Twenty-Five Views of Worthing were formed in 1970 by Watford school friends Roger Hillier and Mark Sugden out of the ashes of their psychedelic band Primrose Path. They were signed to a management deal with Island Artists in 1972 and supported the likes of Genesis, Caravan and Mott the Hoople, although a recording contract with Island Records never transpired.
The band recorded several tracks using downtime at Island’s Basing Street Studio, which have never previously been released. Continuing with various line-ups throughout the ‘70s, the band also cut a rare independent EP in 1977. The band left behind a rich legacy of recorded material which is finally presented on a LP for the first time via Wind Waker Records.
by Klemen Breznikar
Tracks
1. Vamp Till Ready (Roger Hillier) - 8:36
2 Joke Without Words (Roger Hillier) - 12:07
3. Freak Show (David Toop, Mark Sugden, Roger Hillier) - 2:26
4. In For A Quick One (Peter Teychenne) - 5:26
5. You Are What You Eat (Mark Sugden) - 5:37
6. Do The Azimuth (Harlan Cockburn) - 4:40
7. Rat Brain Incision (Roger Hillier) - 2:02
8. More Feathers More Dogs (Roger Hillier) - 3:50
9. Ratification (Roger Hillier) - 3:17
Twenty-Five Views Of Worthing
*Roger Hillier - Organ, Electric, Grand Piano, Harpsichord, Vibraphone
Formed in Berkeley, California, USA in 1967 as Gourmet’s Delight, this individual quintet originally consisted of Terry Garthwaite (b. 11 July 1938, Berkeley, California, USA; guitar/vocals), brother David Garthwaite (bass), Toni Brown (b. 16 November 1938, Madison, Wisconsin, USA; keyboards/guitar/vocals), Ron Wilson (b. 5 February 1933, San Diego, California, USA; percussion) and Fritz Kasten (b. Des Moines, Iowa, USA; drums). David Garthwaite was replaced by Jeff Neighbor (b. 19 March 1942, Grand Coulee, Washington, USA), prior to recording.
The group’s self-titled debut album was released late in 1970 and yielded a minor hit single in ‘Brownsville’. Their easy style, which drew its inspiration from folk, blues and jazz, offered a refreshing spontaneity, although subsequent releases lacked the verve of this first collection. Joy Of Cooking’s direction was determined by Brown and Garthwaite and the group was thus a focal point for the Bay Area’s women’s movement. Toni and Terry carried this support when the group broke up in 1973. They recorded Cross Country together before embarking on separate solo careers, but despite excellent releases, were unable to make a significant breakthrough. The two singers released the widely acclaimed album The Joy in 1977, but resumed their independent work when the session failed to generate sufficient commercial interest. Toni Brown died on Aug. 8, 2022 at her home in Woodacre, CA.
AllMusic
Tracks
1. Hush (Traditional) - 2:46
2. Too Late, But Not Forgotten - 4:21
3. Down My Dream - 4:17
4. If Some God - 3:43
5. Did You Go Downtown ? (Terry Garthwaite) - 7:39
6. Dancing Couple - 0:53
7. Brownsville / Mockingbird (Furry Lewis, Toni Brown, Terry Garthwaite, Traditional) - 5:51
8. Red Wine At Noon - 3:34
9. Only Time Will Tell - 5:13
10.Children's House - 6:50
Songs written by Toni Brown excpet where indicated
Bassist, guitarist and clarinet player and vocalist Gary Dalton joined with percussionist/vocalist Kent DuBarri to form the soulful, blues-influenced group, Dalton and DuBarri in the mid-1970s. The group's sound was enhanced by the presence of Hammond B-3 organist Rick Allen, who had previously worked with southern California-based pop group, Blue Rose.
Signed by CBS - Sony in 1973, Dalton and DuBarri failed to live up to expectations. Although they opened shows for Loggins and Messina, the Doobie Brothers, Dave Mason, Rod Stewart, Boz Scaggs, Elvin Bishop and the Beach Boys, they never rose to headliner status.
Dropped by CBS -- Sony after their first two albums, Dalton & DuBarri in 1973 and Good Head in 1974, were unable to provide a commercial breakthrough, Dalton & DuBarri went on to record for ABC and Hilltak -- Atlantic.
A sweet little set that definitely aims to stake out its own little territory – with a groove that lives up surprisingly well to the title! The music here is way funkier than you might expect – and comes from a time when many popular singers were working in studios staffed by cats who were pretty darn cool – and had a great ear for picking up some of the best musical undercurrents from other scenes – including some of the best soul and funk that was really breaking out in the US at the start of the 70s! As a result, many of these tracks have unexpectedly funky rhythms at the bottom – way different than the kind of backings that you might have heard in country soul records from a few years before – and different too than the redneck rock that was becoming more popular with some of the bigger acts on the charts.
You're bound to recognize a few bigger names here – as the set's not just country artists – and as usual, the Light In The Attic crew have done a stunning job of putting the whole thing together. Titles include "LA Memphis Tyler Texas" by Dale Hawkins, "Georgia Mountain Dew" by Johnny Adams, "Light Blue" by Bobby Darin, "I Wanta Make Her Love Me" by Jim Ford, "Hawg Frog" by Gray Fox, "Fire & Brimstone" by Link Wray, "Street People" by Bobby Charles, "Bayou Country" by Gritz, "I Walk On Gilded Splinters" by Johnny Jenkins, and "Studspider" by Tony Joe White.
During the late '60s and early '70s country music went through somewhat of a transformation. Many young country artists were eager to infuse some of the hippie attitude of the '60s in to their music. Light In The Attic has combed through this confused era of country music and come up with some choice cuts. Here's what they had to say: "What in the hell is country funk you ask? The answer is a complicated one, in part due to the fact that Country Funk is an inherently defiant genre, escaping all efforts at easy categorization.
The style encompasses the elation of gospel with the sexual thrust of the blues, country hoedown harmony with inner city grit. It is alternately playful and melancholic, slow jammin', and booty shakin'. It is both studio slick and barroom raw. And while these all may seem unlikely combinations at first glance, upon close listen, it all makes sweet sense. Light In The Attic presents Country Funk 1969-1975, a melting pot concoction of the music of Dale Hawkins, John Randolph Marr, Cherokee, Johnny Adams, Mac Davis, Bob Darin, Jim Ford, Gray Fox, Link Wray, Bobby Charles, Tony Joe White, Dennis The Fox, Larry Jon Wilson, Bobbie Gentry, Gritz, and Johnny Jenkins." 2LP housed in a deluxe Stoughton "Tip-On" jacket with liner notes insert, along with Jess Rotter's illustrations.
Folky singer-songwriter from Omaha Nebraska. You'll hear a little light rock, a little blues, a little pop, and a little jazz. It is a "bread and butter USA mix of some of the freshest songs we've heard in a long time, particularly "Yahoo!" the title song from this signature album. It is truly a song that defies description. It moves, it lifts, it raises your spirit like no other popular song has ever done.
There are 11 other offerings total, and better yet, each one of them has that unmistakable Michael Deacon touch that makes a song like "Yahoo!" so endearing; and the vocal quality, musical tightness, lyrical lilt it's there throughout this masterpiece. Enjoy this lovely album at face value. Then look just below the surface you may be surprised at what you find. "Runnin' In The Meadow " is a little known Folk Psych gem originally released privately in 1975 as Deacon's debut, expanded to include four exclusive bonus tracks.
Liner-Notes
Tracks
1. Yahoo! - 2:29
2. Won't Be Long - 3:21
3. River - 3:32
4. She's Got No Ponytails - 2:29
5. Give What You Can - 3:02
6. I Been Carryin' A Song (So Long) - 2:56
7. Wind River Children - 4:04
8. Wet And Alive - 3:05
9. Life In The Breeze - 2:07
10. Treasure The World - 2:32
11. Can't Impress The Potter - 5:10
12. Quiet Lady - 3:58 -
13. Don't Throw Tomorrow - 2:43
14. Candle In The Kitchen - 2:51
15. Third Story Window - 3:35
16. Little Johnny Snowflake - 3:26
Music and Lyrics by Michael Deacon
Personnel
*Michael Deacon - Acoustic Guitar, Vocals
*Ron Steele - 6 String, 12 String, Electric Guitars
When Lonnie Mack sang the blues, country strains were sure to infiltrate. Conversely, if he dug into a humping rockabilly groove, strong signs of a deep-down blues influence were bound to invade, par for the course for any musician who cited both Bobby Bland and George Jones as pervasive influences. Fact is, Mack's lightning-fast, vibrato-enriched, whammy bar-hammered guitar style influenced many a picker, too, including Stevie Ray Vaughan, who idolized Mack's early singles for Fraternity and later co-produced and played on Mack's 1985 comeback LP for Alligator, Strike Like Lightning.
Growing up in rural Indiana not far from Cincinnati, Lonnie McIntosh was exposed to a heady combination of R&B and hillbilly. In 1958, he bought the seventh Gibson Flying V guitar ever manufactured and played the roadhouse circuit around Indiana, Ohio, and Kentucky. Mack steadfastly cited another local legend, guitarist Robert Ward, as the man whose watery-sounding Magnatone amplifier inspired his own use of the same brand.
Session work ensued during the early '60s behind Hank Ballard, Freddy King, and James Brown for Cincy's principal label, Syd Nathan's King Records. At the end of a 1963 date for another local label, Fraternity Records, Mack stepped out front to cut a searing instrumental treatment of Chuck Berry's "Memphis." Fraternity put the number out, and it leaped all the way up to the Top Five on Billboard's pop charts.
Mack waxed a load of killer material for Fraternity during the mid-'60s, much of it not seeing the light of day until later on. A deal with Elektra Records inspired by a 1968 Rolling Stone article profiling Mack should have led to major stardom, but his three Elektra albums were less consistent than the Fraternity material. (Elektra also reissued his only Fraternity LP, the seminal The Wham of That Memphis Man.) Mack cameoed on the Doors' Morrison Hotel album, contributing a guitar solo to "Roadhouse Blues," and worked for a while as a member of Elektra's A&R team.
Disgusted with the record business, Mack retreated back to Indiana for a while, eventually signing with Capitol and waxing a couple of obscure, country-based LPs. Finally, at Vaughan's behest, Mack abandoned his Indiana comfort zone for hipper Austin, Texas, and began to reassert himself nationally. Vaughan masterminded the stunning Strike Like Lightning in 1985; later that year, Mack co-starred with Alligator labelmates Albert Collins and Roy Buchanan at Carnegie Hall (a concert marketed on home video as Further on Down the Road). Lonnie Mack died in Nashville in April 2016 at the age of 74.
by Bill Dahl
Tracks
1. Running Wild - 4:51
2. My House - 3:16
3. Funky Country Living - 3:24
4. Lay Some Loving On Me - 2:21
5. Glad That I'm Home - 3:23
6. Love And You And Me - 3:01
7. Britches (Mike Durham) - 2:09
8. Drive To The Country - 2:41
9. The Other Side - 3:56
10.Give Of Your Love - 2:09
11.Outskirts Of Town - 2:30
All compositions by Lonnie Mack except where noted
Although the intriguingly-named Michael Dinner (born May 20, 1953) began his career as a country singer, he subsequently moved into film production, finally finding success in that area. His first album (of two), 1974's The Great Pretender, is a proper, trad country release, of the kind that can sell millions with the right promotion. However, given that he was signed to the same label as Creedence Clearwater Revival, Fantasy, maybe we shouldn't be too surprised that this record effectively sank without trace. It occasionally deviates from the country template, notably on the rocking Tattooed Man From Chelsea and the country/blues of Woman Of Aran, its best tracks probably being the aforementioned Tattooed Man... and epic country closer Texas Knights.
Michael Dinner came from the same school as Jackson Browne & The Eagles. His musical worth was not a fluke his albums were excellent. John Boylan plays Mellotron on two tracks, with string parts on Icarus and Texas Knight, that sound, although the album features names of the calibre of Linda Ronstadt, Andrew Gold and pedal-steel god "Sneaky Pete" Kleinow, like an attempt to substitute for a real string section.
You’ve read about Mick Jagger’s most recent feat of paternity — in December he signed for baby number eight, with mother number five — so you’ve seen the name Marsha Hunt: a news story can’t inventory Jagger’s children without it. Hunt is the mother of Jagger’s first child, Karis, who was born in November of 1970, having gestated for a period roughly as long as her parents harbored affection for each other.
In articles I’ve read over the years, Hunt has always presented as self-possessed and disinterested in dwelling on her stratospherically famous onetime paramour. Still, because her name is forever reproductively linked with his, it’s been hard not to draw the conclusion that having Mick Jagger’s baby amounted to a career move. Recently, I tested this idea by tracking down and reading Hunt’s two out-of-print memoirs — 1986’s Real Life and 2005’s Undefeated — and I’ve reached a new conclusion: for Hunt, having Mick Jagger’s baby was probably a career dampener.
In 1966, the Philadelphia-born Hunt’s restless spirit lured her from her studies at Berkeley to London, then fully swinging; she never again called the United States home. “American politics and its class system, better known as racism, had shaped and limited my life and future in ways that I couldn’t know or fully comprehend until I was outside it,” she writes in Undefeated. “When I arrived in London…my nationality became my identity, and the Negro label took a back seat.”
Not that being an American black woman in London at that time didn’t have a certain cachet: “Motown was the sound of the day, and anybody looking and talking vaguely like a Supreme was considered gorgeous,” Hunt writes. In 1968 she landed a modest role in the London production of the Broadway smash Hair; six months later, she signed a record contract.
In Hair, Hunt sang a Supremes parody called “White Boys” backed by two West Indian women, and the white boys did come calling. Hunt briefly romanced Marc Bolan, when Tyrannosaurus Rex was just becoming T. Rex, and, nudged by her producer, recorded a couple of his songs. After scoring a minor hit with her debut single, Dr. John’s “Walk on Gilded Splinters,” she was contacted on Jagger’s behalf to find out if she would pose in a slutty getup for a publicity photo for the Rolling Stones’ forthcoming single, “Honky Tonk Women.”
Jagger had picked the wrong beautiful black woman. Hunt writes in Real Life, “The last thing we needed was for me to denigrate us by dressing up like a whore among a band of white renegades, which was an underlying element of the Stones’ image.” Hunt’s no to Jagger’s people inspired a phone call from Jagger, who paid her a visit that evening. She writes of their ensuing relationship in levelheaded terms — “We were not so much lovers as friends. There were no silly cat-and-mouse games” — and indicates that she wanted nothing in particular from him: “I needed my own independence and didn’t expect him to relinquish his.” She wasn’t even a Stones fan.
Meanwhile, Jagger was sufficiently besotted with Hunt to write “Brown Sugar” about her. She suspected he appreciated that she wasn’t into drugs, unlike his for-the-most-part girlfriend, the angelically opiated Marianne Faithfull. Hunt didn’t get too caught up in Jagger’s world: “I always feared that my association with him would crowd out my own identity. I never wanted to be known as Mick Jagger’s girlfriend.”
Well, she tried. But make no mistake: it was Jagger who proposed that they have a baby together. Hunt’s inkling concerning his motivation sounds just right, especially given subsequent media accounts of the long-standing Jagger-Richards rivalry: “Marianne had miscarried the baby that they would have had around the time that Keith Richard’s [sic] son Marlon was born. It was understandable that he considered having a second try.”
For Hunt, having a baby meshed with the day’s starry-eyed delusion that achieving happiness was a simple matter of letting the sunshine in: “I didn’t really expect it to change my life in any way. I was making money and had a lovely home. My prospects were excellent, and I was sure they’d continue to be so.” She and Jagger wouldn’t live together. As for his role in their child’s life: “We were supposed to be the sophisticated embodiment of an alternative social ideal — parenthood shared between loving friends living separate lives.” That’s hippiespeak for, “Mick and I made no financial arrangements regarding the support of our shared offspring.”
After Karis was born, Hunt scooped up pretty much any job that bounced her way, and not just music gigs: she modeled, acted in the dodgy English horror movie Dracula A.D. 1972, and did a soft drink commercial in Germany. The last was embarrassing, yes, but better than selling her story to the tabloids, and better than asking Jagger for a loan, as she had to do more than once.
Hunt made money on the road, and in 1972, while she and her backing band were on a German tour on which she had brought along Karis and a nanny, the toddler spilled hot tea all over herself. Hunt insisted on an immediate return to England, where she felt that Karis would get better medical care. This meant canceled gigs, which meant less income and less exposure to potential new fans. Hunt asked Jagger to spring for half of Karis’s hospital bill; the money never arrived. Despite the “sordid connotations” of a paternity suit, Hunt went for it: “After two years, I had to stop pretending that he would assume his duty.”
When the story went public, Hunt found herself something of a social pariah: “I went from being tagged ‘the girl from Hair’ to ‘the girl who sued Mick Jagger.’” She writes that she sensed a chill in the air when she interacted with shop people and the parents of Karis’s classmates. Hunt hadn’t tried to hitch a ride on a rock star, but if she had, her reputation would have scarcely emerged more sullied.
The paternity suit wasn’t resolved until 1979, when Jagger was told to provide Hunt with an annual settlement for Karis as well as a trust so that the girl wouldn’t be destitute if her mother suddenly dropped dead. Hunt personally received no money — fine by her — but everyone thought she had made off with a mint.
At the time the suit was resolved, Hunt was staying in Los Angeles, trying to find a distributor for a record she had made in Germany; to keep financially afloat she did housekeeping for friends while Karis was at school. When nothing happened in L.A., Hunt quit the music business, having promised herself that this would be her last go, since, as she wrote in perhaps the least diva-ish sentence in the entire world, “Music was only acceptable as a career if it could provide us with an income.”
Hunt redirected her creative energies to acting and writing. She has since published well-received novels centered on the African-American experience and an absorbing book about rescuing her long-presumed-dead grandmother from a U.S. nursing home. But the standout is Real Life. It’s flawed — it loses its bearings toward the end — but it’s an uncommonly clear-sighted account of the music scene of the 1960s and 1970s as witnessed by an inside-outsider disinclined to do anything that was expected of her. The book also reinforces an idea that I’ve long found to be true: a story about almost making it is usually more interesting than a success story.
At the end of Real Life, Hunt refers to her “charmed life,” but a reader may reasonably wonder, How so? Among Hunt’s disappointments: she blew a couple of film auditions, including one for Sidney Poitier, maybe because she was holding the script in one hand and Karis in her other arm; record contracts came and went or were not quite signed (“Managers and record-company people that I spoke to weren’t at all prepared in 1980 to accept that a [black] woman could find a market doing rock, which was considered white music”); and Richard Branson yanked funding for a musical she wrote because the London press said mean things about the dress rehearsal.
The “charmed” part of Hunt’s life, then, is presumably having had Karis, who surely, like every kid, couldn’t help but divert her parent’s attention from her work, deprive her of sleep now and then, interrupt her creative bursts, and so on. What stymied Hunt’s musical ambitions may have been not just a tarnished reputation and the business’s assumptions about black female singers but the fact that Karis was never not the first thing on Hunt’s — and only Hunt’s — mind.
A pulsebeat in Undefeated, which chronicles Hunt’s experience with breast cancer, is her anxiety about completing a book she’s been writing about Jimi Hendrix, who had been, like her, a black American in Britain in the late 1960s. She tells the reader that she doesn’t have a publisher, and at this writing I can find no evidence online that she has found one. If her Hendrix book comes out, may it get more column inches than news of the next Jagger baby.
For a band that released an album on a major label, there's surprisingly little information to be found on Pookah. Featured keyboardist Pat Cupo, guitarist John Ippolito, and drummer Dave Ranaletta. Cupo and Ippolito had been members of the mid-'60s Rochester, New York cover band The Trackers. As for the band name, it was either a sly nod to a hookah, or taken from characters found in Irish folklore - spirits known as shape changers which could take the appearance of black horses, goats and rabbits. Given songs like 'Ha! Ha! I Can Fly ' and 'Rain On Your Grave'.
With Ranaletta handling lead vocals, 'Blue and Peaceful' was built on a nifty Cupo piano riff and some tasty Ippolito bass. With a pseudo-jazzy feel, this one actually sounded a bit like a mid-career Traffic tune. Nice harmony vocals on the chorus. United Artists tapped it as the American single. Opening up with some nice raga-flavored guitar and Ranaletta's martial drums, 'In a Field' came off as an interesting slice of acid-folk. Very different from the rest of the album and quite attractive.
With a spare, sluggish and distinctly lysergic feel, 'Merlin's Party' is probably the album's best known tune. Hard to accurately describe, but along with Ippolito's raspy voice and Cupo's roller rink keyboards, it's one of those songs that sounds like it should have been featured on some sort of "B" flick. Album's standout performance, the combination of Cupo's keyboard-powered droning melody, and Cupo and Ippolito's stoned vocals meant 'Rain On Your Grave' simply oozed lysergic influences.
The album saw a couple of singles released. The band attracted a bit of attention opening for national acts stopping in Rochester (Family, Grand Funk Railroad, etc.), but simply couldn't break. They were history by 1970 and seem to have all dropped out of music..
Bad-Cat
Tracks
1. Blue And Peaceful - 4:17
2. In A Field - 3:07
3. Tomorrow's The Day - 3:21
4. Things Don't Matter - 2:56
5. Broken Dream - 5:55
6. Kickin' A Can - 3:44
7. Merlin's Party - 4:31
8. Lady Ostrich - 4:42
9. Ha Haii Can Fly - 3:10
10.The Heat - 0:32
11.Rain On Your Grave - 5:27
All compositions by Onorato Cupo, John Ippolito, David Ranaletta
The second album by Philadelphia-born singer-songwriter Andy Robinson. Released in 1970/Janus Records with the support of Janis Ian.
In addition to the original, it also includes covers of "I'll Be There" Hall & Oates and "For Free" Joni Mitchell. The two members of Hall & Oates were backed up by members of the folk rock band Gulliver, of which Hall was a member.
The highlight is the world of innocent songs that reflect the gentle atmosphere of Woodstock, where they were living at the time.
Tracks
1. Forever - 3:21
2. Break Out Of The City - 2:44
3. Where Do We Belong / Need Somebody On Your Bond (Andy Robinson / Traditional) - 4:15
4. The Right Way - 2:47
5. I'll Be Bye (John Oates) - 2:47
6. Party Ball - 3:35
7. Uptight Saturday Nite - 2:52
8. Sally She Weep - 1:56
9. Every Mother Father Brother Sister - 3:35
10.For Free (Joni Mitchell) - 3:25
Music and Lyrics by Andy Robinson except where noted
Karthago were founded in Berlin by Joey Albrecht and Gerald Luciano Hartwig who had been performing together sicne 1968 as a duo called Blues Machine. The band became a quartet prior to their first recording in 1972 and in 1974 they added a well known bass player, Glenn Cornick formerly of Jethro Tull and Wild Turkey.
Probably no other Karthago album was as extensively and intensively prepared as this one with songs finally composed by Joey Albrecht. This 3rd album of Karthago was a big step foreword, produced in London and with the participation of Glenn Cornick, famous bass player of Jethro Tull. Karthago developed a more mainstream style than most Berlin acts with strong songs, jazz and funk elements, backed up by excellence musician ship. Especially Joey Albrecht, influenced by Jimi Hendrix, had a real rock star appeal.
Shortly before recording "Rock 'n' Roll Testament" in 1974, two founding members had left Carthage : bassist Gerald Hartwig (who returned two years later) and drummer Norbert 'Panzer' Lehmann. A drummer was quickly found in Mannheim's Konni Bommarius , but all of the German bass players were 'in solid hands'. So they started looking around the 'island', but which Brit back then wanted to voluntarily go to a tiny island in the middle of the 'Red Sea'? It was a huge sensation back then that they were able to sign former Jethro Tull bassist Glenn Cornick . He had just left the band he founded, Wild Turkey , and from then on was the attraction on the Kudamm with his American road cruiser. As a great bass player and a super nice guy, he was a perfect fit for Carthage .
The 'opener' "Hard-Loving Woman": fantastically sparkling double leads open and then it sounds as if Carlos Santana and Skynyrds Honkettes had been brought into the studio. A song with hit potential at the highest international level. "We Gonna Keep It Together" breathes a casual, driving West Coast feeling and is crowned by Ingo Bischoff's unearthly good grand piano solo. "Now The Irony Keeps Me Company" is arranged in an almost dramatic and opulent way - just as deeply rooted in US popular music as its two predecessors. The title song "Rock'N Roll Testament" is reminiscent of Skynyrd's early phase in its unpolished, rough style . Joey Albrecht wails with the then emerging talk box in the blues "The Creeper" just like Peter Frampton does. "Back Again" is warm and 'funky' straight into your stomach and legs - the chorus that sings along is sensational in its simplicity. In the dreamy "Sound In The Air" you listen to Ingo Bischoff's extremely characteristic Mini-Moog with emotion - this is what you later heard from Kraan after he joined there.
"Highway Five" sets off a real funk rock fireworks display - everything is just right here: vocals, choirs, Joey's excellent guitar work, the driving percussions as well as Glenn Cornick's jumping bass figures . With "For Kathy" Santana is once again skillfully quoted, including Gregg Rolie 's asthmatic wheezing Hammond . "See You Tomorrow In The Sky" is dedicated to none other than Jimi Hendrix and can probably be described as the 'pearl' of this timelessly good record. I wonder why? Because I think I'm hearing my favorite southerners, Lynyrd Skynyrd, here again. Carthage's "Rock'N Roll Testament" is essential for any record collection.
by Steve Braun
Tracks
1. Hard Loving Woman - 3:38
2. We Gonna Keep It Together - 5:14
3. Now The Irony Keeps Me Company - 3:21
4. Rock N Roll Testament - 4:24
5. The Creeper (Joey Albrecht, Patricia Jordan) - 4:04
6. Back Again - 4:04
7. Sound In The Air - 5:09
8. Highway Five - 3:43
9. For Kathy (Joey Albrecht, Patricia Jordan) - 3:02
10.See You Tomorrow In The Sky (Joey Albrecht, Patricia Jordan) - 3:47
All songs written by Joey Albrecht, Tom Cunningham except where indicated
Karthago
*Joey Albrecht - Guitar, Lead Vocals
*Ingo Bischof - Organ, Grand Piano, Clavinet, Electric Piano, Synthesizer, Vocals
*"Pedro" Tommy Goldschmidt - Congas, Bongos, Timbales, Drums, Vocals, Percussion
Having spent his entire career as a professional singer, songwriter, and musician, ‘Thinking About Tomorrow’ is the amazing tale of rock and roll survivor Keith West. From being inspired by Elvis in the 1950s to pop stardom and working alongside the greats of the music world in the 1960s, Keith was at the eye of the storm alongside peers including The Who, The Beatles, The Kinks, The Small Faces, Pink Floyd, Jimi Hendrix and many, many more.
Wherever my Love Goes was an experimental album which Ken Burgess and Keith had recorded for general release as a duo. Sadly, that didn’t happen, so it was decided to put it out under Keith's to perhaps secure more sales. Andrew Oldham had been involved in the making of this record and produced a couple of tracks. It never really took off and has become a bit of a cult item over the years. The standout tracks are The West Country, Sad Song, and the Andrew Oldham production of the Power and the Glory which it was written for Elvis, at the behest of Freddy Bienstock who owned Carlin Music.
by Klemen Breznikar
Tracks
1. The Power And The Glory (Keith West, Ken Burgess) - 3:25
2. West Country (Keith West, Ken Burgess) - 4:50
3. Liet Motif - 2:45
4. The Visit - 5:47
5. Hope You're Feeling Better - 5:30
6. Going Home Song (Keith West, Ken Burgess) - 4:30
Flow were an American sax-rock/psych band from Ocala, Fla., that released a self-titled album on CTI Records in 1970. After graduation, Bill Ruff went on to become Road Manager for the Flow and co-authored the song “Chicken Farm”.
Flow formed by John Winter, keyboards, sax, flute, Mike Barnett, Drums (fellow members of Ocala High School Class of '66) Don Felder, guitar, and Chuck Newcomb, bass and vocals. They recorded this album on Creed Taylor Records.
Winter and Barnett were in The Incidentals, a British invasion cover band, and Felder was in The Continentals (with Stephen Stills, Bernie Leadon) and when Stills departed, they changed the name to the Maudy Quintet.
After the Maundy Quintet broke up, Felder went to Manhattan, New York City, were he improved his mastery of improvisation on the guitar and learned various styles, the rest is history. John Rogers Winter, died December 22, 2019 at the age of 71.
Tracks
1. Daddy (Chuck Newcomb) - 3:36
2. Here We Are Again (John Winter, Mike Barnett) - 6:51
3. Line'Em (Leadbelly) - 2:47
4. Gotta Get Behind Your Trip (Chuck Newcomb, John Winter) - 3:34
5. Chicken Farm (Bill Ruff, John Winter, Mike Barnett) - 2:55
6. No Lack Of Room (Chuck Newcomb) - 3:49
7. Summer's Gone (John Winter) - 5:50
8. Mr. Invisible (Chuck Newcomb, John Winter) - 3:59
White Chocolate were a Fairfield County, CT based band that played predominately throughout the East Coast. The original line-up was Charlie Karp on Guitar, David Hull on Bass and Jimmy Maher on Drums. The name was later changed to Dirty Angels and a change was made to the line-up, with the addition of George Maher on Rhythm Guitar.
Charlie Karp has an impressive musical background. Starting out as a young teen with Buddy Miles, he has also performed with the likes of Jimi Hendrix, Aerosmith, Meatloaf, Arthur Lee, Charlie Karp and the Namedroppers, Buster Poindexter and is now a member of Slo Leak along with Danny Kortchmar and Harvey Brooks. His is an example of the finest Blues guitar as well as Rock.
David Hull is equally an impresario of the Bass. He also started out as a youth with Buddy Miles. His credits include Arthur Lee, the Joe Perry Project, Ted Nugent, Farrenheit (he used the pseudonym of Dave Heit), and most recently Pete Droge and the Sinners. Jimmy Maher was an excellent drummer and his contribution to the band was sizeable.
Tracks
1. Getting Ready To Rock 'n' Roll (Charlie Karp) - 2:50
2. Midnight Flight - 3:03
3. I'm Crying - 3:37
4. Past History - 3:04
5. Make It Easy (Charlie Karp, David Hull, Richard Gordon) - 3:38
6. Let's Get Funked (Charlie Karp, David Hull, Jimmy Maher) - 3:28
7. Outcast - 4:12
8. Sad Eyes (Charlie Karp) - 3:36
9. Looking For Love - 3:54
10.I'm Alive - 4:35
Songs written by Charlie Karp, David Hull except where noted
Volume 19 contains artists only from USA, and it's another example of serious responsible work, an excellent release with an eight-page booklet containing information about the artists. Light ethereal sunny psychedelia.
Artists - Tracks
1. The Critters - You'd Better Slow Down - 2:14
2. Fragile Lime - Angie - 2:35
3. Shadow Casters - Cinnamon Snowflake - 2:39
4. Michael And The Trees - Nothing To Say - 2:28
5. His Majesty's Coachmen - Where Are You Bound - 2:20
Over Vol.18 installments the series is curated by leading experts on rare psych. Sometimes the volumes might dig into a specific country or theme, but mostly they're just a way to collect fine tunes. Busy Bee presents this 18th volume that includes gems from all over the world, including an unreleased song by Howling Wind (pre-Candle), an obscure Rhodesian 45 and a Danish cover of Keith West's 'On A Saturday' among other treats.
Artists - Tracks - Origin
The Kool - Look At Me Look At Me (UK) - 2:20
The Teenmakers - On A Saturday (Denmark) - 3:23
The Pussyfoot - Mr Hyde (UK) - 2:31
The Jay Five - It’s Raining (Germany) - 2:27
Paul Osborne - Ice (UK) - 3:56
The Shanes - Without Your Love (Sweden) - 2:32
Ice - Memories (UK) - 3:19
Jon Mark - All Neat In Black Stockings (UK) - 3:03
Science Poption - Back In Town (Sweden) - 2:36
Maxwell And Nicholson - Virgin (UK) - 2:18
Unknown Artist - The Bedd (UK) - 2:40
Pamela - Je T’aime Un Peu...Beaucoup... Passion ment (Belgium) - 2:28
Howling Winds - Meditating (Sweden) - 3:31
I Fantoms - Katia (Italy) - 3:04
Jack Grunsky - Julie Knows (Austria) - 3:09
The Moonlighters - Mary Wilkins (Sweden) - 3:59
Ted Mulry - I Love You (Australia) - 2:32
The Maximillian King Trio - Indigo (Rhodesia) - 3:21
Volume 17 of the compilation series which have named an own genre of '60s styled sunshine psych pop called simply 'Fading Yellow'. This time including US and some Canadian 45's from 1965 to 1971. A magical smörgåsbord of songs with that special FY vibe. Among many highlights is the original version of 'Kites' made famous by Simon Dupree and the Big Sound, The Rooftop Singers did the original version. Limited edition of 500 copies with 8 page booklet with info about the tracks and pictures.
Artists - Tracks
1. The Avant-Garde - Yellow Beads - 3:02
2. Alan Lorber - Congress Alley - 2:51
3. The Poppy Family - I'll See You There - 3:23
4. J.C. Cole - I Found Me Today - 2:27
5. The Rooftop Singers - Kites - 2:24
6. A Small World - I See You - 1:48
7. Space - Radio Song - 3:06
8. James, John And Francois - Carolina - 2:51
9. The Fifth Estate - Love Is All A Game - 2:27
10.The Celtics - Looking For You - 2:30
11.The Hobbits - Artificial Face - 2:32
12.The Surprise Package - The Other Me - 2:14
13.The Magpies - The Ballad Of Samuel Oscar Beasley - 3:37
14.The Looking Glass - Love Is Not Everything - 2:52
15.The Marshmellow Highway - I Don't Wanna Live This Way - 2:33
16.Bucky Wilkin - I Wanna Be Free - 2:11
17.Sound Carnival - I Wish I Could Tell You - 2:30
18.The Swiss Movement - Inside Of Me - 2:36
19.The In-Keepers - The Cobwebs Thread Of Autumn - 2:57
Few years since the last volume. This time it´s all LP tracks from the US, UK and one from down under. Starting off with the lovely "Man of many faces" by Gary And Stu, proceeding with more magic gems including tracks by West, Hudson-Farnsworth, Wings (not the Paul McCartney group), Saint Jacques, Alexander Rabbit and more
Artist - Title
1. Gary And Stu - Man Of Many Faces - 3¨09
2. West - Sad About The Times - 2:34
3. John Wonderling - Jessica Stone - 3:56
4. Hudson-Farnsworth - Come To See My Lady - 2:07
5. The Open Window - Jack And Jill - 2:17
6. Bruce Woodley - New England Lady - 3:19
7. Tranquility - Nice And Easy - 3:10
8. Hobo - Open Up - 3:02
9. Saint Jacques - Susan - 2:49
10.Wings - That’s Not Real - 3:26
11.Cross Country - Just A Thought - 3:20
12.Ed Welch - Clowns - 3:38
13.Yellowstone And Voice - Lady Rita - 3:38
14.Hudson-Farnsworth - Lay Down Sheep - 2:15
15.Puff - Changes - 3:37
16.Michael Konstan - Long Before - 2:26
17.Alexander Rabbit - My Woman - 4:20
18.Willow - Evening - 4:10
19.Kind Hearts And English - A Wish For All Seasons - 6:34
