Danish early 70’s rock/bluesrock band with a parallel German career using the bandname System. Started out playing in the early 70’s, recording their first album in 1972 though it wasn’t released until 1974, In 1973 the band toured in Norway and W.Germany. In the 1974 their debut album was finally released, in Denmark as by Sensory System titled “Sensory!” and in W.Germany as selftitled “System”.
Their first album was partly recorded at Studio Maschen (just outside Hamburg) with the involvement of Achim Reichel. Sensory System played hard rock reminding me of the Alex Harvey Band and James Gang (and countless other “rock” groups, really). Massive amounts of electric guitar, creaky vocals and half-decent songs but never anything outstanding.
Tracks
1. Red Man - 4:52
2. Never Knowing - 3:38
3. Experience, My Teacher - 5:58
4. While Nixon Plays The Piano - 5:05
5. Come On - 3:15
6. Biggan, Be Gone - 4:08
7. I'll Take You - 4:22
8. Winter's Over - 7:22
All songs by Brian Burr-Philipp, Flemming Bjergby, Rene Wulff, Jørgen Werner
System
*Brian Burr-Philipp - Lead Vocals, Harmonica, Acoustic Guitar
Michael Wendroff began his musical career performing on the streets, alleys, and subway stations of New York. He also endured the long, cold nights in New York by working in an a cappella group that created amazing music using only the sound of his voice and two fingers hitting together.Τhe group he was a member of, "The Holidays", caught the eye of a record company and signed a recording contract. This happened when Michael was 16 years old.
Around that time, Michael began learning the guitar and became involved in the explosively growing folk scene centered in Greenwich Village, where he met Bob Dylan, Tom Paxton, Eric Anderson, and Phil Ochs. In addition to listening to Ochs' music, he also performs his own songs. While attending Queen's College, Michael formed a rock group called "Sly Boots" with his friend David Greenberg and performed mainly his own songs. Οne day, Michael visited the Record Plant studio in New York to record (Notes On A Journey), which was scheduled to be released by Records, and while looking around the building, he discovered Jimi Hendrix recording a guitar solo. Jimmy asks Michael, who unexpectedly attends the session recording, which is the best, after playing three different solos, and they both agree that the second one was the best. Michael was mesmerized. Jimmy's solo, -which he enjoyed-, is included in "All Along the Watchtower."
After graduating from college with a bachelor's degree in sociology, another fateful encounter approaches Michael. He produces Van Morrison's legendary album (Astral Weeks), Lewis Merenstein showed interest in his music and introduced Michael to Buddha Records president Neil Bogart. Neil immediately signed Michael to a long-term contract and released three albums, "Michael Wendroff" 1973, "Southpaw" 1974, and "Recorded Live" 1976, all produced by Merenstein. In addition, French/Moroccan hard rock band Les Variations Co-produced Sion's album (Caf é de Paris) with Merenstein, was in charge of lyrics for Ray Charles' "Just Because " , and was the backing vocalist for Lou Reed's "Sally Can't Dance" We are expanding our activities in many ways, including participating in and co-mixing “Coney Island Baby.”
After leaving Buddah Records, Michael worked with various musicians in Woodstock, New York, while composing many songs on the piano . It is contained in the beautiful 1978 album "Kiss The World Goodbye" (Ariola America Records), created in a small villa in Woodstock and Michael's apartment in Brooklyn Heights.
Arc formed when guitarist John Turnbull and keyboardist Micky Gallagher, both recently of Skip Bifferty, teamed with bassist/singer Tom Duffy and drummer David Montgomery.
Turnbull and Gallagher first partnered up in 1966 when their respective bands, The Primitive Sect and The Chosen Few, merged into a new band, Skip Bifferty. That band endured itself to the psychedelic underground with three singles and a 1968 self-titled album on RCA Victor. Breaking from their management, they masqueraded as Heavy Jelly for the epic 1969 Island single “I Keep Singing That Same Old Song.” Later that year, the Bifferty camp split in two when bassist Colin Gibson and singer Graham Bell formed the short-lived Griffin.
In 1970, Turnbull and Gallagher recorded an album of covers by American singer/songwriter Tim Harding. (Though initially shelved, a 1972 single on Peacock Records acquitted two cuts, “Smugglin Man” and “Misty Roses,” under the name Turnbull and Arkwright.)
The album features nine originals, eight co-written by Turnbull and Gallagher, including “Hello, Hello, Monday,” “Great Lager Street,” “Let Your Love Run Through,” “You’re In the Garden,” “Sophie’s Cat,” and “Four Times Eight.” Duffy contributed the second track on side one, “It’s Gonna Rain.”
… at This is a self-produced effort. Gallagher plays guitar on select passages, in addition to piano and organ. The three writers share vocal duties. The cover sports a black-framed group photo, taken in a football field by Decca photographer David Wedgbury.
Later in 1971, Montgomery cleared out for drummer Rob Tait, formerly of the Battered Ornaments and Pete Brown and Piblokto! He also played on recent albums by Kevin Ayers and Paul Korda.
Thee Sixpence was a garage rock/psych band that released a few singles in 1966-7 before recording "Incense And Peppermints", changing their name to Strawberry Alarm Clock, and achieving a fluke #1 hit. Most of the key musicians in the latter band were members at least part of the time in Thee Sixpence.
Beginning with "Long Days Care" b/w "Can't Explain" in the summer of 1966, Thee Sixpence went on to release a total of ten songs in roughly as many months. The last two of these, "The Birdman Of Alkatrash" b/w "Incense And Pepermints" [sic], were re-released by Uni after the band had changed their name to Strawberry Alarm Clock; the a- and b-sides of the record were also reversed, reflecting the rapidly growing popularity of the original single's b-side. All of Thee Sixpence's 45s were released on the small All American label, though at least one, "Fortune Teller" b/w "My Flash On You", was also released on Dot.
Musically, Thee Sixpence was a rambunctious garage/punk band in the mold of the Leaves, the Standells, and early Love. In fact, the band recorded two of Arthur Lee's songs from Love's eponymous 1966 debut LP, "Can't Explain" and "My Flash On You". (Another Thee Sixpence recording, of "Hey Joe", may be seen as a de facto third Love cover.) The ten songs available by Thee Sixpence show obvious and remarkable progress over the band's short career; where their first single is exciting but just manages to hold things together, by the end Thee Sixpence was experimenting with daring arrangements, varied song structures, and much more assured playing.
Along the way, Thee Sixpence also released a real lost psychedelic classic, the haunting, horrifying "In The Building". Strawberry Alarm Clock themselves rarely exceeded the weirdness of this piece, and although the recording is somewhat crude in a late-66 kind of way, "In The Building" benefits from its earnest, untutored performance.
Thee Sixpence eventually added Mark Weitz on keyboards, and the Strawberry Alarm Clock sound proper was borne. The band brought in Randy Seol on drums, and along with long-time members Ed King, Lee Freeman, and Gary Lovetro, the Clock was set and worldwide fame, not to mention further audacious musical explorations, were continued right under the noses of listeners everywhere.
Bob Hardy and Cristopher Quinn met at River Junior College in Sacramento in the late sixties and formed Good Medicine in 1969, with which they played in their area and on the radio. Years later they joined Tim Timmermanns in 1973 (drums, flute, guitar...) and created Songs. Bob played guitar, bass, synthesizer, and sang, and Christopher Quinn was lead vocals. This trio recorded these songs between 1973 and 1975, which are collected for the first time on an album, released by Guerssen with the generic title of "Vertigo".
Already in the eighties, Chris and Bob were part of bands called The Impulse or The Power. Tim continued to collaborate with Craig Chaquico’s band and John Cipollina in the late seventies. Hardy is currently recording songs under the name Forth Dimension Meditations Sounds that you can hear on his bandcamp while he claims to recover his beginnings. The Songs album is remastered from the original tapes, with photo inserts and liner notes.
Album begins with “Vertigo” between sound effects that lead us to a display of acoustics, powerful drums and enveloping vocals halfway between folk and acid rock with an abrasive guitar solo. Next, we hear “No Time Out For Blues” with Arthur Juncker on piano. Song with a notable presence of guitar plus voice dialogue with lysergic phrasing with the support of drums and bass. “Songs (for Chris)” follows with a moving piano entry plus synthesizer covering a passionate lead voice that is supported by the flute and the plucking of the acoustic. A more progressive part with flute solo is included. The side ends with “We Are” based on an atmospheric synthesizer and ethereal vocal games that fill the space with sound beauty with a rough guitar ending.
“Too Much, Too Fast” with Bob Bryzandine on bass. A tough psychedelic song with powerful guitars, an intense solo, great voices, sound effects and sharp drums. It continues with the melodious “Song For Me” with acoustic guitar, voice and flute accompaniment. The drums incorporate a jazzy air that is perfectly complemented by the folk, vocal and instrumental arrangements. There is also no shortage of acid guitar phrasings that perfect, even more so, such a suggestive song. The album closes with “On This Day”, a sensitive framework of synthesizer, guitar plucks, effects and ethereal voices that are combined with great skill and abundance of emotion. A song that advances inexorably with the refined presence of the flute, the flowing lines of the synthesizers, the weightless vocal experiments, and the ingenious rhythm of the percussion.
Guerssen
Tracks
1. Vertigo (Craig Chaquico, Tim Timmermans) - 3:41
2. No Time Out For Blues (Arthur Juncker) - 2:03
3. Songs (For Chris) - 4:14
4. We Are - 5:04
5. Too Much, Too Fast (Chris Quinn, Bob Hardy) - 5:07
6. Song For Me - 4:39
7. On This Day - 7:29
Songs written by Tim Timmermans except where stated
Black Widow may have enjoyed a reasonably long and defiantly varied career. But to anyone who cares, they will be remembered for just one song, "Come to the Sabbat" -- not a hit single, but a standout on a cheapo label compilation in the early '70s, and destined to live on for decades after the band. Naturally, the accompanying Sacrifice album has bounced along in its wake, first as an increasingly expensive vinyl collectors' item, more recently as a regular on the CD reissue circuit, and here it comes again, this time bearing more primal Black Widow than you could ever have dreamed of hearing.
Ultimate Sacrifice: One opens, naturally, with the original seven-song album. More fascinating, however, is the chance to hear five of the seven ("Way to Power" and "Attack of the Demon" are absent) in their original demo form, where they are revealed, if anything, to be even more dramatic than on the final vinyl. "In Ancient Days" in particular profits from the looseness of the performance, while "Come to the Sabbat" packs a feel of abandonment that makes the familiar version seem quite sedate. Of course, the bonus tracks are really only of interest if you truly worship the original record, and, once past "Come to the Sabbat," there probably aren't many people who feel that strongly. But the liners tell the band's tale well, the remastering is impressive, and if you're not doing anything next weekend, you might well want to drop by Black Widow's house. They've got somebody visiting, you know. In 2004, Castle reissued Sacrifice on CD with five bonus tracks, retitling it Ultimate Sacrifice: One.
by Dave Thompson
Tracks
1. In Ancient Days - 7:36
2. Way To Power - 4:05
3. Come To The Sabbat - 4:51
4. Conjuration - 5:41
5. Seduction - 4:31
6. Attack Of The Demon - 3:48
7. Sacrifice - 11:09 -
8. In Ancient Days - 9:27
9. Come To The Sabbat - 4:07
10.Conjuration - 5:49
11.Seduction - 4:38
12.Sacrifice - 10:52
All songs by Jim Gannon except traks 3,9 co-written with Clive Jones
Back in the '60s, when every town in America seemed to have its own burgeoning music scene, Austin was strangely quiet. Long before the city became filled with clubs and began its hosting of the SXSW music festival, there wasn't much happening on the cool Texas plateau. Not much at all -- save for one group that all but dominated the scene from the late '60s to the early '70s.
That group was the eclectic, country-fried psychedelic outfit known as Shiva's Headband. Leader, violinist, guitarist, and vocalist Spencer Perskin was (and still is) the quintessential Austin hippie, who not only lobbied for city-based cultural support for local artists (and succeeded, by founding the Armadillo World Headquarters) but also put Austin on the world-wide music map with the release of Shiva's first major-label effort, Take Me to the Mountains on Capitol (the first ever major-label release by an Austin band).
The album is formidable, and its influence on the "galactic cowboy" genre was as great as, say, Love's Forever Changes was to the West Coast rock scene. It laid the groundwork for psychedelic twang and brought the world's attention to the creatively diverse (yet firmly rooted) music that was beginning to blossom back in those Texas heyday. Unlike their peers the 13th Floor Elevators, Shiva's Headband never took off into the stratosphere completely, though. Their rock was honest country-rock all the way, but not to the point that it was ever just a pedestrian rehash. Songs like "My Baby" and "Kaleidescoptic" may feature sawing violin and Texas drawl, but there's no denying that their main trajectory is rock.
by J. Scott McClintock
Tracks
1. My Baby - 3:30
2. Take Me To The Mountains - 3:33
3. Homesick Armadillo Blues (Susan Perskin) - 2:37
4. Ripple (Shawn Siegel) - 3:55
5. Song For Peace - 4:31
6. Ebeneezer - 2:54
7. North Austin Strut - 3:01
8. Come With Me - 5:04
9. Good Time (Kenny Parker) - 2:59
10.Kaleidoscoptic - 3:30
11.Lose The Blues - 2:47
12.Lose The Blues - 4:55
13.Hi Love - 17:12
All songs by Spencer Perskin except where indicated
Blue Jays were a US band, their sole LP "Nascence" recorded November 1970 on Map City Label (same as Purple Image and Yesterday's Children). Funky rock record with "Wahka, Wahka" a downtempo and moody cut & "Independent Man" a midtempo, edgy, funky tune. Collector's item with the Supa good "What Do You Want From Me Woman" sampled by "Large Professor" for "Nas" Rapper "It Ain't Hard To Tell".An essential LP with superb gatefold cover. After this release they changed the name to White Water and released "Out Of The Darkness" in 1973 on RCA label. John Vastano former lead singer/song writer of the Blue Jays/White Water, passed away September 21, 2018.
Tracks
1. Hey Little Lady - 3:37
2. What Do You Want From Me Woman - 3:40
3. Freedom - Where Have You Gone - 3:35
4. Reason To Cry - 4:06
5. Independant Man - 3:29
6. Wahka Wahka (Dick Domane) - 5:40
7. Jackson (Billy Edd Wheeler, Jerry Leiber) - 3:23
Chicago based Zazu released this only album which quickly fell out of site due to their label’s lack of promotion. Music is Symphonic prog rock, nice guitars and lot of keyboards, good vocals and all -except one- are original compositions. The record label disinterested in anything the band did and a second album never released as well as Zazu’s guitarist ending up in a 'Hospital' years later.
Tracks
1. Country Eyes (Randy Curlee, Paul Ripurero) - 3:41
2. Upon The Island Unisphere (John Melnick, Randy Curlee) - 6:41
3. Just Friends (John Melnick, Bill Traut) - 3:48
4. Midnight Train (Rick Marotta, Stu Woods, Tom Cosgrove) - 3:59
5. Ittsanottasonatta, But It's Close (John Melnick, Paul Ripurero, Mickey Lehockey, Randy Curlee) - 10:23
Latin rock jazz progressive fuzz acid folk oughta describe this. God knows who was running the Myrrh-Label in 1972 but they score an authentic winner with this horn-based band. Vocals remind greatly of David Clayton Thomas and arrangements of Blood Sweat & Tears - a huge band at the time of this album. Gary Rand-composer of the ambitious side-long 'Suite In Three Parts' - will surface with an album of worship choruses in the 80's. Touches of scatting Swingle Singers, Elton John, Santana, and Broadway are in here. Much better than most major label stuff and not too hard to find. Awful cover. Crimson Bridge also had a 45 out; Livin' In The Love O' The Lord/Now Is The Time.
Liner-notes
Tracks
1. Better Times (Russ Gregory) - 3:15
2. Easy Ways (Russ Gregory) - 2:34
3. Comin' (Terry Winch) - 4:07
4. He's Alive (Terry Winch) - 4:10
5. Birthright (Russ Gregory) - 3:45
6. First Suite: First Movement (Searching in Reality) (Gary Rand) - 6:16
7. First Suite: Second Movement (Experience) (Gary Rand) - 5:26
8. First Suite: Third Movement (The Beginning of Joy) (Gary Rand) - 8:26
Steve Davis’s Music (1970) is appropriately named – this LP contains sounds that range from acoustic folk all the way to hard bop. Davis shows his versatility as a composer on this record; it is exploratory and delves into a variety styles. Many of these tunes utilize a typical jazz structure, providing a great deal of freedom for experimentation and soloing within the music. Everyone in the band is given a chance to express themselves during the solo sections of Davis’s musical landscapes, allowing for the technical ability of his ensemble to really shine. Ultimately, Music is a great example of how jazz can be stylistically implemented within a variety of genres.
The record begins with Destination Altitude – an assertive introduction which features a thumping horn section over Davis’s Hammond licks and driving vocal line. Percussionist Karl Himmel anticipates Davis’s tempo changes before he even plays them, allowing Bentley Smith to accentuate his guitar solo over the newly altered beat with ease. Himmel breaks the beat in half for the guitarist, who shreds a Hendrix-esque solo over the colorful organ chords.
Space is one of the album’s more striking tracks, particularly because of its seamless transition from a hard-rock style refrain into a slow-swinging jazz section. The aggressive tone of Bentley Smith once again takes charge, yet he steps aside for both the cosmic tones of Davis’ vibraphone and young saxophonist Billy Harper (who would later play with the great Elvin Jones) during the jazzier passage. The best way to describe this section of Space would be to imagine dimly lit, smoky jazz club.
Davis steps aside as lead vocalist for It’s All Because She’s Gone and is replaced by Jim Hurt, the ensemble’s bassist. The track begins with Hurt’s serenading vocal line on top of swinging instrumentation courtesy of Davis, Harper, and Kimmel. This tune, being the longest cut on the album, is appropriately separated in two parts. The latter features a lengthy solo by Bentley Smith, played in a similar vein to Grant Green or Wes Montgomery. He plays with a dynamic intensity that shows his ability to remain subdued in tone while at the forefront of the group.
Lalune Blanche is my favorite cut off of this record. It contains Davis’s best vocals; he sings beautifully melodic phrases (“Emily” is credited for Davis’s French lesson on this one) while playing wonderfully voiced chords on his B-3. Harper and Kimmel are the supporting facets of Davis’s performance, backed by Hurt’s baselines which never cease to stop moving. In addition, Billy Harper rips a lengthy solo towards the middle of the tune, in the vein of Tom Scott. Of all the chances he has to shine on this date, Lalune Blanche is the one that Harper truly takes advantage of. It is the most conversational of his solos thus far; he establishes a clear dialogue with Davis, Hurt, and Kimmel. Harper reacts incredibly well to the movements that the other musicians make, and this part of the tune amounts to wonderfully executed 4-part improvisation between bass, drums, saxophone, and organ.
I only have a minute complaint about the record; it seems to lack consistency. There are very short, folky tracks on the album that seem out of place within the scope of the project. That being said, these tracks are both wonderful and brief enough to be considered secondary. They don’t do anything to take away from the album as a whole, and only after several listens do they really seem out of place.
Overall, Music is a great accomplishment. For 1970 it’s far ahead of its time, and Davis’s compositions should be considered progressive to say the least. That being said, he never oversteps any boundary that might take away from the seriousness of this work, and some of the tunes on here are really far-out. It’s clear that a great deal of thought and conceptualization went into this recording; Davis managed to through eight songs together that sound nothing alike, and maintains a common overtone throughout. From the folksy to psychedelic sounds, it’s pretty clear that the guys playing on this record are rooted in jazz. I get the feeling that Davis’s had a clear intention with this project, and it seems like he may have tailored his compositions for a particular sounding group; one that would be able to apply jazz in a wide range of musical contexts.
Studio/live recordings from 1970-71 by this lost Bay Area band. A superb cool blend of acid-rock, psychedelia and brass-rock with some outstanding guitar leads, Hammond organ and a tight rhythm section. Stow Lake was a seven piece group (named after the lake in Golden Gate Park) comprised of well-seasoned musicians from the original San Francisco psychedelic/fusion scene.
Among them, we can find ace guitar player Bob Hardy (previously of hard psych group The Osgoode/Asgard); the tandem of Jeff Ervin (sax, flute) and Jean Hintermann (trumpet), both later on Aura, Bill Whiter's backing band and Hot Cider (with Dennis Geyer of A.B. Skhy); child prodigy Larry Mallarino on trombone and bass player Dave Dunaway (later of jazz fusion band Listen). Not forgetting powerful singer/organist Bob Staley.
Unreleased until now, the recordings contained here were registered at top studios like McCune and Golden State Recorders. Also including are a couple of excellent quality live tracks recorded at the legendary Fillmore West in 1971, showing the band at their peak with an impressive jamming/acid-rock sound.
Tracks
1. Flite (Bob Staley) - 7:24
2. Time (Bob Staley, Bob Hardy, Jeff Ervin, Jean Hintermann, Dave Dunaway, Larry Mallarino, Bill Thomas) - 5:04
3. Two Hats In One (Bob Hardy, Harkens, Bob Styler) - 6:41
4. Goodbye (Bob Staley) - 2:45
5. Jam 1 (Jeff Ervin) - 8:38
6. Truth (Bob Staley, Bob Hardy, Jeff Ervin, Jean Hintermann, Dave Dunaway, Larry Mallarino, Bill Thomas) - 12:08
Chicago, the capital of the state and of the Urban Blues. It is with the greatest ease that in January 1968, Garrett Oostdyk (guitars), George Faber (vocals, harmonica), Tabe (eight string bass) and J. Michael Powers (percussions), four local youngsters share their bluesman apprentice's talent and form the Finchley Boys. But in 1968, psychedelic fever has spread in all the recesses of the American territory sprinkling madness in the most proven structures, making them explode accompanied by a great many fuzz, distortion and various other rummage about The Finchley Boys were not spared the epidemic and will transfigure their basic blues to a furious lyrical epic et transfigureront leur blues basique en une furieuse epopee lyrique under the impulse of a remarkable guitarist-producer, Garrett Oostdyk. For this last task, he finds the help of Genevra Shirley, also featuring in the backing vocals.
Their album "Everlasting Tributes unique concrete trace of their existence, is released in 1972 on Golden Throat Records, a Californian label (?) and is already presented as a posthumous work. It gathers together recordings carried out in specific places, the Chess studios (in Chicago) and the Golden Voice studios (in California ?) at various periods : the first in September 1968 ("Hooked"), the second in February 1969 ("Outcast") and the last in May ("Who's Been Talkin'" "I'm Not Like Everybody Else") and June 1969 ("Swelling Waters", "Once I Was A Boy", "It All Ends". "Restrictions"). We also assume that (at least for the first ones), these tracks were actually demo tapes destined to get the attention of the major companies s managers, up to that moment not much inclined to hang around in the lost clubs of the Middlewest in order to discover talents yet unknown.
Despite this unexpected and cahotic gestation, unlike most compilations "Everlasting Tributes" bears a unity in the tone, a great attraction force and a puzzling ensemble sound. Garrett Oostdyk's guitar in particuliar does wonders here and astonishes us in solos staggering with virtuosity and feeling not only in classic blues songs like "Who's Been Talkin'", signed Chester Howlin' Wolf Burnett but also in great covers such as the Kinks' "I'm Not Like Everybody Else" (a fetish song for a great number a Amercian psychedelic bands)or in wonderful psychedelic original compositions such as "Swelling Waters", "Hooked", Vnce I Was A Boy" et le great "It All Ends". I hope that the release of this compact disc will also give you the opportunity to share my enthousiasm for a formation that remained anonymous for a long time and for an album that has become very hard to find.
A few years ago, EVA Records released "Practice Sessions" which offered four tracks of the existing album qui proposait quatre litres de I'album existent plus cinq autres (among which the famous "Finchley Boys Blues") taken from an unreleased tape probably dating from the same periods (from September 1968 to June 1969). The avantage (the only one ?) of this cold and technological object which is th C.D. resides in a great capacity of absorption and a better quality of playing than the LP. That way, Eva records can offer us on the same medium the entire Finchley Boys' recordings and even if the previously unrealeased tracks may not be of the most irreproachable quality of sound and of in inspiration topping pieces like "It All Ends", we will listen to them with interest and with the rares pleasure of discovery only bitterly regretting that Garrett Oostdyk did not carry out the carreer that his talent deserved.
by P. Thieyre
Auteur du Rock Psychedelique American! 1966/1973, Editions Librairie Parallels 1991/1993
Tracks
Disc 1
1. Who's Been Talkin' (Chester Burnett) - 4:30
2. Swelling Waters - 3:56
3. Outcast (Eddie Campbell, Ernie Johnson) - 2:37
4. I'm Not Like Everybody Else (Ray Davies) - 4:46
5. Hooked - 4:14
6. Once I Was A Boy - 4:33
7. It All Ends - 4:00
8. Restrictions - 3:39
Music written by George Faber, Garret Oostdyk, J. Michael Powers, Tabe, Lyrics Larry Tabeling, George Faber except where indicated
All songs from "Everlasting Tributes" 0riginally released by Golden Throat Records 1972, except Tracks 1,4 recorded 1969 Golden Voice Studios Pekin, Illinois.
Disc 2
1. Outcast (Eddie Campbell, Ernie Johnson) - 2:39
2. Hooked - 3:56
3. Suffering Servant - 3:50
4. Jack Rabbit Jump - 4:18
5. Who Goes There? - 9:02
6. Hell Fire And Brimstone - 5:14
7. Sweathog Blues - 6:13
8. Cry Cry Cry - 5:19
9. On A Better Day - 3:00
10.Only Me (Let Your Mind Be Free) (Mark Warwick) - 4:56
Music written by George Faber, Garret Oostdyk, J. Michael Powers, Tabe, Lyrics Larry Tabeling, George Faber except where noted
Track 1 was recorded at Chess Studio in Chicago, Illinois, 1969.
Tracks 2,3,9 were recorded at Golden Voice Studios, 1968-1969
Track 4 was recorded in San Francisco, 1971
Tracks 5,6,7,8 were recorded live at In Stiches in Champaign, Illinois, June 1971
Track 10 was recorded live at the University of Illinois' Illini Union, Urbana, Illinois, January 1967
The opening chords of "I Want Your Body," the opening track on Tin House, gives you a very good idea of what to expect from the rest of the album. The brash, energetic guitar might remind you of Edgar Winter Group, which would be entirely appropriate because guitarist Floyd Radford left this group to join that band just after this album was made. Edgar Winter himself has a cameo, playing a one-finger organ solo, and his longtime compatriot, Rick Derringer, produced the album. Interesting as it may be to pick through influences, Tin House had their own sound, composed of blues and progressive hard rock with poppy harmony vocals.
The progressive side comes to the fore with the slightly pompous duo of "Endamus Finallamus" and "Lady of the Silent Opera," which are redeemed by several catchy and inventive instrumental passages. Tin House was a hot band with some good ideas, and though the players went on to greater success in other groups, this album is worth a listen.
by Richard Foss
Tracks
1. I Want Your Body (Floyd Radford, Mike Logan) - 1:45
2. 30 Weight Blues (Floyd Radford, Mike Logan, Jeff Cole) - 2:19
3. Be Good and Be Kind (Floyd Radford, Mike Logan, Jeff Cole) - 2:36
4. You've Gone Too Far (Floyd Radford, Jeff Cole) - 3:45
5. Silver Star (Floyd Radford, Mike Logan) - 4:01
6. Personal Gain (Floyd Radford, Mike Logan, Jeff Cole) - 4:25
7. Jezebel, Give Me Your Lovin' (Jeff Cole) - 2:41
8. Tomorrow (Floyd Radford) - 2:55
9. Endamus Finallamus (Floyd Radford, Mike Logan, Jeff Cole) - 3:49
10.Lady of the Silent Opera (Floyd Radford, Jeff Cole) - 3:35
11.Be Good And Be Kind (Floyd Radford, Mike Logan, Jeff Cole) - 2:53
12.I Want Your Body (Floyd Radford, Mike Logan) - 2:36
13.Understand - 3:48
14.Thanks To My Friends - 3:50
Bonus Tracks 11-14
Tracks 13-14 previously unreleased
Tin House
*Floyd Radford - Guitar, Vocals
*Mike Logan - Drums, Vocals
*Jeff Cole - Bass, Vocals
With
*Rick Derringer - Piano (Track 2)
*Edgar Winter - Organ (Track 4), Strings (Track 10)
This elegant CD reissues the sole album by this obscure Connecticut group who recorded this one LP and a classic psychedelic garage punk single which appears on the Psychedelic Unknowns compilation. While the debut single was classic beat garage of the period 1966, by the 1969 album the group expanded into more hard rock and progressive styles -- and this album is drenched in the lead guitar blitz of Reggie Wright. The group was led by brothers Denis Croce on guitar and Richard Croce on vocals, and Chuck Maher and Ralph Muscatelli on bass and drums. The group is not to be confused with a Chicago-area group of the same name and era who appeared on the Pebbles box set. The reissue on Italian obscure specialist label Akarma is a stunning object to behold and an audiophile remaster of this underground classic.
by Dean McFarlane
Tracks
1. Paranoia - 4:42
2. Sad Born Loser - 4:30
3. What Of I (Richard Porter) - 4:03
4. She's Easy - 6:57
5. Sailing - 7:38
6. Providence Bummer - 4:09
7. Evil Woman (Larry Weiss) - 3:20
8. Hunter's Moon - 6:11
All songs by Chuck Maher, Dennis Croce, Ralph Muscatelli, Reggie Wright, Richard Croce except where indicated
What new can be said about the late 60's and early 70 's of the 20th century that has never been said before? We were kids growing up in that landscape point in America -Vietnam, sex, drugs, and rock fn roll. Sex was love, not death, and drugs were enlightenment, not addiction. A generation bought the idea of the revolution but only a few of us still believed it after the revolution was bought out. So now that decade is a tiedyed media stereotype perpetrated by those cashing in. I sti II have my mirrored aviator glasses and cowboy boots. But let's not be cynical. The cannonball we ride on has not yet exploded, and the search for the candy apple growing on the sweet potato tree continues in earnest. So when storm clouds hover, take cover, and get your seat belt fastened, because it's not what you say new, it's the way you do it. We had a great time with these songs written at the last heights of a cultural innocence never to be scaled again. My only regret is I wish we recorded the so many others that don't appear in this collection.
Let it roll - Peace
by Jake Packard
Originally released in 1976 as a private press, a hard guitar psych from this Boston based band.
In any great scene - social or film - it seems there are always a few frames that get left out. And this, the latest installment in Big Beat's Nuggets From The Golden State series restores some lost footage to the sprawling epic that was San Francisco in the 60s. Necessarily comprised of demos, rehearsals and concert performances, the Ace of Cups' It's Bad For You But Buy It! documents the music of one of the few SF bands that, regrettably, never got a go at the full recording studio experience. Fillmore and Avalon regulars - I recall seeing them, too, at Golden Gate Park events - this all-girl quintet rocked, soothed and cooked, from 1967 to 1970, making its own distinctive contribution to that diverse period. Distinctive" is the operative word. Sure, there are occasional (early) Grace Slick vocal referents, but the Cups' music doesn't generally resemble that of their bigger brothers and sisters, tending, to borrow a phrase from the Beach Boys, more toward an appealing mix of funky/pretty."
"It's Bad For You But Buy It!" is rich in local lore (the subjects of Waller Street Blues and Pretty Boy are, respectively, the Cups' Haight practice pad and Blue Cheer singer-bassist Dickie Peterson)-.-imaginative interpretation (covers of the Parliaments' I Wanna Testify and Mongo Santamaria's Afro Blue)-.-and impressive originals. Glue is a punky, organ-pushed critique of consumerism with a Quicksilver finish, and Stones an earthy driver with deliciously gnarly guitar-ing (Mary Ellen Simpson's solo sounds like she's vamping on the 13th Floor Elevators' Fire Engine). The ballad Simplicity and the appropriately soulful a cappella opener Music disclose the group's more reflective side - and Denise Kaufman's considerable skill as a lyricist - while Kaufman's ultra-rare pre-Cups garage single from 1966, Boy, What'll You Do Then, walks the wilder side with raw-throat vocals, wailing harp and insistent 12-string. Indeed, it's bad for you, but ...
by Gene Sculatti
Tracks
1. Music - 2:06
2. Boy, What'll You Do Then - 2:28
3. Glue - 4:36
4. Taste Of One - 2:01
5. Stones (Mary Gannon) - 4:44
6. Looking For My Man (Marla Hunt Hanson) - 7:07
7. Afro Blue (Mongo Santamaria) - 7:03
8. Pretty Boy (Mary Ellen Simpson) - 3:42
9. Waller Street Blues (Denise Kaufman, Diane Vitalich, Marla Hunt Hanson, Mary Ellen Simpson, Mary Gannon) - 4:44
10.I Wanna Testify (Daron Taylor, George Clinton) - 2:57
11.Gospel Song (Marla Hunt Hanson) - 6:03
12.Circles - 4:57
13.Catch You Later (Marla Hunt Hanson) - 3:53
14.Simplicity - 4:50
15.Medley: Life In Your Hands / Thelina (Denise Kaufman, Joe Allegra) - 7:28
16.Hear Every Sound (Marla Hunt Hanson) - 4:43
Songs written by Denise Kaufman except where noted
Pianist-singer Toni Brown and singer-guitarist Terry Garthwaite put together Joy of Cooking. Back then, female musicians were relegated to the back burner, but here was a duo with a bold new recipe: The women wrote the tunes, played the main instruments, and sang lead vocals. Naming their group after a cookbook gave it an unmistakably female identity.
Although Fanny was the first female-led band to sign a multi-album major label deal, Joy of Cooking (who signed with Capitol Records shortly thereafter) was the second. And they were the first major label group where women led a mixed-gender band. They paved the way for Heart and Fleetwood Mac, and eventually bands like Concrete Blonde and Hole, says Ariel Swartley, Rolling Stone magazine's first female rock writer.
"The band culture then was so male. So to have two women leading a band? I think women will tell you even now it can be hard to establish authority as a bandleader," Swartley says. "Back then a voice was a woman's instrument. We didn't accept (women) wielding an electric guitar."
That lack of acceptance may have been what kept the band from mass popularity. It sure wasn't the music. At the dawn of the 1970's, Joy of Cooking released three albums filled with the kind of folk-tinged country rock that was topping the charts – when it was sung by men, at least. The band's self-titled debut concentrated mostly on ballads and showcased lead singer Garthwaite's soulful wailing. With the second album, Closer to the Ground, the band moved into a more folk-oriented territory. But with its third album, Castles, Joy of Cooking produced an all-out classic, filled with shoulda-been-hits like "Let Love Carry You Along" and "Don't the Moon Look Fat and Lonesome." After Brown departed, a fourth album was recorded but never given a general release.
The band was popular enough to warrant coverage in Time magazine; if they were largely forgotten after their 1973 breakup, it's because Capitol let their moderately-selling albums go out of print. Their only charting single was a cover of bluesman Furry Lewis' "Brownsville" (performed as a medley with the traditional "Mockingbird), which got to #66 in 1971. But the song's bouncy rhythm and intertwining lead vocals probably sounded eccentric to more pop-oriented listeners and got the band pegged as a curio.
Toni Brown recalls: Castles was the last Joy of Cooking record that I was on. I left the band in 1972. Capitol offered us six figures if we would go out on the road for, I don't know, it probably would have turned out to be four or five months out of the year. I had met my husband-to-be and I just said no, I could not do that road thing anymore. Subsequently Terry and the rest of the band found another keyboard player and a couple of background singers and they did an album for Capitol ("Same Old Song and Dance") which Capitol released but in a very, very limited quantity. They released it in Canada because they owed us an album, so they picked up the option. Then I left the band and so they had to honor that. But it didn't get any play, for whatever reason – Terry has her theories on that and I don't know what the politics were at the time because I was no longer involved.
Not to be confused with the American band of a similar name (the Flying Machine, of James Taylor fame), Flying Machine was a British studio band formed by producer/songwriters Tony Macaulay (best known for his work with the Foundations) and Geoff Stevens, partly out of the remnants of Pinkerton's Assorted Colours (aka the Pinkertons), with guitarist Tony Newman on vocals, Steve Jones on lead guitar and vocals, Sam Kempe on vocals, Stuart Colman on bass, and Paul Wilkinson on drums. The group's sound ranged from pop to light psychedelia, and they released a string of singles on Pye in 1969 and 1970, culminating with the album Down to Earth with the Flying Machine in 1970.
by Bruce Eder
Tracks
1. Smile A Little Smile For Me (Geoff Stephens, Tony Macaulay) - 2:55
2. Marie Take A Chance (Tony Macaulay) - 3:08
3. Waiting On The Shores Of Nowhere (Bob Saker, Jack Winsley) - 3:23
4. That Same Old Feeling (Tony Macaulay, John Macleod) - 3:21
5. There She Goes (John Macleod) - 2:57
6. Baby Make It Soon (Tony Macaulay, John Macleod) - 2:46
