A really great British group – one who are mostly acoustic, but hardly sound folksy at all – and who are only a trio, yet manage to come across with a much fuller sound than you might expect! It would be easy enough to link these guys with the acid folk scene of the time, but their phrasing is different and their vocals, even while harmonized, have a sense of darkness that sets them apart from the warmer tones of the Cali scene when in similar territory. The record almost feels more like some lost indie set from a decade later – touched with some of the melancholy of a Nikki Sudden album, but again with a different sort of phrasing – in ways that only further make it a standout set. Titles include "Clock Watcher", "Hard World", "People & Places", "Red Sun", "Lazy Day", "Newspaper Seller", "Brief Encounter", and "Songs Of Mine.
The only work of Peregrine, released in 1972. Steve Torrington, Chris Brighton, and Neil Bonner are all in charge of guitar and vocals, and they also use a 12-string guitar.The sound is a folk trio with only three guitars and beautiful harmonies. thing. It has a dark side that is irresistible for British folk lovers.The sad melody, refreshing harmonies, and three acoustic guitars are wonderful. The soft folk-pop songs are great, but the crunchy, trad-flavored songs are numbing. This is a dark folk masterpiece that reminds you of the sunlight filtering through the trees in a lake in the forest, or the forest at dusk just before darkness falls, as you feel when listening to rare British folk records.
Free-Space
Tracks
1. Songs Of Mine (Neil Bonner) - 3:46
2. Lazy Day (Steve Torrington, Neil Bonner) - 4:09
3. All Through The Night (Chris Brighton) - 4:16
4. Red Sun (Steve Torrington) - 2:51
5. People And Places (Steve Torrington) - 4:43
6. Hard World (Chris Brighton) - 3:08
7. Newspaper Seller (Steve Torrington, Neil Bonner) - 2:57
Simple stories, enchanting harmonies and soft, acoustic music that is Westwind. Three friends, Sarah Dyson, Nick Storey and Chris Stowell, writing and singing together because they enjoy it. Their fresh-as-an-English-rose vocals allow no concessions to the mid-Atlantic accents favoured by many a British folk group. Similarly, there is no place here for the electric guitar of the folk-rock exponents. And in their songs you'll find only the faintest hint of protest.
The music of Westwind, then, is a simple delight. No clever effects, no huge orchestras - though arranger Michael Moores makes sparing, and subtle, use of strings and horns. Just three people singing their songs, and singing them superbly. Ironically, in view of their name, much of Westwind's singing has a becalming effect. And what better fate than to let your mind drift and enjoy the clear, soaring voice of Sarah cutting through the pretty love story "Harbour Lights" or "Sleepy City".
The material to be heard on this album is as much a testimony to the group's songwriting ability as to their singing. Most of the songs are fragile, wispy in construction - notably the beautiful "Robin Hill", my favourite of the 12, with its excellent guitar work and the ethereal vocal from Sarah. But there is also a fair representation of brisk up-tempo tracks like "Goodtimes", one of those familiar folk cris de joie, with skiffle influences, and the happy skipalong "Sun Across The Snow". They reveal their sense of humour on an up-dated tale of "Sweeney Todd - a bar-barous chap was he" - which even in includes reference to P.C. Dixon of Dock Green.
My first hearing of Westwind, in September of this year, came with the release of a delightful single, "Love Is A Funny Sort Of Thing". The contents of this album, played at times of stress, will soothe even the most troubled of brows. It has that kind of effect. And it is an album you will want to come back to again and again. Westwind are a very welcome addition to the ranks of British pop-folk groups. With the help of record buyers such as yourself, they should rightly become a permanent fixture.
by Peter Robinson, Music Business Weekly
Tracks
1. Goodbye Butterfly - 3:54
2. Sleepy City - 3:00
3. Love Ia A Funny Sort Of Thing - 3:00
4. Sun Across The Snow - 2:53
5. How Many Stars - 2:49
6. Robin Hill - 3:02
7. Goodtimes - 2:00
8. Fisherman's Song - 3:33
9. Sweeney Todd - 2:59
10.Rosemary - 4:26
11.Harbour Lights - 3:36
12.Home Is Where My Heart Is - 3:00
Words and Music by Chris Stowell, Nick Storey, Sarah Dyson
Jay Sneider's first band The Electrons came together in Saco, Maine in 1963. They soon changed their name to The Id and would release two 45s that have become highly prized by collector's, the second as Euphoria's Id to differentiate them from several other Ids around at that time. Around 1967 Sneider (now Snyder) and drummer Skip Smith formed Fate. The album was recorded in 1968 under the guidance of Thomas Jefferson Kaye at Studio 3 in New York, where Billy Joel's Hassles would record their debut LP. Demos were sent out and the popular DJ Roscoe (also the voice on an album by John Berberian) started playing it. It would be picked up by a couple more NYC stations, yet the only record label to show any interest was Musicor.
Still the band's production company (Elephant 5) chose to pass on the offer, nothing further happened and a disillusioned band went their separate ways. Such a shame; this is an accomplished opus and so evocative of its time. The mood is reflective, often sombre, but also confrontational (as in the overtly anti-Vietnam title track). Stylistically it varies from baroque-rock with psychy flashes to hard melodic rock, and a strong hint of The Doors on the more introspective cuts. The latter comparison used to irritate Jay Snyder but the setting, key and timbre of Frank Youngblood's vocals makes this unavoidable. Sexual Fantasy #8 is an immediate stand-out; it has a pealing George Harrison-like guitar motif that'll haunt you for months. Elsewhere they take on the blues and Bo Diddley in a hard-rock setting with searing guitar. Jay Snyder recounts his musical odyssey and the stories behind his songs in revealing detail on both CD and LP.
A very welcome and recommended release. Incidentally, the opening track on the original demo album, Prelude, was omitted from the reissues as it was not recorded by Fate, instead being put together by their producer. An article in Billboard magazine in October 1968 reported that "Fate's demonstration discs are being played on three radio stations in New York", but the only original copy so far to turn up has a mastering date of February 1969 etched in the vinyl trail-off. It could be that there were different demo discs in circulation at different times.
Stories was always an odd creature, bearing echoes of Michael Brown's delicate work with Left Banke, a more mainstream McCartneyesque pop also reminiscent of a sweeter Raspberries and, thanks to Ian Lloyd's light rasp, hints of Rod Stewart. That hoarse soulfulness served Lloyd well on the band's only hit "Brother Louie" -- which appeared on their second album, About Us -- but he was never a true blue-eyed soul vocalist, and not just because Stories didn't often delve into blues-rock: his touch was too light, his voice too high and thin to dig deep into R&B. He was stuck between two sounds, between precious pop and soulful rock, which was completely appropriate for Brown's artful pop writing. Brown's songs for Stories weren't immediate, they were elliptical and gentle, just melodic enough to hint that these tunes are hookier than they are, having just enough structure to suggest big pop arrangements that never quite materialize, at least on their debut Stories.
The touchstone for Stories is quite plainly Paul McCartney, as this is music that places the melody at the forefront; it's proudly precious and willfully whimsical, music crying out for listeners with a sweet tooth. Here, Stories make Badfinger seem like muscular macho men, as their hardest-rocking song "Take Cover" -- with its big, cascading chorus, it's a tune that could have slipped onto No Dice -- almost perversely avoids power chords. Then again, "Take Cover," while it does point the way to About Us, is atypical on Stories, as it's built upon Baroque ballads and lovely, lilting midtempo pop, signatures of Michael Brown from the days of Left Banke. While it's interesting to hear Brown navigate the valleys of modern rock production here, Stories could have used more definition in its arrangements, more power in its production, to really grab listeners. As it stands, it's ideal music for cultists: music that requires a bit of work, but not too much, to truly appreciate, and it does pay back the effort it demands.
by Stephen Thomas Erlewine
Tracks
1. Hello People - 3:54
2. I'm Coming Home - 2:38
3. Winter Scenes - 4:18
4. Step Back - 3:20
5. You Told Me - 3:06
6. Saint James - 4:30
7. Kathleen - 3:14
8. Take Cover - 3:01
9. Nice to Have You Here - 3:25
10. High and Low - 4:28
All compositions by Michael Brown, Ian Lloyd
Stories
*Michael Brown - Harpsichord, Keyboards, Moog Synthesizer, Organ, Piano, Synthesizer
Marty Balin was co-founder and along with Grace Slick the lead singer of San Francisco legends Jefferson Airplane. After he left the band in 1971 Marty produced and later joined the hot new San Francisco group Grootna. Grootna mutated into Bodaciouus DF featuring Marty Balin as the group's lead singer.
Tracks
1. Drifting (Jesse Osborne) - 4:10
2. Good Folks (Lonnie Talbot) - 7:37
0. The Witcher (Marty Balin, Vic Smith) - 6:36
4. Roberta (Marty Balin, Vic Smith, Trish Robbins) - 4:44
5. Second Hand Information (Charlie Hickox) - 4:57
6. Drivin' Me Crazy (Vic Smith) - 7:13
7. Twixt Two Worlds (Marty Balin, Vic Smith) - 5:45
Mike Harrison promptly resumed his solo career with the release of 1975's "Rainbow Rider". Released in the UK on the Goodear label (Goodear catalog number 7002), Island Records acquired US distribution rights where for some reason the company decided to slap different cover art on the album.
Produced by Chris Kimsey, the set found Harrison recording in Nashville with a mix of American and English studio musicians. Musically the set wasn't a major change from earlier efforts. Harrison's voice remained instantly recognizable with tracks such as "Maverick Woman Blues", "You and Me" and "I'll Keep It with Mine" offering an enjoyable set of R&B flavored rock. Highlights included a weird cover of "Somewhere Over the Rainbow" and his collaboration with longtime buddy/former Spooky Tooth guitarist Luther Grosvenor on "Okay Lay Lady Lay" (the latter redeemed by some nifty voice box guitar work.).
Highlight songs, the opening "Maverick Woman Blues" with some blazing twin lead guitar (Bob Cohen and Micky Jones) and pounding keyboards (courtesy of Morgan Fisher), 'Maverick Woman Blues' was the album's toughest rocker and one of the most Spooky Tooth-styled numbers on the set. At least to my ears Harrison even sounded a bit like Gary Wright on this one. Nice way to start off the collection. Dylan's "I'll Keep It with Mine" with a Spooky Tooth/Gary Wright-styled arrangement may have seemed like a good idea at the time, but the keyboard-propelled arrangement never gathered much energy and the backing gospel church choir simply blew Harrison off the stage. The song's highlight came in the form of the nifty lead guitar.
The driving blues-rocker, "Okay Lay Lady La" actually came in the form of Luther Grosvenor's voice box guitar solo. The finale with 'Friend' a breezy, slightly jazz-tinged ballad that actually benefited from Harrison's laid back and measured delivery. One of the best performances on the album .
by Scott R. Blackerby November, 2024
Tracks
1. Maverick Woman Blues (Don Nix) - 3:37
2. You And Me (Will Jennings, Troy Seals) - 2:40
3. I'll Keep It With Mine (Bob Dylan) - 4:22
4. Like A Road (Leading Home) (Don Nix, Dan Penn) - 4:40
5. We Can Work It Out (John Lennon, Paul McCartney) - 3:24
6. Okay Lay Lady Lay (Luther Grosvenor, Mike Harrison) - 6:33
7. Easy (Aitkin, Brown, Mike Harrison) - 4:25
8. Somewhere Over The Rainbow (Harold Arlen, E.Y. Harburg) - 2:39
Nite City is the answer to Ray Manzarek's question: "What do you do after the Doors?" It would not be unfair to say The Doors are the parent group to Nite City, but it would be more accurate if you said they are their bastard son. Manzarek founded The Doors in 1966 and he put them to rest when he left the band, theorizing there could be no Doors without their original singer.
In 1976, ten years later, still hungry for the unknown and sacred, Manzarek founded Nite City, choosing once again a lead singer with whom he saw eye to eye. Noah James became Manzarek's new voice and Manzarek in turn provided Noah a bizarre soundtrack on which to overdub lyrics. Together they took an unspoken oath to create a new musical expression for an old topic: Truth. With all of its beauty and pain, they were dedicated to be its vehicle into the endless night. And whoever else they took into the fold would have to share in that pursuit. Nigel Harrison was already in, three down and two to go. Slowly Paul Warren and Jimmy "Mad Dog" Hunter followed. The story of the band's formation is told elsewhere in this kit. Suffice to say it was a trial of stamina. More than a few dropped out along the way. Noah, Ray, Jimmy, Nigel and Paul. These are the survivors.
In the studio you could sense it. The five members of Nite City hunched over the space-age control board, ears straining to catch any minute error in the play-back. The fresh music poured out of the studio monitors as each individual silently argued with the musical reality that confronted him. So bent were they on perfecting the final product. Yet painfully aware of the danger over-scrutinization can present. Passion can be reduced to sterility with the flick of a switch. So fine is the line dividing musical excellence and emotional impact. The two must jell and compliment and the compromises required are as painful as they are, ultimately, rewarding. Everyone has a different standard for perfection. It is usually during this stage of recording, the final mix, when standards conflict and arguments erupt. Not within Nite City. Now, few words were exchanged. Knobs were turned, tapes buzzed their rewind, and the music exploded. Eyes clamped shut. Ears perked. The energy was almost tangible. The air in the control booth was as electric as the wires underneath the console. The five members of Nite City were finishing up their element, each one's mind socked into the cosmic wall socket of the O-Mind.
The essence from which Nite City draws its output. The music played back was so loud you could hear every nuance. The effect was staggering, the perfect blend of precision and abandon; passion and aggression. The mark they had aimed for when they first entered the studio. Bulls eye. Nite City concerns itself with reality, not all of it kind. With harmony and beauty they claw at its cruelty and ugliness. They were born from a phoenix of frustration and dreams. They were also born in Los Angeles. Nite City is a metropolitan American band, but more than that they are a rock and roll band from L.A. And they reflect their environment.
America in the seventies, America in the streets. Nite City are about living with emotions strangling you. Ruthlessly they expose the seamy underbelly of city life as both voyeurs and products of that scene. Their music brims with anguish and defeat; desperation and survival. But also pictured on the dramatic landscape of Nite City is something more, a reassurance, beyond the desolation and tragedy, a joyous echoing of hope.
by Dan Sugarman and Steve Keator
Tracks
1. Summer Eyes (Noah James, Ray Manzarek) - 4:34
2. Nite City (Lee Huxley, Noah James, Ray Manzarek) - 5:01
3. Love Will Make You Mellow (Noah James, Ray Manzarek) - 4:57
Although Patto has exhibited a penchant for eccentricity in their previous efforts, not even from a bunch of loonies such as they could one expect an album as bizarre as this. Once a group noted for recording covers of Four Seasons hits and cutting demo tapes while under the influence of cough syrup, Patto (nee Timebox) have graduated to the school of album-as-a-singular-concept. Roll ‘em Smoke ‘em Put Another Line Out is, although it may sound absurd, the missing link between Abbey Road and the Mahavishnu Orchestra.
Patto consists of Olly Halsall (guitarist/pianist), Mike Patto (vocal/piano), John Halsey (percussion/speaking voice) and Clive Griffiths (bass guitar). They’ve been playing together for five long years and are virtuosos all. This, coupled with the Halsall/Patto song writing team’s block-busting ability of combining unusual chord structures with exceptionally witty lyrics, makes Patto one of my personal faves.
The album kicks off with their latest single, "Singing the, Blues on Reds," a funky number wish words intended, I suppose, to provide a sequel to "So You Want to Be a Rock ‘n’ Roll Star." Patto continues with a love song to a sweetie with a paw impediment, "Flat Footed Woman," a keen little tune which starts off rather slowly but picks up after some fooling around on the 88's. John Halsey’s song "Mummy" might easily go down as the farthest thing from a drum solo that a percussionist has ever written, and giving this particular track a listen is twice as necessary as solving the Riddle of the Sphinx. Side one closes with Patto indulging themselves in a heap of rock & roll noise, spotlighting on Olly Halsall’s ludicrous guitar wailing above the electrical commotion.
Side two continues in a similar vein, commencing with "Turn Turtle," an invigorating and woeful tale of a poor lad whose object of affection has a touch of frigidity—"When I touch you, you scream/ You turn turtle, play dead." Next comes the low point of the album, "I Got Rhythm," a dragged-out number which wouldn’t rate at all if it weren’t for Olly’s fluid and furious guitar runs. Patto closes the side with a two-part oceanic tale, the first segment being an infectious ditty from Olly, and part two tying up the loose ends, a crazed studio excursion capable of making both the Bonzo Dog Band and the Firesign Theatre pee in their trousers with delight.
Patto has succeeded in the pass with writing tunes capable of stopping the human heart and soloing in such a way that the tune is continuously interesting. With this new one, however, the band has cut a disc which ties together perfectly without sacrificing song quality, and they deserve fame, fortune and critical acclaim.
by Jon Tiven, November 23 1972
Tracks
1. Flat Footed Woman - 8:02
2. Singing The Blues On Reds - 4:56
3. Mummy (Ollie Halsall) - 2:18
4. Loud Green Sonfi - 3:51
5. Turn Turtle - 6:07
6. I Got Rhythm (Mike Patto) - 4:46
7. Peter Abraham (Ollie Halsall) - 6:14
8. Cap'n 'P' And The Attos - 5:32
9. San Antone - 3:37
10.Government Man - 5:15
11.Beat The Drum - 4:57
12.Sittin' Back Easy - 3:57
13.So Cold (Mike Patto) - 6:36
14.Love Me - 8:39
15.San Antone - 5:13
Songs 1,2,4,5,8 written by Mike Patto, Ollie Halsall
Songs 9-12,14,15 written by Mike Patto, Ollie Halsall, Clive Griffiths, John Halsey
Bonus Tracks 14-15 From The BBC Sessions (November 1970)
Bonus Tracks 9-13 From The BBC Radio - Live In Concert (March 1971)
The Royal Servants, forerunners of Eulenspygel, were formed in 1965 in the town of Reichenbach in Swabia. Starting out with beat, they gradually turned to bluesrock and, finally, progressive artrock. This development is well recognizable on their one and only LP "We" (Elite Special PLPS 30130), released in 1970 in a small edition. Whereas their first two singles, which were added to their CD as bonus tracks, are audibly in the 60s vein, the track presented here is the finest of laid-back underground and bears its title honestly. In early 1971, the Royal Servants were one of the first German bands to write their songs in German, and so it was only consistent that they changed their name into Eulenspygel that very year. Their CD "We", which was taken from the master tapes, contains their complete releases. With 32-page colored booklet.
Tracks
1. Work Part II - 5:20
2. We - 9:15
3. Someone To Be With Me - 2:48
4. Latin Underground - 12:40
5. Here's Where I'm Gonna Stay - 2:57
6. Private Man - 2:43
7. Doomsday Up To Date - 1:57
8. Burnin' Region (Matthias Thurow, Ronald Libal) - 3:48
9. Help Me Please (Matthias Thurow, Ronald Libal) - 4:14
10.Still I Belong - 3:50
11.The Blues 'Comin' My Way - 5:00
All songs by Detlev Nottrodt except where noted
Bonus-Tracks 8-11
The Royal Servants
*Detlev Nottrodt - Electric Guitar, Vocals
*Matthias James Thurow - Electric Guitar, Violin, Mellotron, Sitar
Dando Shaft led by Martin Jenkins, who had a firm position in the British folk scene and made a presence with his unique personality. They use various acoustic instruments and create their own unique world by blending the international feeling and acid flavor of the Incredible String Band with the warmth of American folk.
There is also a cool sense of acutolade, this unique world that you can't forget once you hear it brings a truly mysterious feeling.
Dando Shaft's debut album, "An Evening With", can be said to be ascetic, can be said to have established a shining monument in the history of British folk. A masterpiece that I would say is a must-have for anyone interested in British folk!
Tracks
1. Rain - 5:04
2. Cold Wind - 4:11
3. September Wine - 3:38
4. Cat Song - 2:30
5. In The Country - 6:48
6. Drops Of Brandy - 2:27
7. End Of The Game - 3:29
8. Lazily Slowly - 3:21
9. Spring Clog Dance - 2:53
10.Thruxton Flute - 3:28
11.Digging Up The Rose - 3:28
12.Don't Forget The Animal - 2:31
All songs by Dave Cooper, Kevin Dempsey, Martin Jenkins, Roger Bullen, Ted Kay
