Plain and Fancy

1970 Paul Brett's Sage - Paul Brett's Sage (2007 japan edition)

rep>>> Paul Brett - Clocks (1973 uk, elegant folk rock with prog touches)

The aforementioned ‘Duellin’ Banjo’ track is a little bit of an anomaly on here. An oasis amongst the Gallagher brothers, a Ringo to the rest of the Beatles. You do not get more of the same. The LP is filed under Rock, but it’s a bit of a stretch if I’m honest, it’s a bit like the trouble the Sorting Hat had with where to put Harry Potter. An element of country for sure is how the first side kicks off, and after the banjos have departed, ‘Empty Dreams / Flying machines’ is a gentle smouldering track that, to be honest, has more life in it than is given here. Rain from a clear sky is an oddity.

A little psychedelia of noise accompanied by words that ramp along at a pace. It’s almost as if the two were brought together after different nights out and made to work. And Side A finishes with a more traditional violin dominant track which fits in the middle of everywhere.

And so it continues on Side 2. I’m not exactly sure if this fits into any specific genre. Accomplished musicians undoubtedly, it feels a little like a lost afternoon in the hills, trying to find its way home. Not quite sure which direction to take. Promising paths are followed by cul-de-sacs but stick with it as there is enough variation on here to be able to find little gems hidden here and there. Try Snowbird at the end for example. Lovely.

Vinyl Second

Tracks

1. Clocks (Paul Brett, Mike Piggott) - 1:31

2. Soho Jack (Paul Brett, Mike Piggott, Dave Griffiths) - 3:22

3. Captain Dan - 3:41

4. Duellin' Banjo (Rodney Dillard, Douglas Dillard, Mitchell F. Jayne, Dean Webb) - 2:57

5. Empty Dreams / Flying Machines - 3:22

6. Rain From A Clear Sky (Paul Brett, Nick Sterling) - 3:08

7. One Sunday Morning - 3:29

8. Explanation Blues - 2:28

9. Circles - 2:50

10.Hunter Of Angels - 3:05

11.What You Mean To Me - 2:58

12.Summer Driftin' - 3:57

13.Snowbird - 3:29

All songs by Paul Brett except where noted

Personnel

*Paul Brett - Acoustic, Electric Guitars, Vocals

*Mike Piggott - Drums - Violin, Acoustic Guitars

*Dave Griffiths - Mandolin, Acoustic Bass

*Lyle Harper - Electric Bass

*Terry Poole - Electric Bass

*Pat Donaldson - Electric Bass

*Jim Toomey - Percussion

*Charlie Charles - Percussion

*John Richardson - Percussion

*Rob Young - Piano

*Nick Sterling - Cello

1971 Paul Brett's Sage - Jubilation Foundry (2007 Japan remaster)
1972 Paul Brett's Sage - Schizophrenia (2009 Esoteric)

1972 Paul Brett - Paul Brett (2016 korean remaster)
Related Acts
1969 Velvet Opera - Ride A Hustler's Dream

1968-70 Fire - The Magic Shoemaker (2009 bonus tracks remaster)

Thursday, July 16, 2026

rep>>> The Outsiders - CQ (1968 holland, pioneer punkadelic, 2011 remaster and expanded)

With a plethora of recent reissues (Jackpot – vinyl and RPM – cd), it seemed like a good idea to backtrack to this classic record and give it another listen. C.Q. was to be the Outsiders last album (their 3rd LP), an attempt to reach the group’s original core audience amidst a troubling commerical downfall. Not only is this one of the best “international” psych albums but it’s as good as anything by the early Pink Floyd, psychedelic era Pretty Things or Love. Its closest reference point is probably the Pretty Things superb S.F. Sorrow – there are no soft, wimpy moments on either of these records, just pure intensity and garage punk muscle. C.Q. is what the Rolling Stones’ Their Satanic Majesties Request should have sounded like.

C.Q.’s strength is in it’s consistency and diversity. No two songs sound alike yet every experiment is well thought out and successful. The group’s hallmark start-stop punk rhythms are firmly in place on many of C.Q.‘s tracks but by 1968 the Outsiders had grown considerably, incorporating more folk-rock and psych sounds into their repertoire. Psych cuts such as the very European sounding “Zsarrahh” (supposedly a nod to Wally Tax’s Russian roots), the brief “Bear,” an avant garde folk-rock cut titled “Prison Song” and “C.Q.” heralded a new, more experimental outfit.

Other cuts such as the sensitive “You’re Everything On Earth,” a bluesy, spacy cut titled “It Seems Like Nothings Gonna Come My Way Today,” and “I Love You No. 2″ were folk-rock gems that showed off Tax’s soft, expressive side. That being said, it’s the harder cuts that warrant the greatest attention. “Misfit,” “Doctor,” “The Man On The Dune,” ”Happyville,” and “Wish You Were Here With Me Today” are masterful acid punkers. “Doctor,” one of the group’s best LP tracks, features distorted vocals and an explosive fuzz guitar freakout. “The Man On The Dune,” another classic and personal favorite, is a blistering psych punker with jagged guitar fuzz and a strange, unsettling conclusion. It goes without saying that C.Q. is one of the immortal 60s albums.

As mentioned above, there have been many reissues of C.Q. To me, the Pseudonym reissue was the best as it featured three terrific non-lp tracks (“Do You Feel Alright” is an excellent cut that should have been a hit). In this RPM disc features six good live cuts from 1968.

by Jason Nardelli

Tracks

1. Misfit (Frank Beek, Leendert Busch) - 3:04

2. Zsarrahh (Leendert Busch, Wally Tax) - 3:25

3. CQ (Leendert Busch, Wally Tax) - 3:26

4. Daddy Died On Saturday (Ronald Splinter, Wally Tax) - 3:01

5. It Seems Like Nothing's Gonna Come My Way Today (Frank Beek, Ronald Splinter) - 1:50

6. Doctor (Frank Beek, Leendert Busch) - 4:42

7. The Man On The Dune (Frank Beek, Ronald Splinter) - 2:07

8. The Bear (Leendert Busch, Ronald Splinter) - 1:03

9. Happyville (Frank Beek, Wally Tax) - 2:25

10.You're Everything On Earth (Ronald Splinter, Wally Tax) - 3:05

11.Wish You Were Here With Me Today (Ronald Splinter, Wally Tax) - 1:54

12.I Love You No.2 (Frank Beek, Wally Tax) - 3:13

13.Prison Song (Leendert Busch, Wally Tax) - 5:42

14.Do You Feel Alright (Frank Beek, Leendert Busch, Ronald Splinter, Wally Tax) - 3:21

15.Daddy Died On Saturday (Ronald Splinter, Wally Tax) - 3:07

16.I Love You No.2 (Frank Beek, Wally Tax) - 3:15

17.Misfit (Frank Beek, Leendert Busch) - 3:10

18.Happyville (Frank Beek, Wally Tax) - 2:22

19.Prisonsong (Leendert Busch, Wally Tax) - 5:34

Bonus Tracks 14-19 Live at Fantasio Amsterdam 31.12.68

The Outsiders
*Frank Beek - Bass, Composer, Cymbals, Guitar, Organ, Piano, Vibraphone, Voices
*Ronald Splinter - Bass, Guitar, 12 String Guitar, Vocals
*Wally Tax - Balalaika, Cymbals, Flute, Guitar, Harmonica, Organ, Tambourine, Vibraphone, Vocals
*Buzz - Drums, Congas, Tambourine, Maracas, Mouthharp, Vocals

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Wednesday, July 15, 2026

rep>>> Kin Ping Meh - Kin Ping Meh II (1972-73 germany, great hard prog rock, remastered edition with bonus tracks)

Torsten Herzog and Willie Wagner left Kin Ping Meh in 1972. The band had already been expanded with Alan Joe Wroe (bass), Uli Gross (guitar, although he left again within months) and Gagey Mrozeck (guitar, ex-2066 & Then). 'No. 2' (1972) followed the path of its predecessor - it was filled with great quality heavy progressive rock.

Just like the debut album 'No. 2' was produced by the Hamburg team of Achim Reichel/Frank Dostal (Rattles) and recorded in the Windrose Dumont Time studios. Once again, Conny Plank was the sound engineer. One year later, Plank set up his own studio near Cologne and built his own monument by producing the first four Kraftwerk records. On 'No. 2', Kin Ping Meh followed down the path they had taken the year before - straight rock with no experiments, resulting in unspectacular, but highly powerful rock music.

All in all, the second Kin Ping Meh album seems to show them in an even more relaxed mood and offers not only catchy rhythms, but almost pop-like elements. The first two songs ('Come Down To The Riverside' and 'Don't Force Your Horse' are typical Kin Ping Meh rock. The next song, a cover version of the Beatles' 'Come together', ends on a well-done jam (the 'Together Jam'). And just like the debut album, 'No. 2' has its calmer moments as well ('Livable Ways' and 'Day Dreams').

The LP ends with the lively 'Very Long Ago' and 'I Wonna Be Lazy', written by Reichel and Dostal. As bonus tracks, this CD contains the single B-side version of 'Sometime' (1973, Zebra 2047002; the original version can be found on the debut album) plus the single A-side 'Sunday Morning Eve' (1973, Zebra 2047004)

by Matthias Mineur

Tracks
1. Come Down to the Riverside (Werner Stephan, Uli Gross) - 3:12
2. Don't Force Your Horse (Uli Gross, Dr. Grossenmaier) - 3:46
3. Come Together (John Lennon, Paul McCartney) - 6:00
4. Together Jam (Kalle Weber, Torsten Herzog, Fritz Schmitt, Gagey Mroze, Uli Groß, Werner Stephan, Willie Wagner) - 4:54
5. Liveable Ways (Uli Gross, Frank Dostal) - 8:02
6. Day Dreams (Werner Stephan, Uli Gross, Dr. Grossenmaier) - 7:32
7. Very Long Ago (Willie Wagner) - 2:55
8. I Wanna Be Lazy (A. Reichel, Frank Dostal) - 3:04
9. Sometime (Single Version) (Willie Wagner, Frieder Schmidt) - 4:33
10.Sunday Morning Eve (Gerhard Mrozeck, Uli Gross, Alan Joe Wroe) - 3:58

Kin Ping Meh
*Kalle Weber - Drums, Percussion
*Torsten Herzog - Bass, Vocals
*Frieder Schmidt - Organ, Piano, Mellotron 400, Vocals
*Willie Wagner - Guitar, Vocals
*Werner Stephan - Lead Vocals, Acoustic Guitar, Percussion
*Uli Gross - Electric, Fingerstyle Guitar
*Gerhard Mrozeck - Guitar

1970-75 Volume Four (2009 P&P)

rep>>> Various Artists - The Electric Asylum Vol. 2 (1969-74 uk, more rare acid freakrock)

These are obscurities -- and you better believe they are very obscure when the most well-known artists are Steamhammer and the Montanas -- from the late '60s and early '70s, and about as much early hard rock (with some prog rock elements as well) as psychedelia. With all due respect to the estimable Past & Present label for digging into a genre that reissues haven't explored much, it's doubtful that comps such as these will launch as much collector enthusiasm for the style as specialist reissues did for freakbeat.

The material is largely somber, the arrangements on the heavy side, and the songs not too memorable, if often tightly played and well produced. These are the kinds of releases that, in any era, clutter the bins of ill-distributed records that very few people have heard or are familiar with; these just happen to be ones belonging to the British early-'70s hard rock division. You can hear echoes of Jimi Hendrix, Spooky Tooth, Peter Green-era Fleetwood Mac, Ten Years After, the Jeff Beck Group, Jethro Tull, and the like, if usually in a less lively and ebullient mood, but nothing that's going make you wonder why these acts didn't get bigger.

The inclusion of a couple pretty pointless covers of well-known tunes by big stars (the Deep Set doing Neil Young's "Cinnamon Girl" and the Treetops singing the Moody Blues' "Gypsy") doesn't help. On a more positive note, Josephine Levine's vocals on J.C. Heavy's "Mr. Deal" add welcome spice to what otherwise is a pretty testosterone-heavy set, and Steamhammer's "Windmill" has a lighter, dreamier, more psychedelic feel than their predominantly blues-based output (and the rest of this CD). And no, the Iron Maiden who do "Falling" here are not the famous metal band of the same name.

by Richie Unterberger

Artist - Track - Composer

1.Cats Eyes - The Wizard (William Filby) - 3:38

2.Buster Jangle's Flying Mattress (Taken Over My Brain) (Mike Finesilver, Pete Ker) - 2:55

3.J.C. Heavy - Mr. Deal (John Needham, Kenny Anders, Josephine Levine Musaphia, Neil Levine, John Hajok) - 3:35

4.Eastwood - I Am Free (Phil Smith, Malcolm Cope, Keith Belmore, Jim Onslow) - 3:58

5.Iron Maiden - Falling (Barry Skeels, Steve Drewett, Trev Thoms) - 6:05

6.Wolfrilla - Song For Jimmi (Geoff Hart) - 3:08

7.The Deep Set - Cinnamon Girl (Neil Young) - 3:20

8.Steamhammer - Windmill (Kieran White, Martin Quittenton) - 4:25

9.Gentry - Attempted Contact (Cahir O'Doherty, Norman Lindsay) - 3:14

10.Humbug - Ebeneezer (Dave DuFort) - 3:52

11.Montanas - Doctor Nero (Jake Elcock, Will Hayward) - 2:49

12.Choc - Time (Alain Gaude, Keith Fawcett) - 3:11

13.Magnet - Mr. Guy Fawkes (Mick Cox) - 3:56

14.Mosaic - Bird Of Time (David Titley) - 2:19

15.Chameleon - Who Am I? (Marilyn Saunders, Tom Goodearl) - 3:27

16.Now - People Are Standing (Colin Miles, Phil Wheeler, Dave Shott, Keith Burge, Paul Seemayer) - 3:09

17.Iron Cross - All Of The Time (Alan Saunders, Dave Hill) - 3:10

18.The Treetops - Gypsy (Justin Hayward) - 3:32

19.Lost Dog - Latchkey Child (Clark, Counsell, Pascal) - 3:04

20.J.C. Heavy - That Woman's Mind (John Needham, Kenny Anders, Josephine Levine Musaphia, Neil Levine, John Hajok) - 2:39

The Electric Asylum series
1970-74 Volume One (2009 P&P)

1969-75 Volume Five (2009 P&P)

1971-76 Volume Six (2014 Particles)

other Past and Present compilations
1965-69 Floor Filler Killers / New Directions Vol. 3
1965-72 Mind Expanders Vol.2 (2009 P&P

Tuesday, July 14, 2026

rep>>> Andy Roberts - Just For The Record The Solo Anthology (1969-76 uk, splendid folk rock with prog shades, 2005 two disc set)

Born 12 June 1946, Hatch End, Middlesex, England. Folk singer-songwriter and guitarist Roberts’ solo achievements have been overshadowed by his work on recordings by other artists. He first came to public attention after meeting BBC disc jockey John Peel in 1967. During this period Roberts accompanied the Scaffold before going on to join the Liverpool Scene in 1968. He recorded his highly acclaimed solo debut Home Grown while still a member of the Liverpool Scene. Initially released on RCA Records in 1970, the album was reissued in shortened form by B&C Records the following year. Roberts recorded two further albums in 1971; the beautiful solo album Nina And The Dream Tree continued the fine work begun on Home Grown, while Everyone was recorded with the ill-fated band of the same name, featuring Roberts, Bob Sargeant, Dave Richards and John Pearson.

In 1972 Roberts joined Plainsong with whom he recorded the highly regardedIn Search Of Amelia Earhart. He then joined former Liverpool Scene colleagues Roger McGough and Adrian Henri in the Grimms from 1973-76, during which time he appeared on their final two albums. During this period Roberts also released two further solo albums, Urban Cowboy and Andy Roberts And The Great Stampede. In 1974, he featured in his first stage musical, Mind Your Head, but thereafter concentrated on session work. He worked with Roy Harper, the Albion Band and Hank Wangford. He recorded and toured with the latter artist until 1984, but continued with other session commitments, including playing guitar on Pink Floyd’s The Wall in 1981. Roberts also provided a singing voice for UK television’s satirical puppet seriesSpitting Image from 1983-84.

From the mid-80s onwards, Roberts has been heavily involved in composing music for film, television and theatre. His flexibility is reflected in the diversity of the programmes he has composed for, ranging from television drama series such as The Men’s Room (excellent theme song sung by Sarah Jane Morris, ‘I Am A Woman’) - to Madhur Jaffrey’s Far Eastern Cookery. In his capacity as composer, Roberts has been involved with Z Cars, Bergerac and the six-part television documentary series, Where On Earth Are We Going?, in addition to writing music for the movies Loose Connections, A Masculine Ending, Priest, Mad Love, Face, and Going Off Big Time. He also acted as musical director for the Royal Court in Sloane Square, London, during the early 80s. He has also played on countless sessions by a wealth of artists, and since the early 90s has toured and recorded with the reunited Plainsong.

Andy Roberts Music

Tracks

Disc 1

1. The Raven - 2:30

2. Applecross - 6:49

3. Moths And Lizards In Detroit - 5:18

4. The One Armed Boatman And The Giant Squid - 5:57

5. Creepy John (John Koerner) - 3:36

6. Home Grown - 2:53

7. Your A Machine - 4:34

8. John The Revelator (Traditonal Arr. Andy Roberts) - 2:03

9. Baby Baby - 2:16

10.Autumn To May (Peter Yarrow, Noel Paul Stookey) - 2:36

11.Queen Of The Moonlight World - 4:46

12.Lonely In The Crowd - 2:32

13.Radio Lady - 3:20

14.Dont Get Me Wrong - 4:27

15.Sitting On A Rock - 3:05

16.Gig Song - 1:47

17.Richmond - 4:51

18.Elaine - 4:23

19.Just For The Record - 3:51

20.Good Time Charlie (John Koerner) - 2:50

All songs by Andy Roberts except where stated

Disc 2
1. Keep My Children Warm - 5:01
2. I've Seen The Movie - 5:44
3. 25 Hours A Day/Breakdown/Welcome Home - 7:37
4. The Dream Tree Sequence - 15:41
5. Poison Apple Lady - 4:12
6. Urban Cowboy - 3:44
7. Living In The Hills Of Zion - 3:28
8. Charlie (Traditional Arr. Andy Roberts) - 1:29
9. Big City Tension - 4:29
10.Home At Last - 2:53
11.Home In The Sun - 3:57
12.New Karenski - 4:06
13.Bluebird Morning - 2:47
All songs by Andy Roberts except where noted

Musicians
*Andy Roberts, Vocals, Acoustic, Electric Guitars, Dulcimer, Slide Dulcimer, Kriwacek String Organ
*Bob Sargeant - Vocals, Organ, Piano, Mellotron
*Dave Richards - Bass Guitar, Harmonium, Electric Piano, Backing Vocals
*John Pearson - Drums, Percussion
*Timi Donald - Drums
*Bob Ronga - Bass, Acoustic Guitar, Backing Vocals
*B.J. Cole - Pedal Steel Guitar
*John Megginson, Piano
*Mike Kellie - Drums
*Gerry Conway - Tambourine
*Charlene Collins - Backing Vocals
*Pat Donaldson - Bass
*Mike 'Ace' Evans - Bass
*Carol Grimes - Backing Vocals
*Gordon Huntley - Steel Guitar
*Neil Innes - Electric Guitar
*Mik Kaminski - Electric Violin
*Mac Kassoon - Backing Vocals
*Kathy Kissoon - Backing Vocals
*Mike London - Backing Vocals
*Iain Matthews - Vocals, Acoustic Guitar, Tambourine
*Zoot Money - Piano, Organ
*John Pearson - Drums
*Roger Powell - Keyboards
*Tim Renwick - Guitar, Vocals
*Ray Warleigh - Saxophone
*Ian Whiteman - Piano

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rep>>> David Ackles - David Ackles (1968 us, splendid tight folk rock)

Along with Randy Newman, Van Dyke Parks, Harry Nilsson, and some others, David Ackles helped widen the definition of contemporary singer-songwriters in the late 1960s. This was a group of performers open to incorporation of many non-rock pop and theatrical influences into their work, and not based in folk-rock, like so many of the other early singer-songwriters were. Nor were they conventional rock or pop singers. Somehow, nonetheless, they recorded albums that were marketed to the rock audience. Of all the names mentioned above, David Ackles is certainly the most obscure, even if his quartet of albums won him a cult audience that included Elton John and Elvis Costello.

David Ackles, his self-titled 1968 Elektra debut, was an unusual effort even by the label's own high standards for introducing original talents. Ackles's dark, brooding songs and low croon-rumble of a voice delivered cerebral lyrics painting the everyday adventures of misfits and their struggles to find meaning and spirituality. What could have been overblown in other hands was given a stately dignity by the stoicism, vacillating between determination and resignation, of Ackles's vocals and observations. Far more than any of his subsequent albums, the record's arrangements were tailored for rock ears, with ethereal psychedelic-tinged guitar and organ that weren't too unlike those heard on other Elektra LPs of the time, such as Tim Buckley's early releases.

Ackles's path to a record deal was about as strange as it could be for a late-1960s underground rock artist. Unlike virtually every other such performer of the era, David had virtually nothing in the way of either a folk or rock resume, or even professional experience as a solo live performer. Already in his early thirties, his principal background was in musical theater. He had met David Anderle in the theater department of the University of Southern California, where the two Davids had gone to school together. Years later, Anderle was working at Elektra Records' west coast office, and Ackles did some demos for his old friend.

It's still unclear whether the original intention was for Ackles to write songs for others, or to record him as a solo artist from the start. Before his death in 1999, Ackles told author Mark Brend (in the book American Troubadours), "My intention was to have lots of other, much better singers record my songs...I believe the truth is that [Elektra president] Jac Holzman couldn't interest any other singers on his label in recording my stuff, so was forced into offering that chance to me." To the recollection of Ackles's widow, Janice Vogel Ackles, "David Anderle called him and said he wanted David to write some songs 'cause he remembered how talented he was, or something to that effect. I think David Ackles's understanding initially was that they were interested in him as a songwriter, and then when he did some demos, everybody said, 'Well, I don't know who else is gonna sing this material. I think it's really your stuff, and you should do it.' I remember David Ackles telling me that once he submitted the material, he didn't think he was going to record it. He thought that they were going to farm it out to other people, so it came as a big surprise to him."

When Ackles first played his songs for Elektra, "I probably had some trepidation, 'cause David was very much involved in musical comedy music, which I hated," Anderle admits. "Then 'Road to Cairo,' 'Down River,' and these things just knocked me out. I realized he was writing those kind of songs, instead of the little musical comedy things he was writing in college. When David played the songs, I believe Russ Miller and I took him into the studio and cut some demos with him. Russ was running Jac's publishing company at the time. We played the demos for Jac, and Jac certainly gave the okay to proceed [with the album]." Anderle, not even a producer at the time (though he'd go on to produce many albums over the next couple of decades, including Judy Collins's Who Knows Where the Time Goes), and Miller would be co-producers for David Ackles.

The album's backing was supplied by musicians who had been in the Electric Flag and Iron Butterfly; guitarist Doug Hastings had been in the Daily Flash and, briefly, Buffalo Springfield. (Most of them would go on to play in the late-1960s Elektra rock band Rhinoceros.) "I remember what a bitch it was making that first album," says Anderle. "We used him and his piano as a bed, and added instruments afterwards. I'm not even sure if he cut anything with a band. We might have cut some of the things with the boys playing, but I remember working really hard matching stuff up after the fact. It was a lot of overdubbing, making stuff fit in, and it gave it a really interesting feel. It didn't sound like anything else." Though Ackles had never recorded with rock musicians or even done any solo live shows, Anderle maintains the singer-songwriter was comfortable being the showcased solo recording artist: "He was very adaptable and so full of music anyway. He went into it like a fish in water."

Standout tracks included "Sonny Come Home," which was something like the film The Swimmer set to music in its disconsolate tale of a disastrous attempt to go home again; "Down River," in which Ackles sounded just a bit like a counterpart to fellow grim balladeer Scott Walker; and the six-minute "His Name Is Andrew," with its quasi-religious tone and elegiac organ. Certainly the most popular tune, inasmuch as any David Ackles song could be said to be popular, was the first-person drifter narrative "The Road to Cairo," covered in Britain by Julie Driscoll, Brian Auger, & the Trinity (as their non-charting follow-up to their UK Top Five cover of Bob Dylan's "This Wheel's on Fire").

Anderle "never could understand why that wasn't a hit," and Ackles even put a French-language version on a B-side of a 1968 UK Elektra single. According to Anderle, "Somebody thought that David would have a shot in France, because of the nature of Charles Aznavour and the French ballad singers. Jacques Brel, I think, was the person that was mentioned. I think Elektra figured he would have a shot internationally, so he did the French version of the song." It didn't catch on in Europe, and David Ackles wasn't a hit anywhere, though like all his albums it was a success with critics. The pattern continued on his second album, Subway to the Country, in which he began to shift from rock to the more theatrical and orchestral foundations of his artistic vision.

by Richie Unterberger

Tracks
1. The Road To Cairo - 5:16
2. When Love Is Gone - 3:20
3. Sonny Come Home - 2:59
4. Blue Ribbons - 4:37
5. What A Happy Day - 2:14
6. Down River - 3:57
7. Laissez-Faire - 1:36
8. Lotus Man - 2:49
9. His Name Is Andrew - 6:11
10.Be My Friend - 4:48
All songs composed by David Ackles

Musicians

*David Ackles - Piano, Vocals

*Michael Fonfara - Organ

*Douglas Hastings - Guitar

*John Keliehor - Percussion

*Jerry Penrod - Bass

*Danny Weis - Guitar

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Monday, July 13, 2026

rep>>> Various Artists - Ah Feel Like Ahcid 24 American Psychedelic Artefacts From The EMI Vaults (1966-70 us / canada, garage psych, 2007 remaster)

Following on from the excellent Insane Times, which recently collected up a selection of UK psych on EMI’s sprawling family of labels, here’s the sister comp covering American big-label wigginess. The added positive here is more previously unreleased material.

Just like Nuggets, the grandaddy of all acid flashbacks, this draws together the whole gamut of psychedelic subgroups from A to fish. Things kick off with two all-time great garage punkers (The Balloon Farm’s A Question Of Temperature and the Third Bardo’s turbo-swaggering Five Years Ahead Of My Time), before veering into proto-prog, acid rock, exotic Eastern fakery, sunshine pop and comedy cash-ins (hmm, I Stole The Goodyear Blimp). Then there are the big boys: The Beach Boys, Beefheart, The Steve Miller Band. Something for everybody, see. An overview, an introduction, a splendid time guaranteed for all, with a great booklet and five digital download bonus tracks.

As for highs, just say Yes to Fargo’s drippy obscurity Sunny Day Blue, and get the giggles at the pre-Allman Brothers combo Hour Glass, and their ambient existential talkover, Bells.

by Derek Hammond, 31 January 2008

Artist - Title - Composer

1. The Balloon Farm - A Question Of Temperature (Don Henny, Ed Schnug, Mike Appel) - 2:40

2. The Third Bardo - Five Years Ahead Of My Time (Rusty Evans, Victoria Pike) - 2:13

3. The Book Of Changes - I Stole The Goodyear Blimp (T. Smith) - 2:20

4. First Crew To The Moon - The Sun Lights Up The Shadows Of Your Mind (Jerry Millstein) - 2:21

5. SRC - Up All Night (Scott Richardson, Gary Quackenbush, Elmer George Clawson, Glenn Quackenbush, Steve Lyman) - 3:07

6. Morning Dew - Crusader's Smile (Malcolm Robinson) - 2:48

7. The Fallen Angels - Mother's Homesick Too (Robert W. Decker III, George F. Meier Jr.) - 2:22

8. The Human Beinz - April 15th (Dick Belly, Lex De Azevedo) - 6:55

9. Kim Fowley - Bubblegum (Marty Cerf, Kim Fowley) - 2:30

10.T.I.M.E - Tripping Into Sunshine (Larry Byron, Bill Richardson, Steve Rumph, Nick St. Nicholas) - 3:07

11.Steve Miller Band - The Beauty Of Time Is That It's Snowing (Steve Miller) - 5:13

12.The Beach Boys - Never Learn Not To Love (Dennis Wilson) - 2:31

13.Chris And Craig - Isha (Chris Ducey) - 2:14

14.The Raik's Progress - Sewer Rat Love Chant (John Kates, Steve Krikorian, Duane Scott) - 2:39

15.Mother Tucker's Yellow Duck - One Ring Jane (Don McDougall, W. Iveniuk) - 4:19

16.Mad River - Wind Chimes (David Robinson, Rick Bockner, Lawrence Hammond, Tom Manning, Greg Dewey) - 7:12

17.Gandalf - Can You Travel In The Dark Alone (Peter Sando) - 3:05

18.Hour Glass - Bells (Peter Alin) - 2:22

19.Food - Forever Is A Dream (Ted Ashford, Steve White, Bill Wukovich) - 4:04

20.David Axelrod - Urizen (David Axelrod) - 4:00

21.The Common People - Soon There'll Be Thunder (Denny Robinett, Jerrald Robinett) - 2:20

22.Fargo - Sunny Day Blue (Marty Cooper) - 2:28

23.Quicksilver Messenger Service - Bears (Roger Perkins) - 2:10

24.Captain Beefheart And His Magic Band - Ah Feel Like Ahcid (Don Van Vliet) - 3:04

rep>>> Bodine - Bodine (1969 us, exceptional country rural rock funky soulful psych)

Bodine is as solid as it gets, loaded with tunes as good as anything played on classic rock radio today. You would think that stations would be interested in expanding their content with picks from the vast piles of unknown classics (Bodine included), but it’s still the same old hits, recycled day after day, some 40 years later. In any case, this little lost gem, produced by Bill Cowsill, is a strong promise from a band that would disappear after just one release.

The sound is influenced by country rock, with rural acoustic guitar driving back seat to funk bass lines and stabbing double tracked guitars. But the song structures have Ray Davies-ian 3-part movements and a strong Beatles influence, especially on the bouncy Statues Of Clay. Apart from this review, I think the vocal harmonies are cool, the backups strangely adding “eee’s” to the excellent Easy To See and trading vocal leads easily standing next to groups like Blood Sweat and Tears. It’s nice to find a record with a lotta soul made by some kids with seriously blue eyes.

I find it amazing a band so unknown could have such powerfully memorable songs, though not everything has aged wonderfully. Take It Back satisfies but teeters near television theme schmaltz. But the boys do manage to approach Jim Ford’s country funk on clear winners like Keep Lookin’ Through Your Window. If you give it a chance, you’ll find there really are no throwaways on Bodine’s only album.

by Brendan McGrath

Tracks
1. Short Time Woman (Eric Karl) - 3:44
2. Oakland (Kerry Magness) - 3:19
3. Into My Life (Eric Karl) - 2:55
4. Travelogue (Steve Lalor) - 3:07
5. It's Just My Way (Eric Karl) - 5:41
6. Easy To See (Steve Lalor) - 2:51
7. Take It Back (Eric Karl) - 3:22
8. Keep Lookin' Through Your Window (Eric Karl) - 3:47
9. Statues Of Clay (Steve Lalor) - 2:44
10.Long Way Just To Go Home (Eric Karl) - 2:56
11.Between The Lines (Steve Lalor) - 3:33
12.Disaster (Eric Karl) - 3:09

The Bodine
*Kerry Magness - Bass
*Jon Keliehor - Drums
*Eric Karl - Guitar
*David Brooks - Keyboards
*Steve Lalor - Guitar

Just Paste

Sunday, July 12, 2026

rep>>> Jacob's Creek - Jacob's Creek (1969 us, essential folk psych bluesy rock, 2011 reissue)

This Trenton New Jersey band was lead by brothers Lon and Derrek Van Eaton, who previousle played with local garage band The Tree, along with drummer Tim Case and are best-known for the subsequent music they made for The Beatles’ Apple label.

They added guitarist Steve Burgh and singer guitarist Bruce Foster to form Elisium in 1968, which morhed into Jacobs Creek. Basing themselves in New York, they played at Andy Warhole's Factory, opened the Doors and soon signed to Columbia, who placed them with producer Al Lawrence (perhaps best known for his work with Santana).

The quintet's resulting album was issued in August 1969 complete with a lyric insert and touched on pop, rock, country, blues, psychedelia and Folk. With arrangements encompassing electric guitars, horns and sitar, unfortunately the label didn't promote it, and (despite encouranging radio play) didn't sell. The band continue to play around New Jersey

finally splitting in March 1971. Brothers Lon and Derrek Van Eaton put together some home recorded demos as a duo, Apple's manager Tony King liked what he heard and recommended the duo to George Harrisson who arranged for them to singed to Apple in September 1971 and went on to produce their album, Brother, released next year.

Tracks
1. Colors - 5:20
2. Anonymous Verdict Suite (Jesus' Return / Christian Man) - 7:18
3. Everything's Gonna Be Alright - 2:26
4. Coming… The River - 5:04
5. Do You Understand? - 3:09
6. What's Around - 3:02
7. A Love Song - 2:08
8. Behind The Door - 4:06
9. What You Hear (Lon Van Eaton, Bruce Foster) - 2:53
10.Lonely Fire - 4:10
11.The Circle - 6:10
12.Katharine - 1:01
All songs written by Lon Van Eaton, except where noted.

Jacob's Creek
*Lon Van Eaton - Keyboards, Guitars, Vocals
*Steve Burgh - Guitars, Organ, Vocals
*Derrek Van Eaton - Vocals
*Tim Case - Drums
*Bruce Foster - Guitar, Banjo, Organ
*Steve Mosley - Drums
Guest Musician
*Denny Storley - Congas