Plain and Fancy

Saturday, February 6, 2021

Ian And Sylvia - Greatest Hits! (1970 canada, woderful folk rock)

One of the most popular acts of the early-'60s folk revival, Canadian duo Ian Tyson (b. 1933) and Sylvia Tyson (b. 1940) made several fine albums that spotlighted their stirring harmonies on a mixture of traditional and contemporary material. While these recordings can seem a tad earnest and dated today, they were overlooked influences upon early folk-rockers such as the Jefferson Airplane, the We Five, the Mamas and the Papas, and Fairport Convention, all of whom utilized similar blends of male/female lead/harmony vocals. They were also inspirations to fellow Canadian singer/songwriters such as Neil Young, Joni Mitchell, and Gordon Lightfoot. Like most acoustic folkies, after the mid-'60s they moved into folk-rock and country-rock, though the results were less impressive than their early work.

Tyson took up folk music in his 20s while convalescing from a rodeo injury, and teamed up with Sylvia Fricker after moving to Toronto in the late '50s. In 1960, they moved to New York, where they were signed by Albert Grossman, famous for managing Bob Dylan and Peter, Paul, and Mary. Their self-titled debut (1962) began a successful series of recordings for Vanguard, on which they helped expand the range of folk by adding bass (sometimes played by Spike Lee's father Bill) and mandolin to Ian's guitar and Sylvia's autoharp. Just as crucially, they ranged far afield for their repertoire, which encompassed not just traditional folk ballads, but bluegrass, country, spirituals, blues, hillbilly, gospel, and French-Canadian songs.

Ian and Sylvia were among the first to cover songs by Dylan, Lightfoot, Joni Mitchell, and Phil Ochs, and also began writing material of their own. Although original compositions were never at the forefront of their early LPs, a couple of them would become very influential indeed. Ian's "Four Strong Winds" would be covered by the Searchers and (in the '70s) Neil Young, and Sylvia's "You Were on My Mind," given a far poppier treatment by the We Five, became one of the first big folk-rock hits.

By 1966, Ian & Sylvia had started to rely primarily on original material, and begun to use electric instruments. While some of these tracks were outstanding, generally their folk-rock lacked the focus and consistency of their acoustic recordings. In the late '60s, they would take stabs at country-rock and straight country music, even hooking up with young producer Todd Rundgren for the 1970 album Great Speckled Bird. The quality of their records, and the size of their audience, declined steadily after they ended their association with Vanguard in 1967. In the '70s, they split up, professionally and personally (they had married in 1964). Both have since pursued solo careers: Ian's was far more successful, as he moved into country music, recording albums of songs with cowboy and rodeo themes that received much popular and critical acclaim in Canada.

by Richie Unterberger

This compilation (CVSD 5/6) captures much of their best work. Do not confuse it with the identically titled Vanguard album 73114, which includes only half the material found on this set.

by William Ruhlmann

Tracks

1. Early Morning Rain (Gordon Lightfoot) - 3:55

2. Tomorrow Is A Long Time (Bob Dylan) - 3:15

3. Little Beggarman (Tom Makem) - 2:20

4. The Mighty Quinn (Bob Dylan) - 2:46

5. Nancy Whiskey (Traditional) - 2:35

6. Catfish Blues (Traditional) - 3:33

7. Come In Stranger (Johnny Cash) - 1:52

8. The French Girl (Ian Tyson, Sylvia Fricker) - 2:40

9. The Renegade (Ian Tyson, Sylvia Fricker) - 3:34

10.Mary Anne - 3:10

11.You Were On My Mind (Sylvia Fricker) - 2:45

12.Four Strong Winds (Ian Tyson) - 3:27

13.Short Grass (Ian Tyson, Sylvia Fricker) - 2:15

14.Southern Comfort (Sylvia Fricker) - 5:00

15.Some Day Soon (Ian Tyson) - 2:18

16.Ella Speed - 2:24

17.Circle Game (Joni Mitchell) - 2:58

18.90° X 90° (David Rea) - 2:26

19.Cutty Wren (Traditional) - 2:55

20.Un Canadien Errant - 2:55

21.Lonely Girls (Ian Tyson, Sylvia Fricker) - 2:43

22.Spanish Is A Loving Tongue - 3:25

23.This Wheel's On Fire (Bob Dylan) - 3:44

Personnel

*Sylvia Fricker - Vocals, Guitar

*Ian Tyson - Vocals, Guitar

*Monte Dunn - Guitar

*Russ Savakus - Bass

*Al Rogers - Drums

*John Herald - Guitar

*Erisc Weissberg - Bass

*David Rae - Guitar

*Fred Carter - Electric Guitar

*Norbert Putman - Bass

*Ken Buttrey - Drums

*Robert Bushnell - Bass

*Peter Drake - Steel Guitar

*Billy Lee - Bass

*James Lewis - Bass

*Rick Turner - Guitar

*Felix Pappalardi - Bass

*Harold Bradley - Electric Guitar

*Tommy Jackson - Fiddle

*Buddy Spicher - Fiddle

1967-68 Ian And Sylvia - Lovin' Sound / Full Circle

1971 Ian And Sylvia - The Beginning Of The End
Related Act
1970 Great Speckled Bird - Great Speckled Bird (2007 japan bonus track remaster)

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Sunday, January 31, 2021

The Illusion - If It's So (1970 us, solid hard classic rock with psych shades)

If you aren't familiar with The Illusion (not to be confused with the UK band of the same name), enjoy a trip back in rock history with this little known, underappreciated band from Long Island, New York.

Known for their sweet harmonies and stellar musicianship, the band drew a large & loyal following on the East Coast. Lead by John Vinci on vocals, the band featured fine drummer, Mike Ricciardella. Rounding out the rhythm section was Chuck Alder on bass and background vocals. The most versatile member was Mike Maniscalco who sang occasional lead but was the voice that stood out in the harmonies. Mike played rhythm guitar, keyboards & sax. Giving Illusion the edge over all other Long Island bands was a most underrated guitar player Rich Cerniglia.

Having a top 40 hit on Jeff Barry's Steed label, "Did You See Her Eyes", gave them the opportunity to do their first tour with Mitch Ryder. Illusion later went on to open for such acts as Chicago, The Who, Savoy Brown, The Allman Brothers and Sly and the Family Stone just to name a few. Also, along with Cactus, the Illusion were a support act for Jimi Hendrix at the Boston Garden in 1970, shortly before his tragic death. The Illusion went on to record two more albums for Steed Records- Together (As A Way Of Life) and perhaps their finest album, If It's So. Shortly after the release of what should have been Illusion's break through LP, the band disbanded.

Tracks

1. Man (John Vinci, Chuck Alder, Mike Maniscalco, Mike Ricciardella, Richie Cerniglia) - 7:13

2. Let's Make Each Other Happy (Richie Cerniglia, Chuck Alder) - 3:26

3. When I Metcha Babe (Jeff Barry, John Vinci, Richie Cerniglia) - 6:33

4. Collection (John Vinci, Chuck Alder, Mike Maniscalco, Mike Ricciardella, Richie Cerniglia) - 5:13

5. If It's So (Mike Maniscalco) - 5:06

6. Life Cycle Theme (Mike Maniscalco) - 1:40

7. Dr. Stone (John Vinci, Mike Maniscalco) - 3:52

8. Excerpt From Recuerdos de Alhambra (Francisco Tárrega) - 1:10

The Illusion

*John Vinci - lead vocals

*Chuck Alder - bass

*Mike Maniscalco - keyboards, rhythm guitar

*Richie Cerniglia - lead guitar

*Mike (Sylvester) Ricciardella - drums, percussion

1969 The Illusion - The Illusion

1969 The Illusion - Together (As A Way Of Life) (2014 remaster)

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Friday, January 29, 2021

The Marshall Tucker Band - A New Life (1974 us, impressive southern country guitar jam rock, 2002 bonus track remaster)

Perhaps the only reason that New Life isn't quite as memorable as its self-titled predecessor is that the band's debut was just so startling when it appeared. By the time New Life was issued in 1974, to the band's credit, it seemed like the Marshall Tucker Band sound had always been a part of America's rock & roll scene.

New Life is earthier than the first album, and country music is less layered over by the trappings of jam-band rock. "Blue Ridge Mountain Sky" is only eclipsed by Dickey Betts' "Ramblin' Man" as the ultimate road song from the period. Likewise, the pedal steel blues of "Too Stubborn" echo an earlier era altogether, as the ghost of Bob Wills comes into Toy Caldwell's songwriting.

The whining guitars and lilting woodwinds of the title track bring the jazzier elements in the band's sound to the fore and wind them seamlessly into a swirling, pastoral country music. The Muscle Shoals horns lend a hand on the Allman Brothers' Brothers and Sisters-influenced "Another Cruel Love," and guest Charlie Daniels' fiddle cooks up a bluegrass stew on "24 Hours at a Time." The sound is fantastically balanced and warm, and like its predecessor, this album has dated very well.

by Thom Jurek

Tracks

1. A New Life - 6:43

2. Southern Woman - 7:53

3. Blue Ridge Mountain Sky - 3:39

4. Too Stubborn - 3:54

5. Another Cruel Love - 3:59

6. You Ain't Foolin' Me - 7:02

7. 24 Hours At A Time - 5:01

8. Fly Eagle Fly - 4:25

9. Another Cruel Love (Live) - 4:25

All songs by Toy Caldwell

Bonus Track 9

The Marshall Tucker Band

*Toy Caldwell - Vocals, Electric, Acoustic, Steel Guitars

*Tommy Caldwell - Vocals, Bass Guitar

*George McCorkle - Electric, Acoustic Guitars

*Doug Gray - Vocals, Percussion

*Jerry Eubanks - Saxes, Flute, Vocals

*Paul Riddle - Drums

With

*Jai Johanny Johnson - Congas

*Paul Hornsby - Keyboards

*Charlie Daniels - Fiddle

*Oscar Jackson - Tenor Saxophone

*Earl Ford - Horns

*Harold Williamsl - Horns

*Todd Logan - Horns

1973 The Marshall Tucker Band - The Marshall Tucker Band (2004 bonus track)

1973 The Marshall Tucker Band - Way Out West, Live From San Francisco (2010 remaster)

1974 The Marshall Tucker Band - Where We All Belong (2004 remaster with bonus track)
1975 Marshall Tucker Band - Searchin' For A Rainbow (2004 remaster and expanded)
1976 The Marshall Tucker Band - Long Hard Ride (2004 extra track remaster)

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Wednesday, January 27, 2021

The Marshall Tucker Band - Long Hard Ride (1976 awesome country southern rock, 2004 extra track remaster)

The Marshall Tucker Band had a wider palette of musical influences than any other Southern rockers. The eternally high-spirited Wet Willie (of "Keep On Smilin'" fame) mixed r&b, gospel and pop into their rock and roll stew. Even the granddaddies of the genre, The Allman Brothers Band, forged their style from the three distinct, albeit open-ended, sources: English hard rock ala The Jeff Beck Group, blues from Muddy Waters et, al, and the pure openness of free-jazz ordained by John Coltrane.

MTB, however, had a sure grip on rock, blues, gospel, bluegrass and mainstream jazz(including swing and big band). As demonstrated on their very first album the group was able to write credible material in each of those genres (or mix it up convincingly)as well as play as if each was their forte. The versatility becomes even more evident on their comparatively understated follow-up A New Life and there the band's studio artistry takes full flower with the exhilarating likes of "Another Cruel Love." The remastering of the Marshall Tucker catalog, the release of a hot time left in the vaults as well as a new studio effort form the current lineup provides additional insight into the workings of the group.

Persevering through multiple tragedies like their Dixie rock brethren ABB and Skynyrd titular leader Toy Caldwell died of heart problems in early 1993. On Long Hard Ride, The Marshall Tucker Band's country influences come to the fore, resulting in a strong record that failed to gain many hits. Still, the final product is well worth listening to -- it's one of their better releases. Be sure to listen for Charlie Daniels' guest appearance.

Tracks

1. Long Hard Ride - 3:53

2. Property Line - 3:02

3. Am I The Kind Of Man - 4:26

4. Walkin' The Streets Alone - 5:09

5. Windy City Blues (Doug Gray, George McCorkle, Jerry Eubanks) - 4:58

6. Holding On To You (George McCorkle) - 3:52

7. You Say You Love Me - 4:02

8. You Don't Live Forever (Tommy Caldwell) - 4:02

9. See You One More Time (Albert Savoy, Wardell Quezergue) - 4:54

All songs by Toy Caldwell except where noted

Bonus track 9

The Marshall Tucker Band

*Doug Gray - Lead Vocals, Percussion

*Toy Caldwell - Electric, Acoustic Guitars, Steel Guitar, Lead Vocals

*Tommy Caldwell - Bass Guitar, Backing Vocals

*George McCorkle - Electric, Acoustic Guitars, Banjo

*Jerry Eubanks - Flute, Alto, Baritone, Tenor Saxophone, Backing Vocals

*Paul Riddle - Drums

1973 The Marshall Tucker Band - The Marshall Tucker Band (2004 bonus track)

1973 The Marshall Tucker Band - Way Out West, Live From San Francisco (2010 remaster)

1974 The Marshall Tucker Band - Where We All Belong (2004 remaster with bonus track)
1975 Marshall Tucker Band - Searchin' For A Rainbow (2004 remaster and expanded)

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Monday, January 25, 2021

Bryan Ferry - These Foolish Things (1973 uk, glam rock with folk 'n' soul touch covers, 2015 japan SHM remaster)

Much like his contemporary David Bowie, Ferry consolidated his glam-era success with a covers album, his first full solo effort even while Roxy Music was still going full steam. Whereas Bowie on Pin-Ups focused on British beat and psych treasures, Ferry for the most part looked to America, touching on everything from Motown to the early jazz standard that gave the collection its name. Just about everyone in Roxy Music at the time helped out on the album -- notable exceptions being Andy Mackay and Brian Eno. The outrageous take on Bob Dylan's "A Hard Rain's A-Gonna Fall," with Ferry vamping over brassy female vocals, sets the tone for things from the start.

All this said, many of the covers aim for an elegant late-night feeling not far off from the well-sculpted Ferry persona of the '80s and beyond, though perhaps a touch less bloodless and moody in comparison. In terms of sheer selection alone, meanwhile, Ferry's taste is downright impeccable. There's Leiber & Stoller via Elvis' "Baby I Don't Care," Lesley Gore's "It's My Party" (with narrative gender unchanged!), Smokey Robinson and the Miracles' "The Tracks of My Tears," and more, all treated with affection without undue reverence, a great combination. Ferry's U.K. background isn't entirely ignored, though, thanks to two of the album's best efforts -- the Beatles' "You Won't See Me" and the Stones' "Sympathy for the Devil." Throughout Ferry's instantly recognizable croon carries everything to a tee, and the overall mood is playful and celebratory. Wrapping up with a grand take on "These Foolish Things" itself, this album is one of the best of its kind by any artist.

by Ned Raggett

Tracks

1. A Hard Rain's A-Gonna Fall (Bob Dylan) - 5:19

2. River Of Salt (Irving Brown, Bernard Zackery, Jan Zackery) - 1:48

3. Don't Ever Change (Gerry Goffin, Carole King) - 2:15

4. Piece Of My Heart (Jerry Ragovoy, Bert Berns) - 3:06

5. Baby I Don't Care (Jerry Leiber, Mike Stoller) - 1:50

6. It's My Party (Walter Gold, John Gluck Jr., Herb Weiner) - 2:00

7. Don't Worry Baby (Brian Wilson, Roger Christian) - 4:13

8. Sympathy For The Devil (Mick Jagger, Keith Richards) - 5:50

9. The Tracks Of My Tears (William Smokey Robinson, Jr., Warren Moore, Marvin Tarplin) - 3:04

10.You Won't See Me (John Lennon, Paul McCartney) - 2:32

11.I Love How You Love Me (Barry Mann, Larry Kolber) - 3:02

12.Loving You Is Sweeter Than Ever (Ivy Jo Hunter, Stevie Wonder) - 3:06

13.These Foolish Things (Eric Maschwitz, Jack Strachey) - 5:41

Musicians

*Bryan Ferry - Harmonica, Piano, Vocals

*Eddie Jobson - Keyboards, Synthesizer, Violin

*Henry Lowther - Horn, Trumpet

*Phil Manzanera - Electric Guitar

*Angelettes - Vocals

*Roger Ball - Horn Arrangements, Alto Sax, Baritone Sax, Bass Sax, Saxophone

*Jesse Ed Davis - Vocals

*Malcolm Duncan - Tenor Sax, Saxophone

*Robbie Montgomery - Vocals

*Ruan O'Lochlainn - Alto Saxophone

*John Porter - Bass, Guitar

*John Punter - Drums

*Dave Skinner - Piano

*Paul Thompson - Drums

1976 Bryan Ferry - Let's Stick Together (2008 japan remaster)

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Sunday, January 24, 2021

The Amazing Rhythm Aces - Toucan Do It Too / Burning The Ballroom Down (1977-78 us, awesome southern country classic rock, 2000 reissue)

Although the Amazing Rhythm Aces remained firmly in touch with their country and Southern rock roots, they began shedding their twang in favor of some harder and edgier material, which they matched with equally aggressive execution. The airy and slightly calypso "Never Been to the Islands (Howard and Hugh's Blues)" -- which opens their third long-player, Toucan Do It Too -- demonstrates that the Aces had not strayed too far afield. Both "Living in a World Unknown" and "Who's Crying Now" provide a contrast with solid, propulsive rockers led by the dual electric fretwork of Russell Smith (guitar/vocals) and Barry Burton (dobro/guitar/mandolin/pedal steel/slide guitar/vocals), who left the band shortly after the Aces recorded their follow-up to this disc.

They recall the sunny and carefree southern California sound of the Eagles, and blend that force with their trademark country-rock leanings. The Aces could also pull off lean blue-eyed soulful numbers, such as the midtempo "Never Been Hurt," featuring some tasty keyboard inflections from future Nanci Griffith collaborator and Blue Moon Orchestra member James Hooker (piano/electric piano/clavinet/vocals). There are a number of decidedly more traditional-sounding sides, which are among the album's zeniths. "Everybody's Talked Too Much" offers somewhat of a retreat into an increasingly laid-back country-rock vibe, while the high and lonesome "Last Letter Home" is instrumentally bolstered by Burton's lilting and acoustically lyrical mandolin runs, which are tucked behind Jeff Davis (bass) and Hooker's sonic accoutrement. "Geneva's Lullaby" is an achingly tender ballad from Smith, whose criminally underappreciated guitar work and songwriting are given a well-deserved showcase. His compositional versatility is evident on the LP's closing track, "Two Can Do It Too," which boasts a healthy syncopation that could have easily been covered by the likes of Little Feat or -- thanks to the funky shuffle groove -- even the Neville Brothers.

On their fourth long-player, the Amazing Rhythm Aces continued the trend of presenting well-crafted pop songs leaning toward laid-back country and Southern rock. Burning the Ballroom Down was the final long-player from the "classic" incarnation of the band, featuring Barry Burton (dobro/guitar/mandolin/steel guitar/slide guitar/vocals), who departed shortly after this disc was recorded, Jeff Davis (bass/vocals), Billy Earheart (organ/keyboards), James Hooker (piano/keyboards/clavinet/vocals), Butch McDade (percussion/drums/vocals), and Russell Smith (guitar/vocals). The Aces' Memphis roots are evident throughout the album and are revealed in a variety of styles, ranging from the blue-eyed soul of the opening title track to the gospel-tinged waltz balladry on "Out of Control." The even more sacred "Spirit Walk" is particularly notable for aptly displaying Burton's multi-stringed mastery. Moving away from the harder edge of their previous long-player.

Toucan Do It Too, the Aces retreat into more regional acoustic folk and bluegrass styles on the tongue-in-cheek "I Pity the Mother and the Father (When the Kids Move Away)" as well as the tropically inspired "Ashes of Love." Along the same line is Smith's hauntingly poignant and minor-chord masterpiece "Red to Blue (When Dreams Come True)." Other highlights include the slinky rocker "A Jackass Gets His Oats," which bears some striking resemblances to a typical Lynyrd Skynyrd deep-fried rocker. The easygoing "Della's Long Brown Hair" features a sweet pedal steel solo from Burton, who had exited the combo by the time the Aces hit the road in support of Burning the Ballroom Down. Enthusiasts should search out the live disc Between You & Us, which includes a show from this tour and features Burton's replacement, Duncan Cameron, in one of his earliest gigs with the band. In 2000, Collectors' Choice Music issued a two-fer that paired this album with its predecessor, Toucan Do It Too, on a single compact disc.

by Lindsay Planer

Tracks

1. Never Been To The Islands (Howard And Hugh's Blues) (Russell Smith, Butch McDade, James Hooker Brown Jr.) - 3:54

2. Never Been Hurt (Russell Smith, James Hooker Brown Jr.) - 4:17

3. Living In A World Unknown (Russell Smith, James Hooker Brown Jr., Jeff Davis) - 4:27

4. Everybody's Talked Too Much (Russell Smith, James Hooker Brown Jr.) - 5:18

5. Last Letter Home (Butch McDade, James Hooker Brown Jr.) - 3:54

6. Who's Crying Now? (Russell Smith) - 4:28

7. Just Between You And Me And The Wall, You're A Fool (James Hooker Brown Jr.) - 4:43

8. I'm Setting You Free (Harold Allen, J.T. Watts, Jimmy Grimes) - 3:00

9. Geneva's Lullaby (Russell Smith) - 3:17

10.Two Can Do It Too (Russell Smith) - 4:30

11.Burning The Ballroom Down (Russell Smith, James Hooker Brown Jr.) - 5:21

12.A Jackass Gets His Oats (Russell Smith, James Hooker Brown Jr.) - 4:53

13.Ashes Of Love (Jim Anglin, Jack Anglin, Johnnie Wright) - 3:05

14.All That I Had Left (With You) (Jeff Davis) - 3:35

15.I Pity The Mother And The Father (When The Kids Move Away) (Russell Smith) - 2:09

16.Della's Long Brown Hair (Russell Smith) - 3:18

17.Out Of Control (Billy Earheart) - 4:00

18.Red To Blue (When Dreams Come True) (Russell Smith) - 5:20

19.The Spirit Walk (Russell Smith, James Hooker Brown Jr.) - 5:57

Tracks 1-10 from Toucan Do It Too 1977

Tracks 11-19 from Burning the Ballroom Down 1978

The Amazing Rhythm Aces

*Barry Burton - Dobro, Guitars, Mandolin, Vocals

*Jeff Davis - Bass, Vocals

*Billy Earheart - Keyboards, Organ, Piano

*James Hooker Brown Jr. - Clavinet, Keyboards, Piano, Vocals

*Jim Kershaw - Guitar

*Butch McDade - Drums, Percussion, Vocals

*Russell Smith - Guitars, Harmonica, Vocals

With

*Billy Earheart III - Accordion

*Buddy Spicher - Fiddle

1975-76 The Amazing Rhythm Aces - Stacked Deck / Too Stuffed To Jump

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Saturday, January 23, 2021

Freeport - Freeport (1970 us, excellent classic rock, Vinyl edition)

The short-lived Freeport can trace its roots to the Cleveland-based band Paper Sun which featured the talents of bassist Craig Holt, singer/keyboardist Kevin Raleigh, and drummer Bill Stallings (along with singer/guitarist Phil Okulovich, aka Eric Janson).

Unfortunately a national deal with Chess Records fell apart and by early 1969 Okulovich was gone, replaced by former The Poppy singer/guitarist Roger Lewis and lead guitarist Dennis Stredney. At that point the band dropped the Paper Sun nameplate, morphing into Freeport Express and then simply Freeport. With support from longtime manager Otto Neuber they scored a contract with Bob Shad's Mainstream label.

Produced by Shad, 1970's cleverly titled "Freeport" featured a mildly entertaining mixture of original pop and rock numbers. With Lewis, Raleigh, and Stredney all contributing to the writing chores, exemplified by tracks like 'It's a Brand New Morning', 'Just What You Need' and '' the album underscored the band's affinity for harmony-rich pop-rock. Comparisons to Eric Carmen and Raspberries weren't that far off, though these guys leaned a bit more to the rock side of the equation. At the same time, they were much more mainstream and commercial than the majority of Mainstream acts, which may have been somewhat of a letdown if you were expecting to hear a collect of psychedelic oriented material like The Art of Lovin', or The Tiffany Shade.

While the liner notes credited three lead singers (Lewis, Raleigh, and Stredney), Raleigh seems to have handled the bulk of the material, though many of the songs featured the band's distinctive multi-part vocal arrangements (What She's Done'). Quite unlike anything else on the LP, 'Forty Long Faces' offered up a nice mixture of pop melody, sweet harmony vocals, crunching guitars, and just enough progressive flavor to make it interesting. Freeport released one more non-LP single 1970's 'Now That She's Gone' b/w 'Misunderstood' and the band was history.

Bad-Cat

Tracks

1. It's a Brand New Morning (Kevin Raleigh) - 4:26

2. I Need Your Lovin' (Eric Carmen) - 2:44

3. Just What You Need (Kevin Raleigh) - 2:14

4. What She's Done (Kevin Raleigh) - 2:59

5. Nonsense (Roger Lewis, Dennis Stredney) - 3:45

6. Old Man (Kevin Raleigh) - 3:47

7. Call Yourself the Wind (Roger Lewis) - 4:51

8. Forty Long Faces (Roger Lewis, Kevin Raleigh) - 4:00

9. Lend a Hand (Kevin Raleigh) - 3:02

Freeport

*Craig Holt - Bass, Backing Vocals

*Roger Lewis - Lead Vocals, Lead Guitar

*Kevin Raleigh - Lead Vocals, Keyboards,

*Dennis Stredney - Lead Vocals, Lead Guitar

*Bill Stalling - Drums, Percussion, Backing Vocals

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Thursday, January 21, 2021

The Outsiders - Time Won't Let Me / Album #2 (1966 us, tight garage roots 'n' roll)

The Outsiders started life as the Starfires, a hard-working popular local band in Cleveland founded by guitarist/singer Tom King in 1958. By 1965, the group had decided to add more vocals to its repertory, adding lead singer Sonny Geraci. Tom King and his brother-in-law, Chet Kelley, co-authored a song called "Time Won't Let Me," and King turned the new number into a rock & roll tour de force. Recording it on their own, the band (under King's direction) melded the group's core sound -- augmented by the presence of Al Austin on lead guitar -- to brass and horn sections, in what was a fairly complex dual-layer arrangement. The group was signed by Capitol Records on the strength of the recording, but the label insisted that the band get a new name. King had been forced to abandon Pama Records, the label for which the Starfires had cut a dozen sides and was owned by his uncle, who accused his nephew of being an "outsider" to the family.

The name, the Outsiders, fit the new band and the times perfectly, and "Time Won't Let Me" was issued in January of 1966, rising to number five on the national charts soon after. The B-side "Was It Really Real" showed off the unadorned group sound, a lean two-guitar, bass, and drums arrangement with some tasteful, shimmering guitar arpeggios and a gentle, folk-rock style of harmonizing. The group's lineup was a bit fluid at this point, with King, Geraci, and longtime Starfires bassist Mert Madsen comprising the core; with Bill Bruno playing lead guitar and drummer Ronnie Harkai aboard. Harkai left to join the Air Force soon after the debut single was recorded, however, and he was succeeded by Bennie Benson and later by Ricky Baker.

The Outsiders enjoyed a second hit with "Girl in Love," which reached number 21 -- a reflective ballad with a lush (yet not overwhelming) string accompaniment over some restrained electric guitars; it showed off another side of the group's sound. By the time of "Girl in Love"'s release, Capitol was ready for the group to record their debut album and Tom King called up Jimmy Fox, who had been the drummer for a slightly earlier lineup of the Starfires, to play on those sessions. Fox had left the group to attend college, but he came back to play on the album; in the wake of his brief reunion with his bandmates, decided to forego college in favor of forming a band of his own, which he named the James Gang.

There aren't too many debut albums anywhere quite as strong as the Outsiders' first long-player. The fact that "Time Won't Let Me" is only the most familiar song here -- but not even necessarily the best track on the album -- demonstrates just how firm a footing Tom King, Sonny Geraci, Bill Bruno, and Mert Madsen had in delivering their first long-player.

The songs here, most of them originals co-authored by Tom King -- which encompass the classic title track and four others that are pretty good (and two better than that) -- and covers, are all fine examples of mid-'60s garage rock with a blue-eyed soul edge, and there's hardly a moment on this album that isn't engaging in the extreme. Indeed, the big surprise to listeners today is how strong the rest of the album -- beyond "Time Won't Let Me" -- is, whether they're covering the Spencer Davis Group ("Keep on Runnin'"), Bobby Day ("Rockin' Robin" -- in a rendition that really does rock), or Buddy Holly ("Maybe Baby"); indeed, the only slack moment anywhere might be a less-than-riveting rendition of the Jay & the Americans chestnut "She Cried"; and they make up for it with a very successful and slightly arty, string-accompanied original ballad in the equivalent position on side two, to close the album.

by Bruce Eder

Tracks

1. Keep On Running (Jackie Edwards) - 2:21

2. Listen People (Graham Gouldman) - 2:30

3. Time Won't Let Me (Chet Kelley, Tom King) - 2:59

4. My Girl (Ronald White, William Robinson) - 2:29

5. What Makes You So Bad (Chet Kelley, Tom King) - 2:30

6. She Cried (Greg Richards, Ted Daryll) - 2:22

7. Chase Away The Tears (Chet Kelley, Tom King) - 2:59

8. Was It Really Real (Chet Kelley, Tom King) - 2:13

9. Maybe Baby (Buddy Holly, Norman Petty) - 1:58

10.Rockin' Robin (Jeanne Vikki) - 2:31

11.Girl In Love (Chet Kelley, Tom King) - 3:18

12.(Just Like Romeo And Juliet) (Bob Hamilton, Freddie Gorman) - 2:25

13.Lost In My World (Chet Kelley, Tom King) - 2:54

14.Since I Lost My Baby (Smokey Robinson, Warren Moore) - 3:09

15.Cool Jerk (Donald Storball) - 2:38

16.Oh How It Hurts (Chet Kelley, Tom King) - 2:45

17.I Will Love You (Chet Kelley, Tom King) - 2:53

18.Respectable (O'Kelly Isley, Ronald Isley, Rudolph Isley) - 2:00

19.Hanky Panky (Ellie Greenwich, Jeff Barry) - 2:24

20.Lonely Man (Chet Kelley, Tom King) - 3:04

21.Wine Wine Wine (Billy Joe Shine, David Schwartz, Gene Haufler, Jack Allday, Mario Daboub) - 2:38

22.Backwards, Upside Down (Chet Kelley, Tom King) - 2:29

23.Gotta Leave Us Alone (Bob Turek, Chet Kelley, Tom King) - 2:20

24.I Just Can't See You Anymore (Bill Bruno) - 2:55

25.I'll See You In The Summertime (Richard D'Amato) - 2:44

26.And Now You Want My Sympathy (Sonny Geraci, Tom King) - 2:49

27.Little Bit Of Lovin' (Ed Fournier) - 2:20

28.We Ain't Gonna Make It (Tom King, Chet Kelley, Turif) - 2:24

29.Think I'm Falling (Group Version) (Walter D. Nims) - 2:36

30.Rock And Roll Heaven (Alt Version) (Alan O'Day, Johnny Stevenson) - 3:27

Tracks 29 as Sonny Geraci

Track 30 as Climax Featuring Sonny Geraci

The Outsiders

*Tom King - Rhythm Guitar, Vocals, Tenor Saxophone

*Sonny Geraci - Lead Vocals

*Mert Madsen - Bass, Harmonica

*Bill Bruno - Lead Guitar

*Ricky Biagiola - Drums

*Ronnie Harkai - Drums

With

*Al Austin - Lead Guitar

*Jimmy Fox - Drums

*Mike Geraci - Baritone Saxophone

*Tommy Baker - Horns And Strings Arrangements

*John Madrid - Scream Trumpet

*Hank Geer - Saxophone

*Evan Vanguard - Horns

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Tuesday, January 19, 2021

The Avengers - Everyone's Gonna Wonder (1967-69 new zealand, marvelous harmony folk baroque psych beat, 2016 remaster)

The Avengers began in 1966 in Wellington as the protégés of local promoter Ken Cooper, who was looking for a band to play at his new night club, The Place. He found guitarist Dave Brown, added organist/guitarist Clive Cockburn, auditioned to obtain bass player Eddie McDonald and rounded out the Avengers with drummer Ian 'Hank' Davis from Napier.

The group name was the result of a Sunday Times competition. The first hit was Everyone’s Gonna Wonder followed by Days of Pearly Spencer, but the track Love Hate Revenge provides the best memories and was probably the pinnacle of their achievements in their four year existence.

They debuted there in June 1966 and their early repertoire was mainly covers of Beatles songs and other British groups, but as time went on they closely followed the likes of Cream and Traffic.

They toured with numerous packages, made regular appearances on television and won a number of awards, following all this up with two Australian tours and a total of three albums. It all seems to have ended as suddenly as it began and apart from Cockburn’s television production career their present whereabouts are unknown.

The Avengers story by Grant Gillanders Part 1

The Avengers story by Grant Gillanders Part 2

Tracks

1. Everyone's Gonna Wonder (Chris Malcolm) - 2:40

2. Midnight Visitation (Kevin Watson) - 2:43

3. Summer Set Morning (Clive Cockburn) - 2:28

4. Sunshine Lady (Kevin James) - 2:03

5. Love - Hate - Revenge (Irwin Levine, Ritchie Adams) - 2:37

6. Days Of Pearly Spencer (David McWilliams) - 2:29

7. 1941 (Harry Nilsson) - 2:39

8. Daniel The Postman (Clive Cockburn) - 2:10

9. You Don't Understand (Tony Bankhouse) - 2:39

10.Water Pipe (Chris Malcolm) - 4:02

11.Only Once In My Life (Chris Malcolm) - 2:20

12.I Wouldn't Do That (Clive Cockburn) - 2:55

13.Night Time (Chris Malcolm, Clive Cockburn) - 3:00

14.Fisherwoman (Bill Henderson, Claire Lawrence, Howie Vickers) - 2:22

15.Take My Hand (Don Addrisi, Dick Addrisi) - 2:04

16.You Better Come Home (Bert Russell) - 3:07

17.Night In The City (Joni Mitchell) - 3:12

18.Sally (Clive Cockburn) - 2:31

19.September Winds (David McWilliams) - 3:08

20.Only Last Year (Alan Galbraith) - 2:51

21.What Price Love (Chris Malcolm, Ian 'Hank' Davis, Eddie McDonald, Clive Cockburn, Dave Brown) - 2:31

22.Flower Girl (Clive Cockburn) - 2:11

23.Out Of Sight, Out Of Mind (David Jordan) - 3:36

24.Love Is A One Way Ticket (Clive Cockburn) - 4:07

25.Top 20 (Radio Spot) - 0:08

26.Top 20 Time Check (Radio Spot) - 0:07

27.This Show Is Groovy (Radio Spot) - 0:07

The Avengers

*Ian 'Hank' Davis - Drums

*Eddie McDonald - Bass, Vocals

*Dave Brown - Vocals, Guitar

*Clive Cockburn - Guitar, Organ

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Sunday, January 17, 2021

The Sons Of Champlin ‎- Fat City (1966-67 us, nice power pop rhythm 'n' blues folk rock)

The Sons Of Champlin: psychedelic danceband par eminence, much-loved San Francisco ballroom regulars of the late 1960s, doyens of twenty minute jazz-rock extrapolations and the epic acid sprawl of 1968's Loosen Up Naturally. But wind the clock back a year or two to their mid-1960s beginnings and you'll find a different animal: a vital young rock'n'roll combo more akin to Paul Revere & The Raiders, the Beau Brummels and the Animals, fronted by a teenage white Lou Rawls soundalike. Rather than the folk and beatnik derivations of most hippie bands, the Sons drew on the grand tradition of grass roots rock'n'roll. "The Beach Boys with balls" is how Trident supremo Frank Werber remembers them.

FAT CITY is the first of several volumes of the Nuggets From The Golden State series drawn from the exciting vaults of Werber's San Francisco-based Trident Productions. As the manager of the Kingston Trio, the astute and hip entrepeneur re-invested the earnings from the Trio's unprecedented success into a small empire of properties and music-related corporations in the San Francisco Bay Area. Foremost amongst these was Trident, a management and recording combine that hit immediate paydirt with folk-rockers We Five in 1965, and subsequently began to assemble a stunning roster of local talent. The Sons Of Champlin were Werber's great white hope and he accurately recognised the group as a diamond in the rough when he signed them the following year.

Evolving out of the cornerstone Marin County white R&B outfit the Opposite Six in late 1965, the Sons were still technically a garage band but tough, streamlined and super-hip with soul to spare. Therefore the youthful exuberance of FAT CITY will be a total surprise to fans of the Sons' later recordings for Capitol and CBS. Werber sent the band into Trident's own Columbus Recorders with staff producer Randy Steirling in late 1966 to provisionally work on a full album via a lease deal with MGM-Verve. Due to a variety of circumstances, as much the band's own doing as anything else, it never happened and the Sons split Trident with some acrimony in June 1967.

Consequently, only two songs on FAT CITY are previously released: the superb, shoulda-been-a-monster 1967 single Sing Me A Rainbow/Fat City, the rocking flipside of which the Sons continue to perform in concert to this day. Here you get both tunes in extended form, and in crystal-clear stereo to boot. The remaining eighteen tracks include covers as unexpected as the Beau Brummels' Don't Talk To Strangers and the Monkees' Shades Of Grey alongside startlingly accomplished originals by group members Bill Champlin, Terry Haggerty and Tim Cain. Through the supercharged blue-eyed soul of She Said and smoky niteclub R&B of To Me to the Byrdsian folk-rock of It's The End, via the fuzz-tinged powerpop of Green Monday, it's an incredibly diverse selection. Throughout these early recordings, the Sons Of Champlin are a force to be reckoned with.

Despite the marked difference in their music once they left Werber (ie apres LSD), the Sons remain proud of their achievement at Trident and are excited that the work of the period is finally seeing the light of day. All five original members contributed to the in-depth sleeve notes that fully spill the beans on this mysterious chapter in the Sons' career.

Additionally packed with many unseen photos from the archives, FAT CITY will appeal to both diehard devotees of the Sons Of Champlin, and to anyone who digs the sound of 1966-67 teenaged American rock'n'roll, played with passion and panache.

by Alec Palao