Fludd was a Canadian rock band formed in Toronto in 1969, known for their innovative blend of rock, folk, and glam elements. The group was founded by brothers Brian and Ed Pilling, who, after an early stint in England performing as Wages of Sin and backing Cat Stevens under the name Zeus, returned to Canada to establish Fludd. They were joined by bassist Greg Godovitz, guitarist Mick Walsh, and drummer Jorn Andersen.
The band's self-titled debut album, released in 1971, featured the Canadian Top 20 hit "Turned 21." Following lineup changes, including the replacement of Walsh with Mick Hopkins and later the addition of keyboardist Peter Csanky, Fludd released their second album, "...On!" in 1972. This album included tracks like "Always Be Thinking of You" and "C'mon, C'mon."
In 1973, the single "Cousin Mary" became one of Fludd's biggest hits, reaching the Top 20 in Canada. Despite facing challenges, including health issues of Brian Pilling and various lineup changes, the band continued to produce music, releasing the album "Great Expectations" in 1975, which featured the Top 10 hit "What an Animal."
After disbanding in the late 1970s, members pursued various musical endeavors. Notably, Jim Crichton and Steve Negus went on to form the band Saga, while Greg Godovitz founded Goddo. Brian Pilling sadly passed away in 1978 due to leukemia.
Fludd's legacy in the Canadian rock scene is marked by their willingness to experiment with different musical styles and their resilience in the face of adversity.
In my recommended review of the sole album by Birmingham band Locomotive (which incidentally was also recently reissued on the Esoteric label [ECLEC 2228]), I ended by posing the question "Perhaps they [Eclectic] will get round to reissuing the Dog That Bit People album which featured Mick Hincks and Bob Lamb after the demise of Locomotive?" And I am happy to say that after only six years and a change of label name to Esoteric, my wish has come true!
The recording of the Locomotive album was somewhat traumatic and resulted in the splintering of the group, leaving only bassist Hincks and drummer Lamb. The pair were determined to carry on recruiting keyboard and guitar player Keith Millar and guitarist John Caswell. It was this line-up that released the final Locomotive single Roll Over Mary b/w Movin' Down The Line both of which are included on the Eclectic/Esoteric reissues. A desire to move away from the "doomy prog-rock kind of sound" resulted in a somewhat bizarre name change to The Dog That Bit People, chosen randomly by dipping into a book of short stories by the American humorist James Thurber.
Symptomatic of the faith that record labels had of their artists at that time, Parlophone keep the band on their roster, despite the poor sales of the Locomotive album. Following extensive, low budget, touring throughout Europe, the group entered Abbey Road Studios, rubbing shoulders with The Beatles who were busy with their final album, and started to lay down the tracks for their debut album.
Mostly recorded live with only essential overdubs added later, the album maintains a rather fresh feel, even after 40 years. The variety of the song styles also helps to give the album a diversity which adds to its enjoyment factor. Noticeably drawing on influences from the West Coast of America, the album successfully combines subtle acoustic passages with more rockier elements. A prime example of this is Sounds Of Thunder which could almost derive from the catalogue of Crosby, Stills, Nash and Young (although without the vocal harmonies) with the twin electric guitars intertwined with their acoustic relatives.
The group do provide excellent harmony vocals on the opening track, Goodbye Country, a lovely summer ballad that makes one instantly forget that currently outside all is frozen and snowbound. Elsewhere the spirit of Neil Young, an artist Bob Lamb recalls the group were heavily into, infuses many of the instrumental passages, such as on The Monkey And The Sailor where Lamb's drumming is precise and enticing at the same time. Lovely Lady, the single taken from the album, is melodic, catchy and yet, bizarrely was nowhere near becoming a hit; the more progressive elements of the group are covered in the effortless Cover Me In Roses which does indeed, as the sleeve notes state, sound in places not dissimilar to early Barclay James Harvest.
The early '70s were a time of great musical experimentation and The Dog That People were not immune to such experiments. Take Reptile Man for instance, with its strangely treated vocals and heavy riff that might have found place on a Black Sabbath album. Or at the other extreme there is the brief Country and Western number Someone, Somewhere which, if nothing else, shows that the band were thoroughly enjoying themselves! The rest of the material is just as enticing and entertaining.
Red Queen's Dance standing out with great harmonies, more twin guitars and even a jolly honky tonk piano part. Tin Soldier (not the same as the Small Faces song!) is majestic and once again plaudits go to Lamb for his interesting drum patterns. Finally, Walking another ballad, is lifted by the Mellotron parts that add to the warmth and sumptuousness of the piece.
Bonus track, Merry Go Round, the b-side of Lovely Lady, bears resemblance to Badfinger and its inclusion on this reissue totally justifies the replacement of my current CD version of this album with the new Esoteric version. Of course, it is not just the bonus track that makes this version, the label's typically excellent re-mastering and the informative booklet all add up to an excellent reissue of an obscure but delightful album.
by Mark Hughes
Tracks
1. Goodbye Country (Keith Millar) - 3:41
2. The Monkey And The Sailor (Bob Lamb, John Caswell, Mick Hincks) - 5:09
3. Lovely Lady (John Caswell, Keith Millar) - 3:10
4. Sound Of Thunder (Keith Millar) - 4:22
5. Cover Me In Roses (John Caswell) - 5:21
6. Someone Somewhere (Mick Hincks) - 1:29
7. A Snapshot Of Rex (John Caswell) - 3:36
8. Red Queen's Dance (Keith Millar) - 4:23
9. Mister Sunshine (John Caswell, Keith Millar) - 2:57
10.Tin Soldier (Keith Millar) - 4:13
11.Walking (John Caswell) - 2:04
12.Reptile Man (Bob Lamb, John Caswell, Mick Hincks, Keith Millar) - 4:14
13.Merry Go Round (Keith Millar, Mick Hincks) - 3:12
The Dog That Bit People
*John Caswell - Guitar, Vocals
*Mick Hincks - Bass, Vocals
*Keith Millar - Guitar, Keyboards, Mellotron, Vocals
*Bob Lamb - Drums
The short-lived garage combo Neutral Spirits played around the small communities surrounding Decatur, Tennessee, throughout the early 1970s, and, like most such bands, would have been all but forgotten if not for a fortuitous trip into the recording studio. Mike Gable and Mike Henry both picked up guitars at early ages, and after meeting and talking music at high school, the two began practicing them together.
Henry's older brothers Calvin, an accomplished saxophone player, and drummer Rex, both school marching band members, soon began jamming along, and the Neutral Spirits -- named, like a lot of teenage garage combos, after a random search through Webster's dictionary -- were born. After weeks of nightly rehearsals, they began to play out, taking gigs at private parties, fund raisers, pizzerias -- even backing the Henrys' mother in church -- and doing the usual talent shows, eventually becoming a regular on the local Battle of the Bands circuit.
Finally, with additional member Mickey Debusk, also a high school buddy, on second guitar and vocals, they landed a plum job as the Saturday night house band at a local skating rink, and as crowds surged, an increasing number of requests came in for a Neutral Spirits recording. With the connections Calvin Henry made by playing on several gospel sessions, and with mostly Mike Gable original songs in tow, the quintet traveled to Melody Studios in Atlanta in 1972 and recorded their lone, eponymous LP, which was thereafter sold at all their live shows, and from a stand at the local IGA grocery store.
The band continued playing for several years after until dissolving upon the marriage of one member and the matriculation to college of another.
by Stanton Swihart
Tracks
1. Flying- 3:04
2. Power City - 6:50
3. Look What You Done to Me - 4:36
4. Speak Freely - 2:39
5. Scenic Void (Mickey Debusk) - 2:03
6. Holding On - 2:26
7. Can't Leave It This Way (Mike Henry, Rex Henry) - 3:21
8. I'm Calling Chicago - 2:18
All songs by Mike Gable except where noted.
Neutral Spirits
*Mike Gable - Vocals, Guitar
*Mike Henry - Guitar, Vocals
*Calvin Henry - Saxophone
*Rex Henry - Drums
*Mickey Debusk - Guitar, Vocals
After one album in 1969 and one subsequent single with minimal success, 49th Parallel packed it in a year later, and from the ashes rose guitarist Danny Lowe's new project, Painter.
Based out of Edmonton and with a reformed lineup that consisted of Doran Beattie on vocals, Royden Morice on bass and drummer Bob "Herb" Ego (formerly of Witness Inc), they played the local bar scene while writing their own material, blending light rock with a harder edge (if that makes sense), crossed with ballads and was held together with tight hooks and singable lyrics.
They caught the attention of London Records executives, who shipped them off to San Francisco's Wally Heider Studio in the summer of 1971. The single "Country Man" was released later that year to little fanfare. After switching to Molten Records (owned by Randy Bachman), they released another single later that year, "Daybreak," but again couldn't help but feel disappointed with the response.
After moving to Seattle, they augmented their sound with Barry Allen (also ex of Wes Dakus & The Rebels) as a second guitarist, and agreed to be managed by Bob Zimmerman, who got them a deal with Elektra Records. They travelled back to San Francisco, as well as Seattle's Kaye-Smith Studio, and put their abundance of material they'd written on tape. The result was their self-titled debut album in September of '73. With Jim Gaines serving as co-producer with the band and engineer, "West Coast Woman" was released as the first single and the band had its first Top 20 song.
Before long they were on the road, headlining shows at LA's famed Whiskey A Go Go, backing up KISS, Jethro Tull, Canned Heat, Rod Stewart, and Steely Dan, among others. They were also featured on the nationally syndicated "King Biscuit Flower Hour" radio program while in New York. It was while in the Big Apple that they co-wrote a couple of tracks with Frank Zappa while backstage one night, "That's When I Knew It Was Love" was played on stage later that night for the first and only time.
But when the follow-up singles "Going Home To Rock" and "Song For Sunshine" in '74 both failed to make an impression, Elektra lost interest and dropped the group. Allen left the group soon after, shortly before the band pulled the plug.
Lowe, Beattie, Ego and Morice would team up again to form Hammersmith shortly after. But before the first of two albums for Mercury Records were on the shelves, Ego was gone, who went on to join Streetheart. He also become a studio musician and session player for various artists, including 451 Degrees, Mavis McCauley, and Paul Hann, among others. Allen hung up the guitar and put on a managerial hat, and took a number of groups under his wing, including Hammersmith.
The Fraternal Order of the All is guitarist Andrew Gold in a home studio overdubbing mode, making the record he always wanted to make back in 1967 and 1968. To call this album retro-flavored would be putting it mildly, as Gold's tongue is firmly planted in his cheek all throughout the record and attendant booklet, right down to the fake names for all the musicians. With the exception of guest turns from Jimmy Caprio, Jimmy Herter and Graham Gouldman (who also produced one track and like Caprio and Herter, wrote one other), this is pretty much Andrew's ballgame here, with him playing and singing all the parts.
The British rock, Beatles-styled psychedelic sounds truly abound on this disc, in the production values, instrumental work, and songwriting style. Highlights include "Tuba Rye and Will's Son/Balloon in the Sky" (with its Beach Boys-like vocal intro), "Rainbow People," "Freelove Baby," the three instrumentals that help the mood along ("Swirl," "Twirl," and "Whirl" and don't forget the "Groovy Party at Jimmy's Magic Pad"), and the trippy title track.
Gold successfully nails all the sounds and cosmic junk that came with these kind of albums back during those heady times, and if the music wasn't so darn good on here, you'd declare this record just a nostalgic joke that works, but it is so much more than merely that; it's a tucked-away little gem that deserves a much wider audience.
by Cub Koda
Tracks
1. Greetings From Planet Love - 0:35
2. Rainbow People - 2:46
3. Love Tonight (Graham Gouldman, Mike Botts) - 5:45
4. Chasing My Tail - 2:29
5. Swirl - 1:19
6. Tuba Rye And Will's Son / Balloon In The Sky - 3:44
7. King Of Showbiz (Andrew Gold, Graham Gouldman) - 4:12
8. Whirl - 0:58
9. Freelove Baby - 2:44
10.Groovy Party At Jimmy's Magic Pad - 2:29
11.It's Beautiful - 0:52
12.Wink Of The Third Eye - 2:00
13.It Has No Eyes But Sight - 0:55
14.Twirl - 0:58
15.Space And Time - 3:24
16.Time Is Standing Still (James Caprio, Jim Herter) - 4:48
17.Ride The Snake - 1:47
18.Mr. Plastic Business Man - 4:14
19.Ccosmicc Ccarnivall - 0:32
20.Tomorrow Drop Dead - 4:34
All songs by Andrew Gold except where noted
A really great British group – one who are mostly acoustic, but hardly sound folksy at all – and who are only a trio, yet manage to come across with a much fuller sound than you might expect! It would be easy enough to link these guys with the acid folk scene of the time, but their phrasing is different and their vocals, even while harmonized, have a sense of darkness that sets them apart from the warmer tones of the Cali scene when in similar territory. The record almost feels more like some lost indie set from a decade later – touched with some of the melancholy of a Nikki Sudden album, but again with a different sort of phrasing – in ways that only further make it a standout set. Titles include "Clock Watcher", "Hard World", "People & Places", "Red Sun", "Lazy Day", "Newspaper Seller", "Brief Encounter", and "Songs Of Mine.
The only work of Peregrine, released in 1972. Steve Torrington, Chris Brighton, and Neil Bonner are all in charge of guitar and vocals, and they also use a 12-string guitar.The sound is a folk trio with only three guitars and beautiful harmonies. thing. It has a dark side that is irresistible for British folk lovers.The sad melody, refreshing harmonies, and three acoustic guitars are wonderful. The soft folk-pop songs are great, but the crunchy, trad-flavored songs are numbing. This is a dark folk masterpiece that reminds you of the sunlight filtering through the trees in a lake in the forest, or the forest at dusk just before darkness falls, as you feel when listening to rare British folk records.
Free-Space
Tracks
1. Songs Of Mine (Neil Bonner) - 3:46
2. Lazy Day (Steve Torrington, Neil Bonner) - 4:09
3. All Through The Night (Chris Brighton) - 4:16
4. Red Sun (Steve Torrington) - 2:51
5. People And Places (Steve Torrington) - 4:43
6. Hard World (Chris Brighton) - 3:08
7. Newspaper Seller (Steve Torrington, Neil Bonner) - 2:57
Simple stories, enchanting harmonies and soft, acoustic music that is Westwind. Three friends, Sarah Dyson, Nick Storey and Chris Stowell, writing and singing together because they enjoy it. Their fresh-as-an-English-rose vocals allow no concessions to the mid-Atlantic accents favoured by many a British folk group. Similarly, there is no place here for the electric guitar of the folk-rock exponents. And in their songs you'll find only the faintest hint of protest.
The music of Westwind, then, is a simple delight. No clever effects, no huge orchestras - though arranger Michael Moores makes sparing, and subtle, use of strings and horns. Just three people singing their songs, and singing them superbly. Ironically, in view of their name, much of Westwind's singing has a becalming effect. And what better fate than to let your mind drift and enjoy the clear, soaring voice of Sarah cutting through the pretty love story "Harbour Lights" or "Sleepy City".
The material to be heard on this album is as much a testimony to the group's songwriting ability as to their singing. Most of the songs are fragile, wispy in construction - notably the beautiful "Robin Hill", my favourite of the 12, with its excellent guitar work and the ethereal vocal from Sarah. But there is also a fair representation of brisk up-tempo tracks like "Goodtimes", one of those familiar folk cris de joie, with skiffle influences, and the happy skipalong "Sun Across The Snow". They reveal their sense of humour on an up-dated tale of "Sweeney Todd - a bar-barous chap was he" - which even in includes reference to P.C. Dixon of Dock Green.
My first hearing of Westwind, in September of this year, came with the release of a delightful single, "Love Is A Funny Sort Of Thing". The contents of this album, played at times of stress, will soothe even the most troubled of brows. It has that kind of effect. And it is an album you will want to come back to again and again. Westwind are a very welcome addition to the ranks of British pop-folk groups. With the help of record buyers such as yourself, they should rightly become a permanent fixture.
by Peter Robinson, Music Business Weekly
Tracks
1. Goodbye Butterfly - 3:54
2. Sleepy City - 3:00
3. Love Ia A Funny Sort Of Thing - 3:00
4. Sun Across The Snow - 2:53
5. How Many Stars - 2:49
6. Robin Hill - 3:02
7. Goodtimes - 2:00
8. Fisherman's Song - 3:33
9. Sweeney Todd - 2:59
10.Rosemary - 4:26
11.Harbour Lights - 3:36
12.Home Is Where My Heart Is - 3:00
Words and Music by Chris Stowell, Nick Storey, Sarah Dyson
Jay Sneider's first band The Electrons came together in Saco, Maine in 1963. They soon changed their name to The Id and would release two 45s that have become highly prized by collector's, the second as Euphoria's Id to differentiate them from several other Ids around at that time. Around 1967 Sneider (now Snyder) and drummer Skip Smith formed Fate. The album was recorded in 1968 under the guidance of Thomas Jefferson Kaye at Studio 3 in New York, where Billy Joel's Hassles would record their debut LP. Demos were sent out and the popular DJ Roscoe (also the voice on an album by John Berberian) started playing it. It would be picked up by a couple more NYC stations, yet the only record label to show any interest was Musicor.
Still the band's production company (Elephant 5) chose to pass on the offer, nothing further happened and a disillusioned band went their separate ways. Such a shame; this is an accomplished opus and so evocative of its time. The mood is reflective, often sombre, but also confrontational (as in the overtly anti-Vietnam title track). Stylistically it varies from baroque-rock with psychy flashes to hard melodic rock, and a strong hint of The Doors on the more introspective cuts. The latter comparison used to irritate Jay Snyder but the setting, key and timbre of Frank Youngblood's vocals makes this unavoidable. Sexual Fantasy #8 is an immediate stand-out; it has a pealing George Harrison-like guitar motif that'll haunt you for months. Elsewhere they take on the blues and Bo Diddley in a hard-rock setting with searing guitar. Jay Snyder recounts his musical odyssey and the stories behind his songs in revealing detail on both CD and LP.
A very welcome and recommended release. Incidentally, the opening track on the original demo album, Prelude, was omitted from the reissues as it was not recorded by Fate, instead being put together by their producer. An article in Billboard magazine in October 1968 reported that "Fate's demonstration discs are being played on three radio stations in New York", but the only original copy so far to turn up has a mastering date of February 1969 etched in the vinyl trail-off. It could be that there were different demo discs in circulation at different times.
Stories was always an odd creature, bearing echoes of Michael Brown's delicate work with Left Banke, a more mainstream McCartneyesque pop also reminiscent of a sweeter Raspberries and, thanks to Ian Lloyd's light rasp, hints of Rod Stewart. That hoarse soulfulness served Lloyd well on the band's only hit "Brother Louie" -- which appeared on their second album, About Us -- but he was never a true blue-eyed soul vocalist, and not just because Stories didn't often delve into blues-rock: his touch was too light, his voice too high and thin to dig deep into R&B. He was stuck between two sounds, between precious pop and soulful rock, which was completely appropriate for Brown's artful pop writing. Brown's songs for Stories weren't immediate, they were elliptical and gentle, just melodic enough to hint that these tunes are hookier than they are, having just enough structure to suggest big pop arrangements that never quite materialize, at least on their debut Stories.
The touchstone for Stories is quite plainly Paul McCartney, as this is music that places the melody at the forefront; it's proudly precious and willfully whimsical, music crying out for listeners with a sweet tooth. Here, Stories make Badfinger seem like muscular macho men, as their hardest-rocking song "Take Cover" -- with its big, cascading chorus, it's a tune that could have slipped onto No Dice -- almost perversely avoids power chords. Then again, "Take Cover," while it does point the way to About Us, is atypical on Stories, as it's built upon Baroque ballads and lovely, lilting midtempo pop, signatures of Michael Brown from the days of Left Banke. While it's interesting to hear Brown navigate the valleys of modern rock production here, Stories could have used more definition in its arrangements, more power in its production, to really grab listeners. As it stands, it's ideal music for cultists: music that requires a bit of work, but not too much, to truly appreciate, and it does pay back the effort it demands.
by Stephen Thomas Erlewine
Tracks
1. Hello People - 3:54
2. I'm Coming Home - 2:38
3. Winter Scenes - 4:18
4. Step Back - 3:20
5. You Told Me - 3:06
6. Saint James - 4:30
7. Kathleen - 3:14
8. Take Cover - 3:01
9. Nice to Have You Here - 3:25
10. High and Low - 4:28
All compositions by Michael Brown, Ian Lloyd
Stories
*Michael Brown - Harpsichord, Keyboards, Moog Synthesizer, Organ, Piano, Synthesizer
Marty Balin was co-founder and along with Grace Slick the lead singer of San Francisco legends Jefferson Airplane. After he left the band in 1971 Marty produced and later joined the hot new San Francisco group Grootna. Grootna mutated into Bodaciouus DF featuring Marty Balin as the group's lead singer.
Tracks
1. Drifting (Jesse Osborne) - 4:10
2. Good Folks (Lonnie Talbot) - 7:37
0. The Witcher (Marty Balin, Vic Smith) - 6:36
4. Roberta (Marty Balin, Vic Smith, Trish Robbins) - 4:44
5. Second Hand Information (Charlie Hickox) - 4:57
6. Drivin' Me Crazy (Vic Smith) - 7:13
7. Twixt Two Worlds (Marty Balin, Vic Smith) - 5:45
Mike Harrison promptly resumed his solo career with the release of 1975's "Rainbow Rider". Released in the UK on the Goodear label (Goodear catalog number 7002), Island Records acquired US distribution rights where for some reason the company decided to slap different cover art on the album.
Produced by Chris Kimsey, the set found Harrison recording in Nashville with a mix of American and English studio musicians. Musically the set wasn't a major change from earlier efforts. Harrison's voice remained instantly recognizable with tracks such as "Maverick Woman Blues", "You and Me" and "I'll Keep It with Mine" offering an enjoyable set of R&B flavored rock. Highlights included a weird cover of "Somewhere Over the Rainbow" and his collaboration with longtime buddy/former Spooky Tooth guitarist Luther Grosvenor on "Okay Lay Lady Lay" (the latter redeemed by some nifty voice box guitar work.).
Highlight songs, the opening "Maverick Woman Blues" with some blazing twin lead guitar (Bob Cohen and Micky Jones) and pounding keyboards (courtesy of Morgan Fisher), 'Maverick Woman Blues' was the album's toughest rocker and one of the most Spooky Tooth-styled numbers on the set. At least to my ears Harrison even sounded a bit like Gary Wright on this one. Nice way to start off the collection. Dylan's "I'll Keep It with Mine" with a Spooky Tooth/Gary Wright-styled arrangement may have seemed like a good idea at the time, but the keyboard-propelled arrangement never gathered much energy and the backing gospel church choir simply blew Harrison off the stage. The song's highlight came in the form of the nifty lead guitar.
The driving blues-rocker, "Okay Lay Lady La" actually came in the form of Luther Grosvenor's voice box guitar solo. The finale with 'Friend' a breezy, slightly jazz-tinged ballad that actually benefited from Harrison's laid back and measured delivery. One of the best performances on the album .
by Scott R. Blackerby November, 2024
Tracks
1. Maverick Woman Blues (Don Nix) - 3:37
2. You And Me (Will Jennings, Troy Seals) - 2:40
3. I'll Keep It With Mine (Bob Dylan) - 4:22
4. Like A Road (Leading Home) (Don Nix, Dan Penn) - 4:40
5. We Can Work It Out (John Lennon, Paul McCartney) - 3:24
6. Okay Lay Lady Lay (Luther Grosvenor, Mike Harrison) - 6:33
7. Easy (Aitkin, Brown, Mike Harrison) - 4:25
8. Somewhere Over The Rainbow (Harold Arlen, E.Y. Harburg) - 2:39
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
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.
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)
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
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
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
