Graham's second effort, a trip between counrty rock to folk and back to classic forms, Prison song is one of these songs that sticks in your mind and absorb it like the earth smack every drop of the rain, this song was one of my favorites that time and even now gives me the same gentle sentiments.
Graham Nash is from a unique era of singer songwriters who created an amazing musical legacy. This album is a fine example of the closing period of that special era and well worth investigating.
Tracks
1. Wild Tales – 2:18
2. Hey You (Looking At The Moon) – 2:14
3. Prison Song – 3:10
4. You'll Never Be The Same – 2:48
5. And So It Goes – 4:48
6. Grave Concern – 2:45
7. Oh! Camil (The Winter Soldier) – 2:51
8. I Miss You – 3:04
9. On The Line – 2:35
10.Another Sleep Song – 4:43
All Tracks composed by Graham Nash
Musicians
*Graham Nash - Acoustic, Electric Rhythm Guitar, Electric Piano, Harmonica, Vocals
*Johnny Barbata - Drums
*Joel Bernstein - Acoustic Guitar
*David Crosby - Vocals
*Tim Drummond - Bass
*Harry Halex - Electric Piano, Acoustic Guitar
*Ben Keith - Pedal Steel Guitar, Dobro
*David Lindley - Electric Slide Guitar, Mandolin
*David Mason - Twelve String Guitar
*Joni Mitchell - Vocal
*Joe Yankee (aka Neil Young) - Acoustic Piano
Bridge materialized in April 1971 consisting of three accomplished musicians: Francis and John Webster and Tony Lecaillon. The Webster brothers have been performing together since 1964 when they started a group called "The Marcatos". In 1967 they moved to Toronto where they joined forces with Tony and reorganized "The Marcatos" into a seven-piece group. In 1969 the group recorded an album at Sound Canada.
The album, entitled David, contained nine original tunes and two commercial tunes, (Hey Jude and House of the Rising Sun), and was played frequently on CHUM FM and other stations. The following Spring Francis and John moved to their farm in the Georgian Bay area where they began cultivating original material and sounds, playing in local churches and nightclubs with great success.
Meanwhile, Tony travelled around England (his native land), and Europe, to open his ears and eyes to the scene there. Francis, John and Tony rejoined last year to produce a unique combination of country, folk, jazz and rock, with original lyrics and music. Bridge answer the question, for anyone who wishes to know, what happened to the Canadian band David after their lone record on Sound Canada in the late 60s.
Guitarist Francis Webster, bassist John Webster, and drummer Tony Lecaillon from David make up Bridge who recorded this ultra obscure and rare record at the same Sound Canada studios in 1971. Next to each song is a brief description of the musical genre of each ranging from "Ego Trip" to "Country" to "jazz shuffle."
What this album is differs drastically from what you'd expect from David.The best way to describe Bridge's album would be "Sweetheart Of The Rodeo" on tons of acid! There is no fuzz guitar, but a clean west coast shimmering tone on all tracks, bizarre vocal effects on ; the tripped out "It's My Life" and plenty of weirdness present for the whole album.
The tracks that are labelled "Country" all have a strange bent to them . despite being early back-to-the- roots country rock influenced by Graham Parsons and "real" country artists like Hank Williams. The long "Ego Trip" version of Little Richard's "You're My Girl" is great fun and the only good version I've heard of one of his songs.
There is something here very enjoyable for anyone looking for a bizarre i twisted record of fun music, especially "Brand New Day" with echoes of Spirit and a bit of Freeborne. Very rare and a good one.
by Ben Blake Mitchner
Tracks
1. I Had It But I Lost It - 2:33
2. It's My Life - 3:07
3. Ain't My Day - 3:18
4. Simple Blues Form - 3:18
5. Running Away - 2:28
6. Brand New Day - 4:48
7. You're My Girl - 9:45
8. Born To The Country - 4:12
9. Barnyard - 3:56
Mandrill may have been too good for their own good. The heart of the band were the Wilson brothers - Louis "Sweet Lou", Richard "Dr. Ric" and Carlos "Mad Dog" – who created a tasty blend of soul, blues, rock, Afro-Latin elements and jazz. It was a strongly danceable sound, but the band's often complex rhythms and lengthy solos didn't lend themselves to easily cutting a piece down to a shorter version for radio exposure. Nonetheless.
Mandrill created some great music during their decade or so of playing and writing. While the Wilsons were the clear creative force, they were ably assisted by Omar Mesa, Claude "Coffee" Cave. Charlie Padro and Bundie Cenac. Between them, they played more than 20 instruments. The Wilsons were in high school in Brooklyn. New York, when they joined the school band. After they got more proficient on their instruments, the three brothers began to play in small clubs around their neighborhood until they were drafted into the military in the '60s. One Wilson, Ric also attended medical school and v/as one of the few physicians to divide his time between medicine and music.
After meeting their military obligations, the Wilsons got more serious about their music. Placing an ad for other players in New York's "Village Voice", they got more than 200 responses. They included guitarist Mesa and the other members of the original 1968 line-up. Most of the players were experienced musicians with diverse backgrounds and musical interests that helped define the varied sound of what the Wilsons decided to call Mandrill. By 1971. Mandrill was signed to Polydor Records. Their debut album, "Mandrill" (Polydor 4050), was released in early 71.
While the album was a Top 50 seller, singles taken from it didn't sell. Things looked up with "Mandrill Is" (Polydor 5025), which came out in the spring of 1972. It sold well and so did the single "Get It AH" (Polydor 14142). which moved into the Billboard rhythm and blues Top 40 in the fall of 72. Mandrill had their biggest hit in the spring of 1973 with "Fencewalk" (Polydor 14163), a Top 30 R&B single that just missed the pop Top 50. "Composite Truth" (Polydor 5043), which spawned "Fencewalk", was a Top 30 album and would be their biggest-selling release. It also contained another hit in the Top 30 "Hang
Loose" (Polydor 14187).
Their record sales resulted in a busy touring schedule, which was fine with the guys in the band. In a 1973 interview Ric Wilson said they wanted to stay as busy as possible. Added Carlos, "Our music is for the people. If we don't keep playing we lose touch." Mandrill proved they were still in touch with a fourth best-selling album - "Just Outside Of Town" (Polydor 5059) - in the fall of 73. It contained two popular singles: "Mango Meat" (Polydor 14200) and "Love Song" (Polydor 14214). In 1974 they did better on the singles charts, especially with "Positive Thing" (Polydor 14235), which went Top 30 on the R&B charts.
While times had changed for Mandrill, when they were at their peak the band produced a tasty melange of styles that may have been a challenge for radio programmers. But anyone who saw them live or heard their albums got the message to their music. This collection of some of their best work shows how good they were.
by Mark Marymont
Tracks
1. Mandrill - 4:20
2. Warning Blues - 4:33
3. Symphonic Revolution - 5:22
4. Rollin' On - 7:41
5. Peace And Love (Amani Na Mapenzi) Movement I (Birth) - 1:50
6. Peace And Love (Amani Na Mapenzi) Movement II (Now) - 1:45
7. Peace And Love (Amani Na Mapenzi) Movement III (Time) - 2:15
8. Peace And Love (Amani Na Mapenzi) Movement IV (Encounter) - 6:05
9. Peace And Love (Amani Na Mapenzi) Movement V (Beginning) - 2:05
10.Chutney - 3:07
Spanning four discs and nearly 100 tracks, Dreams is one of those rare box sets that tells a story while delivering the definitive word on its subject. Gathering pre-Allman's recordings from the clan, including cuts by the Allman Joys, selecting the hits from the classic years, and adding stray cuts by solo projects to the mix.
It's a smart move and it results in a terrific box that truly offers the definitive word on one of the longest-running dramas in Southern rock. Yes, the Allmans reunited rather successfully after this box, so none of that material is here, but it's not missed, this is the story of the band.
by Stephen Thomas Erlewine
Tracks
Disc One
1. Shapes Of Things - The Allman Joys - 2:48
2. Spoonful - The Allman Joys - 3:40
3. Crossroads - The Allman Joys - 3:33
4. Cast Off All My Fears - The Hour Glass - 3:25
5. Down In Texas - The Hour Glass - 3:07
6. Ain't No Good To Cry - The Hour Glass - 3:06
7. B.B. King Medley: Sweet Little Angel/It's My Own Fault/How Blue Can You Get - The Hour Glass - 7:06
8. Morning Dew - The 31 February - 3:46
9. God Rest His Soul - The 31st Of February - 3:56
10.I Feel Free - The Second Coming - 3:31
11.She Has Funny Cars - The Second Coming - 4:48
12.Goin' Down Slow - Duane Allman - 8:47
13.Dreams - 4:55
14.Don't Want You No More - 2:25
15.It's Not My Cross To Bear - 4:56
16.Trouble No More - 3:48
17.Dreams - 7:15
Disc Two
1. Statesboro Blues - 4:06
2. I'm Your Hoochie Coochie Man - 4:57
3. Midnight Rider - 2:58
4. Dimples - Live - 5:02
5. I'm Gonna Move To The Outskirts Of Town - Live - 9:23
6. Revival - 4:04
7. One More Ride - - 2:41
8. Whipping Post - Live - 22:53
9. In Memory Of Elizabeth Reed - Live - 12:58
10.Drunken Hearted Boy - Live - 6:54
Disc Three
1. You Don't Love Me/Soul Serenade - Live, Previously Unreleased - 19:28
2. Blue Sky - 5:10
3. Little Martha - 2:13
4. Melissa - 4:02
5. Ain't Wastin' Time No More (Live) - 4:46
6. Wasted Words - 4:21
7. Ramblin' Man - 4:48
8. Southbound - 5:10
9. Jessica - 7:30
10.Midnight Rider - Gregg Allman - 4:26
11.One Way Out - Live - 7:59
12.Long Time Gone - Dickey Betts - 4:30
Disc Four
1. Can't Lose What You Never Had - 5:52
2. Come And Go Blues - Gregg Allman Band - 4:46
3. Bougainvillea - Dickey Betts and Great Southern - 7:13
4. Can You Fool - Allman and Woman - 3:19
5. Good Time Feeling - Dickey Betts and Great Southern - 4:28
6. Crazy Love - 3:44
7. Can't Take It With You - 3:34
8. Just Ain't Easy - Live - 5:01
9. In Memory Of Elizabeth Reed - Live - 10:52
10.Angeline - 3:40
11.Things You Used To Do - 3:42
12.Nancy - Dickey Betts - 3:51
13.Rain - Gregg Allman - 3:03
14.I'm No Angel - Gregg Allman Band - 3:41
15.Demons - Gregg Allman Band - 3:28
16.Duane's Tune - Dickey Betts Band - 5:51
Now here are four guys who had a true passion for rock - sticking together through for twelve years which included several band name changes, hundreds of concert dates, and precious little commercial success. Hailing from Port Richey, Florida, bassist Dan Eliassen and drummer Jim O'Brock put their first band together in 1972.
Originally known as The Kingsmen, they opted for a name change when the Washington-based Kingsmen scored a hit with 'Louie Louie'. Morphing into The Allusions, Eliassen, O'Brock and a changing cast of players continued to perform at local school dances and teen centers. By 1966 the lineup featured Eliassen, O'Borck, and lead guitarist Bruce Knox and rhythm guitarist Mike Mycz.
They'd also opted for another name change (The Split Ends') as well as moving away from performing largely cover material to penning their own stuff. Signed by the local CPF Records, they also made their recording debut with a 1966 single 'Rich with Nothin' b/w 'Endless Sun'. The 45 proved a regional hit, opening the door to wider exposure including an opening slot on Dick Clark's Happening '67 tour. That in turn saw them offered an opportunity to compete on Clark's 'Happening '68 television band contest.
In 1969 the quartet decided on another image and name change - this time adopting the moniker Blues of Our Time - quickly abbreviated to Boot. With a repertoire of largely original material, the band hit the road playing clubs and concerts nearly non-stop for the next four years.
Released by the Texas-based Agape label, the band debuted with 1972's cleverly-titled "Boot". Co-produced by Mike Stone and Peter Thomason, the album was recorded in Nashville, Tennessee at James Brown's Starday/King Studio. With all four members contributing material the album offered up a mixture of blues-rock and blues-rock, with an occasional stab at a more commercial tune.
The band was blessed with three decent singers. Nothing more than a guess on my part, but judging by the songwriting credits (assuming whoever wrote the track probably handled lead vocals), Mycz seemed to have the tougher-rock voice in the group while Eliassen was gifted with more commercial chops. Knox fell somewhere in the middle with a modest country-rock feel to his voice. Knox also showed himself to be n immensely talented lead guitarist - check out his lead work on ''..
Tracks
1. Hey Little Girl (Mike Mycz) - 4:05
2. Danny's Tune (Dan Eliassen) - 5:25
3. Liza Brown (Bruce Knox) - 2:47
4. Andromeda (Dan Eliassen) - 5:15
5. Destruction Road (Jim O'Brock, Mike Mycz, Bruce Knox, Dan Eliassen) - 5:06
6. Reach Out (Mike Mycz) - 3:14
7. What Are They Doing To Me (Jim O'Brock, Mike Mycz, Bruce Knox, Dan Eliassen) - 3:34
8. What You're Missing (Mike Mycz) - 4:03
Though this obscure 1970 LP falls into the general folk-psych-rock category, its focus is so all-over-the-place that it's hard to get a read on it. At times the record seems very influenced pop and whimsical psychedelia,by the side of American folk-rock, particularly in the blends of male and female vocal harmonies, which are extremely reminiscent of the Mamas and the Papas' approach in places.
Yet there are also songs that have a more specifically British, gentle reserved acoustic quality; a character portrait of "Mr. Jones" with a whimsical British feel; and occasional off-the-wall burning fuzzy psychedelic guitar. At its most mature, it's slightly similar to, if an obscure reference point is allowed, the folk-prog-rock recordings that Giles, Giles & Fripp made as they were morphing into King Crimson (though not nearly as inspired).
The first track 'Flying' lives up to it's title with flute fluttering, swooning strings and tight harmonies. The songs mix the innocent, quirky and strange to heady effect. The songs are fairly unique in folk as they mix in horns which expands the mix giving a warmth that folk sometimes finds hard to achieve. In the last track they create a classic that lives up literally to it's title of 'Amazing Journey'. It starts with folk guitar, introduces fuzz guitar then wah wah builds to a crescendo and drops back to a delicate folk ballad within the first minute. It builds up introducing 'A Day In The Life' style strings and massed vocals.
Towards the end it explodes with a staggeirng number of layers that Roy Wood in The Move was expert at. Strange effects come in, wild guitars solo, flutes, horn and strings abound and a propulsive rhythm section drives the whole thing explosively as the singer moves from folk whispers into Robert Plant style wails. An excellent track on a most enjoyable album which shows the link between the earlier psychedelic sound and the later musical indulgence of progressive rock.
Beautiful rock-psychedelic-folk-pop songs with great harmonies. Several items are very good and show all the skills of the band. A great album to listen calmly, slowly, enjoying every note and nuance of the songs, make sure a smile on your face, and possibly the goosebumps on your arms. Air rather melodic, like a
nice summer breeze. This disc contains an unsettling psychedelic buildup that gradually explodes into a strong sense of satisfaction. You'll notice many classical music influences West Coast, but this album is recorded in London in 1970. All tunes are composed by John and Keith.
by Adamus67
Tracks
1. Flying/Love You More Than Is Good for Me To/Nostrils - 7:25
2. She Brings the Morning with Her - 3:18
3. Back to Boulder - 5:07
4. Traveller -
5. See Saw (John McBurnie, Laurie Styvers, Keith Trowsdale) - 2:31
6. Mini Splurge/Mr. Jones/Is That Good. That's Nice - 10:54
7. Clocks/Hey I Used to Know You - 5:02
8. Unknown Journey - 7:07
9. Leave Me Be - 3:54
10. Clown - 2:39
All songs by John McBurnie, Keith Trowsdale except where noted
2 Ozs Of Plastic With A Hole In The Middle was set for a mere six months after the release of Revelation. Consequently, Man spent the summer of 1969 ensconced in their communal terrace house in Streatham writing, rehearsing and ingesting artificial stimulants. Once again recorded at Marble Arch Studios, this time in the main studio that was usually reserved for orchestras, although the desire to raid the sound effects cupboard had at least worn off. Regarded by many to be one of the best, if not the best, Man albums, the six months of writing and rehearsals had really allowed the band to forge their own sound.
With no manager, agent or gigs, the band were free to concentrate on the music. Their progression was evident from the start with the 12.5 minute Prelude - The Storm, a Jones instrumental that features Leonard making seagull sounds with his guitar and generally setting out the stall for what was to come, both throughout the rest of the album and forthcoming releases. The intensity is ramped up on It Is As It Must Be with the dual lead guitars getting a real work out on this rocker, which originally went under the title Shit On The World, something that Pye objected to. They also were not too eager on the title of the next track which the band had called Spunk Rock.
Whereas Shit On The World had been replaced by It Is As It Must Be (after a wry comment by composer John), Spunk Rock somehow got transformed to Spunk Box, obviously someone at the label got confused at which the offending word was! The track is synonymous with Man, their iconic song that in concert would be stretched to four or five times the length of the studio version. The album version has all the elements crammed into six minutes and is the ultimate Man song, even if the vocals are a bit ropey!
My Name Is Jesus Smith, which no doubt if released as a new song these days would get a lot of fundamentalist Christians hot under the collar, is the tale of a man who takes over Heaven and has the pearly gates melted down and sold for scrap. Featuring slide guitar throughout it is quite a jolly number, if a little simplistic, although more characteristic of the Man sound than the very Baroque Parchment And Candles with its harpsichord backing.
The original album ended with Brother Arnold's Red And White Striped Tent which is another bona fide classic Man song, although not generally performed live in its original form, long-term Man aficionados will recognise elements that were often incorporated into on-stage jams. Three great previously unheard bonus tracks have been exhumed from the vaults: an instrumental and slightly longer version of Jesus Smith which I think is far better than the album version; A Sad Song [Grasshopper] which is obviously a song in progress and taped in rehearsal; and Walkin' The Dogma the demo of Spunk Box (or Rock!).
by Mark Hughes
Tracks
1. Prelude The Storm (Micky Jones, Deke Leonard) - 12:18
2. It Is As It Must Be (Clive John, Ray Williams) - 8:27
3. Spunk Box (John, Micky Jones) - 5:45
4. My Name Is Jesus Smith (Micky Jones, Leonard) - 4:03
5. Parchment And Candles (Leonard) - 1:51
6. Brother Arnold's Red And White Striped Tent (Micky Jones, Leonard) - 5:04
7. My Name Is Jesus Smith (Alternative Version) (Micky Jones, Leonard) - 5:13
8. A Sad Song (Grasshopper) (Man) - 5:16
9. Walkin' The Dogma (Spunk Box Demo) (Clive John, Micky Jones)- 6:06 Man
*Clive John - Organ, Piano, Guitar, Vocals
*Jeff Jones - Drums, Percussion
*Micky Jones - Lead Guitar, Vocals
*Deke Leonard - Guitar, Harp, Piano, Percussion, Vocals
*Ray Taff Williams - Bass Free TextJust Paste
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
