Texas had the knack in the late '60s and early '70s for birthing excellent rock bands -- whether they were psychedelic, blues-rock, pop/rock, or some oddball hybrid -- that were, first and foremost, exceedingly heavy. Loud was the rule rather than the exception, and incendiary guitar work and thundering drums the hallmark of the sound, even as each band found individual ways of utilizing the volume. On their 1971 debut, Nil Desperandum, Deerfield occasionally show the vaguest hints of heaviness -- white-lightning guitar runs, for instance -- but mostly follow a decidedly divergent path, one that emphasizes a laid-back charm and textured group harmonies. The album is a smiling, fresh-faced effort, permeated by a good-time communal vibe so full of country goodwill that it melts away any possibility for cynicism.
While Nil Desperandum is without question a rock & roll album, roots music is an important formative influence on the record -- and not just the normal, blues-based infatuation most of Deerfield's Lone Star peers favored. This is unequivocally American music, bursting at the seams with references to, and borrowed tricks from, California country-rock, folk-rock, and bluegrass. Its rootsy amalgam strongly recalls the Grateful Dead, and, indeed, there are strong strains of Workingman's Dead and American Beauty on the loping title track, the effervescent "Kitty Is a Lady," and "Me Lovin' You" that rarely sound like affectations. Sunny, CSNY/America-like harmonies pop up on occasion, and there are fingerprints of Buffalo Springfield all over the songwriting. The band also toss in the odd British touch (the offbeat, English music-hall feel of "Magapolis/Out Without") and a bit of Bob Dylan's spicy humor, as well.
Many of their contemporaries couldn't shoehorn such overt influences into a personal hybrid, but there's something singularly appealing about Deerfield's music. There are missteps along the way, to be sure: The playing can occasionally drag, while "Riverside" and "Do You Believe in Words," attempts to write epic Neil Young/Crazy Horse-style tracks, are only partly successful. But surprises such as the funky, wah-wah-laced "Better Way" and "The Great Rio Grande Border Run," with its hayseed guitar picking and farmyard languidness, easily trump any criticisms that can be leveled at this sweetheart of an album.
by Stanton Swihart
Tracks
1. Nil Desperandum (Steve Coleman, John Guerry) - 3:16
2. Man From Barnaby (Charlie Bickley) - 2:51
3. Kitty Is A Lady (Michael Hickman) - 3:35
4. Family Comfort (John Guerry) - 3:08
5. The Great Rio Grande Border Run (Michael Hickman, Steve Coleman) - 2:36
6. Better Way (Dennis Hansen) - 3:06
7. Megopolis/Out Without (Charlie Bickley, John Guerry) - 3:14
8. The Trilogy: Do You Believe In Words/Sing Together/Relax (Enjoy Your Friend) (John Guerry, Steve Coleman, Michael Hickman) - 12:18
9. Me Lovin' You (John Guerry, Steve Coleman) - 2:37
10.Riverside (John Guerry) - 6:29
The complete recorded works of the Harmony Pop/Prog Rock band Deep Feeling, including their sole album and single sides…Ian Canty wonders how a band could combine two seemingly disparate styles into a pleasing whole….
Guy Darrell was a very talented singer and recorded extensively in the 1960s (see here for a review of the compilation of his solo singles entitled I’ve Been Hurt), mainly in a Soul vein. As the new decade arrived his latest outfit, the Guy Darrell Syndicate, changed both their name and their modus operandi. Darrell reverted to his real name John Swail and the band was remodelled in a more “progressive” style and renamed Deep Feeling. Guitarist Martin Jenner, Dave Green on bass, drummer Dave Clare and Derek Elson on keys made up the rest of the band. For the first two this change meant they could finally have a chance to flex their considerable songwriting muscles. To make the break with the past complete, no reference was made to Darrell’s past career in any of the Deep Feeling publicity material.
The first recording that emerged on the Page One label in 1971 showed the strengths of the newly retitled act. The single’s top side was a cover of the old Contours/Berry Gordy number Do You Love Me? and this record and subsequent singles would have more in common with the kind of symphonic, beautifully sung Pop Music the Bee Gees had perfected during the latter half of the 60s, than anything much to do with the Prog Rock explosion. There is a lovely warmth to this, they tease out feeling from the song and accompany the great vocals appropriately. There’s not much of the instrumental grandstanding that you might have expected, but this offering is all the better for the treatment applied. The band nudged at the lower end of the UK charts, though it was a shame such a pristine Pop nugget did not go higher.
The flipside Move On could have comfortably fitted into Darrell’s mid-60s Mod Soul set – very danceable indeed, with a real groove. The follow up was Skyline Pigeon, an Elton John/Bernie Taupin song that Darrell had cut previously for Pye Records way back in 1968. It didn’t achieve anywhere near the success of the debut single, this was of course just before Elton John made his breakthrough – timing was everything and on this occasion they missed the window of opportunity and the record flopped. After this slight setback the band moved onto the DJM imprint and for their first waxing with the new label they went back to the template of their debut. They slowed the pace of Bobby Freeman’s R&B favourite Do You Wanna Dance to a tranquil trot replete with heavenly harmonies – it was another minor marvel and restored them to the edge of the charts again, just falling short of scoring that elusive big hit single.
The self-titled debut album (also sometimes called “Guillotine” after the sleeve cover) arrived in the Winter of 1971. It certainly had much more of a progressive tint than anything the band had set down on tape previously, but still the material is darn catchy in its own long-winded way. The front cover of the sleeve was plain black with a small cartoon Guillotine in the bottom right corner and inside was a creepy drawing with photos of the bands’ heads growing out of a tree branch. So far, so early 70s Rock. Even so the opener Welcome For A Soldier has the kind of choral approach that wasn’t a million miles away from the dreamy harmonies of the Beach Boys, not a typical gambit in the Prog world. They paint a luscious landscape despite the fatalistic nature of the lyrics.
The album’s centrepiece is the band’s version of Classical Gas. It is certainly their most Prog moment, long and full of changes of emphasis and time plus some natty instrumental set-pieces. This is right in the Prog-riffing mode, but the light touch Deep Feeling possessed means the 8 minute running time does not seem that long at all. Probably better that you listen to this than I describe it, so there you go.
A shortened version of Country Heir, a piece of self-explanatory Country Rock, was extracted from the LP as a single, with the slowie We’ve Thrown It All Away on the b-side. Meeting with little in the way of success, it would be almost a full year before Deep Feeling were heard from again. Switching labels to Phillips, they reappeared with the Sunday Morning Leaving single in October 1972. This one was another strong offering, a fluid guitar line and again some traces of Country in the outro. Though again appealing, it disappeared without trace and the band busied themselves recording under a variety of aliases (including the National Shinguard Company!)
Meanwhile, Darrell/Swail’s 1966 recording of I’ve Been Hurt was starting to played to wild reaction on the Northern Soul scene, resulting the record being re-released. It made number 12 in the charts and he and the band ending up appearing on Top Of The Pops in 1973. Boosted by this success, Darrell resumed his solo status, which effectively ended the career of Deep Feeling. As a postscript there was a final single by the band, a cover of the Stones’ Lets Spend The Night Together, treated in much the same, slowed down way as the debut single. It was another sparky bit of Pop but didn’t make any headway. The flipside Avalon was dramatic treat though and showed that the band could always pen a decent tune themselves – a great Jenner/Green original.
The vocal abilities of Deep Feeling set them apart from the great-coated Prog hordes and they were dab hands in the art of constructing stately Pop music pieces. In reality, they weren’t a Progressive band in the true sense of the word, but they did manage to assemble a concoction that was novel and sometimes quite beautiful. For me the singles are the pick here, but for anyone more Prog minded, the album is a peach. Sadly only Derek Elson is still with us from the band to see their oeuvre finally gain a re-release – hopefully people hearing this for the first time will listen to what Deep Feeling had to offer – a potent and bewitching brew indeed.
by Ian Canty, May 15, 2018
Tracks
1. Welcome For A Soldier - 5:58
2. Old People's Home - 3:53
3. Classical Gas (Mason Williams) - 8:16
4. Guillotine - 9:02
5. Country Heir - 5:47
6. Lucille (Albert Collins, Richard Penniman) - 5:28
7. Do You Love Me? (Berry Gordy Jr.) - 3:26
8. Move On (Roger Easterby, Desmond Herbert Champ) - 2:19
In 1972 the New York born guitarist Howard Feiten who had previous played with Paul Butterfiled for their 1969 "Keep On Moving", met Neil Larsen who was born in Cleveland, Ohio, together they formed the band Full Moon along with Gene Dinwiddie, Philip Wilson who both also had been in the Butterfield band. The LP was on an obscure label, never charted, and was relegated early on to the cut out bins. Even though the sound was an excellent amalgam of fusion “feel good” jazz rock.
Buzz Feiten with Butterfield, toured internationally and played at the Atlantic City Pop Festival and the Woodstock Festival, he was lead guitarist for The Rascals on their albums "Peaceful World" and "Island of Real". Feiten worked with many artists such as Gregg Allman, The Brecker Brothers, Bob Dylan, Aretha Franklin, Michael Franks, Al Jarreau, Rickie Lee Jones, Chaka Khan, Dave Koz, Kenny Loggins, Bette Midler, Olivia Newton-John, Wilson Pickett, David Sanborn, James Taylor, Stevie Wonder,Etta James, Dave Weckl and Don McLean.
Neil Larson was briefly a member of the Soul Survivors, later he began touring as a member of Gregg Allman's band in 1975. He also collaborated with many musicians. From 2008, he had toured and recorded as a member of Leonard Cohen's band.
Tracks
1. The Heavy Scuffle's On (Buzz Feiten, Neil Larsen, Gene Dinwiddie, Phillip Wilson, Freddie Beckmeier) - 2:53
2. To Know (Buzz Feiten) - 4:03
3. Malibu (Neil Larsen) - 4:13
4. Take This Winter Out Of My Mind (Gene Dinwiddie) - 5:26
5. Midnight Pass (Neil Larsen) - 4:22
6. Need Your Love (Buzz Feiten) - 4:10
7. Selfish People (Buzz Feiten, Phillip Wilson) - 7:49
8. Three Step Dance (Dave Holland) - 10:21
9. Jam (Buzz Feiten, Neil Larsen, Gene Dinwiddie, Phillip Wilson, Freddie Beckmeier) - 11:41
Sara Fulcher's vocals are quite strong and powerful, besides being a fascinating musician, Sarah is the missing link between Jerry Garcia and the ‘70s Memphis scene, as well as Texas rockabilly hero Roy Head. In 1971, she released her solo debut on the excellently named TMI Records, a subsidiary of Columbia, under the not-very-well-named “Sarah and Friends.” Included is her version of Dan Penn and Don Nix’s “Like A Road Leading Home,” which Jerry Garcia would learn from her. Produced by Booker T. and the MGs guitarist (and famed Stax session musician) Steve Cropper, Sarah Fulcher’s last name does not appear on the album packaging. No wonder she was so elusive.
by Jesse Jarnow, December 17, 2019
Tracks
1. Fly By Night (Walter Ramsey Jr.) - 4:55
2. Cycles (Sam Samudio) - 3:42
3. Big City Eye (David Mayo) - 4:08
4. The Natural Order Of Things (Eric Mercury, Carson Whitsett) - 3:34
5. I've Told You For The Last Time (Steve Cropper, Delaney Bramlett) - 3:15
6. Antique Age (Mary V. Williams, Mack Rice) - 3:24
7. She Who Steals My Man (Mary V. Williams, Mack Rice) - 4:28
8. Take It Like You Give It (Ted White, Aretha Franklin) - 3:27
9. Like A Road Leading Home (Don Nix, Dan Penn) - 4:23
10.I'm Sticking With My Man (Eddie Floyd, Mack Rice, Steve Cropper, Chester Simmons) - 2:53
I first became acquainted with the utterly unique phenomenon that is Kevin Coyne with his second solo album, Marjory Razorblade, which is generally recognized by critics and fans as his best overall work.
And what a work it is, nightmarishly combining blues, folk, Van Morrison-meets-Beefheart vocals and simultaneously humorous and disturbing lyrics and images across its sprawling 2 LPs worth of space. After digesting Marjory Razorblade, I had to hear more from Kevin Coyne.
Since his mid-70's albums are considerably harder to find and since his solo debut, Case History, has nearly as strong a reputation as its sequel, I decided to pick up this 3 album compilation.
The Siren material in this set doesn't hold up as well as Coyne's solo work. Their self-titled first album is the better of the two; it's a wide-ranging platter of British blues, ranging from hopping, dancy numbers ("Ze-Ze-Ze-Ze" and the raunchy "Gardener Man") to acoustic and electric slide-drenched ("Get Right Church" and "Wasting My Time") to piano-powered grinders like "Rock Me Baby" and "The War is Over").
The band whips out about every instrument and style in the blues idiom, but there's not a ton of idiosyncrasy to the playing (or a lot of the lyrics, for that matter), which both makes for a slightly bland experience and mirrors the direction British blues was going--running out of fresh ideas and retreading old ground.
There's some good energy on some tracks, and Coyne has a great blues voice--growling, howling, wailing and whispering.
There's no doubt that most of the personality found on Siren is thanks to him--tracks like "And I Wonder," "Asylum" and "I Wonder Where" all stand out as breaking the mold with more interesting, off-kilter lyrics and quiet intensity that presages later work.
Strange Locomotion doesn't succeed in building upon Siren's promise. For the most part, it's more of the same in style and quality. At its best, the bluesiest stuff ("Gigolo," "Sheke My Hand") approaches the quality of Led Zeppelin a la Hats off to (Roy) Harper or the less weird tracks on Safe as Milk.
Again (but less often than on the debut) the best moments are when Coyne's fascinatingly weird personality shines through, as on the subtly twisted "Some Dark Day" and the sparkling "Soon."
Case History. It's much more bare bones than Siren's albums, featuring mostly acoustic guitar and Coyne's distinct songwriting voice.
All of the ideas that are later fleshed out with large band arrangements and varying styles and tempos on Marjory Razorblade are visited here with quiet intensity--"White Horse" is impenetrable and uneasy, "Uggy's Song" features Coyne's knack for jagged chord progressions and dissonance, "Need Somebody" is a perfect representation of his uncanny ability to project emotional isolation and loneliness, and "Evil Island Home" is an echoey creep-out.
Themes of church oppression and eerily authentic accounts of madness appear on "My Message to the People" and "Mad Boy," respectively.
Throughout, Coyne proves his style as uncompromising and unique, from his experimental and evocative vocal style to his recognizable acoustic guitar style to his utterly inimitable songs (which is more than can be said for the bulk of the Siren albums).
This is often unsettling work on several levels, but once you connect with these songs you'll understand why so many people praise this man's work.
This reissue is of top quality--it sounds great, each album has its own disc and sleeve with original artwork, and the liner notes are informative and illuminating (especially with regards to Coyne's work in the mental health sector).
I'd recommend starting with Marjory Razorblade, which has more bang for the buck, but this is a perfect next step, as it's currently the easiest way to get ahold of Case History, plus the occasionally gripping Siren albums
by Elliot Knapp
Tracks
Disc 1 (as Siren)
1. Ze-Ze-Ze-Ze 3:04
2. Get Right Church (Mississippi Fred McDowell) 3:20
3. Rock Me Baby (B.B. King, Joe Josea) 3:30
4. Wake Up My Children 3:37
5. Wasting My Time 2:49
6. Sixteen Women 2:46
7. First Time I Saw Your Face 2:52
8. Gardener Man 3:32
9. And I Wonder (Kevin Coyne, Nick Cudworth) 2:45
10.The War Is Over (Dave Clague, Kevin Coyne) 4:48
11.Asylum (Kevin Coyne, Nick Cudworth) 3:44
12.Bertha Lee (Robert Petway) 3:17
13.I Wonder There (Kevin Coyne, Nick Cudworth) 5:09
14.Mandy Lee (Dave Clague, Kevin Coyne) 2:01
15.Bottle Up and Go (Traditional) 3:12
16.The Stride (Dave Clague, Kevin Coyne) 2:36
Songs 1,4,5,6,7,8 written by Dave Clague, Kevin Coyne, Nick Cudworth
Disc 2 (as Siren)
1. Relaxing with Bonnie Lou (Kevin Coyne, Nick Cudworth) 3:24
2. Some Dark Day (Kevin Coyne, Nick Cudworth) 3:31
3. Hot Potato 4:07
4. Soon (Kevin Coyne, Nick Cudworth) 3:46
5. Gigolo (Kevin Coyne, Nick Cudworth) 4:25
6. I'm All Aching (Kevin Coyne, Nick Cudworth) 3:03
7. Strange Locomotion 2:56
8. Shake My Hand (Kevin Coyne) 3:17
9. Lonesome Ride (Kevin Coyne, Nick Cudworth) 2:20
10.Fetch Me My Woman 7:38
11.Fat Moaning Minnie (Kevin Coyne, Nick Cudworth) 2:50
12.Squeeze Me 2:35
Songs 3,7,10,12 written by Dave Clague, Kevin Coyne, Nick Cudworth
Disc 3
1. God Bless the Bride (Kevin Coyne, Nick Cudworth) 3:55
2. White Horse (Dave Clague, Kevin Coyne, Nick Cudworth, Robert Ferguson) 4:13
3. Uggy's Song (Kevin Coyne) 2:58
4. Need Somebody (Kevin Coyne) 4:15
5. Evil Island Home (Kevin Coyne) 5:00
6. Araby (Kevin Coyne) 3:38
7. My Message to the People (Kevin Coyne) 5:23
8. Mad Boy (Kevin Coyne) 4:45
9. Sand All Yellow 5:44
10.Cheat Me 3:13
11.Flowering Cherry 2:41
Songs 9-11 written by Dave Clague, Kevin Coyne, Nick Cudworth
If you name your band “Ars Nova” you have to be: a) Serious Artists; b) Sarcastic reactionaries; c) Into psychedelic drugs; or d) Japanese. It’s Latin, for goodness sake, and means “New Art.” This particular manifestation, hailing from New England in the late 60s, is probably type a and possibly a bit of c. But in 1968, it was okay to be a Serious Artist, so Ars Nova ended up on Elektra with support to record an ambitious album of psychedelic rock.
Prominent use of trombone and trumpet set the band apart from the run of rock bands of their (or any) era. They also borrowed liberally from Classical music, either directly by adaptation or stylistically, using of guitar and organ parts reminiscent of eras from Baroque to Romantic. Badly done, such things could be disastrous, but in this case the result is almost universally successful. The Beatles had used trumpet (think “Penny Lane”) and here was a band with two trained brass players as members, and no need to hire outside musicians. In additional to the Classical shadings, there are elements of West Coast country rock and vaudevillian swagger, which makes for a unique whole. It holds together amazingly well due to the sophistication of the writing and imagination in the arrangements. Management and label difficulties left this outstanding album without the backing it deserved, and the band only recorded one other (with different personnel for a different label) before dispersing. Lovers of elaborate psych, don’t miss this one.
by Jon Davis
Ars Nova's first album was intermittently intriguing eclectic psychedelic rock with a slight classical influence, as well as some unusual instrumentation in the bass trombone of lead singer Jon Pierson and the trumpet and string bass of Bill Folwell. The songs --often linked by brief interludes -- are a mixed bag, though, that seem to indicate a confusion over direction, or a bit of a psychedelic throw-in-everything-but-the-kitchen-sink approach. There are haunting tunes with a folk-rock base and a faint Renaissance ballad melodic influence; jaunty narratives with a vaudevillian air that bear the mark of then-recent albums such as Sgt. Pepper's Lonely Hearts Club Band; and harder-rocking period psychedelic tracks with a bent for unpredictable bittersweet progressions and vocal harmonies.
It's unusual, and in some senses attractive. But to be less charitable, there's a sense of listening to a generic psychedelic band that sounds better than many such acts mostly by virtue of benefiting from Elektra's high-class production, here handled by Paul Rothchild of Doors fame. Put another way, the songs themselves aren't as good as their arrangements. "Fields of People," about the best of those songs, might be the most famous one here due to getting covered in an elongated treatment by the Move, who did a better job with it than Ars Nova. The 2004 CD reissue on Sundazed adds historical liner notes by Jon Pierson.
by Richie Unterberger
Tracks Disc 1 "Ars Nova" 1968
1. Pavan For My Lady (Wyatt Day) - 2:45
2. Genral Clover Ends A War (Wyatt Day, Gregory Copeland) - 2:44
3. And How Am I To Know (Wyatt Day) - 5:07
4. Album In Your Mind (Wyatt Day, Jon Pierson) - 3:02
5. Zarathustra (Maury Baker) - 3:32
6. Fields Of People (Wyatt Day, Jon Pierson) - 3:39
7. Automatic Love (Wyatt Day) - 4:52
8. I Wrapped Her In Ribbons (Wyatt Day, Gregory Copeland) - 2:37
9. Song To The City (Wyatt Day, Gregory Copeland) - 3:04
10.March Of The Mad Duke's Circus (Wyatt Day, Gregory Copeland) - 3:19
Disc 2 "Sunshine And Shadows' 1969
1. Sunshine And Shadows (Gail Collins, Wyatt Day) - 3:11
The list of worthy 1970s bands who have remained largely unsung and, worse, unheard by most people is a long and unfortunate one. Even within those annals of obscurity, however, there can be few bands more unlucky to find themselves in that unenviable position than Fields. As if to prove the veracity of that opening statement, a great many reading this will, at this point, be asking ‘who?’, and that would be entirely understandable as, until 2015, I myself was in that same position. Fields were, as an explanatory note to the band name, formed by keyboard player Graham Field in 1971, after he had left the early configuration of Rare Bird following a dispute over what must rank as one of the worst recording contracts of all time (fascinatingly delved into in the accompanying booklet). With Rare Bird having unusually featured two keyboards and no guitars, Graham was still unwilling to cede all of the spotlight to the six-string option, but not to the point of omitting he guitar altogether. Therefore he put together a three-piece band which, in a quite similar way to ELP, Andy McCulloch (fresh from King Crimson’s Lizard album) came in on drums while Alan Barry joined on guitar, bass and vocals. Concentrating more on bass than guitar, for live work he would play a double-neck to be able to switch from one to another mid-song.
The self-titled Fields debut album appeared on CBS records in 1971, and it remains a superb listen. It is more usual for a band flying so far under the radar to have produced recordings which tend to be described using words such as ‘promising’, ‘potential’ and ‘flawed but fascinating’. It is very unusual to find one such as this where the first (and only, for a long time) recording is absolutely the finished article. This is the work of a confident, varied and exciting band. There are ELP influences aplenty, unsurprisingly, with Field often drawn to the huge, heavily bombastic sound of Keith Emerson in full flight, but that isn’t the whole story. Opening track A Friend Of Mine is an absolute barnstormer of a beginning, with that massive Emerson wall of keyboard sound hitting the listener right between the eyes, before it settles down as it progresses, to be a perfect marriage of ELP with the very differently keyboard-led influence of Procol Harum. Indeed, the track contains a repeated two-line melody which is so close to the later Procol classic Pandora’s Box that it is hard not to imagine the late Gary Brooker casting an approving ear over this back in 1971, subconsciously squirrelling it away for reference!
There is so much great stuff here – there is more driving ELP rock with the likes of Over And Over Again, but elsewhere there is the ecologically minded and thought-provoking Not So Good, the slightly psychedelically-swirling keyboard showcase Slow Susan, and the stunning showcase for Alan Barry’s guitar and vocals which is the beautifully moving Fair Haired Lady. The rather oddly folky Three Minstrels, telling of the titular trio who came ‘out of the sun’, one playing lute, one playing drums and one ‘the organ sound’, could almost be a tip of the hat to ELP, even if totally different musically. It’s off-kilter but still quite charming. The closing instrumental The Eagle is a big proggy conclusion, marred only by the oddly dissonant breakdown towards the end. The only weak moment on this otherwise superb album is the lugubrious and bluesy A Place To Lay My Head which, while initially pleasant enough, drones on in an increasingly dull manner.
There are no long epics among these ten tightly composed tracks, but that matters not to an album which is utterly bursting with good, old-fashioned Golden Age prog rock. It is, genuinely, an unsung classic. Four bonus tracks are added to this first of two discs, two of which are alternate takes of Slow Susan and, infuriatingly, A Place To Lay My Head – which is not at all improved. Far more interesting are two songs recorded for a BBC radio session (for Sounds Of The Seventies), which reveal just how good Fields might have been as a live force. A Friend Of Mine is possibly even more dynamic and forceful than the album version, while the non-album track Wouldn’t You Agree would certainly have turned the album into a near flawless gem had it ousted A Place To Lay My Head in the running order, as it is a great song which seems, scandalously, to be receiving its first ever release here, after five decades. A shocking situation – Wouldn’t You Agree…
A year later, in 1972, Fields returned to the studio to record the follow-up album, Contrasts (subtitled Urban Roar To Country Peace), referencing Graham Field’s relocating in the meantime from Battersea to a country residence in leafy Buckinghamshire. Alan Barry had sadly left the band in the interim, returning to session and solo work, which he preferred to the band dynamic, but he was more than ably replaced on the same instrumentation by Frank Farrell, who had come from an early line-up of Supertramp. Sadly, an ill wind swept through the CBS corridors before the album was due to be released, with new American owners coming in with a dismissive attitude to progressive rock in general, and Fields were informed in no uncertain terms that their services were no longer required and their music would not be released. The band then folded (McCulloch going on to join another twin-keyboard band in Greenslade, interestingly), and the album languished in the vaults until 2015 when it was finally allowed to escape into the public arena – and consequently your humble scribe being introduced belatedly to the band.
So, how is that would-be follow up in comparison to its excellent predecessor. Well, ‘not as good’, is the short answer. However, ‘still blessed with much in the way of strong material’ is the more positive longer one. Opener Let Her Sleep is another fine beginning, cut very much from the debut cloth again, and even the dismally-titled Wedding Bells following it up manages to be a very strong track. Storm is an impressive closer, while the profoundly depressing tale of The Old Canal (that old chestnut, tragic suicide of a loved one) packs an emotional punch whilst making you hang your head in weary sorrow. Put Out To Grass invokes the heady spirit of ELP again, while Wonder Why possesses a sprightly jazzy feel, and they are good, entertaining stuff. The weak material is poor though, with Someone To Trust being rather an over-earnest trudging plod and, worst of all, Music Was Their Game setting its sights on the quirky rustic Three Minstrels area again but spectacularly failing. It’s still a strong record overall, but my word, that bar was raised high by the debut. Three tracks recorded at the album sessions have been added, and all are reasonable efforts without any being especially memorable.
The release is nicely presented with a trifold digipak design (though the front cover image is not for the easily offended bunny-lovers among us, as the unfortunate animal is being swept away to its presumed doom by a rather fearsome looking bird of prey – presumably, the eagle of the first album). Having only previously been aware of the second album, discovering the quality of the debut release was an eye-opening experience for me, and I really cannot recommend it highly enough. All in all, this is two discs of quality vintage prog listening. Of all the myriad forgotten avenues and cul-de-sacs in the estate signposted ‘The Forgotten ’70s’, this is one of the best you could wish to find. Rediscover it, you won’t be sorry.
by Steve Pilkington, April 27, 2022
Tracks
Disc 1
1. A Friend of Mine - 4:29
2. While the Sun Still Shines (Alan Barry) - 3:16
3. Not So Good - 03:09
4. Three Minstrels - 4:29
5. Slow Susan - 3:44
6. Over and Over Again - 5:56
7. Feeling Free - 3:15
8. Fair-Haired Lady (Alan Barry) - 3:05
9. A Place to Lay My Head - 3:38
10.The Eagle (Alan Barry, Graham Field) - 5:28
11.Slow Susan - 3:45
12.A Place to Lay My Head - 4:26
13.A Friend of Mine - 3:59
14.Wouldn't You Agree - 4:17
All compositions by Graham Field except where indicated
Tracks 1-9 from "Fields" Originally Released As CBS Records In 1971
Bonus Tracks 11-12 Alternate Versions
Bonus Tracks 13-14 BBC Radio One Sounds, Recorded 23rd December 1971
Disc 2
1. Let Her Sleep - 5:01
2. Wedding Bells - 4:00
3. Someone to Trust - 3:49
4. Wonder Why - 3:38
5. Music Was Their Game - 3:01
6. The Old Canal - 4:17
7. Put Out to Grass - 3:29
8. Storm (Frank Farrell, Graham Field) - 4:36
9. Set Yourself Free (Frank Farrell, Graham Field) - 4:35
10.The River - 2:32
11.Spring - 1:49
All compositions by Graham Field except where noted
Tracks 1-8 from "Contrasts Urban Roar To Country Peace", Recorded 1972
Bonus Tracks 9-11, Recorded 1972
Fields
*Alan Barry - Bass, Classical, Electric Guitars, Mellotron, Vocals
Newly released, this is a revised and expanded edition of the classic 1972 album from Renaissance. I love the sound on this version. The original was good, but I think the nuances and overall textures particularly shine here in this new recording.
As far as the "expanded" part, there is only one additional song, a single version. That said, the new booklet is very informative and well worth having. I consider that part of the expansion. It's also updated with newer information. Perhaps you could even say that the content inside it is "remastered." I should mention that I previously reviewed the original edition of this album. For the sake of consistency (and because the music is the same) I'm including that here (with a few modifications), and augmenting it with the additional track. So, what follows (until that bonus track review) is that one. Just remember that I think this new edition in general sounds better.
This early Renaissance disc has a lot of the folky progressive rock that was a trademark of the band at times. Annie Haslam guides some of the songs, but isn’t as big a factor as on some other Renaissance albums. No matter how you slice this, though, it’s a great set that still holds up really well.
by Gary Hill, 2018
Tracks
1. Prologue (Michael Dunford) - 5:41
2. Kiev (Betty Thatcher, Jim McCarty) - 7:40
3. Sounds Of The Sea (Betty Thatcher, Michael Dunford) - 7:09
4. Spare Some Love (Betty Thatcher, Michael Dunford) - 5:11
5. Bound For Infinity (Betty Thatcher, Jim McCarty) - 4:24
6. Rajah Khan (Michael Dunford) - 11:39
7. Spare Some Love (Betty Thatcher, Michael Dunford) - 3:50
Quite a few references show The Mojo Men as being part of the San Francisco music scene. Technically that's correct, but the original line up of
singer/bassist Jim Alaimo, guitarist Paul Curcio, drummer Dennis DeCarr and keyboard player Don Metchick morphed out of the Coral Gables, Florida based The Valiants.
Frontman Alaimo was a cousin to Steve Alaimo and had recorded some material under the monikers 'Jim Paris' and 'Jimmy Summers and the Slicks'. The Valiants had actually provided backing on some Steve Alaimo sides, but 1964 saw the quartet head for San Francisco where they changed their name to 'The Mojo Men' and briefly picked up Sly Stone as a member. While Stone quickly moved on to form Sly and the Family Stone, he was instrumental in getting the group signed to San Francisco DJ 'Big Daddy' Tom Donahue's Autumn Records where they recorded three 45s during the 1965-66 period. Stewart also wrote some of their material, including the hit 'She's My Baby' and produced most of their Autumn Records sides.
Prior to the release of their third single the band underwent a personnel change that saw original drummer DeCarr replaced by former Vejtables singer/ drummer Jan Errico. The personnel switch also marked a change in musical direction with the band dropping their earlier garage/R&B leanings (they'd opened for the Stones during their first San Francisco concert appearance at the Civic Auditorium) for a far more polished and produced pop-oriented sound. With Autumn in financial collapse, the group switched over to the much large Reprise Records.
by Scott Blackerby
Tracks
1. Something Bad (S. Stewart, Steve Alaimo, Paul Curcio) - 2:12
2. She's My Baby (Stone, S. Stewart, Steve Alaimo, Paul Curcio) - 3:33
3. My Woman's Head (S. Stewart, Steve Alaimo, Paul Curcio) - 3:53
4. The New Breed (S. Stewart, Steve Alaimo, Paul Curcio) - 3:35
5. Dance With Me (Steve Alaimo, Paul Curcio) - 2:39
6. Off The Hook (Mick Jagger, Keith Richards) - 2:43
7. Why (Steve Alaimo, Paul Curcio) - 2:18
8. Fire In My Heart (Paul Curcio) - 2:51
9. As I Get Older (S. Stewart, Steve Alaimo, Paul Curcio) - 3:11
10.Mojo Men Day (Wmex Radio Spot) - 0:56
11.Mama's Little Baby (Steve Alaimo, Paul Curcio, Don Metchick) - 2:26
12.Oh Misery (Steve Alaimo, Paul Curcio) - 2:10
13.Lost Love (Steve Alaimo, Paul Curcio, Don Metchick) - 2:07
14.Why Can't You Stay (Steve Alaimo, Paul Curcio) - 2:25
15.Girl Won't You Go On Home (Steve Alaimo, Paul Curcio) - 1:41
16.Cry Baby (Steve Alaimo, Paul Curcio) - 2:40
17.Everything I Need (Paul Curcio) - 2:44
18.he Goes With Me (Steve Alaimo, Paul Curcio) - 1:49
19.Free As A Bird (Steve Alaimo, Paul Curcio) - 2:22
20.Loneliest Boy In Town (Steve Alaimo, Paul Curcio) - 3:03
21.Fire In My Heart (Demo Version) (Paul Curcio) - 2:34
The Marshall Tucker Band had a wider palette of musical influences than any other Southern rockers. The eternally high-spirited Wet Willie (of "Keep On Smilin'" fame) mixed r&b, gospel and pop into their rock and roll stew. Even the granddaddies of the genre, The Allman Brothers Band, forged their style from the three distinct, albeit open-ended, sources: English hard rock ala The Jeff Beck Group, blues from Muddy Waters et, al, and the pure openness of free-jazz ordained by John Coltrane.
MTB, however, had a sure grip on rock, blues, gospel, bluegrass and mainstream jazz(including swing and big band). As demonstrated on their very first album the group was able to write credible material in each of those genres (or mix it up convincingly)as well as play as if each was their forte. The versatility becomes even more evident on their comparatively understated follow-up A New Life and there the band's studio artistry takes full flower with the exhilarating likes of "Another Cruel Love." The remastering of the Marshall Tucker catalog, the release of a hot time left in the vaults as well as a new studio effort form the current lineup provides additional insight into the workings of the group.
Persevering through multiple tragedies like their Dixie rock brethren ABB and Skynyrd titular leader Toy Caldwell died of heart problems in early 1993. On Long Hard Ride, The Marshall Tucker Band's country influences come to the fore, resulting in a strong record that failed to gain many hits. Still, the final product is well worth listening to -- it's one of their better releases. Be sure to listen for Charlie Daniels' guest appearance.
Tracks
1. Long Hard Ride - 3:53
2. Property Line - 3:02
3. Am I The Kind Of Man - 4:26
4. Walkin' The Streets Alone - 5:09
5. Windy City Blues (Doug Gray, George McCorkle, Jerry Eubanks) - 4:58
6. Holding On To You (George McCorkle) - 3:52
7. You Say You Love Me - 4:02
8. You Don't Live Forever (Tommy Caldwell) - 4:02
9. See You One More Time (Albert Savoy, Wardell Quezergue) - 4:54
All songs by Toy Caldwell except where noted
Bonus track 9
The Marshall Tucker Band
*Doug Gray - Lead Vocals, Percussion
*Toy Caldwell - Electric, Acoustic Guitars, Steel Guitar, Lead Vocals
