Music Box - Songs Of Sunshine (1972 uk, tastily folk psych, Radioactive issue)

Echoes of the mid '60s folk rock boom, and whimsical lyrics with a twist of Dylan (his "Tom Thumb's Blues" is the only non-original song on the album) were perhaps at odds with the sounds of that era. Whatever the reasoning, the album quickly disappeared... shame. Here is an album about a more intimate, predominantly acoustic music. Flutes, chimes, and gentle organ sounds. It spins tales of faraway lands, sand, sea, castles, kings, queens and even Peter Pan.

Bet you thought only Donovan made 'em like that? Songs of Sunshine is incense & innocence, folk rock 'n' flowers! Well played, tastily arranged... and overlooked. But that was then, and things change.... we're now probably far enough away for the mid '60s to be the early '70s anyway, and if you can remember those times, well, you weren't there, as the saying goes...or something like that.

Rob Armstrong, the leader of the group, became a renowned luthier after the short-lived Music Box project, and you can hear the care and love of the acoustic guitar in the music.

The lyrics combine whimsy and fantastical stuff, basically pedestrian but the key is the feel of the tunes,(very pretty version of a traditional tune, "Leezie Lindsey.") the album also has tasteful bass playing and organ and glockenspiel and such things. 

by Adamus67

Tracks
1. Songs Of Sunshine - 4:18
2. Caillavie - 3:53
3. Harmonium Joe - 3:21
4. Leezie Lindsey (Traditional arr. by Rob Armstrong) - 5:29
5. Calico Shoeshine Boy - 2:45
6. The Happy King - 4:58
7. The Magic Cloak - 2:34
8. Seaside Sunshine (Colin Armstrong) - 2:58
9. Tom Thumbs Blues (Bob Dylan) - 6:34
10.Downstairs On The Floor - 3:24
All titles by Rob Armstrong unless as else stated.

Music Box
*Rob Armstrong - Six, Twelve String Guitars, Vocals
*Colin Armstrong - Six String, Electric Guitar, Vocals
*Pip - Glockenspiel, Recorder, Organ, Percussion, Vocals

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Pete Ham - 7 Park Avenue (1970-74 uk, wonderful testament of soft pop rock)

Only two of these 18 tracks ("No Matter What" and "Matted Spam") were recorded by Badfinger. But the rest of these solo studio demos are quite up to scratch with Badfinger's usual standards: it's not nearly as good as Paul McCartney's late Beatles tracks, for instance, but it's actually better than McCartney's typical early solo material. 

Pete Ham is a thinking listener's rock romantic, offering emotional, wistful words and melodies without sounding sappy. Purists should be aware that, although Ham played most of the instruments here, some overdubs were added in the '90s by other musicians, for the purpose of giving the tracks a fuller, more balanced sound. 

It's difficult to judge whether this decision was justified without hearing the original versions, though one wonders whether die-hard Badfinger fans (the primary audience for this release) would really care that much about any sonic imperfections in the originals. In any case, the end result sounds pretty tasteful, without any obvious concessions to dressing up the essential sounds in modern technology. 

by Richie Unterberger

Tracks
1. Catherine Cares - 3:01
2. Coppertone Blues - 3:56
3. It Doesn't Really Matter - 2:58
4. Live Love All of Your Days - 2:16
5. Would You Deny - 1:23
6. Dear Father - 2:03
7. Matted Spam - 3:24
8. No Matter What - 2:24
9. Leaving on a Midnight Train - 2:41
10.Weep Baby - 2:26
11.Hand in Hand - 2:38
12.Sille Veb - 3:38
13.I Know That You Should - 3:28
14.Island - 2:27
15.Just Look Inside the Cover - 3:29
16.Just How Lucky We Are - 2:29
17.No More - 2:55
18.Ringside - 2:46
All titles by Pete Ham

*Pete Ham - Vocals, Guitar, Keyboards, Drums, Percussion

Ham's activities 
1968-75 Pete Ham - Golders Green
1969  Iveys - Maybe Tomorrow
1970  Badfinger - Magic Christian Music (Japan issue)
1970  Badfinger - No Dice (24karat Gold disc)
1971  Badfinger - Straight Up (24karat gold disc)

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Pete Ham - Golders Green (1968-75 uk, classic soft rock, demos and unrleased material, 1999 Rykodisc)

This collection of previously unreleased home demos by Ham is almost as worthwhile and satisfying to the ear as its predecessor, 7 Park Avenue. Again, some musicians (including Bob Jackson, who was in Badfinger for a while shortly before Ham's death) enhanced these recordings with overdubs. 

And as with 7 Park Avenue, while it's impossible to tell if these were truly necessary without comparison to the original unadorned versions, these overdubs do not seem intrusive (as they are on most productions of this sort). Although there are 20 tracks, it's not as bountiful a platter as one might hope (adding up to only 42 minutes), as some of the songs are quite short, and three are nothing more than fragments lasting less than a minute. 

In the main, though, these are quality, sometimes enchantingly tuneful and tender performances, sometimes exhibiting a Beach Boys bent that's not so evident on Badfinger's official recordings. The cut to attract the most attention will be a demo of "Without You," although Ham's version is an incomplete skeleton of the track that Badfinger would record (and Nilsson would cover for a chart-topping hit), missing the chorus added by fellow Badfinger member Tom Evans. 

Otherwise a highlight is "Makes Me Feel Good," two drastically different versions (one slow, one fast) which open and close the disc; it sounds like it could have made a first-rate Monkees track (which is a compliment, not a knock). 

On the whole, the effect of this CD, as was the case with 7 Park Avenue, is to make one wish that Badfinger had recorded more of Ham's material and had made less room for the songwriting efforts of the lesser composers in the band. 

by Richie Unterberger

Tracks
1. Makes Me Feel Good - 1:47
2. A Lonely Day - 1:59
3. Dawn - 3:18
4. Without You (Pete Ham, Tom Evans) - 2:16
5. Pete's Walk - 1:27
6. Hurry On Father - 1:38
7. Goodbye John Frost - 1:59
8. I'll Kiss You Goodnight - 2:37
9. When The Feeling - 0:55
10.Shine On (Pete Ham, Tom Evans) - 0:39
11.Gonna Do It - 0:22
12.Whiskey Man - 1:34
13.Keyhole Street - 2:27
14.I've Waited So Long To Be Free - 1:41
15.Richard - 3:10
16.Midnight Caller - 2:42
17.Helping Hand - 3:52
18.Where Will You Be - 1:58
19.I'm So Lonely - 3:13
20.Makes Me Feel Good - 2:04
All songs written by Pete Ham, except where noted

Ham's activities 
1969  Iveys - Maybe Tomorrow
1970  Badfinger - Magic Christian Music (Japan issue)
1970  Badfinger - No Dice (24karat Gold disc)
1971  Badfinger - Straight Up (24karat gold disc)

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Brian Davison - Every Which Way (1970 uk, prog flourishes and jam rock, with ex Nice and Bel 'n' Arc members, 2010 Dogtoire issue)

A few months after the disbanding of the Nice, drummer Brian Davison put together a new group he wanted to call Every Which Way and recorded what turned out to be his only solo album. Released in 1970, it was received with indifference and remains to this day cruelly underrated. 

While fellow ex-Nice Keith Emerson went on to form the widely successful prog rock trio Emerson, Lake & Palmer, Davison recruited unknown musicians to find a new sound miles away from the classical pomp of his former band. The result is a delightful rock album, very delicate and soft for the most part, tinged by blues and soul and reminiscent of Savoy Brown's albums of the early '70s, but also of Brian Auger's Oblivion Express. 

Most importantly, Davison never takes a leading role, keeping his drumming intelligent and efficient, but firmly anchored in the background. Keyboardist/singer Graham Bell wrote most of the material. Guitarist John Hedley (who disappeared after this LP) does a great job in the more energetic "All in Time." Future Procol Harum bassist Alan Cartwright puts his distinctive touch to the music. 

Saxophonist/flutist Geoffrey Peach (later in Lake) plays with much soul, evoking a cross between Elton Dean circa Soft Machine's Third and Mel Collins circa King Crimson's Islands. The music is deceptively simple, with exquisite arrangements and gripping vocals. The opener, "Bed Ain't What It Used to Be," pioneers a genre of restrained blues rock ballads that would become more common in the 1990s. 

"The Light" is the other highlight and sounds like Van der Graaf Generator playing the blues. Simplicity has rarely sounded so compelling. Every Which Way is an unsuspected treasure hidden among the piles of minor prog rock-related albums of the 1970s. 

by François Couture

Tracks
1. All In Time (Maria Niforos)
2. What You Like
3. The Light
4. Bed Ain't What It Used To Be
5. Castle Sand
6. Go Placidly
Music and words by Graham Bell unless as else stated

Brian Davison's Every Wich Way
*Brian Davison - Drums, Percussion
*John Hedley - Guitar
*Graham Bell - Piano, Acoustic Guitar, Lead Vocals
*Geoffrey Peach - Reeds, Flute, Vocals
*Alan Cartwright - Bass

Related Act
1971  Bell and Arc

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The Facedancers - The Facedancers (1972 us, sensational progressive rock)

The Facedancers were a progressive/jazz-rock band signed to Paramount Records in the 1970’s. They recorded one full length studio album with legendary producer Teo Macero (Miles Davis). Though the band and their album have built a cult following, The Facedancers remain a mysterious treasure in the hearts of progressive rock fans around the world.

The Philadelphia based band consisted of brothers Barry (bass, guitar) and Dale Armour (keyboard, flute, guitar, vocals), Warren Bloom (lead vocals, harmonica, percussion), Roger Kelly (guitar, vocals), and Michael Loy (drums). Originally a comedy-rock group called Lobotomy, they became the house band in the last year of the Second Fret Coffeehouse in Philadelphia. No longer strictly a comedy act, in 1971 they changed their name to The Facedancers just before making their self-titled album on Paramount Records in 1972.

The album was produced by jazz saxophonist and producer Teo Macero, at Blue Rock Studios in the Soho district of NYC in the summer of 1972, using 100 hours of studio time. Macero was concurrently producing Miles Davis' "Bitches Brew" for Columbia records, so this was a moonlighting job for him. In those days if someone insisted that the group label their music, they answered with "jazz-rock", though they didn't consider it jazz.

The group's musical influences were eclectic. Kelly and Bloom were lovers of rock'n'roll, R&B and blues (Bloom admired Smoky Robinson in particular). The Armours' father was a pianist who had played in swing bands, and taught the boys classical, stride and swing. They liked Bill Evans and Dave Brubeck. The brothers had also studied classical guitar, and Dale was self-taught on flute and sitar.

Development was intentionally somewhat musically isolated. Not many record albums were played at the band house - some Pink Floyd, David Bowie, Charlie Parker and Dizzie Gillespie, John Cage. There was still the overwhelming influence of the Beatles. There was no concern for "danceability", so they played with time signatures. When too hungry and obliged to take a dance gig, they covered the Rolling Stones for fun.

by Michelle Armour, Philadelphia  

Tracks
1. Little Waterfall - 7:24
2. Dreamer's Lullabye - 5:47
3. Nightmare - 3:12
4. Jewels - 4:00
5. Let The Music Set You Free - 5:26
6. Children - 8:27
7. Beta - 6:08

The Facedancers
*Barry Armour - Bass, Guitar
*Dale Armour - Flute, Guitar, Keyboards, Vocals
*Scats Bloom - Harmonica, Percussion, Vocals
*Michael Loy - Drums, Percussion
*Kelley Moko - Guitar, Vocals

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The Flock - Dinosaur Swamps (1970 us, fine progressive jazz rock fusion with some country tinges)

The Flock has always had a different sound that should be approached with an open mind. The game is beautiful, and even if we can understand the aversion of some to singing, he is in agreement with the rest of the natural rhythmic structure of the songs. Overall, this album is not as good as the first album, but it's a good album overall.

The album begins with an ambient " Green Slice " which explores essentially the sound of the organ and tenor saxophone, continued with "Big Bird" in a relatively upbeat tempo complemented by the work of brass and violin influenced by the Country Music .The trumpet solo alternating with the violin is really impressive.

"Hornschmeyer's Island" continues with heavy elements of jazz in particular through a part of improvisation in the middle of the song where the violin performs his solos. Sections of brass, flute and guitar accentuates the beauty of the song.

It is quite unusual to hear that the group begins as "Lighthouse"a solo electric followed by full orchestration, bass lines are very obviously coupled with brass and guitar solo in a mood quite exhilarating. Part interlude where all the solos are performed compactly combines guitar, bass and brass is beautifully executed.

"Crabfoot" is a rock solid and optimistic, supplemented by the excellent work of the violin. The guitar solo reminds Terry Kath of Chicago and it is superb. The intermediate portion is energetic with a brass section inventive. The magic is evident in this song that cleverly blends the type of melody Blues "You do not love me" with the Soul "I Feel Good" by James Brown style.

"Mermaid" is a song with textures and styles compared to other songs. The melody and rhythm are weird, they seem a little wobbly, but they produce a unique sound. It is as if a song Psychedelic meet one intelligent Chamber Ensemble, with a flamboyant falsetto and harmony.

The last piece, "Uranian Sircus" is similar in style to the previous song. The nice job flute and solo violin made in shades of Jazz. It shows what really makes the Flock a truck driving well above most groups Prog known at the time, with a creative flair. In short, this album worth listening deeper to discover the shades and other niceties!

by Adamus67

Tracks
1. Green Slice - 2:02
2. Big Bird - 5:50
3. Hornschmeyer's Island - 7:25
4. Lighthouse (R. Canoff, F. Glickstein, J. Taylor, T. Webb)  - 5:19
5. Crabfoot - 8:14
6. Mermaid - 4:53
7. Uranian Sircus - 7:11
All songs by  Rick Canoff,  Fred Glickstein,  Tom Webb except where indicated.

The Flock
*Jerry Goodman - Violin, Guitars, Vocals
*Fred Glickstein - Guitars, Lead Vocals, Hammond Organ
*Jerry Smith - Bass Guitar, Vocals
*Ron Karpman - Drums
*Rick Canoff - Tenor Saxophone, Vocals
*Frank Posa - Trumpet
*John Gerber - Alto And Tenor Saxophones, Flute, Banjo, Vocals

1969  The Flock

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Dirty Tricks - Dirty Tricks (1975 uk, great hard rock, bonus tracks issue)

Dirty Tricks are four guys with similar backgrounds and tastes who've been struggling in semi-obscurity since 1965, working in almost all musical styles from soul to funk to punk rock to pop to heavy rock, to avant-garde, and even circus rock. Dirty Tricks are Johnny Fraser - on guitar, Kenny Stewart, vocals, Terry Horbory on bass and drummer John Lee. 

The four have been together since May of this year and the three frcnt men have been rehearsing for five months prior to that. Kenny and Johnny admit that their inspiration came not so much from local music but from the records they heard on John Peel's Sunday afternoon show back in 1967. They both worked in various rock heavy soul groups in Stirling Scotland. In 1968 Kenny was in 'Cargo’ while Johnny was fronting the opposition band 'Susan Rams.' By 1970 they were both in 'Aegis’, one of those avante-garde bands that art students get excited about. 

After a couple of years the band broke up and the two lads came down to London. While Johnny stayed at home digging Hendrix and Doobie Brothers records, Kenny joined a semi-pro group called 'Renia.' He stayed with them a year and a half, produced an album which quickly did nothing and looked round for more challenging work. Terry, who cones from Newark Nottinghamshire, formed his own band at 16, and did the rounds of local clubs, until his band were number one in the region. He cane to London in early 1974, and joined up 'The Goose Fayre Show’, a collection of miners, actors and other such wandering minstrels. 

Kenny at this tine was auditioning for an up- and-coming blues rock band called San Apple Pie. He was accepted, and a week later, quite by chance Terry, who had left 'the circus', joined on bass. The band however was not too much to their liking, and they left to team up with Johnny, and Dave the drummer from 'Renia.' The unnamed band were hoping for a support gig on a German tour but nothing materialized. Undaunted they continued to rehearse, and left highly impressed. 

A demo tape was cut and within a few weeks a record deal with Polydor was signed. Shortly afterwards Dave had to leave, and John Lee was brought in as a replacement, John who cones from Battersea had been playing the drums since he was 13, and was still playing when his family moved to Australia when he was 14. He joined one of Australia’s leading bands ‘Blackfeather' and 1972 joined 'Dingoes.' He stayed with then for several tours, two singles, and an album that was voted the best album of the year. A year later his contract expired but he chose not to renew it. He was immediately offered a job with two bands, a pop band, and the band Ariel, he accepted the latter's offer. 

When Ariel came to Britain for what was an unsuccessful tour, John decided to leave the band and stay here. Within two days of being in London Paul Scott phoned hi*, and asked him to cone for an audition with 'Dirty Tricks.' "I couldn't believe my luck" says John, "I was out of work for exactly eight hours." The new look band went straight into the studios, and emerged with their album entitled "Dirty Tricks", and a single "Call Me Up For Love."

September 1975

Tracks
1. Wait Till Saturday - 5:18
2. Back Off Evil - 6:41
3. Sunshine Day - 4:11
4. If You Believe In Me - 2:25
5. Too Much Wine - 5:07
6. Call Me Up For Love - 2:51
7. Marcella - 3:59
8. High Life - 7:47
9. I'M Gonna Get Me A Gun (Bonus Track) - 2:56
10.Hire Car (Bonus Track) - 3:57
11.Back Off Evil (Live) (Bonus Track) - 7:33
12.Call Me Up For Love (Live) (Bonus Track) - 3:30
13.The High Life (Live) (Bonus Track) - 7:50
14.Play Dirty (Live) (Bonus Track) - 5:02

Dirty Tricks
*John Fraser Binnie - Guitar, Keyboards
*Terry Horbury - Bass
*John Lee - Drums
*Kenny Stewart - Vocals

Related Act
1973  Renia - First Offenders

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Salamander - The 10 Commandments (1971 uk, beautiful psychedelic rock with some prog tinges)

This progressive album made against the background 10 commandments. English recorded only this one album, referring to the achievements of The Moody Blues (from the period of Days Of Future Passed) - a fairly mild prog-rock variety, based on the sound of organs Hammond,guitar and brass enriched orchestrations.

This is a band whose concept album is based on the Ten Commandments. Each track deals with a different commandment. The album, which was produced by Miki Dallon, was dominated by Bob Leaper's orchestral arrangements, but there are also some good melodies, strong vocals and organ work and powerful drumming. The best tracks are those where the orchestral arrangements are more discreet: "He Is My God", on which the melody sounds like King Crimson in places; "Images", which features strong vocals, good drumming and organ work; the mellow and melodic "People" and "False Witness", a good progressive piece with some fine guitar leads and powerful organ. 

Salamander's "Ten Commandments" is a most interesting album. Produced in 1971 (but released on CD by The Laser's Edge and Progressive Line), it has all the markings of a post-60's progressive release. Its sound is heavy on the Hammond organ and the album is fully orchestrated. Ken Golden from The Laser's Edge compares the organist to Jon Lord which is not accurate, as Alister Benson lacks the technique of Lord. I would compare Salamander more directly to Rare Bird's sound, with the addition of orchestration. The lyrics are at times direct, and at times vague. (Should we get philosophical on the issue of adultery? The Bible is clear on this topic.) However, it is well worth a listen if you like this early 70's type of sound.

Prelude Incorp. He Is My God' - This is a very impressive and memorable opener which starts appropriately enough with a devotional chapel organ before leading into the main theme arranged for full orchestra and overlaid with an exotic 'quivering' guitar lead. 

'Images' - Nice Leslie speaker 'siren' effects on this and more than a trace of 'Hush' by Deep Purple in the rhythm employed but not overtly derivative as the tune is truly memorable and original. Titley displays what a wide range of vocal timbres he has command of with a rasping blues inflection (or is it someone else singing and the reviewer is too dumb to refer to the sleeve notes ?) One of those nice 'false ending' devices is exploited towards the end to good effect.

'People' - Although the production is horribly dated, that has never been an obstacle to a strong melody and sympathetic harmonic support eg the Beatles 'Yesterday' would still be a damn fine song even if rendered by a flat footed Bolivian nostril flute marching band. (think I'm drinking too much coffee) This is beautiful (Full stop)

'God's Day' - Things take a downward turn here with a paean to the Sabbath that sounds just a bit too cheerful for its own good. The melody is decent and well sung but is spoiled by some 'Trumpton Fire Brigade Brass Band' horn writing.

'Honour Thy Father and Thy Mother' - Simple and brief instrumental modest in its scope that carries an echo of Leo Sayer's 'When I Need You' (hardly an unqualified endorsement certainly, but so much of what we remember we profess to dismiss, without acknowledging its durability)

'Kill' - Reference points might include the organ sound and feel of Bob Dylan and the Band plus the arrangements of Van Dyke Parks heard on the more credible work by Brian Wilson. Unfortunately a good song is rather undermined by the adolescent 'gravitas' of a spoken narrative that drags us down into the twee realms of a school production of 'Joseph and the less than Amazing Monochrome Dreamcoat'.

'Thou Shalt Not Commit Adultery' - If Giles, Giles & Fripp had been god fearing souls with a better grasp of pop songcraft, they may have delivered something like this. Beautiful flute weaves its way throughout a finely woven tapestry of harmonized strands of melody. Brilliantly sung and enhanced by some restrained strings and subtle hand drum percussion. The best hippy camp fire song ever written to put out the flames of passion.

'Steal' - Bit of a no brainer in the moral lexicon really ? but an exquisite Hammond sound and a nagging riff that lives long in the memory afterwards. This may be the best song on the album as the electric band and the orchestral instruments are perfectly balanced with the latter injecting a thrilling little strings glissando at periodic intervals. Great tune and topped off with Benson's Vincent Crane impersonation on an economical solo which is interrupted by a startlingly ethereal strings dissonance. Very spooky.

'False Witness' - These guys were obviously big fans of 'The Crazy World of Arthur Brown' and early 'Deep Purple' as this has that sort of vibe but it fails to really go anywhere after a promising start. Ultimately it serves as a vehicle for an excellent short guitar solo from Titley, who otherwise contents himself with brushing up on a very convincing Dave Davies of the Kinks impersonation.

'Possessions' - Flecks of 'Cream' are visible on a decent tune but the specter of our old unvanquished foe 'James Last' hovers like a white bearded bird of prey over the arrangement.

by Adamus67

Tracks
1. Prélude Incorporing He's My God's - 7:15
2. Images - 3:24
3. People - 2:50
4. God's Day - 2:27
5. Honour Thy Father And Thy Mother - 1:38
6. Kill - 3:31
7. Thou Shalt Not Commit Adultery - 3:07
8. Steal - 4:20
9. False Witnwess - 3:54
10. Possession - 3:15

Salamander
* Alister Benson - Organ, Vocals
* Dave Chriss - Bass
* John Cook - Drums
* Dave Titley - Lead Vocals, Guitar

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John And Beverley Martyn - Stormbringer! (1970 uk, folkish vein with jazzy feel, 2005 remaster expanded edition)

Behind him were a couple of charming acoustic albums in London Conversation and The Tumbler; ahead of him was his '70s purple patch of Bless The Weather, Solid Air, Sunday's Child and One World. These find him in transitional mode, working with his new wife, the folk singer Beverley Kutner (the Posh and Becks of the late'6os jazz/folk scene). The results are lovely enough cocktails of gentle hippydom that will have you reaching for your kaftan and joss-sticks, but neither rank among his greatest works.

That said, there are three good reasons why you should buy them in their new format. Stormbringer, marginally the weaker of the two albums, now has Mr and Mrs Martyn's original demo added to it. This contains a previously unreleased track: One Of Those Days, which is just Beverley singing over John's guitar, completely pared down, completely gorgeous. Well worth the price of admission alone.

The most important of all- because John Martyn is nothing short of a national treasure, who is finally getting the sort of recognition he deserves. Buying a copy is a worthwhile contribution to the John Martyn benevolent fund. Give generously.

by Simon Waldman

Tracks
1. Go Out And Get It - 3:09
2. Can't Get The One I Want (Beverley Martyn) - 2:55
3. Stormbringer! - 4:18
4. Sweet Honesty (Beverley Martyn) - 8:03
5. Woodstock - 1:44
6. John The Baptist - 3:13
7. The Ocean - 3:41
8. Traffic-Light Lady - 3:19
9. Tomorrow Time (Beverley Martyn) - 3:50
10.Would You Believe Me? - 5:22
11.One Of Those Days - 5:43
12.I Don΄T Know - 3:53
13.John The Baptist - 2:56
14.Traffic-Light Lady - 3:01
All tracks by John Martyn except where noted.
Bonus tracks 11-14  Chelsea demos 16-4-1969

Musicians
*John Martyn - Vocals, Acoustic Guitar, Guitar
*Beverley Martyn - Vocals, Acoustic Guitar
*Harvey Brooks - Bass
*Paul Harris - Piano, Organ, Arrangements
*John Simon - Harpsichord
*Levon Helm - Drums
*Herbie Lovell - Drums
*Billy Mundi - Drums

1970  The Road To Ruin

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Purple Image - Purple Image (1970 us, strong blend of soul funk and psych rock, Radioactive edition)

Though African-American and raised in the predominantly Black 105th Superior area of Cleveland, Purple Image played rock -- psychedelic, mind-bending, pass-the-bong, strobe-light, posters-on-the-wall head music. 

This obscure album recorded on Map Records has risen to the status of cult because of its scarcity and the musical orientation of Warren Adams (vocals, piano, organ), Kenneth Roberts (vocals, rhythm), William Adams (vocals, conga), Frank Smith (lead guitar), Del Moran (bass), Richard Payne (drums), and lone female Diane Dunlap (vocals); Edward Snodgrass, a non-member, augmented P.I. on sax. 

Purple Image wrote everything except the LP's masterpiece, the 15-minute, 24-second rendition of Bob Craig's "Marching to a Different Drummer." As with all six selections, Purple Image sounds better when the volume is cranked. "Drummer" is an energetic, powerful blend of acid rock and fusion; Snodgrass blows a frantic Coltrane-ish sax, and Dunlap wails like she slammed her hand in a door. 

"We Got to Pull Together" is an airy, charming, socially significant ballad that urges us to become color-blind, forget the past, and get along. Snodgrass plays a tender horn while a male does a convincing lead wallpapered by some arresting, swooping harmonies. On "Living In the Ghetto," they sing about the woes of poverty; if you like heavy metal, this and "Why" will tickle your fancy. "Lady" features Dunlap and a male on an upbeat rock-blues number. 

The back cover pictures P.I. posing under the now-defunct Liberty Theater marquee in mod-type clothing. The front cover features a slim, pretty, Afro-wearing Black woman with three arms holding three globes surrounded by clouds. 

Tracks
1. Living In The Ghetto - 6:32
2. Why - 4:37
3. Lady - 3:37
4. We Got To Pull Together (Frank Smith) - 3:35
5. Whey You Do To Me - 3:32
6. Marching To A Different Drummer - 15:24
All songs by Purple Image unless as else written.

Purple Image
*Del Moran - Bass
*Diane Dunlap - Vocals
*Frank Smith - Guitar
*Kenneth Roberts - Vocals
*Richard Payne - Drums
*Warren Adams - Organ, Piano, Vocals
*William Adams - Conga, Vocals

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