With his long mane of white hair, Edgar Winter has long cut one of the most striking profiles in rock. Like his older brother Johnny, Texas-born Edgar was steeped in the blues. Emerging onto the scene with the 1970 Epic album Entrance, Winter fused blues with many of the styles with which he would become known, including rock, pop, soul, and jazz.
"Jasmine Nightdreams" is Edgar's 1975 album "co-created" with his frequent collaborator, Dan Hartman. In addition to singer-songwriter-musician Hartman, the album also featured Johnny as well as the brothers' Blue Sky Records labelmate Rick Derringer. The soaring Hartman/Winter title co-write epitomized smooth mid-'70s pop-rock, but strains of danceable funk, gospel, and blues rock weren't far beneath the surface.
by Joe Marchese, March 2, 2018
Tracks
1. One Day Tomorrow (Dan Hartman, Edgar Winter) - 3:13
2. Little Brother - 4:08
3. Hello Mellow Feelin' - 2:47
4. Tell Me A Whisper (Dan Hartman, Edgar Winter) - 3:25
First Aid were an English symphonic-rock band that released the album Nostradamus on Decca in 1976. The album was based on prophesies of the famed seer, including his prediction that the world would end in 1986, ten years on from the album’s release.
irst Aid featured drummer Dave Freeman, who played in the 1969 jazz-rock one-off ‘Igginbottom with a young Allan Holdsworth. The other members of First Aid — guitarist/singer Alan Wormald, bassist Norrie Tennet, and keyboardist Keith Parkinson — were relative newcomers. Working with conceptualist and producer Jimmy Parsons, Wormald and Parkinson composed an album of material based on 16th century French seer Nostradamus.
Nostradamus was released in 1976 on Decca (UK, Portugal) and the following year on London Records (Japan). Original vinyl copies are housed in a gatefold sleeve with Dada visuals by one Paul Redway. The album was recorded at Decca Studios and engineered by Alan Leeming (Caravan, Spriguns, Wolf, Patrick Moraz) and Martin Haskell, who also worked on the 1977 children’s narration album The Sly Cormorant by Brian Patten.
Released in 1977 and recorded at Sunset Sound Studios in Los Angeles, "Bareback" was my first album with Capitol Records after leaving Shelter Records with whom I had three releases. You can't imagine the excitement I was experiencing. Here I was, a small town boy, rubbing elbows with some of the finest studio musicians Los Angeles had to offer.
What could be better than working with Bill Payne at my producer's home in the Hollywood Hills writing out charts and arrangements while discussing who would be a better drummer for this particular song, Jeff Porcaro or Harvey Mason. It was like finally having enough money to buy a top of the line vehicle and now having to decide between a Mercedes or BMW. So, I got both!
The sessions were absolutely mind blowing. How fast and tight these players worked together and how supportive and positive they were will always be a pleasant memory.
by Richard Torrance
Tracks
1. Moonlight Trippin' (Troy Seals, Eddie Setser) - 4:31
2. Stay Young (Benny Gallagher, Graham Lyle) - 2:50
3. Lovin' Good - 4:13
4. Tender Memory (Tom Jans, Will Jennings) - 3:45
5. Circle Of Confusion - 4:08
6. Rio De Janeiro Blue (Richard Torrance, John Haeny) - 4:36
7. So Sad (Randy Bishop) - 2:59
8. Leave My Love Behind - 3:49
9. Under Your Spell - 4:16
10.Alley Cat Jack (Jim Frank) - 3:52
Lyrics and Music by Richard Torrance except where stated
Musicians
*Richard Torrance - Vocals, Guitar
*Fred Tackett - Guitar
*Jeff Porcaro - Drums
*Harvey Mason - Drums
*Sam Clayton - Percussion
*David Hungate - Bass
*Wilton Felder - Bass
*Bill Payne - Piano, Grand Piano, Oberheim Synthesizer
Shango, known for having Tommy Reynolds, known for Hamilton, Joe Frank & Reynolds, and T-Bones, in their band, released their great second album in 1970. A mighty cool group who mixed in all sorts of hip elements into more straightforward west coast rock modes! There's a bit less of a global impulse here than on the group's debut, but it's still there in the mix – and served up with really cool arrangements from Jimmie Haskell, who ups some slight funky currents in the rhythms – which are then knocked out of the park by the excellent production on the album by Steve Barri! Titles include "Walkin In The Sunshine", "That's My Bag", "Maybe I Can Find A Way", "Brotherhood", "Have You Seen The Morning", "The Time Has Come", and "Some Things A Man's Gotta Do".
Tracks
1. Some Things A Man's Gotta Do (Richie Hernandez, Lynn Lundgren) - 3:19
2. The Time Has Come (Richie Hernandez, Joe Barile) - 4:30
3. Walkin' In The Sunshine (Joe Barile) - 2:08
4. Maybe I Can Find A Way (Richie Hernandez, Lynn Lundgren) - 3:30
5. That's My Bag (Tommy Reynolds) - 2:40
6. Have You Seen The Morning (Richie Hernandez, Joe Barile) - 4:08
7. You Got Somethin' (Richie Hernandez, Joe Barile) - 3:46
8. Can't Stay Away From You (Tommy Reynolds) - 3:10
9. Blue One, Blue Two (Richie Hernandez) - 2:44
10. Brotherhood (Tommy Reynolds, D. Reynolds) - 3:23
In 1972, American television viewers were able to watch a new made-for-TV movie called The Glass House. Based on a story by Truman Capote, this film about the horrific conditions inside a maximum security prison starred Alan Alda, Vic Morrow, and Billy Dee Williams. The next year, Gentle Giant released In a Glass House, a concept album about the life and thoughts of a convict. American music fans had to hunt for it, however, since Columbia Records, in all its wisdom, decided it was not commercial enough to release in the US. No matter, hundreds of thousands of Giant fans in the ensuing years were not to be denied. It is now easily available on CD. It is also, in my opinion, the very best album Gentle Giant ever made.
In my reviews, I haven't been mentioning album covers or packaging at all. Suffice to day, In a Glass House thrills even before one listens to it. It's a brilliant cover concept and all CD versions have fortunately sought to reproduce it faithfully. Enough said about that.
The album begins with a bang. And a crash. And several more bangs and crashes, until the random destruction becomes a driving rhythm, and the driving rhythm becomes a dynamic start to an stunning song called "The Runaway." Ray and John are chained together in a tight groove, Gary plays the rapid theme flawlessly, and Derek's vocals are given a hint of echo that adds considerable drama. This song pulls out all the stops: recorders, vibes, acoustic and electric guitars, cool vocal arrangements, multiple keyboards voiced perfectly (as usual) by Kerry, and a long middle section in which Kerry gets to show off both the upper and lower ends of his vocal range, and the band explore successive thematic and solo sections. It's an explosive tour de force, one of the finest single compositions in the Giant canon.
"An Inmates Lullaby" is a monologue of sorts by someone who is criminally insane. The lyrics are perfect for someone in such a condition (and sung by Kerry, whose lead voice is highly processed, while the harmony vocal is kept clear), and the music is absolutely uncanny. Employing just percussion instruments, the music creates almost a claustrophobic feel, as if the walls are moving ever closer. Peter Gabriel did a similar kind of song in 1980 called "Lead a Normal Life" and while it's also very effective, it doesn't come close to "An Inmates Lullaby."
"Way of Life" kicks it up a dozen or so notches. "Go!" someone yells at the start (Gary?). The theme and melody are stated and supported by Kerry, Gary, and Ray in an amazing display of tightness and virtuosity. This is a great headphones song - there is so much going on. John's precision is incredible as well. A quiet section, with organ, violin, recorder, and Kerry's lovely voice, ends emphatically and triumphantly with John and Kerry taking its theme to a whole other dynamic level that will re-emerge near the end. Gary does a short, jazzy solo, which gives way to some nice John fills, then the last verse and the later theme repeated. The end of the song is a bit of a disappointment, just a simple, repeating organ chord going on and on for about two minutes, ending on a single held note.
A song that expertly employs space, silence, and a wide dynamic range, "Experience" opens softly with a brilliant theme played by Kerry. His vocal enters, supported by Gary on acoustic and Ray on bass. John lays down a bouncy snare-less beat and Ray's bass is perfect. The dynamic and sudden shifts from bass and organ to drums and electric guitar, matched by the shift from Kerry's gentle vocal to Derek's wailing, are jarring but exciting. As usual, John is the rock that keeps it all together. Gary hits a hot solo, and the band come together for a final play at the theme.
Six songs total, three on each side, with the middle song being the mellowest. That is the roadmap for the album, and the mellow song on Side 2, "A Reunion," is gorgeous - and too short. Violin and cello, acoustic guitar and bass, and Kerry's vocal applied to a bright though bittersweet melody results in a very affecting performance. Sadly, it doesn't go on longer, but what's there is perfect.
The last cut, "In a Glass House," goes through multiple sections, and just about every instrument in the arsenal gets played at some point. Fleet and fluid acoustic guitar from Gary and Ray open the tune, then John and Ray lay down a rollicking rhythm. Kerry's synth introduces Derek's vocal, and both acoustic and electric guitar extend the theme. It even sounds like there is a mandolin in there. You have to check out John's bass drum foot during the "Standing on the ice believing all I'm searching for" verse - it's intense! Derek blows some sax on top. Then, at the half-way point, everything stops and Gary lays down a heavy riff that introduce a new section, featuring ballsy vocals from Derek. But then the acoustic guitar and Kerry's voice return - but then it's back to electric and Derek again. It's almost like the band is fighting itself - or, more accurately, that the character in the song is at a crossroads and trying to find his way. Gary and John have a short but neat unison section that leads to the end, where John gets to play fills during the fade out. The album ends with a short snippet from each of the six tracks, then the last smash goes back and forth from left to right, like the end of ELP's "Karn Evil 9."
On In a Glass House, Gentle Giant stretched themselves to the limits. Never again were they as dauntingly complex in the studio. And they had plenty to prove, too, for this was the first album without Phil. In my opinion, the compositions, performances, and the execution of the concept were done to such a high level that on the whole In a Glass House stands as their single finest work. Others may disagree, but there is no question that this album is an incredible achievement. Shame on Columbia Records.
by Jason Rubin
Tracks
1. The Runaway - 7:15
2. An Inmate's Lullaby - 4:40
3. Way Of Life - 7:52
4. Experience - 7:50
5. A Reunion - 2:11
6. In A Glass House - 8:26
7. The Runaway/Experience (Live In Dusseldorf, Sept/23/76) - 10:01
8. In A Glass House (Live In Munster April/5/74) - 9:49
All songs by Derek Shulman, Ray Shulman, Kerry Minnear
Mark was born Francis Rodney Zambon on November 29, 1940, in Houston, Texas, to Galliano and Mildred Zambon. The son of a hardworking, industrious Italian immigrant and a revered schoolteacher, his musical talents were obvious from an early age. His first instrument was the violin, and his dedication and natural ability soon earned him the first-chair spot with his grade-school orchestra.
That was the beginning of a long and storied career. Before he finished high school, Mark had mastered not only the violin, but also the acoustic and electric guitar as well as the piano. A gifted composer and vocalist, anything with strings or keys came to life in his fingers.
Mark began playing the club circuit in his native Houston prior to high school graduation and gained prominence on the local music scene by the early 1960s. His music career was briefly interrupted in the mid-’60s, when he served his country in Vietnam with the U.S. Army. Upon his return, he worked tirelessly in the recording studio to regain his momentum, and his efforts paid off tenfold.
In 1968, Mark’s lifelong friend and fellow Houstonian, B.J. Thomas, climbed the charts with “The Eyes of a New York Woman” and the megahit “Hooked on a Feeling," both written by Mark. Swedish pop group Blue Swede would go on to reach No. 1 in the U.S. in 1974 with their version of “Hooked on a Feeling,” which is known for its now-famous “ooga-chaka” chant.
Also in 1968, Mark released “Suspicious Minds” as his own single, in collaboration with Memphis producer Chips Moman. Not long after, in 1969, Elvis Presley recorded his version of the song, which became a chart-topper and was later named to “Rolling Stone’s 500 Greatest Songs of All Time” list. In 1986, Britain’s Fine Young Cannibals released their own adaptation of the song, which climbed to No. 8 on the U.K. Singles chart.
Mark’s success grew exponentially as he found his niche writing songs that left both recording artists and fans wanting more. In 1972, he signed a contract with Screen Gems-Columbia Music, and the following year, country singer Brenda Lee scored a top-ten single with her recording of “Sunday Sunrise,” which he penned. Anne Murray later released in 1975 her version of the song, which reached No. 13 on both Canadian and U.S. charts.
Meanwhile, Elvis continued to request and record Mark’s songs, including hits “Raised on Rock,” “It’s Only Love” and “Moody Blue.” Elvis also recorded “Always on My Mind,” which Mark cowrote with Johnny Christopher and Wayne Carson. Ironically, the song that eventually became one of Mark’s most recognized works, when it was released by Willie Nelson in 1982, was previously released as a B-side single by Elvis a decade earlier. It won two Grammy Awards in 1983: one for Song of the Year and another for Best Country Song. Britain’s Pet Shop Boys also reached No. 1 in the U.K. and No. 4 on U.S. charts with their 1987 release of the song.
Other notable songs to Mark’s credit include “Roller Coaster,” “Where Do We Go From Here,” “Alone Too Long” and “Blue Water” from his self-titled album, “Mark James 1973.” One of the songs he was most proud of writing was “Blue Suede Heaven,” which he created to pay tribute to Elvis and performed each year at Graceland during Elvis Week.
With a catalog that boasts more than 300 original songs, Mark was a prolific writer and artist. His hits have been featured in countless blockbuster films, such as the “Guardians of the Galaxy” franchise, “Elvis” (released in 2022 and directed by Baz Luhrmann with lead actor Austin Butler), “Lilo & Stitch,” “Kramer vs. Kramer,” “Blackhawk Down” and “Reservoir Dogs,” just to name a few.
A lifelong learner and an avid movie buff, Mark studied film scoring at the University of California at Los Angeles (UCLA). He was always exploring new ways to hone his craft and expand his skill set as a creator.
In recognition of his vast contributions to the music industry, Mark was inducted into the New York Songwriters Hall of Fame in 2014, as well as the Nashville Songwriters Hall of Fame in 2015 and the Texas Songwriters Hall of Fame in 2022.
Mark received additional honors from Broadcast Music Inc. (BMI) in 2022 for achieving numerous milestones, including 9 million airplays of “Suspicious Minds,” 9 million airplays of “Hooked on a Feeling,” 7 million airplays of “Always on My Mind,” 1 million airplays of “Moody Blue” and 1 million airplays of “The Eyes of a New York Woman.” His collective 27 million airplays (which has increased since 2022) for those five songs equate to 162 years of continuous, back-to-back play on the airwaves.
With great sorrow and a song in their hearts, the family of legendary songwriter and musician Mark James announces his passing at his home in Nashville, Tennessee, on June 8, 2024, at the age of 83.
From the family of Mark James
Tracks
1. Whatever Mood You're In - 3:13
2. Keep The Faith - 3:41
3. Blue Water - 3:32
4. Goodbye's A Long, Long Time (Mark James, Gerry Goffin) - 3:50
5. Roller Coaster - 3:09
6. Flyin' Into Memphis - 3:40
7. Brand New Woman (Mark James, Gerry Goffin) - 2:53
8. I'd Get Enthused - 2:22
9. Where Do We Go From Here - 3:42
10.(Don't You) Bury Me (Mark James, Al Gorgoni) - 3:58
Hedge and Donna was a 60's, 70's folk duo featuring acoustic guitar and vocal harmonies. The members were Hedges Capers and Donna Marie Carson, a biracial couple who were married during their heyday but later divorced. At some point, the duo's name was changed to Capers and Carson. REvolution" was the duo's fifth album and finds them throwing down a groovier and more contemporary folk vibe. Joe Walsh's presence here maintains a lower profile letting the two do their thing. And it's pretty good for what it is. Certainly an enjoyable album.
Donna was born to U.S. Marine Corps Gunnery Sergeant Harry "Kit" Carson and his wife Dorothy in November of 1946. After the duo split in the early 1970's and she moved on with her degree from Whittier College. Her heart ever open, she eventually went on to work with special needs children at the California State Diagnostic School, and ultimately as a protector working for Los Angeles County Courts as a Child Advocate Supervisor. She found joy in helping kids and believed in supporting them so that no child would fall through the cracks of the court system. She worked tirelessly until she retired in 2004. Donna passed away November 21st, 2019.
Keene Hedge Capers was born February 21, 1945. The duo began singing together in 1967 and only had a few weeks rehearsal before making a big splash at the Troubadour in West Hollywood. Not only did the gig result in meeting their first manager (Doug Weston, who was also the club owner) but a representative for Capitol Records signed the duo that evening. As an interracial couple in the late 60s, they did receive some negative responses but never from the audiences who embraced them and their music. They were even on the cover of Jet Magazine in 1969 and made several television appearances together before divorcing in 1976. Hedges continued to write songs and perform as well as act. He starred as the title character in The Legend of Hillbilly John released in 1972. In more recent years he earned his degree as a psychotherapist as did his wife, actress Nancy Locke. The couple co-wrote the musical The Geeze & Me about growing old, which Nancy directed when it debuted in San Diego in 2017.
Tracks
1. Touch Caste On The Water (Hedge Capers, Donna Capers) - 2:40
2. She Said She Said (John Lennon, Paul McCartney) - 2:25
3. Colorado Exile (Jim Post) - 2:45
4. Free And Easy (Hedge Capers) - 0:20
5. Aragon Ballroom (Michael Fondiler, Tom Snow) - 3:06
6. Heavy Ways Of Moving (Hedge Capers) - 2:50
7. Collage (Joe Walsh) - 2:48
8. May 7th (James Rollenston) - 2:25
9. Sundays Birthday Child (Hedge Capers, Donna Capers) - 2:10
10.Sail A Schooner (Hedge Capers) - 2:40
11.Nickle A Night (Hedge Capers, Donna Capers) - 3:05
12.Blind Man From Arizona (Hedge Capers, Donna Capers) - 3:20
Canadian singer songwriter, musician and producer born 1944 in UK. British born Murphy moved to Wallaceburg, Ontario, Canada with his mother when he was six and over time taught himself how to play guitar. He relocated later to Salt Spring Island on the West Coast and at the age of 17 was playing gigs between Los Angeles -- living on Manhattan Beach and playing coffeehouses -- and New York. He formed a duo with Jack Klaeysen back in Wallaceburg (while working a day job dredging the St. Lawrence Seaway). After hearing the Beatles, they knew they had to go to England. The bought one-way tickets on a ship from New York and arrived in Liverpool on February 14, 1965. They were bunked in steerage on board the ship and began playing for the other passengers.
They met the brother of agent Joe Collins (father of actress Joan Collins) and he invited them to meet in London at his talent agency offices. Murphy didn't believe him, and the duo continued on to Liverpool The British Invasion had already blown through the town and so gigs and audiences were sparse. They eventually met Gerry & The Pacemakers who told them to head to London where the music scene was thriving. They began playing at the New Oxford Theatre opening for The Ivy Leagues, The Pretty Things, The Byrds, Martha and the Vandellas, and within four months had a record deal brokered by the agent they'd met on the ship - Joe Collins - on Petula Clark producer Tony Hatch's Pye Records.
Eventually, they renamed themselves the Slade Brothers and released four singles on Pye including the Roger Greenway/Roger Cook song called "What a Crazy Life" which became a hit in early 1966 with airplay on European station Radio Luxembourg. The act would do opening gigs around the UK for The Walker Brothers, The Kinks, The Troggs, The Byrds and others. In 1965 Murphy and Klaeyson signed his first publishing deal with Mills Music (later known as Belwin Mills) in England after which his first hit song was "Call My Name" by James Royal in 1966. The same year Murphy started producing records for Parlophone, Decca, CBS, Fontana, Phillips, and Carnaby where he would also write hit singles for Billy Fury ("Beyond a Shadow of a Doubt"), and The Casuals ("Touched"). Murphy formed Harper and Rowe in 1967 (he was Harper) who put out several singles and a full-length LP in 1968.
At the end of the Israeli War in 1968 a touring Hebrew act called The High Windows had Murphy translate their songs into English to try and find success in the UK and Europe. After the departure of one of the band members, he joined the act under the name Raffi Murphy. Murphy's next move was to head to New York as Director of Production for Belwin/Mills Publishing, where he produced demos for Broadway musicals such as 'Pippin' and 'The Magic Show'. He also started two successful record labels - Double M Records (distributed by London Records), and a dance label - Hard Core Records (distributed by GRT Records).
Among the many dozens of acts he produced during that time were Magnificent Men, Chris Bartley, The Alibis, Sea Dog, Mashmakhan, Rock Garden, Studebaker Hawk, New City Jam Band, Shooter and April Wine who Murphy produced two gold albums for. Under his Double M Records he released a number of solo singles and had a successful run with a country song called "Genevieve" as well as a pop act under the pseudonym Roadhouse - which featured some of New York's finest session players including Tony Levin (bass), Jimmy Young (drums) and Elliott Randall fresh off recording his iconic solo on Steely Dan's "Reeling In The Years". Roadhouse would have a Canadian hit with the song "Good Times (and Loving You)". Having a country hit in 1972 by Jeanie C. Riley "Good Enough To Be Your Wife" under his belt, Ralph went to Nashville to pick up his award and eventually moved there in 1976 after producing Walter Zwol's band Brutus for GRT Records. He often flew back to Canada to continue producing acts including both Shooter albums.
With partner Roger Cook - who he'd met the day the Guardsmen had auditioned for Pye Records back in England - he formed the Picalic Group & Pic-A-Lic Music Publishing and has had more than twenty number one records including hits by Mickey Gilley, Travis Tritt, Shania Twain, Ray Price and the 'Song of The Year' award winning song "Talking In Your Sleep" by Crystal Gayle. Pic-A-Lic became one of the most successful independent publishers in Nashville and was eventually sold to EMI. Murphy started a new company Kersha Music with Richard Perna of Hamstein Music and then in 1994 joined ASCAP as part of Connie Bradley's Nashville staff. He is a past president of NSAI and past president of The Nashville Chapter of NARAS and currently serves on the board for Canadian Country Music Association. He now resides as ASCAP Vice President International & Domestic, Membership Group and works on many committees and teaches seminars held throughout North America. Ralph James Murphy passed away, 29 May 2019 at the age of 75.
Tracks
1. Here Comes Yesterday Again - 2:34
2. The Dweller (Jerry Marcellino, Mel Larson) - 3:10
3. Picture Me High - 2:28
4. Where Is She (Gary Montgomery, Jack Dalton) - 2:28
5. You And Me (Me And You) (Bodie Chandler, Ed McKendry) - 2:49
6. Love Machine (James A. Griffin, Michael Z. Gordon) - 2:27
It's a song that was born in a moment straight from a Hollywood movie. It was the spring of 1974. Johnny Townsend's songwriting partner, Ed Sanford was living in a Hollywood duplex on a nice advance and stipend from Chappell Music after signing a publishing deal. Sanford was sharing the space with guitar-playing friend, Steven Stewart. One morning, Townsend stopped by after Stewart had been up all night working on music.
"Ed was just waking up and Steven hadn't been to bed yet," Townsend remembered to Songfacts. "Ed was complaining about not getting any sleep and barked at Steven, 'When are you gonna stop wasting your time on that classical crap and write something that will make you some money.' Steven picked up his guitar immediately and started playing what I thought was a really cool R&B type rhythm and replied, 'Anybody can write that crap.' I said, 'Apparently you just did,' and went straight to the piano and embellished on his idea. While going through some old song ideas in my notebook I always carried, I found one that actually was the title of a poem that Ed had written while in college. I extracted the title because it seemed to be a perfect fit for the chorus idea I had and that all sort of amalgamated into 'Smoke From A Distant Fire.' Basically, the song started as a joke and that joke is still making us money to this very day."
Sanford-Townsend Band released the group's self-titled debut in 1976, issuing "Smoke from a Distant Fire" as as single later in 1977. The song became a ubiquitous presence on radio throughout the summer of 1977, from beach parties to backyard barbecues across the country. It peaked at #9 on the Hot 100 for the week of September 17, 1977. The #1 song in America that week: Andy Gibb's "I Just Want to Be Your Everything." "Smoke from a Distant Fire" was the band's only top 10 hit in America.
"I had the pleasure of recording this band and this song. It was without a doubt the best band I have ever worked with in my entire 50 year career as a recording engineer," legendary engineer Jerry Masters told Songfacts. Strong words, considering Masters has worked on countless classic records from the likes of Willie Nelson, Bob Dylan, Joe Cocker, Rod Stewart, Paul Simon, Bob Seger,Wilson Pickett, Bobby Womack and Leon Russell.
"It was also the last album I did before leaving Muscle Shoals Sound in 1976 and it was mixed by my good friend and excellent engineer Greg Hamm," Masters added. "It was the best album I've ever done and I consider it the peak of my career by being associated with these fine musicians and song writers. It was the perfect ending to a great career at Muscle Shoals Sound - not the end of my career, but still the best I ever put my hands to. I salute the Sanford-Townsend Band as the best of the best, even today, it's my favorite of all time."
Formed in Oklahoma City when trumpeter Mark Underwood and saxophonist Bob Beasley teamed with guitarist/bassist Hadley Hockensmith, organist Harlan Rogers, and drummer Bill Maxwell. Underwood played in The Serfs, a jazz-rock/psych band that released one album, The Early Bird Cafe, in 1969.
Singer Harold Jones completed the Third Avenue Blues Band, which signed to MCA-subsidiary Revue. In 1968, they released their first single, “It’s Got to Be Love” b/w “If You Don’t Love Me”, both written by Rogers. It was followed in 1969 by the Jones-composed “Don’t Make Me Laugh”b/w Hockensmith’s “Pipedream”, released as 3rd Avenue Blues Band. Their third single, a funky cover of Joe South’s “Rose Garden” b/w Rogers’ “Come On and Get It”, appeared later that year.
Their album, Fantastic, appeared on Revue in 1970. It features 11 songs, including all the aforementioned single sidesexcept “Pipedream”. Other tracks include Rogers’ “I Know About Love,” Hockensmith’s “Hawk’s Blues,” and covers of the Isley Brothers “It’s Your Thing” and Eddie Harris“Mean Greens”. The album was produced by Charlie Carey.
Underwood later appeared on albums by the Cate Bros., Van Morrison, Bette Midler, Jules & the Polar Bears, and Michael Vlatkovich.Beasley re-linked with Rogers and Hockensmith on soul-faith albums by the Don DeGrate Delegation and Sherman Andrus.
Tracks
1. Rose Garden (Joe South) - 3:16
2. It's Got To Be Love (Harlan Rogers) - 2:26
3. I Know About Love (Harlan Rogers) - 4:15
4. Put A Little Love (Jackie DeShannon, Jimmy Holiday, Randy Meyers) - 4:00
5. Hawk's Blues (Hadley "Hawk" Hockensmith) - 5:09
6. Don't Make Me Laugh (Harold Jones) - 2:53
7. Come On And Get It (Harlan Rogers) - 3:19
8. It's Your Thing (Marvin Isley, O'Kelly Isley, Ronald Isley, Rudolph Isley) - 5:12
