introductory part that slowly accompanies us to the more elaborate part of the composition. The intensity increases as the minutes go by, with a supporting bass line and valuable keyboard work both in the melodies and in the solo inserts to finish with a softer drop. A real jewel that is worth enhancing and spreading. 

A band that would have deserved greater exposure over the years especially at the time, as the compositions are very technical and sophisticated and are one of the rare examples of Canterbury sounds from Australia. Thanks to the Korean label Merry-Go-Round Records for reissuing this top notch record, enjoyable from start to finish and with a well built and developed tracklist. The tracks are enjoyable for the entire duration of the disc and enhance the individual technique of the artists involved, recalling the European bands of the scene, showing a perfect union of Canterbury, Jazz prog and forays into Fusion. A listening recommended to all lovers of the aforementioned sounds, a real hidden rarity that deserves to be disclosed now that it is available in a reissued version with the addition of Bonus Tracks. The original tracks of the disc are certainly more intense and engaging and contain the true essence of the band, while also remaining enjoyable even the Bonuses. I want to personally thank the record company for the opportunity they gave me to review this milestone of the 70’s Australian Underground.

by Jacobo Vigezzi

Tracks

1. Kolour Kode (Oleg Ditrich) - 6:44

2. If I Knew (Oleg Ditrich) - 7:10

3. Kryptonite (Ian Hildebrand) - 7:52

4. Make Me (Oleg Ditrich) - 4:30

5. Flowers (Oleg Ditrich, Bernie Morgan) - 2:54

6. End Of Play (Oleg Ditrich) - 6:33

7. Step Up Behind - 6:07

8. Cumulus (Improvised Solo) (Ian Hildebrand) - 8:01

9. Charred Ducks - 7:23

10.Floating - 4:33

11.Silly Song - 6:15

12.Woolly's Song - 6:25

Bonus Tracks 9-12 recordings from the original 'Steps' Band

Stepps

*Alex "Oleg" Ditrich - Electric Piano, Piano, Synthesizers 

*Ian Hildebrand - Classical Guitar, Electric Guitar 

*Bernadine "Bernie" Morgan - Congas, Percussion, Vocals 

*Michael Vidale - Bass

*Ralph Cooper - Drums, Gong (Tracks 1-8) 

*Paul Freeland - Drums (Tracks 9-12)

Related Acts

1973  Aragorn - The Suite (2022 korean remaster)  

1975  Snakes Alive - Snakes Alive (2017 japan SHM and 2020 extra tracks remasters)  

Free Text

Just Paste

Jericho - Jericho (1972 israel / uk, powerful hard rocking killer psych, 2010 bonus tracks remaster)

This eponymous album from 1972 was the end of the road for the U.K.-based band Jericho, but what a long and eventful road it was. Years earlier -- 1965 to be precise -- the group's story began halfway round the world, in the independent state of Israel, as the Churchills: a beat group that enjoyed considerable local pop success and then recorded perhaps the first Hebrew-sung rock album backing up noted singer/songwriter Arik Einstein. In 1969, British guitarist Robb Huxley (of the Tornados fame) hooked up with the Churchills amid a tour through Israel and seemingly lured them back to England, where they eventually renamed themselves Jericho Jones and released a 1971 LP entitled Junkies Monkeys and Donkeys, to little acclaim. 

Finally, the band name was shortened to Jericho and this eclectic, five-song collection of heavy progressive rock resulted as their last musical will and testament…and an enduringly fascinating one it is too. The memorable guitar signature of opening number "Ethiopia" rides a driving beat similar to Krautrock's emergent Motorik style, while ostensive single "Don't You Let Me Down" anchors itself in safer blues-rock territory, but is still both forceful and catchy, thanks to vocalist Danny Shoshan's snarling intensity. Then we're into the epic compositions -- three of them -- beginning with "Featherbed," which weaves serpentine, Middle Eastern-flavored guitars behind harmony vocals intoning alternately blissful and tormented impressions of a presumed acid trip (or 20), with room in its jam section for a little scat-singing and choppy guitar funk. 

The cryptically named, string arrangement-laden "Justin Nova" explores a more anthemic, pedantic prog-rock vibe reminiscent of the era's rising, blue-blooded proggies, particularly Genesis with a little Yes thrown in. And the big daddy of the bunch, "Kill Me with Your Love," probably lacks its counterparts' focus (meandering off into several solo instrumental spots along its route) but ultimately nails its spiteful chorus to the wall of proto-metal intensity -- with attitude. All told, this material may have lacked some overarching cohesion and obviously yielded no glaringly irresistible chart-beaters, but it still helped Jericho stand well above the countless forgotten bands that were churning out mindless heavy rock drivel during this period. What's more, there's little available evidence to refute Jericho‘s status as the first hard rock album produced by an Israel-born band, and it's just too bad that it had to also signal a final stand for its creators. 

by Eduardo Rivadavia

Tracks

1. Ethiopia (Danny Shoshan, Robb Huxley) - 4:30

2. Don't You Let Me Down (Michael Gabriellov) - 3:36

3. Featherbed (Danny Shoshan, Robb Huxley) - 9:36

4. Justin And Nova (Robb Huxley) - 8:20

5. Kill Me With Your Love (Danny Shoshan, Robb Huxley) - 11:13 - 

6. Mamma's Gonna Take You Home (Robb Huxley, Samy Birnback) - 2:42

7. So Come On (Robb Huxley, Danny Shoshan, Haim Romano, Chris Perry) - 3:53

Bonus Tracks 6-7 from 1972 Single

Jericho

*Michael Gabriellov - Bass

*Robb Huxley - Guitar, String Arrangements 

*Haim Romano - Guitar

*Danny Shoshan - Vocals, String Arrangements 

*Ami Triebich - Drums

With

*Rob Eberhard Young - Piano, String Arrangements (Track 4)

Free Text

Just Paste