Originally released as an obscure private pressing of just 100 copies, Gigymen’s only record has been a hen’s tooth since it was recorded in 1974. Guersson changed all that earlier in the year with a short-run vinyl release – and here’s the welcome and significantly cheaper follow-up.
Opener As I Roved Out is a confident and competent slab of folk-rock that does what all good folk-rock should: amplifies the power and emotion inherent in its traditional roots. There are two more trad rock-outs (the Irish Rocky Road To Dublin; and Scottish Gypsy Laddie), with the accomplished arrangements and quality of the musicianship across both being superb.
Elsewhere, Plain Jane is Gigymen as the former Quarrymen – and, indeed the Fab Four are the driving force behind many of the other tracks on the record, though the unnerving Crumbledown might well be without precedent. Packed with photos and info on the talented bunch who made this wonderful oddity, this is a welcome addition to the private pressings file.
by Jan Zarebski
Tracks
1. As I Roved Out - 4:32
2. Gone Are The Days - 3:35
3. Plain Jane - 3:21
4. Gypsy Laddie - 6:08
5. Rocky Road To Dublin - 5:04
6. Brother Herbert - 2:38
7. Crumbledown - 4:27
8. Don't Let Her Go - 3:19
The illusion, one of long island's greatest bands that lasted from 1965-1972 which some say were the greatest years of rock ‘n’ roll. The illusion will always be remembered for their incredible harmonies, insane light shows, raw energy, intense mind-expanding sound effects, and great musicianship. But what was going on before the illusion?
John Vinci (lead vocals) was into doo wop during the early 60's. "During that time (early 60's) Johnny had that greecer look" says Lance Folger (illusion roadie)."We used to call Johnny the walking stick" says Chuck. "He was about 6 ft. and very thin". "Johnny was always very creative (says Lance) and had a lot of ideas that he would incorperate in to the show". This creativity would make the illusion different from all the other New York bands.
Mike Maniscalco was the most versatile member of the illusion. Mike always enjoyed music, "He could pick up anything and play it" says Lance. (we'll soon have more on Mike). Rich Cerniglia (lead guitar) started playing guitar when he was about 10. By the time he was 15 he was backing up the likes of the Shirelles, The Ronettes, Gladys Knight, The Temptations, and many others.
Chuck Alder (bass) was playing guitar by age 12, when he was about 15 he switched to bass. Some of the groups Chuck was in during the early 60's were: The Uncalled Four, The Arrivals, The Dell Sonics (where he met Mike Maniscalco), and The Creations (where he met Mike Ricciardella). Mike Ricciardella was banging on drums since before he could remember, at about age 16 he competed in a New York State drum competition and won (he was officialy the best drummer in New York). Mike would later meet Chuck Alder in "The Creations".
How did the illusion get "Together"? After the Creations fell apart, Mike Ricciardella joined a band called "The 5 illusions" they were very "56" sounding. "I remember the first night Mike went to play with them (the 5 illusions)" says Lance." it was at a club in West Hempstead in a little basement room, the place was like a little college mixer, they sounded pretty good, that had to around 1965". "The original line-up was Johnny Vinci, Steve Burg, Howie Blume (Howie later became the bass player in Network under the name of Howard Davidson), Frank Carrillo, and Mike Ricciardella". "After a while, Frank and Steve were leaving the band, and Howie joined the service, that's when they brought in Mike Maniscalco, Chuck Alder, and Rich Cerniglia."
The name of the band went through a few changes, first... The 5 illusions, then the 5 illusion, then the illusions, then The illusion. The illusion's first release was a single tittled: "My Party" which was backed with: "It's groovey time". Both tracks were written and produced by Mitch Ryder, the single was unfortunatly unsuccessful. Time would pass before the band would record their first album. In 1967 the band did their first national tour with Mitch Ryder, the tour started on March 5th, and ended some time in November. Later, The illusion began recording their first album which was produced by Jeff Barry.
The album did very well, and the band had a hit with: "Did you see her eyes?" Which went to #1 in some areas of New York and #22 in the nation. Although the album didn't make it to gold, it did so well that Paramount (instead of advertising the record) wanted another record from the band. The band's new album was rushed in three days, however, it did not have the success of their first lp.
The illusuion always put on an incredible live show! They were ahead of their time in many ways. The band undoubtably had fun in the studio recording their first album, but something was missing in the recordings. That Hard Rock attitude that the band had on stage wasn't there.
by Dennis Folger
Tracks
1. Did You See Her Eyes - 6:59
2. Talkin' Sweet Talkin' Soul - 2:44
3. Just Imagine - 3:31
4. Medley: Run, Run, Run / Willy Gee - 5:57
5. I Love You, Yes I Do - 2:22
6. Alone - 3:04
7. Charleena - 2:20
8. Medley: Why, Tell Me Why / The Real Thing - 6:22
9. You Made Me What I Am - 3:25
Originally known as The Nomands and based in Houston, Texas, they became known when they changed the band name to Smoke in mid-1968. Their music can best be described as “psychedelic boogie”. Semi-hard blues rock, loads of energy, jiving vocals, good guitar solos and powerful organ parts. “At George´s Coffee Shop” is a tad better than their debut, a lost treasure for the biker blues crowd.
Tracks
1. The Room - 3:27
2. San Luis Obispo County Jail Blues - 5:52
3. Greased Lightnin' - 9:21
4. George (Pt.1) - 0:36
5. Brown Bread - 9:11
6. Iron House - 7:31
7. George (Pt.2) - 0:19
The follow-up to 'Inc' was the album 'Genesis' recorded in early 1971 and released in June of that year by Trutone Records with catalogue number STO 745. After the 'Inc' album there was a deliberate move to do something different and progressive. “'Genesis' wasn't really a concept album based on the Bible,” says Tully, “but more about looking back and learning from old wisdom”.
Tully speaks of “his dream stories, about waking up with ideas, the words and music together, real stream of conciousness stuff.” “It was more about the feel than the actual words,” Tully says.
The core of Mike McCully (drums), Tully McCully (vocals, bass) and Ian Smith (brass and flute) from the 'Inc' album were now enhanced by the Hendrix-influenced guitarist Bruce Gordon.
The musical vibe at the time of the album's recording was very brass influenced with bands like Chicago, Blood, Sweat & Tears and Traffic pushing the boundaries of Jazz and Rock.
Inspired by the progressive albums of the time, 'Genesis' included a number of long tracks with sub-sections. However in the interest of garnering radio play '(We All) Look For The Sun' and 'Sweet Fields of Green' were more pop influenced. “Pop” as inspired by The Beatles, though, rather than the throwaway bubblegum pop prevalent at the time.
Tully remembers that when he was asked what type of band they were he would reply, “we play heavy music”. Terms like “heavy” and “underground” were very broad terms in those heady days of the early '70's to describe music that was not pop or radio-friendly.
'Sweet Fields Of Green' was released as a single, reaching #2 on the LM Radio charts in August 1971. The follow-up single 'Birds Flying High' (actually the flipside of 'Rainbow Illusion'), recorded shortly after the 'Genesis' sessions, peaked at #9 on the LM Radio charts.
Tully recalls the recording sessions being a fun time and due to the limitations of the 4-track recording studio, most songs were recorded in one take. If they made a mistake, they would do the whole take over again, not an easy thing to do with songs exceeding seven minutes!
Ian Smith took care of the brass arrangements and Tully used multi-tracking techniques to make him sound like a horn section, mainly utilizing the trumpet and flugelhorn, though the flute also makes it's presence felt a few times.
Due to wiring problems in the studio, the original album mix was out-of-phase and unusable and Tully had about two hours to remix the album in a Johannesburg studio before it went to the pressing plant.
Keith Madders, a friend of the band and big music fan introduced them to painter Tommy McLelland. He took photos of the band members and then included their likenesses into an original painting with religious overtones. The original painting was one metre square and to be mysterious the name of the band does not actually appear on the cover. “This was not a deliberate ploy”, says Tully, but it has probably led a few vinyl collectors over the years, to think they have discovered a lost gem by Peter Gabriel's band.
Madders also came up with the name for Tully's Spaced-Out Sound Studios, as well as the name Crocodile Harris for Robin Graham. 'Miss Eva Goodnight' was composed by the McCully Brothers and McCully Workhop played on this song, which was released by Crocodile Harris in 1974.
by Brian Currin
Tracks
1. Genesis (T. McCully) - 7.45
...a. Evolution
...b. Overture To Cancel Hate
...c. Survival And Genesis
2. (We All) Look For The Sun (T. McCully) - 3.15
3. Stone Man (T. McCully) - 9.44
...a. Stone Man
...b. Degeneration
...c. Satan's Dance
4. Red Light City (B. Gordon, T. McCully) - 7.40
...a. Sodom
...b. Gomorrah
5. Sweet Fields Of Green (T McCully) - 3.45
6. Togetherness (T McCully) - 4.35
7. Order Out Of Chaos (McCully Workshop) - 3.20
The McCullagh brothers, Tully (born Terence on 31st May 1953) and Mike (born Michael on 7th April 1947), have been an integral part of the South African music scene for five decades now.
In 1965 they started as a folk-rock trio with Richard Hyam and called themselves the Blue Three. Richard had been in a folk duo, Tiny Folk, with his sister Melanie. After a few personnel- and name-changes, like The Blue Beats and Larfing Stocke, the line-up settled down (for a while) in 1969.
“I had my own studio in the garage since I was 12” remembers Tully. It was a single garage in the garden of their home in Plumstead, in the Southern Suburbs of Cape Town. The brothers’ father, radio personality Michael Drin (his stage name), painted the name “McCully Workshop, Inc.” on the garage wall. “McCully” was an easier-to-spell version of McCullagh and the “Inc.” was a tongue-in-cheek addition.
A photo of the garage was used as the album cover. The photo was taken by Sigurd Olivier from the Argus newspaper. The cat’s name was Sirikit.
“We had been playing music for 6 years” remembers Mike McCullagh. “In 1969 I was 22 and Tully was 16, along with Richard Hyam, his sister Melanie and Allan Faull the group started.”
“We all wrote our own songs”, continues Mike, “and we just took the best ones for the album. Tully wrote ‘Why Can’t It Rain’ in the middle of the night and this became a hit single putting McCully Workshop on the charts for the first time.” This song went to number 12 on the Springbok Radio charts in July 1970 and also reached number 13 on the LM Radio charts.
“Why Can’t It Rain” drew the attention of the Gallo label, and they said they wanted an album. McCully Workshop signed probably the first independent licencing deal with a major label in South Africa.
Billy Forrest (born William Boardman in Kimberley in 1940) was the “top guy” at the time and was appointed as producer. He had recently had chart success with The Staccatos ‘Cry To Me’ and many others including The Dream Merchants and Quentin E Klopjaeger (one of his many pseudonyms).
Tully remembers Forrest’s catchphrase at the time was “could happen”.
The “Inc.” album shows a variety of styles and influences including The Beatles, Frank Zappa and Pink Floyd. “’Sgt Pepper’ was very important, as were the pop charts at the time”, recalls Tully.
Another big influence, according to Tully, was The Moody Blues ‘Threshold Of A Dream’ which was released in April 1969. Echoes of Graeme Edge’s poems can be heard in Mike McCully’s spoken words during the moonlanding-inspired ‘Head For The Moon’.
Alan van Der Merwe was a music teacher friend of Mike’s and was responsible for the vocal harmony arrangements. Tully cites South African band ‘The Sandpipers’ as an inspiration. This folk quartet, which consisted of two girls and two guys, and not be confused with the US folk trio, released an album titled ‘A Bird in Hand’ in 1967.
When asked to name his favourite song on the ‘Inc.’ album besides ‘Why Can’t It Rain’, Tully says without hesitation, ‘The Circus’. This song is an uptempo psychedelic pop-rocker with strong vocal harmonies, distorted guitar sounds from Allan Faull and great flute playing from Ian Smith.
The sessions were done, but another song was needed to complete the album, so a studio jam called ‘Jackin’ Around’ was added. Great organ sounds from Glenda Wassman, and a drum solo play-out from Mike McCully.
Glenda Wassman later married Richard, and they formed the pop band Pendulum and had a big hit with ‘Take My Heart’ in 1976. Glenda then went on to major success worldwide with the all-girl group, Clout, who had a huge hit with ‘Substitute’ which went to number 2 in the UK in 1978.
Allan Faull formed Falling Mirror in the late 70’s with his cousin Nielen Mirror (nee Marais).
Asked about an interesting studio story, Tully remembers feeling a few tremors and stuff falling off the walls one day during recording. “Everybody got a fright and rushed outside”, says Tully, “we thought it was a passing train.” Turned out to be the Tulbagh earthquake of 29th September 1969.
McCully Workshop, with the McCullagh brothers always at the core, have released a number of albums over the years and of course are best known for their big hit ‘Buccaneer’ from 1977.
40 years after those first recording sessions in late 1969, Tully is still involved in recording and runs his successful Spaced-Out Sounds Studio in Cape Town. Mike regularly packs out concert halls with his various nostalgic revue shows including ‘Sixty Something’, ‘Station 70′, ‘Music Of The Millennium’, ‘Country Classics’ and many, many others.
McCully Workshop still perform live on occasion and their first hit ‘Why Can’t It Rain’ is almost always included in the setlist.
The legends of South African pop and rock live on…
Blackfoot was born in Cleveland, Ohio, on May 9, 1944, but spent most of his early years in Columbus until age 8 when his father got an office job with the Atomic Energy Commission and moved his family to Oak Ridge, Tennessee. Oak Ridge was a very secret place in those days.
After graduating from high school, he joined the Maryland National Guard, but since he was again spending most of his time in Bladensburg, where he had few friends, he became something of a loner. Then, one Saturday, he was walking past a music store and saw a $78 Kay guitar and amplifier in the window and bought the package. He also purchased a chord chart. Immediately, he took his treasures home, learned three chords and wrote two songs before the weekend was over.
After he had mastered the Kay guitar enough to play tunes, Blackfoot and a buddy found a third player and formed a trio called the Starfires. The trio played one gig and broke up because the drummer moved to California. Music then became a private thing for the young man. He didn’t share it with anyone, didn’t attempt to join another group, just kept on truckin’ for the next couple of years with no particular direction in mind.
In 1965, his father died of a cerebral hemorrhage while on a business trip to Charleston, South Carolina, and Blackfoot’s mother moved back to Columbus, which is where his father was buried.
A short time later, the 21-year-old, who had no real ties in Maryland, headed for Columbus, too. Since there were no openings in the Ohio National Guard at the time, he transferred to the Air Force Reserve and served with an air police unit in Wilmington, Ohio, from 1966 until 1970.
So, in 1967, when Blackfoot was already 23 years old and had never performed in public except for that single gig with the Starfires, he learned that a local band called the Ebb Tides was looking for a singer/rhythm guitar player. The group was scheduled to do an 18-state summer tour of the county fair circuit.
In 1970’s “The Ultimate Prophecy,” which now demands top dollar if you can find a copy, was done in two takes over a single weekend at Mercury Recording in New York.
His second album "The Song of Crazy Horse" was recorded in New Zealand in 1973 and won New Zealand’s R.A.T.A. (Recorded Arts Talent Award) Album Of The Year award for 1974. The title track is a 20 minute saga about the life of the Oglala Sioux Chief Crazy Horse. It was released in 24 countries on the Fantasy label and to this day is still captivating new listeners around the world. The album received spotlight picks in Billboard, Cashbox, and Record World magazines.
History and English teachers often use The Song of Crazy Horse in their classroom when teaching about the American west and Native American history. Wherever radio stations were willing to play a 20 minute track, The Song of Crazy Horse instantly made the phone lines light up. In St. Louis, MO, KSHE FM has played The Song of Crazy Horse on its Sunday classics show for 38 years.
Tracks
1. The Song Of Crazy Horse / Ride Away - 18:46
2. I've Been Waitin' - 4:29
3. Miss Sally - 3:37
4. One Man's Story - 3:43
5. Almost Another Day - 3:47
6. Hey Johnny D.J. - 2:41
7. Flushed You From The Toilets Of My Heart (J. D. Blackfoot, John Durzo) - 4:09
9. Comin' Down - 3:49
All songs by J. D. Blackfoot except where noted.
Musicians
*J. D. Blackfoot - Vocals, Acoustic Guitar, Bells
*Frank Gibson - Drums, Percussion
*Billy Kristian - Bass
*Mike Walter - Piano
*Bob Jackson - Electric Guitar
*Jimmy Slogget - Sax
*Tony Baker - Sax, Organ
*Sonny Manahera - Pedal Steel Guitar
*John Durzo - Bass
*Sterling Smith - Piano
*Daniel Waldron - Trash Can
*J. Huff - Violin
*Sue Moore - Background Vocals
It is not hard to figure out why record labels wouldn't touch Big Lost Rainbow and why it stood no chance of gaining a widespread audience at the time of its 1973 release date. The album runs completely counter to the pompous hard rock that was plastered all over the airwaves at the time, and is far too subtle and mature for mass consumption. Although their initial gig was played before a crowd of 10,000, Big Lost Rainbow were not cut out for the arena.
Their music requires a much more intimate setting and response, and their sole album is a surprising musical delight constructed out of elements of folk, jazz, and classical music, all of which expose gorgeous, supple melodies, mostly composed by lead vocalist and guitarist Ridley Pearson. The album brings to mind the best aspects of soft, early-'70s folk-pop, but unlike much of that genre, there is a genuine sorrow (as opposed to anger) threaded throughout the music; a sorrow, perhaps, brought about by the changing times but not the least bit cynical. It is, instead, a sort of celebratory sentimentality.
The songs are all exceedingly strong. Big Lost Rainbow infuse the music with an uncanny emotional resonance whether they are expressing joyous or melancholy sentiments. The opening cut, "Sail" (written by Otis Read), is powered by harmonies nearly equal to those of Crosby, Stills & Nash, while "Oh! Idaho" is a lilting, upbeat tune that soars with scatty harmonies à la Seals & Crofts. Even the upbeat songs, though, are not exactly bouncy.
The album is entirely drum-less, so acoustic guitar, piano, bass, and cello are all up front with Pearson's vocals, which sound like a gentler, more somnolent Jonathan Edwards or James Taylor. When the mood is slowed down, the songs are incredibly touching. "Slow Rider" has a hint of the Bee Gees in their most heartbreakingly fragile and evocative melodic moments. And the gorgeous "Allegiance of Apathy," the one song included from the group's 1992 reunion, offers not only evidence that the members still have the magic but also a perfect, poignant closing for the album.
Overall there is a tender, communal hippie vibe to the album, very sunny and optimistic without descending into silliness and entirely avoiding jadedness. There is a sense of lost innocence and the process of growing wiser, as if the band is singing a lullaby to the wistfulness of youth. From beginning to end, Big Lost Rainbow is romantic and lovely.
by Stanton Swihart
Tracks
1. Sail (Otis Read) - 3:09
2. I Go Alone - 4:20
3. Lady Love - 4:11
4. Brothers - 2:58
5. Ocean - 5:02
6. Idaho - 2:18
7. It's Over Now - 3:44
8. Morning Sunshine (Bradbury, Pearson) - 2:44
9. Lady Of Music (Pearson, Berenson) - 13:08
10.Always On The Eve - 4:24
11.Patricia Jane Moon - 3:51
12.Slow Rider - 3:31
Words and Music by Ridley Pearson except where indicated
Cream teamed up with producer Felix Pappalardi for their second album, Disraeli Gears, a move that helped push the power trio toward psychedelia and also helped give the album a thematic coherence missing from the debut. This, of course, means that Cream get further away from the pure blues improvisatory troupe they were intended to be, but it does get them to be who they truly are: a massive, innovative power trio.
The blues still courses throughout Disraeli Gears -- the swirling kaleidoscopic "Strange Brew" is built upon a riff lifted from Albert King -- but it's filtered into saturated colors, as it is on "Sunshine of Your Love," or it's slowed down and blurred out, as it is on the ominous murk of "Tales of Brave Ulysses." It's a pure psychedelic move that's spurred along by Jack Bruce's flourishing collaboration with Pete Brown.
Together, this pair steers the album away from recycled blues-rock and toward its eccentric British core, for with the fuzzy freakout "Swlabr," the music hall flourishes of "Dance the Night Away," the swinging "Take It Back," and of course, the old music hall song "Mother's Lament," this is a very British record. Even so, this crossed the ocean and also became a major hit in America, because regardless of how whimsical certain segments are, Cream are still a heavy rock trio and Disraeli Gears is a quintessential heavy rock album of the '60s. Yes, its psychedelic trappings tie it forever to 1967, but the imagination of the arrangements, the strength of the compositions, and especially the force of the musicianship make this album transcend its time as well.
Floribunda Rose were the group formed by John Kongos -- who scored two British Top Five hits in the early 1970s, with "He's Gonna Step on You Again" and "Tokoloshe Man" -- in 1967. Kongos had been a recording artist in South Africa since he was a teenager in the early '60s, and in 1966 moved to England, where he recorded a solo single for Piccadilly. Soon after that he was at the head of Floribunda Rose on guitar and vocals, the lineup fleshed out by singer-guitarist Pete Clifford (who at one time had been in Dusty Springfield's backing band), organist Chris Dee, drummer Nick "Doc" Doktor, and singer-bassist Jack Russell. Despite the weird group name, Floribunda Rose's sole single, the 1967 Pye release "One Way Street"/"Linda Loves Linda," wasn't out-and-out psychedelia.
It was rather twee period pop/rock with a whiff of psychedelic influence, "One Way Street" sounding, at times, like Monkees-influenced British freakbeat, "Linda Loves Linda" being a tamer ode for a self-absorbed flower child. The single flopped, and by 1968 the group, still recording for Pye, changed their name to Scrugg and made three more little-noticed singles, highlighted by the more convincingly psychedelic 45 "Everyone Can See"/"I Wish I Was Five."
Both sides of the Floribunda Rose single -- as well as both sides of Kongos' 1966 Piccadilly single, everything from the three Scrugg singles, the entirety of Kongos' 1969 LP Confusions About a Goldfish, and a few unreleased songs by Kongos and Scrugg from the same era -- are here, on the anthology Lavender Popcorn which digs deep into the discography of eccentric psych-pop musician John Kongos. Prior to the period documented here, Kongos had several records under his belt as a South African artist, which were popular there but failed to translate elsewhere. Upon his 1966 relocation to England, he headed the short-lived bands Floribunda Rose (one single) and Scrugg (three singles) and then went solo.
This anthology ties up everything from Floribunda Rose and Scrugg, while adding some unreleased material. Kongos' first solo album, 1969's Confusions About a Goldfish, is also included in its entirety. Though it doesn't include significant later singles like "Tokoloshe Man" and "He's Gonna Step on You Again," the disc is rather essential for psych-pop completists.
by Richie Unterberger and Andy Kellman
Tracks
1. I Love Mary - 2:57
2. Goodtime Party Companion - 2:23
3. Linda Loves Linda (with Floribunda Rose) - 3:28
4. One Way Street (with Floribunda Rose) - 2:46
5. Everyone Can See (with Scrugg) - 2:51
6. I Wish I Was Five (with Scrugg) - 3:19
7. Lavender Popcorn (with Scrugg) (Scott English, Eddie Reeves) - 2:18
8. Sandwich Board Man (with Scrugg) - 3:11
9. Will the Real Geraldine Please Stand Up and Be Counted (with Scrugg) - 2:59
10.Only George (with Scrugg) - 2:51
11.Patriotic (with Scrugg) - 2:48
12.Confusions About a Goldfish - 4:17
13.At This Moment - 1:48
14.Deserts of Mountains of Men - 3:12
15.Seat by the Window - 3:19
16.Go Home - 2:36
17.Tomorrow I'll Go - 3:57
18.Film, Flam Pharisee - 2:50
19.It Was Easy - 2:50
20.Blood - 3:55
21.The Lady Wants More - 3:18
22.Coming Back to You - 2:49
23.Amendment to Confusions About a Goldfish - 2:20
24.Elegy to Seymour - 3:05
25.All I'm Trying to Do - 3:14
26.Week Day Lady - 3:06
All songs ny John Kongos unless as else written
Jig-A-Jig is a nine-track compilation from this wonderfully enthusiastic British band, spotlighting their jovial blend of folk-rock and jazz elements. With most of the material emerging from 1970's Snafu album, East of Eden's flighty, progressive atmosphere comes to life through the mixture of flute, saxophone, and, especially, electric violin.
One of their most energetic numbers entitled "Nymphenburger" uses six violin tracks and four guitar tracks with some electric alto sax piled on top, entirely overdubbed with the result sounding beautifully clean, mainly because of the familiar "Rondo" theme, which was later made famous by the Nice. It's Ron Gaines' saxophone that gives "Ramadahn" its mesmerizing flow and tribal-like sound, while the fully instrumental "Jig-A-Jig" went to number seven on the U.K. charts in 1971, thanks to the cordial nature of the song's pop sound.
The eight-plus minutes of "Gum Arabic" contrasts the airiness of the flute with the resonant chant of bagpipes, emerging as a truly eccentric piece of music, and "Confucius" focuses mainly on the guitar, causing the rhythms to stand out with a rockier tempo. East of Eden may not have gained the attention that the band was hoping for, even within the progressive rock ranks, but some of the members did go on to greener pastures.
Drummer Geoff Britton went on to play in Paul McCartney's Wings for almost a year in 1974, and violin player Dave Arbus became a renowned session man, lending his craft to the Who's Who's Next album.
by Mike DeGagne
Tracks
1. Jig-A-Jig (Traditional) - 3:35
2. Nymphenberger (East Of Eden) - 6:12
3. Ramadhan (Unknown) In The Snow For A Blow (Medley) - 6:12
..b.Part I (East Of Eden)
..c.Better Git It In Your Soul (Mingus)
..d.Part III (East Of Eden)
4. Northern Hemisphere (East Of Eden) - 4:32
5. Gum Arabic (Caines) - 8:15
..b.Confucius (Drummond)
6. Isadora (Nicholson, Caines, York) - 4:31
7. Leaping Beauties For Rudy (East Of Eden) - 7:01
8. Jig-A-Jig (7" Version) (Traditional) - 3:42
9. Marcus Junior (Drummond) - 3:56
East Of Eden
*Dave Arbus - Violin, Wind
*Ron Caines - Saxophone, Vocals
*Dave Dufort - Drums
*Geoff Nicholson - Guitar, Vocals
*Steve York - Bass
