Plain and Fancy

Monday, June 22, 2026

rep>>> Paul Brett's Sage - Jubilation Foundry (1971 uk, exceptional folk soft rock, 2007 Japan reissue)

Paul Brett is widely regarded as one of the finest 12-string acoustic guitarists in the world and also has an amazing collection of guitars, something that he is probably better known for these days than his recorded output. Having been performing since the early 1960s he has contributed his skills to many records including those by Arthur Brown, Velvet Opera, Tintern Abbey, The Strawbs and Fire to name but a few. However, he also released a trio of albums with his band Sage between 1970 and 1972. Long out of print, Esoteric have done their usual expert job in re-mastering and reissuing the albums complete with bonus tracks and rare photographs. All three albums were initially released by Pye Records, either on the main label, or in the case of the latter two albums, on their Dawn imprint label.

By the time of the second album, Jubilation Foundry, the band's name had changed to the more grammatically correct Paul Brett's Sage and Nicky Higginbottom had been replaced by Stuart Cowell, a second guitarist. Although Higginbottom had gone, some flute playing persists, particularly on the opening track Cottage Made For Two. In other changes, there is more harmony singing and a greater use of orchestrations (by Mike Gibbs) plus an overall rockier feel, although both Brett and Cowell still provide plenty of acoustic in-put throughout the album, such as on their guitar playing on Pasadena Days and piano playing on Keeper Of My Heart, both written by Steve Voice, the younger brother of conga, bongo and anvil (!) player Bob Voice. The simplicity of this latter song, along with the gorgeous arrangement blending strings, wind and brass, make this a killer love song.

There was also an expansion in the styles of music covered, with both sides of the single from the album Goodbye Forever and Good Old Fashioned Funky Kind Of Music being somewhat atypical and although interesting, not the strongest tracks on the album to my mind. (As an aside, the marketing prowess of Pye Records is exemplified by the single being wrapped in a sleeve featuring a photograph which included Higginbottom!). Tuesday Evening features some great harmony singing from the whole band, as does Help Me Jesus during which Voice gets the most out of his bongos.

However, it is the title track, featuring the aforementioned anvil, that takes the credits with some fine playing by the ensemble, haunting lyrics and a great dirge-like quality. The three additional tracks are from an EP that was released between the first and second album which featured Reason For Your Asking from the debut album as lead track. Stylistically, the tracks are more akin to those on the first album, acoustic with added orchestrations on the first two tracks, with Everlasting Butterfly being the standout number, and a more upbeat chant on To Everyman [Freedom].

by Mark Huges

Tracks
1. Cottage Made For Two (Richard Dufall) - 2:35
2. Hold My Hand Mother (John Hutcheson) - 3:00
3. Pasadena Days (Steve Voice) - 3:17
4. Keeper O F My Heart (Barry Myers, Paul Brett) - 3:45
5. Goodbye Forever (John Hutcheson) - 3:03
6. Good Old Fashioned Funky Kind Of Music (John Hutcheson) - 4:23
7. Bits (Paul Brett, Stuart Cowell) - 0:34
8. I Fell So Far (Richard Dufall) - 3:08
9. Written In Winter (Paul Brett) - 2:56
10.Tuesday Evening (Paul Brett) - 2:27
11.Help Me Jesus (John Hutcheson) - 4:16
12.Jubilation Foundry (Paul Brett) - 4:51
13.Bits (Paul Brett, Stuart Cowell) - 0:59
14.Everlasting Butterfly (Paul Brett) - 3:37
15.Savannah Ladies (Paul Brett) - 3:16
16.To Everyman (Freedom) (Paul Brett) - 4:17
Bonus-Tracks 14-16

Paul Brett's Sage
*Paul Brett - Acoustic Guitar, Piano, Electric Guitar, Lead Vocals
*Stuart Cowell - Acoustic Guitar, Lead Guitar, Piano, Vocals
*Dick Dufall - Bass, Vocals
*Bob Voice - Bongoes, Congas, Vocals, Anvil
*Paul King - Harmonica

1970 Paul Brett's Sage - Paul Brett's Sage (2007 japan edition)
Related Acts
1969 Velvet Opera - Ride A Hustler's Dream
1968-70 Fire - The Magic Shoemaker (2009 bonus tracks remaster)

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rep>>> Paul Brett's Sage - Paul Brett's Sage (1970 uk, fabulous psychedelic rock, 2007 japan edition)

The colour of Sage , most likely purple with streaks of blue, well that’s if you’ve ever listened to Paul Brett’s Sage. The multi-colored juggled history of Paul Brett most likely started with the group SW4 headed by future Blonde On Blonde Ralph Denyar. Paul would also replace Jimmy Page in Neil Christian & The Crusaders. A brief entry into the Arthur Brown Union yielded their first single, the Pete Townshend produced “Devil’s Grip” with Ronnie Wood on bass.

After brief excursions in 1967 with the Overlanders and Warren Davis Monday Band, Paul would enjoy sessions with the Dave Terry Band which later evolved into Elmer Gantry Band. The age of psychedelia had provided enriched pathways for the gifted Brett as he took his riffs to Tintern Abbey and springboarded from their into the melting pot of Elmer Gantry’s second album Ride A Hustler’s Dream which pushed out an urgent version of Blind Willie McTell’s “Statesboro Blues”.

The roads were many and the options countless but a distinct destiny drew Paul into the Soulmates where he met the gifted twelve string guitarist, ex Levee Breakers Johnny Joyce who at that stage had just left Velvet Opera. The group Friday’s Chylde had just metamorphosed into Fire and churned out a surging psyche single called “Father’s Name Was Dad” with future Strawb Dave Lambert on lead. Paul would enter for the 1970 conceptual Magic Shoemaker, acknowledged as a masterpiece in the same spirit as the Small Faces’ Ogdens' Nut Gone Flake.

The Brett sessions Paul’s sessions were scattered and endless as he persued the majestic chord that David once held in his Solomon wisdom. Amongst the chosen and frozen were poet Roy Harper’s unforgettable Sophisticated Beggar, Al Stewart’s Zero She Flies alongside Jimmy Page ..the “Volcano” and “Mary Jane” singles honed from Elmar Gantry’s debut which did not include Paul as an official member.

Paul would further his sessions with Strawbs on Dragonfly (lead guitar on "The Vision Of The Lady Of The Lake") and various singles included on Classic Strawbs. To add to this magnificent database Paul Brett also filled in the gaps with The Ivy League, The Flower Pot Men, Status Quo, the prolific Barclay James Harvest, ex Strawbs - Hudson & Ford, Max Bygraves, The Cyril Stapleton Orchestra, Lonnie Donegan and folk stalwart Ralph McTell, known for his hit “Streets Of London”.

The first coming of Sage ignited when ex Fire lighters Dick Dufall and percussionist ,vocalist Bob Voice joined lead guitarist Paul Brett to form Paul Brett's Sage with added employment of Nicky Higginbottom on flute and sax. The 1970 self titled ‘Hourglass’ debut was celebrated by the superb seven inch “Three D Mona Lisa” / “Mediterranean Lazy Heat” riddled with superb time signatures. The album was a shivering fusion of bongos , astounding acoustic and pulsing rhythms superbly enhanced by Jethro Tull arranger David Palmer.The percussive rhythms of “The Sun Died” and bass ambling “Little Aztec Prince” are the core style of this story tell album. Often not told are the superb lyrics ..”Reason For Your Asking” - .’You asked me why a flower died and why the Eastern horsemen rides, Why the silver lash of rain hides footprints in the dusty lane’ . Tolkienistic dimensions and apocalyptic visions cradle “Trophies Of War” and the severing “Warlock”. The 1971Jubilation Foundry, more of an acoustic affair and in hindsight Sage’s most established creation with it’s mature fusion of acoustic and harmonies now included ex Titus Groan Stuart Cowell as lead guitarist who later did some amazing things with Al Stewart.

Paul King who later played with Lambert in the King Earl Boogie Band played the harmonica on Jubilation. The album yielded the single “Dahlia” / “Cottage Made for Two”. A strong country element threads the album with elements of Strawbs, Magna Carta but a more definitive pick can be found in the heart sagging “I Fell So Far” and harmony filled “Tuesday Evening”. A cry from the gutter to the utter spills out of “Help Me Jesus” an eerie bluesy ballad that carries it’s message into the follow up holler “Jubilation Foundry”.

By the time the 1972 Schizophrenia hit the shelves Sage were back into electric with some stirring lead fusion on “Custom Angel Man”. a psychedelic master of note. The album enlisted Dave Lambert on piano and organ. Schizophrenia also sprouts some very fast guitar and nifty riffs on “Song Of Life, “Song Of Death” and “Slow Down Man” with Rod Coombes on drums. In the spirit of Jubilation’s “Tuesday Evening” those S&G harmonies reel through “Tale Of A Rainy Night”. Rob Young stepped in for the flute and oboe on the exquisite “Autumn”, a Strawb template in anybody’s book. Paul brett would later team up with ex Levee Breakers Johnny Joyce from Velvet Opera as an acoustic duo and then Cyril Stapleton Orchestra (with Dave Palmer of Jethro Tull and Bob Voice of Fire.

Paul’s awesome fretwork spills through (Bradley’s Records) “Mr.Custer“ & “Summer Driftin“ singles. From 1973 Paul’s solo albums on Bradleys Records, backed by violinist/guitarist Mike Piggott first heard with John Dummer Blues Band , Bert Janch and added multi-instrumentalist Dave Griffiths rule the roost. Further albums most likely deemed Prog or Suites wash Clock’s , Phoenix Future and Earth Birth, the latter a must.

The definitive purchase must be Fretdancer by Paul and that 12-string mandarin called Johnny Joyce that even Shawn Phillips stands in awe of. Paul Brett continues to record, evolving with each recording. Sadly Johnny Joyce passed from this world to a far greater dimension.

by Shiloh Noone

Tracks
1. 3D Mona Lisa (Bob Voice) - 3:22
2. The Sun Died - 4:04
3. Little Aztec Prince (Bob Voice) - 4:25
4. Reason for Your Asking (Paul Brett, Bob Voice) - 4:13
5. Trophies of War - 3:49
6. The Tower - 5:18
7. The Painter - 4:14
8. Mediterranean Lazy Heat Wave (Bob Voice) - 3:21
9. Warlock - 5:42
10.Wher Have All The Clowns Gone? - 3:05
11.One Night Stand - 2:46
All songs by Paul Brett except where indicated.

Paul Brett Sage
*Paul Brett - Guitar, Vocals
*Dick Dufall - Bass
*Bob Voice - Drums
*Nicky Higginbottom - Saxophone, Flute

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Sunday, June 21, 2026

rep>>> The Yankee Dollar - The Yankee Dollar (1968 us, excellent west coast psychedelia, 2002 edition)

According to the liner notes on their album, drummer Nick Alexander, singers Liza Gonzales and Dave Riordan, guitarist Greg Likens, keyboard player Bill Masuda and bassist Bill Reynolds met while students at San Luis Obispo's Cal Poly.

Signed by Dot, their 1968 debut teamed the band with producer Frank Slay. Musically "The Yankee Dollar" was nothing less than wonderful. Gonzales and Riordan were both gifted with nice voices and on tracks such as "Sanctuary" and "City Sidewalks" effortlessly trading lead vocals. Backed by Likens' fuzz guitar (check out the great solo on "Live and Let Live"), Masuda's stabbing organ chords and occasional sound effects, the collection sported a sound that successfully blended folk-rock with Jefferson Airplane-styled psychedelic.

Musically the set offered up a standard mix of popular covers (Donovan's "Catch the Wind", Dylan's "The Times, They Are A-Changin'" and Chet Power's "Let's Get Together") and original material. While the covers were all nicely done, group penned originals such as "Follow Your Dream's Way" and "Johann Sebastian Cheetah" were even better. Inexplicably the set failed to sell. The band apparently subsequently called it quits.

by Scott Blackerby

Tracks
1. Sanctuary (Carter, Gilbert) - 2:16
2. Good Old Friends (Carter, Gilbert) - 2:36
3. Catch The Wind (Donovan) - 2:55
4. If In Swimming (David Riordan) - 3:53
5. Follow Your Dream's Way (Greg Likens) - 6:36
6. Live And Let Live (Carter,Gilbert) - 2:18
7. City Sidewalks (Carter,Gilbert) - 2:56
8. Let's Get Together (Chet Powers) - 4:30
9. Winter Boy (Buffy St. Marie) - 2:22
10.The Times, They Are A-Changin' (Bob Dylan) - 3:06
11. Johann Sebastian Cheetah (David Riordan, Greg Likens, Freeman) - 3:04

The Yankee Dollar
*Nick Alexander - Drums, Percussion
*Liza Gonzales - Vocals
*Greg Likens - Guitar
*Bill Masuda - Organ
*Bill Reynolds - Bass
*Dave Riordan - Vocals

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1967-68 Beacon Street Union - The Eyes Of The Beacon Street Union / The Clown Died In Marvin Gardens

rep>>> Fred - Fred (1971 us, brilliant progressive jazzy folk rock, World In Sound 2001 release)

The experience that what was Fred, goes beyond what will be said here, as the music made by the band in the years 1970-1974 goes beyond the tracks of this album. The hope in these words is to give a little historical context to the music being published here, for the first time in a collection more than thirty years after it was first recorded.

Ken Price and Joe DeChristopher began playing together while students at Bucknell University in Lewisburg Pennsylvania in 1967. Ken played keyboards, mainly a beat-up electric Wurlitzer Piano. Joe fancied himself a guitar player, but took up Bass to play in Ken’s Band “Still at Large”. When the lead Guitar player dropped out late in 1968, Ken and Joe stayed together, adding John, a young Bass player. Unfortunately, John’s freshman roommate, Bo Fox, had been snatch up by another popular fraternity dance hall band, “The Gross National Product” a trio of Bo on the Drums and two upperclassmen on Guitar and Keyboards.

While the drumming set was not well filled, Joe and Ken thought they could also use a vocalist to help out. Their classmate Gary Rosenberg self-styled poet and disc jockey at the college radio station, steered the to David Rose recently back at Bucknell after a tour of service as a conscientious objector (running a Quaker related home of disadvantaged youth in a tough part of Paris). David made a great contribution as a stager and frontman, keeping quiet the fact about that he’d been trained to play the Violin, which he started doing at the age of six.

The band known occasionally as “David Rose and his Orchid” or “Mustang Turfbinder and the Swelltones” was improving but still need help on the Drums. Help came in the autumn of 1969, when Bo’s GNP band-mates had graduated and left town, leaving him available. Again with an assist from Gary, Ken, Joe, John and David, now willing to try the Violin in the context of improvisational Rock ‘n’ Roll, matched up with Bo. Amidst the belated arrival in small-town, rural America of blossoming counterculture of Peace, Love and drugs, a wonderful musical experience was born.

Gary continued part of our experience, as a friend an source for new music from the likes of The Band, Procol Harum, Traffic, Jethro Tull, King Crimson and Frank Zappa to name a few. We spent the month of January 1970 intending to write a hundred original tunes, a task at which we failed miserably. Even so, we knew that there was something special happening, and as young and as inexperienced as we were, there was a growing will among us to keep with it.

School ended for most of us either by choice or by graduation in May 1970, but we stayed together most of us living in either of two small harm houses about 4 miles west of town. John transferred to a school in Boston, and we accepted into our ranks of ex-collegians, the outsider Michael “Bones” Robinson, self made bass player and song-writer.

We spend the summer smelling honeysuckle along the banks of the Susquehanna, on those trips back from high schools and bars to the south, near Harrisburg and York, we later spent our time building a house out of a barn for David’s family to live in (after his apartment was ruined by flood of 1972), learning to play, to write and manage on our shared income from playing music.

We attracted diverse collection of friends and well-wishers along the way, including artist/photographer L.J. Kopf roaches Roger Brown and Pat Biggs, sound engineer Charlie Bozenhard (who put together the components of a system to amplify David), Folk musicians Tom Patten and Ira Packman (who opened for some of our concerts), a group of ex-students who became carpenters working as “Grassy Flats” and many others, too numerous to mention.

By late 1971, we'd worked up several original tunes (most of them included on this album.) We managed to produce a 45 rpm single, containing "Salvation Lady" and "a love song", both with lyrics from Gary. David preached the vision of a self-sufficient community of artists, self supporting and true to itself. Gary continued to write poetry, much of which was never put to music. LJ took pictures, designed posters, and showed slides at our concerts.

Everyone took a role in the life of the band, on and off the' stage. We covered Procol Harum, Frank Zappa, Jethro Tull and Mahavishnu Orchestra, enlisting the talenls of wunderkind Peter Eggets on piano, drums when Bo took a break, horn arrangements, and a work ethic we’d never found on our own. Up into 1973, we were existing on the outside of a society in generational turmoil, enjoying our role as outsiders, defiant that hired us, and the booking agents who tried to make a dollar in marketing us.

Even so in those early years especially, we were more than the music, and bigger than the sum of our parts. With the eventual addition of Peter as a full time member of the band, came the departure of Gary, and ultimately later on the dissolution of the band, but alas, that is not the story of the music on this album.

Enjoy what is here, know there is more recorded Fred music to come, and that what is recorded here, while standing on its own merit, was also a part of the seasoning process which led to the music made later under the influence of the formidable composing and arranging skills of Peter Eggers. Welcome to the first recorded music of Fred.

By Joe DeChristopher (Lewisburg Pennsylvania)

Tracks
1. Four Evenings (Mike Robison, Gary Rosenberg) - 6:39
2. Soft Fisherman (David Rose, Gary Rosenberg) - 6:31
3. Salvation Lady (Ken Price, David Rose, Gary Rosenberg) - 6:01
4. By The Way (Joe DeChristopher, David Rose, Gary Rosenberg) - 6:45
5. I'll Go On (Joe DeChristopher, Ken Price, David Rose, Gary Rosenberg) - 4:26
6. For Fearless Few (Mike Robison) - 3:47
7. A Love Song (Joe DeChristopher, Gary Rosenberg) - 4:40
8. Booking Agent Blues (Joe DeChristopher) - 4:33
9. Windwords (Joe DeChristopher, Gary Rosenberg) - 6:51
10.A Love Song (45rpm version) (Joe DeChristopher, Gary Rosenberg) - 3:58

Fred
*Gary Rosenberg - Lyrics, Percussion
*Joe DeChristopher - Guitar
*David Rose - Keyboards, Violin, Guitar, Vocals
*Bo Fox - Drums
*Ken Price - Keyboards
*Mike Robison - Bass, Guitar, Vocals
*Peter Eggers - Drums, Piano

1974 Fred - Notes On A Picnic

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Saturday, June 20, 2026

rep>>> Eagle - Come Under Nancy's Tent (1970 us, fine melt of roots 'n' roll folk psych classic rock, 2026 reissue)

From the remnants of Beantown's psychedelic Beacon Street Union flew the equally short-lived Eagle. After issuing two virtually unheard long-players, the BSU were unceremoniously dropped by their record company in late 1968. By 1970, John Lincoln Wright (vocals), Robert Rosenblatt (keyboards/brass), Richard Weissberg (drums/percussion), and Wayne Ulaky (bass) had honed their sound in a much more earthy fashion, creating an accessible vibe, contrasting the over-produced sound of their former incarnation. However, they did maintain the strong melodic sensibility that had driven the better material from both Eyes of the Beacon Street Union (1968) and The Clown Died in Marvin Gardens (1968).

In keeping with the current trends, Come Under Nancy's Tent (1970), which was ultimately Eagle's sole release, blends both solid and otherwise aggressive electric rock with the lilting countrified sound of the singer/songwriter and early-'70s folk movement. "Pack Up" commences the effort with a driving, propulsive Bo Diddley beat and traveling rhythm. "Brown Hair" stands as one of the better sides on the disc, with its easier acoustic melody. This counters the noir brooding of "City Girl" and the exemplary and slightly trippy "Comin' Home Day." There are a couple of straight-laced rockers as well -- "Snake in the Grass" has a danceable groove that is uncannily similar to the Routers' early surf instrumental "Let's Go," and "Separated" is likewise an uptempo toe-tapper. In 2003, Come Under Nancy's Tent was issued on CD as part of the three-disc State of the Union box set, restoring the title after over 30 years of being out of print.

by Lindsay Planer

Tracks

1. Pack Up (John Wright) - 3:56

2. Come In, It's All for Free (Wayne Ulaky, John Wright) - 2:58

3. Brown Hair (Wayne Ulaky, John Wright) - 3:26

4. Dance on Little Beauty (John Wright) - 2:15

5. City Girl (Wayne Ulaky, John Wright) - 2:59

6. Kickin' It Back to You (Wayne Ulaky, John Wright) - 2:36

7. Separated (Wayne Ulaky, John Wright) - 3:30

8. We Got a Good Thing Goin'/Get a Hit and Run (Joshua James) - 3:36

9. Snake in the Grass (Wayne Ulaky, John Wright) - 3:12

10.Comin' Home Day (Wayne Ulaky, John Wright) - 3:09

The Eagle

*Jamie James - Guitar, Vocals

*Robert Rhodes - Horn, Keyboards

*Wayne Ulaky - Bass

*John Wright - Vocals

1974 Lynyrd Skynyrd - Second Helping (24karat Gold CD and japan expanded edition)

rep>>> Lynyrd Skynyrd - Pronounced Leh-Nerd Skin-Nerd (1973 us, classic debut album, Al Kooper production, 2013 SACD and 2001 bonus tracks)

The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone.

This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even The Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands.

Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential.

The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album.

by Stephen Thomas Erlewine

Tracks

1. I Ain't The One (Gary Rossington, Ronnie Van Zant) – 3:53
2. Tuesday's Gone (Allen Collins, Rossington, Van Zant) – 7:32
3. Gimme Three Steps (Collins, Van Zant) – 4:30
4. Simple Man (Rossington, Van Zant) – 5:57
5. Things Goin' On (Rossington, Van Zant) – 5:00
6. Mississippi Kid (Al Kooper, Van Zant, Bob Burns) – 3:56
7. Poison Whiskey (Ed King, Van Zant) – 3:13
8. Free Bird (Collins, Van Zant) – 9:18

2001 MCA Bonus Tracks

9. Mr. Banker (Demo) (Rossington, Van Zant, King) – 5:23
10.Down South Jukin' (Demo) (Rossington, Van Zant) – 2:57
11.Tuesday's Gone (Demo) (Rossington, Collins, Van Zant) – 7:56
12.Gimme Three Steps (Demo) (Collins, Van Zant) – 5:20
13.Free Bird (Demo) (Collins, Van Zant) – 11:09

Lynyrd Skynyrd
*Ronnie Van Zant – Lead Vocals, Lyrics
*Gary Rossington – Lead Guitar , Rhythm Guitar, Slide Guitar
*Allen Collins – Lead, Rhythm Guitar
*Ed King – Bass, Lead Guitar On "Mississippi Kid”
*Billy Powell – Keyboards
*Bob Burns – Drums
*Leon Wilkeson – Bass Guitar
Additional Musicians
*Al Kooper – Bass, Mellotron, Back-Up Harmony, Mandolin, Bass Drum, Organ, Mellotron
*Robert Nix – Drums On "Tuesday's Gone"
*Bobbye Hall – Percussion On "Gimme Three Steps", "Things Goin' On"
*Steve Katz – Harmonica On "Mississippi Kid"

1975 Lynyrd Skynyrd - Nuthin' Fancy (japan expanded reissue)

1969 Hunger - Strictly From Hunger (2018 three discs digi pak remaster)

1979 Alias - Contraband (2011 Crossroads)

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1974 Chapman • Whitney - Streetwalkers (2009 edition and 2024 remaster and expanded)

Friday, June 19, 2026

rep>>> Streetwalkers - Red Card • Vicious But Fair (1976-77 uk, fascinating multicolored rock, 2005 remaster)

Punk rock made the Streetwalkers seem like old farts, but Red Card proved (upcoming metaphor overuse intended) that they still had an ace up their sleeve. From the groove-heavy "Roll up, Roll Up" to the ferocious "Run for Cover," this is the first and last great gasp from this band. In fact, had it come a few years earlier, it could have been included along with some of the better work by Chapman and Whitney's previous band, Family. The highlight, perhaps the best reason to search out this record, is a cover of Otis Blackwell's "Daddy Rollin' Stone," which Roger Chapman absolutely sings the living sh*t out of. It's an exhilarating moment and proof positive that he has one of the great voices in rock & roll.

by John Dougan

In 1977, drummer McBain was replaced by David Dowle, who later joined Whitesnake, and keyboardist Brian Johnstone and new bassist Mickey Feat joined the band. With this lineup, the last studio album, “Vicious But Fair,” was recorded in 1977. However, the album was not successful at all in a period dominated by punk and new wave.

After the 1977 album Live, the band broke up. Bobby Tench left to join Van Morrison's band, along with Mickey Feat. Charlie Whitney formed the equally unsuccessful band Axis Point, while David Dowle joined the band Midnight Flyer. Singer Roger Chapman started a solo career and was/is particularly popular in Germany. He also scored a hit as a singer on the Mike Oldfield single Shadow On The Wall.

Tracks

1. Run For Cover - 5:47

2. Me An' Me Horse An' Me Rum (Bobby Tench, Roger Chapman) - 4:04

3. Crazy Charade (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:27

4. Daddy Rolling Stone (Otis Blackwell) - 3:15

5. Roll Up, Roll Up - 3:29

6. Between Us - 3:48

7. Shotgun Messiah (Bobby Tench, Charlie Whitney, Roger Chapman) - 4:49

8. Decadence Code - 6:44

9. Mama Was Mad - 4:15

10.Chilli-Con-Carne - 3:55

11.Dice Man - 9:30

12.But You're Beautiful - 3:57

13.Can't Come In - 4:03

14.Belle Star (Charlie Whitney) - 3:13

15.Sam (Maybe He Can Come To Some Arrangement) (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:47

16.Cross Time Woman - 5:16

All Songs written by Charlie Whitney, Roger Chapman except where noted

Tracks 1-8 from "Red Card" LP 1976

Tracks 9-16 from "Vicious But Fair" LP 1977

The Streetwalkers

*Roger Chapman - Lead Vocals, Percussion

*Charlie Whitney - Electric, Slide Guitars, Keyboards

*Bob Tench - Electric Guitars, Vocals, Keyboards, Percussion

*Nicko - Drums, Percussion (Tracks 1-8)

*Jon Plotel - Bass, Backing Vocals (Tracks 1-8)

*David Dowle - Drums, Percussion (Tracks 9-16)

*Michael Feat - Bass Guitar, Vocals (Tracks 9-16)

*Brian Johnstone - Keyboards, Vocals (Tracks 9-16)

*Wilf Gibson - String Arrangements

*Mel Collins - Horns (Tracks 9-16)

*Poli Palmer - Synthesizer (Track 12)

*Louise, Eunice - Backing Vocals (Tracks 9-16)

1975 Streetwalkers - Downtown Flyers (2005 remaster)

1970 Family - A Song For Me ( 2004 japan remaster and expanded)

1972 The Strawbs - From The Witchwood

Strawbs - Grave New World (1972 uk, distinctive, melodic progressive rock with strong folk roots)

"Benedictus" is the quintessential Strawbs, the band at their finest. If someone were to ask me to describe their unique sound, I would have to say "listen to Benedictus, then you'll know". The layering of instruments and vocals, strong use of mellotron/synthesizers, bass and especially organ (to evoke the cathedral) all say, "this is The Strawbs". The lyrics have recurrent religious themes: blessings for the highest to the lowest, the living and the dead, the wanderer/holy traveller, hero/saint, soldier/warrior. A benediction by definition is "the invocation of a blessing, especially at the close of a religious service". With its lyrics of forgiveness, saintliness and thankfulness, "Benedictus" shows the beauty of God's love in all of us. Dave Cousins' vocals at times are intentionally dystonic, perhaps to give the listener the feel of a Gregorian chant and to further reinforce the religious aspects of the song. Tony Visconti, who helped to produce "Benedictus", is well known in progressive rock circles for his work with The Moody Blues and many others.

In stark contrast to "Benedictus", "Hey, Little Man...Thursday's Child" is simple. Just voice and guitar, this song showcases Dave Cousins' expressive singing beautifully."Queen of Dreams" is an ethereal piece, brought about using intricate vocals/harmonies by the band members and the use of a synthesized squeezebox effect much like The Rolling Stones utilized in "2000 Light Years From Home" and The Beatles in "Sgt Pepper". As Grave New World was produced in 1972, most bands were dabbling in psychedelia and newly found special effects. An unusual piece for The Strawbs, decidedly experimental.

"Heavy Disguise" is a wonderful piece featuring John Ford's vocals and great guitar along with a lush orchestral interlude with lots of brass."New World" .... a favorite! Powerful, dramatic, angry, gut -wrenching. The strong use of mellotron/synthesizers, drums and strings all combine to become an overwhelming musical experience. The music cascades over you in waves...done as only The Strawbs can."Hey, Little Man...Wednesday's Child" is another deceptively simple little gem. A little beauty which offers some respite after the assault of "New World".

"The Flower and the Young Man" offers great harmonies and strong lyrical images. You can smell the salt air of the sea...a bluegrass/sea shanty feel."Tomorrow" is once again Dave Cousins at his finest. Bitter, angry...truthful. The quality of this track on the remastered version is fair-had a fading in and out quality (unintentional I'm thinking). Heard some left over riffs from the late 60's reminiscent of Jethro Tull's "Thick As A Brick" (a tongue in cheek jibe perhaps?).

"On Growing Older" describes the British love of countryside and nature in glowing colors. Sweet and harmonious. "Ah Me, Ah My" light fluff...fun..vaudeville. "Is It Today, Lord?" Eastern influenced music...use of sitar. Popularized by the Beatles and Ravi Shankar....other progressive bands using the sitar include Moody Blues (In Search of the Lost Chord). "The Journey's End" a slow, simple song once again about a weary/lonely traveller. Strong use of piano instead of guitar/bass.

"Here It Comes" (extra track) another favorite... use of drums, congas, organ...strong beat, makes you want to get up and dance. Great back up/chorus vocals....simple, repetitive lyrics are catchy. "I'm Going Home" - (bonus track)... good rocker... grainy sound to track...almost what one would expect from an LP.

Overall, the remastered Grave New World is a joy to behold and long overdue. The packaging is beautifully done and includes an insert with an interview with Dave Cousins and a history of the band, done by John Tobler. On some tracks I found the sound to be muddy/muffled as if overdubbed with too much bass. I did consider that this album was originally released in 1972, and as such, the technology would be considered primitive in comparison to today's. As such, even though digitally remastered, the CD still may suffer from the limitations of the analogue masters. In listening to another remastered CD, Ghosts, I found the sound quality to be far superior (much crisper/clearer) on the later.

by Marcia Zingman

Tracks

1. Benedictus - 4:24

2. Hey Little Man... Thursday's Child - 1:05

3. Queen Of Dreams - 5:28

4. Heavy Disguise (John Ford) - 2:50

5. New World - 4:08

6. Hey Little Man... Wednesday's Child - 1:05

7. The Flower And The Young Man - 4:17

8. Tomorrow (Blue Weaver, David Cousins, John Ford, Richard Hudson, Tony Hooper) - 4:44

9. On Growing Older - 1:54

10.Ah Me, Ah My (Tony Hooper) - 1:21

11.Is It Today Lord (Richard Hudson) - 3:04

12.The Journey's End (Blue Weaver, David Cousins) - 1:35

13.Here It Comes - 2:42

14.I'm Going Home - 3:14

All compositions by Dave Cousins except where indicated

Bonus Tracks 13,14

Strawbs

*Dave Cousins - Vocals, Acousti, 12 String, Electric Guitar, Eletro Acoustic Dulcimer , Recorder , Piano

*Tony Hooper - Acoustic Guitar , 12 String Guitar , Autoharp , Vocals

*Richard Hudson - Drums, Cymbals, Tambourine, Sitar, Tablas , Vocals

*John Ford - Bass, Acoustic Guitar , Vocals

*Blue Weaver - Organ, Piano, Mellotron, Harmonium, Clavioline, Vocals

With

*Anne Collins - Backing Vocals

*Trevor Lucas - Backing Vocals

*Robert Kirby Silver Band - Brass Ensemble

*Old Tyme Dance Orchestra • Members Of Ted Heath Orchestra

*Tony Visconti - Arrangements

*Dave Lambert - Acoustic, Electric Guitars, Vocals

1972 Dave Cousins - Two Weeks Last Summer (2019 remaster & expanded)