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
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.
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
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 (ScottRichardson) - 3:04
20.Richard's Song - 3:50
All songs by Elmer George Clawson, Glenn Quackenbush, Gary Quackenbush, Scott Richardson, except where indicated.
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
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
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.
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
Nowadays one of the secondary, supplementary pleasures of music listening can be the background genealogy of those involved. The trail usually goes two ways: a forgotten or legendary one-off debut album, whereby context becomes archaeology rather than tracing current and ancestral lines; or else going on to form or augment more famous bands later known worldwide. A rare confluence of all these factors finds us in the territory of Bakerloo, a name which had as little to do with London’s public transport as their sole album’s distinctive cover image.
Their initial moniker was neat word-play: The Bakerloo Blues Line, formed in England’s West Midlands in early 1968 by David ‘Clem’ Clempson (guitar, piano/harpsichord, harmonica, vocals) and Terry Poole (bass, vocals), a graphic artist who handled their promo material. In the wake of Cream, they searched long for a drummer adept in different styles to complete a power trio, coming up trumps with the aptly-named Keith Baker. Their local area was a hotbed for up and coming bands that also saw young liggers like Robert Plant, John Bonham, Spencer Davis, Cozy Powell, The Move, Medicine Head, and Black Sabbath. Indeed, the Sabs in their first incarnation as Earth shared the same agency as Bakerloo, and later label-mates Tea & Symphony, so often gigged together and more; Bill Ward filled-in on drums a couple of times for the ’loo.
In the spirit of those times Bakerloo, with the later Black Sabbath manager Jim Simpson, started their own club. The legendary Henry’s Blueshouse (1968-1973) was located in the upstairs function room of the Crown Hotel (actually a pub) surrounded by music shops in central Birmingham. Bakerloo were the first headliners (supported by Earth) to open the venue that soon became famous for Tuesday jam sessions with Rory Gallagher, Zepp and many others and, like the Mothers club in nearby Erdington, featured touring blues legends like Arthur Big Boy Crudup, J.B.Hutto, Gary Davis, and Son House (supported by Stackwaddy!).
In September 1968 Bakerloo played London’s Roundhouse with the Small Faces, Barclay James Harvest and The Action, followed the next month as support at the famous Marquee for the debut of Led Zeppelin, a little-known band that saw fit to modestly advertise themselves as ‘The New Yardbirds’. Bakerloo played it so often as to be almost residents while crashing with local friends, including support for the last appearance there of Jethro Tull before headlining in their own right soon after. John Peel heard them at Mothers and put them on his Top Gear show (with the Bonzo Dog Band) that same October. There is a bootleg in existence which may be this BBC recording, featuring four songs later on their album. They reappeared on the BBC in January 1969 (with Alexis Korner) and for two songs on Top Gear the next month, perhaps a repeat of their debut appearance. Their first airing led to nationwide gigs throughout the next year and what seems their only foray abroad, a concert in Belgium for the princely fee of £100. Back in Brum they were seen by Tony Hall of EMI and became one of the first signings to its new prog label.
The self-titled album of seven tracks appeared as a gatefold in December 1969 on Harvest (SHVL 762) with band photos on the inner sleeves. Terry Poole kindly informed me that his cover design features a mining accident in the transalpine tunnel during the 1880s. The recording was one of the first produced by Gus Dudgeon (he’d engineered John Mayall’s Bluesbreakers and Zombies prior) before later fame with Bowie’s Space Oddity and the first LPs of Elton John and Michael Chapman. Recorded round the corner from the Marquee at Trident Studios, it what was their live set nailed in two or three takes (except, ironically, for the shortest track Drivin’ Bachwards) in just a few days—unsurprisingly as the studio cost £30 per hour, at a time when the Marquee paid exactly half that and many bands were on retainers of a fiver a week. They even squeezed sessions in-between gigs the same day. In spite of being featured on Harvest’s double sampler Picnic (This Worried Feeling) it has become one of the rarest vinyls of the Harvest catalogue. Unlike for smaller labels—the only way to get Incredible Hog’s album on Dart was to hotfoot it to Haymarket and buy in the label’s office I recall—the platter was in the shops but eluded sales. Incredibly, however, the line-up had already split by the time the album hit the shelves.
Now Esoteric/Cherry Red has digitally remastered it plus five bonus tracks. The sound is loud, sharp and full of body, each instrument in its own space for a listening delight. A jazzy fast-chord instrumental opens, Big Bear Ffolly named after their agency’s first tour, which appropriately leads into a tasty Willie Dixon standard of the 60s, Bring It On Home, mid-paced with understated mouth harp in the spirit of early Canned Heat. Driving Bachwards, the aforementioned take on Bach, is a harpsichord-led instrumental very much ’69 or an electric Amazing Blondel, with the lone guest Jerry Salisbury on trumpet. The pace drops for Last Blues, funereal-paced bass morphs into a Cream-like power trio blast with guitar effects and solo, before returning via shimmering cymbals to the original melody with wind effect. Laden with metaphors (“Take me to the train”…), its dark atmosphere clings like a coroner’s wet-suit beside a foggy lake. Imagine the Wuthering Heights’ moor round an old graveyard and you’re there.
The unfortunately titled Gang Bang closed side one, like the opener with a nod to jazz inflections overlaid by guitar solo. This group composition—no doubt the real intent of the title—showcases each musician, especially drummer Keith Baker’s rhythm patterns as pounding as those of his namesake Ginger. Surely one of the least boring drum solos on record: close your eyes and you’re on the Victorian loco rattling through the tunnel en route to the Crystal Palace. This Worried Feeling opens with a Peter Green ‘lonely style’ Fleetwood Mac blues but stays closer to the four-bar like Savoy Brown. The stronger vocals here are underpinned with bar-room piano, building up to some blistering guitar. The bonus of this drops the guitar intro in favour of piano which is more prominent in a variant, shorter take that’s still finished and interesting.
The album closes with a track that is impossible to avoid superlatives about. Extending to almost 15 minutes, Son Of Moonshine flies by like a single due to sheer energy and inventiveness. This is one helluva beast of a track, with enough horse-power to chuff a Genghis Khan who up to that point only had the heaviest Groundhogs on his walkman fed through a bank of pillaged cabinets. It is ’Hogs plus Mayblitz (live) or a tighter, heavier Mighty Baby jam. A total experience; live, you would have had to crawl out of the venue on your hands and knees afterwards—and forget to ask why the venue omitted to have a booze licence.
Its riffing, feedback opening, abrasive as asbestos, opens outs into a thumping fuzz-driven beat with more guitar styles and licks than a heaving music shop could cater for. The lyrics aren’t bad either, full of pithy wisdom, but bejeezus it’s darn hard to remember to listen out for them while such chords and rhythms are being committed to posterity. It is one of the greatest tracks of the period if you like driving, let-it-rip rock, a youth-filled bash that sums up the era, an Uncle Harry’s Freakout linking the Grove with Brum as if the M1 had never been built.
The bonus of this (Son Of Moonshine Part One) is a genuine alternate take, slightly less fuzzed but still an energetic nine minutes without the album’s post-blitz closing segment or vocals. The b-side of their only single, Once Upon A Time, is a swirling guitar example of the last flourishing of psych as we now know it in a paean to lost love. The three new bonuses are completed by the sore-thumb (Hoagie Carmichael’s Georgia) and a rumbling first take of Train, a hardy perennial subject back then that has some tasty bottle-neck slide. With 15 minutes plus of new bonuses, added to the two prior released 9 minutes, this issue is a 71 minute treat from start to finish.
The influences span genres: blues, hard rock, psych, jazz and progressive including classical elements for an experience rare as tunnel cleaners on the transport system of their name. There is no bloody gap to mind. Clearly the trio, versatile without being flashy, saw Bakerloo as a showcase for instrumental prowess and audiences lucky enough to catch them on the circuit during that brief 18 months. Reviewers compare them to Alvin Lee’s Ten Years After, Cream, Blue Cheer, Canned Heat, Juicy Lucy and Blodwyn Pig, but Bakerloo is a sticky amalgam of these great bands fired by the energetic joie de musique of stand-alone albums like Quatermass, T2 or Hackensack. One immediate post-album killer line-up featured Clem (a nickname from schooldays, he doesn’t like the name Dave) with Cozy Powell and Dave Pegg before they left for other name bands after one gig, while a later more jazzy 5-piece incarnation morphed into a renamed Hannibal (Chrysalis Records) but without any Bakerloo founder members.
It’s said that the original split was because Terry Poole wanted to move to London but not Clem. Bakerloo was their vinyl debuts, reproducing their stage sound with added keys: Clem studied piano at the Royal School of Music from an early age before taking up the guitar under the influence of blues and early rock ‘n’ roll. Incredibly, he has never released a solo album. Initially he left to form Colosseum, while Poole and Baker formed Mayblitz but again left before the Vertigo albums. The clear origins of the sound of that cult band appear on Bakerloo. And here the genealogy takes off, as the trio’s members went their own ways to Humble Pie, Graham Bond, Vinegar Joe, Judas Priest, Supertramp, Running Man and Uriah Heep—to name but a few! After more than ably replacing Peter Frampton, Clem worked in the 80s and 90s with Cozy Powell, Jack Bruce, Snafu, Rough Diamond, Ken Hensley, Jon Anderson, Bob Dylan and Chris De Burgh. After soon becoming Supertramp’s first drummer then Uriah Heep’s tubman for their second album but declining to tour, Keith Baker has worked as an in-demand sessionman. Terry Poole has had an equally glittering career as one of the best bassists in the business.
The founders are all still rightly proud of an album that has had laudatory reviews from day one for forty five years. It could have been the making of a major 70s band, rather than the safe-as-rock stepping stone it became. A more accomplished, confident debut could not exist; it would have to share the same plateau. Of course most debuts usually have their fair share of ideas—or should have—but here there is a consistent effort to add their own stamp to the event. Initially released on CD by Repertoire in 2000, with two bonus tracks, and then in 2013 on Belle (Japan) in mini cardboard sleeve, this Esoteric recording via Cherry Red in remastered glory is now definitive in concert-live sound like their recent issue of Quatermass. Even hoarders of the rare vinyl should check out its sound quality. No, not a lost gem, it has never gone missing and remains one of the cornerstones of heavy progressive rock without need of hype. Because it’s a masterpiece.
by Brian R. Banks, 2014
Tracks
1. Big Bear Ffolly - 3:57
2. Bring It On Home (Willie Dixon) - 4:18
3. Drivin' Bachwards (Johann Sebastian Bach) - 2:08
4. Last Blues - 7:07
5. Gang Bang (Clem Clempson, Terry Poole, Keith Baker) - 6:18
6. This Worried Feeling - 7:06
7. Son Of Moonshine - 14:58
8. Once Upon A Time - 3:39
9. This Worried Feeling (Alternative Take) - 5:46
10.Georgia (Hoagie Carmichael, Stuart Gorrell) - 4:04
11.Train - 2:54
12.Son Of Moonshine Part One (Alternate Take) - 8:46
All songs by Clem Clempson, Terry Poole except where indicated Bakerloo
*Dave 'Clem' Clempson - Guitars, Piano, Harpsichord, Harmonica, Vocals
*Terry Poole - Bass Guitar
*Keith Baker - Drums With
*Jerry Salisbury - Trumpet
The story of Flake began in late 1968 when drummer Wayne Thomas quit Sydney band Plastic Tears to form his own group. He recruited four other players he knew -- singer Geoff Gray and bassist Laurie Sinclair (ex The Eli) and organist Rob Toth and guitarist Lindsay Askew (ex The Seen). The new band rehearsed solidly for three months but Laurie Sinclair was forced to drop out before their first gig due to the fact that his father died, his house burned down, he split up with his girlfriend and he had been called up for the Army -- all in the space of one week!
Several changes of personnel during 1969. Mick Gaul left the band and was replaced by Denis Moore (recently returned from the USA) who was known to Thomas from his time with Sydney band Him & The Others. Not long after, Lindsay Askew and Rob Toth both left due to the difficulties of balancing work and band committments -- all the members somehow managed to hold down day-jobs -- and Toth subsequently joined Samael Lilith.
Flake now started looking for a record deal. They had preliminary discussions with EMI, who lined up the renowned David Mackay as producer, but EMI's offer was for two Singles, with the recording of an album dependent on both Singles being hits. At this point independent producer Martin Erdman made them a better offer -- he would sing them to his Du Monde label for two Singles, plus an album, providing Flake had reasonable success with at least one of the Singles.
In early 1970 Flake went to Erdman's World of Sound studio at Ramsgate. The tracks they recorded were the Jackie Lomax song, "You've Got Me Thinking" as the A-side, with as the flip. Unfortunately, although Sydney radio programmers liked the band, they didn't like the song, so Wayne Thomas (who had chosen the A-side) then approached 2UW programmer Gary Jaegear for help. 2UW had rejected the A-side -- but not the B-side, Dylan's "This Wheel's On Fire" -- so Jaegar generously slipped "This Wheel's On Fire" onto the 2UW playlist.
Fortunately for Flake, the single came out at the start of the Radio Ban, which began in May 1970. While this controversial six-month dispute between commercial radio and record companies raged, many major label recordings -- particularly UK hits released or distributed by EMI-- were banned from commercial radio, giving independent labels like Du Monde, Fable, Sparmac and Image unprecedented access to commercial radio playlists.
Before long it was picked up by 2SM and then by stations in other cities. It definitely became a major national hit, although sources differ about exact chart placings. According to Wayne Thomas' History of Flake, it made the Top 5 nationally and stayed on the Go-Set chart for 18 weeks and charts reproduced in the CD-ROM of Martin Erdman's Du Monde compilation confirm his report that it went to #1 in the Sydney Daily Mirror chart and #2 in the 2SM chart, and that it made the Top 30 on 5AD Adelaide. Ian McFarlane's Encyclopedia entry on Flake says that it went Top 5 in Sydney (#4, July) and reached #20 nationally, whereas Martin Erdman asserts that it "reached ... No 7 nationally". Vernon Joyson claims that it spent 25 weeks on the chart. Martin Erdman also reports that the single was originally released by Festival with an orange label, but this was interrupted by the Radio Ban, so Erdman's own World Of Sound company took over pressing and distribution, with Singles released with both gold and orange labels. The single also won the 1970 2SM Australian Talent Award.
In the wake of the single's success Flake toured extensively up and down the east coast, all the while balancing their music career with their day jobs. Inevitably the strain began to tell and the first to leave was Dave Allen. His replacement was Billy Taylor (ex Purple Vision), who took over on rhythm guitar aas well as adding an extra voice to the band's already powerful vocal lineup. Taylor soon became close friends with singer Geoff Gray and the band's roadie Paul Berry, and they soon moved into a flat together. During this period Flake recorded a performance of a song from their repertiore, "Midnight Train", for the ABC's GTK pop show, but it is not yet known whether this still survives in the archives.
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
