Fickle Pickle - A Complete Pickle (1970-72 uk, amazing baroque psych harmonies, 2018 three disc clam shell box)

A North-West London studio based quartet consisting of members best known as producers, engineers and session players, Fickle Pickle was actually a bit of an English psych pop supergroup consisting of Cliff Wade (lead guitar, rhythm guitar and bass guitar) and Geoff Gill (drums) from The Smoke, best known for their late 60’s acid classic “My Friend Jack” along with Wil Malone (piano, organ and electric piano) from Orange Bicycle and Steve Howden (lead guitar, rhythm guitar and bass guitar) from Red Dirt. Vocals for the band were supplied by all four members. The three bands had in common that they recorded at Morgan Studios in London, so it was rather inevitable that the four combined their talents and recorded a handful of singles as well as an LP that received very limited distribution. Luckily for fans of the band, albeit some fifty years later, the complete works of Fickle Pickle have been lovingly compiled and annotated by David Wells in a three CD box set aptly titled “A Complete Pickle” released on Morgan Music Co. Ltd.’s Morgan Blue Town imprint.

The three discs comprising “A Complete Pickle” are thematic. Disc one contains the twelve tracks from Fickle Pickle’s 1970 album “Sinful Skinful” which was released only in The Netherlands on the Explosion Records label along with nine non-LP single sides issued on various labels between 1970 and 1972. Disc two has twenty six tracks recorded, all but five previously unreleased, taken from the Morgan Blue Town tape library, while the box set’s real treat is disc three which contains fifteen previously unreleased studio tracks recorded during rehearsals for a Dutch tour, making for a total of sixty two tracks, thirty six of which make their debut on “A Complete Pickle” and making for an exhaustive document, nearly three and a half hours in length, of a finely tuned band who most certainly deserved a much better fate than they received.

Disc one begins with the LP tracks which unlike their singles, consist of only band originals, with Gill, Wade and Malone contributing the lion’s share of tunes. Throughout the band exhibits its ability to combine gorgeous melodies and beautiful vocal harmonies with skillful musicianship. Produced by Geoff Gill and Cliff Wade, the albums opens with “California Calling” co-written by Gill, a jazzy keyboard driven number that was a mainstay in Fickle Pickle’s live set. Originally released as a medley, the album’s title track, a Wade, Gill and Malone composition is a piano led tune with delicate vocal harmonies and a tastefully restrained lead guitar line, while the medley’s other half “Sandy” is a beautiful ballad featuring exceptional acoustic guitar work. “Doctor Octopus” hints at the heavier side of the band as well as serving as an example of the band’s Monty Pythonesque humorous element. “Let Me Tell You” the opening track on side two of the album begins with more delicate piano and gorgeous vocals before a fuzz guitar enters building to a mid-tune solo giving the tune a much heavier feel. “Down Misty Lane” is the LP’s longest tune at about four and a half minutes and has a Move like vibe with its 12 string guitar fitting perfectly. 

Two other tracks in particular stand out. The vocal intro of “Sunshine Pie” brings to mind “Western Union” a smash hit by the US band The Five Americans before its tastefully restrained lead guitar line and solo take over, showcasing the rockier side of the band, and the album closing, Beatlesque “Our Time Is Thru” with its fuzzed out guitar leading to another hot solo, the tune being the album’s heaviest without question. As a finishing touch the band’s sense of humor shows once again as at the three minute mark the albums’ credits are read off. A very solid piece of melodic power pop one can only wonder why “Sinful Skinful” was a Dutch only release. With its combination of original material, masterful musicianship and excellent production there was certainly a place in music shops for an album of its quality. Disc one closes with nine non-LP single sides and includes some potential big sellers. The band’s take on Paul McCartney’s “Maybe I’m Amazed” is a prime example, with its piano intro and gorgeous vocals giving way to an uptempo lead guitar leading to a hot solo that plays the song out. With McCartney having not released the song as a single it seems Fickle Pickle’s label missed the perfect opportunity for a hit. The strongest track, however, may well be the band’s red hot cover of the Paul Williams classic “Just An Old Fashioned Love Song” a huge hit in the US for Three Dog Night. From the outset, the lead guitar is to the fore, with the piano, bass and drums all pushing the beat and the vocals much less prominent in the mix. This might just be the best recording of the song to date, and definitely another missed opportunity for a hit. One other single of note was “Millionaire” with its sitar-esque intro, delicately gorgeous vocals and lyrical social commentary.

Disc two consists of twenty six tracks, twenty one previously unreleased, taken from the Morgan Studios tape vaults. While the majority of tunes showcase the melodic side of Fickle Pickle and are dominated by keyboards and luscious vocals, there are five tunes in particular that remind the listener that the band was quite capable of rocking and deserve individual recognition. “Playing With Magic” opens with a heavy guitar intro before settling into a driving riff, supplemented by trippy phasing and an especially nice lead line. “Like A Good Man Should” has a driving beat as well as a stunning lead guitar line and solo complemented by Malone’s gorgeous piano interlude. “Ride Ride Ride” has plenty of punch supplied by its heavy guitar intro and stinging lead line, making for quite a snappy rocker. The group’s cover of Neil Young’s “Don’t Let It Bring You Down” features fine piano and organ work by Wil Malone with a smoking lead guitar line and an especially impressive solo, in addition to the band’s ever present melodic vocals. 

Malone’s “Everyday” is a moody tune which adds strings for texture, while containing even more impressive guitar work. The tunes found on this disc also show the close relationship between The Smoke and Fickle Pickle, as “Guy Fawkes” for instance, was indeed recorded by both bands. In addition, two cover tunes in particular stand out. America’s “I Need You” is especially fitting as it is centered around the band’s vocal harmonies with melodic piano accompaniment. The disc closes with a reggae flavored take on “Do Wah Diddy Diddy” a huge hit for Manfred Mann and another wonderful fit for Fickle Pickle’s luscious vocals. All in all, the tracks found on this disc stand as evidence of the vocal, arrangement and production talents of Fickle Pickle and hint at the possibilities had the band only been able to break through in either the U.K. or U.S. market.

The third and final disc of “A Complete Pickle” contains fifteen tracks, all previously unreleased, recorded in the studio in preparation for a tour of The Netherlands, and as such is an incredible document of the band’s musicianship and showmanship. The material is a wonderful mix of band originals and covers, and includes tracks from “Sinful Skinful” and the group’s single sides as well as tunes that had not been previously dedicated to tape but were part of Fickle Pickle’s live repertoire. The disc offers an opportunity to experience one of the band’s gigs, something previously only available to those lucky enough to have seen them on their Dutch tour. The set opens with a laid back, keyboard oriented take on “Maybe I’m Amazed” which may lack the fiery guitar work of the single release, but stands up well thanks to its gorgeous vocals. 

“Sinful Skinful” likewise relies on keyboards and vocal harmonies but is incredibly pleasant to the ear. A six minute version of Cliff Wade’s “People I Know” makes its debut in any form and does not disappoint, opening with gentle keyboards and vocal harmonies before the lead guitar takes over and delivers a memorable solo. A cover of Carole King’s “You’ve Got A Friend” fits the band perfectly with its mix of keyboards and vocal harmonies. As with the King cover, another track found only among the tour rehearsals is a ten minute plus take on Joni Mitchell’s “Woodstock” best known for the highly charting single release by Crosby, Stills, Nash & Young. The song differs greatly from typical performances by the band straight from its intro. The sound is dominated by its incendiary guitar and heavy beat and includes an impressive mid-tune solo, with Malone’s keyboards, especially his electric piano interlude, adding flavor to what is undoubtedly the heaviest song in the band’s live set. Two tracks taken from the group’s LP “Sandy” and “Down Sandy Lane” return the band to its more mellow, melodic side, showcasing the vocal abilities of the quartet. 

One of the songs from their unreleased studio demos, “Buena Vista” is a gorgeous mix of tastefully restrained guitars and beautiful vocal harmonies. The group’s humor is present once again on “California Calling” taking the band full circle to the opening track of “Sinful Skinful” and adds a delightfully light hearted break in the action. Following “Let Me Tell You” a track which fluidly moves from its gentle keyboard intro to its more uptempo guitar section highlighted by yet another spright, yet somewhat restrained solo. The set ends with the aptly titled show closer “Time To Go” an uptempo keyboard driven tune yet again showcasing the band’s vocal harmonies and employing percussion in the form of drums and handclaps as an outro. A delightful mixture of up and mid-tempo numbers the rehearsal recordings serve as a teaser of what a joy it would have been to see these four incredibly talented musicians live. Rare indeed is a combo consisting of members, all proficient on their instruments as well as capable of delivering distinctively gorgeous vocals. But such was the quartet which bore the moniker Fickle Pickle.

“A Complete Pickle” comes in a tri-fold digipak with each of the three discs tucking into a panel of the digipak. Also included is a twenty four page full color booklet with a detailed essay by David Wells. The booklet contains photos of the band members, artwork of the album and singles releases, as well as press clippings and other memorabilia. The music on this box set sounds crisp and clean thanks to the mastering job by Pete Reynolds. An incredible documentation of a band that was comprised of great songwriters, musicians and producers “A Complete Pickle” has a place in the collection of any fan of early 1970s pop psych music and will be of special interest to those familiar with the band’s who gave birth to Fickle Pickle, namely The Smoke, Orange Bicycle and Red Dirt and comes most highly recommended.

by Kevin Rathert

Tracks

Disc 1

1. California Calling (Danny Beckerman, Geoff Gill) - 2:15

2. Sinful Skinful (Cliff Wade, Geoff Gill, Wil Malone) - 3:12

3. Sandy (Cliff Wade, Geoff Gill, Wil Malone) - 3:21

4. Doctor Octopus (Cliff Wade, Geoff Gill, Wil Malone) - 3:22

5. Saturday (Geoff Gill, Wil Malone) - 3:05

6. Only For The Summer (Cliff Wade) - 3:21

7. Let Me Tell You (Geoff Gill, Wil Malone) - 2:16

8. Down Smokey Lane (Geoff Gill, Wil Malone) - 4:28

9. Blown Away (Geoff Gill, Wil Malone) - 2:48

10.Sunshine Pie (Cliff Wade, Wil Malone) - 2:30

11.Barcelona (Steve Howden) - 2:51

12.Our Time Is Thru (Cliff Wade, Geoff Gill, Steve Howden, Wil Malone) - 4:03

13.Millionaire (Wil Malone) - 3:23

14.Sam and Sadie (Danny Beckerman, Geoff Gill) - 2:18

15.Maybe I'm Amazed (Paul McCartney) - 2:39

16.Sitting On A Goldmine (Geoff Gill, Wil Malone) - 2:20

17.American Pie (Don McLean) - 4:03

18.Just An Old Fashioned Love Song (Paul Williams) - 3:06

19.Ask The People (Cliff Wade, Geoff Gill) - 3:12

20.The Letter (Paul Jenkinson, Philip Michael Hampson) - 2:17

21.Here And Now (Cliff Wade, Geoff Gill) - 3:19

Disc 2

1. Goodnight (Geoff Gill, Wil Malone) - 2:35

2. Keep On Doing What You Do To Me (Danny Beckerman, Geoff Gill) - 2:40

3. Do You Remember My Name (Geoff Gill, Wil Malone) - 3:19

4. Tell Me (Geoff Gill, Wil Malone) - 3:19

5. Playing With Magic (Geoff Gill, Zeke Lund, Peter Wilson, Mal Luker) - 3:06

6. Bringing It All Back Home (Cliff Wade, Geoff Gill, Wil Malone) - 2:20

7. Time To Go (Geoff Gill, Wil Malone) - 2:59

8. The Man With One Leg (Cliff Wade, Geoff Gill, Steve Howden, Wil Malone) - 2:21

9. Through The Days (Cliff Wade, Geoff Gill) - 2:58

10.Like A Good Man Should (Geoff Gill, Wil Malone) - 3:29

11.Old Feet, New Socks (Geoff Gill, Peter Wilson) - 3:43

12.Poor Little Frogs (Geoff Gill, Peter Wilson, Cliff Wade, Wil Malone) - 2:38

13.Sweet Wilfred A Rodent Of Note (Geoff Gill, Peter Wilson) - 3:00

14.Ride Ride Ride (Geoff Gill, Wil Malone, George Reed) - 2:38

15.Guy Fawkes (Geoff Gill, Wil Malone, George Reed) - 2:03

16.Jesus Cristo (Monty Babson) - 2:30

17.Holiday Farm (Geoff Gill, Cliff Wade, Wil Malone) - 3:14

18.Time To Go (Geoff Gill, Wil Malone) - 4:11

19.Buena Vista (Bob Grimm) - 3:15

20.Don't Let It Bring You Down (Monty Babson) - 2:52

21.Everyday (Wil Malone) - 3:19

22.Let Me Be The One (Monty Babson) - 3:35

23.I Need You (Gerald Beckley) - 2:46

24.Ring Me (Cliff Wade, Geoff Gill) - 2:36

25.I Love Every Little Thing About You (Stevie Wonder) - 3:13

26.Do Wah Diddy Diddy (Ellie Greenwich, Jeff Barry) - 2:57

Disc 3 Studio Rehearsals
1. Maybe I'm Amazed (Paul McCartney) - 3:42
2. Sinful Skinful (Geoff Gill, Peter Wilson) - 3:11
3. People I Know (Cliff Wade) - 6:01
4. Only For The Summer (Cliff Wade) - 3:12
5. Bringing It All Back Home (Geoff Gill, Cliff Wade, Wil Malone) - 4:09
6. You've Got A Friend (Carole King) - 4:05
7. Silently But I Do (Cliff Wade, Peter Wilson) - 4:01
8. Woodstock (Joni Mitchell) - 11:46
9. Sandy (Cliff Wade) - 3:31
10.Down Smokey Lane (Geoff Gill, Wil Malone) - 3:36
11.--Interlude-- - 2:49
12.Buena Vista (Bob Grimm) - 3:22
13.California Calling (Danny Beckerman, Geoff Gill) - 3:00
14.Let Me Tell You (Geoff Gill, Cliff Wade) - 2:50
15.Time To Go (Geoff Gill, Wil Malone) - 4:49

Fickle Pickle
*Geoff Gill - Drums, Vocals
*Cliff Wade - Lead Guitar, Bass Guitar, Piano, Organ, Drums, Vocals
*Wil Malone - Piano, Organ, Vocals
*Steve Howden - Vocals, Lead Guitar, Rhythm Guitar, Bass
With
*Danny Beckerman - Piano
*John "Zeke" Lund - Bass

1971  Fickle Pickle - Sinful Skinful
Related Acts

1967  The Smoke - It´s Smoke Time (bonus tracks edition) 
1970  Wil Malone - Wil Malone / Until the End
1970  Red Dirt - Red Dirt (2010 expanded issue) 
1970  Orange Bicycle - Orange Bicycle (Japan extra tracks remaster) 
1970  Bobak, Jons, Malone - Motherlight 

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Brownsville Station - Yeah! (1973 us, stunning greasy garage rock sleazy glam rock)

Formed in 1969 by Cub Koda, who later reaped the title as an honorable music historian, Brownsville Station issued a trio of albums prior to harvesting honey with this disc. Although such efforts received kind reviews, they failed to generate substantial sales. Despite the lack of vinyl interest, the Ann Arbor, Michigan band busted their butts touring the local circuit, where they drew a fanatical following.

Released in August 1973, Yeah! (Big Tree Records) featured Brownsville Station’s breakthrough hit, “Smokin’ In The Boys Room,” which zoomed to No. 3 on the national charts. Reflecting a wild orgy between Alice Cooper, the J. Geils Band, Slade and Paul Revere and the Raiders, the obnoxious ode to sneaking ciggies in the school’s loo, clanked, crunched and cackled to a raunchy repertoire of thumping rhythms and shouting choruses. A dozen years down the road, Motley Crue covered “Smokin’ In The Boys Room,” which cracked the Top 20.

Nearly every track on Yeah! could qualify as a jukebox favorite. It’s easy to hear how much fun Brownsville Station had singing and playing these punchy songs smacking of beer stains and the smell of nicotine. The band appears as if they have nary a care in the world. They eat, sleep and breathe rock and roll, and are thrilled to pieces to be sharing their passion with those willing to lend an ear.

Additional winners offered on Yeah! include the brawny bash and flash of “All Night Long” and the senselessly catchy “Let Your Yeah Be Your Yeah,” while a ripping revision of Hoyt Axton’s “Lightnin’ Bar Blues” and a spirited take of the Balloon Farm’s psychedelic scented “Question Of Temperature” should also be given special attention.

Carpeted with vintage guitar riffs gone mad, trashy drumming, shrill harmonica fills and wise-guy vocals, Yeah! serves as a scruffy synthesis of greasy garage rock, party hearty hard rock, bluesy boogie rock and sleazy glam rock. Relentlessly energetic, the album aptly blends slivers of corniness with killer sounds. Yeah! indeed…

by Beverly Paterson

With ten great songs, Yeah! is an album that lives up to its name -- quite possibly the only fully realized LP the band ever made. Eight covers, all given the treatment, and two originals -- one of which sold two million copies. Yeah! is the quintessential "nice little record" -- it won't take up a lot of your time, and it's got a very friendly vibe to it. The cover songs span a wide variety of musical styles, which isn't that surprising, considering that guitarist/vocalist Cub Koda has a deep knowledge of music history. From Hoyt Axton's "Lightning Bar Blues" to then-unknown Jimmy Cliff's "Let Your Yeah Be Yeah" to Lou Reed's "Sweet Jane," the band pumps out all of its songs in a chugging, lighthearted manner that ends up being nothing but fun. 

Lead vocals were previously the exclusive domain of bassist Michael Lutz, but Koda emerges as a singer as well; Lutz may have been the more prototypical rock singer, but it was Koda's sleazy, nasal snarl that worked to perfection on the classic hit single "Smokin' In the Boys Room." While the success of "Smokin" opened a lot of doors for the band, it also pigeonholed them in such a way as to render them almost un-arrestable only a couple of years later. Between their wild onstage antics and the fact that the follow-up album, School Punks, was a blatant attempt at cashing in, the band lost a lot of the credibility they had earned by playing straight-ahead rock & roll. Although Brownsville Station would never again capture the magic here, Yeah! easily stands the test of time -- it's truly delightful. 

by Geoff Ginsberg

Tracks
1. Question Of Temperature (Mike Appel, Ed Schnug, Don Henny) - 3:31
2. Lightnin' Bar Blues (Hoyt Axton) - 2:52
3. Take It Or Leave It (H. Cardell) - 3:00
4. All Night Long (Mike Lutz, Cub Koda) - 2:55
5. Let Your Yeah Be Yeah (Jimmy Cliff) - 3:37
6. Sweet Jane (Lou Reed) - 3:02
7. Love, Love, Love (Terry Knight) - 2:55
8. Go Out And Get Her (Doug Morris) - 2:56
9. Barefootin' (Robert Parker) - 2:55
10.Smokin' In The Boy's Room (Mike Lutz, Cub Koda) - 2:57

Brownsville Station
*Cub Koda - Guitar, Vocals, Harmonica
*Mike Lutz - Bass, Vocals, Guitar, Keyboards
*Henry H Bomb Weck - Drums, Vocals

1970  Brownsville Station - No BS
1972  Brownsville Station - A Night on the Town (2005 edition)
1974  Brownsville Station - School Punks 

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Brownsville Station - A Night on the Town (1972 us, tough hard boogie roots 'n' roll, 2005 edition)

Why do so many people react with a sniff of the upturned runny nose when Detroit bands are mentioned, and why do Detroit bands come on so macho-honk self-conscious? Brownsville Station are from Ann Arbor, not Detroit, but they have always been lumped with the shortlived Detroit Bands hype, this despite the fact that most of the Detroit bands snubbed ’em mercilessly.

Why were they snubbed? Because Brownsville didn’t put on any badass streetpunk revolutionary airs, that’s why. They were just kids from the duplexes of America, not the belly of the beast, and cared shit less about politix and just wanted to rock ‘n’ roll. The Frut, good reviews of whose first album inspired a record number of why – did – you – fucking – critics – con – me – into – buying – this – piece – of – shit? letters to rock magazines around the country but were liked ’cause they played their part in the Detroit scene, once said that “We’re the guys who used to beat up Brownsville Station in the parking lot.” Maybe so, but Brownsville Station are the guys who right now will blow Frut right off the stage.

Still, I gotta admit that their new album ain’t as good as their first one, which is mainly a production problem, but so what? Their first, released on Warners nearly two years ago, was a monster, and there’s enough monstro moves in here to make this well worth shelling out a few sheckels for, in this day when most of the stuff on the radio is shit and you don’t know who to trust anymore and even the Rolling Stones have fucked up.

“Rack with the Music” isn’t particularly original, but it’ll get you off your ass. It sounds like Creedence and Sly together, but both of them are great and declining now along with lotsa other heavies, and besides, if you ever once heard Brownsville Station in your life and Leonard Feather hit you with this in a Blindfold Test you’d tag it right snappy.

“Mister Robert,” drives full throttle from here cross every dragstrip coast to coast, and is every bit as good as the fastest, furiousest things on the first Moby Grape album, and has a secret message. One thing I can tell you, it ain’t about Bob Dylan. And the lazied-back Rock Prince it’s addressed to (“Get up off your ass and move!”) could well be taken as Everystar who ever lost his fire in the fog of fame, but that ain’t quite the truth either. So listen and puzzle over it awhile, and if you’re really buffaloed you can write me a letter and I’ll tell you.

“Wanted (Dead Or Alive)” starts out with a riff so banal it took some nerve for Cub Koda to pick it up when he wanted to write a song one day, but that makes it even better, the gall and glee of that is what all this noise’s been about for most of our lifetimes now, and besides it gets into something a little more “inventive.” “Country Flavor” is currently the highlight of their live show, because it’s catchy as a bitch and has an indestructible hook and they always get the whole audience to clap and sing along and not a cynical zhlub in the house refuses, they’re that infectious. “Leavin’ Here” is Motown raved-up neat as Rod Stewart ever did and less axes to grind too, and “The Man Who Wanted More” is, believe it or don’t, a high energy takeoff on “When the Saints Go you know what.” And “Jonah’s Here To Stay” even has a fine soprano sax solo out of the Coltrane fakebook by lead singer Mike Lutz, and that takes care of side two making it 100 percent good, so what are you waiting for? The pick of the litter.

by Lester Bangs, July 6, 1972

Tracks
1. Rock With the Music (Michael Lutz) - 3:22
2. I Got Mine (Michael Lutz) - 2:46
3. Lovin' Lady Lee (Tony Driggins) - 3:33
4. Mad for Me (Pookie Shark) - 2:39
5. Mister Robert (Pookie Shark) - 4:06
6. Wanted (Dead or Alive) (Cub Koda) - 3:28
7. Country Flavor (Tony Driggins) - 4:27
8. Jonah's Here to Stay (Michael Lutz) - 6:48
9. Leavin' Here (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:04
10.The Man Who Wanted More (Saints Rock 'n' Roll) (Traditional) - 2:13

Brownsville Station
*Cub Koda - Lead Guitar,Vocals,Harmonica
*Michael Lutz - Lead Vocals,Guitar,Kaeyboards
*Tony Driggins - Bass,Vocal
*David Henri Weck - Drums

1970  Brownsville Station - No BS
1974  Brownsville Station - School Punks 

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Renaissance - Illusion (1970 wonderful prog rock, 2010 bonus tracks remaster)

Although perhaps less adventurous, Illusion was on a par with its predecessor, being more disciplined and tunefully stronger, sign posting later Renaissance albums and the growing maturity of Relf and McCarty as songwriters. Unsurprisingly given its title, the opening song Love Goes On is a straight forward ballad with a chorus that’s both compelling and hypnotic. Golden Thread harks back to the first album with an extended piano intro although it’s more melodic in its structure. It develops into another memorable choral chant, with lead vocals by McCarty, interspersed with intimate piano moments that put me in mind of very early Genesis.

Love Is All echoes the sentiments of the opening song with a very similar feel whilst Mr. Pine is the track recorded with the Dunford/Crowe/Korner/Slade line-up. Written by Dunford, it’s arranged in three separate sections. The short opening song is folky and engaging, the mid-section more strident with echoes of King Crimson and Hawken (uncharacteristically) playing Hammond which he swops for harpsichord when the song returns to the mellow opening.

The tranquil Face Of Yesterday shows how Jane has developed as a vocalist, sounding more confident for the most delicate song recorded by the line-up thus far with beautiful instrumental work from Hawken, Cennamo and Relf. It’s a perfect foil for the bands lengthiest piece to date, Past Orbits Of Dust which follows. The edgy atmosphere is characterized by the rhythmic electric piano of guest keyboardist Don Shin and although very well played, for my money the more refined playing of Hawken is sadly missed. It also drags on longer than necessary with much self indulgent soloing contributing to the tracks length.

The three bonus tracks included by Esoteric are not in reality Renaissance material but are worthy additions anyway. These include two songs composed by McCarty and recorded in September 1970 for the soundtrack of the film ‘Schizom’. The dreamlike Prayer For Light is reminiscent of KC’s Epitaph although taken at an even slower pace and Walking Away continues in a similar vein with some lovely classical guitar playing. The last track All The Fallen Angels is a demo assembled by Keith Relf in April 1976 for a new band Illusion which was to feature the original Renaissance line-up. His voice seems to have deserted him on this occasion although the Mellotron backdrop and Cennamo’s poignant bass compensate. Sadly Relf was the victim of a fatal heart attack the following month after he was electrocuted at home playing guitar.

Possibly due to the fractured recording of the Illusion album it was only initially released in mainland Europe, Renaissance fans in the UK had to wait until 1976. In the meantime Michael Dunford assumed leadership of the band and the departure of Jane Relf soon after opened the door for Annie Haslam to begin another chapter in the bands history. But that’s another story, for now these two excellent releases, restored to pristine condition by Esoteric, are here to enjoy. 

by Geoff Feakes, 2011

Tracks
1. Love Goes On (Keith Relf) - 2:50
2. Golden Thread (Jim McCarty, Keith Relf) - 8:15
3. Love Is All (Jim McCarty) - 3:39
4. Mr. Pine (Michael Dunford) - 6:59
5. Face Of Yesterday (Jim McCarty) - 6:05
6. Past Orbits Of Dust (Jim McCarty, Keith Relf) - 14:43
7. Prayer For Light (From The Film "Schizom") (Jim McCarty) - 5:27
8. Walking Away (From The Film "Schizom") (Jim McCarty) - 4:19
9. All The Fallen Angels (Jim McCarty, Keith Relf) - 5:27
Tracks 1 - 6 recorded at Olympic Studios, Barnes, London and Island Studios, Basing Street, London.
Track 7,8 recorded at Advision Studios, London for the soundtrack to the film "Schizom" in September 1970.
Track 9 recorded during the Illusion demo sessions in April 1970.

Renaissance
*Jane Relf - Vocals, Percussion
*Keith Relf - Guitars, Vocals
*John Hawken - Keyboards, Piano
*Louis Cennamo - Bass
*Jim MCcarty - Drums, Vocals
With    
*Terry Crowe - Lead Vocals (Track 4)
*Michael Dunford - Guitars (Track 4)
*Neil Korner - Bass (Track 4)
*Terry Slade - Drums (Track 4)
*Don Shinn - Keyboards (Track 6)

1969  Renaissance - Renaissance (2008 remaster) 

1974  Renaissance - Turn Of The Cardss
Related Acts
1977  Illusion - Out Of The Mist (2011 remaster)
1978  Illusion – Illusion (2011 remaster) 
1963-68  The Yardbirds - Glimpses (five disc box set, 2011 release)
1964  The Yardbirds - Five Live Yardbirds (2007 Repertoire digi pack with extra tracks)
1965-68  The Yardbirds - Live At The BBC (2016 double disc remaster)  
1968  The Yardbirds - Live Yardbirds! (2008 edition) 

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Alan Bown - Outward Bown (1968 uk, remarkable swinging psych rock r 'n' b, 2011 extra tracks remaster)

Outward Bown is the first album by the R&B/psych-pop ensemble led by English trumpeter Alan Bown, recorded in 1967 and released in 1968 on Music Factory.

One of the most popular club bands of the Swinging London era, the Alan Bown Set abruptly changed direction in the Summer of 1967, shedding their soul/R&B togs to reinvent themselves as flower power pop merchants the Alan Bown! Under this new guise, they cut one of the lost jewels of the British psychedelic pop scene, the magnificent Outward Bown. 

In this release features the original album plus obscure B-sides and alternative single versions. Pieced together from recording sessions that spanned the summer of 1967 to spring 1968, Outward Bown deftly embraces all points of the psychedelic pop compass, taking in proto-hard rock, blue-eyed mod soul and, perhaps most notably of all, the voguish toytown pop sound.

Tracks
1. Toyland (Tony Catchpole, Jess Roden) - 2:32
2. Magic Handkerchief (Alan Bown, Jeff Bannister, Tony Catchpole, Jess Roden) - 3:16
3. Mutiny (Alan Bown, Jeff Bannister) - 2:59
4. All Along The Watchtower (Bob Dylan) - 3:09
5. Sally Green (Alan Bown, Jeff Bannister) - 3:18
6. Penny For Your Thoughts (Alan Bown, Jeff Bannister) - 3:38
7. Story Book (Alan Bown, Jeff Bannister) - 3:09
8. Technicolor Dream (Alan Bown, Jeff Bannister) - 2:51
9. Love Is A Beautiful Thing (Lee Pearl, Lewis Bellin, Harvey Pearl) - 3:31
10.Violin Shop (Tony Catchpole) - 2:59
11.You're Not In My Class (Alan Bown, Jeff Bannister) - 3:33
12.My Girl The Month Of May (Dion DiMucci) - 2:45
13.Little Lesley (Single B Side,1968) (Tony Catchpole, Jess Roden) - 2:10
14.We Can Help You (Single A Side,1967) (Alex Spyropoulos, Patrick Campbell-Lyons) - 2:25
15.Toyland (Single A Side,1967, Mono Mix) (Tony Catchpole, Jess Roden) - 2:53
16.Technicolor Dream (Single B Side 1967, Mono Mix) (Alan Bown, Jeff Bannister) - 2:52
17.Penny For Your Thoughts (BBC Session, September 1967) (Alan Bown, Jeff Bannister) - 2:41
18.Technicolor Dream (BBC Session, September 1967) (Alan Bown, Jeff Bannister) - 2:59
19.My Girl The Month Of May (BBC Session, September 1967) (Dion DiMucci) - 3:06
20.Pandora's Golden Heebie Jeebies (BBC Session, November 1967) (Gary Alexander) - 2:56
21.Toyland (BBC Session, November 1967) (Tony Catchpole, Jess Roden) - 2:32
22.Love Is A Beautiful Thing (BBC Session, Novovember 1967) (Lee Pearl, Lewis Bellin, Harvey Pearl) - 2:26
23.Magic Handkerchief (BBC Session, July 1968) (Alan Bown, Jeff Bannister, Tony Catchpole, Jess Roden) - 3:17
24.All Along The Watchtower (BBC Session, July 1968) (Bob Dylan) - 3:13
25.Gypsy Girl (BBC Session, June 1969) (Alan Bown, Jeff Bannister) - 2:02
26.Movie Star Baby (BBC Session, June 1969) (Tony Catchpole, Jess Roden) - 2:47
Bonus Tracks 13-26

Musicians
*Alan Bown (Alan James Bown) - Trumpet
*Jess Roden - Vocals
*John Anthony Helliwell - Tenor Saxophone, Clarinet, Recorder
*Jeff Bannister - Organ, Piano
*Tony Catchpole - Lead Guitar
*Stan Haldane - Bass Guitar
*Vic Sweeney - Drums

1965-67  The Alan Bown Set - Emergency 999 

1969  The Alan Bown! (2010 Esoteric remaster)
1970  Listen (2010 Esoteric remaster)
1971  Stretching Out (2010 Esoteric remaster)
Related Acts
1970-71 Bronco - Country Home / Ace Of Sunlight (2010 remaster)
1972 Keef Hartley - Lancashire Hustler (2009 esoteric remaster)
1974-80  Jess Roden - The Best Of (2009 remaster)

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Jefferson Airplane - Takes Off (1966 us, classic debut, 2003 expanded edition)

Marty Balin and Paul Kantner met during 1965 and their resultant musical relationship would lead to the creation of the Jefferson Airplane. This influential and successful American rock ‘n’ roll band would eventually be elected to the Rock and Roll Hall Of Fame. While there would be several personnel changes early in their existence, by the time of their first album release, guitarist Jorma Kaukonen, bassist Jack Casady, drummer Skip Spence, and co-lead singer Signe Anderson had all joined the band. Spence and Anderson would soon give way to Spencer Dryden and Grace Slick.

Jefferson Airplane Takes Off, released during 1966, is an album that often slides under the radar. It failed to crack the Billboard Magazine Album Chart top 100 and is frequently overshadowed by the brilliance of the releases that would follow. This is unfortunate as it is an album that can stand on its own merits.

The group’s early sound has been classified as folk-rock, but it also contains the beginnings of American psychedelic music. They would take the sound of such early psychedelic practitioners as The Holy Modal Rounders and the 13th Floor Elevators and refine and expand it until the experience was just as important as the music. This was especially true live, as the Airplane quickly became an innovative and popular concert draw.

Signe Anderson may have only recorded this one album with the group, but in some ways she was a good fit for Marty Balin. They tended to support one another rather than challenge each other, as would happen when Grace Slick joined the band following Anderson’s departure. “Bringing Me Down” is a good example of this supportive style. Anderson’s best moments come as the lead vocalist on “Chauffeur Blues” where her powerful voice just soars.

Takes Off is in many ways a Marty Balin album. The Paul Kantner-Grace Slick axis did not exist as yet, and the other group members had not begun to assert themselves. As such, Balin wrote or co-wrote eight of the eleven songs. His “Blues From An Airplane” is the first track on the album and was a great way to kick off a recording career. His performances on “It’s No Secret” and the cover song “Let’s Get Together” show his versatility and the purity of his voice. He and the band even manage to pull off an interesting version of the often-recorded “Tobacco Road.” It would be a Balin-Kantner collaboration, “Come Up The Years,” that would point the way toward the group’s future.

Jefferson Airplane Takes Off remains a formidable debut album from a group that would form an important part of the American rock heritage from 1965-1974. It is an excellent and interesting listen 50-plus years after its initial release.

by David Bowling, 11/15/2010

Tracks

1. Blues From An Airplane (Marty Balin, Skip Spence) - 2:10

2. Let Me In (Marty Balin, Paul Kantner) - 2:56

3. Bringing Me Down (Marty Balin, Paul Kantner) - 2:22

4. It's No Secret (Marty Balin) - 2:36

5. Tobacco Road (John D. Loudermilk) - 3:27

6. Come Up The Years (Marty Balin, Paul Kantner) - 2:30

7. Run Around (Marty Balin, Paul Kantner) - 2:36

8. Let's Get Together (Chester Powers) - 3:33

9. Don't Slip Away (Marty Balin, Skip Spence) - 2:32

10.Chauffeur Blues (Memphis Minnie, Ernest Lawler) - 2:25

11.And I Like It (Marty Balin, Jorma Kaukonen) - 3:15

12.Runnin' Round This World (Marty Balin, Paul Kantner) - 2:25
13.High Flying Bird (Billy Edd Wheeler) - 2:17
14.It's Alright (Marty Balin, Skip Spence) - 2:17
15.Go To Her (Paul Kantner, Irving Estes) - 4:09
16.Let Me In (Marty Balin, Paul Kantner) - 3:31
17.Run Around (Marty Balin, Paul Kantner) - 2:35
18.Chauffeur Blues (Memphis Minnie, Ernest Lawler) - 2:49
19.And I Like It (Marty Balin, Jorma Kaukonen) - ) - 8:16
20.Blues From An Airplane (Marty Balin, Skip Spence)- 2:10
Tracks 1-11 Original Album 1966 "Takes Off"
Tracks 12-14 from "Early Flight"
Track 15 from"Jefferson Airplane Loves You"
Tracks 16-17 Uncensored Versions
Tracks 18-19 Alternate Versions
Track 20 Instrumental Hidden Track

Jefferson Airplane 
*Marty Balin - Vocals, Rhythm Guitar
*Signe Toly Anderson - Vocals, Percussion
*Jorma Kaukonen - Lead Guitar
*Paul Kantner - Rhythm Guitar, Vocals
*Jack Casady - Bass Guitar
*Skip Spence - Drums
*Spencer Dryden - Drums

Related Acts
1972  Hot Tuna - Burgers (2012 audiophile Vinyl replica) 
1976  Hot Tuna - Hoppkorv (2012 audiophile Vinyl replica)
1973  Paul Kantner, Grace Slick, David Freiberg - Baron Von Tollbooth And The Chrome Nun 
1968  Alexander Lee Spence - AndOarAgain (2018 three disc remaster)

1966-69  Moby Grape - Live (Sundazed digipack issue)
1967  Moby Grape - Moby Grape (2007 remaster)
1967-68  Moby Grape - The Place And The Time (2009 Sundazed release)
1969  Moby Grape - Wow (Sundazed Issue)
1969  Moby Grape - Moby Grape 69' (2007 remaster and expanded)

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Luv Machine - Turns You On (1970-71 barbados, excellent rough hard psych rock with prog elements, 2006 bonus tracks remaster)

Luv Machine were victims to the classic business meets artist rip off paradigm and the band disintegrated almost as quickly as they came together. Thankfully they were able to record this wonderful album on the way and RAR deserve credit for bringing to our ears. The album is a wonderful boogie down fuzzed out rock feast. It combines elements of the sounds of Cream, 10 Years After and touch of Santana (during their initial psych-boogie incarnation). The music is punchy and filled with urgent soulful vocals and great harmonies. Main-man Michael Bishop wrote all of the songs and they manage to channel a funkified blend of Traffic era Steve Winwood with the propulsive rock of the aforementioned Cream. 

The disc is a treat from beginning to end. It leaves you wondering why these songs weren't instant classics of the era and didn't propel the band to superstardom. In particular tracks such as Lost and My Life is Filled with Changes present the diverse punch of the bands sound. The densely packed booklet that comes with this reissue is full of pictures of the band and a wonderfully complete bio written by Lee Dorian.

Luv Machine might have not scaled the heights of glory during their brief career but as this CD proves financial success doesn't necessarily equate with artistic mastery. Ultimately this thoroughly enjoyable CD leaves the listener wondering what other dusty gems are out there in the dust bins of history waiting to be discovered. It also gives us caution to pay attention to current underground acts due to the fact that we just might be ignoring a contemporary masterpiece.

by Keith Boyd, Feb.27.2007

Tracks
1. Witches Wand - 2:49
2. You're Surprised - 2:47
3. It's Amazing - 3:27
4. Happy Children (Errol Bradshaw, Michael Bishop) - 3:19
5. Everything (Martin Hall) - 3:20
6. Maybe Tomorrow - 4:20
7. Reminiscing (Vernon Pereira) - 2:56
8. Change Your Mind - 2:59
9. Corupt One - 3:50
10.Lost - 3:09
11.My Life Is Filled With Changes - 3:08
12.Portrait Of Disgust - 4:58
13.Don't Let The Blues Take Over Part 1 (Early Demo Version) - 2:58
14.In The Early Hours (Single B-Side) - 3:29
15.Dark Clouds (Early Demo) - 2:33
16.Do You Want My Love? (Unreleased Single B-Side) - 3:07
17.Break The News Gently (Post LP Line Up Demo) - 2:51
18.Don't Let The Blues Take Over Part 2 (Unreleased Single A-Side) - 2:45
All titles by Michael Bishop except where stated
Tracks 1-12 from original album " Luv Machine" 1970

Luv Machine
*Michael Bishop - guitar, vocals
*Bob Bowman - guitar, vocals
*Errol Bradshaw - drums, vocals
*John Jeavons - bass, vocals

1970  Luv Machine - Luv Machine

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Wishbone Ash - Wishbone Ash (1970 uk, solid hard blues rock, 2001 japan remaster)

For a band that quickly evolved into a radio-friendly prog-leaning outfit, it's a wonder that Wishbone Ash started out as the boogie and blues-based group that this debut reveals. If the term "jam band" existed in 1970, Wishbone Ash surely would have been a major player in that genre. As it was, this album stacked up nicely when compared with other British hard rock releases that year.

The dual lead guitar attack of Andy Powell and Ted Turner was a component that none of the above bands possessed, but unfortunately their (shared) lead vocals lacked the punch and authority necessary for hard rock bands to be taken seriously. So while they could rock as loudly and convincingly as virtually anyone, their lead singers, perhaps, held them back from being the force they should have been.

The follow-up, Pilgrimage, took steps to rectify Wishbone Ash's odd position, but this album nevertheless opened eyes and ears and revealed to the rock & roll community a band with incredible potential and talent. 

by Dave Sleger

Tracks
1. Blind Eye - 3:45
2. Lady Whiskey - 6:12
3. Errors Of My Ways - 6:57
4. Queen Of Torture - 3:25
5. Handy - 11:35
6. Phoenix - 10:27
All songs by Andy Powell, Martin Turner, Steve Upton, Ted Turner

The Wishbone Ash
*Martin Turner - Bass, Vocals
*Andy Powell - Guitar, Vocals
*Ted Turner - Guitar, Vocals
*Steve Upton - Drums

1970  Wishbone Ash - First Light (2007 release)
1972-2001  Wishbone Ash - Tracks (2001 double disc release) 
1972  Wishbone Ash - Argus (2013 SHM remaster) 
1973  Wishbone Ash - Wishbone Four (2015 audiophile remaster)
1973  Wishbone Ash - Live Dates (2013 double disc audiophile remaster)
1974  Wishbone Ash - There's the Rub (2013 SHM remaster)

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Terry Reid - Original Album Series (1968-91 fantastic box set, an amalgam of acid rock blues folk classic rock, 2015 five discs edition)

British rock singer Terry Reid could have been a lot more famous if he had been able to accept the slot of lead singer for the New Yardbirds in 1968. That slot, of course, went to Robert Plant, and the New Yardbirds became Led Zeppelin. Unlike Plant, Reid was also a guitarist, and the opportunity to head his own group no doubt played a part in his decision to gun for a solo career. Leading a guitar-organ-drums power trio, he recorded a couple of respectable, though erratic, hard rock albums while still a teenager in the late '60s. Some bad breaks and creative stagnation combined to virtually bring his career to a halt, and he never cashed in on the momentum of his promising start.

A teen prodigy of sorts, Reid had turned professional at the age of 15 to join Peter Jay & the Jaywalkers. His first couple of singles as a headliner found him singing in a sort of poppy blue-eyed soul vein. But by the time of his 1968 debut Bang, Bang You're Terry Reid, produced by Mickie Most, he'd switched to more of a hard rock approach. Most was also handling Donovan and the Jeff Beck Group at the time, and similarities to both of those acts can be heard in Terry Reid's first two albums -- proto-hard rock on the louder tunes, sweeter folk-rock on the mellow ones (Reid in fact covered a couple of Donovan compositions, although he wrote most of his own material). Reid's high voice was reminiscent of Robert Plant's, though not nearly as shrill, and his folky numbers especially are reminiscent of Led Zeppelin's most acoustic early cuts.

Reid, oddly, was considerably more well-known in the U.S. than the U.K. His first album, very oddly, was not even issued in Britain, although it made the American Top 200. It's been reported that he at least in part declined Jimmy Page's offer to join Led Zeppelin owing to his contractual commitments to record for Mickie Most as a solo artist, and to perform as an opening solo artist on the Rolling Stones' late-'60s U.S. tour. He did influence Led Zeppelin's history in a big way by recommending Plant and drummer John Bonham as suitable candidates for the group's lineup, after Plant and Bonham's pre-Led Zep outfit (the Band of Joy) played support at one of Reid's early gigs. Reid felt confident enough in his solo prospects to also turn down an offer to join Deep Purple (Ian Gillan was recruited instead).

An opening spot on the Rolling Stones' famous 1969 tour of America seemed to augur even brighter prospects for the future, but this is precisely where Reid's career stalled, at the age of 20. First he became embroiled in litigation with Mickey Most, which curtailed his studio activities in the early '70s. After a couple of personnel changes, he disbanded his original trio, leading a group for a while that included David Lindley and ex-King Crimson drummer Michael Giles (this quartet, however, didn't release any records). He moved to California in 1971 and signed to Atlantic, but his long-delayed third album didn't appear until 1973. Reid would release albums for other labels in 1976 and 1979, but none of his '70s recordings were well-received, critically or commercially (though 1976's Seed of Memory did briefly chart). He rarely recorded, though he did play some sessions and The Driver appeared in 1991.

Reid's catalog was reissued on various labels in the 21st century, and there was a resurgence of interest in his music as well. The Raconteurs recorded "Rich Kid Blues" for inclusion on 2008's Consolers of the Lonely, and made it a centerpiece of their live shows. He provided three songs to the soundtrack for Rob Zombie's horror film The Devil's Rejects. In 2009, he played the Glastonbury and WOMAD festivals. Two years later, he toured Ireland for the first time in 30 years and released the Live in London; it included performances of several new songs.

In 2012, Reid was invited to play London's most famous jazz club, Ronnie Scott's, in celebration of their 50th anniversary -- he sold out three nights. He also returned to Glastonbury and played the Isle of Wight Festival for the first time since 1971. Reid's songs gained traction with 2000s pop artists. Rumer featured "Brave Awakening" on her charting Boys Don’t Cry album. America’s Got Talent winner Michael Grimm included "Without Expression" on his album Gumbo. DJ Shadow collaborated with Reid, who wrote lyrics for "Listen" that appeared on Reconstructed: The Best of DJ Shadow.

Reid toured the U.K. in 2013 and 2014, and performed the whole of Seed of Memory at the Borderline. In April 2016, the Washington Post ran a story about Reid working in Johnny Depp's home studio with Aerosmith's Joe Perry on a song for the guitarist's forthcoming solo album. The same month, Light in the Attic announced the release of The Other Side of the River, a collection of unreleased material and alternate takes from the 1973 album sessions for the twice-recorded River -- some that Reid didn't even remember. It was released in May. 

by Richie Unterberger

Tracks

Disc 1 Bang, Bang You're Terry Reid 1968

1. Bang, Bang (My Baby Shot Me Down) (Sonny Bono) - 4:15

2. Tinker Tailor - 2:55

3. Erica - 3:52

4. Without Expression – 4:47

5. Sweater - 2:06

6. Something's Gotten Hold Of My Heart (Roger Cook, Roger Greenaway) - 5:02 

7. Season Of The Witch (Donovan Leitch) - 10:09

8. Writing On The Wall / Summertime Blues (Terry Reid / Eddie Cochran, Jerry Capehart) - 10:14

9. When You Get Home - 3:40

10.Loving Time (Eric Leese, Terry Reid) - 3:40

All compositions by Terry Reid except where noted

Disc 2 Terry Reid 1969 

1. Superlungs My Supergirl (Donovan Leitch) - 2:41

2. Silver White Light - 2:54

3. July - 3:32

4. Marking Time - 3:48

5. Stay With Me Baby (George David Weiss, Jerry Ragovoy) - 4:12

6. Highway 61 Revisited / Friends (Bob Dylan / Terry Reid) - 7:59

7. May Fly - 3:42

9. Rich Kid Blues - 4:14

All titles by Terry Reid unless as else written

Disc 3 River

1. Dean - 4:45

2. Avenue - 5:08

3. Things To Try - 4:25

4. Live Life - 5:11

5. River - 5;45

6. Dream - 5:20

7. Milestones - 5:52

All Music and Lyrics by Terry Reid 

Disc 4 Rogue Waves

1. Ain't No Shadow - 3:39

2. Baby I Love You (Phil Spector, Ellie Greenwich, Jeff Barry) - 3:52

3. Stop And Think It Over - 3:40

4. Rogue Wave - 5:42

5. Walk Away Rene (Bob Calilli, Mikel Brown, Tony Sansone) - 4:18 

6. Believe In The Magic - 6:32

7. Then I Kissed Her (Phil Spector, Ellie Greenwich, Jeff Barry) - 4:44 

8. Bowangi - 4:014

9. ll I Have To Do Is Dream (Boudleaux Bryant) - 5:26 

All tracks by Terry Reid except where indicated

Disc 5 The Driver
1. Fifth Of July (Louise Goffin, Reid Savage) - 5;11
2. There's Nothing Wrong - 5:05
3. Right To The End (Gerard McMahon) - 4:55
4. The Whole Of The Moon (Mike Scott) - 4:13
5. Hand Of Dimes - 3:04
6. The Driver (Part I) (Hans Zimmer, Terry Reid, Trevor Horn) - 0:45
7. If You Let Her - 4:28
8. Turn Around - 3:49
9. Gimme Some Lovin' (Muff Winwood, Spencer Davis, Steve Winwood) - 4:19
10.Laugh At Life - 4:48
11.The Driver (Part II) (Hans Zimmer, Terry Reid, Trevor Horn) - 4:37
All songs by Terry Reid except where stated

Musicians
*Terry Reid - Guitar, Vocals
*Keith Webb - Drums (Discs 1, 2)
*Eric Leese - Keyboards (Disc 1)
*Pete Solley - Keyboards (Disc 2)
*Leo Miles - Bass (Discs 3, 4)
*Conrad Isidore - Drums (Disc 3)
*David Lindley - Steel Guitar, Slide Guitar, Electric Guitar (Disc 3)
*Douglas Rodriguez - Guitar (Disc 4) 
*John Siomos - Drums, Percussion (Disc 4)
*James E. Johnson – Organ (Disc 4)
*Sterling Smith - Organ (Disc 4) 
*Terrence James - String Arrangements (Disc 4) 
*Dyanne Chandler - Vocals (Disc 4)
*Maxine Willard Waters - Vocals (Disc 4)
*Dennis Williams - Vocals (Disc 4)
*Joe Walsh - Guitar (Disc 5) 
*Jackie Lomax - Guitars (Disc 5)
*Brian Auger - Keyboards (Disc 5)
*Timothy B. Schmit - Bass (Disc 5)
*Alan White - Drums (Disc 5)
*Stewart Copeland - Drums (Disc 5)
*Jack Lancaster - Sax (Disc 5)
*Howard Jones - Keyboards (Disc 5)
*Enya - Vocals (Disc 5)

1966-69  Terry Reid - Superlungs / The Complete Studio Recordings (2004  two disc set) 
1974  Terry Reid - Seed of Memory (2004 remaster) 

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Claire Hamill - Stage Door Johnnies (1974 uk, delicate folk soft rock, 2006 japan issue)

Claire Hamill was born in Middlesborough in Northern England and has been in the music business since she was 17. In 1970 she was launched as one of Britain's first singer songwriters and seen by many commentators as in the vein of Joni Mitchell.

The album was "One house left standing" which showed the singer in a backdrop of her home town and a year later she went on her first U K tour supporting John Martyn.Up to 1973 she toured the USA with Procol Harum and Jethro Tull and came back to Britain to record her next album "October" at the same Manor studio of Richard Branson which Mike Oldfield was using to make what became "Tubular Bells".Her next tour support was for King Crimson.

In 1973 Claire Hamill met Ray Davies who signed her to his Konk label for her 3rd album "Stage Door Johnnies" an album which included her first covers. We Gotta Get Out Of This Place – (Mann, Weil) – the Animals worldwide hit from 1965, nothing can top that but this is suitably agrressive and angry.  

Oh Daddy (Blues) (You Don't Have No Mamma At All) – (Herbert, Russell) – First recording by Ethel Waters, Cordy Williams' Jazz Masters (1921)  but associated with  Bessie Smith (Clarence Williams at the Piano) from 1923. It has been done by a lot of folk blues jazz types in both instrumental and vocal versions. This is a good version and not dissimilar to what Ray was doing on some tracks of the Kinks "Muswell Hillbillies" (1971) album. All The Cakes She Baked Him – very Joni Mitchell but very good. Trying To Work It Out – more Joni. Geronimo's Cadillac – (C. Quarto, M. Murphy) – Co-written and recorded by American country singer Michael Martin Murphey in 1972 (also the title cut of his 1972 debut album) the song went to #37 in the US pop charts. The song has been often covered. Here, it sounds like a sister piece (in mood) to The Kinks' circa 1971. Very good. 

You Know How Ladies Are – quite beautiful with a touch of Ray Davies. Luck Of The Draw – very good with some nice up front twangy guitar and some hard lyrics. Stage Door Johnnies – Ray would love this … and so do I. Stage Door Johnnies was a English theatre reference to wealthy gentlemen who would wait outside the stage door hoping to escort chorus girls hem to dinner. The attract for the girls was (hopefully) marriage into the upper class, society and nobility.

With a little help from Frank...

Tracks
1. We Gotta Get Out Of This Place (Barry Mann, Cynthia Weil) - 3:20
2. Oh Daddy (Blues) (You Don't Have No Mamma At All) (Ed Herbert, William Russell) - 3:44
3. All The Cakes She Baked Him - 3:21
4. Trying To Work It Out - 3:32
5. Geronimo's Cadillac (Michael Martin Murphey, Charles John Quatro) - 4:22
6. Something To Believe In (Steve Miller) - 4:09
7. You Know How Ladies Are - 2:44
8. You Take My Breath Away - 2:34
9. Go Now (Larry Banks, Milton Bennett) - 3:36
10.Luck Of The Draw - 3:10
11.Stage Door Johnnies - 2:07
All tracks composed by Claire Hamill except where indicated

Personnel
*Claire Hamill - Guitar, Keyboards, Vocals
*Phil Palmer - Lead Guitar
*Roy Neve - Guitar
*Nick South - Bass
*Paul Westwood - Bass
*Phil Chen - Bass
*Dave Rowberry - Keyboards
*Clem Cattini - Drums
*Jim Frank - Drums
*Neil McBain - Drums
*Laurie Brown - Trumpet
*Ray Davies - Backing Vocals
*Diz Disley - Guitar
*Tim Hinkley - Keyboards
*Alan Holmes - Flute
*Lew Warburton - String Arrangements

1971  Claire Hamill - One House Left Standing (2008 remaster with extra tracks)
1972  Claire Hamill - October (2008 remaster)
1975  Claire Hamill - Abracadabra (2006 japan remaster)

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