Mouse And Traps - Fraternity Years (1965-68 us, smashin' garage psych folk rock, Big Beat release)

There are some who say that this early 1966 masterpiece does Dylan's 'Highway 61' period better than the master himself, said Lenny Kaye of "A Public Execution" in the liner notes to the epochal Nuggets compilation album from 1972. In the small but fiercely contested kingdom of Dylan imitators Texas' Mouse 'n' The Traps stand tallest due to Execution. 

It was only a medium-sized hit in the United States back in the 1960s but has become renowned the World over in the years since, as one of the best records of its kind. In truth, while Ronnie 'Mouse' Weiss and his gang of Texas buddies would never deny the influence of Dylan's classic folk-rock, A Public Execution - shaped into a Dylan cop more by the studio machinations of producer Robin Hood Brians than anything else - was merely one facet of a band that could cover all the bases. 

Along the way, they made some of the most enduring rock and pop records of the decade. If nothing else, they should be remembered for the raging follow-up 'Maid Of Sugar-Maid Of Spice', a record so violent that the grooves of the original 45 could barely contain it (hear it off master tape for the first time since release on The Fraternity Years, but remember, Big Beat Records accepts no liability for damage caused to your loudspeakers). The Traps formed in late 1965 from a pool of hot pickers and teenage musicians centred around Robin Hood's studio in Tyler, Texas. 

With his strong voice and offbeat demeanour Mouse became the defacto leader of the band that cut Execution purely for fun, and then realised they had a regional hit on their hands. Ken Murray and David Stanley headed up the solid rhythm section, the underrated Buggs Henderson strangled the guitar and the Traps went through keyboard players like margaritas on a hot Tyler night. 

The group toured all over the Southern midwest in the mid to late 1960s and had a considerable following, thanks to their wild act. Unfortunately, the Traps never succeeded in capitalising on their live popularity, despite a slew of excellent releases for the Fraternity label. Like I Know You Do, Promises Promises and Cryin' Inside were all state-of-the-art pop gems, as was Sometimes You Just Can't Win, an almost-but-not-quite smash with an expert arrangement. 

Looking to broaden their commercial potential, the band even flirted with psychedelic pop, their Look At The Sun and I Satisfy being two fine examples of the genre. But it's gritty garage rock'n'roll that was the forte of Mouse & The Traps, as it should be for any Texan outfit worth their enchiladas. Hear 'em wail on previously unissued versions of I'm A Man and You Don't Love Me, as well as the oft-covered flip Lie Beg Borrow and Steal. "The Fraternity Years" collects together every worthwhile moment of Mouse & The Traps' glory years, with the usual Big Beat attention to detail, in one helluva rockin' package. 

Ace-recs

Tracks
1.  A Public Execution (Knox Henderson, Ronnie Weiss) - 2:49
2.  Maid Of Sugar, Maid Of Spice (Knox Henderson, Ronnie Weiss) - 2:40
3.  Nobody Cares (Randy Fouts, Ronnie Weiss) - 2:44
4.  Cryin' Inside (David Stanley, Ronnie Weiss) - 2:33
5.  I'm A Man (McDaniel) - 2:25
6.  Lie Beg Borrow And Steal (Ronnie Weiss) - 2:35
7. (as Chris St John) - I've Got Her Love (Mack Barton, Robin Hood Brians) - 2:15
8.  I Am That One (Mack Barton, Robin Hood Brians) - 2:26
9.  Like I Know You Do (Knox Henderson, Ronnie Weiss) - 2:25
10.Sometimes You Just Can't Win (Knox Henderson, Robin Hood Brians) - 2:57
11.All For You (Knox Henderson, Ronnie Weiss) - 2:47
12.Do The Best You Can (Robin Hood Brians) - 2:25
13.Look At The Sun (Tim Gillespie) - 2:41
14.You Don't Love Me (You Don't Care) (Willie Cobbs) - 2:09
15.Promises Promises (Dale Payne, Robin Hood Brians) - 2:24
16.I Satisfy (David Stanley, Ronnie Weiss) - 3:47
17.Requiem For Sarah (David Stanley, Ronnie Weiss) - 3:19
18.L.O.V.E. Love (Knox Henderson, Ronnie Weiss) - 2:31
19.Ya Ya (Clarence Lewis, Lee Dorsey, Morgan Robinson) - 1:57
20.Good Times (David Stanley, Ronnie Weiss) - 2:31
21.Hand In Hand (David Stanley) - 1:59
22.You Are My Sunshine (Charles Mitchell, Jimmie Davis) - 2:23
23. I Wonder Where The Birds Fly - 1:57
24.Mohair Sam (Dallas Frazier) - 2:14
25.(as Chris St John) - As Far As The Sea (Mack Barton, Robin Hood Brians) - 2:39

Mouse And Traps
*Mouse - Vocals, Guitar
*Ken Murray - Drums
*David Stanley - Bass
*Bobby Delk - Keyboards
Additional Musicians
*Don Levi Garrett - Drums
*Bugs Henderson - Guitar, Banjo, Vocals
*Doug Rhone - Guitar, Vocals
*Randy Fouts - Keyboards
*Tim Gillespie - Keyboards
*Robin Hood Brians- Keyboards, Strings Arrangments
*H L Voelker - Vocals

Free Text
Just Paste

Bachdenkel - Stalingrad (1975-76 uk, fragile atmospheric gentle progressive rock, SPM bonus tracks edition)

The second album called "Stalingrad" (in cyrillic letters) was recorded and released in 1977. in the mean time BACHDENKEL toured small venues through europe (mostly France). BACHDENKEL started as a Flower Power psychedelic rock band (Pink Floyd, Soft Machine, Beatles, Procol Harum), but developed towards a more symphonic/melodic progstyle for their second album. Their sound is dominated by guitar and drums, with great vocals and occasional keyboard passages.

Tracks
1. The Whole World (Looking Over My Shoulder) (Kimberley, Beer) - 3:37
2. After The Fall (Swinburne, Beer) - 4:27
3. Seven Times Tomorrow (Swinburne, Beer) - 3:56
4. For You To Live With Me (Swinburne, Kimberley, Beer) - 3:23
5. The Tournament (Kimberley, Beer) - 2:52
6. (It's Always) Easy To Be Hard (Kimberley, Beer) - 4:46
7. Xenophon (Swinburne, Beer) - 4:51
8. Ctalingpad (Swinburne, Beer) - 3:30
9. Stalingrad (Kimberley, Swinburne) - 4:33
10. You Lied About Your Age (Unreleased Single) (Kimberley, Swinburne, Beer) - 3:11
11. Ring Of Truth (Unreleased Single) (Swinburne, Beer) - 2:55
12. Sirocco (Unreleased Single) (Swinburne, Kimberley) -  2:58
13. Ctalingrad (Studio Live) (Kimberley, Beer) - 3:23
14. After The Fall (Studio Live) (Swinburne, Beer) - 5:35
15. For You To Live With Me (Studio Live) (Kimberley, Beer) - 4:38
16. Seven Times Tomorrow (Studio Live) (Swinburne, Beer) - 6:50
17. Through The Eyes Of A Child (Archives) (Swinburne, Kimberley, Beer) - 4:01
18. An Appointment With The Master (Archives) (Kimberley, Beer) - 3:39
19. Bo Bo's Party (Live, Cannes '75, Extract) (Safka) - 6:11

Bachdenkel 
*Colin Swinburne - Guitar, Organ, Piano
*Peter Kimberley - 6 String Bass, Piano
*Brian Smith - Drums
With
*Karel Beer - Electric 12-String Guitar, Slide Guitar
*Irv Howray - Vocals
*Andy Scott - ARP Synthesizer

1968-70/73  Bachdenkel - Lemmings 

Free Text
The Free Text

Bachdenkel - Lemmings (1968-70/73 uk, fantastic progressive rock, 2007 Ork extra tracks issue)

Bachdenkel started out life as the U NO Who.  This late 60s group had been active on the Birmingham scene for some time and played psychedelic pop.  They recorded a handful of respectable tracks which were pitched to the Beatles’ Apple label but no deal ever materialized.  The U NO Who would go on to become Bachdenkel at the end of the decade.  Bachdenkel’s lineup looked something like this:  Colin Swinburne on vocals, guitar, piano, organ and harpsichord, Peter Kimberley on vocals, bass and piano, Brian Smith on drums, and Karel Beer on Organ.

Bachdenkel would relocate to France and record the great Lemmings album in 1970.  Although the LP was completed by the summer of 1970, Phillips didn’t release Lemmings until 1973 - released throughout Europe but not in the UK.  This really sealed this unique British group’s fate – unfairly so because they were very talented.  I believe a UK reissue/rerelease appeared in the late 70s (maybe 1978) but by that time Bachdenkel had ceased to exist.    The group released another solid progressive album titled Stalingrad (1975) and toured Europe in 1976 before breaking up.

And as for the Lemmings LP? It’s one of the best 70s progressive rock albums out there.  The musicians here keep their egos in check and know when to end a song, unlike Yes or ELP.  To me this is a much better (and more interesting) album than anything Yes or ELP would ever release.  The ringing guitars dominate Bachdenkel’s sound but there are tasteful keyboards as well.  Some people have linked Bachdenkel’s sound to Caravan, Abbey Road era Beatles, and King Crimson.  

These are all valid comparisons – think of Bachdenkel as a missing link between the Beatles and the mighty Crimso, progressive guitar pop with a slight psychedelic hangover.  “An Appointment With The Master”, the LP’s most popular song, is a lost classic that might be what the Beatles would have sounded like had they lasted into the progressive rock era.  Crashing drums and superb psychedelic guitar work give this cut a fresh edge.  “Translation” and “Equals” are also outstanding dark mood pieces that sound completely modern by today’s standards – this LP has not dated one bit.  

All of Lemmings 7 tracks are excellent, whether it be the 11 minute epic “The Settlement Song” or the shorter, tuneful tracks like “Long Time Living” – every works beautifully.  So…interesting arrangements that take chances (unique twists and turns), a dark aura, rock solid songwriting, Caravan-like vocals, and great musicianship unify this very special musical statement.  Any fan of classic rock needs to own this essential masterpiece.

Rising-storm

Karel Beer's solo album

Tracks
1. Translation (Swinburne, Beer) - 4:17
2. Equals (Kimberley, Beer) - 1:51
3. An Appointment With The Master (Kimberley, Beer) - 5:15
4. The Settlement Song (Swinburne, Kimberley, Smith, Beer) - 11:26  
5. Long Time Living (Swinburne, Kimberley, Beer) - 2:17
6. Strangerstill (Swinburne, Kimberley, Smith, Beer) - 6:51
7. Come All Ye Faceless (Swinburne, Kimberley, Smith, Beer) - 9:06
8. The Slightest Distance (Swinburne, Kimberley, Beer) - 6:09
9. Donna (Kimberley, Beer) - 4:15
10.A Thousand Pages Before (Swinburne, Beer) - 6:35
11.Through The Eyes Of A Child (Kimberley, Swinburne, Beer) - 4:01
12.An (Other) Appointment With The Master (Kimberley, Beer) - 3:42
13.Strange People (Kimberley, Beer) - 3:20

Bachdenkel 
*Colin Swinburne - Guitar, Organ, Piano, Vocals
*Peter Kimberley - Bass, Piano, Vocals
*Brian Smith - Drums
*Karel Beer - Organ

Free Text
Free Text II

Soho Orange - Soho Orange (1971 uk, heavy rumbling psych rock)

The music you're about to hear is rough, fresh and sometimes strange. The power of the Picts once more . Soho Orange (Glasgow natives) did the tracks you hear on this record in 1971.The mists of time cover the knowledge about the guys who called themselves Soho Orange. 

Jim told us, their earlier name was Ad Lib Nevertheless, here they are-and be careful: This music might kill your amplifier ! A short, psychedelic intro - then the instruments explode into ‘King Of The Road’, an interesting song with changing speed. Hard guitar and merciless drumfire torture your ears, the tormenting cymbals shake your mind. This song gives you everything - except mercy!! Wonder how many drumheads were knocked to pieces in one session. 

Hard, driving sound and unique vocal-duos, that's what 'Mississippi Tales' has to offer. The song changes into ‘The Wish – Tears’ some kind of anti-war-song. • Hare and more grows a haunting feeling. Ghostly, desperate vocals grip your mind. The drums join to get to a harder end. ‘Freedom Callin’ is another anti-war-song which contains unique, crazy vocal - duos. The song has a slower start but then gets into a faster guitar-solo. A little solo by the drums and some kind of Coke-bottle give the prelude to the ecstatic end. 

If you're using headphones, take care of your tympanums or you might perhaps neither hear ‘Freedom Callin’ nor something else anymore. Softer guitars and gentle vocals start ‘Dream Queen’ and the song flows psychedelic for a while. When the singer has found his Queen, guitars, bass and drums make  hard attack. ‘Nightmare’ is a very hard track which rocks the membranes out of your loud - speakers (no compensation !!!).Good vocals and maximum power. This is a massacre for your ears and maybe for the rest of your body, too, if your neighbor is able to find his axe or chainsaw ;there*s a guitar-solo in the middle of the song which remembers me to Chopin's "Deadmarch" - so watch your sound – intensity, it may be an Omen !  Now we're getting near the end (a hard one of course).

The last track  is called ‘Seven Faces’ (I've had my visions before).Maybe the most changing and strangest song contained herein. Also the first song of this .group which Jim played to us. A song worth to awake your  interest. Vocals, underlined with effective echoes conclude the  song and the album, too. I 've been listening to Soho Orange nearly for 20 times and I loved it more and more with every hearing. 

Tracks
1. King of the Road - 5:46
2. Mississippi Tales / The Wish - Tears - 10:22
3. Freedom Callin - 5:40
4. Dream Queen - 5:28
5. Nightmare - 6:00
6. Seven Faces - 6:14

Members Unknown.

Free Text
Free Text II

The Magicians - An Invitation to Cry...The Best of the Magicians (1965-67 us, fabulous jangly folk-rock to grunge roots 'n' roll raves, Sundazed issue)

Both sides of their four 1965-1967 singles on Columbia, plus five previously unissued tracks from the same period. The possibility of an album's worth of Magicians' material has long intrigued collectors of '60s music, most of whom are only familiar with their "An Invitation to Cry" single from Nuggets. 

At times it's Lovin' Spoonful-like folk-rock (they cover two songs from the debut album by minor Greenwich Village folk-rocker David Blue); sometimes it's Young Rascals-ish soul-rock, with a poppier bent; sometimes it's journeyman blues-rock (covers of "Back Door Man" and "Who Do You Love"); sometimes it's fair period 1966 pop/rock. 

The Gordon-Bonner songwriting collaboration had not yet been cemented; in fact, there are only two Gordon-Bonner compositions here, although on some of the other tracks, one or the other wrote with other partners. In retrospect, it's unfortunate that the Magicians didn't hold together longer, until the Gordon-Bonner team had matured, but fate plays its own cards. 

by Richie Unterberger

Tracks
1. An Invitation to Cry (Alan Gordon, James Woods) - 2:55
2. Rain Don't Fall on Me No More (arr. J. Townley, B. Wylde, A. Polhemus) - 2:25
3. About My Love (David Blue) - 2:04
4. I'll Tell the World About You (A. Gordon, A. Jacobs) - 2:52
5. Lady Fingers (Garry Bonner, Alan Gordon) - 2:45
6. Angel on the Corner (A. Jacobs) - 2:18
7. I'd Like to Know (David Blue) - 2:34
8. Back Door Man (Chuck Berry, Chester Burnett, Willie Dixon) - 2:16
9. That's What Love Is Made Of (Warren Moore, Smokey Robinson, Robert Rogers) - 2:38
10.Double Good Feeling (G. Bonner, Alan Gordon) - 1:58
11.I Won't Be Here Tomorrow (G. Bonner, A. Jacobs) - 2:32
12.You're So Fine (Lance Finnie, Willie Schofield, Bob West) - 2:35
13.Who Do You Love (Ellas McDaniel) - 3:54

The Magicians
*Garry Bonner - Bass
*Alan Gordon - Drums
*Allan "Jake" Jacobs - Guitar
*John Townley - Guitar
Additional Personnel
*Rod Bristow - Vocals

Free Text

Just Paste

Sperrmüll - Sperrmüll (1973 germany, intriguing hard rock with some prog and psych moves, 2005 digi pack edition)

Sperrmüll is a German rock band founded in Aachen in the early 70s.
In 1971, Harald Kaiser and Reinhold Breuer decided to form a trio. His name sperrmüll. Then one day, Helmut Krieg arrives with his guitar and arrangements and the group is started. From that time, the group became a quartet with the involvement of Peter Schneider to play keyboards. The group's name is somewhat obscure because "Sperrmüll" is a German expression that means garbage in bulk.

They recorded one album for the label Brain in a very limited edition in 1972, in a manner also quite anonymous Dieter Dierks studio in Stommeln produced by a Chazadu surely a pseudonym.A test similar to the very successful early Deep Purple in Nosferatu and even Rufus Zuphall, This album has long been a precious rarity vinyl

Sperrmüll offers a burly album called simply "Sperrmüll" songs are in English and not overloaded instrumentally speaking, but the group actually plenty to offer. Mainly Heavy Rock, but with many additions musiqu progressive, guitar as well as the organ.

The original LP consists of 6 songs, then later be digitally added two songs ("You Have To Leave" and "To Be Satisfied").The set is however complex and dynamic improvisations in between some vagueness (many Hammond organs and guitars Heavy catchy) arrangements and folk epic flute.

The opening track is a pop folk entitled "Me And My Girlfriend" controlled first by mandolin and piano, lead, little by little, through the organ and synthesizer to an end much more Heavy Blues. "No Freak Out", Prog majestically, is the song of the group's most famous because it is found on most long compilations of Krautrock for several years. A good choice because it is a good mix of psychedelic ingredients in a style close to Pink Floyd combined with a monotonous rhythm. "Rising Up" is a bit more spacy sometimes reminiscent of Deep Purple, Eloy or even Grobschnitt.

The Hard Rock "Right Now", an epic nine minutes begins some unusual way, because only bursts of guitar and drums hell are dueling for a moment. After several minutes, the song turns into a calmer perfectly structured piece with a jazzy piano and a powerful bass, and finally ending in Hard Rock again. Perhaps the best part, because of these innovations varied.

The last two tracks "Land Of The Rocking Sun" and "Pat Casey" are not really important, because they are typically Rock songs, while the second has a more pronounced rhythm style Boogie Woogie.

by Adamus67

Tracks
1. Me An My Girlfriend - 5:05
2. No Freak Out - 6:43
3. Rising Up - 6:32
4. Right Now - 9:09
5. Land Of The Rocking Sun - 4:30
6. Pat Casey - 3:20

Sperrmull
*Helmut Krieg - Guitar, Mandolin, Vocals
*Harald Kaiser - Bass, Vocals
*Reinhold Breuer - Drums, Percussion
*Peter Schneider - Organ, Electric Piano, Synthesizer

Free Text
the Free Text

Classical M - Bad Guys The Complete Collection (1967-70 france, delirious provocative psych rock, 2005 release)

Classical M could have made a great album if given the chance. As it is, the songs contained on this disc make for a stunning collection, with the band’s psychedelic flourishes, outrageous melodies, and fantastic attention to production detail evident throughout. 

This profoundly original music was made in three short years (1967-1970): twenty-four delirious and provocative songs that establish Classical M as perhaps the best, and certainly the most intriguing French band of all time. 

Their offbeat sense of rhythm and harmony, the complex intertwining of voices, and perhaps more than anything, their unusual practice of trying to play all sorts of instruments—be they electronic or traditional—these elements make the music of this odd French trio unique and very special. 

by Vincent Tornatore

Tracks
1. Love, Love Is There - 2:42
2. Gog Demagog (Pipo, G. Maruani, A. Maruani) - 2:53
3. Bad Guy - 4:02
4. The Way I Do Love You - 2:50
5. Such a Lovely Voice - 5:49
6. Once in a While (Demo Version) (G. Maruani, A. Maruani, H. Bratter) - 2:35
7. Music of the Rain (A.K.A. Mélodie de La Pluie) - 3:08
8. Decomplexion (Classical M) - 9:03
9. Ugly Room - 1:51
10.Ever Be My Friend? - 2:29
11.Paris Est une Ville d'Alcooliques - 4:39
12.J'Ai Décidé - 3:02
13.Le Romancier Tchèque - 3:10
14.J'Entends Les Étoiles (G. Maruani, A. Maruani, H. Bratter) - 4:06
15.Sisyphe - 2:06
16.C'est La Guerre (G. Maruani, A. Maruani, H. Bratter) - 2:16
17.Pauvre Cobaye (A.K.A. Cow-Boy) (G. Maruani, H. Bratter) - 1:40
18.Une Rivière Qui S'Égare (G. Maruani, H. Bratter) - 2:43
19.Un Jour de Chance (Demo Version) - 2:29
20.Love You One Another (G. Maruani, A. Maruani, H. Bratter) - 3:11
21.Marouanabab (Classical M) - 3:15
22.Love, Love Is There (Live) - 3:34
23.Le Métro (Live) - 2:17
24.Pop Club Session (Live) - 3:17
All songs by Guy Maruani and Andre Maruani except where indicated.

Classical M
*Guy Maruani - Lead Vocals, Flute, Harmonica, Percussion
*Andre Maruani - 12 string Guitar, Oud, Violin, Keyboards, Vocals
*Henri Bratter - Lead Guitar, Percussion

Free Text
Just Paste

Cochise - Cochise (1970 uk, fine country folk rock with BJ Cole, Rick Wills pre-Foreigner and Mick Grabham from Procol Harum, Kissing Spell edition)

There was a lot of talent involved in the making of Cochise's debut album. Guitarist Mick Grabham went on to play in Procol Harum; bassist Rick Wills would later join Foreigner; B.J. Cole would be an in-demand pedal steel player on many sessions over the next few decades; drummer Willie Wilson would play with Pink Floyd; Dick Taylor, who'd just left the Pretty Things, produced; and Storm Thorgerson of Hipgnosis (famous for working on Pink Floyd LP covers) designed a striking and, for the period, daring cover of a woman's unadorned breasts. 

The credits on a resume don't always guarantee an outstanding album, however, and Cochise is one of those '60s-turning-into-'70s records that treads an uneasy line between eclectic diversity and a lack of direction. It's so-so period 1970 British rock, distinguished just slightly by a more country-ish flavor than the norm, courtesy of Cole's pedal steel. It's not country-rock, however, and some of the songs in fact owe little or nothing to the form. 

Numbers like "Painted Lady" and "Moment and the End" are tense, meandering hard rock tunes; the latter cut, in fact (as well as sections of some others, like "Velvet Mountain") sounds kind of like late-'60s/early-'70s Guess Who LP filler. There's a wistful rural feel to parts of the material that suggests some promise, but that mood's shattered by an unnecessary, pedestrian heavy rock cover of Simon & Garfunkel's "59th Street Bridge Song." 

by Richie Unterberger

Tracks
1. Velvet Mountain (Mick Grabham) - 3:26
2. China (Grabham)-3:55
3. Trafalgar Day (B. J. Cole) - 5:08
4. Moment And The End (Cole) - 5:58
5. Watch This Space (Stewart Brown) - 3:56
6. 59th Street Bridge Song (Feelin' Groovy) (Paul Simon) - 3:39
7. Past Loves (Brown) - 3:38
8. Painted Lady (Grabham) - 7:03
9. Black Is The Colour (Traditional) - 0:56

Cochise
*Stewart Brown - Guitar, Vocals
*B.J. Cole - Dobro, Guitar, Pedal Steel, Cello, Steel Guitar
*Mick Grabham - Organ, Guitar, Piano, Keyboards, Vocals
*Rick Wills - Bass, Vocals
*John Sly Wilson - Percussion, Drums, Vocals

1970-72  Cochise – Velvet Mountain An Anthology (2013 remaster)

Free Text

Just Paste

Crazy Mabel - Crazy Mabel (1971 uk, stunning blues rock with progressive mood)

British sextet released in 1971 their sole album (a live recording) only in Germany and Netherlands. A heavy psych blues rock with jazz and progressive touch, from excellent musicians like Mike Connell on guitar, Allan Spriggs on vocals and Geoff Leigh (form Henry Cow fame) on saxes and flute.

Tracks
1. Intro Talking - Crazy Mabel - 3:20
2. Keep On Rolling - 3:40
3. Driving Song - 3:58
4. Beat Goes On - 6:40
5. Rag And Bone Man - 4:55
6. It´s Alright Ma - 4:51
7. You´ve Never Had It - 4:39
8. Sleepy Feeling - 4:27
9. Tea Time - 3:57
10.Splitting - 4:48

Crazy Mabel
*Mick Connell - Lead Guitar
*Jim Sullivan - Bass
*Les Cirkle - Drums
*Alan Spriggs - Vocals
*Geoff Leigh - Saxophone, Flute
*Bryn Collinson - Tenor Saxophone
with
*Tom Parker - Piano

Free Text
the Free Text

Harlem River Drive - Harlem River Drive (1971 us, awesome latin jazz funky psych)

The reason this record is "legendary" is because it marks the first recorded performances, in 1970, of Eddie and Charlie Palmieri as bandleaders. The reason it should be a near mythical recording (it has never been available in the U.S. on CD, and was long out of print on LP before CDs made the scene), is for its musical quality and innovation. 

The Palmieris formed a band of themselves, a couple of Latinos that included Andy Gonzales, jazz-funk great -- even then -- Bernard "Pretty" Purdie, and some white guys and taught them how to play a music that was equal parts Cuban mambo, American soul via Stax/Volt, blues, Funkadelic-style rock, pop-jazz, and harmonic and instrumental arrangements every bit as sophisticated as Burt Bacharach's or Henry Mancini's or even Stan Kenton's. 

One can hear in "Harlem River Drive (Theme)" and "Idle Hands" a sound akin to War's on World Is a Ghetto. Guess where War got it? "If (We Had Peace)" was even a model for Lee Oskar's "City, Country, City." And as much as War modeled their later sound on this one record, as great as they were, they never reached this peak artistically. But there's so much here: the amazing vocals (Jimmy Noonan was in this band), the multi-dimensional percussion section, the tight, brass-heavy horn section, and the spaced-out guitar and keyboard work (give a listen to "Broken Home") where vocal lines trade with a soprano saxophone and a guitar as snaky keyboards create their own mystical effect. 

One can bet that Chick Corea heard in Eddie's piano playing a stylistic possibility for Return to Forever's Light As a Feather and Romantic Warrior albums. The band seems endless, as if there are dozens of musicians playing seamlessly together live -- dig the percussion styling of Manny Oquendo on the cowbell and conga and the choral work of Marilyn Hirscher and Allan Taylor behind Noonan. Harlem River Drive is a classic because after 30-plus years, it still sounds as if listeners are the ones catching up to it. It's worth every dime you pay for it, so special order it today. 

by Thom Jurek

Tracks
1. Harlem River Drive (Theme Song) (C. Clash, E. Palmieri) - 4:11
2. If (We Had Peace Today) (J. Norman, Al Taylor) - 3:02
3. Idle Hands (M. Hirscher, B. Bianco) - 8:29
4. Broken Home (C. Clash, E. Palmieri, C. Palmieri) - 10:37
5. Seeds of Life (C. Clash, E. Palmieri) - 5:09

Musicians
*Randy Brecker  - Trumpet
*Burt Collins  - Trumpet
*Ronnie Cuber  - Brass Arrangement, Saxophones
*Cornell Dupree  - Guitar
*Reggie Ferguson  - Drums
*Bruce Fowler  - Trombone
*Andy González  - Bass
*Gerald Jemmott  - Bass
*Bob Mann  - Guitar
*Nicky Marrero  - Drums, Timbales
*Dick Meza  - Tenor  Sax
*Jimmy Norman  -   Vocals
*Manny Oquendo  - Congas, Cowbell, Timbales
*Eddie Palmieri  - Piano
*Charlie Palmieri  - Organ
*Eladio Perez  - Congas
*Dean Robert Pratt  - Drums
*Bernard "Pretty" Purdie  - Drums
*Barry Rogers  - Trombone
*Allan Taylor  - Choir, Chorus
*Marilyn Hirscher  - Choir, Chorus
*Victor Venegas  - Bass

Free Text
the Free Text