rep> Black Merda - The Folks From Mother's Mixer (1970-72 us, excellent funky psych blues rock, 2004 remaster)

Black Merda were a funky rock combo with a significant debt to Jimi Hendrix, mixing fuzz-toned, psychedelic blues-rock with folky acoustic passages and contemporary late-'60s soul. Featuring guitarists Anthony and Charles Hawkins, bassist VC Veasey (aka Veesee L. Veasey), and drummer Tyrone Hite, the group got its start in the late '60s after Veasey, Hite, and Anthony Hawkins had spent time in a band called the Soul Agents, backing Edwin Starr and Gene Chandler. Inspired by Jimi Hendrix's Are You Experienced?, they added Anthony's younger brother Charles on second guitar and christened themselves Black Merda. Despite some interest around their Detroit base -- including Norman Whitfield and Eddie Kendricks -- Black Merda signed to Chess, thanks in part to the psychedelic soul eccentric Fugi (aka Ellington Jordan), who they also backed on his Mary, Don't Take Me on No Bad Trip LP for Chess.

Black Merda's self-titled album sounded revolutionary enough, although the bandmembers were disappointed that it didn't reflect their heavy live shows. They then moved to the West Coast to continue playing with Fugi, but returned to Chicago to record a second album. Shortening their name to Mer-Da, the group returned in 1971 with Long Burn the Fire, a funkier outing that bore a likeness to early Funkadelic. The band quickly fizzled out, but over the next three decades, continued record-collector interest in the group eventually resulted in a reunion with Veasey, both Hawkins brothers, and Fugi, although Hite had died in 2004. 

by Steve Huey

Usually linked in with the brief explosion of "black rock" bands that followed Jimi Hendrix in the late '60s and early '70s, Black Merda's formula was a good bit more complicated than most, and their debut album blends elements of hard rock, blues, soul, folk, and embryonic funk with a tough and uncompromising political consciousness that makes the disc at once a product of its time and not quite like anything else around back in the day. 

The guitar work from Anthony Hawkins and Charles Hawkins is tough and organic, whether they're stretching out on extended blues jams such as "Over and Over" and "Windsong" or cutting some hard R&B-accented rock on "Cynthy-Ruth" and "Prophet." Bassist Vessee L. Veasy (who also contributes most of the lead vocals) and percussionist Tyrone Hite generate a lean but effective groove throughout as they jump from the streetwise soul of "Reality" to the acoustic meditation of "Think of Me." But as good as the music is on this album (and despite bland production from someone named Swan, most of it is very good indeed), what really sets it apart is the dark vibe reflected in the minor-key tenor of the melodies and the bitter realities of the lyrics. 

Grinding poverty, racism, political and social inequality, the ongoing nightmare of Vietnam, the growing schism between youth culture and the establishment, and the absence of any easy answers to the dilemmas of a nation spinning out of control dominate songs such as "Reality," "Ashamed," and "That's the Way It Goes," and the grim but wholly appropriate fable of "I Don't Want to Die" ends this album as if a lid were being slammed shut on a coffin. 

Black Merda anticipates the grim consciousness-raising session of Sly and the Family Stone's There's a Riot Goin' On, which wouldn't arrive in stores until a year after this album, and if it isn't the stark masterpiece that Sly's album was, it's good enough that this group deserves to be regarded as much more than a footnote in the black music scene of the early '70s. 

by Mark Deming

Tracks
1. Prophet (Anthony Hawkins) - 2:54
2. Think of Me (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 2:33
3. Cynthy-Ruth (Roosevelt Veasey) - 3:06
4. Over and Over (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 5:33
5. Ashamed (Anthony Hawkins) - 3:52
6. Reality (Roosevelt Veasey) - 2:01
7. Windsong (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 4:14
8. Good Luck (Anthony Hawkins) - 3:46
9. That's the Way It Goes (Roosevelt Veasey) - 3:16
10.I Don't Want to Die (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 3:52
11.Set Me Free (Anthony Hawkins) - 0:43

12.For You - 4:43

13.The Folks From Mother's Mixer - 4:13

14.My Mistake - 5:30

15.Lying - 3:30

16.Long Burn The Fire - 3:21

17.Sometimes I Wish - 3:45

18.I Got A Woman - 5:01

19.We Made Up - 3:45

Songs from 12 to 19 were written by Anthony Hawkins, Charles Hawkins, Roosevelt Veasey

Tracks 1-11 from "Black Merda" 1970

Tracks 12-19 from "Long Burn The Fire" 1972

Black Merda
*Anthony Hawkins - Guitar, Vocals
*Charles Hawkins - Guitar, Vocals

*Roosevelt Veasey - Bass, Vocals 

*Tyrone Hite - Drums, Vocals (Tracks 1-11)

*Bob Crowder - Drums (Tracks 12-19)

*Mary Hawkins Veasey - Background Vocals (Tracks 12-19)

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Grinderswitch - Have Band Will Travel (1981 us, fine roots 'n' roll southern rock, 2010 reissue)

In late 70’s Grinderswitch’s record sales suffered and they finally broke up in 1982 after releasing 5 albums between 1974 and 1982. There is also 1977 recorded unreleased album under the name “Chasing Wild Desires”, that hopefully sees release in the future.

After Grinderswitch, Dru Lombar formed Dr. Hector and The Groove Injectors in 1986 and released five albums. Larry Howard has also recorded several albums under his own name.

In 2004 Dru Lombar put Grinderswitch back together with new members Wally Condon on drums, Eddie Stone (from Doc Holliday fame) on keyboards , Jack Corcaran on guitar and  Steve Miller on bass. They released new album “Ghost Train From Georgia” in 2005, but Dru Lombar’s death in September 2005 put Grinderswitch back to rest for good.

Tracks

1. One Hour Into Sunday (June Black) - 3:10

2. Real Good Sign (Dru Lombar) - 3:11

3. The Warm Kind (Stephen Miller) - 3:46

4. Ashes And Stone (David Anderson, Owen Davis) - 4:42

5. Golden Minutes (Stephen Miller) - 3:49

6. Lady Luck (Dru Lombar) - 3:25

7. Open Road (Dru Lombar, Joe Dan Petty, Larry Howard, Rick Burnett, Stephen Miller) - 3:12

8. The Fever (Dru Lombar) - 4:08

9. Bound And Determined (Dru Lombar, Stephen Miller) - 3:17

Grinderswitch

*Joe Dan Petty - Vocals, Bass

*Stephen Miller - Keyboards, Vocals

*Rick Burnett - Drums

*Dru Lombar - Guitar, Vocals

*Austin Pettit - Guitar, Vocals

With

*Bonnie Bramlett - Backup Vocals

*Brett Rowan - Acoustc Guitar

*Muscle Shoals Horns - Horns

1974  Grinderswitch - Honest To Goodness

1975  Grinderswitch - Macon Tracks (2009 edition) 

1976  Grinderswitch - Pullin' Together (2010 issue)
1977  Grinderswitch - Redwing (2010 edition)

1977  Grinderswitch - Unfinished Business (2012 edition)
Related Acts
1968 Linn County - Proud Flesh Soothseer 
1969 Linn County - Fever Shot 
1970  Linn County - 'Till The Break Of Dawn
1969-70/72  Elvin Bishop - Party Till The Cows Come Home

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White Water - Out Of The Darkness (1973 us, awesome funk jazz brass psych rock)

Early seventies New York based horn-band, previous known as The Blue Jays. Their "Out Of The Darkness" LP released in 1973 produced by Vini Poncia.

Dick Domane was born as Richard DiDomenico in Providence, subsequently a member of the New York based horn-band White Water. Dick Domane passed away February 10, 2022.

John Vastano οbituary was the lead singer/song writer of the Blue Jays and White Water RCA recording artists. He wrote the Olivia Newton John hit "Deeper Than The Night", as well as songs for Leo Sayer, Melissa Manchester, Cher, Peter Criss of Kiss, Carol Bayer Sager and many other artists. He also wrote motion picture soundtracks for "The Warriors" and "Hugo the Hippo". Johnny  passed away September 21, 2018.

Tracks

1. Let Me Take You Down - 5:33

2. Storm In My Soul - 6:14

3. (Caught Up In) White Water - 5:32

4. Ain't Nothin' So Bad - 5:35

5. Reach On Out (Johnny Vastano, Vini Poncia) - 4:05

6. Long Time Ago (Johnny Vastano) - 3:36

7. Out Of The Darkness (Johnny Vastano, Vini Poncia) - 4:31

8. The People Say (Dick Domane) - 8:46

All songs by Dick Domane, Johnny Vastano, Vini Poncia except where indicated

White Water

*Johnny Vastano - Lead Vocals, Guitar, 

*Bob Fiocco - Bass, Trombone, 

*Conrad Catalano - Drums, Percussion, 

*John Emma - Saxophone, 

*Dick Domane - Organ, Trumpet, 

*Paul Phillips - Trumpet, Flugel Horn

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Two Guns - Balls Out (1979 us, excellent southern rock, 2009 edition)

The Two Guns album Balls Out is the first and last album of a talented band that were unfortunately getting signed when Southern Rock made its last stand. Released by Capricorn Records, the label was three releases away from getting bankrupt. How's that for a healthy future? Well, obviously, these guys never had much of a chance and this is where it ended to the public eye.

This record is a true masterpiece of Southern rock and was released at a time when the genre was already in agony. It overshadows everything that was produced at that time - the year was 1979 - by the 'first generation' of Southern rock, be it the ABB, the Henry Paul Band or .38 Special. The tragedy of Two Guns' failure and their disappearance into the endless sea of oblivion lay not only in the 'death throes' of the genre, but above all in the bankruptcy of Capricorn Records. A number of other bands were unable to cope with the collapse of this stroke of luck for Southern Rock - just think of Stillwater.

Like the latter, Two Guns were absorbed into a black hole and today hardly anything is known about the careers of the four band members. 

The only thing you can find out about Bob Williams on the internet is from the authoritative mouth of his widow Joni Ann. Bob died on May 21, 1999, at the age of forty-four, as a result of a motorcycle accident near Kansas City. Previously, he had to end his musical career after losing a fingertip in an accident at work. After the four-piece from Lawton, Oklahoma, split up in 1980, he played for Chubby Checker and founded his own band under the pseudonym Greg Hockett.

According to Joni Williams, most of the songs on "Balls Out" were written by singer and bassist Mike Sconce - the rest by second shouter Kenny Baker. It is no longer possible to find out which of the two wrote and sang which songs.

The opening "Hard Times" sounds like a jammy number from the Charlie Daniels Band, and not just because of the 'shimmering' Hammond. The work of the two guitarists is outstanding, as they seem to float over a very 'fuzzy' carpet of sound. The chorus sounds very clear  Point Blank, who had their heydays back then. This is a number that could easily have been twice as long. What follows is a crisp Southern Boogie in which the singer (which of the two was it?) knows how to shine.

"Slippin' Into The Night" would have been the natural single release that never happened. The song is hugely jazzed up by the background choirs and the razor-sharp horns of the Muscle Shoals Horns. A wonderful honkytonk piano by Hornsby gives the whole thing the finishing touch. The double leads and the walking bass provide the highlights in "Judgment Plea", a driving blues'n'boogie. “The Daltons” rocks smoothly and fluidly in the country style of the Outlaws. Here the double leads sparkle again, making it a real joy.

It's a shame that Two Guns has been so forgotten. They would undoubtedly have had the potential to valiantly hold up the Southern Cross after Skynyrd's tragic plane crash. Instead, the remaining bands hammered one nail after another into the final resting place of Southern rock through inconsequential LPs. At the end of the 1970s and the beginning of the 1980s, it wasn't even remotely possible to imagine that he would be resurrected in the new century (and definitely not as a zombie).

A simple yet cheerful rocker warms the hearts of listeners with “Seems Like Thunder”. Once again the choirs and the casually strumming piano provide the highlights. "Look In Your Eyes" is initially (at the beginning of the verse) somewhat reminiscent of Skynyrd's "Every Mothers Son" and then escalates into a grooving jam-rocker that sounds like the finest CDB moments - but the same applies here again: doubly so that long would have been perfect! With "There's A Battle Goin' On", a wonderful half-ballad closes a perfect record - but the obligatory guitar battle is ended by a final chorus.

by Steve Braun, 19.12.2011

Tracks

1. Hard Time (Kenny Barker) - 5:05

2. I Just Dropped On By To Tell You (Mike Sconce) - 3:51

3. Slippin' Into The Night (Randy Richards) - 2:57

4. Judgement Plea (Mike Sconce) - 5:58

5. The Daltons (Kenny Barker) - 5:28

6. Seems Like Thunder (Mike Sconce) - 3:50

7. Look In Your Eyes (Kenny Barker) - 4:04

8. There's A Battle Goin' On (Mike Sconce) - 4:52

Two Guns

*Kenny Barker - Guitar, Lead Vocals

*Bob Williams - Guitar, Vocals

*Mike Sconce - Bass, Lead Vocals

*Pat Sconce - Drums

With

*Paul Hornsby - Keyboards

*Dodie Petit - Background Vocals

*Muscle Shoals Horns - Horns

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Cold Chisel - Cold Chisel (1978 australia, tough pub power rock, 2011 digipak remaster)

A singular force of nature, Cold Chisel concocted a sound that merged blues, soul, rockabilly and – of course – pub rock into something quintessentially Australian. Their sound was unvarnished and unfiltered, forged in the country’s thriving but unforgiving live music circuit of the late ‘70s and early ‘80s.

Cold Chisel came together in Adelaide in 1973, featuring Ian Moss on guitar and vocals, Steve Prestwich on drums, Les Kaczmarek on bass, and Don Walker on piano. Jimmy Barnes – still just a teenager – soon arrived as lead singer, joined by Phil Small as Kaczmarek’s replacement as bassist in 1975. 

They would disband just eight years later, but not before leaving behind a strong five-album run that started with their self-titled debut album in 1978 and culminated in 1984 with Twentieth Century. Before myriad reunions, before their ARIA Hall of Fame induction, before they even had a street named after them in Adelaide, that flawed first album set them on their way to national stardom. 

Back to 1978: perhaps a retrospective success, more than an immediate one, Cold Chisel’s debut album has nevertheless earned its place in the country’s music history. What do two of its makers recall of that time, though? For Barnes, making the album was all “a bit of a blur.”

In terms of its structure, the band was firmly committed to not being a singles band, according to Barnes.

“We thought we’d just release albums and keep away from the singles chart,” he explains, reflecting an attitude that feels more and more rare in today’s musical landscape. 

That was until one certain song changed things. When Cold Chisel came out with “Khe Sanh” – a single that told the story of the Vietnam vets, in a style that epitomises what was so popular at the time – it’s little wonder it became such a resonant sound in Australian pop culture. 

by Conor Lochrie, April 11, 2023

Tracks

1. Juliet (Don Walker, Jimmy Barnes) - 2:44

2. Khe Sanh - 4:14

3. Home And Broken Hearted - 3:25

4. One Long Day - 7:24

5. Northbound - 3:15

6. Rosaline - 4:47

7. Daskarzine - 5:10

8. Just How Many Times - 5:14

All songs by Don Walker except where noted

Cold Chisel 

*Ian Moss - Guitar, Vocals

*Jimmy Barnes - Vocals

*Steve Prestwich - Drums

*Phil Small - Bass

*Don Walker - Organ, Piano, Background Vocals

With

*David Blight - Harmonica

*Joe Camilleri - Saxophone

*Janice Slater - Background Vocals

*Wilbur Wilde - Saxophone

*Carol Stubbley - Background Vocals

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Smokey John Bull - Smokey John Bull (1971 us, fine spiritual blues psych rock)

Smokey John Bull were a communal gospelblues group from the Hartford Connecticut area. The album was produced by Lewis Merenstein, producer of Van Morrisons Astral Weeks and is a mix of gospel, rock, blues, and funk. The album features two Bob Dylan covers, He Was A Friend Of Mine and The Mighty Quinn plus Tom Cosgroves Hitchin To Memphis. Also included is the albums highlight, Jeff Gordons E-Z Rider Jack Dominilla.

Tracks

1. He Was A Friend Of Mine / Worried Man Blues / Shorty George (Bob Dylan / Woody Guthrie / Traditional) - 2:58

2. The Mighty Quinn (Bob Dylan) - 3:10

3. Looking For America (Mark Lipson, Ben Mochan) - 3:35

4. Gotta Get Away Man (Mark Lipson, Ben Mochan) - 3:31

5. E-Z Rider (Jeff Gordon) - 7:20

6. The Gospel Song (Mark Lipson, Ben Mochan) - 4:24

7. I'll Try To Make It Up To You (Mark Lipson, Ben Mochan) - 3:36 

8. Georgia Home (Mark Lipson, Steve Loeb, Ben Mochan) - 3:05

9. Chances Are Better (Steve Loeb) - 2:50

10.Hitchin' To Memphis (Tom Cosgrove) - 2:39

Smokey John Bull

*Shelly Rosen - Bass

*Gary Linke - Drums, Percussion

*Bob Mintzer - Flute, Saxophone

*Lenny Nelson - Lead Guitar, Bass

*Alex Brierly - Lead Vocals

*Bob King - Lead Vocals

*Steve Loeb - Piano, Organ, Alto Saxophone, Baritone Saxophone, Electric Piano

*Barry Buxbaum - Vocals

*Debbie Gray - Vocals

*Pat Thomason - Vocals

*Ben Mochan - Vocals, Acoustic Guitar, Harmonica, Autoharp, Percussion

*Mark Lipson - Vocals, Acoustic Guitar, Percussion

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Blue Condition - Beyond The Sun (1976 us, nice soft prog rock)

Blue Condition were an American psych-pop band that released the album Beyond the Sun on self-press Low Rider Records in 1976. An eponymous second album with a half-changed lineup was self-issued by the band in 1984. 

There are some good guitar parts, funky tunes mixed with jazzy feeling, think of some lighter version of Steely Dan, in conclusion a nice hard to find record.

Tracks

1. Birds In Flight (West Goewey) - 4:25

2. Lord I'm Blue (West Goewey) - 5:02

3. Love Me Right (West Goewey, A. Marshall) - 4:16

4. Hourglass (West Goewey, A. Marshall) - 4:39

5. Synthesizer Prelude: Beyond The Sun (West Goewey, A. Marshall) - 6:09

6. My Girl (West Goewey) - 3:21

7. Piscean Lady (West Goewey) - 4:16

8. You're The One (West Goewey, Greg Carter) - 4:25

Blue Condition

*Leo Price - Guitar, Vocals

*West Goewey - Keyboards, Vocals

*Danny Massalon - Bass, Vocals

*Greg Carter - Drums

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The Woods Band - The Woods Band (1971 ireland, lovely folk with traditional expressions, 2021 digipak remaster)

The Esoteric eye for an item of musical buried treasure turns its attention on this occasion to the world of early-’70s folk-rock. However, before you go away thinking that this was another bunch of fly-by-night nobodies, coming in from nowhere and going back there as quickly as possible, think again. Because The Woods Band were historically extremely significant in the fast-blossoming world of British and Irish electric folk music when this album was released in 1971. The first, and most significant, reason for this is because the ‘Woods’ part of the band name refers to Irish husband and wife team Terry and Gay Woods who, as anyone with an interest in that scene will surely recognise, were founder members of Steeleye Span in 1969. 

Indeed, it was Terry Woods who first joined up with Asley Hutchings after the latter’s departure from Fairport Convention and decided to put together a new band. Tim Hart and Maddy Prior were brought in, and the five-piece recorded the first Steeleye album Hark! The Village Wait, in 1970, with Gay and Maddy sharing the vocal duties. The Woods left the band after this first album, but their legacy and their place in folk-rock history was secured. Terry Woods had also been with another band who helped to spearhead the nascent movement, namely Sweeney’s Men, who recorded an album in 1968.

The Woods Band was formed by Terry and Gay after their departure from Steeleye, bringing in guitarist Ed Deane (who later replaced Gary Moore in Irish band Skid Row, in rather a musical about-face) and also excellent drummer Pat Nash. Gay’s brother Austin Corcoran was also in the band for a while on bass, but departed while the album was being recorded (either owing to musical self-doubt or a disapproving wife, according to the accompanying booklet!), though he is on three tracks. Producing the album was Tony Reeves, during a break between his spells with Colosseum and Greenslade, which is a rather nice ‘prog’ connection. The folky significance is not done yet, however, as the story goes that fellow Irish folk-rock pioneers Horslips might never have existed without The Woods Band, as they turned up at a Woods show, were reportedly entranced, and elected at that point to form their own band ploughing a very similar furrow to the show they had seen which, if true, is another factor making this recording something of a defining moment in the electric folk scene.

Given all of that, the first surprising thing when putting the CD in to play, having seen the ‘Trad Arr.’ credits scattered throughout the eight tracks, is that the album is far from entirely based in the English or Celtic folk sound. Much of it is, of course, but three songs at least (opener Everytime, Promises and the extremely Sandy Denny-esque Dreams) are equally rooted in American folk, with an air of some of the material that Jefferson Airplane or even The Byrds were doing in the ’60s. This is reaffirmed by Woods in the booklet notes, as he confirms that one of the influences he had was The Band, and the work they were doing in adapting traditional Americana to a modern rock framework. This balance makes the album work very well, as it avoids any risk of sounding too samey at any point and all comes across fresh. The Horslips connection is blindingly obvious in the Woods-composed Noisey Johnny (note spelling), while the ‘jigs and reels’ selection which seemed mandatory on folk-rock albums of the time manifests itself in Lament & Jig, which as the title suggests, juxtaposes a stately piece (Valencia’s Lament) with a celebratory one (Apples In Winter). It’s very good.

Probably the best moment to these ears, however, is the traditional arrangement of the song As I Roved Out, which takes the Fairport template used on songs such as Matty Groves and creates a perfectly crafted piece of traditional electrified folk-rock. Pat Nash’s drums are exceptional on this piece, contributing lovely little rolls and fills throughout, and a slightly experimental mid-section sees the whole band jamming to great effect in a far more ‘rock’ way than elsewhere on the album. The starkly accompanied January’s Snows shows perfectly why Gay Woods was the original choice for Steeleye vocalist, and indeed why she later rejoined them in the ’90s for a further six years, as her vocal is trad folk perfection on this fragile, aching piece.

Sadly, when the album came out, the label (Greenwich Gramophone Company) almost immediately folded – a fate also befalling fellow bands Open Road and Samurai – and The Woods Band split following the album’s failure. The Woods couple continued for a while as Gay And Terry Woods, and also hooked up for a short while with Doctor Strangely Strange, but apart from a second Woods Band incarnation briefly formed by Terry in 2002, the world had seen the last of The Woods Band, which is a great shame.

Anyone with an interest in that period of folk-rock, or who is a fan of early Fairport, Steeleye or Horslips, really ought to check this out. Quite apart from its historical significance, it remains an excellent listen, and it really should be in any self-respecting folk-related collection.

by Steve Pilkington,  July 4, 2021

Tracks

1. Everytime (Terry Woods) - 5:46

2. Noisey Johnny (Terry Woods) - 2:37

3. January's Snows (Edmund John Deane) - 4:24

4. Lament And Jig (Including 'Valencia Lament' And 'Apples In Winter') (Edmund John Deane) - 5:39

5. Dreams (Terry Woods) - 4:15

6. As I Roved Out (Edmund John Deane) - 5:01

7. Promises (Gay Woods, Terry Woods) - 5:18

8. Over The Bar (Including 'The Road To Athy') (Gay Woods, Terry Woods, Edmund John Deane) - 3:36

Personnel

*Terry Woods - Acoustic, Electric, Bass Guitars, Mandola, Concertina, Vocals

*Gay Woods - Concertina, Autoharp, Dulcimer, Bodhran, Vocals

*Ed Deane - Electric, Acoustic, Slide, Bass Guitars, Harpsicord

*Pat Nash - Drums, Vocals

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Virginia Tree - Fresh Out (1975 uk, wondrous melodic acoustic electric folk psych, 2000 edition)

Virginia Tree is the pseudonym of the former Ghost vocalist Shirley Kent. After the demise of Ghost (the British progressive '60s band, not the Japanese band of the same name) in the early '70s, Kent joined former Ghost band members Paul Eastment and Terry Guy to record Fresh Out. This album contains nine original folk- and jazz-styled compositions as well as a cover of Jimmy Dorsey's "I'm Glad There Is You." Only 1,000 copies of the album were originally pressed on the Minstrel label in 1975, and it soon became a collector's item. 

This is the first time this album has appeared in CD format and it has been re-released in a slightly oversize cardboard gatefold sleeve which reproduces the original album's graphics. It also contains detailed liner notes outlining the history of Ghost, including Shirley Kent's involvement with the band and her subsequent solo career. This CD reissue also contains two extra tracks that have been recently recorded by Kent. 

by Keith Pettipas

Tracks

1. Hiding There (Virginia Tree) - 3:23

2. In My Garden (Virginia Tree) - 3:17

3. Like Morning (Virginia Tree) - 4:57

4. Wicker Basket Weaver (Virginia Tree) - 2:27

5. I’m Glad There Is You (Jimmy Dorsey) - 4:44

6. Make Believe Girl (Mo Lawless, Virginia Tree) - 4:43

7. Harlequin And Columbine (Virginia Tree) - 5:06

8. Comical Wise (Virginia Tree) - 2:30

9. Let Us Go Dancing (Virginia Tree) - 3:19

10.Fresh Out (Virginia Tree) - 4:01

11.I've Got To Get To Know You (Shirley Kent Tipping) - 2:54

12.Forever A Willow  (Shirley Kent Tipping) - 3:55

Musicians

*Virginia Tree - Vocals

*Malcolm Gibbons - Guitar

*Paul Eastment - Lead Guitar

*Hal Shaw - Piano 

*Terry Guy - Piano

*Paul Eastment - Harmonica 

*Virginia Tree Acoustic - Guitar 

*Derek Hughes - Bass 

*Jeff Pearson - Bass

*Phil Sperring - Drums 

Related Act

1970  The Ghost - When You're Dead ..One Second (2005 digipak remaster) 

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Everpresent Fullness - Fine And Dandy The Complete Recordings (1966-70 us, nice sunny folk surf roots 'n' roll, 2004 remaster)

The story of the Everpresent Fullness is one of record company politics, missed opportunities, and -- above all -- good music. Rev-Ola's Fine and Dandy: The Complete Recordings presents the music as the band intended for the first time, and in the process unearths a darn good group that played a high-energy blend of folk, jug band, and pop music with the occasional harder-edged garage-style track -- sort of like a happy kid brother to the Lovin' Spoonful or maybe a jacked-up Byrds, though not as strong in the vocal department as either of those bands. 

Their only album, The Everpresent Fullness, was released in 1970, four years after it was recorded and long after people stopped caring about music like theirs. This collection is made up of tracks from the original album, both sides of their second single, an unreleased demo acetate, and five demos that predate the group's formation. The first seven tracks are taken from the album and were remixed by bandmembers Nick Walusko and Paul Johnson in 2003. The group always felt that producer Bones Howe had botched the final mix, making it too poppy. Amazingly, Howe still had the original tapes and handed them back to the band to revamp. Now the songs fairly jump out of the speakers, sounding very alive and exciting. The best tracks, like the very Nesmith-sounding "My Girl Back Home" and their strong take on "I Know You Rider" (here called "Rider"), sound like they could have been hits in 1966. 

The tracks the group recorded for their second single contain their best original songs; "Darlin' You Can Count On Me" is a snarling Dylan-inspired rocker and "Yeah!" is a rollicking instrumental the band never had a chance to put vocals on. Best of all might be the unreleased take of Dylan's "It's All Over Now, Baby Blue." It's one of the most commercial versions of the song, giving the track a bouncy Spoonful sound and adding some wonderfully cheesy female vocals on the tag line. The five tracks featuring three-fifths of the Everpresent Fullness (guitarist Paul Johnson and vocalists Jack Ryan and Tom Carvey) are pretty straight folk-rock numbers with nice harmony vocals. 

The songs they cover include a folk standard by Tom Paxton ("Sometimes I Don't Know Where I'm Bound"), a couple of Dale Hawkins songs ("Suzie Q," "La Do Da Da"), a Buddy Holly track ("Lonesome Tears"), and a strong original by Johnson ("The Rovin' Kind"). It is nice to hear the roots of the band, but the tracks aren't much more than a pleasant diversion. The real strength of the disc lies in the tracks by the full band. That their record company sank the group's fortunes is not a huge surprise, and while it was a real shame for them, luckily the story turned out okay and fans of '60s folk-rock have this excellent document. 

by Tim Sendra

Tracks

1. Fine And Dandy (Kay Swift, Paul James) - 2:12

2. Wild About My Lovin'  (John Sebastian) - 2:39

3. Leavin' California (Richard Farina) - 2:29

4. You're So Fine (Lance Finnie, Willie Schofield) - 2:37

5. Rider (Traditional) - 2:01

6. The Way She Is (Warren Zevon) - 2:30

7. My Girl Back Home (Paul Johnson) - 2:25

8. Darlin' You Can Count On Me (Paul Johnson, Terry Hand) - 1:58

9. Yeah! (The Everpresent Fullness) - 2:42

10.Sometimes I Don't Know Where I'm Bound (Tom Paxton) - 2:35

11.Lonesome Tears (Buddy Holly) - 1:51

12.The Rovin' Kind (Paul Johnson) - 2:09

13.La Do Da Da (Dale Hawkins, Stanley Lewis) - 2:40

14.Suzie Q (Dale Hawkins, Stanley Lewis) - 2:24

15.It's All Over Now Baby Blue (Bob Dylan) - 2:12

16.Doin' A Number (Richard Farina) - 2:30

Tracks 10-14 as Carvey And Ryan

Everpresent Fullness

*Jack Ryan - Autoharp, Harmonica, Trumpet, Washboard, Vocals

*Steve Pugh - Bass

*Terry Hand - Drums

*Tom Carvey - Guitar, Lead Vocals

*Paul Johnson - Lead Guitar

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