rep>>> Ars Nova - Fields Of People • The Elektra And Atlantic Recordings (1968-69 us, magnificent psychedelia with baroque and some latin tinges, 2020 double disc remaster)

If you name your band “Ars Nova” you have to be: a) Serious Artists; b) Sarcastic reactionaries; c) Into psychedelic drugs; or d) Japanese. It’s Latin, for goodness sake, and means “New Art.” This particular manifestation, hailing from New England in the late 60s, is probably type a and possibly a bit of c. But in 1968, it was okay to be a Serious Artist, so Ars Nova ended up on Elektra with support to record an ambitious album of psychedelic rock.

Prominent use of trombone and trumpet set the band apart from the run of rock bands of their (or any) era. They also borrowed liberally from Classical music, either directly by adaptation or stylistically, using of guitar and organ parts reminiscent of eras from Baroque to Romantic. Badly done, such things could be disastrous, but in this case the result is almost universally successful. The Beatles had used trumpet (think “Penny Lane”) and here was a band with two trained brass players as members, and no need to hire outside musicians. In additional to the Classical shadings, there are elements of West Coast country rock and vaudevillian swagger, which makes for a unique whole. It holds together amazingly well due to the sophistication of the writing and imagination in the arrangements. Management and label difficulties left this outstanding album without the backing it deserved, and the band only recorded one other (with different personnel for a different label) before dispersing. Lovers of elaborate psych, don’t miss this one. 

by Jon Davis

Ars Nova's first album was intermittently intriguing eclectic psychedelic rock with a slight classical influence, as well as some unusual instrumentation in the bass trombone of lead singer Jon Pierson and the trumpet and string bass of Bill Folwell. The songs --often linked by brief interludes -- are a mixed bag, though, that seem to indicate a confusion over direction, or a bit of a psychedelic throw-in-everything-but-the-kitchen-sink approach. There are haunting tunes with a folk-rock base and a faint Renaissance ballad melodic influence; jaunty narratives with a vaudevillian air that bear the mark of then-recent albums such as Sgt. Pepper's Lonely Hearts Club Band; and harder-rocking period psychedelic tracks with a bent for unpredictable bittersweet progressions and vocal harmonies. 

It's unusual, and in some senses attractive. But to be less charitable, there's a sense of listening to a generic psychedelic band that sounds better than many such acts mostly by virtue of benefiting from Elektra's high-class production, here handled by Paul Rothchild of Doors fame. Put another way, the songs themselves aren't as good as their arrangements. "Fields of People," about the best of those songs, might be the most famous one here due to getting covered in an elongated treatment by the Move, who did a better job with it than Ars Nova. The 2004 CD reissue on Sundazed adds historical liner notes by Jon Pierson.

by Richie Unterberger

Tracks
Disc 1 "Ars Nova" 1968

1. Pavan For My Lady (Wyatt Day) - 2:45
2. Genral Clover Ends A War (Wyatt Day, Gregory Copeland) - 2:44
3. And How Am I To Know (Wyatt Day) - 5:07
4. Album In Your Mind (Wyatt Day, Jon Pierson) - 3:02
5. Zarathustra (Maury Baker) - 3:32
6. Fields Of People (Wyatt Day, Jon Pierson) - 3:39
7. Automatic Love (Wyatt Day) - 4:52
8. I Wrapped Her In Ribbons (Wyatt Day, Gregory Copeland) - 2:37
9. Song To The City (Wyatt Day, Gregory Copeland) - 3:04
10.March Of The Mad Duke's Circus (Wyatt Day, Gregory Copeland) - 3:19

Disc 2 "Sunshine And Shadows' 1969

1. Sunshine And Shadows (Gail Collins, Wyatt Day) - 3:11

2. I Was Once  - 2:59

3. Temporary Serenade (Wyatt Day, Gregory Copeland)  - 3:03

4. She Promises Everything (Gail Collins, Wyatt Day)  - 3:21

5. Well, We’ll, Well - 2:59

6. You Had Better Listen (Jimmy Owens) - 4:07

7. Round Once Again - 3:21

8. Walk On The Sand  - 6:25

9. Rubbish - 3:32

10.Please Don’t Go Now - 5:52

All songs by Wyatt Day except where stated

Ars Nova
1968

*Maury Baker - Keyboards, Organ, Percussion
*Wyatt Day - Rhythm Guitar, Keyboards, Organ, Piano, Vocals
*Bill Folwell - Bass, String Bass, Trumpet, Vocals
*Jon Pierson - Trombone, Vocals
*Jonathan Raskin - Bass, Guitar, Vocals

1969 

*Sam Brown - Lead Guitar 

*Wyatt Day - Guitar, Vocals

*Joe Hunt - Drums, Percussion 

*Art Koening - Bass

*Jimmy Owens - Trumpet

*Jon Pierson - Bass Trombone, Vocals 

*Warren Bernhardt - Keyboards

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rep>>> Fields - Feeling Free The Complete Recordings (1971-73 uk, fascinating prog rock, 2022 double disc remaster)

The list of worthy 1970s bands who have remained largely unsung and, worse, unheard by most people is a long and unfortunate one. Even within those annals of obscurity, however, there can be few bands more unlucky to find themselves in that unenviable position than Fields. As if to prove the veracity of that opening statement, a great many reading this will, at this point, be asking ‘who?’, and that would be entirely understandable as, until 2015, I myself was in that same position. Fields were, as an explanatory note to the band name, formed by keyboard player Graham Field in 1971, after he had left the early configuration of Rare Bird following a dispute over what must rank as one of the worst recording contracts of all time (fascinatingly delved into in the accompanying booklet). With Rare Bird having unusually featured two keyboards and no guitars, Graham was still unwilling to cede all of the spotlight to the six-string option, but not to the point of omitting he guitar altogether. Therefore he put together a three-piece band which, in a quite similar way to ELP, Andy McCulloch (fresh from King Crimson’s Lizard album) came in on drums while Alan Barry joined on guitar, bass and vocals. Concentrating more on bass than guitar, for live work he would play a double-neck to be able to switch from one to another mid-song.

The self-titled Fields debut album appeared on CBS records in 1971, and it remains a superb listen. It is more usual for a band flying so far under the radar to have produced recordings which tend to be described using words such as ‘promising’, ‘potential’ and ‘flawed but fascinating’. It is very unusual to find one such as this where the first (and only, for a long time) recording is absolutely the finished article. This is the work of a confident, varied and exciting band. There are ELP influences aplenty, unsurprisingly, with Field often drawn to the huge, heavily bombastic sound of Keith Emerson in full flight, but that isn’t the whole story. Opening track A Friend Of Mine is an absolute barnstormer of a beginning, with that massive Emerson wall of keyboard sound hitting the listener right between the eyes, before it settles down as it progresses, to be a perfect marriage of ELP with the very differently keyboard-led influence of Procol Harum. Indeed, the track contains a repeated two-line melody which is so close to the later Procol classic Pandora’s Box that it is hard not to imagine the late Gary Brooker casting an approving ear over this back in 1971, subconsciously squirrelling it away for reference! 

There is so much great stuff here – there is more driving ELP rock with the likes of Over And Over Again, but elsewhere there is the ecologically minded and thought-provoking Not So Good, the slightly psychedelically-swirling keyboard showcase Slow Susan, and the stunning showcase for Alan Barry’s guitar and vocals which is the beautifully moving Fair Haired Lady. The rather oddly folky Three Minstrels, telling of the titular trio who came ‘out of the sun’, one playing lute, one playing drums and one ‘the organ sound’, could almost be a tip of the hat to ELP, even if totally different musically. It’s off-kilter but still quite charming. The closing instrumental The Eagle is a big proggy conclusion, marred only by the oddly dissonant breakdown towards the end. The only weak moment on this otherwise superb album is the lugubrious and bluesy A Place To Lay My Head which, while initially pleasant enough, drones on in an increasingly dull manner.

There are no long epics among these ten tightly composed tracks, but that matters not to an album which is utterly bursting with good, old-fashioned Golden Age prog rock. It is, genuinely, an unsung classic. Four bonus tracks are added to this first of two discs, two of which are alternate takes of Slow Susan and, infuriatingly, A Place To Lay My Head – which is not at all improved. Far more interesting are two songs recorded for a BBC radio session (for Sounds Of The Seventies), which reveal just how good Fields might have been as a live force. A Friend Of Mine is possibly even more dynamic and forceful than the album version, while the non-album track Wouldn’t You Agree would certainly have turned the album into a near flawless gem had it ousted A Place To Lay My Head in the running order, as it is a great song which seems, scandalously, to be receiving its first ever release here, after five decades. A shocking situation – Wouldn’t You Agree…

A year later, in 1972, Fields returned to the studio to record the follow-up album, Contrasts (subtitled Urban Roar To Country Peace), referencing Graham Field’s relocating in the meantime from Battersea to a country residence in leafy Buckinghamshire. Alan Barry had sadly left the band in the interim, returning to session and solo work, which he preferred to the band dynamic, but he was more than ably replaced on the same instrumentation by Frank Farrell, who had come from an early line-up of Supertramp. Sadly, an ill wind swept through the CBS corridors before the album was due to be released, with new American owners coming in with a dismissive attitude to progressive rock in general, and Fields were informed in no uncertain terms that their services were no longer required and their music would not be released. The band then folded (McCulloch going on to join another twin-keyboard band in Greenslade, interestingly), and the album languished in the vaults until 2015 when it was finally allowed to escape into the public arena – and consequently your humble scribe being introduced belatedly to the band.

So, how is that would-be follow up in comparison to its excellent predecessor. Well, ‘not as good’, is the short answer. However, ‘still blessed with much in the way of strong material’ is the more positive longer one. Opener Let Her Sleep is another fine beginning, cut very much from the debut cloth again, and even the dismally-titled Wedding Bells following it up manages to be a very strong track. Storm is an impressive closer, while the profoundly depressing tale of The Old Canal (that old chestnut, tragic suicide of a loved one) packs an emotional punch whilst making you hang your head in weary sorrow. Put Out To Grass invokes the heady spirit of ELP again, while Wonder Why possesses a sprightly jazzy feel, and they are good, entertaining stuff. The weak material is poor though, with Someone To Trust being rather an over-earnest trudging plod and, worst of all, Music Was Their Game setting its sights on the quirky rustic Three Minstrels area again but spectacularly failing. It’s still a strong record overall, but my word, that bar was raised high by the debut. Three tracks recorded at the album sessions have been added, and all are reasonable efforts without any being especially memorable.

The release is nicely presented with a trifold digipak design (though the front cover image is not for the easily offended bunny-lovers among us, as the unfortunate animal is being swept away to its presumed doom by a rather fearsome looking bird of prey – presumably, the eagle of the first album). Having only previously been aware of the second album, discovering the quality of the debut release was an eye-opening experience for me, and I really cannot recommend it highly enough. All in all, this is two discs of quality vintage prog listening. Of all the myriad forgotten avenues and cul-de-sacs in the estate signposted ‘The Forgotten ’70s’, this is one of the best you could wish to find. Rediscover it, you won’t be sorry.

by Steve Pilkington, April 27, 2022

Tracks

Disc 1

1. A Friend of Mine - 4:29 

2. While the Sun Still Shines (Alan Barry) - 3:16 

3. Not So Good - 03:09 

4. Three Minstrels - 4:29 

5. Slow Susan - 3:44 

6. Over and Over Again - 5:56 

7. Feeling Free - 3:15 

8. Fair-Haired Lady (Alan Barry) - 3:05 

9. A Place to Lay My Head - 3:38 

10.The Eagle (Alan Barry, Graham Field) - 5:28 

11.Slow Susan - 3:45 

12.A Place to Lay My Head - 4:26 

13.A Friend of Mine - 3:59 

14.Wouldn't You Agree - 4:17

All compositions by Graham Field except where indicated

Tracks 1-9 from "Fields" Originally Released As CBS Records In 1971

Bonus Tracks 11-12 Alternate Versions

Bonus Tracks 13-14 BBC Radio One Sounds, Recorded 23rd December 1971 

Disc 2

1. Let Her Sleep - 5:01

2. Wedding Bells - 4:00

3. Someone to Trust - 3:49

4. Wonder Why - 3:38

5. Music Was Their Game - 3:01

6. The Old Canal - 4:17

7. Put Out to Grass - 3:29

8. Storm (Frank Farrell, Graham Field) - 4:36

9. Set Yourself Free (Frank Farrell, Graham Field) - 4:35

10.The River - 2:32

11.Spring - 1:49 

All compositions by Graham Field except where noted

Tracks 1-8 from "Contrasts Urban Roar To Country Peace", Recorded 1972

Bonus Tracks 9-11, Recorded 1972

Fields

*Alan Barry - Bass, Classical, Electric Guitars, Mellotron, Vocals 

*Frank Farrell - Lead, Acoustic Guitars, Bass,  Vocals

*Graham Field - Electro-Acoustic Piano, Keyboards, Organ

*Andy McCulloch - Drums, Percussion, Talking Drum, Timpani 

Related Acts

1969-75  Rare Bird - Beautiful Scarlet The Recordings (2021 six disc box set)  

1967-71  Breakthrou - Adventures Highway  

1973  Greenslade - Bedside Manners Are Extra (2015 japan SHM and 2018 bonus tracks remasters)  

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Renaissance - Prologue (1972 uk, a collection of songs that distills down to its purest essence, 2018 bonus track remaster)

Newly released, this is a revised and expanded edition of the classic 1972 album from Renaissance. I love the sound on this version. The original was good, but I think the nuances and overall textures particularly shine here in this new recording.

As far as the "expanded" part, there is only one additional song, a single version. That said, the new booklet is very informative and well worth having. I consider that part of the expansion. It's also updated with newer information. Perhaps you could even say that the content inside it is "remastered." I should mention that I previously reviewed the original edition of this album. For the sake of consistency (and because the music is the same) I'm including that here (with a few modifications), and augmenting it with the additional track. So, what follows (until that bonus track review) is that one. Just remember that I think this new edition in general sounds better.

This early Renaissance disc has a lot of the folky progressive rock that was a trademark of the band at times. Annie Haslam guides some of the songs, but isn’t as big a factor as on some other Renaissance albums. No matter how you slice this, though, it’s a great set that still holds up really well.

by Gary Hill, 2018

Tracks

1. Prologue (Michael Dunford) - 5:41

2. Kiev (Betty Thatcher, Jim McCarty) - 7:40

3. Sounds Of The Sea (Betty Thatcher, Michael Dunford) - 7:09

4. Spare Some Love (Betty Thatcher, Michael Dunford) - 5:11

5. Bound For Infinity (Betty Thatcher, Jim McCarty) - 4:24

6. Rajah Khan (Michael Dunford) - 11:39

7. Spare Some Love (Betty Thatcher, Michael Dunford) - 3:50

Renaissance

*Annie Haslam - Lead, Backing Vocals, Percussion

*Rob Hendry - Electric, Acoustic Guitars, Mandolin, Chimes, Backing Vocals

*John Tout - Keyboards, Backing Vocals, Arrangements

*Jon Camp - Bass, Tamboura, Lead, Backing Vocals, Arrangements

*Terence Sullivan - Drums, Percussion

With

*Francis Monkman - VCS3 Synthesizer (Track 6)

1969  Renaissance - Renaissance (2008 remaster)

1973  Renaissance - Ashes Are Burning (2019 Esoteric)

1974  Renaissance - Turn Of The Cards (2006 Repertoire)

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rep>>> The Mojo Men - Whys Ain't Supposed To Be (1965-66 us, excellent garage beat, Sundazed release)

Quite a few references show The Mojo Men as being part of the San Francisco music scene.  Technically that's correct, but the original line up of 

singer/bassist Jim Alaimo, guitarist Paul Curcio, drummer Dennis DeCarr and keyboard player Don Metchick morphed out of the Coral Gables, Florida based The Valiants.  

Frontman Alaimo was a cousin to Steve Alaimo and had recorded some material under the monikers 'Jim Paris' and 'Jimmy Summers and the Slicks'.  The Valiants had actually provided backing on some Steve Alaimo sides, but 1964 saw the quartet head for San Francisco where they changed their name to 'The Mojo Men' and briefly picked up Sly Stone as a member. While Stone quickly moved on to form Sly and the Family Stone, he was instrumental in getting the group signed to San Francisco DJ 'Big Daddy' Tom Donahue's Autumn Records where they recorded three 45s during the 1965-66 period.  Stewart also wrote some of their material, including the hit 'She's My Baby' and produced most of their Autumn Records sides.

Prior to the release of their third single the band underwent a personnel change that saw original drummer DeCarr replaced by former Vejtables singer/ drummer Jan Errico.  The personnel switch also marked a change in musical direction with the band dropping their earlier garage/R&B leanings (they'd opened for the Stones during their first San Francisco concert appearance at the Civic Auditorium) for a far more polished and produced pop-oriented sound.  With Autumn in financial collapse, the group switched over to the much large Reprise Records. 

by Scott Blackerby

Tracks
1. Something Bad (S. Stewart, Steve Alaimo, Paul Curcio) - 2:12
2. She's My Baby (Stone, S. Stewart, Steve Alaimo, Paul Curcio) - 3:33
3. My Woman's Head (S. Stewart, Steve Alaimo, Paul Curcio) - 3:53
4. The New Breed (S. Stewart, Steve Alaimo, Paul Curcio) - 3:35
5. Dance With Me (Steve Alaimo, Paul Curcio) - 2:39
6. Off The Hook (Mick Jagger, Keith Richards) - 2:43
7. Why (Steve Alaimo, Paul Curcio) - 2:18
8. Fire In My Heart (Paul Curcio) - 2:51
9. As I Get Older (S. Stewart, Steve Alaimo, Paul Curcio) - 3:11
10.Mojo Men Day (Wmex Radio Spot) - 0:56
11.Mama's Little Baby (Steve Alaimo, Paul Curcio, Don Metchick) - 2:26
12.Oh Misery (Steve Alaimo, Paul Curcio) - 2:10
13.Lost Love (Steve Alaimo, Paul Curcio, Don Metchick) - 2:07
14.Why Can't You Stay (Steve Alaimo, Paul Curcio) - 2:25
15.Girl Won't You Go On Home (Steve Alaimo, Paul Curcio) - 1:41
16.Cry Baby (Steve Alaimo, Paul Curcio) - 2:40
17.Everything I Need (Paul Curcio) - 2:44
18.he Goes With Me (Steve Alaimo, Paul Curcio) - 1:49
19.Free As A Bird (Steve Alaimo, Paul Curcio) - 2:22
20.Loneliest Boy In Town (Steve Alaimo, Paul Curcio) - 3:03
21.Fire In My Heart (Demo Version) (Paul Curcio) - 2:34

The Mojo Men
*Jim Alaimo - Bass, Vocals
*Paul Curcio - Guitar, Vocals
*Dennis DeCarr - Drums, Vocals
*Don Metchick - Keyboards

1967-68  Mojo Men - There Goes My Mind (2003 Sundazed)

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rep>>> The Marshall Tucker Band - Long Hard Ride (1976 awesome country southern rock, 2004 extra track remaster)

The Marshall Tucker Band had a wider palette of musical influences than any other Southern rockers. The eternally high-spirited Wet Willie (of "Keep On Smilin'" fame) mixed r&b, gospel and pop into their rock and roll stew. Even the granddaddies of the genre, The Allman Brothers Band, forged their style from the three distinct, albeit open-ended, sources: English hard rock ala The Jeff Beck Group, blues from Muddy Waters et, al, and the pure openness of free-jazz ordained by John Coltrane.

MTB, however, had a sure grip on rock, blues, gospel, bluegrass and mainstream jazz(including swing and big band). As demonstrated on their very first album the group was able to write credible material in each of those genres (or mix it up convincingly)as well as play as if each was their forte. The versatility becomes even more evident on their comparatively understated follow-up A New Life and there the band's studio artistry takes full flower with the exhilarating likes of "Another Cruel Love." The remastering of the Marshall Tucker catalog, the release of a hot time left in the vaults as well as a new studio effort form the current lineup provides additional insight into the workings of the group.

Persevering through multiple tragedies like their Dixie rock brethren ABB and Skynyrd titular leader Toy Caldwell died of heart problems in early 1993. On Long Hard Ride, The Marshall Tucker Band's country influences come to the fore, resulting in a strong record that failed to gain many hits. Still, the final product is well worth listening to -- it's one of their better releases. Be sure to listen for Charlie Daniels' guest appearance. 

Tracks

1. Long Hard Ride - 3:53

2. Property Line - 3:02

3. Am I The Kind Of Man - 4:26

4. Walkin' The Streets Alone - 5:09

5. Windy City Blues (Doug Gray, George McCorkle, Jerry Eubanks) - 4:58

6. Holding On To You (George McCorkle) - 3:52

7. You Say You Love Me - 4:02

8. You Don't Live Forever (Tommy Caldwell) - 4:02

9. See You One More Time (Albert Savoy, Wardell Quezergue) - 4:54

All songs by Toy Caldwell except where noted

Bonus track 9

The Marshall Tucker Band 

*Doug Gray - Lead Vocals, Percussion

*Toy Caldwell - Electric, Acoustic Guitars, Steel Guitar, Lead Vocals 

*Tommy Caldwell - Bass Guitar, Backing Vocals

*George McCorkle - Electric, Acoustic Guitars, Banjo

*Jerry Eubanks - Flute, Alto, Baritone, Tenor Saxophone, Backing Vocals

*Paul Riddle - Drums

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rep>>> Iron Claw - Iron Claw (1970-74 uk, superb rough heavy downer rock, 2009 remaster)

 A product of its time and environment in every conceivable way, Iron Claw is a now-obscure heavy rock group that was launched by a Led Zeppelin concert, which took its name from the first couplet of King Crimson's "21st Century Schizoid Man." They adopted the same earth-shaking primal stomp as Black Sabbath, but simply lacked the individuality and sheer talent common to all of those rock icons.

Hailing from the Scottish town of Dumfries, Iron Claw was founded in the summer of 1969 by bassist/vocalist Alex Wilson (he of the Led Zeppelin gig epiphany), guitarist Jimmy Ronnie, and drummer Ian McDougall, who initiated their trajectory by performing as a covers band tackling the heavy blues standards of the era, including popular numbers by Free, Taste, Ten Years After, Johnny Winter, and many others. But it was a second revelation experienced by Wilson later that year, when a nascent Black Sabbath brought their sonic solar eclipse to the band's neck of the woods (The Dumfries Youth Club, to be precise), that would set Iron Claw on the intended stylistic left-hand path which came to be known as heavy metal. 

So after bidding a definitive adieu to their power trio ambitions, the threesome welcomed singer Mike Waller into the fold and, by the spring of 1970, had effectively become the world's first Black Sabbath tribute band by incorporating that group's entire first album into their set! However, during rehearsals, Iron Claw immediately began composing original material in the image of their heroes, bringing the year to a close with a couple of demo recording sessions whose fruits the band proudly presented to the members of Black Sabbath at their next Newcastle concert -- only to later receive veiled threats of legal action from the metal godfathers' management because of the glaring similarities. 

Message received, Wilson took advantage of the fact that vocalist Waller had just given notice to replace him with two new members -- Wullie Davidson (vocals, harmonica, flute) and Donald McLachlan (second guitar) -- and take Iron Claw's sound in a different direction, marked by escalating art rock pretensions (think Wishbone Ash, Barclay James Harvest, Gentle Giant). Around this time, an interested label also gave Iron Claw access to a recording studio for the purpose of recording new demos, but the end results captured in the winter of 1971/1972 were often rounded out by ancillary studio musicians, became virtually impossible to reproduce in a live setting, and were ultimately unattractive to their would-be corporate suitors, in any case. 

And so Iron Claw, left to its own devices once again, continued to struggle along in fits and starts, next losing drummer McDougall in mid-1972 (he was replaced by one Neil Cockayne) and then gradually expanding their jams to dangerous thresholds of indulgence over the ensuing years until finally reaching a breaking point in 1974. Absolute obscurity followed, and although the group came together for a one-off reunion show in 1993, the only reason Iron Claw's existence is even remembered is because a selection of their best 16 demos was assembled for release on CD in 2009 by Rockadrome Records. 

by Eduardo Rivadavia

Tracks

1. Clawstrophobia - 5:21

2. Mist Eye - 4:16

3. Sabotage - 5:02

4. Crossrocker - 7:20

5. Skullcrusher - 6:04

6. Let It Grow - 2:52

7. Rock Band Blues - 4:21

8. Pavement Artist - 5:33

9. Strait Jacket - 5:07

10.Gonna Be Free - 3:49

11.Loving You - 2:41

12.Lightning - 3:47

13.All I Really Need - 3:23

14.Knock 'Em Dead - 3:01

15.Winter - 6:17

16.Devils - 5:34

All songs by Iron Claw

Iron Claw

*Alex Wilson - Bass

*Jimmy Ronnie - Guitar

*Ian McDougall - Drums (Tracks 1-14)

*Mike Waller - Vocals (Tracks 1-5)

*Donald McLachlan - Guitar (Track 6)

*Wullie Davidson - Vocals, Harmonica, Flute (Tracks 6-16)

*Billy Lyall - Keyboards, Saxophone (Tracks 7-14)

*Neil Cockayne - Drums (Tracks 15,16)

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rep>>> Family - A Song For Me (1970 uk, marvelous varied prog rock, 2004 japan remaster and expanded)

This might well be the best of the early Family recordings. A combination of hard rock (bordering on metal) and wistful folk-rock (it sounds as if Chapman and Whitney were listening to a lot of Incredible String Band), A Song for Me veers toward early progressive rock, but isn't as nakedly indulgent as some early prog-rock recordings (e.g., they didn't try to sound like a jazz band, they wanted to sound like a rock band screwing around with jazz). 

Perhaps their most experimental record, it seems as though the credo in making this disc was that anything went. And on tracks like "Drowned in Wine," it works quite well. Again, Chapman offers more proof of his vocal greatness, and again the record sells large quantities in England and nearly nothing in America. 

by John Dougan

Tracks
1. Drowned In Wine - 4:09
2. Some Poor Soul - 2:44
3. Love Is A Sleeper - 4:01
4. Stop For The Traffic - Through The Heart Of Me - 2:12
5. Wheels (John "Charlie" Whitney, Rick Grech, Roger Chapman) - 4:37
6. Song For Sinking Lovers - 4:06
7. Hey - Let It Rock - 0:59
8. The Cat And The Rat - 2:30
9. 93's OK J (John "Charlie" Whitney, John Weider) - 3:58
10.A Song For Me (John "Charlie" Whitney, John Weider, Rob Townsend, Roger Chapman) - 9:22
11.No Mule's Fool - 3:12
12.Good Friend Of Mine - 3:31
13.Drowned In Wine - 4:10
14.The Cat And The Rat - 2:48
15.Wheels (John "Charlie" Whitney, Rick Grech, Roger Chapman) - 6:46
16.A Song For Me (John "Charlie" Whitney, John Weider, Rob Townsend, Roger Chapman) - 8:01
All songs written by John "Charlie" Whitney, Roger Chapman, except where noted
Bonus Tracks 11-15

Family
*Roger Chapman - Vocals, Percussion
*Charlie Whitney - Electric, Acoustic Guitars, Bass
*John Weider - Acoustic Guitar, Bass,
*Poli Palmer - Percussion, Keyboards,, Vibes
*Rob Townsend - Drums, Percussion
With
*George Bruno - Organ
*Jim King - Saxophone

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rep>>> Margo Guryan - Take A Picture (1968 us, divine ethereal baroque jazzy psych, 2009 HDCD digipak remaster)

Routinely selling for huge sums of money on the vinyl market and making its way into the collections of pop fanatics as far afield as Japan, Take a Picture has taken on a dynamic life of its own since its 1968 release, especially for an album that went relatively unheard at the time. It is not difficult to figure out what all the retroactive acclaim is about once you hear the sweet, delicate strain of gently kaleidoscopic music on the sole album from Margo Guryan. 

It is the soft pop of which gauzy dreams are made, full of the hazy changes and transitory variations of autumn, an album that you invariably want to wrap up in. Better than most similar efforts from the time, the album maintains a vibrant resonance outside the milieu in which it was created because the songcraft is not only infectious but also highly intelligent, and because Guryan's performance is so delicious. Perhaps a bit too thin and breathy for mass consumption, her voice is an acquired taste in an era loaded with wispy pop princesses, not to mention brassy belters such as Grace Slick, Janis Joplin, and Mama Cass. Once you accept its whispery invitation, though, Guryan's singing, equal parts girl group innocence and seductive torch, envelops you.

The thing that really elevates her above many of her contemporaries and competitors for the soft rock tiara, though, is her wonderfully idiosyncratic songwriting capabilities. A classically trained pianist and jazz composer by education and trade, her songs are much more than your standard pop fare. Although the song structures are simplistic on a superficial level (which should have made them perfect nuggets for commercial radio play in 1968), the arrangements beneath them are anything but. There are all kinds of intriguing things going on with or underneath the melody, either instrumentally (hammy trombones, old-tavern piano, touches of sitar) or via affect. Just when you think a chorus or hook is as ethereal as it could possibly be, Guryan tweaks it just slightly enough that it rises even higher and takes you to an even more elevated emotional plane. She manages the difficult trick of cajoling something already beautiful to something truly sublime. There is also an expert, fluid balance of juxtapositions within the music. 

Tempos are shifted frequently but seamlessly, and Guryan's chord progressions tend to switch from balladic choices during the slower verses to sly and unconventional jazz progressions during the quicker paced breaks and bridges, with the influence of bossa nova particularly heavy in many of the tunes. Her classical background is spliced into the mix as well, generically via the orchestral splashes of various songs, but more explicitly on "Someone I Know," where her own pop melody is superimposed over the chorale of Bach's "Jesu, Joy of Man's Desiring." The two fit perfectly, point and counterpoint, like the complex pocket symphonies of Brian Wilson, a huge influence, and far more interesting with each listen. 

Other highlights include her own version of "Sunday Morning," the breezily kittenish "Sun," and the tough go-go groove of "Don't Go Away," but really every song is a gem. The CD reissue, housed in a handsome special edition digipak with a 12-page booklet that contains a brief biography, liner notes, and lyrics, also includes three stellar bonus publisher's demos that mark a significant addition an album that was already one of the most endearing cult soft rock records from an era full of them. 

by Stanton Swihart

Tracks
1. Sunday Morning - 2:20 
2. Sun - 2:36
3. Love Songs - 2:37
4. Thoughts - 2:25
5. Don't Go Away - 2:04
6. Take A Picture - 3:08
7. What Can I Give You - 2:31 
8. Think Of Rain - 2:25 
9. Can You Tell - 2:34 
10.Someone I Know - 2:46 
11.Love - 5:26
12.I Think A Lot About You - 2:19 
13.It's Alright Now - 2:04 
14.Timothy Gone - 1:50
Music and Lyrics by Margo Guryan
Bonus Tracks 12-14

Personnel
*Margo Guryan - Vocals
*Phil Bodner - Oboe
*Paul Griffith - Keyboards
*Kirk Hamilton - Bass, Flute
*Buddy Sultzman - Drums
*John Hill - Guitar

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rep>>> Jon And Robin - Do It Again! The Best Of (1965-69 us, smart sunny folk psych roots 'n' roll, 2006 remaster)

The male-female duo Jon & Robin are thought of as a one-hit wonder for their playful 1967 Top 20 hit "Do It Again a Little Bit Slower." Actually, however, they recorded quite a bit in the mid-to-late '60s, with an engaging if somewhat lightweight style craftily mixing AM radio mid-'60s pop/rock with a little psychedelia and Southern soul. "Do It Again a Little Bit Slower" was certainly the best of their discs, with its likable male-female vocal tradeoffs, a "Cool Jerk"-like soul piano riff at strategic points, and an effective fadeout that languorously stretched out the suggestive title phrase. But their two LPs and a bunch of 1965-1969 singles included some enjoyable material as well, devised with help from some fine songwriters and some of the best production and backup musician talent in their Dallas base.

The male half of the duo, Jon Abdnor, had recorded some solo singles for his millionaire father's Abnak label before hooking up with teenage singer Javonne Braga, who was billed as "Robin" on the records the pair made together. Their one national hit, "Do It Again a Little Bit Slower" came from the pen of Wayne Carson Thompson, most famous for writing the Boxtops' "The Letter." The duo also recorded several other Thompson compositions, including the fairly gritty soul-popper "Dr. Jon (The Medicine Man)," which was a big hit in Texas, although it didn't break nationally. 

Jon & Robin themselves wrote little original material, although they did benefit from production by ex-rockabilly star Dale Hawkins and Mike Rabon of the Five Americans, a fellow Abnak act. Indeed, several of the Five Americans played on some Jon & Robin sessions, and another Abnak artist, soul singer Bobby Patterson, also helped out with some of their recordings. By the end of the 1960s, however, Jon & Robin had split, though Jon Abdnor did put out a 1969 solo LP, Intro to Change, billed to John Howard Abdnor & the Involvement.

by Richie Unterberger

Tracks

1. Do It Again A Little Bit Longer (Wayne Carson Thompson) - 2:32

2. Dr. Jon (The Medicine Man) (Wayne Carson Thompson) - 2:07

3. You Got Style (Andy Kim, Jeff Barry) - 2:06

4. Drums (Wayne Carson Thompson) - 2:45

5. Love Me Baby (Bobby Patterson, Bobby Rambo, Jon Abnor) - 2:38

6. I Want Some More (Wayne Carson Thompson) - 2:01

7. You Don't Care (Jon Abnor) - 2:35

8. Like I Know You Do (Knox Henderson, Ronnie Weiss) - 2:17

9. We Watched Each Other Fall In Love (Wayne Carson Thompson) - 1:56

10.Thursday Morning (Jerry Lynn Williams, Mike Rabon) - 2:25

11.Truly, Truly, True (Wayne Carson Thompson) - 2:16

12.My Heart Beats Faster (Bobby Patterson) - 2:06

13.How Come (William Goodson) - 2:30

14.Can't Make It With You (Jon Abnor) - 2:57

15.Lucille (Albert Collins, Richard Penniman) - 2:14

16.Gift Of Love (Delaney Bramlett, Mac Davis) - 2:36

17.If You've Got It, Flaunt It (Errol Sober) - 2:47

18.Walking In Different Circles (Larry Weiss, Scott English) - 2:36

Musicians

*Javonne "Robin" Braga - Vocals

*Jon Abnor - Vocals

*Jim Glaves - Keyboards

*Bobby Rambo - Guitar

*Pete Molino - Guitar

*James Anderson - Bass

*Rex Ludwick - Drums

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rep>>> Blackwood Apology - The House of Leather (1969 us, magnificent concept psych garage rock opera, 2023 remaster)

The first time I heard House Of Leather, at first I was not very impressed by it. The vocals sounded too “pop”; like something the Association would have recorded, and the recurring themes and overtures sounded like space fillers. But I could not deny even then that the electric guitar playing was arresting, and the organ playing weaved its way expertly through the various arrangements, providing a distinctive connecting strand. The Blackwood Apology definitely had their own sound. 

For greater atmosphere, they also throw in instruments like acoustic guitar and even pipe organ. The arrangements on the album are complex, and it is cleverly structured so that by the end of the record, the piece has returned to its starting point, meaning that you can put the album on shuffle play and listen to it as an endless loop on your MP3 player should you so choose.

I am not so dedicated as to want to do that, but I did find myself coming back to this album again and again over the 20 years that have elapsed since I bought it. In addition to the advanced musicianship, my main focus was the lyrics. Even with the full text provided on the inside cover (along with an elliptical explanatory note on the instrumental depiction that the album provides of the American Civil War), the words are perplexing. 

As someone on the Internet wondered; is the House of Leather a cathouse? The images on the cover suggest it is a house of ill-repute of some sort. And why is it the house “Of Leather”? Was it some sort of kinky B&D joint where moustachioed gents went to get their jollies in unorthodox ways?

Finally, after 20 years of scratching my head, I sat down and listened to the lyrics, and not just once but several times, in an attempt to get to the bottom of what this perplexing album is about.

The story starts “down along the Swanee River”, where we are introduced to a young lady named Sarah Jane who has “got love to send you… straight to heaven where she comes from”. We move on to a reminiscence of the House of Leather, where “the pretty young things all got together” to dance, among other things. 

We are then introduced to one Mrs Grim, who appears to be the matronly figure in charge of the House of Leather, and the narrator reminds her of Donny Brooks, a farmer who she used to know in one capacity or another, and obliquely makes mention of the town’s mayor, a man by the name of Ramsey. 

A little bit further on, we find out that the House of Leather is a school of some sort, and Sarah Jane appears to be a teacher there (teaching what exactly? – again, we don’t know), who both Donny Brooks and Ramsey have fallen in love with. The outcome of this love triangle is that Sarah Jane ends up with Donny Brooks the farmer, and they settle down on his farm, where she ends up bearing him a child.

Then along comes the US Civil War, in which her husband and child (a boy) are both killed. After the war, Sarah Jane stays on at the farm, which Ramsey, the mayor, now owns. The album concludes with the words “Sarah’s on her knees… building dreams… begging for love”, and “if you’re ever…. way down along the Swanee River… you’re not far from the House of Leather… where I was born….”

Well, that’s all perfectly clear, isn’t it? So the narrator is the offspring of Sarah Jane and Ramsey… or is he? And if he was their child, why was he born in the House of Leather and not down on the farm? Was she kicked off the farm and ended up having to work for a living? But working in what capacity? And exactly what sort of education is offered by an institution that ventures to call itself the “House of Leather”? 

by W.S. McCallum

The brainchild of 23 year-old writer / guitarist Dale Menten, The House Of Leather is a rock opera set in a bordello during the US Civil War. It was originally released in December 1968, shortly before it was staged as a sell-out rock opera in Minnesota. A fine mixture of acid-tinged pop-rock and ballads.

Tracks
1. Medley: Swanee River Overture / House Of Leather Theme - 2:06
2. Do You Recall The House Of Leather? - 2:47
3. Recess With Mrs. Grim - 1:03
4. Graduates Of Mrs. Grim’s Learning - 3:10
5. There Is Love In The Country (On The Donny Brooks Farm) - 2:03
6. Here I Am - 4:27
7. She Lives With Me - 1:07
8. There’s Love In The Country (On The Donny Brooks Farm)  Reprise - 2:05
9. Time Marches On - 5:23
10. Dixie And The War - 3:21
11. Death And Reality - 2:52
12. Sarah’s On Her Knees - 2:46
13. Theme From House Of Leather (Epilogue In Suede) - 2:45
All compositions by Dale Menten

Blackwood Apology
*Ron Beckman - Bass,
*Dennis Caswell - Drums, Vocals
*Tom Hustin - Guitar, Vocals
*Dennis Libby - Piano, Vocals
*Greg Maland - Keyboards, Pipe Organ
*Dale Menten - Guitar, Vocals
*Bruce Pedalty - Organ, Vocals

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