Sunday, January 15, 2023

Jefferson Airplane - Last Flight (1972 us, an exciting live set, 2007 double disc remaster)



By 1972 Jefferson Airplane had evolved from the psychedelic folkrockers whose classic Surrealistic Pillow had soundtracked 1967’s Summer Of Love. Vocalist/founder Marty Balin was gone, though he rejoins the group for one of the high points here: an extraordinary, rousing encore of Diana/ Volunteers that would have had the hippy audience screaming for the revolution.

Taking Balin’s place as singer for this tour was David Freiberg (ex-Quicksilver Messenger Service), while veteran electric violinist Papa John Creach had joined in 1970 and former Turtle Johnny Barbata provides drums. The four remaining members from their heyday would soon split: lead guitarist Jorma Kaukonen and bassist Jack Casady concentrating on bluesy side project Hot Tuna; frontwoman Grace Slick and Paul Kantner (vocals/guitar) forming Jefferson Starship. 

Despite this, Airplane were still formidable live. Kaukonen shines with fiery soloing on Twilight Double Leader and Feel So Good. Grace Slick is in fine form throughout, her powerful voice soaring over the maelstrom of sound as the group stretch out.�While fans of …Pillow will find the heavy blues-rock of Come Back Baby or boogie of Papa John’s Down Home Blues far from essential, the superb, loose version of Somebody To Love will delight them.
by Jon Harrington, 29 August 2007
Tracks
Disc 1
1. Introduction By Bill Graham - 1:14
2. Somebody To Love (Darby Slick) - 4:39
3. Twilight Double Leader (Paul  Kantner) - 4:30
4. Wooden Ships (David Crosby, Paul Kantner, Stephen Stills) - 6:17
5. Milk Train (Grace Slick, Papa John Creach, Roger Spotts) - 4:09
6. Blind John (CJ Stetson, Peter Monk) - 4:27
7. Come Back Baby (Traditional) - 7:01
8. The Son Of Jesus (Paul Kantner) - 5:13
9. Long John Silver (Jack Casady, Grace Slick) - 5:15
10.When The Earth Moves Again (Paul Kantner) - 3:55
11.Papa John's Down Home Blues (Papa John Creach, Roger Spotts) - 5:26
12.Eat Starch Mom (Jorma Kaukonen, Grace Slick) - 5:35
Recorded live at the Winterland Arena, San Francisco on 22nd September 1972
Disc 2
1. John's Other (Papa John Creach) - 6:08
2. Trial By Fire (Jorma Kaukonen) - 4:24
3. Law Man (Grace Slick) - 2:40
4. Have You Seen The Saucers? (Paul Kantner) - 4:04
5. Aerie (Gang Of Eagles) (Grace Slick) - 3:30
6. Feel So Good (Jorma Kaukonen) - 11:00
7. Crown Of Creation (Paul Kantner) - 3:23
8. Walking The Tou Tou (Jorma Kaukonen) - 5:11
9. Diana / Volunteers (Paul Kantner, Grace Slick / Martin Balin, Paul Kantner) - 5:21
Recorded live at the Winterland Arena, San Francisco on 22nd September 1972

Jefferson Airplane
*Grace Slick - Vocals
*Paul Kantner - Vocals, Rhythm Guitar
*Jorma Kaukonen - Lead Guitar, Vocals
*Jack Casady - Bass
*John Barbata - Drums, Percussion
*Papa John Creach - Electric Violin, Vocals 
*David Freiberg - Vocals, Tambourine, Guitar (Disc 1 Track 6)
*Marty Balin - Vocals (Disc 2 Track 9b)

1966  Jefferson Airplane - Takes Off (2013 audiophile remaster)
1967  Jefferson Airplane - Surrealistic Pillow (2013 audiophile and 2003 xpanded)
Related Acts
1972  Hot Tuna - Burgers (2012 audiophile Vinyl replica)  

Saturday, January 14, 2023

Free - Free (1969 uk, classic second album, 2001 japan hard sleeve expanded edition)



Free returned to the studio in April 1969 to begin work on their second album and already there was trouble in the camp. Rodgers and Fraser had by now formed a pretty solid songwriting partnership although they were not exactly the best of buddies. This lead to Kossoff and Kirke feeling a little less than equal as both Rodgers and Fraser had very set ideas as to how they wanted the songs to sound. In fact things got so bad at one point that Rodgers and Fraser were going to leave the band and form a duo. Kirke and Kossoff actually auditioned Overend Watts from Mott The Hoople as Fraser’s replacement and Kossoff himself even auditioned for the vacant guitarist spots in both The Rolling Stones and Jethro Tull.

On to the album itself then. Well if “Tons of Sobs” was Free’s blues album then this self titled follow up was probably their folk album. Although Rodgers still insists it’s more of a soul album. The hard powerful blues that was all over the first album is still evident in places but is more controlled. If “Tons of Sobs” was a runaway horse  then “Free” is a restrained gallop.

The album opens with ‘I’ll Be Creepin” which with it’s funky and prominent bass starts the album off in tremendous style. Just to prove the longevity of these songs Rodgers used this track to open his set on his most recent solo tour. ‘Songs Of Yesterday’ has the blues feel of the earlier album and some great Kossoff guitar, but then which of these tracks hasn’t. ‘Lying In The Sunshine’ is a similar type of song to ‘Over The Green Hills’ from the first album but with more of a soul feel. ‘Trouble On Double Time’ is the out and out blues rocker of the album and is the only track on which Kossoff and Kirke get a songwriting credit. It has a Stones like strut about it. ‘Mouthful Of Grass’ closed the first side on the original vinyl issue. Virtually an instrumental with just a choir of aaah’s it is a strangely hypnotic sort of song. It is also possibly one of the Free songs owned by the most people as it was used as the b-side to ‘All Right Now’. ‘Woman’ is classic Free at their best with a nice understated intro and a great early solo from Kossoff. It was particularly effective in a live setting and is as good as anything they ever recorded. 

Highlight for many is the lengthy almost whispering laid back folky blues track ‘Free Me’. On the live disc which comes as part of the “Songs Of Yesterday” 5-CD box set Kirke introduces this song as “….. one of our favourites actually”. It is not difficult to tell why as all put in faultless performances. Kossoff in particular pulling of one of his trademark crying solo’s. At at time when everyone was trying to be the fastest guitarist alive it is ironic that Kossoff was beginning to attract attention by doing exactly the opposite. ‘Broad Daylight’ was a bit of a throwaway song that wouldn’t have been out of place on the first album and was the first single issued by the band. ‘I’ll be Creepin’ was later released as a single but neither charted. The closing track ‘Mourning Sad Morning’ is an absolutely stunning piece of music that once again highlights Rodgers superb voice. Sounding in places like a two hundred year old folk song the unique mixture of Rodgers’ voice, Kossoff’s guitar and the haunting flute of Traffic’s Chris Wood closes the album on a melancholy but beautiful note.

It is also worth mentioning the album cover as it is one that regularly appears in classic album art coffee table books. It was designed by Ron Raffielli and is a photograph of a naked woman shot from below. This effect was obtained by Raffieli standing in a hole and having the woman stride over him. The outline of her body was then filled with stars and set against a blue sky background. The centre spread of the album featured a picture of a young woman on a beach with building blocks! Each member of the band was photographed in one of the boxes. The box which displayed the photo of Paul Rodgers was being held by the girl up to her mouth and she is blowing sand of it. One of the other members of the band later commented “Typical, the one the girl had hold of had to have Rodgers in it ……”

“Free” peaked at #22 in the UK chart which was not bad at all considering there was no hit single and not exactly masses of publicity. All that would change though in 1970 with two more classic albums, a worldwide hit and a tremendous performance at the Isle Of Wight Festival. Superstardom was indeed due to come creeping around the door very soon indeed.
by Martin Leedham, November 21, 2010
Tracks
1. I'll Be Creepin' - 3:27
2. Songs Of Yesterday - 3:33
3. Living In The Sunshine - 3:51
4. Trouble On Double Time (Andy Fraser, Paul Kossoff, Paul Rodgers, Simon Kirke) - 3:23
5. Mouthful Of Grass - 3:36
6. Woman - 3:50
7. Free Me - 5:24
8. Broad Daylight - 3:15
9. Mourning Sad Morning - 5:04
10.Broad Daylight - 3:09
11.The Worm - 3:03
12.I'll Be Creepin' - 2:47
13.Sugar For Mr Morrison - 3:01
14.Broad Daylight - 3:21
15.Songs Of Yesterday - 3:11
16.Mouthful Of Grass - 3:33
17.Woman - 4:00
18.Trouble On Double Time (Andy Fraser, Paul Kossoff, Paul Rodgers, Simon Kirke) -- 2:37
19.Mourning Sad Morning - 5:10
All songs by Andy Fraser, Paul Rodgers except where indicated
Bonus Tracks 10-19

The Free 
*Paul Rodgers - Vocals, Piano
*Paul Kossoff - Lead Guitar
*Andy Fraser - Bass Guitar, Backing Vocals
*Simon Kirke - Drums
With
Chris Wood - Flute


Friday, January 13, 2023

Tim Davis - Take Me As I Am (Without Silver Without Gold) (1972 us, magnificent rhythm 'n' blues mild rock)



The second solo effort from Tim Davis released late 1972, titled "Take Me As I Am (Without Silver Without Gold)". A crossroad between Rock 'n' Roll, Rhythm 'n' Blues, Country and Folk. Glyn Jones took over the production, together with Tim Davis, recordings made in Nashville and San Francisco, with the companionship of top notch musicians, such as Mike Bloomfield, Boz Scaggs, Rick Jaeger (A. B. Skhy, Crowfoot), Stephen Miller (Linn County), Doug Killmer, among others.
Tracks
1. Baby Won't You Come Out Tonight (Curley Cooke) - 3:23
2. Boogie Cadillac - 4:05
3. Country Heart And Soul - 4:26
4. Only Yesterday - 2:59
5. Tomorrow Time - 3:28
6. So Hard To Make My Way - 2:48
7. Take Me As I Am (Without Silver) - 2:36
8. On The Other Hand Baby (Ray Charles, Percy Mayfield) - 4:01
9. Winter Song - 2:52
10.Get It Hot - 3:31
Music and Lyrics by Tim Davis except where noted

Musicians
*Tim Davis - Vocals, Rhythm Guitar
*Michael Bloomfield - Guitar (Tracks 4,7,8) 
*Curley Cooke - Rhythm Guitar (Tracks 1,2,7,8,12), String Finger Picking (Track 5) 
*Boz Scaggs - Guitar (Tracks 1,3,10)
*Rick Jaeger - Drums (Tracks 1,2,4,7,8,10)
*Doug Killmer - Bass (Tracks 1,2,4,7,10)
*Ben Sidran - Piano (Tracks 1,4,7)
*Pete And Coke Escovedo - Timbales, Congas (Tracks 1,7)
*John Wilmeth - Trumpet  (Track 1) 
*Mel Martin - Tenor Sax,  Bass (Track 1) Piccolo Flute (Tracks 1,7) 
*Reverend Stallings - Tenor Sax (Track 1)  
*Steven “Steve” Miller - Organ (Tracks 1,8,9) 
*Ken Adamany - Piano (Tracks 2,8,10)
*Wayne Moss - Bass (Tracks 3,5,6,9), Lead Guitar (Track 3) 
*Kenny Malone - Drums (Tracks 3,5,6,9) 
*Russ Hicks - Steel Guitar (Tracks 3,5,6) 
*Bobby Thompson - Banjo (Track 3), Rhythm Guitar (Tracks 3,6,9) 
*Charlie McCoy - Harp (Tracks 3,6,9)
*Buddy Spicher - Violin (Tracks 3,5) 
*John Harris - Piano (Tracks 5,6,9)
*Reggie, Georgie And Jamie Ente “The Third Wave” - Backing Vocals (Track 7) 
*John Kahn - Bass (Track 8) 
*Glyn Johns - Maracas (Track 10)

With The Steve Miller Band   
1968  Children Of The Future (2012 digipack remaster)
1968  Sailor (2012 digipack remaster)
1969  Brave New World (2012 digipack remaster)
1969  Your Saving Grace (2012 digi pack remaster)

Wednesday, January 11, 2023

Street - Street (1968 us, wonderful psych rock)



The strong, slightly different lead voice of Anya Cohen is the main asset of Street (for- merly known as Anya's Street) and it should help the group's debut album pull healthy sales. Good arrangements and instrumental work by the group is another plus, and Street produces a varied sound that will appeal in a wide audience. Strong sides are "There': One Kind Favor," and an "If I Needed Some- one"/ "Tomorrow's A Long,  Long Time" medley, and "High Heel Sneak.
Tracks
1. Multilevular Conversational Tightrope Walkin' Shoes (Judy Fine) - 3:19
2. Boeing 707 (Rick Shorter) - 3:15
3. Some Thoughts Of A Young Man's Girl (Rick Shorter) - 2:53
4. If I Needed Someone/Tomorrow's A Long, Long Time (George Harrison/Bob Dylan) - 5:55
5. See See Rider (John Williamson, Michael Lynne, Rick Shorter) - 2:56
6. What A Strange Town (Rick Shorter) - 6:04
7. It's Hard To Live On Promises (Rick Shorter) - 3:10
8. There's One Kind Favor (Anya Cohen, Rick Shorter) - 2:58
9. High Heel Sneakers (Robert Higginbotham) - 2:53

Street
*Will Betz - Bass, Electric Guitar
*Al Camardo - Percussion
*Tom Champion - Drums, Percussion
*Anya Cohen - Vocals, Percussion, Tambourine
*Michael Lynn - Bass, Acoustic, Electric Guitars, Vocals
*John Williamson - Bass, Electric Guitar, Vocals

 

Tuesday, January 10, 2023

Tim Davis - Pipe Dream (1972 us, splendid rhythm 'n' blues psych folk country rock)



Drummer Tim Davis was playing with a band in Madison, WI, in the mid-'60s when a friend from the University of Wisconsin, guitarist/singer Steve Miller, asked him to try forming a blues band with him and another friend, James "Curly" Cooke, in San Francisco. Thus was born what was then known as the Steve Miller Blues Band in 1966. Davis stuck with Miller through those difficult early days -- when there wasn't much paid work or money -- through early appearances supporting Chuck Berry on his Fillmore West live album and at the Monterey Pop Festival. 

They landed a recording contract soon after, and Davis was the band's drummer and percussionist - and also contributed backing vocals on their first five albums, including Brave New World and Number 5. He also managed to work in some playing with the Jefferson Airplane, most notably on the Crown of Creation sessions, during this period. He later played with Ben Sidran, in addition to cutting his own album, Pipe Dream -- featuring contributions from Cooke and the Grateful Dead's Donna Jean Godchaux -- in 1972. 
by Bruce Eder
Tracks
1. On The Rocks - 2:47
2. Don't Mention The Ladies Name - 3:11
3. Nothing Is The Same (Curley Cooke) - 3:39
4. Boogie Woogie F.C.B. - 3:13
5. To Sailors Son - 5:04
6. Love Has Come - 3:59
7. I've Always Tried To Please You (Steve Miller) - 3:18
8. Buzzy Brown (Curley Cooke) - 3:36
9. Sunday (Curley Cooke) - 2:22
10.Beatle Blues - 0:30
11.Rich Kid Blues (Terry Reid) - 3:46
All songs by Tim Davis except where indicated

Personnel
*Tim Davis - Vocals
*Bill Meeker - Drums 
*Donna Thatcher - Vocal 
*Doug Killmer - Bass
*Hart McNee - Saxophone, Flute 
*John McFee - Guitar 
*John Wilmeth - Trumpet 
*Linda Tillary - Vocals, Drums
*Lonnie Turner - Bass 
*Mike Finnigan - B3 Hammond organ  
*Richard Olson - Guitar, Bass  
*Sonny Lewis - Saxophone, Flute
*Stephen Miller - Keyboards 
*Tracy Nelson - Vocals
*Peter Minton

With The Steve Miller Band
1968  Children Of The Future (2012 digipack remaster)
1968  Sailor (2012 digipack remaster)
1969  Brave New World (2012 digipack remaster)
1969  Your Saving Grace (2012 digi pack remaster)

Sunday, January 8, 2023

Gentlehood - Gentlehood (1973 us, pleasing well harmonized folk rock)



Soft unique rocker from this strong harmony oriented three-man US band with impressed soft-to-up-tempo hooks.

Recorded early seventies at Hollywood Sound Recorders, with the support of The Wrecking Crew featuring, Hal Blaine, Joe Osborn among others.
Tracks
1. Oh My - 4:22
2. He Said She Said - 3:11
3. Bridges On Progress Day - 3:09
4. Jacob Salk - 3:25
5. Closer To Me - 3:43
6. Can I Be Your Man - 2:54
7. Finally Home - 3:02
8. America Oui, Oui - 4:34
9. Hey John - 3:09
10.Life Performances Of Hymn - 3:31
Words and Music by Tony Russo, Stan Khanzadian, Tom Fiegel

Gentlehood
*Stan Khanzadian - Vocals
*Tom Feigel - Vocals, Guitar
*Tony Russo - Vocals, Guitar
With
*Hal Blaine  - Drums
*Kathi Grande  - Vocals
*Janet Laing  - Viola
*Dann Mather  - Bass
*Joe Osborn  - Bass
*Gene Pello  - Drums
*Phil Sawyer  - Piano 

Friday, January 6, 2023

Elysian Field - Elysian Field (1968-71 us, exceptional garage psych classic mainstream rock)



Released as the third part in the Louisville Music series by the Florida-based GearFab Records, this recording contains the work of a band that evolved from Soul, Inc. (featured on the first two of GearFab's Louisville series) in 1968. According to Rick Mattingly's concise liner notes, Marvin Maxwell, Frank Bugbee and Jim Settle left Soul, Inc. to pursue a different musical vision. Throughout their history, the band altered membership by adding (and, other times, subtracting) Gary Johnson, Mark Miceli, Dennis Ledford, Rudy Helm, Steve McNicol and Denny Lile.

While the sound quality of the selections is a little rough since they were dubbed directly from aging Mylar (and two were copied directly from test acetates found in Maxwell's home), you can still sample a band that searched for a sound it couldn't seem to lock in. That's important because Elysian Field was always daring itself to go for something different. You can hear The Jam do the same thing in their Greatest Hits recording. It contains tracks from the band's inception as a punk trio in the UK, then its move into new wave, then horn-based soul, then pop.

This volume of Elysian Field is different, however, because it documents an effort and, like classical mythology, it also teaches. It is a dispatch to musicians in the future. The messages? Try. Play.

The band's lineups throughout its three years as a loose unit are key to how the tracks are arranged in the recording. It opens with the tunes recorded when the band included its best-known lineup of Maxwell, Settle, Ledford, Miceli and Lile, at the center of its relatively short career. The sound then was at once rough and rootsy ("You Again" or "Good Time Living"), cut with shards of slick psychedelia and proto-punk attitude ("Mother Hate," "I Think I Can't Live Without You").

The center third of the recording contains material from the Field's early days in 1969, when the songs were filled with walls of sound encasing lush strings and horns (borrowed from the Louisville Orchestra), sweeping harp runs, harpsichords and some lovely harmonies. Imperial Records, the label that had signed them, wanted to mold them into a unit similar to Dennis Yost and the Classics IV, the lite rock band of their day. While the songs were lovely, their style was derivative, shown in "Strange Changes" with is lounge-samba rhythm and "Alone on Your Doorstep," about an obsessive guy who waits out his unrequited love on the porch of the woman he wants. It may rank up next to "Turn Around, Look At Me" by The Vogues as a stalker's anthem. When the band obviously found more energy and something worthwhile with the harsh sound illustrated in the opening tracks, Imperial cancelled their contract.

The drastic change in style shown in the first portion of the collection mellows in the final third into relaxed southern rock in the manner of The Allman Brothers. Acoustic instruments erase the fuzzy electric guitars, harpsichords and horns from the earlier sound, while the piano becomes an integral part of the rhythm section. There's a vocal melody and harmony as big as the outdoors in "Canada," gritty guitar boogie in "Revolution's in the Air" and soaring beauty in "Sundown Red," a Steve McNicol composition on which he sings lead.

In Greek mythology the Elysian Fields were the delightful place of blessed repose after death. They were the lush afterlife home to heroes, poets, priests and generally nice folks, especially those who helped others. We are now able to hear Elysian Field's experimentation with divergent styles that, for fans and the curious, gives a satisfactory retrospective of the substantial musical talent this city had more than 30 years ago. But for young musicians, it's a lesson plan. 
by Tim Roberts, March 2000
Tracks
1. Mother Hate (Dennis Ledford) - 2:51
2. You Again (Dennis Ledford, Jim Settle) - 2:45
3. Didn't It Feel Good (Marvin Maxwell) - 2:48
4. Reservation (H. Aimes, R. O'Neil) - 2:25
5. I Think I Can't Live Without You (H. Aimes, R. O'Neil) - 3:02
6. I Hate You (Mark Miceli) - 2:51
7. Good Time Living (Barry Mann, Cynthia Weil) - 2:52
8. Bed Of Roses (Prince Bouie, James Cobb) - 1:41
9. 24 Hours Of Loneliness (Prince Bouie, James Cobb) - 2:01
10.Strange Changes (Prince Bouie, James Cobb) - 1:43
11.Kind Of Man (Jim Settle, Frank Bugbee) - 2:43
12.Alone On Your Doorstep (Frank Bugbee) - 2:18
13.Old Oak Tree (Frank Bugbee, Jim Settle) - 2:55
14.Keep Her (Rudy Helm, Jim Settle) - 4:01
15.Canada (Mark Miceli) - 4:54
16.On My Way (Steve McNicol) - 3:56
17.Revolution's In The Air (Rudy Helm, Jim Settle) - 4:00
18.Let The Music Take You Down (Steve McNicol) - 4:45
19.Still I Want You (Rudy Helm) - 1:53
20.Man On Fire (Mark Miceli) - 3:42
21.Sundown Red (Steve McNicol) - 3:25

Elysian Field
*Dennis Ledford - Guitar
*Jim Settle - Bass, Vocals
*Marvin Maxwell - Drums
*Mark Miceli - Guitar
*Frank Bugbee - Guitar
*Steve McNicol - Guitar
*Rudy Helm - Bass
*Denny Lile - Bass
*Gary Johnson - Bass, Vocals 

Thursday, January 5, 2023

Ethos - Ardour (1976 us, amazing prog rock, 2009 japan remaster)



For their 1976 debut album "Ardour", released on the prestigious Capitol Records, Ethos proved themselves the equal of their British progressive counterparts. The band combined the tried and true blueprints for success pioneered by Yes, King Crimson, Gentle Giant and Genesis with their own unique Anglo-American slant. When Ethos released "Adour" the band was a five piece ensemble boasting two flashy keyboardists in Duncan Hammond (organ, synthesizer, piano, ellophonium, voices, Mellotron) and Michael Ponczek (organ, synthesizer, Chamberlain).

But for their 1977 follow-up - "Open Up" - the band paired down to four: Wil Sharpe (guitars, mandolin, vocals), Brad Stephenson (bass and bass pedals, vocals), Mark Richards (drums, percussion, effects), and Michael Ponczek assumed sole responsibility for keyboards.

Ethos possessed the uncanny ability to mesh the pastoral textures, sonic dynamics, and the sophisticated syncopation and complex time signatures of early Yes, King Crimson, and Gentle Giant without succumbing to the outright mimicry of a band like Starcastle, who were tagged with the unflattering 'YES-light' label early in their career. Ethos were undeniably a symphonic progressive rock band, yet established their own distinctive harder edged style thanks in no small part to lead vocalist and primary songwriter Will Sharpe, who did not try to parrot the vocal styling of either Jon Anderson, Greg Lake, or Peter Gabriel to favor grace with fans of British progressive rock.

The interplay between Sharpe's guitar and Michael Ponczak's moody Chamberlain (an electro-mechanical keyboard instrument similar to the Mellotron) converged as a haunting reminder of the early Crimson classics "In The Court Of The Crimson King" and "In The Wake Of Poseidon". So comparisons to early Crimson are not without merit.

In fact when asked why Ethos ultimately broke up Will Sharpe writes in the linear notes of the CD "Relics": "We desperately wanted to become the American response to King Crimson, but America didn't want a response."

Echoes of Crimson's "21st Century Schizoid Man" and "Pictures Of A City" are ever present throughout the the first track "Pimp City".

"Memories" employes the moody ethereal Chamberlain washes, in much the same way as Ian McDonald manipulates his Mellotron on the Crimson ballad "I Talk To The Wind", then the tune abruptly soars into the cosmos with a sequence of otherworldly beeps and blips from Ponzek's Mini and Polly-Moog.

"Player Of The Game" begins with extraneous studio noodling and chatter before ripping into some creative syncopated instrumental interplay and complex tempo changes courtesy of drummer extraordinaire Mark Richards and bassist Brad Stephenson. I'm reminded of Pink Floyd's "Money".

"Start Anew" brings back memories of the first time I experienced "The YES Album" with Chris Squire's ferocious Rickenbacker 4001 bass licks and Steve Howes blistering guitar work. Will Sharpe and Brad Stephenson share that same symbiotic relationship as Squire and Howe. The tune picks up even more kinetic energy as it progresses channeling elements of Frank Zappa and Happy The Man during the instrumental interlude.

"U.V. Melody" is a 32 second snippet performed with Chamberlain flutes, evoking images of the Renaissance Age and a band of traveling troubadours. Comparable to Gryphon, Focus, and Gentle Giant.

"Marathon II" borrows heavily from their earlier tune "Everyman" from the "Adour" album, dominated by Michael Ponzek's regal Chamberlain and Will Sharpe vocals. "Sedona" is a hypnotic dreamlike ballad you might expect to hear on Pete Sinfield's soothing debut album "Still". We are whisked away courtesy of Sharpe's classical nylon guitar and Ponzek's soaring synths and orchestral Chamberlain arrangement. Quite easy to imagine yourself sitting on a deserted beach, bare toes in the sand, sipping coconut milk while a brisk tropic breeze blows gently on your face, without a care in the world.

The album saves the best for last - "Close Your Eyes", a killer powerhouse track drenched with eerie Fripp-style guitar distortion, creative tempo shifts, awash with symphonic Chamberlain sweeps, and some of the flashiest portamento Moog solos this side of Kit Watkins or Patrick Moraz.

This is amazing music that deserves to be experienced by all fans of the genre. Unfortunately the album remains securely locked in the vaults of Capitol Records, and quite doubtful that it will ever be re-issued. Although it was released on CD for a short time in Japan so you might be fortunate enough to secure a copy on Ebay, Amazon, or specialty shops like Greg Walker's Syn-Phonic Music (Japanese Tachika Mini LP Sleeve).

Based on the sheer number of groups dabbling in prog/rock during the mid to late 70s' it was indeed a most productive time for the genre. But by the time the American artists dipped their toe in the progressive waters the popularity was on the wane. Even YES and Genesis were streamlining their approach to become more commercially accessible as the 80s' approached.

The groundswell support for the disco revolution - spurred on by the blockbuster film "Saturday Night Fever" - as well as the burgeoning underground punk scene sounded the death knell for the upstart American progressive groups at the close of the decade. And as a result brilliant bands like Ethos are reduced to little more than a footnote in the history of the genre - or worse yet - completely forgotten.

Don't allow the memory or music of Ethos to dissolve into oblivion. Seek out the three Ethos albums: "Adour", "Open Up" or "Relics" and add them to your collection. You won't be disappointed.
by Joseph Shingler on January 6th, 2012
Tracks
1. Intrepid Traveller - 6:19
2. Space Brothers - 6:11
3. Everyman - 5:00
4. Atlanteans - 7:08
5. The Spirit Of Music - 3:54
6. Longdancer - 5:21
7. The Dimension Man - 7:56
8. E'Mocean (Mark Richards) - 4:35
All compositions by Wil Sharpe except where noted

Ethos
*Wil Sharpe - Acoutic, Electric Guitars, Voice, Mandolin
*Michael Ponczek – Mini Moog, Poly Moog, Hammond Organ, Chamberlin, Rhodes Piano
*Mark Richards - Percussions
*Brad Stephenson - Bass, Voice
*Steve Marra - Vocals, Bass, Flute
*Duncan Hammond - Organ, Synthesizer, Piano, Ellophonium, Voices, Mellotron



 

Sunday, January 1, 2023

Why Not - Revolution Inc. (1967-80 uk, solid tough roots 'n' roll, 2000 edistion)



WHY NOT first started off in October 1965 when Ian Scotney met up with Geoff "Mad Dog" Horgan and had a jam together and decided to form a band. Importing Neil Adams on Drums and Platon Georgiades on Bass they decided to call their band THE PSYCHEDELIC SCORZONERA. (Scorzonera being a Spanish name for Hash or Pot). Geoff Horgan wanted the band name Why Not but was out voted by the other band members. At the time Beat Music was all the rage, but these four lads were not into that kind of music but were more interested in Psychedelic rock that was coming out of Chicago and Detriot at that time. In March 1966 they changed the name of the band to THE REVOLUTION. 

Importing a Manager to the Band they took on BIG GEOFF DULLEY who have performed in a blues band and who showed them the rope and found gigs for the band to perform. 

In 1967 the signed to Modern Home Music Records a small independent label in London, England and released their first Single titled A Side I´VE GONE penned by Geoff Horgan (Mad Dog as he was later known to fans) and the B Side WALKING BY MYSELF penned by Jans Laine.  The Single was quite a success and sold around 18,000 Vinyl Singles per mail order and at gigs of the band. Then was released their first long play Record titled "REVOLUTION 99" now available on Downloads worldwide. Many other albums were recorded and tracks released independently by the band on plain music cassettes and sold at their gigs.  

In 1968 the Band changed its name once again to NEW LIFE having imported a new Drummer into the Band KEN (last name unknown) and Neil Adams became Lead Singer and on Keyboards. They were to record with this line-up lots more independent recordings sold on music cassettes at their gigs. Geoff Horgan /Later known as Mad Dog) was writing all the songs at that time and they were recording hundreds of tracks in Neil´s garage or front room on 4 track and 8 track tape machines. A lot of those tracks are now available under New Life, The Revolution, and Why Not on downloads. They were turning out what one could call a new album nearly every week, a massive amount of tracks which WHY NOT now producer Dirk Buro at DB Tonstudio is now re-mastering for a series of Why Not Re-Masters Series being loaded onto the Internet very soon on hundreds of Albums on downloads eventally.

In June 1968 as well NEW LIFE got to perform the now famous free open air concert in Hitchin in Bedforshire (North Of London) before thousands of hippies performing all original songs in psychedleic mode. some photos of that gig you can see in Photos of Why Not above, and in the CD Booklet from their Revolution Inc. Album.

In 1969 the band members split up with Ian Scotney  moving to live in Australia.  

Geoff "Mad Dog" Horgan went out into the wilderness and decided to take up playing lead guitar and performed with various other bands, including an audition for the band Yes which he got turned down for, and eventually teamed up with a band called TOAD whom he only performed 2 gigs with but very well attended gigs. 

In December 1970 Geoff Horgan teamed up once again with Platon Georgiades on Bass and Neil Adams on Lead Vocals and two new members Rob Godwin on Drums and Chris Page on Keyboards (Cousin of Jimmy Page) and so Geoff Horgan got his way and WHY NOT was born onto the Rock scene, and so it is WHY NOT carries on still today.

Big Geoff Dulley took on the roll of Road Manager and WHY NOT got a new Manager Graham Rollinson (Penthouse Magazine) who had about 30 other bands under his wing and so WHY NOT turned professional and started 6 years career of recording and touring wth other well know bands. WHY NOT were told that they were never going to be the top band but were employed to merely be the support band for many other top named bands and toured with the likes of: Camel, Deep Purple, Argent, T-Rex, Taste, Stud, The Pretty Things, Colleseum, ELO, Grateful Dead, Formerly Fat Harry, The Who, to name but a few and any more.  They were signed still to Modern Home Records who were now a part of a major record group, and recorded in that period from 1970-1976 three albums, The White Album, The Pink Album and The Orange Album, the original demo recordings of those albums now available on Downloads worlwide.  

They toured all over Europe and the some other parts of the world performing their art of Progressive Rock music as a support band with some headlining dates as well, and two tours in the USA, and Japan. 

In 1976 Why Not split after having made some impact on the world of rock music but their progressive art of music did not catch on so the band members decided since their record contract had come to an end to go their separate ways. All photos of the band were mainly taken by their then Road Manager Big Geoff Dulley and as a result of a fire at his house all of their tour photos were destroyed over night which was a blow to the band as six years of touring all went up in smoke overnight.  

Some photos we retained but not many. If any fans ever saw WHY NOT perform and took photos we would be very happy to make copies of them. 

in 1980 Geoff "Mad Dog" Horgan got the band back together again to record a new idea album and all the original members of WHY NOT started work on this new idea. Geoff´s composing had improved somewhat and they started working on the new album. Memebers would come and go recording this album and it didn´t quite get properly finished so once again the band split up and all the members went onto to other things. That was the final ending of the original line-up of WHY NOT from the 1970´s. 

But it was not over yet by any means. Geoff "Mad Dog" Horgan still continued a career in music working as a songwriter writing songs for many other artists successfully and recording an album under the Why Not flag here and there with various line up´s of musicians as well as recording a lot of tracks that were never released which are now all featured on downloads today. (See Amazon WHY NOT under digital releases, mp3)

In 1992 Geoff met up with Reg Fellows (Producer of such bands as Diamond Head, Radio Moscow, Def Leppard, etc) ad who was also a big fdan on Why Not, and together they set about finishing off the Why Not album which was started in 1980. Together with the help of a few well known session musicians and Geoff re-doing some vocal and guitar parts  by 1994 thew album was finished and ready for release. 

But it took another few years before that album saw the light of day under going yet another digital re-master by Dirk Buro in 1999.

Four guys started the origins of Why Not in 1965 with a zeal to progress in music and now Why Not is in its 51st year in Rock Music with over 600 Albums plus to their credit most of which are on sale on downloads today, a band whose amazing output of songs totals around 6,000 tracks recorded and released, more than any other rock band in the history of Rock Music.  It´s an amazing output of songs and music over 50 years in Rock. 

WHY NOT were never the major label band with all the trimmings of promotion and publicity other rock bands received they always remained and Indie Rock Band recording and performing music of their own liking being free to record what they wanted to without being restricted by commercial output. Perhaps they might not of been the biggest name in Rock Music but they are still around releasing their art of Rock Music even today and as Platon Georgiades (Deceased) once said "Why Not is progression in every note". WHY NOT do music other bands only dream of doing. 

Nigel Molden former General Manager of Warner Bros: WHY NOT is always ten years ahead of the rest no wonder they are never considered a commericial Rock Band but a progressive one".

Fast Eddie Clarke (Ex-Motorhead/Fastway) "We are the old school WHY NOT was around doing one takers and recording lots of tracks hundreds in fact and making rock history they might never have been the top band but they are amazingly still at it if you don´t know WHY NOT then you don´t know Rock!"
Why-Not
Tracks
1. Mods And Rockers - 4:41 
2. Burning Up - 5:01 
3. Don't You Let Me Down - 4:18 
4. We Belong - 4:41 
5. Who Are You? - 5:17
6. I've Gone - 5:09
7. The Revolution - 5:28
8. The End (A Rock Opera) - 8:00
9. Friends - 3:57
10.The Story Of Why Not - 8:16
11.I've Gone - 3:39
12.Walking By Myself (Jans Lane) - 3:13
13.Curtains - 3:44
14.Bring It Down - 3:04
All songs by Geoff F. Horgan except where noted

Why Not
*Neil Adams - Vocals, Percussion
*Geoff F. Horgan - Lead, Rhythm Guitars, Vocals, Keyboards
*Platon Georgiades - Bass Guitar, Vocals
*Rob Godwin - Drums
*Chris Page - Keyboards, Mini Moogs
*Ian Scotney - Lead Guitars (Tracks 11, 12)
*Pete Cooke - Backing Vocals
*Mick Pritchard - Backing Vocals
*Ritch Battersby - Percussion

Saturday, December 31, 2022

Ethos - Relics (1973-75 us, extraordinary prog space rock)



Ethos were that rarest of things; an American progressive band who got a major label deal. Capitol signed the band around 1975 and let them release two albums before (presumably) pulling the plug. Of course, while in Britain it was punk that scuppered prog, in the States it was disco; unlike punk, a major-league cash cow for the record companies, without too much financial input. 

In 2000, an archive set, cheekily entitled Relics appeared, containing demos and live tracks from 1973-74, including early versions of both Intrepid Traveler and Pimp City. The material isn't all as good as that on their two proper releases, but most of it's pretty much up to scratch, making this a welcome find. The hidden track at the end is a slightly pointless instrumental jam, but as with most of the other tracks, it's got loads of (L. Duncan) Hammond and Ponczek's Mellotron and Chamby work, the only obvious exception being Intrepid Traveler, replacing the later version's Mellotron with string synth. Tape replay highlights are the great strings pitchbend work on Placebo and a lengthy section of flute lead on Experimental War.
Planet-Mellotron
Tracks
1. Nightingale - 6:24
2. Elephant Man - 2:48
3. Placebo - 9:00
4. Identity - 4:02
5. Experimental War (Instrumental) - 5:39
6. Troilus And Cressida - 3:29
7. Intrepid Traveler (Instrumental) - 4:45
8. Doing Your Duty - 2:10
9. Perceptions - 6:44
10.Pimp City - 7:33
10.-(Silence) - 1:02
10.1.Dream - 9:05
Tracks 1,2,3,5,6,7,8 recorded at Thiele Road home studio in 1974.
Tracks 4,11 recorded live at Electric Flag Concert in 1974.
Tracks 9,10 recorded on home equipment in 1973.

Ethos
*Wil Sharpe - Acoutic, Electric Guitars, Voice
*Michael Ponczek – Mini Moog, Poly Moog, Hammond Organ, Chamberlin, Rhodes Piano
*Mark Richards - Percussions, Moog Drum, Micro Moog, Voice
*Brad Stephenson - Bass, String Bass, Moog Bass Pedals, Voice
*Steve Marra - Vocals, Bass, Flute