Sunday, July 13, 2025

Nite City - Nite City • Golden Days Diamond Nights (1977-78 us, fine classic rock from Ray Manzarek, 2006 release)



Nite City is the answer to Ray Manzarek's question: "What do you do after the Doors?" It would not be unfair to say The Doors are the parent group to Nite City, but it would be more accurate if you said they are their bastard son. Manzarek founded The Doors in 1966 and he put them to rest when he left the band, theorizing there could be no Doors without their original singer.

In 1976, ten years later, still hungry for the unknown and sacred, Manzarek founded Nite City, choosing once again a lead singer with whom he saw eye to eye. Noah James became Manzarek's new voice and Manzarek in turn provided Noah a bizarre soundtrack on which to overdub lyrics. Together they took an unspoken oath to create a new musical expression for an old topic: Truth. With all of its beauty and pain, they were dedicated to be its vehicle into the endless night. And whoever else they took into the fold would have to share in that pursuit. Nigel Harrison was already in, three down and two to go. Slowly Paul Warren and Jimmy "Mad Dog" Hunter followed. The story of the band's formation is told elsewhere in this kit. Suffice to say it was a trial of stamina. More than a few dropped out along the way. Noah, Ray, Jimmy, Nigel and Paul. These are the survivors.

In the studio you could sense it. The five members of Nite City hunched over the space-age control board, ears straining to catch any minute error in the play-back. The fresh music poured out of the studio monitors as each individual silently argued with the musical reality that confronted him. So bent were they on perfecting the final product. Yet painfully aware of the danger over-scrutinization can present. Passion can be reduced to sterility with the flick of a switch. So fine is the line dividing musical excellence and emotional impact. The two must jell and compliment and the compromises required are as painful as they are, ultimately, rewarding. Everyone has a different standard for perfection. It is usually during this stage of recording, the final mix, when standards conflict and arguments erupt. Not within Nite City. Now, few words were exchanged. Knobs were turned, tapes buzzed their rewind, and the music exploded. Eyes clamped shut. Ears perked. The energy was almost tangible. The air in the control booth was as electric as the wires underneath the console. The five members of Nite City were finishing up their element, each one's mind socked into the cosmic wall socket of the O-Mind. 

The essence from which Nite City draws its output. The music played back was so loud you could hear every nuance. The effect was staggering, the perfect blend of precision and abandon; passion and aggression. The mark they had aimed for when they first entered the studio. Bulls eye. Nite City concerns itself with reality, not all of it kind. With harmony and beauty they claw at its cruelty and ugliness. They were born from a phoenix of frustration and dreams. They were also born in Los Angeles. Nite City is a metropolitan American band, but more than that they are a rock and roll band from L.A. And they reflect their environment.

America in the seventies, America in the streets. Nite City are about living with emotions strangling you. Ruthlessly they expose the seamy underbelly of city life as both voyeurs and products of that scene. Their music brims with anguish and defeat; desperation and survival. But also pictured on the dramatic landscape of Nite City is something more, a reassurance, beyond the desolation and tragedy, a joyous echoing of hope.
by Dan Sugarman and Steve Keator
Tracks
1. Summer Eyes (Noah James, Ray Manzarek) - 4:34
2. Nite City (Lee Huxley, Noah James, Ray Manzarek) - 5:01
3. Love Will Make You Mellow (Noah James, Ray Manzarek) - 4:57
4. Angel W/No Freedom (Danny Sugarman, Noah James, Ray Manzarek) - 6:36
5. Midnight Queen (Danny Sugarman, Noah James, Ray Manzarek) - 3:59
6. Bitter Sky Blue (Noah James, Ray Manzarek) - 3:15
7. Caught In A Panic (Noah James, Ray Manzarek) - 4:42
8. In The Pyramid (Paul Warren, Ray Manzarek) - 3:51
9. Game Of Skill (Noah James, Paul Warren, Ray Manzarek) - 4:46
10.Riding On The Wings Of Love (Jimmy Hunter, Paul Warren, Ray Manzarek) - 3:39
11.The Dreamer (Paul Warren, Ray Manzarek) - 6:09
12.Holy Music (Champion, Paul Warren) - 5:08
13.Ain't Got The Time (Nigel Harrison, Ray Manzarek) - 3:15
14.Die High (Paul Warren) - 4:09
15.Blinded By Love (Noah James, Paul Warren) - 4:54
16.Barcelona (Nigel Harrison) - 3:32
17.America (Ray Manzarek) - 7:18
Tracks 1-9 taken from LP Nite City - Nite City released in 1977
Tracks 10-17 taken from LP Nite City - Golden Days Diamond Nights released in 1978

Nite City
*Jimmy Hunter - Drums, Backing Vocals
*Nigel Harrison - Bass 
*Paul Warren - Guitar, Vocals, Lead Vocals (Tracks 10-17) 
*Ray Manzarek - Keyboards, Vocals
*Noah James - Lead Vocals (Tracks 1-9)

Related Act

Friday, July 11, 2025

The Bernie Leadon • Michael Georgiades Band - Natural Progressions (1977 us, exceptional country folk soft rock, 2013 japan remaster)



Original Eagles member Bernie Leadon was perhaps the group's most underrated and valuable player from 1972 through 1975, as he alternated between vocals, guitar (acoustic, electric, and pedal steel), banjo, and mandolin, in addition to lending a hand with songwriting. Prior to the Eagles, Leadon was a country-rock pioneer, playing in the pivotal outfits Hearts and Flowers and Dillard & Clark before joining the Flying Burrito Brothers. Once he left the Eagles, he settled in Nashville, working as a session musician, producer, and songwriter.

Born on July 19, 1947 in Minneapolis, Minnesota, Leadon appreciated rock & roll, but his true love lay in country music, as he began playing in a California bluegrass outfit in 1962, the Scottsville Squirrel Barkers. After relocating to Florida by the mid-'60s, Leadon joined the short-lived country-folk band Hearts and Flowers, appearing on their second and final recording, 1968's Of Horses, Kids and Forgotten Women, before forming a new group, Dillard & Clark. But once more, Leadon's tenure with the group would be fleeting, as he played on all of their 1968 debut, The Fantastic Expedition of Dillard & Clark, and only a few select tracks on their sophomore effort, 1969's Through the Morning, Through the Night.

Up next for Leadon was a brief stretch with Linda Ronstadt's backing band, the Corvettes, before joining up with one of the first-ever country-rock outfits, the Flying Burrito Brothers, in the fall of 1969. Leadon remained a member of the Burritos for a few years -- appearing on such albums as 1970's Burrito Deluxe, 1971's self-titled release, and 1972's live set, Last of the Red Hot Burritos. Upon leaving the Burritos, Leadon signed on once more as a member of Linda Ronstadt's backing band, which included guitarist/singer Glenn Frey and drummer/singer Don Henley. Shortly thereafter, the trio decided to form their own group, the Eagles, which was rounded out with the addition of ex-Poco bassist Randy Meisner. The band perfected and popularized the Flying Burrito Brothers' country-rock style, as both Frey and Henley proved to be superb songwriters.

The Leadon era of the group lasted for a total of four albums (which many longtime Eagles fans consider the group's best) -- 1972's self-titled debut, 1973's Desperado, 1974's On the Border, and 1975's One of These Nights -- on which Leadon penned such underrated gems as "My Man" and "Bitter Creek," among others. But the band's never-ending and grueling touring/recording schedule began to wear Leadon out, to the point that the guitarist decided to leave the group (as a self-described "act of survival"). The Eagles carried on with Joe Walsh replacing Leadon, and issued one of the biggest-selling releases in the history of pop music, Hotel California.

It didn't take long, however, for Leadon to land back on his feet and resuscitate his music career. In 1977, the guitarist formed the Bernie Leadon/Michael Georgiades Band, who issued a lone album the same year, Natural Progressions, before splitting up. 
by Greg Prato

Michael Georgiades tends to drink up the spotlight here, as the retiring Leadon eases into a decidedly sporadic solo career. Still, country-rocking Leadon showcases like "How Can You Live Without Love?" and, in particular, his Eagles kiss-off "The Sparrow" provide stirring reminders of his early role as canny instrumentalist and old-pro traditionalist. This is the path left untraveled for his ex-band.
Tracks
1. Callin' For Your Love - 4:31
2. How Can You Live Without Love? - 3:48
3. Breath - 3:28
4. Rotation - 6:19
5. You're The Singer - 4:08
6. Tropical Winter - 4:33
7. As Time Goes On - 3:08
8. The Sparrow - 3:25
9. At Love Again - 4:21
10.Glass Off - 6:45
Songs 1,3,4,5,6,9 written by Michael Georgiades
Songs 2,7,8,10 written by Bernie Leadon

Personnel
*Bernie Leadon - Guitar, Lap Steel Guitar, Mandolin, Piano, Banjo, Vocals
*Michael Georgiades - Guitar, Vocals
*Bobbye Hall - Percussion
*Brian Rogers - Strings
*Bryan Garofalo - Bass
*David Kemper - Drums
*Ed Silvers - Vocals
*Baron Stewart - Vocals
*Irving Azoff - Vocals
*Joe Smith - Vocals
*John Brennan - Guitar
*Steve Goldstein - Keyboards

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Thursday, July 10, 2025

Patto - Roll 'Em Smoke 'Em Put Another Line Out (1972 uk, warm jazz blues funk soul rockin’ with a big stoned grin, 2011 remaster and expanded)



Although Patto has exhibited a penchant for eccentricity in their previous efforts, not even from a bunch of loonies such as they could one expect an album as bizarre as this. Once a group noted for recording covers of Four Seasons hits and cutting demo tapes while under the influence of cough syrup, Patto (nee Timebox) have graduated to the school of album-as-a-singular-concept. Roll ‘em Smoke ‘em Put Another Line Out is, although it may sound absurd, the missing link between Abbey Road and the Mahavishnu Orchestra.

Patto consists of Olly Halsall (guitarist/pianist), Mike Patto (vocal/piano), John Halsey (percussion/speaking voice) and Clive Griffiths (bass guitar). They’ve been playing together for five long years and are virtuosos all. This, coupled with the Halsall/Patto song writing team’s block-busting ability of combining unusual chord structures with exceptionally witty lyrics, makes Patto one of my personal faves.

The album kicks off with their latest single, "Singing the, Blues on Reds," a funky number wish words intended, I suppose, to provide a sequel to "So You Want to Be a Rock ‘n’ Roll Star." Patto continues with a love song to a sweetie with a paw impediment, "Flat Footed Woman," a keen little tune which starts off rather slowly but picks up after some fooling around on the 88's. John Halsey’s song "Mummy" might easily go down as the farthest thing from a drum solo that a percussionist has ever written, and giving this particular track a listen is twice as necessary as solving the Riddle of the Sphinx. Side one closes with Patto indulging themselves in a heap of rock & roll noise, spotlighting on Olly Halsall’s ludicrous guitar wailing above the electrical commotion.

Side two continues in a similar vein, commencing with "Turn Turtle," an invigorating and woeful tale of a poor lad whose object of affection has a touch of frigidity—"When I touch you, you scream/ You turn turtle, play dead." Next comes the low point of the album, "I Got Rhythm," a dragged-out number which wouldn’t rate at all if it weren’t for Olly’s fluid and furious guitar runs. Patto closes the side with a two-part oceanic tale, the first segment being an infectious ditty from Olly, and part two tying up the loose ends, a crazed studio excursion capable of making both the Bonzo Dog Band and the Firesign Theatre pee in their trousers with delight.

Patto has succeeded in the pass with writing tunes capable of stopping the human heart and soloing in such a way that the tune is continuously interesting. With this new one, however, the band has cut a disc which ties together perfectly without sacrificing song quality, and they deserve fame, fortune and critical acclaim.
by Jon Tiven, November 23 1972
Tracks
1. Flat Footed Woman - 8:02
2. Singing The Blues On Reds - 4:56
3. Mummy (Ollie Halsall) - 2:18
4. Loud Green Sonfi - 3:51
5. Turn Turtle - 6:07
6. I Got Rhythm (Mike Patto) - 4:46
7. Peter Abraham (Ollie Halsall) - 6:14
8. Cap'n 'P' And The Attos - 5:32
9. San Antone - 3:37
10.Government Man  - 5:15
11.Beat The Drum  - 4:57
12.Sittin' Back Easy  - 3:57
13.So Cold (Mike Patto) - 6:36
14.Love Me - 8:39
15.San Antone  - 5:13
Songs 1,2,4,5,8 written by Mike Patto, Ollie Halsall 
Songs 9-12,14,15 written by Mike Patto, Ollie Halsall, Clive Griffiths, John Halsey
Bonus Tracks 14-15 From The BBC Sessions (November 1970) 
Bonus Tracks 9-13 From The BBC Radio - Live In Concert (March 1971)

Patto
*Mike Patto - Lead Vocals, Electric Piano
*Peter "Ollie" Halsall - Guitar, Piano, Organ, Vibes, Vocals
*Clive Griffiths - Bass, Vocals
*John Halsey - Drums, Percussion


Wednesday, July 9, 2025

Royal Servants - We (1970 germany, fine psych groovy rock, remaster and expanded)



The Royal Servants, forerunners of Eulenspygel, were formed in 1965 in the town of Reichenbach in Swabia. Starting out with beat, they gradually turned to bluesrock and, finally, progressive artrock. This development is well recognizable on their one and only LP "We" (Elite Special PLPS 30130), released in 1970 in a small edition. Whereas their first two singles, which were added to their CD as bonus tracks, are audibly in the 60s vein, the track presented here is the finest of laid-back underground and bears its title honestly. In early 1971, the Royal Servants were one of the first German bands to write their songs in German, and so it was only consistent that they changed their name into Eulenspygel that very year. Their CD "We", which was taken from the master tapes, contains their complete releases. With 32-page colored booklet.
Tracks
1. Work Part II  - 5:20
2. We - 9:15
3. Someone To Be With Me - 2:48
4. Latin Underground - 12:40
5. Here's Where I'm Gonna Stay - 2:57
6. Private Man - 2:43
7. Doomsday Up To Date - 1:57
8. Burnin' Region (Matthias Thurow, Ronald Libal) - 3:48
9. Help Me Please (Matthias Thurow, Ronald Libal) - 4:14
10.Still I Belong - 3:50
11.The Blues 'Comin' My Way - 5:00
All songs by Detlev Nottrodt except where noted
Bonus-Tracks 8-11

The Royal Servants
*Detlev Nottrodt - Electric Guitar, Vocals 
*Matthias James Thurow - Electric Guitar, Violin, Mellotron, Sitar 
*Ronald Libal - Electric Bass 
*Manfred Maier - Vocals 
*Günter Klinger - Drums 
*Reinhard Hetzinger – Organ
With
*Peter Mayer - Piano, Organ, Vibraphone (Tracks 1-7)
*Cornelius Hauptmann - Concert Flute (Tracks 1-7)
*Alex Alecke - Drums (Track 8,9)
*Michael Scheibner - Rhythm Guitar, Organ (Track 8,9)

Tuesday, July 8, 2025

Dando Shaft - An Evening With Dando Shaft (1970 uk, beautiful folk psych rock, 2006 japan remaster)



Dando Shaft led by Martin Jenkins, who had a firm position in the British folk scene and made a presence with his unique personality. They use various acoustic instruments and create their own unique world by blending the international feeling and acid flavor of the Incredible String Band with the warmth of American folk.

There is also a cool sense of acutolade,  this unique world that you can't forget once you hear it brings a truly mysterious feeling.

Dando Shaft's debut album, "An Evening With", can be said to be ascetic, can be said to have established a shining monument in the history of British folk. A masterpiece that I would say is a must-have for anyone interested in British folk!
Tracks
1. Rain - 5:04
2. Cold Wind - 4:11
3. September Wine - 3:38
4. Cat Song - 2:30
5. In The Country - 6:48
6. Drops Of Brandy - 2:27
7. End Of The Game - 3:29
8. Lazily Slowly - 3:21
9. Spring Clog Dance - 2:53
10.Thruxton Flute - 3:28
11.Digging Up The Rose - 3:28
12.Don't Forget The Animal - 2:31
All songs by Dave Cooper, Kevin Dempsey, Martin Jenkins, Roger Bullen, Ted Kay
Bonus Tracks 9-12

Dando Shaft
*Dave Cooper - Guitar, Vocals
*Kevin Dempsey - Bass, Guitar, Vocals
*Martin Jenkins - Mandolin, Violin, Vocals
*Roger Bullen - Bass
*Ted Kay - Percussion
*Polly Bolton - Vocals (Track 12)


Sunday, July 6, 2025

Man - All's Well That Ends Well (1977 uk, razor sharp guitar power jam psych rock, 2014 three disc clamshell box remaster)



Thirteen line-ups, twelve albums, a few bits and pieces and no fatalities. So went the opening text of the Man Family Tree poster included with the first 500 copies of the Welsh supremos last album before their six-year hiatus. In 1976 the musical scene was in flux with the first flowerings of the short-lived punk scene forcing their shoots through the established foliage. However, it wasn't fear of being pushed aside or sounding dated that prompted the split, the band were still selling out live concerts with ease, but after nine years on the road the band had all had enough. 

Their label at the time, MCA, were owed a final album and although the band did make a half-hearted attempt to record some new material the sessions crumbled amongst in-fighting and the reluctance of anyone to submit any songs, preferring to keep what they were working on in the bag to be used in future projects of their own. Tensions between band members were not helped by guitarist and vocalist Deke Leonard offering to write the whole album himself, an offer that was seen by the rest of the band as Leonard trying to claim the writing royalties for himself. The day was saved, and litigation prevented, when booking agent Brian Marshall managed to persuade MCA that a farewell live album would sell, as the group always managed to achieve the greatest heights when playing on stage.

The recording was, perhaps inevitably, taken from a series of three concerts at the Round House in London's Chalk Farm, a venue where the band had recorded two previous live albums (the live half of 1973's Back Into The Future and the Maximum Darkness album recorded with John Cipollina of Quicksilver Messenger Service) as well as appearing on the bill and subsequent album of the infamous Greasy Truckers Party. Only the first two nights of the run were recorded, possibly because the final night was on a Sunday, with roughly half of the original album taken from each of the Friday and Saturday night's concerts. The newly remastered version of the original album is included as the first disc of this set but it is the second and third discs where the value of this release lies, a newly mixed rendition of the entire set list of the concerts taken from the original 24-track tapes which, fortunately, had been kept safe and secure in storage. 

Because of technical issues arising from an electrical buzz emanating from a faulty on-stage monitor, only one of the extra numbers is included from the Saturday night so the bulk of the 90-minute concert derives from the first of the three nights. However, as the band were on scorching form that is not an issue. And what a band Man were at the heights of their powers. The twin guitars of Leonard and main man Micky Jones may not have provided the same intertwined complexities of the likes of Wishbone Ash, but support each other superbly, each of the guitarists providing a foil for each other to play off, the origins of the often lengthy jams the band would indulge in. Future Dire Straits sticksman Terry Williams occupied the kit, Phil Ryan had returned on keyboards and newest recruit John McKenzie, who reasonably enough was the most upset about the decision to call it a day, filled in the bass end. 

So what of the music? The selection for the original album was chosen so as not to over replicate material that had appeared on previous live efforts so three tracks from the latest studio album, The Welsh Connection, the title track, The Ride And The View and Born With A Future, were a given as that album had only been released a few months prior to the concerts. All three concerts were kicked off with the Louis Jordan/Ray Charles standard Let The Good Times Roll, a song never previously performed live or recorded by the band which as well as providing an affirming statement to kick things off also ticked a couple of boxes on the commercial front, although I doubt very much if that was ever a consideration. 

A Hard Way To Live, first released on Leonard's debut solo album Iceberg in 1973, is perfectly suited to the Manband approach making maximum use of the twin guitars and being an energetic, good time piece of music. It is also possible that it was chosen as a partial explanation for the bands reason for calling it a day as the lyrics bemoan the trials of surviving in a rock band. The album was completed by two live favourites, the seminal (excuse the pun!) Spunk Rock, the band's signature tune that was only reintroduced into the live set shortly before these final concerts, and Romain which had been the favoured closing number since it first appeared on the eponymous 1970 album. A decent enough collection that would satisfy the fans even if there was no band to push its release and MCA not putting any great effort into its promotion, something that is obvious from the totally half-arsed cover.

It is the remainder of the set that was left off the original album that entices with this re-release. Three of the culled tracks, 7171 551, originally titled after Monkee Mike Nesmith's telephone number and another number from Leonard's Iceberg album, the folk ballad Babe, I'm Gonna Leave you, also recorded in rocked-up versions by Led Zeppelin and Quicksilver Messenger Service and Many Are Called, But Few Get Up had all appeared on the 1975 live album Maximum Darkness, and the remaining two tracks, C'mon and Bananas, both from the classic Be Good To Yourself At Least Once A Day were regular favourites and were probably omitted because of internal weariness of the numbers and fear of over-reliance and exposure on specific numbers. 

Although the concerts were perhaps more concise and featured less jamming - limited largely to tracks that did not appear on the original album (the limitations of vinyl!) - than other Man concerts the performances are excellent with the version of Bananas being particularly poignant and memorable. A fitting end to the classic era of this fine band and with the full set restored across two CDs an essential addition to any decent music collection. Just a shame that permissions for the full unedited film of the concerts could not have been obtained prior to this release as that would have made a perfect complete package, still one can hope that its release will eventually be sanctioned. In the meantime we have the audio recordings to relish in. 
by Mark Hughes, Monday 21 April 2014
Tracks
Disc 1 The Original Album 1977
1. Let The Good Times Roll (Fleecie Moore, Sam Theard) - 3:03
2. The Welsh Connection (Micky Jones, Phil Ryan) - 8:01
3. The Ride And The View (Deke Leonard) - 6:04
4. A Hard Way To Live (Deke Leonard) - 3:08
5. Born With A Future (Deke Leonard, Micky Jones, Phil Ryan) - 7:44
6. Spunk Rrock (Deke Leonard, Micky Jones, Terry Williams) - 8:36
7. Romain (Deke Leonard, Martin Ace, Micky Jones) - 5:03
Disc 2 Man At The Roundhouse, December 1976
1. Let The Good Times Roll (Fleecie Moore, Sam Theard) - 2:47
2. 7171 551 (Deke Leonard) - 5:18
3. The Welsh Connection (Micky Jones, Phil Ryan) - 8:14
4. Babe, I'm Gonna Leave You (Edward Darling, Paul Bennett, Anne Bredon, Erik Darling, Patricia Bennetts) - 5:02
5. The Ride And The View (Deke Leonard) - 6:15
6. C'Mon (Clive John, Micky Jones, Phil Ryan, Terry Williams, Will Youatt) - 16:24
Disc 3
1. Born With A Future (Deke Leonard, Micky Jones, Phil Ryan) - 7:25
2. Many Are Called, But Few Get Up (Clive John, Deke Leonard, Martin Ace, Micky Jones, Terry Williams) - 10:31
3. A Hard Way To Live (Deke Leonard) - 3:29
4. Bananas (Clive John, Micky Jones, Phil Ryan) - 11:54
5. Spunk Rock (Deke Leonard, Micky Jones, Phil Ryan, Terry Williams) - 7:40
6. Romain (Deke Leonard, Martin Ace, Micky Jones) - 5:16

Man
*Micky Jones - Vocals, Guitar
*Deke Leonard - Vocals, Guitar
*Phil Ryan - Vocals, Keyboards
*John McKenzie - Vocals, Bass
*Terry Williams - Vocals, Drums


Saturday, July 5, 2025

First Friday - First Friday (1970 us, excellent classic psych brass rock, 2001 edition)

 



First Friday formed in South Bend in 1968 while band members were Notre Dame students, offering an appealing blues-rock sound.  One album was released in 1970 on Chuck Perrin’s Webster’s Last Word label; Perrin also served as producer.  With only 500 copies pressed, it has become an expensive collector’s item, especially without a proper reissue.  The band’s name originated with a stack of First Friday event flyers promoting a monthly mass event in the dorm chapel; the band used the flyers instead to promote themselves.

While there are no other releases from First Friday, a second album was recorded in 1970 for King Records in Nashville, but not released.  A reunion CD from 1997 was also recorded, but not released.  The band reunites annually for performances. Guitarist Norm Zeller went to play with Undisputed Truth, Natalie Cole and others.  Zeller and Wallace performed on Chuck and Mary Perrin’s Next of Kin LP.
Indiana-Musicpedia
Tracks
1. Nice Day For Something - 1:44
2. Got No More Home Than a Dog (W. C. Handy) - 4:26
3. Night Driving - 1:57
4. Maryanne (Ray Charles) - 6:28
5. Such a Lot to Say - 3:30
6. Wings to Fly - 3:43
7. Take Them All Away - 4:26
8. Ballad of John Doe Jr. (John Prendergast) - 2:43
All songs by Andy Wallace except where indicated

First Friday
*Andy Wallace - Organ, Vocals, Acoustic, Rhythm Guitars, Bass
*Bob Ewan - Vocals
*Jeff Hirschauer - Trumpet
*Jim Stynes - Drums 
*John Prendergast - Bass, Organ, Piano, Saxophone, Flute
*Norman Zeller - Guitar

Friday, July 4, 2025

Polyphony - Without Introduction (1972 us, organ drivin' heavy psych experimental prog rock, 2011 remaster)



Polyphony were a Virginia US band who released this concept album originally in 1972. Polyphony proved to be even more deeply rooted in the sound of the psychedelic era than their British contemporaries. Despite this foundation in the sound of the late 1960s, their energetic compositions give the impression that the band simultaneously wanted to break away from this very heritage. They had undoubtedly arrived in the present day of the symphonic variant of progressive rock music, as evidenced by the frenetic use of the Moog synthesizer and powerful bass lines. The addition of Latin-inspired percussion in the form of a permanent conga player lends the whole a special touch.

In the opener, "Juggernaut," Polyphony presents themselves as torn between eccentric, exuberant psychedelia and progressive, dynamic symphonic music. It is precisely in this "battle" between these opposing poles that the appeal of the truly unique sound of "Without Introduction" lies. After the explosive Moog interlude "40 Second Thing In 39 Seconds," all of this is taken to the extreme in "Ariel's Flight," culminating in a "symphonic trip" sound rarely heard in other bands, the climax of the entire album. The late-entry vocals, combined with the euphoric keyboard sound, evoke memories of Lee Jackson in Refugee. The rather understated "Crimson Dagger," with its vocal lines still rooted in the 1960s, concludes the album as an impressive testament to the early phase of US progressive rock.
by Horst Straske
Tracks
1. Juggernaut (Craig Massey) - 13:58
2. 40 Second Thing In 39 Seconds (Glenn Howard) - 1:09
3. Ariel's Flight (Craig Massey) - 15:10
4. Crimson Dagger (Glenn Howard) - 6:53

Polyphony
*Glenn Howard - Vocals, Lead, Slide Guitars
*Craig Massey - Vocals, Organ, Moog
*Martin Ruddy - Bass, Backing Vocals
*Christopher Spong - Drums
*Chatty Cooper - Congo Drums, Timbales, Percussion

Wednesday, July 2, 2025

The Final Solution - Just Like Gold Live At the Matrix (1966 us, superb folk psych rock, 2024 remaster)



The Final Solution was among the more intriguing of the legions of bands populating the mid-1960s San Francisco rock scene. Though they rarely recorded, Just Like Gold: Live At The Matrix showcases a legendary Bay Area folk-punk quartet that never even got to release a record, yet whose cutting-edge sound and style brims with the heady air of early psychedelia.

The Solution was formed in 1965 by bassist Bob Knickerbocker and guitarist Ernie Fosselius, friends at San Francisco State, then a melting pot of personalities which would fuel San Francisco’s young-adult bohemian scene. Rounding out the band were John Chance on drums and John Yager on guitar and vocals. The group began by playing Haight-Ashbury dives like Haight Levels, but their constant rehearsals and growing notoriety soon bagged the Solution a month-long residency at the famed Red Dog Saloon in Virginia City, NV.

In July of 1966, The Final Solution stepped in to perform when The Great! Society were forced to cancel a gig at San Francisco’s famed club, The Matrix, in some ways the epicenter of the city’s incipient rock explosion. Peter Abram was running his tape deck that night and captured a dynamic set that clearly shows the band’s diversity and musical chops. From the opening raga “Tell Me Again” to the propulsive folk-rock of “Time Is Here And Now” and the Dylan-esque “Bleeding Roses,” these original songs leave unequivocal proof of The Final Solution’s untapped potential.

After Chance left the group in the fall of 1966 to return to his studies and was replaced by The Great! Society’s Jerry Slick on drums, The Final Solution moved into a more musically experimental phase. But when a hopeful recording contract remained unconsummated, the band’s members began to lose interest and eventually drifted apart. While they rose high enough to share a bill with Quicksilver Messenger Service at the Fillmore Auditorium, The Final Solution was over before the Summer of Love had even begun.

The Final Solution—Just Like Gold: Live At the Matrix 1966 marks the first in a planned series from High Moon Records of authentic location recordings from The Matrix. From 1965 to 1971, this tiny club hosted not only the top movers and shakers of San Francisco rock such as Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead, but also a host of lesser-known yet no less worthy acts in the rock, blues, jazz, and folk fields.
High-Noon Recs
Tracks
1. Tell Me Again (Ernie Fosselius, Bob Knickerbocker, John Yager) - 6:17
2. Bleeding Roses - 3:45
3. If You Want (John Chance, John Yager) - 4:41
4. Time Is Here And Now - 4:24
5. Just Like Gold (John Yager) - 4:04
6. You Say That You Love Me/Got My Mojo Workin' (John Chance, Ernie Fosselius, Bob Knickerbocker, John Yager / Preston Foster) - 3:27
7. Misty Mind - 7:27
8. So Long, Goodbye - 3:37
9. America The Beautiful (Traditional) - 6:11
10.Truck Driving Son-Of-A-Gun (Dixie Deen, Ray King) - 1:37
11.Nothing To Fear - 4:02
12.Misty Mind - 4:51
13.If You Want (John Chance, John Yager) - 3:49
14.Just Like Gold (John Yager) - 4:33
15.Blacklash - 5:17
16.Bleeding Roses - 2:55
All songs by Ernie Fosselius. Bob Knickerbocker unless otherwise noted
Tracks 1-10 recorded by Peter Abram at The Matrix, July 1966
Tracks 11-16 recorded at Pine Street, San Francisco November 1966

The Final Solution
*Ernie Fosselius - Lead Guitar, Backing Vocals
*Bob Knickerbocker - Bass, Backing Vocals
*John Yager - Lead Vocals, Rhythm Guitar
*John Chance - Drums, Backing Vocals
*Jerry Slick - Drums (Tracks 11-16)

Tuesday, July 1, 2025

Streetwalkers - Red Card • Vicious But Fair (1976-77 uk, fascinating multicolored rock, 2005 remaster)



Punk rock made the Streetwalkers seem like old farts, but Red Card proved (upcoming metaphor overuse intended) that they still had an ace up their sleeve. From the groove-heavy "Roll up, Roll Up" to the ferocious "Run for Cover," this is the first and last great gasp from this band. In fact, had it come a few years earlier, it could have been included along with some of the better work by Chapman and Whitney's previous band, Family. The highlight, perhaps the best reason to search out this record, is a cover of Otis Blackwell's "Daddy Rollin' Stone," which Roger Chapman absolutely sings the living sh*t out of. It's an exhilarating moment and proof positive that he has one of the great voices in rock & roll. 
by John Dougan

In 1977, drummer McBain was replaced by David Dowle, who later joined Whitesnake, and keyboardist Brian Johnstone and new bassist Mickey Feat joined the band. With this lineup, the last studio album, “Vicious But Fair,” was recorded in 1977. However, the album was not successful at all in a period dominated by punk and new wave.

After the 1977 album Live, the band broke up. Bobby Tench left to join Van Morrison's band, along with Mickey Feat. Charlie Whitney formed the equally unsuccessful band Axis Point, while David Dowle joined the band Midnight Flyer. Singer Roger Chapman started a solo career and was/is particularly popular in Germany. He also scored a hit as a singer on the Mike Oldfield single Shadow On The Wall.
Tracks
1. Run For Cover - 5:47
2. Me An' Me Horse An' Me Rum (Bobby Tench, Roger Chapman) - 4:04
3. Crazy Charade (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:27
4. Daddy Rolling Stone (Otis Blackwell) - 3:15
5. Roll Up, Roll Up - 3:29
6. Between Us - 3:48
7. Shotgun Messiah (Bobby Tench, Charlie Whitney, Roger Chapman) - 4:49
8. Decadence Code - 6:44 
9. Mama Was Mad - 4:15
10.Chilli-Con-Carne - 3:55
11.Dice Man - 9:30
12.But You're Beautiful - 3:57
13.Can't Come In - 4:03
14.Belle Star (Charlie Whitney) - 3:13
15.Sam (Maybe He Can Come To Some Arrangement)  (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:47
16.Cross Time Woman - 5:16
All Songs written by Charlie Whitney, Roger Chapman except where noted
Tracks 1-8 from "Red Card" LP 1976
Tracks 9-16 from "Vicious But Fair" LP 1977

The Streetwalkers
*Roger Chapman - Lead Vocals, Percussion
*Charlie Whitney - Electric, Slide Guitars, Keyboards
*Bob Tench - Electric Guitars, Vocals, Keyboards, Percussion
*Nicko - Drums, Percussion (Tracks 1-8)
*Jon Plotel - Bass, Backing Vocals (Tracks 1-8)
*David Dowle - Drums, Percussion (Tracks 9-16)
*Michael Feat - Bass Guitar, Vocals (Tracks 9-16)
*Brian Johnstone - Keyboards, Vocals (Tracks 9-16)
*Wilf Gibson - String Arrangements
*Mel Collins - Horns (Tracks 9-16)
*Poli Palmer - Synthesizer (Track 12)
*Louise, Eunice - Backing Vocals (Tracks 9-16)


Patto - Hold Your Fire (1971 uk, a driving fiesta of good-time bluesy-rock, 2010 japan SHM remster)



Patto’s second album is a bit of a nugget amongst Vertigo swirl collectors, for with its elaborate sectional “Consequences” styled fold-out cover, finding one in anything better than “slightly knackered” condition – that’s “VG+” to the unscrupulous seller – is nigh on impossible, and daftly expensive should you be lucky enough to chance upon one. The cover was to feature the band’s own sketches on the delicate design, each member putting hours into their artistic noodlings, only for designer Roger Dean to either lose or throw them away! The band were, shall we say, dischuffed!

Collector’s obsessing and cover art niceties aside, Patto managed to up the ante from their blistering debut to record an album that shows a bunch of musicians at the top of their game, with the intimate understanding of each other’s playing that can only come from years on the road together. Ollie Halsall turns in a staggering display of dexterity, adaptability, and an instinctive melodic and harmonic nous that at the time had his contemporaries stooping to pick up their mandibles from the floor whenever they witnessed the shy genius at work. Alvin Lee in particular, whose band Ten Years After the boys supported on tour, was a big fan.

The band has honed its chops considerably, and a track like Give It All Away sums them up neatly. Starting as an R’n’B belter replete with honky-tonk piano, it doesn’t take long before time signature changes that your standard blues-based rock band would not imagine incorporating give the song a careening quality as it charges along. Ollie answers Mike’s storytelling lyrics with some fine curtailed lyrical fills. Then, not long after two minutes in, the tune leaves the orbit of The Faces playing with jazz rhythms to fly off at an oblique angle on the back of Ollie’s short but mesmerising solo before returning to Earth with a maniacal grin plastered across its fizzog. 

Air Raid Shelter is this album’s Money Bag, taken up a level or two. Ollie’s stellar “free jazz” playing is a given, but Admiral John Halsey’s drums in chattering conversation with Clive Griffiths’ highly expressive bass is worthy of a concentrated listen on their own. Fabulous stuff!

Having eulogised the rest of the band it would be remiss of me not to mention Mike Patto, who was a soulful and gravel-throated beaut who must have wowed the ladies in much the same way as Rod Stewart. He could write a good lyric too, often slightly world weary and including a healthy dose of cynicism. The coruscating and emotive The Man (from the first album), You, You Point Your Finger and Magic Door are slow R’n’B numbers easily as good as anything Rod The Mod or Paul Rodgers came up with in a similar tempo, and in addition Mike’s voice bears healthy comparison to those two.

Curiously, the mix used for track seven, Tell Me Where You’ve Been is not the final mix that ended up on the LP, and on subsequent reissues, including the superb Sense Of The Absurd collection from 1995. Sadly, no explanation is given as to why the original mix was not used. Perhaps it was no longer in a fit state, or had gone missing, but it would have been nice to know. The alternate take sees the second guitar track omitted, the vocals are more upfront, and it entirely omits Mike Patto’s cough at the start of the track. You may think that last omission a minor point, but it is little things like this that highlight the band’s sense of humour which was always on show. Fans, eh? They’ll notice any damn little thing!

While Hold Your Fire is a triumph of confident musicianship and would turn out to be Patto’s best album, for purely sentimental reasons the debut will always hold pride of place in my heart.

Once the fans have got over the “wrong” mix being used for track seven, I’m sure all will be forgiven by the presence of an entire disc of bonus cuts from BBC radio concerts and sessions. Here, those of us who would have been way too young, or not even born when Patto were a live fixture in sticky-floored fleapits the length and breadth of Britain get some sense of what a thrilling proposition Patto were live on stage.

The addition of Bernie Holland’s understated second guitar allows Ollie Halsall the freedom to extemporise to his heart’s content. On the other side of the coin, on a thrilling version of Government Man from an In Concert broadcast, the precise melody lines and unobvious chord sequences of the enmeshed dual guitars and the tight as a nut rhythm section, concluding with Ollie delivering the soulful vibes lines that bring the song to an end serves to underline what consummate players they all were.

Despite backing from John Peel in particular, and from other radio DJs with taste, both albums sold poorly. Being on Vertigo can’t have helped, as the Philips hip subsidiary was a label notorious for its promotion budget, which varied from minuscule to non-existent, unless you were Black Sabbath. Subsequently signing with Island, Patto released one more album, recorded another that was released posthumously some 20 years later, incidentally both due for imminent re-release on Esoteric. The band eventually folded in 1973, criminally ignored by the record buying public. Let’s hope these re-releases bring this wonderful music to a few new ears.
by Roger Trenwith, 21 May 2017
Tracks
1. Hold Your Fire - 6:45
2. You, You Point Your Finger - 4:30
3. How's Your Father (Ollie Halsall) - 4:45
4. See You At The Dance Tonight (Ollie Halsall) - 5:50
5. Give It All Away - 4:10
6. Air-Raid Shelter (Ollie Halsall) - 7:05
7. Tell Me Where You've Been - 3:15
8. Magic Door - 4:30
9. Beat The Drum (Mike Patto, Ollie Halsall, Clive Griffiths, John Halsey) - 5:07 
10.Bad News (Mike Patto, Ollie Halsall, Clive Griffiths, John Halsey) - 4:36
11.Air Raid Shelter (Ollie Halsall) - 7:02
All songs by Mike Patto, Ollie Halsall except where stated

Patto
*Mike Patto - Lead Vocals
*Peter "Ollie" Halsall - Guitar, Piano, Organ, Vibes, Vocals
*Clive Griffiths - Bass, Vocals
*John Halsey - Drums, Percussion
With:
*Bernie Holland - Guitar


Monday, June 30, 2025

Patto - Patto (1970 uk, topnotch fusion jazz rock, 2010 japan SHM remaster)



Considering that Patto are named after their lead vocalist, Mike Patto, one would be inclined to think initially that this four-piece band was essentially a vehicle for his vocal talents. Not so! in fact, if anyone is to the fore it is Olly Halsall, who plays lead guitar, acoustic, piano and vibraphone on the band’s debut album, and is outstandingly good. It is beyond my comprehension that he has not been heard before, seeing that he has been on the music scene for quite some time, most notably with Timebox, from the ashes of which and Patto has arisen. Clive Griffiths, on bass, achieves a high degree of empathy with Halsall -- very subtle and understated -- and drummer John Halsey is the spur for much of the music, although occasionally he is a hit too busy and fond of flashy rolls, which threaten at times to disturb the delicate balance which the others are maintaining.

Patto, who is one of the four vocalists with Keith Tippett’s Centipede, has a lovely funky soul voice, with traces of both Stevie Winwood and Long John Baldry. The music moves from rock to jazz and back again, but they are hardly a jazz-rock band in the popular concept; there is certainly a very free-form approach on "Money Bag," on which Halsall's hard-edged guitar work solos over a loose backdrop of bass and drums, with Patto’s voice dropping in at the end in an almost detached fashion. Producer Muff Winwood has produced the album with great restraint and simplicity. I’m very impressed by it. 
by Michael Watts, December, 12 1970
Tracks
1. The Man - 6:15
2. Hold Me Back - 4:42
3. Time To Die - 2:57
4. Red Glow - 5:19
5. San Antone - 3:09
6. Government Man - 4:22
7. Money Bag - 10:08
8. Sittin' Back Easy - 3:45
9. Hanging Rope - 14:46
All compositions by Mike Patto, Ollie Halsall, Clive Griffiths, John Halsey

Patto
*Mike Patto - Vocals
*Peter "Ollie" Halsall - Lead, Acoustic Guitars, Piano, Vibes
*Clive Griffiths - Bass
*John Halsey - Drums


Streetwalkers - Downtown Flyers (1975 uk, solid funk, heavy R’n’B, 2002 remater)



Cool name for a band, eh? Just like Horslips and Pussy, band names which allude to the all-encompassing sphere of sex & sexuality, or some aspect thereof, will never go away. The five band members are depicted as no taller than rodents on the album cover, amidst a throng of high heels, smooth legs, and see-through skirts (on the street, natch). Downtown Flyers is good ol' sleazy, earthy hard rock, with songs called "Toenail Draggin'," "Crawfish," and "Ace O' Spades" (this was before the song and album of the same name by Motorhead).

Streetwalkers was the post-Family project of vocalist Roger Chapman and guitarist Charlie Whitney. Also onboard was ex-Jeff Beck vocalist Bob Tench, who could play guitar, Casablanca's bass player, Jon Plotel, and (drum roll, please) Nicko...as in McBrain, future drummer for Iron Maiden. Three guest keyboardists play on five of the nine cuts, usually piano, but I hear the exalted Clavinet in at least one song, and synth on three, perhaps the strutting of a Minimoog and Solina String Ensemble. Did I mention Nicko? I didn't know the man had a career before Maiden! (I guess he's older than I figured.)

It turns out there is indeed more milk than meat in this serving: this is some darn good music! This is why I like 70s recordings: everything is so raw, so honest. The title track is a rousing, ballsy number, with echo-effected guitars and talk-boxes cheese or not, I don't hear enough of those on 70s recordings, for my taste. "Toenail Draggin'" is serious fun, and I don't just mean the playing, have a gander at some lyrics: Take me to the bottom/Roll me in my hearse/Take me to the bottom/Life's bin a doggone curse. Ha! I toldja! A cover of an old, uncredited blues ode, "Crawfish" may go down not as the best track, but the most memorable. Once you hear it, you'll have no urge other than to cherish it and lie awake at night wondering who originally wrote it.

The disc's real gem is "Burn It Down"; did Brian Robertson and Scott Gorham of Thin Lizzy secretly perform on this? Whitney's solo embodies everything a good guitar solo should be. Smokin' blues piano by Pete Wingfield, too! Chapman's gruff vox remind me of Paul Rodgers', but I much prefer Chapman's. One can't have it all: Chapman's harmonica solo is woefully undermixed. Not every song oozes bitterness or unrefinement: "Gypsy Moon" is a gentler, understated ballad with more smooth slide guitar work courtesy of Charlie W. Oh yes, that "Ace O' Spades" tune turns out it's a slice of authentic blues. I can even picture Chapman with dark shades and a blue jacket, singing the lines I've bin a gambler all my life/When I go, this is what I crave/You send me poker players to the graveyard.

Equally funky, bluesy, and rockin,' Downtown Flyers will carve its initials right onto the surfaces of your eardrums. Hatred will build for this album as the songs and melodies aren't easily displaced, but consider it a love/hate relationship. 
by Elias Granillo, February 3rd 2003
Tracks
1. Downtown Flyers (Robert Tench, Roger Chapman) - 3:58
2. Toenail Draggin' - 4:17
3. Raingame - 3:03
4. Miller - 3:55
5. Crawfish (Ben Weisman, Fred Wise) - 4:34
6. Walking on Waters - 5:56
7. Gypsy Moon - 4:42
8. Burn It Down - 7:59
9. Ace O'Spades - 2;33
All songs by John “Charlie” Whitney, Roger Chapman except where noted.

The Streetwalkers
*Roger Chapman - Lead Vocals, Percussion, Harmonica 
*Charlie Whitney - Electric, Acoustic, Slide Guitars 
*Bob Tench - Vocals, Electric, Acoustic Guitars 
*Jonathan Plotel - Bass, Backing Vocals 
*Nicko McBrain - Drums, Percussion
With
*Poli Palmer - Synthesizer (Tracks 4,5,8) 
*Max Middleton - Keyboards (Tracks 6,7)
*Pete Wingfield - Keyboards (Track 8)

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Saturday, June 28, 2025

Jess Roden - The Player Not The Game (1977 uk, beautiful after hours blue eyed jazzy soft rock, 2010 japan SHM remaster)



Many British musicians have been influenced by American soul music, and today we'd like to introduce Jess Roden, a white soul singer who, despite being white, provides a funky beat and a sound that makes use of fakery and shouting.

He originally debuted in 1967 with the Alan Brown Set and was a member of the Bats Band, which featured members of Bronco and The Doors + Gonzales, but made his solo debut in 1974 with ``Jess Roden,'' produced by Allen Toussaint.

This is his second album, released in 1977, and arranged by Leon Pendarvis (well known for his work with Quincy Jones and Roberta Flack). Jess Roden is an extraordinary singer who effortlessly sings a wide range of genres including ballads, jazz and R&B. Since his music is based on R&B and soul, his singing is better than that of most AOR singers. 

The soft and mellow intro to Misty Roses, and Jess Roden's vocals backed by electric piano, are enough to make you expect this to be a great album. The solo is also sophisticated, as it is played by saxophone rather than guitar. The next track, Sensation, is a jazzy ballad with a pleasant electric piano and resonating vibraphone.

Roden gives us a George Benson-esque scatting performance, intertwined with virtuoso John Tropea's impressive solo. The funky mid-tempo track 3Lonely Avenue, sung by Ray Charles, is truly dark with its punchy vocals and gospel-style chorus work.

The Quiet Sound of You and I, which features a magnificent string arrangement, and The Hardest Blow, which also features strings, electric piano, and saxophone, are also great songs to listen to. These are the perfect songs to enjoy Roden's vocals.

The last song is the funky up tune  In Me Tonight, which has a great percussion beat. Thanks to the use of top New York musicians such as Anthony Jackson, Francisco Centeno, John Tropea, and Arnold McCuller, the album has a sophisticated sound.
Tracks
1. Misty Roses (Tim Hardin) - 4:00
2. Sensation (Jess Roden, Stephen Vincent) - 4:43
3. Lonely Avenue (Doc Pomus) - 3:38
4. The Quiet Sound Of You And I (Edgar Bronfman, Jr., Bruce Roberts) - 4:27
5. The Hardest Blow (John Cartwright) - 3:04
6. Drinking Again (Johnny Mercer, Doris Tauber) - 6:35
7. Woman Across the Water (Jess Roden) - 4:13
8. In Me Tonight (Jess Roden) - 4:37

Musicians
*Jess Roden - Vocals
*Leon Pendarvis - Conductor, Keyboards, Piano
*Anthony Jackson - Bass
*Arnold McCuller - Vocals 
*Benny Diggs - Vocals 
*Buddy Williams - Drums
*Charlie Brown - Guitar
*Cliff Morris - Guitar
*David Carey - Vibraphone
*Delores Hall - Vocals 
*Errol Bennett - Percussion
*Francisco Centeno - Bass
*Franklin Micare - Guitar
*Gary Mure - Drums
*Harold Vick - Saxophone
*Jeff Mironov - Guitar
*John Tropea - Guitar
*Lance Quinn - Guitar
*Michael Gray Vocals 
*Milt Hinton - Bass
*Rob Mounsey - Keyboards
*Rubens Bassini - Percussion
*Scott Hamilton - Saxophone
*Shirley Scott - Keyboards