Saturday, February 21, 2026

rep>>> Marsupilami - Arena (1971 uk, epic agile potent concept progressive rock, 2007 remaster)



After their debut album's release, Marsi toured and expanded by adding Mandy Riedelbanch on multiple wind instruments and found themselves relocating in Amsterdam, where they were playing a series of concert in the Paradiso theatre with the then-state of the art MC2 Lightshow. This is when they started to write and rehearse for their second album, with the assistance of an external lyricist Bob West. 

The album, recorded in London, was produced by future Camel founder Peter Bardens, and indeed you can hear some of Mirage's source of inspiration in Arena, including Latimer's flute, much reminiscent of Jessica Stanley. "Graced" with one of the ugliest ever prog artwork, Arena was an improvement on their debut, partly because the extra musician allowed the group to have much more possibilities, sonically and songwriting-wise.

So the aptly titled opening track Prelude does musically exactly that: it resumes the first album's progress and the band is ready to pick up things where they'd left it at. So with the following Peace Of Rome (we're in a concept, but I was never bothered to follow it too much without smirking at the pretentiousness, the worst offender being Triumvirate) is a very ambitious piece, exploring its themes over circus/arena crowd noises, and a touch of mellotron (that was missing in the debut album) and plenty of interplay time. 

The mammoth title track starts rather eerily, but in a second movement, it picks a mid-eastern them over tabla and drums, but in the next one, the ambitious and daring vocal passage turns close to ridicule, but saved from it by further impressive progressions until a sharp and raw end. At one point, you can hear Laverock's bowed guitar give an acetate cello sound.

The flipside starts on effects-laden narration as intro of the other epic of this album, Time Shadows. This tracks spends a considerable time in its first movement a piano/organ duo (overdubbing from Leary, certainly), before gradually intervening are Jessica's flute, Mandy's sax and Laverock's now jazzy guitar. After an insufferably long passage dishing out whatever lyrics the track had to offer, the group unleashes on a bass and closing lyric lines, before echoing keys and sax bring the track into a very Graaf-esque ending. Indeed you'd swear this is Jaxon, Banton, and Hammill closing this track. 

I'm not sure whether the closing Spring track is supposed to be part of the concept, for it doesn't get one of those pompous description like the first four tracks, but it's also a collectively-written track, that starts as a complete mayhem to slowly settle down in a dervish-like trance, with Fred's meandering scat vocals soaring over the rest of the band's great semi-raga, until the guitar and flute slowly deconstruct the group's unity (there is a superb double flute interlude that last until the organ breaks it up, announcing the piano and now double scat vocals. Fantasrtic stuff and definitely the group's best moment and it is quite accessible too. Much more than some of the more "baroque" passages that "doesn't click all the way".

One of the rare deceptions I have is that it seems that the new member Riedelbanch is only really present (or at least noticeable) on the album's flipside, which is a crying shame, because I think she made quite a difference. Arena is definitely an improvement on their debut album, but it is a bit like Gnidrolog?. Get both albums as they're equally good, even if this one will get more nods.
by Sean Trane 
Tracks
1. Prelude To The Arena (Leary Hasson, Bob West) - 5:23
2. Peace Of Rome (Leary Hasson, Bob West) - 7:01
3. The Arena (Leary Hasson, Bob West) - 12:55
4. Time Shadows (Leary Hasson, Fred Hasson, Bob West) - 11:16
5. Spring (Dave Laverock, Leary Hasson, Fred Hasson, Richard Hicks, Mike Fouracre, Jessica Stanley-Clarke, Mandy Reidelbanch) - 9:16

Personnel
*Fred Hasson - Lead Vocals, Percussion, Harmonica
*Dave Laverock - Electric, Acoustic, Bowed Guitars, Percussion, Vocals
*Leary Hasson - Piano, Mellotron, Tubular Bells
*Richard Hicks - Bass
*Mike Fouracre - Drums, Timpani, Percussion
*Jessica Stanley-Clarke - Flute, Vocals
*Mandy Reidelbanch - Tenor, Alto Sax, Flute, Percussion
*Bob West - Vocals
*Peter Bardens - Percussion

1970  Marsupilami (2008 Eosteric remaster)

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Friday, February 20, 2026

Roger Troy - Roger Troy (1976 us, pleasant soulful groovy brass rock, 2016 korean remaster)



Roger Troy's only solo work in 1976, former of Jellyroll and member of Mike Bloomfield Band, and Electric Flag, and also provided songs and performed the most soulful vocals. This work was released two years later. In addition to his own compositions, here features songs by Dan Penn, Carole King, Randy Newman, and others, showing the true essence of swamp rock. From sweet, mellow ballads to tight funky numbers, this is a great record full of southern soul taste. 
Tracks
1. Don't Put The Blame On Me Baby (Roger Troy) - 3:03
2. A Woman Left Lonely (Dan Penn, Julie Oldham) - 3:44
3. Never Be Lonely (Roger Troy) - 4:16
4. Sweet And Slow (Al Dubin, Harry Warren) - 3:15 
5. We Are All In This Together (Carole King, David Palmer) - 4:27
6. Don't You Have Any Love In Your Heart? (Roger Troy) - 3:29
7. When A Man Loves A Woman (Andrew Wright, Calvin Lewis) - 4:27
8. Sad Eyes (David Spinozza) - 3:49
9. Kentucky Home (Randy Newman) - 2:30
10.Shine On Love (Roger Troy) - 4:21

Personnel
*Roger Troy - Bass, Vocals, Strings, Horns Arrangements
*Henry E. Davis - Bass
*James Gadson - Drums
*James Vincent - Rhythm Guitar
*Larry Goshorn - Guitar
*Mary Lu Whitney - Vocals 
*Mike Anthony - Rhythm Guitar, Strings, Horns Arrangements
*Mike Lipskin - Piano, Synthesizer, Strings, Horns Arrangements
*Sonny Burke - Keyboards
*Ernie Watts - Saxophone, Clarinet Solos
*Deniece Williams - Vocals
*Mary Lu Whitney - Vocals

Related Acts

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Wednesday, February 18, 2026

Skyhooks - Ego Is Not A Dirty Word (1975 australia, fine glam rock)



"Ego Is Not a Dirty Word" is Skyhooks finest album. I know that Living in the Seventies is the much-loved debut, selling over 300,000 copies, and enjoying the infamy of six of its offerings being banned. But, on this second release, there’s an increased breadth in the songs, with “Love’s Not Good Enough” musing on suburban loneliness, “Smartarse Songwriters” featuring Greg Macainsh’s meta-cognitive explorations, and the title track, pushing the patience of many (I can’t imagine Sir Joh was a fan) with its brazen reference to the triumvirate of Richard Nixon, Leonard Cohen, and in an Australian music first, Jesus.

My favourite is side 2, track 2. I know it’s a hundred types of wrong, but I recently played it in the car for the boys. On the first note of “Mercedes Ladies” they both giggled at the larrikinism of bass line, the cheeky guitars and Freddie’s comical tom-tom drumming. It rollicks along with the musical highlight the double hi-hat chick at the end of each line. It’s a great way to spend three minutes, and encapsulates the band, their time, and their legacy. In this, as in much of their material, Skyhooks satirise the suburbs while also rejoicing in them.

Of course, we’re all apprehended by our creative context. Even here in smug 2016, history will eventually scold us. 1975 imprisoned many with multiple charges: sexism, homophobia, stereotyping. But despite this, Skyhooks also pioneered themes concerning the suburban and the local. It was music of the largely untold other; it was not of NYC or London.

Such is the significance of Skyhooks for me that the mention of Carlton evokes the song first, and the footy team second. The band’s collected lyrics still generate an imagined google map of Melbourne, and a reference to Toorak or Balwyn returns me to my original conceptions of the city by the Yarra. If the Beatles are Liverpool, and the Rolling Stones are London, then Skyhooks is Melbourne. Their music has always presented the geography of a highly human environment, as there’s colourful pictures of grimy pubs, menacing streetscapes, and widescreen vistas too.

I love that I can go years without listening to a band, and then one afternoon find myself dragging out a dusty CD, and with the opening chords, being teleported to a distant, thrilling place. With Skyhooks that place is in the dimming distance and unreconstructed, but from time to time, I really enjoy going back there.
by Michael Randall, Mar 14, 2016
Tracks
1. Ego Is Not A Dirty Word - 3:00
2. Love On The Radio (Greg Macainsh, Steve Hill) - 4:18
3. Saturday Night - 2:48
4. Love's Not Good Enough - 7:18
5. The Other Side - 3:14
6. Smartarse Songwriters - 4:12
7. Mercedes Ladies - 3:31
8. All My Friends Are Getting Married - 4:49
9. Every Chase A Steeple (Red Symons) - 3:41
10.Private Eye - 3:00
All songs written by Greg Macainsh except where indicated

Skyhooks
*Graeme 'Shirley' Strachan - Lead Vocals
*Redmond Symons - Guitar, Vocals, Plano (Tracks 4,9)
*Bob 'Bongo Starkle - Guitar
*Freddie Kaboodleschnitzer - Drums, Vocal, Percussion 
*Greg Macainsh - Bass Guitar
With
*Peter Jones - Fender Rhodes Piano (Tracks 2,8), Marimbas, Vibes (Track 1), Chimes (Track 3) Boo Bams (Track 4)
*Greg Sneddon - Arp Synthesizer (Track 10)
*Andy Cowan - Mini Moog (Track 10)
*Col Loughnan - Tenor, Baritone Saxaphones (Track 6)
*Pat Wilson - Finger Cymbals (Track 1)
*Ross Wilson - Yamaha Synthesizer (Track 1), Vocal Harmonies
*Ian Mason - Harmony Vocals (Track 8)
*Jenny Keath - Harmony Vocals (Track 1)


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Tuesday, February 17, 2026

rep>>> Pavlov's Dog - Pampered Menial (1975 us, stellar prog rock, 2009 japan xpanded and 2013 remasters)



While 1974 is considered to be the closure for classic English progressive rock, it was a promising, groundbreaking year for the Americans in the genre, with bands like Kansas and Rush releasing their debut albums. Pampered Menial, the forgotten debut album by St. Louis band Pavlov’s Dog, serves as a further testament to this.

Pavlov’s Dog can actually be the missing piece linking Kansas and Rush – mixing the accessibility of the first with the harder edge of the latter. While not as aggressive as early Rush efforts, Pampered Menial offers about 35 minutes packed with well-written, captivating songs that are dense with instrumental beauty and creativity – creating a sense of celebration from one side and a painful heartbreak affair on the other.

This concentrated, orchestrated work is clearly inspired by early European progressive rock albums (a sub-genre known as "proto-prog"), such as King Crimson’s In the Court of the Crimson King and Spring (another forgotten gem), with various keyboards, mellotron, flutes and strings being a substantial part of the work aside the varied guitar playing, giving it a symphonic touch. It all rocks with intensity, driven by highly dynamic, imaginative drumming, and filled with melody, much in the way Kansas did in their early days.

Lead vocalist David Surkamp’s high singing is very close to that of Rush’s Geddy Lee, both in tone and in delivery. In fact, Surkamp takes his muscular-feminine vibrating vocals to an even more extreme point, using them with more confidence than early Lee, in a way that can be seen as a cross between Lee and the goat-like trembling vocals that Family’s (a late 60’s-70’s outfit that offered orchestrated prog-pop material) Roger Chapman is remembered for.

In fact, Surkamp is not the only one who is performing with confidence. The entire band performs remarkably well and displays maturity and refinement that are sometimes absent from debut albums. Unlike the Led Zeppelin-ish early Rush, Pavlov’s Dog managed to bring on their debut a polished sound that is their own, thus making it a mandatory acquisition to anyone who is interested in American progressive rock.
by Avi Shaked
Tracks
1. Julia - 3:10
2. Late November (Steve Scorfina, David Surkamp) - 3:12
3. Song Dance (Mike Safron) - 4:59
4. Fast Gun - 3:04
5. Natchez Trace (Steve Scorfina) - 3:42
6. Theme From Subway Sue - 4:25
7. Episode - 4:04
8. Preludin (Siegfried Carver) - 1:39
9. Of Once And Future Kings - 5:28
All songs by David Surkamp except where stated
Bonus Tracks 10-13 only on Japanese Edition 2009
10.Subway Sue (David Surkamp) - 4:38
11.Preludin (Siegfried Carver) - 9:58
12.I Wish It Would Rain (David Surkamp) - 5:48
13.Rainbow (David Surkamp) - 3:00
Track 10 recorded live in Detroit 1975
Tracks 11-12 recorded live in St. Louis 1975
Track 13  from the 1969 Album "Stree Suite' by the Touch

Pavlov's Dog
*David Surkamp - Lead Vocals, Guitar
*David Hamilton - Keyboards
*Doug Rayburn - Mellotron, Flute
*Mike Safron - Percussion
*Rick Stockton - Bass Guitar
*Siegfried Carver - Violin, Vitar, Viola
*Steve Scorfina - Lead Guitar

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Sunday, February 15, 2026

rep>>> Wendy Saddington And The Copperwine - Live (1971 new zealand, fantastic blues rock, 2011 digi pak remaster)



Wendy Saddington's musical influences included the likes of Bessie Smith, Etta James, Mahalia Jackson, Odetta, Aretha Franklin, Nina Simone, Janis Joplin, and the raw blues from the Mississippi delta, along with the swanky soul coming from the American Stax, Atlantic and Motown labels. There was also something of the vulnerability of Edith Piaf in Wendy's pleading, bleeding vocal entreaties.

Saddington first came to notice in Melbourne psych-soul outfit The Revolution, before swiftly joining Adelaide's psychedelic/classically flavoured James Taylor Move around late 1967. Virtually all the members of this band went on to bigger and better things -- Peek, Tarney and Spencer all moved to the UK, where Tarney and Spencer became sought-after session players, writers and producers as well as forming their own successful band. 

Peek likewise became an in-demand session player in London and later linked up with renowned classical guitarist John Williams, and together they formed the enormously successful classical-rock fusion band Sky. As with most of Saddington's band collaborations, she had already left the band before any recordings were made.

Such was again the case when Wendy joined the emerging blues-rock ensemble Beaten Tracks, which she named (The) Chain, after the song by one of her heroines, Aretha Franklin's soul classic, "Chain Of Fools". Wendy spent around 18 months touring with Chain, and it was during this time that her passionate, earth-mother Joplin/Franklin vocal style came to prominent notice among promoters and punters alike. Also, her 'outlandish' appearance attracted magazines like Go-Set: a sad waif-like face, heavily mascara-ed around the eyes, framed by the hugest of afro 'do' this side of Jimi's Experience! Wendy favoured simple Levi's, with a basic shirt or cheesecloth kaftan top, copiously accessorised with love-beads and bangles.

During 1969 Wendy made a guest appearance on the short-lived ABC-TV program Fusions, an innovative 'in concert' series starring Sydney-based progressive band Tully. It's not known whether any tapes of this series have survived, but the recent rediscovery of a large number of episodes of the ABC's GTK series give hope that at least some of this series has sruvived.Circa 1969 Wendy also began writing a regular column in Go-Set., giving advice on love and relationships.

Saddington's next musical outing was with Jeff St John's highly acclaimed and well-established group, Copperwine, and it's here that we finally have an officially-released recording of her sublime vocal performances! Wendy joined the band in March 1970, just after the release of Copperwine's superb Joint Effort album, and she sang live as co-lead with St John for a concentrated touring regime through to February 1971. In January of that year, with St John temporarily away from the band, Saddington fronted Copperwine for their acclaimed performance at the Wallacia Festival on the central-coast of New South Wales.

An live recording of the event was released on Festival's new progressive subsidiary Infinity during '71, which showcased Copperwine's sympathetic backing sensibilities for Wendy's distinctive vocals. On such cuts as the funky opener, Nina Simone's "Backlash Blues", and her heartfelt reading of Dylan's "Just Like Tom Thumb's Blues", Saddington continually astonishes with her sensual soul power. Another notable inclusion is Wendy's introspective and idiosyncratic reading of John Lennon's "Tomorrow Never Knows" (which Wendy introduces as a George Harrison composition!). 

Other highlights include "Five People Said I Was Crazy " (which, with its wild Ross East guitar solo, Barry Kelly's electric piano flourishes and Wendy's monumental banshee wail, certainly lives up to its title). The closing tour-de-force "Blues In A" completely satisfies the listener as a consummate combination of the music of one of Australia's premier all-purpose prog-blues bands of the time, with definitely one of our most unique and mesmerising blues-soul vocalists.
Miles-ago
Tracks
1. Backlash Blues (Nina Simone) - 4:16
2. Just Like Tom Thumb's Blues (B. Dylan) - 7:31
3. Tomorrow Never Knows (J. Lennon, P. McCartney) - 8:42
4. Five People Said I Was Crazy (Wendy Saddington And The Copperwine) - 7:35
5. Blues In 'A' (Wendy Saddington And The Copperwine) - 14:27
6. Looking Through A Window  (Warren Morgan, Billy Thorpe) - 5:58
7. We Need A Song  (Warren Morgan, Billy Thorpe) - 3:24
8. Looking Through A Window (Warren Morgan, Billy Thorpe) - 3:58
Tracks 1-5 recorded live at "The Odyssey" Music Festival Wallacia January 1971
Bonus Track 6-9 single infinity recorded July 1971

Musicians
*Wendy Saddington - Lead Vocals
*Harry Brus - Bass
*Ross East - Guitar, Vocals
*Peter Figures - Drums
*Barry Kelly - Keyboards, Vocals

Related Act
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Saturday, February 14, 2026

rep>>> SRC - Lost Masters (1970-72 us, detroit raw garage psych rock)



Consisting of an amalgam of leftover and unreleased material recorded after leaving Capitol, and both early and late non-album singles, this compilation will be of interest for ardent SRC followers, but is not an advisable introduction. The psychedelia, '70s rock, and soul/R&B do not sit too easily together, which is not surprising either as this set is intentionally and odds and ends package.

And as that, it works extremely well. "After Your Heart," "Gypsy Eyes," "Love Is Here Now," "Cry of the Lonely," and the moody instrumental "Valerie" could have quite easily fit on Milestones and indeed are comparable to any of their best releases. A more commercial soul sound was adopted a little later, and in working with Motown producers, a horn section, and female backing vocalists Scott Richardson attempted to emulate his black brethren.

Material performed in this manner includes covers of the Animals' "I'm Crying," Holland-Dozier-Holland's "Heatwave," and heroes the Pretty Things' "Out in the Night," which while playable are not a match of earlier efforts. Of more interest from this era are "Evil," (SRC parodying Howlin' Wolf) and a number of laid-back numbers, such as "No Rules in Love" that hint at how they would of sounded if they continued in a more soft rock vein.

All in all a very good album of perhaps Detroit's best and yet least recognized '60s band. After buying the re-releases of the originals, this is the next step to complete the picture.
by Jon "Mojo" Mills

The first ten tracks represent what would have been SRC's fourth album. The rest ten tracks "...represent various stylistic experiments...", where Gary Quackenbush had rejoined the band and Richard Haddad was added on bass and vocals. Richard died in an automobile accident in Los Angeles in 1977 and "Lost Masters" is dedicated to him per the suggestion of Gary Quackenbush.
Tracks
1. After Your Heart  (Glenn Quackenbush, Scott Richardson) - 3:26
2. Gypsy Eyes - 4:11
3. Valerie (Gary Quackenbush, Scott Richardson) - 3:43
4. Love Is Here Now - 5:00
5. (Love Is Like A) Heat Wave (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 2:57
6. Out in the Night (Dick Taylor, Phil May) - 2:46
7. Badaz Shuffle - 3:14
8. Eliza Green the Shimmie Queen - 3:36
9. My Sunday's Gone (Glenn Quackenbush, Scott Richardson) - 3:59
10.Never Let Your Daystar Fade Away (Glenn Quackenbush, Scott Richardson) - 3:13
11.Born to Love - 2:54
12.No Rules in Love (Glenn Quackenbush, Scott Richardson) - 3:54
13.The Deeper the Longer  - 2:33
14.Lovelight (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:08
15.Cry in the Lonely - 3:26
16.Get the Picture  (Dick Taylor, Phil May) - 2:29
17.Evil  (Willie Dixon) - 4:04
18.I'm Crying  (Alan Price, Eric Burdon) - 4:35
19.Ride the Wind  (Scott Richardson) - 3:04
20.Richard's Song - 3:50
All songs by Elmer George Clawson, Glenn Quackenbush, Gary Quackenbush, Scott Richardson, except where indicated.

SRC
*Gary Quackenbush - Guitars
*Glenn Quackenbush - Keyboards, Vocals
*Scott Richardsonn - Vocals
*E.G. Clawson - Drums, Percussion, Vocals
*Richard Haddad - Bass, Vocals

1968  SRC (2010 Micro Werks edition)
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Friday, February 13, 2026

rep>>> Blonde On Blonde - Reflections On A Life (1971 uk, beautiful prog rock with psych flashes, 2017 bonus track remaster)



There was something very special about being able to live a life split between two worlds, one quiet and countrified, and the other - on the road or in the heart of London's nightlife!

I think you can hear that contrast in the music itself: a mixture of focused energy and laid-back calm. It was a reflection of the way we lived and worked. We all came from a heavily industrialised Welsh seaport that was closely surrounded by mountains and wild romantic countryside; it was the contrast that inspired us.

And it still inspires me. I am about to release a new Blonde On Blonde album. The music's already 'in the can' and includes songs from Blonde On Blonde's live performances that were not previously released. It also includes some very recent material. The new album is called "Coldharbour" (another name for my hometown Newport). It was hearing "Rebirth" again that brought me determination to complete the project.

In the meantime, I hope you enjoy the sounds of 1970 so faithfully captured here on this reissued CD. When I listened to it again, it was like taking a ride in a time capsule in my own head. The sound and the memories are crystal clear.
by David Thomas
Tracks
1. Gene Machine (Gareth Johnson) - 2:12
2. I Don't Care (Dave Thomas, Gareth Johnson) - 2:40
3. Love Song (Dave Thomas) - 6:45
4. Bar Room Blues (Dave Thomas) - 5:30
5. Sad Song For An Easy Lady (Dave Thomas) - 4:14
6. Ain't It Sad Too (Gareth Johnson) - 4:25
7. The Bargain (Dave Thomas) - 4:16
8. The Rut (Graham Davies) - 5:29
9. Happy Families (Gareth Johnson) - 3:50
10.No. 2 Psychological Decontamination Unit (Gareth Johnson) - 3:03
11.Chorale (Forever) (Gareth Johnson) - 4:53
12.Sad Song for An Easy Lady (Single Version) (Dave Thomas) - 3:34

Blonde On Blonde
*Graham Davies -  Acoustic Guitar, Guitar, Bass Guitar, Banjo, Vocals
*Gareth Johnson - Lead Guitar
*Les Hicks - Percussion
*Dave Thomas - Vocals, Acoustic Guitar, Bass Guitar, Harmonica

more Blondes
1969  Contrasts (2010 Esoteric edition)
1970  Rebirth  (2017 Esoteric remaster)

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Wednesday, February 11, 2026

rep>>> Harvey Mandel - Feel The Sound (1974 us, fascinating funky bluesy rock, 2016 edition)



One of the world's greatest guitarists in the history of rock n' roll, Harvey Mandel was light years ahead of the competition when he first broke onto the scene in the mid 1960's with Charley Musselwhite's Southside Band, bridging the gap between blues and rock n' roll. A true innovator who sounded like no one else at the time, Mandel played with such notables as Canned Heat, The Rolling Stones, and John Mayall before starting a solo career. Presented here is Mandel's classic 1974 solo album Feel The Sound Of Harvey Mandel, featuring Ray Lester (bass); Victor Conte (bass); Danny Keller (drums); Paul Lagos (drums); Coleman Head (rhythm guitar); Mark Skyer (rhythm guitar) and the original Pure Food And Drug Act band.
Tracks
1. Got To Be Bad (Coleman Head, Victor Conte) - 3:50
2. Sore Throat (Dick Wagner, Mark Skyer, Harvey Mandel) - 2:33
3. Just Wanna Be There (Dick Wagner, Mark Skyer, Harvey Mandel) - 4:26
4. Candles By The Bedside (Dick Wagner, Mark Skyer, Harvey Mandel) - 4:06
5. Feel The Sound (Dick Wagner, Mark Skyer, Harvey Mandel) - 6:01
6. I Got Your Slot (Coleman Head, Harvey Mandel, Victor Conte) - 2:52
7. Rankachank Blues (Harvey Mandel) - 2:49
8. Forever And Forever (Roselyn Mandel) - 2:35

Musicians
*Harvey Mandel - Lead Guitar
*Coleman Head - Rhythm Guitar (Tracks 1,2,6,8)
*Danny Keller - Drums (Tracks 3-5,7,8)
*Victor Conte - Bass, Guitar
*Mark Skyer - Guitars, Vocals (Tracks 3-5,7)
*Paul Lagos - Drums ( (Tracks 1,2,6)
*Ray Lester - Bass (Tracks 3-5,7)
*Richard Martin - Vocals (Track 1)

1968  Harvey Mandel - Cristo Redentor (2003 remaster and expanded)
1969-70  Harvey Mandel - Righteous / Games Guitars Play (2005 remaster)

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Tuesday, February 10, 2026

rep>>> Les Fleur De Lys - Reflections (1965-69 uk, splendid mod psych freak beat)



Although several of their singles are coveted by collectors of '60s British rock, Les Fleur de Lys remain obscure even by cult standards. That's partly because they never came close to getting a hit, but also because their furious pace of lineup changes makes their history very difficult to trace, and also precluded any sense of consistent style or identity. The group did release a number of fine singles in the mod-psychedelic style that has become known as "freakbeat," with more of a soul music influence than most such British acts.

Les Fleur de Lys changed lineups about half-a-dozen times during their recording career, which roughly spanned 1965-1969. Drummer Keith Guster was the only constant member; some of the musicians passing through went on to commercial success with Journey and Jefferson Starship (keyboardist Pete Sears) and King Crimson (bassist Gordon Haskell). At the outset, they recorded a couple of singles for the Immediate label that were produced by Jimmy Page (there remains some controversy about whether he played guitar on these as well). A cover of the Who's "Circles" featured the fluid, slightly distorted guitar lines that would become Fleur de Lys' most distinguishing characteristic. The 45s made no commercial impact, however, and Fleur de Lys helped sustain themselves in the late '60s by backing relocated South African singer Sharon Tandy. 

Sprawling 24-track comp of the rare recordings of this enigmatic band. Includes 14 songs issued under the Les Fleur de Lys name, singles that they issued under the Rupert's People, Chocolate Frog, and Shyster pseudonyms, and releases on which they backed Sharon Tandy, John Bromley, and Waygood Ellis. It goes without saying that such a manic hodgepodge is geared toward the hardcore collector market. 

But if you like mid-to-late '60s mod-psych, it's a decent item to have around, with some sparkling (occasionally crazed) guitar work, unusually constructed tunes that sometimes meld soul and psychedelia, and nice harmonies. "Circles" and "Mud in Your Eye" are first-rate pounding mod guitar tunes; "Gong With the Luminous Nose" is pop-psych at its silliest; "Reflections of Charlie Brown" is pop-psych at its most introspective; and Sharon Tandy's "Daughter of the Sun" is a lost near-classic with witchy vocals and sinister psychedelic guitar. 
by Richie Unterberger 
Tracks
1. Circles (Instant Party) (Pete Townshend) - 3:07
2. Mud In Your Eye (Phil Sawyer, Chris Andrews) - 3:04
3. Gong With The Luminous Nose (Gordon Haskell) - 2:38
4. Sugar Love (John Bromley) - 2:09
5. Hold On (Gordon Haskell, Howard Conder, Rod Lynton) - 3:14
6. Prodigal Son (Bryn Haworth, Gordon Haskell) - 2:01
7. One City Girl (Brian Potter, Bryn Haworth) - 2:47
8. Daughter Of The Sun (Brian Potter, Graham Dee) - 3:56
9. Tick Tock (Gordon Haskell) - 2:46
10.I Can See The Light (Bryn Haworth, Gordon Haskell) - 3:01
11.Liar (Brian Potter, Bryn Haworth) - 3:21
12.I Forgive You (Brian Potter, Graham Dee) - 2:41
13.So, Come On (Phil Sawyer, Frank Smith) - 1:53
14.Hammerhead (Gordon Haskell) - 1:32
15.Stop Crossing The Bridge (Brian Potter, Graham Dee) - 2:05
16.I Like What I'm Trying To Do (Brian Potter, Graham Dee) - 2:18
17.Hold On (Gordon Haskell, Howard Conder, Rod Lynton) - 3:32
18.Butchers And Bakers (Terry Dempsey) - 2:56
19.Wait For Me (Danny Churchill, Frank Smith) - 2:25
20.Reflections Of Charlie Brown (Howard Conder, Rod Lynton) - 4:17
21.Brick By Brick (Brian Potter, Graham Dee) - 2:31
22.I've Been Trying (Curtis Mayfield) - 2:45
23.Moondreams (Buddy Holly) - 2:30
24.So Many Things (John Raine) - 2:18
Tracks 4,24 performed by John Bromley
Tracks 5,8 performed by Sharon Tandy
Track 9 permormed by Shyster
Tracks 12,18 performed by Chocolate Frog 
Track 16 performed by Waygood Ellis
Tracks 17,20 performed as Rupert's People 

Les Fleur De Lys
*Frank Smith - Guitar, Vocals
*Alex Chamberlain - Organ
*Gary Churchill - Bass
*Keith Guster - Drums
*Gordon Haskell - Bass
*Pete Sears - Keyboards
*Phil Sawyer - Guitar
*Chris Andrews - Vocals
*Bryn Haworth - Guitar, Vocals
*Tony Head - Vocals
*Graham Maitland - Guitar
*Tago Byers - Bass

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Monday, February 9, 2026

Vanilla Fudge - Renaissance (1968 us, solid dark jamming psych early prog)



Vanilla Fudge may not be progressive rock, or they might. Either way they have seriously influenced and impacted prog rock from the beginnings and I've always included them there. The group's incredibly powerful sound is unmistakable. From smoking organ sounds, crunchy guitar, soaring vocal medleys and a psychedelic texture to their extended creative arrangements, no one does it quite like The Fudge. One of the most influential things, in my opinion, that they did was their method of alternating softer and louder passages to create drama and power. I know that I've read interviews where they guys in Yes remark about that being one of the things that they have always worked with. Well, the Fudge were doing it before them. Actually one of the tracks here I see to be a definite influence on early Yes, but I have a hunch Vanilla Fudge in general had a lot to do with that band (and a lot of others') style. In any event, this album was one of the early ones from The Fudge's catalog and one that is very highly regarded. There is no weak material here and the Fudge's version of "Season of the Witch" (creating incredibly original versions of established songs is another Vanilla Fudge trademark) alone would make this a disc worth having. In my opinion that might be the best song they've ever done. The nice thing is, that is far from the only strong piece on the disc. This one is full of them.
by Gary Hill
Tracks
1. The Sky Cried-When I Was A Boy (Mark Stein, Tim Bogert) - 7:37
2. Thoughts (Vince Martell) - 3:31
3. Paradise (Mark Stein, Carmine Appice) - 6:02
4. That's What Makes A Man (Mark Stein) - 4:26
5. The Spell That Comes After (Essra Mohawk) - 4:30
6. Faceless People (Carmine Appice) - 6:04
7. Season Of The Witch (Donovan Leitch) - 8:56
8. All In Your Mind (Carmine Appice, Tim Bogert, Vince Martell, Mark Stein) - 2:59
9. Look Of Love (Burt Bacharach, Hal David) - 2:50
10.Where Is My Mind (Mark Stein) - 2:44

Vanilla Fudge
*Carmine Appice - Drums, Vocals
*Tim Bogert - Bass Guitar, Vocals
*Vince Martell - Guitar, Vocals
*Mark Stein - Lead Vocals, Keyboards


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