One of the minor strains of mid-'60s U.K. pop was a re-creation of American soul. It never crossed back over to America like other British music of the time because the real thing was so good that nobody wanted to hear a whiter shade of imitation.
The sound never really took off in the U.K. either, but a great many bands played it. Castle's Doin' the Mod series is an attempt to round up the bands that were melding soul (Northern and otherwise) with mod and pop. There are also some girl group-style songs mixed in as well as some bubblegum soul. Vol. 5 of the series, That Driving Beat, lives up to its title and features 30 uptempo dance tracks, many of them lost classics, most of them top-notch blue-eyed soul.
Most of the groups are obscure, the biggest names being Geno Washington (an American expatriate), the Alan Bown Set (whose "Headline News" is a charging and melodic highlight of the set), and the Koobas. If those are the big names, you know you are dealing with a bunch of unknowns. Names you should know after hearing the disc are Lucas & the Mike Cotton Sound ("Step Out of Line"), Kim D (the sultry "Come on Baby"), the Exotics (the bubblegum soul of "I Don't Want Nobody [To Lead Me On]"), Timebox ("I'll Always Love You"), Young Blood (a stomping cover of the American Breed's "Green Light," which pounds the original to dust), and Ways & Means (whose reverb-drenched and super-hooky "Make the Radio a Little Louder" may be the best song here).
There are great songs that show that the Brits weren't too shabby when it came to hijacking American soul and giving it a uniquely British sound.
by Tim Sendra
Artists - Tracks
1. Lucas And Mike Cotton Sound, The - Step Out Of Line - 2:47
2. Geno Washington And The Ram Jam Band - If This Is Love (I'd Rather Be Lonely) - 2:39
3. The Timebox - I'll Always Love You - 2:57
4. Jimmy James And The Vagabonds - Ain't No Big Thing - 2:40
5. Ways And Means - Make The Radio A Little Louder - 2:15
6. Young Blood - Green Light - 2:09
7. Nita Rossi - Every Little Day Now - 2:14
8. John L. Watson And The Hummelflugs - Lookin' For Love - 2:52
9. The Undertakers - Think - 2:30
10.Keith Powell And Billie Davis - When You Move You Lose - 2:40
11.The Blue Chips - Tell Her - 2:51
12.Stella Star - Say It - 2:08
13.Felder's Orioles - Backstreet - 3:03
14.The Alan Bown Set - Headline News - 2:35
15.Eddie Cave And The Fyx - Fresh Out Of Tears - 2:02
16.Kim D - Come On Baby - 2:20
17.The Exotics - I Don't Want Nobody (To Lead Me On) - 3:02
18.The Loving Kind - Ain't That Peculiar - 3:13
19.Gentle Influence - Easy To Love - 1:58
20.The Hifis - I Keep Forgettin' - 2:07
21.Val McKenna - I Can't Believe What You Say - 2:31
22.The Koobas - Take Me For A Little While - 2:06
23.Peter's Faces - (Just Like) Romeo And Juliet - 2:21
24.Tawney Reed - You Can't Take It Away - 2:43
25.The Revolution - Hallelujah - 2:12
26.The Ferris Wheel - Taking Inventory - 2:18
27.Billie Davis - Hands Off - 2:14
28.The Bystanders - (You're Gonna) Hurt Yourself - 2:25
29.Felder's Orioles - Something You Got - 2:42
30.The Band Of Angels - Cheat And Lie - 2:16
Pantheon sprung forth from a high school band in 1971. The band, starting off initially with five members, won a national talent scouting in The Hague at the annual Rekreade Festival. Their first prize was a recording session with record company Phonogram
The band, by then reduced to four band members, recorded its first single, I want to know / Master Basion, in what turned out to be the definitive cast consisting of Ruud Wouterson (keyboards, vocals), Hans Boer (saxophone, flute, vocals), Albert Veldkamp (bass and electric guitar) and Rob Verhoeven (drums). Because of the suggestive nauture of the b-side title it was censored by Phonogram from Masturbation into Master Basion
With the attention this record received in the media the number of live concerts substantially increased. Concerts in Pop temple Paradiso and the other big concert halls in the progressive scene were very successful. More and more Pantheon was asked as a supporting act for Focus and Solution
Their second single, Daybreak / Anais, received a great deal of attention on radio and television. This paved the way for Tony Vos, the producer of Phonogram, to record the album Orion in 1972, released on the prestigious Vertigo label. The album was well received and through Paul Acket's booking agency concerts abroad were booked, a.o. as a supporting act for Mungo Jerry during their Switzerland tour. An absolute highlight was their concert in the Doelen in Rotterdam as the supporting act for the Steve Miller Band
A youthful, none of the band members were older than twenty one at the time, lack of financial and commercial insight coupled with a cocky attitude towards the record company and booking agencies led to a premature breaking up of the band. An attempt to regain their position with a renewed cast (a.o. ex-Focus drummer Pierre van der Linden) failed. Up to 1992 they played at various revival concerts with the original line up
Ruud Wouterson owns a busy recording studio and writes ballet music/film scores. Albert Veldkamp is a much soughtafter guitar teacher. Rob Verhoeven is the owner of an advertising agency. Hans Boer gives management courses.
Tracks
1. Daybreak - 2:32
2. Anais - 4:58
3. Apocalyps - 10:53
4. The Madman - 1:21
5. Orion - 19:28
6. I Want To Know - 2:42
7. Masturbation - 2:36
8. Anais (Single Version) - 3:27
All compositions by Ruud Wouterson.
Berkeley, CA, psychedelic outfit Notes from the Underground formed in 1965, originally comprised of singer/multi-instrumentalist Fred Sokolow, guitarist Mark Mandell, bassist Mike O'Connor, keyboardist John Miller, and drummer Joe Luke. One of the first Bay Area rock bands of any real distinction, the group played at the first Longshoreman's Hall concert presented by the now-legendary Family Dog collective -- they also regularly headlined the local club the Jabberwock when the house band, their chief rivals Country Joe & the Fish, were taking a night off.
With the exits of Miller and Luke, Notes from the Underground recruited keyboardist Jim Work and drummer Peter Ostwald; soon after, fledgling producer and folklorist Chris Strachwitz proposed helming the Notes' first recording session, which yielded a self-titled EP issued in 1966 on the Changes label.
The attendant publicity no doubt prompted an offer to serve as the house band at Berkeley's New Orleans House, followed by a contract with Vanguard Records -- after swapping Work for jazz-trained keyboardist Skip Rose, the Notes traveled to New York City to cut their lone LP (also self-titled), an expansive, eclectic affair highlighted by the single "Down in the Basement." However, both O'Connor and Ostwald resigned soon after the sessions wrapped, and Vanguard -- questioning the band's continued existence -- opted to cut its losses, spending no money on promotion and voiding their contract.
Sokolow and Mandell nevertheless forged ahead, assembling a patchwork lineup that included prodigal bandmate Miller as well as bassist Bing Nathan and drummer Furry Grasso. Relocating from Berkeley to Taos, NM, did little to stave off the inevitable, however, and Notes from the Underground dissolved in 1969. Sokolow and Mandell then returned to Berkeley and formed a new project, Prince Bakaradi; in 1977, the former also recorded a solo bluegrass effort titled Bluegrass Banjo Inventions.
by Jason Ankeny
Tracks
1. Follow Me Down (Mike O'Connor, Skip Rose) - 5:40
2. I Wish I Was a Punk (Mark Mandell) - 2:33
3. Mainliner (David Gale) - 2:59
4. Down in the Basement (M. O'Connor, M. Mandell) - 2:13
5. What Am I Doing Here (Fred Sokolow) - 2:16
6. Where I'm At (Mike O'Connor, Skip Rose) - 2:58
7. Cantaloupe Island (Herbie Hancock) - 4:24
8. Why Did You Put Me On (Mark Mandell) - 2:40
9. Tristesse (M. Mandell, F. Sokolow) - 3:08
10. Who Needs Me (M. Mandell, F. Sokolow) - 5:28
Notes From The Underground
*Mike O'Connor - Bass, Vocals
*Peter Ostwald - Drums
*Skip Rose - Harpsichord, Organ, Piano
*Fred Sokolow - Banjo, Guitar, Mandolin, Tambourine, Vocals
*Mark Mandell - Guitar, Vocals
This first song repeats the “rama rama” theme in group with mind blank naivety and at least some song inspiration, tablas, piano, tempura, acoustic guitar which repeat the rhythmic hypnosis with a hippie minded psychedelic devotion, before the guitar in a strummed raga fashion develops the theme in an energetic way with one more return of the group marching row singers.
After this tuning in, the right atmosphere has been made. “Lotus” has a stoned rhythm and beautiful male / female harmony vocals in the song, with melancholic pickings with rhythmic and sound accents on drums, percussion, congas and electric guitar.
The track calms down to a total free open space with pickings and sweet flute improvisation, for a last part to a “I am who I am” mushroom-effect of a last devotional song part. “Sweater song”, led by the female singer is accompanied by acoustic guitar and electric jazz guitar, is another sweet hippie song. “Simple Song” is an improvisation with all the hippies singing and with lots of percussion including hand claps and glockenspiel, piano, a somewhat naive song with high tones in the female voice reminding me a bit of Incredible String Band during their performances on “U”.
“Midnite Song” is more electric (with slide effects) and with more drums, rocking a bit with an American country-rock flavour. “Song Of The Navajo” is a songwriter song, a lament with acoustic guitar. The last track, “Now Is The time” with tampura drones is an improvisation with Indian styled associations on the guitar unfolding like a raga as the instrumental foundation, with a dual vocal sad song on top. The song increases in rhythm towards a psychedelic raga orgasm, unfolding its speeding up rhythm with electrified raga guitar, drums and some bass. A very nice psychedelic conclusion.
Tracks
1. Rama Rama - 05:20
2. Lutus - 05:31
3. Sweater Song - 02:24
4. Simple Song - 04:07
5. Midnite Sun - 03:14
6. Song Of The Navajo - 04:09
7. Now Is The Time - 09:06
All compositions by Mahesh and Pavarthi
This gritty quartet came from Scotland, and taped their sole album of acid-fried blues-rock in February 1969. Featuring a raw, crude production, fine psychedelic guitar leads and hoarse vocals, it is now regarded as a lost hard rock classic, but sank without trace on release that summer, and they split soon afterwards.
Tracks
1. Turn on, Or Turn Me Down - 4:00
2. His Town - 3:59
3. You Can't Take It from My Heart - 2:48
4. Love Talk - 5:00
5. All Aboard - 4:05
6. The Game - 3:09
7. Stoned - 4:49
8. Pettsie's Blues - 3:46
9. On the Road - 8:12
N.S.U.
*William Hugh Alexander Brown - Drums
*Ernest Rea - Guitar
*John Graham Pettigrew - Vocals
*Peter Grant Nagle - Bass, Harp
Valhalla a symphonic rock band who recorded one record for United Artists. The album's cover is a sinking burning Viking ship. The drawing is pretty good. The name Valhalla is the 'paradise' of all the Vikings who died fighting honorably.
American "acid" hard rock - the concept is not typical, but it provides the most complete picture of music VALHALLA, team late 60s. Their only album, which appeared in the 1969, was crowded with "violent" organ and soulful melodies. The last general should be attributed to the apparent advantages of the group as well as things like the Ladies in waiting or Conceit could easily be a hit, they get the proper promotion. Best of what was needed - a memorable tune and expressive performance - was over. After all, if childish innocence in ballads and "militants" to give a very special charm, here the picture spoiled thorough. In any case, their album - a good example of the late 60s, which failed to fully realize their potential, but deserves a better fate than the total obliteration.
"Hard Times", the opener, is a fusion of strong guitar riffs and keyboards. If you dont like this song you wont like the album, because the followers are pretty much all in the same style. the guitar and keys are the basis of the sound. "Conceit", again this song is full of guitar solos while Hulling is singing, but when its only the guitar playing the solo turns into a monochordic dead sound, the chorus is quite good though.
The strenght of the previous songs disappear in "Ladies In Waiting", im not saying its bad, it is actually one of the best songs in the album, a Keyboard/Drums only song. "I'm Not Askin" has alot of Blues influences. It also features a 4-minute guitar solo and Hulling's yelling vocals. "Heads Are Free" is almost Doors-like, the vocals, the keyboard, the rhythm, its almost like hearing them. "UBT" is even calmer than "Ladies in Waiting" using the same instruments. It's to long in my opinion, 5 minutes are too long for a song like this. The first time we can listen to the Bass clearly is on this song. The screams ar the end of "Overseas Symphony" are really delicious, to song could have some of its minutes cut-off. Enjoy it!
by Adamus67
Tracks
1. Hard Times - 4:24
2. Conceit (Don Krantz, Mark Mangold) - 4:38
3. Ladies In Waiting - 3:57
4. I'm Not Askin' (Rick Ambrose, Don Krantz, Mark Mangold) - 6:10
5. Deacon - 4:16
6. Heads Are Free (Rick Ambrose) - 3:45
7. Rooftop Man - 4:04
8. JBT (Rick Ambrose, Mark Mangold) - 5:33
9. Conversation - 3:21
10. Overseas Symphony - 6:14
All tracks by Mark Mangold except where indicated.
Arcadium was another list of obscure British psychedelic bands. They had their start playing at such clubs as The Middle Earth (where every act you can imagine from well known, like Pink Floyd, to little known acts like Writing on the Wall, Wooden O, and Tam White were seen performing there). A small label called Middle Earth, who released only five albums, (one being a compilation called Earthed, another by Writing on the Wall called The Power of the Picts which I have reviewed here) released Breathe Awhile their one and only LP.
The band consisted of (presumably) brothers Allan Ellwood (organ, vocals) and Robert Ellwood (lead guitar, vocals), as well as John Albert Parker (drums), Graham Best (bass, vocals), and Miguel Sergides (12-string guitar, vocals). The music is late '60s British psychedelia with some early prog leanings, where guitar and Hammond organ dominates.
The vocals are a bit sloppy, but nothing that I find particularly bothersome. The album opens up with the 11:50 minute "I'm On My Way". Starts off slowly, with some psychedelic vocals, eventually the band starts jamming and it gets more intense as it goes on.
"Poor Lady" is a short piece, but it's such a cool piece, very catchy piece as well. The 7:34 "Walk on the Bad Side" starts off more in the psychedelic pop side, but don't let that deceive you, as the music keeps getting better and better and more intense, and the pop style was pretty much thrown out the window after a couple minutes!
"Woman of a Thousand Years", not to be confused with the Fleetwood Mac song found off their album Future Games (1971), it's a totally different song. This piece bears passing resemblance to Van der Graaf Generator (although the only album VdGG had released at the time was The Aerosol Grey Machine), especially in the organ and almost Peter Hammill-like vocals. But of course, the music is nowhere as complex as VdGG is known for.
The next two cuts, "Change Me" and "It Takes a Woman" might not be as catchy as say, "Poor Lady", but they're still excellent cuts. The album closes with the 10:17 epic, "Birth, Life and Death" where the bands gets in to more killer jams, with some more great psychedelic vocal passages.
While the original LP is very hard to come by, Repertoire Records in Germany had reissed this on CD with two bonus cuts, "Sing My Song" and "Riding Alone", both originally appearing on a single the band put out the same time as Breathe Awhile, which compliments the album very nicely (as the music pretty much in the same vein). Another totally obscure gem worth looking in to!
by Ben Miler
Tracks
1. I'm On My Way - 11:51
2. Poor Lady - 3:59
3. Walk On The Bad Side - 7:35
4. Woman Of A Thousand Years - 3:39
5. Change Me - 4:47
6. It Takes A Woman - 3:53
7. Birth, Life And Death - 10:19
8. Sing My Song - 4:18
9. Riding Alone - 2:48
All compositions by Miguel Sergides
Arcadium
*Graham Best - Bass, Vocals
*Allan Ellwood - Organ, Vocals
*John Albert Parker - Drums
*Robert Ellwood - Lead Guitar, Vocals
*Miguel Sergides - 12-String Guitar, Vocals
The rock era saw a few white female singers, like Janis Joplin, show they could sing the blues. But one who could outshine them all -- Jo Ann Kelly -- seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Patton, she was the queen.
Born January 5, 1944, Kelly and her older brother Dave were both taken by the blues, and born at the right time to take advantage of a young British blues scene in the early '60s. By 1964 she was playing in clubs, including the Star in Croydon, and had made her first limited-edition record with future Groundhogs guitarist Tony McPhee. She expanded to play folk and blues clubs all over Britain, generally solo, but occasionally with other artists, bringing together artists like Bessie Smith and Sister Rosetta Tharpe into her own music.
After the first National Blues Federation Convention in 1968 her career seemed ready to take flight. She began playing the more lucrative college circuit, followed by her well-received debut album in 1969. At the second National Blues Convention, she jammed with Canned Heat, who invited her to join them on a permanent basis. She declined, not wanting to be a part of a band -- and made the same decision when Johnny Winter offered to help her.
Throughout the '70s, Kelly continued to work and record solo, while also gigging for fun in bands run by friends, outfits like Tramp and Chilli Willi -- essentially pub rock, as the scene was called, and in 1979 she helped found the Blues Band, along with brother Dave, and original Fleetwood Mac bassist Bob Brunning. The band backed her on an ambitious show she staged during the early '80s, Ladies and the Blues, in which she paid tribute to her female heros. In 1988, Kelly began to suffer pain.
A brain tumor was diagnosed and removed, and she seemed to have recovered, even touring again in 1990 with her brother before collapsing and dying on October 21. Posthumously, she's become a revered blues figure, one who helped clear the path for artists like Bonnie Raitt and Rory Block. But more than a figurehead, her recorded material -- and unreleased sides have appeared often since her death -- show that Kelly truly was a remarkable blueswoman.
by Chris Nickson
Tracks
1. Louisiana Blues (McKinley Morganfield) - 3:32
2. Fingerprints Blues (Joe McCoy) - 3:27
3. Driftin' and Driftin' (Oscar Brown, Jr. Warren "Pete" Moore) - 2:40
4. Look Here Partner (Jo Ann Kelly) - 2:36
5. Moon Going Down (Charley Patton) - 4:04
6. Yellow Bee Blues (Joe McCoy) - 3:48
7. Whiskey Head Woman (Tommy McClennan) - 1:52
8. Sit Down on My Knee (Jo Ann Kelly) - 2:43
9. Man I'm Lovin' (Hooker, Josea) - 2:44
10.Jinx Blues (Son House) - 2:31
11.Come on in My Kitchen (Robert Johnson) - 2:49
New York-by-way-of-Boston group the Apple Pie Motherhood Band were among the earlier psychedelic/heavy rock acts signed by Atlantic Records. Their self-titled late-'60s debut LP (also reissued on CD by Collectors' Choice Music) mixed hard rock jamming and shorter, more pop-folk-rock-influenced songs to, as keyboardist Jef Labes puts it, produce a sound "like the energy of an East Coast version of what was up in San Francisco at that time." Those qualities were also found in their second and final album, Apple Pie, though with a pronounced tilt toward a heavier hard rock/R&B direction. In part that was due to a changeover in personnel that saw one member of the lineup from the first LP leave, and three new musicians join the group.
The Apple Pie Motherhood Band had already gone through a couple of personnel changes by the time their first album was finished. Original lead singer Anne Tanzey, who sang lead on their first 45, departed before the LP, and replacement Marilyn Lundquist only lasted a little while, the guys in the band ultimately handling the album's lead vocals themselves. Before Apple Pie, rhythm guitarist Joe Castagno left, as he "basically wasn't very well suited to the road," lead guitarist Ted Demos explains. "He didn't like it a bit. He just decided that he wasn't cut out for that kind of lifestyle at all." Fortifying the lineup would be new singer Bruce Paine, along with guitarist Michael Sorafine and harmonica player Adam Myers. Producing was Tom Dowd, engineer on countless Atlantic Records sessions dating back to its origins as an R&B/blues label, and recently starting to assume more duties in the production chair.
"I came in when they had heard about me playing in the basket houses in Greenwich Village, and they were looking for a singer," says Paine today. "They came down to the Cafe Wha? one night and saw me, and we met later. They basically said, 'Hey, you want to sing rock and roll?' I had been playing folk music up to that point, and it sounded like a good idea to me. I had just finished going round and round with RCA Records. Initially I had signed with RCA for a solo album, and the producer I was working with went independent. They wouldn't let me use him as an independent; they were giving me some old guy that was orchestrating stuff. So I was like, 'Okay, I want out of here.' They came at the right time with the right offer, and it was an instant love affair. Michael was pretty much doing the same thing I was doing, playing music around the Village. We had a whole crew of people that just hung out, and the band was kind of like, 'Come on along, why don't you join the band for a while? We're going on tour.' Michael had some really strong songs he had been writing, and they just said, 'Hey look, c'mon in. Let's make it two lead singers up front, and we like your material.'"
Adds Bruce, "Now Adam was a trip. We met Adam in Chicago when we were playing a place called Rush. Ted grabbed me one night after the show and says, 'Hey man, you gotta come meet this guy. There's this harp player I met the other night in a dryer.' I said, 'What do you mean, in a dryer?' He said, 'Yeah, he was tumble-drying himself and playing the harp.' And I said, 'Okay, I gotta check this out.' So there's some old railroad tracks back up behind Rush Street [where] we went looking for him. For some reason, Ted knew where to find him. And I heard this wailing harp coming down the tracks, just couldn't believe how good it was. So there's Adam. Adam I think took too much acid. He was out there from day one, from the moment I met him. We'd slap him on the back, 'play Adam,' slap him on the back, 'stop Adam,' and that was his participation. He did one tour with us and hung out in Vermont while we put together the second album, and of course he's all over it."
Though Jef Labes had written more of the band's original material than anyone else on the first album, he penned just one track on Apple Pie, "Super Music Man." Sorafine wrote two songs, "Orangutang" and "Grandmother Hooker," and co-wrote another, "He Turned You On," with a friend from outside the band, Don Henny. Other than Demos's "Gypsy," the rest of the record was devoted to R&B covers, including Willie Dixon's classic "I Just Want to Make Love to You" (originally popularized by Muddy Waters), Chuck Berry's "Brown Eyed Handsome Man," and the Temptations' "Get Ready." As Labes observes, "By the time we added vocal power with our new personnel, they brought with them lots of tunes, especially Michael, who years later and at the time, was a well-liked collaborator of mine. Consequently my contribution was much less on the second album, which was a strange series of sessions, and undoubtedly a misuse of the talents of Tom Dowd, the legend."
"He was tearing his hair out," says Paine about Dowd. "We were a bunch of acid freaks loaded to the gills trying to lay down tracks, and Tom was in the booth trying to make sense of it. I think at the same time, he was producing Aretha [Franklin] and Cream, and of course Cream was their own bundle of fun and games too. So by the time he got to us at nighttime, he was pretty stressed. It was amazing that the album got done. We were even more amazed that it got released. And when they released it, I think Tom left the mixing to one of his assistants, 'cause the mix wasn't anything close to what we had hoped or thought it would be."
"I wasn't really happy with the mix," concurs Demos. "But there were some things on it that reflected what I wanted to do at the time. I liked 'Gypsy' a lot, even though it never came together the way I wanted it to, for one reason or another. I brought in the violin player, who I'd been introduced to by this crazy friend of mine, who was a player from the New York Philharmonic. That was my sort of rude awakening that classical musicians don't necessarily improvise all that well. The results were kind of sketchy, but I liked that tune a lot; I was pretty happy with that."
Remarks Paine, "I liked 'Get Ready' a lot. The one thing I'm totally displeased about is we recorded 'Hello Stranger,' the old Barbara Lewis number [a #3 hit in 1963]. I heard it once on the radio. Never got a copy of it, never heard it since. They've lost it in the archives, and it was probably one of the best vocals I did in those days. I never got to hear the damn thing past one short clip on the radio."
The Apple Pie Motherhood Band, however, would not be together for long after Apple Pie came out, in part because of problems surrounding its release. "By the time this album was ready for release, [manager Marvin] Lagunoff had gone to war with us for moving to Vermont, settling on a farm, and booking our own dates at local colleges," says Labes. "Therefore, under his direction, the company held back shipment of the second Apple Pie album." In addition, Jef reveals, "Meanwhile, Ahmed Ertegun at Atlantic had the idea to do an album with a trio of amazing rock guitarists. He chose for this project Eric Clapton, Mike Bloomfield, and Ted Demos. Unfortunately for Ted, this idea got lost along the way."
Paine thinks the band must have broken up by the summer of 1969, considering his memory of the following incident: "I was walking down Bleecker Street [in Greenwich Village], and I saw a Volkswagen van with California plates on it. I walked up to the guy and asked him when he was heading to California. He said, 'Well, I'm going to San Francisco in an hour.' And I said, 'Wait a minute, I gotta go back to my hotel. Can I ride with you?' I think by June, I was in the San Francisco production of Hair."
Demos and Paine are still playing music together today, and even living in the same neighborhood, Paine working on a book titled Rock'n'roll Chronicles, aka Almost Conscious. Drummer Jack Bruno has toured and recorded extensively with Tina Turner and Joe Cocker, and Labes went on to play on several albums by Van Morrison in the 1970s and 1980s, as well as some of Bonnie Raitt's 1970s LPs. As for the Apple Pie Motherhood Band's legacy, Labes summarizes it this way: "We did in many ways embody the spirit and feeling of the movement for change of that period of drug enhancement, sexual freedom, and the politics of peace."
by Richie Unterberger
Tracks
1. Orangutang (Michael Sorafine) - 7:30
2. I Just Want To Make Love To You (Willie Dixon) - 4:05
3. Brown Eyed Handsome Man (Chuck Berry) - 3:14
4. Grandmother Hooker (Michael Sorafine) - 3:02
5. Get Ready (William Robinson) - 4:24
6. Super Music Man (Jeff Labes) - 4:15
7. Gypsy (Ted Demos) - 3:22
8. He Turned You On (Michael Sorafine, Don Henny) - 4:16
The Apple Pie Motherhood Band
*Dick Barnaby - Bass
*Jack Bruno - Drums
*Ted Demos - Lead Guitar, Vocals
*Jeff Labes - Keyboards
*Adam Myers - Harmonica, Backing Vocals
*Bruce Paine - Vocals
*Michael Sorafine - Rhythm Guitar, Backing Vocals
Old Hat,album(Signpost Records – SG 4253) by Uncle Dog was released again Dec 18, 2005 on the Air Mail Music label. Prior to its reissue on CD by an imprint of the estimable U.K. progressive rock label Voiceprint, Uncle Dog's 1972 album, Old Hat, commanded a fair amount among collectors of '70s rock, due to the presence of Free's lead guitarist, Paul Kossoff, alongside Malcolm Duncan and Roger Ball, who would shortly become the Average White Band's horn section.
Old Hat music CDs The problem is that although lead singer Carol Grimes has a fine bluesy voice -- she actually sounds a lot like a British version of the Joy of Cooking's Terry Garthwaite, no bad thing -- keyboardist Dave Skinner isn't much of a songwriter, and all of the tunes are basically amiable jams on tired old blues progressions. Old Hat songs One song is even called "Boogie With Me," for goodness sakes! (To be fair, Skinner does lay into some good organ lines on that song, its saving grace. Old Hat album ) This album isn't actually bad, but the album title is distressingly accurate. For die-hard fans of the boogie only, and maybe Smiths completists who want to know what producer John Porter (rhythm guitar and bass) was doing a decade or so before "Hand in Glove."
The times, I'll Be Your Baby Tonight and "Mystery Train" (Junior Parker and Dylan) are crisp and invigorating. The first is characterized by a combination of country / New Orleans - slide guitar, honky-tonk piano, pampilleux shares of saxophone, trumpet, trombone, and the second by his exuberance, vitality, cohesion, prancing and playing feisty musicians his pace to cut stroke charleston, piano hutin boultinant and finally the vehement lined Carol victorious bestial confusing!
The compositions are excellent, especially "River Road", beginning this duo album, a boogie woogie CCR, with beautiful of acoustic guitar, sax most smoking, and always this brazen piano, growling titillating Carol, hitting drummer stubborn and concise; "Old hat" also driven by the piano, towed by David, seconded by Carol with passion, one of those ballads that heckle you and invade the heart of a fierce and itching desire for space and freedom, and finally "We got time," which presents the full range of the genre with an organ and an emphatic sax, a guitar solo barbaric and twisted lyrics celebrating love - this wondrous love, limestone and myrophore! There, Carol does not sing, she opens roared, bubbling, expels his words with a force portentueuse grabs you and you empeint to sacred pleasures.
It is the flagship of the cake, the other titles are warm in comparison, note all the same "Movie Time" gambillant, smelling the 30s, and "Boogie with me," a lonely spruce lament that nor gin, nor TV, nor his "collect" the console discs: two songs accompanies John "Rabbit" Bundrick on piano - yes! yes! the same one who became famous this year with Free and later know fame with The Who.
by Adamus67
Tracks
1. River Road - 3:06
2. Movie Time - 2:36
3. Old Hat - 3:44
4. Boogie With Me - 2:51
5. We've Got Time - 5:35
6. Smoke (D. Skinner, J. Porter, J. Pearson, P. Crooks, C. Grimes) - 4:46
7. I'll Be Your Baby Tonight - 3:44
8. Mystery Train (J. Parker, S. Phillips) - 4:32
9. Lose Me - 4:59
All tracks written by David Skinner unless as else stated
