Thursday, March 19, 2026

rep>>> Cargoe - Live In Memphis! (1972 us, exceptional southern rock with psych shades)



The year was 1972, and Cargoe were flying high. They had migrated from Oklahoma to JL the musical confines of Memphis, and had landed a recording contract with the newly invigorated Ardent Records. Their first album was recorded, and ready for release to the waiting throngs of music fans out there in the hinterland. Their first single, Feel Alright, started gathering tremendous radio play, and instant, positive feedback wherever it was aired. 

Within weeks, it had arrived on the Top 100 national music charts. The band flew to Los Angeles, where they introduced their single on KHJ-TV, and played a sold out show at The Whiskey-A-Go-Go on Sunset Boulevard. A music video (one of the first ever!) was filmed, edited, and mailed out to TV stations across America (of course there was no MTV yet!) But a funny thing happened on the way to the Grammys. As many artists found out before them, many have discovered since, and many more will know in future, there are no guarantees in the music business. In fact, the industry is rife with "I Could'a Been a Contender" stories. And the stated reasons for lack of stardom, while as varied as the stars in the heavens, all come down to several basic principles.

Ardent, the label on which Cargoe's music lived, was small, and new, and, although distributed by the then-already-world-famous Stax Records, was not prepared to play in the big leagues dominated by the Brothers Warner, Columbia, RCA, and like others. In fact Stax, while certainly playing at a very high level in R&B music, was not prepared itself to play in the "Pop" world. Records weren't available in stores when people came to buy them.

Large city pop or rock radio stations were much more inclined to add songs by the major labels' artists to their play lists. And touring on a national scale was just too expensive to pull off. Was Cargoe's music good enough to "make it", had it been on a major label? Probably so. 

History may now make that judgement. But in 1972, on a small, independent label, distributed by another independent label best known for a very different style of music than that which Cargoe played and recorded, the odds just weren't good. The same exact fate was to befall the second group released on Ardent Records, that being Big Star. And the third, The Hot Dogs, and so on down the line.

Yet, while this "disappearing act" was pretty common with small label rock groups, there seems to have been something special in Ihe Memphis night air that the Ardent groups were breathing back then. Because another funny thing happened on the way to musical obscurity. This music just wouldn't go away. 

The people hanging around John Fry's door, we now sec in hindsight, weren't your average garage band folks. While the biggest contemporary record on the Ardent label was certainly Cargoe's "Feel Alright", the torch wound up being carried, at first single-handedly, by Big Star. Year after year, the myth, admiration, and yes, let's say it, cult of Big Star has grown. Band after band have traced their inspiration back to Big Star, and musical historians and writers have embraced them as being, in many cases, second only to The Beatles in pop music importance. And in recent years, this interest in Big Star has trickled down to the other Ardent groups. More and more, fans and critics have "discovered" Cargoe or the others. Re-issues, especially in Japan and Europe, of Cargoe and The Hot Dogs, have followed the Big Star re-issues. And Feel Alright is beginning to re-assume its place as a power pop anthem.

In the middle of all this 1972 hullabaloo with Cargoe and Big Star, the Cargoe guys, well known for their live playing prowess, performed a very special concert. The Memphis rock station of the day, WMC FM-100, had instituted a series of live concerts by many well known artists, to be broadcast over the airwaves directly from Ardent Recording Studios. These were engineered usually by Terry Manning, and sometimes by Richard Rosebrough.The artists included The Groundhogs, The Charlie Daniels Band, Stories, Martin Mull (soon to be released as Lucky Seven CD 9215) and others, including none other than Cargoe! In each case, a live audience of invited guests was brought into the studio. 

This CD is the actual recording of that concert back hi 1972! Since the original broadcast, this Cargoe concert has gone "unheard" for these last 31 years! Cargoe were made up of Bill Phillips on keyboards and rhythm guitar, Max Wisley on bass, Tommy Richard on lead and rhythm guitar, and Tim Bent on drums. Bui the magic was that all members were excellent vocalists, as well as songwriters. Good vocal harmony has certainly become a trademark of the "Power Pop" genre, and Cargoe was not to disappoint on that score! So sit back, let your mind drift to 1972, turn on your I'M radio, and enjoy this live broadcast.
by Terry Manning, 2003
Track
1. Come Down (With Radio Intro) (Bill Phillips) - 4:28
2. Things We Dream Today (Bill Phillips) - 2:46
3. Feel Alright (Tommy Richard) - 2:36
4. Horses And Silver Things (Tommy Richard, Max Wisley) - 3:34
5. Scenes (Max Wisley) - 4:30
6. Heal Me (Bill Phillips, Max Wisley) - 3:16
7. Intro/This Is Real (Max Wisley) - 1:54
8. Feelin Mighty Poorly (Tim Benton) - 3:16
9. Thousand Peoples Song (Tommy Richard) - 4:13
10.Leave Today (Bill Phillips) - 4:46
11.Time (Bill Phillips, Max Wisley) - 4:21
12.I Love You Anyway (Tommy Richard) - 3:45
13.Tokyo Love (Bill Phillips, Jim Peters) - 4:53

Cargoe
*Bill Phillips - Keyboards, Vocals
*Tommy Richard - Guitar, Vocals
*Max Wisley - Bass, Vocals
*Tim Benton - Drums, Vocals

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Wednesday, March 18, 2026

rep>>> Robert Lester Folsom - Music And Dreams (1976 us, splendid folk rock, 2010 korean remaster)



I was born at Moody Air Force Base in Lowndes County, Georgia January 3rd, 1955. I grew up in Adel, a small rural town in south central Georgia about 40 miles north of the GA/FL border. My parents were raised by poor sharecroppers and music played a large role in their hard day to day lives. Singing in church and listening to the Grand Ole Opry radio was a great source of musical entertainment. 

My mom's high soprano and my father's deep bass put me somewhere in the middle. They used to listen to the local AM radio station which featured gospel, country, pop, soul and Paul Harvey at noon. They also joined the Columbia Record Club and not only did I get to listen to Fat's Domino and Johnny Cash, they let me have a selection and that first choice was Rubber Soul by The Beatles. What a huge impact! Until then I thought The Beatles were just "yeah yeah yeah!" This was my favorite pop/rock band obviously inspired by Bob Dylan. So then there was Dylan. Now not only could I mimic The Beatles, but I could also write songs that expressed my every emotion. I started a band before I could even play the guitar. I traded my record player for my first guitar and the strings were so high off the neck that they could cut your fingers.

 My mother bought me a Mel Bay Chord Book and I went to town. I wrote song after song and formed band after band with my friends. Then a friend and I bought a Sears 4 track reel to reel and I started recording everything and everybody. Every reel of tape was an album. Eventually we would transfer a reel to 8 tracks and sell them to friends. We would pass around our lyric books to girls and we were rock stars in our own little world. We would play for 4-H Club events, church functions, and parties. This went on through high school.

I went on to South Georgia College where I met other musicians. I went there as a music major, but I was seriously looking into music in a much more major sort of way. I met Sparky Smith among many others and not only was he my bass player, but he became a forever trustworthy friend. Then there was Hans Van Brackle who I had already hooked up with in high school and Van Whiddon, Jimmy Whiddon and Sparky's buddy Don Anderson. There were others, like Don Fleming our amazing manager, but this was the nucleus of what would become my band Abacus. 

We played proms, VFW dances and parties mixing covers with our original music. It worked for the most part but we felt there had to be more, at least I did. We had a good grouping of original songs and we went to Atlanta to find a studio to record a demo. I grew up listening to the LeFevre Gospel Family and knew they had a fine studio in Atlanta so we went there first. There we were introduced to their head engineer Stan Dacus. He seemed like a nice cool guy so we booked a session there. 

We often rehearsed at Sparky's parents' house in Broxton, GA and his mom liked us quite a bit so she said she would pay for us to record our first serious demo. The session went great, Dacus was impressed and I had the fever to do something serious. I had a wonderful band, but it was hard for us all to get on the same page about recording. This frustrated me a little and I couldn't wait to sort it all out and do something. I told Stan Dacus that I wanted to do a solo album and he said he would like to help. I let him listen to some of the old tapes of my music and he said let's get started ASAP. I took out a loan at my local bank and booked some time at LeFevre in Atlanta. I told my band what I was doing and asked them if they would like to participate. 

They were all on board to get the opportunity to record so we began rehearsing. We got real tight with the music I had selected and soon in the summer of 1976 we started recording. We would lay down the basic tracks with a guide vocal, then we would add overdubs with instruments and serious vocals. Stan was helpful in getting the time we needed. We would book 4 hours and get 6. We spent serious time mixing. 

I introduced some new effects, especially a flanger which enabled us to get a sound that stood out over other music of that time. I may have thought at some point we went overboard but in retrospect I think we were dead on as far as capturing the sounds I was hearing in my heart and mind. We had vinyl and 8 tracks made, Danny Dickens (a college art major friend) did the cover art, and Music and Dreams became a reality. 

There was Georgia success and maybe some north Florida, but not nearly enough airplay and not enough money to do gigs to do the album justice. Music and Dreams became a small town success with a big debt to pay. I later recorded two songs ("Blues Stay Away" and "Warm Horizons") for a 45 rpm single as a possible leader to a follow-up LP but that was not to be realized. 
by Robert Lester Folsom 
Tracks
1. Music and Dreams - 3:28
2. Ginger - 2:48
3. Biding My Time - 3:28
4. April Suzanne - 4:03
5. Weeping Willow Tree - 3:38
6. My Stove's On Fire - 2:48
7. Untitled - 1:19
8. Spanish Lady/Brown Eyed Lady With Blonde Hair - 5:52
9. A New Way - 2:39
10.Show Me To the Window - 3:25
11.Jericho (My Quiet Place) - 3:43
12.Please Don't Forget Me - 3:24
13.Blues Stay Away - 2:35
14.Warm Horizons - 5:08
All compositions by Robert Lester Folsom.

Musicians
*Robert Lester Folsom - Acoustic, Electric Guitar, Hammond B3, Piano, Vocals
*Stephen Clayton - Drums, Syndrum
*Stan "Quack" Dacus - Percussion
*Alva Dickerson - Guitar
*Fonda Feingold - Clavinet
*Roni Goss - Bass
*Mark Hammond - Drums
*Danny Heitzhausen - Bass
*Sparky Smith - Bass, Vocals
*Hans Vanbrackle - Electric, 12 String Acoustic, Slide Guitar, Bass, Vocals
*Jimmy Whiddon - Hammond B3, Vocals
*Van Whiddon - Fender Rhodes, Piano, Vocals

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Tuesday, March 17, 2026

rep>>> Gomorrha - I Turned To See Whose Voice It Was (1972 germany, great heavy prog krautrock, 2013 remaster)



Gomorrha was a potentially fantastic German group that played in an early 70s hard rock/proto-prog style that was similar to the types of contemporary experimental Krautrock being played in Germany at the time. Gomorrha had a decidedly more Anglo-American element than did other guitar freak-out bands like Ash Ra Tempel or Guru Guru. Not only were the lyrics in English, but the group had a more distinct hard rock style, like a more psychedelic Black Sabbath with an eccentric and frenzied Robert Plant on vocals.

Gomorrah came out of Köln, the late 60s by Helmut Pohl (drums) and Eberhard Krietsch (keys) were established. With Ad Ochel and Ali Claudi joined at two guitarists in the band. In 1971, at the BASF label, the debut of the group ("Trauma"), which originally registered in the original German version was discarded and the album, the band once again recorded with English lyrics. These commitments were the singer Peter Otten. In 1972 appeared the second and last album Brain of Gomorrah ("I Turned To See Whose Voice It Was"). Previously had joined the band with Mike Eulner a full-time bassist. In 1973, the group quit music and went into the workforce. A pity really.

"This album is a milestone of progressive rock.", there is to read on the Krautrock page. Oho! After all, there are two numbers of "I Turned To See Whose Voice It Was", the second and last album of Gomorrah, usually this is a fairly varied, bluesy hard rock or organ Protoprog, the surprise here from the speakers. Like a cross between Black Sabbath and Procol Harum does this often: hit-edged, hard guitar classically-inspired cascade organ, accompanied by drifting drums. However, still more is offered. From time to time there are in fact quite relaxed on the acoustic guitar to hear, discreetly accompanied (in the middle part of "Dance On A Volcano", for example) of the percussion, which is reminiscent of various productions of groups that were located on the West Coast. 

The title track falls into this category, which, as well as the following "I Try To Change The World" now and then degenerates into a jaunty, folky-psychedelic jam, in the latter number also accompanied by the then roaring organ. Nice! Peter Ottens song fits quite well with the music, is not burdened accent, but sometimes looks a little forced and affected. Otherwise there is not much to complain about. Gomorrah have recorded with "I Turned To See Whose Voice It Was" a virtuoso already put forward album that does not need to hide from Anglo-American models or contemporaries and also has a quite unique touch. A milestone of progressive rock, the disc but not sure. 

Rather, the album offers a dignified, quite complex, bluesy melancholic hard rock, with an occasional, relaxed West Coast logging and organ that would have been so (and in such perfection) might not be expected from a German group of the early 70s. Particularly herbaceous, in meditiv-cosmic or amateurish-experimental sense, "I Turned To See Whose Voice It Was" is not, anyway.

Gomorrha had a decidedly more Anglo-American element than did other guitar freak-out bands like Ash Ra Tempel or Guru Guru. Not only were the lyrics in English, but the group had a more distinct hard rock style, like a more psychedelic Black Sabbath with an eccentric and frenzied Robert Plant on vocals. The main instruments are organ and guitar, which make for some fantastically volcanic moments, as in the titanic opening riff. There is also, oddly enough, something of an American soul or blues influence that often rears its head throughout, especially in the vocals. 

The band's essential elements make for a pretty incredible mixture of German noise rock and embryonic British heavy metal. Unfortunately the good parts aren't really pulled off for the duration of the album, and are watered down by some poor meandering sections and wordy narratives delivered for the sake of the album concept...the very cleverly titled "I Turned to See Whose Voice it Was" (referencing the Biblical story of Lot's wife) The album seems to be a Biblical concept album involving the Apocalypse of St. John. Incidentally, this album tends to fall into the same sort of traps as Aphrodite's Child's 666, another concept album relating the Apocalyptic saga. "Opening of the Sealed Book" definitely sounds like it could have been on that album, basically a simple guitar riff droning on behind an excessive relation of endless Biblical imagery. 

The opener, "Dance on a Volcano," starts out awesome, with a heavy organ/guitar riff blazing beneath the aforementioned Plant-style vocals. Unfortunately, the song loses itself midway through with some random acoustic guitar diddling. "Dead Life" is one of the better tracks, a heavier song playing towards the group's strengths, and keeping the experimental portions somewhat interesting. The album picks up big time towards the end with "I Try to Change This World" and "Tititsh Child," which features some intense guitar solos, heavy riffs and cool vocals, as well as some great organ playing on the latter. It would have been great if the whole album sounded like this,where fans of complex progressive rock go scratching their heads wondering what the big deal is. It's underground rock, baby. Nothing more than simple blues rock motifs, gruff vocals, pounding drums, organ shards, and the cherry topping is the long stretches of fuzzy guitar solos, all played And since it's on Brain, naturally Conny Plank was at the controls, so you can expect all sorts of echoing, phasing, and every other studio trick that just plain sounds cool. 

Dominated sound by ecclesiastical organ Hammond played by Eberhard Krietsch and the spaced out acid guitars of Ali Claudi and Ad Ochel, the lyrics are suitably bizarre, concerning life, death, religion and visionary dreams with a lot of quoting from the Book of Revelation by English singer Peter Otten. Bassist Mike Eulner and drummer Helmut Pohl anchor some tasty psychedelic jams that are played in the fashion that only the best Krautrockers can pull off. So while not necessarily memorable, it is the kind of album that sounds great while playing it. And really, isn't that when it matters most? So strap your seat belt on, plug in your air guitar, and get ready to jam. This is a brilliant mix of psychedelic and progressive rock that never gets raunchy or heavy. Head-melting electric guitars, Hammond organ freakouts mingling with quiet acoustic passages and weird lyrics make this an album that should be in any Krautrock fan's collection.
by Adamus67
Tracks
1. Dance On A Volcano (Ad Ochel) - 9:59
2. Opening Of The Sealed Book (Taditional adpt. Conny Plank) - 5:45
3. Dead Life (Ali Claudi) - 3:57
4. I Turned To See Whose Voice It Was (Taditional adpt. Conny Plank) - 7:48
5. I Try To Change This World (Peter Otten) - 9:32
6. Titish Child (+Ad Ochel) - 6:59
Music written by Eberhard Krietsch, Helmuth Pohl, Mike Eulner, Ad Ochel, Ali Claudi, Peter Otten, Lyrics as stated

Gomorrha
*Eberhard Krietsch - Organ, Piano
*Helmuth Pohl - Drums
*Mike Eulner - Bass
*Ad Ochel - Guitar
*Ali Claudi - Guitar
*Peter Otten - Vocals

1970-71  Gomorrha - Trauma (2013 Remaster)

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Monday, March 16, 2026

Canned Heat - Canned Heat (1967 us, stunning blues rock, 2017 japan SHM remaster and xpanded)



This debut long-player from Canned Heat was issued shortly after their appearance at the Monterey International Pop Music Festival. That performance, for all intents and purposes, was not only the combo's entrée into the burgeoning underground rock & roll scene, but was also among the first high-profile showcases to garner national and international attention. The quartet featured on Canned Heat (1967) includes the unique personnel of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Bob "The Bear" Hite (vocals), and Frank Cook (drums). Cook's tenure with the Heat would be exceedingly brief, however, as he was replaced by Aldolfo "Fido" Dela Parra (drums) a few months later. 

Although their blues might have suggested that the aggregate hailed from the likes of Chicago or Memphis, Canned Heat actually formed in the Los Angeles suburb of Topanga Canyon, where they were contemporaries of other up-and-coming rockers Spirit and Kaleidoscope. Wilson and Hite's almost scholarly approach created a unique synthesis when blended with the band's amplified rock & roll. After their initial studio sessions in April of 1967 produced favorable demos, they returned several weeks later to begin work in earnest on this platter. The dearth of original material on Canned Heat was less of a result of any songwriting deficiencies, but rather exemplifies their authentic renderings of traditionals such as the open-throttled boogie of "Rollin' and Tumblin'" -- which is rightfully recognized as having been derived from the Muddy Waters arrangement. Similarly, a rousing reading of Robert Johnson's "Dust My Broom" is co-credited to Elmore James. 

Blues aficionados will undoubtedly notice references to a pair of Howlin' Wolf classics -- "Smokestack Lightning" as well as "I Asked for Water (She Gave Me Gasoline)" -- as part of the rambling "Road Song." While decidedly more obscure to the casual listener, Eddie "Guitar Slim" Jones "Story of My Life" is both a high point on this recording, as well as one of the fiercest renditions ever committed to tape. Until a thorough overhaul of Canned Heat's catalog materializes, this title can be found on the Canned Heat/Boogie With Canned Heat (2003) two-fer that couples this title with their 1968 follow-up. 
by Lindsay Planer
Tracks
1. Rollin’ And Tumblin’ (McKinley Morganfield) - 3:11
2. Bullfrog Blues (Frank Cook, Robert Hite, Samuel L. Taylor, Henry Vestine, Alan Wilson) - 2:20
3. Evil Is Going On (Willie Dixon) - 2:24
4. Goin’ Down Slow (James B. Oden) - 3:49
5. Catfish Blues (Frank Cook, Robert Hite, Samuel L. Taylor, Henry Vestine, Alan Wilson) - 6:49
6. Dust My Broom (Elmore James) - 3:18
7. Help Me (Ralph Bass, Sonny Boy Williamson) - 3:12
8. Big Road Blues (Frank Cook, Robert Hite, Samuel L. Taylor, Henry Vestine, Alan Wilson) - 3:16
9. The Story Of My Life (Eddie "Guitar Slim" Jones) - 3:43
10.The Road Song (Frank Cook, Robert Hite, Samuel L. Taylor, Henry Vestine, Alan Wilson) - 3:16
11.Rich Woman (Frank Cook, Robert Hite, Samuel L. Taylor, Henry Vestine, Alan Wilson) - 3:04
12.On The Road Again (Alternate Take) (Floyd Jones, Alan Wilson) - 7:06
13.Nine Below Zero (Sonny Boy Williamson) - 4:10
14.TV Mama (Lou Willie Turner) - 6:22
Bonus Tracks 12-14

Canned Heat
*Bob Hite - Lead Vocals 
*Alan Wilson - Rhythm, Slide Guitar, Lead Vocals (Track 7), Harmonica
*Henry Vestine - Lead Guitar
*Larry Taylor - Bass
*Frank Cook - Drums


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Thursday, March 12, 2026

rep>>> Water - The Second Day (1975 dutch, splendid soft progressive rock with jazzy soul tinges)



Judging from their debut "The Second Day", the Dutch six-piece Water played a brand of '70s rock where the only musical references I can think of perhaps would be Birth Control's "This Song is Just for You" from their "Plastic People" album, and some Eela Craig. The guitarist has an often-funky edge to his playing, and dominated the band's well thought-out sound together with flute, harmonica and keyboards (mostly clavinet, el-piano and string-synths). The vocals are both male and female, another element that gave the band a varied and interesting sound. 

The material on "The Second Day" is fairly song-based, but still with sophisticated and intriguing structures. The opener "Holiday (Hideaway)" is a bit more folk-influenced than the rest of the album, and starts with a nice and rural melody played on flute before the wistful verse appears. The chorus has two different melodies upon each other, and shows off the band's rich vocal harmonies. "After the Ball" is one of the best on the record, featuring good melodies, funky rhythms, nice combination of the flute and harmonica and has the same kind of interesting compositional structure as the opener. 

The country-influenced "You're Older Now" is probably the weakest song here, but quickly forgotten when the first side is closed with the nice "Night About Four" that reminds me slightly of a funkier and more soul-inflected version of the British band Samurai. The second side rocks a bit harder, as both "All Around You Tumble" and "Follow Me" features quite loud and rocking riffs, but still avoid being straightforward rockers. 

The atmospheric "Come and See the Day" is a pleasant song where their wide use of harmonica really comes to full effect. But "Okinavasta" is again a more upbeat and rocking song, but now with a Latin-flavoured chorus. The title-track is a short ballad where the band enters more symphonic realms, and would not been out of place on an Earth and Fire album. "The Second Day" is an interesting and often unique-sounding record that should appeal to many fans of the '70s.
Vintage-prog 
Tracks
1. Holiday Hideaway - 4:18  
2. After The Ball - 5:02  
3. You're Older Now (Ron Westerbeek, John Le Grand) - 5:01  
4. Night About Four (Ron Westerbeek, Boris Farberow) - 5:13  
5. All Around You Tumble - 4:45  
6. Come And See The Day (Abdre Bleeker, Ron Westerbeek) - 4:18  
7. Okinavasta (Ron Westerbeek, Jan Van Dijk) - 3:52  
8. Follow Me - 4:57  
9. The Second Day (Jan Van Dijk, Ron Westerbeek, Debra Wokaty) - 3:36
Songs 1,2,5,8 written by Ron Westerbeek, Abdre Bleeker, Debra Wokaty

Water
*Boris Farberow - Bass, Vocals
*Abdre Bleeker - Guitar
*Jan Van Dijk - Flute, Guitar, Vibraphone, Vocals
*Pieter Voogt - Percussion, Drums
*Ron Westerbeek - Organ, Vocals, Piano
*Debra Wokaty - Vocals
*John Lagrand - Harmonica

1976  Water - Damburst (2nd Album)

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Wednesday, March 11, 2026

rep>>> Water - Damburst (1976 dutch, beautiful prog rock with jazz drops)



Damburst seems to be some sort of concept album about a struggle between man and nature. The band that made the album is named Water, and they include among their personnel ex-members of the old 60's proto-prog band Sandy Coast.

Also, they include a harmonica player, unusual for a prog band. The gentle flute playing, churning string-synths and sustain-filled guitar-solos on tracks like "Sail away" remind me mostly of Camel.

There are also some more mainstream rock pieces, but they aren't really offensive enough to make me skip them, though most of them aren't especially exciting or distinctive. The vocals are occasionally memorable, resembling Roger Daltrey on "Damburst II" 
by Mike Ohman
Tracks
1. What Happened To Your Dreams - 3:15
2. Whisper Of Doom - 1:02
3. Damburst I - 2:10
4. Feeling's Real - 5:52
5. Up The Ladder - 4:45
6. Message - Don't Break Me - 4:55
7. Aggression - 2:49
8. Water - 3:51
9. Sail Away - 5:09
10.Last Seagull - 4:21
11.Damburst II - 3:10
12.It's Over - 4:43
Music written by Allaert Troost, Boris Farberow, Jan Van Dijk,  Martin Van Hilst, Ron Westerbeek, all Lyrics by Ron Westerbeek

Water
*Boris Farberow - Bass, Vocals
*Allaert Troost - Guitar, Slide Guitar
*Jan Van Dijk - Flute, Guitar, Vibraphone, Vocals
*Martin Van Hilst - Percussion, Drums
*Ron Westerbeek - Organ, Vocals, Piano

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Tuesday, March 10, 2026

Patto - Monkey's Bum (1973 uk, excellent jazzy fusion rock)



In the Spring of 1973, the band headed back to the studios to record their fourth album titled "Monkey's Bum".  Muff wanted the band to take a different approach on this record and promoted the idea of emphasizing Mike's songs, which were more commercial and accessible than the material on their previous albums.  Their previous albums had always focused on tracks written by Ollie or jointly by Ollie and Mike.  The idea of shifting the focus to Mike's material created conflict between Ollie and the rest of the band.  There was also frustration due to the lack of success after years of trying hard.

During the sessions, Ollie refused to put a lot of creative effort into some of the songs, particularly those written by Mike.  Ollie decided to quit the band and left an incomplete album in his wake.  Rather than throw in the towel, Patto decided to replace Ollie's less inspired bits with sax solos from Mel Collins and completed the album.

Island, however, was not interested in releasing an album without a band to tour and promote it.  

John stated in a 1992 interview in the Ptolemaic Terrascope magazine that it was only Patto album he wasn't happy with.  The band had lost the fun.  "I liked some of it, but we were trying to write songs - Patto thought he was Randy Newman."
Patto-fan 
Tracks
1. My Days Are Numbered (Mike Patto, Ollie Halsall) - 5:11
2. The Dream I Had Last Night (Randy Newman) - 1:50
3. Sugar Cube 1967 (Mike Patto) - 4:06
4. I Need You (Ollie Halsall) - 3:28
5. Good Friend (Mike Patto) - 3:43
6. Get Up And Do It (Mike Patto) - 3:08
7. Sausages (Ollie Halsall) - 4:12
8. Hedyob (Mike Patto, Ollie Halsall) - 5:08
9. Pick Up The Phone (Mike Patto) - 3:12
10.General Custer (Mike Patto, Ollie Halsall) - 3:19

Patto
*Mike Patto - Lead Vocals, Electric Piano
*Peter Ollie Halsall - Guitar, Keyboards
*Clive Griffiths - Bass
*John Halsey - Drums, Percussion


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Sunday, March 8, 2026

rep>> J.J. Cale - In Session At The Paradise Los Angeles Featuring Leon Russell (1979 us, excellent classic blues roots rock, 2003 remaster)



Almost like a fly on the wall, we are witness to the young J.J. Cale and Leon Russell, stretching out among friends in Russell’s Paradise Studios in Los Angeles, in June of 1979. In a 21 song set, they are having the time of their lives, and we are left to watch in wonder. Joining Cale and Russell are his wife, Christine Lakeland, along with Marty Green, Nick Rather, Jimmy Karstein, Bill Boatman and Ambrose Campbell.
by Keith Hannaleck

There isn't a bad track on this album. The playing is way more muscular than on his records. The band just lays right into it from the opening track Nowhere to Run and never lets up. You will not believe the bass pouring out of your speakers. The beat is big thumping tremendous and propels the whole album. The drums and guitars are crisp. The solos are tasty. The mood is very relaxed and the band is having a great time. 

The standout track for me is Going Down  where they, ahem, take it up a notch. The energy on that track is just phenomenal, which is saying something since we've already heard the band in a rip-snorting version of JJ's signature song Cocaine. Studio owner, Leon Russell, lets it rip on piano and kinda snarls out of the side of his mouth. Then the saxes take over with a wailing chorus the whole backed up with fer-ro-cious rhythm guitar. It ain't all up-tempo though, JJ can sing a ballad with the best of ‘em viz Sensitive Kind.
by Ray Chowkwanyun
Tracks
1. Nowhere To Run - 2:43
2. Cocaine - 2:58
3. Ten Easy Lessons - 4:20
4. Sensitive Kind - 3:33
5. Hands Off Her - 3:39
6. Louisiana - 2:38
7. Going Down (Don Nix) - 5:14
8. Roll On - 2:51
9. No Sweat - 3:13
10.Crazy Mama - 3:13
11.Fate Of A Fool - 2:55
12.Boilin' Pot - 3:36
13.After Midnight - 4:13
14.Same Old Blues - 2:55
15.Don't Cry Sister - 3:05
16.Call Me The Breeze - 3:22
17.Ever Lovin' Woman - 2:34
18.Katy Kool Lady - 2:39
19.Lies - 3:19
20.Don't Wait (Christine Lakeland Cale) - 3:31
All songs written by J.J. Cale except where stated

Personnel
*J.J. Cale - Guitar, Vocals
*Leon Russell - Piano, Organ, Vocals
*Christine Lakeland - Guitar, Harmonica, Backing Vocals
*Larry Bell - Piano
*Marty Grebb - Horn
*Nick Rather - Bass
*Jimmy Karstein - Percussion, Drums
*Bill Boatman - Guitar
*Ambrose Campbell - Percussion, Drums
*Pat ‘Taco’ Ryan - Brass
*Shamsi Sarumi - Percussion

Related Acts
1968  The Asylum Choir - Look Inside (2007 remaster)

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Saturday, March 7, 2026

rep>>> Batteaux - Batteaux (1973 us, excellent free soul aqua space groover, 2002 japan remaster)



A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which their father worked on a dolphin-human communication project in Hawaii, hence the infamous design.
Be-With
Tracks
1. Tell Her She's Lovely (David Batteau) - 2:38
2. Living's Worth Loving (David Batteau) - 3:13
3. Wake Me In The Morning (Robin Batteau) - 2:42
4. Mirror (David Batteau) - 2:58
5. Joe Arnold (David Batteau) - 3:15
6. Dig Up The Love (David Batteau) - 2:50
7. Katy (Robin Batteau) - 2:00
8. Lady Of The Lake (David Batteau, Henry Lewy, Stuart Alan Love) - 2:23
9. Treat Me Right, Treat Me Wrong (Robin Batteau) - 2:47
10.High Tide (David Batteau) - 3:51
11.Wishing My Father (Robin Batteau) - 1:15
12.Maybe I'll Run Away (David Batteau) - 2:59

Personnel
*Robin Batteau - Lead Vocals, Violin, Guitar
*David Batteau - Lead Vocals, Guitar, Melodica, Cello
*Doug McClaran - Keyboards
*Peter Freiberger - Bass
*Andy Newmark - Drums
*John Guerin - Drums
*Tom Scott - Flute
*Milt Holland - Percussion
*Jackie Ward, Robin Lane, Sally Stevens, Shelby Flint - Backing Vocals

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Thursday, March 5, 2026

rep>>> The Corporation - The Corporation (1969 us, splendid garage psych rock)



The Corporation formed in 1968 at the Galaxy Club, located in Cudahy, WI, a southeastern suburb of Milwaukee. Some months later, they were discovered by Capitol Records executives while playing at another local club called The Bastille. Members included Kenneth Berdoll (bass, vocals), Patrick McCarthy (organ, trombone), Daniel Pell (vocals), Gerard Smth (lead guitar, vocals) and brothers John Kondos (guitar, flute, harp, piano, vocals) and Nicholas Kondos (drums, vocals).

Their first, self-titled LP was released in early 1969 and contains some great musicianship and original melodies. Highlights on the album include 'Ring That Bell', 'Smile' and the 19½ minute psychedelicized version of the John Coltrane instrumental 'India'. Although the album was a smash on the local Milwaukee charts, peaking at #3, it only reached #197 nationally. Even though the record ended up not being a huge commercial success, the band continued to write and record with hopes of a follow up LP on Capitol.
Tracks
1.I Want to Get out of my Grave (John Kondos, Nicholas Kondos) - 5:31
2.Ring That Bell (John Kondos, Nicholas Kondos) - 4:52
3.Smile (John Kondos, Patrick McCarthy) - 2:51
4.Highway (John Kondos, Gerard Jon Smith) - 3:04
5.Drifting (John Kondos) - 4:05
6.India (John Coltrane) - 19:33

The Corporation
*Kenneth Berdoll - Bass, Vocals
*John Kondos - Guitar, Keyboards, Fute
*Nick Kondos - Drums, Vocals
*Patrick McCarthy - Keyboards, Trombone
*Daniel Vincent Peil - Vocals
*Gerard Jon Smith - Lead Guitar, Vocals

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