Thursday, August 21, 2025

rep> The Outsiders - Thinking About Today Their Complete Works (1965-68 dutch, pioneer raw garage psych, 2013 remaster double disc digi pak)



The Outsiders’ recording career lasted merely three years, but in that time they recorded and released close to fifty songs, every one of them an original composition; few other groups during that era could lay claim to such a track record. It’s a body of work that has only grown in stature. Created largely without the filter of commercialism, without the intervention of producers and publicists, the Outsiders’ music was pure and uncompromising. It was the authentic sound of five teenage kids from East Amsterdam striving for a sound of their own, thinking about today, without a passing care for yesterday or tomorrow.

Thinking About Today includes every track released by the group during their original lifespan, from their raucous ’65 introduction, You Mistreat Me, to their violent but unfailingly catchy swansong, 1969’s Do You Feel Alright. Along with all their hit singles and B-sides, the set also features their self-titled album and the legendary CQ in its entirety, along with some rare mono and stereo mixes. Dynamically remastered from the original tapes, and packaged with previously unseen photos and full liner notes by Mike Stax, Thinking About Today is the definitive document on one of the era’s greatest unsung bands.
Tracks
Chapter 1
1. You Mistreat Me - 1:58
2. Sun’s Going Down - 2:39
3. Felt Like I Wanted To Cry - 2:50
4. I Love Her Still, I Always Will - 3:27
5. Lying All The Time - 3:14 
6. Thinking About Today - 2:45
7. Keep On Trying - 2:57 
8. That’s Your Problem - 2:35 
9. Touch - 3:12 
10.Ballad Of John B. - 5:55 
11.Monkey On Your Back - 3:44 
12.What’s Wrong With You - 3:18
13.Story 16 - 6:30
14.Tears Are Falling From My Eyes - 3:29
15.Ain’t Gonna Miss You - 1:54
16.I Wish I Could - 4:01
17.Afraid Of The Dark - 3:18
18.Teach Me To Forget You - 3:12
19.Filthy Rich - 2:40
20.I Would Love You - 2:47
21.Don’t You Cry - 2:21
22.Won’t You Listen - 2:49
23.If You Don’t Treat Me Right - 2:10
24.Summer Is Here - 3:25
All compositions by Ronnie Splinter, Wally Tax 
Chapter 2
1. I’ve Been Loving You So Long - 3:21 
2. I’m Only Trying To Prove To Myself That I’m Not Like Everybody Else - 2:30
3. Don’t You Worry About Me - 3:25
4. Bird In A Cage - 3:03
5. Cup Of Hot Coffee - 3:18
6. Strange Things Are Happening (Frank Beek, Wally Tax) - 2:33 
7. I Don’t Care - 2:41
8. You Remind Me - 2:45
9. Misfit - 3:03
10.Zsarrahh - 3:25
11.C.Q. - 3:27
12.Daddy Died On Saturday - 3:01
13.It Seems Like Nothing’s Gonna Come My Way Today - 1:50
14.Doctor - 4:42
15.The Man On The Dune - 2:06
16.The Bear - 1:03
17.Happyville - 2:26
18.You’re Everything On Earth - 3:06
19.Wish You Were Here With Me Today - 1:54
20.I Love You No. 2 - 3:13
21.Prison Song - 5:37
22.Do You Feel Alright - 3:26 
23.Daddy Died On Saturday - 3:01
24.Touch - 3:12
25.Bird In A Cage - 3:05
26.Wally’s Answering Machine - 0:16
Tracks 1-5,24,25 by Ronnie Splinter, Wally Tax
Tracks 7-23 by Ronnie Splinter, Wally Tax, Frank Beek, Leendert Bush

The Outsiders
*Wally Tax - Vocals, Guitar, Balalaika, Flute, Harmonica
*Ronnie Splinter - Lead, Rhythm, 12String Guitars, Bass, Vocals
*Appie Rammers - Bass
*Tom Krabbendam - Rhythm Guitar
*Leendert "Buzz" Busch - Drums
*Frank Beek - Bass

1965-69  The Outsiders - Strange Things Are Happening The Complete Singles 
1966-67  The Outsiders - The Outsiders (2018 Japan Double Disc)
1968  The Outsiders - CQ (remaster and expanded)
1967-94 The Outsiders - Singles A's And B's
Related Act
1967  Wally Tax - Love In (2012 edition)

Wednesday, August 20, 2025

rep> Pluto - Pluto (1971 uk, rich flavoured hard rock)



PLUTO, although not necessarily one of those bands who spring immediately to mind as having been a seminal influence on the weaving of Rock Music’s tapestry nevertheless remain an excellent, if little-known and much underrated band, whose only album (originally released on the DAWN label back in November 1971) has during the latter halt of the '80s. become a much sought-after item in the ever-expanding Underground/Progressive sector of the Record Collector's market.

Conceived initially by guitarist Paul Gardner and taking their name from the Disney cartoon character they were formed in North London in 1970. The key members weir Gardner and Alan Warner, two highly experienced campaigners from widely disparate musical backgrounds - their full personnel comprising Paul Gardner (guitar/vocals), Alan Warner (guitar/vocal), Mick Worth (Bass) and Derek Jervis (drums).

During the early/mid '60s Paul Gardner had drifted itinerantly around North London's active Beat Group scene, appearing in a myriad of Pop/R&R/R&B groups, eventually winding up in Jack s Union - a heavy. Psychedelic outfit who had established a residency at the Kew Boat House. They were in fact one of the very last groups to record for legendary indie producer Joe Meek - they'd done a couple of sessions at his tiny Halloway Road studio and even signed a recording contract with hint, merely weeks before his suicide in February 1967.

Nevertheless it does seem unlikely that they would ever have established much of a musical rapport with Meek. They'd created something of a reputation for heads-down lunacy - and, latching onto the more sensational/destructive aspects of Hendrix and The Who. they soon attracted considerable media attention: notably for their "finale" a loose jam built around "Purple Hue" which involved the decapitation and subsequent dismemberment of a taylor's dummy Needless to say the crowd loved it: and a suitably appreciative mention in Melody Maker's influential The Raven" column sealed their fame, virtually guaranteeing their instant notoriety.

However, they were unable to convert their new-found cult status to sound commercial success - and they eventually split* Gardner meandering off on his travels againnworking variously with a mainstream Psychedelic band (they supported Rory Gallagher's Taste at Hamburg's Star Club), Hawkwind (albeit only very briefly), (Cochise Skin Alley, High Tide, and Trees (a much underrated band with whom Gardner played bass, now chiefly remembered for several tremendous sessions on John Peel's Top Gear') - finally teaming up with guitarist Alan Warner and ex-Mighty Joe Young drummer Derek Jervis to form Pluto. Warner was in fact the most experienced/successful member, his most recent gig having been with The Foundations a hugely popular multiracial Soul/Pop group who had scored heavily during the late '60’s with several Tony Macaulay/John Macleod songs.

However, long before The Foundations. Warner had been on the road, accumulating vast experience. Originally somtething of a child prodigy. he'd actually started gigging as a 13-year old. playing in an instrumemas-only group, his earliest influences being the likes of Duane Eddy and The Venture*. His first "real" group The Trekkers circa 1962 saw him operating in traditional '60s Beat Boom territory, working the usual repertoire of R&B/R&R standards - as did his next half-dozen or so groups as he drifted through the North London group scene. Only one seems to have made a lasting impression on him – The Dwellers: highly regarded localy they were by all accounts excellent live, earning their living principally via tours of the US Air Bases.

Following a brief Mint with the Leesiders Sect- an out-and-out Blues group – he spend a couple of years in the lucrative world of sessions before getting back into live music on the back of the Soul boom. He joined the Ramong Sound - later simply The Ramong - a raw. powerful R&B/Soul/Ska outfit featuring two black lead singers, who rapidly established a massive reputation on the London club scene for their live set. A further change of name saw them repositioned as The Foundation Sound (later amended to the more manageable, familiar version) when one of the two featured vocalists – Ramong, after whom taken their name – was detained at Her Majesty’s pleasure following a spot of domestic bother. An introduction to Pye Records' Tony Macaulay did the trick, and within a few months they were at No.1 with "Baby Now That I've Found You", headlining national package tours in the company of Edwin Starr and The Toys. But by 1970, The Foundations were on the verge of calling it a day; the run of hits had dried up, personnel changes had robbed them of key members, and they were working the group's name strictly for the bread. Warner had long since decided that a significant change in musical direction was in order; sick of playing soul muzak and keen to get back to playing again, he'd decided to get his teeth into the mushrooming rock scene, to which end he teamed up with Gardner and Jervis in the embryonic Pluto, at first alternating rehearsals with his contractual commitments to The Foundations.

Following extensive and exhausting auditions, ex-used car salesman/wideboy Mick Worth, an out-and-out extrovert whose CV included a stint in Black August, was recruited on bass. An enthusiastic live performer, he was by all accounts selected as much for his equipment (notably a large transit van!), stage presence and undeniable qualities as a poseur, as for his abilities as a bassist; among his impressive array of hardware was a Precision bass which had previously belonged to The Who's John Entwistle.

Thus constituted, they signed to the Terry King Agency and took to the road; their bluesy, hard-rock set quickly won them a fair old reputation and a loyal following on the university/college circuit, which they quickly expanded upon, eventually establishing themselves as regulars at many of the more prestigious gigs - notably The Marquee - and appearing in a supporting role at several of the outdoor festivals of that era, most memorably at the National Jazz, Folk and Blues Festival in Plumpton, supporting The Who. And they toured with just about everybody; their peer groups at the time including the likes of Thin Lizzy, Genesis, Tyrannosaurus Rex, and, in particular, the first wave of HM bands, whose sound was clearly reflected in Pluto's set.

Now, by the end of the '60s, pop music's metamorphosis info the multi-limbed monster which we now all know as rock, was more or less complete - to the apparent surprise and consternation of certain areas of the music industry. Take Pye Records for example, they were musically well out of touch and they knew it; their chart regulars were Val Doonican, Joe Dolan and Pickettywitch; they'd long since lost Joe Brown, The Searchers and Long John Baldry, the hits had dried up for The Kinks, Status Quo and Donovan, they'd missed out on the psychedelic trip entirely, and they were having desperate trouble getting to grips with this new 'progressive' or 'underground' stuff which they'd been reading about in Melody Maker.

Other record companies were making genuine efforts to get to grips with this new market - initially by signing new bands, and ultimately by creating new specialist labels as their outlet. Consequently, this sudden, seemingly overnight, appearance of a whole new slew of hip indies - Island, Immediate, Charisma, Chrysalis, etc., all of whom were not only grimy with street cred, they all appeared to know exactly what they were up to (EMI had successfully inaugurated Harvest; Philips/Mercury had the excellent Vertigo label; Polydor seemed to have dozens of them - Track, Reaction, Marmalade, etc., and even staid old Decca had launched their Deram/Nova subsidiary), rather left Pye out in the cold, to which end they activated the Dawn label in 1970, scoring immediately with Mungo Jerry (who initially confounded the concept of the new label by registering as a singles band!) During the next few years, Dawn was responsible for the release of many notable albums, including those by artists as diverse as Man, Mungo Jerry, John Kongos, Prelude, Mike Cooper, Tim Rose, etc., as well as, of course, Pluto.

A demo cut at Island's studios did the rounds of the record companies and eventually led to the deal with Dawn; consequently, early in 1971, they found themselves in Pye's Marble Arch studios with a somewhat bemused John Macleod who'd been designated as producer on the project. Now, although Macleod was an experienced pop producer/songwriter, he'd never previously worked in the rock idiom, which, by all accounts made for some fairly hairy moments and severe culture clashes! Nevertheless, it all came together surprisingly well; released in late '71, the album received favourable and encouraging reviews, and whilst it never registered chart status, it remained a steady seller whilst it was in catalogue, and served to further underscore their grass roots popularity. The overtly commercial "Rag A Bone Joe" was taken off the album and released as a single without success, which actually perturbed the band not at all as they had recorded the track only very reluctantly (back-op vocals on the track were supplied by Brotherhood Of Man, would you believe!) and under extreme pressure from producer Macleod, who'd written it.

In the Spring of '72, a second single was released, comprising two new tracks not found on the album, "I Really Want It"/"Something That You Loved" - it was playlisted by Radio One and was very nearly an unexpected hit, picking up substantial airplay for several weeks. Lead vocals on this single were supplied by new boy John Gilbert (formerly with Cochise) who had joined Pluto briefly, thus expanding them to a quintet; however, he was destined to stay with them only for around six months, whereupon they carried on in their original format as a four-piece. They continued gigging for another 12 months or so, eventually grinding to a halt in 1973 - as a direct result of the miners' strike! Increasingly disillusioned with turning up at gigs only to find that they had been cancelled due to the three-day week, they finally elected to call it a day following a particularly frustrating gig at the Coventry Poly, during which they suffered a power cut literally hallway through their set.

Having split up, they strayed off in curious directions. Gardner and Worth continued working together briefly as a duo, using the name PM. They toured with Hawkwind and generated some interest principally for a bass-synth unit which Worth had built and which for a few weeks became a topic of considerable interest and speculation in Melody Maker Letters/Equipment columns. However, the liaison ultimately led to nothing, and Gardner eventually drifted out of rock'n'roll and went back to his day job in print (he now works for one of our best-known tabloids), although he has started to get back into songwriting, having recently written a track which has been recorded by Status Quo! Worth returned to the world of used cars - he was last seen with short hair, tuning go-karts for a living and driving a Rolls Royce.

Drummer Jervis went home to his native Warrington and is believed still to be drumming with local bands. Warner is the only one who has maintained links with rock, albeit tenuous links, taking in at various junctures sessions; drifting through various faceless bands, a spell giving guitar lessons, running his own small studio, demonstrating guitars, etc. He's currently very much on an 'up' again, having recently written a series of massive-selling lead guitar instruction manuals, "Alan Warner's Guitar Cook Book", a partwork, which comes complete with flexi-discs demonstrating each lesson.

In hindsight, they had been desperately unlucky with "I Really Want It", which had shown all the early signs of success before tailing off. Perhaps if they'd been allowed to record the live track which they were so desperately keen to do, "Fake It", the highlight of their live set, which they'd found totally impossible to recreate in the studio, then possibly it might all just have turned out differently. But the album, whilst it received several enthusiastic reviews and had been a strong seller amongst their vast legion of loyal fans, was never going to be a chart item: it was given minimal promotion by Pye (just a handful of PAs at sundry record shops), which frankly, ain't the way to break a new band.

In fact, just about the only national publicity they generated was unintentional - they'd been using a cartoon caricature of the Disney character, a drawing of a dog holding a guitar, for publicity purposes. It was also their intention to use this illustration on the cover of the album; however, Disney threatened them with a writ unless they paid an exorbitant fee, to which end they ended up with Pluto the God Of War on the sleeve!

This compilation reissues the original album in its entirety, plus the two tracks which comprised their near-hit single. The material here, written by Gardner & Warner, with the exception of the aforementioned "Rag A Bone Joe", features the bulk of their live set (which they'd broken in on the road well before the sessions for the album, hence the band's comfortable and confident approach to it all!), albeit in a considerably less manic vein than their live performance. Prompting evocative memories of many other heavy rock bands of the era, notably Bad Company, Black Sabbath, even Led Zepp, this stuff still sounds well tasty across the years. The standout is easily "I Really Want It", built on a familiar riff (sounding remarkably like some of the early '70s glam rock stuff, actually), it's easy to see why it picked up the airplay.

Gardner's material (on which he takes the lead vocals) tends to be the more 'up', mainstream rock material: "Down And Out" (with its typically powerful riffing), "Stealing My Thunder" (featuring some tasty slide guitar), "Cross Fire" (which brings to mind early Black Sabbath), and "Bare Lady" (ditto) all being outstanding. Warner's tracks (on which he sings lead) tend to be heavier and more menacing, notably "And My Old Rocking Horse"; "She's Innocent" and "Road To Glory" with their power chords, riffing and liberal use of fuzzbox. A few tracks find them experimenting with vocal harmonies, somewhat in the manner of early ELO: "Mr. Westwood", "Beauty Queen" and "Something That You Loved". And finally, the less said about "Rag A Bone Joe", the better.

So here we have the complete recorded legacy of Pluto, a group who came so close to making it, yet never quite achieved that final breakthrough which makes all the difference. True, they may not merit much more than a stitch or two in the bottom left-hand corner of rock'n'roll tapestry, but they nevertheless left behind a corker of an album, an excellent single and memories of dozens of powerful, raw, atmospheric gigs, which ain't too bad an epitaph, is it!
by J.E Barnes
Tracks
1. Crossfire - 3:15
2. And My Old Rocking Horse (Alan Warmer) - 3:52
3. Down and Out - 3:09
4. She's Innocent (Alan Warmer) - 3:34
5. Road To Glory (Alan Warmer) - 4:24
6. Stealing My Thunder - 3:29
7. Beauty Queen - 3:33
8. Mister West wood - 4:39
9. Rag A Bone Joe (John Macleod, Mike Redway) - 2:53
10.Bare Lady - 4:07
11.I Really Want It - 2:53
12.Something That You Loved (Alan Warmer, Fordbam) - 3:44
13.Rag A Bone Joe (John Macleod, Mike Redway) - 2:38
All songs by Paul Gardner except if else stated.

Pluto
*Paul Gardner - Guitar, Vocals
*Alan Warmer - Guitar, Vocals
*Michael Worth - Bass Guitar
*Derek Jervis - Drums

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Saturday, August 16, 2025

Man - Man (1969 us, brilliand folk bluesy psych rock)



This American “Man” should not be confused with the more popular Welsh band bearing the same name. Supa and Dennis Belline also previously collaborated in another obscure band named Denny Belline and The Rich Kids, releasing an album on RCA in 1966.

Dive into a sonic journey with the album “Man,” a masterful collaboration helmed by the dynamic duo of Supa and Dennis Belline. Crafted under the meticulous eyes and ears of the iconic Bob Johnston, this album stands as a testament to timeless songwriting and visionary production.

Tracks like “Riverhead Jail,” “Brother John,” and “Far too many Changes Came” resonate with an enduring essence, making them as poignant today as they were back in the day. Perhaps you’ve stumbled upon the captivating “Sister Salvation”—a notable favorite, finding its airtime on several progressive rock stations upon the album’s release. The entire project encapsulates an imaginative flair, brilliantly complemented by Supa’s one-of-a-kind vocal prowess.

Yet, despite the album’s undeniable charm and appeal, the group faced internal challenges. The chemistry, though palpable in the music, didn’t translate off-stage. The band’s journey was brief, culminating with this record. However, for vinyl enthusiasts and 60s aficionados, “Man” remains an essential and often overlooked gem. The album’s ethereal cover captures the band members in a dreamlike haze, hinting at the magic contained within.

A side note for the avid listeners: this is not to be mistaken for the Welsh ensemble sharing the same name. Supa, also known as Richard Supa, had prior ties with Dennis Belline in the lesser-known band Denny Belline and The Rich Kids, releasing an album in ’66. Richard Supa’s musical talents extended beyond just this group, venturing into session playing and crafting songs. His iconic “Chip Away The Stone” earned recognition, with big names like Aerosmith and Humble Pie offering their renditions. With four solo albums between 1971-1978, Supa’s musical imprint is undeniable.

As a delightful bonus for Bob Dylan fans, Man’s rendition of “Girl Of The North Country” is truly transformative. Though primarily found on a 45 rpm, it’s a cover that is an auditory delight, reimagining Dylan’s classic with a fresh vibrancy.

This album is not just music; it’s a piece of history. As we reflect upon Man’s captivating melodies, it’s undeniable how their tracks weave together intricate tales of introspection, adventure, and the human experience. From the soulful undertones of ‘Riverhead Jail’ to the uplifting spirit of ‘Sister Salvation’, their music transcends time, inviting listeners of all ages to immerse themselves in their stories. With each play, we’re reminded of the power music holds, and Man’s timeless creations certainly stand as a testament to that.
Vinyl-Bro
Tracks
1. Sleepy Eyes And Butterflies (Gilbert Slavin, Antony Krasinski) - 5:58
2. Riverhead Jail (Richard Supa, Richie Cardenas, Antony Krasinski) - 4:28
3. When Can I Call You Friend (Richard Supa) - 5:05
4. Brother John (Richard Supa) - 4:03
5. Far Too Many Changes Came (Richard Supa, Dennis Belline, Gilbert Slavin, Richie Cardenas, Antony Krasinski) - 8:32
6. Sister Salvation (Dennis Belline, Sandra Belline, Antony Krasinski) - 3:05
7. Camp Of Gypsies (Dennis Belline, Sandra Belline, Gilbert Slavin, Antony Krasinski) - 3:43
8. O, Child In Time (Richard Supa) - 4:51

Man
*Dennis Belline - Rhythm Guitar, Electric Piano, Vocals
*Gilbert Slavin - Organ, Piano, Harpsichord, Flute
*Richard Supa - Lead Guitar, Acoustic Guitar, Vocals
*Richie Cardenas - Bass, Vocals
*Antony Krasinski - Drums, Percussion, Harmonica


Thursday, August 14, 2025

The Third World - America The Beautiful (1971 us, tough acid psych rock)



Third World formed by Paul Alagna (Guitars), Teddy Gray-Bill (Lead Vocals),  from the ashes of the east coast band "Child", a keyboard drivin' psych band, in the vein of Vanilla Fudge, other members were the keyboardist Larry Laufer, previously member of Crazy Elephant (they had the top 20 hit "Gimme Gimme Good Lovin" in 1969), Roger Mansour who played the drums and was part of Leslie West's first group "The Vagrants" (before forming "Mountain") and the Bassist David Watkins.

Of course there's no connection with the Jamaican reggae fusion band that formed in 1973. Here we have acid psych sounds, a little rougher, with sharp anti-war lyrics, a theme of perseverance through hard times of that era. The recordings took place at Electric Lady Studios, New York City.
Tracks
1. Frozen Man (Larry Laufer) - 5:22
2. Blue Rose (Geoffrey Schwartz) - 3:43
3. Steal The Guns - 3:41
4. Hitler Is Alive And Well (In You) (Gerard Kenny) - 6:36
5. Sunshine - 3:53
6. Shot Down - 4:11
7. What's It All About (Larry Laufer) - 4:17
8. All Are Free - 7:17
Songs 3,5,6,8 written by Paul Alagna

The Third World
*Teddy Gray-Bill - Lead Vocals
*Roger Mansour - Drums
*Larry Laufer - Keyboards, Background Vocals
*David Watkins - Bass, Background Vocals
*Paul Alagna - Guitars, Background Vocals

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Wednesday, August 13, 2025

Tapiman - Tapiman (1971 spain, rough hard psych rock, 2012 bonus tracks remaster)



Tapiman was a heavy rock power trio formed in 1970 in Spain, with José María Vilaseca (Tapi) on drums and M. A. Núñez (MAN) on guitar, later joined by Pepe on bass and vocals to form this unusual but powerful album from the Iberian Peninsula. And why unusual? Because it is a missing link in Spanish heavy rock, these bands would end up fading away towards the mid-70s to be reborn in the 2000s with modern bands taking up psychedelia fused with new styles like stoner rock (and no, that doesn't count Spanish heavy metal from the 80s and 90s).

Wrong World begins with that raspy voice characteristic of none other than Jim Morrison in Been Down So Long, the intonation is the same in Pepe's voice and bass while from there the classic form of 70's jam that we so seek in primitive sounds emerges. From the first songs we can find a wild heavy rock differentiated from psychedelia and heavy psych where the guitar work as in Gosseberry Park those guitars with overdub in post-production that give us a sublime preview of what can be achieved on the guitar and what a decade later would be exploited to the fullest: the dual guitars in the NWOBHM.

But what was a heavy rock power trio doing in Spain? As we can see today, every year a handful of obscure bands that never saw the light of day emerge, only from their hometown, just like what's happening now, brothers. Although I must say that the musical quality of yesteryear moves me much more than the modern one. The development of the song "Don't Ask Why" between aggression and rhythm is the unique talent of musicians from those generations. Personally, I look more towards this type of work than modern ones. We modern musicians have a block in our brains that prevents the development of the song. There's fluidity here, as we can see in the superjam in the hands of "MAN" Nuñez, on one track providing the rhythm, and on another, soloing madly with an overdrive or fuzz halfway through, or maybe no damn overdrive at all! But it sounds tremendously HEAVY, pure 70s sound, brothers! Is this what your rehearsal room sounded like? It must have been crazy, the song Practice is about it brothers, the Tapimans making a song about themselves waiting to go to rehearsal!! What must life have been like in Spain in the 70s?

The song "Paris" is sublime, dark, and charming. An instrumental take that visualizes the dark 70s in Paris, where perhaps the Tapi brothers were trapped on a trip, or maybe they wanted to make their own song "Europa" like Santana, but wait! Europa is from 1976, and this is from 1972. Wow, these guys were truly innovators. The similarity in musical form is almost the same, only without Santana's Latin flavor. Here, the song features a tremendous austerity that doesn't diminish the song "Paris," but on the contrary, gives it the dark haze of those small, cobblestone streets of 1972 in that city. What motivated this power trio to compose this song? What can we say about the powerful ballad "Jenny"? Tapi's musicality was misunderstood at the time, just as it always has been.

Driving Shadow is a super jam in the form of a tupa (that is, the future rhythm of hardcore punk) that without knowing it our brothers from Tapi used it to sound fast and aggressive and boy did they achieve it! This song is my favorite of the entire damn album since we can hear how they really sounded live and without following a musical mold, just jamming and playing to what their intuition dictated best. We can hear the natural dynamics throughout the song until it breaks with that drum solo with a phase shift effect as a way of wisely sectioning the song. In what year did those first punk bands come out? 1975? There is no doubt that the true roots of heavy metal, punk, etc. are in psychedelia brothers and obviously the grandparents are the previous blues rock but in a more natural and less noticeable way in these bands in the 80's.

The reissue contains six bonus tracks (four from the same year left out of the original LP, and two from a 7" single released 1973), really tremendous songs that are also stuck and that make me wonder why these bands did not have the merit they deserved among the heavy rock circles? but now it's our turn to unearth these true gems, it's like finding buried treasure, for those who know how to listen this is a truly wonderful sonic treasure with thousands of ideas still to come! What happened to Tapiman? Another album came out in 1979 which we will listen to in due time, but we know nothing about the musicians today, if you know something, write us in the comments!
by Miguel Krieg, May 26, 2022
Tracks
1. Wrong World (Max Sunyer, Pepe Fernández) - 3:15
2. Gosseberry Park (Lluis Cabanach) - 3:54
3. Don't Ask Why (Josep María Vilaseca, Miguel Angel Núñez) - 4:48
4. Practice (Max Sunyer) - 3:22
5. Paris (Josep María Vilaseca, Max Sunyer) - 3:50
6. No Change (Max Sunyer) - 3:02
7. Moonbeam (Max Sunyer) - 3:24
8. No Control (Josep María Vilaseca, Miguel Angel Núñez) - 3:08
9. Jenny (Max Sunyer, Pepe Fernández) - 3:32
10.Driving Shadow (Pepe's Song) (Miguel Angel Núñez, Pepe Fernández) - 7:55
11.Hey You (Josep María Vilaseca, Miguel Angel Núñez, Pepe Fernández) - 3:25
12.Sugar Stone (Miguel Angel Núñez) - 2:59
13.Love Country (Josep María Vilaseca, Max Sunyer) - 4:43
14.Walking All Along the Life (Josep María Vilaseca) - 5:17
15.No es pot tenir el mуn dintre d'un calaix (J. Batista, Josep María Vilaseca) - 2:21
16.Bаrbara (J. Batista, Josep María Vilaseca) - 3:46

Tapiman
*Joaquim "Max" Sunyer - Guitars (Tracks 1-10), Vocals
*Pepe Fernandez - Bass
*Jose Maria Vilaseca "Tapi" - Drums, Vocals
*Miguel Angel Nunez - Guitars (Tracks 11,12)

Sunday, August 10, 2025

Artful Dodger - The Complete Columbia Recordings (1975-77 us, pleasant contemporary rock, power pop, 2017 double disc remaster)



Artful Dodger may have been hurt because they fell in between the Raspberries and Cheap Trick. The band released their first album for Columbia in 1975, just as the Raspberries fell apart, and their last arrived in 1977, the same year Cheap Trick redefined power pop with their debut. So, Artful Dodger existed in the time warp of the mid-'70s, a time when album-oriented rock ruled and punk didn't enter the consciousness of the mainstream. 

They'd release one more album, Rave On, which appeared in 1980, just as power pop was overrun by skinny ties and nervy rhythms -- the fallout of punk. Nothing like that can be heard on The Complete Columbia Recordings, Real Gone's double-disc collection of everything Artful Dodger released during the mid-'70s: their self-titled 1975 debut, 1976's Honor Among Thieves, and 1977's Babes on Broadway, plus the single version of "Can't Stop Pretending." Most of this material hasn't seen a digital release prior to this, but that didn't stop the music from earning a considerable cult following, because it's music that seems to exist out of time. 

Certainly, it feels like the '70s -- the debut and half of Honor Among Thieves were produced by Jack Douglas, who helmed the defining Aerosmith records and Cheap Trick's debut -- and Artful Dodger swing between the effervescent rush of the Raspberries and a tamed version of the Who's arena-filling roar, a sound that's anchored in a free-floating '70s aesthetic not tied to any particular year or trend. This worked against Artful Dodger at the time -- they didn't have anything approaching commercial success -- but as they receded into history, their three records held their period production charms while also revealing the strong songwriting craft at their core. Simply speaking, this is dynamite power pop: big, bold, and melodic, music that favors the power over the pop. Any fan of power pop who listens to "Overnight Sensation," "No Matter What," or "Couldn't I Just Tell You" and wishes all music could sound like this, will find Artful Dodger enthralling. 
by Stephen Thomas Erlewine
Tracks
Disc 1
1. Wayside - 4:21
2. You Know It's Alright - 3:32
3. It's Over - 4:05
4. Follow Me - 3:45
5. Long Time Away - 2:39
6. Think Think - 2:55
7. Silver and Gold (Gary Cox) - 3:22
8. Things I'd Like to Do Again - 3:43
9. Waiting Place - 4:24
10.New York City - 3:08
11.Honor Among Thieves - 4:13
12.Not Enough - 4:01
13.Scream - 5:38
14.Keep A-Knockin (Richard Penniman) - 4:22
All songs by Gary Herrewig, Bill Paliselli except where indicated
Tracks 1-10 from LP "Artful Dodger" 1975
Tracks 11-14 from LP "Honor Among Thieves" 1976
Disc 2
1. Keep Me Happy - 3:42
2. Remember - 3:27
3. Dandelion - 4:18
4. Hey Boys - 2:59
5. Good Fun4:17
6. Scream - 3:12
7. Can't Stop Pretending - 3:52
8. Alright - 3:36
9. Who in the World - 4:45
10.Wave Bye-Bye - 3:24
11.All I Need (Gary Cox, Gary Herrewig, Bill Paliselli) - 3:04
12.Babes on Broadway - 3:20
13.Mistake - 4:10
14.Loretta - 3:41
15.Idi Amin Stomp (Gary Cox, Steve Brigida, Steve Cooper) - 2:56
16.C'mon Everybody (Jerry Capehart, Eddie Cochran) - 2:56
17.Can't Stop Pretending - 2:39
Songs 1,2,4,6,8,12,13,14 written by Gary Herrewig, Bill Paliselli
Songs 3,5,7,9,10,17 written by Gary Cox
Tracks 1-6 from LP "Honor Among Thieves" 1976
Tracks 7-17 from LP "Babes On Broadway" 1977

Artful Dodger
*Steve Brigida - Drums, Percussion
*Steve Cooper - Bass
*Gary Cox - Rhythm Guitar, Background Vocals
*Gary Herrewig - Lead Guitar, Background Vocals
*Bill Poliselli - Lead Vocals
With
*Eric Troyer - Keyboards (Disc 1: Tracks 1,3,6,8, Disc 2: Track 3)
*Luther Rix - Congas (Disc 1: Track 1)
*Jackdaw - Background  Vocals (Disc 1: Tracks 7,9)
*Robin Alexander - Background Vocals (Disc 1: Track 12)
*Edward Leonetti - Harmonium (Disc 2: Track 6)


Saturday, August 9, 2025

Chicken Shack - Crying Won't Help You Now The Deram Years (1971-74 uk, fascinating blues rock, 2022 three disc box set)



The British blues boom of the 1960s was one of those events that turned popular music on its head. Whilst the blues had always been the preserve of black American singers, guitarists and harp players, suddenly a new sound began to emerge, headed up by young white guitarists such as Eric Clapton, Peter Green, Jeff Beck et al. Inevitably, the sound evolved, with the white kids adding a splash of flash, with their fuzz boxes and their wah pedals. Fleetwood Mac stuck more-or-less to a traditional, raw blues format, whilst Beck and John Mayall’s Bluesbreakers, with Clapton on the axe, took the sound into rockier territory, forging a sound that would become blues-rock, the mainstay of a million pub bands. A number of notable acts flew in the slipstream of these megastars; Alvin Lee’s Ten Years After, Kim Simmonds’ Savoy Brown, and Stan Webb’s Chicken Shack to name a few.

Like Savoy Brown, which was basically an umbrella name for Kim Simmonds and whomever he happened to be playing with at the time, Chicken Shack became Stan Webb’s brand name, undergoing any number of line-up changes from their first album in 1967, through to the new millennium. The Shack’s other main claim to fame was as the breakthrough band for a singing piano player named Christine Perfect, who left to join Fleetwood Mac, married their bass player, and became the soft rock sensation Christine McVie.

Singer, songwriter and guitarist Stan Webb, meanwhile, started to move Chicken Shack away from its white-boy blues roots into the blues rock arena, forming a power trio with John Glascock on bass and Paul Hancox on drums, and struck a deal with Deram records. It is their three-album run for Deram that is the focus of this new 3-CD boxed set from the prolific Cherry Red’s Esoteric imprint, entitled Crying Won’t Help You Now – The Deram Years. The first album in the set, the 38-minute Imagination Lady from 1972, is bolstered to 44 minutes by the inclusion of the two cut-down singles Poor Boy and Telling Your Fortune, both of which are also included as full-length numbers on the album. 

It opens with the number Crying Won’t Help You Now, which uses almost the same backing riff as Fleetwood Mac’s Long Grey Mare, but aided and abetted by some mad double-kick drumming and a lot of wah guitar. Webb is a fine guitarist and a great singer, but it can already be heard that he has moved a long way from blues numbers such as See See Baby on the band’s first album. The self-indulgent seventies are also well-represented by the 11-minute full album version of Telling Your Fortune, which morphs from heavy pub blues via an extended drum solo, into a slow blues riff with various rhythm changes as it goes on. This is not to criticise drum solos – in fact Hancox’s rapid-fire hi-hat work is stupendous, and there’s no reason at all why he shouldn’t have his day in the sun – but still, this kind of thing was rarely popular even in the day, and sounds well out of fashion nowadays.

This would be the climax of the album, but for a two-and-a-half minute psychedelic pop song named The Loser which concludes the main set, followed in this edition by the two bonus singles. When Telling Your Fortune is cut down for radio play, it only just breaches two minutes.

Reconvening for the following year’s Unlucky Boy album, Glascock was replaced on bass duties by Bob Daisley, who would become better known for stints with various hard rock acts, notably Uriah Heep, Black Sabbath and Ritchie Blackmore’s Rainbow. Pianist Tony Ashton (later of Paice Ashton Lord) was also drafted in, and the addition of saxophone and strings filled out the sound somewhat. Nevertheless, after a pounding start with You Know I Could Be Right, the bulk of this album is pretty restrained. Prudence’s Party is a jolly instrumental, not unlike Danny Kirwan’s Jigsaw Puzzle Blues for Fleetwood Mac, but Revelation and Too Late To Cry are both as lyrically grim as they come. 

For my money, this set is pretty derivative – the title track dusts down a hackneyed riff that makes it sound too much like Riot In Cell Block Number 9 for comfort, while As Time Goes Passing By is heavily influenced by Fleetwood Mac’s Need Your Love So Bad. Nevertheless, it picks up considerably at the end, with the funky piano of the seven-minute Jammin’ With The Ash, which really starts to rock for the final minute, before fading out, then in again, then back out, in a nice bit of musical theatre. The bonus track He Knows The Rules is a slice of good old-fashioned Chuck Berry style Rock and Roll, while the final track is the single version of As Time Goes Passing By, with a minute knocked off the length of the album version.

The third and final disc puts the whole project in perspective really – a 1974 live album named Goodbye Chicken Shack that ended the band’s tenure with Deram, as Chicken Shack temporarily folded and Webb was drafted into Savoy Brown as a second guitarist, an unexpected outcome that Webb explains at length in the accompanying 24-page booklet. The blues-rock genre seems to be designed for live performance rather than anything else, and this live set puts the others in the shade in some ways. A completely new line-up of Rob Hull on bass, Alan Powell on drums and Dave Wilkinson on piano joined Webb at Brunel University in London for the band’s final hurrah. The performance is cut down to 48 minutes including the encore, and selects a number of classic blues standards alongside some self-penned numbers. 

The record opens with BB King’s Every Day I Have the Blues, which includes band introductions and a lot of audience clap-and-sing-along, making it sound more like a closing number than an opening one. Webb keeps up the good-natured banter throughout, and it builds to a climax with a hard rocking version of Poor Boy, which is the last real number on the album. This is followed by a pretty bizarre cover of a Bert Weedon rock’n’roll instrumental called Guitar Shuffle, then Little Richard’s Tutti Frutti for an encore. There is nothing particularly sophisticated about the set, but regular attendees at 1970s smoky pub gigs will be transported back to a simpler time, helped on their way by some tremendous booklet notes by Mark Powell. And that, perhaps, is the point – it was possible then for a band to transfix an audience without any of today’s technical flash, while also building a platform that later bands would build on. Chicken Shack deserve to be recognised for their contribution to that foundation.
by Graeme Stroud, June 10, 2022
Tracks
Disc 1: Imagination Lady
1. Crying Won t Help You Now (B.B. King, Sam Ling) - 5:09
2. Daughter Of The Hillside - 3:52
3. If I Were A Carpenter (Tim Hardin) - 6:33
4. Going Down (Don Nix) - 3:31
5. Poor Boy - 5:09
6. Telling Your Fortune - 11:10
7. The Lose - 2:37
8. Poor Boy - 4:11
9. Telling Your Fortune - 2:08
All songs by Stan Webb excepr where noted
Disc 2: Unlucky Boy
1. You Know You Could Be Right - 3:48
2. Revelation - 5:13
3. Prudence's Party - 3:13
4. Too Late To Cry (Lonnie Johnson) - 3:09
5. Stan The Man - 4:25
6. Unlucky Boy (Big Mama Thornton, Champion Jack Dupree) - 2:34
7. As Time Goes Passing By - 4:48
8. Jammin' With Ash - 7:04
9. He Knows The Rules (Jimmy McCracklin) - 3:58
10.As Time Goes Passing By - 3:29
All songs by Stan Webb except where stated
Disc 3: Goodbye
1. Everyday I Have The Blues (Peter Chapman) - 5:41
2. Thrill Is Gone (Art Benson, Dale Petite) - 5:42
3. Going Down (Don Nixon) - 5:56
4. You Take Me Down - 5:17
5. Webb's Boogie - 6:13
6. You're Mean (B.B. King, Paul Harris, Jerry Jemmott, Herbie Lovelle, Hugh McCracken) - 6:23
7. Poor Boy - 7:55 
8. Webb's Guitar Shuffle - 3:13 
9. Tutti Frutti (Dorothy LaBostrie, Richard Penniman, Joe Lubin) - 2:28
Songs 4,5,7,8, written by Stan Webb

Chicken Shack
Disc 1: Imagination Lady
*John Glascock - Bass
*Paul Hancox - Drums
*Stan Webb - Guitar, Vocals

Disc 2: Unlucky Boy
*Stan Webb - Guitar, Vocals
*Bob Daisley - Bass Guitar
*Tony Ashton - Piano
*Paul Hancox - Drums, Percussion
*Chris Mercer - Saxophones

Disc 3: Goodbye
*Stan Webb - Guitar, Vocals
*Rob Hull - Bass
*Alan Powell - Drums
*Dave Wilkinson - Electric Piano


Friday, August 8, 2025

Frank Marino And Mahogany Rush - World Anthem (1977 canada, loud and pretty guitar psych rock)



'World Anthem' consisted of all self-penned material. The outstanding cut for many fans was the opening 'Requiem For A Sinner', with its stately, memorable guitar riffing, while 'Hey Little Lover' possessed a slinky, sexy (and, dare one say, Hendrix-y?) charm all its own. But it was the instrumental title track that had special meaning for its composer, who reveals that it was inspired by the 1976 Olympics. He decided to write an anthem for it and submitted it to his label with the lyrics written in many languages. "I kept the music instrumental so it could be sung in all languages, but the record company trimmed off most of the languages when they printed the cover. They said it took too much space ... "

The fact that Columbia left out Russian demonstrated to Marino that they had a different agenda. "Those were the days that Russia was the 'Evil Empire'. I guess they thought it would be too politically incorrect to include that 'Empire" in a call to peace. They even released some copies with the complete lyric sheet conveniently "forgotten" ... I had to fight to get them to put the sheet back in subsequent copies, but I couldn't get Russian included." The mid Seventies were indeed Mahogany Rush's commercial peak. But Marino, then as now a committed Christian, was unprepared to make compromises that would have cemented his success. The 'World Anthem' furore was another straw that broke the camel's back. "It's things like that that finally made me quit the scene."

Columbia also insisted on one Mahogany Rush album a year, a schedule Marino could not support. "I prefer to take whatever time I want and only make an album when I feel like I have something I'd like to record." He was managed by David Krebs, who with partner Steve Leber, also guided the careers of Aerosmith, AC/DC, Ted Nugent, the Scorpions, Def Leppard and Michael Bolton. "David used to tell me that he thought I was more like a novelist than a rock musician, and I agree with that." Not that such an attitude made superstardom more likely ...

The link with CBS would last for seven years and as many albums, with Frank's brother Vince joining the ranks in 1980 on rhythm guitar. But the dual blows of new wave and disco had knocked the stuffing out of the rock market, and, as high as Mahogany Rush had flown as a live act, they were not immune to getting burned. Marino's relationship with Columbia deteriorated and it took two years of legal wrangling to obtain his freedom.
by Michael Heatley, 2008
Tracks
1. Requiem For A Sinner - 6:01
2. Hey Little Lover - 4:51
3. Broken Heart Blues - 4:55
4. In My Ways - 6:13
5. The World Anthem - 3:09
6. Look At Me - 4:07
7. Lady - 4:38
8. Try For Freedom - 11:28
All songs by Frank Marino

Personnel
*Frank Marino - Vocals, Guitar, Synthesizer, Percussion, Timpani
*Paul Harwood - Acoustic, Electric Bass
*Jimmy Ayoub - Drums, Percussion
*Phil Bech - Synthesizer (Track 7)


Tuesday, August 5, 2025

Kevin Ayers - The Harvest Years (1969-74 uk, a unique blend of psych, avant-garde, and songwriting talent, 2012 five disc box set remaster)



The Soft Machine, not long after recording their first album and touring America, began breaking up -- just the first in a long series of personnel changes and subsequent new directions that formed one of art rock's winding sagas of the '70s. Kevin Ayers was the first to leave, mostly because of that American tour, and he soon became one of the first acts to release music on Harvest, a new progressive label from EMI that promised to offer the best and brightest in the new vanguard of British rock. 

Ayers recorded and released five albums over the next five years, all of which appear on separate discs of The Harvest Years 1969-1974, and each of which comes with bonus tracks (most of them entertaining BBC sessions). Ayers was quite the chameleon during this time, beginning with a set of psychedelic-pop whimsy akin to Syd Barrett (Joy of a Toy) but soon detouring into free-form epic prog (Shooting at the Moon, with young hotshot guitarist Mike Oldfield), and later arriving at a surprisingly straight-ahead vision of bluesy pop (Bananamour). 

The set offers the albums in the best sound they've ever been heard, and the bonus tracks are excellent as well. The unavoidable caveat comes, though. Why not include all the bonus tracks from previous editions, especially when they include a track actually recorded with Syd Barrett? (That would be "Religious Experience (Singing a Song in the Morning)," available on the 2003 Joy of a Toy reissue.) Quibbles aside, this is a hugely entertaining set from one of art rock's most beguiling figures. 
by John Bush
Tracks
Disc 1
 1. Joy Of A Toy Continued - 2:54
 2. Town Feeling - 4:51
 3. The Clarietta Rag - 3:20
 4. Girl On A Swing - 2:50
 5. Song For Insane Times - 4:01
 6. Stop The Train (Again Doing It) - 6:06
 7. Eleanor's Cake (Which Ate Her) - 2:54
 8. Lady Rachel - 5:18
 9. Oleh Oleh Bandu Bandong - 5:35
 10.All This Crazy Gift Of Time - 3:53
 11.Singing A Song In The Morning (Single Version) - 2:56
 12.Clarence In Wonderland - 4:53
 13.Stop This Train - 5:48
 14.Why Are We Sleeping (Kevin Ayers, Mike Ratledge, Robert Wyatt) - 8:52
 15.You Say You Like My Hat - 3:14
All compositions by Kevin Ayers except Track #14 
Tracks 1-10 released as Joy of a Toy (Harvest SHVL 763, 1969)
Bonus Tracks 11-15
Track 11 released as Harvest single A-side HAR 5011, 1969
Tracks 12-15 from BBC Top Gear Session, recorded 10 February 1970 for BBC Radio 1 at BBC Maida Vale Studios
Disc 2
 1. May I? - 4:02
 2. Rheinhardt And Geraldine / Colores Para Delores - 5:41
 3. Lunatics Lament - 4:54
 4. Pisser Dans Un Violon - 8:03
 5. The Oyster And The Flying Fish - 2:37
 6. Underwater - 3:54
 7. Clarence In Wonderland - 2:06
 8. Red Green And You Blue - 3:53
 9. Shooting At The Moon - 5:50
 10.Butterfly Dance - 3:44
 11.Puis Je? - 3:40
 12.Gemini Child - 3:14
 13.The Lady Rachel - 6:21
 14.Shooting At The Moon - 3:17
 15.Derby Day - 3:07
 16.The Interview - 0:58
 17.We Did It Again / Murder In The Air 11:39
All tracks written by Kevin Ayers
Tracks 1-9 released as Shooting At the Moon (Harvest SHSP 4075, 1970)
Bonus Tracks 10-17
Tracks 10-11 released as Harvest single HAR 5027, 1970
Tracks 12-14 BBC Alan Black Session, 20 May 1970, recorded for BBC Radio 1 at Playhouse Theatre, London
Tracks 15-17 BBC Top Gear Session, 9 June 1970
Disc 3
 1. There Is Loving/Among Us/There Is Loving - 7:23
 2. Margaret - 3:20
 3. Oh My - 3:00
 4. Song From The Bottom Ofa Well - 4:37
 5. Whatevershebringswesing - 8:13
 6. Stranger In Blue Suede Shoes - 3:25
 7. Champagne Cowboy Blues - 3:59
 8. Lullaby - 2:12
 9. Stars - 3:31
 10. Fake Mexican Tourist Blues - 4:39
 11. Lunatic's Lament - 4:29
 12. Oyster And The Flying Fish - 3:02
 13. Butterfly Dance - 3:37
 14. Whatevershebringswesing - 7:45
 15. Falling In Love Again - 3:26
 16. Queen Thing - 0:53
Music and Lyrics by Kevin Ayers
Tracks 1-8 released as Whatevershebringswesing (Harvest SHVL 800, 1972)
Bonus Tracks 9-16
Track 9 released as Harvest single B-side HAR 5042, 1971
Track 10 from Odd Ditties (Harvest SHSM 2005, 1976)
Tracks 11-16 BBC Bob Harris Session, 17 May 1972, recorded for BBC Radio 1 at Aeolian Hall
Disc 4
 1. Don't Let It Get You Down - 4:05
 2. Shouting In A Bucket Blues - 3:45
 3. When Your Parents Go To Sleep - 5:47
 4. Interview - 4:43
 5. International Anthem - 0:44
 6. Decadance - 8:05
 7. Oh! Wot A Dream - 2:49
 8. Hymm - 4:35
 9. Beware Of The Dog - 1:28
 10.Connie On A Rubber Band - 3:00
 11.Caribbean Moon - 3:05
 12.Take Me To Tahiti - 3:37
 13.The Interview - 5:20
 14.Oh! Wot A Dream - 2:44
 15.Shouting In A Bucket Blues - 3:47
All Words and Music by Kevin Ayers except  /Among Us/ written by David Bedford
Tracks 1-9 released as Bananamour (Harvest SHVL 807, 1973)
Bonus Tracks 10-15
Track 10 released as Harvest single B-side HAR 5064, 1972
Tracks 11-12 released as Harvest single HAR 5071, 1973
Tracks 13-15 BBC Bob Harris Session, 11 April 1973
Disc 5
 1. Day By Day - 3:51
 2. See You Later - 0:28
 3. Didn't Feel Lonely Till I Thought Of You - 4:10
 4. Everybody's Sometime And Some People's All The Time Blues - 3:08
 5. It Begins With A Blessing / Once I Awakened / But It Ends With A Curse - 8:18
 6. Ballbearing Blues - 0:56
 7. Part One: Irreversible Neural Damage - 4:43
 8. Part Two: Invitation - 1:12
 9. Part Three: The One Dance Chance - 7:49
 10.Part Four: Doctor Dream Theme - 5:12
 11.Two Goes Into Four - 1:41
 12.The Up Song - 3:17
 13.After The Show - 2:36
 14.Thank You Very Much - 3:01
 15.Another Whimsical Song - 0:23
 16.The Lady Rachel - 3:53
 17.Stop This Train - 6:12
18.Didn't Feel Lonely Until I Thought Of You - 4:36
All songs by Kevin Ayers
Tracks 1-11 released as The Confessions of Dr. Dream and Other Stories (Island Island ILPS 9263, 1974)
Bonus Tracks 12-18
Track 12 released as Island single A-side WIP 6194, 1974
Tracks 13-14 released as Island single WIP 6201, 1974
Tracks 15-18 BBC John Peel Session, 9 July 1974. Recorded for BBC Radio One's John Peel Show at Langham Studio on 9 July 1974

Personnel
Disc 1
*Kevin Ayers - Guitars, Bass, Melodica, Harmonica, Vocals
*Robert Wyatt - Drums
*David Bedford - Piano, Mellotron, Arranger
*Mike Ratledge - Organ
*Hugh Hopper - Bass (1, 5)
*Paul Buckmaster - Cello
*Jeff Clyne - Double Bass (2, 7)
*Rob Tait - Drums (Tracks 6, 9)
*Paul Minns - Oboe
*Syd Barrett - Guitar (Track 14) 
*Richard Sinclair - Bass (Tracks 11, 14, 16)
*Richard Coughlan - Drums (Tracks 11, 14, 16)
*David Sinclair - Organ (Tracks 11, 14, 16)
*The Ladybirds - Backing Vocals (Tracks 11, 14, 16)

Disc 2
*Kevin Ayers - Guitar, Bass, Vocals
*David Bedford - Organ, Piano, Accordion, Marimbaphone, Guitar
*Lol Coxhill - Saxophone, Zoblophone
*Mike Oldfield - Bass, Guitar And Vocal
*Mick Fincher - Drums, Percussion, Bottles & Ashtrays
*The Whole World Chorus - Backing Vocals
*Bridget St. John - Vocals (Track 5)
*Robert Wyatt - Vocals (Track 2)

Disc 3
*Kevin Ayers - Vocals, Guitar, Bass (Track 6)
*David Bedford - Keyboards, Orchestral Arrangements
*Mike Oldfield - Bass (Tracks 1,3-5), Guitar (Tracks 5,7,9)
*Dave Dufort - Drums (Tracks 1,4-5)
*William Murray - Percussion (Tracks 2-3,7)
*Tony Carr - Drums (Tracks 6,12)
*Robert Wyatt - Harmony Vocals (Track 5)
*Didier Malherbe - Saxophone (Track 1), Flute (Track 8)
*Gerry Fields - Violin (Track 3)
*Johnny Van Derrick - Violin (Tracks 2,7)
*Bruce Malamut - Flugelhorns (Track 1), Incidental Brass (Tracks 1-2,5-6,8,12)

Disc 4
*Kevin Ayers - Guitar, Vocals
*Archie Legget - Bass, Harmony Vocals, Lead Vocal (Track 3)
*Eddie Sparrow - Drums
*Steve Hillage - Lead Guitar (Tracks 2,6)
*Mike Ratledge - Organ (Track 4)
*Robert Wyatt - Harmony Vocal (Track 8)
*David Bedford - Orchestral Arrangement (Track 9)
*Howie Casey - Tenor Saxophone
*Dave Caswell - Trumpet
*Tristan Fry - Cymbal
*Lyle Jenkins - Baritone Saxophone
*Ronnie Price - Piano
*Barry St. John, Liza Strike, Doris Troy - Backing Vocals

Disc 5
*Kevin Ayers - Guitars, Vocals; Piano, Organ (Track 7)
*Mark Warner - Electric Guitar (Tracks 1,3,5,10), Acoustic Guitar (Tracks 2,7)
*Sam Mitchell - Electric Guitar (Tracks 1,3-4)
*Ollie Halsall - Electric Guitar Solo (Track 3)
*Cal Batchelor - Electric Guitar (Track 4)
*Mike Oldfield - Electric Guitar Solo (Track 4)
*John Perry - Bass (Tracks 1-3,5)
*John Gustafson - Bass (Track 8)
*Trevor Jones - Bass (Track 9)
*Michael Giles - Drums (Tracks 1-3,5,7-10)
*The G'Deevy Ensemble - Percussion (Track 1)
*Ray Cooper - Percussion (Tracks 2,9)
*Henry Crallan - Piano (Track 4)
*Rupert Hine - Keyboards (Tracks 5-10)
*Mike Moran - Piano (Track 5)
*Steve Nye - Organ (Track 5), Electric Piano (Track 8)
*Mike Ratledge - Organ (Track 9)
*Lol Coxhill - Alto Saxophone (Track 5)
*Nico - Vocals (Track 7)
*Doris Troy, Rosetta Hightower, Joanne Williams - Backing Vocals (Tracks 1,3)
*Sean Milligan - Backing Vocals (Track 2)
*Hulloo Choir - Backing Vocals (Tracks 5,10)

Sunday, August 3, 2025

Artful Dodger - Artful Dodger (1975 us, warm, melodic, passionate power pop soft rock)



Emerging from a vibrant musical backdrop, Artful Dodger initially graced the scene as “Brat”. With the ensemble of Gary Herrewig, Billy Paliselli, Gary Cox, Robb Michael Inglis, and Steve Brigida, this group showed promise right from the beginning. The bass reverberations that you might associate with tracks like “Not Quite Right” and “New York City” were from none other than Inglis, who, by 1974, had handed the baton to Steve Cooper.

The energy in “Long Time Away” captures attention, not only for its rhythmic lure but also for the band’s decision to re-record it with a peppier tempo, adding a dash more pop to its feel. It was Gary Cox’s journey to the Big Apple with a demo tape that marked a significant twist in their tale. This tape charmed the Leber-Krebs management firm, laying the path straight to Columbia Records. A union with Jack Douglas as the producer birthed their debut, self-titled album in September 1975. A name change was in order, with ‘Brat’ already taken, thus, Artful Dodger became their new identity.

Following their debut, “Honor Among Thieves” hit the stands in 1976. While it showcased a compelling power ballad “Scream”, it couldn’t replicate the success of its predecessor. However, the summer of that year was memorable as Artful Dodger shared the stage with the iconic band, KISS. Yet, the winds of change were blowing, and by their “Babes On Broadway” album in 1977, changes in lineup were evident, and commercial success was elusive.

Fast forward to the early 80s, and the band saw the exit of Paliselli. This departure didn’t deter Cooper and Brigida, who teamed up with Jeff Smith from Washington DC, and to this day, entertain as the Band of Steves. Meanwhile, Peter Bonta showcased his prowess behind the glass window of a studio, working on various projects and collaborating with notable artists like Mary Chapin Carpenter.

In a heartwarming turn of events, the dawn of the 90s witnessed an Artful Dodger reunion in Cleveland, marking the 25th anniversary of the Cleveland Agora. Their music found its way back to fans, with several reissues of their classic albums in the subsequent years. A noteworthy nod to their impact came with the celebration of the Cleveland Agora’s 40th anniversary, where they once again enthralled audiences.

While the band’s legacy remains etched in the annals of rock history, it’s essential to remember the contributions of each member. Tragically, in 2012, Gary Cox, one of the original guitar maestros of the band, passed away. Yet, the spirit of Artful Dodger persists, as they continue to engage with fans online, reminding everyone of the timeless nature of their music.

From the vast expanse of musical galaxies, Artful Dodger’s self-titled album doesn’t just shine—it dazzles with the luminosity of a cosmic event. The craftsmanship poured into the songwriting is evident in every track; not a single filler in sight, only premium musical content. What sets Artful Dodger apart is their enviable musical prowess—a skill level that many contemporaries could only aspire to reach.

Their repertoire seamlessly transitions between robust hard rock rhythms and soulful ballads, each infused with irresistible hooks that linger. One of the album’s defining characteristics is the rich vocal harmonies. They serve as a harmonious backdrop to the raw, earthy vocals of lead singer, Billy Paliselli, creating a balance that’s both powerful and melodious.

Yet, in the whirlwind of mid-70’s music trends and shifts, this gem somehow slipped through the cracks. But that’s the thing about timeless treasures—they always find their way back to the spotlight. Whether you’re a seasoned music enthusiast, a budding collector, or just someone with an ear for great rock, do yourself a favor: dive into the world of Artful Dodger’s debut. It’s not just an album; it’s an experience, waiting to be rediscovered.

Immersing ourselves in the nostalgic sounds of the 70s, the self-titled debut album by Artful Dodger emerges as a shimmering beacon amidst the rock anthems of the time. Each track, meticulously crafted, encapsulates the very essence of a musical decade where emotions ran deep and melodies were infectious. As we traverse this sonic landscape, we’re invited to relive the captivating moments and unique artistry that made this era unforgettable. From the impassioned guitar riffs to the evocative lyrics, prepare to be taken on a musical journey that celebrates the rich tapestry of 70s rock.

In the vast universe of 70s rock, Artful Dodger’s self-titled debut holds its own as a luminous gem, embodying the raw passion and unbridled energy that defined the era. From impeccable songwriting to harmonic crescendos, it’s an album that seamlessly bridges the past and present, inviting listeners of all generations to revel in its timeless allure. Whether you’re a rock aficionado or a curious explorer, this album stands as a poignant reminder of the golden age of rock ‘n’ roll and the undying spirit of music that resonates, inspires, and captivates. Dive into the world of Artful Dodger and let the music rekindle that fiery passion within.
VinylBro
Tracks
1. Wayside - 4:26
2. You Know It's Alright - 3:34
3. It's Over - 4:06
4. Follow Me - 3:44
5. Long Time Away - 2:38
6. Think Think - 2:56
7. Silver And Gold - 3:23
8. Things I'd Like To Do Again - 4:51
9. Waiting Place - 4:34
10.New York City - 3:05
All songs by Bill Paliselli, Gary Herrewig except track #7 written by Gary Cox

Artful Dodger
*Steve Brigida - Drums, Percussion
*Steve Cooper - Bass
*Gary Cox - Rhythm Guitar, Background Vocals
*Gary Herrewig - Lead Guitar, Background Vocals
*Bill Poliselli - Lead Vocals
With
*Eric Troyer - Keyboards (Tracks 1,3,6,8)
*Luther Rix - Congas (Track 1)
*Jackdaw - Background  Vocals