Wednesday, June 17, 2026

rep>>> Charlie Daniels - Charlie Daniels (1970 us, astonishing southern classic rock)



When Charlie Daniels released his eponymous debut in 1970, Southern rock was in its nascent stages. It had been a year since the Allman Brothers Band released their debut and Lynyrd Skynyrd wouldn't unleash its first record for another three years, so the genre was in the process of being born, and Charlie Daniels' debut plays a pivotal role in the genre -- not so much because it was directly influential, but because it points the way to how the genre could and would sound, and how country music could retain its hillbilly spirit and rock like a mother.   

Where the Allmans were firmly grounded in the blues, especially on the first two records, Daniels was a redneck from the start, and all ten songs on his debut were country at their foundation, even if some of it is country via the Band, as Rich Kienzle points out in his brief liner notes to Koch's 2001 reissue of the album. The Band connections derive from Daniels' time as a session musician for Columbia in Nashville, where he played on many country-rock albums, including Dylan's Nashville Skyline, but there's a heavy dose of hard rock, often via the Allmans' extended jams, on this record. Daniels simply wails on his guitar here, most notably on the six-minute closer "Thirty Nine Miles from Mobile," but, apart from the ballads, he doesn't miss a chance to solo. 

The heavy guitars give Charlie Daniels a real rock feel, and that vibe is continued through the loose rhythm section and a strong dose of counterculture humor, heard strongest on "The Pope and the Dope." That song also shows signs of Daniels' redneck sensibilities, which also surface in unpredictable ways throughout this wild, woolly album. He makes crude jokes, celebrates the South (particularly his home, "Georgia"), spits out bluesy leads, exaggerates his vocals, croons sweetly, and steals women. He's a redneck rebel, not fitting into either the country or the rock 'n' roll of 1970 with this record, but, in retrospect, he sounds like a visionary, pointing the way to the future when southern rockers saw no dividing lines between rock, country, and blues, and only saw it all as sons of the south. That's what he achieves with Charlie Daniels -- a unique Southern sound that's quintessentially American, sounding at once new and timeless. 

Once he formed the Charlie Daniels Band, he became a star and with Fire on the Mountain, he had another classic, but he would never sound as wild, unpredictable, or as much like a maverick as he does on this superb album. 
by Stephen Thomas Erlewine 
Tracks
1. Great Big Bunches Of Love - 3:23
2. Little Boy Blue - 4:10
3. Ain't No Way - 3:25
4. Don't Let Your Man Find Out - 3:00
5. Trudy - 3:50
6. Long Long Way (Back Home) - 4:00
7. Georgia - 4:15
8. The Pope And The Dope - 2:15
9. Life Goes On (Jerry Corbitt) - 2:00
10.Thirty Nine Miles From Mobile - 6:00
All songs by Charlie Daniels except where stated

Personnel
*Charlie Daniels - Guitar, Fiddle, Vocals
*Joel "Taz" Digregorio - Keyboards, Vocals
*Jerry Corbitt - Guitar, Vocals
*Billy Cox - Bass
*Ben Keith - Steel Guitar, Slide Guitar
*Bob Wilson - Keyboards
*Tim Drummond - Bass
*Earl Grigsby - Bass, Vocals
*Karl Himmel - Drums
*Jeff Myer - Drums

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rep>>> Quiver - Quiver (1971 uk, fine psych folk rock, 2008 edition)

 



Quiver was formed round 1970 in Ladbroke Grove, London by Tim Renwick and Honk (bass) who'd formerly been with Junior's Eyes, together with Cal Batchelor. Honk soon departed and the line-up was completed by Pete Thomas (ex-Village) and John Wilson (formerly with Cochise) They were the first group to play at Rainbow Theatre in London (supporting The Who). 

Their first album, Quiver, was completed with help from great sax player Dick Parry. An excellent album, it contains killer guitar duels (as in the great 'Killer man'), outstanding bass playing, and tight ryhthm on drums.  

After their second release, in late 1973,  the whole band decided merging  with Sutherland Brothers, forming Sutherland Brothers and Quiver, but Cal Batchelor decided to leave. 
Tracks
1. Glad I Came Around - 5:06 
2. Down Your Way - 3:44 
3. Killer Man (Tim Renwick) - 8:00 
4. Take A Train - 5:15 
5. Cool Evening - 4:07 
6. Barnes County (Tim Renwick, Cal Batchelor, Bruce Thomas, 'Willie' Wilson) - 4:25 
7. Back On The Road - 3:07 
8. Just Loving You - 1:56 
9. Reason For Staying (Tim Renwick, Cal Batchelor) - 7:00
All songs by Cal Batchelor except where noted

Quiver 
*Tim Renwick - Guitar
*Cal Batchelor - Guitar, Keyboards, Vocals
*Bruce Thomas - Bass
*John 'Willie' Wilson - Drums
With
*Dick Parry - Sax

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Tuesday, June 16, 2026

rep>>> The Deep - Psychedelic Moods (1966 us, great fuzz garage psych, 2007 bonus tracks edition)



Recorded in a darkened Philadelphia studio in August 1966, this amazing album was the first to have the word ‘psychedelic’ in its title, and is well-established as an pioneering acid classic. Presented here in both its mono and stereo mixes (which have fascinating differences), it still sounds truly unique and is a must for all fans of true American psychedelia.

Despite having long enjoyed a high reputation amongst psych afficionados, to this day remarkably little is known of the Deep. The project was the brainchild of Rusty Evans (b. Marcus Uzilevsky), a New Yorker who’d already made a number of rockabilly singles and at least three unremarkable solo folk LPs (1962’s Showdown, 1963’s Songs Of Our Land and 1964’s Railroad Songs), as well as a 1964 LP for Reprise as part of the All Night Singers, before tiring of the Greenwich Village scene.

In 1965 he visited LA and made a rare 45 for the Musicor label 1983 / The Life Game (as Ry Cooper), before joining the New Christy Minstrels for a few months and then heading for Philadelphia. There he fell in with a group of musicians including David Bromberg, Mark Barkan and the enigmatically named D Blackhurst.

Together they recorded Psychedelic Moods over a couple of days in August 1966. An eccentric collection of brief pop and garage rock tunes, sound effects and studio trickery, it was released by the local Cameo-Parkway label, perhaps in a bid to crack the burgeoning hippy market. The label was also home to garage chart-toppers ? and the Mysterians, but did little to promote the Deep’s LP when it appeared in October 1966.

Perhaps they suspected it was too forward-looking to sell: for a start, it was the first album to include the word ‘psychedelic’ in its title (just ahead of the Blues Magoos' Psychedelic Lollipop and the 13th Floor Elevators' Psychedelic Sounds, both released in November). The anonymous group did not tour to support the LP, and soon after its release Barkan and Blackhurst relocated to Greenwich Village, where they produced a number of unreleased psych-pop cuts for teenage LSD nuts Hydro Pyro on April 24th 1967 (included here as bonus tracks).

Evans, meanwhile, had signed a deal with Columbia. Credited to the Freak Scene, his next effort, 1967’s Psychedelic Psoul, was very similar in mood and sound to the Deep. When it too missed the charts, he formed Eastern Productions with songwriter and producer Teddy Randazzo, and signed the Third Bardo and the Facts of Life. With the former he produced the all-time classic psych 45 I'm Five Years Ahead of My Time (Roulette, 1967) before moving back to LA and finding work with the Take Six label (including another garage 45, the Nervous Breakdown's I Dig Your Mind).

He also worked with the much-loved Matthew Katz for a while, participating in some It’s A Beautiful Day sessions. By 1969 he’d reverted to his original name, and released an album as Marcus for Epic subsidiary Kinetic. A syrupy blend of folk and pop, it sold no better than his previous efforts, and he chose to focus on painting thereafter, though he released a further album on Folkways a decade later, Life's Railway Heaven. He’s now a widely-respected and collected artist, and has also released ambient world music as Uzca, as well as working with his son in the popular Johnny Cash-inspired rockabilly band Ring Of Fire. It’s all a long way from a darkened studio in Philadelphia, forty five years ago.
Tracks
1. Color Dream - 2:36
2. Pink Ether (David Richard Blackhurst, Rusty Evans) - 2:21
3. When Rain Is Black (Caroline Blue, Rusty Evans) - 2:11
4. It's All A Part Of Me - 2:55
5. Turned On (David Richard Blackhurst, Rusty Evans) - 2:26
6. Psychedelic Moon (David Richard Blackhurst, Rusty Evans) - 2:42
7. Shadows On The Wall - 3:13
8. Crystal Nite (David Richard Blackhurst, Mark Barkan) - 1:41
9. Trip #76 (Mark Barkan, Lenny Pogan, Rusty Evans) - 2:37
10. Wake Up And Find Me - 2:20
11. Your Choice To Choose (Arthur Geller, Rusty Evans) - 1:53
12. On Off - Off On - 2:22
13. Color Dream - 2:36
14. Pink Ether (David Richard Blackhurst, Rusty Evans) - 1:57
15. When Rain Is Black (Caroline Blue, Rusty Evans) - 2:12
16. It's All A Part Of Me - 2:56
17. Turned On (David Richard Blackhurst, Rusty Evans) - 2:27
18. Psychedelic Moon (David Richard Blackhurst, Rusty Evans) - 2:42
19. Shadows On The Wall - 3:12
20. Crystal Nite (David Richard Blackhurst, Mark Barkan) - 1:39
21. Trip #76 (Mark Barkan, Lenny Pogan, Rusty Evans) - 2:16
22. Wake Up And Find Me - 2:20
23. Your Choice To Choose (Arthur Geller, Rusty Evans) - 1:54
24. On Off - Off On - 2:11
25. 1983 (Mark Barkan, Stanley J. Kahan , Rusty Evans) - 2:59
26. The Life Game - 2:20
Songs written by Rusty Evans except where noted
Tracks from 1-12 Stereo.
Tracks from 13-24 Mono
Bonus tracks  25-26 as Ry Cooper (Rusty Evans)

Personnel
*Rusty Evans - Guitars, Vocals
*David Bromberg - Rhythm Guitar, Bass, Vocals
*Mark Barkan - Percussion, Vocals

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rep>>> Inner Sanctum • Sunset Love - Psychedelic Moods, Pt. 2: Journey Thru Inner Space (1967-68 us, impressive garage psych)



After releasing the “Psychedelic Moods” album, in October of 1966, Mark Barkan envisioned another psychedelic album for his next release.  It was to be performed by a Greenwich Village band called “Inner Sanctum”.   The theme of the album was to be a psychedelic journey into the various psyches of the mind.  

The trip started with a journey into the past (The House Of Yesterday) then covered the inner workings of the mind (ID) then the descent into madness (Hydro Pyro) hallucination (Purple Floating) and finally culminating in nirvana (Snow Petals).  Unfortunately, Barkan was unable to find a record company willing to lease the masters and so they languished for decades unreleased. Now, at long last the masters for this aborted album are mixed from the original four track tapes and forty plus years later the psychedelic sounds of “Inner Sanctum” are now ready, willing, and able to blow your mind.

“Sunset Love” was comprised of band members from New Mexico and Texas.  In the fall of 1968, thirteen original songs and two covers were recorded for a potential album, but nothing was ever released.  “Sunset Love’s” lush harmonies, soaring vocals, superior song writing, and flower power consciousness pervaded their songs with a depth and quality unheard of from most 60s’ bands.  While their sound can be compared to such bands as “The Mamas and The Papas”, “The Peanut Butter Conspiracy”, “Spanky and Our Gang”, and “The Love Exchange”,  “Sunset Love” had their own inimitable style that transcended a generic stereo-type.  

Had Sunset Love released their album in the 60’s, there is no doubt it would have been an instant rarity of excellence. The “Sunset Love” tapes are sourced from the original stereo versions and reveal the great harmonies and surrealistic lyrics of an undeservedly overlooked and forgotten band from the late 60’s.  
Cicadelic
Artists - Tracks
1. Sunset Love - Change - 2:04
2. Sunset Love - Tribute to Kay - 2:39
3. Sunset Love - Run to the Sun - 2:38
4. Sunset Love - Reach Out - 2:39
5. Sunset Love - Little Children - 3:08
6. Sunset Love - Winters Day - 3:58
7. Sunset Love - Sunset Love - 3:47
8. Sunset Love - Green Hippie - 2:44
9. Sunset Love - World of Pain - 2:38
10.Sunset Love - A Man in the Park - 3:29
11.Sunset Love - Father Paul - 3:35
12.Sunset Love - I Will - 1:43
13.Sunset Love - Wheels - 2:07
14.Sunset Love - Push - 2:26
15.Sunset Love - Innocence Dies Young on Our Street - 3:00
16.Inner Sanctum - The House of Yesterday - 1:56
17.Inner Sanctum - ID - 2:02
18.Inner Sanctum - Hydro-Pyro - 2:06
19.Inner Sanctum - Purple Floating - 1:53
20.Inner Sanctum - Snow Petals - 2:11
21.Inner Sanctum - Little Tin Soldier - 2:32
22.Inner Sanctum - The Man Who Shot Your Mother - 1:49 
Tracks 1-15 written by William J. Stone II, Victor Kay Lindsay
Tracks 16-20 written by Mark Barkan, David Blackhurst
Tracks 21,22 written by Kevin Michael, Gerry Michael, Vince Taggart, Frank Thumhart

The Sunset Love
*Bruce Callich -Drums
*James Crenshaw - Guitar, Bass
*Greg Sadler - Guitar, Bass, Keyboards
*Victor Kay Lindsey - 12 String Vox Guitar, Vocals
*James William Stone II - 12 String Vox Guitar, Vocals
*Montie Carol Montgomery - Vocals

The Inner Sanctum
*Kevin Michael - Lead Guitar
*Gerry Michael - Drums
*Vince Taggart - Rhythm Guitar
*Frank Thumhart - Bass Guitar

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Monday, June 15, 2026

rep>>> Tomorrow - Tomorow (1968 uk, excellent mod beat acid psych with Keith West and Steve Howe)



Tomorrow was one of the most innovative of the late 1960s British "psychedelic" groups." Keith West, Steve Howe and John Wood had all been in the In Crowd that had released a few singles while Twink joined from the Fairies.

Tomorrow was an exciting live act as the tracks on 50 Minute Technicolour Dream testify. They supported artists such as Jimi Hendrix who even jammed on stage with them at Brian Epstein's Saville Theatre. Pink Floyd had been a major influence on artists such as Twink who saw something different in the improvisation and light shows. Other influences came through Steve Howe's liking for jazz as well as the direction being supplied to everyone by the Beatles and the Byrds. The jazz influences can be heard on one of Tomorrow's earliest tracks, Why? At the same time vocalist Keith West had started writing his own material for the group.

Word got to Michaelangelo Antonioni that there was an exciting band around and he spoke to them about appearing in his forthcoming film, Blow Up. Although Antonioni said he liked the songs, the band was dropped to be replaced by the Yardbirds. However, they did appear in the film Smashing Time where they were billed as The Snarks.

Tomorrow's own material started simple but contained different sounds thus making the tracks sound far more complex than they actually were. Drugs such as acid may have played a role in tracks such as Real Life Permanent Dream and Hallucinations.

The group made two singles, one of which, My White Bicycle, is a British psychedelic classic. The other single was Revolution. These did not make an impact on the charts although the group did manage to build up a sizeable underground following. One of the group's earlier champions was disc jockey John Peel who played the first single extensively on his Perfumed Garden radio show. He also had a Night Ride session recorded early in 1968 which was broadcast although the tapes were subsequently lost or, in true BBC style, erased.

The strength of the band live belied their poor commercial success. They were playing gigs most nights and became one of the hottest brands of the London scene alongside Pink Floyd and the Soft Machine. However, this did not always translate into success outside the capital.

Keith West may be better known as a participant in the Teenage Opera project that gave him a solo hit single Excerpt from a Teenage Opera (Grocer Jack) and brief commercial success. This was part of an idea for all the members of Tomorrow to have parallel solo careers alongside tomorrow. However, the move to work on other projects pulled the group apart with Twink joining the Pretty Things and the Pink Fairies. Poor record sales did not help either.

An album was released called Tomorrow in early 1968. This was billed as Tomorrow featuring Keith West, hoping to cash in on his solo success. It was also released too late to benefit from the summer of love and had a compromise cover that did not do justice to the material within.

By spring 1968 the group was no more. Steve Howe later joined Yes. Incidentally, My White Bicycle was included on the Heavy Karma album by the Young Ones' Neil.
Making-Time
Tracks
1. My White Bicycle - 3:18
2. Colonel Brown - 2:53
3. Real Life Permanent Dream (Keith Hopkins) - 3:17
4. Shy Boy - 2:27
5. Revolution (Keith Hopkins, Steve Howe) - 3:50
6. The Incredible Journey Of Timothy Chase (Keith Hopkins) - 3:18
7. Auntie Mary's Dress Shop - 2:46
8. Strawberry Fields Forever (John Lennon, Paul McCartney) - 3:59
9. Three Jolly Little Dwarfs - 2:28
10.Now Your Time Has Come - 4:53
11.Hallucinations - 2:43
12.Claramount Lake - 3:02
13.Real Life Permanent Dream  (Keith Hopkins) - 2:24
14.Why (David Crosby, Roger McGuinn) - 3:59
15.Revolution (Keith Hopkins, Steve Howe) - 3:50
16.Now Your Time Has Come - 3:05
17.10,000 Words In A Cardboard Box (John "Junior" Wood, John Charles Alder)  - 3:27
18.Good Wizzard Meets Naughty Wizzard  (John "Junior" Wood, John Charles Alder, Mark Wirtz) - 4:42
19.Me (John "Junior" Wood, John Charles Alder) - 3:12
20.On A Saturday  - 3:13
21.The Kid Was A Killer - 2:31
22.She - 2:30
23.The Visit - 4:05
Songs 1,2,4,5,7,9,10,11,12,16 written by Keith Hopkins, Ken Burgess
Songs 20-23 written by Keith West
Songs 17-19 by The Aquarian Age
Songs 20-23 by Keith West 

Tomorrow
*Keith West - Vocals
*Steve Howe - Guitar
*John "Junior" Wood - Bass
*John Adler "Twink" - Drums

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Sunday, June 14, 2026

The Strawbs - From The Witchwood (1972 uk, melodious and often magical folk prog rock)



On the whole the album has stood the cruel test of time pretty well. Perhaps one or two lyrics are a little overblown and a tad too romantic for the cynical 90s, but most lyrics stand up and the eclecticism of the instrumentation (Banjo with organ and dulcimer with clarinet) is a joy. The title track remains a true classic which evokes the enchantment of place and antiquity, a special quality for those of us who live in relatively new lands. "Glimpse of Heaven" is a great anthem (which I had played at my wedding and certainly want played at my funeral along with the live version of "Grace Darling") even if references to lambs that 'sweetly play' is a touch mawkish for someone living in a land with 45 million sheep [Tom's from Dunedin, New Zealand - DG] whose low grazing habits have caused a far bit of environmental damage.

"Hangman" and "Sheep" toughen things up a little (although I prefer the rip roaring live version of sheep) and "Canon Dale" is a Hudson Ford classic. "Thirty Days" and "Flight" are very Beatleish but still make for great listening. "The Shepherd's Song" is an amazingly exotic piece which few modern bands would ever dare to attempt. It is topped off by Rick's excellent moog-lines. "In Amongst the Roses" is still wonderful for its delicate, even fragile quality, while "I'll Carry on Beside You" and bonus track "Keep the Devil Outside" bring proceedings to a mellow and optimistic conclusion.

Overall this album is getting lots of time on the disk player but it is fun to compare it with some of the other reissues. Antiques and Curios scores better in its slight edgy quality and raw energy, while Grave New World has a little more power (Hero and Heroine and Ghosts deserve separate treatment as they are much more mainstream rock). I might be a heretic but I believe Grave New World's slight edge comes, in part, from Blue's playing which complements Dave's music better than Rick's more strictly classical approach. "Tomorrow" also has to be one of the band's best ever rock songs but I believe that "Ways and Means" (from Dave's solo album) should have been included instead of "Here It Comes" which is already on disk and fails because it is neither folk nor rock.
by Tom Brooking
Tracks
1. A Glimpse Of Heaven - 3:50
2. Witchwood - 3:23
3. Thirty Days (John Ford) - 2:52
4. Flight (Richard Hudson) - 4:24
5. The Hangman And The Papist - 4:11
6. Sheep - 4:14
7. Cannondale (Richard Hudson) - 3:46
8. The Shepherd's Song - 4:34
9. In Amongst The Roses - 3:48
10.I'll Carry On Beside You - 3:09
11.Keep The Devil Outside (John Ford) - 3:02
Songs written by David Cousins except where stated
Bonus Track 11

The Strawbs
*Dave Cousins - Vocals, Guitar, Banjo, Dulcimer, Electric Guitar, Tenor Recorder
*Tony Hooper - Vocals, Autoharp, Guitar, Tambourine
*Rick Wakeman - Organ, Celeste, Clarinet, Electric Piano, Piano, Moog, Harpsichord, Mellotron
*Richard Hudson Drums, Vocals, Sitar, Snare Drum
*John Ford - Bass, Vocals, Guitar


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rep>>> Hotspur - Sweet Fortune's Darling (1974 us, elegant west coast country rock)



Ted Munda was born and raised in Wilmington, Delaware, mid to late sixties he was member of two local bands. Round 1964 he formed The Enfields they were highly influenced by the British Invasion and folk rock. In 1967 the band split and Ted formed Friends of the Family he also joined the Blues Magoos, in 1973 together with Gene Barkin, Russ Smith and Tracy Longstreth they signed to Columbia Records under the name "Hotspur".

In 1974 this talented quartet release their debut LP titled "Sweet Fortune's Darling". Exquisite harmonies and powerful, driving rhythms highlight. "I Lost My Wings Ir Memphis" is a fabulous rocker with a steady, repeating chorus that gives it enough strength to be considered as a single. Throughout the collection, Hotspur effectively makes use of percussion, in much the same way as the Stones, using accents to bolster the feeling of the song. "I Wrote This Song," "The Best I Can Do," "Countryside Ride," "You Can't Lose (What You Never Had)," and "We Need A Captain" are all well worked pieces of music, showing promise for the band.
Tracks
1. I Wrote This Song - 4:43
2. The Best I Can Do (Gene Barkin) - 3:13
3. Wings Of A Dove (Russ Smith) - 3:59
4. No Place At All - 4:19
5. Constant Weather - 3:24
6. Countryside Ride - 3:00
7. You Can't Lose (Gene Barkin) - 4:08
8. We Need A Captain - 3:27
9. All Along The Lake - 4:20
10.I Lost My Wings In Memphis - 5:00
All songs by Ted Munda except where stated

Hotspur
*Ted Munda - Lead Vocals, Rhythm, Acoustic, Lead Guitars
*Gene Barkin - Lead Guitar, Vocals
*Russ Smith - Bass, Vocals
*Tracy Longstreth - Drums

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Saturday, June 13, 2026

rep>>> Wild Turkey - Turkey (1972 uk, excellent prog rock, 2013 bonus tracks remaster and 2002 xtra tracks reissue)



Wild Turkey released their second album, Turkey, in October 1972 on Chrysalis. It contains two Hopkins cuts (“Tomorrows Friend,” “Chuck Stallion and the Mustangs”) and six numbers by Cornick, including “Telephone,” “A Universal Man,” and the lengthy epics “Eternal Mother/The Return” and “See You Next Tuesday.” The opening track, “Good Old Days,” is a group-written number. 

Cornick produced Turkey at Morgan Studios with engineer Robin Black, a sound tech for Red Dirt who later worked with Jethro Tull (Storm Watch, A), Mallard, and the Spanish band Ñu. The gatefold cover, designed by Alan Cracknell (Matching Mole), depicts a black Spanish turkey in wait (front) and the wooden stable cleared (back). The inner-spread, designed by Visualeyes (Traffic, Claire Hamill, Amazing Blondel, Vinegar Joe), assembles lives shots of the band in hippie regalia; Gurl sports a pinstripe tie and blazer.

Chrysalis released “Good Old Days” as a single, backed with the non-album track “Life Is a Symphony.” The a-side also appears on a Thai maxi-single with cuts by Slade, Blackfoot Sue, and Harry Nilsson. 
Jazz-Rock-Soul
Tracks
1. Good Old Days (Glenn Cornick, Gary Pickford Hopkins, Tweke Lewis, Mick Dyche, Jeff Jones) - 4:13
2. Tomorrow's Friend (Gary Pickford Hopkins) - 4:08
3. A Universal Man - 3:49
4. Eternal Mother/The Return - 7:59
5. Chuck Stallion And The Mustangs (Gary Pickford Hopkins) - 3:42
6. The Street - 4:45
7. See You Next Tuesday - 6:52
8. Telephone - 3:40
9. Good Old Days - 3:02
10.Life Is A Symphony - 3:44
All songs by Glenn Cornick except where noted
Bonus Tracks 9-10 
2002 Progressive line Bonus Tracks
9. Soldier Airplay (Gary Pickford-Hopkins, Glenn Cornick) - 5:44
10.Brother (Gary Pickford-Hopkins, Glenn Cornick, Mick Dyche) - 7:18
11.Social World (Gary Pickford-Hopkins, Alan Marsden) - 7:57
BBC Live in Concert, 1974

Wild Turkey
*Mick Dyche - Slide, Lead Guitar, Vocals
*Glenn Cornick - Bass, Guitar, Keyboards
*Gary Pickford Hopkins - Acoustic Guitar, Vocals
*Jeff Jones - Drums, Percussion
*Alan "Tweke" Lewis - Guitar 

Relates Acts

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Friday, June 12, 2026

rep>>> Fantasy - Paint A Picture (1973 uk, essential progressive rock, full of delightful twists and turns, 2005 remaster with bonus tracks)



Many of the most obscure progressive bands of the late 60s and early 70s are included in our exhaustive appraisal of private pressings elsewhere in this issue. They took the independent route in the hope of being spotted by talent scouts from labels like Charisma, Island or Harvest, having already proved themselves on vinyl.

Others, like Gravesend-based Fantasy, were more fortunate. They were picked up by a major label, Polydor, and given a favourable recording budget and a name producer. Sadly, this arrangement didn't work out, and when it became clear that Fantasy weren't going to turn into Genesis or Van Der Graaf Generator overnight, the band were promptly dropped.

Today, many experts in the burgeoning progressive field scoff at the label's shortsightedness. For several years, Fantasy's only album, "Paint A Picture", issued in 1973, has been renowned among collectors for displaying talent that, if properly nurtured, could have given the group a massive profile in the years to come. The phenomenal BP300 price tag for a mint copy does not simply reflect the album's rarity: Fantasy's "Paint A Picture" has long been hailed as a masterpiece of classically influenced, quintessentially English progressive rock, full of delightful twists and turns and instrumental prowess, coupled with an uncanny talent for songwriting. Now, interest in the band has been heightened by the release of "Beyond The Beyond", a fascinating find dating from the summer of 1974 which, in the opinion of many collectors, simply confirms Fantasy's early promise.

The band began playing some time around 1970 as Chapel Farm, named after the Singlewell building which provided them with rehearsal space. The nucleus of Dave Metcalfe (keyboards), Paul Lawrence (guitar/vocals) and Dave Read (bass), together with drummer Brian Chatham and guitarist Bob Vann, began by performing cover versions, before focusing their attentions on their own material.

With a support slot to Argent just three weeks away, tragedy struck the band when, turning up for a 'Melody Maker' competition held at a hotel in Cliftonville, Bob Vann toppled over the cliffs edge outside. Paul Lawrence recalls that, "The rest of us had gone back inside the hotel, but we became worried because, as it was Bob's 18th birthday, he'd been drinking a lot." Bob lay on the beach below, and died in the ambulance on the way to a hospital.

It was a cruel blow, but the group eventually decided to stick together, for Bob's sake if nothing else. With Brian Chatham also having left the line-up, Chapel Farm recruited guitarist Pete James and drummer Jon Webster from local band Joy, changed their name to Firequeen, and began supporting progressive heavyweights like the Edgar Broughton Band and the Pink Fairies.

After they sent out demos of their homegrown material to companies like Decca, it was Polydor who took the bait, on the proviso that the group change its name. "They didn't like Firequeen", recalls Dave Metcalfe, "as it was too close to Queen, and they said that Chapel Farm suggested that we were a country band." The name Fantasy was suggested. "We had no choice in the matter," remembers Paul Lawrence, "and we hated it right the way through our whole career. But in a way, they were right, because the name is quite representative of the sound of the music."

Having signed a three-year contract in spring 1973, the group entered Chipping Norton Studios in May with producer Peter Sames (who'd recently worked on Peter Skellern's massive hit, "You're A Lady"), emerging with a ten-song album that would have delighted Genesis and Caravan fans had they heard it. Metcalfe remembers, "We just couldn't get through that barrier of recognition. I don't think Polydor understood our music, and our management appeared not to take us seriously enough."

The label, then riding high with Slade, may have also detected a slight lack of commitment in the fact that the group members still maintained their day jobs.

Originally titled "Virgin On The Ridiculous", "Paint A Picture" appeared in the autumn, containing much of the group's stage set, including "The Award", a tribute to their late guitarist Bob Vann. Also included was the commercially inclined "Politely Insane", which was written and recorded on the same day. Brass was later added, and the track provided Polydor with the single they wanted. It didn't give them the sort of sales figures they were looking for, however. "Politely Insane' was backed by the non-LP cut, "I Was Once Aware", which helps explain its current asking price of BP20.

Fantasy were disappointed but not disheartened by the poor response to "Paint A Picture". They knew that their music was the kind that needed nurturing, and that audiences would take time to warm to their classically influenced and richly textured material. But after sharing the bill with Queen at the Marquee, they failed to follow up with regular concerts and any momentum set in motion by the LP quickly subsided.
Tracks
1. Paint A Picture - 5:24
2. Circus - 6:18
3. The Award - 4:52
4. Politely Insane - 3:27
5. Widow - 2:12
6. Icy River - 5:53
7. Thank Christ - 4:06
8. Young Man's Fortune - 3:41
9. Gnome Song - 4:19
10.Silent Mine - 4:39
11. Beyond The Beyond (Bonus Track) - 5:37
12. Reality (Bonus Track) - 2:58
13. Alanderie (Bonus Track) - 9:01
14. Afterthought (Bonus Track) - 5:51
15. Worried Man (Bonus Track) - 2:56
16. Just A Dream (Bonus Track) - 3:32
17. Winter Rose (Bonus Track) - 3:27
All songs written by Paul Lawrence, David Metcalfe, David Read.

Fantasy
*Peter James - Lead Guitar, Vocals
*Paul Lawrence - 12 String Guitar, Vocals
*David Read - Bass, Vocals
*David Metcalfe - Keyboards, Vocals
*Jon Webster - Drums, Percussion, Vocals

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Thursday, June 11, 2026

rep>>> Donovan - Breezes Of Patchouli His Studio Recordings (1966-69 uk, outstanding folk jazzy bluesy pychedelia, 2013 four discs remaster)



Despite a title that suggests, to the uninitiated, a mocking comedy sketch by Chris Morris, this box of delights comprising Donovan Leitch’s late 60s output, is a glorious snapshot in time. No other British singer did as much to merge folk sensibilities with mainstream pop, and the results are here across 90 remastered tracks.

Ostensibly a collection of five full albums, plus a disc of period B-sides and bonus tracks (where we find the Patchouli song of the title), it represents a prolific output of material that struck a chord with traditionalists and teenyboppers alike. 1966’s Sunshine Superman was the eye-opening calling card, where leftfield psychedelia rubbed shoulders with whimsical folk. The following year’s Mellow Yellow broadened the canvas further to include sassy brass and Beat-style poetry.

1968’s The Hurdy Gurdy Man dabbled in drug references while producer Mickie Most added heavier rock hues, but 1969’s Barabajagal arguably suffered from being too scattergun. Most intriguing, though, is A Gift From A Flower To A Garden, the 1968 double set that could be the work of two artists, Donovan dividing himself between fey folkie and earthy bluesman.
by Terry Staunton
Tracks
Disc 1
Sunshine Superman 1966
1. Sunshine Superman - 3:16
2. Legend Of A Girl Child Linda - 6:54
3. Three Kingfishers - 3:18
4. Ferris Wheel - 4:15
5. Bert's Blues - 4:00
6. Season Of The Witch - 4:58
7. The Trip - 4:38
8. Guinevere - 3:42
9. The Fat Angel - 4:14
10.Celeste - 4:13
Mellow Yellow 1967
11.Mellow Yellow - 3:44
12.Writer In The Snow - 4:31
13.Sand And Foam - 3:21
14.The Observation - 2:25
15.Bleak City Woman - 2:26
16.House Of Jansch - 2:46
17.Young Girl Blues - 3:48
18.Museum - 2:58
19.Hampstead Incident - 4:44
20.Sunny South Kensington - 3:50
All songs by Donovan Leitch
Disc 2
The Hurdy Gurdy Man 1968
1. Hurdy Gurdy Man - 3:18
2. Peregrine - 3:39
3. The Entertaining Of A Shy Girl - 1:43
4. As I Recall It - 2:10
5. Get Thy Bearings - 2:54
6. Hi It's Been A Long Time - 2:39
7. West Indian Lady - 2:19
8. Jennifer Juniper - 2:43
9. The River Song - 2:17
10.Tangier - 4:14
11.A Sunny Day - 1:58
12.The Sun Is A Very Magic Fellow - 2:48
13.Teas - 2:41
14.Jennifer Juniper (Italian Version) - 2:43
Barabajagal 1968
15.Barabajagal - 3:26
16.Superlungs My Supergirl - 2:50
17.Where Is She - 2:49
18.Happiness Runs - 3:28
19.I Love My Shirt - 3:19
20.The Love Song - 3:16
21.To Susan On The West Coast Waiting - 3:14
22.Atlantis - 5:01
23.Trudi - 2:25
24.Pamela Jo - 4:27
25.A Poor Man's Sunshine (Nativity) - 5:17
All compositions by Donovan Leitch
Bonus Track 14
Track 25 From The Barabajagal Sessions
Disc 3
A Gift From A Flower To A Garden 1967
1. Wear Your Love Like Heaven - 2:30
2. Mad John's Escape - 2:24
3. Skip-A-Long Sam - 2:30
4. Sun - 3:21
5. There Was A Time - 2:06
6. Oh Gosh - 1:52
7. Little Boy In Corduroy - 2:38
8. Under The Greenwood Tree - 2:00
9. The Land Of Doesn't Have To Be - 2:33
10.Someone Singing - 3:09
11.Song Of The Naturalists Wife - 2:48
12.The Enchanted Gypsy - 3:23
13.Voyage Into The Golden Screen - 3:18
14.Isle Of Islay - 2:25
15.The Mandolin Man And His Secret - 3:36
16.Lay Of The Last Tinker - 1:55
17.The Tinker And The Crab - 2:56
18.Widow With Shawl (A Portrait) - 3:04
19.The Lullaby Of Spring - 3:29
20.The Magpie - 1:33
21.Starfish On-The-Toast - 2:49
22.Epistle To Derroll - 5:47
Words and Music by Donovan Leitch
Disc 4
1. Breezes Of Patchuli - 4:36
2. Museum (First Version) - 2:53
3. Superlungs (First Version) - 3:17
4. The Land Of Doesn't Have To Be - 2:43
5. Sunshine Superman (Original Longer Stereo Version) - 4:44
6. Epistle To Dippy - 3:12
7. Preachin' Love - 2:41
8. Good Time - 1:55
9. There Is A Mountain - 2:36
10.Superlungs (Second Version) - 3:17
11.Epistle To Dippy (Alternative Arrangment) - 3:13
12.Teen Angel - 2:18
13.Poor Cow - 2:58
14.Lalena - 2:55
15.Aye My Love - 2:08
16.What A Beautiful Creature You Are - 2:45
17.Colours - 4:19
18.Catch The Wind - 5:05
19.The Stromberg Twins - 4:41
20.Snakeskin - 2:41
21.Lauretta's Cousin Laurinda - 4:18
22.The Swan (Lord Of The Reedy River) - 3:10
23.New Years Resolution (Donovan's Celtic Jam) - 3:15
All titles by Donovan Leitch
Tracks 1-5 "Sunshine Superman" Associated Recordings
Tracks 6-11 "Mellow Yellow" Associated Recordings
Tracks 12-16 "Hurdy Gurdy Man" Associated Recordings
Tracks 17-21 "Barabajagal" Associated Recordings
Track 22 "Hurdy Gurdy Man" Associated Recording
Track 23 "Barabajagal" Associated Recording

Musicians
*Donovan - Vocals, Guitar, Organ, Harmonica, Whistling
*Bobby Ray - Bass Guitar
*Eddie Hoh - Drums
*Shawn Phillips - Sitar
*Jimmy Page - Electric Guitar
*Eric Ford - Electric Guitar
*John Cameron - Keyboards, Arrangement
*Spike Healey - Bass Guitar
*Bobby Orr - Drums
*Tony Carr - Percussion, Bells, Congas, Finger Cymbals
*John Paul Jones - Bass Guitar
*Danny Thompson - Bass Guitar
*Spike Heatley - Bass Guitar
*Phil Seamon - Drums
*John Mclaughlin - Rhythm Guitar
*Joe Moretti - Rhythm Guitar
*Danny Moss - Saxophone
*Ronnie Ross - Saxophone
*Big Jim Sullivan - Electric Guitar
*Eric Ford - Electric Guitar
*Shawn Phillips - Sitar
*Pat Halling - Violin
*Harold Mcnair - Flute
*Eric Leese - Electric Guitar
*Cliff Barton - Bass Guitar
*Jack Bruce - Bass Guitar
*Ken Baldock - Double Bass
*Mike O'Neill - Keyboards
*Keith Webb - Drums
*Mike Carr - Vibraphone
*"Candy" John Carr - Congas
*John Bonham - Percussion
*Clem Cattini - Drums
*Jeff Beck - Guitar
*Madeline Bell - Backing Vocals
*Ronnie Wood - Guitar
*Lesley Duncan - Backing Vocals
*Aynsley Dunbar - Drums
*Alan Hawkshaw - Piano
*Nicky Hopkins - Keyboards
*Rod Stewart - Backing Vocals
*James Kehn - Percussion, Drums
*Gabriel Mekler - Keyboards

1965  Donovan - Fairytale (2001 expanded deluxe edition)
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