Originally known as The Nomands and based in Houston, Texas, they became known when they changed the band name to Smoke in mid-1968. Their music can best be described as “psychedelic boogie”. Semi-hard blues rock, loads of energy, jiving vocals, good guitar solos and powerful organ parts. “At George´s Coffee Shop” is a tad better than their debut, a lost treasure for the biker blues crowd.
Tracks
1. The Room - 3:27
2. San Luis Obispo County Jail Blues - 5:52
3. Greased Lightnin' - 9:21
4. George (Part 1) - 0:36
5. Brown Bread - 9:11
6. Iron House - 7:31
7. George (Part 2) - 0:19
The follow-up to 'Inc' was the album 'Genesis' recorded in early 1971 and released in June of that year by Trutone Records with catalogue number STO 745. After the 'Inc' album there was a deliberate move to do something different and progressive. “'Genesis' wasn't really a concept album based on the Bible,” says Tully, “but more about looking back and learning from old wisdom”.
Tully speaks of “his dream stories, about waking up with ideas, the words and music together, real stream of conciousness stuff.” “It was more about the feel than the actual words,” Tully says.
The core of Mike McCully (drums), Tully McCully (vocals, bass) and Ian Smith (brass and flute) from the 'Inc' album were now enhanced by the Hendrix-influenced guitarist Bruce Gordon.
The musical vibe at the time of the album's recording was very brass influenced with bands like Chicago, Blood, Sweat & Tears and Traffic pushing the boundaries of Jazz and Rock.
Inspired by the progressive albums of the time, 'Genesis' included a number of long tracks with sub-sections. However in the interest of garnering radio play '(We All) Look For The Sun' and 'Sweet Fields of Green' were more pop influenced. “Pop” as inspired by The Beatles, though, rather than the throwaway bubblegum pop prevalent at the time.
Tully remembers that when he was asked what type of band they were he would reply, “we play heavy music”. Terms like “heavy” and “underground” were very broad terms in those heady days of the early '70's to describe music that was not pop or radio-friendly.
'Sweet Fields Of Green' was released as a single, reaching #2 on the LM Radio charts in August 1971. The follow-up single 'Birds Flying High' (actually the flipside of 'Rainbow Illusion'), recorded shortly after the 'Genesis' sessions, peaked at #9 on the LM Radio charts.
Tully recalls the recording sessions being a fun time and due to the limitations of the 4-track recording studio, most songs were recorded in one take. If they made a mistake, they would do the whole take over again, not an easy thing to do with songs exceeding seven minutes!
Ian Smith took care of the brass arrangements and Tully used multi-tracking techniques to make him sound like a horn section, mainly utilizing the trumpet and flugelhorn, though the flute also makes it's presence felt a few times.
Due to wiring problems in the studio, the original album mix was out-of-phase and unusable and Tully had about two hours to remix the album in a Johannesburg studio before it went to the pressing plant.
Keith Madders, a friend of the band and big music fan introduced them to painter Tommy McLelland. He took photos of the band members and then included their likenesses into an original painting with religious overtones. The original painting was one metre square and to be mysterious the name of the band does not actually appear on the cover. “This was not a deliberate ploy”, says Tully, but it has probably led a few vinyl collectors over the years, to think they have discovered a lost gem by Peter Gabriel's band.
Madders also came up with the name for Tully's Spaced-Out Sound Studios, as well as the name Crocodile Harris for Robin Graham. 'Miss Eva Goodnight' was composed by the McCully Brothers and McCully Workhop played on this song, which was released by Crocodile Harris in 1974.
by Brian Currin
Tracks
1. Genesis (T. McCully) - 7.45
...a. Evolution
...b. Overture To Cancel Hate
...c. Survival And Genesis
2. (We All) Look For The Sun (T. McCully) - 3.15
3. Stone Man (T. McCully) - 9.44
...a. Stone Man
...b. Degeneration
...c. Satan's Dance
4. Red Light City (B. Gordon, T. McCully) - 7.40
...a. Sodom
...b. Gomorrah
5. Sweet Fields Of Green (T McCully) - 3.45
6. Togetherness (T McCully) - 4.35
7. Order Out Of Chaos (McCully Workshop) - 3.20
The McCullagh brothers, Tully (born Terence on 31st May 1953) and Mike (born Michael on 7th April 1947), have been an integral part of the South African music scene for five decades now.
In 1965 they started as a folk-rock trio with Richard Hyam and called themselves the Blue Three. Richard had been in a folk duo, Tiny Folk, with his sister Melanie. After a few personnel- and name-changes, like The Blue Beats and Larfing Stocke, the line-up settled down (for a while) in 1969.
“I had my own studio in the garage since I was 12” remembers Tully. It was a single garage in the garden of their home in Plumstead, in the Southern Suburbs of Cape Town. The brothers’ father, radio personality Michael Drin (his stage name), painted the name “McCully Workshop, Inc.” on the garage wall. “McCully” was an easier-to-spell version of McCullagh and the “Inc.” was a tongue-in-cheek addition.
A photo of the garage was used as the album cover. The photo was taken by Sigurd Olivier from the Argus newspaper. The cat’s name was Sirikit.
“We had been playing music for 6 years” remembers Mike McCullagh. “In 1969 I was 22 and Tully was 16, along with Richard Hyam, his sister Melanie and Allan Faull the group started.”
“We all wrote our own songs”, continues Mike, “and we just took the best ones for the album. Tully wrote ‘Why Can’t It Rain’ in the middle of the night and this became a hit single putting McCully Workshop on the charts for the first time.” This song went to number 12 on the Springbok Radio charts in July 1970 and also reached number 13 on the LM Radio charts.
“Why Can’t It Rain” drew the attention of the Gallo label, and they said they wanted an album. McCully Workshop signed probably the first independent licencing deal with a major label in South Africa.
Billy Forrest (born William Boardman in Kimberley in 1940) was the “top guy” at the time and was appointed as producer. He had recently had chart success with The Staccatos ‘Cry To Me’ and many others including The Dream Merchants and Quentin E Klopjaeger (one of his many pseudonyms).
Tully remembers Forrest’s catchphrase at the time was “could happen”.
The “Inc.” album shows a variety of styles and influences including The Beatles, Frank Zappa and Pink Floyd. “’Sgt Pepper’ was very important, as were the pop charts at the time”, recalls Tully.
Another big influence, according to Tully, was The Moody Blues ‘Threshold Of A Dream’ which was released in April 1969. Echoes of Graeme Edge’s poems can be heard in Mike McCully’s spoken words during the moonlanding-inspired ‘Head For The Moon’.
Alan van Der Merwe was a music teacher friend of Mike’s and was responsible for the vocal harmony arrangements. Tully cites South African band ‘The Sandpipers’ as an inspiration. This folk quartet, which consisted of two girls and two guys, and not be confused with the US folk trio, released an album titled ‘A Bird in Hand’ in 1967.
When asked to name his favourite song on the ‘Inc.’ album besides ‘Why Can’t It Rain’, Tully says without hesitation, ‘The Circus’. This song is an uptempo psychedelic pop-rocker with strong vocal harmonies, distorted guitar sounds from Allan Faull and great flute playing from Ian Smith.
The sessions were done, but another song was needed to complete the album, so a studio jam called ‘Jackin’ Around’ was added. Great organ sounds from Glenda Wassman, and a drum solo play-out from Mike McCully.
Glenda Wassman later married Richard, and they formed the pop band Pendulum and had a big hit with ‘Take My Heart’ in 1976. Glenda then went on to major success worldwide with the all-girl group, Clout, who had a huge hit with ‘Substitute’ which went to number 2 in the UK in 1978.
Allan Faull formed Falling Mirror in the late 70’s with his cousin Nielen Mirror (nee Marais).
Asked about an interesting studio story, Tully remembers feeling a few tremors and stuff falling off the walls one day during recording. “Everybody got a fright and rushed outside”, says Tully, “we thought it was a passing train.” Turned out to be the Tulbagh earthquake of 29th September 1969.
McCully Workshop, with the McCullagh brothers always at the core, have released a number of albums over the years and of course are best known for their big hit ‘Buccaneer’ from 1977.
40 years after those first recording sessions in late 1969, Tully is still involved in recording and runs his successful Spaced-Out Sounds Studio in Cape Town. Mike regularly packs out concert halls with his various nostalgic revue shows including ‘Sixty Something’, ‘Station 70′, ‘Music Of The Millennium’, ‘Country Classics’ and many, many others.
McCully Workshop still perform live on occasion and their first hit ‘Why Can’t It Rain’ is almost always included in the setlist.
The legends of South African pop and rock live on…
Blackfoot was born in Cleveland, Ohio, on May 9, 1944, but spent most of his early years in Columbus until age 8 when his father got an office job with the Atomic Energy Commission and moved his family to Oak Ridge, Tennessee. Oak Ridge was a very secret place in those days.
After graduating from high school, he joined the Maryland National Guard, but since he was again spending most of his time in Bladensburg, where he had few friends, he became something of a loner. Then, one Saturday, he was walking past a music store and saw a $78 Kay guitar and amplifier in the window and bought the package. He also purchased a chord chart. Immediately, he took his treasures home, learned three chords and wrote two songs before the weekend was over.
After he had mastered the Kay guitar enough to play tunes, Blackfoot and a buddy found a third player and formed a trio called the Starfires. The trio played one gig and broke up because the drummer moved to California. Music then became a private thing for the young man. He didn’t share it with anyone, didn’t attempt to join another group, just kept on truckin’ for the next couple of years with no particular direction in mind.
In 1965, his father died of a cerebral hemorrhage while on a business trip to Charleston, South Carolina, and Blackfoot’s mother moved back to Columbus, which is where his father was buried.
A short time later, the 21-year-old, who had no real ties in Maryland, headed for Columbus, too. Since there were no openings in the Ohio National Guard at the time, he transferred to the Air Force Reserve and served with an air police unit in Wilmington, Ohio, from 1966 until 1970.
So, in 1967, when Blackfoot was already 23 years old and had never performed in public except for that single gig with the Starfires, he learned that a local band called the Ebb Tides was looking for a singer/rhythm guitar player. The group was scheduled to do an 18-state summer tour of the county fair circuit.
In 1970’s “The Ultimate Prophecy,” which now demands top dollar if you can find a copy, was done in two takes over a single weekend at Mercury Recording in New York.
His second album "The Song of Crazy Horse" was recorded in New Zealand in 1973 and won New Zealand’s R.A.T.A. (Recorded Arts Talent Award) Album Of The Year award for 1974. The title track is a 20 minute saga about the life of the Oglala Sioux Chief Crazy Horse. It was released in 24 countries on the Fantasy label and to this day is still captivating new listeners around the world. The album received spotlight picks in Billboard, Cashbox, and Record World magazines.
History and English teachers often use The Song of Crazy Horse in their classroom when teaching about the American west and Native American history. Wherever radio stations were willing to play a 20 minute track, The Song of Crazy Horse instantly made the phone lines light up. In St. Louis, MO, KSHE FM has played The Song of Crazy Horse on its Sunday classics show for 38 years.
Tracks
1. The Song Of Crazy Horse / Ride Away - 18:46
2. I've Been Waitin' - 4:29
3. Miss Sally - 3:37
4. One Man's Story - 3:43
5. Almost Another Day - 3:47
6. Hey Johnny D.J. - 2:41
7. Flushed You From The Toilets Of My Heart (J. D. Blackfoot, John Durzo) - 4:09
9. Comin' Down - 3:49
All songs by J. D. Blackfoot except where noted.
Musicians
*J. D. Blackfoot - Vocals, Acoustic Guitar, Bells
*Frank Gibson - Drums, Percussion
*Billy Kristian - Bass
*Mike Walter - Piano
*Bob Jackson - Electric Guitar
*Jimmy Slogget - Sax
*Tony Baker - Sax, Organ
*Sonny Manahera - Pedal Steel Guitar
*John Durzo - Bass
*Sterling Smith - Piano
*Daniel Waldron - Trash Can
*J. Huff - Violin
*Sue Moore - Background Vocals
It is not hard to figure out why record labels wouldn't touch Big Lost Rainbow and why it stood no chance of gaining a widespread audience at the time of its 1973 release date. The album runs completely counter to the pompous hard rock that was plastered all over the airwaves at the time, and is far too subtle and mature for mass consumption. Although their initial gig was played before a crowd of 10,000, Big Lost Rainbow were not cut out for the arena.
Their music requires a much more intimate setting and response, and their sole album is a surprising musical delight constructed out of elements of folk, jazz, and classical music, all of which expose gorgeous, supple melodies, mostly composed by lead vocalist and guitarist Ridley Pearson. The album brings to mind the best aspects of soft, early-'70s folk-pop, but unlike much of that genre, there is a genuine sorrow (as opposed to anger) threaded throughout the music; a sorrow, perhaps, brought about by the changing times but not the least bit cynical. It is, instead, a sort of celebratory sentimentality.
The songs are all exceedingly strong. Big Lost Rainbow infuse the music with an uncanny emotional resonance whether they are expressing joyous or melancholy sentiments. The opening cut, "Sail" (written by Otis Read), is powered by harmonies nearly equal to those of Crosby, Stills & Nash, while "Oh! Idaho" is a lilting, upbeat tune that soars with scatty harmonies à la Seals & Crofts. Even the upbeat songs, though, are not exactly bouncy.
The album is entirely drum-less, so acoustic guitar, piano, bass, and cello are all up front with Pearson's vocals, which sound like a gentler, more somnolent Jonathan Edwards or James Taylor. When the mood is slowed down, the songs are incredibly touching. "Slow Rider" has a hint of the Bee Gees in their most heartbreakingly fragile and evocative melodic moments. And the gorgeous "Allegiance of Apathy," the one song included from the group's 1992 reunion, offers not only evidence that the members still have the magic but also a perfect, poignant closing for the album.
Overall there is a tender, communal hippie vibe to the album, very sunny and optimistic without descending into silliness and entirely avoiding jadedness. There is a sense of lost innocence and the process of growing wiser, as if the band is singing a lullaby to the wistfulness of youth. From beginning to end, Big Lost Rainbow is romantic and lovely.
by Stanton Swihart
Tracks
1. Sail (Otis Read) - 3:09
2. I Go Alone - 4:20
3. Lady Love - 4:11
4. Brothers - 2:58
5. Ocean - 5:02
6. Idaho - 2:18
7. It's Over Now - 3:44
8. Morning Sunshine (Bradbury, Pearson) - 2:44
9. Lady Of Music (Pearson, Berenson) - 13:08
10.Always On The Eve - 4:24
11.Patricia Jane Moon - 3:51
12.Slow Rider - 3:31
Words and Music by Ridley Pearson except where indicated
Floribunda Rose were the group formed by John Kongos -- who scored two British Top Five hits in the early 1970s, with "He's Gonna Step on You Again" and "Tokoloshe Man" -- in 1967. Kongos had been a recording artist in South Africa since he was a teenager in the early '60s, and in 1966 moved to England, where he recorded a solo single for Piccadilly. Soon after that he was at the head of Floribunda Rose on guitar and vocals, the lineup fleshed out by singer-guitarist Pete Clifford (who at one time had been in Dusty Springfield's backing band), organist Chris Dee, drummer Nick "Doc" Doktor, and singer-bassist Jack Russell. Despite the weird group name, Floribunda Rose's sole single, the 1967 Pye release "One Way Street"/"Linda Loves Linda," wasn't out-and-out psychedelia.
It was rather twee period pop/rock with a whiff of psychedelic influence, "One Way Street" sounding, at times, like Monkees-influenced British freakbeat, "Linda Loves Linda" being a tamer ode for a self-absorbed flower child. The single flopped, and by 1968 the group, still recording for Pye, changed their name to Scrugg and made three more little-noticed singles, highlighted by the more convincingly psychedelic 45 "Everyone Can See"/"I Wish I Was Five."
Both sides of the Floribunda Rose single -- as well as both sides of Kongos' 1966 Piccadilly single, everything from the three Scrugg singles, the entirety of Kongos' 1969 LP Confusions About a Goldfish, and a few unreleased songs by Kongos and Scrugg from the same era -- are here, on the anthology Lavender Popcorn which digs deep into the discography of eccentric psych-pop musician John Kongos. Prior to the period documented here, Kongos had several records under his belt as a South African artist, which were popular there but failed to translate elsewhere. Upon his 1966 relocation to England, he headed the short-lived bands Floribunda Rose (one single) and Scrugg (three singles) and then went solo.
This anthology ties up everything from Floribunda Rose and Scrugg, while adding some unreleased material. Kongos' first solo album, 1969's Confusions About a Goldfish, is also included in its entirety. Though it doesn't include significant later singles like "Tokoloshe Man" and "He's Gonna Step on You Again," the disc is rather essential for psych-pop completists.
by Richie Unterberger and Andy Kellman
Tracks
1. I Love Mary - 2:57
2. Goodtime Party Companion - 2:23
3. Linda Loves Linda (with Floribunda Rose) - 3:28
4. One Way Street (with Floribunda Rose) - 2:46
5. Everyone Can See (with Scrugg) - 2:51
6. I Wish I Was Five (with Scrugg) - 3:19
7. Lavender Popcorn (with Scrugg) (Scott English, Eddie Reeves) - 2:18
8. Sandwich Board Man (with Scrugg) - 3:11
9. Will the Real Geraldine Please Stand Up and Be Counted (with Scrugg) - 2:59
10.Only George (with Scrugg) - 2:51
11.Patriotic (with Scrugg) - 2:48
12.Confusions About a Goldfish - 4:17
13.At This Moment - 1:48
14.Deserts of Mountains of Men - 3:12
15.Seat by the Window - 3:19
16.Go Home - 2:36
17.Tomorrow I'll Go - 3:57
18.Film, Flam Pharisee - 2:50
19.It Was Easy - 2:50
20.Blood - 3:55
21.The Lady Wants More - 3:18
22.Coming Back to You - 2:49
23.Amendment to Confusions About a Goldfish - 2:20
24.Elegy to Seymour - 3:05
25.All I'm Trying to Do - 3:14
26.Week Day Lady - 3:06
All songs ny John Kongos unless as else written
Jig-A-Jig is a nine-track compilation from this wonderfully enthusiastic British band, spotlighting their jovial blend of folk-rock and jazz elements. With most of the material emerging from 1970's Snafu album, East of Eden's flighty, progressive atmosphere comes to life through the mixture of flute, saxophone, and, especially, electric violin.
One of their most energetic numbers entitled "Nymphenburger" uses six violin tracks and four guitar tracks with some electric alto sax piled on top, entirely overdubbed with the result sounding beautifully clean, mainly because of the familiar "Rondo" theme, which was later made famous by the Nice. It's Ron Gaines' saxophone that gives "Ramadahn" its mesmerizing flow and tribal-like sound, while the fully instrumental "Jig-A-Jig" went to number seven on the U.K. charts in 1971, thanks to the cordial nature of the song's pop sound.
The eight-plus minutes of "Gum Arabic" contrasts the airiness of the flute with the resonant chant of bagpipes, emerging as a truly eccentric piece of music, and "Confucius" focuses mainly on the guitar, causing the rhythms to stand out with a rockier tempo. East of Eden may not have gained the attention that the band was hoping for, even within the progressive rock ranks, but some of the members did go on to greener pastures.
Drummer Geoff Britton went on to play in Paul McCartney's Wings for almost a year in 1974, and violin player Dave Arbus became a renowned session man, lending his craft to the Who's Who's Next album.
by Mike DeGagne
Tracks
1. Jig-A-Jig (Traditional) - 3:35
2. Nymphenberger (East Of Eden) - 6:12
3. Ramadhan (Unknown) In The Snow For A Blow (Medley) - 6:12
..b.Part I (East Of Eden)
..c.Better Git It In Your Soul (Mingus)
..d.Part III (East Of Eden)
4. Northern Hemisphere (East Of Eden) - 4:32
5. Gum Arabic (Caines) - 8:15
..b.Confucius (Drummond)
6. Isadora (Nicholson, Caines, York) - 4:31
7. Leaping Beauties For Rudy (East Of Eden) - 7:01
8. Jig-A-Jig (7" Version) (Traditional) - 3:42
9. Marcus Junior (Drummond) - 3:56
East Of Eden
*Dave Arbus - Violin, Wind
*Ron Caines - Saxophone, Vocals
*Dave Dufort - Drums
*Geoff Nicholson - Guitar, Vocals
*Steve York - Bass
Titus Oates was a Dallas, TX, progressive hard rock five-piece that was never well known. The group's lone 1974 LP was only issued locally on the Lips label, and until this reissue from Radioactive the only way to hear the thing was to lay down hard cash for a shoddy bootleg -- an important point because, while it may not have the bombast of a major-label recording, Jungle Lady does not suffer from the murky sonics that dog most self-released records of this sort. Because it was a local pressing, it has been nearly impossible to locate, too; as a result, Titus Oates has been at the top of many collectors' want lists for years, its legend growing every time someone added it to a personal catalog of Holy Grails.
Does it live up to the hype? Sort of. Jungle Lady is a competent curiosity that balances tough Texas-style hard rock playing -- it's not ZZ Top, but it's close -- with progressive rock keyboards and jazzy guitar licks. Those aren't things that often intersect, and so the legend is deserved. "Jungle Lady" is a heady, largely unexplored mix of rock grit and prog flourish, it's sure to find an appreciative audience.
by Wade Kergan
Tracks
1 Jungle lady - 3:16
2 Dream on a train - 4:07
3 Blanket - 3:33
4 Friend of life - 3:49
5 Jupiter mars - 3:55
6 Time is only to fear - 3:43
7 Mr. tips - 3:46
8 Don't get your honey where you make your money - 4:45
9 The cage 7/2/74 - 4:05
Titus Oates
*Rick Jackson - Bass
*Lou Tielli - Guitar
*Steve Todd - Guitar
*Bill Beaudet - Keyboards
*Lou Tielli - Lead Vocals
*Pam Jackson - Lead Vocals
*Rick Jackson - Lead Vocals, Strings Ensemble
*Chris Eigenmann - Percussion
Following the release of Sweetwater's selftitled debut album in Autumn of 1968 (produced by Dave Hassinger) for Reprise Records, the band entered the realm of virtually endless touring. The band's status was that of a "must have" act. They were so popular on the ever-increasing "Pop Festival" circuit that they shared bills with Cream, The Rolling Stones, The Doors, Jimi Hendrix, The Who, Led Zeppelin, Janis Joplin, The Grateful Dead, Jefferson Airplane, Jerry Lee Lewis, Crosby, Stills, Nash & Young and many other major acts of the day.
One of the reasons that the band was so compatible with so many major acts was the fact that they sounded like virtually no other act in rock. Eschewing the standard lead guitar, bass and drums rock band format, Sweetwater used cello (August Burns), flute (Albert Moore), bass (Fred Herrera) and keyboards (Alex Del Zoppo) as lead instruments. Combining classical, Latin, jazz and rock elements to their sound, they remained unique. In addition they had one of the best female voices in rock, Nancy Nevins, to handle most of the lead vocals (often blending with Del Zoppo, Herrera and/or Moore).
Touring dominated the band's life from late 1968 all the way through December of 1969. To be sure, the band's appearance at the Woodstock festival brought them some of their greatest exposure, but the band also went out on regular tours with the likes of The Doors, Frank Zappa and The Mothers and others. To some extent, all of these performances distracted the band from turning in their sophomore album. "We were so busy gigging and flying everywhere," adds Fred Herrera, "that we never really sat back and took stock of our recording situation...and a year and a half between albums was the kiss of death at that time." Another part of that "kiss of death" that Herrera mentions was Nancy Nevins' tragic automobile accident in December of 1969, which nearly crippled the band-as well as Nancy.
Nevin's near fatal head injury and accident-damaged right vocal cord had a devastating effect on her voice. "We had so many gigs lined up at the time of Nancy's accident" continues Herrera, "that we thought she'd be okay with a week or two of us gigging without her, but it just didn't come together." But the need for the band's second album was fast becoming a priority. Although patient and understanding of the band's situation. Reprise Records was waiting, and Nevins-ostensibly the band's "voice" and visual focus-was very slow in healing. The band only had one track previously recorded during sessions for the first album, with Nancy's voice as it was before her accident, "Look Out."
Most of Nancy's voice tracks on Just For You are the first professional cuts of her post-accident voice. The resulting album that you now hold, is somehow, through all of the chaos and disaster, a minor classic, and may be the band's finest hour in the studio. There is a depth and toughness to the sound that was occasionally missing from the Hassinger-produced debut. The award-winning producer Chris Huston was chosen to oversee the production of this album, and he brought Just For You a more live and exciting sound. The album's title track is a perfect example of this. Led by Del Zoppo's positively wicked Salsa piano riffing and Herrera's powerful bass runs, the track smokes, and achieves the kind of spontaneity that the band was known for. This, dear listener, is the real Sweetwater.
Adding Elpidio Cobian's nimble percussion tattoos, Albert Moore's flute solo and especially August Burns' swooping filigrees on the cello, the song stretches out in precisely the way the band were famous for in a live setting. Huston mic'ed Nancy closely for this track, protecting her still-recovering voice. Chris Huston continued to work diligently with Nancy's voice on the rest of the album. "Day Song" is a particular delight here, with Nancy performing gracefully on acoustic guitar.
There is an innocence and vulnerability to the performance that captures her spirit beautifully and accurately. Perhaps, however, the album's centerpiece is a track called "Windlace." Opening with some tasteful rain sound effects, the song slips into a funk-induced darkness that is relentless.
The vaguely psychedelic lyrics take the listener on a brief journey through consciousness. But the groove itself is what grasps and holds, and is another example of the band's core sound, mixing funk, classical and other elements effortlessly. As noted at the beginning of these notes, Sweetwater sounded like no other band of their era...but in the end, they actually captured the endless possibilities of the era perfectly. Just For You proves all of this and more.
by Matthew Greenwald and Harvey Kubernik
Tracks
1. Just For You (Fred Herrera) - 10:19
2. Day Song (Nancy Nevins) - 2:02
3. Windlace (Alex Del Zoppo) - 4:37
4. Compared To What (Gene McDaniels) - 6:50
5. Song For Romeo (Albert Moore) - 2:32
6. Without Me (Alex Del Zoppo) - 4:09
7. Look Out (Nancy Nevins) - 3:21
Gypsy's self-titled debut LP (released, confusingly, under the title English Gypsy in the U.S.) was the work of a British band extremely influenced by late-'60s Californian folk-psychedelic-rock -- more so than almost any other U.K. group you could name, in fact.
Why is that, then, that hardly anyone can name Gypsy these days? It's because the album's extremely derivative of Buffalo Springfield, Crosby, Stills, Nash & Young, and especially Moby Grape, particularly in the vocal harmonies. And it's because, while those are good influences to work from, the songs aren't nearly as good as the best work by the aforementioned acts. Some specialists would cavil that it's unfair to hold secondary bands like Gypsy up to such high standards, and that the music should be judged on its own terms. But let's be straight about it: on this particular platter, the similarities are inescapable.
The lead vocals often have the gritty tremble characteristic of numerous Moby Grape tracks; the harmonies on "I Don't Care Do You Mind?" are very much in the early CSNY style; the extended soloing on "Turning Wheel" can't fail to recall Neil Young's "Down by the River"; some of the lyrics on "Standing Alone, Feeling So Bad" sound rather like Buffalo Springfield's "Mr. Soul"; "Pony Ride" is a son (or should that be "grandson"?) of Moby Grape's "Hey Grandma"; etc.
It's well-played and well-sung, with some appealing sustained guitar effects, but more originality (and better material) were needed to make something enduring. The 2004 CD reissue adds the 1971 non-LP single "Changes Comin'"/"Don't Cry on Me," as well as six previously unreleased tracks recorded around the same time.
by Richie Unterberger
Tracks
1. What Makes a Man a Man? (Robin Pizer) - 3:07
2. Keep On Trying (Robin Pizer) - 4:35
3. I Don't Care, Do You Mind? (David McCarthy) - 3:13
4. Turning Wheel (David McCarthy) - 8:04
5. Feel About the Country Fine (David McCarthy) - 2:30
6. Standing Alone, Feel So Bad (John Knapp) - 6:04
7. I Want To Be Beside You (Robin Pizer) - 5:16
8. Please Don't Stay (John Knapp) - 5:16
9. Let Me Take You Home (Robin Pizer) - 4:50
10.Pony Ride (John Knapp) - 4:59
11.Change Coming (Robin Pizer) - 3:40
12.Don't Cry On Me (John Knapp) - 3:15
13.Listen To the Music (Robin Pizer) - 3:29
14.I Don't Wanna Lose You (Robin Pizer) - 3:12
15.I Guess She'll Have To Know (David McCarthy) - 3:34
16.There's a Party (John Knapp) - 3:46
17.It Don't Bother Me (John Knapp) - 3:30
18.What a Day (John Knapp) - 4:56
