Buoyed by the positive reaction he received opening Crosby, Stills, Nash & Young's summer 1974 stadium tour, Jesse Colin Young cut another album of attractive, frequently country-tinged music with his usual backup band, in which keyboardist Scott Lawrence and reed player Jim Rothermel had become near collaborators. Young repeated "Josiane" and "Sugar Babe" from his Youngbloods days and took on such unlikely subjects as the plight of Native Americans ("Before You Came"), while his romantic life seemed to be suffering ("Again") and he felt the need to answer his critics ("Slick City"). But his pleasure in playing music remained contagious, especially on the title track, and his fans responded, making Songbird his highest-charting album ever.
by William Ruhlmann
Jesse Colin Young, the frontman and co-founder of the seminal Sixties group the Youngbloods, died Sunday, March 16th 2025. He was 83.
Young relaunched his solo career and released a string of successful albums through the Seventies, including 1973’s Song for Juli and 1975’s Songbird. He was also part of the “No Nukes” concert series, with his rendition of “Get Together” featuring on the triple live album that included performances from the 1979 shows at Madison Square Garden.
Young’s recorded output slowed a bit in the Eighties and Nineties, but he remained busy and even co-founded his own label, Ridgetop Music, with his wife Connie in 1993. In 2012, a Lyme’s disease diagnosis forced Young off the road, but he turned to YouTube to share performances and document his recovery. He returned to the stage in 2016 and released what would be his final album, Dreamers, in 2019.
by Jon Blistein, March 17, 2025
Tracks
1. Songbird - 4:05
2. Before You Came - 5:58
3. Daniel - 4:33
4. Josianne - 3:31
5. Again - 4:11
6. Slick City - 3:25
7. 'Til You Come Back Home - 3:34
8. Sugar Babe - 3:28
9. Motorhome - 2:50
All compositions by Jesse Colin Young
Personnel
*Jesse Colin Young - Guitar, Harmony, Mandolin, Vocals
Over fifty years ago, during the “Summer of Love” – 1967 - Barry “The Fish” Melton celebrated his 20th birthday in June 1967. A few days later, he and his band, “Country Joe and the Fish,” were rocketed onto the world stage at the Monterey Pop Festival with such luminaries as the Jefferson Airplane, the Mamas and Papas, Otis Redding, Ravi Shankar, Simon and Garfunkel, the Who and a relatively unknown guitarist named Jimi Hendrix. And fifty years ago, in 1969, Barry appeared at the historic festival in Woodstock< New York and also appeared in the movie bearing the same name: “Woodstock.” During the five years between 1967 and 1971, Barry would tour arenas, concert halls, and stadiums through Europe and North America. He also launched his first solo effort, a blues/soul album half of which was recorded in New York with members of the Wilson Pickett Band and half of which was recorded in Chicago with a band featuring Donny Hathaway on piano, Morris Jennings on drums and Phillip Upchurch on bass.
Barry began the 1970’s with an album for Columbia Records produced by legendary guitarist Michael Bloomfield, Barry took up part-time residence in the United Kingdom and recorded two albums at Rockfield Studios in Wales; and he toured extensively in the U.K., France and the Netherlands; Barry and ultimately returned home to San Francisco to record his fifth album of the decade.
In the 1980’s, Barry put together San Francisco’s historic supergroup, “Dinosaurs,” featuring Barry and John Cipollina (Quicksilver Messenger Service, guitar), Spencer Dryden (Jefferson Airplane, drums), Peter Albin (Big Brother and the Holding Company, bass), and Robert Hunter (Grateful Dead songwriter, guitar). Other members of the band later included Merl Saunders and Papa John Creech. “Dinosaurs” recorded its debut album and opened for Tony Bennett at the 50th Anniversary of the Golden Gate Bridge celebration in 1987.
In the 1990’s Barry’s career as a Public Defender mushroomed, beginning with a stint in the Mendocino County Public Defender’s Office, the Office of the (California) State Public Defender, and an appointment as the Public Defender of Yolo County, California, continuing into the early 21st Century. During this period, Barry played local venues in San Francisco and he toured annually in such diverse locations as England, France, Scotland, Thailand and Wales. He also recorded three collaborations with other guitarists including “Dual in the Desert,” with Rich Hopkins of Texas, “Can’t Stop to Boogie,” with Tetuzi Akiyama of Japan and Henry Kaiser of California, and “Revolution Down the Road,” with French guitarist Stéphane Missri and their band, “Jamasutra.”
Today, Barry lives in France half the year and spends the other half in the United States. In the past couple of years, he’s toured in France, Ireland, the United Kingdom and the United States.
The Chris Braun Band, originally formed in Dortmund in 1970 as a rebranding of The Faces, showcased a dynamic blend of blues rock and progressive styles, drawing early comparisons to bands like Frumpy.
Led by Joachim Bernstein, the group initially gained recognition for their energetic live performances across dance schools and clubs throughout Germany. In 1970, vocalist Chris Braun joined the band, prompting a shift in their sound with the addition of Elmar Krohn on flute. The band’s achievements included a notable finish at the German Beat Festival in Recklinghausen. Despite limited commercial success, their recordings, including the acclaimed album ‘Both Sides’ (1972) on BASF, received critical praise for its musical depth and Braun’s distinctive vocal style. Over the years, the band underwent several lineup changes and stylistic shifts, contributing to the evolving landscape of German rock music until their dissolution around 1984.
The Chris Braun Band debut album ‘Both Sides’ won the German Record Award for Best New Artist in its release year. The award ceremony took place at the Mozarteum in Salzburg. On that occasion, the Chris Braun Band also performed there. Looking back, that was certainly one of the most spectacular moments in the band’s history for the Chris Braun Band.
Badge & Co. were a group from Kansas, and this is their only album released as a self-produced album by Wilmarco label USA in 1977. The members were Terry Williams, Randy Cowan, and Virgil Eugene Martin, and the trio was recorded in Tulsa, Oklahoma. The original LP is known among hard rock enthusiasts as a collector's item, and in a sense it features bluesy hard, centered around the guitar playing with vulgar sounds. The momentum-oriented speed and the ruggedness of the band's hard-hitting explosiveness fit in well with shout-type vocals, the bluesy guitar playing is pretty cool, and the bass is quite solid, so there is plenty to enjoy. Overall, it seems to run at full speed without caring about some slack or mistakes, and the hint of southern rock that permeates the air could be called ZZ Top type, the songs are not bad, and the sound is refreshing with its momentum and loudness.
Tracks
1. It's A Cryin' Shame - 3:59
2. What A Day For A Drive - 2:15
3. Ship Me On The Frisco - 2:20
4. Why - 4:45
5. Rockin' 'n' Rollin - 4:03
6. '56 Chevrolet - 2:15
7. Slow Me Down - 3:26
8. I Left A Message - 3:25
9. For You - 13:55
All songs by Randy E. Cowan, Terry D. Williams, Virgil Eugene Martin
Listening to this album is to hear a real tragedy for rock & roll -- a tragedy that this supergroup, as opposed to such overhyped outfits as Blind Faith and Ginger Baker's Air Force, never got its work out in its own time, and that Pappalardi and Ronson are no longer with us. From the opening notes of "Easy Money" to the ironic final track, "Growing Old With Rock 'n Roll," it radiates inspiration, power, and authority in songwriting and execution, and extraordinary boldness.
As fine as Ronson's playing is -- and he does some great mandolin-style riffing, apart from some of his most inspired and fluid rock leads (in tandem with Leslie West on three tracks) -- the dominant players are Laing at the drum kit and Pappalardi on bass, who seemingly pick up right where Mountain left off. Coupled with Hunter's songwriting and his and Laing's singing, the whole effect is of a top-flight hard rock band running on all cylinders from the get-go, one that could have blown any rivals off the stage. As a bonus, two outtakes from Laing's 1977 solo album Makin' It On the Street are included, cut in Macon, Georgia with Dickey Betts and Eric Clapton. These are appendices more to Laing's work, or to the Allman Brothers' history, than to the work of this quartet, but they don't detract from the rest -- indeed, "Growing Old With Rock 'N Roll" may be the best thing Laing has ever done.
by Bruce Eder
Tracks
1. Easy Money (Corky Laing, Ian Hunter) - 2:50
2. Silent Movie (Corky Laing, Ian Hunter) - 3:21
3. I Ain't No Angel (Corky Laing, Ian Hunter) - 3:19
4. The Best Thing (Corky Laing) - 3:30
5. I Hate Dancin' (Corky Laing) - 2:40
6. The Outsider (Ian Hunter) - 7:47
7. Just When I Needed You Most (Randy Van Warmer) - 3:07
8. Lowdown Freedom (Billy Joe Shaver) - 4:12
9. On My Way To Georgia (Corky Laing, Leslie West, Mick Jones) - 3:42
10.Growing Old With Rock 'N' Roll (Corky Laing) - 4:23
The mark up in musical quality between the first two albums and Fairyport is impressive. Even the band seemed to be at a creative peak as they composed enough material for one and a half albums. Of more importance to us is that this could be considered to be the first truly progressive rock record that the band recorded. Those days albums, unlike todays albums, had to be of a certain length and the duration of the material they had recorded was only enough for three sides of a double album. Unwilling to compromise on the material they had recorded, the band opted to include a fourth side which was taken up by a live jam called Rave-Up For The Raodies rather than discard the third side of recorded material.
The album opens with Losing Hold, long considered a live Wigwam favourite, which has a great organ-led introduction. This, the longest studio track on the album is a masterpiece of progressive rock music. The fusion of the piano and organ creates a sound unique to this band as they romp through this track with the rhythm section creating a fantastic backing. The only lull in the romp comes with the inclusion of vocals, for a short period, that allows the whole track to take a breather, though this is not for long. Lost Without A Trace comes in as a perfect contrast to Losing Hold. The instruments are completely stripped down to Jukka Tolonen's acoustic guitar work accompanying Jim Pembroke on vocals and piano.
One of the features to really come to the fore on this album is the complex musical character of Jukka Gustavson. Before this album, his compositions, though complex were limited to just the band members and possibly one or two guest musicians. This time round help is enlisted in the form of a number of wind instruments who though uncharacteristic for a rock album, manage to carry out the desired effect to perfection. Add to that the continuous shifts in time signature and minor chord progressions, and one practically has described the title track, Fairyport. The jazz influence really permeates this particular track though one does also sense a rock n' roll element at times. The highlight of the track must be the entrance of the brass and woodwinds playing out the theme of the song midway through the track.
The shorter Gray Traitors maintains the uncommercial style of Gustavson compositions. However, one must admit that all Gustavson compositions have an unexpected twist in them. Just as the track seems to be winding up into another quirky tune, it takes off, picking up in tempo, progressing into a great instrumental section and merging with Caffkaff, The Country Psychologist. Possibly the most unconventional track on the album, the chord sequences are totally uncharacteristic, in true Gustavson fashion, with Pembroke's mournful vocals accompanying the piano. Suddenly the track seems to break down with the electric piano indulged in some jazzy runs while Ronnie Österberg makes full use of his congas and percussion. The last of Gustavson penned tracks on the album is May Your Will Be Done Dear Lord. One of the masterpieces on this album, the track manages to show Gustavson in a different light. Here he manages to combine his complex nature with a relatively more straight forward and accessible feel. However he cannot resist including sudden twists, and at the first chance, in come the woodwinds and brass instruments to take over the reins of the track albeit for a short while.
With How To Make It Big In Hospital one sees the return to the Pembroke penned tracks. One immediately senses the simplification of the presentation as well as the accessibility of the music. Pekka Pohjola's could be best described as standing somewhere between those of Gustavson and Pembroke. With a predilection for instrumental tracks, his music is strong in the jazz approach yet at the same time manages to retain a certain amount of ear friendly characteristics. Both Hot Mice and P.K:S Supermarket are instrumentals with the latter having an Eastern European touch to it both in terms of beat as well as style. In fact another characteristic of Pohjola is his predilection in introducing a certain amount of traditional themes into his music. The inability to conceive lyrics led Pohjola to collaborate with Jim Pembroke on those tracks he felt required them. Such is the case with One More Try which has the Pohjola touch written all over it with its clever shifts in time signature pausing only for the occasional vocal interlude.
Rockin' Ol' Galway is the typical Pembroke composition. Direct, concise and more importantly extremely pleasing to the ear with catchy hooks yet at the same time retaining just the right amount of zaniness to make it stand out from any other run of the mill "pop" composition. Every Fold, with Pembroke playing the piano is one of the most moving tracks in the Wigwam repertoire.
As mentioned before, the final track on the album is a seventeen minute plus jam that was recorded live just for the sake of filling up the final side on the record. Called Rave Up For The Roadies, the track also features Jukka Tolonen on guitar, who by then was almost a regular member for Wigwam live performances. The track also allows an insight into what a Wigwam concert must have been like. Unlike their carefully calculated and structured studio material, the Wigwam live performances were very free and improvisational. One could consider them as the Grateful Dead of progressive rock as they would merge tracks and play on for lengthy periods of time. Suffice to say that this particular track was an improvised jam session. Another interesting note is the fact that Pembroke is not listed on the credits, a sign that he had not yet started to play the organ/electric piano onstage, which also meant that he spent a large part of the Wigwam concerts waiting in the wings!
by Nigel Camilleri
Tracks
1. Losing Hold (Jukka Gustavson, Pekka Pohjola, Jim Pembroke) - 7:06
2. Lost With Out A Trace (Jim Pembroke) - 2:29
3. Fairyport (Jukka Gustavson) - 6:53
4. Gray Traitors (Jukka Gustavson) - 2:48
5. Caffkaff, The Country Psychologist (Jukka Gustavson) - 5:22
6. May Your Will Be Done, Dear Lord (Jukka Gustavson) - 5:28
7. How To Make It Big In Hospital (Jim Pembroke) - 3:03
8. Hot Mice (Pekka Pohjola) - 3:18
9. P.K.'s Super Market (Pekka Pohjola) - 2:19
10.One More Try (Pekka Pohjola, Jim Pembroke) - 3:25
11.Rockin' Ol' Galway (Jim Pembroke) - 2:28
12.Every Fold (Jim Pembroke) - 3:06
13.Rave-Up For The Roadies (Jukka Gustavson, Pekka Pohjola, Juka Tolonen, Ronnie Österberg) - 17:20
