The Beat Of The Earth's The Electronic Hole, originally released in 1970. Second album from the cultish experimental jam band formed in 1967 in Orange County, California. Their second effort from 1970 -- The Electronic Hole -- takes a step away from their earlier work, being composed with definite song structures versus the earlier drawn-out freeform jams. Sounding much like a west-coast version of The Velvet Underground & Nico, the album has melodic motifs but is much more primitive and mysterious than its cousin, with loads of fuzz, haunting organ, Phil Pearlman vocals, and even some sitar, acoustic strumming, and ballad-like moments ("Love Will Find A Way, Part I"). The album includes even a wild cover of Frank Zappa's "Trouble Every Day". Had the story ended here it would have been a real tragedy, as Pearlman's finest hour was yet to come. Six years later (with who knows what in between), recording commenced on the majestic Relatively Clean Rivers album with an entirely new band and musical vision.
Tracks
1. The Golden Hill - 2:29
2. The Golden Hill - 3:14
3. The Golden Hill - 3:54
4. The Golden Hill - 7:04
5. Love Will Find A Way (Frank Zappa) - 2:56
6. Love Will Find A Way - 7:04
7. Love Will Find A Way - 5:39
All compositions by Phil Pearlman except where noted
Craig Nuttycombe and the late Denis Lambert got their start as a folk duo in the Los Angeles area after years of playing in a number of different bands. After signing with A&M and a move to Sausalito — just north of San Francisco, they recorded this very special and intimate folk album of original material (save a cover of Jerry Jeff Walker's "Mr. Bojangles"), which received some FM airplay at the time, helping the duo garner a limited but dedicated following. The instrumentation is simple: two acoustic guitars and two singers harmonizing; the sound is soft, warm and heartfelt, as if they are singing and playing their guitars by the fireplace in your living room on a cool winter night while you pass the pipe around.
There is no pretension of musical virtuosity at work here, the stark arrangements for two acoustic guitars have one purpose only, which is to support the two as they harmonize and deliver their songcraft, and to that end the effort succeeds immeasurably. Think of Nick Drake's acoustic work, pre-psychedelic Donovan or perhaps Duncan Browne's earliest work for the general tone, though an additional dimension is added due to the harmonies, the end result being nothing short of magical.
Family Times Band consisted of two brothers and two sisters who hailed from Newport News, Virginia and released this their sole album in 1976 as a privately pressed edition of 500. Presented here for the first time on CD. This album runs the gamut from killer hypnotic acid folk psych "Sitting By The Ocean" to West Coast psychy folk rock "She's Gone", 3rd Velvets/Hackamore Brick sounds "All I Need", to fuzzed out rockers "Cause You Know". Overall it comes across as being very much a mixture of the Seventh Dawn "Sunrise" LP and the Art Of Lovin'. And despite the 1976 release date, this album is much more in keeping with 1969-70 sensibilities. Lead vocalist Don Leitzke sounds very much like Mandrake Memorial's Michael Kac."
A foundational document of American private-press psychedelic rock emerge from decades-long shadows, deeply illuminated chapters authored by prototypical "terminally unique" Southern California artist/seeker Phil Pearlman and two of his early, briefly extant bands.
From 1967, Phil Pearlman (The Beat Of The Earth), leads a free assemblage of local Southern California acid-heads through loping Velvetica tribal incantations. The Beat of the Earth earns its name in two side-length jams brimming with eastern-tinged luminosity. It is the sun-dappled mirror of The Velvet Underground's "Sister Ray." Instead of the urban decay and black and white pop art of the Warhol scene, The Beat of the Earth represents the same idea, looking west across the Pacific. This comes from the same yet intrinsically polar opposite frame of mind from the VU noise marathons of their epic live shows. Mind-expanding psychedelia done by sun-gobbed hippies that were totally out of step with everything else happening in Southern California of the pop-psych '60s.
Midnight is one of those 'shoulda/woulda/coulda' bands that might actually have made it -- had their utter youthfulness not got in the way. Hailing from the 'burbs of Olympia Fields, Country Club Hills, and Chicago Heights, Illinois, Dave Hill (keys), Scott Marquart (drums), Frank Anastos (guitar, vox), and John Falstrom (bass) were all record-obsessed teenagers taking music lessons at Homewood's Melody Mart in 1974. After meeting, they realized that Hill, Anastos and Falstrom went to Rich Central H.S. in Olympia Fields, while Marquart was just down the road at H-F High School in Flossmoor.
That same year they formed Midnight, covering hot and heavy hard rock songs from the likes of Uriah Heep, James Gang and Sabbath (natch!) -- but they evolved quickly, playing house parties and high schools around the south suburbs in '75. By the following year, despite the teenaged years of their members, they were playing nightclubs and colleges in and around Chicago, while adding electrifying original songs to their repertoire. In the fall of 1977, still lacking either management or producer, the kids recorded their LP Into the Night at A-K Sound Recording Studio in Orland Park, IL -- privately releasing it in early 1978 in a small edition, making it a majorly sought-after hard rock rarity today (Falstrom regularly gets offers of $100 or more for a copy!).
Distributed themselves (and barely promoted), the LP certainly covers all the heavy bases with a wickedly raw mix, at times sounding like proto-doomers Pentagram, with the odd, occasional boogie number and power-ballad as well. Following the release of Into the Night, the band continued to play out, including a show at the Aragon in late '79. Meanwhile, Midnight had recording sessions at multiple studios in and around the Chicagoland area -- but Falstrom reports with some considerable regret that they let the tapes 'slide though our fingers' over the years. He was recently able to locate and release the masters from a three-song EP recorded at Columbia College in 1979 and then lost for 30 years -- but Into the Night is the true legacy of Midnight. The end of Midnight came in 1980, when the band chose to stop playing live and focus on writing new material -- this insular existence led to irreplaceable powerhouse drummer Marquart quitting. And with that, the clock struck Midnight on this promising young rock group..."
Fo-Ex
Tracks
1. Train Of Thought (Dave Hill, Rick Goggin) - 4:02
2. Into The Pit - 3:28
3. Crazy Little Mama - 3:24
4. Smoke MY Cigarettes - 3:00
5. Time Will Tell - 6:08
6. Into The Night - 5:04
7. What's The Story - 4:46
8. Future Comes Our Way - 2:31
9. Auto-Kinetic Illusion - 4:06
10.Suicidal Ways - 2:27
All songs by John Falstrom, Scott Marquart, Frank Anastos, Dave Hill except track #1
“Reunion,” released in 1977, constituted a reunion of the 1967 version of Country Joe and the Fish. They wisely didn’t just dip into the old psychedelic well, because that really wasn’t likely to go over in 1977. Instead, they served up a bunch of country rock, some of it quite good (“Stateline Nevada” and “Insufficient Funds” stand out), and one of my favorite Christmas songs ever, “Dirty Claus Rag,” in which Santa steals a Christmas tree because they just don’t grow at the North Pole. The album is fun, and playable, and like most band reunion albums, it fails to capture the magic the band once had. I like it, I’ve had it since about 1979, sometimes I’ll play it — but this is a bunch of guys getting together for old times’ sake, not a rejuvenation. It would be their last album as a group of any sort. Country Joe went on to a long and continuing solo career, Barry Melton became a public defender; sometimes the band still gets together.
Tracks
1. Come to the Reunion (Gary Hirsh) - 3:03
2. Time Flies By (Joe McDonald) - 4:09
3. Stateline, Nevada (Barry Melton) - 2:03
4. Love Is a Mystery (Barry Melton) - 2:04
5. Dirty Claus Rag (Joe McDonald, Barry Melton, Sam Charters, Phil Marsh) - 2:04
6. Not So Sweet Martha Lorraine (Joe McDonald) - 3:25
7. Thunderbird (Joe McDonald) - 3:42
8. Gibson's Song (Instrumental) (David Bennett Cohen) - 3:37
9. No One Can Teach You How to Live (Barry Melton) - 3:16
10.Insufficient Funds (Bruce Barthol, Phil Marsh) - 2:36
British musician Terry Reid is a relatively unsung legend. With his incredible voice (that earned him the nickname “Superlungs”), spot-on songwriting, and underrated guitar skills, Reid invented new sounds and others followed suit. His 1973 LP, River, is an under-the-radar but deeply loved album. Our special new release, The Other Side Of The River, features all previously unreleased material from the River sessions, including six never-before-heard Reid compositions and five very different alternate takes of tracks from River.
Over the decades, as River went in and out of print, there were rumors of a mythological double album’s worth of unreleased material. The rumors turned out to be true, as the entire album was recorded twice: once with British producer Eddy Offord and again with the legendary Tom Dowd. The sessions captured Reid’s free-associative mix of folk, blues, rock, jazz, bossa-nova, soul, and samba, recalling at times Tim Buckley and Van Morrison, while featuring some remarkable guests including Gilberto Gil on percussion, Ike & Tina Turner’s Ikettes on vocals, and David Lindley, of psych band Kaleidoscope, on violin.
The Other Side Of The River includes songs that even Terry had forgotten – rockers in the style of the River track “Dean,” Latin grooves with percussionist Willie Bobo, and beautifully sparse vocal material not unlike David Crosby’s If Only I Could Remember My Name and John Martyn’s Solid Air.
Reid’s vocal prowess earned him offers to front both Led Zeppelin and Deep Purple, but he turned down both opportunities to carve out a distinctive solo career. Instead, he rocked on the sidelines, ultimately touring with Cream and Fleetwood Mac, writing songs for CSNY, and opening for The Rolling Stones on their 1969 tour. More recently, Terry’s songs have been covered by a number of younger artists including the Raconteurs, and his voice can be heard on DJ Shadow’s track “Listen”. This spring he will be touring the East Coast and U.K. Though his “superlungs” would have no doubt served Zepp well, perhaps his solo status allowed him to be more experimental and nuanced than he would’ve been able to be as a mainstream frontman, and for that we are grateful. The Other Side Of The River stands alone as a fresh and utterly groundbreaking Terry Reid gem.
LITA
Tracks
1. Let's Go Down - 6:51
2. Avenue (F# Boogie) - 6:04
3. Things To Try - 6:30
4. Country Brazilian Funk - 9:14
5. River - 5:55
6. Listen With Eyes - 3:48
7. Anyway - 5:46
8. Celtic Melody - 1:54
9. Funny - 8:06
10.Late Night Idea - 2:22
11.Sabyla - 5:33
All compositions by Terry Reid
Personnel
*Terry Reid - Guitar, Vocals
*Leo Miles - Bass
*Conrad Isidore - Drums
*David Lindley - Steel Guitar, Slide Guitar, Electric Guitar
It's 1972. Prog has been a reality for a couple of years, but the counterculture is already knocking at the door with its hard, self-conscious sound. Meanwhile, the epigones of post beat and psychedelia are playing their last cards of trustworthiness because from the following year on, that kind of proposal will be less and less accepted by an increasingly militant and less compassionate public. It is therefore in time William Gray, aka Bill, better known as the guitarist of Trip to place for Polydor his first blues rock album “Feeling Gray” which, however, despite the undoubted quality of the product, will not give him much satisfaction.
Bill was born in Kilmarnock, Scotland, in 1947 and at not even 20 years of age already had on his resume a successful 45 recorded for Philips as guitarist for the Anteeks: “I Don't Want You” / “Ball and Chain,” now priced at about 290 pounds.
Settling in London in the spring of 66, he joined David Bowie's The Buzz as a replacement for guitarist John Hutchison, and with them recorded a demo of the single “I dig everything” written by Bowie himself. In The Buzz's version, however, the song never saw the light of day having left then-producer Tony Hatch dissatisfied and he fell back on studio musicians for the release.
The Buzzes nevertheless continued to accompany Bowie live for four more months before the reef, but in September they had to give up on Bill Gray of all people, lured by a tempting offer from our own Ricky Maiocchi, then sojourning in London in search of musicians.
Maiocchi, by the way, had already recruited on bass one Arvid Andersen, a quirky beatnik of Scandinavian descent, and a young guitarist of good hope named Ritchie Blackmore, a longtime friend of Arvid's from the days when they were part of first Neil Christian's Crusaders, then Screamin Lord Sutch & The Savages, and finally the Three Musketeers.
Thus, they lacked a drummer, later found in the figure of Ian Broad (formerly a militant in Rory Storm & The Hurricanes with whom Ringo Starr also played) and another guitarist, who was indeed William Gray. And so, here Maiocchi and the Trip began their Italian adventure.
Maiocchi, however, is very centralizing, and Blackmore, who often steals his thunder, does not like the former Chameleon's constant calls for calm. Ian Broad then turns out to be wretchedly undisciplined and scurrilous. After just three weeks Blackmore and Broad leave, the Trips abandon Maiocchi, recruit Sinnone and Vescovi, and proceed on their way.
Bill Gray, for his part will stay with them for two albums, The Trip and Charon, and then he too will drop out due to supposed differences with Vescovi who, some say, apparently was not exactly a model of democracy. Others murmur instead that Vescovi and Andersen were unhappy with the idea that Gray was working on solo material, but that is part of the gossip.
The fact remains that Billy leaves, a year later he meets former Rokes Shel Shapiro, and before long he is at Regson Studios in Milan recording with four other musicians (including Gian Luigi Pezzera and Shapiro himself) his “Feeling Gray?” nine tracks, half an hour long.
Musically there is not much to say about it: nothing prog, nothing innovative, so really nothing earth-shattering, but on the other hand a very pleasant record, very well played, polished and never banal despite the fact that it is evidently Anglophone blues rock. Between the grooves the experience of the musicians shines through, and even if we wanted to mistakenly consider it a filler or worse an exercise in style it is really worth a listen. Thus, if only and only for the sheer pleasure of the music. And also to evoke once again the great spirit of William, who left really too soon.
The album contains nine tracks, all sung in English, composed by Gray himself, who passed away in 1984.
by John Nicolò Martin
Tracks
1. Harleytown - 3:27
2. Leavin' A Big Town - 3:04
3. Summer Nights - 3:16
4. Falling Off The Edge - 3:06
5. Midnight Swinger - 3:27
6. Writing On The Wall - 3:42
7. Borderline - 3:41
8. Ann - 2:39
9. Blue / Gray - 5:49
All Music and Lyrics by Billy Gray
Musicians
*Billy Gray - Lead Vocal, Lead Guitar, Acoustic Guitar, 12 String Guitar, Slide Guitar
Bill Quateman (born November 4, 1947, Chicago, Illinois) is an American singer-songwriter. Quateman released four albums in the 1970s and charted with the single “Only Love”, which reached No. 86 on the Billboard Hot 100 in 1973.
He started his music career as a singer/songwriter during the 70’s folk music era in Chicago. His first record deal in 1972 was with Clive Davis at Columbia. The album was successful, with two fairly big hits. While working on his second album, the Clive Davis scandal hit Columbia. The new management wanted to go into a different direction than Quateman. He got dropped from Columbia.
He was picked up by RCA years later. The success of the first album couldn’t be recreated. The next three albums did well enough, but not nearly as well as his first. The three albums were heavily produced. His first album was sparse and fit the definition of that singer/songwriter era, the next three were more corporate of the time. Quateman temporarily retired from the music industry to raise his children.
In the 2000s, he reemerged to perform publicly for a brief period. He released the 1973 album (in theory his second album) he worked on at Columbia, and two more albums. He published a book based on raising his daughter as a single parent. He became a health coach and eventually founded a Natural Medicine Company. He is currently the International Director of Advanced Bio Cell.
Kenny Loggins' second cousin hit the big time for a couple of months in 1975 with "Please Come to Boston," a serviceable and sentimental soft rock gem from his second album, Apprentice (In a Musical Workshop). Part of the lexicon of harmless '70s singer/songwriters like Dan Fogelberg and James Taylor, Dave Loggins never again regained the momentum spawned by that track, but its appearance on nearly every AM pop compilation illuminates the tune's timelessness. While the rest of Apprentice doesn't deviate from the warm, dull tones of the single -- even the full-on "My Father's Fiddle" and "Girl from Knoxville" sound like the Band-lite -- it's an expertly crafted slice of commercially made diner pie that resonates squarely in the moment and vanishes two steps out of the door.
by James Christopher Monger
Tracks
1. Someday - 3:26
2. My Lover's Keeper - 3:21
3. Second Hand Lady - 3:03
4. Let Me Go Now - 3:00
5. So You Couldn't Get To Me - 2:57
6. Please Come To Boston - 4:07
7. Girl From Knoxville - 2:54
8. Sunset Woman - 5:06
9. My Father's Fiddle - 4:52
10.Wonder'n As The Day Goes By - 3:15
All songs by Dave Loggins
Musicians
*Dave Loggins - Acoustic Guitar, Vocals
*Jerry Carrigan - Drums
*John Guerin - Drums
*Kenny Malone - Drums
*John Raines - Drums
*Larry London - Drums
*Norbert Putnam - Bass
*Lee Sklar - Bass
*Shane Keister - Keyboards, Moog Synthesizer, Piano
