rep>>> Pesky Gee - Exclamation Mark (1969 uk, elegant psych jazzy brass rock, 2001 remaster)

Now a mere footnote in '60s rock history, Leicester, England's Pesky Gee! are perhaps remembered more for the band that they became -- notorious Satan-worshipers Black Widow -- than for their actual music. Taking their name from a song in another local group's repertoire, Pesky Gee! were originally formed as a soul band before constant gigging slowly pushed them toward a more experimental and progressive style of rock & roll.

By 1968, the band consisted of Kay Garrett - lead vocals, Kip Trevor - vocals, guitar, harmonica, Chris Dredge - guitar, Clive Jones - saxophone, flute, Alan Hornsby - brass, Bob Bond - bass, and Clive Box drums, and had signed a deal with Pye Records. A cover of Vanilla Fudge's "Where Is My Mind" was chosen as their first single in March 1969, but when it failed to chart, both Dredge and Hornsby flew the coop, being replaced by guitarist Jim Gannon keyboardist Jess "Zoot" Taylor.

Wasting little time, this "new and improved" lineup managed to record Pesky Gee!'s cleverly titled first album, Exclamation Mark, in a single, one-night, four-hour session. Issued in June of the same year, the record sadly fared no better than their single, and the impatient Pye soon showed them the door.

Feeling that this particular incarnation had run its course, and simultaneously observing the general populace's growing fascination with forbidden topics like black magic and the occult, Pesky Gee! decided to re-invent themselves as a theatrically Satanic outfit by assuming the fittingly conspicuous name of Black Widow.

by Eduardo Rivadavia

Tracks
1. Another Country (Ron Polte) - 7:37
2. Pigs Foots (Ben Dixon) - 4:39
3. Season of the Witch (Donovan Leitch) - 8:22
4. A Place of Heartbreak (Malcolm  Rabbitt) - 3:00
5. Where is My Mind (Mark Stein) - 3:00
6. Piece of My Heart (Jerry Ragavoy, Bert Burns) - 2:50
7. Dharma For One (Anderson Bunker) - 4:02
8. Peace of Mind (John Whitney, Roger Chapman) - 2:19
9. Born To Be Wild (Mars Bonfire) - 4:20

Pesky Gee
*Jim Gannon - Guitar
*Jess Taylor - Organ
*Kay Garret - Lead Vocals
*Clive Jones - Saxophone
*Bob Bond - Bass
*Clive Box - Drums
*Kip Trevor - Vocals

Related Act

1969-70  Black Widow - The Ultimate Sacrifice (2004 remaster)

1970  Black Widow - Black Widow (2014 remaster) 

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rep>>> Big Sleep - Bluebell Wood (1971 uk, marvelous baroque prog folk, 2007 remaster)

Having previously released two favourably received, but commercially neglected, albums for Mercury under the name Eyes Of Blue in the late 60s, Welsh band Big Sleep recorded Bluebell Wood for the Pegasus label in 1971. Though Eyes Of Blue had started out playing Motown numbers, they’d expanded their range by covering Love’s 7+7 Is and opening themselves up to psych and progressive rock.

They’d split by the time of Bluebell Wood’s release, with drummer John Weathers joining Gentle Giant and keyboardist Phil Ryan decamping to Welsh prog rock legends Man. But the result of their Chappell Studios deliberations was an adept and stylistically diverse collection that explored the band’s progressive interests, while still leaning on the classical influences that Eyes Of Blue had followed.

The music ranges from the very 70s travelogue sounds of the title track, though the ludicrously baroque opening strings on Saint & Sceptic and on to the lively and marketable closing song, When The Sun Was Out. Never before available on CD, this is a pleasingly easy-on-the-ear album that effortlessly blends its warm and hazy sounds with contrasting downbeat lyricism.

by Ian Abrahams

Tracks
1. Death Of A Hope (John Weathers) - 5:35
2. Odd Song (Gary Pickford Hopkins) - 3:54
3. Free Life (John Weathers) - 6:29
4. Aunty James - 4:44
5. Saint And Sceptic - 6:36
6. Bluebell Wood - 11:26
7. Watching Love Grow -2:35
8. When The Sun Was Out - 3:42
All songs by Ritchie Francis except where stated

Big Sleep
*Phil Ryan - Organ, Piano
*Ritchie Francis - Bass, Piano, Vocals
*John "Pugwash" Weathers - Drums, Vocals
*Raymond "Taff" Williams - Guitar
*Gary Pickford Hopkins - Vocals, Guitar

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rep>>> Mandy Morton And Spriguns - Magic Lady (1978 uk, gorgeous progressive folk rock, 2004 reissue)

Mandy Morton led much more the band away from the limitations in creativity of folk and even folkrock visions, but kept the whole typical linear heritage of England’s culture, with references to Renaissance and medieval times that brings an idea of magic, giving that way more colour and depth in background to the inspirations. 

Sandy Roberton did the production. He produced before the early folk/folkrock albums of Steeleye Span. Especially on the opener “Dead Man’s Eyes” we can hear a comparable approach of an influence of folk mixed with a straight rock rhythm. The lush orchestrations on “All Before” by Robert Kirby* are comparable to some Sandy Denny tracks, while especially on the closing track, “Letter to a lady” the arrangements that confirm the old England blossoming days with bassoon and such, are most impressive. 

Most arrangements are definitely making the best of a singer-songwriting vision, with tracks that have rather progressive or often crafted even at times with its own subtleness, heavy rocking arrangements. I must also mention how Mandy also has a beautiful coloured voice and singing and a personality and vision that give this album a masterly musically conceptual vision, which made this album an essential classic.

Psych-Folk 

Tracks
1. Magic Lady - 2:28
2. Music Prince - 3:19
3. According to Mathew - 3:29
4. Little Inbetween - 1:35
5. Goodbye the Day - 4:25
6. Silence do the Rest - 3:00
7. The Lady - 3:12
8. White Ship - 2:44
9. Witchfinder - 3:41
10.Gypsy Glass - 3:48
11.Ghost of a Song - 2:59
12.Winter Storms (Bonus Track) - 2:58
13.Magic Lady Reprise - 0:52
Lyrics and Music by Mandy Morton

Mandy Morton And Spriguns
*Mandy Morton - Lead Vocals, Acoustic Guitar
*Tom Ling - Electric And Acoustic Violins, Harpsichord
*Byron Giles - Electric And Acoustic Guitars, Vocals
*Alex Cooper - Drums And Percussion
*Mike Morton - Bass Guitar
Guest Musicians
*Tim Hart - Dulcimer, Vocals
*Graeme Taylor  - Electric Guitar
*Gordon Folkard - Cello And Concertina
*Sarah Folkard - Viola
*Gaynor Roberts - Backing Vocals (On Track 2)

other Spriguns

1976  Spriguns - Revel Weird And Wild (2005 Japan)  

1977  Time Will Pass

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rep>>> Breakthru - Adventures Highway (1967-71 uk, fascinating beat psych blues rock with baroque touches)

Breakthru were a powerful live act who never managed to "break through" into the record charts despite a talented and charismatic line-up.

Breakthru never managed to have an album released of their own which was unfortunate as their only record was a solitary single "Ice Cream Tree" that has since appeared on various 1960s compilations. The group were never happy with the single as it was not a good representation of their "sound", and particularly as the song was not composed by the band themselves. 

All the group members were actively involved in song writing with some of this backlog occasionally committed to tape whenever time and money would permit. Now, decades later, the previously un-released recordings they made have been assembled into the one and only Breakthru album titled "Adventures Highway". This collection the band members say, represents how they would like the group to be best remembered.

"Adventures Highway" was assembled from a combination of unreleased-demos, BBC sessions, and surviving recordings from the results of various excursions into the studio by the group between 1967 and 1970. Side one kicks off with the high-energy group-composed Believe It from 1970. You can just imagine the band going all out on this one with its high-energy blues-driven attack. 

Here Comes The End from 1967 is a lot more psychedelic sounding with abundant echo effects but still very powerful. The bluesy cover of Willie Dixon's Spoonful really gives an indication of what Breakthru were all about. Gary Aflalo's blues-harmonica playing on this one is exceptional against a backdrop of thundering hammond organ and distorted guitars. If you really hate your neighbours then this is the one to play loud!

Love Is Strange starts out with some crashing guitars/bass/drums highly reminiscent of The Beatles Rain. This one is supposedly based on the Everly Brother's version of the song and features both Gary Aflalo and Keith Abingdon doing a good job harmonizing on the vocals. 

This is followed by the album's title track Adventures Highway from 1968 and what a number it is too! Menacing hammond organ joined by pounding drums and guitar build into a climax of sheer volume that soon becomes a backdrop for spaced-out lyrics; Oh let's get transmitted, there's no planet that's too far. We'll see Jupiter and Mars, we'll see strange and weird sights on our space bound trip tonight... (make of it what you will).

The melodic and hypnotic I Have A Dream composed by Geoff Garratley, reaches the height of social consciousness to include actual recorded excerpts from Martin Luther King's famous speech. Interestingly, this track was left off the vinyl version of the Breakthru album. Bob Booth's Growing Older is similarly laid-back but does include some wild hammond fingering towards the end. Troubleshoot co-written by Keith Abingdon and Richard Thomas is an excellent psychedelic rampage with lyrics to match. It has some great wah-wah guitar effects similar to what Roy Wood was doing at the time on many of The Move's records. 

We then go right into The Story Of Peer Gynt with its opening riff taken directly from Hall Of The Mountain King (almost seems like a tradition amongst Brum bands to pay tribute to classical music at some time or another). This rocking track was considered for single release at the time but for some reason it never happened. A pity as it would surely have made a good follow up to Ice Cream Tree.

The remaining tracks on the album were recorded in 1970 at London's Piccadilly studios. Although the group were on the verge of splitting by this time, they recorded (ironically) what are regarded as some of their best tracks. Alice Dropped Out from these sessions, would have made a fine single. As one of several Breakthru tracks co-composed by Keith Abingdon and Richard Thomas, this one is a driving blues-rock number with guitars very much at the forefront and the trademark hammond absent. This would have been a powerful one when performed by the band live. 

It is followed on the album by Happiness which shows the band could still be tuneful in a commercial direction when they wanted to. Shake Off That Lead is another such radio-friendly track that bounces along with a catchy keyboard-driven melody.

The final track on the Breakthru album is titled Sailor Song. A wonderfully harmonious partnership of keyboard and guitar, and as the title suggests, the lyrics tell of a seafaring character who would rather spend his life out on the ocean rather than be troubled by the problems experienced by those on land. Maybe it's meant as an expression of ultimate freedom (or freedom of expression) that seems to run through the groups music from start to finish on these collected tracks that make up the Breakthru album.

The Circle Records "Breakthru" album package serves as a fine tribute to one of the West Midlands great performing groups of the late 1960s. Breakthru were one of those bands who were at the leading edge of the pop music revolution at a time when innovation and the growth of new musical ideas was reaching its peak during the 1960s. "Adventures Highway" fulfills a dream they had back then and this time you can join them on their journey. 

Brum-beat

Tracks

Disc 1

1. Believe It (Farrell, Abingdon, Aflalo, Thomas) - 3:51

2. Here Comes The End (Aflalo, Abingdon) - 3:06

3. Spoonful (Dixon) - 5:05

4. Love Is Strange (Smith, Robinson, Baker) - 2:55

5. Adventures Highway (Abingdon, Booth, Garratley, Thomas) - 4:10

6. I Have A Dream (Garratley) - 4:35

7. Growing Older (Booth) - 3:43

8. Troubleshoot (Abingdon, Thomas) - 3:01

9. The Story Of Peer Gynt (Farrell) - 2:44

10.Alice Dropped Out (Abingdon, Thomas) - 2:52

11.Happiness (Farrell) - 4:28

12.Shake Off That Lead (Abingdon, Thomas) - 3:33

13.The Sailor Song (Abingdon, Thomas) - 4:32

Disc 2
1. Ice-Cream Tree (Loach) - 2:39
2. Julius Caesar (Thomas) - 2:49
3. Yours (Abingdon, Thomas, Leyland, Booth, Garratley, Aflalo) - 2:50
4. Summertime (Gershwin, Heyward) - 3:26
5. Toyland (Roden, Catchpole) - 2:52

Breakthru 
*Keith (Smoke) Abingdon - Guitar
*Gary Aflalo - Lead Vocal
*Bobby Booth - Bass Guitar (Left in 1968)
*Geoff (Gladys) Garratley - Hammond Organ (Left in 1968)
*Jim Leyland - Drums (Left in 1969)
*Frank Farrell - Bass Guitar (Joined in 1968, Multi-talented Frank played bass for Supertramp and later worked with Leo Sayer co-writing his no1 hit ‘Moonlighting’)
*Richard (Plug) Thomas - Drums (Joined in 1968)
*Bill Hunt - Hammond Organ (Joined In 1969, later joined 1st ELO line up and later Wizzard)

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Folkal Point - Folkal Point (1973 uk, brilliant ethereal acoustic folk, 2015 reissue)

Since noone else seems to be doing it we continue our examination of overlooked British folk titles, based on the assumption that they some day will be reissued, as they must. Of four such folk obscurities I recently got to hear thanks to the generosity of a fellow country-man the unspeakably rare album by FOLKAL POINT was clearly the best. The LP came out on the hallowed (among less than 50 people) Midas record label, an operation masterminded by the same cunning gentleman that ran the Folk Heritage operation; his Midas £1000 stable also includes the slightly better known Gallery LP and a couple of less rare titles by Janet Jones, one of which I've heard and wasn't impressed by.

Bristol area outfit Folkal Point on the other hand is an obvious delight, with elements likely to attract almost anyone with an ear for gentle rural 1970s sounds with psych overtones. Sweet female vocals is the poison of many a folk fiend and this has an abundance of it, in fact the sounds emitting from Cherie Musialik are gorgeous to a point where I have to cast a wide net to come up with comparisons; but if you can imagine a warm tone halfway between the girl-child charms of Vasthi Bunyan and the lush village-beauty sound of early Mandy Morton, then I guess we're in the right shire. So appealing are these vocals that they become the defining characteristic of the album, and fortunately the Folkals seem to realize this as they play a selection of material that is absolutely right for the asset; haunting minor chord ballads with obvious debts owed to American 60s folk as well as the psychedelic sounds of subsequent years. If you expect a marvy "Scarborough Fair" from this description, you've got it. "Once I Knew A Pretty Girl"? Yes. Both are done in a manner closer to Shide & Acorn than Shirley Collins, with the arrangements displaying a clear bias towards the "rock" rather than "trad" side of the equation. The liner notes refer to the band playing electric on occasion and while this is an acoustic-oriented album, it's easy to imagine it being re-recorded with a full electric setting, the imaginary result recalling the Trees at their best. 

Beginning at the beginning, there is a version of gospel tune "Twelve Gates Into The City", although there isn't much gospel left after Folkal Point have chased it through their enchanted forest. Then there's "Scarborough", which is followed by "Sweet Sir Galahad", whose artfully descending stair of minor chords may crown it my favorite on the whole album. Cherie's vocals are just stunning, it's like if one of those princess girls serenaded by Donovan suddenly started singing back. The hippie folkpsych takes on trad material progresses successfully through "Lovely Joan" before a contemporary note is introduced with "Circle Game" and its clever carousel metaphors. The footstomping US folk boom Pete Seeger sound of "Cookoo's Hollerin'" is less appealing, not because it's bad but because it fails to take advantage of the band's strengths. Luckily, it's the shortest track on the LP. Then there is a Spriguns-like take on "Edom O'Gordon" before the modern theme resurfaces in Tom Paxton's "Victoria Dines Alone", whose theme of female loneliness and depression seems highly poignant in 2003. It's a flawless performance, and likely to be the favorite track of listeners of a less folky persuasion. The Americanisms linger via a charming take on Dylan's "You ain't going nowhere", although it would have been more interesting to hear this one with female vocals -- but I guess the Folkal boys wouldn't settle for just picking guitar on ALL tracks.

Entering the last quarter the LP tightens its grip on the listener again, presenting the unorthodox chord structures and wave-like rhythms of "Anathea" which the liner notes credit to Lydia Wood, although the lyrical content is essentially the same as "Seven Curses" as done by young Bobby Dylan and others. This dark, despairing story is given a matching presentation by the band, opening doors to an eerie "downer folk" cellar not found elsewhere on the album. This is followed by the atmospheric, ensemble-sung "National seven", after which an excellent, folkrock-style take on "Once I Knew A Pretty Girl" closes the book on 40 minutes that are as impressive as anything you can hope to find within the genre. According to UK folk expert Ian at Ammonite, 500 copes were pressed of which half were lost in a flood. Let's hope it gets reissued ere the next millennium.

by Patrick the Lama

Tracks

1. Twelve Gates Into the City - 3:08

2. Scarborough Fair - 4:02

3. Sweet Sir Galahad (Joan Baez) -  3:43

4. Lovely Joan - 2:38

5. Circle Game (Joni Mitchell) - 5:23

6. Cuckoos Hollerin' - 1:46

7. Edom O'Gordon - 2:18

8. Victoria Dines Alone (Tom Paxton) - 4:23

9. You Ain't Going Nowhere (Bob Dylan) - 2:55

10.Anathea (Lydia Wood) - 4:00

11.National Seven (Cherie Musialik, Mark Steed, Paul Cook, Stuart Amesbury) -  2:29

12.Once I Knew a Pretty Girl - 4:03

Songs 1,2,4,6,7,12 are Traditional 

Folkal Point

*Cherie Musialik - Vocals 

*Mark Steed - Guitar

*Paul Cook - Guitar

*Stuart Amesbury - Guitar, Vocals

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rep>>> Chicago - Live In Toronto (1969 us, wonderful brass jazz rock with psych tinges, japan edition)

Although it may be difficult to believe now, in the late Sixties and early Seventies Chicago were something of a phenomenon. Their debut LP. b'Chicago Transit Authority', was certified platinum in the US, something no other CBS artist had ever achieved, even though the label boasted such names as Bob Dylan and Simon & Garfunkel. Their second, simply titled 'Chicago', repeated the commercial success of their first, and singles from both sold strongly either side of the Atlantic.

As time passed, their music mellowed and interest waned, the critical acclaim turned to critical reviews, and although Chicago continued to record right through the Seventies and Eighties, they have never recaptured the excitement generated by those early releases. All but one of the band's original line-up hailed from the city which gave them their name. Their early days were spent largely unnoticed in the dingy bars and clubs of the Midwest, but a move to the West coast in 1968 proved crucial to their later success.

Here they linked up with James William Guercio, who had established his credentials through production work with Blood, Sweat and Tears. Guercio not only secured the band dates at prestigious West coast venues, he also negotiated their recording contract with CBS. The volatile political scene of the late Sixties provided the other key element of their success. During 1968, protests at America's involvement in Vietnam were at their height, and racial tension was at fever pitch.

Demonstrations outside the Democratic Convention in Chicago turned into full scale riots when police used tear-gas and clubs to disperse the crowds. Recordings of protesters were incorporated into one of the numbers on Chicago's debut LP. and this move, coupled with lyrics informed by the revolutionary rhetoric of the times, completed their identification with both their home town and the counter-culture. Their music had an exciting, innovative feel, and was probably the most successful attempt ever to marry the diverse elements of jazz, rock and white soul.

Its precise brass arrangements blended with lengthy jazz guitar solos appealed to a late Sixties audience constantly searching for a more sophisticated sound. This recording of an early live performance at one of the famed Toronto Rock Festivals provides evidence of the band's ability and power.

On stage, although they obviously sought to reproduce the often complex arrangements arrived at the studio, they were never afraid to cut loose and explore the possibilities of the'jazzier side of their music. Faithful renditions of their hit singles '25 Or 6 To 4', 'Does Anybody Really Know What Time It Is? and the Steve Winwood penned 'I'm A Man' contrast with the looser improvisational approach employed on 'Liberation', the number which closes the set.

The shifting textures of this lengthy instrumental are epitomised by Terry Kath's exhilarating guitar - a key component of Chicago's characteristic sound and one sadly lost forever with his death in a firearms accident in 1978. Anyone with a taste for Chicago's early work will welcome this opportunity to hear the band run through these blistering versions of their best-loved numbers. Their unqiue blend of widely differing musical styles set apart from almost everyone around them - in their own distinctive way, Chicago were themselves a minor revolution.

by Alan Kinsman

Tracks
1. Beginnings - 6.20
2. South California Purples - 5.45
3. 25 Or 6 To 4 - 5.04
4. Does Anybody Know What Time It Is - 3.05
5. I'm A Man (Steve Winwood, James Miller) - 6.49
6. Questions 67 And 68 -
7. Liberation (James Pankow) - 16.09
All songs by Robert Lamm except where indicated.

Chicago
*Peter Cetera - Bass, Vocals
*Terry Kath - Guitar, Vocals
*Robert Lamm - Keyboard, Vocals
*Lee Loughnane - Trumpet, Vocals
*James Pankow - Trombone
*Walter Parazaider - Woodwinds, Vocals
*Danny Seraphine - Drums

1969 Chicago Transit Authority (Japan SHM-CD)
1970 Chicago II 

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rep>>> Atomic Rooster - Devil's Answer • Rare Live Recordings (1970-72•81 uk, classic hard prog rock, rare material)

It was during the American Tour of "Crazy World of Arthur Brown" that Vincent's latent psychiatric problems first manifested themselves, in the form of manic escapades .  followed by long periods of depression in hospital. However, by 1969 he had recovered enough confidence to form Atomic Rooster, initially with drummer Carl Palmer. 

Over the next fourteen years there were seven albums, two Top Ten Hits, American and European Tours, and a succession of drummers, guitarists and vocalists. But the themes of dread, paranoia and satanic angst recurred throughout like Vincent's own relentless left. hand bass. lines in songs like "Death Walks Behind You", "Time Take My Life", "Dance of Death" or Devil's Answer". 

The ominous freneticism of Atomic Rooster virtually defined the epithet heavy.... Meanwhile the breakdowns continued, bedevilling his working relationships, his first marriage, (which ended in 1976) and his attempt to form his own record company.Yet so many of his colleagues who shared the pressures of the studio, the road or the gig, recall his charm, his quickfire wit, his zest, the good fellowship, the cheerfulness that so often sustained others. They also emphasise his versality outside the Atomic Rooster format. 

There was another excellent album with Arthur Brown and a fine blues collaboration with Peter Green. Since the sixties he had worked with writer Paul Green; their jazz/poetry duo reappeared at arts festivals during the eighties, and Vincent directed music for two of Green's radio plays. He aslo worked in The Red Buddha Theatre, the Rocky Horror Show, numerous cabaret and club bands, making many new friends. His last major professional engagement was between 1984-86 as a member of Dexy's Midnight Runners. He toured with them in Europe and made an important contribution to their last album "Don't Stand Me Down.

 The turbulence of his life caused great pain, both for the man himself and those closest to him, especially Jean, his second wife; and Tom and Renee, his parents. They gave him all they had. And he gave all he could. We do not know how his talents might have developed without the spectre of mental illness. We can only be certain that he is greatly missed.

by Paul A. Green, February 1989

Tracks
1. Friday The 13th - 4:28
2. Seven Lonely Streets - 6:15
3. Tomorrow Night - 5:27
4. Shabooloo - 6:10
5. Death Walks Behind You (John DuCann) - 6:04
6. Stand By Me - 3:23
7. Breakthrough - 3:06
8. Save Me - 3:40
9. Close Your Eyes - 2:48
10.Play It Again (John DuCann) - 4:04
11.In The Shadows (John DuCann) - 10:01
12.Devil's Answer (John DuCann) - 3:46
13.People You Can't Trust - 4:41
14.A Spoonful Of Bromide Helps The Pulse Rate Go Down - 4:46
15.All In Satan's Name (Ric Parnell) - 4:03
All songs by Vincent Crane except where noted.

Atomic Rooster
*Vincent Crane - Keyboards, Organ, Hammond
*John DuCann - Guitar, Vocals (1-5, 10-12)
*Carl Palmer - Drums (1, 2)
*Paul Hammond - Drums (3-5, 10-12)
*Chris Farlowe - Vocals, Tambourine (6-9, 13-15)
*Steve Bolton - Guitar (6-9, 13-15)
*Ric Parnell - Drums (6-9, 13-15)

1970  Atomic Rooster - Atomic Rooster (2016 Japan Mini LP SHM remaster) 

1970  Atomic Rooster - Death Walks Behind You (2016 Japan SHM)

1971-72  Atomic Rooster - In Hearing Of (2004 & 2016 SHM)

1972  Atomic Rooster - Made in England (2004 remaster)
Related Acts
1967-68  The Attack - About Time (2006 remaster with unreleased material)
1967-69  The Attack - Magic In The Air
1967-69  Andromeda - The Definitive Collection
1968  The Five Day Week Straw People - The Five Day Week Straw People

1965-2003  Arthur Brown - The Story Of Arthur Brown (2003 double disc remaster)

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Krokodil - An Invisible World Revealed (1971 swiss, great acid-laden guitar heavy psych prog and exotic instrumentation, extra tracks release)

Many bands have crashed and burned through the volatile era that was the 1970’s of rock and roll, while there was of course the endless myriad of bands who helped shaped the foundation in numerous ways. But in the midst of the Led Zeppelin’s, Black Sabbath’s, Aerosmith’s, and Pink Floyd’s, you had that small colony of obscurity that was just as soul-crushing and musically brilliant .

Progressive rock was the pretentiously intellectual and interminably ferocious fiber that was greatly needed for the dietary imbalance of the genre; prog rock ushered in a thought-provoking dexterity that unveiled a more vulnerable and edgy side of rock. And even though the genre was massively popular and gave birth to some of the most well known and beloved bands today, there were still those who struggled to reach the surface of critical recognition, and thus disintegrated into the rubble of the footprints of those who left their indelible mark. That of course didn’t mean these little known bands weren’t in a class all on their own; there were just as many important bands who held the thread together even if that meant not reaping the benefits of those who stood at the forefront of the Pantheon.

And that’s where a band like Krokodil comes in: A prog rock maelstrom hailing from Switzerland who just never quite received the kind of respect they deserved. They were mildly well known in their native country Switzerland, having released a total of five albums throughout their 1969-1973 session; they had a couple of 7″ singles, but that was about it as far as substantial relevance. Their main area of expertise lied within the enigmatic restraints of the sub genre “Kraut rock” which was categorized as having the same essential nutrients as that of Progressive rock; the experimental sound that was birthed in Germany was akin to jazz improvisation-style rock and lengthy, foreign rhythms. This is exactly what Krokodil specialized in, especially on their 1971 opus, An Invisible World Revealed.

From its dreamy, incoherent vocals and acoustic-driven harmonies overlapped by monster riffs, all the way to its grimy misplacement of harmonica playing that somehow molds this sound into something unique, this is the kind of band you accidentally discover and fall madly in love with once you immerse yourself in its cryptic musicality that boasts a delicate kind of mysticism in the midst of its bluesy temperament.

The opening track, “Lady of Attraction,” mirrors a similar tone to Black Sabbath’s “Planet Caravan,” in terms of vocals and progression; a swirling, underwater type sound that quietly draws in your undivided attention. “With Little Miss Trimmings,” is a one minute instrumental of the bands recurring acoustic backdrop; a jangling speed rush that takes you into the fifteen minute epic, “Odyssey in Om.” The first half of this tune perambulates its way into your ears sensibilities with Middle Eastern dissonance that bounces around freely like something you’ve never heard in a ’70’s hard rock conversion before. The second half, however, makes no bones about hitting you hard in the face with that explosive mouth-harp descending throughout as the space-induced vocals bellow out more mythological lyrics that you can’t quite decipher or make out entirely, but you don’t really because it’s the music that’s diverting your attention elsewhere.

 “Green Fly,” the albums fourth song, is more along the lines of your typical blues-rock attack with heavy riffs and lyrical anguish that keeps the rhythm in your soul occupied. The penultimate song, “Looking At Time, “arguably the best song on the album, maxes out to about fourteen minutes and is simply there to showcase just how nasty you can get with an open chord progression, slide guitar licks, and more throat-grabbing harmonica. The first section of the tune sounds like it crawled out of the bowels of the Louisiana Bayou, while the middle section becomes surprisingly somber and melodic with a tasteful, Jimmy Page-esque guitar solo thrown in for good measure, before doing an abrupt turnaround back into the first section’s main riff; you simply haven’t heard a fifteen minute song that keeps you hanging on to the point where it feels like a six minute song until you’ve listened to this one.

Finally there’s the closing track, (“Last Doors”), which is a perfect bookend to an album like this, leaving you with a farewell track sprinkled with more lovely pastiches of cool riffs drenched in wah pedal, of course more mouth harp redundancy, and satisfying guitar solos for any Blues rock hound to get their fix to. Don’t sleep on a band like Krokodil. Look this album up and see for yourself why this is a truly underrated gem of an album and why it’s one of the best to ever creep its way out of the 1970’s

The third album is the one to get by this Swiss four-piece. "An Invisible..." is a highly original album that can be described as psychedelic heavy-progressive with some eastern influences and dominated by the rather unusual combination of Mellotron and bluesy harmonica! The album includes two complex 15-minute tracks that demonstrates and capsules the very original style and sound of the album very well. Lots of Mellotron, harmonica, flute, hard rocking guitar work and even some sitar. The performance of the material is very fresh and energetic. Like it or not, but this stuff is actually much more progressive in the true sense of the word than what your average Yes/Genesis- influenced progressive rock band ever will be. "Lady of Attraction" is probably the best of the shorter tracks and is a little bit more acoustic and laid-back than the rest of the album. The Mellotron and harmonica reaches heavenly heights at the end of this track. "An Invisible World Revealed" was Krokodil's masterpiece and should be in every 70's progressive rock collection. 

by  Matthew Pollard, 2016

Tracks
1. Lady Of Attraction (Walty Anselmo, Duede Durst, Terry Stevens, Mojo Weideli) - 4:21
2. With Little Miss Trimmings (Walty Anselmo, Duede Durst, Terry Stevens, Mojo Weideli) - 1:42
3. Oddyssey In Om (Walty Anselmo, Duede Durst, Terry Stevens, Mojo Weideli) - 15:19
4. Green Fly (Walty Anselmo, Duede Durst, Terry Stevens, Mojo Weideli) - 4:23
5. Looking At Time (Terry Stevens) - 14:03
6. Last Doors (Walty Anselmo) - 4:00
7. Pollution (Walty Anselmo) - 3:04
8. Krokodil-Session Part 1 (Walty Anselmo, Duede Durst, Terry Stevens) - 11:24
9. Krokodil-Session Part 2 (Walty Anselmo, Duede Durst, Terry Stevens) - 11:42
10.Don't Make Promisses (Tim Hardin) - 3:58
11.Hurra! Allive (Walty Anselmo) - 3:04

Krokodil
*Duede Durst - Drums, Percussion, Vocals
*Walty Anselmo - Sitar, Lead Guitar, Vocals
*Terry Stevens - Bass, Guitar, Vocals
*Mojo Weideli - Harmonica, Flute, Percussion

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Gerry Rafferty - City To City / Night Owl (1978-79 uk, soft rock with country folk touches, 2007 double disc set)

Gerry Rafferty was a huge talent, but a reluctant star. Management struggles and sundry other hindrances limited his output, but couldn't avert the Scot from releasing two legendary singles -- the Tarantino-ized "Stuck in the Middle With You" and the unforgettable "Baker Street," the latter included on this record. 

Just a glimpse of John Patrick Byrne's cool cover art lets the listener know City to City houses Rafferty's day in the sun as he conquers the world one metropolis at a time, his guitar and amp in tow. Setting out in his apocalyptic "Ark," each song radiates the confidence of a master craftsman cruising in his prime, constructing brilliant pop confections with top-flight support while awaiting the crunch of civilization. 

The dreamy reality check "Baker Street" rightfully remains one of the greatest cuts in pop history. Forever-lost B-side "Big Change in Weather" further demonstrates Rafferty was on a rare roll. Domestic valentine "Right Down the Line" snugly followed to the height of the charts, and third release, "Home and Dry," while not of an immortal status, stands as a quality song. He even stomps out a smooth hoedown on the title track. Rafferty's turns of phrase and tight composition skills create a fresh sound and perspective all his own. 

Any diverse style (and he attempts many) filters through his unique mindset, resulting in a classic platter buoyed by many moments of sheer genius. "Whatever's written in your heart, that's all that matters." 

by Doug Stone

On his second release for United Artists, Gerry Rafferty focuses an equal amount of attention on his lyrics and on the sincerity of the song's moods to create one his strongest and most heartfelt albums. Delicate, touching, and extremely poignant, Rafferty blankets all of Night Owl's tracks with a late-night/early-morning earnestness that is highly effective throughout. 

Although he managed to do just that with 1978's City to City, Night Owl generates a stronger intimacy and a genuine romantic feel through Rafferty's guitar playing and the way in which his lyrics are sung. The sentimental softness of "Days Gone Down," the controlled exuberance in "Get It Right Next Time," and the pathos which is instilled for the lonely wanderer in "Night Owl" all add to the album's solemn yet moving atmosphere. 

Rafferty continues this mood with tracks such as "Why Won't You Talk to Me," "Family Tree," and "It's Gonna Be a Long Night," giving the traditional singer/songwriter style some enchantment and allure through his vocal subtlety. In the U.K. the album broke into the Top Ten, and in the United States it sold 500,000 copies, earning Rafferty a gold disc. "Night Owl," "Days Gone Down," and "Get It Right Next Time" all cracked the Top 30, but unfortunately Rafferty failed to match the success of Night Owl with any of his albums that followed. 

by Mike DeGagne

1978 City To City
1. The Ark - 5:39
2. Baker Street - 6:08
3. Right Down the Line - 4:28
4. City to City - 5:04
5. Stealin' Time - 5:58
6. Mattie's Rag - 3:25
7. Whatever's Written in Your Heart - 6:37
8. Home and Dry - 4:57
9. Island - 5:16
10. Waiting for the Day - 5:43

1979 Night Owl
1. Days Gone Down (Still Got theLight in Your Eyes) - 6:31
2. Night Owl - 6:11
3. The Way That You Do It - 5:08
4. Why Won't You Talk to Me? - 4:00
5. Get It Right Next Time - 4:42
6. Take the Money and Run - 5:50
7. Family Tree - 5:58
8. Already Gone - 4:55
9. The Tourist - 4:14
10. It's Gonna Be a Long Night - 4:23
All titles by Gerry Rafferty.

Musicians
*Roger Brown - Vocals
*Richard Brunton - Acoustic, Electric,  Slide Guitar, Soloist
*Hugh Burns - Acoustic, Electric,  Rhythm Guitar
*Joanna Carlin - Vocals
*Brian Cole - Dobro, Pedal Steel
*Betsy Cook - Vocals
*Barbara Dickson - Vocals
*Jerry Donahue - Electric, Guitar
*Robert Ellis - Photography
*Tommy Eyre - Brass Arrangement, Keyboards, Moog Synthesizer, Organ, Piano, Synthesizer
*Mo Foster - Bass
*Liam Genockey - Drums
*Richard Harvey - Penny Whistle, Pipe Organ, Recorder, Synthesizer
*Nigel Jenkins - Rhythm Guitar
*Paul Jones - Harmonica
*John Kirkpatrick - Accordion
*Glen LeFleur - Drums, Percussion, Tambourine
*Low - Drums
*Vivian McAuliff - Vocals
*John McBurnie - Vocals
*Micky Moody - Acoustic Treatments
*Hugh Murphy - Tambourine
*Rab Noakes - Vocals
*Graham Preskett - Brass, Fiddle, Keyboards, Mandolin, Piano, String Arrangements, String Machine
*Gerry Rafferty - Lead, Acoustic Guitar, Piano, Polymoog, String Arrangements, Vocals
*Raphael Ravenscroft - Saxophone, Soloist
*Willy Ray - Accordion
*Frank Ricotti - Percussion, Tambourine
*Henry Spinetti - Drums
*Gary Taylor - Bass, Vocals
*Linda Thompson - Vocals
*Richard Thompson - Electric Guitar, Mandolin
*Pete Wingfield - Organ
*Gavyn Wright - String Conductor

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Ursa Major - Ursa Major (1972 us, rough hard rock, 2000 reissue)

Ursa Major was a hard-rocking band that released one collectible album and may have been as well-known for its players as the music they made. The group's one and only album-Ursa Major (RCA 4777) was issued in 1972. Two singles were pulled from the release-Liberty And Justice (RCA 0791) and Let The Music Play (RCA 0874)-both in 1972.

While Ursa Major came and went in a relatively short period, the band's leader, singer and guitarist, Dick Wagner, would go on to work with Lou Reed and Alice Cooper, helping write some of the shock rocker's biggest hits. Wagner had also worked with other bands before joining with drummer Ricky Mangon and bassist Greg Arama, who had earlier been in the Amboy Dukes, the raucous Detroit band fronted by outrageous guitarist Ted Nugent.

In the mid-'60s, Wagner had been in a Detroit band called The Frost. Their first two singles on Columbia Records' Date division-Bad Girl and Little Girl-were credited to Dick Wagner and the Frosts. In 1969, as the Frost, they signed to Vanguard Records, a label previously noted mostly for blues and folk acts like Joan Baez. They cut three albums-Frost Music, Rock And Roll Music and Through The Eyes Of Love-in '69 and '70. In 1978, the label issued Early Frost.'

In 1973, after leaving Ursa Major, Wagner was teamed up with fellow guitarist Steve Hunter to back Lou Reed. Wagner can be heard on both Rock 'N' Roll Animal and Sally Can't Dance. After moving on from Reed's group, Wagner began what would be the most successful phase of his career— playing guitar for and writing songs with Alice Cooper. Wagner joined Cooper in 1975 and they co-wrote the title track for his best-selling album Welcome To My Nightmare. A single of the song was a Top 50 success. Wagner and Cooper would team up for the hugely successful Only Women Bleed, which just missed the Top 10 in the spring of '75. They also wrote Department Of Youth and Never Cry, which went gold in the summer of 1976.

Wagner-who was joined on guitars by his old Reed pal Steve Hunter-worked with Cooper through most of the rest of the '70s, collaborating on hits like You And Me and How You Gonna See Me Now as well as other popular album tracks. He also used his experience in the studio to work with Mark Farner of Grand Funk Railroad on some of his solo ventures.

In the late '80s, Wagner teamed with Bob Ezrin, who produced many of Cooper's most successful records, overseeing the debut album of the much-touted New York City band, The Throbs. The project, The Language Of Thieves And Vagabonds, issued by Geffen Records, got some good reviews but the band was unable to deliver the same power in their live performances and soon broke up. While Wagner may be a good example of the talented sideman who helps other performers build their careers, he was also a strong leader, as his work with Ursa Major on this long-unavailable album demonstrates. 

by Mark Marymont

Tracks

1. Sinner - 7:29

2. In My Darkest Hour - 5:26

3. Silverspoon - 6:14

4. Stage Door Queen - 5:26

5. Back To The Land - 6:47

6. Lay Me Down - 4:35

7. Liberty And Justice - 5:51

All songs by Dick Wagner

Ursa Major

*Dick Wagner - Guitar, Lead Vocals

*Greg Arama - Bass, Vocals

*Ricky Mangone - Percussion, Vocals

Related Acts

1965-66  The Bossmen - Personally Yours The Complete Anthology (2014 release)

1969  The Frost - Frost Music
1969  The Frost - Live At The Grande Ballroom! (2019 Wounded Bird)
1970  The Frost - Through The Eyes Of Love (2019 Wounded Bird)

1968  The Amboy Dukes - Journey To The Center Of The Mind (2018 Japan)  

1969  The Amboy Dukes - Migration  (Korea 2001)

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