Having his name carved into one of the first couple of pages of any r’n’r encyclopedia as early as 1957, there was not much left for Dale Hawkins to do during the rest of his career. Not that he was trying too much either.
After releasing his Suzie Q as a Chess single that year, and only one album in four years under the label’s roster, by 1967 he quits being an artist himself, making his way as a producer and A&R man for Bell Records, which eventually leads to his sophomore longplaying effort, recorded with a bunch of session cats such as Joe Osborn (bass), Ry Cooder (guitar), Taj Mahal (percussion & harmonica), Dan Penn (vocals), Spooner Oldham (el.piano), Ronnie “Mouse” Weiss (guitar).
As well as the original 15-year-old guitarist of the Q-lick fame, James Burton, with Dale being the only one present all over the sessions, starting from Joe Osborn’s basement in L.A., through the Ardent Studios in Memphis, and finally Tyler, Texas, making it pretty clear where the album title comes from.
Sticking firmly to the roots of American musical heritage throughout the whole album, (one of) the band(s) opens with funky piece of Staxastic soul instro, with Dale’s spoken-word tribute to the mentioned locations, followed by the basic (to an almost pure rockabilly level) r’n’b sound of Heavy On My Mind, before he lays it back with the “big pink” coloured country vibe of Joe.
However usual and unsurprising some of the choices of covers might seem, Hound Dog and Baby What You Want Me To Do are as worthy of attention as anything else, both adding an acid drop to the punked out rhythm’n’booze, that has a thing or two in common with another Ardent Studio product of the time, released by Terry Manning. (Home Sweet Home, reviewed elsewhere on these pages).
However, those being considered for the pair of tunes making this album un-missable, are “the most demented and yet utterly perfect version” of The First Edition’s Ruby, Don’t Take Your Love To Town, made into an alternative to the alternative-country, and the closing so called “swamp funk symphony Little Rain Cloud, rollin’ and tumblin’ itself alongside the rawest of delta blues.
It’s no wonder this one got lost amongst all the psychedelic and progressive hard rocking shuffle of the time, but it still does ring a “Bell” for sure.
by Garwood Pickjon, May 10, 2007
Tracks
1. L.A., Memphis And Tyler Texas (Dale Hawkins, Randy Fouts) - 2:44
2. Heavy On My Mind (Dale Hawkins, Wayne Carson Thompson) - 2:33
3. Joe (Bobby Charles) - 3:04
4. Hound Dog (Jerry Leiber, Mike Stoller) - 3:25
5. Back Street (Dale Hawkins) - 3:01
6. La La La La (Bobby Charles) - 3:46
7. Candy Man (Beverly Ross, Fred Neil) - 3:45
8. Ruby Don't Take Your Love To Town (Mel Tillis) - 2:44
9. Baby What You Want Me To Do (Jimmy Reed) - 2:58
10.Little Rain Cloud (Dale Hawkins, Dan Penn) - 3:08
Hurriganes was a hugely popular Finnish rock & roll band formed in 1971 by Remu Aaltonen (vocals, drums), Cisse Häkkinen (bass, vocals), and Ile Kallio (guitar). Their music was a belated take on classic rock & roll, and the band was equally adept at writing their own modern classics as they were covering supercharged versions of songs by Fats Domino, Bo Diddley, or the J. Geils Band. Before recording their first album, 1973's Rock and Roll All Night Long, Ile Kallio had left the band and Albert Järvinen had taken over the reins in what is now considered the "classic" lineup.
Hurriganes revitalized the Finnish rock music scene, particularly with their second album, 1974's Roadrunner. The album, named after the Bo Diddley song, demolished the charts and is not only considered one of the best classic rock & roll albums in Finland, but it was also the best-selling album in its native land from 1974 to 1985. The single release of the song they added as a lark to the album when it came up too short, "Get On," has been named numerous times as the finest single rock & roll song released in Finland by both the public and the press. Järvinen took the intro from Chuck Berry's "Johnny B. Goode" and added a ferocious lead throughout the three-and-a-half-minute song, Aaltonen punched it up with a revved-up beat and nonsense lyrics that touched upon most of the rock & roll clichés of the past, and Häkkinen solidified the mixture with his sturdy basslines.
by JT Lindroos
Tracks
1. It Ain't What You Do - 3:00
2. Hey Groupie - 2:32
3. Tallahassee Lassie (Frank C. Slay Jr, Robert Stanley Crewe) - 2:20
4. The Phone Rang (Richard Stanley) - 1:39
5. I Will Stay (Jørgen Lundgren) - 2:41
6. Get On - 3:47
7. In The Nude (Joe Garland) - 2:37
8. Mister X (Remu Aaltonen, Cisse Häkkinen, Albert Järvinen, Richard Stanley) - 4:03
9. Slippin And Slidin (Richard Penniman) - 2:38
10.Oowee Oohla - 2:30
11.Roadrunner (Ellas McDaniel) - 4:16
All Songs by Remu Aaltonen, Cisse Häkkinen, Albert Järvinen except where stated
Everybody seems to agree that the black and white front cover is confusing, giving a much darker/weird psych related impression, while this is a, still seriously meant, lighter, much more happy sounding or at least more colourful pop related song album which has all the reflections of what I will call the sunshine pop colours, with the tendency of going towards more serious ideas, concepts or arrangements.
The sounds created in the songs of this duo (consisting of Greg Dempsey and Kathy Yesse -later known as Kathy Dalton-) with band, fitted, except for a certain Beatles flavour (including all the small string and brass arrangements (with even weird analogue synth sounds on “Still care about you” for instance), would also fit very nicely to some of the Dutch bands that became more popular in those days (including Earth & Fire, Shocking Blue amongst even more pop orientated examples with harmonies driven female vocalist), and might have been one of the reasons why this album was also released outside the US, in Holland, the land of feeling free in that era.
The arrangements aren’t easily defined, because from the surface, lots of them sound slightly public teasing, light pop-rock with lots of breaks and swinging movements aka Beatles, in a light and almost mainstream approach, but at the same time there’s much more individualism involved, and even some weirdness, especially when adding sound collages, which on “Well Wired” and on “John Flip Lockup”, reveal even an avant-garde approach within this pop context.
While most songs remain pop song oriented (staying within the single-sized 3 minute approach), with this limitation, they have been played with infinite detail so that this alone makes it already a much more interesting album, a slightly hidden quality that used musical interconnections, lots of change, but with a hanging together coherency as well, a production lead by Leon Russell.
The already mentioned last track, “John Flip Lockup” is perhaps the most exceptional cooperative approach, an over 6 minute visionary collage, but in fact the album is a real treasure for compositional surprises. The vocals sound pop attractive. The female part has a few times overdubbed female vocals, as if predating Abba’s approach, or are combined with close harmonies, also have a slight folk-pop flavour; other songs are led by male vocals.
It is a special, interesting album, also due to its arrangements that conceptualize all that is inside into a coherent minor masterpiece.
Psyche-Music
Tracks
1. I Love Her And She Loves Me - 2:59
2. Still Care About You - 3:10
3. Yes, Our Love Is Growing - 2:55
4. Candle Song - 3:00
5. Ladyfingers - 3:19
6. Sweet Susan Constantine - 2:34
7. Hat Off, Arms Out, Ronnie - 2:34
8. Good To Have You - 3:16
9. Well Wired - 3:09
10.Hay You, Wait Stay - 2:57
11.Story Of Sad - 2:49
12.John Flip Lockup - 6:59
13.Well Wired - 3:03
14.Story Of Sad - 2:48
Songs 1,4,7,9,11,13,14 written by Dave Luff, Greg Dempsey
Songs 2,3,5,6,8,12 written by Greg Dempsey
Bonus Tracks 13,14
Musicians
*Greg Dempsey - Lead Vocals, Guitar
*Kathy Yesse - Lead Vocals, Percussion
*Jesse Ed Davis - Guitar
*Leon Russell - Keyboards
*Carl Radle - Bass
*Chuck Blackwell - Drums
Though this is one of the better UK blues-based rock LPs of the late 60s, for some reason its proposed release on CBS was cancelled and it remains almost unknown. Highlights include the tremendous opener 'Coolin’', melodic 'Live Your Love A Lie', atmospheric instrumental 'For Jane' and punchy 'Two Trains', which starts as a snakey acoustic blues and ends up an electric raver.
Though they were contemporaries of Fleetwood Mac, Chicken Shack, Savoy Brown and others, this youthful British blues-rock quartet’s album only saw release in America and Holland, unfairly dooming it to obscurity. Originally released in 1969 and produced by Tony Clark, famous for producing The Moody Blues' concept albums and King Crimson.
Tracks
1. Coolin' - 3:11
2. Best Woman, Best Friend 2:58
3. Live Your Love A Lie - 2:39
4. Easy - 3:24
5. Two Trains (Mckinley Morganfield) - 3:23
6. Armchair Woman - 3:32
7. Sweet Home Chicago (Woody Payne) - 3:13
8. For Jane - 4:03
9. Keepin' My Cool - 4:31
10.Feeling Good (Anthony Newley, Leslie Bricusse) - 4:01
All songs by John MacKay, Stephen Darrington except where stated
Mahogany
*Stephen Darrington - Organ
*Joseph Southall - Bass
*John MacKay - Lead Guitar, Lead Vocals
*Paul Hobbs - Drums
Perhaps The Road would have gone further if they had spent more time on it. Instead, these musicians stayed close to Buffalo, while their remake of the Zombies’ “She’s Not There” bubbled under at #114 in Billboard and reached #88 in Cash Box. Drummer Nick Distefano said it was a managerial decision that kept them from touring. “We went ‘round and ‘round with our manager. For some reason, we could never get him in gear. I think he’s now in the Federal Witness Protection Plan (reportedly having alluded to mob connections) - somewhere in America.”
The sextet did some regional traveling, including Rochester and nearby Canada, but the record was gaining airplay in several areas. This writer heard it often in Los Angeles, and it reportedly charted well in New York City, Hawaii, Fresno, Springfield, Massachusetts - and Greece. (Well, maybe that was a little too far). The group’s longest trek was to Chicopee, MA. “I don’t think we had any idea how far we were reaching,” said bassist Joe Hesse. “I think if we had pushed it a little further we would have made it big.”
The Road began as Mellow Brick Rode in late 1967. Brothers Jerry Hudson (b: 12/4/48 died on November 4, 2019, at age 70), Phil Hudson b: 2/21/50, Buffalo) were featured vocalists, with brothers Joe and Jim Hesse (6/20/46 and 11/20/47 - 3/13/96, Buffalo) on Hammond B3 and bass. Drummer Distefano (6/16/48, Lackawanna, NY) and guitarist Ralph “R.J.” Parker completed the band. The Hudson brothers and Parker came from a group called 6 Pact, where they first developed their arrangement of “She’s Not There.” Hesse and Distefano came out of Just Us Five, and Hesse’s brother defected from Caesar & the Romans. The band played teen functions and bars and became successful in Buffalo very quickly, even inspiring a “Roadmania” incident at a fashion show gig. “We got attacked by these little girls,” recalled Hesse. “They were running after us and cutting our hair. All that Jerry had left of his new purple shirt was the collar and a strip of buttons down the front.”
Management introduced them to top WKBW DJ Joey Reynolds who took them into the studio. He added their voices to some previously recorded tracks and secured a release on United Artists. Nothing happened there, but Reynolds persevered, producing the first album under the name Rencor Productions at Synchron studios in Wallingford, CT. Nearly a year after “She’s Not There”, the LP charted for just two weeks, with four additional singles having achieved local action. Other covers on the LP include “A Taste Of Honey,” “Love-It-Is” (J. Geils), “I Can Only Give You Everything” (Them), “Dance To The Music” (Sly & the Family Stone), “Never Gonna Give You Up” (Jerry Butler), “Mr. Soul” (Neil Young), and “Rock & Roll Woman” (Stephen Stills).
Jim Hesse and Ralph Parker left early to be replaced by organist Don “Jake” Jakubowski and jazz oriented pianist Ken Kaufman, giving the band two keyboards and no lead guitar. “Ken moved us into a whole other realm,” said Hesse. “That’s when the band started having a musical edge to it that was really unique.” Another addition was Larry Rizzoto who played drums when Distefano sang up front. Rizzoto introduced the members to Scientology, contributing to the metaphysical influence reflected in some of the titles (“Cognition”), lyrics (“Gillian Frank”), and the name itself (the first LP jacket said “The Road - the one less traveled by”). “We had a truck with’The Total Communication Crusade of the Road’ on the side,” said Hesse.
The second album was produced in New York City by Stan Vincent, who was scoring a major hit as writer/producer of the Five Stairsteps “O-o-h Child”. “That was kind of a thrill for a young polish boy from Depew,” said Don Jakubowski. “I was thinking, ‘Boy, this is really incredible. Upstairs Procol Harum is recording, across the hall is Patti LaBelle, I’m in the lobby and he’s picking up the phone to call Billy Preston.’ Interesting stuff - I’ve got a lot of memories.” Jakubowski eventually left and spent 10 years playing music in Boston. The Hudson brothers and Distefano moonlighted as jingle singers when a Texas company hired them to do station ID’s, called poptops, used as sound-alike introductions for current hit songs.
The Road broke up in 1972 and Jerry Hudson recorded a solo single for Big Tree produced by Larry Rizzoto. The song, with lyrics dealing with reincarnation, bubbled under in Billboard in February 1973. Hudson pursued acting in Los Angeles, then returned to Buffalo. The band regrouped June 4, 1974, celebrating it with T-shirts and a gig at Buffalo’s Executive Hotel. They released another local single and, a few years later, garnered good local action on their tune, “Music Man.” “But it was a one-station deal,” said Phil Hudson, with the song appearing on an album put out by WYSL. The Road was an off and on affair after that. Joe Hesse had moved to Los Angeles, but spearheaded a Road reunion when he took a long vacation back to Buffalo in 1980. This incarnation included guitarist Bobby Lebel, drummer Sal Joseph, and Phil’s wife Paula Hudson on vocals. “We must have had about 40 members over the years,” joked Hesse.
Nick Distefano relocated to Nashville, where he stayed for 21 years doing studio work and touring with name artists including Marie Osmond, Billy Joe Royal, Janie Frickie, Johnny Rodriguez, and David Loggins. His biggest success came when Joe Cocker recorded his tune, “Shelter Me.” Cocker’s single charted at #91 in Billboard and #80 in Cash Box, and appeared on two of his chart LP’s (“Cocker” - #50 in 1986, “Joe Cocker Live” - #95 in 1990). Distefano has had other tunes cut by Glen Mederios and Johnny Van Zant.
The Road maintained some existence until the remaining members finally called it quits on New Year’s Eve, December 31, 1982, over 15 years from the band’s inception. However, they reunited again July 1989, with four club appearances and a show with America and Three Dog Night at Melody Fair, near Niagara Falls. In the 90’s, the Hudson brothers remain involved in music but, as Phil mused, “Every now and then you get to a point where it becomes a little more hobbyistic.” Remembering 1969 and “She’s Not There,” Hudson said “It never sold a million, but it was an exciting time for us.” Hesse echoes those sentiments: “I’ve always had a passion for those times. They were the best times for us and there was more unity among the bands then. It was such an incredible time; we felt it was always going to be there. When we got into Scientology and stopped doing drugs, that enabled us to keep it together a lot longer.” In Los Angeles in the 90’s, Hesse’s Musician’s Support Services did sound and production for name artists including Herbie Hancock, Chick Corea, Wayne Shorter, Sheila E. and Andrea Crouch.
by Gary E. Myers
Tracks
1. The Tuely And Mary Medley "Tuely's Day" (Ken Kaufman, J. Lotz) - 4:21
2. Tuely And Mary (Ken Kaufman, J. Lotz) - 4:59
3. Make You See (Ken Kaufman, R. Lombardo) - 5:41
4. Alone (Don Jake Jakubowski, F. Sansone) - 2:57
5. Wellsville (Jerry Hudson) - 6:11
6. Power Of Love (Don Jake Jakubowski) - 3:47
7. If I Ever Needed A Woman (Jerry Hudson, Phil Hudson) - 2:39
8. Better Be Sure (Jerry Hudson, Phil Hudson) - 2:57
9. 40 Days And Nights (Jerry Hudson, Phil Hudson) - 4:42
10.40 Days And Nights (Jerry Hudson, Phil Hudson) - 4:25
Around 1967 in Buffalo, New York, a group of local musicians formed a band called: The Mellow Brick Road. The band, featuring Phil and Jerry Hudson on vocals, Joe and Jim Hesse on bass and keyboards, Ralph Parker on guitar and Nick DiStefano on drums. After many hours of hard work and playing the local venues to refine their sound they score a contract to record. United Artists single “All Your Eggs in One Basket” is released under the name The Mellow Brick Road. They charted on Billboard and the love affair that Western New York has with the group explodes to full blown devotion and commitment to the band. More Singles followed including “She’s Not There” and “Music Man” on Kama Sutra. “She’s Not There” in 1969 a beautiful cover of The Zombies version sold over 200,000 copies, was a regional hit in many cities throughout the US and even charted in Greece.
The Mellow Brick Road name gives way to a new shorten name. The fans start referring to the band as, The Road and thus The Road is born. Western New York audiences cannot get enough of their favorite sons be it in clubs, free concerts or even on the radio. During the heyday of The Road they put out more Vinyl with Kama Sutra Records. They record “The Road – The One Less Traveled By” in 1969.
Jonesy was a British prog outfit that released 3 albums in the ’70s. Lead by singer/guitarist John Evan-Jones, the band released their classic debut album No Alternative in 1972. The line-up here consisted of Jones, along with American born keyboardist James Kaleth, drummer Jim Payne, and bass player Dave Paull. Both Paull and Payne had previously been in National Head Band with Lee Kerslake (pre Uriah Heep), Paull would also play on Ken Hensley’s Proud Words On A Dusty Shelf album. Anyway, No Alternative is perhaps the band’s most sought after record, featuring the band’s best know track “Ricochet”. It also featured stand-out cuts like “Mind Of The Century”, the wild epic title track, and the ballad “Heaven”. Four of the cuts on the debut clock in at (near) 8 minutes or longer! No Alternative takes up disc one, and includes the short instrumental “Reprise” added on.
By the time the band recorded their 2nd album John Evan-Jones remained, along with Kaleth, and joining them were Jones’ brother – Trevor, on bass, Plug Thomas on drums (Thomas had brief spells with Screaming Lord Sutch and Supertramp), and Alan Bown on trumpet and percussion. Ray Russell was also brought in to do some orchestral arranging. 1973’s Keeping Up was much more laid back, with more emphasis on vocals, harmonies, keyboards, flutes, strings… gone are the heavy guitar pieces. But some fine songs in “Masquerade”, “Questions And Answers”, and the ballad “Song”, which should made a good single. Disc 2 adds the single version of “Ricochet” and it’s B-side “Every Day’s The Same”. Disc 3 comprises of the band’s last album released in late 1973 – Growing, as well as the band’s final album Sudden Prayers Make God Jump. The latter was never released until years later from a cassette, but here it is taken (as are all the albums) from the original master tapes.
Growing featured most of thesame line-up, and producer Rupert Hine was brought in as well. This album was more upbeat from the previous album, with tracks like “Can You Get That Together?”, “Know Who Your Friends Are”, and the title track. The band’s final album Sudden Prayers Make God Jump (who comes up with these titles?) featured a new line-up. Joining the Jones bothers were drummer David Potts, keyboard player Ken Elliott (ex of Second Hand, and later played with Arthur Brown), and Bernard Hagley on sax & flute (he had played on Growing, and previously Tranquility). This last album is probably the band’s most experimental, lots of different instrumentation, vocal harmonies, and unique songs, kinda rivalling some of the stuff Arthur Brown’s Kingdom Come was doing in the early ’70s. Jonesy were a very overlooked gem of the British prog scene of the early ’70s; none of their albums would get released in North America and they contained no big hits, but are well worth checking out through this CD box set. *Comes with a 16 page colored booklet, with liner notes penned by Mark Powell.
This album delivers quintessential 1968 folk rock, just like you'd picture it. The beautiful harmonies are particularly stunning and a highlight. Elegant and beautiful folk rock at its finest.
With covers like Dylan's “Just Like Tom Thumbs Blues” and “Mama, You've Been on My Mind,” Fred Neil's ‘Dolphin’ and “The Man of the Hour,” and Ian Tyson's “The Wind Blows Hard,” it's no surprise the songs are fantastic. Many are familiar tunes too. Excellent version of “The Wind Blows Hard” here.
Incidentally, the band disbanded the following year, 1969, after releasing their second album “Bridges,” which followed a similar direction. Ron Cornelius past away, August 18, 2021. Michael Stewart died in 2002.
Tracks
1. Just Like Tom Thumbs Blues (Bob Dylan) - 3:07
2. Mama, You Been On My Mind (Bob Dylan) - 1:38
3. Four Strong Winds (Ian Tyson) - 2:55
4. Summer Flower (Ron Cornelius, Joe Davis) - 2:21
5. Step By Step (Michael Stewart, John Chambers, Bob Jones) - 2:17
6. Dolphins (Fred Neil) - 3:20
7. Six Days On The Road (Earl Green, Carl Montgomery) - 2:06
8. Everybody's Talkin' (Fred Neil) - 2:15
9. Donald Duck (Michael Allen Stewart) - 1:57
10.Settin' The Woods On Fire (Fred Rose, Ed G. Nelson) - 1:53
West was formed in San Francisco by Ron Cornelius and Michael Stewart, brother of John Stewart. Ron also worked as a session musician for Bob Dylan and Leonard Cohen, among others, and in 1971 they released the unforgettable gem "Tin Luck," an album that singer-songwriter fans will never forget.
Compared to their first album, their singing and playing have clearly evolved and deepened. Their second and final album, "Bridge," was recorded at Columbia Studios Nashville, Tennessee, 1968, and produced by Bob Johnston.
While the first album featured many covers, there's a significant increase in original songs. However, as was the case with the first album, Ron Cornelius only co-wrote one song and barely wrote any of his own. Drummer Lloyd Perata contributed four tracks, and they're all excellent.
Regardless, from the folky songs that are almost acoustic to the band sounds with horns, all of them have a wonderful, piercing feel. The clear-toned electric guitar adds a nice touch. This is a very rare record and is quite difficult to obtain.
Tracks
1. Somebody (Somewhere) Needs You (Frank Wilson, Marc Gordon) - 2:33
2. July You're A Woman (John Stewart) - 1:59
3. Shanty Boy (Charlie Daniels) - 2:42
4. You Only Think You've Come Home (Lloyd Perata) - 3:13
5. Peaceful Times (Joe Davis, Michael Stewart) - 2:54
6. Looking Back Johanna (John Stewart) - 2:40
7. Down Along The Cove (Bob Dylan) - 2:48
8. General Mojo's Well Laid Plan (Steve Swallow) - 2:34
9. Funeral On The Beach (Joe Davis, Michael Stewart, Ron Cornelius) - 2:54
Manheim, Germany's Night Sun were a heavy rock group with progressive tendencies, which originally evolved from a late-'60s jazz band called Take Five. Temporarily calling themselves Night Sun Mournin', bandmembers Bruno Schaab - vocals, bass, Walter Kirchgassner - guitar, Knut Rossler - organ, piano, trumpet, bassoon, and Ulrich Staudt - drums soon dropped the last word and used it as the title of their one and only album, Mournin', which emerged through Polydor's Zebra imprint in 1972.
Produced by respected engineer Conny Planck, the album's eclectic brand of organ-laced hard rock received many a positive comparison to big-league contemporaries like Uriah Heep, Atomic Rooster, and Germany's own Lucifer's Friend. Maybe it was too eclectic, though, because minor local success was all that Night Sun ever achieved before breaking up in 1973, with no further recordings to their name.
Frontman Schaab would gain additional recognition when he briefly hooked up with Krautrockers Guru Guru, but the rest of Night Sun's membership quickly faded into oblivion -- unlike the Mournin' LP, thankfully, which became a much sought-after cult favorite among hard rock enthusiasts.
