Plain and Fancy

1972 Crazy Horse - At Crooked Lake (Retro World 2013)
1978 Crazy Horse - Crazy Moon (Remaster & Xpanded)

Sunday, September 20, 2026

rep>>> Crazy Horse - Scratchy • Complete Recordings (1962-73 us, exceptional country rock, 2005 double disc issue)

Crazy Horse’s 1971 self-titled debut, with Danny Whitten, Nils Lofgren and Jack Nitzsche, remains a roots-inflected, heavy-rock touchstone, boasting a uniformly strong set balancing mournful ballads and left-field rockers (notably, an ode to erectile dysfunction and a party stomper about scoring heroin). Just a year later, the follow-up Loose found Talbot and Molina fronted by an anonymous collection of minor leaguers, delivering limp country-rock several notches below the not exactly hearty CSN/Eagles standard. Rhino’s “limited edition” supplements the official releases with the usual oddments and arcana, but given the original lineup’s too-brief run, these barrel scrapings inspire a benevolent indulgence. The simulated innocence of the early-’60s close harmony and Brill Building knockoffs that close the set is sweet enough to induce tears.

by Scott Manzler

Neil Young may not ever allow his Reprise outtakes to be released, but that doesn't mean there's not a lot of equally cool stuff from an orbit near his that can't be enjoyed -- and Rhino Handmade has hit a mother lode with this double-CD set, which offers a lot more than even dedicated Crazy Horse fans may expect. Thanks to their convoluted membership history and a series of label changes, Crazy Horse had one of the stranger release histories of almost any '70s band -- their stuff and, to some extent, their sound are all over the map. Scratchy:

The Complete Reprise Recordings makes a strong case, however, for the primacy of the first lineup and their work on Reprise, assembling all of their released work for the label plus the equivalent of an album's worth of outtakes and radio spots, and two tracks by Danny & the Memories, the group that preceded the formation of Crazy Horse by five years or so. The group's self-titled debut album has bounced in and out of print for the last 34 years, but here it's been remastered with the kind of attention that makes it sound like one is hearing it for the first time -- the close sound of the acoustic guitars on "I Don't Want to Talk About It" and the roaring electric instruments on "Gone Dead Train," "Dance, Dance, Dance," and "Downtown" are impressive to these ears, the harder-rocking numbers now displaying the raw power and impact that the group exuded on-stage; the remastering job has undone the inevitable flattening process that went into the vinyl release, so that Billy Talbot's bass, in particular, now gets a killer showcase, and Jack Nitzsche's piano on "Carolay" gets as much play as the massed acoustic guitars that carry the rhythm figure at the center of the song.

What's more, the crispness of the sound has brought the singing out in vivid detail -- if the LP could have sounded this bracing and powerful, this band might well have seen the success it deserved. The second half of the first CD is filled out with the tracks off of their second album, Loose; thanks to the ensuing lineup changes that took place, they're a bit of a letdown after the 11 gems from Crazy Horse, though not bad on their own terms -- the group plays from less melodic strength and raw inventiveness, but make up for it with a lot of enthusiasm and positive vibes in their sound, especially on the acoustic numbers such as the gorgeous "One Thing I Love" or "All Alone Now."

The real treat, however, is the second disc, which opens with a string of extraordinary outtakes, including the title track -- the outtakes sound incredible and feature exceptional playing, and "Scratchy" by itself is worth the price of admission, 12 minutes of stunning electric interaction; and it's followed by the gorgeous acoustic piece "Dear Song Singer," plus a long version of "Downtown"; the first Danny & the Memories cut, "Can't Help Loving That Girl," was, in its own time, a throwback to early-'60s doo wop style, while the second, "Don't Go," was much more contemporary circa 1965. The set is attractively designed, with separate pockets for each disc and a beautifully designed booklet with extensive annotation, all in a very practical slipcase-style package. It's a bargain for any fan of this band or any of its members, and worth tracking down.

by Bruce Eder

Tracks

Disc 1 "Crazy Horse" 1971

1. Gone Dead Train (Russ Titelman, Jack Nitzsche) - 4:10

2. Dance, Dance, Dance (Neil Young) - 2:13

3. Look At All The Things (Danny Whitten) - 3:14

4. Beggars Day (Nils Lofgren) - 4:33

5. I Don't Want To Talk About It (Danny Whitten) - 5:20

6. Downtown (Danny Whitten, Neil Young) - 3:16

7. Carolay (Jack Nitzsche, Russ Titelman) - 2:53

8. Dirty, Dirty (Danny Whitten) - 3:33

9. Nobody (Nils Lofgren) - 2:39

10.I'll Get By (Danny Whitten) - 3:08

11.Crow Jane Lady (Jack Nitzsche) - 4:27

"Loose" 1972

12.Hit And Run (John Blanton) - 2:41

13.Try (George Whitsell) - 3:18

14.One Thing I Love (Greg Leroy) - 2:37

15.Move (George Whitsell) - 3:13

16.All Alone Now (George Whitsell) - 2:46

17.All The Little Things (Greg Leroy) - 5:01

18.Fair Weather Friend (Greg Leroy) - 2:41

19.You Won't Miss Me (George Whitsell) - 2:47

20.Going Home (Greg Leroy) - 2:50

21.Don't Believe It (George Whitsell) - 3:07

22.Kind Of Woman (John Blanton) - 4:25

23.One Sided Love (George Whitsell) - 3:12

24.And She Won't Even Blow Smoke In My Direction (George Whitsell) - 1:21

Disc 2
1. Dirty, Dirty (Alternate Version) (Danny Whitten) - 3:56
2. Scratchy (Takes 1-3) (Unknown) - 12:12
3. Dear Song Singer (Unknown) - 3:10
4. Downtown (Unedited Long Version) (Danny Whitten, Neil Young) - 10:42
5. Susie's Song (Takes 1-5) (Nils Lofgren) - 6:13
6. When You Dance You Can Really Love (Neil Young) - 2:52
7. Radio Spot - 1:07
8. Danny And The Memories - Can't Help Loveing That Girl (Jerome Kern, Oscar Hammerstein II) - 2:03
9. Danny And The Memories - Don't Go (Danny Whitten) - 1:59
Tracks 1-5 from "Crazy Horse" sessions
Track 6 recorded January 1973
Track 7 Reprise 1971
Tracks 8-9 Danny And The Memories Valiant single 1962

1968 The Rockets - The Rockets

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rep>>> Waterloo - First Battle (1970-72 belgium, wispy psych folk with organ heavy bombast, extra tracks edition)

There’s an old gag particularly prevalent in Britain that goes along the lines of “I bet you can’t name five famous Belgians”. In fact this small bilingual, bicultural European country has produced more celebrities than you’d think: Gérard Mercator, designer of the universal map projection that bears his name; Adolphe Sax, who invented the saxophone; and Georges Simenon, creator of classic fictional detective Maigret, are just three. Perhaps thinner on the ground are famous Belgian musicians: poetic songwriter Jacques Brel is certainly the best known, and then there’s Jean “Toots” Thielemans who uniquely plays jazz on chromatic harmonica . . . and of course Plastic Bertrand.

Prior to 1980 or thereabouts, home-grown Belgian rock bands were certainly a select species, at least in terms of penetration outside their homeland and France. Waterloo was a fine, sturdy prog-rock outfit in the English mould of the late 1960s, coming together in ’69 with members from two just-folded Belgian pop-psych groups, releasing their sole album the following year and folding themselves about a year later after precious little commercial success. Their musical pedigree was beyond doubt; organist Marc Malyster was a conservatoire-trained keyboard player, whilst lead vocalist/flautist Dirk Bogaert had been an operatic boy soprano and drummer Jacky Mauer was steeped in jazz. With the workmanlike rock chops of guitarist Gus Roan who also doubled on flute, and bass guitarist Jean-Paul Janssens, they covered all the bases.

First Battle was recorded in England with all the lyrics in English; given this plus the band’s propensity for driving three-four rhythms and breathy flute accompaniments, it’s no surprise they frequently recall Mick Abrahams-period Jethro Tull. However Malyster’s organ work marks them out from the Brit combo, favouring a churchy drawbar setting on his Hammond and incorporating plenty of Bach-like touches in the style of his main rock influence, Keith Emerson.

The album offers nine tightly-composed, tightly-performed songs, none breaching the four-minute barrier, all with tuneful pop sensibility and lyrical hooks and featuring fine harmony vocals and terse, pithy solos. Only on the ten-minute closing opus “Diary Of An Old Man” is each player is given the chance to feature more extensively, with excellent expositions by Bogaert on simultaneous flute and scat vocal and by Roan who finally gets to really stretch out on guitar.

Pick of the other tracks are the Tullish “Why May I Not Know” which sets out the band’s stall for the following numbers; the jazzy, socially aware “Black Born Children” which thematically if not musically recalls the Nice’s “Daddy, Where Did I Come From”; and the splendid classically-harmonised riff of “Life” which also features a vocal dialogue, fruity flute obbligati and muscular bass guitar work. In all honesty there are no weak tracks anywhere on this album. The record was cut at an unidentified Soho eight-track studio under producer David McKay (who also masterminded Belgium’s other high-profile group of the day, Wallace Collection) and the sound quality, at least on the CD reissue, is exemplary, being powerful and clean with each lead instrument deftly forefronted.

Tensions within the band must have surfaced soon after the recording, because Janssens was gone by July ’70 and Malyster bailed soon after. Replacements were found but the tight, virtuosic sound of the original lineup was never emulated; the band struggled on for another year or so, cutting a couple of singles that strangely reverted to a pop-psych template. These were included as bonus cuts on the first (vinyl) reissue of First Battle by French musicians’ cooperative label Musea, now long out of print, and also appear on the excellent CD reissue by Spanish imprint Guerszen which is still available. Devotees of the Nice, Jethro Tull, Deep Purple and other early progressive rockers will find a lot to like on this collection.

by Len Liechti

Tracks
1. Meet Again - 3:02
2. Why May I Not Know - 3:06
3. Tumblin' Jack - 2:34
4. Black Born Children - 3:42
5. Life - 2:45
6. Problems - 2:58
7. Why Don't You Follow Me? - 3:30
8. Guy In The Neighbourhood - 2:54
9. Lonesome Road - 2:48
10. Diary Of An Old Man - 10:58
11. Plastic Mind - 4:25
12. Smile - 3:50
13. I Can't Live With Nobody But You - 3:41
14. The Youngest Day - 7:33
15. Bobo's Dream - 4:58
16. Bad Time - 3:19
Bonus Tracks 11-16

Waterloo
*Dirk Bogaert - Lead Vocals, Flute
*Gus Roan - Guitar
*Jacky Mauer - Drums
*Marc Malyster - Organ (Tracks 1-12)
*Jean-Paul Janssens - Bass (Tracks 1-12)
*Frank Wuyts - Organ (Tracks 13 To 16)
*Jean-Paul Musette - Bass (Tracks 13 To 16)
*John Van Rymenant - Saxophone (Tracks 13 To 16)

Saturday, September 19, 2026

rep>>> Hush - The Best Of (1973-77 australia, strong glam boogie classic rock, 2000 remaster)

History doesn't always show the full story, and this is certainly the case with Hush. The band had it's beginnings in 1970 and continued in various forms until the end of the 70s, with 1975being their most successful time. Their biggest hit was Bony Moronie, an energetic cover of the Larry Williams US hit from eighteen years earlier, and it was the one of the ten bestselling singles in Australia during that year. No mean feat when you consider that Hush were competing for chart space with the likes of Abba and The Bay City Rollers, plus the local dynamic duo of Sherbet and Skyhooks, the only Australian acts to do better than the this Sydney based quartet. Lead singer and founder Keith Lamb was a charismatic front man, demanding attention from his audiences, and Hush were nothing like any of the other home grown rock bands. They were rockers, no doubt, but they had their own persona. Hush is probably the closest Australia ever got to having its own glam rock band.

For several years the band decked themselves in tight fitting satin pants (flares of course!) and shirts, scarfs and sequins, and the tallest platform shoes, looking like they had just done a stint backing David Bowie or Gary Glitter, but the sound was pure rock and roll. Across a chart career spanning five years they scored ten Top 100singles, all of which are included here, and six Top 100 albums.

By 1978 the band had split up. Whether it was the fact that the group could not endure another line up change, or that their biggest hits were cover versions (Bony Moronie was followed into the Top 10 in 1975 by their creditable version of Dave Clark Five's Glad All Over), the spark of Hush had disappeared. Keith Lamb continued to front bands for a few more years (the Keith Lamb Band and Airport were two of them) and lead guitarist Les Gock has set up a successful production company.

As one of their songs states, nothing stays the same forever, but what remains are fine examples of good time Australian rock and roll songs from the music scene of the 70s, which was always exciting and interesting.

by Steve Scanes

Tracks

1. Bony Moronie (Larry Williams) - 3:11

2. Glad All Over (Dave Clark, Mike Smith) - 3:19

3. Get Rocked - 3:27

4. Caroline - 4:21

5. Rough Tough 'n' Ready - 3:47

6. Rockin' Gypsy King - 5:05

7. Walking - 3:19

8. C'mon We're Taking Over - 5:04

9. Too Young To Know (Les Gock, Lamb, Robie Porter) - 3:17

10.The Exit - 3:23

11.Lies - 3:26

12.You Really Got A Hold On Me - 2:59

13.Sunday - 3:21

14.Nunchuka Man - 3:27

18.Nothing Stays The Same Forever - 6:06

16.9-5'er - 4:32

17.Messin' Around - 4:12

18.China Doll - 3:45

All songs by Les Gock, Keith Lamb except where stated

Hush

*Keith Lamb - Lead Vocals (1971-77, 1979)

*Robin Jackson - Lead Guitar (1971-72)

*John Koutts - Drums (1971-72)

*Rick Lum - Bass Guitar (1971-76)

*Chris Nolan - Keyboards (1971-72)

*Les Gock - Lead Guitar (1972-77)

*Chris Pailthorpe - Drums (1972-77)

*Jacques De Jongh - Rhythm Guitar, Bass Guitar (1976-77)

rep>>> Earth Quake - Purple The A&M Years / Earth Quake / Why Don't You Try Me (1971-72 us, good power pop rock, 2003 remaster)

Formed 1966 and initially called Purple Earth Quake, this Berkeley, California-based band was not only a permanent presence on the Bay Area music scene for more than a decade, but they gathered loyal followings throughout scattered pockets of the world and received a bit of airplay as well. During their lifespan, Earth Quake cut five studio albums, along with a live effort.

The band’s debut disc, simply dubbed Earth Quake, set the stage and standard for subsequent collections. Punchy hard rock, occasionally escorted by soul and funk trimmings, personified the group’s sound and style. Competent yet earthy, the band remained dedicated to their roots, but were wise enough to filter fresh fragrances into their material to prevent them from coming off as slavish imitators.

Here on the group’s second album, Why Don’t You Try Me? (A&M Records), they pursue a balance of harmony and heft with positive results.Rolling with rapid rhythms, “Train Ride,” which is perhaps the strongest song on the disc, contains a torrent of towering choruses and a run of slashing Jimmy Page influenced licks that really hammer the point home. The burly buzz of “Live And Let Live” additionally reveals a Led Zeppelin fixation before climaxing into a funky Isley Brothers-flavored jam, and “Bright Lights” clocks in as just one example of Earth Quake’s knack for laying down the kind of gritty white man blues heard on certain Small Faces and Humble Pie recordings.

Released as a single, “I Get The Sweetest Feeling” definitely does carry a sweet feeling. Busy horns, honking with happiness, carpeted with a sparkling luster guide the program on the merry Motown-inspired missive. Stationed in a somewhat similar file is “Riding High On Love,” which skips and shuffles to a big and bubbly soul pop beat.

Although Earth Quake often dipped their toes into commercial pop territory, hard rock seemed to be their primary asset. Equipped with the power of the Who, boasting the brawn of Deep Purple, and armed with a surplus of inviting hooks and breaks, the group smoked like a city on fire when cranking the heavy stuff.

by Beverly Paterson

Tracks
1. Tumbleweed (Robbie Dunbar, Stan Miller) - 2:55
2. Distance Between (Greg Boykin, Robbie Dunbar) - 2:57
3. Summer Song (Robbie Dunbar) - 3:13
4. Things (Greg Boykin, Robbie Dunbar) - 9:21
5. Guarding You (Stan Miller, Steve Nelson) - 4:07
6. Wind Keeps Blowing (Robbie Dunbar) - 2:58
7. Look Out Your Window (Robbie Dunbar, Greg Boykin, Stan Miller, John Doukas) - 3:04
8. Blurry Eyes (John Doukas, Robbie Dunbar) - 4:08
9. Tickler (Robbie Dunbar) - 4:19
10.Bright Lights (John Doukas, Robbie Dunbar) - 3:27
11.Light Before The Blindman's Eyes (Rose Bimler, Robbie Dunbar) - 3:31
12.I Get The Sweetest Feeling (Alicia Evelyn, Van McCoy) - 3:41
13.Trainride (Robbie Dunbar) - 6:28
14.See What My Love Can Do (Robbie Dunbar, John Doukas) - 4:04
15.Why Don't You Try Me? (Billy Young) - 3:09
16.Riding High On Love (Edwin Starr, John W. Bristol) - 2:38
17.Live And Let Live (Robbie Dunbar, John Doukas) - 5:41
Tracks 1-9 from the 1971 album "Earth Quake"
Tracks 10-17 from the 1972 album "Why Don't You Try Me?"

Earth Quake
*Robbie Dunbar - Guitar, Electric Piano, Vocals
*John Doukas - Vocals
*Stan Miller - Bass, Vocals
*Steve Nelson - Drums, Vocals
With
*Pete Sears - Keyboards
*Lenny Pickette - Saxes
*Jim Horn - Saxes
*Chuck Findley - Trumpet

Related Acts
1975-93 Various Artists - Beserkley's Best
1976-2000 Various Artists - Beserkley Chartbusters / Beserk "Alive Over Germany"

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Friday, September 18, 2026

rep>>> Stepps - Waltz For Tiger Joe (1976 australia, superb canterbury-like jazz rock, stable rhythm section, supple guitar sound, flowing electric piano, 2022 korean remaster)

Stepps was a band from the Australian 70s scene and closely related to the group Snakes Alive, who enjoyed success among collectors due to the fact that only 50 copies of the record were pressed. At the time, several bands managed to record their music but did not find a record deal for distribution, remaining published only as private pressings. As a result of collectors’ interest in Snakes Alive, the Stepps‘ record entitled “Waltz For Tiger Joe” was reissued on November 01, 2022 via the South Korean label Merry-Go-Round Records. Compared to the Snake Alive lineup, the sound evolved by incorporating elements of British Progressive Rock with marked references to the Canterbury Scene. The 1976 version contains 8 tracks, while the reissue adds 4 Bonus Tracks from the recordings of the previous lineup simply called Steps, entirely instrumental as Bernie Morgan had not yet joined the group. It should be noted that the most significant “Charred Ducks” was also included as a Bonus Track on the Snakes Alive album.

The album opens with “Kolour Kode,” which immediately plunges us into the Canterbury-esque atmosphere of the band’s sound with elaborate textures intertwined with Bernie’s dynamic vocals. The song’s structure is complex, characterised by continuous tempo changes with frenetic accelerations and load-bearing bass lines on which melodies and keyboard phrasing are drawn. A very well-structured mixture of distinctly Jazzy Progressive traits, with all artists carving out their own space to enhance their individual technique put at the service of the band’s sound. Softer, deeper melodies and a more jazzy atmosphere characterise “If I Knew,” where from the very first bars Bernie’s sweet voice comes to the fore. Delicate arpeggios and a Jazz rhythm section create the structure of the song, which evolves into a continuous musical crescendo enriched by tempo changes and forays into the Fusion sounds of the 70s, with a Prog touch provided by the keyboards.

A track that is both energetic and technical, alternating between sung passages and instrumental passages with virtuoso guitar and keyboard solo inserts. “Kryptonite” opens with percussion, lyrics and a deep bass line, moving slowly and creating an enveloping atmosphere with mystical traits. With a sudden change the track accelerates and returns to the band’s characteristic sounds with a Jazz Prog with Canterbury-esque traits loaded with groove and virtuoso keyboard solos that accompany us for most of the track. In the finale there is room for a bass solo that takes us to the finale. Pulled and intricately structured at times, “Make Me” features a killer bassline that gives body to the song. The drumming is pulled and elaborate and is enriched by continuous tempo changes, while the guitars and keyboards blend with Bernie‘s dynamic vocals. Solo inserts, virtuosity and more Progressive openings alternate with Jazz sounds and lead into Fusion, an energetic and engaging track and at the same time very elborated and technical. Sweet piano notes and a softer, more delicate vocal open “Flowers,” showing another facet of the band’s sound. A softer, dreamier-sounding track that softens the tone between the more intricate tracks that make up the tracklist. “End Of Play” returns to more sophisticated sounds by incorporating elements ranging between Fuzion and Canterbury, with the band’s unmistakable touch. The tempo changes are an added value to the song, which in the second half offers an extended solo section where guitar and keyboards alternate, accompanying us to the finale where the opening theme returns and closes.

A deep bass line opens “Step Up Behind” to which vocals and keyboards are added, creating an enveloping atmosphere with dreamy overtones. Tempo changes allow for alternating frenetic accelerations and softer openings over which Bernie’s vocals stand out, a real added velour. A continuous musical crescendo that results in the finale in a prolonged solo of keyboards and guitars enriched by effects to conclude with the last vocal verse. The last piece in the original version, “Cumulus,” is a composition for classical guitar reminiscent of the instrument’s Mediterranean sounds. Very intense and technical, it offers an original interpretation with personal traits of said sounds, concluding pacevolemnte this first part of the disc. The first of the Bonus Tracks “Charred Ducks,” which was already on the Snakes Alive record, is an instrumental with intense phrasing between guitar and keyboards.

The rhythm section is always very elaborate and full of tempo changes, resulting in a track with more Progressive connotations, always with that Jazz and markedly personal edge that will later be Stepps‘ trademark. “Floating” is the seond of the Bonus Tracks also instrumental, while elaborate and well crafted it presents a more ensemble sound with fewer solo passages. The melodies are more delicate, flowing nicely but sounding a bit less punchy than the previous ones. “Silly Song” traces in the first part the more ensemble sounds of the previous one, with enveloping melodies and a more linear sound. In the middle part with a change it develops with intense and elaborate solo keyboard phrasing that accompanies us to the finale, ending with a softer, softer section. The last of the Bonus Tracks “Wooly’s Song” concludes the album with a softer introductory part that slowly accompanies us to the more elaborate part of the composition. The intensity increases as the minutes go by, with a supporting bass line and valuable keyboard work both in the melodies and in the solo inserts to finish with a softer drop. A real jewel that is worth enhancing and spreading.

A band that would have deserved greater exposure over the years especially at the time, as the compositions are very technical and sophisticated and are one of the rare examples of Canterbury sounds from Australia. Thanks to the Korean label Merry-Go-Round Records for reissuing this top notch record, enjoyable from start to finish and with a well built and developed tracklist. The tracks are enjoyable for the entire duration of the disc and enhance the individual technique of the artists involved, recalling the European bands of the scene, showing a perfect union of Canterbury, Jazz prog and forays into Fusion. A listening recommended to all lovers of the aforementioned sounds, a real hidden rarity that deserves to be disclosed now that it is available in a reissued version with the addition of Bonus Tracks. The original tracks of the disc are certainly more intense and engaging and contain the true essence of the band, while also remaining enjoyable even the Bonuses. I want to personally thank the record company for the opportunity they gave me to review this milestone of the 70’s Australian Underground.

by Jacobo Vigezzi

Tracks

1. Kolour Kode (Oleg Ditrich) - 6:44

2. If I Knew (Oleg Ditrich) - 7:10

3. Kryptonite (Ian Hildebrand) - 7:52

4. Make Me (Oleg Ditrich) - 4:30

5. Flowers (Oleg Ditrich, Bernie Morgan) - 2:54

6. End Of Play (Oleg Ditrich) - 6:33

7. Step Up Behind - 6:07

8. Cumulus (Improvised Solo) (Ian Hildebrand) - 8:01

9. Charred Ducks - 7:23

10.Floating - 4:33

11.Silly Song - 6:15

12.Woolly's Song - 6:25

Bonus Tracks 9-12 recordings from the original 'Steps' Band

Stepps

*Alex "Oleg" Ditrich - Electric Piano, Piano, Synthesizers

*Ian Hildebrand - Classical Guitar, Electric Guitar

*Bernadine "Bernie" Morgan - Congas, Percussion, Vocals

*Michael Vidale - Bass

*Ralph Cooper - Drums, Gong (Tracks 1-8)

*Paul Freeland - Drums (Tracks 9-12)

Thursday, September 17, 2026

rep>>> Sorcery - Sinister Soldiers (1978 us, dark underground basement heavy rock, 2001 reissue)

Here is a long lost monster, a true classic, an underground legend, a gem among gems. Intrigued yet? Meet SORCERY, a band whose star lit briefly from 1976 to somewhere around 1980. Hailing from Chicago, Illinois - and not to be confused with the hard rock band from California, which rose to greater prominence at almost exactly the same time the five-member band put out just two albums.

Their debut is called Sinister Soldiers and was the most impressive chapter in Sorcery’s journey as a band. A respectable length of forty-nine minutes, Sinister Soldiers was issued as a double LP. In 1978, when I was a teen, this was a real attention getter. You know, one of those you’d be likely to take home for the cover art alone.

Sinister Soldiers certainly lives up to its title. The music is indeed dark and sinister. There is quite a variety of style on the LP. From killer Sabbath vibes to dreamy progressive psychedelia and even some punky hard rock. The first thing that should grab you is the incredible guitar solos of Paul Koster, whose is grounded in the early-seventies school of acid rock shredding. They are plentiful and intense, riding the evolutionary edge between hard rock and heavy metal. Arguably, this is an example of protometal, though I consider it leaning more heavily in the direction of hard rock.

Tim Barrett’s vocals are another standout, ranging from mellow to urgent, though there’ll be no screaming found here. He was apparently in three other Midwestern bands – Aleister Crowley, Canterbury, and Sea of Monsters– though I have never happened upon recordings from these others. The singing on Sinister Soldiers is sometimes strange, twisted, sweet, and haunting.

Kieran Hoening’s aggressive drumming is what really brings us to heavy metal, even edging into NWOBHM territory. Bear in mind that this was 1978 - though some of the songs were surely recorded earlier and this time in the feel-good decade proved to be a difficult one for heavy music of all stripes. It was a transitional period where metal was still searching for its identity. Dave Maycroft’s bass playing is basically in the doom style, but a tad more laid back. If this were more widely known - and had a better transfer from the beautiful vinyl analog, it would surely be considered a classic.

The whole album is great, leading you on a partly cloudy trip into the depths of the mind. The stand out track for me is the 12:17 minute song, “The Last Goodbye.” It is the most psychedelic and progressive of tracks. “Snowshit” is another clear winner, being the one song with true heavy metal riffs and long, searing guitar solos. It’s a memorable song and for many of you, this will be a new favorite in your playlist.

Unfortunately, because of limited distribution, Sorcery’s classic never got its just due. Since its release, it’s become one of the rarest and most sought after protometal records of the seventies. I remember scoring my copy in a trade in the late-eighties. By the nineties, the record was valued at $1000-$1500. Now that I’m out of the collect-and-trade business, I can only imagine what the value of an original copy would go for in 2016.

Sorcery did something that hardly anyone was doing at the time and would be decades before bands experimented again with the metal-rock fusion. The extreme rarity and obscurity of this album only adds to the legend that is Sorcery’s Sinister Soldiers.

by Papa Paul, Nov. 22 2016

Tracks

1. Arachnic (The Dark King) (Dave Maycroft, Kieran Hoening, Kirk Bryk, Paul Koster) - 3:58

2. Fly The Sky - 2:59

3. Sugar Sweet Lady (Debbie's Song) (Kirk Bryk) - 4:09

4. Last Good-Bye - 12:16

5. Slippin' Away (For K.E.R.) - 4:07

6. Snowshit - 9:21

7. Airborne - 4:58

8. Sorcerer - 3:22

9. Schitzoid - 4:22

All songs by Kirk Bryk, Tim Barret except where noted

Sorcery

*Tim Barret - Lead Vocals

*Kirk Bryk - Vocals, Lead Guitar, Bass, Synthesizer, Percussion

*Paul Koster - Guitar, Vocals

*Dave Maycroft - Bass

*Kieran Hoening - Drums

With

*Chuck Dorrinton - Bass (Track 2)

1972 Ten Years After – Rock 'n' Roll Music To The World (Audio Fidelity remaster)

rep>>> Ten Years After - Woodstock (1969 uk, legendary classic blues rock testament, 2024 remaster)

Ten Years After's epic performance at Woodstock has been praised as one of the best performances of the three-day music festival in August 1969. It was also a breakthrough moment for the British band.

But until now their complete show has never been released as a stand-alone record. On Aug. 16, one day before the 55th anniversary of their historic show, the full hourlong concert is being issued as a one-CD, two-LP set titled Woodstock 1969.

The British blues rock band led by Alvin Lee had released two studio albums and a live record when they took the stage in Bethel, New York, on Aug. 17 at 8:15 p.m. A third album, Ssssh, was released a few weeks after their Woodstock appearance and became their first Top 10 U.S. hit.

Ten Years After's set-closing performance of "I'm Going Home," which clocks in at nearly 10 minutes, was featured on the No. 1 Woodstock: Music From the Original Soundtrack and More album in 1970 as well as in the hit documentary released the same year.

While the band's full performance at Woodstock was previously issued as part of 2019's 38-CD (and pricey) Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive, which included all songs from the history-making festival, the upcoming Woodstock 1969 marks the first time Ten Years After's set is available as a stand-alone record.

The newly restored and mixed concert from the original 2" multitrack tapes includes the band's set-opening cover of Howlin' Wolf's "Spoonful," two attempts at Sonny Boy Williamson's "Good Morning Little Schoolgirl," an 18-minute version of Al Kooper's "I Can't Keep From Crying Sometimes" and the epic closing song, "I'm Going Home," a Lee original first found on 1968's live LP Undead.

by Michael Gallucci, July 9, 2024

Tracks

1. Spoonful (Willie Dixon) - 7:37

2. Good Morning Little Schoolgirl (False Start) (Sonny Boy Williamson) - 3:09

3. Good Morning Little Schoolgirl (Sonny Boy Williamson) - 7:08

4. The Hobbit (Ric Lee) - 7:48

5. I Can’t Keep From Crying Sometimes (Al Kooper) - 17:57

6. Help Me (Ralph Bass, Sonny Boy Williamson, Willie Dixon) - 15:03

7. I’m Going Home (Alvin Lee) - 9:44

Ten Years After

*Alvin Lee - Vocal, Guitar

*Leo Lyons - Bass

*Ric Lee - Drums

*Chick Churchill - Organ, Piano

1973-74 Alvin Lee And Mylon Lefevre - On The Road To Freedom
2012 Alvin Lee - Still on the Road to Freedom

Wednesday, September 16, 2026

rep>>> Ten Years After – Rock 'n' Roll Music To The World (1972 uk, excellent classic rock, 2012 Audio Fidelity remaster)

Alvin Lee, lead guitarist and singer with Woodstock luminaries, Ten Years After died on 6 March 2013 aged just 68. Like so many heavy rock heroes, he emerged from the industrial English midlands (from the Nottingham-Mansfield area rather than the Black Country of Sabbath et al) and played on a world stage unimaginable to most. Owners of the triple vinyl Woodstock soundtrack will be familiar with Ten Years After's blistering performance of I'm Going Home. Their history dates back to the early 60s but the Ten Years After name and line up were consolidated in Nottingham 1966, and the band were nationally active from 1967-1974, then got back together from 1988 onwards. Their name comes from their homage to Elvis Presley's peak year of 1956 and its relationship to their 1966 formation.

This HDCD features 9 tracks put together as an album by Alvin in 1972 for the Chrysalis division of Columbia. Lacking the vinyl original, all comments apply to the HDCD. The sound is lively, dynamic and nuanced. This album finds them maturing musically, which makes this an ideal audiophile outing. Audio Fidelity have been reviewed positively on TNT-audio before. Their limited edition CD's, HDCD's and SACD's often sell out soon. With International Record Shop Day just behind us, it is encouraging to be reminded that physical formats still have a place in music dissemination. Holding these 24kt gold discs is a delight.

Tracks

1. You Give Me Loving - 6:31

2. Convention Prevention - 4:25

3. Turned Off T.V. Blues - 5:12

4. Standing At The Station - 7:07

5. You Can't Win Them All - 4:05

6. Religion - 5:44

7. Choo Choo Moma - 4:00

8. Tomorrow I'll Be Out Of Town - 4:26

9. Rock 'n' Roll Music To The World - 3:40

All songs by Alvin Lee

Ten Years After

*Alvin Lee - Guitar, Vocals

*Leo Lyons - Bass

*Ric Lee - Drums

*Chick Churchill - Organ, Piano, Synthesizer

rep>>> Lobby Loyde - Obsecration (1976 australia, astonishing hard guitar feast, 2006 digipak remaster)

Lobby Loyde was born John Baslington Lyde on 18 May 1941 in Longreach, Central Queensland, Australia. He passes away from lung cancer with his favourite black Gibson guitar by his side on 21 April 2007 at Box Hill Hospital in Melbourne, Victoria, Australia.

Her mother was a classically trained pianist, and his father was a jazz trumpeter as a teenager he joined them in country town performances in outback Queensland. He attended Moorooka State School with young Billy Thorpe and both were, bullied in the Queensland state school system. Down the path, they would meet again through music and friendship.

Mick Hadley and Bob Dames both originally came from England and both decided to migrate to Australia in 1963. They both formed a rhythm and blues band The Impacts in Brisbane, Queensland with Scottish-born Fred Pickard including local musicians Barry Lyde from Stilettos and Adrian Redmond in 1964.

Lobby Loyde’s second solo album, Obsecration was released in May 1976 with Rainbird. One thing is certain his beautiful, at times heavy yet always unique psych-rock guitar work is the main feature throughout. With a solo single, Do You Believe in Magic? / Love Lost on Dream Tides in December 1975. Digitally remastered Obsecration is packaged in a 6-panel digipak and has 6-bonus tracks and many rare photos with liner notes. Re-issued on 28 August 2006 with Aztec Records.

Featuring an incredibly eclectic and diverse assortment of music, all up a magnificent album of guitar explorations and textures, a thematic collection of riffs, runs, rhythms and timing shifts taking the listener through a wide range of moods and styles. If anything, it lacked a commercial focus but as we’ve seen Loyde was well and truly beyond working within commercial considerations at the time. One thing is certain: his beautiful, at times heavy yet always unique psych-rock guitar work is the main feature throughout.

Tracks

1. Obsecration Parts A to D - 17:30

.a.Play My Guitar

.b.Obligato

.c.Continuation

.d.Legato

2. A Rumble With Seven Parts And Lap Dissolve - 5:12

3. Rock And Roll Sunset - 1:58

4. Lobby Loyde Dreamtide - 14:42

.a.Statement

.b.Refrain

5. Goin’ To Louisianna - 7:46

6. Congratulateonies - 0:47

7. Do You Believe In Magic - 3:58

8. Love Lost On Dream-Tides - 4:25

9. Gypsy In My Soul - 5:47

10.Too Poor To Die - 4:30

11.Desperate For A Quid - 2:21

12.Fist Of Is - 9:55

.a.At The Colosseum

.b.The Fist Falls

All compositions by Lobby Loyde

Tracks 1-6 from "Obsecration" LP 1976

Tracks 7-8 from 45' Single, 1975

Tracks 9-12 from Previously Unreleased from " Too Poor To Die" EP

Musicians

*Lobby Loyde - Electric, Acoustic Guitars, Vocals, Bass

*James D. Thompson - Drums

*Graham Morgan - Drums

*Janis Miglans - Bass

*John (Deysey) Dey - Keyboards

*Paul Dixon - Sax, Clarinet

*Andrew Fordham - Acoustic, Electric Rhythm Guitars, Vocals

*Mandu - Vocals

*Art Redbourne - Guitar, Vocals

*Cypra Helmer - Manic Voice Of Despair