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Tuesday, April 15, 2025

Terry Reid - The Other Side of The River (1973 uk, fascinating acid psych bluesy rock with unreleased material, 2016 digipak remaster)



British musician Terry Reid is a relatively unsung legend. With his incredible voice (that earned him the nickname “Superlungs”), spot-on songwriting, and underrated guitar skills, Reid invented new sounds and others followed suit. His 1973 LP, River, is an under-the-radar but deeply loved album. Our special new release, The Other Side Of The River, features all previously unreleased material from the River sessions, including six never-before-heard Reid compositions and five very different alternate takes of tracks from River.

Over the decades, as River went in and out of print, there were rumors of a mythological double album’s worth of unreleased material. The rumors turned out to be true, as the entire album was recorded twice: once with British producer Eddy Offord and again with the legendary Tom Dowd. The sessions captured Reid’s free-associative mix of folk, blues, rock, jazz, bossa-nova, soul, and samba, recalling at times Tim Buckley and Van Morrison, while featuring some remarkable guests including Gilberto Gil on percussion, Ike & Tina Turner’s Ikettes on vocals, and David Lindley, of psych band Kaleidoscope, on violin.

The Other Side Of The River includes songs that even Terry had forgotten – rockers in the style of the River track “Dean,” Latin grooves with percussionist Willie Bobo, and beautifully sparse vocal material not unlike David Crosby’s If Only I Could Remember My Name and John Martyn’s Solid Air.

Reid’s vocal prowess earned him offers to front both Led Zeppelin and Deep Purple, but he turned down both opportunities to carve out a distinctive solo career. Instead, he rocked on the sidelines, ultimately touring with Cream and Fleetwood Mac, writing songs for CSNY, and opening for The Rolling Stones on their 1969 tour. More recently, Terry’s songs have been covered by a number of younger artists including the Raconteurs, and his voice can be heard on DJ Shadow’s track “Listen”. This spring he will be touring the East Coast and U.K. Though his “superlungs” would have no doubt served Zepp well, perhaps his solo status allowed him to be more experimental and nuanced than he would’ve been able to be as a mainstream frontman, and for that we are grateful. The Other Side Of The River stands alone as a fresh and utterly groundbreaking Terry Reid gem.
LITA
Tracks
1. Let's Go Down - 6:51
2. Avenue (F# Boogie) - 6:04
3. Things To Try - 6:30
4. Country Brazilian Funk - 9:14
5. River - 5:55
6. Listen With Eyes - 3:48
7. Anyway - 5:46
8. Celtic Melody - 1:54
9. Funny - 8:06
10.Late Night Idea - 2:22
11.Sabyla - 5:33
All compositions by Terry Reid

Personnel
*Terry Reid - Guitar, Vocals
*Leo Miles - Bass
*Conrad Isidore - Drums
*David Lindley - Steel Guitar, Slide Guitar, Electric Guitar
*Willie Bobo - Percussion


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Monday, April 14, 2025

Billy Gray - Feeling Gray? (1972 uk / italy, primo blues classic rock, with prog touches, 2010 remaster)



It's 1972. Prog has been a reality for a couple of years, but the counterculture is already knocking at the door with its hard, self-conscious sound. Meanwhile, the epigones of post beat and psychedelia are playing their last cards of trustworthiness because from the following year on, that kind of proposal will be less and less accepted by an increasingly militant and less compassionate public. It is therefore in time William Gray, aka Bill, better known as the guitarist of Trip to place for Polydor his first blues rock album “Feeling Gray” which, however, despite the undoubted quality of the product, will not give him much satisfaction. 

Bill was born in Kilmarnock, Scotland, in 1947 and at not even 20 years of age already had on his resume a successful 45 recorded for Philips as guitarist for the Anteeks: “I Don't Want You” / “Ball and Chain,” now priced at about 290 pounds. 

Settling in London in the spring of 66, he joined David Bowie's The Buzz as a replacement for guitarist John Hutchison, and with them recorded a demo of the single “I dig everything” written by Bowie himself. In The Buzz's version, however, the song never saw the light of day having left then-producer Tony Hatch dissatisfied and he fell back on studio musicians for the release. 

The Buzzes nevertheless continued to accompany Bowie live for four more months before the reef, but in September they had to give up on Bill Gray of all people, lured by a tempting offer from our own Ricky Maiocchi, then sojourning in London in search of musicians.

Maiocchi, by the way, had already recruited on bass one Arvid Andersen, a quirky beatnik of Scandinavian descent, and a young guitarist of good hope named Ritchie Blackmore, a longtime friend of Arvid's from the days when they were part of first Neil Christian's Crusaders, then Screamin Lord Sutch & The Savages, and finally the Three Musketeers.

 Thus, they lacked a drummer, later found in the figure of Ian Broad (formerly a militant in Rory Storm & The Hurricanes with whom Ringo Starr also played) and another guitarist, who was indeed William Gray. And so, here Maiocchi and the Trip began their Italian adventure. 

Maiocchi, however, is very centralizing, and Blackmore, who often steals his thunder, does not like the former Chameleon's constant calls for calm. Ian Broad then turns out to be wretchedly undisciplined and scurrilous. After just three weeks Blackmore and Broad leave, the Trips abandon Maiocchi, recruit Sinnone and Vescovi, and proceed on their way. 

Bill Gray, for his part will stay with them for two albums, The Trip and Charon, and then he too will drop out due to supposed differences with Vescovi who, some say, apparently was not exactly a model of democracy. Others murmur instead that Vescovi and Andersen were unhappy with the idea that Gray was working on solo material, but that is part of the gossip. 

The fact remains that Billy leaves, a year later he meets former Rokes Shel Shapiro, and before long he is at Regson Studios in Milan recording with four other musicians (including Gian Luigi Pezzera and Shapiro himself) his “Feeling Gray?” nine tracks, half an hour long.

 Musically there is not much to say about it: nothing prog, nothing innovative, so really nothing earth-shattering, but on the other hand a very pleasant record, very well played, polished and never banal despite the fact that it is evidently Anglophone blues rock. Between the grooves the experience of the musicians shines through, and even if we wanted to mistakenly consider it a filler or worse an exercise in style it is really worth a listen. Thus, if only and only for the sheer pleasure of the music. And also to evoke once again the great spirit of William, who left really too soon.

The album contains nine tracks, all sung in English, composed by Gray himself, who passed away in 1984.
by John Nicolò Martin
Tracks
1. Harleytown - 3:27
2. Leavin' A Big Town - 3:04
3. Summer Nights - 3:16
4. Falling Off The Edge - 3:06
5. Midnight Swinger - 3:27
6. Writing On The Wall - 3:42
7. Borderline - 3:41
8. Ann - 2:39
9. Blue / Gray - 5:49
All Music and Lyrics by Billy Gray

Musicians
*Billy Gray - Lead Vocal, Lead Guitar, Acoustic Guitar, 12 String Guitar, Slide Guitar
*Adalberto Andreozzi - Guitar
*Roby Favero - Bass
*Gaby Moschini - Drums, Percussion
*Gian Luigi Pezzera - Piano
*Shel Shapiro - Rhythm Guitar, Keyboards

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Sunday, April 13, 2025

Bill Quateman - Bill Quateman (1973 us, magnificent folk rock, 2000 remaster)



Bill Quateman (born November 4, 1947, Chicago, Illinois) is an American singer-songwriter. Quateman released four albums in the 1970s and charted with the single “Only Love”, which reached No. 86 on the Billboard Hot 100 in 1973.

He started his music career as a singer/songwriter during the 70’s folk music era in Chicago. His first record deal in 1972 was with Clive Davis at Columbia. The album was successful, with two fairly big hits. While working on his second album, the Clive Davis scandal hit Columbia. The new management wanted to go into a different direction than Quateman. He got dropped from Columbia.

He was picked up by RCA years later. The success of the first album couldn’t be recreated. The next three albums did well enough, but not nearly as well as his first. The three albums were heavily produced. His first album was sparse and fit the definition of that singer/songwriter era, the next three were more corporate of the time. Quateman temporarily retired from the music industry to raise his children.

In the 2000s, he reemerged to perform publicly for a brief period. He released the 1973 album (in theory his second album) he worked on at Columbia, and two more albums. He published a book based on raising his daughter as a single parent. He became a health coach and eventually founded a Natural Medicine Company. He is currently the International Director of Advanced Bio Cell.
Tracks
1. My Music - 4:09
2. Circles - 3:58
3. Only Love - 3:02
4. Keep Dreaming - 4:40
5. Only The Bears Are The Same - 3:10
6. Get It Right On Out There - 6:03
7. What Are You Looking For - 4:54
8. Your Love Can Make It Real - 4:57
9. Too Many Mornings - 4:30
Words and Music by Bill Quateman

Personnel
*Bill Quateman - Vocals, Guitar, Piano
*Tom Radtke - Drums
*Sid Sims - Bass
*Clive Anstee - Cello
*Ken Ascher - Keyboards
*Jeffery Brown - Cor Anglais
*Ray Copper - Percussion
*Lesley Duncan - Background Vocals
*Davey Johnstone - Guitar
*Paul Keogh - Guitar
*Caleb Quaye - Guitar
*Denny Seiwell - Drums
*Liza Streik - Background Vocals

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Friday, April 11, 2025

Dave Loggins - Apprentice (In A Musical Workshop) (1974 us, wonderful country soft rock, 2006 reissue)



Kenny Loggins' second cousin hit the big time for a couple of months in 1975 with "Please Come to Boston," a serviceable and sentimental soft rock gem from his second album, Apprentice (In a Musical Workshop). Part of the lexicon of harmless '70s singer/songwriters like Dan Fogelberg and James Taylor, Dave Loggins never again regained the momentum spawned by that track, but its appearance on nearly every AM pop compilation illuminates the tune's timelessness. While the rest of Apprentice doesn't deviate from the warm, dull tones of the single -- even the full-on "My Father's Fiddle" and "Girl from Knoxville" sound like the Band-lite -- it's an expertly crafted slice of commercially made diner pie that resonates squarely in the moment and vanishes two steps out of the door. 
by James Christopher Monger
Tracks
1. Someday - 3:26
2. My Lover's Keeper - 3:21
3. Second Hand Lady - 3:03
4. Let Me Go Now - 3:00
5. So You Couldn't Get To Me - 2:57
6. Please Come To Boston - 4:07
7. Girl From Knoxville - 2:54
8. Sunset Woman - 5:06
9. My Father's Fiddle - 4:52
10.Wonder'n As The Day Goes By - 3:15
All songs by Dave Loggins

Musicians 
*Dave Loggins - Acoustic Guitar, Vocals
*Jerry Carrigan - Drums
*John Guerin - Drums
*Kenny Malone - Drums 
*John Raines - Drums
*Larry London - Drums
*Norbert Putnam - Bass 
*Lee Sklar - Bass
*Shane Keister -  Keyboards, Moog Synthesizer, Piano
*William Smith - Piano
*David Briggs - Piano
*Steve Gibson - Lead Acoustic, Electric Guitar
*Billy Sanford - Electric Guitar
*Mike Noble - Acoustic Guitar
*Mac Gayden - Electric Guitar
*Johnny Gimble - Fiddle
*Byron Bach - Cello
*Al Deleonibus - Accordian
*Weldon Myrick - Steel Guitar
*Shane Keister - Moog
*Farrell Morris - Percussion
*Brenda Gordon - Backing Vocals
*Pat Coulter - Backing Vocals
*Brooks Hunnicutt - Backing Vocals

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Thursday, April 10, 2025

Atomic Rooster - In Hearing Of (1971-72 uk, tremendous hard psych prog rock, 2004 remaster and expanded, 2016 japan SHM remaster)



In Hearing Of Atomic Rooster is a remarkable album, but not for the most obvious reasons. On first listen, it’s a heavy psych-prog album by a band centred around former Crazy World of Arthur Brown organ-botherer Vincent Crane and the band’s only album featuring the vocal talents of former Leaf Hound vocalist Peter French (who would later release a solo album with the wonderful title Ducks in Flight), but that’s not the most remarkable thing about it. What is remarkable is that it was recorded by a band that didn’t actually exist.

The initial sessions for the album were recorded with vocalist and guitar wrangler John Cann and drummer Paul Hammond, both of whom left the band shortly before or after French joined (various sources contradict each other on when exactly this was). Crane then wiped a lot of Cann’s guitar work from the album, opting for more emphasis on his piano and organ work. Cann’s sterling fretwork wizardry is all over In Hearing Of Atomic Rooster, so who knows what great stuff was wiped after he’d left the sessions – Chances are we’ll never know because neither Crane or Cann are still with us, having passed away in 1989 and 2011 respectively. Hammond also passed away in 1992, but unlike Cann, his musical contribution to the album was undiluted, in fact his drumming is a major feature throughout.

Stars of the show though are Crane and French, with Atomic Rooster’s lynchpin being an organ-grinding marvel and Crane possessing one of the greatest rock yelps the vast majority of rock fans never heard. Crane and French finished the album together utilising what Hammond and Cann had left behind (one can only imagine that neither of them could afford legal representation at the time, or the split was considerably more amicable than average) and despite all the odds, it was a strong album, boasting eight tracks, two of which, “A Spoonful of Bromide Helps the Pulse Rate Go Down” and “The Rock” are oddly enjoyable instrumental work outs. It is Cann’s vocals, not French’s on the sinuous “Black Snake”, but it doesn’t jar the listener, indeed his vocals suit the song far better than French’s more histrionic voice would have done, so it’s evident that Crane was being careful not to throw the baby out with the bathwater.

With great heavy-prog tunes like “Breakthrough”, “Break the Ice” and “The Price” dotted throughout, In Hearing Of Atomic Rooster is one of those albums that deserves wider recognition by fans of 70s rock. It’s well paced, doesn’t outstay it’s welcome and despite it’s tortured genesis, the musicianship is top-notch throughout. If there is one way it could be improved, maybe I would have sequenced the album so that “Head in the Sky” opened the album with it’s squall of sound, instead of being stuck two third of the way through the album, on the second side. This is a minor quibble though, as In Hearing Of Atomic Rooster is one of those albums ripe for rediscovery for an audience who may want to investigate 70s hard rock beyond the ongoing Led Zeppelin reissue programme.
by Jon Bryan, October 1, 2014
Tracks
1. Breakthrough (Vincent Crane, Pat Darnell) - 6:18
2. Break The Ice (John Cann) - 5:00
3. Decision/Indecision (Vincent Crane, Pat Darnell) - 3:50
4. A Spoonfull Of Bromide (Vincent Crane) - 4:39
5. Black Snake (Vincent Crane, Pat Darnell) - 5:59
6. Head In The Sky (John Cann) - 5:39
7. The Rock (Vincent Crane) - 4:32
8. The Price (Vincent Crane, Pat Darnell) - 5:16
9. Devil's Answer (John Cann) -3:29
10.Breakthrough (Vincent Crane, Pat Darnell) - 7:20
11.A Spoonful Of Bromide (Vincent Crane) - 4:47
Bonus Tracks 9-11 
Track 9 USA Version
Tracks 10-11 BBC In Concert Paris Theatre 27/7/72
Tracks
1. Breakthrough (Vincent Crane, Pat Darnell) - 6:18
2. Break The Ice (John Cann) - 5:00
3. Decision/Indecision (Vincent Crane, Pat Darnell) - 3:50
4. A Spoonfull Of Bromide (Vincent Crane) - 4:39
5. Black Snake (Vincent Crane, Pat Darnell) - 5:59
6. Head In The Sky (John Cann) - 5:39
7. The Rock (Vincent Crane) - 4:32
8. The Price (Vincent Crane, Pat Darnell) - 5:16
9. Devil's Answer (John Cann) -3:29
Bonus Track 9 USA Version

Atomic Rooster
*Vincent Crane - Hammond Organ, Keyboard, Bass, Piano, Vocals
*John Du Cann - Guitars
*Pete French - Vocals 
*Paul Hammond - Drums, Percussion 
*Steve Bolton: Guitar (Bonus Tracks)
*Ric Parnell: Drums (Bonus Tracks)


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Wednesday, April 9, 2025

Jesse Colin Young - Songbird (1975 us, beautiful adult soft rock, 2002 remaster)



Buoyed by the positive reaction he received opening Crosby, Stills, Nash & Young's summer 1974 stadium tour, Jesse Colin Young cut another album of attractive, frequently country-tinged music with his usual backup band, in which keyboardist Scott Lawrence and reed player Jim Rothermel had become near collaborators. Young repeated "Josiane" and "Sugar Babe" from his Youngbloods days and took on such unlikely subjects as the plight of Native Americans ("Before You Came"), while his romantic life seemed to be suffering ("Again") and he felt the need to answer his critics ("Slick City"). But his pleasure in playing music remained contagious, especially on the title track, and his fans responded, making Songbird his highest-charting album ever.
by  William Ruhlmann

Jesse Colin Young, the frontman and co-founder of the seminal Sixties group the Youngbloods, died Sunday, March 16th 2025. He was 83.

Young relaunched his solo career and released a string of successful albums through the Seventies, including 1973’s Song for Juli and 1975’s Songbird. He was also part of the “No Nukes” concert series, with his rendition of “Get Together” featuring on the triple live album that included performances from the 1979 shows at Madison Square Garden.  

Young’s recorded output slowed a bit in the Eighties and Nineties, but he remained busy and even co-founded his own label, Ridgetop Music, with his wife Connie in 1993. In 2012, a Lyme’s disease diagnosis forced Young off the road, but he turned to YouTube to share performances and document his recovery. He returned to the stage in 2016 and released what would be his final album, Dreamers, in 2019. 
by Jon Blistein, March 17, 2025
Tracks
1. Songbird - 4:05
2. Before You Came - 5:58
3. Daniel - 4:33
4. Josianne - 3:31
5. Again - 4:11
6. Slick City - 3:25
7. 'Til You Come Back Home - 3:34
8. Sugar Babe - 3:28
9. Motorhome - 2:50
All compositions by Jesse Colin Young

Personnel
*Jesse Colin Young - Guitar, Harmony, Mandolin, Vocals
*Hank DeVito - Pedal Steel Guitar
*Jeff Myer - Drums, Percussion
*Jerry Corbitt - Vocal Harmony, Vocals
*Jim Rothermel - Clarinet, Flute, Saxophone, Wind
*John Tenney - Fiddle, Violin
*Kelly Bryan - Bass
*Peter Welker - Trumpet
*Rev. Ron Stallings - Tenor Saxophone
*Scott Lawrence - Keyboards, Vocal Harmony
*Suzi Young - Harmony Vocals
*Ted Ashford - Horn, Horn Arrangements


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Monday, April 7, 2025

Barry Melton - Bright Sun Is Shining (1970 us, sensational blues rock)



Over fifty years ago, during the “Summer of Love” – 1967 -  Barry “The Fish” Melton celebrated his 20th birthday in June 1967.  A few days later, he and his band, “Country Joe and the Fish,” were rocketed onto the world stage at the Monterey Pop Festival with such luminaries as the Jefferson Airplane, the Mamas and Papas, Otis Redding, Ravi Shankar, Simon and Garfunkel, the Who and a relatively unknown guitarist named Jimi Hendrix. And fifty years ago, in 1969, Barry appeared at the historic festival in Woodstock< New York and also appeared in the movie bearing the same name: “Woodstock.”  During the five years between 1967 and 1971, Barry would tour arenas, concert halls, and stadiums through Europe and North America.  He also launched his first solo effort, a blues/soul album half of which was recorded in New York with members of the Wilson Pickett Band and half of which was recorded in Chicago with a band featuring Donny Hathaway on piano, Morris Jennings on drums and Phillip Upchurch on bass.

Barry began the 1970’s with an album for Columbia Records produced by legendary guitarist Michael Bloomfield, Barry took up part-time residence in the United Kingdom and recorded two albums at Rockfield Studios in Wales; and he toured extensively in the U.K., France and the Netherlands; Barry and ultimately returned home to San Francisco to record his fifth album of the decade.

In the 1980’s, Barry put together San Francisco’s historic supergroup, “Dinosaurs,” featuring Barry and John Cipollina (Quicksilver Messenger Service, guitar), Spencer Dryden (Jefferson Airplane, drums), Peter Albin (Big Brother and the Holding Company, bass), and Robert Hunter (Grateful Dead songwriter, guitar).  Other members of the band later included Merl Saunders and Papa John Creech.  “Dinosaurs” recorded its debut album and opened for Tony Bennett at the 50th Anniversary of the Golden Gate Bridge celebration in 1987.

In the 1990’s Barry’s career as a Public Defender mushroomed, beginning with a stint in the Mendocino County Public Defender’s Office, the Office of the (California) State Public Defender, and an appointment as the Public Defender of Yolo County, California, continuing into the early 21st Century.  During this period, Barry played local venues in San Francisco and he toured annually in such diverse locations as England, France, Scotland, Thailand and Wales.  He also recorded three collaborations with other guitarists including “Dual in the Desert,” with Rich Hopkins of Texas, “Can’t Stop to Boogie,” with Tetuzi Akiyama of Japan and Henry Kaiser of California, and “Revolution Down the Road,” with French guitarist Stéphane Missri and their band, “Jamasutra.”

Today, Barry lives in France half the year and spends the other half in the United States.  In the past couple of years, he’s toured in France, Ireland, the United Kingdom and the United States.
Tracks
1. Third Degree (Eddie Boyd) - 3:57
2. Something You Got (Chris Kenner) - 2:46
3. I Had A Dream (Isaac Hayes, David Porter) - 2:42
4. How Sweet It Is(To Be Loved By You) (Lamont Dozier, Brian Holland) - 3:06
5. Wine, Women, Whiskey (Alexander Lightfoot) - 2:24
6. Son Of Hickory Holler's Tramp (Dallas Frazier) - 3:01
7. You've Got What It Takes (Billy Davis, Berry Gordy, Jr.) - 2:30
8. Georgia On My Mind (Hoagy Carmichael, Stuart Gorrell) - 2:42
9. I've Been In The Darkness (Barry Melton) - 3:13
10.It's A Mean Old World (Otis Rush) - 2:30
11.You've Really Got A Hold On Me (Smokey Robinson) - 2:49
12.The Sun Is Shining (Elmore James) - 2:56

Musicians
*Barry Melton - Guitar, Vocals
*Donny Hathaway - Piano
*Ed Bland - Orchestra Arranger, Conductor
*Gerald Sims - Rhythm Guitar
*Morris Jennings - Drums
*Phil Upchurch - Bass

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Sunday, April 6, 2025

Chris Braun Band - Both Sides (1972 germany, krautrock little gem with soulful female vocals)



The Chris Braun Band, originally formed in Dortmund in 1970 as a rebranding of The Faces, showcased a dynamic blend of blues rock and progressive styles, drawing early comparisons to bands like Frumpy.

Led by Joachim Bernstein, the group initially gained recognition for their energetic live performances across dance schools and clubs throughout Germany. In 1970, vocalist Chris Braun joined the band, prompting a shift in their sound with the addition of Elmar Krohn on flute. The band’s achievements included a notable finish at the German Beat Festival in Recklinghausen. Despite limited commercial success, their recordings, including the acclaimed album ‘Both Sides’ (1972) on BASF, received critical praise for its musical depth and Braun’s distinctive vocal style. Over the years, the band underwent several lineup changes and stylistic shifts, contributing to the evolving landscape of German rock music until their dissolution around 1984.

The Chris Braun Band debut album ‘Both Sides’ won the German Record Award for Best New Artist in its release year. The award ceremony took place at the Mozarteum in Salzburg. On that occasion, the Chris Braun Band also performed there. Looking back, that was certainly one of the most spectacular moments in the band’s history for the Chris Braun Band.
by Klemen Breznikar
Tracks
1. Town Of Children`s Blocks - 5:00
2. Comfort Me In Hell - 2:13
3. Untrue World - 2:14
4. Magical Light - 2:54
5. Anxiety - 7:03
6. Paul - 4:19
7. Icy Shapes - 6:18
8. Things For You And Me - 5:15
9. April Fool - 0:11
Words and Music by Chris Braun

The Band
*Chris Braun - Lead Vocals
*Elmar Krohn - Electric, Acoustic Guitar, Flute, Percussion, Vocals
*Horst Schreiber - Electric, Acoustic Guitar, Percussion, Vocals
*Jochen Bernstein - Bass
*Bill Bakine - Drums, Percussion


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Saturday, April 5, 2025

Badge And Company - Badge And Company (1977 us, tough southern boogie rock, 2008 edition)



Badge & Co. were a group from Kansas, and this is their only album released as a self-produced album by Wilmarco label USA in 1977. The members were Terry Williams, Randy Cowan, and Virgil Eugene Martin, and the trio was recorded in Tulsa, Oklahoma. The original LP is known among hard rock enthusiasts as a collector's item, and in a sense it features bluesy hard, centered around the guitar playing with vulgar sounds. The momentum-oriented speed and the ruggedness of the band's hard-hitting explosiveness fit in well with shout-type vocals, the bluesy guitar playing is pretty cool, and the bass is quite solid, so there is plenty to enjoy. Overall, it seems to run at full speed without caring about some slack or mistakes, and the hint of southern rock that permeates the air could be called ZZ Top type, the songs are not bad, and the sound is refreshing with its momentum and loudness.
Tracks
1. It's A Cryin' Shame - 3:59
2. What A Day For A Drive - 2:15
3. Ship Me On The Frisco - 2:20
4. Why - 4:45
5. Rockin' 'n' Rollin - 4:03
6. '56 Chevrolet - 2:15
7. Slow Me Down - 3:26
8. I Left A Message - 3:25
9. For You - 13:55
All songs by Randy E. Cowan, Terry D. Williams, Virgil Eugene Martin

Badge And Company
*Randy E. Cowan - Lead Vocals, Bass, Fiddle
*Terry D. Williams - Guitar, Vocals
*Virgil Eugene Martin - Percussion, Vocals

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Thursday, April 3, 2025

Laing • Hunter • Ronson • Pappalardi - The Secret Sessions (1977-78 canada / uk / us, fascinating glam classic rock, 2011 bonus tracks remaster)



Listening to this album is to hear a real tragedy for rock & roll -- a tragedy that this supergroup, as opposed to such overhyped outfits as Blind Faith and Ginger Baker's Air Force, never got its work out in its own time, and that Pappalardi and Ronson are no longer with us. From the opening notes of "Easy Money" to the ironic final track, "Growing Old With Rock 'n Roll," it radiates inspiration, power, and authority in songwriting and execution, and extraordinary boldness. 

As fine as Ronson's playing is -- and he does some great mandolin-style riffing, apart from some of his most inspired and fluid rock leads (in tandem with Leslie West on three tracks) -- the dominant players are Laing at the drum kit and Pappalardi on bass, who seemingly pick up right where Mountain left off. Coupled with Hunter's songwriting and his and Laing's singing, the whole effect is of a top-flight hard rock band running on all cylinders from the get-go, one that could have blown any rivals off the stage. As a bonus, two outtakes from Laing's 1977 solo album Makin' It On the Street are included, cut in Macon, Georgia with Dickey Betts and Eric Clapton. These are appendices more to Laing's work, or to the Allman Brothers' history, than to the work of this quartet, but they don't detract from the rest -- indeed, "Growing Old With Rock 'N Roll" may be the best thing Laing has ever done. 
by Bruce Eder
Tracks
1. Easy Money (Corky Laing, Ian Hunter) - 2:50
2. Silent Movie (Corky Laing, Ian Hunter) - 3:21
3. I Ain't No Angel (Corky Laing, Ian Hunter) - 3:19
4. The Best Thing (Corky Laing) - 3:30
5. I Hate Dancin' (Corky Laing) - 2:40
6. The Outsider (Ian Hunter) - 7:47
7. Just When I Needed You Most (Randy Van Warmer) - 3:07
8. Lowdown Freedom (Billy Joe Shaver) - 4:12
9. On My Way To Georgia (Corky Laing, Leslie West, Mick Jones) - 3:42
10.Growing Old With Rock 'N' Roll (Corky Laing) - 4:23

Musicians
*Corky Laing - Vocals, Drums, Producer
*Ian Hunter - Vocals, Keyboards
*Mick Ronson - Guitar, Backing Vocals
*Felix Pappalardi - Bass, Backing Vocals
*Leslie West - Guitar (Tracks 4,6,8)
*John Sebastian - Harp (Track 2)
*Todd Rundgren - Hammond Organ, Backing Vocals (Tracks 4,6)
*Eric Clapton - Guitar (Track 9)
*Dickey Betts - Guitar (Track 9)
*Neil Larsen - Keyboards (Tracks 9,10)
*Muscle Shoals Horns - Horns (Tracks 9,10)
*Calvin Arline - Bass (Tracks 9,10)
*Tommy Talton - Guitar (Track 10)
*Pete Carr - Guitar (Track 10)

Related Acts

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Wednesday, April 2, 2025

Wigwam - Fairyport (1971 finland, excellent prog art rock, 2010 remaster)



The mark up in musical quality between the first two albums and Fairyport is impressive. Even the band seemed to be at a creative peak as they composed enough material for one and a half albums. Of more importance to us is that this could be considered to be the first truly progressive rock record that the band recorded. Those days albums, unlike todays albums, had to be of a certain length and the duration of the material they had recorded was only enough for three sides of a double album. Unwilling to compromise on the material they had recorded, the band opted to include a fourth side which was taken up by a live jam called Rave-Up For The Raodies rather than discard the third side of recorded material.

The album opens with Losing Hold, long considered a live Wigwam favourite, which has a great organ-led introduction. This, the longest studio track on the album is a masterpiece of progressive rock music. The fusion of the piano and organ creates a sound unique to this band as they romp through this track with the rhythm section creating a fantastic backing. The only lull in the romp comes with the inclusion of vocals, for a short period, that allows the whole track to take a breather, though this is not for long. Lost Without A Trace comes in as a perfect contrast to Losing Hold. The instruments are completely stripped down to Jukka Tolonen's acoustic guitar work accompanying Jim Pembroke on vocals and piano.

One of the features to really come to the fore on this album is the complex musical character of Jukka Gustavson. Before this album, his compositions, though complex were limited to just the band members and possibly one or two guest musicians. This time round help is enlisted in the form of a number of wind instruments who though uncharacteristic for a rock album, manage to carry out the desired effect to perfection. Add to that the continuous shifts in time signature and minor chord progressions, and one practically has described the title track, Fairyport. The jazz influence really permeates this particular track though one does also sense a rock n' roll element at times. The highlight of the track must be the entrance of the brass and woodwinds playing out the theme of the song midway through the track.

The shorter Gray Traitors maintains the uncommercial style of Gustavson compositions. However, one must admit that all Gustavson compositions have an unexpected twist in them. Just as the track seems to be winding up into another quirky tune, it takes off, picking up in tempo, progressing into a great instrumental section and merging with Caffkaff, The Country Psychologist. Possibly the most unconventional track on the album, the chord sequences are totally uncharacteristic, in true Gustavson fashion, with Pembroke's mournful vocals accompanying the piano. Suddenly the track seems to break down with the electric piano indulged in some jazzy runs while Ronnie Österberg makes full use of his congas and percussion. The last of Gustavson penned tracks on the album is May Your Will Be Done Dear Lord. One of the masterpieces on this album, the track manages to show Gustavson in a different light. Here he manages to combine his complex nature with a relatively more straight forward and accessible feel. However he cannot resist including sudden twists, and at the first chance, in come the woodwinds and brass instruments to take over the reins of the track albeit for a short while.

With How To Make It Big In Hospital one sees the return to the Pembroke penned tracks. One immediately senses the simplification of the presentation as well as the accessibility of the music. Pekka Pohjola's could be best described as standing somewhere between those of Gustavson and Pembroke. With a predilection for instrumental tracks, his music is strong in the jazz approach yet at the same time manages to retain a certain amount of ear friendly characteristics. Both Hot Mice and P.K:S Supermarket are instrumentals with the latter having an Eastern European touch to it both in terms of beat as well as style. In fact another characteristic of Pohjola is his predilection in introducing a certain amount of traditional themes into his music. The inability to conceive lyrics led Pohjola to collaborate with Jim Pembroke on those tracks he felt required them. Such is the case with One More Try which has the Pohjola touch written all over it with its clever shifts in time signature pausing only for the occasional vocal interlude.

Rockin' Ol' Galway is the typical Pembroke composition. Direct, concise and more importantly extremely pleasing to the ear with catchy hooks yet at the same time retaining just the right amount of zaniness to make it stand out from any other run of the mill "pop" composition. Every Fold, with Pembroke playing the piano is one of the most moving tracks in the Wigwam repertoire.

As mentioned before, the final track on the album is a seventeen minute plus jam that was recorded live just for the sake of filling up the final side on the record. Called Rave Up For The Roadies, the track also features Jukka Tolonen on guitar, who by then was almost a regular member for Wigwam live performances. The track also allows an insight into what a Wigwam concert must have been like. Unlike their carefully calculated and structured studio material, the Wigwam live performances were very free and improvisational. One could consider them as the Grateful Dead of progressive rock as they would merge tracks and play on for lengthy periods of time. Suffice to say that this particular track was an improvised jam session. Another interesting note is the fact that Pembroke is not listed on the credits, a sign that he had not yet started to play the organ/electric piano onstage, which also meant that he spent a large part of the Wigwam concerts waiting in the wings!
by Nigel Camilleri 
Tracks
1. Losing Hold (Jukka Gustavson, Pekka Pohjola, Jim Pembroke) - 7:06
2. Lost With Out A Trace (Jim Pembroke) - 2:29
3. Fairyport (Jukka Gustavson) - 6:53
4. Gray Traitors (Jukka Gustavson) - 2:48
5. Caffkaff, The Country Psychologist (Jukka Gustavson) - 5:22
6. May Your Will Be Done, Dear Lord (Jukka Gustavson) - 5:28
7. How To Make It Big In Hospital (Jim Pembroke) - 3:03
8. Hot Mice (Pekka Pohjola) - 3:18
9. P.K.'s Super Market (Pekka Pohjola) - 2:19
10.One More Try (Pekka Pohjola, Jim Pembroke) - 3:25
11.Rockin' Ol' Galway (Jim Pembroke) - 2:28
12.Every Fold (Jim Pembroke) - 3:06
13.Rave-Up For The Roadies (Jukka Gustavson, Pekka Pohjola, Juka Tolonen, Ronnie Österberg) - 17:20

Wigwam 
Pekka Pohjola - Bass, Violin, Vocals, Piano, Harpsichord, Celesta (Track 9), Acoustic Guitar (Track 10)
Jukka Gustavson - Organ, Piano, Vocals
Ronnie Osterberg - Drums, Percussion
Jim Pembroke - Vocals, Harmonica, Piano (Tracks 2,12)
With
*Unto Haapa Aho - Bass Clarinet
*Tapio Louhensalo - Bassoon
*Hannu Saxelin - Clarinet
*Risto Pensola - Clarinet
*Ilmari Varila - Oboe
*Juka Tolonen - Guitar
*Eero Koivistoinen - Soprano Saxophone
*Pekka Pöyry - Soprano Saxophone 


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Saturday, March 29, 2025

Elliott Murphy - Night Lights (1976 us, incredible street rock, 2006 japan remaster and expanded)



Elliott Murphy returned to recording in New York City for his third album, emphasizing the point by posing for the cover in the middle of 42nd Street. Enlisting producer Steve Katz, who had handled the last three Lou Reed albums, Murphy fronted a studio band including former Velvet Underground singer/guitarist Doug Yule and former Modern Lovers Ernie Brooks (bass) and Jerry Harrison (keyboards), who was soon to join Talking Heads. They gave Murphy a more contemporary and diverse rock sound, further distinguished from the first two albums by Murphy's development into a more expressive singer. He had even cut back on the referential nature of his lyrics, relying instead on clever wordplay and evocative free association, though he was still capable of throwing out lines like "Just a ballad of a thin girl," dangerous stuff for anyone who had been tagged a "new Dylan." For the most part, though, Night Lights showed Murphy to be moving beyond his obvious influences, even if his lyrics sometimes seemed in need of a sharper focus. 
by William Ruhlmann

Night Lights is a purposefully city-orientated album, with what would become fan-favourite songs “Isadora’s Dancers” (complete with a resplendent fourth graders school choir) and “You Never Know What You’re in For”. The very New York “Deco Dance” has some distinctive piano courtesy of Billy Joel, and “Lady Stiletto” is an elegant homage to Patti Smith. There’s a continuity of themes with Lost Generation, both “Lookin’ for a Hero” and “Never As Old As You” are respectively disenchanted railings against barbarism and failed romance. Murphy’s lyrics were tough and aggressive, but with some substance underneath. This was rebellion with a cause.

However Night Lights has a soft side too. “Diamonds By the Yard” is romantic and brooding, and Murphy seems back in his element in the city, as “the sounds of the night” keep him warm. Perhaps there’s a nod of the hat to Lou Reed with what sounds like a heavy bass guitar intro, but in actual fact was Murphy on the pedals of a Hammond C3.
by Charles Pitter / 13 May 2014 

Night Lights is the third major label album by singer-songwriter Elliott Murphy, produced by Steve Katz and recorded at Electric Lady Studio. It was reviewed by Dave Marsh in Rolling Stone where he wrote “In 1973 and 1974 it seemed to many of us in New York that it was a tossup whether Bruce Springsteen, the native poet of the mean streets, or Elliott Murphy, the slumming suburbanite with the ironic eye would became a national hero.” The album featured guest appearances by fellow Long Island native Billy Joel and former Velvet Underground member Doug Yule. The cover photo of Murphy standing in Times Square early one Sunday Morning was taken by photographer Michael Dakota although stylised by Steven Meisel.
Tracks
1. Diamonds By The Yard - 6:51
2. Deco Dance - 5:15
3. Rich Girls - 3:20
4. Abraham Lincoln Continental - 4:28
5. Isadora's Dancers - 4:16
7. Lady Stilletto - 4:08
8. Lookin' For A Hero - 3:45
9. Never As Old As You - 2:45
10.Night Connection - 3:01
11.What-D-Ya-Know - 3:15
12.Drowning - 4:00
13.Razor Love - 2:37
14.Everything That A Boy Should Know - 2:57
15.From 20th Century City - 1:27
16.Deco Dance - 3:29
17.What'S The Matter - 3:12
18.Rich Girls - 2:01
19.Fan Mail - 2:35
All songs by Elliott Murphy

Musicians
*Elliott Murphy - Vocals, Acoustic, Electric Guitar, Harmonica, Keyboards
*Billy Joel - Piano (Tracks 2,16)
*Mike Braun - Drums, Percussion
*Andy Paley - Drums, Percussion
*Michael Brecker, Howard Johnson, Lou Marini, Lew Soloff, Tom Malone - Horns (Track 2)
*Ernie Brooks - Bass
*Richard Davis - Double Bass
*Jerry Harrison - Organ, Piano, ARP String Synthesizer
*Steve Katz - Backing Vocals (Track 8)
*Ralph Schuckett - Organ, Piano, Clavichord, Horn, Violin Arrangement
*Doug Yule - Guitar, Backing Vocals
*Mark Horowitz - Pedal Steel Guitar (Track 9)
*Harry Lookofsky - Violin (Track 2)


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Friday, March 28, 2025

Ten Years After – Rock 'n' Roll Music To The World (1972 uk, excellent classic rock, Audio Fidelity remaster)



 Alvin Lee, lead guitarist and singer with Woodstock luminaries, Ten Years After died on 6 March 2013 aged just 68. Like so many heavy rock heroes, he emerged from the industrial English midlands (from the Nottingham-Mansfield area rather than the Black Country of Sabbath et al) and played on a world stage unimaginable to most. Owners of the triple vinyl Woodstock soundtrack will be familiar with Ten Years After's blistering performance of I'm Going Home. Their history dates back to the early 60s but the Ten Years After name and line up were consolidated in Nottingham 1966, and the band were nationally active from 1967-1974, then got back together from 1988 onwards. Their name comes from their homage to Elvis Presley's peak year of 1956 and its relationship to their 1966 formation.

This HDCD features 9 tracks put together as an album by Alvin in 1972 for the Chrysalis division of Columbia. Lacking the vinyl original, all comments apply to the HDCD. The sound is lively, dynamic and nuanced. This album finds them maturing musically, which makes this an ideal audiophile outing. Audio Fidelity have been reviewed positively on TNT-audio before. Their limited edition CD's, HDCD's and SACD's often sell out soon. With International Record Shop Day just behind us, it is encouraging to be reminded that physical formats still have a place in music dissemination. Holding these 24kt gold discs is a delight. 
Tracks
1. You Give Me Loving - 6:31
2. Convention Prevention - 4:25
3. Turned Off T.V. Blues - 5:12
4. Standing At The Station - 7:07
5. You Can't Win Them All - 4:05
6. Religion - 5:44
7. Choo Choo Moma - 4:00
8. Tomorrow I'll Be Out Of Town - 4:26
9. Rock 'n' Roll Music To The World - 3:40
All songs by Alvin Lee

Ten Years After
*Alvin Lee - Guitar, Vocals
*Leo Lyons - Bass
*Ric Lee - Drums
*Chick Churchill - Organ, Piano, Synthesizer


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Wednesday, March 26, 2025

Randy California - Kapt. Kopter And The (Fabulous) Twirly Birds (1972 us, superb guitar rock, 2010 bonus tracks remaster)



Although this may be slightly outside the realm of what's usually considered progressive, this will still be of interest to many fans of the genre, if only because of California's amazing guitar chops. While his style owes much to the feedback-laden psychedelic style of Hendrix (California was once the second guitarist in Hendrix' pre-Experience band), he also pioneered a unique sustain technique which was later used by the Guess Who, Steely Dan, and a number of other folks. 

This album was recorded during a period when his original band Spirit was in the process of falling apart (that's another story for another day), and this could, in essence, be considered the first album by the 'new' Spirit, which he continued to front, with step-dad Ed Cassidy, until his untimely death in 1997. The lineup varies from track to track: drummers include Cassidy and others, and much of the bass power is provided by the mystery-man "Clit McTorius" (actually Noel Redding of Hendrix' Experience, unable to use his real name for contractual reasons). The lineup on any given song is the basic three-piece guitar-bass-drums, with some occasional uncredited background vocals. The songs here are split between covers and original material. 

Two renditions of Lennon/McCartney tracks ("Day Tripper," "Rain") offer an entirely fresh perspective that was only hinted at in the original versions: everything is approached in good fun, nothing overpolished and technically perfected, which gives the album a free-wheeling sensibility. The original material is equally intriguing: "Devil" revels in simplicity yet contains some of the album's most impressive playing; "Downer" is a raw and powerful rocker that has stood the test of time. This is a most welcome reissue; This newest reissue is rounded out with three excellent bonus tracks.
by Peter Thelen
Tracks
1. Downer (Randy California) - 5:37
2. Devil (Randy California) - 4:13
3. I Don't Want Nobody (Stu Gardner) - 4:27
4. Day Tripper (John Lennon, Paul McCartney) - 3:00
5. Mother And Child Reunion (Paul Simon) - 2:53
6. Things Yet To Come (Lenny Lee Goldsmith, Victor Phillips) - 8:13
7. Rain (John Lennon, Paul McCartney) - 8:39
8. Rainbow (Randy California) - 3:32
9. Walkin' The Dog (Rufus Thomas) - 3:03
10.Live For The Day (Randy California) - 3:25
11.Rebel (Randy California) - 4:21
Bonus Tracks 9-11

Musicians
*Randy California - Vocals, Guitar, Waterbass (Track 8), Producer
*Charlie Bundy - Bass
*Noel Redding (Credited As 'Clit Mctorius') - Bass (Tracks 1,6,7)
*Larry "Fuzzy" Knight - Bass (Track 5)
*Tim Mcgovern - Drums
*Leslie Sampson (Credited As 'Henry Manchovitz') - Drums (Tracks 1,6,7)
*Ed Cassidy (Credited As 'Cass Strange') - Drums (Tracks 5,8)
*Janet Wolfe, Robin Wolfe - Background Vocals


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Tuesday, March 25, 2025

Barry Goldberg - Barry Goldberg (1974 us, remarkable country folk classic rock, 2009 remaster)



While Barry Goldberg's recording career is largely hogged by tapes of jam sessions dominated by blues cover versions, he was an excellent songwriter and more than deserved the respectful treatment he got here from a production team that consisted of none other than Bob Dylan and Jerry Wexler. This is a collection of ten of Goldberg's original songs, including the title "Imagination" that was a hit for Gladys Knight & the Pips. Goldberg may not have the voice or the personality to have been a leading singer/songwriter type, but his delivery certainly suits most of the numbers, such as the fun "Big City Woman" and the intriguing "Shady Hotel." On other numbers, at least Goldberg has the benefit of being able to say he wrote the songs, since there is just no way he can compete with Gladys Knight vocally.

His "It's Not the Spotlight," on the other hand, is such a classic performance that the entire issue of his vocal presence is unimportant. A large cast takes part in the proceedings, including none of this artist's usual cohorts. A nice pastiche of different roots genres takes place, no surprise considering the involvement of Dylan, who can be heard contributing background vocals here and there as well as a touch of percussion. A soulful rhythm section featuring keyboardist Barry Beckett, bassist David Hood, and drummer Roger Hawkins is on board, and is just what the material needs, but there are also shades of country and old-timey courtesy of pickers such as banjoist Rule Yarborough and fiddler Al Lester. On the whole, this is an unjustly neglected album and a feather in Dylan's producer's hat, which he hardly ever wears. 
by Eugene Chadbourne

Barry Goldberg died January 22nd 2025 from non-Hodgkin lymphoma, at the age of 83.
Tracks
1. Minstrel Show - 5:28
2. It's Not The Spotlight (Gerry Goffin, Barry Goldberg)  - 3:56
3. Life's Fantasy - 4:31
4. Dusty Country (Barry Goldberg, Paul Rosenberg) - 4:40
5. She Was Such A Lady - 4:08
6. I've Got To Use My Imagination (Gerry Goffin, Barry Goldberg) - 3:50
7. Soothe Me - 4:13
8. Orange County Bus - 3:19
9. Shady Hotel - 2:45
10.Stormy Weather Cowboy - 3:19
11.Big City Woman - 3:55
12.Silver Moon - 3:25
13.Untitled - 3:50
All songs by Barry Goldberg except where stated

Musicians
*Barry Goldberg - Guitar, Keyboards, Vocals
*Bob Dylan - Percussion, Vocals, Producer
*Barry Beckett - Keyboards
*Michael Bloomfield - Guitar
*Harrison Calloway - Trumpet
*Pete Carr - Guitar, Vocals
*Ronnie Eades - Saxophone
*Roger Hawkins - Drums
*Eddie Hinton - Guitar
*David Hood - Bass
*Arthur Jenkins - Percussion
*Jimmy Johnson - Guitar
*Ralph MacDonald - Percussion
*Harvey Mandel - Guitar
*Jerry Wexler - Percussion, Producer


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