Ethos - Ardour (1976 us, amazing prog rock, 2009 japan remaster)

For their 1976 debut album "Ardour", released on the prestigious Capitol Records, Ethos proved themselves the equal of their British progressive counterparts. The band combined the tried and true blueprints for success pioneered by Yes, King Crimson, Gentle Giant and Genesis with their own unique Anglo-American slant. When Ethos released "Adour" the band was a five piece ensemble boasting two flashy keyboardists in Duncan Hammond (organ, synthesizer, piano, ellophonium, voices, Mellotron) and Michael Ponczek (organ, synthesizer, Chamberlain).

But for their 1977 follow-up - "Open Up" - the band paired down to four: Wil Sharpe (guitars, mandolin, vocals), Brad Stephenson (bass and bass pedals, vocals), Mark Richards (drums, percussion, effects), and Michael Ponczek assumed sole responsibility for keyboards.

Ethos possessed the uncanny ability to mesh the pastoral textures, sonic dynamics, and the sophisticated syncopation and complex time signatures of early Yes, King Crimson, and Gentle Giant without succumbing to the outright mimicry of a band like Starcastle, who were tagged with the unflattering 'YES-light' label early in their career. Ethos were undeniably a symphonic progressive rock band, yet established their own distinctive harder edged style thanks in no small part to lead vocalist and primary songwriter Will Sharpe, who did not try to parrot the vocal styling of either Jon Anderson, Greg Lake, or Peter Gabriel to favor grace with fans of British progressive rock.

The interplay between Sharpe's guitar and Michael Ponczak's moody Chamberlain (an electro-mechanical keyboard instrument similar to the Mellotron) converged as a haunting reminder of the early Crimson classics "In The Court Of The Crimson King" and "In The Wake Of Poseidon". So comparisons to early Crimson are not without merit.

In fact when asked why Ethos ultimately broke up Will Sharpe writes in the linear notes of the CD "Relics": "We desperately wanted to become the American response to King Crimson, but America didn't want a response."

Echoes of Crimson's "21st Century Schizoid Man" and "Pictures Of A City" are ever present throughout the the first track "Pimp City".

"Memories" employes the moody ethereal Chamberlain washes, in much the same way as Ian McDonald manipulates his Mellotron on the Crimson ballad "I Talk To The Wind", then the tune abruptly soars into the cosmos with a sequence of otherworldly beeps and blips from Ponzek's Mini and Polly-Moog.

"Player Of The Game" begins with extraneous studio noodling and chatter before ripping into some creative syncopated instrumental interplay and complex tempo changes courtesy of drummer extraordinaire Mark Richards and bassist Brad Stephenson. I'm reminded of Pink Floyd's "Money".

"Start Anew" brings back memories of the first time I experienced "The YES Album" with Chris Squire's ferocious Rickenbacker 4001 bass licks and Steve Howes blistering guitar work. Will Sharpe and Brad Stephenson share that same symbiotic relationship as Squire and Howe. The tune picks up even more kinetic energy as it progresses channeling elements of Frank Zappa and Happy The Man during the instrumental interlude.

"U.V. Melody" is a 32 second snippet performed with Chamberlain flutes, evoking images of the Renaissance Age and a band of traveling troubadours. Comparable to Gryphon, Focus, and Gentle Giant.

"Marathon II" borrows heavily from their earlier tune "Everyman" from the "Adour" album, dominated by Michael Ponzek's regal Chamberlain and Will Sharpe vocals. "Sedona" is a hypnotic dreamlike ballad you might expect to hear on Pete Sinfield's soothing debut album "Still". We are whisked away courtesy of Sharpe's classical nylon guitar and Ponzek's soaring synths and orchestral Chamberlain arrangement. Quite easy to imagine yourself sitting on a deserted beach, bare toes in the sand, sipping coconut milk while a brisk tropic breeze blows gently on your face, without a care in the world.

The album saves the best for last - "Close Your Eyes", a killer powerhouse track drenched with eerie Fripp-style guitar distortion, creative tempo shifts, awash with symphonic Chamberlain sweeps, and some of the flashiest portamento Moog solos this side of Kit Watkins or Patrick Moraz.

This is amazing music that deserves to be experienced by all fans of the genre. Unfortunately the album remains securely locked in the vaults of Capitol Records, and quite doubtful that it will ever be re-issued. Although it was released on CD for a short time in Japan so you might be fortunate enough to secure a copy on Ebay, Amazon, or specialty shops like Greg Walker's Syn-Phonic Music (Japanese Tachika Mini LP Sleeve).

Based on the sheer number of groups dabbling in prog/rock during the mid to late 70s' it was indeed a most productive time for the genre. But by the time the American artists dipped their toe in the progressive waters the popularity was on the wane. Even YES and Genesis were streamlining their approach to become more commercially accessible as the 80s' approached.

The groundswell support for the disco revolution - spurred on by the blockbuster film "Saturday Night Fever" - as well as the burgeoning underground punk scene sounded the death knell for the upstart American progressive groups at the close of the decade. And as a result brilliant bands like Ethos are reduced to little more than a footnote in the history of the genre - or worse yet - completely forgotten.

Don't allow the memory or music of Ethos to dissolve into oblivion. Seek out the three Ethos albums: "Adour", "Open Up" or "Relics" and add them to your collection. You won't be disappointed.

by Joseph Shingler on January 6th, 2012

Tracks

1. Intrepid Traveller - 6:19

2. Space Brothers - 6:11

3. Everyman - 5:00

4. Atlanteans - 7:08

5. The Spirit Of Music - 3:54

6. Longdancer - 5:21

7. The Dimension Man - 7:56

8. E'Mocean (Mark Richards) - 4:35

All compositions by Wil Sharpe except where noted

Ethos

*Wil Sharpe - Acoutic, Electric Guitars, Voice, Mandolin

*Michael Ponczek – Mini Moog, Poly Moog, Hammond Organ, Chamberlin, Rhodes Piano

*Mark Richards - Percussions

*Brad Stephenson - Bass, Voice

*Steve Marra - Vocals, Bass, Flute

*Duncan Hammond - Organ, Synthesizer, Piano, Ellophonium, Voices, Mellotron

1973-75  Ethos - Relics  

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Pete Townshend And Ronnie Lane - Rough Mix (1977 uk, awesome classic roots rock, 2006 digipak remaster)

It’s almost impossible to avoid describing Rough Mix as devotional music, but it’s equally difficult to reconcile that description with some of the album’s components. Townshend’s stinging guitar on “My Baby Gives It Away,” the chugging. Faces-like title instrumental and the wailing saxophone coda on Lane’s Fifties-style “Catmelody” are hardly typical of spiritual music. But then matters meditative have never before been fully integrated into the ugly, angry sounds we call rock & roll. Their juxtaposition here, in fact, might be one meaning of Rough Mix; it certainly ain’t smooth.

The Who’s Townshend and former Face Lane come by their rock & roll inclinations honestly, and obviously, but spiritual inclination is their long suit here. Both men are followers of Meher Baba, the Indian spiritual master who died in 1969, and this has given the album a sort of humility — not to say modesty — which is its special virtue.

Not surprisingly, almost everything Townshend does here owes a debt to the Who. “My Baby Gives It Away” is one of his improbable sexual misadventures, like “I’m a Boy” or “Pictures of Lily.” “Misunderstood” is more understated musically — just voice, guitar, harmonica, cowbell and a drum machine — but belongs with his best boasts, in the tradition of “My Generation.” “Just one want to be misunderstood/Want to be feared in my neighborhood.” Ten years ago, this probably would have been called a Dylan parody, but the resolution of the lyric is actually a lot closer to the self-doubt of The Who by Numbers.

“Street in the City” is helped by Townshend’s marvelous acoustic guitar, but it is dominated by an utterly unlikely horn and string arrangement. It is schmaltzy enough to pass for an outtake from Days of Future Passed, and as the album’s longest track, it is simply its most vexing.

“Keep Me Turning” is a spiritual parable that is undoubtedly much clearer to its author than to any other listener. The organ, guitar and drum interplay makes the song exciting, but what draws me back time and again is the yearning and vulnerable quality of Townshend’s vocal. This is spiritual rock & roll in the very best sense: it doesn’t always make sense except in the heart, which won’t ignore it. Its wit and charm strike beyond the confusion of its verses to the heart of the chorus, where the devotional imagery is most complete, and the guitar part at the bridge, which is among the most supple and liquid Townshend has ever done.

Lane’s songs reflect his recent work with Slim Chance; his last album, which has not been released in the U.S., had a hint (“Harvest Home”) of what is fully realized here. Lane has moved past straight rock & roll — although he makes his share of it on “Catmelody” and “Rough Mix” — into a merger of rock with Irish ballads and Scottish and English folk music. There is a kind of wisdom and assurance to these songs, and when he sings, “God bless us all,” or, of “all of my family and all of my friends,” he does so with sincere conviction. More wonderfully, there is no distance, no sense of trying to recapture something lost in a modern age. In addition, as John Prine once said of Jackson Browne. I don’t know where Lane gets his melodies. but I’d sure like to go there.

Lane makes his music with guitars, fiddles, banjos, drums, harmonica, electric bass. Although that sounds like a formula for folk rock, there is nothing of the haunted quality or joyousness of the greatest folk rock. Instead, there is a meditative air to the music, captured eloquently in the opening verse of his best song here, “Annie”.

What Lane does is hardly unprecedented. Dylan’s soundtrack to Pat Garrett and Billy the Kid, Eric Clapton’s 461 Ocean Boulevard, even Led Zeppelin’s “Stairway to Heaven” share a part of its wise and ancient spirit. (Clapton brings a blues guitar to “April Fool” that is its prettiest touch.) Townshend has made his share of songs with a similar feeling — silly as it was, The Who by Numbers’ “Blue, Red and Grey” had it — as has Lane himself: listen to the Faces’ “Debris.” What’s important is that the dedication and beauty of the music is as crucial as the homage it pays to its masters and traditions.

So the final numbers on Rough Mix, among the few true collaborations on the record, have a special flavor. Don Williams’ “‘Til the Rivers All Run Dry” is a country love song, but in this context — and considering Baba’s love for Jim Reeves’ “There’s a Heartache Following Me,” which Townshend did on his first solo album — it is clearly a tribute to the master.

“Heart to Hang Onto,” written by Townshend but on which Lane sings the verses and Townshend the choruses, wears an even thinner veil. There’s a brutal war going on in the song’s midsection between Townshend’s Tommy-like guitar and John Entwistle’s brass arrangement. This is the perfect musical expression of the cosmic quest — this is the real “The Seeker.” The lesson here is stated through a series of metaphorical characters, the most tragic of whom is Danny: “Danny, he wants to save for a new guitar/He’s gonna learn to play but he won’t get far.” Implicitly, Danny’s not going anywhere because he hasn’t made the connection; he has no “heart to hang onto,” which is to say he lacks the spirit to make the music move.

The glory of this album and of the work of Pete Townshend and Ronnie Lane throughout their careers is that art and the deepest spiritual aspiration are completely intertwined. Often, of course, that makes for a rough mix, and a rougher life. But it’s worth the turbulence, for it touches closer to the heart of the rock & roll experience than almost anything I know.

by Dave Marsh, October 6, 1977 

Tracks

1. My Baby Gives It Away (Pete Townshend) - 4:03

2. Nowhere to Run (Ronnie Lane) - 3:17

3. Rough Mix (Pete Townshend, Ronnie Lane) - 3:12

4. Annie (Eric Clapton, Kate Lambert, Ronnie Lane) - 2:56

5. Keep Me Turning (Pete Townshend) - 3:46

6. Catmelody (Kate Lambert, Ronnie Lane) - 3:12

7. Misunderstood (Pete Townshend) - 3:01

8. April Fool (Ronnie Lane) - 3:34

9. Street in the City (Pete Townshend) - 6:07

10.Heart to Hang Onto (Pete Townshend) - 4:28

11.Till the Rivers All Run Dry (Don Williams, Wayland Holyfield) - 3:54

12.Only You (Ronnie Lane) - 4:29

13.Good Question (Pete Townshend) - 3:34

14.Silly Little Man (Ronnie Lane) - 3:44

Musicians

*Ronnie Lane - Vocals, Guitars, Mandolins, Bass Guitars, Banjos, Ukuleles 

*Pete Townshend - Vocals, Guitars, Mandolins, Bass Guitars, Banjos, Ukuleles

*Charlie Hart - Violin (Track 4)

*John Entwistle - Horns (Track 10), Vocal (Track 11)

*Mel Collins - Saxophones (Track 6)

*Peter Hope Evans - Harmonica (Tracks 2,7)

*Benny Gallagher - Accordion (Track 4)

*John "Rabbit" Bundrick - Organ, Fender Rhodes (Tracks 2,3,5,10)

*Ian Stewart - Piano (Track 6)

*Eric Clapton - Electric Guitar (Track 3), Acoustic Guitar (Track 4), Dobro (Tracks 8,11)

*Graham Lyle - Twelve-String Guitar (Track 4)

*Dave Markee - Double Bass (Tracks 4,8)

*Boz Burrell - Bass Guitar (Tracks 10,11)

*Henry Spinetti - Drums (Tracks 2,3,5,10,11)

*Charlie Watts - Drums (Tracks 1,6)

*Julian Diggle - Percussion (Track 7)

*Billy Nicholls - Vocal Help (Track 11)

*Edwin Astley - Orchestrations (Track 9)

*Tony Gilbert - Orchestral Leader (Track 9)

*Charles Vorsanger - Principal Second Violin (Track 9)

*Steve Shingles - Principal Viola (Track 9)

*Chris Green - Principal Cello (Track 9)

*Chris Laurence - Principal Bass (Track 9)

Related Acts

1965-69  Small Faces - The Immediate Years (four discs box, 1st edition)
1967  Small Faces - Green Circles / First Immediate Album (rare Sequel release)
1968  The Small Faces - Ogden's Nut Gone Flake (2006 three disc box set)
1974-76  Ronnie Lane And Slim Chance - Ooh La La An Island Harvest (2014 double disc)  

1965  My Generation (two disc japan SHM-CD remaster)
1966  A Quick One (japan SHM-CD double disc box remaster)
1967  Sell Out (double disc japan SHM expanded edition)

1968  The Who - Live At Fillmore East

1971  The Who - Who's Next (Japan SHM)  

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Felix Pappalardi - Don't Worry Ma (1979 us, excellent amalgam of rhythm 'n' blues and classic rock, 2004 edition)

The late 1970s were a strange time. Many of the movers and shakers of the previous decade and a half had believed the press releases, and taken the ‘Year Zero’ impact of punk as being real, rather than a creation of various record company marketing departments. Punk was supposed to have cleaned out the Augean stables of the music industry, sweeping away all the old rockers of the '60s and early '70s with a cleansing tide of three chord noise.

Of course it didn’t happen like that but it is amazing how many people still believe that it did. Most of the famous musicians of previous years carried on regardless, often becoming more successful post-punk than they were before, albeit with shorter haircuts and less references to Middle Earth. However, others made a definite attempt to change their MO. One such was famous bassist and producer Felix Pappalardi.

As a producer, Pappalardi is perhaps best known for his work with British psychedelic blues-rock power trio Cream, beginning with their second album, Disraeli Gears. Pappalardi has been referred to in various interviews with the members of Cream as "the fourth member of the band" as he generally had a role in arranging their music. He also played a session role on the songs he helped them record. He also produced The Youngbloods' first album.

As a musician Pappalardi is widely recognized as a bassist, vocalist and founding member of the American hard rock band/ heavy metal forerunner Mountain, a band born out of his working with future bandmate Leslie West's soul-inspired rock and roll band The Vagrants, and producing West's 1969 Mountain solo album. The band's original incarnation actively recorded and toured between 1969 and 1971. Felix produced the band's albums, and co-wrote and arranged a number of the band's songs with his wife Gail Collins and with Leslie West.

In 1978 there were rumours that Pappalardi was reuniting with former Mountain drummer Corky Laing and joining Ian Hunter and Mick Ronson in a new supergroup. If that had happened it would have been fantastic but sadly it was pure rumour. Instead he did something completely unexpected: he made a soul album.

William Ruhlmann writes: '1979's Don't Worry, Ma was a Pappalardi solo effort, the follow-up to his 1976 album Felix Pappalardi & Creation, in which he teamed with a Japanese rock quartet. This time, he employed a bunch of New York super-session musicians, only acting as singer with a basic band consisting of guitarist Eric Gale, keyboardist Richard Tee, bassist Chuck Rainey, and drummer Bernard Purdie (who also, amazingly, was the credited producer instead of Pappalardi), plus a collection of strings, reeds, and horns, as well as a trio of female backup singers.

'Nor had Pappalardi, as he usually did, co-written original material with his wife and lyricist, Gail Collins. Instead, this is a collection of covers including the leadoff track, the folk-blues standard "Bring It with You When You Come," the folk standard "Water Is Wide," Tommy Tucker's 1964 R&B hit "Hi-Heel Sneakers," and, in a funk arrangement, Cream's "Sunshine of Your Love" (for which Pappalardi produced the original recording). The arrangements are in a bluesy, funky style, for the most part, suggesting Memphis soul or James Brown's band”.'

Tracks

1. Bring It With You When You Come (Traditional) - 3:43

2. As The Years Go Passing By (Deadric Malone) - 4:11

3. Railroad Angels (Marty Simon, Mylon LeFevre) - 4:35

4. High Heel Sneakers (Robert Higginbotham) - 4:45

5. The Water Is Wide (Felix Pappalardi, Gail Collins) - 3:00

6. Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 4:34

7. Caught A Fever (W. Kane) - 4:35

8. White Boy Blues (Panama Red) - 3:59

9. Farmer's Daughter (Gib Guilbeau, Mickey McGee, Thad Maxwell) - 4:12

Musicians

*Felix Pappalardi - Bass, Keyboards, Vocals

*Eric Gale - Guitar

*Chuck Tainey - Bass

*Bernard "Pretty" Purdie - Drums, Tambourine, Timpani

*Chuck Rainey - Bass

*Richard Tee - Keyboards, Piano

*Sanford Allen - Violin

*Julien Barber - Viola

*Al Brown - Viola

*Doreen Callender - Violin

*Norman Carr - Violin

*Jack Cavari - Guitar

*Arthur "Babe" Clarke - Clarinet 

*Selwart Clarke - Viola

*Burt Collins - Trumpet

*Eddie Daniels - Clarinet, Flute, Tenor Saxophone

*Noel de Costa - Violin

*Peter Dimitriades - Violin

*Corky Hale - Harp

*Hilda Harris - Background Vocals

*Kathryn Krienke - Violin

*George Marge - Oboe, Piccolo

*Irvin "Marky" Markowitz - Flugelhorn, Trumpet

*Yolanda McCullough - Background Vocals

*Kermit Moore - Cello

*Pancho Morales - Congas

*George Opalisky - Flute 

*Gene Orloff - Violin

*Horace Ott - Arranger, Conductor

*Victor Paz - Flugelhorn, Trumpet

*Maretha Stewart - Background Vocals

*David Tofani - Flute, Tenor Saxophone

*Robert Tozek - Violin

*Frank Wess - Flute, Tenor Saxophone

*Wilmer Wise - Clarinet, Tenor Saxophone

*George Young - Flute, Alto Saxophone, Tenor Saxophone

Related Acts

1969  Leslie West - Mountain (Japanese edition)

1969-73  Mountain ‎- Setlist The Very Best Of Mountain Live (2011 release)

1970  Mountain - Climbing! (2013 blu spec edition) 

1971  Mountain - Nantucket Sleighride (2013 Blu Spec japan)   

1974  Mountain - Twin Peaks (2005 digi pak)  

1976  The (Blues) Creation With Felix Pappalardi - Live At Budokan (rare double disc japan issue)

1969  Kensington Market - Aardvark (2008 remaster)   

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Why Not - Revolution Inc. (1967-80 uk, solid tough roots 'n' roll, 2000 edistion)

WHY NOT first started off in October 1965 when Ian Scotney met up with Geoff "Mad Dog" Horgan and had a jam together and decided to form a band. Importing Neil Adams on Drums and Platon Georgiades on Bass they decided to call their band THE PSYCHEDELIC SCORZONERA. (Scorzonera being a Spanish name for Hash or Pot). Geoff Horgan wanted the band name Why Not but was out voted by the other band members. At the time Beat Music was all the rage, but these four lads were not into that kind of music but were more interested in Psychedelic rock that was coming out of Chicago and Detriot at that time. In March 1966 they changed the name of the band to THE REVOLUTION. 

Importing a Manager to the Band they took on BIG GEOFF DULLEY who have performed in a blues band and who showed them the rope and found gigs for the band to perform. 

In 1967 the signed to Modern Home Music Records a small independent label in London, England and released their first Single titled A Side I´VE GONE penned by Geoff Horgan (Mad Dog as he was later known to fans) and the B Side WALKING BY MYSELF penned by Jans Laine.  The Single was quite a success and sold around 18,000 Vinyl Singles per mail order and at gigs of the band. Then was released their first long play Record titled "REVOLUTION 99" now available on Downloads worldwide. Many other albums were recorded and tracks released independently by the band on plain music cassettes and sold at their gigs.  

In 1968 the Band changed its name once again to NEW LIFE having imported a new Drummer into the Band KEN (last name unknown) and Neil Adams became Lead Singer and on Keyboards. They were to record with this line-up lots more independent recordings sold on music cassettes at their gigs. Geoff Horgan /Later known as Mad Dog) was writing all the songs at that time and they were recording hundreds of tracks in Neil´s garage or front room on 4 track and 8 track tape machines. A lot of those tracks are now available under New Life, The Revolution, and Why Not on downloads. They were turning out what one could call a new album nearly every week, a massive amount of tracks which WHY NOT now producer Dirk Buro at DB Tonstudio is now re-mastering for a series of Why Not Re-Masters Series being loaded onto the Internet very soon on hundreds of Albums on downloads eventally.

In June 1968 as well NEW LIFE got to perform the now famous free open air concert in Hitchin in Bedforshire (North Of London) before thousands of hippies performing all original songs in psychedleic mode. some photos of that gig you can see in Photos of Why Not above, and in the CD Booklet from their Revolution Inc. Album.

In 1969 the band members split up with Ian Scotney  moving to live in Australia.  

Geoff "Mad Dog" Horgan went out into the wilderness and decided to take up playing lead guitar and performed with various other bands, including an audition for the band Yes which he got turned down for, and eventually teamed up with a band called TOAD whom he only performed 2 gigs with but very well attended gigs. 

In December 1970 Geoff Horgan teamed up once again with Platon Georgiades on Bass and Neil Adams on Lead Vocals and two new members Rob Godwin on Drums and Chris Page on Keyboards (Cousin of Jimmy Page) and so Geoff Horgan got his way and WHY NOT was born onto the Rock scene, and so it is WHY NOT carries on still today.

Big Geoff Dulley took on the roll of Road Manager and WHY NOT got a new Manager Graham Rollinson (Penthouse Magazine) who had about 30 other bands under his wing and so WHY NOT turned professional and started 6 years career of recording and touring wth other well know bands. WHY NOT were told that they were never going to be the top band but were employed to merely be the support band for many other top named bands and toured with the likes of: Camel, Deep Purple, Argent, T-Rex, Taste, Stud, The Pretty Things, Colleseum, ELO, Grateful Dead, Formerly Fat Harry, The Who, to name but a few and any more.  They were signed still to Modern Home Records who were now a part of a major record group, and recorded in that period from 1970-1976 three albums, The White Album, The Pink Album and The Orange Album, the original demo recordings of those albums now available on Downloads worlwide.  

They toured all over Europe and the some other parts of the world performing their art of Progressive Rock music as a support band with some headlining dates as well, and two tours in the USA, and Japan. 

In 1976 Why Not split after having made some impact on the world of rock music but their progressive art of music did not catch on so the band members decided since their record contract had come to an end to go their separate ways. All photos of the band were mainly taken by their then Road Manager Big Geoff Dulley and as a result of a fire at his house all of their tour photos were destroyed over night which was a blow to the band as six years of touring all went up in smoke overnight.  

Some photos we retained but not many. If any fans ever saw WHY NOT perform and took photos we would be very happy to make copies of them. 

in 1980 Geoff "Mad Dog" Horgan got the band back together again to record a new idea album and all the original members of WHY NOT started work on this new idea. Geoff´s composing had improved somewhat and they started working on the new album. Memebers would come and go recording this album and it didn´t quite get properly finished so once again the band split up and all the members went onto to other things. That was the final ending of the original line-up of WHY NOT from the 1970´s. 

But it was not over yet by any means. Geoff "Mad Dog" Horgan still continued a career in music working as a songwriter writing songs for many other artists successfully and recording an album under the Why Not flag here and there with various line up´s of musicians as well as recording a lot of tracks that were never released which are now all featured on downloads today. (See Amazon WHY NOT under digital releases, mp3)

In 1992 Geoff met up with Reg Fellows (Producer of such bands as Diamond Head, Radio Moscow, Def Leppard, etc) ad who was also a big fdan on Why Not, and together they set about finishing off the Why Not album which was started in 1980. Together with the help of a few well known session musicians and Geoff re-doing some vocal and guitar parts  by 1994 thew album was finished and ready for release. 

But it took another few years before that album saw the light of day under going yet another digital re-master by Dirk Buro in 1999.

Four guys started the origins of Why Not in 1965 with a zeal to progress in music and now Why Not is in its 51st year in Rock Music with over 600 Albums plus to their credit most of which are on sale on downloads today, a band whose amazing output of songs totals around 6,000 tracks recorded and released, more than any other rock band in the history of Rock Music.  It´s an amazing output of songs and music over 50 years in Rock. 

WHY NOT were never the major label band with all the trimmings of promotion and publicity other rock bands received they always remained and Indie Rock Band recording and performing music of their own liking being free to record what they wanted to without being restricted by commercial output. Perhaps they might not of been the biggest name in Rock Music but they are still around releasing their art of Rock Music even today and as Platon Georgiades (Deceased) once said "Why Not is progression in every note". WHY NOT do music other bands only dream of doing. 

Nigel Molden former General Manager of Warner Bros: WHY NOT is always ten years ahead of the rest no wonder they are never considered a commericial Rock Band but a progressive one".

Fast Eddie Clarke (Ex-Motorhead/Fastway) "We are the old school WHY NOT was around doing one takers and recording lots of tracks hundreds in fact and making rock history they might never have been the top band but they are amazingly still at it if you don´t know WHY NOT then you don´t know Rock!"

Why-Not

Tracks

1. Mods And Rockers - 4:41 

2. Burning Up - 5:01 

3. Don't You Let Me Down - 4:18 

4. We Belong - 4:41 

5. Who Are You? - 5:17

6. I've Gone - 5:09

7. The Revolution - 5:28

8. The End (A Rock Opera) - 8:00

9. Friends - 3:57

10.The Story Of Why Not - 8:16

11.I've Gone - 3:39

12.Walking By Myself (Jans Lane) - 3:13

13.Curtains - 3:44

14.Bring It Down - 3:04

All songs by Geoff F. Horgan except where noted

Why Not

*Neil Adams - Vocals, Percussion

*Geoff F. Horgan - Lead, Rhythm Guitars, Vocals, Keyboards

*Platon Georgiades - Bass Guitar, Vocals

*Rob Godwin - Drums

*Chris Page - Keyboards, Mini Moogs

*Ian Scotney - Lead Guitars (Tracks 11, 12)

*Pete Cooke - Backing Vocals

*Mick Pritchard - Backing Vocals

*Ritch Battersby - Percussion

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Ethos - Relics (1973-75 us, extraordinary prog space rock)

Ethos were that rarest of things; an American progressive band who got a major label deal. Capitol signed the band around 1975 and let them release two albums before (presumably) pulling the plug. Of course, while in Britain it was punk that scuppered prog, in the States it was disco; unlike punk, a major-league cash cow for the record companies, without too much financial input. 

In 2000, an archive set, cheekily entitled Relics appeared, containing demos and live tracks from 1973-74, including early versions of both Intrepid Traveler and Pimp City. The material isn't all as good as that on their two proper releases, but most of it's pretty much up to scratch, making this a welcome find. The hidden track at the end is a slightly pointless instrumental jam, but as with most of the other tracks, it's got loads of (L. Duncan) Hammond and Ponczek's Mellotron and Chamby work, the only obvious exception being Intrepid Traveler, replacing the later version's Mellotron with string synth. Tape replay highlights are the great strings pitchbend work on Placebo and a lengthy section of flute lead on Experimental War.

Planet-Mellotron

Tracks

1. Nightingale - 6:24

2. Elephant Man - 2:48

3. Placebo - 9:00

4. Identity - 4:02

5. Experimental War (Instrumental) - 5:39

6. Troilus And Cressida - 3:29

7. Intrepid Traveler (Instrumental) - 4:45

8. Doing Your Duty - 2:10

9. Perceptions - 6:44

10.Pimp City - 7:33

10.-(Silence) - 1:02

10.1.Dream - 9:05

Tracks 1,2,3,5,6,7,8 recorded at Thiele Road home studio in 1974.

Tracks 4,11 recorded live at Electric Flag Concert in 1974.

Tracks 9,10 recorded on home equipment in 1973.

Ethos

*Wil Sharpe - Acoutic, Electric Guitars, Voice

*Michael Ponczek – Mini Moog, Poly Moog, Hammond Organ, Chamberlin, Rhodes Piano

*Mark Richards - Percussions, Moog Drum, Micro Moog, Voice

*Brad Stephenson - Bass, String Bass, Moog Bass Pedals, Voice

*Steve Marra - Vocals, Bass, Flute

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Butler - Butler (1973 new zealand, great fuzzy psych rock, 2016 remaster)

Having built a strong Christchurch following, the band took stabs at other South Island centres, returning to hometown Rotorua in 1971.

From there they began building up a North Island following, proving popular on the Univertiy circuit with their combination of originals and Led Zeppelin and Whishbone Ash covers.

Some television exposure followed with a spot on Happen Inn, Popco and Free Ride. This was fairly rare for and underground group and even with this they never really gained much pulling power.

In 1973 they recorded a self-titled album for Pye. It was released on the Family label an from it came the single Especially For You. 

more about Butler 

Tracks

1. Bang Bang (Sony Bono) - 3:57

2. Sucide Ride - 4:32

3. We're Getting Nowhere - 2:48

4. In The Morning - 3:06

5. Especially You - 3:11

6. Green River (John Fogerty) - 3:32

7. Reach Out (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 5:19

8. Tilda Jane - 1:40

9. Mistake - 1:50

10.Southern Music - 2:30

11.Here We Come - 2:51

12.Mirror Don't You Weep - 4:30

All songs by Angel Adams, Heidi Warren, Hori Sinnott, Steve Apirana except where stated

Butler

*Heidi Warren - Vocals, Lead Guitar 

*Steve Apirana - Vocals, Lead Guitar

*Hori Sinnott - Drums

*Angel Adams - Bass Guitar

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Joe And Bing - Daybreak (1971 us, magical sunny baroque folk, 2004 bonus tracks remaster)

A lost sunshine pop gem – with some unique Brazilian touches! The album's the first offering from the folk rock team of Joe & Bing – an earthy duo who remind us a fair bit of Alzo & Udine, with jangly use of acoustic guitar, sweet harmony vocals, and a surprisingly soulful undercurrent. But added to this already-great style are some beautiful arrangements by a young Deodato and Atlantic pop stringmeister Harry Lookofsky – expanding the sound wonderfully, and giving the album a beautifully airy quality. 

The record also has the distinction of being one of the few to appear in Brazil on the legendary Quartin label – no doubt because of the Deodato connection – but overall, it's got a wonderful post-folk sound that's right up there with the best Sunshine pop of the late 60s! Titles include "Summer Sound", "Sail", "Drifting With Time", "Fenario", "If Love's In Season", and "I'm Not Forgetting Your Name". CD also features a whole bunch of bonus tracks, including the tunes "Come & Bring The Sun Again", "Those Sunday Soda Pop Dreams", "More Than I Can Live With", and "Panther Pond Breakdown".

Tracks

1. Daybreak - 2:31

2. I'm Not Forgetting Your Name - 3:25

3. It's OK - 2:59

4. Summer Sound - 2:54

5. Fennario - 3:43

6. Love The One You're With (Stephen Stills) - 3:09

7. If Love's In Season - 2:53

8. Just Plain Livin' Blues - 2:21

9. Sail - 3:14

10.Drifting With The Time - 3:14 - 

11.Come And Bring The Sun Again - 3:15

12.Summer Sound - 2:47

13.If Love's In Season - 2:47

14.Without Her (Harry Nilsson) - 2:53

15.More Than I Can Live With - 2:31

16.Panther Pond Breakdown - 2:07

17.Those Sunday Soda Pop Dreams (William "Bing" Bingham, Joe Knowlton, McKeon) - 3:59

Words and Music by William "Bing" Bingham, Joe Knowlton except where noted

Bonus Tracks 11-17

Personnel

*Joe Knowlton - 5-string Banjo, Acoustic Guitar, Vocals

*William Bingham - Guitars, Vocals

*Ken Asher - Organ, Piano

*Joe Beck - Electric Guitar

*Garnett Brown - Trombone

*Geoffrey Daking - Drums, Percussion

*Eumir Deodato - Keyboards

*Joe Foster - Synthesizer

*Harry Lookofsky - Violin

*Donald MacDonald - Drums, Percussion

*Don Payne - Bass

*Nick Robbins - Synthesizer

*Dom Um Romão - Drums, Percussion

*Bob Rose - Electric Guitar 

*Rick Rowe - Flute

*Jimmy Seldar - Trumpet

*Dick Hurwitz - Trumpet

*Grady Tate - Drums, Percussion

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B.W. Stevenson - Calabasas (1974 us, excellent gently country rock, 2019 remaster)

"Calabasas" is the fourth album by BW Stevenson, released in 1974 on RCA, and is backed by the likes of Larry Carlton on guitar (who also played on the "My Maria" release), Kim Carnes and Linda Ronstadt.

Tracks

1. Look For The Light (Daniel Moore) - 3:12

2. Little Bit Of Understanding (Kenny Edwards) - 2:48

3. We Had It All (Donnie Fritts, Troy Seals) - 2:32

4. (Livin' It) Day By Day (B.W. Stevenson) - 3:45

5. Dry Land (Jay Pruitt) - 3:07

6. Anna-Lisa (Dave Ellingson, Kim Carnes) - 2:36

7. Please Come To Boston (Dave Loggins) - 3:58

8. Roll On (B.W. Stevenson) - 3:07

9. Song For Katy (B.W. Stevenson) - 2:51

10 Here We Go Again (B.W. Stevenson) - 3:59

Musicians

*B.W. Stevenson - Guitars, Vocals

*Larry Carlton - Guitars

*Jim Gordon - Drums

*Bobbye Hall - Percussion

*Jimmie Haskell - Moog Synthesizer

*Larry Muhoberac - Keyboards

*Joe Osborn - Bass

*Jay Pruitt - Keyboards

*Bobby Rambo - Guitars

*Red Rhodes - Steel Guitar

*Daniel Moore - Background Vocals

*Kim Carnes - Background Vocals

*Linda Ronstadt - Background Vocals

*Julia Tillman Waters - Background Vocals

*Kenny Edwards - Background Vocals

*Dave Ellingson - Background Vocals

*Andrew Gold - Background Vocals

*Darla Griser - Background Vocals

1973  B. W. Stevenson - My Maria  

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B. W. Stevenson - My Maria (1973 us, marvelous country soft rock)

Part of the Texan country-rock scene of the 1970s, B.W. Stevenson landed a smash hit in 1973 with "My Maria. Singer/songwriter B.W. Stevenson (the "B.W." reportedly stood for "Buckwheat" -- his real first name was Lewis) was born October 5, 1949, in Dallas, TX. As a teen he played in a variety of local rock bands before attending college, eventually joining the U.S. Air Force; upon returning from duty Stevenson settled in the Austin area, where he became a frequent attraction on the city's thriving club circuit. 

Upon signing to RCA he was marketed primarily to country listeners, enjoying little success with either his 1972 self-titled debut or its follow-up, Lead Free; the title track of 1973's My Maria, however, became a Top Ten pop favorite, although ironically it missed the country charts altogether. Stevenson never again recaptured the single's success, and after 1974's Calabasas he landed at Warner Bros. to issue We Be Sailin' a year later. "Down to the Station," from 1977's Lost Feeling, was his last chart hit, and after 1980's Lifeline his recording career was over. Sadly, Stevenson died on April 28, 1988, shortly after undergoing heart surgery; he was just 38 years old. 

by Jason Ankeny

Tracks

1. My Maria (B. W. Stevenson, Daniel J. Moore) - 2:33

2. Be My Woman Tonight (Al Anderson) - 2:36

3. Sunset Woman (Dave Loggins) - 3:30

4. A Good Love Is Like A Good Song (Casey Kelly) - 2:29

5. Grab A Hold Of My Soul (Alex Del Zoppo, B. W. Stevenson) - 2:51

6. Shambala (Daniel J. Moore) - 2:30

7. Lucky Touch (B. W. Stevenson) - 3:15

8. I Got To Boogie (Michael Smotherman) - 3:22

9. Remember Me (B. W. Stevenson) - 3:50

10.Pass This Way (B. W. Stevenson) - 1:32

Musicians

*B.W. Stevenson - Guitars, Vocals

*Larry Carlton - Lead Guitar

*Joe Osborn - Bass

*Larry Muhoberac Keyboards

*Jim Gordon - Drums

*Herb Steiner - Steel Guitar, Mandolin

*Rodney Garrison - Bass (Tracks 7,9)

*Donny Dolan - Drums (Track 7)

*Layton DePenning - Guitar (Track 7)

*Lorna Willard - Background Vocals

*Venetta Fields - Background Vocals 

*Clydie King - Background Vocals

*Daniel Moore - Background Vocals

*Taffy Danoff - Background Vocals

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Zephyr - Sunset Ride (1972 us, pure marvellous multicolor rock, 2007 remaster)

Zephyr the band will always be overshadowed by their original guitarist, Tommy Bolin. He found fame in the James Gang and Deep Purple, and Zephyr’s place in the canon, to most rock fans, is as the springboard for his talents. Their first album sold 100,000 copies and still stands as a unique piece of heavy metal history. The combination of Bolin’s robust but tasteful guitar playing (on songs almost all in the 6/8 time signature) and Candy Givens’ histrionic, even more overpowering singing makes ZEPHYR unlike any other metal album of the 60s. The record is spotty, mostly because Candy is uncontrolled and often unhinged. Half the time her voice is stunning, as in the opening “Sail On,” but the other half of the time it’s strident. Her obvious talent is not balanced by “taste.”•

The second album, "Going Back To Colorado", an attempt to add some complexity to Zephyr’s sound, softens the heavy metal edge, and it sold poorly. It’s even spottier than the debut, but includes some interesting experimentation that foreshadows their future. Bolin left after this album, and many don’t even know that Zephyr continued on as a band. Theoretically, the 1972 release Sunset Ride would be nothing but a footnote in the history of a well-known guitarist, an album to be filed with the Doors’ Other Voices and the Velvet Underground’s Squeeze. Indeed, Sunset Ride’s continued obscurity shows that critics and public alike dismissed it without listening to it. (It is housed in one of the ugliest sleeves ever, possibly another reason the album fell under the radar.) What a surprise, then, to discover the brilliant album it is.

Obviously the departure of Bolin liberated the band, and with Sunset Ride, the husband/wife team of Candy and David Givens truly came into their own as songwriters. Since the songs no longer needed to be structured to accommodate long guitar solos, the songwriting became impeccably tight. The experimentation on this album is entirely structured and intentional, the exact opposite of the kind of improvisation that passes for heavy metal “innovation.” The more refined and intricate song structure also works miracles with Candy’s singing. Gone is the wailing and screeching, most of which took place during and around Bolin’s solos when Candy obviously didn’t know what else to do. Here her voice is 100% under control. It’s a thing of beauty and power, potential completely fulfilled. New guitarist Jock Bartley’s jazzy but unobtrusive style and undistorted sound is a perfect fit for the songs. This is blues-rock, but it lacks the musical cliches of traditional blues. The production, which puts the percussion high in the mix and the guitar and voice low (the exact opposite of the first album) adds an eerie, late night feel; there’s no question that the *sound* of this album is as effective as the songs. The overall vibe is that of Candy struggling to the surface from a not-so-happy hole she’s found herself in. The end result is a positive one: wasted energy being trumped by creativity. The upbeat songs are filled with longing; the downbeat ones filled with hope. Moments like the raveup at the end of “Moving Too Fast” are intensely powerful, and lyrics like “I’ve been smokin’ hash/talking trash/wishing things weren’t real” have a sense of tragedy. This album has the kind of indefinable magic of a true masterwork.

The album itself is as perfectly structured as the songs within. Side one is relatively straightforward, developing the new style confidently but safely. “I Am Not Surprised” and “Moving Too Fast” brim with understated energy, “Someone To Chew” with sexual passion. “No Time Lonesome,” which has all of the heartbreak of a Hank Williams song, features a lovely, unexpected violin break by Bobby Notkoff, known for his work with Neil Young. On side two, the song cycle goes completely haywire, with each song being more experimental than the previous. Brilliantly, as strange as the songs are, they’re organized in a way that creates a perfect flow. “Sold My Heart” begins the side in understated (but lovely) fashion. Its mild country leanings are absorbed into the warped psychedelic country rock of “Sierra Cowgirl.” The following “Chasing Clouds” dispenses with the country and is pure downer psychedelia. Candy’s voice is almost buried beneath the heavy tremolo of the organ and the overwhelmingly loud cymbals. It feels like a windstorm many levels beyond the gentle breeze of the band’s name. Toward the end, a backwards guitar appears, moving the listener from this storm to one even more mysterious. The effect of floating in the sea, no destination in sight, is even more pronounced on “Sunset Ride.” It’s a wordless tone poem that anticipates the repetition and fade-in/fade-out structure of Brian Eno’s “Here Come The Warm Jets” and “Taking Tiger Mountain By Strategy.” The turn towards art-rock completes itself with the free-form introduction to “Winter Always Finds Me,” which could have been pulled from the weirdest parts of Kevin Ayers’ Shooting At The Moon album. When the song itself kicks in, it merges blues and jazz and brings the album to a breathtaking conclusion.

"Sunset Ride" combines startling performances, unique production, and amazing precision. While it’s instantly melodic and appealing, it takes many listens for the overall brilliance of this album to fully reveal itself. Sit back and feel it a few times, then really start to listen closely. It may seem absurd to think that a very American band who started out as heavy metal and gravitated to blues and jazz could be legitimately compared to Eno and Ayers, but like all works of genius, Sunset Ride defies categorization. If there’s anything here to criticize, it’s the inclusion of the much-covered “High Flying Bird” on side one. Zephyr’s rendition is fantastic, fits nicely in the context of this album, and gives Candy her best chance here to belt it out. Nonetheless, given the strength of Zephyr's own songwriting on this album, a song we’ve heard by dozens of other artists is a mild letdown, probably enough to keep the album from being “perfect.”

Like Bolin, Candy Givens would die young, about ten years after the release of this album. It’s sad that Zephyr didn’t produce an immediate followup, but it’s hard to imagine that they could have. By the time Sunset Ride ends, they seem completely spent. Despite the lack of product, Candy and David Givens stayed musically active for years. They reunited with Bolin for some concerts and even released a mildly inspired new wave-styled album under the Zephyr name in 1980. Nonetheless, Sunset Ride is their real swan song. It doesn’t have the same air of doom and foreshadowing as pre-death albums like Joy Division’s Closer or Badfinger’s Wish You Were Here, but it does have the feel of artists who are going through great pain and turning it into beauty. Candy’s ability to express this feeling without words in the title track is almost awe-inspiring. Her legacy lives on with Sunset Ride.

by Aaron Milenski

Tracks

1. I'm Not Surprised (Candy Givens, David Givens) - 5:12

2. Someone To Chew (Candy Givens, David Givens) - 3:00

3. High Flying Bird (Billy Edward Wheeler) - 3:34

4. No Time Lonesome (David Givens) - 4:00

5. Moving Too Fast (David Givens) - 5:00

6. Sold My Heart (David Givens, Jock Bartley) - 3:45

7. Sierra Cowgirl (Candy Givens) - 3:07

8. Chasing Clouds (Dan Smyth, David Givens) - 4:06

9. Sunset Ride (Candy Givens) - 3:45

10.Winter Always Finds Me (Alan Armstrong, David Givens, Jock Bartley) - 6:02

Zephyr

*Candy Givens - Keyboards, Piano, Vocals

*David Givens - Bass, Guitars, Vocals

*Jock Bartley - Guitar, Vocals

*P.M. Wooten - Drums, Percussion

*Dan Smyth - Keyboards, Organ, Piano

*John Alfonse - Congas

With

*Bobby Notkoff - Violin 

1971  Zephyr - Going Back To Colorado (2000 remaster)  

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