John's Children - A Strange Affair (1965-70 uk, sharply dressed cult mod psych, 2013 double disc remaster)

A compendiously thorough John’s Children compilation?  About bloody time. In fact – ghastly smirk – It’s Been A Long Time. If you didn’t already recognize that as the title of the atypically baroque and ruminative Andy Ellison solo single that glinted deep within the Mulberry Bush soundtrack in 1968, A Strange Affair will set you right. Collated herein is most everything John’s Children recorded in their tumultuous, episodic half-life: the copious addenda consists of alternate mixes, solo recordings by vocalist Ellison (including that aforementioned gemstone) and some floppy, formative, mid-60s gaucherie from The Silence, John’s Children in all but name.

With their spotty discography, lazy penchant for blatantly pilfering other people’s material and a damaging reputation as barely competent, sensationalist, controversy-courting chancers, the band have rarely been taken seriously for anything other than briefly providing a home for the fledgling Marc Bolan and his tranche of inimitable songs. Round here, though, we love them for gamely ticking so many cool boxes en route to oblivion: swaggering, pop-art freakbeat (Jagged Time Lapse, Desdemonacheapskate, have-a-go pop-psych (Remember Thomas A Becket, Smashed! Blocked!) and delinquent, hod-carrying proto-glam (Just What You Want – Just What You’ll Get, Not The Sort Of Girl You Take To Bed). Let Me Know even prefigures Should I Stay Or Should I Go.

by Oregano Rathbone, 22 January 2014.

Tracks

Disc 1 

1. The Love I Thought I'd Found (John Hewlett, Simon Napier-Bell) - 3:01

2. Strange Affair (Andy Ellison, Simon Napier-Bell) - 2:06

3. Just What You Want - Just What You'll Get (John Hewlett, Chris Townson, Andy Ellison, Geoff McClelland) - 3:01

4. But She's Mine (John Hewlett, Chris Townson, Andy Ellison) - 1:59

5. Desdemona (Marc Bolan) - 2:24

6. Remember Thomas A Becket (John Hewlett, Andy Ellison) - 2:20

7. Midsummer Night's Scene (Marc Bolan) - 2:35

8. Sara, Crazy Child (Marc Bolan) - 2:04

9. Come And Play With Me In The Garden (John Hewlett, Andy Ellison) - 2:17

10.Go-Go Girl (Marc Bolan) - 2:09

11.Jagged Time Lapse (John Hewlett, Geoff McClelland) - 2:47

12.Arthur Green (John Hewlett, Andy Ellison) - 3:42

13.It's Been A Long Time (Andy Ellison, Chris Townson, Simon Napier-Bell) - 3:21

14.Fool From Upper Eden (George Alexander) - 2:54

15.Another Lucky Lie (Andy Ellison) - 1:57

16.You Can't Do That (John Lennon, Paul McCartney) - 2:48

17.Cornflake Zoo (Marc Bolan, Andy Ellison) - 2:03

18.Help! (John Lennon, Paul McCartney) - 2:49

19.Casbah Candy (Marc Bolan, Andy Ellison) - 2:02

20.Hippy Gumbo (Marc Bolan) - 2:08

21.Down Down (Andy Ellison) - 3:00

22.Cold On Me (Andy Ellison, John Hewlett) - 3:04

23.Forgive Me If I'm Wrong (Andy Ellison, Chris Dawsett) - 4:06

24.Mustang Ford (Marc Bolan) - 2:24

25.Not The Sort Of Girl You Take To Bed (John Hewlett, Andy Ellison) - 2:27

26.Sally Was An Angel (Marc Bolan) - 3:11

Tracks 12-20 as Andy Ellison

Tracks 21-23 as The Silence

Disc 2

1. Killer Ben (John Hewlett, Andy Ellison) - 2:29

2. Jagged Time Lapse (John Hewlett, Geoff McClelland) - 3:12

3. Smashed! Blocked! (John Hewlett, Simon Napier-Bell) - 3:19

4. You're A Nothing (Chris Townson, Geoff McClelland, John Hewlett, Andy Ellison) - 3:33

5. Not The Sort Of Girl (John Hewlett, Andy Ellison) - 2:07

6. Cold On Me (Andy Ellison, John Hewlett) - 2:50

7. Leave Me Alone (John Hewlett, Andy Ellison) - 3:11

8. Let Me Know (Andy Ellison) - 3:25

9. Just What You Want - Just What You'll Get (John Hewlett, Chris Townson, Andy Ellison, Geoff McClelland) - 3:32

10.Why Do You Lie (John Hewlett, Chris Townson) - 5:06

11.Strange Affair (John Hewlett, Simon Napier-Bell) - 2:02

12.But She's Mine (John Hewlett, Chris Townson, Andy Ellison) - 2:00

13.The Love I Thought I'd Found (John Hewlett, Simon Napier-Bell) - 3:09

14.Desdemona (Marc Bolan) - 2:24

15.Remember Thomas A Becket (John Hewlett, Andy Ellison) - 2:36

16.Midsummer Night's Scene (Marc Bolan) - 2:37

17.Sara, Crazy Child (Marc Bolan) - 2:28

18.Jagged Time Lapse (John Hewlett, Geoff McClelland) - 2:48

19.It's Been A Long Time (Andy Child, Jon Child, Simon Napier-Bell) - 3:10

20.You Can't Do That (John Lennon, Paul McCartney) - 2:59

21.Hippy Gumbo (Marc Bolan) - 2:36

22.Not The Sort Of Girl You Take To Bed (John Hewlett, Andy Ellison) - 2:41

23.Sally Was An Angel (Marc Bolan) - 3:11

24.Come And Play With Me In The Garden (John Hewlett, Andy Ellison) - 2:10

25.The Perfumed Garden Of Gulliver Smith (Marc Bolan) - 2:41

26.Midsummer Night's Scene (Marc Bolan) - 2:37

Tracks 19-20 as Andy Ellison

Tracks 1-10 Orgasm LP 1970

Bonus Tracks 11-26 

John's Children

*Andy Ellison - Vocals 

*Chris Townson - Drums, Guitar

*Chris Colville - Drums

*John Hewlett - Bass

*Geoff McClelland - Guitar (1964-67)

*Marc Bolan - Guitar, Vocals (1967) 

*Chris Dawsett - Keyboards (The Silence)

Related Acts

1967-2005  Andy Ellison - Cornflake Zoo (2006 release)  

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

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

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

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Ikarus - Ikarus (1971 germany, fusion prog krautrock, 2015 bonus track remaster)

Germany is even a bigger hotbed of prog rock than one might imagine. Sure everyone knows bands like Can, Ash Ra Tempel, Tangerine Dream, Amon Düül II, Faust, Neu, Kraftwerk, and similar bands (bands that might not always be considered prog, but are of interest to prog fans). But the countries was also full of more traditional symphonic prog acts like Eloy, Novalis, Grobschnitt, and the likes (all three were quite successful in their native country, by the way). Then there are tons of rare and obscure albums that simply disappeared through the cracks, and Ikarus is one of them. 

Ikarus is often described as one of the first progressive jazz-rock groups to come out of Germany, giving one the impression they might be that country’s answer to bands like Colosseum. But actually they’re much more in the Van der Graaf Generator vein, with vocals that bring to mind Peter Hammill (but without his dynamics), lots of sax, and Hammond organ. But the biggest problem lies in the lyrics. For example, the opening cut, “Eclipse” shows the band expressing environmental concerns, which I am very happy about, but with lyrics that go, “Save the nature/it’s a treasure”, it’s really obvious that these guys are in dire need of brushing up on their English before using their pen. But regardless, they still put out some great prog rock. “Eclipse”, despite the badly written lyrics, is a rather complex song, with some great sax work from Jochen Petersen and a great organ jam from Wulf Dieter Struntz. Real strings are also included as well (which are very well done and does not distract). 

I love the mood of this song, it’s totally early ’70s. “Mesentery” is the next song, the lyrics are a little better. Again, the more great organ work, with almost a psych feel to it. The strings pop up again near the end. “The Raven” features lyrics based on the poem by the same name from Edgar Allen Poe. The music here seems more unstructured than the first two songs, so it’s more inaccessible, but after several listens, you’ll find out it’s another great piece. Some space rock tendencies pop up as well with the use of glissando guitar. The second half of the song is in a more mellow, atmospheric manner. 

The last one is “Early Bells Voice”, again, with some more space rock tendencies, especially the Hammond organ at the end. While finding this album on LP is a bit difficult to come by, a small German label called Second Battle had reissued this on CD. I just love finding obscure gems that are simply amazing, and this self-entitled 1971 album from Ikarus is that example. So, aside from the lyrics, I can very highly recommended this to all prog rock fans, especially VdGG fans.

by Ben Miler

Tracks

1. Eclipse (Divided In Scyscrapers And Sooner Or Later) (Manfred Schulz, Jochen Petersen, Lorenz Köhler) - 15:24

2. Mesentery (Jochen Petersen) - 6:11

3. The Raven (including "Theme For James Marshall") (Jochen Petersen, Manfred Schulz, Lorenz Köhler, Wulf Dieter Struntz, Wolfgang Kracht) - 11:42

4. Early Bell's Voice (Wolfgang Kracht, Wulf Dieter Struntz, Manfred Schulz) - 7:51

5. Sunwave (Traditional) - 15:16

Bonus Track 5, as Beatique In Corporation recorded in Ernst-Merck Halle Hamburg, March 1970

Ikarus

*Wulf Dieter Struntz - Organ, Piano

*Jochen Petersen - 12 String Guitar, Alto And Tenor Saxophones, Flute, Clarinet, Vocals

*Manfred Schulz - Guitar, Vocals 

*Wolfgang Kracht - Bass, Vocals

*Lorenz Köhler - Lead Vocals

*Bernd Schröder - Drums, Percussion

Related Act

1970  Various Artists - Pop And Blues Festival

  

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Hands - Hands (1977-80 us, experimental avant garde prog rock, 2002 remaster)

Inspired by the artistry and commercial success of several prog rock bands, Hands began as an idea between Michael Clay and Michael Barreyre. While still in high school, the two, inspired by new and experimental music, hatched the idea of a progressive rock band. The group would be a cross between Yes and the Soft Machine. Concurrently, Ernie Myers, John Rousseau, and Steve Parker were jamming together above the concession stand of a drive-in theater. The three also were active playing in front of live audiences. Meanwhile, Clay and Barreyre were joining with David Carlisle and Sonny Solell. The four began to rehearse in Clay's bedroom, honing cover tunes of Pink Floyd and Mahavishnu John McLaughlin. Through a mutual friend in high school, the two groups of musicians began to blend. Rousseau, Clay, and Myers grouped together for a while but were soon disbanded when Myers moved to California. 

At that turn, Rousseau, Barreyre, Carlisle, Solell, and Clay formed Ibis and began to rehearse in Solell's den. The name Ibis came from "Flight of the Ibis," a song from the McDonald & Giles solo album. Ibis played a number of gigs in and about the Dallas area. Playing an eclectic cover list that included everything from King Crimson, Frank Zappa, and PFM to Johnny Winter and the Allman Brothers, Ibis grew accustomed to playing technically challenging material in clubs that were ill-suited to their unusual playlist. Still, Ibis managed to book a gig at Deb's Danceland which proved to be Carlisle's last with the band. At that point, Parker entered as the bass player. Although not a bass player at the time, Parker quickly adapted to the bass and lead-vocal duties.

The band changed its name from Ibis to Prism and continued to record and play gigs while incorporating more and more originals into the set list. Clay felt that the original compositions the band were starting to play with would benefit from having a string player in the band. Through a newspaper ad discovered by Rousseau, Paul Bunker joined the group. From that point, the band took on a completely different sound and a seriousness of purpose. Finally, citing artistic differences and an increasing reticence to work together, Barreyre was asked to leave the band. While that particular rift was brewing, Myers had returned from Los Angeles where he had met flutist and composer Skip Durbin, who was asked to join Prism. 

Solell retired from Prism and Durbin quickly joined, and the sound of the group changed again to a more melodic and flowing sort of sound. Myers' father came to a rehearsal one night with one of his associates. Hearing the sincerity and originality of the band, he invested a sum of money for the band to make a recording. Meanwhile, Rousseau had been busy making contact with the promoters of a Gentle Giant concert that was scheduled for the Dallas area. Through sheer persistence, Rousseau secured the opening spot for the Gentle Giant concert. Spurred on by the great reception they received playing the Gentle Giant gig, the band entered January Sound in fall of 1977 and recorded what would be, some 25 years later, the Hands CD.

1978 was a year of grueling practice and songwriting. The group had to endure another practice-room change, to a storefront warehouse in East Dallas, and, learning of the Canadian band of the same name on Arista Records, had to change their name. After a series of long discussions, they finally decided on Hands. The name seemed to sum up a great deal about the band; just a coordination of hands moving about to make music. The name actual predated many of the minimalist names that would appear throughout the early '80s.

During this period, the band courted Ken Scott, the seminal producer of slick pop/rock. Scott had just finished producing and sinking some of his own money into the band Happy the Man. Although Scott heard the music of Hands and enjoyed it, he was in no position to produce or recommend the band to any label. While Happy the Man, a great progressive rock band applauded to this day, were artistically a success, they did not have the sales to match their great music. Ken Scott could really do nothing. With the advent of music that was less and less sophisticated and the ubiquitous drone of disco plodding incessantly along, Hands found it harder and harder to maintain their goals and the ideals of their sound. In 1979, Michael Clay left the band. 

Undaunted, Hands continued with keyboard virtuoso Shanon Day. Day was a great player from a heavy rock band called Point Blank. He brought a meaty, Hammond B3 sound to the band and a greater rock sensibility. The band also added the vocals of Gary Stone. His high range and smooth vibrato gave the band vocal appeal.This lineup, consisting of Myers, Parker, Durbin, Day, Bunker, Rousseau, and Stone, went into Crystal Clear Sound for a marathon recording session. In record time, they recorded a tremendous amount of music, including epics such as Myers' "Mindgrind," "Antarctica," and Durbin's elegiac "New Skies." This material would later form the bulk of the CD Palm Mystery.

Hands played an inspired show at the Wintergarten Ballroom in 1980. It proved to be the last public appearance of the band in that form. The concert was well attended and expertly played. However, the years, changing public tastes, and the restless careers of the musicians themselves eventually pulled Hands apart.

by Cesar Lanzarini

Tracks

1. Zombieroch (Michael Clay) - 4:19

2. Prelude #2 (Michael Clay) - 1:35

3. Triangle Of New Flight (Ernie Myers, Michael Clay, Steve Parker, John Rousseau, Skip Durbin, Paul Bunker) - 6:50

4. Mutineer's Panorama (Skip Durbin) - 3:12

5. Worlds Apart (Michael Clay, Steve Parker) - 4:08

6. Dreamsearch (Ernie Myers, Michael Clay, Steve Parker, John Rousseau, Skip Durbin, Paul Bunker) - 9:49

7. Left Behind (Ernie Myers) - 6:02

8. Mindgrind (Ernie Myers) - 5:40

9. Greansoap (Ernie Myers, Skip Durbin) - 2:27

10.I Want One Of Those (Ernie Myers) - 3:16

11.Antarctica (Ernie Myers) - 10:32

12.The Tiburon Treasure (Ernie Myers) - 2:25

13.Dreamsearch (Ernie Myers, Michael Clay, Steve Parker, John Rousseau, Skip Durbin, Paul Bunker) - 9:41

Bonus Track 13

Hands

*Ernie Myers - Guitar, Mandolin, Vocals

*Michael Clay - Keyboards, Guitar, Tuned Percussion

*Steve Parker - Bass, Guitar, Vocals

*John Rousseau - Drums, Percussion

*Paul Bunker - Viola, Violin, Vitar, Cuatro, Guitar

*Skip Durbin - Woodwinds

With

*Gary Stone - Vocals (Tracks 8,11)

*Tom Reed - Vocals (Track 13)

*Shannon Day - Keyboards (Tracks 4, 8-11)

*Sonny Sollel - Woodwinds, Vocals

*Mark Menikos - Violin, Mandolin, Guitar, Vocals

*Rex Bozarth - Bass, Chapman Stick, Cello, Vocals

*David Carlisle - Bass

*John Fiveash - Drums, Percussion

*Martin Mccall - Drums, Percussion

*Mike Barreyre - Guitar, Vocals

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Michael Martin Murphey - Michael Murphey (1974 us, elegant country folk rock, 2016 japan remaster)

Before Michael Murphey traded in his outlaw country cred and became Michael Martin Murphey, the Americana Adult Contemporary singing cowboy, he created a couple of my favorite LPs from the 1970s. Now that two of his first three albums are available on major streaming platforms, I decided it’s time to unburden myself of my feelings about his self-titled third album.

A native of Texas, Murphey rubbed elbows with a number of Lone Star musicians in his college years, and even more musicians as a grad student in Los Angeles in the mid-60s. He was in a band with future Monkee Michael Nesmith, and later contributed the song “What Am I Doing Hangin’ Round” to The Monkees’ album Pisces, Aquarius, Capricorn & Jones Ltd., which sold over five million copies. Eventually tiring of the So-Cal music scene, he hot-footed it back to Texas about 1971, just in time to be part of the nascent Outlaw Country movement. He was signed to A&M Records by legendary producer Bob Johnston, who produced his first several albums, including the stellar Geronimo’s Cadillac in 1972, Cosmic Cowboy Souvenir in 1973, and after moving to Epic Records, Michael Murphey in 1974, all recorded in Nashville with session players including a few latter day A Team members like Buddy Spicher and Kenny Buttrey.

I have to confess that I first became aware of Murphey when nearly everybody else in the listening public did, with the release of his fourth album Blue Sky Night Thunder and its multi-platinum single “Wildfire.” It was a new sound at the time, a polished version of what we now call Americana, filled with lushly recorded, very romantic songs. 

As on the previous two albums, Murphey here mixes up the types of music he loved, a lot of which he had in common with other Texas singer-songwriters of the era: rock, classic country, Western ballads, gospel, folk. He kicks it off with some soulful rock on the defiant “Nobody’s Gonna Tell Me How To Play My Music.” That’s the first verse in the pull quote above, and it’s quite the rave-up with a big band, a full backing choir, and yes some ironically placed philharmonic strings. This theme seems to have been a popular sentiment among musicians in the early ’70s as things transitioned from the heady days of the anything goes ’60s to the corporate dominated arena rock ’70s — compare this one with Jimmy Buffett’s “Makin’ Music For Money,” also cut in 1974.

Michael Murphey doesn’t have a “Geronimo’s Cadillac” or “Cosmic Cowboy” hit single, but the closing track “Southwestern Pilgrimage” has at least as long a pair of legs as either of those, presaging as it did his turn to acoustic cowboy fare. (It’s one of the best and earliest examples of the adage that the final track on an album often points forward to the musician’s next effort.) It was my first favorite on the album, but lacks the poignancy and more universal themes of those that appeal to me more, nearly 50 years on: the gospel-folk “Healing Springs” with its use of water as a metaphor for art; or the gentle poetry of the quietly acoustic “Rye By-The-Sea” with its roundelay structure; or the spiritual yearning of “Observer.” Speaking of gospel, two sides of that coin are presented in the back to back “Holy Roller” and “Good Ol’ Natural Habits.” To me, though, the strongest songs are the pure Texas outlaw country songs: “You Can Only Say So Much” wouldn’t be out of place on a Michael Nesmith solo record, and both “Ace In The Hole and the played-for-laughs “Fort Worth I Love You” are just plain shit-kicking country rockers to rival any of the era’s best.

Michael Nesmith went on to cover at least one more of Murphey’s songs including one of the best, “Texas Morning,” sagely pairing it with a psychedelic cover of the old Sons of the Pioneers chestnut “Tumbling Tumbleweeds” on his final outing with the First National Band. In the end, I much preferred the truly cosmic and literate version of urbane country that Nesmith continued to turn out over the cowboy fare Murphey turned to. But after three albums of steadily declining chart numbers, Murphey on his fourth, Blue Sky Night Thunder, found an opening to a music career that has sustained him longer than I suspect he’d have had with his idiosyncratic take on country rock, even if the latter was more appealing to fringe fans like me.

by Gary Whitehouse

Tracks

1. Nobody's Gonna Tell Me How to Play My Music - 4:17

2. Healing Springs - 5:21

3. Rye by-the-Sea - 3:10

4. You Can Only Say So Much - 3:25

5. Observer - 4:55

6. Holy Roller - 3:57

7. Good Ol' Natural Habits (Craig Hillis) - 3:17

8. Fort Worth I Love You - 1:43

9. Ace in the Hole (Michael Murphey, Craig Hillis) - 3:03

10.Southwestern Pilgrimage - 3:46

All songs by Michael Murphey except where stated

Musicians

*Michael Martin Murphey - Vocals, Guitar, Harmonica, Piano, Organ, Concertina

*Herb Steiner - Fiddle, Mandolin, Steel Guitar

*Buddy Spicher - Fiddle

*Craig Hillis - Guitar

*Bill Farmer - Piano

*Bob Holmes - Organ

*Tommy Cogbill - Bass

*Kenneth A. Buttrey - Drums, Percussion

*John Hill - Drums

*Patricia Henderson - Background Vocals

*Pat Henderson - Vocals

*Clydie King - Vocals, Background Vocals

*Pat Powdrill - Vocals, Background Vocals

*Andy Johnston - Vocals, Background Vocals

*Merry Clayton - Vocals, Background Vocals

1975  Michael Murphey - Blue Sky Night Thunder (2017 japan)  

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Bob Carpenter - Silent Passage (1971-74 canada, remarkable country folk rock, 2007 korean remaster)

In the mid-‘70s Canadian singer-songwriter Bob Carpenter cut an LP for Warner Brothers, though a contract dispute kept it from coming out when it should’ve; it finally saw release a decade later via Canadian roots imprint Stony Plain. Carpenter never made another album, but the lack of profile doesn’t mean fans of the country and folk material serving as foundation for contemporary music’s Americana wing shouldn’t proceed directly to Silent Passage. It was recently reissued by the No Quarter label.

Not all lost records are equally deserving of being found. Often through collusion spiraling from deep within smoky dens of promotional intent, slabs ranging from pretty good to okay to suspect to downright crummy are suddenly championed, breathlessly even, as vessels of unknown brilliance valiantly rescued out of the clutches of unjust neglect to take their rightful place as timeless classics.

This sort of fervent stumping was once far more common. These days internet access and a set of speakers obviously allow interested parties to take a disc for a test drive prior to dropping their ducats on the barrelhead, and that’s quite a difference from sending off a check based totally on descriptions in a distributor’s quarterly catalog. Yes, many such transactions were conducted by mail order, distance only adding to the existential vacuum (envision a lonely Charlie Brown staring out from a comic strip panel) when a guaranteed garage monster was revealed to be a bunch of crusty also-rans. (Good grief).

There’s a noted deficiency of hype surrounding Bob Carpenter. With Tom Rush, Emmylou Harris, Billy-Joe Shaver, and others recording his songs, his abilities as a writer are secure. Plus, the musicians involved in the making of Silent Passage, amongst them Harris, Little Feat members Lowell George and Bill Payne, steel guitarist Buddy Cage (Jerry Garcia’s replacement in New Riders of the Purple Sage) and session heavyweights Russ Kunkel and Lee Sklar, establish it as more than an ordinary affair. But the absence of calculated overstatement is filled by a persistent lack of appreciation.

Half Ojibway, Bob Carpenter was born on a reserve in Tamagami, Northern Ontario. Orphanages and foster homes figured in his childhood, as did the Navy as a young adult. His early musical activities came through the Yorkville folk scene, a milieu that included Joni Mitchell, Neil Young, and Gordon Lightfoot. Experience grew with travel, and Carpenter was eventually drawn into the sphere of producer Brian Ahern.

Apparently recording didn’t suit Carpenter. His background portrays him as having problems with discipline both in the Navy and in the studio. Silent Passage took years to complete, though that span isn’t detrimental. Opener “Miracle Man” finds those sessioneers employed to full advantage, with George’s trademark slide and Payne’s barrelhouse piano lending unsurprising hints of Little Feat as the gospel-like flow of the backing by Dianne Brooks and Anne Murray (yes, that Anne Murray) bring the track touches of individual personality.

Less buoyant and more introspective is the title cut. The ambiance remains crisp and vivid, featuring well-done pedal steel from Ben Keith, swell backing by Harris, and a string arrangement of uninhibited pleasantry (it would’ve plainly been a personal buzzkill around 20 years ago) though thankfully non-overwrought (which means I can handle it just fine in the everlovin’ now).

Actually, those strings provide nice counterpoint to the sturdy non-polish of Carpenter’s voice, though please don’t get the impression he’s gravelly or strained. On the almost funky throb of “Old Friends” he sounds like warm fertile earth (or Cat Stevens, take your pick), the song fleshed out by momentary tastes of Payne’s organ and Don Thompson’s saxophone, his instrument stubbornly trumpet-ish to my ear.

Another series of adjustments comes with “First Light,” the participants scaled back to just Carpenter’s vocals and guitar, Milan Kymlicka’s string chart and Payne’s organ as the tune presents a spiritual angle; specifically oriented toward Jesus, it’s basically impossible to miss. But Silent Passage isn’t accurately pegged as Christian Rock (the lyrics are much too varied), and it certainly isn’t Christian psychedelia, just in case you were wondering (or hoping).

The closest the LP gets to any kind of expansiveness is during “Morning Train,” which offers a fluttering delicateness alternating with uptempo shifts somewhat reminiscent of “Miracle Man.” And it’s here that it becomes manifest why Ahern and Warner Brothers invested time and money in the guy, Carpenter hitting a spot likely to thrill ears into Croce and Taylor.

For some, those names won’t be a selling point. And I agree; naturally, I perceive merits in Silent Passage that extend beyond the realms of mere singer-songwriter geniality. For one instance, there’s the intensity of the guitar in “The Believer” and how it contrasts with the sheer amiability of the strings (this time arranged by Jim Pirie) and Peter Pringle’s harmonium as Carpenter’s unique throatiness bonds these extremes into a winning whole.

And “Gypsy Boy,” with its abundance of guitar (Ahern steps in on 12-string) and violin (by Ben Mink and Paul Armin) emits a distinct dark air of Brit folk, especially in Carpenter’s singing, a storytelling style with vocal croak tougher than on any previous track. Had this album shipped retail on schedule, it’s seems unlikely “Gypsy Boy” would’ve been pulled as the first single.

Faring a little better as a hypothetical 45 is “Down Along the Border,” though the unsmooth surfaces of voice, here reminding me more than slightly of departed singer-songwriter-guitarist Vic Chesnutt, is commercially limiting. The very strong “Before My Time” registers nearest to the gentle strains of ‘60s coffeehouse folk that helped to shape Carpenter’s artistry.

Yes, those added strings are ultimately superfluous, but their inclusion was in essence inevitable for a folkie of Carpenter’s temperament that shared a producer with Anne Murray and was recording his debut on Warner Brothers’ dime. However, the LP does fit into that label’s still impressive ‘60s-‘70s run; if it had managed to land in stores with the company’s logo on the sleeve, Silent Passage would surely be known and valued more highly, even if it didn’t prove a hit.

The concise “Now and Then” delivers a powerful finish, doing nothing particularly dissimilar from the nine earlier numbers, though Bill Speer’s piano is a fine aspect in the send out. And if Silent Passage contains elements reinforcing it as the product of a certain era, it’s also far more than just a period piece. At its core are songs; frequently excellent, never less than very good, and with the exception of the digital only Eight Demos 1979 (definitely not a footnote, it’s also not the place to begin) this is the full extent of the work Carpenter left behind.

He died of brain cancer in 1995, but not before becoming a Buddhist monk, a fact underlining that Carpenter’s tale, if dominated by a rather whopping missed/squandered opportunity, isn’t a sad one. And by this date, his album is no longer aptly described as lost; No Quarter’s reissue isn’t the first, but to my knowledge its last vinyl pressing was in ’84.

Sans desperate sales pitch, Silent Passage quietly endures as one of the finer examples of unearthed ‘70s worthiness.

by Joseph Neff, September 25, 2014

Tracks

1. Miracle Man - 3:16

2. Silent Passage - 2:51

3. Old Friends - 3:42

4. First Light - 4:53

5. Morning Train - 4:32

6. The Believer - 3:44

7. Gypsy Boy - 4:40

8. Down Along The Border - 2:53

9. Before My Time - 4:46

10.Now And Then - 2:23

Music and Lyrics by Bob Carpenter

Musicians

*Bob Carpenter - Vocals, Guitar

*Lee Skar - Bass

*Russ Kunkel - Drums

*Bill Payne - Piano, Organ 

*George Lowell - Bottelneck, Electric Guitar 

*Ben Keith - Steel 

*Buddy Cage - Steel 

*Milan Kymlicka - Strings 

*Skip Beckwith - Bass 

*Tim Pirie - Strings 

*Peter Pringle - Harmonium 

*Brian Ahern - Percussion, String 

*Don Thompson - Sax 

*Dianne Brooks - Backing Vocals 

*Anne Murray - Backing Vocals 

*Emmylou Harris - Backing Vocals 

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Jefferson Airplane - Last Flight (1972 us, an exciting live set, 2007 double disc remaster)

By 1972 Jefferson Airplane had evolved from the psychedelic folkrockers whose classic Surrealistic Pillow had soundtracked 1967’s Summer Of Love. Vocalist/founder Marty Balin was gone, though he rejoins the group for one of the high points here: an extraordinary, rousing encore of Diana/ Volunteers that would have had the hippy audience screaming for the revolution.

Taking Balin’s place as singer for this tour was David Freiberg (ex-Quicksilver Messenger Service), while veteran electric violinist Papa John Creach had joined in 1970 and former Turtle Johnny Barbata provides drums. The four remaining members from their heyday would soon split: lead guitarist Jorma Kaukonen and bassist Jack Casady concentrating on bluesy side project Hot Tuna; frontwoman Grace Slick and Paul Kantner (vocals/guitar) forming Jefferson Starship. 

Despite this, Airplane were still formidable live. Kaukonen shines with fiery soloing on Twilight Double Leader and Feel So Good. Grace Slick is in fine form throughout, her powerful voice soaring over the maelstrom of sound as the group stretch out.�While fans of …Pillow will find the heavy blues-rock of Come Back Baby or boogie of Papa John’s Down Home Blues far from essential, the superb, loose version of Somebody To Love will delight them.

by Jon Harrington, 29 August 2007

Tracks

Disc 1

1. Introduction By Bill Graham - 1:14

2. Somebody To Love (Darby Slick) - 4:39

3. Twilight Double Leader (Paul  Kantner) - 4:30

4. Wooden Ships (David Crosby, Paul Kantner, Stephen Stills) - 6:17

5. Milk Train (Grace Slick, Papa John Creach, Roger Spotts) - 4:09

6. Blind John (CJ Stetson, Peter Monk) - 4:27

7. Come Back Baby (Traditional) - 7:01

8. The Son Of Jesus (Paul Kantner) - 5:13

9. Long John Silver (Jack Casady, Grace Slick) - 5:15

10.When The Earth Moves Again (Paul Kantner) - 3:55

11.Papa John's Down Home Blues (Papa John Creach, Roger Spotts) - 5:26

12.Eat Starch Mom (Jorma Kaukonen, Grace Slick) - 5:35

Recorded live at the Winterland Arena, San Francisco on 22nd September 1972

Disc 2

1. John's Other (Papa John Creach) - 6:08

2. Trial By Fire (Jorma Kaukonen) - 4:24

3. Law Man (Grace Slick) - 2:40

4. Have You Seen The Saucers? (Paul Kantner) - 4:04

5. Aerie (Gang Of Eagles) (Grace Slick) - 3:30

6. Feel So Good (Jorma Kaukonen) - 11:00

7. Crown Of Creation (Paul Kantner) - 3:23

8. Walking The Tou Tou (Jorma Kaukonen) - 5:11

9. Diana / Volunteers (Paul Kantner, Grace Slick / Martin Balin, Paul Kantner) - 5:21

Recorded live at the Winterland Arena, San Francisco on 22nd September 1972

Jefferson Airplane

*Grace Slick - Vocals

*Paul Kantner - Vocals, Rhythm Guitar

*Jorma Kaukonen - Lead Guitar, Vocals

*Jack Casady - Bass

*John Barbata - Drums, Percussion

*Papa John Creach - Electric Violin, Vocals 

*David Freiberg - Vocals, Tambourine, Guitar (Disc 1 Track 6)

*Marty Balin - Vocals (Disc 2 Track 9b)

1966  Jefferson Airplane - Takes Off (2013 audiophile remaster)

1967  Jefferson Airplane - Surrealistic Pillow (2013 audiophile and 2003 xpanded)

1967  Jefferson Airplane - After Bathing At Baxter's (2013 audiophile and 2003 xpanded)

1968  Jefferson Airplane - Crown Of Creation (2013 audiophile and 2003 xpanded issue)

1969  Jefferson Airplane - Volunteers (2013 Audiophile, 2003 xpanded)

1973  Jefferson Airplane - Thirty Seconds Over Winterland (2013 Audiophile and 2009 expanded)

Related Acts

1965-66  The Great Society - Born to Be Burned
1968-71  Grace Slick And The Great Society - Conspicuous Only By Its Absence / How It Was

1971  Grace Slick With Paul Kantner - Sunfighter

1973  Paul Kantner, Grace Slick, David Freiberg - Baron Von Tollbooth And The Chrome Nun  

1972  Hot Tuna - Burgers (2012 audiophile Vinyl replica)  

1975  Hot Tuna - Yellow Fever (2012 Audiophile)

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Free - Free (1969 uk, classic second album, 2001 japan hard sleeve expanded edition)

Free returned to the studio in April 1969 to begin work on their second album and already there was trouble in the camp. Rodgers and Fraser had by now formed a pretty solid songwriting partnership although they were not exactly the best of buddies. This lead to Kossoff and Kirke feeling a little less than equal as both Rodgers and Fraser had very set ideas as to how they wanted the songs to sound. In fact things got so bad at one point that Rodgers and Fraser were going to leave the band and form a duo. Kirke and Kossoff actually auditioned Overend Watts from Mott The Hoople as Fraser’s replacement and Kossoff himself even auditioned for the vacant guitarist spots in both The Rolling Stones and Jethro Tull.

On to the album itself then. Well if “Tons of Sobs” was Free’s blues album then this self titled follow up was probably their folk album. Although Rodgers still insists it’s more of a soul album. The hard powerful blues that was all over the first album is still evident in places but is more controlled. If “Tons of Sobs” was a runaway horse  then “Free” is a restrained gallop.

The album opens with ‘I’ll Be Creepin” which with it’s funky and prominent bass starts the album off in tremendous style. Just to prove the longevity of these songs Rodgers used this track to open his set on his most recent solo tour. ‘Songs Of Yesterday’ has the blues feel of the earlier album and some great Kossoff guitar, but then which of these tracks hasn’t. ‘Lying In The Sunshine’ is a similar type of song to ‘Over The Green Hills’ from the first album but with more of a soul feel. ‘Trouble On Double Time’ is the out and out blues rocker of the album and is the only track on which Kossoff and Kirke get a songwriting credit. It has a Stones like strut about it. ‘Mouthful Of Grass’ closed the first side on the original vinyl issue. Virtually an instrumental with just a choir of aaah’s it is a strangely hypnotic sort of song. It is also possibly one of the Free songs owned by the most people as it was used as the b-side to ‘All Right Now’. ‘Woman’ is classic Free at their best with a nice understated intro and a great early solo from Kossoff. It was particularly effective in a live setting and is as good as anything they ever recorded. 

Highlight for many is the lengthy almost whispering laid back folky blues track ‘Free Me’. On the live disc which comes as part of the “Songs Of Yesterday” 5-CD box set Kirke introduces this song as “….. one of our favourites actually”. It is not difficult to tell why as all put in faultless performances. Kossoff in particular pulling of one of his trademark crying solo’s. At at time when everyone was trying to be the fastest guitarist alive it is ironic that Kossoff was beginning to attract attention by doing exactly the opposite. ‘Broad Daylight’ was a bit of a throwaway song that wouldn’t have been out of place on the first album and was the first single issued by the band. ‘I’ll be Creepin’ was later released as a single but neither charted. The closing track ‘Mourning Sad Morning’ is an absolutely stunning piece of music that once again highlights Rodgers superb voice. Sounding in places like a two hundred year old folk song the unique mixture of Rodgers’ voice, Kossoff’s guitar and the haunting flute of Traffic’s Chris Wood closes the album on a melancholy but beautiful note.

It is also worth mentioning the album cover as it is one that regularly appears in classic album art coffee table books. It was designed by Ron Raffielli and is a photograph of a naked woman shot from below. This effect was obtained by Raffieli standing in a hole and having the woman stride over him. The outline of her body was then filled with stars and set against a blue sky background. The centre spread of the album featured a picture of a young woman on a beach with building blocks! Each member of the band was photographed in one of the boxes. The box which displayed the photo of Paul Rodgers was being held by the girl up to her mouth and she is blowing sand of it. One of the other members of the band later commented “Typical, the one the girl had hold of had to have Rodgers in it ……”

“Free” peaked at #22 in the UK chart which was not bad at all considering there was no hit single and not exactly masses of publicity. All that would change though in 1970 with two more classic albums, a worldwide hit and a tremendous performance at the Isle Of Wight Festival. Superstardom was indeed due to come creeping around the door very soon indeed.

by Martin Leedham, November 21, 2010

Tracks

1. I'll Be Creepin' - 3:27

2. Songs Of Yesterday - 3:33

3. Living In The Sunshine - 3:51

4. Trouble On Double Time (Andy Fraser, Paul Kossoff, Paul Rodgers, Simon Kirke) - 3:23

5. Mouthful Of Grass - 3:36

6. Woman - 3:50

7. Free Me - 5:24

8. Broad Daylight - 3:15

9. Mourning Sad Morning - 5:04

10.Broad Daylight - 3:09

11.The Worm - 3:03

12.I'll Be Creepin' - 2:47

13.Sugar For Mr Morrison - 3:01

14.Broad Daylight - 3:21

15.Songs Of Yesterday - 3:11

16.Mouthful Of Grass - 3:33

17.Woman - 4:00

18.Trouble On Double Time (Andy Fraser, Paul Kossoff, Paul Rodgers, Simon Kirke) -- 2:37

19.Mourning Sad Morning - 5:10

All songs by Andy Fraser, Paul Rodgers except where indicated

Bonus Tracks 10-19

The Free 

*Paul Rodgers - Vocals, Piano

*Paul Kossoff - Lead Guitar

*Andy Fraser - Bass Guitar, Backing Vocals

*Simon Kirke - Drums

With

Chris Wood - Flute

1969-71  Free – Live At The BBC (2006 double disc edition)

1970  Free - Fire And Water (2008 double disc)

1970  Free - Highway (2002 remastered and expanded)

1971  Free - Free Live! (2002 remaster)

1972  Free - Free At Last (2002 remaster)

1973  Free - Heartbreaker (2002 remaster) 

Related Acts
1967-69  The Magic Mixture - This The Magic Mixture (2008 extra tracks issue) 
1972/73/75/76  Paul Kossoff - Kossoff Kirke Tetsu Rabbit / Back Street Crawler / The Band Plays On / 2nd Street (2005 double disc edition) 

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Tim Davis - Take Me As I Am (Without Silver Without Gold) (1972 us, magnificent rhythm 'n' blues mild rock)

The second solo effort from Tim Davis released late 1972, titled "Take Me As I Am (Without Silver Without Gold)". A crossroad between Rock 'n' Roll, Rhythm 'n' Blues, Country and Folk. Glyn Jones took over the production, together with Tim Davis, recordings made in Nashville and San Francisco, with the companionship of top notch musicians, such as Mike Bloomfield, Boz Scaggs, Rick Jaeger (A. B. Skhy, Crowfoot), Stephen Miller (Linn County), Doug Killmer, among others.

Tracks

1. Baby Won't You Come Out Tonight (Curley Cooke) - 3:23

2. Boogie Cadillac - 4:05

3. Country Heart And Soul - 4:26

4. Only Yesterday - 2:59

5. Tomorrow Time - 3:28

6. So Hard To Make My Way - 2:48

7. Take Me As I Am (Without Silver) - 2:36

8. On The Other Hand Baby (Ray Charles, Percy Mayfield) - 4:01

9. Winter Song - 2:52

10.Get It Hot - 3:31

Music and Lyrics by Tim Davis except where noted

Musicians

*Tim Davis - Vocals, Rhythm Guitar

*Michael Bloomfield - Guitar (Tracks 4,7,8) 

*Curley Cooke - Rhythm Guitar (Tracks 1,2,7,8,12), String Finger Picking (Track 5) 

*Boz Scaggs - Guitar (Tracks 1,3,10)

*Rick Jaeger - Drums (Tracks 1,2,4,7,8,10)

*Doug Killmer - Bass (Tracks 1,2,4,7,10)

*Ben Sidran - Piano (Tracks 1,4,7)

*Pete And Coke Escovedo - Timbales, Congas (Tracks 1,7)

*John Wilmeth - Trumpet  (Track 1) 

*Mel Martin - Tenor Sax,  Bass (Track 1) Piccolo Flute (Tracks 1,7) 

*Reverend Stallings - Tenor Sax (Track 1)  

*Steven “Steve” Miller - Organ (Tracks 1,8,9) 

*Ken Adamany - Piano (Tracks 2,8,10)

*Wayne Moss - Bass (Tracks 3,5,6,9), Lead Guitar (Track 3) 

*Kenny Malone - Drums (Tracks 3,5,6,9) 

*Russ Hicks - Steel Guitar (Tracks 3,5,6) 

*Bobby Thompson - Banjo (Track 3), Rhythm Guitar (Tracks 3,6,9) 

*Charlie McCoy - Harp (Tracks 3,6,9)

*Buddy Spicher - Violin (Tracks 3,5) 

*John Harris - Piano (Tracks 5,6,9)

*Reggie, Georgie And Jamie Ente “The Third Wave” - Backing Vocals (Track 7) 

*John Kahn - Bass (Track 8) 

*Glyn Johns - Maracas (Track 10)

1972  Tim Davis - Pipe Dream

With The Steve Miller Band   

1968  Children Of The Future (2012 digipack remaster)
1968  Sailor (2012 digipack remaster)
1969  Brave New World (2012 digipack remaster)
1969  Your Saving Grace (2012 digi pack remaster)

1970  Steve Miller Band - Number 5 (2012 digipak remaster)  

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Street - Street (1968 us, wonderful psych rock)

The strong, slightly different lead voice of Anya Cohen is the main asset of Street (for- merly known as Anya's Street) and it should help the group's debut album pull healthy sales. Good arrangements and instrumental work by the group is another plus, and Street produces a varied sound that will appeal in a wide audience. Strong sides are "There': One Kind Favor," and an "If I Needed Some- one"/ "Tomorrow's A Long,  Long Time" medley, and "High Heel Sneak.

Tracks

1. Multilevular Conversational Tightrope Walkin' Shoes (Judy Fine) - 3:19

2. Boeing 707 (Rick Shorter) - 3:15

3. Some Thoughts Of A Young Man's Girl (Rick Shorter) - 2:53

4. If I Needed Someone/Tomorrow's A Long, Long Time (George Harrison/Bob Dylan) - 5:55

5. See See Rider (John Williamson, Michael Lynne, Rick Shorter) - 2:56

6. What A Strange Town (Rick Shorter) - 6:04

7. It's Hard To Live On Promises (Rick Shorter) - 3:10

8. There's One Kind Favor (Anya Cohen, Rick Shorter) - 2:58

9. High Heel Sneakers (Robert Higginbotham) - 2:53

Street

*Will Betz - Bass, Electric Guitar

*Al Camardo - Percussion

*Tom Champion - Drums, Percussion

*Anya Cohen - Vocals, Percussion, Tambourine

*Michael Lynn - Bass, Acoustic, Electric Guitars, Vocals

*John Williamson - Bass, Electric Guitar, Vocals

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Tim Davis - Pipe Dream (1972 us, splendid rhythm 'n' blues psych folk country rock)

Drummer Tim Davis was playing with a band in Madison, WI, in the mid-'60s when a friend from the University of Wisconsin, guitarist/singer Steve Miller, asked him to try forming a blues band with him and another friend, James "Curly" Cooke, in San Francisco. Thus was born what was then known as the Steve Miller Blues Band in 1966. Davis stuck with Miller through those difficult early days -- when there wasn't much paid work or money -- through early appearances supporting Chuck Berry on his Fillmore West live album and at the Monterey Pop Festival. 

They landed a recording contract soon after, and Davis was the band's drummer and percussionist - and also contributed backing vocals on their first five albums, including Brave New World and Number 5. He also managed to work in some playing with the Jefferson Airplane, most notably on the Crown of Creation sessions, during this period. He later played with Ben Sidran, in addition to cutting his own album, Pipe Dream -- featuring contributions from Cooke and the Grateful Dead's Donna Jean Godchaux -- in 1972. 

by Bruce Eder

Tracks

1. On The Rocks - 2:47

2. Don't Mention The Ladies Name - 3:11

3. Nothing Is The Same (Curley Cooke) - 3:39

4. Boogie Woogie F.C.B. - 3:13

5. To Sailors Son - 5:04

6. Love Has Come - 3:59

7. I've Always Tried To Please You (Steve Miller) - 3:18

8. Buzzy Brown (Curley Cooke) - 3:36

9. Sunday (Curley Cooke) - 2:22

10.Beatle Blues - 0:30

11.Rich Kid Blues (Terry Reid) - 3:46

All songs by Tim Davis except where indicated

Personnel

*Tim Davis - Vocals

*Bill Meeker - Drums 

*Donna Thatcher - Vocal 

*Doug Killmer - Bass

*Hart McNee - Saxophone, Flute 

*John McFee - Guitar 

*John Wilmeth - Trumpet 

*Linda Tillary - Vocals, Drums

*Lonnie Turner - Bass 

*Mike Finnigan - B3 Hammond organ  

*Richard Olson - Guitar, Bass  

*Sonny Lewis - Saxophone, Flute

*Stephen Miller - Keyboards 

*Tracy Nelson - Vocals

*Peter Minton

With The Steve Miller Band
1968  Children Of The Future (2012 digipack remaster)
1968  Sailor (2012 digipack remaster)
1969  Brave New World (2012 digipack remaster)
1969  Your Saving Grace (2012 digi pack remaster)

1970  Steve Miller Band - Number 5 (2012 digipak remaster)  

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Gentlehood - Gentlehood (1973 us, pleasing well harmonized folk rock)

Soft unique rocker from this strong harmony oriented three-man US band with impressed soft-to-up-tempo hooks.

Recorded early seventies at Hollywood Sound Recorders, with the support of The Wrecking Crew featuring, Hal Blaine, Joe Osborn among others.

Tracks

1. Oh My - 4:22

2. He Said She Said - 3:11

3. Bridges On Progress Day - 3:09

4. Jacob Salk - 3:25

5. Closer To Me - 3:43

6. Can I Be Your Man - 2:54

7. Finally Home - 3:02

8. America Oui, Oui - 4:34

9. Hey John - 3:09

10.Life Performances Of Hymn - 3:31

Words and Music by Tony Russo, Stan Khanzadian, Tom Fiegel

Gentlehood

*Stan Khanzadian - Vocals

*Tom Feigel - Vocals, Guitar

*Tony Russo - Vocals, Guitar

With

*Hal Blaine  - Drums

*Kathi Grande  - Vocals

*Janet Laing  - Viola

*Dann Mather  - Bass

*Joe Osborn  - Bass

*Gene Pello  - Drums

*Phil Sawyer  - Piano 

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Elysian Field - Elysian Field (1968-71 us, exceptional garage psych classic mainstream rock)

Released as the third part in the Louisville Music series by the Florida-based GearFab Records, this recording contains the work of a band that evolved from Soul, Inc. (featured on the first two of GearFab's Louisville series) in 1968. According to Rick Mattingly's concise liner notes, Marvin Maxwell, Frank Bugbee and Jim Settle left Soul, Inc. to pursue a different musical vision. Throughout their history, the band altered membership by adding (and, other times, subtracting) Gary Johnson, Mark Miceli, Dennis Ledford, Rudy Helm, Steve McNicol and Denny Lile.

While the sound quality of the selections is a little rough since they were dubbed directly from aging Mylar (and two were copied directly from test acetates found in Maxwell's home), you can still sample a band that searched for a sound it couldn't seem to lock in. That's important because Elysian Field was always daring itself to go for something different. You can hear The Jam do the same thing in their Greatest Hits recording. It contains tracks from the band's inception as a punk trio in the UK, then its move into new wave, then horn-based soul, then pop.

This volume of Elysian Field is different, however, because it documents an effort and, like classical mythology, it also teaches. It is a dispatch to musicians in the future. The messages? Try. Play.

The band's lineups throughout its three years as a loose unit are key to how the tracks are arranged in the recording. It opens with the tunes recorded when the band included its best-known lineup of Maxwell, Settle, Ledford, Miceli and Lile, at the center of its relatively short career. The sound then was at once rough and rootsy ("You Again" or "Good Time Living"), cut with shards of slick psychedelia and proto-punk attitude ("Mother Hate," "I Think I Can't Live Without You").

The center third of the recording contains material from the Field's early days in 1969, when the songs were filled with walls of sound encasing lush strings and horns (borrowed from the Louisville Orchestra), sweeping harp runs, harpsichords and some lovely harmonies. Imperial Records, the label that had signed them, wanted to mold them into a unit similar to Dennis Yost and the Classics IV, the lite rock band of their day. While the songs were lovely, their style was derivative, shown in "Strange Changes" with is lounge-samba rhythm and "Alone on Your Doorstep," about an obsessive guy who waits out his unrequited love on the porch of the woman he wants. It may rank up next to "Turn Around, Look At Me" by The Vogues as a stalker's anthem. When the band obviously found more energy and something worthwhile with the harsh sound illustrated in the opening tracks, Imperial cancelled their contract.

The drastic change in style shown in the first portion of the collection mellows in the final third into relaxed southern rock in the manner of The Allman Brothers. Acoustic instruments erase the fuzzy electric guitars, harpsichords and horns from the earlier sound, while the piano becomes an integral part of the rhythm section. There's a vocal melody and harmony as big as the outdoors in "Canada," gritty guitar boogie in "Revolution's in the Air" and soaring beauty in "Sundown Red," a Steve McNicol composition on which he sings lead.

In Greek mythology the Elysian Fields were the delightful place of blessed repose after death. They were the lush afterlife home to heroes, poets, priests and generally nice folks, especially those who helped others. We are now able to hear Elysian Field's experimentation with divergent styles that, for fans and the curious, gives a satisfactory retrospective of the substantial musical talent this city had more than 30 years ago. But for young musicians, it's a lesson plan. 

by Tim Roberts, March 2000

Tracks

1. Mother Hate (Dennis Ledford) - 2:51

2. You Again (Dennis Ledford, Jim Settle) - 2:45

3. Didn't It Feel Good (Marvin Maxwell) - 2:48

4. Reservation (H. Aimes, R. O'Neil) - 2:25

5. I Think I Can't Live Without You (H. Aimes, R. O'Neil) - 3:02

6. I Hate You (Mark Miceli) - 2:51

7. Good Time Living (Barry Mann, Cynthia Weil) - 2:52

8. Bed Of Roses (Prince Bouie, James Cobb) - 1:41

9. 24 Hours Of Loneliness (Prince Bouie, James Cobb) - 2:01

10.Strange Changes (Prince Bouie, James Cobb) - 1:43

11.Kind Of Man (Jim Settle, Frank Bugbee) - 2:43

12.Alone On Your Doorstep (Frank Bugbee) - 2:18

13.Old Oak Tree (Frank Bugbee, Jim Settle) - 2:55

14.Keep Her (Rudy Helm, Jim Settle) - 4:01

15.Canada (Mark Miceli) - 4:54

16.On My Way (Steve McNicol) - 3:56

17.Revolution's In The Air (Rudy Helm, Jim Settle) - 4:00

18.Let The Music Take You Down (Steve McNicol) - 4:45

19.Still I Want You (Rudy Helm) - 1:53

20.Man On Fire (Mark Miceli) - 3:42

21.Sundown Red (Steve McNicol) - 3:25

Elysian Field

*Dennis Ledford - Guitar

*Jim Settle - Bass, Vocals

*Marvin Maxwell - Drums

*Mark Miceli - Guitar

*Frank Bugbee - Guitar

*Steve McNicol - Guitar

*Rudy Helm - Bass

*Denny Lile - Bass

*Gary Johnson - Bass, Vocals 

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