Black Merda - Black Merda (1970 us, heavy funky psych blues rock)

Usually linked in with the brief explosion of "black rock" bands that followed Jimi Hendrix in the late '60s and early '70s, Black Merda's formula was a good bit more complicated than most, and their debut album blends elements of hard rock, blues, soul, folk, and embryonic funk with a tough and uncompromising political consciousness that makes the disc at once a product of its time and not quite like anything else around back in the day. 

The guitar work from Anthony Hawkins and Charles Hawkins is tough and organic, whether they're stretching out on extended blues jams such as "Over and Over" and "Windsong" or cutting some hard R&B-accented rock on "Cynthy-Ruth" and "Prophet." Bassist Vessee L. Veasy (who also contributes most of the lead vocals) and percussionist Tyrone Hite generate a lean but effective groove throughout as they jump from the streetwise soul of "Reality" to the acoustic meditation of "Think of Me." But as good as the music is on this album (and despite bland production from someone named Swan, most of it is very good indeed), what really sets it apart is the dark vibe reflected in the minor-key tenor of the melodies and the bitter realities of the lyrics. 

Grinding poverty, racism, political and social inequality, the ongoing nightmare of Vietnam, the growing schism between youth culture and the establishment, and the absence of any easy answers to the dilemmas of a nation spinning out of control dominate songs such as "Reality," "Ashamed," and "That's the Way It Goes," and the grim but wholly appropriate fable of "I Don't Want to Die" ends this album as if a lid were being slammed shut on a coffin. 

Black Merda anticipates the grim consciousness-raising session of Sly & the Family Stone's There's a Riot Goin' On, which wouldn't arrive in stores until a year after this album, and if it isn't the stark masterpiece that Sly's album was, it's good enough that this group deserves to be regarded as much more than a footnote in the black music scene of the early '70s. 

by Mark Deming

Tracks
1. Prophet (Anthony Hawkins) - 2:54
2. Think of Me (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 2:33
3. Cynthy-Ruth (Roosevelt Veasey) - 3:06
4. Over and Over (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 5:33
5. Ashamed (Anthony Hawkins) - 3:52
6. Reality (Roosevelt Veasey) - 2:01
7. Windsong (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 4:14
8. Good Luck (Anthony Hawkins) - 3:46
9. That's the Way It Goes (Roosevelt Veasey) - 3:16
10.I Don't Want to Die (Anthony Hawkins, Charles Hawkins, Tyrone Hite) - 3:52
11.Set Me Free (Anthony Hawkins) - 0:43

Black Merda
*Anthony Hawkins - Guitar, Vocals
*Charles Hawkins - Guitar, Vocals
*Tyrone Hite - Drums, Vocals
*Roosevelt Veasey - Bass, Vocals

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The Aggregation - Mind Odyssey (1968 us, atmospheric psychedelic trip)

Ever since Hermann Hesse suggested back in 1927 that the cost for one admission is your mind, metaphors of magic theatres, carnivals and fun fairs have been popular among those wanting to illustrate altered states of mind. During the psychedelic 1960s the use of such symbols was so frequent and often so ignorant that the serious concept degenerated into a meaningless prop, much like what happened with incense or prayer beads. But as Hesse showed in "Steppenwolf" it is a powerful image with plenty of artistic possibilities.

One of the more remarkable uses of the "funhouse" as a metaphor for exploration of cerebral frontiers can be found on the 1969 "Mind Odyssey" LP by Los Angeles band the Aggregation. The LP is a somewhat obscure cult item today, and not many listeners are likely to realize how immediate, and ironic, the band's use of the concept is. A 5-piece of college graduates, several of which had degrees in music, the Aggregation were one of a small number of rock bands who played regularly at Disneyland. Hit covers of the day were delivered as a diversion for visiting teenagers, but the band also composed original music to work in conjunction with the rides and expositions on offer at Disneyland's "Tomorrowland".

The details behind the Aggregation signing with LHI and the work on the album can be found in the accompanying website interview, leaving us to concentrate on the resulting music. "Mind Odyssey" is a completely realized concept LP that uses a visit to an amusement park as a metaphor for an inner, ostensibly psychedelicized, journey. 

The most remarkable aspect of "Mind Odyssey" is that its' surface is deceptively similar to any number of cheesy concept LPs that appeared in the wake of "Sgt Pepper", yet if you stick around it will open up to reveal layers of elaborate composition and internal logic that surpass all those Beatles imitations, and indeed Sgt Pepper himself. The Charleston/vaudeville track is a telling example -- on the typical post-Pepper album this is a throwaway number made for no other reason than to echo "When I'm 64". When Aggregation does one it makes perfect sense, and even convinces of its need to be there, although it's unlikely to be anyone's favorite track. 

Formally trained and mature enough to understand the use of irony and intermusical references, Aggregation uncover a terrific analogy for a psychedelic experience in Disney's "Tomorrowland", and the way they proceed to deliver it makes "Mind Odyssey" one of my favorite albums from 1969. I bet old Herman Hesse would have liked it too.

by Patrick "the Lama" Lundborg

Tracks
1. The Lady at the Gate (Potts. Braun. Burt. L. O'Hara) - 4:45
2. Looking for the Tour Guide (Bun, L. O'Hara) - 2:13
3. The Long Windy Tunnel (Taylor) - 6:15
4. Flying Free  (Taylor. L. O'Hara) - 3:05
5. White Light  (Taylor. L. O'Hara) - 2:00
6. In the Garden  (Burt, L. O'Hara) - 3:05
7. Reflections  (Braun) - 2:55
8. The City of Toys and Games (Gregory) - 3:23
9. Change (Burt) - 2:50
10. Life's Light (Pott,Taylor) - 6:00

The Aggregation
*Lewayne Braun - Lead, Rhythm Guitar, Vocals
*Dale Burt - Organ, Piano, Honky-Tonk, Vocal
*Bayard Gregory - Drums, Timpani, Bongos, Tambourine, Vocal
*Richard Jones - Rhythm Guitar, Vocals
*Leo Potts - Flute, Clarinet Soprano, Alto, Baritone Saxophone (Electronically Enhanced By Selmervaritone Conn Multi-Vider And Echoplex), Recorder, Kazoo, Vocals
*Bill Sissoev - Bass, Slide And Valve Trombone, Vocal
*Lemoyne Taylor - Flute, Clarinet, Alto, Tenor Saxophone (Electronically Enhanced by Selmervaritone and Music Maestro), Recorder, Slide Whistle, Vocal

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St. John Green - St. John Green (1968 us, freak out garage dark psych)

Deep in the brown burnt hills of Southern California, there is a place called Topanga Canyon. The people wholive there are mostly musicians who grew weary of the many harassments of our culture. Dedicated musicians who searched for and found a place where they could  create their music in pace. 

These Canyon Groups (as they have come to be known) are not neon hippies , but  artists who have fled the music profession's hangers-on –al the phonies on the rock scene with their dubious talents and destructive ambitions. Here, in the serenity of Toppanga, the Canyon Groups hold festivals and concert! Where they learn from each other and grow. 

Here, in the home they've made for themselves, they meet to exchange ideas in an atmosphere of tolerance and creativity. Here they have found tranquility and freedom of expression in a setting of flowers, trees and grass.

Of all the Canyon Groups, St. John Green is perhaps the most mystical both in the religious and philosophical sense. Each of their songs is intensely dramatic, intensely concerned with life and its mysteries. As arranger Mike Baxter explains: "In our environment we have experienced both good and evil. 

Our concept of evil is constructed in our music in hopes that those who listen and understand might learn to enjoy the beauty that really exists. We have learned from the people  of the Canyon that there’s no substitute for being individually free. This is reflected in our songs and explains  why each is different from the other. 

Perhaps the imagination, the fire and the Sheer artistry of St. John Green would have found its outlet in any setting. But those who know—those who have listened and understood and applauded these compelling, haunting songs like to think that the magic of the Canyon inspired the magic of St. John Green.

Tracks
1. 7th Generation Mutation (E. Bissot) - 3.19
2. Canyon Women (K. Fowley) - 3.01
3. Devil And The Sea (M. Baxter, V. Sambino) - 2.18
4. Do You Believe (E. Bissot) - 2.11
5. Help Me Close The Door (E. Bissot) - 1.02
6. Messages From The Dead (E. Bissot) - 4.09
7. Goddess Of Death (E. Bissot) - 2.25
8. St. John Green (K. Fowley) - 3.05
9. Spirit Of Now (M. Baxter, V. Sambino) - 2.33
10.Love Of Hate (E. Bissot) - 2.11
11.One Room Cemetary (K. Fowley) - 3.43
12.Shivers Of Pleasure (M. Baxter, E. Bissot,  K. Fowley) - 3.19

St. John Green
*Ed Bissot - Bass, Vocals
*Vic Sabino - Harmonica, Vocals
*Bill Kirkland - Guitar
*Mike Baxter - Organ
*Shel Scott - Drums

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Mandy Morton And Spriguns - Magic Lady (1978 uk, gorgeous progressive folk rock)

Mandy Morton led much more the band away from the limitations in creativity of folk and even folkrock visions, but kept the whole typical linear heritage of England’s culture, with references to Renaissance and medieval times that brings an idea of magic, giving that way more colour and depth in background to the inspirations. 

Sandy Roberton did the production. He produced before the early folk/folkrock albums of Steeleye Span. Especially on the opener “Dead Man’s Eyes” we can hear a comparable approach of an influence of folk mixed with a straight rock rhythm. The lush orchestrations on “All Before” by Robert Kirby* are comparable to some Sandy Denny tracks, while especially on the closing track, “Letter to a lady” the arrangements that confirm the old England blossoming days with bassoon and such, are most impressive. 

Most arrangements are definitely making the best of a singer-songwriting vision, with tracks that have rather progressive or often crafted even at times with its own subtleness, heavy rocking arrangements. I must also mention how Mandy also has a beautiful coloured voice and singing and a personality and vision that give this album a masterly musically conceptual vision, which made this album an essential classic.

Psych-Folk 

Tracks
1. Magic Lady - 2:28
2. Music Prince - 3:19
3. According to Mathew - 3:29
4. Little Inbetween - 1:35
5. Goodbye the Day - 4:25
6. Silence do the Rest - 3:00
7. The Lady - 3:12
8. White Ship - 2:44
9. Witchfinder - 3:41
10.Gypsy Glass - 3:48
11.Ghost of a Song - 2:59
12.Winter Storms (Bonus Track) - 2:58
13.Magic Lady Reprise - 0:52
Lyrics and Music by Mandy Morton

Mandy Morton And Spriguns
*Mandy Morton - Lead Vocals, Acoustic Guitar
*Tom Ling - Electric And Acoustic Violins, Harpsichord
*Byron Giles - Electric And Acoustic Guitars, Vocals
*Alex Cooper - Drums And Percussion
*Mike Morton - Bass Guitar
Guest Musicians
*Tim Hart - Dulcimer, Vocals
*Graeme Taylor  - Electric Guitar
*Gordon Folkard - Cello And Concertina
*Sarah Folkard - Viola
*Gaynor Roberts - Backing Vocals (On Track 2)

other Spriguns
1977  Time Will Pass

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Saint Steven - Over The Hills / The Bastich (1966/69 us, spectacular bosstown acid folky psych)

This is one of the long, lost psych gems that I thought would never ever be reissued! Saint Steven was Steven Cataldo, onetime member of Ultimate Spinach, one of the greatest of all-time psych bands, from Boston. This was one of those records that came out of nowhere, was played on FM radio a bit and then disappeared without a trace. It was ABC/Probe Records, the same label as Soft Machine's first album. 

I've tried in vain to find out more about this gem, but have never seen anything about it anywhere until now, nearly forty years after it was released in 1969. Finally, here it is again with two bonus tracks and a lovely booklet explaining some of the mystery. Each side of the album was a suite, "Over the Hills" on side one and "The Bastich" on side two. 

The cover features "Saint Steven" hugging his guitar floating up in the clouds as the sun radiates around him with a drawing of a sea monster slithering down at the edge of the ocean. No musicians were listed inside, just the producer, engineer and cover design folks. The lyrics were included and are quite poetic with the feeling of dread buried beneath some of the warmer imagery. 1969 was the year when it felt like the positive forces of the sixties were coming to an end. 

The war in Vietnam and protests worldwide made things feels as if the world would end too soon. Each of these songs balances the innocent with the darker forces that we all must confront. Saint Steven uses his own mythical figures, "Gladacadova" and "Ay-Aye-Poe-Day", to add magic and mystery to his little tales. In the middle of "Poor Small", the song stops and we get an excerpt from one of the Presidential elections in which some old woman is reading the tally of states and hitting a gavel. 

The song continues and so does the tally in the background, it still reminds me of sad realities of life that we try to escape from with music. Although the original album was rather short (about 29 minutes), it still worked as one entire piece, amazing from the beginning to the end. I can't compare it to any other bands, because it doesn't really sound like anyone else, although I do hear a bit of Spirit in some of those hypnotic sustained guitar parts."

by Bruce Lee Gallanter 

Tracks

1. Over The Hills - 0:43

2. Animal Hall - 2:50

3. Gladacadova - 2:11

4. Over The Hills - 0:18

5. Poor Small - 2:41

6. Ay-Aye Poe Day - 3:22

7. Grey Skies - 2:51

8. Over The Hills - 1:28

9. Bastich I - 3:07

10.Voyage To Cleveland - 2:51

11.Sun In The Flame - 2:26

12.Bright Lights - 2:02

13.Louisiana Home - 2:51

14.Bastich II - 1:06

15.My Sunday Love (Bonustrack) - 2:57

16.Where Has The Time Gone To (Bonustrack) - 2:38 

All songs by Steven Cataldo

Musicians

Steven Cataldo - Guitar, Vocals

Stephen Pinney - Drums (On Bonustracks)

Ian Bruce Douglas - 12string Guitar (On Bonustracks)

Barbara Vanderloop - Backing Vocals(On Bonustracks)

Kerry Frangione - Backing Vocals(On Bonustracks)

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Tir Na NOg - Strong In The Sun (1973 ireland, colorful folk rock)

On their third album Strong in the Sun (1973), the band took even bigger steps towards the mainstream. Matthew Fisher of Procol Harum produced, giving the duo a fuller, cleaner sound. It opens with a cover of Nick Drake's "Free Ride", surely one of the earliest Nick Drake covers and a bold step for 1973. Even so this is the most conventional of their three albums and apart from some beautiful songs it is sometimes their most mundane. In any event it did not bring the hoped for commerical breakthrough and Chrysalis lost interest in the band. 

They returned to Dublin and split up. Sonny Condell subsequently enjoyed the more visible solo career and was a founder member of Scullion. O'Kelly played with Naima in the mid-70s and became a producer, working for the Irish branches of EMI and Polydor, before moving abroad again to live and work in Amsterdam and London. 

Irish Rock

Tracks
1. Free Ride (Nick Drake) - 3:08
2. Whitestone Bridge (Condell) - 4:14
3. Teesside (Condell) - 3:55
4. Cinema (O'Kelly) - 4:41
5. Strong In The Sun (O'Kelly) - 3:40
6. The Wind Was High (O'Kelly) - 3:22
7. In The Morning (Condell) - 3:23
8. Love Lost (O'Kelly) - 3:19
9. Most magical (Condell) - 3:47
10.Fall Of Day (Condell) - 2:36

Musicians
*Brian Odgers - Bass
*Dave Markee - Bass
*Jim Ryan - Bass
*Larry Steele - Bass
*Ace Follington - Drums
*Barry De Souza - Drums
*Jeff Jones - Drums
*Matthew Fisher - Keyboards
*Leo O'Kelly - Vocals, Acoustic, Electric Guitar, Dulcimer, Violin
*Sonny Condell - Vocals, Acoustic, Electric Guitar, Drums, Jew's Harp, Clavinet, Percussion

1971  Tir Na Nog

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Tir Na Nog - Tir Na Nog (1971 ireland, ethereal atmospheric folk rock)

Tír na nÓg was a mellow hippy folk duo formed in Dublin by Sonny Condell and Leo O'Kelly in late 1969 or early 1970. They took their name from an island in pre-christian Irish mythology where people remained forever young. "Tír na nÓg" literally translates as "Land of the Young". 

They met in the highly active folk club scene in Dublin in 1969. Sonny Condell, from Wicklow, had previously been in folky duo Tramcarr 88 who scored a minor Irish hit in 1968. In 1964, at the age of 14, Leo O'Kelly from Carlow began playing in a local showband called The Tropical Showband, before graduating in 1967 to psychedelic band The Word. In 1969 he began playing the folk clubs in Dublin and replaced Donal Lunny in the Emmet Spiceland with whom he toured in Britain, Europe and North America. 

Although influenced by traditional music, the duo played modern acoustic folk music, becoming more rock-oriented over time. Both Condell and O'Kelly were strong songwriters and their songs (written separately) complemented each other well. While not obviously as touched by otherness as more adventurous Dublin contemporaries Dr. Strangely Strange, the songs are offbeat and unusual, always melodic but with playful deviations and an element of whimsy. They developed a unique, immediately recognisible approach in their early days, with judicious use of exotic instruments supplementing the basic two acoustic guitar format. 

They travelled to London to try to secure a record deal and succeeded within 2 weeks, signing with Chrysalis Records, even though they'd already been turned down by parent label Island! 

Between 1971 and 1974, Tír na nÓg released three albums on Chrysalis and gigged heavily in Britain and Europe, alternating between the small folk clubs and playing support in larger venues to bigger names such as Jethro Tull, ELP, Procol Harum (all on the Island/Chrysalis roster), The Who, Steeleye Span, and Hawkwind to name a few. The built up a devoted following in the UK and Ireland and had a strong supporter in BBC Radio's John Peel, but they never quite managed to breakthrough to a wider audience. There are moments of greatness spread across their three albums but they never quite made that one classic album. 

The eponymous debut is their most acoustic album, featuring complex, intricate guitar playing. It was produced by legendary folk producer Bill Leader. It has been compared favourably to Pentangle, The Incredible String Band, Magna Carta, Fairport Convention and Fotheringay. The response to the album was encouraging -- it was Melody Maker's Album of The Month on its release 

Irish-Rock

Tracks
1. Time Is Like A Promise (Sonny Condell) - 2:56
2. Mariner Blues (Condell) - 4:12
3. Daisy Lady (Leo O'Kelly) - 2:21
4. Tir Na Nog (O'Kelly) - 5:20
5. Aberdeen Angus (Condell) - 1:50
6. Looking Up (O'Kelly) - 4:51
7. Boat Song (O'Kelly) - 3:24
7. Our Love Will Not Decay (Condell) - 3:04
9. Hey Friend (Ray Dolan) - 3:01
10.Dance Of Years (Condell) - 3:50
11.Live A Day (Condell) - 3:04
12.Piccadilly (O'Kelly) - 5:35
13.Dante (Condell) - 2:56

Tir Na Nog
*Sonny Condell - Vocals, Guitar, Moroccan Pottery Drums, Tablas, Jews Harp
*Leo O'Kelly - Vocals, Guitar, Dulcimer, Electric Bass, Tin Whistle
With
*Barry Dransfield – Fiddle
*Annie Crozier – Psaltery

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Kahvas Jute - Wide Open / Live At The Basement (1971/2005 australia, heavy psych with prog, blues and jazz drops, bonus tracks reissue)

Wide Open is a progressive rock milestone and a consummate example of underground psychedelic hard rock at its most inventive and powerful. As the title suggests, a free-flowing and expansive musical blending of rock, blues and jazz, and to leaven out the sound there’s a touch of acid folk thrown in for good measure.

It’s a very English-influenced sound but far from being a slavish copy of the overseas role model, the album bears a uniquely Australia flavour. It continues to be held as one of Australia ’s prime rock collectables, with original pressings of the album selling for as much as US$600.00 on eBay in recent years.

The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze (Tamam Shud) combine to stamp the record as a tour de force, where style, content, technique and sonic bearing meet in perfect equilibrium.

Furthermore, the whole shebang is held together by the restlessly exploratory bass lines of the great Bob Daisley (who later went on to a stellar international career with Rainbow, Ozzy Osbourne, Gary Moore, Uriah Heep, Chicken Shack – the list is endless!) and the muscular, yet agile drum patterns of Dannie Davidson (Tamam Shud, Band Of Light).

Is it any wonder then that all these elements add up to make Wide Open one of the most sought-after artefacts of the entire Aussie progressive rock era?

Reformation:

On the 17th July 2005 , Kahvas Jute, featuring new drummer Mark Marriott (an experienced session player), played a gig at famed Sydney venue The Basement which was filmed for future DVD release.

The set list that night featured six tracks from Wide Open, seven new songs, a cover of Cream’s ‘Politician’ plus an impromptu jam on the old Yardbirds number ‘The Nazz are Blue’ featuring guest vocalist Jimmy Barnes (5 of the audio tracks feature as bonus tracks on the CD reissue).

If anything, the gig showed the band to be better musicians than ever, with the added elements of experience and maturity shining through, while also managing to capture the Kahvas Jute sound to perfection.

Aztec Music’s reissue of Wide Open has been digitally remastered by Dennis Wilson. Packaged in our usual 6 panel digi-pak, with rare photos, and liner notes by Ian McFarlane.

Tracks
1. Free - 5:13
2. Odyssey - 3:59
3. Up There (T. Gaze, D. Davidson) - 2:49
4. She’s So Hard to Shake - 4:17
5. Vikings - 4:32
6. Steps of Time (D. Davidson) - 3:22
7. Twenty Three (T. Gaze) - 3:49
8. Ascend (Bob Daisley) - 3:11
9. Parade of Fools - 9:09
10.Politician (P. Brown, J. Bruce) - 6:43
11.She’s So Hard To Shake - 4:21
12.Ascend (Bob Daisley) - 1:47
13.Ascension (T. Gaze) - 1:46
14.Parade Of Fools - 11:04
All songs by Dennis Wilson except where noted
10-14 Bonus Tracks – Live at the Basement 2005

Kahvas Jute
*Dennis Wilson - Guitar, Vocals, Acoustic, Bottleneck, Wah Wah Guitars
*Bob Daisley - Bass, Vocal Harmonies
*Dannie Davidson - Drums (tracks 1-9)
*Tim Gaze - Guitar, Vocals, Piano, Steel Guitar
*Mark Marriott - Drums (tracks 10-14)

Related Act
1969  Tamam Shud - Evolution
1970  Tamam Shud - Goolutionites And The Real People

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Things To Come - I Want Out (1965-67 us, rough garage punk dark psych, Sundazed release)

Emerging from the glut of Southern Californian rock groups in the mid-'60s, Things to Come formed in 1966. Their original lineup included lead singer Steve Runolfsson, drummer Russ Kunkel (who would go on to become a top sessionman), and bassist Bryan Garofalo (also a future sessionman and a member of Glenn Frey's band since 1982). The group cut only three singles in their brief lifetime; 

This album is astounding Stones/Them influenced garage and dark psych, recorded 1965-'67. The set includes the impossibly rare 45 of "Sweetgina" b/w "Speak Of The Devil" as well as other lost, unreleased masterpieces.

Tracks
1. Sweetgina (Steve Runolfsson) - 2:59
2. Missisippi Dealer (L. Robinson) - 2:09
3. I Want Out (Steve Runolfsson) - 2:41
4. Your Down (Steve Runolfsson) - 2:30
5. Speak Of The Devil (Steve Runolfsson) - 2:41
6. Smokestack Lightning (Instrumental) (C. Burnett) - 2:20
7. Character Of Caruso (Steve Runolfsson) - 3:33
8. Tell Me Why (Bryan Garofalo) - 2:12
9. Tomorrow (Lynn Rominger) - 3:06
10. Pushin' Too Hard (Instrumental) (Sky Saxon) - 2:32
11. Show Me A Place (R. Kunkel) - 3:02
12. I'm A Man (Instrumental) (E. McDaniels) - 1:48
13. Home To You (R. Kunkel) - 2:08
14. Your Down (Instrumental) (Steve Runolfsson) - 2:28
15. Icicles On The Roof (Lynn Rominger) - 2:27
16. Sweetgina (Instrumental) (Steve Runolfsson) - 3:05
17. Behold Now Behemoth (Steve Runolfsson) - 4:05
18. Darkness (Steve Runolfsson) - 4:05

Things To Come
*Steve Runolfsson - Vocals
*Lynn Rominger - Guitar
*Bryan Garofalo - Bass
*Russ Kunkel - Drums

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Decameron - Mammoth Special… Plus (1974 uk, incredible progressive folk rock)

Released in 1974, Mammoth Special was Decameron’s follow up to Say Hello to the Band and saw the four-piece add another member, while pursuing a more progressive sound.

The title track sets the tone for this evolution, providing for a beefier, more dynamic outing than before, although the harmonising prevalent on the first album, reminiscent of American artists such as CSN and The Byrds, remains largely intact and even allows for an (almost) a cappella cover of Buffalo Springfield’s ‘Rock and Roll Woman’.

The baroque-tinged ‘Jan’ is a fine folky throwback, which, along with melodically haunting ‘The Stonehouse’ and the previously mentioned title track, is an album highlight. The infectiously quirky bonus track ‘Twinset and Pearls’ rounds Mammoth Special off nicely.

Head-Full-Of-Snow

Tracks
1. Mammoth Special (Johnny Coppin) - 3:48
2. Rock And Roll Woman (Stephen Stills) - 2:13
3. Just Enough Like Home (Dave Bell) - 3:53
4. A Glimpse Of Me (Johnny Coppin, Dave Bell) - 2:43
5. Late On Lady Day (Johnny Coppin, Dave Bell) - 3:53
6. Breakdown Of The Song (Dave Bell) - 3:06
7. The Cheetah (Johnny Coppin, Dave Bell) - 4:57
8. Jan (Johnny Coppin, Dave Bell) - 3:10
9. The Stonehouse (Johnny Coppin, Dave Bell) - 4:30
10. Parade (Johnny Coppin, Dave Bell) - 5:05
11. The Empty Space - This Side Of Innocence (Johnny Coppin, Dave Bell) - 5:58
12. Twinset And Pearls (Johnny Coppin, Dave Bell) - 2:23

Decameron
*Dave Bell - Six, Twelve String Acoustic Guitars, Fender Bass, Lead Vocals
*Johnny Coppin - Six, Twelve String Acoustic Guitars, Piano, Lead Vocals
*Dik Cadbury - Twelve String Acoustic Guitars, Lead Guitar, Tiple, Bass, Guitar, Harmonica, Mandolin, High Strung Guitar
*Geoff March - Organ, Piano, Violin, Cello, Tenor Sax , Vocals, Tin Whistle
With
*Mongezi Feza - Percussion
*John Halsey - Percussion, Drums
*Robert Kirby - String Arrangements
*Gaspar Lawal - Percussion
*Dudu Pukwana - Percussion
*Frank Ricotti - Percussion
*Shamsi Sarumi - Percussion

Decameron
1973  Say Hello To The Band  
1975-76  Third Light / Tomorrow's Pantomime

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