"Hit the Road" is the eighth full length album from Canadian rockers The Stampeders. Following the release of their classic 1975 album "Steamin'", which featured another Canadian hit with "Hit The Road Jack", featuring Wolfman Jack, they recorded an entire album by the same name. This album brought them back into top 15 territory on Canadian charts and featured charting singles such as "Playing in the Band" and "Sweet Love Bandit".
Tracks
1. Playin' In The Band (Ronnie King) - 3:45
2. Sweet Love Bandit (Ronnie King) - 2:24
3. Things Are Getting Better (Ronnie King) - 3:20
4. Let It Begin (Kim Berly) - 3:37
5. Sally Ann (Ronnie King) - 2:36
6. Hit The Road Jack (Percy Mayfield) - 2:56
7. San Diego (Rich Dodson) - 2:56
8. C'est La Vie (Rich Dodson) - 4:33
9. New Orleans (Frank Guida, Joseph Royster) - 2:54
After only a handful of gigs, Eastern-influenced UK psychedelic rock band, Quintessence received two recording contract offers. In the end, the band rejected Ian Samwell’s offer from Reprise Records (despite it being more lucrative) in favor of one from Chris Blackwell of Island Records, the decision based on the amount of artistic control granted to the band. The agreement resulted in the three LPs and one single that comprise Move into the Light.
Quintessence took its name from a suggestion by Australian flutist Ron “Raja Ram” Rothfield, despite the band having six members rather than five. The Eastern influence on the band is reflected in the names such as “Shiva Shankar” and “Maha Dev” as well as the previously mentioned “Raja Ram,” which the band members were christened with by Swami Ambikamanda, the band’s spiritual guide.
The band’s debut LP In Blissful Company was produced by John Barham who had worked with George Harrison on “Wonderwall Music” and would later help with “All Things Must Pass,” rather than by Andy Johns as originally scheduled. It may not have been Island’s best selling album, but it was the most expensive package the label had released to that point.
In Blissful Company was a collection of eight tunes and shows that the band were rockers at heart with cuts like “Giants” which features a huge, wah wah powered solo by lead guitarist Allan Mostert. At the same time, the band’s Eastern influences are quite apparent on “Gange Man” a hot rocking little number featuring sitar by a guest musician credited only as “Mike.” The album’s standout track, however, is the four and a half minute heavy rocking “Notting Hill Gate” whose gentle, swirling flute stands in stark contrast to the heaviness of Richard “Shambhu Babaji” Vaughan’s bass and Jeremy “Jake” Milton’s drums. The band entered the studio in January, 1970, to record a new, punchier “Notting Hill Gate” for release as a single. The single version achieved its goal musically, with Mostert contributing a fuzzed out lead line and fiery solo. The 45s b-side, the title track for this collection, is an up-tempo number with a gorgeous melody, nice lead guitar line and trippy, chant like lyrics such as “its love that created you.” Unfortunately, sales of the 45 were disappointing.
The band was always better live, according to Jones, because it was at heart a jam band, in the vein of The Grateful Dead, who shared the stage with Quintessence, as well as Black Sabbath and Traffic, on their first ever UK concert, 24 May 1970. The jam band element is obvious on extended tracks such as the nine minute plus “Midnight Mode” with its a cappella intro before settling into its hypnotic groove filled with Mostert’s lead lines and solos reminiscent of Jerry Garcia’s work with The Dead. As with the single, “In Blissful Company” did not chart, despite the quality of material and musicianship found on the long player.
Quintessence’s second, self-titled LP was released in June, 1970 and in sharp contrast to its predecessor, hit a quite respectable #22 on the UK album charts. “Quintessence” opens with the spiritual tune “Jesus, Buddha, Moses, Gauranga” a mid-tempo number featuring chant like vocals, entrancing flute, an outstanding keyboard (piano and organ) performance by Jones, and even more inspired wah wah fueled guitar. “Sea Of Immortality” opens with hints of a Hare Krishna chant, before flute, guitar and vocals become one, in a luscious melody. Midway through, the tempo quickens, with smoking, swirling guitar, Mostert’s solo pushing the song to its conclusion. The members of Quintessence had aspirations to compose an opera, in the vein of Tommy and S.F. Sorrow. Unfortunately, “High On Mount Kailash” is all that remains from those efforts. A sign of what could have been, the tune has a lovely melody spiced with sitar as well as delicate guitar and piano performances. “Burning Bush” serves as evidence of just how good the band was live. Mostert’s heavy guitar intro flows into a smoking wah wah laden solo, joined by Jones’ machine gun drums and Vaughan’s incredibly heavy bass.
The performance rocks hard and Mostert shows his ability to use and control feedback. “Prisms” is an breezy, trippy number with Rothfield’s flute swirling round and round. A couple of other highlights from Quintessence are “Twilight Zones” a Jethro Tull like track with Rothfield’s flute floating about, while the tempo builds until mid-tune when Mostert unleashes a killer riff and is off to the races in a jazzy solo, before he turns up the volume bringing the song to a roaring finish. “St. Pancras,” a live recording, features guitar, bass and drums coming out rocking. This up-tempo number features fuzzed out guitar with great lead lines, while the bass roars and rumbles. Even more wah wah guitar and feedback give this tune plenty of punch. Mostert wrings every note out of his guitar, his solo swirling into feedback, making this the hottest rocking number on the set.
A live version of “Jesus, Buddha, Moses, Guaranga” taken from an Island compilation Bumpers serves as yet another example of how good this band was live. This hot rocking little number has Mostert’s guitar probing to and fro, swirling over the pounding rhythm section, before yet another wah wah fueled solo leading to controlled waves of feedback.
Quintessence’s final Island LP Dive Deep was intended to contain one side of live recordings from the London School of Economics, the other side studio tracks. Unfortunately, the live material was not of usable quality, so the album as released contains only studio takes. The album opens with its title track, a delicate, mid-tempo mixture of flute and vocals, until Mostert’s guitar once again pushes the beat and drives the song home. Dive Deep contains the band’s longest cut, the nearly eleven minute “Dance For The One” which begins as a jazzy number, complete with a false stop two minutes in, before the band settles into a groove, flutes floating, growing ever heavier, before the lead guitar line explodes into even more feedback. “Brahman” slows things down with its gentle keyboards and flute, and features gorgeous plaintive vocals by Phil “Shiva Shankar” Jones.
“The Seer” has a gorgeous melody and is a fine example of folk psych, with acoustic guitar and flute accompanying the song’s introspective lyrics (what you seek) “is deep within your mind.” The eight minute “Epitaph For Tomorrow” has more Eastern influences, fuzzed out guitars and comes on with a roar before slowing and proclaiming hopefully “this will be the end of all our sorrows.” More tasteful lead guitar lines, solos and feedback are on display accompanied by pounding drums and thundering bass. The album and set close with “Sri Ram Chant” showcasing more Eastern influence, sitar and flute accompanying chanted vocals, before the band settles into a final groove and jams its way to the record’s end.
Chris Blackwell had a record deal set up for Quintessence in the US with Bell Records, with the band receiving an 85,000 pound sterling advance. However, with Island receiving 250,000 pounds from the contract, some members of the band felt they deserved a larger share and balked at the deal. In return, Blackwell lost interest in promoting the band and they signed with RCA Victor Records, home of the Jefferson Airplane and Elvis Presley among others. But that is a story for another day.
Thanks to the kind folks at Cherry Red Records’ Esoteric Recordings imprint Move into the Light contains all 28 tracks, over 2 hours, 15 minutes of classic UK psych spread across the 2 discs. The 24-page full color booklet, contains complete track listings and annotations, loads of previously seen photos and an informative essay by Malcome Dome. The set, compiled by Mark Powell, has been remastered in the 24 bit domain by Paschal Byrne, making this unquestionably the definitive documentation of Quintessence’s Island Record years.
by Kevin Rathert, May 2, 2017
Tracks
Disc 1
1. Giants (Ron Rothfield, Phil Jones, Stanley Barr) - 4:38
2. Manco Capac (Ron Rothfield, Richard Vaughan, Phil Jones) - 5:18
3. Body (Allan Mostert, Jeremy Milton, Richard Vaughan, Phil Jones) - 3:34
4. Gange Mai (Ron Rothfield, Richard Vaughan, Phil Jones) - 4:01
5. Chant (Phil Jones) - 2:59
6. Pearl And Bird (Allan Mostert, Ron Rothfield, Richard Vaughan) - 3:58
7. Notting Hill Gate (Ron Rothfield, Phil Jones, Stanley Barr) - 4:40
8. Midnight Mode (Allan Mostert, John Barham, Ron Rothfield, Phil Jones) - 9:13
9. Move Into The Light (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 3:32
10.Notting Hill Gate (Ron Rothfield, Phil Jones, Stanley Barr) - 2:56
11.Jesus, Buddha, Moses, Guaranga (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 5:00
12.Sea Of Immortality (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 5:20
13.High On Mount Kailash (Excerpt From Opera) (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling, Stanley Barr) - 5:51
14.Burning Bush (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 2:36
15.Shiva’s Chant (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 2:14
Tracks 1-8 from "In Blissful Company" 1969
Tracks 9-10 Single versions
Tracks 11-15 from "Quintessence" 1970
Track 14 Live recording
Disc 2
1. Prisms (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 3:12
2. Twilight Zones (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling, Stanley Barr) - 5:18
3. Maha Mantra (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 1:37
4. Only Love (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 3:54
5. St. Pancras (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 6:19
6. Infinitum (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 1:45
7. Jesus, Buddha, Moses, Guaranga (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 5:09
8. Dive Deep (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 4:45
9. Dance For The One (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 10:46
10.Brahman (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 4:17
11.The Seer (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling, Stanley Barr) - 6:01
12.Epitaph For Tomorrow (Ron Rothfield, Phil Jones, Jeremy Milton, Richard Vaughan, Allan Mostert, Dave Codling) - 8:21
13.Sri Ram Chant (Swami Ambikananda) - 7:58
Tracks 1-6 from "Quintessence" 1970
Track 5, 7 Live recordings
Tracks 8-13 from "Dive Deep" 1971
Quintessence
*Phil ‘Shiva Shankar’ Jones - Vocals, Keyboards, Hand Drums
Skullduggery is the ninth studio album by Canadian-American rock band Steppenwolf. The album was released in May 1976, by Epic Records. It was the third of four released by Epic Records, and the last to feature keyboardist Wayne Cook, who left to join Player in 1977. The band broke up in 1971, and Kay pursued a solo career. Steppenwolf reformed in 1974 with the album Slow Flux, and disbanded in 1976. Afterward, several versions of the band toured North America until Kay reformed the official version of the group in 1980.
“The title song -while the mainstream Blue Oyster Cult-sounding chorus is pretty catchy and the verse melody is somewhat solid as well- really shows a band trying to fit in with the hard rock artists at the times and well, there really was no reason to.” “The title of the only slow song is Rock n roll song which is actually a nice ballad! It is smoothly played while maintaining a rock feel. “Rock and Roll Song” is a great commentary on how the political and societal changes had occured since Steppenwolf’s creation.”
“Life Is a Gamble” is generic -but decent- mid 70’s rock with the occasional touch of piano and is honestly a high point on an album like this. WHAT the… where did “Rock and Roll Song” come from? John Kay’s voice returns to fine classic form, and the sincerity in his voice is simply unmatched by anyone else”
"Steamin'" is the 7th full length album from Canadian rock band the Stampeders. By 1975 the band had toured extensively in the United States and appeared on television shows. This album features their classic song "Hit the Road Jack" which was made famous originally by Soul legend Ray Charles in 1961. "Steamin'" is up there with some of the bands most classic releases to date.
Tracks
1. Stand Up (Ronnie King) - 02:57
2. New Orleans (Frank Guida, Joseph Royster) - 02:54
3. Lovin' The Night Away (Ronnie King) - 02:42
4. Broken Heart Surgery (Rich Dodson) - 03:21
5. Rock Of Gilbraltar (Rich Dodson) - 02:37
6. Summer In The City (John Sebastian, Mark Sebastian, Steve Boone) - 02:18
7. Hit The Road Jack (Percy Mayfield) - 02:51
8. Wonder Woman (Rich Dodson) - 02:31
9. Hard Lovin' Woman (Ronnie King) - 02:42
10.She Threw Me Away (Kim Berly) - 02:56
11.Night Walker (Kim Berly) - 02:39
12.Were Here To Rock And Roll (Ronnie King) - 03:03
It seems remarkable now that Davy Graham was an artist with a major label recording contract on Decca in the 1960s. That’s Decca, the same label that had the Rolling Stones on their roster at the time. To look at and assess Davy Graham’s recording career from this vantage point, its totally evident he was never going to be motivated by forming the kind of coherent career ark and recording catalogue that these big money labels are investing in. This was a man purely driven by musical considerations, cultural discovery and the investigation of mating potential in all he uncovered. That was his journey, the fuel that got him out of bed in the morning. He did not categorise any music; from classical to baroque, jazz to blues, rock to pop, it was all put in the same melting pot. By his own admission, he would have liked to have learned more instruments, but the acoustic guitar was the vessel he drove to perfection and so Davy Graham would be labelled a folk artist.
Listening again to the two sixties Decca albums that Bread And Wine have re-issued (more on the other soon), there is a suggestion that Davy Graham was in his own way trying to deliver work that would be popular and well received. He certainly wasn’t being a difficult artist, the problem (if there was one it would only have been in terms of sales figures, not musical capacity) was that the average, casual listener is more comfortable with categorisation. But Davy was casting his net all over the place; on the ‘Midnight Man’ album he had tried amplified guitar on three tracks; one of these was a cover of Rufus Thomas’s 1963 Stax hit ‘Walking The Dog’; an odd marriage on paper but this all-rounder carries it like a natural soul man. Now three years later on ‘Hat’ he opens with a version of the Beatles ‘Getting Better’, an interpretation that gives the relentlessly positive Paul McCartney a run for his money in uplifting vibes. How many albums buffer between summer-of-love pop, Jimmy Witherspoon’s ‘Lotus Blossom’ and Art Blakey’s study in Jazz rhythms ‘Buhaina Chant’ within the first four tracks and retain any cohesive sense? If you get behind Davy Graham’s vision and open-minded approach to music, it all stacks up naturally but sadly I’m not sure that enough people did; even in an era as progressive as the late sixties.
Through the seventies, Graham would only occasionally release very low-key records on small, independent labels. Then for the next three decades, he mostly completely disappeared, although a couple of under-the-radar releases and intermittent live appearances continued until the end. Drug addiction had taken a toll and charity work became more of a daily focus, primarily for the mental health charity Mind. Perhaps when you make your mark early and as definitively as Davy did with ‘Angi’, you carry it with you all the way and struggle to move past it? Simon & Garfunkel had included it on their commercial breakthrough ‘Sounds Of Silence’ album, probably ensuring the writer had a degree of dependable income for the remainder of the decade.
On ‘Hat’ Davy shows his gratitude to Paul Simon by beautifully interpreting two of his songs, ‘Homeward Bound’ and ‘I Am A Rock’; also acknowledging in his original self-penned liner notes that “Paul is a good friend of mine”. And so, from murder ballads to Bulgarian dance tunes collected by A.L. Lloyd, from the self-explanatory ‘Hornpipe For Harpsichord Played Upon Guitar’ to defining ‘Down Along The Cove’ as “the Bob Dylan blues” this 1969 album (Davy Graham’s final solo release for Decca) is a musical collection full of thrills and nourishment. Inevitably, the guitar playing is supreme throughout and knits the whole thing together without a glitch. And a final word should go to another example of classic period packaging; of course, the Davy Graham album ‘Hat’ features front and rear cover artwork of, what else? Davy Graham wearing a very big hat. Perfect!
by Danny Neill, 2 May 2019
Tracks
1. Getting Better (John Lennon, Paul McCartney) - 1:56
2. Lotus Blossom (Sam Coslow, Arthur Johnston) - 2:24
3. I'm Ready (Willie Dixon) - 2:28
4. Buhaina Chant (Art Blakey) - 2:30
5. Homeward Bound (Paul Simon) - 2:16
6. Love Is Pleasing (Traditional) - 2:11
7. Hornpipe For Harpsichord Played Upon Guitar (Henry Purcell) - 1:26
In September of 1979, John Hammond went into Vanguard Records' 23rd Street Studio in New York with the Nighthawks -- Jimmy Thackery, guitar; Mark Wenner, harmonica; Jan Zukowski, bass; Pete Ragusa, drums -- and cut this record, one of his best (and which might've sold better with maybe some better cover art).
The sounds are alternately hot and soulful on the ten-song collection, featuring covers of songs by Little Walter ("You Better Watch Yourself," "Last Night"), Chuck Berry ("Nadine"), Jimmy Reed ("Caress Me Baby," one of Hammond's slowest, most seductive numbers), and Robert Johnson ("Sweet Home Chicago").
Highlights include a stunningly beautiful rendition of Howlin' Wolf's "Who's Been Talkin'," a wailing reconsideration of John Lee Hooker's "Sugar Mama" with a really searing guitar break, a very powerful version of "Howlin' for My Darling," and even the best cover of Dixon's "Pretty Thing" this side of Bo Diddley himself, where Hammond and company manage to be raunchy and smooth at the same time.
Nothing's going to make anyone forget Walter, Wolf, or Willie, but this isn't a bad way to spend 40 minutes, especially given the really crunchy guitar sound achieved by Jeff Zaraya and the uncredited producer. A real diamond in the rough, and one of Hammond's best albums.
by Bruce Eder
Tracks
1. Mama Keep Your Big Mouth Shut (Ellas McDaniel) - 3:20
2. Who's Been Talking (Chester Burnett) - 2:49
3. Sugar Mama (John Lee Hooker) - 3:27
4. Howlin' For My Darlin' (Chester Burnett, Willie Dixon) - 3:29
5. You Better Watch Yourself (Walter Jacobs) - 2:22
Forever Young, a collection of studio and radio sessions (14 of the 18 previously unreleased) - is something of a treasure trove for anyone who has happy memories of Starry Eyed and Laughing. It also serves as a fascinating nugget for anyone interested in the evolution of country rock in the UK — a form that did go into hiding for a while but eventually re-emerged with folk such as Elvis Costello, Robyn Hitchcock, and Nick Lowe admitting to a fondness for some twang and jangling guitars. It captures early attempts by producer Dan Loggins to have the band perform covers of songs by Roger McGuinn, Steve Stills, Mike Nesmith and others, a plan that was nixed when the band demanded their album would be all their own work. In addition, there are previously unheard originals along with radio sessions. (Sadly, some of these only came to light following the death of their first manager.)
The cover versions are an intriguing lot. There’s a Byrds’-type cover of Dylan’s “Forever Young”, a new song back then but delivered as if it were a 1965 follow-up to “Mr. Tambourine Man”. The chiming guitars and McGuinn-like vocals are spot-on and a delight to listen to. McGuinn’s own “I’m So Restless” (from his solo debut) - is more cosmic country than the original, which had a folk base. Here, it sounds like The Byrds circa the Dr. Byrds and Mr Hyde album, with a wee bit of cosmic rocking going on. Similarly, Steve Stills’ “4+20″ has a psychedelic sheen to it. Listening to their version of Mike Nesmith’s “Propinquity” has the ability to transport the listener into an alternative reality where McGuinn and gang take over the Nitty Gritty Dirt Band’s mantle of champions of Papa Nez. as the 12-string corkscrews thorough this magnificent song.
If the cover versions were all that was here, then it might be safe to relegate the album into the curio cabinet. However the band’s own songs, while undoubtedly indebted to The Byrds’ sound and in particular the 12-string eclectic guitar jangle, stand proud after all these years. One can see the time line from them to the likes of The Long Ryders, carrying a banner for sure, but no mere copy. With three writers on board (Tony Poole, Ross McGeeney, and Iain Whitmore) - they offered up some treasures of their own.
“Miles Away” is a yearning, dreamlike swoon — more Gene Clark than McGuinn here. “Giving You the Blues” visits another Byrd’s territory, this time David Crosby, with its hypnotic scales and time changes. It’s superbly sung and spine-tingling. “Jet Plane Rider” has obvious links to “Eight Miles High”, but it’s an exhilarating listen in its own right. It’s almost spooky, mind you, how well the band were able to channel their influences. Their blossoming into their own right is portrayed on the barnstorming “(Just Like) - A Weepy Movie”. The keening ballad “So Tired” is adorned by marvellous harmonies and well able to pass muster with contemporary songs by the likes of Poco and even the Eagles. Finally, the alternative version of “In The Madness”, a song on their first album, shows that by then they had transcended their influences and were able to mark their territory with a song that soared high on vinyl way back then.
by Paul Kerr, February 2, 2015
Tracks
1. Forever Young (Bob Dylan) - 3:54
2. I'm So Restless (Roger McGuinn) - 3:24
3. Miles Away (Iain Whitmore) - 3:15
4. Dancing Slow (Tony Poole) - 4:06
5. Givin' You The Blues (Iain Whitmore) - 3:31
6. Another You (Ross McGeeney) - 2:33
7. Jet Plane Rider (Tony Poole) - 4:07
8. 4 + 20 (Stephen Stills) - 2:54
9. (Just Like) A Weepy Movie (Iain Whitmore) - 3:50
10.Lay Down Your Weary Tune (Bob Dylan) - 3:32
11.Propinquity (I've Just Begun To Care) (Michael Nesmith) - 3:10
12.I Thought I Was A Child (Jackson Browne) - 3:26
13.So Tired (Iain Whitmore) - 3:45
14.In The Madness (Electric Version) (Ross McGeeney) - 2:54
15.He Was A Friend Of Mine (Roger McGuinn) - 2:45
16.Strangers All Over Again (Tony Poole) - 3:34
17.Meet Me Lord (At The Bottom Of The Hill) - (Ross McGeeney, Tony Poole, Norman Lawrence) - 3:15
Wild Turkey was formed in 1971 by bassist Glenn Cornick after his three-year stint in Jethro Tull.
Cornick (b. 23 April 1947, Barrow-in-Furness, Cumbria, England, died at his home in Hilo, Hawaii on August 28, 2014) started in the Blackpool mod band The Executives, which issued five 1964–66 singles on Columbia. He then replaced bassist Jefferey Hammond in the soul-rock septet John Evan Smash, which also featured singer Ian Anderson and guitarist Mick Abrahams.
In late 1967, Cornick followed Anderson and Abrahams to their new band, Jethro Tull. After their first album, Abrahams split to form Blodwyn Pig. Tull hired ex-Penny Peeps guitarist Martin Barre and made the 1969/70 Chrysalis albums Stand Up and Benefit. As the only member with formal training, Cornick was integral in the band’s arrangements. Despite this, Anderson sacked Cornick after Tull’s appearance at the 1970 Isle of Wight Festival, purportedly due to his partying lifestyle. (Tull replaced Cornick with his predecessor in the Smash, Jefferey Hammond. Later, Tull hired Cornick’s successor in The Executives, bassist Tony Williams, for the US leg of their Heavy Horses tour).
Post-Tull, Cornick traded bass duties with Kim Gardner (Ashton Gardner & Dyke, Badger) and Pete Sears (Les Fleur de Lys, Steamhammer) on And a Cast of Thousands, the 1971 second solo album by ex-Blue Cheer guitarist Leigh Stephens. Cornick then formed Wild Turkey with singer Gary Pickford-Hopkins, drummer John Weathers, and guitarists Tweke Lewis and Graham Hedley Williams.
Hopkins and Weathers hailed from Eyes of Blue, a Welsh soul-psych band that issued two albums on Mercury in 1968/69, plus a third as Big Sleep. Weathers served as benefactor to Williams’ prior band Strawberry Dust, a Welsh blues-rock covers band. As Ancient Grease, they released the 1970 album Women and Children First, produced and largely composed by Weathers, who also played on a concurrent single by Pete Brown & Piblokto!
Before Wild Turkey hit the studio, Weathers and Williams departed for Graham Bond’s Magick. Cornick replaced them with drummer Jeff Jones and guitarist Jon Blackmore. Jones’ background stretched to The Bystanders, a Welsh beat group that morphed into Man. He stuck with Man for their first two albums, Revelation and 2 Ozs. of Plastic With a Hole in the Middle (both 1969).
For Wild Turkey, Cornick retained his ties to Tull’s label, Chrysalis. He named his band after a brand of Kentucky straight bourbon whiskey.
Wild Turkey debuted with Battle Hymn, released on November 19, 1971, on Chrysalis. The album flows as a song cycle comprised of 10 originals, including the Cornick compositions “Butterfly,” “To the Stars,” “Gentle Rain,” and the epic title track. Blackmore wrote three numbers (“Dulwich Fox,” “Sanctuary,” “Twelve Streets of Cobbled Black”) and co-wrote the closing track (“Sentinel“) with Lewis, who co-wrote “One Sole Survivor” with Hopkins, who contributed “Easter Psalm.”
Battle Hymn was recorded at Olympic Studios with producer Rodger Bain (Hannibal, Black Sabbath, Budgie, Indian Summer) and engineer Tom Allom (Strawbs, Hudson-Ford). Original copies are housed in a gatefold sleeve designed by Douglas Maxwell Ltd. with an inner-spread group photo by Ray Rathborne.
Wild Turkey promoted Battle Hymn with a two-night engagement at the Birmingham Town Hall over Christmas, followed by a winter 1972 transatlantic tour as the opening act for Black Sabbath. Several dates on the March US leg featured triple-bills with up-and-coming acts Bang, White Witch, Sweat Hog, REO Speedwagon, and Yes. Stateside, Battle Hymn was released in February 1972 on Reprise. “Butterfly” and “Battle Hymn” appear on the 1972 Spanish comp Esto es Chrysalis with cuts by Jethro Tull (“Thick as a Brick” edit), Procol Harum, Ten Years After, TÃr na nÓg, and ex-Justine vocalist Laurie Styvers. In Oceania, Chrysalis paired “Easter Psalm” and “Sanctuary” on 7″.
Before Wild Turkey re-entered the studio, Blackmore cleared out for guitarist Mick Dyche. Pianist Steve Gurl joined as a sixth member.
Galaxy is a space rock band that played their largest performances in Jacksonville, Florida. The first was in 1975 at the 4th of July street concert sponsored by the Jacksonville Beach chamber of commerce. Galaxy was the only band performing that night, playing to a crowd the newspapers said was over 30 thousand strong. Galaxy performed 42 of their original rock songs that they had learned after being together only 3 months. They performed at the same venue the following year. Galaxy won WAPE radio's first "battle-of-the-bands" in 1976, winning the prize of a recording contract with Bang Records in Atlanta, Ga. that turned out only to be a midnight recording session.
Their winning year brought them to the concert stages to large audiences that included : Annhauser Busch Natural Light Beer debuton Jax. Beach to a crowd of over 250 thousand rock fans as thefinal feature act following a country rock band called "Road Dust" and during Galaxy's concert Leif Garrette made a guest appearance. Galaxy also performed to a Daytona Beach crowd of more that 20 thousand fans at the city's famous band shell on the beach. They recorded only one album called "Day Without The Sun" originally recorded in Florida in 1976 and unearthed by the Italian Akarma label, this is a wonderful mixture of space rock, West Coast guitar solos and Gong-like female vocals which combine superbly to richochet around your brain. The 14 minute title track is awesome....
In 1965 the German band The Vampires arrives in Spain. Lovers of Rhythm 'N' Blues and Soul and based in Madrid, they released several singles with the Session label and participated in several festivals of the time. A few years later, tired of the pace of work and the pressure of their record label, they moved to Castelldefels, Barcelona. There they meet the guitarist Tony Ponce, leaving the formation of these new Vampires.
In the autumn of 1969, Artur Mas, founder of the Ekipo sub-label, Dimension, signs a contract with the band, who change their name to Evolution (for Mas this name suggested a more progressive attitude) and in December his first single, which contained a version of “Fresh Garbage” by Californians Spirit, with wind arrangements a la Blood, Sweat and Tears, and another blues classic on the B-side, “You Don't Love Me Baby”, with wind arrangements. similar that showed that fusion of styles that characterized his music. After the replacement of the saxophonist Paul Waldhecker by the organist T.J Brown, a new single with two quite commercial pieces is published. The first was “Water”, with influences from the early Traffic and a certain Soul air, and the second was called “Loving Me (Is Not The Only Thing To Do)”, a ballad that was too cloying for my taste. The third single would arrive in September 1970, and that's when we noticed a hardening in the sound of the band.
They moved away from Soul, as we can see in "She's So Fine", catchy, psychedelic, almost garage, or in the instrumental "I'm Walking High", which occupied the B side of the single. Composed by T.J Brown, with the hammond organ, a good bass line, percussion and a nice guitar solo, it is one of the best pieces of the group. In November of this same year, on the 20th and 22nd, Evolution plays at the First Permanent Festival of Progressive Music, organized by Oriol Regás in the Iris room. In that same month, Ekipo publishes the band's first and only album. Recorded at the Gema studios in Barcelona (of course!), and produced by Miquel Casas, the LP contained new mixes of the six songs that had been previously released as singles, plus three new pieces. The first was the fantastic “Dr. Vazquez”, a raw song, with an impressive rhythm and the organ and the guitar as protagonists. The second was a good version of "21st Century Schizoid Man by King Crimson. Whenever I hear the central instrumental part I imagine Deep Purple covering Fripp's band. The third, "Get Ready/Evil Ways" was a mix between Smokey Robinson's song (covered quite successfully by The Temptations and Rare Earth) and Santana's.
The album was mixed while the band was touring Europe, and when they returned to Barcelona, they didn't like the result at all. At that time they were considered a powerful rock band, with psychedelic and progressive influences and a sound based on the organ and guitar, in Miquel Salas's mixes the wind arrangements reappeared (directed by the Catalan trumpeter Rudy Ventura ) with whom they no longer felt satisfied. It is curious how, despite everything, it seems to me to be an album full of strength, but both Tony Ponce and Det Ferring expressed their disagreement in the interviews that Marc Argenter and Jordi Segura did for the booklet of the reissue on CD that he did the Wah-Wah label in 2003 (respecting the original vinyl format of the time, in the form of a bag). The reception by the public was good, since television and radio, considering them as a foreign band, did not put inconveniences for them to sing in English, which facilitated their promotion.
In May 1971, they released their fourth single, which contained a beautiful version of another King Crimson classic, “In The Court Of The Crimson King”, and “Problems”, a song that I like it a lot, very much like the Chicago Transit Authority, but without winds. Ferring's interpretation and Ponce's guitar details are fantastic. In this same month they participate in the Granollers Progressive Rock Festival and from this moment the problems begin. There is less and less room to play, the media supports less and less this type of band and the progressive movement in Barcelona decreases day by day.
In 1972, T.J Brown left the group, and in May of this same year the band published its last single, already as a quartet. Unfortunately, this single leaves a bad taste in their mouths, since the record company needed commercial songs that could sell well for the summer, and the song “I Must Live” is “imposed” on them, again with wind arrangements, but this time much more tacky. I particularly like this piece, although I perfectly understand why they didn't like it too much. On side B we find "Pain and Pleasure", another smooth piece with a somewhat more elegant orchestration, but with the same commercial aims. Shortly after, Wolfgang Jünger left the band, being replaced by Artur Domingo from Pan y Licorice. After Tony Ponce's call-up, at the end of 1972, the band split definitively.
by Francisco Macias
Tracks
1. Dr. Vazquez (Det Ferring, T.J. Brown) - 2:51
2. I'm Walking High (T.J. Brown) - 4:13
3. She's So Fine (Det Ferring, Wolfgang Jünger) - 3:05
4. Water (Det Ferring, Tony Ponce) - 3:23
5. Fresh Garbage (Jay Ferguson, Paul Waldhecker) - 2:50
6. 21st Century Schizoid Man (Greg Lake, Ian McDonald, Michael Giles, Peter Sinfield, Robert Fripp) - 4:26
7. Get Ready / Evil Ways (Smokey Robinson, Clarence Henry, J. Zack) - 5:06
8. Loving Me (Is Not The Only Thing To Do) (T.J. Brown) - 3:13
9. You Don't Love Me Baby (T.J. Brown) - 3:43
10.I Must Live (Det Ferring, Ignace Baert) - 3:13
11.Pain And Pleasure (Det Ferring, Tony Ponce) - 3:13
12.In The Court Of The Crimson King (Ian McDonald, Peter Sinfield) - 2:48
"No connection with the band who recorded Eye of the Tiger"
The only album by Shreveport, LA, hard rockers Survivor, All Your Pretty Moves is gritty, tough, but still supple and groovy enough to be an unmistakable product of the late '70s -- born before the likes of Journey, Foreigner, and a more famous, "Eye of the Tiger"-toting namesake could dilute hard rock into slicker AOR; and before heavy metal went into a thrash-fueled overdrive that would distance it from roots like those heard here. Vintage rockers such as "So Blind," "Breakout," and "Black Sea" contain harmonizing twin guitars inspired by Thin Lizzy, and high-energy stomps like "The New Order" and "Kristallnacht" recall several Judas Priest anthems of the day, but plagiarizes none of them.
All are topped with not altogether powerful but still serviceable vocals from frontman Brian Clark, who's equally at ease feigning Philip Lynott's knowing, conspiratorial tone as he is at approximating Rob Halford's less strident registers. And two more, particularly notable highlights shed additional light on a less explored, but arguably even more effective, softer side of the group's talents.
The first, "Deceive Me," is a stunning, slow-building dreamscape that eventually breaks out into a truly epic climax; and the second, closing ballad "Back to the Homeland," unfurls a glorious guitar melody so stirring and laconic, it challenges 1970s six-string wizard Ritchie Blackmore for sheer, supernatural, dark-tinged beauty. That final song alone would justify this reissue's existence, but for those not already desperate enough to replace their super-rare and scratched-up vinyl copies with the 2003 Monster Records CD, there's also a non-album cover of Mott the Hoople's "Rock and Roll Queen" to consider. Simply put, All Your Pretty Moves is a worthwhile addition to the library of any serious classic rock enthusiast.
by Eduardo Rivadavia
Tracks
1. The New Order - 4:11
2. So Blind - 5:05
3. Breakout (Brian Clark) - 4:17
4. Deceive Me (Brian Clark, Pat O'Hara, Paul Restovich, Brian Martini) - 7:10
5. Kristallnacht - 5:20
6. Black Sea - 4:07
7. Delicate Adversary - 4:06
8. Back To The Homeland (Brian Clark, Paul Restovich) - 5:35
9. Rock 'n Roll Queen (Mick Ralphs) - 7:16
All songs by Brian Clark, Pat O'Hara, Paul Restovich except where noted
One of the best US private press hard rock/progressive rock albums of the 1970s, from the master tapes. Only 250 copies available. Formed in 1969 in Houston, TX, Oz Knozz's original crew included multi-instrumentalists Jack Alford, Bill Massey and Duane Massey. Alford left the group in 1971 and was replaced by drummer Marty Naul, while the next year the trio was joined by guitarist Richard Heath.
The band had also a three-man horn section, which was dropped quite fast, although horns remained a part of the band's sound, even on their rare and epochal 1975 private press debut 'Ruff Mix,' released on the band's own Ozone label. 'Ruff Mix' mainly grooves in hard rock territory, the second track 'Peanut Butter Yoni' sounds a bit like Judas Priest with a proto-metal feeling. Yet the album also has elements of progressive rock, horn rock and pomp rock. Like most bands of the era, the idea may have been to take a shot at a few different styles to see if something would stick_ the theory being that a major label might hear the private album by chance and sign said band so they could open for Led Zeppelin or Foghat's next US tour... or something like that.
What separates Oz Knozz from other bands is a strong compositional component; they have plenty of original ideas and muster superb instrumentation. The guitar work ranges from hard and powerful to melodic and bluesy, and is supported by some great keyboard, including awe-inspiring organ and synth waves. The three-part 15-minute 'Doodley Squat' suite features heavy dual keyboard parts, crunchy guitars and expressive vocals; the result is a terrific hard prog track with lot of energy. Strange to say about a hard rock album, for many the standout track is the groovy and infectious horn rocker 'Love Poem,' which sounds like it easily could have been from 1969. High energy and impressive songwriting.
This quintessential blues bar band, part of the "blue wave" movement of the late '70s, has been knockin' em cold for years. This album exclusive is a stellar example of their early recordings: bare-boned; naked and unashamed, a flip of the bird to anything high-tech, with one foot planted squarely in the Mississippi Delta and the other in the old Chess Studios. Still touring today, the 'Hawks are one of the hardest working units around, and their special brand of energy and "rawness" is highlighted on this disc, which includes a live version of Red Hot Mama, featuring Pinetop Perkins pounding the ivories. Other selections include the writings of Sonny Boy Williamson, Elmore James and Muddy Waters as the 'Hawks rip through the dictionary of blues.
Tracks
1. Nine Below Zero (Sony Boy Williamson) - 3:23
2. Help Me (Sony Boy Williamson, Willie Dixon, Ralph Bass) - 4:00
3. Shake Your Moneymaker (Elmore James) - 3:11
4. Big Boss Man (Luther Dixon, Al Smith) - 3:23
5. Little By Little (Mel London) - 2:35
6. Madison Blues (Elmore James) - 2:52
7. Next Time You See Me (Earl Forest, Bill Harvey) - 3:53
8. That's Alright (James A. Lane) - 4:00
9. Long Distance Call (McKinley Morganfield) - 5:44
Mendoza is jazz prog rock from Linköping, Sweden formed in early 1970s. Debut album was released in 1972. Line up are Anders Hogman (bass), Anders Östryd (drums), Arne Gustafsson (guitar, flute), Björn Larsson (trumpet), Lennart Palmefors (keyboards, vocals) and Rolf Öhlin (guitar).
As You Like It was formed in the latter part of 1972. Paul Vincent Myerson (bass), Paul King (drums) and John Ellis (keyboardist extraordinaire) had been playing together in Norman Mitchener's covers band The Beachcombers (former members included a certain Mr. Keith Moon...!) but had broken away to pursue original material. After a couple of relatively short-term guitarists (the first being session player Laurence Juber, a friend of John's from music college who went on to join Paul McCartney's Wings), the lineup was consolidated when Martin Paine was invited to join in the Spring of 1973.
Martin's own original-material band, Bruin (members over time included Harold "H" Vickers, formerly of Dr. K's Blues Band on bass and saxophonist Richard Blanshard, who later played in Kim Wilde's band for a number of years) had been active on the London area clubs and colleges circuit, supporting, amongst others, jazz-rock band If, prog rock outfit Skin Alley and Supertramp. On November 12 1972, Bruin were again supporting Supertramp at the Sirius club in Southgate, N. London (that was the night Roger Hodgson asked to try Martin's Marshall amp, but was unimpressed - "too clean" - so sent his roadie out to the van mid-set to drag in a very battered Vox AC30!) to find an additional combo on the schedule, which included Paul VM, Paul K and John, who were possibly playing some kind of showcase (no one can quite remember..!).
Paul VM and Martin already knew each other slightly as both worked at that time at Polydor records, so when AYLI were looking for a replacement guitarist Paul approached Martin, to discover that Bruin had recently broken up, and thus the stage was set! As was often the case at that time, a local businessman & property developer (whose nephew was a close friend of Paul K) wanted to dip a toe into the "glamorous world of music" and allocated a "shed" on his farm (the chickens had been evicted..) in which the band could rehearse, and a "manager" (of sorts), Tay Devlin, who we believe also managed Cross e Ross (Keith Cross, formerly of prog rock outfit T2, and Peter Ross).
Following several months of writing and rehearsing, AYLI went into the R. G. Jones studio in Wimbledon to record several demos. The band essentially ended up mixing these themselves as the Producer lined up, Dave Hitchcock, who had previously worked with Genesis, Camel and Caravan amongst others, left the premises early after some kind of disagreement with Tay.
Not to be put off, the band continued writing and rehearsing and during 1974, Gerry Dane, who is believed to have previously been involved with the UK office of Buddah Records (whose roster included Melanie, The Edwin Hawkins Singers, The Isley Brothers, Gladys Knight and Curtis Mayfield) came on board as producer/manager.
At New Year 1975, Gerry took the band into Chalk Farm Studios, N. London, where they laid down a further set of demos. The band was "excluded" from the mix and were not entirely happy with the final versions. Despite some interest by record labels (RCA in particular considered signing the band), nothing came of these recordings and the band decided to call it a day, at least as a writing/recording outfit. They did, however, continue playing together for some while as a covers band and continued to collaborate on subsequent demo recordings of songs written by Paul VM and Martin.
CD Liner Notes
Tracks
1. No More Sunshine Till May - 5:19
2. One By One - 3:56
3. Wait For You - 3:10
4. Ages Come, Ages Go - 4:20
5. Turn Around - 4:43
6. September Song - 3:57
7. Together - 2:43
8. Bed of Tears - 3:32
As You Like It
*Paul Vincent Myerson - Bass, Vocals
*Paul King - Drums, Vocals
*Martin Paine - Electric, Acoustic Guitars, Vocals
About 25 years ago, actor Tom Hanks wrote and directed a pitch-perfect movie called “That Thing You Do!” Taking place in the mid ‘60s, it tells the story of The Oneders (pronounced “Wonders”), a regional band riding their hit song to the top of the charts, experiencing not even 15 minutes of fame and then quickly fading into obscurity.
After the meteoric rise of the Beatles, millions of bands formed in small town garages all over America, hoping to mirror that success. A few, like the Standells (“Dirty Water’), Blues Magoos (“We Ain’t Got Nothing Yet”), Music Machine (“Talk, Talk), the Capitols (“Cool Jerk”), Strawberry Alarm Clock (“Incense And Peppermints”) and Bubble Puppy (seriously, that’s a real band, and their big hit was “Hot Smoke & Sassafras”), made it into Billboard’s Top 20.
Others weren’t as lucky. For Cleveland’s The Choir, and Corpus Christi’s Zakary Thaks, songs like “It’s Cold Outside” and “Bad Girl” went to #1 on local radio, but their hometown appeal never translated to national success. The Palace Guard was that kind of band.
First known as The Emerals, they formed in 1964, in the Los Angeles suburb of Hawthorne. The original line-up included brothers David, Don and John Beaudoin on rhythm guitar, lead vocals and keys and lead vocals and tambourine, respectively. Along with Mike Conley on backing vocals, Chuck McClung on lead guitar, Rick Moser on bass and lead vocals and Emitt Rhodes on drums. The band made their bones playing local spots like Reb Fosters and the Revelaire Club in Redondo Beach, building up a loyal following. They signed with the small Orange-Empire Records. It was around this time they became The Palace Guard, (abbreviated to “the Guard,” by fans).
Their first single, “All Night Long” arrived a few months later. Despite it’s somewhat “suggestive” title, it received airplay on the popular Los Angeles station, KFWB (who, along with KRLA “The Big 11-10” and KHJ “Boss Radio,” shaped the listening tastes of teenagers across the sprawling L.A. metropolis). It quickly became a local hit.
Not so coincidentally, The Palace Guard’s manager partnered with celebrated DJ, Dave Hull and opened the Hullabaloo Club across from the Hollywood Palladium. The Guard performed there regularly. By 1966, they had opened for, or played with British Invasion hit-makers like the Yardbirds and the Hollies, as well as stateside acts like the Association, The Byrds, Dick Dale And The Del-Tones, the Hondells and Paul Revere And The Raiders. They also appeared on local TV shows like Casey Kasem’s “Shebang” along with the nationally televised summer series, Dick Clark’s “Where The Action Is.” They tried out for Ed Sullivan, but didn’t make the cut, most likely because their popularity was limited to L.A.
Emmitt quit the band in mid ’65. The wunderkind had joined at age 14 but had bigger plans. He quickly teamed with lead guitarist Gary Kato, bassist Bill Rinehart and drummer Joel Larson to form The Merry-Go-Round. There he took the reins as lead vocalist and primary songwriter. He created indelible hits like “Live” and “You’re A Very Lovely Woman” before embarking on a critically acclaimed solo career.
The Guard soldiered on, recruiting ex-Driftones drummer Terry Rae. But they soon soured on their management and record label, who failed miserably (or couldn’t be bothered) to get them national exposure. Even when they were paired with actor/singer Don Grady (“Robbie” on the hit series “My Three Sons”), for a couple of songs, the results were hit-and-miss. Frustrated by their lack of success on the charts and limited financial compensation, the band called it quits in 1967. All told, they had recorded 12 songs, spread over six singles.
Fast-forward more than half a century, and record collectors and Garage/Psyche enthusiasts still rummage through record stores, thrift shops, flea markets and scour the interwebs in search of those elusive six singles from The Palace Guard. Thanks to Lenny Kaye’s exhaustive “Nuggets” series (albums devoted to the original Garage and Psychedelic scene), the band has acquired a cult following. Luckily, the cool kids at Omnivore Recordings have gathered the band’s songs in a convenient 12-song set.
Next up, “Playgirl” exhibits a mellower touch. This was a groovy kind of love powered by plangent guitars, twinkly keys, agile bass, a tambourine shake and a heartbreak beat. Even as lyrics like “Playgirl, that’s what I heard somebody call you today, you’re a Playgirl, haven’t you heard or don’t you care what they say/Here’s what they say: ‘She’s racing around in a foreign car, all made up like a movie star, going too fast, going too far,’” gently chastising a former crush who’s become a Sunset Strip habitue, the vibe is cautionary rather than accusatory.
Meanwhile, “A Girl You Can Depend On” starts off slightly spooky and contemplative, before accelerating into a confident, mid-tempo Rocker. Sidewinder guitars, sultry bass and a thunking beat are enhanced by icy keys. Painfully sincere lyrics extol the virtues of a reliable gal who “only wants to be with me all night and day” and “is always there on time.” Perhaps all this punctuality will give way to more Playgirl-ish proclivities. Only time will tell.
The Guard tackle a couple of well-known songs, “If You Need Me” and “Saturday’s Child,” and acquit themselves nicely. The former, was originally a hit on the Soul/R&B charts for it’s composer, Wilson Pickett. But The Guard takes their cues from the Rolling Stones’ version. It’s all Farfisa and Fuzz, latticing tart and tangy organ notes over fuzz-crusted guitar riffs. The sanguine instrumentation is matched by ardent but defiant vocals. Initially, lyrics passionately pledge undying loyalty, but during a spoken-word interlude the truth emerges; “People have always said, darlin, that I didn’t mean you no good, and you would leave me someday/But way deep down in my heart I know I’ve done the best that I could that’s why I know that one of these days, it won’t be long, you’ll come walkin’ through that same door.”
The latter was written by future Bread front-man David Gates and appeared on the Monkees’ self-titled debut, But The Palace Guard beat them to the punch by a few months, and their approach is positively primordial. Distorto guitars partner with spiky keys and a stompy beat. Jaunty harmonies crest atop lyrics that cleverly compare and contrast the virtues of being born on a Saturday, rather than Sunday through Friday.
Midway through the collection unveils their biggest hit, “Falling Sugar.” Here insistent shang-a-lang guitars are bookended by spidery bass lines, wailing harmonica and a crackling beat. The hooky chorus is made all the sweeter by honeyed harmonies, which helps to camouflage clumsy metaphors like “The hurt is so deep, that I can’t eat or sleep, if you would come back, you’d make my thoughts of you sweet and they’d tumble down like sugar.” The opening number, “All Night Long” is an original by Guard brothers Don and John Beaudoin, three more of their songs are featured here. “Oh Blue (The Way I Feel Tonight)” fares the best. Surf-Rock guitars crash over nimble bass lines and a rattletrap beat. The whipsmart arrangement and instrumentation are juxtaposed by hushed, Beatlesque and sad-sack lyrics that parse the beginnings of a broken heart.
The Beaudoins’ other two compositions are hampered by overly ambitious and weirdly cheesy production values. “Calliope” floats in ¾ time, affecting a woozy, circus atmosphere. But all manner of bird whistles, gimcracks and animal noises quickly subtract from the fun. The flipside, “Greed” is a wild-eyed Mazurka that’s frenetic and overwrought. Somewhere, beneath the dross, are a couple of not-bad songs.
Other interesting tracks include the ramshackle “Party Lights” which is anchored by spiraling carnival keys, chunky rhythm guitars, roiling bass and a taut military cadence. On the break, chicken-scratch lead guitar that recalls the fleet fretwork of the Rolling Stones’ original guitarist, Brian Jones.
The final two tracks are billed as Don Grady And The Place Guard. The actor/singer, who segued from a Mouseketeer to one of Fred McMurray’s three TV sons, has a pleasing tenor that echoes television’s most famous Rocker, Ricky Nelson. But the song “Little People” provided a weak showcase.
“Summertime Game” is suitably breezy blending a Tijuana brass fanfare with splayed guitar riffs and a snapback beat. It’s pleasant enough, but The Guard is relegated to the background. The partnership with Grady, was short-lived. He went play drums for the Sunshine Pop band, Yellow Balloon. Not long after, fed up with the music industry, The Palace Guard called it quits.
Although he faced his own frustrations, Emitt Rhodes released four quietly brilliant solo records in the early ‘70s. Critics compared him to Paul McCartney, but album sales were lackluster. Discouraged, he continued to work in the music industry on the production side of things. Something of a recluse, he was coaxed out of retirement a few years ago. Thanks to the patient encouragement of musician/producer Chris Price, (as well as a coterie of famous friends and admirers), he made a stunning return with “Rainbow Ends” in 2016. Sadly, he passed away quite suddenly last year, a few months after his 70th birthday.
Don, John and David Beaudoin, along with Mike Conley, Chuck McClung and Rick Moser all walked away from the music business. Each found a measure of success in their chosen career paths, raised families and stayed in touch.
The Palace Guard had the goods, tapping into the sort of melodic zeitgeist that would propel both the Byrds and the Zombies to greater heights. Who knows what might have happened if they’d had sharper representation or a record label that was more invested in getting them to the next level. “All Night Long: An Anthology 1965-1967” offers a aural snapshot of those halcyon, early days of Rock & Roll. Back when woodshedding in a garage could lead to gigs on the infamous Sunset Strip, a recording contract and a couple of hit singles. The Guard didn’t get to rule the world, but they definitely left a lasting impression.
by Eleni P. Austin, May 27, 2021
Tracks
1. All Night Long (Don Beaudoin, John Beaudoin) - 2:55
2. Playgirl (Tudy Hudgings) - 2:26
3. A Girl You Can Depend On (Russell Alquist) - 2:29
4. If You Need Me (Robert Bateman, Sonny Sanders, Wilson Pickett) - 2:02
5. Falling Sugar (Lawrence Rush, Paul Leka) - 2:10
6. Oh Blue (The Way I Feel Tonight) (Don Beaudoin, John Beaudoin) - 2:39
7. Saturday's Child (David Gates) - 2:35
8. Party Lights (Claudine Clark) - 3:19
9. Calliope (Don Beaudoin, John Beaudoin) - 2:41
10.Greed (Don Beaudoin, John Beaudoin) - 2:24
11.Little People (Billy Page) - 2:39
12.Summertime Game (Tudy Hudgings) - 2:12
Tracks 11-12 as Don Grady And The Palace Guard
The Palace Guard
*Rick Moser - Bass
*Don Beaudoin - Lead Vocals, Tambourine
*John Beaudoin - Vocals, Keyboards
*Chuck McClung - Lead Guitar, Vocals (Tracks 1-10)
