Plain and Fancy

Sunday, October 18, 2026

rep>>> Johnny Rivers - Rewind • Realization (1967-68 us, great straight ahead rock with blue eyed soul)

With a big, clean production, and quality L.A. session musicians, Rewind is a great collection of blue-eyed soul and rock. The album's two Motown covers, "Baby I Need Your Loving" and "Tracks of My Tears," are more similar to tributes than attempts to outshine the originals. Rivers sounds like a well-adjusted Southern hipster on tracks like "The Eleventh Song," which makes him sound like a cooler version of Sonny Bono. "Rosecrans Boulevard" showcases superb vocal harmonies and horn playing.

The most interesting track would have to be "Sidewalk Song/27th Street," which is pretty mediocre as a song, but are the bizarre sound clips possibly attacking commercialism? No one really knows. Produced by Lou Adler, arranged by Jimmy Webb, featuring Joe Osborne on bass, Larry Knechtel on piano, and Hal Blaine on drums, this record is a solid, tight recording, with excellent production and inventive arrangements provided by Webb.

by Zach Curd

Not a concept album, but a song cycle depicting life in southern California in the late '60s, Realization is a fine cycle to catch a ride on. It's also a serious surprise -- when psychedelia reared its head in 1967, the results were frequently disastrous for those performers who'd been specializing in straight-ahead rock & roll, and few had rocked harder or more straight-ahead than Johnny Rivers. Instead of jumping on a bandwagon that had nothing to do with where he was musically, he hijacked the sounds of psychedelic rock -- much as the Temptations did at Motown -- and took it where he was going.

Acting as his own producer for the first time, Rivers opened up a slightly gentler side to his work that's equally valid and a lot more interesting, if not quite as exciting as his rock & roll classics. After a few sonic digressions as a lead-in, "Hey Joe" gets going, carrying listeners into Rivers' gorgeous rendition of James Hendricks' "Look to Your Soul." His own achingly beautiful "The Way We Live" follows, and then comes Hendricks' "Summer Rain," which turned into Rivers' last big hit of the 1960s. And then he has the temerity to take "A Whiter Shade of Pale" and make it prettier and harder -- but less spacy -- than the Procol Harum original; from there he plunges into blue-eyed soul on "Brother, Where Are You."

The surprises continue right through to the rather delicate, introspective reading of "Positively Fourth Street" at the close, Rivers succeeding in evoking a vast array of thoughts and emotions. For his trouble, helped by the two hits, he was rewarded with a Top Five charting album, and one that has continued to find new admirers across the decades.

by Bruce Eder

Tracks
1. The Tracks Of My Tears (Warren "Pete" Moore, Smokey Robinson, Marvin Tarplin) - 3:00
2. Carpet Man (Jimmy Webb) - 3:05
3. Tunesmith (Jimmy Webb) - 3:12
4. Sidewalk Song / 27th Street (Jimmy Webb) - 2:27
5. It'll Never Happen Again (Tim Hardin) - 3:28
6. Do What You Gotta Do (Jimmy Webb) - 2:22
7. Baby I Need Your Lovin' (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:10
8. For Emily, Wherever I May Find Her (Paul Simon) - 2:53
9. Rosecrans Boulevard (Jimmy Webb) - 2:34
10.The Eleventh Song (Jimmy Webb) - 2:21
11.Sweet Smiling Children (Jimmy Webb) - 2:14
12.Hey Joe (Billy Roberts) - 4:33
13.Look To Your Soul (James Hendricks) - 3:11
14.The Way We Live (Johnny Rivers) - 3:09
15.Summer Rain (James Hendricks) - 3:52
16.Whiter Shade Of Pale (Gary Brooks, Keith Reid) - 5:39
17.Broker Where Are You (Oscar Brown, Jr.) - 3:37
18.Something's Strange (James Hendricks, Johnny Rivers) - 3:28
19.What's The Difference (Scott McKenzie) - 2:48
20.Going Back To Big Sur (Johnny Rivers) - 3:28
21.Positively 4th Street (Bob Dylan) - 5:03

Musicians
*Johnny Rivers – Vocals, Guitar
*Larry Knechtel – Piano
*Mike Deasy Sr. – Guitar
*Joe Osborn – Bass
*Mike Deasy Jr. – Vocals
*Hal Blaine - Drums, Percussion
*James Burton - Guitar
*James Hendricks - Rhythm Guitar
*Marty Paich - Horn, Strings

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rep>>> Affinity - Affinity (1968-70 uk, fantastic prog jazz psych rock, 2002 remaster and expanded)

Well known Vertigo release (at least in progressive circles) of early 70's Hammond-dominated progressive with some jazz-influences. The band had an excellent female singer in Linda Hoyle. The material on the album is quite strong all the way through. "I Am and So Are You" and "Three Sister" do both use horns to good effect. "Mr. Joy" is a relaxed and excellent jazzy track, while "Night Flight" is a more typical early 70's progressive rock track. There are two excellent cover versions here too.

You would may not expect much from a cover of The Everly Brother's "I Wonder If I Care As Much", but its sounds awesome with a incredible symphonic and great arrangement. And their 11-minute version of "All Along the Watchtower" is a irresistible Hammond-orgy you must hear to believe. Definitively one of the classic Vertigo releases.

Vintage-Prog

Tracks

1. I Am And So Are You (Alan Hull) - 03:32

2. Night Flight (Linda Hoile, Mike Jopp) - 07:19

3. I Wonder If I'll Care As Much (Don Everley, Phil Everley) - 03:22

4. Mr. Joy (Annette Peacock) - 05:03

5. Three Sisters (Linda Hoile, Lynton Naiff) - 05:01

6. Coconut Grove (John Sebastian, Zal Yanovsky) - 02:35

7. All Along The Watchtower (Bob Dylan) - 11:39

8. Eli's Coming (Laura Nyro) - 03:30

9. United States Of Mind (Alan Hull) - 02:47

10.Yes Man (Mo Foster, Lynton Naiff, Linda Hoyle) - 07:23

11.If You Live (Mose Allison) - 03:13

12.I Am The Walrus (John Lennon, Paul McCartney) - 04:06

13.You Met Your Match (Stevie Wonder, Lula Mae Hardaway, Don Hunter) - 03:01

14.Long Voyage (Carol King) - 04:16

15.Little Lonely Man (Mo Foster, Linda Hoyle) - 03:56

Bonus Tracks 8-15

Affinity
*Linda Hoyle - Vocal
*Lynton Naiff - Organ
*Mike Jopp - Guitar
*Mo Foster - Bass
*Grant Serpell - Drums

1971-72 Affinity - Affinity
Related Act

1971 Linda Hoyle - Pieces Of Me (2002 Angel Air)

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Saturday, October 17, 2026

rep>>> Ramatam - Ramatam (1972 us / uk, rough heavy prog brass rock with jazz shades, feat Mike Pinera, Mitch Mitchell, 2004 edition)

Ramatam's chief claim to fame was in having a female lead guitarist, April Lawton, in the early '70s, especially as she was the only female member of the band. Well, it's not common now (sadly), so try to put yourself back in those days of unrestrained sexism to see how unusual this was. Of course, if you didn't know, you wouldn't know, as she was a competent rock guitarist in an era when you could find a competent rock guitarist on every corner, particularly in the States, where rock had more mainstream appeal than it ever managed in the UK. The rest of the band were far from slackers, too, with vocalist/guitarist Mike Pinera from Blues Image and Manna (both Chamberlin users) and none other than Mitch Mitchell on drums, the longest-surviving member of the Experience.

Ramatam is an album of unrestrained heavy rock. Or is it? A couple of ballads are quite normal on this kind of album, but a brass-fuelled soul feel, as on Wayso, isn't, so maybe they were less 'standard' than you might think. It features the most unbelievable lyrics, mind; well, titles like Whiskey Place and Wild Like Wine tell their own story, I think. OK, it was 1972 and lyrical erudition was pretty thin on the ground, certainly in red-blooded rock circles; it's not as if anything's improved, is it? Tommy Sullivan guests on Mellotron on two tracks, with grungy, almost distorted strings on the rocking Ask Brother Ask and cleaner, higher ones on the surprisingly funky Wild Like Wine, but, as with so many others, nothing you can't live without.

So; unless you're very into third-division early '70s US hard rock, you probably won't be that fussed about Ramatam, although it does have its moments. I've heard a lot worse, but then, I've also heard much better, and if your resources are limited (and whose aren't?), you may wish to direct your hard-earned somewhere else. I suspect the usual maxim applies: 'pick it up if you see it cheap'.

Planet-Mellotron

Tracks
1. Whiskey Place (April Lawton, Mike Pinera, Mitch Mitchell, Russ Smith, Tom Sullivan) - 3:23
2. Heart Song (Les Sampson, Mike Pinera) - 4:57
3. Ask Brother Ask (Mike Pinera) - 5:04
4. What I Dream I Am (April Lawton, Tom Sullivan) - 4:00
5. Wayso (April Lawton, Mike Pinera, Mitch Mitchell, Russ Smith, Tom Sullivan) - 3:25
6. Changing Days (April Lawton, Tom Sullivan) - 3:28
7. Strange Place (Mike Pinera) - 6:06
8. Wild Like Wine (Russ Smith) - 3:48
9. Can't Sit Still (April Lawton, Tom Sullivan) - 6:02

The Ramatam
*April Lawton - Bass, Guitar, Harmonica, Vocals
*Mitch Mitchell - Drums
*Mike Pinera - Guitar, Vocals
*Russ Smith - Bass, Vocals
*Tommy Sullivan - Keyboards, Reeds, Vocals, Wind

1973 Ramatam - In April Came The Dawning Of The Red Suns (Wounded Bird 2005)
Related Acts
1967-70 Blues Image - Blues Image / Red White and Blues Image
1970 Iron Butterfly - Metamorphosis (Japan SHM edition)

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Friday, October 16, 2026

rep>>> T. Rex - Electric Warrior (1971 uk, glam boogie rock landmark, 2019 SACD and 2012 double disc remaster)

A self-proclaimed “cosmic dancer”, who DJ John Peel nicknamed the “flower child with a knife up his sleeve”, Marc Bolan never suffered from a deficit of self-belief. “You play a C major chord and I hear 25 melodies and symphonies… it gushes out of me,” he once boasted of what he deemed super-human songwriting abilities. With his second album as T.Rex, the androgynous glitter-flecked pixie superstar could lay claim to inventing glam rock.

Electric Warrior was certainly the first glam album to top the UK charts, spending eight weeks at No.1 after its release in September 1971. Despite the unrefined 50s rock’n’roll fundamentals of Bolan’s riffing and the occasionally nonsensical mysticism of his lyrics, here was a revolutionary record that altered the course of rock history, unleashing a glam wave that would be surfed by David Bowie, Slade, Mott The Hoople et al deep into the 70s.

Despite his boundless confidence, the path to stardom was not without obstacles for Bolan (born Mark Feld). Initially a mod, his early adventures displayed a fascination with Bob Dylan – his first acetate, under the name Toby Tyler, included a cover of Blowin’ In The Wind, and he delivered his folky incantations with an acoustic guitar, sat cross-legged on the floor.

The full debut Marc Bolan single (featuring both Jimmy Page and Big Jim Sullivan) was tellingly called The Wizard and in 1967, Bolan formed acoustic duo Tyrannosaurus Rex with Steve Peregrin Took. Yet it was only when he ditched Took and the acoustic, shortening the band’s name to T.Rex, that Bolan’s career ignited. The new band’s debut single, Ride A White Swan “inadvertently founded glam rock mania,” claimed AllMusic’s Ned Ragett.

Bolan was by now playing a late-60s Olympic White Fender Strat with rosewood fingerboard and Ride A White Swan was a No.2 hit in January 1971, only kept off the top by Clive Dunn’s mawkish novelty record Grandad. With the wind now in Bolan’s sails, Hot Love and the lusty Get It On both climbed one position higher, at their peak each selling around 60,000 copies a day as Bolan prepared to roll out his first great album. It was the moment, wrote Chris Jones of BBC Music, that the Tolkien-obsessed troubadour took “the hippy-dippy lyrics and Larry the lamb vocal stylings and bolted them on to good old stripped-down, four-to-the-floor rock’n’roll.”

Bolan’s guitar odyssey began at the age of 12. A hungry consumer of Little Richard, Eddie Cochran and James Burton riffs, he later became obsessed with Eric Clapton and Jimi Hendrix. While he never developed technical chops in the same league as either of those pioneers, Bolan was an under-appreciated player who was brave enough to venture outside of existing pentatonic frameworks. Among his many A-list fans, Paul Weller has praised his style as “really unique… you know his sound instantly” and you can hear T.Rex’s influence on everyone from Prince to Primal Scream – not least Noel Gallagher, who pilfered the riff from Get It On for 1994 Oasis single Cigarettes & Alcohol.

Perhaps best placed to appraise Bolan’s guitar playing was his trusted producer Tony Visconti, who helmed Electric Warrior. Visconti believes Bolan is “criminally underrated”. He told Performing Songwriter: “Marc was a very innocent guitarist, and sometimes he would play very strange things. In his mind he might be playing a blues lick, but it might not have the flatted 3rd, or something would be not bluesy about it.” Rather than try to correct these idiosyncrasies, on Electric Warrior Visconti embraced Bolan’s excursions outside the box, instructing the strings section he’d enlisted to double his parts.

By the time he recorded Electric Warrior in New York and LA between tour dates, Bolan’s Strat had been joined by a Gibson Flying V and his famous ‘Frankenstein’ Les Paul, bought in 1970 and believed to be a 50s Goldtop. The guitar had already been fitted with at least one replacement neck and was refinished in a translucent orange hue its owner called ‘Bolan Chablis’, a nod to Cochran’s Gretsch 6120.

Driven from the outset by Bolan’s chugging boogie, Electric Warrior will always be remembered best for its singles. Get It On’s raunchy palm-muted powerchord shuffle in E is one of the most memorable riffs of all time. Borrowing from Chuck Berry’s Little Queenie, the wanton Les Paul into Marshall snarl is augmented by Blue Weaver’s electrifying piano glissando and romping saxophone interjections from King Crimson’s Ian McDonald. It’s pure sexuality, Bolan purring “you’re an untamed youth… you’re dirty, sweet and you’re my girl”.

Number two hit Jeepster, based loosely on Howlin’ Wolf’s You’ll Be Mine, is littered with barely veiled sexual metaphors and propelled by an insistent blues groove in A, with the chorus shifting into C. “I don’t sing the old rock’n’roll songs myself. I prefer to change the words and make new songs out of them. That’s all Jeepster is,” Bolan admitted of his mining of rock’n’roll history.

The thick dropped-pitch riffs and solos exploding around the simple G/D/A minor acoustic progression on the single’s flipside Life’s A Gas are typical of Bolan’s intrepid lead approach, and its pained opening couplet “I could have loved you girl, like a planet/ I could have chained your heart to a star” is sublime universal romanticism.

Away from the chart hits, Visconti’s string arrangements imbue Electric Warrior with greater depth. Just listen to the way Cosmic Dancer is elevated by the contributions of some 20 orchestral players, their dramatic cello stabs and shimmying violin phrases darting through the mix before Bolan’s otherworldly reversed soloing bestrides the outro.

Somewhat less urbane, The Motivator is Bolan covering himself – recycling the melodies from Get It On, with the addition of some bongos, and gushing “I love the clothes you wear/ they’re so mean, so free, they’re so handsome.”

Released on 24 September, 1971, Electric Warrior ruled the UK album chart for eight weeks. “I feel as though I could go on writing number ones forever,” a typically assured Bolan told Record Mirror. “The majority of pop hits are a permutation on the twelve-bar blues and I’ve found one that works.”

Yet despite their adoration at home, T.Rex were never embraced in the US, where Bolan was met with cool indifference. According to Visconti, it was down to a perception that he wasn’t a “serious” musician. “Marc wasn’t the world’s best guitarist,” he told Performing Songwriter. “People saw something not genuine in him, the American public and media didn’t take him seriously.”

John Peel, so supportive of Bolan’s early career, was unimpressed that he’d abandoned psychedelic folk in search of chart success, but the importance of Electric Warrior is inarguable. Al Spicer nails it in the Rough Guide To Rock, describing “Teenage music at its best. Trashy, sleazy drug-induced nonsense, screamed as if it were the meaning of life.”

Alas, such vertiginous highs would be short-lived. T.Rex repeated the success of Electric Warrior with 1972’s strong follow-up The Slider, but by the middle of the decade the shine of Bolan’s satin-draped glam pomp had dulled. In 1977, he was living in the US with Gloria Jones and planning a bid to relaunch his career when the couple were involved in a car crash that ended his life. There’s a strange poignancy in the incongruous, sombre cello sweep that concludes Electric Warrior and the sadly unfulfilled words from one of its most memorable tracks: “It really doesn’t matter at all/ life’s a gas/ I hope it’s gonna last.”

by Gary Walker, September 08, 2021

Tracks

SACD 2019

1. Mambo Sun - 3:39

2. Cosmic Dancer - 4:28

3. Jeepster - 4:10

4. Monolith - 3:47

5. Lean Woman Blues - 2:58

6. Get It On - 4:25

7. Planet Queen - 3:11

8. Girl - 2:31

9. The Motivator - 3:58

10.Life's A Gas - 2:23

11.Rip Off - 3:40

All songs written by Marc Bolan

40th Anniversary Super Deluxe Edition 2012

Disc 1

1. Mambo Sun - 3:36

2. Cosmic Dancer - 4:26

3. Jeepster - 4:07

4. Monolith - 3:45

5. Lean Woman Blues - 2:59

6. Get It On - 4:22

7. Planet Queen - 3:10

8. Girl - 2:29

9. The Motivator - 3:56

10.Life's A Gas - 2:23

11.Rip Off - 3:49

12.There Was A Time / Raw Ramp - 5:14

13.Hot Love - 4:55

14.Woodland Rock - 2:26

15.The King Of The Mountain Cometh - 3:53

Tracks 1-11 The Original Album

Tracks 12-15 Singles 'A' & 'B' Sides

Disc 2 Demos & Out-Takes Previously Unreleased

1. Electric Warrior Poem - 0:21

2. Mambo Sun - 3:49

3. Cosmic Dancer - 4:26

4. Jeepster - 4:18

5. Monolith - 2:23

6. Lean Woman Blues - 3:05

7. Get It On - 5:48

8. Planet Queen - 2:56

9. Girl - 2:29

10.The Motivator - 3:57

11.Life's A Gas - 3:32

12.Rip Off - 3:18

13.Raw Ramp - 2:21

14.Electric Boogie - 2:06

15.Untitled Instrumental Aka A Lot Of Rubbish - 1:35

16.Honey Don't - 3:23

17.Planet Queen - 2:25

18.Girl - 0:38

19.Jeepster - 2:34

20.Get It On - 3:15

21.Electric Warrior Poem And Radio Advert - 0:55

All compositions by Marc Bolan

T.Rex

*Marc Bolan - Vocals, Guitar

*Mickey Finn - Congas, Bongos, Vocals

*Steve Currie - Bass

*Bill Legend - Drums

With

*Howard Kaylan - Backing Vocals

*Mark Volman - Backing Vocals

*Rick Wakeman - Keyboards On "Get It On"

*Ian McDonald - Saxophone, Vocals

*Burt Collins - Flugelhorn, Vocals

*Flo & Eddie - Vocals

1970 Tyrannosaurus Rex - A Beard Of Stars (2014 double disc deluxe edition)

1970 T. Rex - T. Rex (2014 double disc deluxe edition)

1972-77 T. Rex - Great Hits The A Sides

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Thursday, October 15, 2026

rep>>> Cromwell - At The Gallop (1975 ireland, exciting guitar pub rock)

Emerging from the giant shadow cast by the greatness of Thin Lizzy, this obscure band with a venomous guitar attack, and dual vocalists that kick ass and take names, puts the ‘ire’ in Ireland and delivers with a sound that’s not for the squeamish.

Initially self-released in 1975 by the Drumcondra, Dublin-based Cromwell, At The Gallop is a blistering, heavy, loud’n’lascivious ten track offering (thirteen in this expanded edition) of infused street rock’n’roll from a time when Ireland was still under the sway of conservative showbands, quasi-religious, sentimental pop pap and traditional Irish music.

Despite their cultural struggles, Cromwell crafted a creative and compact catalog—five fuzzed’n’ferocious 45s and this footlong—led by co-vocalist/bassist Michael Kiely’s come hither coo and fey Jagger pose’n’preen, the in-the-pocket drumming of Derek Dawson and minor-guitar hero moves of Patrick Brady, exercising taste, talent and towering mountains of fuzz’n’fury as comfortably as greasy ‘70s raunch and rural modes. At The Gallop is a rare—fetching upwards of 400€ when the original LP does appear—little heard classic in the pub/ fried rock’n’roll /proto-punk terrain.

Tracks

1. Ireland (The Wild One) (Michael Kiely, Patric Brady, Derek Dawson) - 3:26

2. Down On The Town - 3:32

3. First Day - 3:23

4. You Got It Made - 3:36

5. At The Gallop - 2:24

6. Guiness Rock - 4:14

7. Hoodwinked (Michael Kiely, Patric Brady, Derek Dawson) - 2:22

8. Nothing Left To See - 4:07

9. Deal Me In - 2:47

10.Dawson's Fun Palace - 3:22

11.Stomp Stomp Stomp - 2:48

12.You Hate It To Turn On - 3:40

13.Guiness Rock - 3:47

All compositions by Michael Kiely, Patric Brady except where stated

Bonus Tracks 11-13

Cromwell

*Michael Kiely - Vocals, Bass, Acoustic Guitar, Piano, Synthesizer

*Patric Brady - Vocals, Electric, Slide Guitars

*Derek Dawson - Drums, Percussion Jews Harp

With

*Joylon Jackson - Piano (Track 7)

*John O'Callaghan - Organ (Tracks 3,8)

*Finin O'Callaghan - Guitar, Harmony Vocals

*John Keogh - Piano (Track 4)

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rep>>> Bell And Arc - Bell + Arc (1971 uk, excellent colorful classic rock, 2004 remaster)

Bell 'n' Arc’s one and only record is a prime cut of early 1970s British rock and roll. Born out of the psychedelic ashes of Skip Bifferty, Bell 'n' Arc saw a reunion of sorts between singer Graham Bell and his former band mates, keyboardist Mick Gallagher and guitarist John Turnbull. Anyone delving into this record expecting the underground freak-beat of that earlier band, however, is in for a rude surprise. This band is an entirely different beast, and even Graham Bell’s singing has undergone some serious evolution since Skip Bifferty sank in 1969.

Heavy threads of American soul music, as well as tasteful touches of gospel and country, are what inform this record more than anything. From the insistent groove of “High Priest of Memphis” to the rollicking banjo rolls in “Keep A Wise Mind,” it is clear what musical traditions these cats are mining. Graham Bell’s vocals here are so soulful it almost hurts, with the obvious reference point being the shredded-throat testifying of fellow countryman Joe Cocker.

Turnbull’s guitar is also on fire, whether he’s indulging in tight wah-pedal workouts in “Let Your Love Run Free” or keeping things beautifully restrained in the band’s sizzling, slow-burn workout of Leonard Cohen’s “So Long, Marianne.” In the meantime, I would assert that it is Gallagher’s rhythm piano which seems to be the bedrock of the band’s sound. Each cut displays inspired playing that really seals together the spirit of the band. His concluding improvisations on “Yat Rock” are particularly enjoyable, where he compliments his driving rhythm playing with the occasional Jerry Lee Lewis run.

Side A of this record is one of those rare cases where every song is absolutely killer, and the energy just does not let up. The opening three song punch blows me away every time. By the second side, things start to lose a little steam, but only barely. In fact, “Dawn,” the one acoustic track on the album, is a pleasant, hazy respite from the high-octane rave-ups that surround it. In fact, the guitar dynamics and subdued atmosphere might actually make it a highlight. “Children of the North Prison” draws the band back, and throws out one of the catchiest hooks on the record against a great ascending piano line.

In the years since I first happened on this record, it has slowly but surely become one of my absolute mainstays. It’s hard not to be drawn in to Arc’s tight grooves and Bell’s cosmic rock and roll songs, and I dare say it makes some fantastic road music. Check out the (out-of-print, but easy to find) Rock and Groove Records reissue, or keep your eye peeled for one of the original copies. I should probably note that it looks as though the British and American copies of this one have different artwork; the British record has a bright red cover, with what looks like layered fists.

by Nik Rayne

Tracks

1. High Priest of Memphis (Graham Bell) - 3:30

2. Let Your Love Run Free (Graham Bell, Tom Duffy, Michael Gallagher, John Turnbull) - 6:00

3. Keep a Wise Mind (Colin Gibson, Graham Bell, John Turnbull) - 3:19

4. So Long Marianne (Leonard Cohen) - 3:44

5. She Belongs to Me (Bob Dylan) - 4:29

6. Yat Rock (Graham Bell) - 6:08

7. Dawn (Graham Bell) - 3:00

8. Children of the North Prison (Graham Bell) - 4:15

9. Everyday (Graham Bell, Tom Duffy, Michael Gallagher, John Turnbull) - 3:53

Bell And Arc

*Graham Bell - Vocals, Harmonica, Acoustic Guitar

*Tom Duffy - Bass

*Michael Gallagher - Piano, Organ

*John Turnbull - Guitars

*John Woods - Percussion

With

*Rob Tait - Drums

*Ken Craddock -Guitars, Piano, Organ

*Alan White - Drums, Percussion, Vibes

*Steve Gregory - Tenor Saxophone

*Buddy Beadle - Baritone Saxophone

*Jeff Condon - Cornet

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Wednesday, October 14, 2026

rep>>> Elvin Bishop - Live! Raisin' Hell (1977 us, splendid blues rock funk roots 'n' roll, 2012 remaster)

Growing up in the 1940s on a farm in Iowa with a loving but non-musical family, Elvin seldom heard music as a kid. “This was before TV,” Elvin says, “and on the radio you got a lot of Frank Sinatra and ‘How Much Is That Doggie In the Window’ type of stuff.” The family moved to Tulsa, Oklahoma, when Elvin was 10, in 1952. Tulsa was “totally segregated,” says Elvin, “I mean, hard core.” However, “the one thing they couldn’t segregate was the airwaves. When rock and roll started up, in the mid-’50s, Chuck Berry, Fats Domino and Little Richard showed up on white radio.”

And then, late one night when Elvin was 14 or 15, the atmospheric conditions a little rough, Jimmy Reed’s harmonica came cutting through the static from WLAC in Nashville, and Elvin Bishop’s life was changed. The song was “Honest I Do.” “That piercing harp came through, cutting in like a knife, and I said, ‘Oh, man, that’s it.’ I found out that blues was where the good part of rock and roll was coming from.”

And about that time, he started trying to play guitar. “I wanted to play it from the beginning,” Elvin says. “I kept trying and then quitting it. Hurtin’ my fingers, playing those old pawn-shop guitars with the strings two inches off the fret board. Nobody I knew played.” But he kept after it. “Not being able to dance, and seeing how the musicians did with the girls, and loving the music, I finally stuck with it.”

Hooked on the sounds emerging from the radio, Elvin had to find out where they were coming from and who was responsible. When he was awarded a National Merit Scholarship in 1959, he could have gone to pretty much any college he wanted, but chose The University Of Chicago, because that’s where the blues were. And so he landed in the middle of one of the richest and most vital scenes in blues history. “Any night of the week you could hear Muddy Waters, Little Walter, Howlin’ Wolf, Hound Dog Taylor, Otis Rush, Junior Wells, Buddy Guy, Magic Sam, Bobby King, Eddie King, Little Smokey, Big Smokey, and a whole ton of people you never heard of.”

His first week in Chicago, he came across Paul Butterfield, who was sitting on some steps drinking beer and playing blues on guitar. “We fell together right away,” says Elvin. “I was amazed to find other white guys into blues.” After playing with a lot of different people, including J.T. Brown, Hound Dog Taylor and Junior Wells, Elvin hooked up with Butterfield to form the legendary Paul Butterfield Blues Band, with bassist Jerome Arnold and drummer Sam Lay, who’d been Howlin’ Wolf’s rhythm section. Producer Paul Rothchild of Elektra Records encouraged them to add guitarist Michael Bloomfield. “I’d met Bloomfield before, in a pawn shop,” says Elvin, “when I was looking for guitars. We got to talking. He got a guitar out, started playing circles around the world.”

In 1965 the Butterfield band went into the studio and recorded The Paul Butterfield Blues Band album, which turned out to be a sea-change record for thousands of rock fans and musicians. An integrated band playing blues music in 1965 was unheard of. It introduced a lot of people to the blues, and to the musicians who had influenced the Butterfield band. After several more albums with Butterfield, including the pivotal genrebending East West, Bishop took off on his own. “I wanted to stretch out, see how far I could take it on my own,” says Elvin. Bishop had visited San Francisco with the Butterfield band during the Summer of Love in 1967. “I loved the people, the weather, and not having to watch my back all the time.” And like several other Chicago musicians he ended up moving to the Bay Area.

The 70’s saw Elvin hit the charts with solo tracks like “Travelin’ Shoes,” “Sure Feels Good” and what would become his biggest hit, “Fooled Around and Fell in Love,” with a powerful vocal by Mickey Thomas (later of Jefferson Starship). During the 1980’s, Elvin spent most of his time on the road, “entertaining the people and maybe having a little too much fun myself.” Later in the decade he hooked up with Alligator for a number of excellent albums that grew right out of his blues roots.

"Live! Raisin' Hell' was recorded between March 1976 and February 1977 initially as a gig in Georgia, and subsequently at four shown in California, was released in late summer 1977, and became Bishop's second US Top 40 album, spending three months in the chart. He does not appear to have subsequently worried mainstream chart compilers, although he remained with Capricorn for two more albums, 1978's "Hog Heaven" on which Amos Garrett and Maria Muldaur guested, and 1979's "Best Of Elvin Bishop".

Tracks
1. Raisin‘ Hell - 2:51
2. Rock My Soul - 4:54
3. Sure Feels Good - 4:49
4. Calling All Cows (Earley Drane) - 6:20
5. Juke Joint Jump - 4:12
6. Hey, Hey, Hey, Hey (E. Bishop, Mickey Thomas, Phillip Aaberg) - 3:21
7. Joy - 4:11
8. Stealin‘ Watermelons - 4:49
9. Fooled Around And Fell In Love - 5:33
10.Little Brown Bird (McKinley Morangfield) - 6:06
11.Yes Sir - 4:23
12.Struttin‘ My Stuff - 3:40
13.Give It Up (William Slais, M. Thomas) - 3:44
14.Travelin‘ Shoes - 7:17
15.Medley - 13:01
.a.Let The Good Times Roll (Leonard Lee)
.b.A Change Is Gonna Come (Sam Cooke)
.c.Bring It On Home To Me (Sam Cooke)
All songs by Elvin Bishop except where stated

Band
*Elvin Bishop - Vocals, Lead, Rhythm, Slide Guitars
*Don Baldwin - Drums, Percussion, Vocals
*Micheal "Fly" Brooks - bass
*Debbie Cathey - Vocals
*Melvin Seals - Synthesizer, Organ, Piano, Clavinet
*Bill Salis - Alto, tenor Saxophones, Clavinet, Synthesizer, Organ
*Reni Slais - Vocals
*Mickey Thomas - Vocals
*Johnny Vernazza - Lead, Rhythm, Slide Guitars, Vocals
*Chuck Brooke, Bob Claire, Dave Grover, Bill Lamb - Horns
Guest Musicians
*Mic Gillette, Steve Kupka, Greg Adams - Horns

1969-70•72 Elvin Bishop - Party Till The Cows Come Home (2004 Acadia)

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rep>>> Sawbuck - Sawbuck (1972 us, excellent west coast psych with southern rock taste, Vinyl issue)

Sawbuck formed 1970 in San Francisco. On an office remodeling job, Ronnie Montrose met promoter Bill Graham, who introduced him to his partner, producer David Rubinson. Graham and Rubinson owned a small record label called Fillmore Records, and signed a recording contract with Sawbuck.

Rubinson was especially impressed by Montrose--s talent and ambition. He set the guitarist up for session work with the Pointer Sisters and keyboardist Herbie Hancock before he arranged for Montrose's big break.

Montrose had been in the process of recording what would have been his first album with Sawbuck when David Rubinson, the producer, arranged an audition with Van Morrison. Montrose got the job and played on Morrison's 1971 album Tupelo Honey.

Mojo Collins remembers,

One day I stumbled into the office of the Fillmore and met the secretary Annie, we quickly became friends and she opened the door for me to get a 45 record to Bill Graham, owner and manager of theJefferson Airplane and Marty Balin. He liked the record and I got hooked up with Annie and her friend Starr Donaldson who was playing Wolfie in the San Francisco version of "Hair" at a local theatre.

We became friends and later I met Ronnie Montrose and Chuck Ruff along with Bill Church, who replaced our original bassist Kooch. This was the basic foundation for what became Sawbuck. We were signed to Fillmore Records and an album entitled "Sawbuck" was recorded in 1970-71 produced by the famed David Rubinson who also produced Moby Grape, Santana, Janis Joplin, The Chambers Brothers, Elvin Bishop, Cold Blood and Tower of Power.

For the next year or so we toured and opened for major acts and played the final week of the Fillmore West before it closed. During the making of the album, Ronnie was approached to do some commercial jingles and one was heard by Van Morrison, and Ronnie was gone, he later wound up with Edgar Winter and recruited Chuck Ruff from Sawbuck for The Edgar Winter Group, and that pretty much ended our tenure as a performing band.

I came home to NC and tried to put together another Sawbuck, with my brother David Collins and a few of his friends, we toured for awhile when the album was released but fizzled out because of lack of support from the label. Around this time David Rubinson and Bill Graham split there partnership and Sawbuck was shelved.

Tracks
1. Sing This Song - 3:50
2. Wound Up - 2:35
3. Oo Lolla Moore - 3:26
4. Virginia Woman (In Gear) - 3:07
5. There Will Be Love - 3:02
6. Believe - 3:07
7. Reno - 2:29
8. Mayday - 3:04
9. Sweet and Sour - 2:57
10.Lovin' Man - 2:35
11.Bible Burning - 4:03
12.Promised Land - 5:27
All songs written by Mojo Collins except Reno' written by Stephen Hatley, Chuck Ruff.

Sawbuck
*Mojo Collins - Lead vocals, Guitars
*Starr Donaldson - Guitar, Vocals
*Chuck Ruff - Drums
*Stephen Hatley - Keyboards, Acoustic Guitar
*Nine Year – Bass
Guest Musicians
*Ronnie Montrose – Guitar Track 6 & 10
*Bill Church – Bass
*Boots Rolph Stuart Hughston - Saxophone
*Andrew Narell - Steel Drum
*Sami - Congas
*Hungria Carmello Garcia - Timbales
*Arsinio Avizaro - Vocals
*Raymond Clough - Vocals

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Tuesday, October 13, 2026

rep>>> Wet Willie - Keep On Smilin' (1974 us, exceptional funky blues southern rock)

The five original members of Wet Willie, all from Mobile, Alabama, came together in 1969 and soon realized they had something special. Jimmy was out front, a triple threat on lead vocals, sax and harmonica; as one writer said, “Jimmy Hall was who Mick Jagger wanted to be!” Ricky Hirsch played guitars and wrote or co-wrote much of the band’s material, with Jack Hall, Jimmy’s brother, on bass, Lewis Ross on drums and John Anthony on keyboards.

The band relocated to Macon, Georgia in 1970 where they were signed by Phil Walden’s Capricorn label, and got right to work on their self-titled first album. Upon its release later that year, Wet Willie began a relentless touring schedule, and soon became known as one of the hardest working bands of the Southern Rock era. As they put it, they “opened for everyone from A to Z: Allman Brothers to ZZ Top!”

Wet Willie Music

Keep on Smilin' is the definitive Wet Willie studio album, bluesier than a lot of their other work, and much of it also somewhat more laid-back. Beginning with "Country Side of Life," the band sounds tight, tuned, and in top form.

Their playing is clean and crisp, and the vocals exude a bold confidence. The hit title track is a compelling reggae-country meld that's one of the more interesting and long-wearing country-rock hits of its period. It's surrounded by gospel-flavored material and also one of the neater Stax-influenced tracks ever put down by a white band, "Soul Sister," which is also a great showcase for the Williettes.

Other highlights include the acoustic country ballad "Alabama," a major change of pace for this band with some clever lyrical conceits; the ultra-funky "Soul Jones" (which manages to work in a quote from the Allman Brothers), and the soulful rocker "Lucy Was in Trouble," which became a key part of the group's concert sets. The 1998 Capricorn remastering has an especially full sound, improving significantly on the original LP.

by Bruce Eder

Tracks
1. Country Side Of Life (Maurice R. Hirsch, Ricky Hirsch) - 3:29
2. Keep On Smilin' (John Anthony, Jack Hall, Jimmy Hall, Ricky Hirsch, Lewis Ross) - 3:56
3. Trust In The Lord (Mike Duke) - 3:10
4. Soul Sister (John Anthony, Ella Avery) - 4:54
5. Alabama (Maurice R. Hirsch, Ricky Hirsch) - 3:24
6. Lucy Was In Trouble (Maurice R. Hirsch, Ricky Hirsch) - 3:38
7. Soul Jones (John Anthony, Jack Hall, Jim Hall, Ricky Hirsch, Lewis Ross) - 4:01
8. Don't Wait Too Long (John Anthony) - 3:05
9. Spanish Moss (Maurice R. Hirsch, Ricky Hirsch) - 3:43
10.In Our Hearts (John Anthony, Ricky Hirsch) - 4:24

Wet Willie
*Jimmy Hall - Harmonica, Percussion, Alto Saxophone, Vocals
*Rick Hirsch - Lead Guitar, Vocals
*John Anthony - Keyboards, Percussion, Vocals
*Lewis Ross - Drums, Percussion
*Jack Hall - Banjo, Bass, Composer, Vocals
With
*Ella Avery - Vocals
*Donna Hall - Vocals
*Earl Ford - Electric Trombone
*Joyce Knight - Vocals

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rep>>> Capability Brown - Voice (1973 uk, beautiful art prog yacht rock, 2011 japan SHM remaster)

This album is probably the main reason why the band was branded with the genre "progressive". While the first four songs are strongly in the direction of their first work, offering rather perfect and sophisticated arrangements in pop and mainstream rock, on the other side, the full-length "Circumstances" offers the band's well-hidden prog splendor in its purest form. In over 20 minutes, echoes of the great works of bands such as Yes, Gentle Giant, Wishbone Ash, Queen and many more can be heard here in a highly original way.

Completely overlooked and undervalued, this is the 'magnum opus' of a band that I would at least grant the status of one of the pioneers of "ArtPop". As on their debut, the band also knows how to make cover versions of "I am so are You" (Affinity) and "Midnight Cruiser" (Steely Dan) their own. More than just "nice", you should definitely check it out. If the first 4 numbers are too sweet for you, you will at least get a 20-minute prog hammer of the upper category. Capability Brown had everything going for them - at least musically and it is a shame that this release caps their career and output.