Tuesday, February 11, 2014

Donovan - In Concert, The Complete Anaheim Show (1967 uk, folk jazzy psych masterpiece, 2006 two disc set)




Donovan In Concert: The Complete 1967 Anaheim Show is an expanded version of the Donovan In Concert album released in 1968. This version includes 4 unreleased tracks from the concert. There are other four tracks that weren't included in the older version, but were released previously in the 2005 compilation Try For The Sun: The Journey Of Donovan: Epistle To Derroll, To Try For The Sun, Someone Singing and The Tinker And The Crab. Mixed by Peter Mew at Abbey Road Studios, London, September 2005.

Catch The Wind could not be recorded completely due to a machine problem, so just the second half of the song was recorded. The edition of the songs differs a bit from the 1968 version, changing the parts where Donovan talks between songs from the begining of a track to the end of the previous track. The version of Preachin' Love is 4:32 minutes longer than the one in the 1968 release, where they edited the sax and drums solo, maybe to fit in the vinyl record.

The sax part at the end of Mellow Yellow is longer than the 1968 version. The front cover is almost the same as the one in the original released, except the title is written on the left side. The original back cover (with a picture by Stephen Goldblatt) passed to be part of the booklet, and on the back cover is the track list and a picture of Donovan in white clothes playing guitar surrounded by flowers.

The concert was introduced by radio personality Rhett Walker, who makes a little introduction, saying the famous phrase "Welcome to the phenomenon of Donovan". On this version he's introduced by an unkown man. Walker describes an anecdote that had happened a few weeks before at the Hollywood Bowl Concert, and then hands the proceedings to Donovan's father, Donald Leitch:

It's a very widespread belief that the Anaheim Concert was recorded on September 23, 1967, but it's a confusion. On September 23rd Donovan played the Hollywood Bowl Concert, to which Rhett Walker refers in the introduction. In the paperback edition of Donovan's autobiography The Hurdy Gurdy Man there's a picture with the description: "The Hollywood Bowl, November 17th 1967". 

The place is correct, but the date is wrong, according to the person who took the photograph, Susan Geary, there were no pictures available from the Anaheim show, so they used pictures from the Hollywood Bowl for this album.

Donovan played a few songs still unknown to the audience: for example, Poor Cow (introduced by Donovan as Poor Love, its original title, which was changed when the song appeared in the film Poor Cow), Pebble And The Man (later to be re-worked as Happiness Runs in the Barabajagal album, that's why Donovan says he still doesn't know the name of the song) and the special track, Rules And Regulations, which would never be recorded again. He also plays songs of his up-coming album at that time, A Gift From A Flower To A Garden, which was released later in December 1967.

Donovan played with a group of musicians that had recorded with him on his previous albums, including flautist Harold McNair and percussionist Tony Carr: both create an outstanding atmosphere in Preachin' Love. A small part of the show is backed up with a string band to which Donovan refers to as The Flower Quartet. The concert was recorded on a four-track machine.
Donovan-unofficial

Finally. This 1967 concert recorded at the Anaheim Convention Center, just a few weeks after his Hollywood Bowl show, was recorded in its entirety and released as a single LP with a total of 14 tracks. This double-disc CD reissue contains 23 tracks, and is, as it survives, the entire gig. In addition, the sound has been painstakingly remastered; the result is a brilliant sounding document. 

Flow in a Donovan concert is important, and here, presented as it occurred, listeners can drift right into the tidepool of magic. The band is a quintet with Harold McNair on flute and saxophones, Loren Newkirk on piano, Andy Tronosco on upright bass, Tony Carr on drums, and John Carr on bongos. Donovan plays acoustic guitar throughout. The hippy mysticism and flower power poet is everywhere here. 

This isn't rock star excess at all, but an organic, drenched-in-sunshine concert full of gentleness with a premium on good vibes. Tunes not on the original LP and CD issues include "Sunny Goodge Street," "Epistle to Derroll," "Sand and Foam," "Hampstead Incident," "To Try for the Sun," "Someone Singing," "The Tinker and the Crab," and a partial recording of the second half of "Catch the Wind," which was included for purposes of completion, but was marred by a malfunctioning tape recording. 

Donovan was already an expert at getting audiences to eat out of his hand, and here that happens in spades. In fact the only album that comes close to having the flow of this concert was the studio recording of Van Morrison's Astral Weeks. While it's true this is only available as an import, it should be sought out by any fan, or, for that matter, any cynic who hasn't heard this particularly beautiful and airy genius of Donovan Leitch. With this presentation, Donovan In Concert becomes one of the great live albums of the '60s.
by Thom Jurek
Tracks
Disc one
1. Intro - 3:25
2. Isle Of Islay - 4:21
3. Young Girl Blues - 6:09
4. There Is A Mountain - 3:04
5. Poor Love (Poor Cow) - 3:28
6. Sunny Goodge Street - 3:13
7. Celeste - 5:15
8. The Fat Angel - 3:24
9. Guinevere - 3:39
10.Widow With Shawl (A Portrait) - 3:00
11.Epistle To Deroll - 5:53
12.Preaching Love - 9:38
Disc two
1. Lullaby Of Spring - 4:27
2. Sand And Foam - 3:21
3. Hampstead Incident - 5:10
4. Writer In The Sun - 4:11
5. Try For The Sun - 3:27
6. Someone Singing - 2:55
7. Pebble And The Man, Happiness Runs - 3:10
8. The Tinker And The Crab - 3:38
9. Rules And Regulations - 2:33
10.Mellow Yellow - 4:42
11.Catch The Wind (Part) - 1:16
All Music and Lyrics by Donovan

Personnel
*Donovan - Vocals, Acoustic Guitar, Harmonica.
*Lorin Newkirk - Piano.
*Andy Troncosco - Bass.
*Harold McNair - Flute, Saxophone.
*Tony Carr - Drums.
*"Candy" John Carr - Bongos, Finger Cymbals
*The Flower Quartet - Strings

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Monday, February 10, 2014

Twice as Much - Sittin' On a Fence, The Immediate Anthology (1966-68 uk, delicate baroque sunny folk psych)



One of the most anonymous-sounding acts of the British Invasion, Twice as Much was the duo of Dave Skinner and Andrew Rose, harmony singers who also wrote much of their own material. Signed to the Immediate label (run by Rolling Stones manager Andrew Loog Oldham), the pair recorded several singles and a couple of albums between 1966 and 1968. 

Most of these recordings were innocuous, pleasantly forgettable pop affairs in the Peter & Gordon/Chad & Jeremy mold, with light orchestral pop/rock arrangements that sometimes employed a touch of the Baroque. They had their only British Top 40 success with a cover of the Stones' "Sitting on a Fence"; although the Stones' version was one of their best cuts from the Between the Buttons era, the Twice as Much interpretation seems to miss the point completely, transforming it into a chipper, quasi-vaudevillian tune without a hint of ambiguity or sullenness. 
by Richie Unterberger

The duo's two albums are assembled together on one CD, and appended with singles that weren't on either, all in glittering sound (it took till the mid-'90s, at least, for proper sources to be assembled on the Immediate Records catalog). The first six tracks, representing single A- and B-sides, have a fair amount of appeal today as artifacts of '60s pop/rock, with "Step Out of Line," an original by the duo, probably representing their own sound best, kind of between Simon & Garfunkel and Peter & Gordon, and closer to the latter. 

The album cuts are a more difficult fit, ranging from Broadway tunes to covers of Beatles and other songs -- though if these guys were to have covered any Beatles tracks, the right ones were chosen in "Help!" and "We Can Work It Out," and the harmony versions of the Small Faces songs are an interesting variant on the latter, even if they won't displace the Small Faces' own renditions. 

There are also good covers of Phil Spector material ("Is That What I Get for Loving You Baby?") and rock classics like "Do You Wanna Dance," but their very best efforts were, in many ways, the duo's own songs, and filmmaker Peter Whitehead seems to have had the best instincts when he lifted their "Night Time Girl" from the first album for use in his documentary Tonite Let's All Make Love in London. Fans of Vashti Bunyan may also want to pick this CD up for the presence of "The Coldest Night of the Year," as the folksinging legend appeared with the duo, fully credited, on the record. 
by Bruce Eder 
Tracks
1. Sitting On A Fence (Mick Jagger, Keith Richard) - 3:07
2. Baby I Want You  - 2:14
3. Step Out Of Line  - 3:09
4. Simplified  - 3:24
5. True Story  - 2:42
6. You're So Good For Me (Charles Bell, Andrew Loog Oldham, Dave Skinner, Andrew Rose) -  2:33
7. I Have A Love (Leonard Bernstein) - 2:02
8. Help (John lennon, Paul McCartney) - 2:46
9. Is This What I Get For Loving You Baby? (Phil Spector, Gerry Goffin, Carole King) - 2:48
10.Night Time Girl  - 2:46
11.Life Is But Nothing  - 3:54
12.The Spinning Wheel  - 2:21
13.Happy Times  - 3:23
14.Sha La La La Lee (Mort Shuman, Kenny Lynch) - 2:08
15.We Can Work It Out (John Lennon, Paul McCartney) - 2:15
16.As Tears Go By (Mick Jagger, Keith Richard) - 3:16
17.The Time Is Right  - 3:03
18.The Summer's Ending  - 2:39
19.Play With Fire (Mick Jagger, Brian Jones, Keith Richards, Charly Watts, Bill Wyman) - 2:29
20.Why Can't They All Go And Leave Me Alone?  - 2:57
21.Crystal Ball (Mort Shuman, Scott Fagan) - 2:44
22.Hey Girl (John Phillips) - 2:25
23.Listen  - 2:40
24.Green Circles (Steve Marriott, Ronnie Lane, Mick O'Sullivan) - 2:38
25.Life Is But Nothing / Happy Times / Do You Wanna Dance (Dave Skinner, Andrew Rose / Bobby Freeman) - 3:35
26.You'll Never Get To Heaven  - 2:39
27.Coldest Night Of The Year (Barry Mann, Cynthia Weil) - 3:27
28.She's Alway On My Mind  - 2:23
All songs by David Skinner and Andrew Rose unless as else stated

Personnel
*David Skinner - Vocals, Keyboards
*Andrew Rose - Vocals
*Nicky Hopkins - Keyboards
*Alan Weighall - Drums
*Andy White - Drums
*Eric Ford - Drums
*Jim Sullivan - Guitar
*Jimmy Page - Guitar
*Joe Moretti - Guitar
*John McLaughlin  - Guitar
*Alan Hakin - Percussion
*Eric Allen - Percussion
*Red Weller - Percussion
*Arthur Greenslade - Orchestra Arrangements

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Sunday, February 9, 2014

Triangle - Triangle (1969-70 france, elegant progressive rock, 2010 remaster)



The short five years career of Triangle (1969-74) was very intense, starting with this first album (the most famous of the three) and released in 1970 containing their biggest hit, "Maybe tomorrow ". 

Triangle was, along with Martin Circus Variations and Zoo, the groups that  revolutionized the history of rock music in France in the early 70s. Formed by Papillon (bass, vocals), Jean-Pierre Prévotat (drums), François Jeanneau (brass, keyboards) and Marius Lorenzoni (guitar)

Their self titled debut is ann extraordinary album, in this 2010 Vinyl replica issue, are included bonus from their first two 1969, 45” and the single version of "Blow Your Cool", also the English and Spanish versions of "Maybe tomorrow". 

Triangle released three albums, which probably fall in the proto-progressive category. Generally they make guitar-dominated rock with slightly above average rhythmic complexities and changes in tempo in melody. 

They do veer off in various directions, psych, folk rock, classic guitar rock, touches of glam rock, proto prog, some nice and some less nice (i.e. schmaltzy) ballads. This album is one of the gems of French rock music.
Tracks
1. Peut-Être Demain - 4:47
2. Left With My Sorrow - 6:38
3. Blow Your Cool - 7:19
4. Guerre Et Paix - 9:21
5. M.L. - G.G. - 1:37
6. Cameron's Complaint - 9:43
7. Listen People (Alain Renaud) - 3:44
8. Please (Alain Renaud, Jean-Pierre Prévotat, Papillon Gérard Fournier) - 4:33
9. Élègie A Gabrielle - 4:58
10.Golden Screen - 3:23
11.Blow Your Cool - 3:09 
12.Ruido De Botas - 4:50 
13.Peut-Être Demain - 4:49  
Words and Music by François Jeanneau, Jean-Pierre Prévotat, Papillon Gérard Fournier, Paul Farges except where indicated
Tracks 2,3,6,10 Lyrics by Cameron Watson
Track 12  Lyrics by Roda Gil
Bonus Tracks 7-13

Triangle
*Alain Renaud - Vocals, Guitar (Tracks 7,8)
*Papillon «Gérard Fournier» - Bass, Vocals
*Jean Pierre Prevotat - Drums
*François Jeanneau - Saxophone, Keyboards (Tracks 1-6,9-13)
*Paul Farges - Guitar (Tracks 1-6,9-13)

1969-74  Triangle - Anthologie

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The Yardbirds - Live Yardbirds! (1968 uk, great blues rock, 2008 edition)



Arguably the most famous lost live album in history, Live Yardbirds Featuring Jimmy Page, cut at the Anderson Theater in New York on March 30, 1968, has been issued twice on vinyl legitimately (only to be suppressed by legal action) and innumerable times since as a bootleg. 

The original master tape has been improved significantly; the absence of vinyl noise is an obvious plus, but the sheer impact of the instruments is also startling, given that the show was taped by a producer who had never recorded a rock band before, on equipment that was ten years out of date. The producers have expanded this reissue with help from a separate reference tape, an audience recording that preserved the complete unedited show; it's somewhat low-fi, but it captures material edited from the finished master, and it allows for the restoration of little nuances. 

Page's guitar (which goes out of tune several times) is the dominant instrument, alternately crunchy and lyrical, but always loud and dexterous; the roughness of Keith Relf's singing is also more apparent, but his shortcomings don't really hurt the music. The performance also reveals just how far out in front of the psychedelic pack the Yardbirds were by the spring of 1968; Page had pushed the envelope about as far as he could, in terms of high-velocity guitar pyrotechnics. Ironically, this album isn't quite as strong as the contemporary Truth album by Jeff Beck, mostly because the Yardbirds were still juggling three sounds: the group's progressive pop/rock past, the psychedelia of 1968, and a harder, more advanced blues-based sound. 

It's clear that they had few places left to go with the first two; "Dazed and Confused," by contrast, represented something new, a slow blues as dark, forbidding, and intense as anything that the band had ever cut -- it showed where Page, if not this band, was heading. 
by Bruce Eder
Tracks
1. The Train Kept A Rollin'(H. Kay, L. Mann, T. Bradshaw) – 3:16
2. You're A Better Man Than I (B. Hugg, M. Hugg)/"Heart Full of Soul" (G. Gouldman) – 6:49
3. Dazed and Confused (Jake Holmes) - 6:47
4. My Baby (J. Ragovoy, M. Shuman) – 3:10
5. Over Under Sideways Down (C. Dreja, J. Beck, J. McCarty, K. Relf, P. Samwell Smith) – 2:32
6. Drinking Muddy Water (C. Dreja, J. McCarty, J. Page, K. Relf) – 3:15
7. Shapes Of Things (J. McCarty, K. Relf, P. Samwell Smith) – 2:48
8. White Summer(J. Page) – 4:18
9. I'm A Man (E. McDaniel) – 11:55
10.My Baby (J. Ragovoy, M. Shuman) – 2:38
11.I Wish You Would (Billy Boy Arnold) - 3:16

The Yardbirds
*Keith Relf - Harmonica, Lead Vocals
*Jimmy Page - Guitar
*Chris Dreja - Bass
*Jim McCarty - Drums, Vocals

1963-68  The Yardbirds - Glimpses (five disc box set, 2011 release)
1964  The Yardbirds - Five Live Yardbirds (2007 remaster and expanded)

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Saturday, February 8, 2014

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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Thursday, February 6, 2014

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)



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. 
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 (Steven Stills) - 3:02
11.Dust My Blues (Elmore James) - 2:40
12.Flat Black (Neil Merryweather, John Richardson, Robin Boers) - 4:16
13.You Must Live It (Lynn Carey, Neil Merryweather) - 2:46
14.Your Real Good Thing (David Porter, Isaac Hayes) - 3:33
15.Local 149 Are You Ready (Jumpin' Jack Velker, Neil Merryweather, John Richardson, Robin Boers) - 10:51
Songs 1-9 written by Neil Merryweather
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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Monday, February 3, 2014

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). 
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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Sunday, February 2, 2014

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)