Tarantula - Tarantula (1969 us, stunning tight psych jazz brass rock)

What was quintessential can quickly fade. It then becomes the gift of those who decide where relevance exists, and there lies a problem. History is largely a composite, a construct by those who were not present. Much of what is deemed to be wholly representative of an era was largely ignored at the time: the poetry of Rimbaud, the paintings of Van Gogh or the songs of Nick Drake. Messages can take a long time to get through to receptive ears, and one such missive that remains in transit is Tarantula's sole album, from 1969.

It mattered little then, and matters little now, but it is a perfect freeze-frame of the dissolution and ideals of the Sixties. Wigged-out but flawlessly played, this much-ignored, authentic slab of pure psych-prog has a loose-limbed cohesion and is wonderfully weird. In terms of curio and masterpiece, this one exists as an authentic souvenir of the times: California, circa '68-69, just as the flowers start to wilt upon the heads they'd once adorned, and the string pops on the cheap strands of love beads. Unruly, crackers, and out to lunch, this was the soundtrack of uncertain lives. The times seemed to be blessed with optimism, but reality shatters every dream.

This is the last gasp of peace and love, but one whose final breath is imbued with the knowledge of impending darkness. Formed by ex-Spanky and Our Gang member Oz Bach, and produced by Chad Stuart of Chad and Jeremy fame, the album slithers all over the place like a divinely mad snake on the trip of a lifetime. Eastern influences, military drumming and pieces of pastoral delight combine to intoxicate and alienate in equal measure. This spider has been out in the sun too long, is both scary and mad, but wishes to infiltrate the eardrums and share the madness. Joining Bach on bass, were Steve Zwirm, drums, Tom Grasso, organ, Thad Maxwell, electric guitar, and Mike Edelman on vocals, flute and sax.

Inspired perversity stripped much of Tarantula's efforts of its obvious commerciality. The opening track "You" has successful single a la "Spirit in the Sky" written all over it, whilst "Electric Guru" is an adept exercise in bottling the mysticism and ideals of the era. "T.V. Repairman" sounds like Zappa auditioning for Hair. His diversity is referenced on much of the proceedings, but a bunch of also-ran Franks these boys were not. They possessed a strangely spiritual inclination, as betrayed in "Love Is for Peace," their only single. It's a mantra-like chant for space cadets of any era, right down to the Scottish reel they mange to rope into this diligent tapestry of insanity before abandoning it a few seconds later.

Perhaps the beautifully melancholic "Thoughts for Anne" betrayed too much of "Eleanor Rigby" to impress the purists of the day, but you'd be hard-pressed to find a finer song. Rarely have Americans managed to sound so chamber-gloomily English and haunted. The divinely titled and terribly louche "Peach Fuzz and Peppermints" sounds like something a stripper might have shaken her moneymaker to, in a 1930s sin bin, before descending into the kind of fuzzed-out intensity only Patti Smith now seems capable of generating.

"Red Herring," as the name suggests, goes all over the shops, but somehow manages to never topple into the abyss it so perilously skirts, whilst "Billie the Birdman" begins as pure Beatles in "Strawberry Fields" mode, but ends as a whimsical Blur at their most Parklife. The brief, sad smattering of applause at the track's demise, and that of the album, portended the meager portion of appreciation shown Tarantula. Things didn't translate into wider recognition and success, and they didn't cross the line from 1969 to '70. It is easy to see why they never hit anything resembling the big time. They probably weren't even attempting to, and may not have managed the consequences of success too well. Albums like this don't get made because of good sense and rational behavior, but they do betray impeccable timing and taste.

As Mr. Wilde once opined, "All things in moderation, especially moderation."

Tarantula thankfully gave free rein to their notions, albeit briefly, and left us a box of tricks worthy of Pandora. More Peach Fuzz everyone? 

by Robert Cochrane on March 12, 2008

Tracks

1. You (Mike Edelman) - 3:24

2. Electric Guru (Mike Edelman) - 5:38

3. T.V. Repairman (Tom Grasso) - 2:43

4. Love Is For Peace (Oz Bach) - 6:37

5. Poison Dance (Tom Grasso) - 6:16

6. Thoughts For Anne (Oz Bach) - 2:44

7. Peach Fuzz And Peppermints (Tom Grasso) - 3:53

8. Red Herring (Mike Edelman, Tom Grasso) - 7:40

9. Billy The Birdman (Tom Grasso) - 3:29

Tarantula

*Tom Grasso - Piano, Organ, Vocals

*Mike Edelman - Electric Flute, Saxophone, Vocals

*Thad Maxwell - Electric Guitar, Vocals

*Oz Bach - Electric Bass, Vocals

*Steve Zwirn - Drums

Related Acts
1966-70  Spanky And Our Gang - The Complete Mercury Recordings (2006 four discs box set) 

1968  Wings - Wings (2018 korean remaster)

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rep> Isolation - Isolation (1973 uk, fine folk rock wirh jazz prog touches)

British band from early seventies The Isolation, with singing reminds partly more of American CSNY-influenced bands. 

The improvisations of acoustic guitars with piano and flute are good, sometimes a bit jazzy psych-folk styled. The whole idea reminds me more of the first reissue of Oberon. The music is fine, but the “remastering” could have been better.

Tracks
1. Theme (I) - 6:20
2. Poor Boy - 3:10  
3. Looks Like You're Leavin' - 3:51  
4. Reaching Out - 4:40  
5. 'E' - 3:20  
6. Moon Mood - 1:56  
7. Theme (II) - 2:08  
8. Yesterdays Moments - 2:42  
9. Theme (III) - 1:01  
10.Banjotune (Traditional) - 1:34

Isolation
*Richard Blondell - 12 String Guitar, Vocals
*Dave Smith - Piano, Vocals
*John Paul Davidson - Flute
*Ian Robinson - Electric Guitar
*Chris Pritchett - Violin
*Tim Neild - Bass, Banjo

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Rastus - Rastus (1971 us, impressive blues jazz brass rock)

“Rastus” released in 1971 as a Double LP, the first disc was recorded  live in concert, at Milwaukee, Wisconsin, and the second was recorded at Sonad Studios, Wauwatosa, Wisconsin.

In 1968 a group of gentlemen came to see me in Detroit to ask if I might be interested in producing a band consisting of six men. After listening to the tape of the band, I decided to go to Cleveland to listen to the band live.

The band at that time was called The Fifth Amendment. Later to be changed to The Sixth Amendment when they added another man. The band would later be called Rastus and would become the terror horn band of all time.

This band, when it was on….was scary to behold. No one wanted to follow this band on stage. As a matter of fact, Rastus gained a thirteen week contract to open for The Ike and Tina Turner Review. After the third show (which took place at Cobo Hall in Detroit), Ike Turner came up to me and said, “Gotta cut you loose!” When I asked Ike what he meant, he simply stated, “Your band’s too hot. You are supposed to set us up. Not kill us before we play!”

This is the story of a truly great band who never had the opportunity to be heard. Listen in to the interview with Jim Cantale and myself as we go through the heartbreak and agony of a band that should have made it all the way to the top but, for various reasons, never got the break they deserved.

This series of shows is dedicated to those members of Rastus who have gone on before us. To magnificent drummer and wonderful friend, Smokey Smelko. To cutting-edge horn man, Vic Walkuski. And last, but not least, to Mr. Angelo Crimi (manager) who hung in to the bitter end with this phenominal band and, thank God, is still living in Cleveland. Without these people, Rastus could never have survived the short time they did.

Record-Facts

Tracks

1. Black Cat (Brian Auger) - 9:28

2. Texas / The Bells (Medley) (Billy Ward / Buddy Miles, Mike Bloomfield) - 12:30

3. Walking In The Park (Graham Bond) - 4:01

4. Goodnight Nelda Greb (The Telephone Company Has Cut Us Off) (Tracy Nelson) - 15:16

5. Wizard Of Oz Medley (E.Y. Harburg, Harold Arlen) - 1:01

6. Sinnin' For You (Owen Finnegan, Keef Hartley, Peter Dines, Fiona Hewitson) - 5:42

7. Farmer Jo (Laura Nyro) - 4:19

8. 1-75 Riff (John Rhys) - 5:19

9. Desperately Mrs. Jones/Ja-Da (Bob Carleton, Don Nagy, John Rhys) - 3:56

9. Sailin' Easy (Al Wilmont, Elmer George Clawson, Gary Quackenbush, Scott Richardson) - 2:56

10.Black Cat (Brian Auger) - 3:00

11.El Congo Valiente (Johnny Richards) - 2:15

12.Warm (John Rhys) - 4:59

13.Multicolored Taxicab (Artie Feldman) - 4:16

Tracks 1-4  Recorded live in concert, Milwaukee, Wisconsin

Tracks 5-14 Recorded at Sonad Studios, Wauwatosa, Wisconsin

Rastus

*Don Nagy - Bass, Trumpet 

*Mike «The Frist» Geraci - Baritone, Tenor Saxophones, Backing Vocals

*Vic Walkus - Alto, Tenor Saxophone

*Dave «Smokey» Smelko - Drums, Percussion, Backing Vocals

*George Sopuch - Guitar

*Tony Corrao - Guitar

*Daniel Matthew Magalen - Lead Vocals, Baritone Saxophone

*Marc Roman - Lead Vocals, Trombone

*Arthur Edward Appleton, Jr. - Trombone

1972  Rastus - Steamin' (2008 release)

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Rastus - Steamin' (1972 us, fantastic blues, jazz brass rock, 2008 extra tracks release)

Rastus was an American band formed in the late 60s noted for being in the first wave of rock bands to incorporate a horn section.  Like Blood Sweat and Tears and Chicago (Transit Authority), also had a lot of bands heavily inspired by them and Rastus took strongly from the former with a touch from the latter. I believe Steamin’ is the band's third and last album and the only one to make it to CD so far (like Chicago Transit Authority, the debut self-titled Rastus was a double). 

Rastus had a horn section and a similar mix of rock, blues, and jazz, although it seems like their most commercial songs end up as bonus tracks here. The band's nice and tight and the vocals are solid.

by Mike McLatchey, 2018-09-13

Tracks

1. Lucy Bluebird (Bobby Jameson, Dave Myles, Marc Spirou, Don Nagy, Mike Geraci, Vic Walkus, John Taylor, Dave Smelko) - 6:11

2. Lazy Kind Of Day - 3:24

3. Big City Letdown Blues (John Rhys, Bobby Jameson) - 6:46

4. Love You (Tony Corrao, Dave Myles, Marc Spirou, Don Nagy, Mike Geraci, Vic Walkus, John Taylor, Dave Smelko) - 4:24

5. Keep On Pushin' (Tony Corrao, Dave Myles, Marc Spirou, Don Nagy, Mike Geraci, Vic Walkus, John Taylor, Dave Smelko) - 3:03

6. I-94 Riff (John Rhys) - 5:18

7. What Will It Take (Tony Corrao, Dave Myles, Marc Spirou, Don Nagy, Mike Geraci, Vic Walkus, John Taylor, Dave Smelko) - 5:30

8. Trying To Find Her - 3:04

9. She Don't Need Me - 2:42

10.Warm (John Rhys) - 3:52

11.What If I Should Say - 3:00

12.Home Town Blues - 4:07

13.Over The Rainbow (Jim Cantale, Vic Walkus) - 3:03

14.Road Rat (Mark Allen, Dave Myles, Marc Spirou, Don Nagy, Mike Geraci, Vic Walkus, John Taylor, Dave Smelko) - 6:58

All songs by  Dave Myles, Marc Spirou, Don Nagy, Mike Geraci, Vic Walkus, John Taylor, Dave Smelko except where indicated

Rastus

*Dave Myles - Keyboards, Vocals

*Marc Spirou - Trumpet, Valve Trombone, Congas, Vocals

*Don Nagy - Bass

*Mike «The Frist» Geraci - Baritone, Tenor Saxophones, Backing Vocals

*Vic Walkus - Alto, Tenor Saxophone

*John Taylor - Trombone

*Dave «Smokey» Smelko - Percussion, Backing Vocals

*George Sopuch - Guitar

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rep> Sweet Maya – Sweet Maya (1977 us, fabulous funky jazz prog silky rock, 2016 bonus tracks digipak remaster)

The story of Sweet Maya is one that spans 36 years and involves a set of relationships that have remain strong despite time and distance. The first chapter started in 1968 when Gail met John. As she recalls it "I met John prior to graduation and my most favorite memories involve a trip to a nightclub to hear a hot band, John being invited on stage to jam, and his horn turning the crowd upside down!"

It was after Gail and John came to Kalamazoo that the third piece of the Sweet Maya puzzle moved into place. As Gail describes it "I met Janice Lakers in a music theory class, we were the top two students. We got together one evening to sing and that's all it took. In short time we formed a folk duo, both of us playing guitars and Janice doubling on flute and percussion. John was always on the sidelines of our duo, helping us with arrangements, and sitting in with us when he could." It was with the formation of this trio that the core of Sweet Maya was formed and plans for expansion were laid. Tom Davis, a drummer John worked with in a previous group quickly followed by guitarist/bassist Tom Hill. 

Thus Sweet Maya was born. Where there had only been two now there were five but the sound of the band continued to be a work in progress. Feeling the need for a dedicated bassist and a more driving sound, the core Mayans sent out a call to audition bass players from around the area. Many tried out and all had their advantages yet in the end one player stood out among the rest, securing a sought after place in a successful local band. 

The one selected was Mark Bowen completing the six member, multiinstrumentalist band. Maya strived towards continuous improvement and as the rhythm section continued to strengthen the inherent weakness became the lack of a solid guitar soloist. Tom Hill, who had several creative differences with the core group, left the band as Sweet Maya ushered in the last piece of the puzzle, Rob Hayes. This formed the band that most remember as Sweet Maya and its performances drew huge audiences earning it a reputation as one of the foremost musical groups in the mid-western United States.

One of the lasting results of this musical endeavor was the recording and production of this LP, originally pressed in vinyl in 1977. And thanks to a still thriving fan base Sweet Maya continues to gather every few years to perform in concert with the next scheduled for fall of 2011. The band will be celebrating its 40th anniversary and plans to introduce several new compositions to delight their fans.

by Mark Bowen, 2010

Tracks

1. Good Day (Rob Hayes) - 2:29

2. Louisiana Song (Gail Baker)  - 3:30

3. Gotta Find Out (John Chamberlin)  - 5:25

4. Crazy Coldness (Gail Baker)  - 4:36

5. Surround Me (Gail Baker, Rob Hayes)  - 3:11

6. The Earth Has Music (Rob Hayes)  - 3:56

7. Papa Taco (Rob Hayes)  - 2:45

8. Illusion (John Chamberlin)  - 5:04

9. People Suite (Instrumental) (Rob Hayes, John Chamberlin, Mark Bowen)  - 7:11 

10.Angisa Alusa (Traditional) - 4:17

11.Povo (Freddie Hubbard) - 6:18

Sweet Maya
*Janice Lakers - Vocals, Flute, Guitar, Percussion
*Gail Baker - Guitar, Vocals
*John Chamberlin - Vocals, Flute, Saxophone, Piano
*Tom Davis - Drums
*Mark Bowen - Bass
*Rob Hayes - Guitar, Keyboards, Flute, Harmonica, Vocals

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rep> Quincy Conserve - Aire Of Good Feeling Best Of (1968-74 new zealand, awesome jazzy groovy psych brass rock, 2008 remaster)

The Quincy Conserve was formed in Wellington in late 1967 by Malcolm Hayman. Malcolm was an extremely talented musician who had already been on the music scene for twelve years by that stage. Hayman was only 15 years old when he arrived in Wellington in 1955 as a member of the Maori Hi Fives showband. The following year the singer-guitarist formed the Trademarks, long-time residents at the Mexicali, a popular nightspot owned by American expatriate Harry Booth.

The Trademarks were very popular, and after four years of constant playing, queues formed to see them every time they played. Over the years, 30-odd musicians passed through the ranks of the Trademarks, before Malcolm disbanded the group in 1961. The Trademarks owed more than a little to the Maori showband tradition, where Hayman had learnt his licks, but the group gave Wellingtonians their first taste of rock'n'roll. One member of the Trademarks was Rodney "Dody" Potter, who was later a member of the Keil Isles and Dallas Four.

Following the demise of the Trademarks, Malcolm spent 18 months at the New South Wales Conservatorium of Music, followed by two years on the Australian-Pacific cabaret circuit with a variety of bands. Malcolm was a severe diabetic and in 1965, during a residency in New Caledonia, he came down with tuberculosis, spending the next 14 months in a Noumea hospital. He returned to Wellington in the middle of 1966 and formed a new band called the Soundells.

The Soundells had a residency at the Downtown Club in Wellington and at the end of 1967 they were enticed to go to Auckland to play there. They accepted the offer, but Malcolm decided not to go. Now without a resident band at the Downtown Club, owner Roy Young had enough faith in Malcolm to give him a budget to recruit, equip and rehearse a new band for his club. Malcolm immediately tried the rhythm section of Sounds Unlimited, who had just dissolved, but at rehearsals found that they were not appropriate. He then started scouring the countryside, looking for the best musicians, with a promise of a regular gig and a steady wage.

Malcolm recruited bass player Dave Orams from the Underdogs, keyboardist Rufus Rehu from the Quin Tikis, another previous member of Sounds Unlimited, saxophonist Johnny McCormick, and an inexperienced saxophonist, Dennis Mason. On drums was Bryan Beauchamp, from Bari and the Breakaways, but he was quickly replaced by another former Quin Tikis, Earl Anderson.

Rehearsals over, the Quincy Conserve debuted at the Downtown Club in February 1968. They were one of the most talented and professional groups to appear on the New Zealand music scene in the late sixties. They were Wellington's first 'supergroup'.

Malcolm continued playing for a number of years, but finally his diabetes caught up with him and he died as a result of complications on the 5th November 1988.

Quincy Conserve were never a true pop group, they were more of a musicians band, with Malcolm Hayman possessing one of the most distinctive voices in Kiwi Rock.

In 2008 EMI released a newest verion of their "Best Of ",  under the title "Aire Of Good Feeling" which contained more songs, singles and some good album tracks.
Sergent-au

Tracks

1. Aire Of Good Feeling (Jim Peterik) - 4:15

2. Ride The Rain (Bruno Lawrence) - 2:51

3. All Right In The City (Don Dunn, Tony McCashen) - 2:38

4. Roundhouse (D. Miller) - 3:18

5. Does Anybody Really Know What Time It Is (Robert Lamm) - 3:24

6. I Feel Good (James Brown) - 2:49

7. Somebody Somewhere Help Me (Steve Miller) - 2:41

8. Purple Frustration (Dave Orams) - 2:42

9. Don't Arrange Me (Dave Orams, Bruno Lawrence, Kevin Furey, Malcolm Hayman, Rufus Rehu, Dennis Mason, Johnny McCormick) - 2:04

10.Lazy Kind Of Day (Dave "Smokey" Smelko, George Sopuch, Mike "The Frist" Geraci, Don Nagy, Marc Spirou, Vic Walkus, Dave Myles, John Taylor) - 3:26

11.Hallelujah (David White, Johnny Caswell) - 2:26

12.Lovin Look (Robert Leslie Emmerson) - 2:35

13.Soul Thing (Keith Mansfield) - 3:15

14.Everybody Has Their Way (Bruno Lawrence) - 4:00

15.Keep On Pushing (Dave "Smokey" Smelko, Mike "The Frist" Geraci, Tony Corrao) - 3:11

16.Going Back To The Garden (Dennis Mason) - 4:19

17.I'm So Proud (Darlene Irra Landan) - 2:15

18.I Saw The Light (Todd Rundgren) - 2:59

19.Volcano (Robbie Robertson) - 2:34

20.Lulu Belle (Gary Coleman) - 3:05

21.I've Been Loving You Baby (Elton John) - 2:51

22.Here's To The Next Time (Elton John, Bernie Taupin) - 2:40

23.My Michell Chan (Johnny McCormick) - 3:47

24.Slut (Todd Rundgren) - 4:16

25.Keep On Playing That Rock And Roll (Edgar Winter, Jerry LaCroix) - 3:52

Quincy Conserve

*Malcolm Hayman - Lead Guitar, Laed Vocals 

*Dave Orams - Bass Guitar

*Rufus Rehu - Organ, Backing Vocals, Piano, Alto Horn

*Johnny McCormick - Tenor, Baritone Saxophones, Flute, Trumpet, Woodwind

*Dennis Mason - Tenor, Alto Saxophones, Backing Vocals

*Brian Beauchamp - Drums

*Bruno Lawrence - Drums

*Kevin Furey - Guitar, Trumpet, Vocals

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Various Artists - Blow My Mind The Doré Era Mira Punk And Psych Legacy (1965-69 us, tremendous garage psych rock, 2021 remaster)

Three of the quirkier imprints from Hollywood’s heyday in the mid-1960s were the record labels Doré, Era and Mira. Like most seasoned indie producers in that epoch, their owners Lew Bedell, Herb Newman and Randy Wood struggled to get to grips with the onslaught of rock’n’roll activity that followed in the wake of the British Invasion. But amongst each company’s catalogue of R&B, pop schlock and novelty discs were a number of outstanding garage and proto-psych 45s that today are sought-after collectors’ items.

 

“Blow My Mind: The Doré-Era-Mira Punk & Psych Legacy” collects together the best of this venerated repertoire in a power-packed set that also constitutes the first official reissue for many oft-bootlegged titles. Cuts like ‘The Thief’, ‘Slander’ and ‘I’ll Blow My Mind’ would be expensive to acquire in their original, minutely-pressed incarnation. Here, with top-notch sound and extensive annotation, these totemic garage rock items shine brighter than ever.

 

There is the expected quota of attitude-laden classics such as ‘My Baby’s Barefoot’, ‘Just Wanna Be Myself’ and the incredibly snotty ‘So What!!’, along with less heralded gems by bands such as South Hampton Story, the Puddin’ Heads, Yesterday’s Tomorrow and the Search. An unexpected bonus is a superb unreleased cut by ‘Hey Joe’ hitmakers the Leaves, along with off-beat garage-psych titles by Simon T Stokes, the Outlaw Blues and the Wrench.

 

“Blow My Mind!” is the natural sequel to Big Beat’s recent, well-received collection “Lost Innocence” and is an essential purchase for the dedicated garage head.

Big-Beat

Artists - Title - Composer

1. The Syndicate -.My Baby's Barefoot (Bill Rash) - 2:42

2. The Leaves - Do Me A Favor (Unknown Artist) - 1:50

3. The No-Nâ-Mee's–.Gotta Hold On (Doug Wareham) - 2:33

4. The Motion - The Thief (Stanley House) - 2:26

5. The Lyrics - So What!! (Christopher Gaylord) - 2:49

6. South Hampton Story - Leave Me Behind (Dick Garcia, Tony Ponzo) - 2:39

7. Simon T Stokes -.Big City Blues (Simon T Stokes) - 2:16

8. Yesterday's Tomorrow–.The Other Half (RW Chandler, Anthony Bertolet) - 2:21

9. The Regents - Worryin' Kind (Mike McDonald) - 2:48

10.John Winfield Jr.- She Touched My Soul (John Winfield Jr.) - 2:26

11.Ty Wagner -.Slander (Ty Wagner) - 2:08

12.The Puddin' Heads - Now You Say We're Through (David Russell, John Greek) - 2:03

13.The Lyrics - They Can't Hurt Me (Christopher Gaylord) - 2:48

14.Spencer's Van Dykes–.I'll Blow My Mind (Edward E. Spencer) - 1:54

15.The Decades - I'm Gonna Dance (The Decades) - 1:56

16.The Wrench - The Day Is Hard (Gary Scott) - 2:16

17.The Search - Climate (Jim Mannino) - 2:32

18.The No-Nâ-Mee's - Just Wanna Be Myself (Doug Wareham) - 2:21

19.The Outlaw Blues - Non-Stop Blues (Victor Aleman) - 2:41

20.The Front Page And Her - Shame (Bobby Mell, Randy Larkin) - 2:15

21.The Bees - Forget Me Girl (Robert Zinner) - 2:17

22.The Tormentors - She's Gone (Lee Harper) - 2:25

23.Basil And The Baroques - It's No Use (Gene Clark, Roger McGuinn) - 2:57

24.Unknown Artist - To Make A Lie (Unknown Artist) - 2:31

25.Simon T Stokes - Cobwebs (Christian Wilde) - 2:22

The Syndicate

*Bill Patapoff - Bass  

*Bob Bourbon - Drums  

*Rick Cronin - Lead Guitar  

*Bill Rash - Lead Vocals  

*Jim Kobzeff - Rhythm Guitar  

The Leaves

*Jim Pons - Bass  

*Tom "Ambrose" Ray - Drums  

*Bobby Arlin - Lead Guitar  

*Robert Lee Reiner - Rhythm Guitar  

*John Beck - Vocals, Harmonica

  

The No-Nâ-Mee's

*Dewayne Wareham - Bass  

*Rod Williams - Drums  

*Clay Ice - Organ  

*Cliff Davis - Rhythm Guitar  

*Doug Wareham - Vocals, Guitar 

 

The Motion  

*Lee Bickford - Bass  

*Bill House - Guitar  

*Mark Shinbrott - Organ  

*Stan House - Vocals, Drums 

 

The Lyrics  

*Danny Garcia - Bass  

*Gary Neves - Drums  

*Michael Allen - Lead Guitar  

*Chris Gaylord - Lead Vocals, Keyboards  

*Craig Carll - Rhythm Guitar  

*Steve Khailer - Vocals  

South Hampton Story

*Danny Beckon - Bass  

*Leon Beckon - Drums  

*John Valenzuela - Guitar  

*Danny Garcia - Keyboards, Lead Vocals  

*Tony Ponzo - Lead Guitar  

The Regents  

*John Harris - Bass  

*Craig Boyd - Drums  

*Tom Baker - Guitar  

*Mike McDonald - Guitar  

*Jerry Rosa - Organ  

The Puddin' Heads

*John Greek - Guitar  

*Denny Reed - Vocals  

The Lyrics  

*Danny Garcia - Bass  

*Gary Neves - Drums  

*Michael Allen - Lead Guitar  

*Chris Gaylord - Lead Vocals, Keyboards  

*Craig Carll - Rhythm Guitar  

*Steve Khailer - Vocals  

The Bees 

*John York - Bass  

*Cary Slavin - Drums  

*Bob Zinner - Guitar  

*Peter Ferst - Guitar  

*George Caldwell - Vocals  

The Tormentors

*Dan Davis - Bass  

*Tim Daley - Drums  

*Lee Harper - Guitar  

*Mark Davis - Lead Guitar  

Basil And The Baroques

*Jim Messina - Bass  

*Roger Brennan - Drums  

*John Hartnett - Lead Guitar  

*Bruce Miller - Lead Vocals  

*John Cahners - Rhythm Guitar 

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Catfish - Live Featuring Bob Hodge (1971 us, rough blues rock, roots 'n' roll)

Catfish has been called an “American folk blues hero” and has been a mainstay on the American Blues music scene for three decades now! He has twenty four albums to his credit, comprised almost totally of original material. “Catfish Blues” and “Like A Big Dog Barkin’” on the Wildcat label, and “Eyewitness Blues” on Genes CD were released in 1994 and 1995. His first album of children’s songs “Adventures at Catfish Pond”, on Music for Little People label was released in May of 1996. The album won the NAPA Golden Award as best children’s music of 1996. His 1998 release “Bare Necessities”(on Chicken Legs Music) finds him in a solo acoustic setting, with lowdown funky blues and soulful ballads. 

His 1999 release “Twenty Years” features performances from concerts and radio broadcast and includes the only version now available of “Boogie Man Gonna Git Ya”, as well as other rare gems. His 2002 release “Let’s Eat” is a best of collection of his best known food songs of which there are many! Both of his latest albums are available on Chicken Legs Music. All of his albums prior to the 1990’s are hard to find except for the first Catfish Band album “Get Down”, which Sony/Epic re-released in the mid 1990’s, due to demand for it overseas.

Catfish found his calling early on. While growing up in Detroit, he was sneaking into Motown Records Hitsville studio to catch the Four tops and the Supremes and grooving to R&B and Blues while his contemporaries gravitated to the Beatles. In the late 1960’s he formed the Catfish Band and led them out of Detroit into national prominence.

1971’s Live Catfish, capturing the next line-up at Detroit’s Eastman Theatre on rollicking covers of Martha & The Vandellas’ Nowhere To Run, Barrett Strong’s Money (That’s What I Want) and Whole Lotta Shakin’ Goin’ On, alongside originals including the accusatory diatribe Letter To Nixon and the stonking Mississippi River.

Though they can be appreciated as long-lost minor classic relics from that incendiary period, these first forays weren’t the last the world heard of the mighty ‘Catfish’ Hodge, who carried on testifying his beloved blues for the next 35 years.

Tracks

1. Nowhere To Run (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:49

2. Money (That's What I Want) (Berry Gordy, Jr., Janie Bradford) - 4:48

3. 300 Pound Fat Mama (Bob Hodge) - 14:37

4. Mississippi River (Bob Hodge) - 6:50

8. Letter To Nixon (Bob Hodge) - 11:31

6. Whole Lotta Shakin' Goin' On (Dave Williams, Sunny David) - 3:19

Catfish

*Bob Hodge - Vocals

*Dallas Hodge - Guitar  

*Harry Phillips - Keyboards

*Dennis Cranner - Bass 

*Jim Demers - Drums 

with

*John Hill - Piano (Track 1)

1970  Catfish - Get Down  

1972/75  Bob "Catfish" Hodge - Different Strokes The Complete East And Westbound Recordings (2014 double disc)  

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Blackstone - Blackstone (1971 us, solid hard classic rock, feat Max Weinberg from the E Street Band fame)

New Jersey-based hard rock band who recorded an eponymous album for Epic Records in 1970. The drummer was Max Weinberg, later of The E Street Band.

"Noise proves nothing," Mark Twain once wrote, "often a hen who has merely laid an egg cackles as if she had laid an asteroid.

Blackstone, the young men who make their debut with this album, are destined to make a lot of noise in the music business, but not in the sense described above. After five months of intensive rehearsals in a New Jersey garage, they came to the studio and laid the  asteroid contained herein.

It's an impressive beginning. Blackstone has revealed its mettle, they've got what it takes and it's up to you to turn this asteroid into a star in the rock firmament.

(from Original Liner Notes)

Tracks

1. Love Love Love (Dave DesRochers, Tom Butler, Kevin Collins, Tom Flynn, Max Weinberg) - 4:26

2. Sing - 3:44

3. Moondog - 4:19

4. Freedom Rider (Dave DesRochers, Tom Flynn) - 2:53

5. Time - 3:40

6. K.C. Funk (Whole Lotta Livin' Lovin') (Dave DesRochers, Tom Butler, Kevin Collins, Tom Flynn) - 4:12

7. Sleep Tonight - 3:33

8. Thinking (Dave DesRochers, Tom Butler) - 5:56

9. Woman Who Lives Alone - 6:08

All songs by Dave DesRochers except where noted

Blackstone

*Tom Butler - Bass, Vocals

*Kevin Collins - Organ, Piano

*Dave DesRochers - Guitars, Vocals

*Tom Flynn - Vocals8

*Max Weinberg - Drums, Percussion 

with

*Don Oriolo - Strings, Horns Conductor, Arranger  

*Lor Crane - Strings, Horns Conductor, Arranger (Track 7)

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rep> Group Image - A Mouth In The Clouds (1968 us, wild acid psych rock, 2007 fallout reissue)

As much as collectors and critics can try to approach obscure albums on their own merits without unfairly comparing them to the giants of their era, sometimes a band's inspiration is just too blatant to ignore. So let's lay it on the line here: the Group Image's sole LP would not have existed were it not for the prior existence of the early Jefferson Airplane albums and concerts. It's not just the male-female vocal blend, with Sheila Darla approaching her singing very much like Grace Slick did, or the very specific echoes of Jorma Kaukonen's wiggly guitar tone. 

There are also echoes of specific Airplane songs, sometimes in passing references to the Airplane's arrangements of "The Fat Angel" or "Coming Back to Me," and sometimes in more obvious cops of "3/5 of a Mile in Ten Seconds," "It's No Secret," and (particularly in "Hiya") the Airplane's arrangement of "The Other Side of This Life." It's not all a trip in Jefferson Airplane economy class, but alas, there are also heavy imprints of the Mamas & the Papas, albeit in a more acid-folk-rock style, and a bit of the harmonies of the Association and the good-time cheer of the Lovin' Spoonful. 

If you're just an absolute sucker for those sounds, the record has its pleasant qualities as a psychedelicized folk-rock album of sorts, with heavily West Coast-influenced bittersweet melodies that are broken up by some freakier passages with jazzy tempo changes and searing distorted guitar. It's not just a lack of originality that disqualifies the record as a notable obscurity, however, but the fairly unexceptional quality of the songs, though it's better than many such largely forgotten psychedelic releases. 

by Richie Unterberger

Tracks
1. Hiya - 5:00
2. A Way To Love You All The Time - 2:50
3. Moonlit Dip - 5:45
4. Voices Calling Me - 3:30
5. New Romancing - 2:50
6. Aunt Ida - 6:08
7. Banana Split - 6:15
8. My Man - 1:55
9. Grew Up All Wrong - 2:50
10.The Treat - 5:30
All songs by the Group Image

The Group Image
*Sheila Darla - Vocals
*Dr, Hok - Lead Guitar
*Freddy Knuckles - Rhythm Guitar
*William Guy Merrill - Rhythm Guitar
*Black Doug - Bass
*Professor Leon Luther Rix - Drums

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