Lynne Hughes - Freeway Gypsy (1970 us, spectacular brass jazzy blues psych, Vinyl edition)

Lynne Hughes was the lead singer of the late-'60s San Francisco Bay Area band Tongue and Groove, mining the field between folk, blues, and rock, in somewhat the same manner as fellow Bay Area female singers Tracy Nelson and Janis Joplin (or, from beyond the Bay Area, Maria Muldaur). Hughes had a more old-timey ragtime tilt to her vocals than any of those other singers did, and was the most prominent presence on Tongue and Groove's fair, self-titled late-'60s album. Prior to that, she had been something of an auxiliary member of the Charlatans, doing some singing and even recording with them without being an official group member.

Hughes had entered music as a folk musician in Seattle in the early '60s before going to the Bay Area. In 1965, she was performing at the Red Dog Saloon in Virginia City, NV, the same venue where the Charlatans had a long-running residency. She would play guitar and sing lead on a few songs with them, such as "Sidetrack" and "Come on in My Kitchen," and taught them the English madrigal "I Saw Her," which was one of their best recordings (though not officially released until 1996). 

She also played and sang on some demos they did for Kama Sutra in early 1966; two on which she sang, "Sidetrack" and "Devil Got My Man," appear on the 1996 CD compilation The Amazing Charlatans. The Charlatans links carried over to Tongue and Groove, which also featured former Charlatans pianist Mike Ferguson; their Tongue on Groove album had bass by Charlatan Richie Olsen, and a song by ex-Charlatan Dan Hicks. Hughes went on to sing with Stoneground in the early '70s

by Richie Unterberger

Tracks
1. Bad Dream (L. J. Baron, D. Randell) - 2:22
2. Rose Of The Woe (K. Doyle, R. Olsen) -3:47
3. Night Life (Nelson, Buskirk, Breland) - 3:11
4. Never Stop A Dream (D. Bennett) - 2:47
5. Gypsy Good Time (N. Gravenites) - 4:07
6. Freeway Gypsy (T. Deeps, D. Randell) - 3:32
7. Rags And Old Iron) (O. Brown, Jr., N. Curtis) - 3:55
8. My Man Is Gone (T. Deeps, D. Randell) - 3:22
9. And When I Die (L. Nyro) - 4:56
10.It Didn't Even Bring Me Down (D. Sahm, F. Morin, M. Ferreo) - 3:35

Musicians
*Lynne Hughes - Vocals
*Mike Melvoin - Keyboard, Arranger
*Mike Dacy - Guitar, Sitar, Dobro
*Louis Shelton – 6, 12 String Guitar
*Therutius Deeps - Guitar, Backing Vocals
*Jerry Scheff, Joe Osbourn - Bass
*Hal Blaine - Drums
*Gary Coleman - Percussion
*Buddy Childers, Tony Terran, Ollie Mitchell, Joe Burnett, Chuck Finley - Trumpets, Flugelhorn
*Bob Brookmeyer, Bob Enevoldsen, Dick Leaf - Trombones
*Don Menza, Jim Horn, Plaz Johnson, Bob Hardaway, Kim Richmond - Saxophones
*Billy Woodruff, Don Bennett, Joe Reed - Backing Vocals

Related Act
1971  Stoneground - Stoneground
1971-72  Stoneground - Family Album

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The Lost - Lost Tapes (1964-67 us, amazing garage psych folk)

Here at last is the Lost album, only 33 years overdue. Along with The Remains, The Ramrods, and The Barbarians, The Lost are the most highly exalted of all Boston-area bands from the mid-1960s. Amazingly, The Lost achieved this status having released only three 45s, none of which made it to the Billboard charts. Now, finally, die-hard fans and newcomers alike can hear the album that might have been, including those rare singles in all their glory.

Although they ended up as legends. The Lost began prosaically enough. Ted Myers, having finished his freshman year at Goddard College, in Plainfield, Vermont, decided to spend the summer of 1964 on Martha's Vineyard island, in Massachusetts. There, with some friends from Goddard, he brashly started a folk coffee house, even though he had no knowledge of how to do such a thing. Furthermore, he had no money, but managed to talk his way into an "on-spec" arrangement with a local landlord. 

Ted remained a coffee house proprietor long enough to give a teenaged James Taylor his first professional gig, then returned to Goddard College for the fall term. Back at Goddard, emboldened by his coffee house success, Ted formed a band in October 1964 with four fellow Goddard students: Willie Alexander, Hugh Magbie, Tony Pfeiffer, and Walter Powers. They called themselves The Lost. The name came from a dream Willie had had about a year earlier.

The Lost began performing almost immediately at on-campus events. Their first paying gig was at a club called The Cave, in nearby Burlington, Vermont. Another early performance (as Walter recalls) was in a multimedia, rock 'n' roll production of Peter Pan at Goddard. This sort of experimentation was a hallmark of the band from the very beginning. Another mark of distinction was Willie's passion for unusual percussion instruments. He concocted some "maracas" made out of pint wine bottles filled with spent .22-caliber casings. 

The bottles inevitably brake as Willie played them, scattering casings everywhere. As Tony recalls, this "happened to Willie regularly, and every time he looked surprised." Thanks to their high-energy performances, The Lost gained a loyal following during their brief time at Goddard. However, they did not endear themselves to College administrators. Goddard was an experimental college and gave credit for work experience. 

Following the Fall 1964 term, the band decided to get this experience by moving to Boston and continuing to work as professional musicians (not exactly what the College had in mind). The move occurred in December 1964. Hugh lived at home with his parents in nearby Cambridge. The rest of the band lived together in a large apartment (later, two apartments) in the Beacon Hill section of Boston and survived on the money they made playing gigs. Only Tony and Hugh had day jobs (Tony as a busboy and Hugh as a researcher for a social-services agency).

Despite the fact that the band had landed several gigs around Boston and had an early affiliation with Don Law (later to become Boston's most successful rock entrepreneur), Hugh and Tony decided to return to Goddard for the spring term in March 1965. Willie, Ted, and Walter remained in Boston (as Willie remembers it, Goddard didn't want them back anyway). 

The band now needed two new members and took a trip to New York City to recruit them. Ted found Kyle Garrahan playing folk music in a Greenwich Village coffee house called The Bizarre. Kyle replaced the departed Hugh Magbie. To replace Tony Pfeiffer, Ted called upon an old friend, Lee Mason. Kyle and Lee moved to the group's headquarters in Beacon Hill. With these changes, a new lineup was in place, and this is the group we hear on this release.

by Gary Burns

Tracks
1. Maybe More Than You Know (Ted Myers, Willie Alexander) - 1:54
2. Back Door Blues (Ted Myers, Willie Alexander) - 2:31
3. I Wanna Know - 2:18
4. Certain Chick (Naomi Neville) - 2:30
5. Here She Comes - 2:52
6. Always I Know - 3:07
7. No Reason Why (Vocal) - 2:32
8. Everybody Knows (Willie Alexander) - 2:18
9. When I Call - 2:00
10.Violet Gown (Version I) - 2:54
11.Mean Motorcycle - 1:55
12.(No) Money In The Pocket (Joe Zawinul) - 2:22
13.Kaleidoscope - 1:54
14.Violet Gown (Version II) - 2:39
15.No Reason Why - 2:01
16.Changes - 2:02
17.Do I Love You (Peter Andreoli, Phil Spector, Vincent Poncia) - 2:34
18.Rocket Ship - 1:53
All songs by Ted Myers except where stated

The Lost
*Walter Powers - Bass, Organ, Vocals
*Ted Myers - Guitar, Vocals
*Lee Mason - Drums
*Willie Alexander - Keyboards, Vocals, Percussion
*Kyle Garrahan - Lead Guitar, Harmonica, Vocals

Related Acts
1967-68 Flat Earth Society - Waleeco And The Lost / Space Kids
1968  Listening - Listening

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Neil Merryweather - Kryptonite (1975 canada, tight heavy rock with glam prog shades and bonus tracks from Richardson and Boers LP)

After three years with Mama Lion, Neil was ready to take the reigns of a new project. He ran an ad in the “Music Connection” magazine seeking a guitarist, deciding on Timo Lane, and recruited drummer Tim McGovern.

Neil wrote a song called “Hollywood Boulevard” and decided to demo it with Laine and McGovern. Laine brought Bob Silvert to the session equipped with a chamberlain.

After the recording, Neil decided that this was his new band. Neil called Maury Lathauwer at Capitol Records and got a night of time at Capitol’s studios. The band recorded a handful of Neil’s songs and a few cover tunes.

Neil supported the band financially, paying for rehearsal studios, meals and on occasion, band members’ rent. The band lasted a few months before Silvert, without notice, sold the chamberlain and other equipment and left town. Timo soon bowed out and disappeared.

Six months later, Robbie Randall, Neil’s road manager from the Mama Lion days, played the tape for Skip Taylor (“Canned Heat” producer). Skip’s brother, Jim Taylor, signed Neil to a management deal, took the tape to Mercury Records, and Neil was signed.

Neil called Tim McGovern and recruited two new members – Michael Willis (guitar), and James Herndon (keyboards and guitar), and the Space Rangers were re-born.

They opened at “The Whiskey” to great reviews. The record went to #5 in the country on FM radio airplay within two weeks after its release.

The band played KSHE radio’s birthday party at the Kiel Auditorium in St. Louis with “T-Rex”, “Pure Prairie League”, and “KISS”. The Rangers were the hit of the show.

The record was hailed by critics and fans as a success, yet again, the label did nothing to help the band achieve the recognition it deserved. 

Kryptonite

Tracks
1. Kryptonite - 3:19
2. Star Rider - 5:32
3. Always Be You - 3:27
4. Give It Everything We Got - 5:32
5. The Groove - 5:30
6. Real Life Love - 3:38
7. You Know Where I'd Rather Be - 5:21
8. Let Us Be The Dawn - 4:52
9. Aren't You Glad That You Know - 3:06
10.City Boy - 3:02
11.Dust My Blues - 2:40
12.Flat Black - 4:16
13.You Must Live It - 2:46
14.Your Real Good Thing - 3:33
15.Local 149 Are You Ready - 10:51
Bonus Tracks 9-15

Personnel
*Neil Merryweather - Bass, Vocals
*Michael Willis - Lead Guitar
*James Herndon Chamberlain - Synthesizer, Guitar, Slide Guitar
*Tim McGovern - Drums, Guitar
*Jim Taylor - Piano

more Neil Merryweather
1969  Merryweather
1970  Neil Merryweather, John Richardson And Robin Boers
1971  Neil Merryweather And Lynn Carey - Vaccum Cleaner

with 
1972   Heavy Cruiser
1973  Heavy Cruiser - Lucky Dog

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La De Da's - La De Da's (1965-67 new zealand, strong garage beat psych)

Rutherford High School in Te Atatu Auckland was the origins of what was to become the La De Da's. Schoolmates Kevin Borich, Brett Neilsen and Trevor Wilson got together in late 1963 and formed a band, calling themselves the Mergers. They were inspired, like so many other groups around Auckland at the time, by the sounds of the Shadows. They managed to play at a number of local dances and socials. They very soon became such hot property on the Auckland school / football club circuit that the occasional weekend work became a regular occupation and mid-week engagements began to roll in as well.

Kevin Borich had already had a taste of studio experience when in 1961 at the age of 12 he made a private recording for Astor, with two young sisters who lived on a neighbouring poultry farm in Huapai. Sue, aged 9, and Judy Donaldson, aged 11, were later to become major New Zealand recording artists, the Chicks.

The Beatles visit to New Zealand in June 1964 changed the musical direction of almost all the current groups who were playing. They realised at that point that they needed to drop the instrumentals and get into the new 'beat' music. A good vocalist was required. Trevor Wilson knew a guy at Mt Albert Grammar School who could sing. His name was Phil Key and he was recruited as vocalist and rhythm guitarist. Although initially inspired by the Shadows and the Beatles, it was the Rolling Stones that they now modeled themselves on.

Phil Key's sister was an avid record collector whose taste took in lesser known British groups, as well as hard-line American R&B. Through her brother she provided the Mergers with the bulk of their early repertoire. Despite their early popularity, they weren't happy with their name. A promoter even changed their name to the Gonks for an early 1965 gig at a summer carnival. Trevor wanted to call the band the Criminals, but it wasn't until after rehearsals one night at the Wilson household where they were suggesting names that Trevor's mother came up with the suggestion, the La De Da's.

Playing the gamut of high school and church hall dances, the band was gaining the attention of Auckland's hip inner city teen mod set. When not performing, the teenagers would venture into the city to frequent the Durham Lane Clubs, the Top Twenty and the Platterack.

In April 1965, NZBC producer Robert Handlin heard the group and offered them a strange deal. He wanted someone to sing the title to a new movie that was being released that he was featuring on his show. In return he would finance, produce and release a one-off single for the group. The song they had to sing was "Those Magnificent Men In Their Flying Machines". They went through with it because of the deal and also for the television exposure. They dressed in black suits, white shirts, bow ties and bowler hats and mimed the song in prime time on national network television. Handlin liked their performance enough to offer them a recording session to release one single.

Kevin was only seventeen at the time and he wrote "Ever Since That Night" and co-wrote the other song "Little Girl" with Trevor. The single was released on the Talent City Label in June 1965 and although both songs were originals in the Rolling Stones R&B style, the single went absolutely nowhere and these days is extremely rare.

By the second half of 1965, New Zealand's local pop industry was enjoying a buoyant boom, new bands were forming every week, record companies were snapping up as many acts as they could find, the public was buying local hits and gigs were plentiful. The most popular acts were the mass-appeal soloists, but pop groups were also making great strides. The groups were springing up from all over the North Island. Even the traditional Maori Showbands were making a strong impact. Nightspots were also thriving, in Auckland one could rage to good young R&B bands at dives like the Oriental Ballroom, 1480 Village, Galaxie and Monaco.

For the younger kids, the progressive Radio Hauraki and the staid NZBC ran Sounds Spectaculars and Popalong Spectaculars at the Auckland Town Hall and the YMCA. In all it was a vibrant healthy atmosphere for the development of good rock music.

Sergent-music

Tracks
1. Little Girl (Borich, Wilson) - 2:32
2. Ever Since That Night (Borich) - 2:46
3. How Is The Air Up There (Duboff, Kornfeld) - 2:38
4. Pied Piper (Duboff, Kornfeld) - 2:26
5. Don't You Stand In My Way (Howard, Wilson) - 2:24
6. I Take What I Want (Porter, Hayes, Hodges) - 3:07
7. Hey Girl (Marriot, Lane) - 2:14
8. On Top Of The World (Mayall) - 2:28
9. Little Red Book (Bacharach) - 2:21
10.Jump Back (Thomas) - 2:19
11.Bright Lights Big City (Reed) - 1:51
12.I Put A Spell On You (Hawkins) - 3:25
13.What Ya Gonna Do About It? (Samwell, Potter) - 3:12
14.Land Of 1000 Dances (Kenner) - 3:05
15.Shake (Cooke) - 2:57
16.Parchman Farm (Allison) - 2:24
17.I've Got My Mojo Working (Morganfiled) - 2:50
18.Ride Your Pony (Dorsey) - 2:32
19.Stupidity (Burke) - 2:02
20.Coming Home (Clarke, Smith) - 2:28
21.I Ain't Gonna Eat Out My Heart Anymore (Sawyer, Burton) - 3:38
22.Respect (Redding) - 1:47
23.Find Us A Way (Howard, Wilson) - 2:45
24.All Purpose Low (Howard, Wilson) - 2:52
25.Too Many Fish In The Sea (Whitfield, Holland) - 2:19
26.Rosalie (Howard, Wilson) - 2:24
27.Thank You For The Flowers (Howard, Wilson) - 3:14
28.Hey Baby (Channel, Cobb) - 2:51

The La De Das
*Phil Key - Guitar, Vocals
*Trevor Wilson - Bass
*Kevin Borich - Guitar, Vocals
*Brett Neilsen - Drums, Vocals
*Bruce Howard - Keyboards

Related Act
1973  Band Of Light - Total Union

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Jason Crest - The Collected Works (1967-68 uk, spectacular beat psych)

Formed in Tonbridge, Kent from the ashes of 'The Good Thing Brigade', Jason Crest were signed to Philips in the latter part of 1967 after being discovered by former Four Pennies bassist Fritz Fryer, who got them a recording contract ahead of EMI. On signing their name seemed a little inapproiate so this was duly changed with a slight amendment from one of the groups tracks, 'The Collected Works of Justin Crest'. 

Within weeks from being spotted, the newly named Jason Crest were in the studio recording their first single, 'Turquoise Tandem Cycle', a wonderful debut dubbed by Philips on advertisments as "the first new group of 1968" this over the years, has often linked up with Procol Harum and Tomorrow especially with the former for it's distinctive organ sound, but despite a fair measure of airplay the single failed to click, it's a shame they never picked the flip 'Good Life', as this was the strongest of the two. 

The same fate happened with the second single 'Juliano The Bull' , nice enough but banned by radio one after some bright spark suggested it was "promoting blood sports", once again though the flip, this time, 'Two By The Sea' was the strongest of the two. After two flopped singles, Philips pulled the plug on the groups original songs and opted for a cover version, the song in question was The Move's '(Here We Go Round) -  The Lemon Tree', despite rumours though Roy Wood wasn't on the production team for this single, sadly once again, this also ended in the same fate despite considerable radio play. 

Bassist Ron Fowler quit around this time, working in a band and a full time job time didn't mix especially when the Crest were off to Germany and so he was replaced by John Selley. After three flops, Philips were desperate for a hit, Fryer got the band to record one of his numbers and a fourth single, the more commercial 'Waterloo Road' was recorded and promptly bombed, probably just as well as the single is uninteresting and uncompiled. 

With one single left on the contract, a final single 'A Place In The Sun' was released, again this met with the same fate although rather surprisingly the strange 'Black Mass' found it's way onto the flip, surprising because Philips had earlier decided that the song was unfit for public consumption!! By now the group were breaking up, the album that was promised had all but disappeared, the lack of success had caused indifferences in the band and to top it all, not surprisingly, Philips were not in the mood for re-newing contracts, the end wasn't too far away. 

Fitz Fryer had new interests in The Open Mind of whom he also produced for. Terry Clarke (the original co-founder) -  was to leave first joining up with a London based outfit called Orang Utan, whilst the remainding members continued with new vocalist Brian Prebble and ex-Mike Stuart Span ,  Leviathan guitarist Brian Bennett under the new name of High Broom. In 1971 Clark, Smallcombe and Siggery all sorted out their differences and formed Holy Mackrel. 

Marmalade-skies

Tracks
1. Turquoise Tandem Cycle (Clark, Dobson) - 3:43
2. Teagarden Lane (Clark Dobson) - 4:07
3. Patricia's Dream (Sandson, Fryer) - 2:43
4. A Place In The Sun (Clark, Dobson) - 3:24
5. My House Is Burning (Clark, Dobson) - 3:23
6. King Of The Castle (Clark, Dobson) - 2:58
7. The Collected Works Of Justin Crest (Clark, Dobson) - 3:38
8. Black Mass (Clark, Dobson) - 4:46
9. Charge Of The Light Brigade (Clark, Dobson) - 3:03
10.(Here We Go Round) -  The Lemon Tree (Wood) - 3:04
11.You Really Got A Hold On Me (Robinson) - 4:04
12.Two By The Sea (Clark, Dobson) - 2:57
13.Juliano The Bull (Clark, Dobson) - 2:28
14.Education (Clark, Dobson) - 2:38
15.Waterloo Road (Deighan, Wish) - 3:12
16.Good Life (Clark, Dobson) - 2:47

Jason Crest
*Terry Clark - Lead vocals
*John Selley - Bass Guitar
*Roger Siggery - Drums
*Terry Dobson - Organ
*Derek Smallcombe - Guitar
*Ron Fowler - Bass

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Focus - Live At The Rainbow (1973 dutch, astonishing live art prog rock, japan remaster)

Focus' classic live-album recorded at the Rainbow Theatre in London was released at the height of their popularity, and explains all why Focus were such a successful and respected act. The playing here is incredibly tight and energetic. The tracks are usually performed a bit harder and faster than their studio-counterparts; just check the high-octane version of "Hocus Pocus". The selections of tracks are also very carefully done, and makes sure that every side of Focus' music is represented here. 

You get the ultra-typical, melodic and classic Focus-sound in "Focus III" and "Focus II", the more jam-oriented direction in "Answers? Questions! Questions? Answers", the more commercial and catchy side in "Sylvia" and of course full progressive rock-bliss in an 8-minute excerpt of "Eruption". The sound is excellent for a live-album this old, further making this one of the essential live-albums from a progressive rock band. And try to hunt down the version with the cool gimmick-cover if you can find it, as it's really worth the money!

by Tommy Schonenberg

Tracks
1. Focus III (Thijs Van Leer) - 3:52
2. Answers? Questions! Questions? Answers! (Jan Akkerman, Bert Ruiter) - 11:29
3. Focus II (Van Leer) - 4:36
4. Eruption (Excerpt): (Tom Barlage, Van Leer) - 8:28
.I...Orfeus
.II..Answer
.III.Orfeus
.IV..Answer
.V...Pupilla
.VI..Tommy
.VII.Pupilla
5. Hocus Pocus (Akkerman, Van Leer) - 8:30
6. Sylvia (Van Leer) - 2:47
7. Hocus Pocus (Reprise) (Akkerman, Van Leer) - 2:46

Focus
*Thijs Van Leer - Keyboards, Flute, Vocals
*Jan Akkerman - Guitar
*Bert Ruiter - Bass Guitar
*Pierre Van Der Linden - Drums

1970  Focus - In And Out Of Focus (Japan remaster)
1971  Focus - Moving Waves (Japan remaster)
1972  Focus III  (Japan mini lp release)
1974  Focus - Hamburger Concerto  (Japan remaster)
1975  Focus - Mother Focus (Japan remaster)
Related Act
1969-70  Brainbox - Brainbox (2011 Esoteric expanded)

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Cactus - Fully Unleashed / The Live Gigs, Vol.2 (1971 us, inredible hard blues rock, 2007 limited two disc edition)

The Live Gigs, VOL 2. Offered in an individually numbered, limited edition of 5,000 copies, the 2-CD set presents a live recording of the last ever concert performed at Gilligan's in upstate New York by the legendary supergroup's original line-up - Tim Bogert (bass), Carmine Appice (drums), Jim McCarty (guitar) and Rusty Day (vocals). The concert is presented in its entirety, and twelve of the thirteen full-tilt tracks are previously unreleased. The date was June 26, 1971, "when," writes veteran music journalist Bill DeYoung in his essay, "Cactus was at its take-no-prisoners peak. He later notes, "Cactus toured incessantly, sharing bills with the top bands from both sides of the Atlantic. There was never anything 'showbiz' about them; the goal, both onstage and off, was to rock like there was no tomorrow."

In suburban Buffalo, New York, the now defunct Gilligan's - once upstate NY's hottest rock venue - may have been a non-descript, cavernous club, but the incendiary Cactus date captured here is nothing short of extraordinary. Behind the mixing board of the Electric Ladyland Mobile Unit that night was the venerable Eddie Kramer, who, in addition to Cactus, engineered and produced for a who's who of rock and roll greats including The Faces, Led Zeppelin, the Beatles and Jimi Hendrix, whose Electric Lady studios he helped establish. "When I first listened to tapes of this show," Appice says, "I thought, 'Man, what a great band.' I was just really proud of the fact that the band kicked such major ass. In those days, we blew everybody we played with off the stage." 

The music backs up the recollection. Always cranked to 11 for a Gilligan's gig, Cactus' breakneck blues-rock boogie and sheer decibel force blasts the senses on stand-outs including an epic version of Mose Allison's "Parchman Farm" - one of the band's signature songs - the originals "Down Easy," "Walkin'" and "Bro. Bill" and the classic "Long Tall Sally." One can only imagine that just as Cactus blew other bands away night after night, the capacity crowed must have been fit to be wiped off the beer-soaked floor at show's end. The seminal quartet incarnation of Cactus formed in 1969. Originally, Tim Bogert and Carmine Appice - Vanilla Fudge's former rhythm section - conceived it as a supergroup that would include guitar-slinger Jeff Beck and Rod Stewart on vocals. 

As things happened, though, Stewart went off to join the Faces and Beck was sidelined by a serious auto accident. They then enlisted ex-Buddy Miles and Mitch Ryder's Detroit Wheels guitarist Jim McCarty and former Amboy Dukes singer Rusty Day. Often called "the American Led Zeppelin," this powerhouse line-up delivered three albums - Cactus, One Way...Or Another and Restrictions - before McCarty and Day departed in '72. Appice and Bogert recorded one more album, 'Ot 'N' Sweaty, with a different line-up before leaving to form Beck, Bogert and Appice. Appice and Bogert have continued to collaborate over the years, and in 2006, reformed Cactus with Jim McCarty and singer Jimmy Kunes (Savoy Brown). 

Rhno

Tracks

Disc 1

1. Intro / Tuning - 1:00

2. Long Tall Sally (R.Bumps Blackwell, E. Johnson, R. Penniman) - 7:51

3. Parchman Farm (Mose Allison) - 6:04

4. Mellow Down Easy - 5:25

5. Feel So Bad (Willis) - 7:00

6. Walkin' Blues - 8:52

7. Scrambler / One Way...Or Another - 8:28

8. Oleo - 12:50

Disc 2
1. Bro. Bill - 8:32
2. Token Chokin' - 3:32
3. Slow Blues (Medley) - 20:10
4. Heebie Jeebies / What'd I Say (Jackson, Marascalico) (R. Charles) - 12:17
5. Evil (C. Burnett) - 4:46
All song by Cactus except where noted

Cactus
*Tim Bogert - Bass, Vocals
*Carmine Appice - Drums, Percussion, Vocals
*Jim McCarty - Guitar
*Rusty Day - Vocals, Harmonica

Cactus
1970  Cactus (Japan SHM remaster)
1971  One Way...Or Another (Japan SHM remaster)
1971  Ultra Sonic Boogie (2010 issue)
1970-72  Fully Unleashed / The Live Gigs, Vol. 1

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Cactus - Fully Unleashed / The Live Gigs, Vol. 1 (1970-72 us, amazing hard rockin' boogie, 2004 digipack two disc set)

Fully Unleashed: The Live Gigs (2004) is the companion volume to the similarly thorough Barely Contained: The Studio Sessions (2004). Each double-disc package is filled with not only the combo's respective four long-players, but also plenty of remarkable and previously vaulted sides. That is an understatement when considering the two-plus hours of vintage concert material from three distinct incarnations of Cactus, centering on the first lineup's final show on December 19, 1971 at Ellis Auditorium in Memphis, TN. Jim McCarty's wailing lead electric guitar introduction to "Long Tall Sally" is a precursor to the hard-and-heavy onslaught that alternately pulverizes and soars on other classic covers, such as their (dare say) definitive workout of Mose Allison's "Parchment Farm" or the 17-plus-minute oldies medley containing "Heeby Jeebies" and "Money," plus the Memphis-apropos "Hound Dog" and "What'd I Say." 

The original roster is additionally featured on "No Need to Worry" and another incendiary reading of "Parchment Farm" from the 1970 Isle of Wight performance. Although both were initially available on the First Great Rock Festivals of the Seventies (1971) anthology, neither has been on CD before. A short-lived lineup with Ron Leejack (guitar) was captured on the title track to One Way...Or Another and "Bro. Bill" from June 27, 1971 at Gillian's in Buffalo, New York, and the remaining cuts are from the group's April 1972 appearance at the Mar y Sol Pop Festival in Puerto Rico with Werner Fritzsching (guitar) and former Atomic Rooster member Peter French (vocals). While "Swim," "Bad Mother Boogie" and "Out L'il Rock-N-Roll Thing" were incorporated into 'Ot 'N' Sweaty, "Bedroom Mazurka" can be found on the out-of-print Mar y Sol (1972) compilation. 

by Lindsay Planer

Tracks

Disc 1

1. Into / Long Tall Sally (Robert Blackwell, Enotris Johnson, Richard Penniman) - 12:16

2. Bad Drag (Jim McCarty, Rusty Day) - 3:10

3. Evil (Chester Burnett) - 16:11

4. Parchman Farm (Mose Allison) - 6:21

5. Alaska (Jim McCarty, Tim Bogert, Rusty Day) - 3:56

6. Oleo - 11:20

7. No Need To Worry - 20:18

8. Let Me Swim - 5:06

Disc 2
1. Big Mama Boogie - Parts 1 & 2 - 15:31
2. Medley - 17:04
.a.Heeby Jeebies (Maybelle Jackson, John Marascalico)
.b.Money (Berry Gordy, Janie Bradford)
.c.Hound Dog (Jerry Leiber, Mike Stoller)
.d.What'd I Say (Ray Charles)
3. No Need To Worry - 5:08
4. Parchman Farm (Mose Allison) - 4:30
5. One Way... Or Another - 9:14
6. Bro. Bill - 6:12
7. Swim - 4:44
8. Bad Mother Boogie (Carmine Appice, Tim Bogert, Peter French, Werner Fritzchings, Duane Hitchings) - 5:25
9. Our Lil Rock-N-Roll Thing (Carmine Appice, Tim Bogert, Peter French, Werner Fritzchings, Duane Hitchings) - 7:00
10.Bedroom Mazurka (Duane Hitchings, Peter French) - 4:58

All songs by Carmine Appice, Tim Bogert, Jim McCarty, Rusty Day unless as stated

Cactus
*Tim Bogert - Bass, Vocals
*Carmine Appice - Drums, Percussion, Vocals
*Jim McCarty - Guitar
*Rusty Day - Vocals, Harmonica

With

*Ron Leejack - Guitar

*Duane Hitchings - Organ, Piano, Electric Piano

*Werner Fritzchings - Guitar

Cactus
1970  Cactus (Japan SHM remaster)
1971  One Way...Or Another (Japan SHM remaster)
1971  Ultra Sonic Boogie (2010 issue)

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Cactus - One Way...Or Another (1971 us, solid hard boogie 'n' roll, japan SHM remaster)

One Way... Or Another (1971) was the second studio outing to feature the incipient incarnation of supergroup Cactus, comprised of Vanilla Fudge rhythm section Carmine Appice (drums) and Tim Bogert (bass), as well as former Amboy Dukes lead vocalist Rusty Day (vocals/mouth harp), and Jim McCarty (guitar) from Mitch Ryder & the Detroit Wheels and the Buddy Miles Express. Even as their debut was ostensibly rawer, they retained the same amp'ed-up electric blues reminiscent of early Grand Funk Railroad and Foghat. 

The more polished outcome heard on their sophomore effort is undoubtedly the direct result of assistance from recording engineer extraordinaire Eddie Kramer and their upgraded digs at the recently completed Electric Lady Studios, which they inhabited shortly after the passing of the facilities' owner, Jimi Hendrix. Immediately, the proceedings are thrust into high gear with a languorous and seething interpretation of Little Richard's "Long Tall Sally." While not the extended barnburner it became in concert, it gets things off to a rousing start. The lightweight up-tempo "Rockout, Whatever You Feel Like" could easily be mistaken for Jo Jo Gunne, especially in Day's vocal asides, strongly recalling Jay Ferguson and company. 

"Rock 'N' Roll Children" is a heavier number with McCarty unleashing rounds of impressive and impellent fretwork churning atop the simmering backbeat. Cactus do what they do best, returning to their boogie rock roots on the suitably named "Big Mama Boogie - Parts 1 & 2." McCarty's pumping acoustic opening is perfectly augmented by some organic mouth harp courtesy of Day before launching into an explosive assault of pure, unadulterated proto- metal. The cover of Chuck Willis' "Feel So Bad" is given a sizable shakedown, yet doesn't quite seem to live up to its potential. The opposite can be said of the understated "Song for Aries." Although clocking in at just under three minutes, the instrumental is a showcase for McCarty's immorally underrated lead guitar. 

The long-player concludes with two full-blown centerpieces, revealing Cactus' strength as a formidable powerhouse combo on the autobiographically-inspired rave-up "Hometown Bust." Fittingly, this lineup and album come to an end on a high note with the title track "One Way...Or Another." The number is quite possibly the finest original to have been worked up by the band. The cut blazes from tip-to-tail and if the primary riff seems familiar, that may be because it was lifted almost verbatim from Jeff Beck's Beck-Ola-era tune "Rice Pudding." However in Cactus' care, it stomps with a bit more crunch and no-nonsense attitude.

by Lindsay Planer

Tracks
1. Long Tall Sally (R.Bumps Blackwell, E. Johnson, R. Penniman) - 5:54
2. Whatever You Feel Like - 4:00
3. Rock 'n' Roll Children - 5:44
4. Big Bad Mother Boogie - 5:29
5. It Feels So Bad (Chuck Willis) - 5:31
6. A Song For Aries - 3:05
7. Hometown Bust - 6:39
8. 1 Way Or Another - 5:06
All songs by Cactus except where indicated

Cactus
*Tim Bogert - Bass, Vocals
*Carmine Appice - Drums, Percussion, Vocals
*Jim McCarty - Guitar
*Rusty Day - Vocals, Harmonica

Cactus
1970  Cactus (Japan SHM remaster)
1971  Ultra Sonic Boogie (2010 issue)

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Curt Boettcher - There's An Innocent Face (1973 us, fabulous sunny melodic soft folk, Sundazed edition)

Anyone who has ever heard the amazing music of Sagittarius or the Millennium can testify to the talent and vision of musician/producer Curt Boettcher. His visionary production work with the aforementioned groups as well as other artists such as Tommy Roe, Eternity’s Children, and the Association set a new standard in sophisticated, artful pop production. 

After working as a producer with a multitude of artists and projects, Boettcher began work on a solo album. Along with musical cohort Web Burrel, Boettcher recorded There’s an Innocent Face over the course of nearly two years, taking his time because he wanted everything to be ‘perfect’. The end result was finally released in 1973 on Elektra records to little fanfare and even less sales. The album was released as by Curt Boetcher (with only one ‘t’) because an LA numerologist advised Boettcher that it would be lucky for him to alter the spelling of his last name, although clearly the move did nothing to advance the sales of the record. Resurrected some 29 years later on CD by Sundazed, Curt Boettcher’s only solo album is again available to his fans. It’s an interesting taste of Boettcher’s post-Millennium work, and it shows his growth from the primary role of producer to the primary role of musician. 

The album starts off with what is likely the best track on the disk, the lovely “I Love You More Each Day”. This song shows off Boettcher’s production skills in all their glory, with its rich layered background punctuated by Boettcher’s double-tracked vocals. “She’ll Stay With You” is a pleasant folk-pop tune which displays the country influence which is present on a few other songs on the album as well. Other tunes on the album are pure pop gems, such as the pretty “Love You Yes I Do” and the tuneful “Malachi Star”. In addition to a number of upbeat songs, several are slower, like “Lay Down” and “I’ve Been Wrong”. Overall, the style of the album is very laid back. 

The basic accompaniment for all the songs on the album is simply acoustic guitar, sometimes joined by keyboards and other instruments and effects. Although there are a few enjoyable songs, There’s an Innocent Face does not display Boettcher’s genius as readily as his work with Millennium or Sagittarius does. Boettcher’s songwriting and musicianship are fairly accomplished, but somehow the songs don’t endear. Fans of Curt Boettcher will enjoy hearing his progression from his Millennium days, but they won’t find anything nearly as engaging as “The Island”, “It’s You”, or “To Claudia on Thursday”. This reissue from Sundazed is attractively packaged and features informative liners by fellow Fufkin writer and noted Boettcher scribe Dawn Eden.

by Kurt Sampsel

Tracks
1. I Love You More Each Day (D. Gere, C. Boettcher, W. Burrel) - 2:36
2. Such A Lady (R. Naylor, C. Gusias) - 2:03
3. She'll Stay With You (D. Gere) - 2:19
4. Love You Yes I Do (J. Netkin, C. Boettcher, W. Burrel) - 3:14
5. Without Her (C. Gusias) - 1:23
6. Bobby California (D. Gere) - 4:34
7. The Choice Is Yours (M. Rooney, T. Rooney) - 2:08
8. Malachi Star (J. Pulver, R. Wachtel) - 2:44
9. Lay Down (D. Gere) - 3:21
10.I've Been Wrong (D. Gere) - 3:34
11.Wufferton Frog (J. Netkin, M. Schwimmer) - 4:02

Musicians
*Curt Boettcher - Vocals, All Instruments
*Web Burrel - Vocals, All Instruments
*Red Rhodes - Steel Guitar (Track 3)
*Skip Konte - Keyboards (Tracks 5, 6, 11)
*Tessie - Congas, Percussion (Track 4)
*Wayne Yentis - Arp Synthesizer (Tracks 3, 8)
*Les Thornton - Tuba (Track 1)
*Willis Masonheimer - Tuba (Tracks 1, 11)
*Ric DeLong - Bass, Vocals (Tracks Tracks 1, 2)
*Michele O'Malley, Nancy Hansen, Mary Hostvet, Lucy Sickler - Vocals
*Dottie Holmberg, Constantine Gusias, Bill Bowersock, Matt Vernon - Vocals

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