The Adventures of Robert Savage” is a very obscure psychedelic rock band from the 70’s that hailed from California. There is a lot of heavy fuzz guitar here, excellent riffs and far-out solos, that this guy was obviously heavily influenced by the great Jimi Hendrix.
The band consisted of three members. In 1971 they released an album called The Adventures Of Robert Savage, Vol. 1.Robert Savage was obviously influenced by Hendrix and his album is recommended to fans of hard rock trios with inventive guitar parts. It comes in an unusual mediaeval style cover featuring a dragon…
It contains a pretty impressive set of Hendrix/Cream- inspired gritty and guitar driven psychedelic hard rock (with some white boy blues and progressive moves) dominated by loud guitars, dirty vocals and pounding rhythm section. There is a lot of heavy fuzz here, excellent riffs and long, far out solos.
Tracks
1. Beaver Baby (Robert Savage, Don Parish) - 3:05
2. Milk Run (Robert Savage, Don Parish) - 3:10
3. Don't Run and Hide (Allan Clarke, Graham Nash, Tony Hicks) - 4:03
4. A Hard One (Don Parish) - 3:19
5. Seven Days Drunk (Robert Savage, Don Parish) - 4:29
6. Save Us From The Cyclops (Robert Savage) - 5:46
7. Amy (The Insane) (Robert Savage) - 3:55
8. Lonely World (Robert Savage) - 3:08
9. Road Apples (instrumental) (Robert Savage) - 4:24
Bassist Graham Amos, vocalist Martin Cure began their musical adventure in 1963 in the Coventry band called The Sabres. They later formed The Peeps in 1965. The other two members of the band were Roy Albrighton (guitar) and Paul Wilkinson (drums). The Peeps recorded five SPs for Philips (1966-68). In 1968, they recruited Terry Howells on organ (ex-Ray King Soul Band). The drummer Paul Wilkinson left the band in 1968. He joined a band called Flying Machine. With new drums player, Gordon Reed (ex-Vampires), group's name was changed to Rainbows. They recorded two singles for CBS. The Rainbows had some gigs in Hamburg, Germany and when they were finished the guitarist, Roy Albrighton decided to stay in Germany. Later, he formed a band called Nektar.
When Rainbows came back to England, the drummer G.Reed left the band. So then there were three musicans: Amos, Cure, Howells. They changed a band name to Still Life and wrote the songs which turned into the album. But the band had not a drummer. Alan Savage was contacted to do the session and he had about a week to learn the material prior to recording. Album was recorded at Sound Recording Studios, near Marble Arch, London Savage was involved with the recording on the following dates: 1st October 1970, 2nd October 1970, 5th October 1970, 6th October 1970, 13th October 1970. The Album was mixed Monday 26th October 1970. Obviously, the other members were doing overdubs, vocal etc.on the dates in between. S.Shane did produce the LP. The Band had a contract to make a six LPs. But unfortunately the band drifted apart.
Pearls
Tracks
1 People In Black (Terry Howells) - 8:17
2 Don’t Go (Terry Howells, Martin Cure) - 4:37
3 October Witches (Terry Howells) - 8:04
4 Love Song No. 6 (Terry Howells) - 6:37
5 Dreams (Terry Howells, Martin Cure) - 7:34
6 Time (Terry Howells, Graham Amos) - 6:26
Still Life
*Martin Cure - Vocals
*Terry Howells - Keyboards
*Graham Amos - Bass
*Alan Savage - Drums
The Cryan' Shames actually were a big deal in Chicago in the mid- and late '60s, when a bunch of their singles hit the local Top Ten; some of them were small national hits as well. The biggest of these was "Sugar and Spice," a cover of a Searchers song that made the Top 50 in 1966 and was later featured in Lenny Kaye's renowned Nuggets anthology of '60s garage bands. In their original incarnation, the Shames leaned toward the pop end of garage.
Borrowing heavily from the Beatles, the Byrds, and the Yardbirds, guitarist James Fairs wrote a clutch of energetic guitar pop/rockers with sparkling harmonies. After 1966, the group pursued an increasingly mainstream pop direction featuring saccharine arrangements and material. In this respect they uncannily mirrored the devolution of local rivals the New Colony Six, who also shifted from tough pop/rock to MOR in their bid for national success. But the Shames' appeal endures, partly through the efforts of reissue/archival labels such as Sundazed Records, which have kept their music available into the 21st century, and some of the original members, who have kept the band alive as a performing outfit from the 1980s onward.
They actually started out in Hinsdale, IL, as the Prowlers, a trio formed by Gerry Stone (rhythm guitar), Tom "Toad" Doody (vocals), and Dave Purple (bass, keyboards), who added guitarist James Fairs and drummer Dennis Conroy, both late of a local band from Downers Grove called the Roosters. The quintet became the Travelers, specializing in R&B and rock & roll covers, though Fairs was starting to write originals as far back as 1964. They became a sextet with the addition of Jim Pilster, a one-handed tambourine player whose artificial extremity got him dubbed "J.C. Hooke."
Included in their ranks were four singers who were capable of handling lead vocals as well as harmonies, and as they already had their rock & roll and R&B sound down, they emerged as a heavyweight outfit on the local band scene, equally adept at covering the Beatles, the Byrds, or the Rolling Stones, among others. Additionally, as they discovered, Pilster's presence lent them some novelty/publicity value as "the guys with the hook," an attribute that would also benefit the Barbarians around the same time, who sported a member with a replacement appendage. According to biographer Clark Besch, they were making upwards of $180 a gig (albeit split six ways) in 1966, a good fee for a group that had never recorded. They also attracted the attention of manager Bob Monaco, who was associated with the local Destination Records label, and hoped to rectify that gap in their biography in short order.
Their new name was imposed upon them when they were notified that another band had a prior claim on "the Travelers" -- as they told Besch, the situation was described by one of the affected parties as "a cryin' shame," and that became their new name. The group and Monaco intended to make their recording debut with George Harrison's "If I Needed Someone" -- a new Beatles song not yet available in the U.S. -- but were thwarted, as the Beatles' publisher wouldn't allow the release. Instead, they grabbed up another, older British Invasion-spawned original, "Sugar and Spice," written by producer/composer Tony Hatch (under the pseudonym "Fred Nightingale") for his client group the Searchers. The number had been in the repertory of another local band, the Riddles, and they got their version out through MG Productions on a tiny local label.
The resulting single, which included a proto-psychedelic Fairs original called "Ben Franklin's Almanac," became a Top Five hit locally in Chicago, and attracted the attention of Columbia Records, which bought up their contract and put the record out nationally. It easily made the Top 50 and Columbia wanted more -- the band duly obliged with "I Wanna Meet You," another Fairs original, which only made the Top Ten locally and number 65 nationally. Columbia was still interested in an album, however, and the group delivered the 12-song Sugar & Spice long-player. It was a fairly good record of its kind, mixing covers and Fairs' originals and, as it was done on a tight budget -- basically Columbia accepted the record as delivered, according to Pilster in an essay by Besch -- it also included all four single sides, plus their proposed debut of "If I Needed Someone." Although the album barely cracked the Top 200 nationally, the single and the long-player between them helped raise the band's fees more than fivefold in just a matter of weeks.
by Bruce Eder
Tracks
1. Sugar And Spice (Fred Nightingale) - 2:27
2. We Could Be Happy (Jim Fairs) - 2:34
3. Heat Wave (Lamont Dozier, Brian Holland, Eddie Holland) - 2:07
4. We'll Meet Again (Hughie Charles, Ross Parker) - 2:05
5. Ben Franklin's Almanac (Jim Fairs) - 1:57
6. She Don't Care About Time (Gene Clark) - 2:23
7. Hey Joe (Where You Gonna Go) (Billy Roberts) - 2:40
8. If I Needed Someone (George Harrison) - 2:17
9. July (Jim Fairs) - 1:34
10.I Wanna Meet You (Jim Fairs) - 2:05
11.We Gotta Get Out Of This Place (Barry Mann, Cynthia Weil) - 3:38
12.You're Gonna Lose That Girl (John Lennon, Paul McCartney) - 2:13
13.Mr. Unreliable (Single Version) (Lenny Kerley) - 2:23
14.Georgia (Jim Fairs) - 2:15
15.It Don't Matter To Me (David Gates) - 2:54
16.Bits And Pieces (Version One) (Lenny Kerley) - 2:29
17.The Road (Lenny Kerley) - 2:18
Widowmaker was formed in late 1975 by ex-Spooky Tooth and Mott The Hoople guitarist Luther Grosvenor, at the time known as Ariel Bender, as a means of recording songs he had written, something he had been unable to do since Mott The Hoople’s recordings were dominated by Ian Hunter penned tunes. Grosvenor was joined by ex-Lindisfarne drummer Paul Nichols and former Mungo Jerry and Chicken Shack bassist Bob Daisley. The trio became of the nucleus of the new band, with Grosvenor handling all the vocals.
The band decided that a lead vocalist would improve the band’s sound and as a result, Steve Ellis, formerly of Love Affair, was added, after his name was given to Grosvenor by Bobby Tench and Roger Chapman. At first Ellis wasn’t excited at the prospect of joining the band, but with some coaxing he took the job. Adding a keyboard was considered by the quartet, but in the end, guitarist Huw Lloyd-Langton completed the original lineup of the quintet, which took the name Widowmaker, although no one in the band can really remember why, and Grosvenor says he never liked the name.
The band’s first gig was a 24 February 1976 appearance on the BBC’s “Old Grey Whistle” when they performed the Grosvenor/Ellis/Nichols penned “On The Road” and the Grosvenor/Ellis composition “Ain’t Telling You Nothing” both of which appeared on the groups debut LP. Catching the eye and ear of Roger Daltrey, Widowmaker opened for The Who at three gigs in May and June of 1976.
The band signed with Don Arden’s Jet Records with Arden becoming their manager. Soon the group entered De Lane Lea Studios in Wembley and began work on their self-produced and self-titled debut LP. Among the album’s ten tracks are five which Grosvenor had a part in writing, including the hot rocking “Running Free.” The band was aided by keyboardist Zoot Money, and backing vocals were supplied by Bobby Tench, Roger Chapman, Julie Driscoll and Sam Brown. With Jet making changes in distribution the album made a late appearance in the US and reached only #196 on the Billboard charts, disappointing to the band and certainly not an indication of the quality of material recorded.
Undeterred the band toured with Jet label mates ELO, as well as Uriah Heep and Nazareth. However, musical differences, home sickness and a falling out with manager Arden resulted in Ellis exiting the band. At the recommendation of Lloyd-Langton lead vocals were taken over by John Butler and the band entered Olympic Studio to record its second LP “Too Late To Cry” with Chris Kimsey and the band coproducing. The album, smoother sounding, but lacking the raw sound of the band’s debut reached only #150 on the Billboard charts in the US. Although containing four guitar driven tracks co-written by Grosvenor, the highlights of the anthology for me, it had a smoother sound, but didn’t rock as hard as the debut and proved to be the final album by the group.
Widowmaker toured with Ted Nugent, Aerosmith and Mahogany Rush, among others, in support of “Too Late To Cry” but bassist Daisley departed to become part of Ritchie Blackmore’s Rainbow. In addition, Grosvenor was unhappy, and although the band’s albums were much better than average and the group could have gone on for another year or two at the least, the members decided to call it a day and Widowmaker was no more.
Running Free: The Jet Recordings 1976-1977 marks the first time both Widowmaker albums have been reissued on CD in their entirety. Three tracks from “Too Late To Cry” make their debut on the anthology and are joined by another Grosvenor co-penned, previously unreleased track “Talk To Me.” The Esoteric Recordings reissue, compiled, conceived and coordinated by Mark Powell, with assistance from his wife Vicky, has the band sounding better than ever thanks to the 24-bit remastering job by Ben Wisessman at Broadlake Studios and the 16-page full color booklet includes an informative essay by Malcolm Dome and is filled with photos of the band, album artwork, posters, and other memorabilia, making “Running Free” the unquestionably definitive Widowmaker anthology. The collection will be appreciated by fans of hard rock and the incredible guitar work of Luther Grosvenor alike. Many thanks to the Powells and the folks at Esoteric Recordings for making this fine collection available.
by Kevin Rathert, August 29, 2017
Tracks
Disc 1
1. Such A Shame (Bob Daisley) - 3:20
2. Pin A Rose On Me (Bob Daisley, Luther Grosvenor, Steve Ellis) - 5:02
3. On The Road (Luther Grosvenor, Paul Nicholls, Steve Ellis) - 3:08
4. Straight Faced Fighter (Steve Ellis) - 3:27
5. Ain't Telling You Nothing (Luther Grosvenor, Steve Ellis) - 4:52
Tracks 1-10 taken from the album 'Widowmaker' - released as Jet Records 2310 432 in 1976
Disc 2
1. Too Late To Cry (Bob Daisley) - 3:54
2. The Hustler (Bob Daisley, Luther Grosvenor) - 4:04
3. What A Way To Fall (Bob Daisley) - 3:52
4. Here Comes The Queen (Luther Grosvenor) - 4:10
5. Mean What You Say (Huw Lloyd-Langton, John Butler) - 3:21
6. Something I Can Do Without (Bob Daisley, Luther Grosvenor) - 4:11
7. Sign The Papers (Bob Daisley, John Butler) - 5:08
8. Pushin' And Pullin' (John Farnham) - 4:50
9. Sky Blues (Bob Daisley, John Butler, Luther Grosvenor, Paul Nicholls) - 5:40
10.Talk To Me (Bob Daisley, John Butler, Luther Grosvenor, Paul Nicholls) - 4:17
Tracks 1-9 taken from the album 'Too Late To Cry' released as Jet Records UAG 30038 in 1977
Track 10 recorded at Olympic Studios in January 1977 previously unreleased.
Dillinger was formed by the Harrison brothers - Jacques (vocals, flute, sax, organ) and Robert (drums) in 1973. Although they were originally from Montreal, they'd moved to Toronto to try and access a bigger rock and roll audience, and along with guitarist Paul Cockburn and Terry Bramhall on bass and accordian, they worked the circuit and Cliff Hunt agreed to manage them.
They were spotted playing one night by Frank Davies, president of Daffodil Records. He signed them to a deal and produced their self-titled debut album in 1974. The music was highly progressive with psychadelic undertones, heavy on organ and guitars. But with only four tracks, including the 17-minute epic "Live and Return," only their cover of Spirit's "Nature's Way" was short enough for radio airplay. It didn't get it, and no singles were released. Although the lead-off "People" however did wind up on a Daffodil compilation album later that year, the album came and went without a whimper.
After another year of constant touring around the central Canada region, they returned with DON'T LIE TO THE BAND in '76. With Davies again at the helm, this time it featured Terry Brown (Klaatu, Rush, and a million others) and John Woloschuk helping in the studio. Recording had been over four months in the process, and the music was shifting toward a more accessible sound. Like its predecessor, the bulk of the material was written by either Cockburn or Jacques Harrison, but also featured a cover of The Beatles' "Taxman" and Spooky Tooth's "Two Time Love." The tender ballad "Coming Home" also showed a new side of the band. The songs were shorter, were generally moving towards a heavier and simpler sound, and were more radio friendly, but no singles were released.
The Fool were a Dutch quartet transplanted to London in the middle ’60s, whose original impact on the rock world was visual rather than musical. They were two women, Marijke Kooer and Josje Leeger – who designed clothes for people like Patti Boyd Harrison (George Harrison’s first wife) – and with Marijke’s husband, Seemon (Simon) and their friend, Barry Finch they became collectively known as “the Fool,” exemplifying the hippie ethic of the mid-’60s.
They had a shop off London’s Montague Square, where John Lennon was an early visitor. Brian Hogg’s CD liner notes quote Seemon from the Granada TV documentary, It Was Twenty Years Ago Today: “He walked into our place, and saw our stuff – furniture and posters as well as clothes – and he said ‘This is where I want to live.’” That established the Fool. They did concert posters for Brian Epstein’s Saville Theatre, decorated Lennon’s piano and his Rolls Royce and painted the exterior of the Apple building. They flourished at the height of “flower power” and their distinctive images helped define the era.
As artists they did several album covers, starting with the Hollies’ 1966 Evolution and the Move’s debut album, and perhaps culminating in 5000 Spirits On The Layers Of The Onion by the Incredible String Band – all in an instantly identifiable style. In 1968 they recorded their only album, for Mercury Records.
I remember that while my friends were getting excited about the Incredible String Band, I – never very fond of folk music – kept telling them, “Yeah, sure, but have you heard the Fool?” When I played the album for them I made a lot of converts for it.
The Fool is an album with some of the same English folk elements – including bagpipes! – but it is not a folk music album. So what is it? Good question. In an odd way it reminds me of George Harrison’s very under-appreciated Wonderwall Music: both are early precursors of “World music.” But The Fool is much more.
The album opens with spacey psychedelic effects that lead us directly into “Fly,” which has a naοve folksy quality but in turn leads (in a direct segue) to a rippling piano, banjos, and a deep organ accompaniment to the second track, “Voice On The Wind.” Hogg states that Graham Nash, whom they’d met when he was in the Hollies, “acted as producer and he doubtlessly helped sculpt the textured opening two tracks … which served as an atmospheric introduction to the album. The use of bagpipes and other exotic instruments signaled a wish to create something both adventurous and folksy.” (I might add that I rarely enjoy the sound of bagpipes – as they are traditionally played – but they work well for me on this album. Seemon is pictured playing bagpipes on the album’s cover.)
“‘Cry For Me,’ with its plaintive banjo, proved the Fool’s grasp of melody, a feature enhanced by their confident vocals and atmospheric seashore sound effects. ‘No One Will Ever Know’ blends pop with a jugband feel feel before a now familiar [bagpipe] skirl grabs the casual listener.
“A trumpet, whistles and almost gospel-styled singing inhabit ‘Reincarnation.’ ‘Hello Little Sister’ plays with the riff from ‘Walk Don’t Run’ and more faintly choral voices before ‘Keep On Pushin’ hits a bluesy vein. The piece is underpinned by a Hammond organ, prompting scholars to suggest the presence of R&B veteran Graham Bond who was often photographed with the Fool around this time. The eastern-styled [tenor] saxophone break would seem to confirm it. ‘Inside Your Mind’ is another track hewn from Episcopalia, while ‘Lay It Down’ [which concluded the original album] is full blown intoxicated psychedelia.”
When I first got this album I was struck by the nature of its melodies. They seemed to derive in part from old English church hymns – blended with blues, boogie and rock. “Episcopalia” is another way to describe it. Oddly Calvinistic, I thought then. But original: nothing else, before or since, sounds very much like it. And that “eastern-styled saxophone break” turns into a quote from Rahsaan Roland Kirk playing with Charles Mingus (as recorded in 1962) – a nice touch.
This album dates to the days before “progressive rock” existed, but prefigures it in its adventurousness and wide-ranging musicality. I always wondered why there was no second album to follow up on this one, but Hogg says, “Unfortunately for the Fool, flower-power was wilting in 1968 [when the album was released] and their efforts herein went largely unrecognized, despite cover art typical of their work. Their designs were now deemed passι – the Apple building was repainted at the behest of residents, and the collective split up at the end of the decade.” Frankly, I was never impressed by their style of artwork – the cover of the Move’s first album never did anything for me – and I miss that aspect of the Fool much less than I do their music.
In the early ’70s Seemon and Marijke came to America and made an album for A&M Records, Son Of America (SP 4309). Graham Nash again was the producer (and contributed vocals), and Seemon plays bagpipes in a few spots, but the music is rather pedestrian and ordinary, perhaps the result of using American musicians (including Booker T. on organ), or perhaps the desire for greater commercial success – which eluded it. This album was not a continuation of the Fool. Then the couple returned to Amsterdam and split up. Hogg says that Barry and Josje also returned to Amsterdam, “and, last heard, were still together.”
by Dr. Progresso and Brian Hogg
Tracks
1. Fly - 2:43
2. Voice On The Wind - 5:08
3. Rainbow Man - 2:21
4. Cry For Me - 3:52
5. No One Will Ever Know - 2:53
6. Reincarnation - 4:07
7. Hello Little Sister - 2:00
8. Keep On Pushing - 6:00
9. Inside Your Mind - 2:43
10.Lay It Down - 4:51
11.We Are One - 2:38
12.Shining Light - 2:40
All compositions by Barry Finch, Josje Leeger, Marijke Koger, Simon Posthuma
Bonus Tracks 11,12
The Fool
*Simon Posthuma
*Marijke Koger
*Barry Finch
*Josje Leeger
A lost sunshine pop gem – with some unique Brazilian touches! The album's the first offering from the folk rock team of Joe & Bing – an earthy duo who remind us a fair bit of Alzo & Udine, with jangly use of acoustic guitar, sweet harmony vocals, and a surprisingly soulful undercurrent. But added to this already-great style are some beautiful arrangements by a young Deodato and Atlantic pop stringmeister Harry Lookofsky – expanding the sound wonderfully, and giving the album a beautifully airy quality.
The record also has the distinction of being one of the few to appear in Brazil on the legendary Quartin label – no doubt because of the Deodato connection – but overall, it's got a wonderful post-folk sound that's right up there with the best Sunshine pop of the late 60s! Titles include "Summer Sound", "Sail", "Drifting With Time", "Fenario", "If Love's In Season", and "I'm Not Forgetting Your Name". CD also features a whole bunch of bonus tracks, including the tunes "Come & Bring The Sun Again", "Those Sunday Soda Pop Dreams", "More Than I Can Live With", and "Panther Pond Breakdown".
Tracks
1. Daybreak - 2:31
2. I'm Not Forgetting Your Name - 3:25
3. It's OK - 2:59
4. Summer Sound - 2:54
5. Fennario - 3:43
6. Love The One You're With (Stephen Stills) - 3:09
7. If Love's In Season - 2:53
8. Just Plain Livin' Blues - 2:21
9. Sail - 3:14
10.Drifting With The Time - 3:14 -
11.Come And Bring The Sun Again - 3:15
12.Summer Sound - 2:47
13.If Love's In Season - 2:47
14.Without Her (Harry Nilsson) - 2:53
15.More Than I Can Live With - 2:31
16.Panther Pond Breakdown - 2:07
17.Those Sunday Soda Pop Dreams (William "Bing" Bingham, Joe Knowlton, McKeon) - 3:59
Words and Music by William "Bing" Bingham, Joe Knowlton except where noted
Although they would become better known for smooth AOR ballads like "How Much I Feel," Ambrosia first made their name with this album of progressive rock with a pop music twist. Its songs skillfully blend strong melodic hooks and smooth vocal harmonies with music of an almost symphonic density. Good examples of this crossbreeding are "Drink of Water," which sounds like the Beach Boys tackling a Pink Floyd space rock epic, and "Nice, Nice, Very Nice," which utilizes a combination of stately close-harmony vocals and dynamic instrumental breaks to put forth a clever lyric derived from a Kurt Vonnegut novel.
The complexity of the music is further highlighted by its crystal-clear sonic landscape, mixed by Alan Parsons, which highlights unique touches like the use of a Russian balalaika ensemble and 300-year-old Javanese gongs on "Time Waits for No One." Despite this prog rock ambitiousness, the group is smart enough to avoid letting their instrumental chops take precedence over their music's melodic content: They keep their songs succinct and punchy (nothing extends over six-and-a-half minutes) and they infuse tunes like "Lover Arrive" and the radio favorite "Holdin' on to Yesterday" with a delicate sense of pop songcraft that makes the group's cinematic sound easy for listeners to assimilate. The end result is an album that is intricate enough to please prog rock addicts but catchy enough to win over a few pop fans in the process. Though Ambrosia would go on to score bigger hits later in their career, this is definitely their most cohesive and inspired album.
by Donald A. Guarisco
Tracks
1. Nice, Nice, Very Nice (Burleigh Drummond, Christopher North, David Pack, Joe Puerta, Kurt Vonnegut Jr.) - 5:55
2. Time Waits For No One (Burleigh Drummond, Christopher North, David Pack, Joe Puerta) - 4:53
3. Holdin' On To Yesterday (David Pack, Joe Puerta) - 4:19
4. World Leave Me Alone (David Pack) - 3:18
5. Make Us All Aware (Burleigh Drummond, Christopher North, David Pack, Joe Puerta) - 4:29
6. Lover Arrive (David Pack) - 3:11
7. Mama Frog (Burleigh Drummond, Christopher North, David Pack, Joe Puerta) - 6:05
8. Drink Of Water (Burleigh Drummond, Christopher North, David Pack, Joe Puerta) - 6:29
Hinkley’s finest moment came with the second Jody Grind album Far Canal, launched in June 1970 next to Pete Gavin and future Hummingbird guitarist Bernie Holland who had started out in the early days with Bluesology, Patto and Ferris Wheel.The classical motif intro “We’ve Had It” spirals like a magician into some ejaculated riffs that make you realise this is no ordinary group. You have to hear the live track “Plastic Shit” recorded at the Roundhouse to understand the capabilities of this nuclear force.
The lengthy workout on the instrumental “Red Worms And Lice” with Bernie’s guitar spurting like hot mercury balanced with the jazzy ”Ballad For Bridget” were astounding. Peter Gavin joined Heads, Hands & Feet and Vinegar Joe while Tim played sessions with Al Stewart, Snafu and Alvin Lee. Bernie Holland went on to play with Van Morrison.
by Shiloh Noone
Tracks
1. We've Had It - 5:07
2. Bath Sister - 3:29
3. Jump Bed Jed - 7:14
4. O Paradiso - 7:32
5. Plastic Shit (Bernie Holland, Tim Hinkley) - 7:19
6. Vegetable Oblivion - 2:10
7. Red Worms And Lice (Bernie Holland, Tim Hinkley) - 7:22
8. Ballad For Bridget - 3:40
Songs 1,3,6 written by Bernie Holland
Songs 2,4,8 written by Tim Hinkley
Jody Grind
*Bernie Holland - Acoustic Guitar, Electric Guitar, Bass Guitar, Vocals
*Pete Gavin - Drums, Percussion
*Tim Hinkley - Organ, Piano, Electric Piano, Vibraphone, Vocals
Fantastic 14-track British beat/garage compilation garnered from the personal collection of one of Britain's top record dealers. As the name suggests, each of these tracks is a real killer. I can't think of a better way to announce that Past and Present is back than with this, the first of dozens of great titles that will be appearing on the imprint in the future." Artists: Gavin Hamilton, Neil Christian, Tangerine Peel, The Groop, Ian and the Zodiacs, The Moving Finger, Guy Darrell, The Hipster Image, Jerry Martin, The Quotations, Winston G, Gene Latter, The Kool, The End.
Artist - Tracks - Composer
1. Gavin Hamilton - It Won't Be The Same (Nick Sandys, V. Bourne) - 2:38
2. Neil Christian - I'm Gonna Love You Baby (Neil Christian, Dilys Rhys Jones) - 2:54
