Given the number of talents early-'60s garage outfits that came out of the Northwest, it's surprising that Tacoma's The Wailers are often forgotten. One of the regions most talented and versatile bands.
By the late 1960s virtually every band in existence seemed duty sworn to recorded a psychedelic album. With a line up consisting of keyboardists Ron Gardner and Kent Morrill, bassist Buck Ormsby, drummer Dave Roland, and lead guitarist Denny Weaver, the late era Wailers were no exception; their contribution to the idiom taking the form of 1968's Al DeMartino produced "Walk Thru the People". Unlike 1966's "Outburst", this time around most of the ten tracks were band originals - Gardner and Morrill credited with the majority of songs.
The interesting thing was that viewed as a marketing move (complete with rear panel Buddha quote), rather than a true artistic statement the results were surprisingly impressive. While nothing here was what you'd consider to be artistically groundbreaking, all ten tracks offered up an enjoyable mix of psych and commercial touches. Highlights included 'Busy Man', a blazing cover of the classic 'Smokestack Lightning and the fuzz propelled 'You Can Fly'. Bell tapped the latter for a single 'You Can Fly' b/w 'Thinking Out Loud' (Bell catalog number 694).
Bad-Cat
Tracks
1. Walk Thru The People (Ron Gardner) - 0:52
2. Busy Man (Kent Morrill) - 2:51
3. Thinkin' Out Loud (Kent Morrill, Ron Gardner) - 3:25
4. Suddenly (Ron Gardner, Kent Morrill) - 4:32
5. You Can Fly (Ron Gardner, Kent Morrill) - 3:10
6. Early Mornin' Hour (Denny Weaver, Kent Morrill) - 3:05
7. Just Friends (Woods) - 3:28
8. Smokestack Lightning (Chester Burnett) - 5:50
9. I Can't Tell You (Andy Di Martino, Buck Ormsby, Denny Weaver) - 2:24
Gotham was an American brass-rock/soul band from NYC that released the album Pass the Butter on Motown-subsidiary Natural Resources in 1972.
Gotham, alternately known as the New York Street Band, came together in 1971 when veteran saxophonists Alfred “Peewee” Ellis and Frank Vicari teamed with trumpeters John Catchell and John Eckert, both fresh off a stint with Ten Wheel Drive.
Ellis did a five year (1965–69) stint in the James Brown Revue, where he co-wrote hits like “Cold Sweat,” “The Chicken,” and “Say It Loud – I’m Black and I’m Proud.” During 1970/71, he played on albums by soul singer Bobby Lester, jazz saxist Hank Crawford, and Bahamian musician Exuma.
Vicari spent the prior decade backing big band leader Maynard Ferguson, followed by a stint with Woody Herman and His Swinging Herd. In 1970, he partook in the jazz-psych one-off The Albert. He then played on the 1971 Kudo release From a Whisper to a Scream by soul singer Esther Phillips. As Gotham got underway, he played on the 1972 albums Beer Cans On the Moon by folkster Ed Sanders and the eponymous jazz-rock double-album by White Elephant, produced by Mike Mainieri.
Gatchell played on the 1970 UA release Spectrum by jazz drummer Les DeMerle. With Eckert, Gatchell played on the 1970/71 albums Brief Replies by brass-rockers Ten Wheel Drive and the eponymous fourth album by singer/songwriter Cris Williamson. They both played alongside Vicari on the 1971 Esther Phillips release (Gatchell also played on her 1972 album Alone Again, Naturally). Meanwhile, Gatchell and Ellis locked horns on the 1971 Kama Sutra release Do Wah Nanny by Exuma.
Eckert played on 1969 jazz titles by Paul Desmond and the American Brass Quintet, the latter culminating a five-year stint. He also notched credits on 1970/71 albums by PJ Colt and Carol Hall. In parallel with Gotham, he played on the 1972 Flying Dutchman release Blues and the Soulful Truth by jazz singer Leon Thomas.
The other members of Gotham were guitarist Link Chamberlin, bassist Chris Qualles, drummer James Strassburg, and singer/guitarist Schuylar “Sky” Ford. Chamberlin was a member of ’60s surf rockers The Orchids. More recently, he played on albums by Giant, The Rascals, and the Ernie Wilkins Orchestra. Strassburg hailed from brass-rockers Gas Mask, which issued one album, Their First Album, on Tonsil Records in 1970. The others were relative newcomers to the scene.
Gotham signed to Natural Resources, a sublabel of Motown, and recorded their singular album at MoWest Studios in Los Angeles. The album, Pass the Butter, hit shelves in 1972. It features 11 songs: two written by Ellis (“Use It or Lose It,” “Moon”) and six by Chamberlin, including “Why Doesn’t the Sun Shine,” “Ease My Mind,” and “Talkin’ ‘Bout.” Ford contributed “They Made Me An Outlaw.” They also tackle numbers by Otis Smith (“Sittin’ On a Mountain”) and Billy Vera (“Behind the Wall”).
Pass the Butter was produced by Tom Wilson (The Animals, The Velvet Underground, Mothers of Invention) and engineered by MoWest newcomer Larry Miles, who worked on concurrent label projects by Diana Ross and the Four Seasons. The cover features an illustration by Tim Clark of Rod Dyer, Inc. It shows an encircled image with ambiguous subject matter: apparently two sentient slices of toast, in the shape of hearts, swiving and sweating in a vintage bed. The back shows a photo collage of the eight members with diagonal credit text. In the Netherlands, Pass the Butter was issued on Motown’s Rare Earth division.
Gatchell and Eckert played on the 1973 Paramount Records release by Joel Kaye and His New York Neophonic Orchestra. That same year, Gatchell rejoined Ten Wheel Drive for their eponymous fourth album, released on Capitol. He also played on 1973–75 albums by George Benson, Ronnie Foster, Esther Phillips, John Tropea, and Eumir Deodato.
In 1975, Gatchell interacted once more with Ellis on the Roulette release Out Among ‘Em by Love Childs Afro Cuban Blues Band, produced by Michael Zager. Gatchell then played on 1976 albums by Chick Corea (The Leprechaun) and singer/songwriter David Forman. During said timeframe, Eckert played on albums by Johnny Hammond, Michael Mantler, and different titles by Deodato.
Vicari played on 1973–75 albums by Ferguson, T-Bone Walker, Blue Mitchell, John Lennon, the Manhattan Transfer, and ex-Mountain man Leslie West. In 1976, he played on the Muse Records release Slow Down, Baby, the singular album by soul-funk singer and songwriter Rickie Boger.
Ellis played on mid-’70s titles by Sonny Stitt and Reuben Wilson. As Pee Wee Ellis, he released the jazz-funk album Home In the Country on Savoy Records in 1977. He spent many subsequent years as a musical director for Van Morrison.
Strassburg played on High On You, the 1975 debut solo album by Sly Stone. Behind Ellis, he drummed alongside Idris Muhammad and Bernard Purdie on Home In the Country. In 1983, Strassburg played on the jazz-pop album So Nobody Else Can Hear by Jimmy Cobb with Freddie Hubbard and Gregory Hines.
Chamberlin, as Linc Chamberland, cut a 1977 solo album, A Place Within, on Muse. In 1983, Chamberland collaborated with NW contrabassist David Friesen on the Muse release Yet to Come.
Ellis, Strassburg, and Chamberland all played on the 1977 A&M/Horizon album Light’n Up, Please! by reedist David Liebman.
Gotham’s manager, Marty Perellis, became a road manager for Frank Zappa during the mid-1970s. He’s depicted on the cover of the Mother’s 1973 release Over-nite Sensation.
New York based, Last Ritual's lone LP from 1969 is definitely a step above that dubious wheelhouse, and if it was in better condition, I'd probably hang on to it and spend more time trying to decipher its weirdness. Many of the elements are there: good, occasionally heavy guitar work, a mix of long and short cuts, crazed, rambling lyrics, production work from Tom Wilson, etc. There's also lots of horns -- never fear, it's not horn rock, and the arrangements are very well done -- and maybe too much rambling.
The Last Ritual is more proto-prog rock than psych and features shifting tempos and styles from country to chamber music, heard best/worst and most seemingly random on the near-17 minute album closer, "Bugler's Reveille." Conducted, composed and arranged by one Allan Springfield, there's nearly nothing about this album or band online; in fact, many listings on discographies or the occasional copy for sale seem to think there's no band name for some reason. the album was recorded mostly live rather than tracked in pieces -- which would be truly impressive considering the complexity of much of this material. A few clues here and there also turn up info about a direct follow up band named Chelsea Beige.
Gas Mask formed in New York City when Italian jazz trumpeter Enrico Rava teamed with reedist Richard Grando and saxophonist David Gross. The trio paired their talents with a five-piece rock band comprised of guitarist Bill Davidson, bassist Ray Brooks, drummer James Strassburg, keyboardist Nick Oliva, and singer Bobby Osborne.
Rava first recorded a decade earlier with titles on the Italian Cetra label. During the mid-1960s, he played on albums by Piero Umiliani and Steve Lacy. He also did a stint in Gato Barbieri‘s Italian quintet. After his appearance on the 1969 FMP release European Echoes by German trumpeter Manfred Schoof, Rava moved to Manhattan, where he caught wind of the burgeoning fusion of jazz and rock.
Osborne hailed from The Del-Aires, a surf-rock band from Paterson, NJ, that released four singles between 1961 and 1964 and appeared in the B-movie The Horror of Party Beach.
Grando played on 1969 albums by Earth Opera (The Great American Eagle Tragedy), Tom Paxton, and Steve Elliot. Just as Gas Mask got underway, he played on the 1970 Elektra release The American Revolution by David Peel & The Lower East Side.
Davidson played on the 1969 folk-rock album The Mother of Us All by the Steve Baron Quartet.
Gas Mask signed to the short-lived NY label Tonsil Records and released their singular album, ironically titled Their First Album, in 1970. It features 10 songs: two by Gross (“The Immigrant,” “The I Ching Thing”) and eight by Oliva, including “If You Just Think of Me,” “Just Like That,” “Thank You My Dear,” and “Watch Myself Grow Tall.”
“If You Just Think of Me” rides on a shaky groove in Gm/Cm with percolating bass, rippling organ, and a darting sax riff. Osborne’s gruff, soulful vocals command the staccato, angular refrain and major-seventh chorus.
A subdued bass in B heralds “Just Like That,” where emotive, stretched-vowel vocals soar amid cascading organ keys and trumpet overlays. Midway, sax/trumpet tradeoffs are undercut with loose tom rolls.
“Thank You My Dear” enters on a tight, two-chord, half-step riff (F#/G) with a drum-pummeled, locked-horn pattern. It soon unfolds to an open-cadence chorus with cascading organ, bobbing bass, and Osborne’s sonorous croon. Midway, brass floodbursts collide with icy organ layers.
The band cuts loose on the two instrumentals. “The Immigrant” features a persistent bassline in E against an ascending brass/organ riff (C-D-E). It soon cuts to a mute trumpet solo.
“The I Ching Thing” begins with dark, faint, distant billowing sounds. One minute in, a shaky pattern in Cm/F forms with flute, muted trumpet, and chordal strikes. Things loosen in the middle with perforating flute, scaling bass, and roaming drums.
Their First Album was produced by Teo Macero, best known for his production work on jazz classics by Miles Davis (Kind of Blue, Sketches of Spain, Miles In the Sky), Charles Mingus (Mingus Ah Um), and Thelonious Monk (Criss-Cross). Original copies are housed in a gatefold sleeve with a lyric/photo inner-spread. The label bears Tonsil’s distinct open-mouth trademark against a red background.
The Gask Mask album was one of three released on Tonsil, which otherwise only handled the acts Canada Goose, Great Jones, and a field recording by actor Robert Redford (The Language and Music of the Wolves), plus a single by Joey Dee and the New Starliters. In France, the album was released on Musidisc as Pop No End and credited just to Bobby Osborne with generic, psychedelic gogo girl cover art.
Rava played on the 1971 experimental big band release Escalator Over the Hill by Carla Bley and Paul Haines. He then launched his career as a bandleader, starting with the 1972 Fonit Cetra International release Il Giro Del Giorno In 80 Mondi.
Grando played on a string of 1971–73 folk and country albums, including titles by David Bromberg, The Quinaimes Band, and Cat Mother. In 1974, he served as a touring musician on David Bowie‘s Diamond Dogs tour, as documented on David Live.
Oliva played on 1972 albums by singer Genya Raven (formerly of fellow brass-rockers Ten Wheel Drive) and singer/songwriter D.R. Hooker.
Strassburg partook in the soul-funk octet Gotham, which issued the 1972 album Pass the Butter. As Jimmy Strassburg, he played on High On You, the 1975 debut solo album by Sly Stone. He then played on the 1977 albums Home In the Country by (ex-Gotham saxophonist) Pee Wee Ellis and Light’n Up, Please! by David Liebman. In 1983, he played on the jazz-pop album So Nobody Else Can Hear by Jimmy Cobb with Freddie Hubbard and Gregory Hines.
Brooks played on the 1973 release This Is Marva Josie, recorded with Earl “Fatha” Hines and His Orchestra. Gross resurfaced in the mid-1980s on a pair of Gramavision titles by jazz drummer Bob Moses.
Group Therapy was a New York rock band, formed in 1966 by Ray Kennedy (vocals). The other members were Art Del Gudico (guitar), Jerry Guida (keyboards), Tommy Burns (drums) and Michael Lamont (drums).
The group rose to prominence in Europe when they joined Moby Grape on a tour in UK, in 1968. Group Therapy impressed audiences with their exciting, soul-based stage act. Two strong-voiced vocalists, Ray Kennedy and Tommy Burns give Group Therapy a solid base. Lead guitarist Art Del Gudico, also prossessing a stong voice. The band’s debut album largely comprised of covers like ‘Hey Joe’, ‘Morning Dew’ and ‘Come See About Me’.
On their second release "37 Minutes Of Group Therapy", their biggest and most significant change was the emphasis on original material, and this material is good! The band failed to larger succes and sales, and split up without achieving their potential.
During the '70s Ray Kennedy found some of his greatest success, co-writing a number of songs covered by other artists (including the Beach Boys classic 'Sail On, Sailor' as well as the Babys' 'Isn't It Time' and 'Every Time I Think of You') and co-founding the group KGB with Barry Goldberg and Michael Bloomfield. KGB proved short-lived, lasting only long enough to produce a pair of albums, but Kennedy's career continued unimpeded; in 1980, he released his second solo LP, 'Ray Kennedy.'
He spent the '80s engaged in an eclectic array of pursuits, from contributing to the music for the 1988 Olympics to opening a studio and touring with Aerosmith and the Michael Schenker Group; he also enjoyed a long professional association with Englebert Humperdinck and worked with Wayne Newton before beginning a brief songwriting partnership with Mick Fleetwood that produced 'These Strange Times,' the closing track on Fleetwood Mac's 1995 'Time' album.
Ray Kennendy passed away on February 18, 2014.
Tracks
1. Foxy Lady (Jimi Hendrix) - 3:05
2. Yours Until Tomorrow (Carole King, Gerry Goffin) - 3:41
3. Come See About Me (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 2:46
4. Morning Dew (Bonnie Dobson) - 2:40
5. Who'll Be Next (Art Del Gudico, Tommy Burns) - 2:31
6. People Get Ready (Curtis Mayfield) - 4:13
7. Really Together (Billy Vera) - 2:06
8. Hey Joe (Billy Roberts) - 4:00
9. The Exodus Song (Ernest Gold, Pat Boone) - 4:25
10.Expressway To Your Heart (Kenneth Gamble, Leon Huff ) - 2:37
Parish Hall was a power trio from the California Bay Area. The band consisted of Gary Wagner (guitar, piano, vocals), John Haden (bass), and Steve Adams (drums). Specializing in a hard rock/blues rock sound, their album was originally released near the end of 1970 on a small local California record label. Reminiscent of the sound of another popular trio of the day, the Jimi Hendrix Experience, Parish Hall had begun to gain the recognition of some European collectors by the late 1990s, and originals have fetched high prices in collector's markets. All songs on this album are originals written by Wagner and hold up well when compared to other hard rock acts.
by Keith Pettipas
This superb San Franciscan power trio only recorded one album, which stands as one of the best of its kind. Rooted in blues, its snappy, self-penned songs display a clear acid rock influence, whilst avoiding excess of any sort. Though it was released in Europe and even Australia in 1970, it sank without trace, spelling the end for the band, though their reputation has been growing ever since.
Excellent sophomore album by this San Francisco band, Roy Halee took over the production at the newly created Columbia Records studios in San Francisco. Impressed with the technique of the boys, Roy (who had worked with Simon and Garfunkel, Byrds, Moby Grape and Blood, Sweat & Tears , among others) had no doubts about inviting them to record. The result is this formidable selftitled record, released in 1971 on the Epic label.
New members on brass section, and a keyboardist. All musicians dominating the groove sphere, Germain Wallace (saxophone and flute), Jon “Chicken” Greg (vocals), Jim Tompkins (trumpet and flügelhorn), Richard Lewis (trombone), Lex Silva (bass), Sal Saccardo (drums, percussion and vocals), Dan Buttington (organ, piano and vocals on the track “Thinking 'Bout You” ) and John Hart (guitar and vocals), who's the only Englishman, not to forget Bill Atwood who plays trumpet on all songs.
For Example is an another band from the SWF-broadcast vaults, with their recording they did in 1973. The band, founded in the late sixties, consisted of students of various study fields. In the beginning they played, under the name Frida III, cover versions of sixties hits, but after they had been taken on for 2 productions by the State Theatre Tübingen, they changed their music style, added three wind players with jazz experience and formed For Example. At first they played pieces of their favourite bands Chicago and Blood, Sweat and Tears, but their repertoire also comprised soul numbers with horn sections.
Step by step they added self composed titles and found their own music style, still influenced by their favourites. Still unsigned they were invited to the legendary 2nd German Rock Festival on Burg Herzberg in summer 1971, where all leading German groups, from Frumpy to Guru Guru got together and the big audience was impressed by For Example. In 1972 they´ve fought in vain for the release of a album on CBS records. A demo tape had been produced at Jankowski Studio in Stuttgart, but after a change of the management, CBS was not further interested to release the recordings.
That´s why the band called these "Cancelled". The SWF broadcast invited them in 1973 to do a recording session of 4 titles. This is the chance to listen to a long forgotten band.
Tracks
1. Of Our Freedom (Gerhard Glombik, Micha Franz) - 4:58
2. Turn Me Back (Gerhard Glombik, Micha Franz) - 4:29
3. Spätlese (Hanspeter Schickle, Gerhard Glombik, Jörn Heher) - 5:52
4. Das Lied Der Keuschen Jungfrau (Hanspeter Schickle, Günther Schmid) - 0:59
5. Commercial Song (Hanspeter Schickle, Günther Schmid) - 4:10
The only self-titled album from New York based, Pig Iron. A highly talented band, unfairly pushed into oblivion. Former and leader of “Pig Iron” was drummer Alan Abrahams. He was also lead vocalist and main songwriter of the group.
In 1970, “Pig Iron” recorded an album which was well received by critics, but somehow went bad on sales. Label as usual, did not renew the contract, and by 1971 the band broke up. Alan Abrahams went on to become a professional producer, worked at RCA, Capitol and Columbia Records, recorded by Miles Davis, BB King and many others … As for the fate of the other musicians: keyboardist-trumpeter Adam Ippolito and bassist Gary Van Scyoc trumpeter joined a group of “Plastic Ono Band” and a later incarnation of Elephants Memorie. Saxophonist Marty Fogel became a member of Lou Reed's band.
Four songs are original written by Alan Abrahams co-penned with musicians, not from the band. The group is very different from “Chicago” and “Blood, Sweat & Tears” actually more solid rock, blended heavenly with blues, jazz and soul.
Tracks
1. People Gonna Talk (Dan Penn, Spooner Oldham) - 3:01
2. I Put A Spell On You (Jalacy "Screamin' Jay" Hawkins) - 4:45
3. Neighbor, Neighbor (Alton Joseph Valier) - 2:48
4. I Can't Make It Alone (Carole King, Gerry Goffin) - 4:58
5. Easy Time Now (Alan Abrahams, David Ahlers, M. Barcley) - 3:18
6. Abe's Blues (Alan Abrahams) - 5:20
7. Wake Up Mr. Charlie (Lloyd Baskin) - 2:49
8. Out Of Town (Alan Abrahams, M. Barcley) - 1:34
9. Top Of The World (Alan Abrahams, David Ahlers, M. Barcley) - 2:43
Little John formed in the late 60's, in Oakland, California. Members were John Hart, Mike Pia, Sal Saccardo, Lex Silva and Vince Wallace. they recorded and released an album on Columbia/Epic tittled "Up And Down". Wallace said that the company sabotaged the album, stating, "They made us sound like a mediocre band, when we were really one of the best bands around." Wallace claims Little John was undercut because Columbia was intent on pushing Blood, Sweat & Tears and Chicago and didn't want competition from other horn bands. Ultimately, the record company abandoned the group, and they soon broke up.
On "Up and Down" appears the original version of "Bombay Calling", written by Vince Wallace, and got fame by LaFlamme's band "It's A Beautiful Day" and a different treatment from Deep Purple as "Child In Time".
Karen Beth's wide range voice and fragile songs on her second LP "Harvest", focused on the effect of words and music as sound as often as on meaning and the result is most pleasing to ear.
Tracks
1. Like Wine To Me - 4:00
2. Last Time - 2:39
3. Sometimes True - 4:10
4. The Way Back - 4:02
5. Hard Luck Mama - 2:10
6. Hold Tight - 2:21
7. Gentle Place - 4:22
8. I'm No Good For You - 2:47
9. No Apologies - 2:56
10.Ribbon - 1:22
11.Up To My Neck In High Muddy W - 2:48
Music and Lyrics by Karen Beth
Musicians
*Karen Beth - Voclas, Acoustic, Electric Guitar, Piano, Autoharp
Green Lyte Sunday formed in 1968 when bassist James Wyatt and keyboardist Michael Losekamp hired guitarist Jason Hollinger, reedist Fly Barlow, drummer Rick Kalb, and singer Susan Darby.
Wyatt and Losekamp hailed from Dayton, Ohio, garage rockers Mark V, which issued two singles in 1967: the speedy fuzz/farfisa rocker “Hey Conductor” (b/w “You Bring These Tears to Me,” a crooning baritone ballad with silvery organ) and the Rascals-style soul rocker “Can’t Buy My Soul” (b/w “When I Close My Eyes”). Losekamp briefly joined Pennsylvanian posters The Cyrkle for their 1967 second album Neon.
In 1969, Green Lyte Sunday cut a standalone single for small-press King, “She’s My Lover” (b/w “Lenore”). Their singular album appeared on RCA Victor in 1970. It features six Losekamp originals, including “Glen Helen,” “Happy Happy,” and “What Makes Him Happy.” The side 2 centerpiece, “High Up in the Sky,” is a Losekamp/Hollinger co-write. Green Lyte Sunday also includes compositions by Joni Mitchell (“Chelsea Morning”) and Laura Nyro (“Emmie,” “Woman’s Blues”).
Green Lyte Sunday was recorded at RCA’s Music Center of the World studios in Los Angeles. The album was produced by one Peter Shelton and engineered by Grover Helsley (Myrth, Harry Nilsson, Ivar Avenue Reunion, Friends of Distinction). US copies came in a gatefold sleeve with a psychedelic stained-glass illustration of the band on a green lamp (front and back). The innerfold features lyrics and a b&w photo of each member. “Chelsea Morning” and “Emmie” were paired for an RCA 7″.
Losekamp sang backing vocals on a 2013 reunion disc by southern rockers Dixie Peach.
With their third album, Ruphus turned to Terje Rypdal as producer, and the result sees a decided turn away from the symphonic rock of Ransahrt towards jazz-rock. Original singer Gudny Aspaas is back on board, this time as the sole vocalist, but aside from the departure of singer Rune Ostdahl the rest of the band remains intact: Asle Milsen (bass), Thor Bendiksen (drums), Kjell Larsen (guitar), and Hakon Graf (keyboards). Rypdal provides some added synthesizer on a couple of tracks, but the famous producer lets the band shine on their own.
They get off to a great start with “Sha Ba Wah,” a high-energy fusion tune with Aspaas providing a wordless melody and sounding oddly like what might have happened if Annie Haslam had guested with a jazz group. “Corner” is a keyboard-dominated piece with an easy groove reminiscent of something Camel might have done around Moonmadness. This slides into “Second Corner,” a great jazz-rock tune a little like Colosseum II with slightly less flashy soloing. Bendiksen’s drumming is outstanding here, frantically busy with great interplay between cymbals and snare. I’m amazed that he has so few credits outside Ruphus, given the skills he shows here.
The title track, which originally started Side B of the LP, is the first track with lyrics. Aspaas does great with the contrasts between the verses, which are relatively quiet and breathy, and the chorus, where she gets to belt out the notes. Quite often I find vocals in this kind of jazz to just not work very well, but Ruphus manages to do it right, and it’s actually disappointing that Aspaas appears on only three of the seven tracks. Let Your Light Shine strikes a very appealing balance between funky jazz and accessible rock.
by Jon Davis, 2020-07-23
Tracks
1. Sha Ba Wah - 7:32
2. Nordlys (Asle Nilsen, Hakon Graf) - 1:45
3. Corner - 4:21
4. Second Corner - 6:36
5. Let Your Light Shine (Audun Tylden, Hakon Graf) - 8:17
The Joys of Life is Karen Beth’s best early album which was released off Decca in 1969. Beth was not a popular artist so it was strange when this underground record peaked at #171 in Billboard’s Top 200 in 1969. The good thing about The Joys of Life is that it’s a strong record without a steep price tag and easy to find on vinyl – just check your local record dealer or better yet, ebay.
Beth’s vocals are a mixture of Karen Dalton and Buffy Sainte-Marie and the album is a beautiful blend of rural folk, lite psychedelia, and the more downer elements of the singer-songwriter genre. The album opener It’s All Over Now has one too many horns and is by far the lp’s weakest track. After this, there are no false starts or wasted notes; this album is completely solid all the way thru. The title track is an unsettling acid folk masterpiece that begins to rock about mid way thru and is highlighted by organ and vibes. Song to a Shepard is an impressive, stark vocal that sounds centuries behind, similar to what the English folk-rock groups were doing from around the same time. Other tracks reach into deeper, darker moods, just listen to Something to Believe In and the excellent Nothing Lasts. The former is a disturbing slice of spooky folk-jazz paranoia while the latter is a majestic, melancholy folk-rocker. White Dakota Hill, another great track, is wistful with a slight C&W feel that gives this album variety and substance.
Anyone into Margo Guryan or Linda Perhacs is strongly urged to track this record down. The Joys of Life really deserves a first time cd or vinyl reissue as it’s a pretty unique record that needs to be heard by more people.
Formed in Rockland County, New York, guitarist Bart Meola, bassist Gregg Hollister and drummer Bobby Howe came together in the late 1960s. Originally working as a quartet under the name Hit 'N' Run they became a popular act throughout lower New York and along the Jersey Shore. By the time they were signed by Buddah Records, they'd morphed into a trio, opting for the hipper nameplate "Anthem." That might also explain why Meola was referred to as "Bartholomew" on the liner notes. That or Buddah's marketing crew was completely ignorant of who they were working with.
The trio's self-titled 1970 album teamed them with Buddah in-house producer Stan Vincent. Musically "Anthem" offered up a fairly entertaining mix of commercial pop (the ballad 'Florida' and 'Ibis') and slightly more experimental numbers like the extended 'Misty Morns.' To my ears the occasional horn arrangements added a touch of blue-eyed soul to their repertoire, while on tracks like 'Ibis' their attempts at "deep" lyrics reminded me a touch of early Styx. All three members were gifted with decent voices and throughout the eight tracks they displayed a knack for crafting pretty harmonies and catchy riffs. Not sure who it was, but on the title track and 'New Day' one of the members displayed a voice that sounded uncannily like The Monkees' Michael Nesmith. Bartholomew also showcased some first-rate guitar chops - check out the AC/DC-styled riff that powers 'You're So Mean.' Needless to say, the album sold poorly, instantly ending up in cutout bins.
Natural Gas were a rock band featuring Peter Wood, Joey Molland, Mark Clarke and Jerry Shirley. They released one album, Natural Gas, produced by Felix Pappalardi, in 1976.
Joseph ("Joey") Charles Molland (born June 21, 1947, Liverpool, England) is a composer and rock guitarist whose recording career spans four decades. He is probably best known as a member of Badfinger. Molland left Badfinger in late 1974 due to disagreements over management. In 1975, he joined with Jerry Shirley (formerly of Humble Pie) and formed a group called Natural Gas. The band released the LP Natural Gas on Private Stock Records in 1976, and enjoyed a successful tour with Peter Frampton the following year. According to Molland, a general lack of organization led to the band's demise late in 1977. Molland and former Badfinger band mate Tom Evans recorded two albums under the Badfinger name, Airwaves in 1978, and Say No More in 1981. Molland and Evans split acrimoniously after Say No More and the two performed in rival touring Badfinger bands until Evans' death in 1983. Most of Molland's career since 1983 has been with various groups performing tours under the Badfinger name, or as "Joey Molland's Badfinger." Earlier versions of these groups sometimes included original Badfinger drummer Mike Gibbins. Molland's solo recordings have been relatively sporadic. His first, After The Pearl, was released in 1984 on Earthtone Records. His second, The Pilgrim, was released in 1992 on Rykodisc. His third, This Way Up, was independently released in 2001.
Mark Clarke (born July 25, 1950, in Liverpool, England) is a former member of Colosseum and Uriah Heep. He was the bass guitarist for Colosseum from 1970 until 1972 (and from 1994 after Colosseum's reunion), when he briefly joined Uriah Heep, performing (and co-writing) on just one studio track, "The Wizard", on their 1972 album Demons & Wizards. He also played bass on Ken Hensley's solo albums. In 1975 he went on to join Natural Gas, Ritchie Blackmores Rainbow, and in 1980 started working with Billy Squier and recorded Don't Say No, The Stroke, In the Dark and many other albums with him. In 1985 he joined The Monkees and until recently still worked with Davy Jones. Clarke has also worked with Mountain (Leslie West) and Ian Hunter (Mott the Hoople), recording albums with both of them.
Peter Wood (1950–1993) was a British musician, born in Middlesex, England. In his early years he lived with his parents in Hythe Field Avenue, Egham, Surrey. He was a member of Quiver, and Natural Gas, before he began to work closely with Al Stewart, Roger Waters, as well as Cyndi Lauper, Jonathan Kelly, Tommy Shaw and Bob Dylan just to mention a few. Wood is the co-writer of the 1976 Al Stewart single "Year of the Cat". He was one of the original members of 'The Bleeding Hearts Band' (John 'Willie' Wilson, Andy Bown, Snowy White and Peter Wood), who featured as a supporting/backing band in the 'The Wall' live shows in 1980 and 1990, and after his death the group toured extensively with Roger Waters, although with additional musicians. Wood died in 1993.
Jerry Shirley (born 4 February 1952, Waltham Cross, London) is an English rock drummer, best known for his work with the bands, Humble Pie and Fastway. Shirley began playing drums at an early age and was recruited by noted vocalist and guitarist Steve Marriott to join the newly-formed Humble Pie when he was just 17 years old. Shirley remained as Humble Pie's drummer throughout the group's entire career. He also worked on Steve Marriott's solo projects, and was a co-founder of the popular 1980s group Fastway. Shirley co-wrote Fastway's biggest hit, "Say What You Will". After Fastway disbanded, Shirley decided to reform Humble Pie in the United States. Being the only original group member, the band was called Humble Pie Featuring Jerry Shirley. Former Victory and Ted Nugent band singer Charlie Huhn joined Shirley, and together they performed as Humble Pie Featuring Jerry Shirley with several other rotating musicians for approximately ten years. During this time, Shirley also worked as a disc jockey at WNCX in Cleveland, Ohio. Aside from Humble Pie and Fastway, Shirley has worked with David Gilmour, Alexis Korner, Billy Nicholls, Syd Barrett, John Entwistle, Sammy Hagar and Benny Mardones.
