This third generation, late 60s San Francisco rock group comprised Glen "Smitty" Smith (vocals), Mike "Bull" Bolan (guitar), Terry Kimball (bass) and Travis Fullerton (drums). Although they failed to garner the same commercial or artistic plaudits of many contemporaries, the group's two albums revealed a competent, if unadventurous, act. Mount Rushmore disbanded in 1969 following the release of their second album, although Fullerton later found success as a member of Sylvester And The Hot Band.
Opening a debut LP with Jimi Hendrix's "Stone Free" is a bold move and a curious choice, establishing the territory that the band will mine and exactly how they measure up to the gold standard (in Mount Rushmore's case, nowhere near). However, High on Mount Rushmore contains some tracks of interest to the dedicated psych-rock historian. "I Don't Believe in Statues" closes out side one and functions as a manifesto of sorts, an indignant outsider cry set to charging riffs that sound like an Amboy Dukes record warped by the sun.
by Fred Beldin
Tracks
1. It’s Just The Way I Feel (Glenn Smith) - 4:33
2. 10:09 Blues (Glenn Smith) - 5:55
3. Toe Jam (Glenn Smith, Mike Bolan, Travis Fullerton, Terry Kimball) - 5:48
4. V-8 Ford Blues (Willie Lowe) - 2:36
5. Love Is The Reason (Dotzler, Phillips, Bolan, Levin, Esterlie) - 4:00
6. I’m Comin’ Home (Glenn Smith, Mike Bolan) - 7:29
7. King Of Earrings (Warren B. Phillips) - 3:58
8. Somebody Else’s Games (Glenn Smith) - 4:35
9. Stone Free (Warren B. Phillips) - 4:01
10.Without No Smog (Glenn Smith, Mike Bolan) - 5:29
11.Ocean (Glenn Smith, Mike Bolan) - 4:10
12.I Don’t Believe In Statues (Warren B. Phillips) - 4:11
13.Looking Back (Glenn Smith, Mike Bolan, Travis Fullerton, Terry Kimball) - 9:37
14.(‘cause) - She’s So Good To Me (Bobby Womack) - 3:40
15.Medley: Funny Mae (Buster Brown) / Dope Song (Glenn Smith) - 7:20
Mount Rushmore
*Mike Bolan "Bull" - Guitar
*Glenn Smith "Smitty" - Vocals, Guitar
*Travis Fullerton - Drums, Percussion
*Terry Kimball - Bass
Their name taken from the popular linguistic inversion of the time (Fuzzy Duck - Duzz ’E Fuck?), this early 70s UK progressive rock quartet featured Paul Francis (drums), Mick Hawksworth (bass), Roy Sharland (organ) and Garth Watt-Roy (guitar/vocals). Prior to the band’s formation Hawksworth had played with Andromeda and Five Day Week Straw People, while Sharland had been a member of Spice and worked with Arthur Brown. Watt-Roy had been a member of Greatest Show On Earth.
Fuzzy Duck recorded one self-titled album for Mam Records and two singles, ‘Double Time Woman’ and ‘Big Brass Band’, for the same label. The album, which was musically if not lyrically impressive, was originally issued in a scarce edition of 500 back in 1971. This album is classic keyboard-driven British progressive rock in the vein of Soft Machine and Caravan.
by Dean McFarlane
Tracks
1. Time Will Be Your Doctor (David Brown, Graham White, Paul Francis) - 5:12
2. Mrs. Prout (Paul Francis, Roy Sharland) - 6:49
3. Just Look Around You (Mick Hawksworth) - 4:24
4. Afternoon Out (Paul Francis, Roy Sharland) - 4:58
5. More Than I Am (Mick Hawksworth) - 5:34
6. Country Boy (Grahame White, Paul Francis, Roy Sharland) - 6:04
7. In Our Time (Mick Hawksworth) - 6:41
8. A Word From Big D (Grahame White, Mick Hawksworth) - 1:40
9. Double Time Woman (Garth Watt-Roy) - 3:00
10.Big Brass Band (Tim Martin, Walt Meskell) - 2:58
11.One More Hour (Garth Watt-Roy, Mick Hawksworth, Paul Francis, Roy Sharland) - 3:59
12.No Name Face (Garth Watt-Roy, Mick Hawksworth, Paul Francis, Roy Sharland) - 3:03
Bonus Tracks 9-12
The Fuzzy Duck
*Mick Hawksworth - Bass, Vocals, 12-String Acoustic Guitars, Electric Cello
*Roy Sharland - Organ, Vocals, Electric Piano
*Paul Francis - Drums, Percussion
*Grahame White - Electric, Acoustic Guitars, Vocals
Klaus Doldinger, best-known for leading the excellent fusion group Passport in the 1970s and '80s, has had a diverse and episodic career. He started out studying piano in 1947 and clarinet five years later, playing in Dixieland bands in the 1950s. By 1961, he had become a modern tenor saxophonist, working with such top visiting and expatriate Americans as Don Ellis, Johnny Griffin, Benny Bailey, Idrees Sulieman, Donald Byrd, and Kenny Clarke, recording as a leader for Philips, World Pacific, and Liberty.
His late 60's recordings were under the name"Motherhood". They released two albums "I Feel so Free" in 1969 and "Doldinger's Motherhood" in 1970, both for the label Liberty. In "I Feel so Free" featuring nine funky, punchy originals and two covers from Beatles and Cream. The original vinyl copies changing hands for well over 500 euros.
However, in 1970, he initiated a long series of fusion-oriented sessions for Atlantic that featured his tenor, soprano, flute, and occasional keyboards with an electric rhythm section. In addition to writing music for films (including Das Boot) and television in Europe, Doldinger has remained active as a player who occasionally explores his roots in hard bop into the late '90s, but because he has always lived in Europe, he remains underrated in the U.S.
Tracks
1. Soul Tiger - 1:47
2. I Feel Free (Jack Bruce, Pete Brown) - 4:06
3. Slurpin' - 3:19
4. Soul Town - 2:09
5. Lady Madonna (John Lennon, Paul McCartney) - 1:46
6. Baby Hold On To Me (Lothar Meid, Paul Nero) - 3:17
7. Back In The Dark - 2:36
8. Wade In The Water - 3:22
9. Cleopatho - 6:10
10.Yackedy Soul - 2:57
11.Last Beer - 1:42
All Songs by Paul Nero except where stated
Old Boot Wine, which dates from 1972, was a more accomplished affair which, though boasting a more polished studio production, happily didn't iron out either the group's stylistic eccentricities or Martin's pointed, intellectually and politically aware songwriting. With the reintroduction to the lineup of original pre-Canterbury band member Mark Francis and a scaling-down of Julian's contributions, the sound of Spirogyra's second LP was more rock-oriented, but never in any way merely "ordinary", for it conveyed remarkably well the band's artfully energetic (and drummer-less) stage act (even though a certain Mr Mattacks again featured strongly in the recording sessions).
Roadie Rick Biddulph brought his mandolin-playing skills to the mix too (he was to join the band, replacing Steve on bass, the following year). Favourite moments include the visionary Van Allen's Belt and the dark tale of social alienation Dangerous Dave, but interest is maintained even on the comparatively sprawling mantras of World's Eyes, and much capital is made of the contrast between Martin and Barbara's respective vocal styles.
by David Kidman
Tracks
1. Dangerous Dave - 4:18
2. Van Halen's Belt - 2:49
3. Runaway (Steve Borrill) - 4:59
4. Grandad - 3:27
5. Wings of Thunder - 3:13
6. World's Eyes - 7:35
7. Don't Let It Get You - 4:31
8. Disraeli's Problem (Steve Borrill) - 4:19
9. A Canterbury Tale - 4:09
10.Counting The Cars - 3:09
11.Window - 2:11
12.Turn Again Lane - 7:36
13.Melody Maker Man - 2:40
All songs by Martin Cockerham except where indicated
Free started their history with the BBC early in their career. They had only formed in April 1968 and yet by July they were recording their first session. Althoug only "Waiting On You" survives it shows the band in fine form playing the hard edged Blues boom sound from the period with incredible confidence. While Simon Kirke keeps the band anchored Andy Fraser )literally days after his sixteenth birthday) plays the bass like he was born with it hanging over his shoulder. Paul Rodgers sounds absolutely magnificent and Paul Kossoff is just blistering.
It's quite a statement from a bunch of kids and predates any album work by some three months. A surviving "Sugar For Mr Morrison" from Alexis Korner's World Service "Rhythm 'n' Blues" tapes. Quite why only this track remains is unknown but its freedom jazz styling and unsusual format make it something of a revelation. Free certainly weren't scared to experiment, and Fraser's bass solo at the end was a sign of more virtuoso things to come from his talented player.
The first full session to urvive comes from March 1969. This finds the band in fine form, not only using material from their debut album, released earlier the same month, but also their first single "Broad daylight" and a strong version of "Songs Of Yesterday", both used some seven months later on their second album.
In this respect the BBC sessions are especially interesting as they chart the growth of a band that never stop developing. When a new song was ready it went straight into their set list. By the time their debut album "Tons Of Sobs" ewas released, it was already out of date. Free had already moved on, but were still experimenting. On this session we find everybody singing harmony vocals and some intrument swapping with Andy Fraser handling rhythm guitar while Paul Rodgers plays bass on "Broad Daylight". They were doing similar things in their early live sets too.
The first John Peel concert comes from "Off Air" recording kept by Jim Wilson, a fan who followed Free around England and held onto the recordings he made from the radio. It's a short set of only four numbers and leans heavily on old favourites but provides a rare version of "Free Me" and an early version of "Remember:.
A second longer John Peel concert in July 1970 kept with the new formula but again shoed the band moving on. Only weeks after the third album had gone into the shops they were introducing songs srom next album, "Highway". The band were now selling out huge venues off the back of the succes of "All Right Now" but still Free were pushing forward. There seemed little interst in promoting the current record, they were all about new songs and the next project. It was a relentless pace.
by Dave Clayton, May 2006
Tracks Disc 1 In Session
1. Waiting On You (B.B. King, Freddie Washington) - 2:17
2. Sugar For Mr Morrision - 3:43
3. I'm A Mover - 3:05
4. Over The Green Hills (Paul Rodgers) - 3:52
5. Songs Of Yesterday - 3:09
6. Broad Daylight - 3:19
7. Woman - 4:23
8. I'll Be Creepin' 2:44
9. Trouble On Double Time (Paul Rodgers, Paul Kossoff, Andy Fraser, Simon Kirke) - 3:51
10.Mouthful Of Grass - 4:42
11.All Right Now - 5:29
12.Fire And Water - 3:05
13.Be My Friend (Take One) - 6:06
14.Be My Friend (Take Two) - 5:37
15.Ride On A Pony (Take One) - 0:10
16.Ride On A Pony (Take Two) - 4:32
17.Ride On A Pony (Take Three) - 1:24
18.Ride On A Pony (Take Four) - 0:25
19.Ride On A Pony (Take Five) - 4:30
20.Get Where I Belong - 3:25
All songs by Andy Fraser, Paul Rodgers except where indicated
Track 1 Top Gear 15/7/68
Track 2 World Service Rhythm 'n' Blues 15/11/68
Tracks 3-6 Top Gear 17/3/69
Track 7 Stuart Henry 2/12/69
Tracks 8-10 Top Gear 8/12/69
Tracks 11-12 Sounds Of The Seventies 4/6/70
Tracks 13-20 Sounds Of The Seventies 19/4/71
Disc 2 In Concert (in some tracks sound quality failed)
1. The Hunter (Booker T. Jones, Carson Wells, Al Jackson, Jr., Donald Dunn, Steve Cropper) - 5:24
2. Woman - 4:26
3. Free Me - 7:24
4. Remember - 4:48
5. Fire And Water - 3:59
6. Be My Friend - 5:00
7. Ride On A Pony - 4:35
8. Mr Big (Paul Rodgers, Paul Kossoff, Andy Fraser, Simon Kirke) - 6:36
9. Don't Say You Love Me - 5:27
10.Woman - 4:18
11.All Right Now - 5:10
All songs by Andy Fraser, Paul Rodgers except where stated
Tracks 1-4 John Peel Sunday Concert 15/1/70
Tracks 5-11 John Peel Sunday Concert 2/7/70
The Free
*Paul Rodgers – Vocals, Piano
*Paul Kossoff – Lead Guitar
*Andy Fraser – Bass Guitar, Backing Vocals
*Simon Kirke – Drums
Sweet Smoke was an American music group living and playing in Europe from 1970 till 1974. Originally from N.Y. the group moved to Germany where they lived as a family commune. Within a year of their arrival they recorded their first L.P. Just a Poke which almost immediately turned them into a sort of cult icon of the underground scene which was beginning to emerge as Europe’s response to the American hippy scene.
An extremely resourceful and creative group, they took the art of spontaneous improvising to new heights, very often involving their audiences in their music. Words like rock jazz, acid rock, raga rock, hard rock, experimental music are only some of the words used to describe their music. Looking back one can see the early roots of fusion and new age music beginning to manifest through them.
Though the basic group consisted of 5 musicians, they came to most of their concerts with their communal family (10-15 of their friends) who helped them on and off stage to create an atmosphere of a musical happening
A Live that sounds like a studio record, with lots of rhythm and melodic changes, very well chained. First Jam, in the beginning lets the feeling of an improvisation, and you may ask yourself if the song was really written.
Guitar soli are really remarkable, with unbelievable texture and rich harmony. You may note that Kaminowitz seems really at ease during all the live. This First Jam gives 19 minutes of a great pleasure, with a magic feeling between the players.
Shadout Mapes is the second song of the disc. There again, you find lots of wealthy melodies, but as the track is shorter than the first one ("only" 11 minutes), there are less harmonies. You may notice that Kaminowitz and Greenberg play with a great commitment.
A strange solo concludes the song, that sounds again like an improvisation, and then plays the initial theme, flirting with blues and jazz. Ocean of Fears will expose you a different kind of music, more peaceful, in the style of From Darkness to Light, but Kaminowitz still dominates the music. Dershin reveals its essential presence during the play, and particularly during the soli. Very nice !
To Sweet Smoke music was not simply a collection of songs that the audience would sit back and listen to, but rather it was a living vehicle through which they could share with everyone their vision and joy of life. To sweet smoke music was magic, their concerts were an interaction between them and their audiences, and their group was like a Cosmic Space Ship forever exploring the unknown regions of our musical universe."
by Mike Paris
Tracks
1. First Jam (Sweet Smoke) - 19:04
2. Shadout Mapes (Rick Greenberg) - 11:04
3. Ocean Of Fears (Marvin Kaminowitz) - 6:23
4. People Are Hard (Rick Greenberg) - 7:59
5. Schyler's Song (Marvin Kaminowitz) - 8:52
6. Final Jam (Sweet Smoke) - 13:47
Backstage Pass recorder at Ontario Place and released before year's end. A sold-out crowd of 13,000 fans, capturing their live presence, which was always one of their trademarks, the record featured live versions of "Devil You", "Johnny Lightning" and a cover of "Blue Suede Shoes". "I used to ask the guys if we have to play music when we're on stage. It always got in the way of my comedy routine," King quipped. Slick editing (for the time anyway) stripped the gags out of the record and left one of the purest live albums of its day, showcasing the band in its most familiar stage - in front of screaming fans.
Tracks
1. Devil You - 3:40
2. Marigold - 5:08
3. Goodbye Goodbye (Kim Berly) - 3:05
4. Sweet City Woman - 6:04
5. Running Wild - 5:50
6. Then Came The White Man - 2:51
7. Manitou - 7:15
8. Intro - 1:18
9. Blue Suede Shoes (Carl Perkins) - 2:33
10.In The Shadows - 2:43
11.Somebody Help Me - 1:48
12.In The Shadows (Reprise) - 2:18
13.Rocky Mountain Home (Kim Berly) - 3:36
14.Wild Eyes - 4:58
15.Johnny Lightening - 3:12
All songs by Rich Dodson except where indicated
The Stampeders
*Kim Berly - Drums, Vocals
*Ronnie King - Bass
*Rich Dodson - Guitar, Vocals
No seventies group represented Canada's musical identity to the world like The Stampeders. A quick look at Canada's music scene from 1971 until 1976 confirms The Stampeders were truly the country's international musical ambassadors. Instead of trying to blend into any specific format, they developed their own identity, which was both entertaining to watch in concert, and to listen to on radio and records. The Stampeders also toured more extensively in Canada and overseas than any other Canadian group of the same period.
While there were various line-ups of the group during their 15-year run, the three-man line-up of Rich Dodson, Kim Berly and Ronnie King was, by far, the most successful and most widely-adored by the fans.
The group's beginnings can be traced back to Calgary in 1964 with a band called The Rebounds, formed when drummer, Kim Meyer (Kim Berly), answered an ad placed in the paper by bassist, Brendan Lyttle, and guitarist, Rich Dodson. The Rebounds consisted of Rich Dodson (lead guitar), Len Roemer (rhythmn guitar), Brendan Lyttle (bass guitar), Kim Berly (drums) and Kim's brother, Al Meyer (Race Holiday), on lead vocals.
In January of 1965, The Rebounds entered into a relationship with manager, Mel Shaw, and officially became The Stampeders. Len Roemer was replaced by Cornelis Van Sprang, known professionally as Ronnie KIing, and his brother, Emile, who used the stage name Van Louis. The six-man group started wearing assorted-coloured denim outfits and cowboy hats with the idea of promoting a group of cowboys playing rock 'n roll. During their first year as a band in Calgary, they had one single release on the SOTAN label entitled "House of Shake" b/w "Don't Look At Her."
Anticipating better things to come, The Stampeders decided to move to Toronto in 1966. At the invitation of Bigland booking agent, Ron Scribner, the six-man group, along with Mel Shaw and his family, loaded up their $800, used, '62 Cadillac limousine and U-Haul trailer, and left Calgary heading east to the 'big lights' of Toronto. Though most of the members were under the legal drinking age, they managed to beg, borrow and work their way across Canada, playing bars and various one-nighters. Upon their arrival in Toronto, the Western-Canadian band, with their yellow denim T-Kays, cowboy boots and hats, became an immediate curiosity in the folk-oriented, hippie clubs of the Yorkville district. Though the first year was an extremely lean one, the band managed to survive the six-month, Toronto Musician's Association's initiation and find work in the bustling Toronto club scene.
The Stampeders finally had a breakthrough late in '68 with a single they recorded while on a sight-seeing trip to New York. Released on the independent label, CARAVAN, "Morning Magic" b/w "All The Time" wasn't much of a sales success, but critical acclaim earned the group a BMI (Broadcast Music Incorporated) Award.
The first major-label single release, "Be A Woman" b/w "I Don't Believe," came in 1968 on the MGM label in the U.S. The Stampeders played the rhythm tracks and sang the vocals while an inhouse MGM producer added a 16 piece string section. This was to be The Stampeders' final release as a six-member group. Late in 1968, the three oldest members - Brendan Lyttle, Van Louis and Race Holiday -left the band, leaving the line-up of Rich Dodson, Kim Berly and Ronnie King.
The period from late '68 to the mid '70's was a time of evolution for the new, three-man Stampeders in which they would develop their own sound, a sound that would take them around the world. The stage set-up had Dodson on guitar, King on bass and Berly on drums, while all three members shared lead vocals. With the exception of Dodson, the cowboy hats came off, they all still wore boots, but the colored T-Kay denim outfits became history. During this period, the band toured around Ontario and Quebec developing their stage show with the help of their new road man, lighting-wizard, Stan Whitcher, winning fans and becoming an in-demand club and one-nighter attraction.
The Stampeders' only release during 1969 was "Cross-Walk" b/w "I Don't Know Where I'm At Sometimes" on the Melbourne label, distributed by London Records. Quality Records, then a major independent label in Canada, became interested in the band. By mid-1970, The Stampeders were in the studio working on their first album, "Against The Grain".
"Carry Me", the first single from this session, quickly hit the top of the Canadian charts, garnering the band it's first gold record. Simultaneously released on Polydor in the U.S., the single got lots of play but didn't quite make the charts. Canadian success, however, allowed the band to complete the album with one of their favorite recording engineers, Terry Brown. The resulting LP, "Against The Grain," was concurrently released with the next single, "Sweet City Woman" b/w "Gator Road." The band, along with it's new road crew -- Bob Luffman, Joel Wikhammer and Ian 'Snake' Dunbar -- was finally on it's way.
The summer of 1971 saw "Sweet City Woman" climb the charts to the Number One position across Canada, catching the attention of the American label, Bell Records. The band was signed immediately and Bell rush-released the single in the U.S. Even though it was up against classic songs like The Doors' "Riders On The Storm," Paul and Linda McCartney's "Uncle Albert," and James Taylor's "You've Got A Friend," "Sweet City Woman" climbed the Billboard charts, reaching the Number Eight spot on September 11, 1971.
The band recalls the time they pulled over to the side of the road at four-o'clock in the morning, while enroute back to Toronto from a gig, and jumped around the car with excitement after hearing "Sweet City Woman" fading in on radio station WABC in New York City as the Number One record of the week. Bell records renamed the album "Sweet City Woman" for the U.S. market to capitalize on the success of the single. Next came 'Juno Awards' (Canada's version of 'The Grammy') for 'Best Vocal Instrumental Group', 'Best Producer', 'Best Single' -- and their first European tour.
1971 also saw the release of The Stampeders' second album "Carryin' On", featuring the lead-off single, "Devil You" b/w "Giant In The Streets". Although it was the last record released in the U.S. on Bell, the album gained a release in Europe on Regal Zonophone. It featured hard rocker "Wild Eyes", a song that gave their sound more edge and introduced the band to a whole new audience. Part of the appeal of The Stampeders was their musical versatility.
In 1972, at the request of their U.K. label, EMI, The 'Best Composer' Stampeders toured The United Kingdom. Upon their arrival, they discovered that their American hit, "Sweet City Woman", had already been covered by The Dave Clark Five. Dates included the Marquee in London, the Hard-Rock Theatre in Manchester and appearances on BBC Radio and "Top Of The Pops." Both Phillips and Bovema-EMI Records helped support the balance of the tour through Holland, Germany, Denmark, France and the rest of Europe with British rock band, Steam Hammer. Holland was especially receptive to the band, partly due to the fact that Ronnie King (Cornelis Van Sprang) was a fellow Dutchman, having been born in Rotterdam.
In Holland, The Stampeders received the prestigious 'Edison Award' for "Most Promising Group," along with Ry Cooder and Beach Boy, Carl Wilson. Carl was in session at the time, along with the rest of The Beach Boys, recording their classic "Holland" album. During this visit, The Stampeders had the privilege of staying at Amsterdam's Hotel Weichman with the infamous Eagles. While Kim and Rich shared road experiences with Eagle drummer, Don Henley, Ronnie King and some of the other band members spent their time window-shopping in the famed, Amsterdam red-light district, only to find themselves locked out of the hotel upon their return.
1972 also took The Stampeders to Los Angeles to perform at the legendary "Whisky A-Go-Go" and tape their appearances on "Don Kirshner's Rock Concert" and "The Dating Game." While hanging out at The Troubadour in Hollywood, Ronnie King met Keith Moon, drummer of The Who. Keith took a liking to Ronnie and asked him what he and The Stampeders were doing the next night. It happened to be Keith's birthday and he wondered if The Stampeders might be available to play at his party at The Beverly Hills' Wiltshire Hotel. Ronnie quickly replied, "Of course," and The Stampeders ended up on stage performing for some of Hollywood's rock elite and jamming with Keith Moon. Attendees at the party included Beach Boy, Brian Wilson, Neilson, Rod Stewart, Ron Wood and the then-infamous porno star, Linda Lovelace.
Signing with U.S. booking agency, Premier Talent, in 1971 led to American tour appearances with Jim Dandy and Black Oak Arkansas, Santana, Joe cocker, Steve Miller, The James Gang, Robin Trower, Steely Dan, Sonny and Cher, The Beach Boys, ZZ Top, The Eagles, Earth, Wind And Fire, Mountain, America, Tower Of Power, Blood, Sweat and Tears and Genesis. Establishing themselves as a good concert draw in the U.S., The Stampeders played everywhere from New York to Hawaii, including Los Angeles, Reno, Disneyland and the much-sought-after southern-college circuit.
Heavy airplay and extensive touring, coupled with many guest appearances on the popular Canadian TV shows of the time (Anne Murray, Miss Teen Canada, Kenny Roger's "Rollin' On The River" and The Ian Tyson Show), eventually led to The Stampeders' starring in their own CBC-TV special, "A Short Visit To Planet Earth".
Tracks
1. Devil You (Rich Dodson) - 2:56
2. The Difference It Makes (Kim Berly) - 3:05
3. Stone Blind (Rich Dodson) - 2:32
4. Monday Morning Choo Choo (Rich Dodson) - 2:12
5. Carryin' On (Ronnie King) - 2:58
6. Stick By You (Rich Dodson) - 2:51
7. Dead Man's Hand (Rich Dodson) - 2:45
8. Giant In The Street (Kim Berly) - 4:02
9. Then Came The White Man (Ronnie King) - 3:44
10.Wild Eyes (Rich Dodson) - 4:01 The Stampeders
*Kim Berly - Drums, Vocals
*Ronnie King - Bass
*Rich Dodson - Guitar, Vocals
Since the first Nuggets in 1972, the entire series has been grounded in the gritty, dirty sound of garage rock, so much so that Rhino's 2001 box set of British and foreign psychedelic nuggets favored harder rock over the fruity, precious side of British psych. Collectors treasured rare singles before Nuggets, but the series created an aesthetic that emphasized the raw, trippy, wild, and woolly over the soft, lush, harmony-laden psychedelicized sounds of AM pop radio. The Rubble Collection, Mindrockers, The Trash Box -- all of them were dedicated to freaky guitar rock, and that mindset ruled until the latter half of the '90s, when the well had started to run dry, as labels like Sundazed issued the complete recorded works of obscure garage rockers who had released only one single during their lifetimes.
Around this time, collectors -- including many third-generation music fanatics raised in the era of CD reissues rather than record fairs -- began to favor the soft sunshine pop of the late '60s, when square vocal groups started to get hip and record trippy music. Bands like the Millennium, the Association, and Yellow Balloon became hip currency, as did producers like Curt Boettcher and songwriters like Paul Williams. This was close to anathema for the hardcore garage rock fiends because this was not rock & roll, it was pop music whose commercial aspirations failed. Nevertheless, most hardcore record geeks have a fondness for this stuff, since it's not only melodic and well produced, but it's terribly interesting to hear how underground ideas were borrowed and assimilated into mainstream music; often, it's as strange as it was in the underground, if not stranger.
Fans of this breed of psychedelic pop were insatiable, and there was a certain thrill to the fact that it was hard to track down, since it was either issued in Japan, buried as album tracks on reissues, or never made it to CD at all. That's why Rhino Handmade's foray into the sound with Hallucinations: Psychedelic Pop Nuggets from the WEA Vaults and its companion release, Come to the Sunshine: Soft Pop Nuggets from the WEA Vaults, is so welcome -- while they're only available as limited editions (primarily sold via www.rhinohandmade.com), they're also the first widely available American samplers of this style. That alone would make them noteworthy, but what makes them essential (at least for hardcore record collectors), is that they're expertly done.
Where previous installments of Nuggets concentrated on singles, Hallucinations is a true excavation of the vaults, picking overlooked album tracks and neglected singles from a cornucopia of WEA-owned labels, including Warner Bros., Cotillion, Jubilee, Valiant, Reprise, and Atco. While the focus is on acts that released a single or forgotten album, there are a handful of recognizable names -- the Association, Kim Fowley, the Electric Prunes, the Bonniwell Music Machine, the Tokens, the West Coast Pop Art Experimental Band -- and in the Monkees' "Porpoise Song," there's even a genuine hit. But that song is the exception to the rule: most of these are quite obscure, and it's even arguable that because they were released on major labels (or at the very least, high-profile labels), the songs haven't been given the attention or respect as psychedelia released on smaller, regional labels.
That argument is laid out in the introduction of the excellent liner notes, and the music on Hallucinations supports it strongly. Often, collections of rare heavy psychedelia and garage rock can grow a little samey even when the musical quality is high, since bands tended to emulate the same sounds and ideas, using the same production techniques as their peers. Hallucinations is a much more interesting listen than the average psychedelic rarities collection since these underground ideas are applied in bizarre, unpredictable ways to professionally written, melodic songs that were designed for mainstream radio.
Where its companion collection, Come to the Sunshine, is heavy on lush surfaces and harmonies, Hallucinations is overtly trippy and psychedelic, filled with fuzz guitars, echoes, phased vocals, organs, studio effects, and minor-key drones. This brings it closer to familiar Nuggets territory, but there's a much heavier emphasis on studiocraft and production here than there is on anything on the original double-vinyl Nuggets or Rhino's original box set; again, the focus is on the record, not the song, even though there are some excellent songs here. Nevertheless, the sound and effects of the productions are the most memorable aspects, such as the way the vocals and guitars swirl through the Next Exit's Tokens-produced "Break Away" or how Jeff Thomas' "Straight Aero," quite likely the trippiest square anthem ever recorded, has a weird undercurrent of menace in its hiccupping bass and clanging piano. Hallucinations is filled with moments as strong as this, and it makes a convincing argument that psychedelic pop is at its best when it's pure, undiluted ear candy like this. It's not just a good introduction to the charms of psychedelic pop; it holds its own next to any collection of freaky, guitar-fueled garage-psychedelic rarities.
by Stephen Thomas Erlewine
Artists - Tracks
1. Baker Knight And The Knightmares - Hallucinations (Thomas Baker Knight) - 2:54
2. The Misty Wizards (Ted Lucas) - It's Love - 2:09
3. The Next Exit - Break Away (Brute Force, Paul Kahan) - 2:45
4. The Collectors - Looking At A Baby (Howard Vikberg, Bill Henderson) - 2:16
5. Adrian Pride - Her Name Is Melody (Bernie Schwartz, Terry Slater) - 3:02
6. The Association - Pandora's Golden Heebie Jeebies (Gary Alexander) - 2:52
7. The World Column - Lantern Gospel (Joel Kaplan, Dave Meyer) - 3:28
8. Tom Northcott - Who Planted Thorns In Alice's Garden (Tom Northcott) - 2:49
9. John Wanderling - Man Of Straw (John Wonderling, Carey Budnick, Edward Goldfluss) - 2:49
10.Ellen Marguiles - The White Pony (Roger Joyce, Danny Secunda, Steve Steinberg) - 2:23
11.Jeff Thomas - Straight Aero (Jeff Thomas) - 3:12
12.M.C.² - My Mind Goes High (Michael Clough, Michael Crumm) - 2:38
13.Brass Buttons - Hell Will Take Care Of Her (Jay Capozzi) - 2:58
14.The Salt - Lucifer (Joey Levine, Marc Belleck) - 3:03
15.Kim Fowley - Strangers From The Sky (Kim Fowley, Michael Lloyd) - 2:56
16.The Electric Prunes - Antique Doll (Nancie Mantz, Annete Tucker) - 3:13
17.The Bonniwell Music Machine - Astrologically Incompatible (Sean Bonniwell) - 2:23
18.The Tokens - How Nice? (Phil Margo, Mitch Margo, Hank Medress, Jay Siegel) - 2:56
19.The Coronados - Your Love Belongs To Everyone (Reuben Ortiz, Steve Ortiz) - 2:33
20.Lee Mallory - That's The Way It's Gonna Be (Samuel Robert Gibson, Phil Ochs) - 2:56
21.The Glass Family - House Of Glass (Ralph Parrett) - 3:13
22.The Holy Mackerel - Wildflowers (Robert Harvey) - 3:59
23.The Monkees - Porpoise Song (Theme From Head) (Gerry Goffin, Carole King) - 4:03
24.The West Coast Pop Art Experimental Band - Smell Of Incense (Bob Markley, Bruce Morgan) - 5:47
The year was 1966. The city was Charleroi in Belgium, where the two Portugese brothers Toni and Fernando Lameirinhas (alias Tony and Wando Lam) founded the band “Jess & James” as Belgiums` answer to soul music. They had lived in England before, catching the soul virus while playing in various beat bands like “Screaming Lord Sutch”. Their song “Move” suddenly became a massive hit all over Europe in 1967 and the band consequently produced three soul pop albums under the name of “Jess & James” until 1969 for the Palette/ Belter label. The boys were being discovered as a sure-fire commercial attraction in Belgium and Spain, but the fast success soon led to musical dissension within the group.
At the same time, the backing band of “Jess & James” started to separate under the name “J.J. Band” to experiment with new sounds, finally developing into a more soul jazz orientated outfit. A constant creative growth lyrically and musically within the group was self-evident in this first album simply entitled “The J.J. Band”. The new formation was led by arranger Ralph Benatar (Sax and Flute), Douglas Lucas (Trumpet) and Francis Weyer (aka Francis Goya/ Guitar), who all played leading roles on most of the “El Chicles” and “Chakachas” related releases of the times.
The minds behind the J.J. Band, Benatar and Lucas, started to write own material for the first longplay release aswell as taking famous songs and truely give them a new and more complex sound, with small horn & flute section, very diverse guitar moods and eclectic but excellent percussion sounds throughout. The LP was produced in 1970 by Roland Kluger, brother of composer and producer Jean Kluger, and solely pressed in small amounts by Polydor Records in Belgium and Canada. Two bonus tracks were pulled from the bands` first 7inch single “Cousins Jack” especially for this reissue, recorded 1968 in mono and with a pure boogaloo and hammond soul arrangement, that shows the straight forward sound of their earlier attempts.
Gamble & Huffs`“Love In Them There Hills” had been a big hit for the Pointer Sisters or The Three Degrees and is presented here in the progressive sound design of the times and with very tight guitar work. “Norwegian Wood” gets an unusual jazz treatment with nice breaks, mostly reminding us of some jazz waltz played by a street marching band, while the version on the Bee Gees`“To Love Somebody” shows a band capable of evoking a mood similar to the best moments of the Byrds or the Flying Burrito Brothers. And did we already mention, that the drummer goes nuts most of the time to create this special sultry tenderness?
It is the integration of various musical styles, strong rhythms and a deep feeling that makes this vanished album worthwhile. Most of the songs are originals, completed by the mentioned renditions of well known tunes in a modernized dress.That three of the songs are well known hits is obvious. But that they particularly lend themselves to an excellent soul jazz treatment with open drum breaks is obvious only upon listening. What was successfully attempted here was to adapt some soul and pop tunes to a jazz and progressive rock tempo, with a band capable of “quick changing” for another style within the same song and thus lifting it to a higher standard.
Jess & James aka the Lameirinhas brothers themselves moved to Amsterdam and transformed into the unsuccessful Latin Jazz band “Sail Joia” in 1975. At this point the short career of the J.J. Band was already finished. In 1971 the famous drummer Bruno Castellucci helped out on the sessions for the J.J. Bands` second album, also entitled “The J.J. Band”, recorded at Chappell Studios London. Their style had developed more and more towards progressive rock and although this final album was produced by the great Brian Bennett and released on CBS Records in the UK, it passed rather unnoticed. Then the musicians changed their name to “Plus” in 1972 and released a “real final” album on the label Pink Elephant, that should become another impossible to find collector`s item in our times. Now listen to the fascinating and lost debut album of this unjustly forgotten band from Belgium with depth and excitement.
Tracks
1. Love In Them There Hills (Kenneth Gamble, Leon Huff, Roland Chambers) - 2:54
2. Cousins Jack (Ralph Benatar, Wando Lam) - 3:11
3. Mow I've Found Out (Douglas Lucas, Ralph Benatar) - 3:42
4. Leaving You (Douglas Lucas) - 2:53
5. Norwegian Wood (John Lennon, Paul McCartney) - 5:14
6. Intro (Ralph Benatar, Douglas Lucas) - 8:36
a.We've Been So Happy
b.Into A World
7. Bip Bop (Garcia Morales, Ralph Benatar) - 2:49
8. Nicky's At The P.C. (Wando Lam, Tony Lam) - 3:13
9. To Love Somebody (Barry Gibb, Robin Gibb, Maurice Gibb) - 4:02
