Boxer - Below The Belt (1975 uk, excellent hard rock, 2012 remaster)

Approximately two years after the breakup of Patto, Mike Patto and Ollie Halsall reunited in 1975 to form Boxer along with Keith Ellis on bass (Van Der Graaf Generator, Juicy Lucy, Spooky Tooth, et al.) and Tony Newman on drums (Sounds Inc., Jeff Beck Group, Kevin Ayers, et al.).  

Keith and Mike were in Spooky Tooth together.  Mike left that band after a year and began working as a promotions man for Good Ear Records, owned by Mike's manager, Nigel Thomas.  Nigel would also become Boxer's manager and give them their name.  Ollie and Tony were playing together touring with Kevin Ayers, and when the touring stopped they got Mike to quit the record biz and form a new band.

This time the music Mike and Ollie brought to the table was straight-ahead rock that reflected little of their Patto past, except for possibly some of the songs on the unreleased Monkey's Bum album.  

The band released it's first album, "Below The Belt", in 1975.  "All The Time In The World" was released as a single with a great non-LP B-side titled "Don't Wait".  They recorded a great second album called "Bloodletting" that would for some reason not be released until 1979.  

Very little of the Boxer story seems to be documented, especially about the breakup of the original lineup.  Sometime in late 1976, Halsall is said to have quit the band.  But somehow Boxer's management ended up in possession of the band's equipment, including Ollie's guitars (as late as 1981, Ollie still didn't own an electric guitar of his own).  This is just hearsay, but the story is that the band was very deep in debt with Nigel Thomas, and he held on to all their equipment.  Then Nigel's company was liquidated, and Ollie's guitars were likely auctioned off by the official receivers.  Where is Ollie's white Gibson Custom SG now?

Mike put together a new lineup of the band to record one more Boxer album in 1977 called "Absolutely".  The new lineup band consisted of Mike, Chris Stainton on keyboards, Tim Bogert on bass/vocals, Adrian Fisher on guitar, and Eddie Tuduri on drums.  The album is not as raw and rocking as the first albums, but there are some fine moments of musicianship and songwriting on this album.  The Randy Newman-esque song "Everybody's A Star" was released as a single.  This album would be Mike's final release before passing away in 1979 with lymphatic leukemia (cancer of lymph glands).

They did some BBC sessions, and their tours, at least for the original lineup, were critically acclaimed.  Their first LP cover did get them some attention through controversy.  Many seem to remember their first album cover, even if they never did heard the contents.  But, as is typical of the Patto story, Boxer did not achieve a great deal of attention or success.  

"Below The Belt" established that Boxer would be a straight-ahead rock band. Ollie and Mike were writing together again, but the new music did not hark back to the days of Patto (you may notice that "Shooting Star" has a chord progression that was also used in "Time To Die" on Patto's first album, though).

According to the host for the BBC session the band did prior to the album's release, it was originally going to be titled "Round 1" or "Round One".

Their first album was produced and engineered by Richard Digby-Smith, an engineer for Patto's "Hold Your Fire" and "Roll 'Em Smoke 'Em..." albums.  Overall, the production gives the band a good, full sound, but as with many bands, it's been said that the album  failed to capture their impressive live sound.

All of the band's members were great players, but showcasing of their soloing capabilities was kept to a minimum, which shows that Mike and Ollie were more focused on the songwriting than the extended guitar/keyboard solos that were typical of the early to mid-seventies.  In fact, the "All The Time In The World" single does not feature any soloing at all. 

For the guitar fans, there is still plenty of great guitar from Ollie.  The slide work in "California Calling", the tasteful solo in "More Than Meets The Eye", the volume/echo bits in "Gonna Work Out Fine", and Ollie singing along with his guitar on "Save Me" are a few of the moments that come to mind

The album contains some great tunes.  "California Calling", "More Than Meets The Eye", "Waiting For A Miracle", and "Save Me" are my personal favorites.  "Waiting For A Miracle" is a great remake of Ollie's tune from the Tempest "Living In Fear" album (1974).  "Town Drunk" is a  slow, bluesy tune that features a great vocal from Mike -- it was written by Terry Stamp and Jim Avery for Terry's "Fatsticks" album (1975), on which both Ollie and Tony Newman played..

Unfortunately, the album cover received more attention than the music.  It featured a model named Stephanie Mariann.  The first pressings of the album had a full-frontal nude photo on the back cover, which caused the jacket to be banned.  The cover was redone covering her lower private bits with a Boxer logo.  The original uncensored covers are supposed to be quite rare.  Of course, in the United States, they wouldn't allow even her breasts to be shown, so they completely redid the cover using the band photo from the inside of the UK gatefold cover.  

Patto-Fan

Tracks
1. Shooting Star (Mike Patto, Ollie Halsall) - 3:59
2. All The Time In The World (Ollie Halsall) - 4:27
3. California Calling (Mike Patto, Ollie Halsall) - 4:45
4. Hip Kiss (Mike Patto, Ollie Halsall, Keith Ellis, Tony Newman) - 2:58
5. More Than Meets The Eye (Mike Patto) - 5:25
6. Waiting For A Miracle (Ollie Halsall) - 5:06
7. Loony Ali (Mike Patto, Ollie Halsalll) - 3:58
8. Save Me (Mike Patto) - 3:36
9. Gonna Work Out Fin (Mike Patto, Ollie Halsall) - 5:57
10.Town Drunk (Terry Stamp, Jim Avery) - 5:17
11.Don't Wait (Single B-Side) (Mike Patto, Ollie Halsall) - 3:14

The Boxer
*Keith Ellis - Bass
*Ollie Halsall - Guitar, Keyboards
*Tony Newman - Drums
*Mike Patto - Keyboards, Vocals
*Chris Stainton - Keyboard

Related Acts
1967-69  Timebox - Beggin'
1969  The Koobas - Koobas
1969-70  Juicy Lucy - Juicy Lucy (2010 bonus track remaster)

1970  Juicy Luicy - Lie Back And Enjoy It (2010 remaster) 

1973-75  Tempest - Under The Blossom The Anthology (2005 double disc set)

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Masters Of Deceit - Hensley's Electric Jazz Band And Synthetic Symphonette (1969 us, amazing psych jazz prog rock, 2001 hard sleeve release)

Masters of Deceit were an Indianapolis band that had its only release, “Hensley’s Electric Jazz Band & Synthetic Symphonette” on the highbrow east coast major label Vanguard Records.

Led by keyboardist Tom Hensley, who also handled most of the vocals, the band also included Steve Blum on guitar, Gary Campbell, bass and vocals, and Stan Gage on drums.  I believe the record was recorded in NYC.

Soon afterwards, Hensley relocated to Los Angeles and became a successful session keyboardist, playing with many big names, including Neil Diamond, Helen Reddy, Cher, David Cassidy, The Carpenters–to name but a few.

The Masters of Deceit LP is relatively obscure today.  Original LP copies can be found for less than $50 but are not common.

Musically, Masters of Deceit occupy an end of 60’s/beginning of 70’s transitional niche, drawing from psychedelia, jazz-rock and progressive rock.   If you’re a fan of such genres, you’ll likely find a lot to like here.

Indiana-Vinyl

Tracks
1. Shining (Tom Hensley, Cradoc Bagshaw) - 4:31
2. Boxes - 4:52
3. The Grand Illusion (Tom Hensley, Cradoc Bagshaw) - 3:34
4. The Long Hard Journey - 7:22
5. Mirror - 4:32
6. Pieces/ Together/ Pieces - 15:09
All songs by Tom Hensley except where noted

The Masters Of Deceit
*Tom Hensley - Organ, Clavinet, Piano, Vocals
*Gary Campbell - Bass, Vocals, Tenor Saxophone
*Stan Gage - Drums
*Steve Blum - Guitar, Bass

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Elephants Memory - Elephants Memory (1972 us, great classic rock)

Elephant's Memory have been taping appearances on the Mike Douglas Show this week in Philadelphia, where the nationally syndicated TV show originates. The group did not appear as themselves, but with John & Yoko's Plastic Ono Band. The appearances are part of five shows that John Lennon and Yoko Ono are cohosting, to be aired in early February.

Elephant's main songwriter Reek Havoc said that although "Elephant's Memory has been politically active, basically it's the rock & roll that brought us together." Jerry Rubin, a percussionist in the Plastic Ono Band, played a tape of Elephant's Memory for John and Yoko and they liked it so much they decided they didn't really need to bring in their friends from all across the globe. The group rehearsed together at Magnagraphics Recording studio and also at Max's Kansas City, where Elephant's Memory recently played two long weekends.

Elephant's Memory plans to remain independent and perform and record both with and without the Plastic Ono Band. Other members of the Elephants Memory Besides Havoc are: Stan Bronstein, vocals and sax; Wayne Gabriel, guitar; Gary Von Scyoc, bass; and Adam Ippolitto, keyboards.

Lennon said, when asked about the team-up, "It's more like Bob Dylan with the Band than Paul and Wings." Which seems true enough because the Band were already together (in fact they had toured and recorded together for years) and have remained together after their Dylan touring, a totally independent group.

Plastic Ono Band personnel like Phil Spector and Jim Keltner have already sat in with the new group, and others will join later.

Other appearances besides the Mike Douglas Show are planned by the groups, but have not yet been scheduled.

This whole team-up is very significant because it is the first time Lennon has actually rehearsed original material with a rock & roll band for live appearances since the beginning of the Beatles.

And they're terrific. I caught some rehearsing and one (so far) Douglas taping, and it's really good to see John rocking again. It's also very good to see Yoko rocking, singing her own material- the jazz and some rock & roll songs. But, best of all, it's really good to see Elephants Memory rock & roll- any time, any place. The group has been playing different kinds of rock for four years, dating back to their "bubblegum" days with Buddah Records when they did the music for Midnight Cowboy, and had a couple of hit records. After recovering from various run-ins with businessmen and music industry people who didn't want them to get any money, they played benefits and free concerts around New York and built up a large local following. A hit single, "Mongoose," with Metromedia Records, and then an album, Take It To The Streets. But Metromedia took them nowhere, so they left that low-energy label, and will soon enough announce their future recording plans. Meanwhile, people all around the country have become familiar with such Elephant's Memory songs as "Power To The People," "Skyscraper Commando," "Power Boogie" and "Liberation Special." Plus the less directly political, but just as rockin' "Black Sheep Blues," "42 Down The Line," "Life" and "Damn."

If you're talking about rock & roll, you're talking about Elephant's Memory. And if you're talking about radical musicians, you're talking about Elephant's Memory. Especially, if you're talking about the right combination of the two, you're talking about Elephant's Memory. That's why John Lennon, Yoko Ono, the Plastic Ono Band, and many others have flipped out, and that's why people everywhere, as soon as they get a chance to see the group, will flip out. 

by Toby Mamis

Tracks
1. Liberation Special (Rick Frank, Stan Bronstein) - 5:29
2. Baddest Of The Mean (Elephants Memory) - 8:40
3. Crying Blacksheep Blues (D. Price, Rick Frank, Stan Bronstein) - 4:26
4. Chuck'N Bo (Elephant's Memory) - 4:31
5. Gypsy Wolf (Rick Frank, Stan Bronstein) - 4:07
6. Madness (Adam Ippolito, Rick Frank, Stan Bronstein) - 3:17
7. Life (Wayne "Tex" Gabriel) - 3:18
8. Wind Ridge (Gary Van Scyoc) - 3:22
9. Power Boogie (Chris Robison, Rick Frank, Stan Bronstein) - 3:52
10.Local Plastic Ono Band (Rick Frank) - 2:09

The Elephants Memory
*Gary Van Scyoc - Bass, Vocals
*Rick Frank - Drums, Vocals, Percussion
*Wayne "Tex" Gabriel - Guitar, Vocals
*Adam Ippolito - Keyboards, Vocals
*Stan Bronstein - Saxophone, Vocals
With
*John Lennon - Vocals, Piano, Percussion, Guitar
*Yoko Ono - Vocals

1969  Elephant's Memory - Elephant's Memory 

1969  Elephant's Memory - Songs From Midnight Cowboy (2006 remaster)  

1970  Elephant's Memory - Take It To The Streets

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Daughters Of Albion - Daughters Of Albion (1968 us, wonderful folk sunny baroque psych with jazzy shades, 2008 issue)

Everybody seems to agree that the black and white front cover is confusing, giving a much darker/weird psych related impression, while this is a, still seriously meant, lighter, much more happy sounding or at least more colourful pop related song album which has all the reflections of what I will call the sunshine pop colours, with the tendency of going towards more serious ideas, concepts or arrangements. 

The sounds created in the songs of this duo (consisting of Greg Dempsey and Kathy Yesse -later known as Kathy Dalton-) with band, fitted, except for a certain Beatles flavour (including all the small string and brass arrangements (with even weird analogue synth sounds on “Still care about you” for instance), would also fit very nicely to some of the Dutch bands that became more popular in those days (including Earth & Fire, Shocking Blue amongst even more pop orientated examples with harmonies driven female vocalist), and might have been one of the reasons why this album was also released outside the US, in Holland, the land of feeling free in that era. 

The arrangements aren’t easily defined, because from the surface, lots of them sound slightly public teasing, light pop-rock with lots of breaks and swinging movements aka Beatles, in a light and almost mainstream approach, but at the same time there’s much more individualism involved, and even some weirdness, especially when adding sound collages, which on “Well Wired” and on “John Flip Lockup”, reveal even an avant-garde approach within this pop context.

 While most songs remain pop song oriented (staying within the single-sized 3 minute approach), with this limitation, they have been played with infinite detail so that this alone makes it already a much more interesting album, a slightly hidden quality that used musical interconnections, lots of change, but with a hanging together coherency as well, a production lead by Leon Russell. 

The already mentioned last track, “John Flip Lockup” is perhaps the most exceptional cooperative approach, an over 6 minute visionary collage, but in fact the album is a real treasure for compositional surprises. The vocals sound pop attractive. The female part has a few times overdubbed female vocals, as if predating Abba’s approach, or are combined with close harmonies, also have a slight folk-pop flavour; other songs are led by male vocals. 

It is a special, interesting album, also due to its arrangements that conceptualize all that is inside into a coherent minor masterpiece.

Psyche-Music

Tracks
1. I Love Her And She Loves Me (Greg Dempsey, Dave Luff) - 2:59
2. Still Care About You - 3:10
3. Yes, Our Love Is Growing - 2:55
4. Candle Song (Greg Dempsey, Dave Luff) - 3:00
5. Ladyfingers - 3:19
6. Sweet Susan Constantine - 2:34
7. Hat Off, Arms Out, Ronnie (Greg Dempsey, Dave Luff) - 2:34
8. Good To Have You - 3:16
9. Well Wired (Greg Dempsey, Dave Luff) - 3:09
10.Hay You, Wait Stay - 2:57
11.Story Of Sad (Greg Dempsey, Dave Luff) - 2:49
12.John Flip Lockup - 6:59
All songs by Greg Dempsey except where indicated

Musicians
*Greg Dempsey - Lead Vocals, Guitar
*Kathy Yesse - Lead Vocals, Percussion
*Jesse Ed Davis - Guitar
*Leon Russell - Keyboards
*Carl Radle - Bass
*Chuck Blackwell - Drums

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Kangaroo - Kangaroo (1968 us, amazing psych folk rock, 2007 edition)

As on so many obscure long-players of the late '60s, there's a salad of styles on Kangaroo's sole, self-titled album, running the gamut from redneck country-rock ("Frog Giggin'," "Happy Man") and sunshine pop-spotted psychedelia ("Such a Long, Long Time") to strident folk-rock ("Daydream Stallion") and avowedly sub-Beatlesque sounds ("Happy Man," "Make Some Room in Your Life"). There are also insertions of backwards guitars, San Francisco-type acid rock riffing, soul vocal posturing, descendants-of-Mamas & the Papas male-female backup harmonies, and a monologue about killing frogs and having sex at the same time.

Still, there are good things about the record, particularly the vibrato folk-rock vocals of Barbara Keith. They're reminiscent to varying degrees of Melanie, Judy Collins, and Buffy Sainte-Marie, though her own personality comes through, as showcased to best effect on the record's highlight, the strident yet haunting folk-rock-psych outing "Daydream Stallion." Fans of Keith should be aware both that this record is not similar to the ones she would subsequently make during her long career, and that her contributions are usually confined to backup harmonies. But when she took the lead vocal -- as she did on "Daydream Stallion," the slightly less impressive "The Only Thing I Had," and her wordless scatting on the opening jazzy section of "I Never Tell Me Twice" -- Kangaroo showed some glimmers of becoming something special. 

by Richie Unterberger

Tracks
1. Such A Long, Long Time - 2:13
2. You're Trying To Be A Woman - 2:15
3. Daydream Stallion (Barbara Keith) - 3:53
4. Make Some Room In Your Life - 2:42
5. Frog Giggin' (N.D. Smart) - 3:15
6. You Can't Do This To Me - 3:45
7. If You Got Some Love In Mind - 2:40
8. I Never Tell Me Twice - 2:28
9. Tweed's Chicken Inn (N.D. Smart) - 3:10
10.Happy Man (Teddy Spelios) - 3:30
11.The Only Thing I Had - 3:30
12.Maybe Tomorrow - 2:10
All songs by John Hall except where stated.

The Kangaroo
*John Hall - Bass, Guitar, Keyboards, Vocals
*Barbara Keith - Vocals
*N.D. Smart II - Drums, Vocals
*Teddy Spelios - Guitar, Vocals

Related Act 
1973  Barbara Keith - Barbara Keith (Japan remaster)

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Thoughts And Words - Thoughts And Words (1969 uk, beautiful warm folk psych, 2005 Issue)

Bob Ponton and Martin Curtis met at primary school where they formed the first band and later played around the youth clubs in Gravesend ,until they met Ray Jenns and Dennis Jenns .The brothers had a rock n roll band Bob and Martin joined Ray and Dens band which later turned into the Pandas. On the bands first record release they changed the name to Pandamonium after the demise of Pandamonium they formed the duo Thoughts and Words.

In mid-’68, five years and three singles into their career as Pandamonium, Bob Ponton and Martin Curtis were fed up. Their history, covered comprehensively in No Presents For Me (RRCD106) saw them at the epicentre of London’s psychedelic folk scene and hanging out with the likes of Davy Graham and Sandy Denny and the other Fairport members.The duo, fed up with the way they had been treated and supported by Denny and producer Joe Boyd, decided to go it alone. 

They’d built up songs and confidence, so Ponton decided to contact his old work mate, Andrew Lauder who was in charge at Liberty. After hearing the material, Lauder placed the duo in the tender care of rising producer and head of A&R, Mike Batt. The duo’s delicate, wistful songs gave Batt an ideal opportunity to hone his talents as an arranger and producer, as well as the album’s pianist.

Thoughts and Words is a largely upbeat collection of melodic, pensive songs, so unlike the psychedelic rock vibe that had prevailed in their late ‘60s output. The duo decided to name the album after a track on the Byrd’s album Younger Than Yesterday, but were surprised to learn that they had been given the name too! The sound is warm and soft - and so is the music. A great folk album. Thoughts and Words also released a single on Marabo records in 1974 titled Its Allright Baby a Bob Ponton song. 

Team-Rock

Tracks
1. Morning Sky - 3:34
2. And The Tears Fall Like Rain - 2:36
3. Friends - 2:14
4. Back In 1939 - 2:26
5. Today Has Come - 3:11
6. Give Me A Reason - 2:12
7. Go Out And Find The Sun - 2:15
8. Seven Years - 2:45
9. Father And Son - 2:45
10.Lifetime - 3:17
11.Annette - 2:30
12.Vision - 2:31
13.Charlie Gates - 2:58
All songs by Bob Ponton, Martin Curtis

Personnel
*Bob Ponton - Vocals, All Instruments except Piano and String Section
*Martin Curtis - Vocals, All Instruments except Piano and String Section
*Mike Batt - Piano

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Bloomsbury People - Bloomsbury People (1970 us, exciting psych prog, 2012 extra tracks remaster)

The Bloomsbury People was an important band in the late 1960's psychedelic/progressive music movement, playing to over 500,000 people at the Atlanta Pop Festival alongside Jimi Hendrix and other 60's icons. Bloomsbury People songs Now, after 30 years, this cult classic is available on Compact Disc. The CD includes three bonus tracks - "Gingerbread Man", "Madeline" and "Saga of the Red Sea" - never previously released. 

This seminal album is a must for anyone's Snopek collection, and for fans of the best on progressive rock. Original released by MGM Records in June 1970.

Tracks
1. Birdsong - 3:36
2. Witch Helen - 2:36
3. Have You Seen Them Cry - 3:37
4. Lake Of Sand - 2:11
5. State Of Confusion (Jon Wyderka) - 3:32
6. Golden Lion - 3:02
7. Pioneer Saint Of Death - 3:38
8. The Resurrection - 2:30
9. Demian - 4:39
10.So It Seems - 2:35
11.Gingerbread Man - 6:29
12.Madeleine - 3:08
13.Have You Seen Them Cry - 3:30
All songs by Sigmund Snopek III excpet where indicated

The Bloomsbury People
*Jon Wyderka - Vocals, Percussion
*Sigmund Snopek III - Keyboards, Trombone, Vocals
*Ding Lorenz - Drums, Acoustic Percussion
*Paul Dujardin - Bass, Trombone, Vocals
*Greg Janick - Organ, Saxophones, Vocals
*Dennis Lanting - Electric, Acoustic Guitars, Vocals

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Panhandle - Panhandle (1972 uk, magnificent classic rock with soul and funky vibes, 2016 remaster)

In the late 60s and early 70s numerous collectible LPs were made by studio musicians, or band members moonlighting from their regular duties. Examples include Hungry Wolf, Green Bullfrog, Ugly Custard and Rumplestitlskin.

The one off album released under the Panhandle moniker fits into this category. Somewhat surprisingly, its producer was Rodger Bain, then riding high as the architect of Black Sabbath's influential sound (as well as overseeing discs by Budgie, Indian Summer, Wild Turkey, Freedom and others).

Presumably recorded during downtime in Decca's West Hampstead Studios, it featured vocalist Jon Gobin (formerly of pop act the Selofane), guitarists Chris Spedding and Martin Kershaw, keyboards from Dudley Moore, bass from Herbie Flowers, and drums from Barry Morgan, as well as percussion by Dennis Lopez, and backing vocals by PP Arnold, Liza Strike and Kay Garner.

Spedding, Flowers, Morgan and Strike had recently contributed to Elton John's Tumbleweed Connection album, perhaps explaining the inclusion of his Amoreena here. They also tackled material by the Rolling Stones (a rare cover of Bitch), Creedence Clearwater Revival (Up Around The Bend and a rare cover of Penthouse Pauper), Sly & the Family Stone, Randy Newman, and other contemporary hitmakers.  The sole original cut is the curiously titled From The Film Of The Same Name, penned by the project's musical director / arranger, the prolific Roland Shaw. 

Engineered by seasoned Decca hands Peter Rynston and David Grinsted, the album received next to-no publicity or attention upon release in early 1972. According to Hi-Fi News ‘n’ Record Review 'A star-studded studio band work their way through rock and soul favourites with a combination of high gloss and enthusiasm. 

Chris Spedding, Herbie Flowers, Barry Morgan, Martin Kershaw, Dennis Lopez, P. P. Arnold, Kay Garner and Liza Strike are among the names involved. Jon Gobin handles the lead vocals, and the keyboard man is, rather surprisingly, Dudley Moore. Enjoyable, but no more.'Perhaps predictably, sales were dismal, and it was swiftly forgotten about.

CD Liner-Notes

Tracks
1. Amoreena (Elton John, Bernie Taupin) - 4:25
2. Mama Told Me Not To Come (Randy Newman) - 2:14
3. Penthouse Pauper (John Fogerty) - 4:16
4. Dimples (John Lee Hooker) - 2:27
5. Bitch (Mick Jagger, Keith Richards) - 3:25
6. I Heard It Through The Grapevine (Barrett Strong, Norman Whitfield) - 3:01
7. Susie (Dale Hawkins, Eleanor Broadwater, Stanley Lewis) - 4:29
8. From The Film Of The Same Name (Roland Shaw) - 2:54
9. Up Around The Bend (John Fogerty) - 2:38
10.I Want To Take You Higher (Sylvester Stewart) - 5:28

Personnel
*Chris Spedding - Guitar
*Dudley Moore - Piano
*Barry Morgan - Drums
*Herbie Flowers - Bass
*Jon Gobin - Lead Vocals
*Martin Kershaw - Guitar
*Dennis Lopez - Percussion
*P.P. Arnold - Backing Vocals
*Liza Strike - Backing Vocals
*Kay Garner - Backing Vocals

Related Acts
1970  Hungry Wolf - Hungry Wolf 
1970  Chris Spedding - Backwood Progression (2014 remaster)  
1972  Chris Spedding - The Only Lick I Know
1975-77  Chris Spedding - Chris Spedding (audiophile 2013 issue)
1977  Chris Spedding - Hurt  

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Mom's Apple Pie - Mom's Apple Pie (1972 us, excellent brass prog jazz blues rock, 2015 remaster)

Chicago's enormous success with their horn-driven rock in the '70s was naturally followed by several other bands who tried to hit it big with the same sound and formula. But many of them would remain in complete obscurity, and the ten-piece Mom's Apple Pie were among them. Their self-titled debut had all the right moves: good tunes, massive brass-arrangements along with organ, guitar and overall solid musicianship. Still, the success they sought never came.

The record opens with a cover of Willie Dixon's well-known "I Just Wanna Make Love to You" that showcases the band's arrangements and musical skills very well. "Lay Your Money Down" has some spacey organ that is quite unusual to find in this genre, and also a nice jam where the bass has one of the main roles. My favourite here is probably "Good Days", a tasty ballad with lots of flute and gorgeous vocal-harmonies. And the beat and rhythm of the track is quite ballsy for being a ballad. 

Keyboardist Dave Mazzochi was obviously one of the main songwriters in the group, and also knew just how to use the right sounds on his organ. "People" varies between a quiet and mellow verse and over into a more powerful a rocking chorus, while "Dawn of a New Day" and "Happy Just to Be" are cheerful rockers very typical for this style of '70s brass rock.

The closer "Mr. Skin" is a song packed with so many catchy hooks that it really had deserved to be a hit for the band, and remains one of the very best from the album. If you're into bands like Lighthouse and the earlier mentioned Chicago, then "Mom's Apple Pie" will be just your thing. 

Vintage-Prog

Tracks
1. I Just Wanna Make Love To You (Willie Dixon) - 5:30
2. Lay Your Money Down (Dave Mazzochi, Tony Gigliotti) - 5:49
3. Good Days (Bob Fiorino, Dave Mazzochi) - 4:39
4. People (Bob Fiorino, Dave Mazzochi, Roger Force) - 4:29
5. Dawn Of A New Day (Dave Mazzochi, Roger Force) - 3:52
6. Happy Just To Be (Dave Mazzochi, Tony Gigliotti, Hartzell) - 3:01.
7. Secret Of Life (Roger Force, Bob Fiorino) - 3:29.
8. Mr. Skin (Jay Ferguson) - 5:33

Mom's Apple Pie
*Joe Ahladis - Guitar
*Pat Aulizia - Drums
*Bob Fiorino - Vocals
*Roger Force - Saxophone, Flute
*Tony Gigliotti - Vocals
*Fred Marzulla - Trombone
*Dave Mazzochi - Keyboards, Vocals
*Bob Miller - Lead Guitar
*Bob Pinti - Trumpet, Vocals
*Greg Yochman - Bass

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Mason Proffit - Bareback Rider (1973 us, remarkable country folk roots rock, 2006 edition)

Mason Proffit's second major-label album and fifth album overall was similar in construction to its predecessor, Rockfish Crossing. Once again, the Talbot brothers and their supporting players turned in a combination of effective originals that touched on subjects from romance to politics with some enthusiastically performed country covers, notably a version of "Setting the Woods on Fire" that sounded like a deliberate attempt to impersonate Jerry Lee Lewis and featured a furious kazoo solo. 

The political element came out in "Black September/Belfast," with its reflections on Northern Ireland and Vietnam. You'd have thought that music this impressive could get a hearing, but Mason Proffit appeared at a time when music fans were more polarized than musicians, not only by music but by politics and culture. Despite the band's evident affection for traditional country music, their left-wing political stance and status as hippie rock musicians meant they could never be accepted in Nashville. And their music was too overtly country for them to score a pop hit. 

Thus, they were doomed to appeal only on the country-rock-oriented Los Angeles club scene and to some music critics. Bare Back Rider did a little better than Rockfish Crossing had, even scraping into the charts for a couple of weeks, but that wasn't the level of success a major label expected, and Mason Proffit was forced to hang up its spurs.

by William Ruhlmann

Tracks
1. Lilly - 2:17
2. Cottonwood - 4:16
3. Setting The Woods On Fire (Ed Nelson, Fred Rose) - 2:52
4. Dance Hall Girl - 4:47
5. To Be A Friend - 4:10
6. Stoney River - 3:47
7. Black September/Belfast - 3:45
8. I Saw The Light (Hank Williams) - 2:55
9. Five Generations - 4:40
10.Sail Away - 3:10
All songs written by John Talbot, Terry Talbot except where noted

The Mason Proffit
*John Talbot - Guitar, Steel Guitar, Banjo, Dobro, Vocals
*Terry Talbot - Guitar, Jewsharp, Keyboards, Fiddle, Percussion, Vocals
*Tim Ayres - Bass
*Art Nash - Drums, Percussion
*Bruce "Creeper" Kurnow - Keyboards, Harmonica
*Kinky "The Stinger" Schnitzner - Electric Guitar
*Bill Cunningham - Fiddle, Mandolin, Twelve String Guitar, Acoustic Guitar
*Tom Radtke - Percussion

1969  Mason Proffit - Wanted (2006 issue)
1971  Mason Proffit - Last Night I Had The Strangest Dream (2006 issue)
1974  Mason Proffit - Come And Gone

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Jade ‎– Faces Of Jade (1970 us, fabulous melodic folky psych rock, 2008 issue)

James Aumann was doing his usual tax-collecting work as Warren County Treasurer late last year when he received an email about a secret from his long-ago past.

It was from Darren Blase, co-owner of Northside’s Shake It Records store. He wanted to know if the county treasurer was the same James Aumann who once led an obscure and short-lived local rock group called Jade.

The band had issued one album in 1971, Faces of Jade, on a small Cincinnati label called General American Records.

Aumann had quit Miami University to pursue Jade at the time. When that failed, he went into banking – getting a degree in finance from American Institute of Banking and rising to become vice president of Warren County’s old Community National Bank. Fifteen years ago, he was hired to be the county’s chief deputy treasurer and he then moved up.

On Friday, Shake It will debut its vinyl reissue of Faces of Jade, with original album-cover art. It will be for sale at the store to launch Black Friday, the kick-off for the Christmas shopping season. There is a new 500-copy pressing (on green vinyl, with download code included). It will also be available via Shake It’s website, www.shakeitrecords.com, starting on Dec. 2.

Blase believes that Faces of Jade holds up well as an example of the way a regional American band was inspired by the sophisticated, boundary-breaking rock and pop of the Beatles. Its 10 songs are artistically ambitious. Aumann and the band used the studio to create songs with ambitiously ornate instrumental and vocal arrangements, innovative recording techniques, and substantial melodies. In short, it wasn’t just garage rock. Parts of songs like “Prelude Willow’s End” and “My Mary (More Than Ever)” fit well into the psychedelic-rock genre of the time; other passages are more folk-pop.

In Jade, Aumann played keyboards and was a songwriter and singer who worked on arrangements. Other members were guitarist/songwriter/singer Randy Morse, bassist/singer Nick Root, drummer Timothy Nixon and business/songwriting partner and co-producer David Smith. The band was active from roughly 1970-1973.

by Steven Rosen 

Tracks
1. Prelude Willow's End - 6:42
2. Blue Ways - 3:23
3. Well - 2:24
4. We (Got To Make It Thru) - 4:00
5. My Mary (More Than Ever) - 2:41
6. My Honey - 2:26
7. Rest Of My Life - 3:13
8. All Alone - 2:09
9. Flying Away - 2:23
10.Wait Till I Come Home - 3:53
All songs by Dave Smith, Jim Aumann, Randy Morse

The Jade
*Nick Root - Bass, Vocals
*Randy Morse - Guitar
*James Aumann - Keyboards, Vocals
*Tim Nixon - Percussion

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Claire Hamill - October (1972 uk, fascinating fusion of folk r 'n' b and jazz, 2008 remaster)

Claire Hamill was a direct contemporary and label-mate of the late, but increasingly mythical, Nick Drake. Her second solo outing, October, proved her the mistress of tender bedsitter missives that still can haunt the heart. Fans of confessional songwriting should value and explore this neglected selection of artistry and craft that has stood the test of many passing seasons.

Recorded by Cat Stevens maestro Paul Samwell Smith in the month of 1972 that lends its name to the proceedings, it retains echoes of Joni Mitchell and Linda Thompson. Hamill possessed a maturity that reached far beyond the eighteen years her life had encompassed by the time the record appeared. In its evocative shots of her by Lord Lichfield, she seems a wayward Alice, gazing from rain-streaked panes or kicking up a cloak of bronzed Autumn leaves.

A small pearl of wintry perfection, October holds songs that pull with gentle strength on the strings of the heart, since she possess a voice of tremendous assurance and clarity. By turns piano-led, guitar driven, or beautifully coated in strings, she extols a wistful longing that lingers like an evocation. 

Hamill went on to record two superlative albums for the Kinks Ray Davies's short-lived Konk Records before briefly joining Wishbone Ash. Her work throughout the '80s became more experimental and choral, though her recent outings hold more in common with the tone and texture of her Island years. One of the most alluring fantasy pairings would have been Claire Hamill and Nick Drake. Everything was almost there, the talent, a shared sensibility, mouthfuls of reflective and haunting songs, even the same record label. It wasn't to be; it seems they never even met.

The best dreams are the ones that hover just out of reach, beautiful but unsullied by the sad light of what we commonly know as the real world. 

by Robert Cochrane

Tracks
1. Island (Steve Smith) - 3:20
2. To The Stars - 2:02
3. Please Stay Tonight - 3:01
4. Wall To Wall Carpeting - 2:21
5. Speedbreaker - 3:10
6. I Don't Get Any Older (Mike Coles, Claire Hamill) - 2:30
7. Warrior Of The Water - 2:54
8. The Artist - 2:37
9. Baby What's Wrong (With You) (Jimmy Reed) - 4:29
10.Sidney Gorgeous - 1:54
11.Crying Under The Bedclothes - 3:36
12.Peaceful - 2:19
All songs by Claire Hamill except where noted

Musicians
*Claire Hamill - Guitar, Keyboards, Piano, Vocals
*Gerry Conway - Drums
*Pat Donaldson - Bass
*Chris Laurence - Bass
*Wayne Perkins - Guitar, Vocals
*Jean Roussel - Keyboards, Piano
*Steve Smith - Keyboards, Vocals
*Tim Smith - Guitar, Vocals
*Henry Spinetti - Conga, Percussion
*Alan White - Drums
*Nick Harrison - String Arrangements

1971  Claire Hamill - One House Left Standing (2008 remaster with extra tracks)

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Claire Hamill - One House Left Standing (1971 uk, astonishing folk with a jazzy edge and pastoral arrangements, 2008 remaster with extra tracks)

The ferociously talented Claire Hamill charmed her way onto Island Records, although initially label head Chris Blackwell was a bit put off by her tender age. But the 16-year-old with the crystalline voice and powerful pen was determined, Blackwell relented and ended up co-producing her 1971 debut album alongside her manager John McCoy. The bulk of the ten-song set was composed by either Hamill herself or co-written with her then boyfriend Mike Coles. Invariably romantic themes predominated, so did songs about growing up, as did thoughtful, introspective numbers, with a pair showcasing the artist's youthful sense of fun. But how to market this ferocious talent? As a singer/songwriter? as a folkie? or as a soft-rocker? McCoy and Blackwell never did decide and brought in a group of top-notch musicians to create a set that encompassed all angles.

The cutesy "Baseball Blues" that opened the One House Left Standing set Hamill up as the British Melanie; oddly, though, it wasn't chosen as the single, instead Blackwell opted for the searching "When I Was a Child." The powerful "Alice in the Streets of Darlington" featured on the flipside, and is one of two bonus tracks included on the Esoteric reissue. Neither were particularly representative of the album, which leaned in a somewhat folkier direction. The comic book horror of "Flowers for Grandma" is presented as a medieval ballad, the affecting "The Man Who Cannot See Tomorrows Sunshine" is more pastoral, "Consummation" features a lovely Western tinge, while "Smile Your Blues Away" dances into a banjo-led, knees-up hoedown. But musically, the album's sole cover, Joni Mitchell's "Urge for Going," is the most astonishing, an epic seven-minute track that slides from folk into psychedelia and out into prog.

There are also more lavish numbers, lush with strings and classical piano. The entire set is carefully crafted, deftly arranged, and beautifully played, while Hamill shines throughout. The only complaint one can make is that she tries too much. Intent on perfectly hitting every note, concentrating on her emotive vibrato, working hard on her enunciation, Hamill never relaxes a muscle, giving the entire set a rather brittle and forced feel. The difference is crystal clear when you hear her electric performance on the reissue's other bonus track, "Meet Me on the Corner," where she let down her hair with Stealers Wheel. Now if only she could have brought that sense of excitement to the actual album. Notwithstanding, this is a phenomenal set beautifully showcasing one of Britain's most astonishing talents. 

by Jo-Ann Greene

Tracks
1. Baseball Blues (Claire Hamill) – 4:19
2. Man Who Cannot See Tomorrow's Sunshine – 2:40
3. Consummation – 2:16
4. River Song – 4:16
5. Where Are Your Smiles At – 2:21
6. When I Was A Child (Claire Hamill) – 2:12
7. Urge For Going (Joni Mitchell) – 6:47
8. Flowers For Grandma – 1:40
9. Phoenix – 2:40
10.Smile Your Blues Away (Claire Hamill) – 2:15
11.Alice In The Streets Of Darlington (Bonus Track) - 4:27
12.Meet Me On The Corner (Bonus Track) - 3:43
All songs written by Claire Hamill, Mike Coles, except where stated

Musicians
*Claire Hamill - Guitar, Keyboards, Vocals
*Phil Bates - Double Bass
*Paul Buckmaster - Cello
*John Bundrick - Keyboards
*Jack Emblow - Accordion
*John Hawken - Keyboards
*Aubrey Johnson - Oboe
*Simon Kirke - Drums
*David Lindley - Guitar
*John Martyn - Guitar
*John Pignegny - Horn
*Terry Reid - Guitar, Vocals
*Ray Warleigh - Flute
*Tetsu Yamauchi - Bass

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Pink Fairies - Never Never Land (1971 uk, spectacular underground rough acid psych rock proto punk, 2002 extra tracks issue)

The Pink Fairies were from the same trashy underbelly of English underground rock as the Edgar Broughton Band, the Deviants, Hawkwind, Arthur Brown, and Gong. Twink, one of the band’s founders, had been in the beat era Fairies, The In-Crowd, Tomorrow, the Pretty Things, and he even managed to released a great solo album in 1970, prior to this.

The Pink Fairies were special, a truly dynamic band that was England’s very own MC5. They released 3 albums during the early 70’s, and while their true swan song, Kings Of Oblivion, is usually cited as their masterpiece, Never Never Land is nothing less than stellar. It kicks off with the misleading Do It. The album version of this tune begins with an acoustic intro than blasts into a hard punk rocker that should really be a classic radio anthem. War Girl engages in some cosmic blues rock soul with some fantastic wah-wah and a great spacey atmosphere. Say You Love Me and Teenage Rebel are more proto-punk/power pop highlights that show off the bands impressive instrumental chops which were honed at countless outside festivals. Surprisingly, Heavenly Man recalls early 70’s Pink Floyd, with slow profound drumming, dazed vocals and David Gilmour style guitar flourishes.

The band’s sound was a combination of the burgeoning progressive rock scene, the earlier psychedelic revolution, proto-punk/garage rock roots, a small hint of politics, and good ole fashioned rock n roll. All these elements make the 10 minutes of Uncle Harry’s Last Freakout a joy to listen to. This is an undeniably great album from an unsung band. Never Never Land shows a vital band fighting for its life, creating some of the hardest outdoor festival music of the time. Anyone into the early Flamin’ Groovies, the Stooges, MC5, the Coloured Balls, or the Amboy Dukes should do themselves a favor and pick this album up. 

by Jason Nardelli

Tracks
1. Do It - 4:15
2. Heavenly Man  (John Charles Alder) - 3:41
3. Say You Love Me - 3:48
4. War Girl  (John Charles Alder) - 4:34
5. Never Never Land - 6:55
6. Track One, Side Two - 4:41
7. Thor  (John Charles Alder) - 0:58
8. Teenage Rebel - 5:20
9. Uncle Harry's Last Freak-Out - 10:51
10.The Dream Is Just Beginning  (John Charles Alder) - 1:18
11.The Snake - 3:58
12.Do It (Single Version) - 3:04
13.War Girl (Alternate Extended Mix)  (John Charles Alder) - 4:34
14.Uncle Harry's Last Freak-Out (First Version)  (John Charles Alder) - 12:24
All songs by Paul Rudolph, Duncan Sanderson, Russell Hunter, John Charles Alder except where stated
Bonus Tracks 11-14

The Pink Fairies
*Paul Rudolph - Guitar, Vocals
*Duncan Sanderson - Bass
*Russell Hunter - Drums
*John Charles Alder "Twink" - Drums, Vocals

Related Acts
1968  Tomorrow - Tomorow 
1969  The Deviants - The Deviants 3 (japan edition)
1970  Twink - Think Pink (2013 remaster and expanded)
1973-74  Robert Calvert - Captain Lockheed And The Starfighters (2009 remaster)

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Still Life - Still Life (1971 uk, extraordinary heavy prog rock, 2001 japan remaster)

Bassist Graham Amos, vocalist Martin Cure began their musical adventure in 1963 in the Coventry band called The Sabres. They later formed The Peeps  in 1965. The other two members of the band were Roy Albrighton (guitar)  and  Paul Wilkinson (drums). The Peeps  recorded five SPs for Philips (1966-68). In 1968, they recruited Terry Howells on organ (ex-Ray King Soul Band). The drummer Paul Wilkinson left  the band in 1968. He  joined  a  band  called  Flying  Machine. With new drums player, Gordon  Reed (ex-Vampires), group's name was changed to  Rainbows. They  recorded two singles for CBS.  The Rainbows  had some gigs in  Hamburg, Germany and when they were finished the guitarist,  Roy Albrighton decided to stay in Germany. Later, he formed a band called Nektar.

When Rainbows came back to England, the drummer G.Reed left the band. So then there were three musicans: Amos, Cure, Howells. They changed a band name to Still Life and wrote the songs which turned into the album. But the band had not a drummer. Alan Savage was contacted to do the session and he had about a week to learn the material prior to recording. Album was recorded at Sound Recording Studios, near Marble Arch, London Savage was involved with the recording on the following dates: 1st October 1970, 2nd October 1970, 5th October 1970, 6th October 1970, 13th October 1970. The Album was mixed Monday 26th October 1970. Obviously, the other members were doing overdubs, vocal etc.on the dates in between. S.Shane did produce the LP. The Band had a contract to make a six LPs. But unfortunately the band drifted apart.

Pearls

Tracks
1 People In Black (Terry Howells) - 8:17
2 Don’t Go (Terry Howells, Martin Cure) - 4:37
3 October Witches (Terry Howells) - 8:04
4 Love Song No. 6 (Terry Howells) - 6:37
5 Dreams (Terry Howells, Martin Cure) - 7:34
6 Time (Terry Howells, Graham Amos) - 6:26

Still Life
*Martin Cure - Vocals
*Terry Howells - Keyboards
*Graham Amos - Bass
*Alan Savage - Drums

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Simon Stokes And The Nighthawks - Simon Stokes And The Nighthawks (1970 us, awesome hard jagged bluesy rock, 2007 remaster)

Already a veteran performer on several LA-scene novelty/psych singles, Simon Stokes put together his own band and made his vinyl debut on MGM in 1968 with this rather uneven collection of swampy sex-prowler psych and screechy ballads. Comparisons with Beefheart are inevitable, if only because this is crazy-dude blues backed with genuine accomplishment; but there’s something altogether less cerebral about Stokes, who sings like a wrestler. 

Back in the day, roughneck tales mixing violence, sex and humour – the ultimate taboo – won few friends among the peace’n’love pushers, but plenty among the outlaw biker fraternity. “The Bible says thou shalt not kill/But man, I heard that line before/If the Bible says thou shalt not kill/What excuse has the law?” Best bits are Big City Blues (a rework of Mini Skirt Blues by the Flower Children, aka Stokes, later covered in a Cramps/Iggy duet) and the redneck stomper Voodoo Woman, which was a Billboard hit and jukebox regular in a certain kind of bar in a certain kind of state.

by Derek Hammond

Tracks
1. Big City Blues (Simon Stokes) - 2:49
2. Where Are You Going (Simon Stokes) - 2:53
3. Jambalaya (On The Bayou) (Hank Williams) - 3:03
4. Sugar Ann - 2:45
5. Southern Girl - 2:15
6. Which Way - 5:43
7. Voodoo Woman - 2:27
8. Rhode Island Red - 3:19
9. Cajun Lil - 1:48
10.Down In Mexico (Jerry Leiber, Mike Stoller) - 3:13
11.You've Been In - 3:52
12.Ride On Angel (Simon Stokes) - 4:02
All songs by Randall Keith, Simon Stokes except where noted

Simon Stokes And The Nighthawks
*Nick Robbins - Keyboard
*Simon Stokes - Vocals
*Robert Ledger - Bass
*Joe Yuele - Drums
*Joe Foster - Keyboard
*Randall Keith - Guitar
*Butch Senneville - Guitar

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Tucky Buzzard - The Complete Tucky Buzzard (1971-73 uk, exceptional blend of prog hard blues rock, 2016 five discs box set)

Tucky Buzzard.  You might vaguely recall the name if not the music.  You could be forgiven in thinking that they were long haired southern rockers.  Truth is, they morphed out of UK psychedelic rockers The End, were largely produced by Rolling Stone Bill Wyman and their debut album featured a Spanish symphony orchestra conducted by Waldo de Los Rios.  Confused?

Coming On Again is the only album of this five album box set not to have been produced by Bill Wyman and this might have allowed the band a flexibility absent in subsequent years.  Alan Robinson’s somewhat musically subjective liner note enthuses  – “I am willing to nail the sorry arse of my critical faculties to the wall” – over its essentially classical/prog fusion content that may have been overlooked in the pantheon of the genre.  He may be right.

With its guitar/Hammond interplay the long “suite” immediately recalls early Deep Purple who were to figure in the band’s story a few years later.

The band  attracted Capitol Records in the USA for the next two albums.  The sophomore release Tucky Buzzard actually featured recordings made for a second, aborted The End album in the late 1960s.  The music is a mixture of Humble Pie and even a ballsy Badfinger which is probably why the band appealed across the pond as both had achieved considerable success in the States by this time.

Warm Slash was more reflective of the band’s hard rocking style when released in June 1971 influenced by the likes of Grand Funk Railroad with whom they had toured in the States.  ‘Burnin” and ‘Heartbreaker’ are particularly groovy.

1973′s All Right On The Night was the start of the band’s relationship with Deep Purple and their fledgling Purple label.  The band would count the band amongst their heroes and this connection was furthered when the band opened for Purple on tour in the States.  The album sits well with its predecessor; in the main, excellent, driving hard rock/boogie.

The band’s final outing Buzzard released in 1973 brings them almost full circle with a more rock and roll feel and aligning them more closely with bands like The Rolling Stones, The Faces and even Led Zeppelin.  But that particular musical boat had already sailed and was well established.  Tucky Buzzard were destined to become a mere footnote and  “also-rans”.

One can only wonder what might have happened if they’d have continued the prog themes of their debut album, the musicianship was certainly top notch and with a refreshing sense of adventure. The band’s essentially British-based rock and roll could have provided the template for many a modern wannabe and anyone who can trace their lineage from the early 1970s.

Interestingly the band never filtered through in other incarnations after their split.  Keyboard player Nicky Graham later wrote material for the pop duo Bros in the early 1990s whilst guitarist Terry Taylor remained with Bill Wyman, this time in The Rhythm Kings.

This well presented box set will do much to put the band’s story in context and brings together their output which previously has been single or 2 on 1 CD releases  and often difficult or expensive to obtain.  There are no bonus tracks and the curious will probably want to seek out the earlier Edsel box set chronicling the pre-Buzzard, The End.
by David Randall

Tracks

Disc 1 Coming On Again 1971  

1. Suite - 14:12

.a.Coming On Again (Part 1)

.b.For Maryse (Terry Taylor)

.c.Over the Hill

.d.Coming On Again (Part 2)

.e.Believe Me (Dave Brown)

.f.Here I Am (Terry Taylor, Dave Brown, Nicky Graham)

2. You're All Alone (Terry Taylor, Jimmy Henderson) - 6:03

3. You Never Will (Terry Taylor, Jimmy Henderson) - 2:56

4. Free Ticket - 3:40

5. Lady Fair - 4:15

All compositions by Terry Taylor, Jimmy Henderson, Dave Brown, Nicky Graham, Paul Francis except where indicated.

Disc 2 Tucky Buzzard 1971

1. Time Will Be Your Doctor (Nicky Graham, Dave Brown, Paul Francis) - 3:53

2. Stainless Steel Lady (Nicky Graham, Terry Taylor, Jimmy Henderson, Dave Brown) - 4:30

3. Sally Shotgun (Terry Taylor, Dave Brown) - 3:06

4. Gu Gu Gu (Terry Taylor, Nicky Graham, Dave Brown) - 3:29

5. My Friend (Terry Taylor, Paul Francis, Nicky Graham, Dave Brown) - 4:01

6. Pisces Apple Lady (Leon Russell) - 2:53

7. She's Meat (Nicky Graham, Terry Taylor, Jimmy Henderson, Dave Brown) - 3:17

8. Ace The Face (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 3:20

9. Whiskey Eyes (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 5:54

10.Rolling Cloud (Terry Taylor, Jimmy Henderson) - 5:18

Disc 3 Warm Slash 1972

1. Mistreating Woman - 2:57

2. (She's A) Striker - 3:19

3. Fill You In (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 3:16

4. Need Your Love - 2:25

5. Which Way, When For Why - 8:01

6. Burnin' (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 5:30

7. Heartbreaker - 4:40

8. Sky Balloon - 5:52

9. Ain't Too Soon (Terry Taylor, Dave Brown) - 4:31

All songs by Terry Taylor, Jimmy Henderson except where noted

Disc 4 Allright On The Night 1973

1. Can't Live Without It (Terry Taylor, Jimmy Henderson, Dave Brown) - 3:50

2. Fast Bluesy Woman (Jimmy Henderson, Terry Taylor, Dave Brown, Chris Johnson) - 3:36

3. Gold Medallions - 4:34

4. All I Want Is Your Love - 3:44

5. Rainbow Rider (Dave Brown, Jimmy Henderson, Terry Taylor) - 4:27

6. 'Rudi' Movie Star (Paul Kendrick) - 4:02

7. Pictures - 3:32

8. Last War - 5:16

All songs by Terry Taylor, Jimmy Henderson except where stated

Disc 5 Buzzard 1973
1. Who Do You Love (Ellis McDaniel) - 4:00
2. Run In The Mornin' - 4:24
3. Hanging On In There (Waiting For You To Come) (Terry Taylor, Jimmy Henderson, Dave Brown, Chris Johnson) - 5:39
4. Superboy Rock'n'Roller '73 (Terry Taylor, Jimmy Henderson, Dave Brown, Chris Johnson) - 2:12
5. Bo-Bo's Hampton - 4:30
6. Wine And Wimmin (Bill Wyman) - 4:55
7. Superfine Lady - 4:24
8. Near To Me (Terry Taylor, Jimmy Henderson, Dave Brown) - 3:38
9. Shy Boy - 7:32
All songs by Terry Taylor, Jimmy Henderson except as else marked

The Tucky Buzzard
Disc 1 Coming On Again 1971
*Terry 'Tex' Taylor - Electric, Acoustic Guitars, Backing Vocals
*Nicky Graham - Piano, Organ, Backing Vocals
*Dave Brown - Bass Guitar, Acoustic Guitars, Backing Vocals
*Paul Francis - Drums, Timbales, Percussion
*Jimmy Henderson - Lead Vocals, Percussion
Guests
*Howard Neldrett (Lennie) - Electric, Acoustic Guitars
*Hugh Attwooll - Percussion

Disc 2 Tucky Buzzard 1971
*Jimmy Henderson - Lead Vocals
*Dave Brown - Bass Guitar, Lead Vocals
*Nicky Graham - Keyboards, Lead Vocals
*Terry Taylor - Guitars
*Chris Johnson - Drums

Disc 3 Warm Slash 1972
*Dave Brown - Bass Guitar
*Nicky Graham - Keyboards
*Jimmy Henderson - Singer
*Terry Taylor - Guitars
*Chris Johnson - Drums

Disc 4 Allright On The Night 1973
*Jimmy Henderson - Lead Vocals, Harp
*Terry Taylor - Lead, Slide, Rhythm,, Acoustic Guitars
*Dave Brown - Bass, Acoustic Guitar
*Chris Johnson - Drums, Percussion
*Ron Taylor - Guitar
Guests
*Paul Kendrick - Rhythm Guitar
*Jeff Workman - Piano
*Phil Cordell - Piano
*Don Weller - Brass

Disc 5 Buzzard 1973
*Jimmy Henderson - Lead Vocals, Harp, Percussion
*Terry Taylor - Lead Guitar, Slide, Electric Piano
*Dave Brown - Bass, Acoustic Guitar, Percussion
*Chris Johnson - Drums, Percussion
*Phil Talbot - Rhythm Guitar
Guests
*Paul Kendrick - Rhythm Guitar, Backing Vocals
*Tony Ashton - Hammond Organ, Piano
*Bill Wyman - Rock 'N' Roll Piano, Electric Piano
*Rob Cooksey - Bon Vibes
*The Buzzettes - Backing Vocals
*Brass Sections:
*John Lee - Trombone
*Ricky Dodd - Tenor Sax

Related Act
1964-1970  The End - From Beginning To End (2015 four discs box set)

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