Sunday, June 21, 2026

rep>>> The Yankee Dollar - The Yankee Dollar (1968 us, excellent west coast psychedelia, 2002 edition)



According to the liner notes on their album, drummer Nick Alexander, singers Liza Gonzales and Dave Riordan, guitarist Greg Likens, keyboard player Bill Masuda and bassist Bill Reynolds met while students at San Luis Obispo's Cal Poly.

Signed by Dot, their 1968 debut teamed the band with producer Frank Slay. Musically "The Yankee Dollar" was nothing less than wonderful. Gonzales and Riordan were both gifted with nice voices and on tracks such as "Sanctuary" and "City Sidewalks" effortlessly trading lead vocals. Backed by Likens' fuzz guitar (check out the great solo on "Live and Let Live"), Masuda's stabbing organ chords and occasional sound effects, the collection sported a sound that successfully blended folk-rock with Jefferson Airplane-styled psychedelic.

Musically the set offered up a standard mix of popular covers (Donovan's "Catch the Wind", Dylan's "The Times, They Are A-Changin'" and Chet Power's "Let's Get Together") and original material. While the covers were all nicely done, group penned originals such as "Follow Your Dream's Way" and "Johann Sebastian Cheetah" were even better. Inexplicably the set failed to sell. The band apparently subsequently called it quits.
by Scott Blackerby
Tracks
1.  Sanctuary (Carter, Gilbert) - 2:16
2.  Good Old Friends (Carter, Gilbert) - 2:36
3.  Catch The Wind (Donovan) - 2:55
4.  If In Swimming (David Riordan) - 3:53
5.  Follow Your Dream's Way (Greg Likens) - 6:36
6.  Live And Let Live (Carter,Gilbert) - 2:18
7.  City Sidewalks (Carter,Gilbert) - 2:56
8.  Let's Get Together (Chet Powers) - 4:30
9.  Winter Boy (Buffy St. Marie) - 2:22
10.The Times, They Are A-Changin' (Bob Dylan) - 3:06
11. Johann Sebastian Cheetah (David Riordan, Greg Likens, Freeman) - 3:04

The Yankee Dollar
*Nick Alexander - Drums, Percussion
*Liza Gonzales - Vocals
*Greg Likens - Guitar
*Bill Masuda - Organ
*Bill Reynolds - Bass
*Dave Riordan - Vocals

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rep>>> Fred - Fred (1971 us, brilliant progressive jazzy folk rock, World In Sound 2001 release)



The experience that what was Fred, goes beyond what will be said here, as the music made by the band in the years 1970-1974 goes beyond the tracks of this album. The hope in these words is to give a little historical context to the music being published here, for the first time in a collection more than thirty years after it was first recorded.

Ken Price and Joe DeChristopher began playing together while students at Bucknell University in Lewisburg Pennsylvania in 1967. Ken played keyboards, mainly a beat-up electric Wurlitzer Piano. Joe fancied himself a guitar player, but took up Bass to play in Ken’s Band “Still at Large”. When the lead Guitar player dropped out late in 1968, Ken and Joe stayed together, adding John, a young Bass player. Unfortunately, John’s freshman roommate, Bo Fox, had been snatch up by another popular fraternity dance hall band, “The Gross National Product” a trio of Bo on the Drums and two upperclassmen on Guitar and Keyboards.

While the drumming set was not well filled, Joe and Ken thought they could also use a vocalist to help out. Their classmate Gary Rosenberg self-styled poet and disc jockey at the college radio station, steered the to David Rose recently back at Bucknell after a tour of service as a conscientious objector (running a Quaker related home of disadvantaged youth in a tough part of Paris). David made a great contribution as a stager and frontman, keeping quiet the fact about that he’d been trained to play the Violin, which he started doing at the age of six.

The band known occasionally as “David Rose and his Orchid” or “Mustang Turfbinder and the Swelltones” was improving but still need help on the Drums. Help came in the autumn of 1969, when Bo’s GNP band-mates had graduated and left town, leaving him available. Again with an assist from Gary, Ken, Joe, John and David, now willing to try the Violin in the context of improvisational Rock ‘n’ Roll, matched up with Bo. Amidst the belated arrival in small-town, rural America of blossoming counterculture of Peace, Love and drugs, a wonderful musical experience was born.

Gary continued part of our experience, as a friend an source for new music from the likes of The Band, Procol Harum, Traffic, Jethro Tull, King Crimson and Frank Zappa to name a few. We spent the month of January 1970 intending to write a hundred original tunes, a task at which we failed miserably. Even so, we knew that there was something special happening, and as young and as inexperienced as we were, there was a growing will among us to keep with it.

School ended for most of us either by choice or by graduation in May 1970, but we stayed together most of us living in either of two small harm houses about 4 miles west of town. John transferred to a school in Boston, and we accepted into our ranks of ex-collegians, the outsider Michael “Bones” Robinson, self made bass player and song-writer.

We spend the summer smelling honeysuckle along the banks of the Susquehanna, on those trips back from high schools and bars to the south, near Harrisburg and York, we later spent our time building a house out of a barn for David’s family to live in (after his apartment was ruined by flood of 1972), learning to play, to write and manage on our shared income from playing music.

We attracted diverse collection of friends and well-wishers along the way, including artist/photographer L.J. Kopf roaches Roger Brown and Pat Biggs, sound engineer Charlie Bozenhard (who put together the components of a system to amplify David), Folk musicians Tom Patten and Ira Packman (who opened for some of our concerts), a group of ex-students who became carpenters working as “Grassy Flats” and many others, too numerous to mention.

By late 1971, we'd worked up several original tunes (most of them included on this album.) We managed to produce a 45 rpm single, containing "Salvation Lady" and "a love song", both with lyrics from Gary. David preached the vision of a self-sufficient community of artists, self supporting and true to itself. Gary continued to write poetry, much of which was never put to music. LJ took pictures, designed posters, and showed slides at our concerts.

Everyone took a role in the life of the band, on and off the' stage. We covered Procol Harum, Frank Zappa, Jethro Tull and Mahavishnu Orchestra, enlisting the talenls of wunderkind Peter Eggets on piano, drums when Bo took a break, horn arrangements, and a work ethic we’d never found on our own. Up into 1973, we were existing on the outside of a society in generational turmoil, enjoying our role as outsiders, defiant that hired us, and the booking agents who tried to make a dollar in marketing us.

Even so in those early years especially, we were more than the music, and bigger than the sum of our parts. With the eventual addition of Peter as a full time member of the band, came the departure of Gary, and ultimately later on the dissolution of the band, but alas, that is not the story of the music on this album.

Enjoy what is here, know there is more recorded Fred music to come, and that what is recorded here, while standing on its own merit, was also a part of the seasoning process which led to the music made later under the influence of the formidable composing and arranging skills of Peter Eggers. Welcome to the first recorded music of Fred.
By Joe DeChristopher (Lewisburg Pennsylvania)
Tracks
1. Four Evenings (Mike Robison, Gary Rosenberg) - 6:39
2. Soft Fisherman (David Rose, Gary Rosenberg) - 6:31
3. Salvation Lady (Ken Price, David Rose, Gary Rosenberg) - 6:01
4. By The Way (Joe DeChristopher, David Rose, Gary Rosenberg) - 6:45
5. I'll Go On (Joe DeChristopher, Ken Price, David Rose, Gary Rosenberg) - 4:26
6. For Fearless Few (Mike Robison) - 3:47
7. A Love Song (Joe DeChristopher, Gary Rosenberg) - 4:40
8. Booking Agent Blues (Joe DeChristopher) - 4:33
9. Windwords (Joe DeChristopher, Gary Rosenberg) - 6:51
10.A Love Song (45rpm version) (Joe DeChristopher, Gary Rosenberg) - 3:58

Fred
*Gary Rosenberg - Lyrics, Percussion
*Joe DeChristopher - Guitar
*David Rose - Keyboards, Violin, Guitar, Vocals
*Bo Fox - Drums
*Ken Price - Keyboards
*Mike Robison - Bass, Guitar, Vocals
*Peter Eggers - Drums, Piano

1974  Fred - Notes On A Picnic 

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Saturday, June 20, 2026

rep>>> Eagle - Come Under Nancy's Tent (1970 us, fine melt of roots 'n' roll folk psych classic rock, 2026 reissue)



From the remnants of Beantown's psychedelic Beacon Street Union flew the equally short-lived Eagle. After issuing two virtually unheard long-players, the BSU were unceremoniously dropped by their record company in late 1968. By 1970, John Lincoln Wright (vocals), Robert Rosenblatt (keyboards/brass), Richard Weissberg (drums/percussion), and Wayne Ulaky (bass) had honed their sound in a much more earthy fashion, creating an accessible vibe, contrasting the over-produced sound of their former incarnation. However, they did maintain the strong melodic sensibility that had driven the better material from both Eyes of the Beacon Street Union (1968) and The Clown Died in Marvin Gardens (1968).

In keeping with the current trends, Come Under Nancy's Tent (1970), which was ultimately Eagle's sole release, blends both solid and otherwise aggressive electric rock with the lilting countrified sound of the singer/songwriter and early-'70s folk movement. "Pack Up" commences the effort with a driving, propulsive Bo Diddley beat and traveling rhythm. "Brown Hair" stands as one of the better sides on the disc, with its easier acoustic melody. This counters the noir brooding of "City Girl" and the exemplary and slightly trippy "Comin' Home Day." There are a couple of straight-laced rockers as well -- "Snake in the Grass" has a danceable groove that is uncannily similar to the Routers' early surf instrumental "Let's Go," and "Separated" is likewise an uptempo toe-tapper. In 2003, Come Under Nancy's Tent was issued on CD as part of the three-disc State of the Union box set, restoring the title after over 30 years of being out of print. 
by Lindsay Planer
Tracks
1. Pack Up (John Wright) - 3:56
2. Come In, It's All for Free (Wayne Ulaky, John Wright) - 2:58
3. Brown Hair (Wayne Ulaky, John Wright) - 3:26
4. Dance on Little Beauty (John Wright) - 2:15
5. City Girl (Wayne Ulaky, John Wright) - 2:59
6. Kickin' It Back to You (Wayne Ulaky, John Wright) - 2:36
7. Separated (Wayne Ulaky, John Wright) - 3:30
8. We Got a Good Thing Goin'/Get a Hit and Run (Joshua James) - 3:36
9. Snake in the Grass (Wayne Ulaky, John Wright) - 3:12
10.Comin' Home Day (Wayne Ulaky, John Wright) - 3:09 

The Eagle
*Jamie James - Guitar, Vocals
*Robert Rhodes - Horn, Keyboards
*Wayne Ulaky - Bass
*John Wright - Vocals 

1967-68  Beacon Street Union - The Eyes Of The Beacon Street Union / The Clown Died In Marvin Gardens 

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rep>>> Lynyrd Skynyrd - Pronounced Leh-Nerd Skin-Nerd (1973 us, classic debut album, Al Kooper production, 2013 SACD and 2001 bonus tracks)



The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone.

This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even The Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands.

Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential.

The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album.
by Stephen Thomas Erlewine
Tracks
1. I Ain't The One (Gary Rossington, Ronnie Van Zant) – 3:53
2. Tuesday's Gone (Allen Collins, Rossington, Van Zant) – 7:32
3. Gimme Three Steps (Collins, Van Zant) – 4:30
4. Simple Man (Rossington, Van Zant) – 5:57
5. Things Goin' On (Rossington, Van Zant) – 5:00
6. Mississippi Kid (Al Kooper, Van Zant, Bob Burns) – 3:56
7. Poison Whiskey (Ed King, Van Zant) – 3:13
8. Free Bird (Collins, Van Zant) – 9:18
2001 MCA Bonus Tracks
9. Mr. Banker (Demo) (Rossington, Van Zant, King) – 5:23
10.Down South Jukin' (Demo) (Rossington, Van Zant) – 2:57
11.Tuesday's Gone (Demo) (Rossington, Collins, Van Zant) – 7:56
12.Gimme Three Steps (Demo) (Collins, Van Zant) – 5:20
13.Free Bird (Demo) (Collins, Van Zant) – 11:09

Lynyrd Skynyrd
*Ronnie Van Zant – Lead Vocals, Lyrics
*Gary Rossington – Lead Guitar , Rhythm Guitar, Slide Guitar
*Allen Collins – Lead, Rhythm Guitar
*Ed King – Bass, Lead Guitar On "Mississippi Kid”
*Billy Powell – Keyboards
*Bob Burns – Drums
*Leon Wilkeson – Bass Guitar
Additional Musicians
*Al Kooper – Bass, Mellotron, Back-Up Harmony, Mandolin, Bass Drum, Organ, Mellotron
*Robert Nix – Drums On "Tuesday's Gone"
*Bobbye Hall – Percussion On "Gimme Three Steps", "Things Goin' On"
*Steve Katz – Harmonica On "Mississippi Kid"

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Friday, June 19, 2026

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



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

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

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

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


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Strawbs - Grave New World (1972 uk, distinctive, melodic progressive rock with strong folk roots)



"Benedictus" is the quintessential Strawbs, the band at their finest. If someone were to ask me to describe their unique sound, I would have to say "listen to Benedictus, then you'll know". The layering of instruments and vocals, strong use of mellotron/synthesizers, bass and especially organ (to evoke the cathedral) all say, "this is The Strawbs". The lyrics have recurrent religious themes: blessings for the highest to the lowest, the living and the dead, the wanderer/holy traveller, hero/saint, soldier/warrior. A benediction by definition is "the invocation of a blessing, especially at the close of a religious service". With its lyrics of forgiveness, saintliness and thankfulness, "Benedictus" shows the beauty of God's love in all of us. Dave Cousins' vocals at times are intentionally dystonic, perhaps to give the listener the feel of a Gregorian chant and to further reinforce the religious aspects of the song. Tony Visconti, who helped to produce "Benedictus", is well known in progressive rock circles for his work with The Moody Blues and many others.

In stark contrast to "Benedictus", "Hey, Little Man...Thursday's Child" is simple. Just voice and guitar, this song showcases Dave Cousins' expressive singing beautifully."Queen of Dreams" is an ethereal piece, brought about using intricate vocals/harmonies by the band members and the use of a synthesized squeezebox effect much like The Rolling Stones utilized in "2000 Light Years From Home" and The Beatles in "Sgt Pepper". As Grave New World was produced in 1972, most bands were dabbling in psychedelia and newly found special effects. An unusual piece for The Strawbs, decidedly experimental.
"Heavy Disguise" is a wonderful piece featuring John Ford's vocals and great guitar along with a lush orchestral interlude with lots of brass."New World" .... a favorite! Powerful, dramatic, angry, gut -wrenching. The strong use of mellotron/synthesizers, drums and strings all combine to become an overwhelming musical experience. The music cascades over you in waves...done as only The Strawbs can."Hey, Little Man...Wednesday's Child" is another deceptively simple little gem. A little beauty which offers some respite after the assault of "New World".

"The Flower and the Young Man" offers great harmonies and strong lyrical images. You can smell the salt air of the sea...a bluegrass/sea shanty feel."Tomorrow" is once again Dave Cousins at his finest. Bitter, angry...truthful. The quality of this track on the remastered version is fair-had a fading in and out quality (unintentional I'm thinking). Heard some left over riffs from the late 60's reminiscent of Jethro Tull's "Thick As A Brick" (a tongue in cheek jibe perhaps?).

"On Growing Older" describes the British love of countryside and nature in glowing colors. Sweet and harmonious. "Ah Me, Ah My" light fluff...fun..vaudeville. "Is It Today, Lord?" Eastern influenced music...use of sitar. Popularized by the Beatles and Ravi Shankar....other progressive bands using the sitar include Moody Blues (In Search of the Lost Chord). "The Journey's End" a slow, simple song once again about a weary/lonely traveller. Strong use of piano instead of guitar/bass. 

"Here It Comes" (extra track) another favorite... use of drums, congas, organ...strong beat, makes you want to get up and dance. Great back up/chorus vocals....simple, repetitive lyrics are catchy. "I'm Going Home" - (bonus track)... good rocker... grainy sound to track...almost what one would expect from an LP.

Overall, the remastered Grave New World is a joy to behold and long overdue. The packaging is beautifully done and includes an insert with an interview with Dave Cousins and a history of the band, done by John Tobler. On some tracks I found the sound to be muddy/muffled as if overdubbed with too much bass. I did consider that this album was originally released in 1972, and as such, the technology would be considered primitive in comparison to today's. As such, even though digitally remastered, the CD still may suffer from the limitations of the analogue masters. In listening to another remastered CD, Ghosts, I found the sound quality to be far superior (much crisper/clearer) on the later.
by Marcia Zingman
Tracks
1. Benedictus - 4:24
2. Hey Little Man... Thursday's Child - 1:05
3. Queen Of Dreams - 5:28
4. Heavy Disguise (John Ford) - 2:50
5. New World - 4:08
6. Hey Little Man... Wednesday's Child - 1:05
7. The Flower And The Young Man - 4:17
8. Tomorrow (Blue Weaver, David Cousins, John Ford, Richard Hudson, Tony Hooper) - 4:44
9. On Growing Older - 1:54
10.Ah Me, Ah My (Tony Hooper) - 1:21
11.Is It Today Lord (Richard Hudson) - 3:04
12.The Journey's End (Blue Weaver, David Cousins) - 1:35
13.Here It Comes - 2:42
14.I'm Going Home - 3:14
All compositions by Dave Cousins except where indicated
Bonus Tracks 13,14

Strawbs
*Dave Cousins - Vocals, Acousti, 12 String,  Electric Guitar, Eletro Acoustic Dulcimer , Recorder , Piano 
*Tony Hooper - Acoustic Guitar , 12 String Guitar , Autoharp , Vocals 
*Richard Hudson - Drums, Cymbals, Tambourine, Sitar,  Tablas , Vocals
*John Ford - Bass, Acoustic Guitar , Vocals
*Blue Weaver - Organ, Piano, Mellotron, Harmonium, Clavioline, Vocals 
With
*Anne Collins - Backing Vocals 
*Trevor Lucas - Backing Vocals 
*Robert Kirby Silver Band - Brass Ensemble 
*Old Tyme Dance Orchestra • Members Of Ted Heath Orchestra 
*Tony Visconti - Arrangements
*Dave Lambert - Acoustic, Electric Guitars, Vocals 


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rep>>> Quiver - Gone In The Morning (1972 uk, strong folk country rock, 2008 reissue)


Gone in the Morning is Quiver's follow-up to their self-titled debut, which was somewhat successful in the U.K., but invisible on American shores, as was this disc. It wasn't until three of the members hooked up with the Sutherland Brothers that the band got any recognition stateside. Cal Batchelor's contributions are what differentiate this group from the band that merged with Iain Sutherland and his brother Gavin, Batchelor having written or co-written eight of the nine tracks here. Tim Renwick's "Green Tree" is more laid-back and the only title not written by or with Batchelor. Renwick played the recorder on Jackie Lomax's Apple releases, and was a member of Junior's Eyes, and musically this Chris Thomas production sets the stage for what the three minstrels who carried the name on would do in the future. 

There's a nice George Harrison guitar riff that begins the solo on "Love/No Boundaries," and the pop of that song works better than the pseudo-country which keeps seeping through, as on "I Might Stumble." The title track, "Gone in the Morning," is not a bad song, but at nine minutes, it descends into a jam before it re-emerges and concludes -- and that is perhaps the downside with Quiver and this record. There is more focus on riffs and pedestrian jamming than musical experimentation, and a song like "Fung-Kee Laundry," all 55 seconds of it, is a succinct and prime example of what transpires in the middle of the title track. "She's a Lady" is a weird combination of country/reggae/blues

It's competent, well-played, well-produced, but goes nowhere. The real magic is when the worlds of Quiver and the Sutherland Brothers collided, and this excellent group got to perform on some meaty material. Or maybe this quartet didn't translate well to record, the Warner Brothers hype around Quiver was that they were "one of England's best loved live groups" -- which begs the question, why not a live album to launch them? "Don't Let Go" is the most musical and exciting piece on this disc; eerie guitars and vocals conclude the record with some promise. 

Cal Batchelor was from British Columbia, which might explain the heavy American music styles that permeate this British group; indeed, some of the material sounds like the Canadian offshoot of the Guess Who that was Brave Belt. Gone in the Morning is an interesting artifact, but the end result is a competent disc which doesn't beg repeated listening. Roger Daltrey sang "it's the singer not the song," and this album proves him wrong. It's definitely the song that matters. 
by Joe Viglione
Tracks
1. Dorset, I Know You So Well - 3:05
2. I Know You So Well - 3:02
3. Green Tree (Tim Renwick) - 2:26
4. Love/No Boundaries - 3:39
5. I Might Stumble - 3:37
6. Gone in the Morning - 8:59
7. Fung-Kee Laundry (Terry Thomas, Cal Batchelor, Tim Renwick, John Wilson) - 0:58
8. She's a Lady - 3:09
9. Don't Let Go (Terry Thomas, Cal Batchelor, Tim Renwick, John Wilson) - 3:59 
Akk songs by Cal Batchelor except where indicated

Quiver 
*Tim Renwick - Guitar 
*Cal Batchelor - Guitar, Keyboards, Vocals 
*Bruce Thomas - Bass 
*John 'Willie' Wilson - Drums


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Thursday, June 18, 2026

rep>>> Don 'Sugar Cane' Harris - Fiddler On The Rock (1971-72 us, amazing avant garde jazz blues rock, feat. Harvey Mandel, 2007 digipak remaster with extra tracks)



Don “Sugarcane” Harris, from Pasadena, California was born in 1938, and by his teens was playing R&B guitar and violin with Dewey Terry under the name Don and Dewey. In the 60’s they separated, and Harris began to concentrate on electric blues violin. He made many appearances as a sideman, with artists such as John Mayall and the Bluesbreakers, Johnny Otis, John Lee Hooker and Little Richard. He is probably best remembered, though, for his work with Frank Zappa in the 1970’s, notably the grinding, take-no-prisoners rocking blues “Weasels ripped my Flesh”. Here he makes the most of his raw, shredding sound, frequent “harmonica” trills, tremelo and double stops. His playing can be fast and fluent, but is most effective on slow numbers, where his distinctive thin tone and shaky vibrato come across as vulnerable and sensitive. After a lengthy battle with pulmonary disease, on December 1, 1999 he was found dead in his Los Angeles apartment at the age of 61. 

David Lindley (It's A Beautiful Day) referred to Sugar Cane as a “force of nature”, while Dave Arbus, of East of Eden, said “there are quite a few violinist on the scene, but Sugar Cane is the only true rock fiddler. His feeling, his phrasing, his timing, unreachable!”

Guitarist Randy Resnick, who played with Don in the band Pure Food and Drug Act (PFDA)in the 1970’s had this to say; “I never got chills in any other band like the ones I got when Don took off alone in a cadenza or when he and Paul did violin-drums duets. It was tribal, it was primitive and it was real music with all the faults that make us human. Don had a swing to his playing, a groove, a soulfulness that you don't hear anywhere else. No one plays with such gut-wrenching rawness, because musicians are trained to play "better". 

"Fiddler On The Rock", released 1971 is a tripped-out batch of funk rock tracks – one of the biggest crossover successes of the MPS lable! Don Harris sings and plays violin – and he gets some very heavy backing by a trio that includes Harvey Mandel on guitar, wailing away with those slow choppy riffs that made him the west coast equivalent of Dennis Coffey's east of the Mississippi fuzzed-out guitar groove. Features the slow funk classic "The Pig's Eye", plus "No Inspiration", "The Buzzard's Cousin", and "Eleanor Rigby". 
Tracks
1. Eleanor Rigby (John Lennon, Paul McCartney) - 9:35
2. I'm Gonna Miss You - 4:48
3. The Buzzard's Cousin - 6:04
4. The Pig's Eye - 6:27
5. So Alone - 7:05
6. No Inspiration - 4:00
7. 'Till The Day I Die - 7:08
8. My Soul's On Fire (Victor Conte, Don "Sugarcane" Harris, Paul Lagos, Harvey Mandel, Randy Resnick) - 4:12
9. Little Soul Food (Don "Sugarcane" Harris, Shuggie Otis) - 4:03
10.What Comes Around Goes Around (Victor Conte, Don "Sugarcane" Harris, Paul Lagos, Harvey Mandel, Randy Resnick) - 4:214:21
11.Eleanor Rigby (John Lennon, Paul McCartney) - 11:51
All compositions by Don "Sugarcane" Harris except where stated
Tracks 1-6 from the original album "Fiddler On The Rock" 1971
Tracks 7-11 from "Pure Food And Drug Act - Choice Cuts" 1972, recorded live at " The Fresh Air Tavern ", Seattle, Washington

Personnel
*Don "Sugarcane" Harris - Violin, Vocals
*Harvey Mandel - Guitar
*Larry Taylor - Bass (Tracks 1-6)
*Paul Lagos - Drums
*Randy Resnick - Rhythm Guitar (Tracks 7-11)
*Victor Conte - Bass (Tracks 7-11)

Related Acts
1968  Harvey Mandel - Cristo Redentor (2003 remaster and expanded)
1969-70  Harvey Mandel - Righteous / Games Guitars Play (2005 remaster)
1971  Harvey Mandel - Baby Batter (2016 remaster)
1972  Harvey Mandel - The Snake (2016 remaster)
1965-66  The Barry Goldberg Blues Band - Blowing My Mind ..Plus (2003 remaster and expanded)
1967  Charley Musselwhite - Stand Back! Here Comes Charley Musselwhite's Southside Band
1968  The Barry Goldberg Reunion - There's No Hole In My Soul
1969  Barry Goldberg - Two Jews Blues (vinyl edition) 
1967-73  Canned Heat - The Very Best Of (2005 issue with previous unreleased track)
1970  Canned Heat - Future Blues (remastered and expanded) 
1971-72  Canned Heat - Historical Figures And Ancient Heads (extra track remaster issue)
1974  Love - Reel To Reel (2015 deluxe edition)

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Wednesday, June 17, 2026

rep>>> Charlie Daniels - Charlie Daniels (1970 us, astonishing southern classic rock)



When Charlie Daniels released his eponymous debut in 1970, Southern rock was in its nascent stages. It had been a year since the Allman Brothers Band released their debut and Lynyrd Skynyrd wouldn't unleash its first record for another three years, so the genre was in the process of being born, and Charlie Daniels' debut plays a pivotal role in the genre -- not so much because it was directly influential, but because it points the way to how the genre could and would sound, and how country music could retain its hillbilly spirit and rock like a mother.   

Where the Allmans were firmly grounded in the blues, especially on the first two records, Daniels was a redneck from the start, and all ten songs on his debut were country at their foundation, even if some of it is country via the Band, as Rich Kienzle points out in his brief liner notes to Koch's 2001 reissue of the album. The Band connections derive from Daniels' time as a session musician for Columbia in Nashville, where he played on many country-rock albums, including Dylan's Nashville Skyline, but there's a heavy dose of hard rock, often via the Allmans' extended jams, on this record. Daniels simply wails on his guitar here, most notably on the six-minute closer "Thirty Nine Miles from Mobile," but, apart from the ballads, he doesn't miss a chance to solo. 

The heavy guitars give Charlie Daniels a real rock feel, and that vibe is continued through the loose rhythm section and a strong dose of counterculture humor, heard strongest on "The Pope and the Dope." That song also shows signs of Daniels' redneck sensibilities, which also surface in unpredictable ways throughout this wild, woolly album. He makes crude jokes, celebrates the South (particularly his home, "Georgia"), spits out bluesy leads, exaggerates his vocals, croons sweetly, and steals women. He's a redneck rebel, not fitting into either the country or the rock 'n' roll of 1970 with this record, but, in retrospect, he sounds like a visionary, pointing the way to the future when southern rockers saw no dividing lines between rock, country, and blues, and only saw it all as sons of the south. That's what he achieves with Charlie Daniels -- a unique Southern sound that's quintessentially American, sounding at once new and timeless. 

Once he formed the Charlie Daniels Band, he became a star and with Fire on the Mountain, he had another classic, but he would never sound as wild, unpredictable, or as much like a maverick as he does on this superb album. 
by Stephen Thomas Erlewine 
Tracks
1. Great Big Bunches Of Love - 3:23
2. Little Boy Blue - 4:10
3. Ain't No Way - 3:25
4. Don't Let Your Man Find Out - 3:00
5. Trudy - 3:50
6. Long Long Way (Back Home) - 4:00
7. Georgia - 4:15
8. The Pope And The Dope - 2:15
9. Life Goes On (Jerry Corbitt) - 2:00
10.Thirty Nine Miles From Mobile - 6:00
All songs by Charlie Daniels except where stated

Personnel
*Charlie Daniels - Guitar, Fiddle, Vocals
*Joel "Taz" Digregorio - Keyboards, Vocals
*Jerry Corbitt - Guitar, Vocals
*Billy Cox - Bass
*Ben Keith - Steel Guitar, Slide Guitar
*Bob Wilson - Keyboards
*Tim Drummond - Bass
*Earl Grigsby - Bass, Vocals
*Karl Himmel - Drums
*Jeff Myer - Drums

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rep>>> Quiver - Quiver (1971 uk, fine psych folk rock, 2008 edition)

 



Quiver was formed round 1970 in Ladbroke Grove, London by Tim Renwick and Honk (bass) who'd formerly been with Junior's Eyes, together with Cal Batchelor. Honk soon departed and the line-up was completed by Pete Thomas (ex-Village) and John Wilson (formerly with Cochise) They were the first group to play at Rainbow Theatre in London (supporting The Who). 

Their first album, Quiver, was completed with help from great sax player Dick Parry. An excellent album, it contains killer guitar duels (as in the great 'Killer man'), outstanding bass playing, and tight ryhthm on drums.  

After their second release, in late 1973,  the whole band decided merging  with Sutherland Brothers, forming Sutherland Brothers and Quiver, but Cal Batchelor decided to leave. 
Tracks
1. Glad I Came Around - 5:06 
2. Down Your Way - 3:44 
3. Killer Man (Tim Renwick) - 8:00 
4. Take A Train - 5:15 
5. Cool Evening - 4:07 
6. Barnes County (Tim Renwick, Cal Batchelor, Bruce Thomas, 'Willie' Wilson) - 4:25 
7. Back On The Road - 3:07 
8. Just Loving You - 1:56 
9. Reason For Staying (Tim Renwick, Cal Batchelor) - 7:00
All songs by Cal Batchelor except where noted

Quiver 
*Tim Renwick - Guitar
*Cal Batchelor - Guitar, Keyboards, Vocals
*Bruce Thomas - Bass
*John 'Willie' Wilson - Drums
With
*Dick Parry - Sax

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Tuesday, June 16, 2026

rep>>> The Deep - Psychedelic Moods (1966 us, great fuzz garage psych, 2007 bonus tracks edition)



Recorded in a darkened Philadelphia studio in August 1966, this amazing album was the first to have the word ‘psychedelic’ in its title, and is well-established as an pioneering acid classic. Presented here in both its mono and stereo mixes (which have fascinating differences), it still sounds truly unique and is a must for all fans of true American psychedelia.

Despite having long enjoyed a high reputation amongst psych afficionados, to this day remarkably little is known of the Deep. The project was the brainchild of Rusty Evans (b. Marcus Uzilevsky), a New Yorker who’d already made a number of rockabilly singles and at least three unremarkable solo folk LPs (1962’s Showdown, 1963’s Songs Of Our Land and 1964’s Railroad Songs), as well as a 1964 LP for Reprise as part of the All Night Singers, before tiring of the Greenwich Village scene.

In 1965 he visited LA and made a rare 45 for the Musicor label 1983 / The Life Game (as Ry Cooper), before joining the New Christy Minstrels for a few months and then heading for Philadelphia. There he fell in with a group of musicians including David Bromberg, Mark Barkan and the enigmatically named D Blackhurst.

Together they recorded Psychedelic Moods over a couple of days in August 1966. An eccentric collection of brief pop and garage rock tunes, sound effects and studio trickery, it was released by the local Cameo-Parkway label, perhaps in a bid to crack the burgeoning hippy market. The label was also home to garage chart-toppers ? and the Mysterians, but did little to promote the Deep’s LP when it appeared in October 1966.

Perhaps they suspected it was too forward-looking to sell: for a start, it was the first album to include the word ‘psychedelic’ in its title (just ahead of the Blues Magoos' Psychedelic Lollipop and the 13th Floor Elevators' Psychedelic Sounds, both released in November). The anonymous group did not tour to support the LP, and soon after its release Barkan and Blackhurst relocated to Greenwich Village, where they produced a number of unreleased psych-pop cuts for teenage LSD nuts Hydro Pyro on April 24th 1967 (included here as bonus tracks).

Evans, meanwhile, had signed a deal with Columbia. Credited to the Freak Scene, his next effort, 1967’s Psychedelic Psoul, was very similar in mood and sound to the Deep. When it too missed the charts, he formed Eastern Productions with songwriter and producer Teddy Randazzo, and signed the Third Bardo and the Facts of Life. With the former he produced the all-time classic psych 45 I'm Five Years Ahead of My Time (Roulette, 1967) before moving back to LA and finding work with the Take Six label (including another garage 45, the Nervous Breakdown's I Dig Your Mind).

He also worked with the much-loved Matthew Katz for a while, participating in some It’s A Beautiful Day sessions. By 1969 he’d reverted to his original name, and released an album as Marcus for Epic subsidiary Kinetic. A syrupy blend of folk and pop, it sold no better than his previous efforts, and he chose to focus on painting thereafter, though he released a further album on Folkways a decade later, Life's Railway Heaven. He’s now a widely-respected and collected artist, and has also released ambient world music as Uzca, as well as working with his son in the popular Johnny Cash-inspired rockabilly band Ring Of Fire. It’s all a long way from a darkened studio in Philadelphia, forty five years ago.
Tracks
1. Color Dream - 2:36
2. Pink Ether (David Richard Blackhurst, Rusty Evans) - 2:21
3. When Rain Is Black (Caroline Blue, Rusty Evans) - 2:11
4. It's All A Part Of Me - 2:55
5. Turned On (David Richard Blackhurst, Rusty Evans) - 2:26
6. Psychedelic Moon (David Richard Blackhurst, Rusty Evans) - 2:42
7. Shadows On The Wall - 3:13
8. Crystal Nite (David Richard Blackhurst, Mark Barkan) - 1:41
9. Trip #76 (Mark Barkan, Lenny Pogan, Rusty Evans) - 2:37
10. Wake Up And Find Me - 2:20
11. Your Choice To Choose (Arthur Geller, Rusty Evans) - 1:53
12. On Off - Off On - 2:22
13. Color Dream - 2:36
14. Pink Ether (David Richard Blackhurst, Rusty Evans) - 1:57
15. When Rain Is Black (Caroline Blue, Rusty Evans) - 2:12
16. It's All A Part Of Me - 2:56
17. Turned On (David Richard Blackhurst, Rusty Evans) - 2:27
18. Psychedelic Moon (David Richard Blackhurst, Rusty Evans) - 2:42
19. Shadows On The Wall - 3:12
20. Crystal Nite (David Richard Blackhurst, Mark Barkan) - 1:39
21. Trip #76 (Mark Barkan, Lenny Pogan, Rusty Evans) - 2:16
22. Wake Up And Find Me - 2:20
23. Your Choice To Choose (Arthur Geller, Rusty Evans) - 1:54
24. On Off - Off On - 2:11
25. 1983 (Mark Barkan, Stanley J. Kahan , Rusty Evans) - 2:59
26. The Life Game - 2:20
Songs written by Rusty Evans except where noted
Tracks from 1-12 Stereo.
Tracks from 13-24 Mono
Bonus tracks  25-26 as Ry Cooper (Rusty Evans)

Personnel
*Rusty Evans - Guitars, Vocals
*David Bromberg - Rhythm Guitar, Bass, Vocals
*Mark Barkan - Percussion, Vocals

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rep>>> Inner Sanctum • Sunset Love - Psychedelic Moods, Pt. 2: Journey Thru Inner Space (1967-68 us, impressive garage psych)



After releasing the “Psychedelic Moods” album, in October of 1966, Mark Barkan envisioned another psychedelic album for his next release.  It was to be performed by a Greenwich Village band called “Inner Sanctum”.   The theme of the album was to be a psychedelic journey into the various psyches of the mind.  

The trip started with a journey into the past (The House Of Yesterday) then covered the inner workings of the mind (ID) then the descent into madness (Hydro Pyro) hallucination (Purple Floating) and finally culminating in nirvana (Snow Petals).  Unfortunately, Barkan was unable to find a record company willing to lease the masters and so they languished for decades unreleased. Now, at long last the masters for this aborted album are mixed from the original four track tapes and forty plus years later the psychedelic sounds of “Inner Sanctum” are now ready, willing, and able to blow your mind.

“Sunset Love” was comprised of band members from New Mexico and Texas.  In the fall of 1968, thirteen original songs and two covers were recorded for a potential album, but nothing was ever released.  “Sunset Love’s” lush harmonies, soaring vocals, superior song writing, and flower power consciousness pervaded their songs with a depth and quality unheard of from most 60s’ bands.  While their sound can be compared to such bands as “The Mamas and The Papas”, “The Peanut Butter Conspiracy”, “Spanky and Our Gang”, and “The Love Exchange”,  “Sunset Love” had their own inimitable style that transcended a generic stereo-type.  

Had Sunset Love released their album in the 60’s, there is no doubt it would have been an instant rarity of excellence. The “Sunset Love” tapes are sourced from the original stereo versions and reveal the great harmonies and surrealistic lyrics of an undeservedly overlooked and forgotten band from the late 60’s.  
Cicadelic
Artists - Tracks
1. Sunset Love - Change - 2:04
2. Sunset Love - Tribute to Kay - 2:39
3. Sunset Love - Run to the Sun - 2:38
4. Sunset Love - Reach Out - 2:39
5. Sunset Love - Little Children - 3:08
6. Sunset Love - Winters Day - 3:58
7. Sunset Love - Sunset Love - 3:47
8. Sunset Love - Green Hippie - 2:44
9. Sunset Love - World of Pain - 2:38
10.Sunset Love - A Man in the Park - 3:29
11.Sunset Love - Father Paul - 3:35
12.Sunset Love - I Will - 1:43
13.Sunset Love - Wheels - 2:07
14.Sunset Love - Push - 2:26
15.Sunset Love - Innocence Dies Young on Our Street - 3:00
16.Inner Sanctum - The House of Yesterday - 1:56
17.Inner Sanctum - ID - 2:02
18.Inner Sanctum - Hydro-Pyro - 2:06
19.Inner Sanctum - Purple Floating - 1:53
20.Inner Sanctum - Snow Petals - 2:11
21.Inner Sanctum - Little Tin Soldier - 2:32
22.Inner Sanctum - The Man Who Shot Your Mother - 1:49 
Tracks 1-15 written by William J. Stone II, Victor Kay Lindsay
Tracks 16-20 written by Mark Barkan, David Blackhurst
Tracks 21,22 written by Kevin Michael, Gerry Michael, Vince Taggart, Frank Thumhart

The Sunset Love
*Bruce Callich -Drums
*James Crenshaw - Guitar, Bass
*Greg Sadler - Guitar, Bass, Keyboards
*Victor Kay Lindsey - 12 String Vox Guitar, Vocals
*James William Stone II - 12 String Vox Guitar, Vocals
*Montie Carol Montgomery - Vocals

The Inner Sanctum
*Kevin Michael - Lead Guitar
*Gerry Michael - Drums
*Vince Taggart - Rhythm Guitar
*Frank Thumhart - Bass Guitar

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Monday, June 15, 2026

rep>>> Tomorrow - Tomorow (1968 uk, excellent mod beat acid psych with Keith West and Steve Howe)



Tomorrow was one of the most innovative of the late 1960s British "psychedelic" groups." Keith West, Steve Howe and John Wood had all been in the In Crowd that had released a few singles while Twink joined from the Fairies.

Tomorrow was an exciting live act as the tracks on 50 Minute Technicolour Dream testify. They supported artists such as Jimi Hendrix who even jammed on stage with them at Brian Epstein's Saville Theatre. Pink Floyd had been a major influence on artists such as Twink who saw something different in the improvisation and light shows. Other influences came through Steve Howe's liking for jazz as well as the direction being supplied to everyone by the Beatles and the Byrds. The jazz influences can be heard on one of Tomorrow's earliest tracks, Why? At the same time vocalist Keith West had started writing his own material for the group.

Word got to Michaelangelo Antonioni that there was an exciting band around and he spoke to them about appearing in his forthcoming film, Blow Up. Although Antonioni said he liked the songs, the band was dropped to be replaced by the Yardbirds. However, they did appear in the film Smashing Time where they were billed as The Snarks.

Tomorrow's own material started simple but contained different sounds thus making the tracks sound far more complex than they actually were. Drugs such as acid may have played a role in tracks such as Real Life Permanent Dream and Hallucinations.

The group made two singles, one of which, My White Bicycle, is a British psychedelic classic. The other single was Revolution. These did not make an impact on the charts although the group did manage to build up a sizeable underground following. One of the group's earlier champions was disc jockey John Peel who played the first single extensively on his Perfumed Garden radio show. He also had a Night Ride session recorded early in 1968 which was broadcast although the tapes were subsequently lost or, in true BBC style, erased.

The strength of the band live belied their poor commercial success. They were playing gigs most nights and became one of the hottest brands of the London scene alongside Pink Floyd and the Soft Machine. However, this did not always translate into success outside the capital.

Keith West may be better known as a participant in the Teenage Opera project that gave him a solo hit single Excerpt from a Teenage Opera (Grocer Jack) and brief commercial success. This was part of an idea for all the members of Tomorrow to have parallel solo careers alongside tomorrow. However, the move to work on other projects pulled the group apart with Twink joining the Pretty Things and the Pink Fairies. Poor record sales did not help either.

An album was released called Tomorrow in early 1968. This was billed as Tomorrow featuring Keith West, hoping to cash in on his solo success. It was also released too late to benefit from the summer of love and had a compromise cover that did not do justice to the material within.

By spring 1968 the group was no more. Steve Howe later joined Yes. Incidentally, My White Bicycle was included on the Heavy Karma album by the Young Ones' Neil.
Making-Time
Tracks
1. My White Bicycle - 3:18
2. Colonel Brown - 2:53
3. Real Life Permanent Dream (Keith Hopkins) - 3:17
4. Shy Boy - 2:27
5. Revolution (Keith Hopkins, Steve Howe) - 3:50
6. The Incredible Journey Of Timothy Chase (Keith Hopkins) - 3:18
7. Auntie Mary's Dress Shop - 2:46
8. Strawberry Fields Forever (John Lennon, Paul McCartney) - 3:59
9. Three Jolly Little Dwarfs - 2:28
10.Now Your Time Has Come - 4:53
11.Hallucinations - 2:43
12.Claramount Lake - 3:02
13.Real Life Permanent Dream  (Keith Hopkins) - 2:24
14.Why (David Crosby, Roger McGuinn) - 3:59
15.Revolution (Keith Hopkins, Steve Howe) - 3:50
16.Now Your Time Has Come - 3:05
17.10,000 Words In A Cardboard Box (John "Junior" Wood, John Charles Alder)  - 3:27
18.Good Wizzard Meets Naughty Wizzard  (John "Junior" Wood, John Charles Alder, Mark Wirtz) - 4:42
19.Me (John "Junior" Wood, John Charles Alder) - 3:12
20.On A Saturday  - 3:13
21.The Kid Was A Killer - 2:31
22.She - 2:30
23.The Visit - 4:05
Songs 1,2,4,5,7,9,10,11,12,16 written by Keith Hopkins, Ken Burgess
Songs 20-23 written by Keith West
Songs 17-19 by The Aquarian Age
Songs 20-23 by Keith West 

Tomorrow
*Keith West - Vocals
*Steve Howe - Guitar
*John "Junior" Wood - Bass
*John Adler "Twink" - Drums

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Sunday, June 14, 2026

The Strawbs - From The Witchwood (1972 uk, melodious and often magical folk prog rock)



On the whole the album has stood the cruel test of time pretty well. Perhaps one or two lyrics are a little overblown and a tad too romantic for the cynical 90s, but most lyrics stand up and the eclecticism of the instrumentation (Banjo with organ and dulcimer with clarinet) is a joy. The title track remains a true classic which evokes the enchantment of place and antiquity, a special quality for those of us who live in relatively new lands. "Glimpse of Heaven" is a great anthem (which I had played at my wedding and certainly want played at my funeral along with the live version of "Grace Darling") even if references to lambs that 'sweetly play' is a touch mawkish for someone living in a land with 45 million sheep [Tom's from Dunedin, New Zealand - DG] whose low grazing habits have caused a far bit of environmental damage.

"Hangman" and "Sheep" toughen things up a little (although I prefer the rip roaring live version of sheep) and "Canon Dale" is a Hudson Ford classic. "Thirty Days" and "Flight" are very Beatleish but still make for great listening. "The Shepherd's Song" is an amazingly exotic piece which few modern bands would ever dare to attempt. It is topped off by Rick's excellent moog-lines. "In Amongst the Roses" is still wonderful for its delicate, even fragile quality, while "I'll Carry on Beside You" and bonus track "Keep the Devil Outside" bring proceedings to a mellow and optimistic conclusion.

Overall this album is getting lots of time on the disk player but it is fun to compare it with some of the other reissues. Antiques and Curios scores better in its slight edgy quality and raw energy, while Grave New World has a little more power (Hero and Heroine and Ghosts deserve separate treatment as they are much more mainstream rock). I might be a heretic but I believe Grave New World's slight edge comes, in part, from Blue's playing which complements Dave's music better than Rick's more strictly classical approach. "Tomorrow" also has to be one of the band's best ever rock songs but I believe that "Ways and Means" (from Dave's solo album) should have been included instead of "Here It Comes" which is already on disk and fails because it is neither folk nor rock.
by Tom Brooking
Tracks
1. A Glimpse Of Heaven - 3:50
2. Witchwood - 3:23
3. Thirty Days (John Ford) - 2:52
4. Flight (Richard Hudson) - 4:24
5. The Hangman And The Papist - 4:11
6. Sheep - 4:14
7. Cannondale (Richard Hudson) - 3:46
8. The Shepherd's Song - 4:34
9. In Amongst The Roses - 3:48
10.I'll Carry On Beside You - 3:09
11.Keep The Devil Outside (John Ford) - 3:02
Songs written by David Cousins except where stated
Bonus Track 11

The Strawbs
*Dave Cousins - Vocals, Guitar, Banjo, Dulcimer, Electric Guitar, Tenor Recorder
*Tony Hooper - Vocals, Autoharp, Guitar, Tambourine
*Rick Wakeman - Organ, Celeste, Clarinet, Electric Piano, Piano, Moog, Harpsichord, Mellotron
*Richard Hudson Drums, Vocals, Sitar, Snare Drum
*John Ford - Bass, Vocals, Guitar


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