rep>>> Cream - Disraeli Gears (1967 uk, historical heavy blues psych, 2013 japan SACD SHM and 2008 japan SHM double disc set)

Cream teamed up with producer Felix Pappalardi for their second album, Disraeli Gears, a move that helped push the power trio toward psychedelia and also helped give the album a thematic coherence missing from the debut. This, of course, means that Cream get further away from the pure blues improvisatory troupe they were intended to be, but it does get them to be who they truly are: a massive, innovative power trio. 

The blues still courses throughout Disraeli Gears -- the swirling kaleidoscopic "Strange Brew" is built upon a riff lifted from Albert King -- but it's filtered into saturated colors, as it is on "Sunshine of Your Love," or it's slowed down and blurred out, as it is on the ominous murk of "Tales of Brave Ulysses." It's a pure psychedelic move that's spurred along by Jack Bruce's flourishing collaboration with Pete Brown. 

Together, this pair steers the album away from recycled blues-rock and toward its eccentric British core, for with the fuzzy freakout "Swlabr," the music hall flourishes of "Dance the Night Away," the swinging "Take It Back," and of course, the old music hall song "Mother's Lament," this is a very British record. Even so, this crossed the ocean and also became a major hit in America, because regardless of how whimsical certain segments are, Cream are still a heavy rock trio and Disraeli Gears is a quintessential heavy rock album of the '60s. Yes, its psychedelic trappings tie it forever to 1967, but the imagination of the arrangements, the strength of the compositions, and especially the force of the musicianship make this album transcend its time as well. 

by Stephen Thomas Erlewine

Tracks

2013 SA-CD SHM-CD

1.  Strange Brew (Eric Clapton, Felix Pappalardi, Gail Collins) - 2:47

2.  Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 4:10

3.  World Of Pain (Felix Pappalardi, Gail Collins) - 3:03

4.  Dance The Night Away (Jack Bruce, Pete Brown) - 3:35

5.  Blue Condition (Ginger Baker) - 3:30

6.  Tales Of Brave Ulysses (Eric Clapton, Martin Sharp) - 2:46

7.  SWLABR (Jack Bruce, Pete Brown) - 2:33

8.  We’re Going Wrong (Jack Bruce) - 3:28

9.  Outside Woman Blues (Blind Joe Reynolds) - 2:26

10. Take It Back (Jack Bruce, Pete Brown) - 3:07

11. Mother’s Lament (Traditional) - 1:48

12. Lawdy Mama (Traditional) - 2:02

13. Lawdy Mama (Traditional) - 2:48

14. Blue Condition (Ginger Baker) - 3:09

15. Strange Brew (Eric Clapton, Felix Pappalardi, Gail Collins) - 2:48

16. Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 4:12

17. World Of Pain (Felix Pappalardi, Gail Collins) - 3:07

18. Dance The Night Away (Jack Bruce, Pete Brown) - 3:35

19. Blue Condition (Ginger Baker) - 3:29

20. Tales Of Brave Ulysses (Eric Clapton, Martin Sharp) - 2:52

21. SWLABR (Jack Bruce, Pete Brown) - 2:33

22. We’re Going Wrong (Jack Bruce) - 3:28

23. Outside Woman Blues (Blind Joe Reynolds) - 2:26

24. Take It Back (Jack Bruce, Pete Brown) - 3:07

25. Mother’s Lament (Traditional) - 1:49

26. Lawdy Mama (Traditional) - 2:01

27. Lawdy Mama (Traditional) - 2:47

28. Blue Condition (Ginger Baker) - 3:13

Tracks 1-14 Stereo Recordings

Tracks 15-28 Mono Versions

Bonus Tracks 12-14, 26-28

2008 SHM-CD

Disc 1

1. Strange Brew (Eric Clapton, Felix Pappalardi, Gail Collins) - 2:46

2. Sunshine of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 4:10

3. World of Pain (Felix Pappalardi, Gail Collins) - 3:03

4. Dance the Night Away (Jack Bruce, Pete Brown) - 3:34

5. Blue Condition (Ginger Baker) - 3:29

6. Tales of Brave Ulysses (Eric Clapton, Martin Sharp) - 2:46

7. Swlabr (Jack Bruce, Pete Brown) - 2:32

8. We're Going Wrong (Jack Bruce) - 3:26

9. Outside Woman Blues (Blind Joe Reynolds) - 2:24

10.Take It Back (Jack Bruce, Pete Brown) - 3:05

11.Mother's Lament (Traditional) - 1:47

12.Lawdy Mama  (Version 2) (Traditional) - 2:00

13.Blue Condition (Alternate Version) (Ginger Baker) - 3:13

14.We're Going Wrong (Jack Bruce) - 3:49

15.Hey Now, Princess (Jack Bruce, Pete Brown) - 3:31

16.Swlabr (Jack Bruce, Pete Brown) - 4:30

17.Weird of Hermiston (Jack Bruce, Pete Brown) - 3:12

18.The Clearout (Jack Bruce, Pete Brown) - 3:58

Tracks 1-11 Stereo

Tracks 12-13 Outtakes

Tracks 14-18 Demos

Disc 2
1. Strange Brew (Eric Clapton, Felix Pappalardi, Gail Collins) - 2:46
2. Sunshine of Your Love (Clapton, Jack Bruce, Pete Brown) - 4:10
3. World of Pain (Felix Pappalardi, Gail Collins) - 3:03
4. Dance the Night Away (Jack Bruce, Pete Brown) - 3:34
5. Blue Condition (Ginger Baker) - 3:29
6. Tales of Brave Ulysses (Clapton, Martin Sharp) - 2:46
7. Swlabr (Jack Bruce, Pete Brown) - 2:32
8. We're Going Wrong (Jack Bruce) - 3:26
9. Outside Woman Blues (Blind Joe Reynolds) - 2:24
10.Take It Back (Jack Bruce, Pete Brown) - 3:05
11.Mother's Lament (Traditional) - 1:47
12. Lawdy Mama (Traditional) - 2:04
13. Blue Condition (Ginger Baker) - 3:12
14.Strange Brew (Eric Clapton, Felix Pappalardi, Gail Collins) - 3:00
15.Tales of Brave Ulysses (Clapton, Sharp) - 2:55
16.We're Going Wrong (Jack Bruce) - 3:25
17.Born Under a Bad Sign (Booker T. Jones, William Bell) - 3:03
18.Outside Woman Blues (Blind Joe Reynolds) - 3:18
19.Take It Back (Jack Bruce, Pete Brown) - 2:17
20.Politician (Jack Bruce, Pete Brown) - 3:59
21.Swlabr (Jack Bruce, Pete Brown) - 2:32
22.Steppin' Out (James Bracken) - 3:37
Tracks 1-11 Mono
Tracks 12-13 Outtakes
Tracks 14-22 BBC recordings

Cream
*Ginger Baker - Drums, Vocals
*Jack Bruce - Bass, Harmonica, Keyboards, Vocals
*Eric Clapton - Guitar, Vocals

1967-68  Cream - Live Cream (2010 Japan SHM)

1972  Cream - Live II (2010 Japan SHM-CD)

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rep>>> David Wiffen - David Wiffen (1971 uk/canada, fabulous blend of country folk rock melted with jazzy tunes, 2014 remaster and expanded)

English singer/songwriter Wiffen moved to Canada at age 16. He started his music career with appearances at the Village Corner club in Toronto. After that he hitch-hiked across Canada where he ended up as manager of the Calgary coffeehouse The Depression.

In 1965 he was invited to perform at Vancouver's Bunkhouse with an ensemble of other musicians for a live album and when none of the other acts showed up the recording was continued. The result was Wiffen's first solo album 'David Wiffen Live At The Bunkhouse'.

He then joined The Pacers who were soon offered a recording contract in Montreal. Wiffen joined the group as they headed to Quebec but when the deal fell apart, Wiffen moved onto Ottawa where he joined the folk act The Children.

The act featured several of Canada's most prominent future artists such as Bruce Cockburn, Sneezy Waters (aka Peter Hodgkinson), and Richard Patterson (The Esquires) among others.

In 1966 another Vancouver folk trio, Three's A Crowd, played the Le Hibou Coffee House in Ottawa where Wiffen met them and was subsequently asked to join the band along with Children drummer Richard Patterson and bassist Comerie Smith from Toronto.

With the new line-up of Brent Titcomb, Trevor Veitch, Donna Warner, Wiffen, Patterson, and Smith they moved to Toronto but Warner dropped out and was replaced by Colleen Peterson who took over lead vocal chores. They began playing throughout North America and played at Expo '67.

Members of the Mamas And Papas soon discovered the act and convinced them to record a demo tape which got them signed to Dunhill Records where they recorded the singles "Bird Without Wings" and "Let's Get Together" which led to the full length album 'Christopher's Movie Matinee'.

They would disband in 1968, but in 1969 TV producer Sid Banks asked the members to appear on a CBC variety show called 'One More Time' and the band reformed with members Cockburn, Patterson, Wiffen, Crawley, Pendrith and Peterson.

Cockburn was picked up and signed to a solo recording deal with True North and the band split up once more. Though this final version didn't record together they did make a promotional music film of Cockburn's "Electrocution Of The Word" that was showcased at the Youth Pavilion of Ottawa's Central Canadian Exhibition.

Wiffen had also been spotted by executives of Fantasy Records during a Three's A Crowd gig at The Bitter End in New York and was signed to a solo recording deal. His eponymous debut was released in 1971 and produced two hit singles.

In 1973 he would shift to United Artists who released his 'Coast To Coast Fever' which gave Wiffen a Juno nomination. 

Maple Music

Tracks

1. One Step (Kaye Lawrence Dunham) - 2:33
2. Never Make A Dollar That Way - 3:24
3. I've Got My Ticket - 2:45
4. What A Lot Of Woman - 2:12
5. Since I Fell For You (Buddy Johnson) - 3:28
6. Driving Wheel - 4:24
7. Mr. Wiffen - 2:50
8. Blues Was The Name Of The Song - 1:34
9. Mention My Name In Passing - 2:20
10.More Often Than Not - 3:30

11.Cry In The Morning Rain - 4:10

12.Lover's Prayer (Randy Newman) - 1:55

13.Blues Was The Name Of The Song - 1:29

14.Mention My Name In Passing - 2:20

Music and Lyrics by David Wiffen except where noted

Bonus Tracks 11-14

Musicians
*David Wiffen - Acoustic Guitar, Vocals, Organ
*Jerry Corbitt - Electric Guitar, Acoustic Guitar
*Ed Bogas - Piano
*John Mcfee - Steel Guitar
*Sandy Crawley - Acoustic Guitar
*Kelly Bryan - Bass Guitar
*Vic Smith - Bass Guitar
*Bing Nathan - Bass Guitar
*Greg Dewey - Drums
*Jeff Myer - Drums
*Jim Stern - Drums
*Jeremy Merrill - French Horn
*Germain Wallace - Saxophone
*Gerry Gilmore - Saxophone
*Bernard Krause - Moog Synthesizer

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rep>>> Alex Taylor - With Friends And Neighbors (1971 us, exceptional folk blues rock)

1971 was the year of "Taylor Mania" with Mud Slide Slim & The Blue Horizon by James Taylor, Sister Kate's album on Cotillion, and the equally brilliant Liv by Livingston Taylor, on Warner Brothers. Alex Taylor's With Friends And Neighbors is a very good album, enjoying the glow of his sibling's excellent work, and emulating them on the first side. It's more pop than one would think, which all changes when you flip the disc over to hear the bluesy jams like on Greg Allman's "Southbound" on side two. 

Acoustic guitarist's Scott Boyer's "Southern Kids" is up there with some of James Taylor's finest work and with a plethora of guests from King Curtis to Sweet Baby James himself on "Night Owl," With Friends and Neighbors stands on its own as a very listenable and entertaining project. There's not one original by Alex, but he does allow his musicians to contribute, lead guitarist Tommy Talton penning "All In Line" while Boyer gets to include a second composition, "C Song" which ends side one. Bobby And Shirley Womack's "It's All Over Now" gets a fun reading, not as classic as The Rolling Stones or Rod Stewart And The Faces, this one is slowed down and funky but has its charm, and utilizes the same band as on brother Livingston Taylor's Liv album -- Bill Stewart on drums, Tommy Talton on lead guitar, Paul Hornsby on keyboards, Johnny Sandlin providing bass as well as producing the entire disc (Jon Landau was the producer on Liv). 

With the addition of acoustic guitarist Scott Boyer and Alex Taylor on vocals, With Friends And Neighbors is the bookend album to Liv that Sister Kate is to Carole King's Tapestry -- Kate Taylor having employed the musicians (and a couple of the songs) from King's classic 70s release. What the world needs is a Taylor Family Boxed set with all the work from Liv, Sister Kate, With Friends And Neighbors and any other material from the sessions that gave birth to this trio of exquisite recordings. It doesn't have the highs of a "Get Out Of Bed" which Livingston Taylor gave us, but it is consistent and highly enjoyable nevertheless. 

by Joe Viglione

Tracks

1. Highway Song (James Taylor) - 3:17

2. Southern Kids (Scott Boyer) - 2:31

3. All In Line (Tommy Talton) - 2:50

4. Night Owl (James Taylor) - 3:20

5. C Song (Scott Boyer) - 2:10

6. It's All Over Now (Bobby Womack, Shirley Womack) - 3:41

7. Baby Ruth (Johnny Wyker) - 3:23

8. Take Out Some Insurance (Charles Singleton) - 4:18

9. Southbound (Gregg Allman, David Brown) - 8:30

Personnel

*Alex Taylor - Vocals

*James Taylor - Guitar

*Scott Boyer - Guitar, Backing Vocals

*Tommy Talton - Guitar

*Paul Hornsby - Keyboards

*Johnny Sandlin - Bass

*Peter Kowalke - Guitar

*Joe Rudd - Guitar

*Bill Stewart - Drums

*King Curtis - Saxophone

*Willie Bridges - Saxophone

*Ronnie Cuber - Saxophone

*Frank Wess - Saxophone

*Daniel Moore - Trumpet

*William S. Fischer - Conductor, String Arrangements

Related Acts
1970  Cowboy - Reach For The Sky
1971  Cowboy - 5'll Getcha Ten (2014 remaster) 

1974  Cowboy - Boyer And Talton (2018 remaster and expanded)

1968  The 31st Of February - The 31st Of February
1973  Gregg Allman - Laid Back (2016 japan SHM remaster) 
1974  Gregg Allman - The Gregg Allman Tour (2008 japan SHM remaster)

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rep>>> The Who - Sell Out (1967 uk, superb album, 2009 double disc japan SHM expanded edition)

Driven by the single that preceded the album’s release, Townshend’s shining moment, “I Can See For Miles” (which became The Who’s calling card in the United States and one of the most perfect songs ever issued), the new album was to be a more experimentally-oriented and far greater textured band than had been heard to date.  So when it was released in December, after the band’s triumphant U.S. tour (which, of course, saw them open the eyes of the “love crowd” at the Monterey Pop Festival), once again, heads were turned.  The cover was a ingenious spoof of real-life products – Heinz baked beans, Odorono deodorant, etc. – and the songs, along with the specifically-written-for-the-album ads were equal to the task.  Once the needle drops, you feel like you’re listening to a British pirate radio station – in this case, Radio London (if you don’t know what “pirate radio” is/was, please look it up – it’s a fascinating story) and the band was able to use the station’s own jingles to truly bring the concept to fruition. And according to Townshend, by the time of the album’s release, pirate radio had been outlawed, so this album became the band’s tribute to them.

Opening with the haunting and exciting drone of John “Speedy” Keen’s psychedelically-staggering “Armenia City In The Sky” (the only original song to ever appear on a Who album not written by the band – this doesn’t count for cover songs and, personally speaking, is my all-time favorite Who track), you immediately know that this isn’t so much of an album as it is an aural AND sensory experience.  Backwards guitar loops, thundering bass and sweetly double-tracked vocals of Daltrey and Keen (there’s another story here, but I don’t want to keep digressing) propel this album forward into the hilariously corny “Heinz Baked Beans” ad and then to the beautiful acoustic rendition of “Mary Anne With The Shaky Hands” (two other “band” versions had been recorded, one of which made it on to the B-side of “I Can See For Miles” in the U.S.).  The next ad, “Odonoro” is, for all intents and purposes, a fully-realized Townshend track, which Pete sings; “Tattoo” is a humorous generation gap question and “Our Love Was, Is” is one of the prettiest things The Who ever committed to vinyl; another Townshend showcase.  A quick succession of commercials, including the now-legendary “hold your group together with Roto Sound Strings” and “I Can See For Miles” closes side one.

As Townshend once said, “the concept really doesn’t hold up once you have to turn the record over”, so there are only two commercials on the second side.  The “Charles Atlas” body building ad is another laugher which segues into “I Can’t Reach You” and then into “Medac” (or “Spotted Henry” as the American Decca label release reads).  “Relax”, powered by an organ riff, is one of the heaviest and rocking-est numbers, followed by another of Entwistle’s “character” songs, “Silas Stingy”.  The elegant, jazz-infused “Sunrise”, sung by Townshend precedes the closing track, “Rael”, which is a “micro-opera”, with a definitive storyline and later parts (that weren’t heard until the 1995 CD re-issue with the bonus tracks and extra commercials that had been recorded but not used).  It should be noted that “Rael” contains the musical progression that makes up the later Tommy “Underture”.).

A great many of these bonus tracks (especially the ones tacked on to discs one and two) have been previously aired, but I’d like to give them their due. The singles that were issued prior, during and after the Sell Out sessions have long been favorites of mine and hearing the subtle nuances of the different mixes do hold interest. For me, my probable favorite of these is John Entwistle’s “Dr. Jekyll And Mr. Hyde” – 3 different mixes – the original U.S. Decca 45 mix (found on the B-side of “Call Me Lightning” and on the 1968 Magic Bus album), the original U.K. Track single mix (on the B-side of “Magic Bus” and a fuller mix with little details, previously unheard. With this box, the 1968 U.S. mix is on the flipside of the bonus “Magic Bus” 45 – although this is a replica of the British single, Universal used an old American Decca label for this, which is a nice touch. The mono mixes of many tracks have a far greater power/sound to them – for me, “Armenia City In The Sky” sounds amazing in either mix – the “cleaner” sound of the single tracks (many found on Disc 4) are welcome. Oh – and for the record: “Armenia City In The Sky”, the way we all hear it on the album, was actually recorded as a demo for Speedy Keen. But The Who liked the way it came out, so they chose to use it for their album instead. Hence, the reason for him singing on it – The Who were simply his backing band!

Boxsets are always a nice thing, especially when it’s not just a “dry” package – this is a great looking package: hardcover book, with “windows” for each disc, a hardshell slip case and a folder filled with reproductions of posters, promo bills, membership cards and 2 45’s in picture sleeves: “I Can See For Miles” b/w “Someone’s Coming”, with an old U.K. Track Records label and “Magic Bus” b/w “Dr. Jekyll And Mr. Hyde” with the (as stated earlier) U.S. Decca label – and they were even nice enough to throw in 2 45 hole-adapters (!).

For me, this was a no-brainer. Is it overkill? I don’t think so. It only enhances an incredibly important piece of recorded work and gives a greater insight into where this band was going – this was their proverbial last piece of work as a “pop group” before they ascended to full-blown “rock stardom” and massive influence that would come next. And like I’ve said so many times: simply put, without The Who Sell Out, I wouldn’t be here today. Certainly, not in the musical sense. If you don’t want to invest in the boxset, there are special vinyl editions available and a few CD permutations, but regardless, this is an album everyone must own. Like Revolver and #1 Record, it’s required listening.

by Rob Ross, May 3, 2021 

Tracks

Disc 1

1. Armenia City In The Sky (John Keen) - 3:51

2. Heinz Baked Beans (John Entwistle) - 1:00

3. Mary Anne With The Shaky Hand - 2:34

4. Odorono - 2:35

5. Tattoo - 2:54

6. Our Love Was - 3:25

7. I Can See For Miles - 4:05 

8. I Cant Reach You - 3:31

9. Medac - 0:57

10.Relax - 2:38

11.Silas Stingy - 3:04

12.Sunrise - 3:03

13.Real (1 & 2) - 5:39 

14.Real Naive - 0:59

15.Someone's Coming (John Entwistle) - 2:36

16.Early Morning Cold Taxi (Roger Daltrey, Dave Langston) - 2:59 

17.Jaguar - 2:58

18.Coke After Coke - 1:05

19.Glittering Girl - 3:00

20.Summertime Blues  (Eddie Cochran, Jerry Capehart) - 2:35

21.John Mason Cars (John Entwistle, Keith Moon) - 0:39

22.Girls Eyes (Moon) - 2:52

23.Sodding About (John Entwistle, Keith Moon, Pete Townshend) - 2:47

24.Premier Drums (Full Version) - 0:42

25.Odorono (Final Chorus) - 0:24

26.Mary Anne With The Shaky Hand (US Mirasound Version) - 3:22

27.Things Go Better With Coke - 0:30

28.In The Hall Of The Mountain King (Edvard Grieg, arranged by the Who) - 4:23

29.Top Gear - 0:50

30.Real (1 & 2) (Remake Version) - 6:37

Disc 2
1. Armenia City In The Sky (John Keen) - 3:47
2. Heinz Baked Beans (John Entwistle) - 0:58
3. Mary Anne With The Shaky Hand - 2:34
4. Odorono - 2:30
5. Tattoo - 2:48
6. Our Love Was - 3:23
7. I Can See For Miles - 4:02
8. I Cant Reach You - 3:27
9. Medac - 0:56
10.Relax - 2:36
11.Silas Stingy - 2:58
12.Sunrise - 3:00
13.Real (1 & 2) - 5:48
14.Mary Anne With The Shaky Hand (US Single Version) - 3:16
15.Someones Coming (UK Single Mix) - 2:31
16.Relax (Early Demo Stereo) - 3:21
17.Jaguar (Original Mono Mix) - 2:51
18.Glittering Girl (Unreleased Version) - 3:17
19.Tattoo (Early Mono Mix) - 2:46
20.Our Love Was (Take 12 Unused Mono Mix) - 3:16
21.Rotosound Strings (With Final Note Stereo) - 0:12
22.I Can See For Miles (Early Mono Mix) - 4:00
23.Real (Early Mono Mix) - 10:49
All songs by Pete Townshend excpet where noted.

The Who
*Roger Daltrey - Lead,  Backing Vocals, Percussion
*John Entwistle - Bass Guitar, Backing, Lead Vocals, Horns
*Pete Townshend - Guitar, Backing, Lead Vocals, Keyboards, Pennywhistle, Banjo
*Keith Moon - Drums, Backing Vocals, Percussion, Lead Vocals On "Jaguar" And "Girl's Eyes"
Additional Musicians
*Al Kooper - Keyboards, Organ
*John Keen - Lead Vocals (Shared With Daltrey) On "Armenia City In The Sky"

1965  The Who - My Generation (Japan SHM Remaster)
1966  The Who - A Quick One (Japan SHM Remaster)

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rep>>> The Outsiders - Singles A's And B's (1967-94 dutch, impressive colorful nederbeat including Wally Tax solo singles)

The Outsiders were formed in Amsterdam in the early 1960's. The line-up initially was Vladimir 'Wally' Tax, who sang and played rhythm guitar, lead guitarist Ronald Splinter, bassist Appie Rammers and drummer Leendert "Buzz" Busch. Maybe you've heard of them, maybe not. Chances are if you have it was something along the lines of 'they were to the Pretty Things what the Pretty Things were to the Rolling Stones'. Chances are you heard wrong. This was an extraordinary, incomparable group who've remained unduly neglected for too long. Why? The usual reasons - not commercial enough, going against the grain of the prevailing musical climate, not prepared to compromise - but there was one other serious problem. They were from Holland, and as such didn't exist at the time. Of course, if they'd been prepared to push their luck with a few gimmicks, the Dutch angle might have told in their favour. But no. They didn't even have the decency to record a single cover version in their entire career, during which they recorded about 50 songs. Talk about asking for trouble.

By the time they recorded their first single "You Mistreat Me"/" Sun's Going Down" on the Dutch label Musiek Expres in 1965 the above line-up had added Tom Krabbendam on second guitar (though according to Wally Tax he was "a lousy musician", a fact confirmed by Ronald Splinter, who added that it didn't really matter as Tom's amp was always turned right down!) and had acquired a reputation as a live act that was second to none, not even the UK and US acts who were foolish enough to let The Outsiders support them.

Their following was as committed and wild as their music and stage act, with the result that the band and their fans were banned from several Dutch venues. Still incredibly young (Rammers was the eldest at 19, with Tax, Splinter and Krabbendam being only 17) they released their second 45 on Musiek Expres the following year and then signed to Relax, a subsidiary of a Dutch classical label. Around the same time in Amsterdam they had supported (and, according to Tax, blew off stage) the Rolling Stones, which lifted their national profile to the extent that "Lying All The Time", their first 45 on Relax, reached #45 in the Dutch charts, not bad for a Dutch act apparently! To give the lie to the 'Dutch Pretty Things' tag utterly, the single featured Splinter's exquisite folk-rock 12-string, a strange, almost atonal bassline from Rammers and the by now trademark impassioned yet low-key (i.e. sung rather than screamed) vocal from Tax. Sure, they were influenced by groups like the Stones and the Pretties, though Tax has pointed out that as he and Phil May were friends the influencing may also have been in the other direction, but also by Love, the Byrds, Tim Hardin, Buddy Holly (very evident in the sound of some of the early Tax/Splinter songwriting collaborations) and European songwriters like Jacques Brel and Charles Aznavour. "Lying All The Time" was the first in a line of classic singles on Relax that included "Touch", "Keep On Trying" and "Monkey On Your Back", a series of 45s that compares more than favourably with the output of any contemporary UK or US outfit, passionate, raw songs that sounded like no-one else.

By autumn of 1969, Ronnie Splinter had had enough and quit music altogether for a while. The band disintegrated, with Tax and Busch forming Tax Free. Over the years, Wally Tax continued to write and perform in both solo and group formats, but with little or no recognition outside his native land. Long since deleted, original copies of Outsiders' records began to change hands for what might conveniently be described as Monopoly money prices. Only in recent years has it been possible to acquire CD reissues of the aforementioned records. The CD of the first LP features six tracks from the Relax 45s, whereas the CQ CD opens with the "I Don't Care"/"You Remind Me" 45 and finishes with "Do You Feel Alright" and two Tax Free tracks. Also, a double CD set entitled CQ Sessions was released which included three previously unreleased tracks from the CQ era plus 26 alternate takes or demo versions, some without vocals, thus giving a new slant to the tracks in that instrumental versions of tracks like "The Bear" and "Doctor" develop a life of their own. Also included are the first two singles on Musiek Expres, so despite a lack of attention chronology-wise the vast majority of the Outsiders' catalogue is at least in theory currently available through the Dutch label Pseudonym.

How many of you actually look at the section in PSF where all us 'rock journo types' tell you what are, no honestly, the 10 best records ever so you can all go out and buy them? If you're one of them, you might have noticed that my 10 changes from time to time. You know how it is. One thing doesn't change though; I really don't think I could ever come up with 10 LP's that I get more out of than CQ. I really can't emphasise enough that all this sub-Pretty Things business is so much shite. Nor is it even vaguely near the truth that they were the top of the 2nd division garage heap or some other condescending sort of 'compliment'. To say they never got the credit they so richly deserved is a bit like saying Charlie Parker used to play the alto saxophone a bit. Fact of the matter is, those responsible for the documentation of rock musical history as we know it OWE people like The Outsiders and always will. Do yourself a favour; seek out and obtain, by fair means or foul, the aforementioned reissues of their records. If you find that you regret it, don't come bleating to me about how I sold you short or whatever. I shall wash my hands of you utterly. On that you can rely. The Outsiders were one of the all-time greats of rock music and anyone who says different had better be outside in the car park in 10 minutes. I'll be waiting. 

by Richard Mason, September 1998

Tracks
Disc 1
A Sides
1. You Mistreat Me - 1:57
2. Felt Like I Wanted To Cry - 2:44
3. Lying All The Time - 3:13
4. Keep On Trying - 2:58
5. Touch - 3:12
6. Monkey On Your Back - 3:43
7. Summer Is Here - 3:26
8. I'Ve Been Loving You So Long - 3:22
9. Don't You Worry About Me - 3:25
10.A Cup Of Coffee - 3:17
11.I Don't Care - 2:45
12.Do You Feel Alright - 3:26
13.Wally Tax - I Sat And Thought And Wondered Why (Wally Tax) - 2:59
14.Wally Tax - Let's Forget What I Said (Wally Tax) - 3:30
15.Wally Tax - I Won't Feel Alone (Wally Tax) - 2:41
16.Wally Tax  Bamboulé - Crown Of Creation (Martin Duiser, W. Tax) - 3:19
17.Wally Tax - Miss Wonderful (Wally Tax) - 2:28
18.Wally Tax - It Ain't No Use (Wally Tax) - 3:18
19.Wally Tax - Evidently (Wally Tax) - 2:26
20.Wally Tax - Bridges Are Burning (Wally Tax) - 2:52
21.Wally Tax - The Girl Is Mine (Wally Tax) - 2:50
22.It's Too Late (Wally Tax) - 3:03
23.Let's Dance (Wally Tax) - 2:56
24.Talk To Me - 2:56
25.Lying All The Time - 3:22

Disc 2
B Sides
1. Sun's Going Down - 2:40
2. I Love Her Still Always Will - 3:24
3. Thinking About Today - 2:46
4. That's Your Problem - 2:36
5. Ballad Of John B - 5:56
6. What's Wrong With You - 3:16
7. Teach Me To Forget You - 3:13
8. I'm Only Trying To Prove Myself That I'm Not Like Everybody Else - 2:30
9. Bird In A Cage - 3:03
10.Strange Things Are Happening (Frank Beek, Wally Tax) - 2:32
11.You Remind Me - 2:46
12.Daddy Died On Saturday -  3:02
13.Wally Tax - You Don't Have To Tell Me (Wally Tax) - 2:47
14.Wally Tax - Last Night (Wally Tax) - 2:02
15.Wally Tax - Come Closer (Wally Tax) - 2:27
16.Wally Tax with Bamboulé - Tomorrow (Wally Tax) - 3:52
17.Wally Tax - Take Me For What I Am (Martin Duiser, Wally Tax) - 3:04
18.Wally Tax - Oh Mama (Martin Duiser, Wally Tax) - 3:14
19.Wally Tax - She's As Lovely As A Breeze (Martin Duiser, Wally Tax) - 3:16
20.Wally Tax - Lots Of Luck (Wally Tax) - 2:58
21.Wally Tax - Not Love At All (Wally Tax) - 2:43
22.Wally Tax - Do It All Over (Martin Duiser, Wally Tax) - 2:49
23.Wally Tax - She Went Like She Came (Wally Tax) - 2:22
24.If You Don't Treat Me Right - 2:41
25.I Want To Know - 2:11
26.Me Song - 2:28
All songs by Ronnie Splinter, Wally Tax except where stated

The Outsiders
*Wally Tax - Vocals, Guitar, Harmonica
*Ronnie Splinter - Lead, 12String Guitars, Bass, Vocals
*Appie Rammers - Bass
*Tom Krabbendam - Guitar
*Leendert "Buzz" Busch - Drums
*Frank Beek - Bass

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Cass Elliot - Cass Elliot (1972 us, wonderful smooth lounge jazzy folk, 2000 japan remaster)

Cass Elliot's departure from ABC Dunhill Records and their bubblegum marketing of her was probably the greatest career move that this awesome vocalist ever made. RCA obviously had better things in mind for her, treating her with the same sort of care that they bestowed on Harry Nilsson. The company let this pair of world-class vocalists choose their own material and brought them together with great musicians and arrangers. The end result was possibly Elliot's finest solo album. She was certainly more comfortable with the material. One of the best performances is Judee Sill's "Jesus Was a Crossmaker," which is vaguely reminiscent of Laura Nyro's fine work of the period. Elliot's version of Randy Newman's "I'll Be Home" is also a standout. Elliot's sister, Leah Kunkel emerges as a sensitive songwriter on this record, and Elliot's reading of "When It Doesn't Work Out" is absolutely graceful. Arranger/conductor Benny Golson's work perfectly frames one of the voices of a generation. 

by Matthew Greenwald

Tracks

1. I'll Be Home (Randy Newman) - 3:42

2. Baby I'm Yours (Van McCoy) - 2:34

3. Jesus Was A Cross Maker (Judee Sill) - 3:08

4. That Song (Bill Dean) - 2:14

5. When It Doesn't Work Out (Leah Kunkel) - 4:30

6. I'll Be There (Bobby Darin) - 2:27

7. Disney Girls (Bruce Johnston) - 4:11

8. I Think It's Going To Rain Today (Randy Newman) - 2:46

9. Cherries Jubilee (Marilyn Messina) - 4:41

10.It's All In The Game (Carl Sigman, Charles Dawes) - 3:19

Personnel

*Cass Elliot – Vocals

*Carl Wilson - Vocals

*Sherlie Matthews - Vocals

*Marilyn Messina - Vocals

*Janice Gassman - Vocals

*Venetta Fields - Vocals

*Mike Lang, Don Randi - Piano

*Jack Nimitz - Baritone Saxophone

*Jerome Richardson, Moacir Santos - Tenor Saxophone

*Maurice Spears - Bass Trombone

*Dennis Budimir - Guitar 

*Larry Carlton - Guitar 

*Ed Carter - Guitar 

*Al Casey - Guitar 

*Louie Shelton - Guitar

*Clark Burroughs - Vocals

*Benny Colson - Vocals

*Reggie Colson - Percussion

*William "Cat" Anderson - Trumpet 

*Gino Bozacco - Trumpet

*Carl Fortina - Keyboards, Musette

*Benny Golson - Backing Vocals, String Section

*Jules "Stix" Greenberg - Backing Vocals

*Ed Greene, John Guerin - Drums

*George Hurrell - Photography

*Bruce Johnston - Keyboards, Vocals, Backing Vocals, Fender Rhodes

*Carol Kaye, Joe Osborn - Bass Guitar

*Clydie King - Vocals, Backing Vocals

*Eddie Kusby - Trombone 

*Grover Mitchell - Trombone 

*Maurice Spears - Trombone

Related Act

1971  Dave Mason And Cass Elliot - Dave Mason And Cass Elliot (2008 RevOla)

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rep>>> Dave Mason And Cass Elliot - Dave Mason And Cass Elliot (1971 uk / us, remarkable delicate folk rock, 2008 remaster)

Ostensibly a Dave Mason solo album, this became one of his finest when he was coupled with Cass Elliot, a stroke of genius. Elliot's involvement is, while not suspect, somewhat limited. Although she provides excellent background vocals, she tends to get a little lost in the harmony stack. Nevertheless, this is a great moment for her too. The album, though, is propelled by Mason's awesome songwriting talents, and tracks such as "On and On," "Walk to the Point," and several others bear this out. 

His guitar playing is some of his finest recorded work, especially the epic "Glittering Facade," where he layers acoustic and electric guitars with a scintillating effect. Elliot's "Here We Go Again" showcases her ability as a great lead vocalist, and Paul Harris provides some excellent keyboard and string arrangements, providing a glimpse of the fine work that was to follow in Stephen Stills' Manassas. Overall, this was a highly underrated album, but in the end, it is also one of the finest from the '70s. 

by Matthew Greenwald

Tracks
1. Walk To The Point (Dave Mason) - 4:01
2. On And On (Ned Doheny) - 3:36
3. To Be Free (Dave Mason) - 3:37
4. Here We Go Again (Cass Elliot, Bryan Garo) - 2:50
5. Pleasing You (Dave Mason, M. Juster) - 3:03
6. Sit and Wonder (Dave Mason) - 3:31
7. Something To Make You Happy (Dave Mason, Cass Elliot) - 2:18
8. Too Much Truth, Too Much Love (Dave Mason) - 3:52
9. Next To You (Bryan Garo) - 2:31
10.Glittering Façade (Dave Mason) - 4:45

Personnel
*Mama Cass Elliot - Vocals
*Dave Mason - Vocals, Guitars
*Bryan Garo - Bass
*Russ Kunkel - Drums
*Paul Harris - Keyboards, Strings
*Leah Kunkel - Vocals

1970  Dave Mason - Alone Together (2010 Japan SHM-CD)

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rep>>> Sid Bradley - Child Of The Sea (1971-79 us, fantastic power pop guitar rock with paisley underground scent, 2021 release)

Lost and found studio recordings (1971-79) by US singer-songwriter Sid Bradley including some of the sought-after 45 sides released with his band Erik in the early '70s plus fabulous previously unreleased tracks. Pro-sounding sound, ranging from fuzzed-out psychedelic hard-rock to psych-pop and proto-power pop. 

A phenomenal and versatile songwriter (he has written hundreds of songs) Sid Bradley started to play in garage bands like The Cavaliers in the '60s and by the early '70s he was part of Erik, a group responsible for a couple of self-produced 45s, Child Of The Sea/Nothing Is Easy and Sometime In Your Life/Rebel Woman. These 45s were usually used for promo purposes and it was typical of Sid to load a few record boxes into his car and travel hundreds of miles, visiting all the radio stations, trying to pitch his music to the DJs. This one-man marketing operation actually worked fine, as Sid's music was played in radio stations across the eastern US, Canada, England, and even Germany. And some of his songs were reviewed in Billboard, Record World or Rolling Stone. 

You may be familiar with the hard-psych sounding "Child Of The Sea" as it has been included on several psych comps and it was also part of the Lodge 49 soundtrack. The flip, "Nothing Is Easy" wouldn't sound out of place on any Rubbles volume. "Rebel Woman" is now considered a proto-metal cult classic and it was recently included on the Brown Acid series. After the demise of Erik, Sid continued recording his songs using different musicians. 

Most of these tracks remained unreleased until a few years ago, when Sid, encouraged by the interest on his old Erik 45s, decided to remaster them and put them available on several digital only albums that caught the attention of mags like Shindig! Guerssen Records now present a selection of those tracks. Master tape sound and insert with liner notes by Sid Bradley and Paul Osborne (Shindig!); also includes download code."... a gifted singer-songwriter with a love for late '60s songcraft and the more muscular powerpop of '70s contemporaries like The Raspberries" 

by Paul Osborne 

Tracks

1. Child Of The Sea - 2:22

2. Rebel Woman - 2:57

3. Rows On Rows - 4:29

4. Grab All The Night - 3:14

5. Don't Go Away - 2:57

6. I'll Be Going - 2:30

7. Nothing Is Easy - 2:51 

8. To Be Your Friend - 2:36

9. Azure Blue - 2:56

10.Waiting For The Sun - 2:21

11.Meant For You - 3:33

12.Victory - 2:31

Words and Music by Sid Bradley

Personnel

*Sid Bradley - Vocals

*Mike Frakes - Drums

*Kelly Fowler - Guitar

*Chris Reese - Bass

*Rick Howard - Bass

*Jeff Wahler - Bass

*Don Lockridge - Guitar 

*Kenny Hayden - Drums 

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rep>>> Mott - Drive On (1975 uk, tough glam classic rock, 2006 edition)

After the departure of both Ian Hunter and Mick Ronson from Mott The Hoople in 1974, remaining members Overend Watts (bass), Morgan Fisher (keys) and Dale Griffin (drums) formed the spin-off band Mott with guitarist Ray Major and vocalist Nigel Benjamin. Intending to be harder hitting, but still emphasising their links to their illustrious past, the band went straight into the studio to launch themselves with the self-produced 'Drive On'.

Commercial Rock and Roll was the order of the day; not a million miles away from whence they came but with the joyous vocals of Benjamin pushing mostly Watts-written tunes like 'By Tonight', 'Monte Carlo', 'The Great White Wail' and 'She Does It' into a Rockier direction. The Pop side of the band was still evident on the inventive 'Stiff Upper Lip' and the infectious 'It Takes One To Know One', along with quality ballads 'I'll Tell You Something', 'Here We Are' and 'Apologies', all based around Fisher's great piano work and Benjamin's heartfelt vocals. 

Watts sang the excellent 'Love Now' himself, and this version also features the single b-side 'Shout It All Out', a laid-back tune that's just as musical as anything else here. Produced by the band themselves, 'Drive...' was a rough diamond with many appealing qualities.

by Phil Ashcroft

Tracks
1. By Tonight - 3:45
2. Monte Carlo - 4:35
3. She Does It - 3:26
4. I'll Tell You Something - 4:30
5. Stiff Upper Lip - 4:34
6. Love Now - 2:48
7. Apologies - 0:50
8. The Great White Wail - 5:09
9. Here We Are - 5:28
10.It Takes One To Know One (Dale Griffin) - 4:28
11.I Can Show You How It Is (Pete Overend Watts, Dale Griffin) - 2:51
All songs by Pete Overend Watts, except where stated

The Mott
*Nigel Benjamin - Lead Vocals, Rhythm, Acoustic Guitars
*Ray Major - Lead, Slide Guitars, Backing Vocals
*Morgan Fisher - Piano, Backing Vocals, Organ, Synthesizer
*Pete Overend Watts - Bass, Vocals
*Dale "Buffin" Griffin - Drums, Backing Vocals, Percussion

1973  Mott The Hoople - Mott (2006 remaster and expanded)

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rep>>> Jacqueline And Lindsay - Jacqueline And Lindsay (1969 uk / canada, wondrous ethereal folk psych, 2012 korean mini lp remaster)

Born in Cardiff, Wales son of a Lay Preacher-Merchant Navy Sea Captain, Lindsay crossed the Atlantc Ocean six times by small cargo steamer, before the age of eight Captain Tom Organ took his wife Dorothy and two young children, Lindsay, and his older sister Anthea, on three exciting voyages to Canada. To this day, Lindsay can remember the massive storms, tidal waves, icebergs, and whales, he saw as a small boy. He says" I will always be grateful for the incredible memories my father gave me by taking me on those voyages", "I will forever love, and remain in awe, of the ocean".

Lindsay started playing guitar and writing songs at the age of eleven. Lindsay was 17, and Jacqueline Clifton was just 14 when they first met and started going together. 'The Land of Opportunity' was calling and after being married just a few months, they emigrated to Canada, arriving on the last day of February 1967, with approximately $50.00 cash, a trunk full of "stuff", including Lindsay's meager record collection, and hearts full of hopes and dreams.

After a year in Toronto, they turned a singing and performing hobby into a full time professional career in May 1968. Toronto agent Paul Simmons booked them their first gig. "The Nor-Shore" hotel, Thunder Bay (Port Arthur), a sixteen-hour drive from Toronto. "We were thrilled," says Lindsay of the time. "What a way to see the new homeland of Canada". The booking was an instant success. Lindsay recalls "It's just that we were such a novelty". "We sang 'light rock', and the popular folk songs of that time. But we had these really strong Welsh accents that almost no one had ever heard before". "That year we worked 48 weeks straight, and that's at six days a week, and I swore I would never work that hard again".

1968 their second year as full time professionals, they were offered to be managed by Andy Anka, father of the legendary Canadian singer/ songwriter Paul Anka. The relationship lasted for quite a few years before they parted ways. "Andy and we were just moving in different directions," says Lindsay. "Although, we had a great relationship while it lasted. Andy opened a lot of doors for us, he got us some great TV and radio exposure". "I'll always remember him as a very kind and generous man". The duo got to perform CBC radio and Television shows with some of Toronto's top studio musicians of that time: Mo Koffman, Guido Basso, Rob McConnell, Peter Appleyard, Ed Bickert, Don Thompson, Terry Clarke, Doug Riley. They shared television appearances with Dr Music, Gene McLellan, Catherine McKinnon, and many other popular Canadian performers of that time.

In 1969 they were the act that opened Toronto night spot, "the Jarvis House". They played numerous return engagements to 'line-up around the corner' crowds, every night. "It was 'The Age of Aquarius' days", Lindsay recalls. "Every night ended in encore after encore". "The crowds would go wild", "One night after we tried to leave the stage, they picked up Jacqueline and literally carried her back on. During that time they were offered a recording deal with Art Snider, owner of a Toronto recording studio called "Sound Canada". 

Lindsay and Jacqueline were then living in Burlington, close to Toronto. They asked Ron Knappett, their next door neighbour's son, and an experienced jazz drummer to drum on their recording session. Through Ron they were introduced to two young musicians, just out of school, Daniel Lanois and his school mate Bob Doige. Bob Doidge had played bass in Ian Thomas's band Tranquility Base and Danny had been performing in groups when he was still in school. He and his brother Bob Lanois were starting to build a studio in the basement of their mum's house in Ancaster, Ontario.

At "Sound Canada", which had the luxury of being '8 track', Lindsay was supplied with a sound engineer, an Irish immigrant named Ernie Lyons ("lt's time fer another jar"), and all the freedom to produce what he wanted. The result is an eclectic mix of Lindsay early original compositions, with all sorts of experimental sounds and vocals. Lindsay quote: {"I was still learning the craft of songwriting. One song I'd recently placed second in a British song contest, but the one that came off the best was 'Night Spinner'. It's a little folk song I wrote in Barbados, and we recorded it without drums. 

It's more interesting really from a historic point of view. Of the four people on that song: Bob Doidge (bass), later produced Gordon Lightfoot, Brooks Williams, Prairie Oyster, and now owns Grant Avenue Studios in Hamilton, Ontario. Lindsay later produced Alanis Morissette's first record, and Daniel Lanois (lead guitar) of course has produced almost everyone else from Bob Dylan, Peter Gabriel, U2, Willie Nelson, etc, etc., etc. Most of the sessions took place at 1:00 a.m. to 9:00 a.m. after we'd been playing club gigs. But I remember we all had a hell of a lot of fun, and I believe we all learned a lot about sound and recording technique that was a good foundation for what came later on. Thank you, Art Snider'.}

"In a related story, around that time, Art owned the masters of some old sessions by Gordon Lightfoot and by now Gordon had become very successful". "Art Snider decided to capitalize on Gordon's success, and released the tracks as "Early Lightfoot'. "Bob Doidgem, our first bass player, who later in 1999 recorded and produced Lightfoot at Grant Avenue Studios, said that Gordon himself confirmed this "Lightfoot Legend" to him. Gordon bought the masters back from Art Snider, bought up every single copy of the Album that was in the warehouses and in the shops, and with his manager, laid them out in his driveway. Then together they took an axe and smashed every single one. Apparently Gordon felt the same way about his early album as I did about mine".

Shortly after the release of this album Jacqueline and Lindsay added other musicians to their stage line-up. At different times the group had as many as 6 members on stage. In 1971 they moved out of the city and bought a 125 year old stone farmhouse on 200 acres of beautiful rolling land, just outside of the southern Ontario farming community of Mount Forest. 

Canadian-music

Tracks
1. Night Spinner - 3:34
2. It's Not Important - 2:25
3. Give Me Eden - 3:19
4. Nine To Five Blues - 3:29
5. Sip of Wine - 3:47
6. Run With The Hare - 3:39
7. Rape of The Fair Country - 4:21
8. Take Me - 1:59
9. The Fair - 2:01
10.Look Away - 3:32
All songs written by Lindsay Thomas Morgan
Tracks 4 and 9 were recorded at the same original session but never released.

Musicians
*Lindsay Morgan - Vocals, Guitar, Keybaords
*Jacqueline Morgan - Vocals, Percussion
*Paul Benton - Hammond B3
*Ron Knappett - Drums
*Kyle Pacey - Lead Guitar
*Daniel Lanois - Lead Guitar
*Bob Doidge - Bass, Vocals

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