Plain and Fancy

Saturday, January 3, 2026

The High Keys - A little Too Heavy (1970-72 us, fine hard classic rock, 2022 release)

Piquant three-part harmonies, cumbersome guitar woven tightly with organ flourishes, all poured over hot rhythm grooves! Recorded 1970-1972 under the watchful eyes and ears of Ron and Howard Albert, aka Fat Albert Productions (Wishbone Ash, Procol Harum, CSN) at the legendary Criteria Studios in Miami, this powerhouse album finally sees the light of day

The album was the culmination of years of hard work by the High Keys. “A Little Too Heavy” is a commanding opener, mixing organ flourishes with heavy lead guitar runs for a searing hard rocker that proudly displays their Vanilla Fudge influence. “Bird In The Hand” and the road weary “Headin’ Home” also lay down the heavy gauntlet — the former with some fine soloing and the latter with complex harmonies and rhythms as fast as a touring van's wheels. And on “Too God To Be True,” the hard rock is slower, more contemplative and, above all, still affecting.

But the band could do more than just rock out, sliding into a soulful groove on “Memories Never Cease,” laying back for a ballad on “Chance” and doing a little of both on “Buffalo Girl,” which starts as a melancholy blues before segueing into a hard-rockin’ climax that leaves room for Druckman to stretch out again. The playful “I’m On My Way Up” takes still another direction with more great harmonies to bolster its choruses, while congas played by Calarusso fill out the sound on the catchy rock of “It’s Alright.” “Something New” displays the band’s melodic inclinations, which can also be heard on the pleading “Take Me Back.”

Sundazed

Tracks

1. A Little Too Heavy - 2:32

2. Memories Never Cease - 3:01

3. I'm On My Way Up - 4:24

4. Bird In Hand - 1:52

5. Buffalo Girl - 5:46

6. It's Alright - 3:45

7. Chance - 3:32

8. Something New - 2:46

9. Headin' Home - 1:47

10.Too God To Be True - 2:52

11.Take Me Back - 2:56

All composition by The High Keys

The High Keys

*Johnny DiFrancesca - Keyboards, Vocals (1970-71)

*Rick Carhart - Bass

*Marty Druckman - Lead Guitar

*Michael "Gino" Schimpf - Drums

*Joey Colarusso - Guitar, Vocals, Congas

*Terry Bossier - Keyboards (1971-72)

1968 Child Is Father To The Man (2014 Audio Fidelity and 2016 SACD)
1969 Blood Sweat And Tears (2014 audio fidelity and 2016 SACD)

Friday, January 2, 2026

rep>>> Junior's Eyes - Battersea Power Station (1967-69 uk, awesome heavy psych prog blues rock)

Junior's Eyes are one of the more well-known unknowns -- if such an oxymoron can be applied -- of the late-'60s British psychedelic scene. Most people who have seen any reference to them at all are apt to know them only as an act that served as David Bowie's backup group briefly in the late '60s. Mick Wayne, Junior's Eyes' lead guitarist and songwriter, played guitar on Bowie's "Space Oddity" and some of Bowie's other recordings.

Prior to forming Junior's Eyes, he had briefly been in the Hullaballoos, a lightweight British Invasion band that had a bit of success in the States. He had also been in the Bunch of Fives with ex-Pretty Things drummer Viv Prince. As part of the Tickle, he wrote their sole 1967 single, "Subway (Smokey Pokey World)," one of the greatest obscure psychedelic 45s. He also played acoustic guitar on James Taylor's Apple album.

All of these interesting peripheral contributions might lead one to suspect that Junior's Eyes' 1969 album, Battersea Power Station, could be a hidden nugget of psychedelia. Other than Wayne, Junior's Eyes' personnel was variable during its brief existence. Members of some note who played in the lineup at some point included drummer John Cambridge, who went on to another David Bowie backup band, the Hype; guitarist Tim Renwick, who much later would play with Pink Floyd; and Steve Chapman, who later played drums with Poco.

After Junior's Eyes broke up in early 1970, Wayne went on to session work and a stint with the Pink Fairies. Battersea Power Station was reissued on CD by Castle in 2000, with the addition of three non-LP singles, four demos, and both sides of the Tickle's 1967 single.

by Richie Unterberger
Tracks
1. Total Power - 1:11
2. Circus Days - 3:42
3. Imagination - 6:09
4. My Ship - 2:47
5. Miss Lizzie - 2:53
6. So Embarrassed - 3:18
7. Freakin' - 1:51
8. Playtime - 3:55
9. I'm Drowning - 1:25
10.White Light - 6:38
11.By the Tree - 5:02
12.Mr. Golden Trumpet Player - 2:25
13.Blake Snake - 2:39
14.Woman Love - 2:39
15.Starchild - 3:57
16.Sink or Swim - 3:24
17.Circus Days (Single Version) - 2:56
18.White Light (Demo) - 5:14
19.By The Tree (Demo) - 3:52
20.Imagination (Demo) - 3:46
21.Playtime (Demo) - 3:57
22.Subway (Smokey Pokey World) - 2:39
23.Good Evening - 2:37

All songs by Mick Wayne

Songs 22-23 as The Tickle

Junior's Eyes
*Mick Wayne - Guitar, Vocal
*Tim Renwick - Guitar
*Graham Kelly - Guitar
*John Lodge - Bass
*John Cambridge - Drums

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Thursday, January 1, 2026

Blood Sweat And Tears - Live At Woodstock (1969 canada / us, awesome live perfomance)

It was about 1:30 AM, Monday 18 August. Bethel’s dairy farmers would be up soon and hoped that the roads would be open so trucks could pick up their milk. Many Catskill weekend vacationers bemoaned their luck to have picked a weekend when 500,000 others unintentionally closed down the area.

For those who had remained at the festival, there were still four more bands yet to play after Blood, Sweat and Tears to complete Sunday’s lineup: Crosby, Stills, Nash, and Young, the Paul Butterfield Blues Band, Sha Na Na, and Jimi Hendrix. The rain storm had delayed the day’s progression, but even without the downpour, the festival would still have stretched out into early Monday.

The live performance often gave individual band members the chance to stretch out their studio performances. The set lasted about 55 minutes.

Woodstock-whisperer

Tracks

1. More And More (Don Juan, Pea Vee) - 3:04

2. Just One Smile (Randy Newman) - 4:45

3. Somethin' Comin' On (Al Kooper) - 2:29

4. I Love You More Than You'll Ever Know (Al Kooper) - 7:29

5. Spinning Wheel (David Clayton-Thomas) - 4:56

6. Sometimes In Winter (Steve Katz) - 3:30

7. Smiling Phases (Chris Wood, Jim Capaldi, Steve Winwood) - 10:21

8. God Bless The Child (Arthur Herzog, Jr., Billie Holiday) - 6:54

9. And When I Die (Laura Nyro) - 5:18

10.You've Made Me So Very Happy (Berry Gordy Jr., Brenda Holloway, Patrice Holloway, Frank Wilson) - 5:00

Blood Sweat And Tears

*David Clayton-Thomas - Vocals, Guitar

*Steve Katz - Guitar, Harmonica, Vocals

*Dick Halligan - Keyboards, Trombone, Flute

*Jerry Hyman - Trombone

*Fred Lipsius - Alto Sax, Piano

*Lew Soloff - Trumpet, Flugelhorn

*Chuck Winfield - Trumpet, Flugelhorn

*Jim Fielder - Bass

*Bobby Colomby - Drums

1970 Blood Sweat And Tears - 3 (2016 SACD)
1971 Blood Sweat and Tears - 4 (2016 SACD)
1972 New Blood (2009 edition)
1973 No Sweat (2005 issue)
1974 Mirror Image (2005 issue)
1975 New City (Bonus Tracks)
1976 More Than Ever (Bonus Tracks)

1976 Blood Sweat And Tears - In Concert (2017 remaster)
1968-76 The Complete Singles (2014 two disc set)

Related Act
1972 David Clayton Thomas

1972 David Clayton-Thomas / Tequila Sunrise (2002 edition)

1975 Zzebra - Take It Or Leave It

Tuesday, December 30, 2025

Zzebra - Lost World (1975 nigeria / ghana / uk, fine fusion jazz afro-prog rock, 2001 release)

The previously unreleased album from 1975. features Liam Genocky and Steve Byrd (also later of Gillan fame) in a septet playing a variety of rock styles, covering the best of white and black music of the era...an enjoyable if eclectic concoction. there is a sense of adventure the size of an interstate running through the band's musicianship…Eight studio recordings and four live cuts from a 1975 European tour catch Zzebra in audacious form.

No Point' starts things off nicely with a jazz/funk effort, but what impressed me most were the vocals - impressive stuff! 'Society' rocks things up a little, cool music with some great percussion...The quality of the live tracks is very good. absolutely innovative, vibrating progressive hard(?) rock with lots of jazz, folk elements, extremely complex structures and brilliant musicianship…A very demanding, precious release, exclusively hot.

Tracks

1. Procession Of The Zzebra (Alan Marshall, John McCoy, Tommy Eyre) - 2:03

2. No Point (John McCoy) - 3:46

3. Society (Alan Marshall) - 5:40

4. Evacuate (Dave Quincy, Trevor Preston) - 5:45

5. Living (Steve Byrd, Tommy Eyre) - 5:11

6. It's Take It/Leave It (John McCoy) - 3:47

7. Baila Jo (Loughty Amao) - 6:58

8. Word Trips (Alan Marshall, Tommy Eyre) - 5:00

9. Panic (John McCoy) - 5:27

10.Mr J (Loughty Amao) - 4:56

11.You've Lost That Lovin' Feeling (Barry Mann, Cynthia Weil, Phil Spector) - 6:04

12.Hungry Horse (Loughty Amao, Dave Quincy, Terry Smith, Ted Yeadon) - 15:03

Bonus tracks 9-12 Live recordings

Zzebra

* Alan Marshall - Lead Vocals, Percussion

* Steve Byrd - Guitar

* Tommy Eyre - Keyboards, Bells, Vocals

* Dave Quincy - Alto, Tenor, Soprano Saxes, Piano

* John Mccoy - Bass, Percussion, Backing Vocals

* Liam Genockey - Drums, Vocals

* Loughty Amao - Percussion, Tenor, Baritone Saxes, Flute, Vocals

1974 Zzebra - Zzebra

1975 Zzebra - Panic

1975 Zzebra - Hungry Horse (2023 remaster)

Related Acts

1972 Riff Raff - Outside Looking In

1973 Riff Raff - Riff Raff (2016 korean remaster)

1974 Riff Raff - Original Man (2017 korean remaster)

1969 Jaklin - Jaklin
1969-70 The Aynsley Dunbar Retaliation - To Mum From Aynsley And The Boys / Remains To Be Heard

1970 If - If (Repertoire remaster)

1970 If - If 2 (Repertoire remaster)
1971 If - If 3 (Repertoire remaster)
1972 If - If 4 (Repertoire remaster)
1972 If - Waterfall (Repertoire remaster)
1972 If - Europe '72 (Repertoire remaster)
1973 If - Double Diamond (2010 reissue)
1974-75 If - Not Just Another Bunch Of Pretty Faces / Tea Break Over

1970-72 If - British Radio Sessions (2013 release)

Monday, December 29, 2025

Michael Konstan - Michael Konstan (1973 us, beautiful folk jazzy soft rock)

Michael Allen Konstan born (April 3, 1946) in N.Y.C. and begun his music career in mid sixties, playing in a New York group called The Quadrangle. They released one single “She’s Too Familiar” / “No More Time” penned by Michael Konstan and Jay Fishman, one more 45' for Michael ‘My Lovely One / This Time’ released through MGM Records in 1966.

In 1973 Konstan recorded a full length album for RCA Records, simply titled ‘Michael Konstan’. A melodic tapestry with varied styles, from folk, jazz and soft rock wonderful harmonies and well arrangements.

After this effort Michael no longer involved in music business and got elaborated in wine industry. Michael Konstan sadly passed away October 28, 2024 in North Providence RI.

Tracks

1. Long Before - 2:24

2. Back In A Little While - 3:04

3. One-Two-Three-Four-Five - 2:55

4. Great Train - 2:29

5. Medley: First Love; All She Was To Me - 4:11

6. One More Time - 2:36

7. One Of These Mornings - 2:29

8. Man Of Tomorrow - 3:56

9. Yesterday Once More - 3:16

10.Sundrops - 2:32

Words and Music by Michael Konstan

*Michael Konstan - Vocals, Guitar

Sunday, December 28, 2025

Nurk Twins - Nurk Twins (1978 norway, splendid guitar rock, 2021 remaster)

First and foremost a blues/bluesrock-inspired band, but went through many musical styles as new musicians joined. At one time, Rogaland's and Norway's rawest and most uncompromising band. Started playing together in Stavanger in 1963, established as a band in 1964, with their debut concert on May 1, 1964 at Stavanger Stadium. The band disbanded at the beginning of the 1980s. Has since had sporadic reunions. Many of the members of the band have also made a strong mark in other contexts.

Nurk Twins were a group of young boys aged 12-13 when they started playing together. They were working class and lived in the working class district of Storhaug . On May 1, 1964, they had their first proper concert, when they played raw rock at Stavanger Stadium before a football match. The band had a lot of money, had talent - and became good. The Beatles were their great role models. They became familiar with the music through the radio; they learned the songs and wrote down the lyrics. When the rough sketches were ready, the sessions began in the basement. The first system was homemade; made up of chipboard and covered with green upholstery. The first guitars were made on the sled. The first amplifier was bought in 1964.

They took the name Nurk Twins from something they had read about The Beatles; John Lennon and Paul McCartney had once performed as a duo under the name Nurk Twins. They thought the name was cool, but didn't know what the words meant.

The original band consisted of Magne "Mannaen" H￸yland (vocals), Kjell Arne Jensen (bass), Ernst Magne "Ivan" (usually pronounced "Iven) Vignes (guitar), Knut Helge K￸nigsberg (drums) and John Hetlelid (guitar). When Hetlelid left, Per Lorentz "Peder" Borsheim came in as rhythm guitarist. At the end of the 1960s, Magne H￸yland left - some believe he was fired. Borsheim took over the singing and the band turned more and more towards the blues. Then it became desirable to have an organ, and Tor Salomonsen joined the band. In 1971/1972, the band consisted of Hans Christian "Besten" Hansen (percussion), Magnar Fyllingen (piano/vocals), Per Lorentz Borsheim (vocals, harmonica, guitar) and Sverre Erik "Ferrien" Henriksen (bass) and Knut K￸nigsberg ( drums). Around the same time, the old bassist Kjell Arne Jensen returned. Rolf "Buddy" Oanes on drums replaced K￸nigsberg, and guitarist (first bassist) Odd Stangeland came in.

Other musicians who have briefly visited Nurk Twins were pianist Reidar Larsen (participated for a short period as a 14-15-year-old), saxophonist Frode Gjerstad, Jan Helge Didriksen (mandolin?) and Tor Magne "Tøbbis" Rønnevig (saxophone). Nurk Twins first practiced at Pedersgata 99 in the eastern part of Stavanger, the house of bassist Jensen's parents. Later, they were given a practice room in the Frisinn clubhouse, where they were allowed to practice for free in exchange for playing at Frisinn's alcohol-free dances every Wednesday.

Nurk Twins' musical style changed, depending on who was a member of the band at any given time. When Magne Høyland left in the late 1960s, the band began to play more blues-based material. In the early 1970s, the band stood out as a sharp contrast to the more polished artists in the county, with their hippie style. When Per Lorentz Borsheim took over as lead vocalist, the blues strengthened its position in the band. With Borsheim and Salomonsen as new members, they began to play more progressive rock. After their debut concert on May 1, 1964, dance organizers began to contact them. They also participated in many of the local pop competitions.

The highlight of the first edition of Nurk Twins was when they shared first place with a Swedish group in the Nordic Pop and Rock Championships in 1965. The band played, among other things, the Rolling Stones songs "Get Off Of My Cloud" and "(I Can't Get No) Satisfaction". Nurk Twins won a single recording, which they never used; they did not think they had any of their own songs that were good enough. Nurk Twins had trouble getting into record labels during this period. No one wanted to sign them - they were too uncompromising, and their music was too bluesy and raw.

Bohemian Jazz Club had in 1969 acquired blues artist Eddie Boyd from Chicago. The club did the right thing and asked the Nurk Twins to play as a backing band at Korvetten. Eddie Boyd was thrilled with this interaction, and returned to the district several times to play with the Nurk Twins. The band also played with Champion Jack Dupree at Bohemian. The fundamentalists in the jazz club only reluctantly accepted this slip-up. Only the blues nights were full.

On November 24, 1970, Nurk Twins were presented in a major interview in Stavanger Aftenblad. They were able to say that since the beginning they had bought instruments and other equipment for 150,000 kroner - an enormous amount at the time. Stylistically, they represented a completely different world than the other bands in Stavanger at the time; those who performed in handsome suits and had handsome beards.

The hard and rough lifestyle of the band made it difficult for them to get gigs in the Stavanger area. The organizers were skeptical about the local version of The Rolling Stones. There was chaos and arguing, but they also practiced a lot, and became powerful musically. They organized their own concerts, including at Folkets Hus in Sandnes.

From the mid-1970s they began to write more of their own songs, and from 1973 to 1977 most of the songs they played were self-written. Per Lorentz Borsheim's "Kuwait" was one of the live favorites.

During this period, Nurk Twins also played with several major Norwegian and foreign bands and artists. They also played outside of Stavanger, including at Hulen in Bergen and Chateau Neuf and Club 7 in Oslo. In April 1971, they were the opening act for Black Sabbath at Giskehallen.

It took fifteen years from the time Nurk Twins started playing together before they went into the studio to record an album. The album was recorded at Bergen Lydstudio with Trygve Thue as producer. It has been said about this album that it has an unmistakable Dire Straits feel - both in terms of music, arrangements and guitar sound - before Dire Straits released their first album! The album nevertheless bears the mark that Nurk Twins were at the end of their career, and some of the spark was gone when it was recorded.

Nurk Twins performed in NRK Radio's live program series (no title) in 1970 or 1971. The producer was Tore Skille. The recordings (probably deleted, unless Tore Skille has secured a copy) were made in the Mission Hall in Stavanger, which was NRK's largest "studio" in the city at the time. The hall was used by the Stavanger Symphony Orchestra at the time. It was natural for NRK to use this venue, which they had a lease on, but the people of the Mission Society were shocked when they realized what was going to happen in their own hallowed hall. The band was first told to go out at a certain speed, but NRK finally got its way. The recording was made. NRK had sent an invitation to a free live concert home with schoolchildren in the Hinna area. And a large group of pretty young people showed up with their parents, many in their finery, because they had forgotten to say who was going to play. They probably thought it was a symphony orchestra. So mistakes can be made.

Played for a period under the name Nurk Twins Blue Corner in 1970, then as a pure blues band. In recent years, Nurk Twins played a lot at Korvetten in downtown Stavanger, where they returned to their roots, to R&B and some roots-influenced music.

Rogyland

Tracks

1. Back To The Streets (Odd Stangeland, Per Lorentz Borsheim) - 2:54

2. Country Fever (Per Lorentz Borsheim) - 3:15

3. About To Die (Magnar Fyllingen) - 2:56

4. Hidden In A Dream (Magnar Fyllingen, Sverre Henriksen) - 3:51

5. Western Winds (Odd Stangeland, Per Lorentz Borsheim) - 2:26

6. Dear Follower (Dick Nuthall, Magnar Fyllingen) - 3:07

7. Rising Sun (Per Lorentz Borsheim) - 3:48

8. Stranger In Another Man's Land (Magnar Fyllingen, Per Lorentz Borsheim) - 2:03

9. Dirty Poster (Magnar Fyllingen, Sverre Henriksen) - 3:53

10.Tomhet (Kjell Arne Jensen, Magnar Fyllingen, Odd Stangeland) - 2:44

11.Skuespill (Kjell Arne Jensen, Magnar Fyllingen, Odd Stangeland) - 3:34

12.The Intruder (Odd Stangeland) - 0:59

Nurk Twins

*Kjell Arne Jensen - Bass, Guitar, Vocals

*Per Lorenz Borsheim - Guitar, Harmonica, Vocals

*Hans Christian Hansen - Percussion

*Magnar Fyllingen - Vocals

*Odd Stangeland - Lead Guitar, Slide Guitar, Acoustic Guitars, Dobro, Vocals

*Rolf «Buddy> Oanes – Drums

With

*Tom Halvorsen - Keyboards

*Trygve Thue - Backing Vocals, Lead Guitar (Track 7)

Thursday, December 25, 2025

Castle Farm - The Studio Sessions (1971-72 uk, powerful guitar based hard blues rock, 2025 release)

Castle Farm built a solid and loyal following on the London, Essex and Kent gig circuit in England during the early 70s, with their hard rock and blues-oriented live shows, featuring their original material alongside hard-hitting renditions of blues and rock'n'roll classics. They’re really heavy, slowed down, crunching 20-minute finale version of Eddie Cochran's Summertime Blues' never failed to bring the house down!

Originally a four-piece band, they later brought in John Aldrich, with his super-clean lead guitar style, to supplement Gram Tex Benke's killer slide work and create a dynamic dual-guitar sound, adding so much. more colour and depth to the band's music. With a solid rhythm section of Spyder" Curphey (and latterly his brother Roger) on bass and Steve Traveller on drums, and with Denny Newman's powerful and resonant vocals, the band progressed to the university and college circuit at over England, supporting major acts like Rory Gallagher, Deep Purple, Atomic Rooster, Savoy Brown, Climax Blues Band. Quintessence and many others.

Although they worked on several recording sessions, they failed to sign a contract with a label that wasn't out to rip the band off-pretty much par for the course at the time. But the band had a great following, and knew they could sell records, so they decided to put out their own single, Hot-Rod Queen' b/w Mascot, Forming their own record company, Farm Records, they had 2,000 copies pressed. and distributed them direct through record shops across East London and Essex. They sold out within a couple of weeks and they're now much prized by vinyl record collectors. That independent single, plus a collection of other tracks the band had recorded along the way, was put out in 2013 for digital download/streaming as The Studio Sessions 1971-72

Although they disbanded at the end of 1972, the band. always kept in touch over the years, and came together for occasional reunion gigs. Then in 2017 they performed a live reunion concert in their old Essex stomping ground, which was recorded for posterity (2017 Reunion Concert: Live) by Paul Traveller, Steve's son. This concert has now also been put out on video on YouTube.

Very sadly, "Spyder' Curphey passed away in August 2007, and Tex Benike in April 2018. Denny Newman continued to develop his music career, working with Manfred Mann, Snowy White, Mick Taylor and many others, as well as fronting his own guitar-led blues band, with Max Middleton on keys. Denny also left us in September 2023, having just finished a superb final album: Reach Out - Music for Ruth Cape. They're all sorely missed by everyone who had the good fortune to know them, both for their exceptional musical talent as well as for being all-round great guys.

Liner-notes

Tracks

1. (Maybe A Little Black) Witch - 3:33

2. Hot-Rod Queen (Gram Benike, Roger Curphey, Denny Newman, Steve Traveller, John Aldrich) - 3:59

3. Mascot (Gram Benike, Roger Curphey, Denny Newman, Steve Traveller, John Aldrich) - 3:50

4. All In A Year, All In A Day - 3:12

5. Island In The Sun - 6:55

6. Jewels Of Fire (Gram Benike, Roger Curphey, Denny Newman, Steve Traveller, John Aldrich) - 4:26

7. Lunatic - 3:12

8. You Go Your Way, I’ll Go Mine - 3:29

9. I’ve Been Dreaming - 5:58

10.Hot Rod Queen (Gram Benike, Roger Curphey, Denny Newman, Steve Traveller, John Aldrich) - 4:07

All compositions by Gram Benike, Steve Curphey, Denny Newman, Steve Traveller except where indicated

Castle Farm

*Denny Newman - Vocals,

*Gram “Tex” Benike - Guitars,

*Steve “Spyder” Curphey - Bass,

*Steve Traveller - Drums

*John Aldrich - Guitar (Tracks 2,3,6,10)

*Roger Curphey - Bass (Tracks 2,3,6,10)

1970-73 Beggars Opera - Nimbus The Vertigo Years Anthology (2012 double disc remaster)

Sunday, December 21, 2025

Beggars Opera - Pathfinder (1972 uk, a great deal of musical territory, 2005 remaster)

Hailing from Glasgow and previously known as The System, they released their debut album ‘Act One’ in 1970 via the Vertigo label. However, what they presented on this debut was music in the style of The Nice or ELF, which meant their work lacked much of the appeal needed to capture the attention of a large fanbase. As is well known, British music in the 1970s was truly a ‘Renaissance of Rock’, with a diverse array of genres being explored by talented artists and groups. Without any real originality, simply being a copy band of another group was insufficient to appeal to fans with discerning tastes. However, thanks to the assistance of Stuart Henry, a radio DJ at the time, they had to content themselves with the modest success of the track “Sarabante”. Resolving to do better, they released their ambitious second album, ‘Water Of Chanpe’, the following year in 1971 via the Vertigo label. Moving away from the styles of The Nice or E.L.F heard on their debut, they showcased their own distinct character. It was a work where Martin Griffiths' powerful vocals, Alan Park's aggressive guitar playing, and the Mellotron sounds handled by female member Gordon Sellar stood out.

Buoyed by the success of their second album, they released their third album, ‘Pathfinder’, in 1972, a year later. This is widely regarded as Beggars Opera's masterpiece. Released on the Vertigo label with one of its rare poster covers, this third album featured a more advanced sound. Its striking cover art, depicting an astronaut in lunar attire riding a horse, strongly appealed to fans and stimulated their desire to purchase the record. Completed by Peter Goodfellow's illustration and the design collective Blmmsbury Group, this cover exudes a strong progressive aesthetic. Comprising the quintet line-up of Martin Griffiths (vocals), Alan Park (keyboards), Ricky Gardiner (guitar, vocals), Gordon Sellar (vocals), and Ray Wilson (drums), Beggars Opera's sound possesses the earthy charm unique to British rock, coupled with simple yet beautiful melodies that anyone can easily become familiar with upon a single listen.

The opening track “Hobo”, beginning with a lively rhythm, tells the story of a dying wanderer. Martin's vocals, delivered in a matter-of-fact tone, unfold while maintaining an up-tempo pace throughout. The latter part sees Alan's piano (which changes to organ towards the end) and Ray's supporting drums create a splendid ensemble. The next track is the famous “Macarthur Park” by Jim Webb. This song has been arranged by numerous artists and orchestras, including Andy Williams, Frank Sinatra, Donna Summer, Justin Hayward, the London Symphony Orchestra, the Royal Philharmonic Orchestra, and the Mantovani Orchestra, involving up to 40 performers. Bepsars Opera, true to their progressive roots, incorporate Alan's harpsichord playing to enrich the melodic sound further. Moreover, by adding Mellotron sounds in the latter part, they deliver a rendition far superior to those by previous artists. The third track, “The Witch”, showcases the dynamic yet delicate playing of Ricky's aggressive guitar and Alan's Hammond organ, characteristic of a British group.

Next comes the album's title track, “Pathfinder”. Over a simple rhythm, Ricky's guitar evokes the spirit of late 60s beat sound hits, while the members' restrained harmonies flow forth, true to the group's name. On the back cover of this album, lead vocalist Martin has written brief notes about the songs featured. The next track, “From Shark To Haggis”, unfolds in a Scottish jig-like dance style, as he describes, seemingly born of a mood heightened by drink. Listening to it, one becomes utterly absorbed in the melody, which builds to a climax, even without the aid of alcohol. 'Stretcher' is the sole instrumental piece on this work. Following a sweet piano melody, Ricky's guitar playing emerges, soothing the listener's heart. Then, “Madame Doubtfire”, with its impressively deep, resonant vocals, is shrouded in such a thick layer of eerie effects that it could easily serve as a horror film soundtrack.

Following this album, the band underwent a line-up change, recruiting Linnie Peterson, vocalist of the psychedelic group Writing On The Wall, before releasing one final album and disbanding. Showcasing the true essence of poster art, this album contains tracks as outstanding as its cover, and will be remembered as a standout release on the Vertigo label.

by Lee Chun

Tracks

1. Hobo (Alan Park) - 4:24

2. MacArthur Park (Richard Harris) - 8:18

3. The Witch (Virginia Scott, Ricky Gardiner) - 6:01

4. Pathfinder (Ricky Gardiner) - 3:41

5. From Shark to Haggis (Virginia Scott, Ricky Gardiner) - 6:40

6. Stretcher (Ricky Gardiner) - 4:48

7. Madame Doubtfire (Alexander McFreddries, Martin Griffiths) - 4:18

Beggars Opera

*Martin Griffiths - Lead Vocals

*Ricky Gardiner - Lead Guitar, Vocals

*Alan Park - Keyboards

*Gordon Sellar - Bass, Acoustic Guitar, Vocals

*Raymond Wilson - Drums

1970 Beggars Opera - Act One (2004 remastered and expanded)

1971 Beggars Opera - Waters Of Change (2006 digi pack edition)

1973 Beggars Opera - Get Your Dog Off Me! (2003 digipak remaster)

1974 Beggar's Opera - Sagittary (2007 digipak remaster)

1975 Beggar's Opera - Beggars Can't Be Choosers (2007 digipak)

Saturday, December 20, 2025

Frank Kinsel - At Home (1970 us, wonderful folk blues rock)

Here’s an interesting album of folk blues with a tinge of country all played superbly by Frank Kinsel and various other famed musicians including Bill Wolfe (6 string guitar) Kevin Kelley (drums) Red Rhodes (steel guitar) and Wolfgang Melz (bass guitar).

My taster for the album is the loner vibration blues of ”Gamer.” This long player rarely turns up and not a great deal of information about it has ever surfaced. An obscure release on Epic.

The Monocled Alchemist

”There I was in the middle of the grey on beige fifties and my older brother was diggin’ Etta James singing ’Roll With Me Henry’ (Dance With Me Henry was the successful mass media cop out).

music as an expression

There was some kind of a beginning for me in music as an expression, feeling, or movement at that time. It was the only way out – or in. It was either tan shoes and a clean smile or a beer and a ’50 Merc.

Rhythm and Blues groups were a way of life and every party had a basement group composed of four or five guys who could carry on the most.

Detroit, I remember you. Expressways turned to freeways and time went by. Michigan, you looked very pretty when it snowed or when the sun set on your lakes. I sang songs for a while there: some were about you and some were about me, then I moved west.

California and San Francisco were like a new energy force that I hadn’t felt before, so I stayed and wrote and sang and experienced and experienced some more and came up with ideas to record. So I moved to the south into a somewhat populated city (plug for my new album) named Los Angeles.

This is a rather short summary of where I have been for awhile. If it seems incomplete, fill it in with your own life. Have a good day.”

by Frank Kinsel

Tracks

1. You Know Why (Part 1) - 0:13

2. Gamer - 3:00

3. Revelations 100 - 3:14

4. Have A Good Day - 2:08

5. Like A Child - 2:43

6. "1964" - 2:05

7. Sparrow - 3:38

8. Overpopulated City - 5:19

9. Good Life Folk Bossa #1 - 2:38

10.You Know Why (Part 2) - 2:07

11.White Port And Lemon Juice (Donald Woods, Randolph Bryant, Willie Graham) - 1:23

12.Sunni - 3:57

13.Long Tall Sally's Sister - 2:03

14.Hey Who's Been Talking To You - 3:22

15.Anger Epilogue - 0:43

All compositions by Frank Kinsel except track #11

Musicians

*Frank Kinsel - 12, 6 String Guitars, Vocals

*Jimmy Smith - 12, 6 String Guitars

*Grant Johnson - Piano

*Bill Wolfe - 6 String Guitar

*Wolfgang Melz - Bass

*Kevin Kelley - Drums

*Paul Humphrey - Drums

*Anne Goodman - Cello

*Red Rhodes - Steel Guitar

*Nick Ceroli - Drums