Various Artists - Take My Tip (1963-67 uk, exciting mod r 'n' b artyfacts from the EMI vaults)

 

 

 Dedicated to the  enduring appeal of 60s music in its various guises. UK  bands in the 60s successfully fused their love of U.S. black music with  other styles, charged it with a healthy dose of youthful aggression and  called it their own.

 

That's in essence the Beat and R&B era, of course, in  a nutshell. But a quick glimpse at the credits for this compilation reveals  more: previously, serious-minded musicians shunned "pop". The R ‘n’ B explosion  brought them into the fold: now, hardcore jazz musicians could be found in  the ranks of various beat combos. 

Running parallel with this musical renaissance was a similarly exciting  evolution in youth culture. Mod was the catch-all term used to describe the  newly-acquired aspirant lifestyle adopted by many teenagers - with a  strongly identifiable look, the emphasis on the neat, the sharp, the  modern.

 

Four or so decades on, Mod has now come to symbolise the era,  inseparable from the iconography of the mid-60s, and kept alive by a small  but perfectly formed scene of people who weren't even born at the time.  What's Mod? What you want it to be. Is this Mod? Who cares?! In essence, Take My Tip is a fascinating jukebox of classic rarities.

From CD liner notes

Artists - Tracks
1. Ottilie Patterson with Sonny Boy Williamson - Baby Please Don't Go - 1:48
2. Long John Baldry And Hoochie Coochie Men - Up Above My Head I Hear Music In The Air - 2:50
3. Duffy Power - If I Get Lucky Some Day - 2:42
4. Tony's Defenders - Yes I Do - 2:23
5. The Manish Boys - Take My Tip - 2:15
6. Chris Farlowe And The Thunderbirds - Buzz With The Fuzz - 2:30
7. The Shotgun Express - Curtains - 2:21
8. Herbie Goins And Night Timers - Cruisin' - 2:40
9. The Ram Jam Band With Geno Washington - Shake Shake Senora - 2:31
10.Cliff Bennett And The Rebel Rousers - Strange Feeling - 2:37 
11.Simon Dupree And The Big Sound - Medley: 60 Minutes (Of Your Love)/A Lot Of Love - 4:37
12.Haydock's Rockhouse - Mix-A-Fix - 2:24
13.Beryl Marsden - What's She Got - 2:35 
14.The Roulettes - Jackpot - 2:05 
15.Mike Patto - Love - 3:01
16.Rod Stewart - I Just Got Some - 2:40 
17.Toni Daly - Like The Big Man Said - 2:51
18.Murray Head with Blue Monks - You Bore Me - 2:11
19.Kenny Lynch with Laurie Jay Combo - Harlem Library - 2:22
20.Edwick Rumbold - Boggle Woggle - 2:48 
21.The N' Betweens - Evil Witch Man - 2:19 
22.The Shadows - Scotch On The Socks - 2:18
23.Ben Carruthers And The Deep - Jack O'Diamonds - 2:44 
24.Paul Williams And Big Roll Band, The - Gin House - 2:37 
25.Night-Timers Featuring Herbie Goins - The Music Played On - 2:46 

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Jackson Heights - King Progress (1970 uk, exceptional progressive rock, DigiPack edition)

 When Keith Emerson disbanded The Nice, Lee Jackson decided to hang up his bass guitar and go back to 'simpler' music. With this in mind he gathered together some musicians he had known for a number of years: Charlie Harcourt, Tommy Sloane and Mario Tapia. The result being the first Jackson Heights album King Progress, on which Jackson sang and played acoustic guitar.

The standout tracks are 'Mr Screw' and a reworking of the old Nice song 'The Cry of Eugene'. It did not sell in any great numbers. The band started to drift apart and Jackson's next recruitment began. Joining him were John McBurnie and Brian Chatton, both multi-instrumentalists. He did not, however, recruit a drummer.

The band was now a trio with Jackson playing bass, sounds familiar! McBurnie took over the majority of the writing with all three sharing the vocals and a second Album The Fifth Avenue Bus, was recorded with Mike Giles on drums. At this stage the band was touring as a trio, without a drummer. There are no outstanding tracks on the album and once again there was a lack of commercial success.

Undaunted, writing and recording of the next album, with Brian Chatton now contributing to the song writing, began. The resulting album Ragamuffins Fool, was easily their best so far. There was almost a hit single with 'Maureen' and the overall sound was of a band confident in what they were doing. Again most of the drumming was done by Mike Giles. They toured, again without a drummer, and recorded their only Radio One Session in support of the album. It what was becoming inevitable it did not sell.

By now Lee Jackson was getting a bit downhearted and poorer, he was using his own money to keep the band solvent. The master plan was the dreaded 'Concept Album'. The theme was to be about the lives of the 'ladies' who worked in Burlesque theatre. It didn't quite work out that way but, armed with two drummers, Mike Giles and Ian Wallace, and a 20 piece orchestra they went into the studio and recorded Bump 'n' Grind. The publicity machine went into overdrive and the actual record was presented in a deluxe laminated sleeve. Even the record company wanted this one to be big! Guess what? that's right - it bombed.

A major problem in touring with the album was reproducing the orchestral sound. Jackson approached Patrick Moraz, Swiss keyboard wizard with a view to him touring with the band. He declined but suggested Jackson might consider forming a band with him. Moraz had the record deal and other finances in place. In view of his own 'money problems' Jackson agreed and with Moraz and ex Nice drummer Brian 'Blinkey' Davison formed Refugee.

by Jim Sutherland

Tracks
1. Mr. Screw - 3:21
2. Since I Last Saw You - 7:03
3. Sunshine Freak - 4:52
4. King Progress - 3:30
5. Doubting Thomas - 4:16
6. Insomnia - 5:03
7. The Cry Of Eugene (Keith Emerson, Lee Jackson, David O'List) - 7:54
All songs written by Lee Jackson and Charlie Harcourt except noted.

Jackson Heights
*Charlie Harcourt – Electric, Spanish Guitars, Harpsichord, Mellotron, Organ, Piano,  Vocals
*Lee Jackson – 6, 12 String Acoustic Guitars, Harmonica, Lead Vocals
*Tommy Slone - Drums, Congas, Triangle, Timpani, Abdominal Percussion On Track 5
*Mario Enrique Covarrubias Tapia - Bass Guitar, Spanish Guitar, Background Vocals

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Rust - Come With Me (1969 aussie / uk, substantial fuzzed psych hard rock)

 

Rust is the real deal. Originally recorded in 1969, their album, Come With Me, is something of a lost mini-classic. Originally released on the independent German label Hor Zu, and bringing it to light in the early 21st century.

 

Great, psychedelic rock tunes are embellished with phased vocals, treated piano, samples of radio broadcasts, washes of organ, and electronic effects. Mind you, this isn't total freak out music, or anything. Songs like You Thought You Had It Made and Rust revel in blues licks, and rock with a genuine joy, even if the subject matter of their lyrics is somewhat pessimistic, and softer tunes like Please Return and the gorgeous Find a Hideaway are full of acoustic guitars and vocal harmonies.

 

For a reference point, listening to it I hear a lot of The Deviants, with touches of the 13th Floor Elevators. It's melodic rock that likes to experiment.

by Jeff Fitzgerald

Tracks
1. Come With Me (Introduction) - ;36
2. You Thought You Had It Made (Jonny Thomas) - 3:34
3. Please Return - 2:37
4. Should I - 3:31
5. Think Big - 3:57
6. Rust - 3:33
7. Delusion (Jonny Thomas) - 2:45
8. Doesn't Add Up To Me - 3:36
9. Find A Hideaway (Jonny Thomas) - 3:38
10. Come With Me -  4:25
11. The Endless Struggle - 2:32
All songs by B. Hillmann, W. Monahan except where noted.

Rust
*Jonny Thomas - Guitar, Vocals
*Brian Hillmann - Drums
*Walter "Walt" Monahan - Bass

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Creepy John Thomas - Brother Bat Bone / Creepy John Thomas (1969-70 aussie/uk, strong heavy bluesy psych rock)

This is one of my favorite psych-blues albums and every track is just to forgotten gem of past generation. Both albums are allocated different guitars, throaty vocals and elastic hard-rock rhythms. John Thomas is John Thomas, nothing else intended.

He came from Australia, where he recorded in the 60s with The Flies. Then moved to London, but soon after settled down in Germany, where he recorded the pretty good psych album "Come With Me" with his band Rust (UK &US members) He then formed Creepy John Thomas with German musicians Andy Marx & Helmut Pohle (who were not amused, when this LP came out with wrong musicians-credits and a bunch of uninvolved hipsters on the cover).This first LP was released in UK too, but sank like a lead elephant. Next was the album "Brother Bat Bone" 1970, a German only release on Telefuken, and one that's pretty weird as well released on LP by Decca - in Germany.

Reissue by Progressive Line on one disc contains two excellent albums (in order: second album of 1970 and then debut of 1969) Debut RCA orange label ,includes a brief, 3-minute tracks maintained for the 1969 typical hard / folk / psychedelic climates. However,second album ( released on LP by Decca - only in Germany) are only 6 tracks full of heavy blues rock from of the highest shelf...forgotten, British band playing heavy psychedelic / progressive rock,first,lots very juicy play guitars, nice vocals solid rhythm section - a complete success. Previously, John Thomas played in the Rust and then in the Edgar Broughton Band (on LP: Bandages ).

Debut LP Creepy John Thomas (1969) starts with hard blues tune, "Gut Runs Great Stone" with great rhythm that just kicks you at the very beginning, making you headbang and simultaneously tap the rhythm with your hand. Next tune is my favorite, it's "(Do I Figure) In Your Life", chilled psych classic rock tune. Lyrics are solid but fluid, they go great with melody. And melody is real thing here - although it's just few chords chaning in the background, second guitar runs around whole song and adds sweet guitar licks. Bass with drums makes solid groove and nice background - but highlight of this song is ingeniously executed sweet solo - it's one of those Hendrix's solo, with so much emotions that after few listening it became one of my favorite solos.

"You've Gotta Hide" is bluesy tune with solid elements of pure classic rock, chorus is catchy and it's good fitter on first side of album. "One Way Track Blues" is awesome blues riff, lead on acoustic guitar and filled with riffing on electric guitar. Vocals are good-fitting and are totally bluesy, with sour tone but with strenght on finish. Solo is another great thing in this tune. I've noticed that they're singing "...Left my house, spend my time, Blue Cheer, plunder sky..." which left to conclude that they were probably in good releationship with Blue Cheer while Thomas was in San Fran. "Trippin' Like A Dog" is another Muddy Waters-stylish blues tune but with psychedelic guitar wailing through whole song.

"Ride A Rainbow" is psychedelic-trip themed tune, made by hippies for hippes - oriented on peace, unity and love. Thomas' guitar talent is obvious - with his psych-bluesy guitar sound he's painting every song with colors of vivid picture. Next tune, "Green Eyed Lady", instantly reminded me of bass groove on "The Other Side Of This Life" by mighty Jefferson Airplane, which proves Thomas' connection with San Fran scene. Although bass sounds similiar, this song is nothing like upper mentioned. If anything's been really catchy here - than "Sun and Woman" is winner. Guitar is so cheery and catchy, it'll stuck in your head for weeks.

Pumping rhythm of "Lay It On Me" will really satisfy you, and knitlling of guitar will make you love this band. It's funny how they use chorus from "Ride A Rainbow" in this song, just like that, in the middle of song - you'll hear part from previously mentioned song. "Bring Back The Love" will wake oriental side in you. There's bongos and sitars, outrhythmic singing - like in a middle of some ritual. However, ender song could be better. Realising strenght of this album, I would expect psych-bluesy version of, let's say, 10 minutes long jamming, but it ends with cool but rather short tune.

by Adamus67

Tracks
Brother Bat Bone 1970
1. Down In The Bottom - 5:11
2. What’s The Matter With The Mill - 3:16
3. Brother Bat Bone - 9:06
4. This Is My Body - 3:28
5. Standing In The Sunshine - 8:34
6. 100 Lib. Noomy - 2:29
Creepy John Thomas 1969
7. Gut Runs Great Stone - 4:03
8. (Do I Figure) In Your Life - 2:46
9. You’ve Got To Hide - 2:34
10.One Way Track Blues - 2:09
11.Trippin’ Like A Dog - 4:19
12.Ride A Rainbow 3:05 - 5.65
13.Green Eyed Lady - 3:35
14.Sun And Woman - 3:38
15.Lay It On Me - 3:21
16.Bring Back The Love - 3:23
17.Moon And Eyes Song - 3:43

Creepy John Thomas
*Creepy John Thomas - Lead Vocals, Guitar
*Andy Marx - Lead Guitar, Bass
*Helmut Pohl - Drums
*Dave Hutchins - Bass
*Roy O’Temro - Drums

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King Biscuit Boy - Gooduns (1971 canada, fantastic hard blues rock)

 Originally released on LP format in 1971 with a cloth burlap cover, Gooduns is the second album by Richard "King Biscuit Boy" Newell. After the success Official Music the year before, Gooduns was more of the same style with a few left over songs from the previous albums' sessions with Crowbar (although by this time they had officially parted company) and backing from some new musicians that included members of Janis Joplin's Full Tilt Boogie Band, Seatrain and Canada's Dr. Music.

For this album, Newell recorded on a couple of cover songs written by Dr. John,Little Walter and Willie Dixon but the album contained mainly original compositions by Newell. With a harder blues guitar sound and tighter band edge than the debut, "Gooduns" was supported by a successful tour of England in 1971 where King Biscuit Boy and The Real Gooduns Bandwere backed up by the British band The Idle Race.

Despite the success of the album and tour, the Daffodil Records label fell on hard times financially and folded with no single or album promotion, leaving King Biscuit Boy to move to the Epic label for the next release. This budget priced reissue by Unidisc does not contain any bonus tracks but faithfully reproduces the original album graphics and liner notes.

by Keith Pettipas

Tracks
1. You Done Tore Your Playhouse Down Again (Richard Newell) - 5:17
2. Boom, Boom Out Goes the Lights (Stan Lewis) - 2:45
3. Georgia Rag (Blind Willie McTell) - 1:35
4. Barefoot Rock (Scott Harper) - 3:31
5. Boogie Walk, Pt. 1 (Richard Newell) - 4:03
6. Ranky Tanky (Richard Newell) - 3:58
7. Twenty-Nine Ways to My Baby's Door (Willie Dixon) - 2:42
8. Bald Head Rhumba Boogie (Richard Newell) - 4:06
9. Lord Pity Us All (Dr. John) - 5:38

Musicians
*Larry Atamanuik - Drums
*Richard Bell - Keyboards, Piano
*Sonnie Bernardi - Drums
*Dianne Brooks - Vocals
*Roland Greenway - Bass
*Kelly Jay - Keyboards, Piano
*Steve Kennedy - Horn
*Rheal Lanthier - Guitar
*Richard Newell - Guitar, Harmonica, Slide Guitar, Vocals
*Brian Russell - Vocals
*Rhonda Silver - Vocals
*Slide Tallman - Horn
*Mr Sunshine - Drums

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Markley - A Group (1969 us, superb psychedelia with delicate arrangements)

 Except in name, for all intents and purposes, 1970's "Markley - A Group" served as the final LP by The West Coast Pop Art Experimental Band.

 
For a band about to collapse, musically 1970's "Markley - A Group" is surprisingly consistent and accomplished.  With Markley and Lloyd co-producing, tracks such as "Elegrant Ellen", "Sweet Lady Eleven" and "Magic Cat" are nearly as good as some of the highlights from the  WCPAEB catalog.  Lyrically the set found Markley again engrossed in fighting personal demons (the paranoid sounding "Roger The Rocket Ship") as well as unloading on a host of social evils while finding time to express an keen interest in young (emphasis on young) women. 

Along those lines check out Markley's sh*t eatin' grin on the back cover, as well as his non-too-subtle lyrics on songs such as "Next Plane To the Sun" and "Sarah The Bad Spirit". Luckily, Lloyd's influence is quite apparent in terms of the album's rich harmonies and full and delicate arrangements gracing selections such as "Elegant Ellen" and "Little Ruby Rain".  Interestingly, on a number of tracks the band opts for a more commercial sound. 

Overlooking Markley's anti-capitalist rant, "Zoom! Zoom! Zoom!" almost sounds like a slice of Kasenetz-Katz-styled bubblegum rock.  The album's other big surprise is found in Dan's emergence as a major writer.  Credited as co-writing eight of the twelve tracks, he kicks in several impressive numbers, including the dazzling country-rock opener "Booker T. & His Electric Shock".  A highly personal effort, the song was reportedly inspired by Dan's experience as a manic depressive subjected to electroshock therapy. Surprisingly enjoyable and worth the investment.

Needless to say, the album vanished without a trace; the band calling it quits shortly thereafter.  Shaun recorded an instantly obscure solo album.  Lloyd went on to considerable success as a producer.
Bad-Cat

Tracks
1. Booker T. And His Electric Shock. (Bob Markley, Dan Harris) - 2:22
2. Next Plane To The Sun. (Bob Markley, Michael Lloyd) - 2:13
3. Markley - A Group. (Bob Markley, Dan Harris) - 2:44
4. Elegant Ellen. (Bob Markley, Dan Harris) - 2:18
5. Little Ruby Rain. (Bob Markley, Dan Harris) - 3:01
6. Message For Miniature. (Bob Markley, Michael Lloyd) - 0:26
7. Sarah The Bad Spirit. (Bob Markley, Dan Harris) - 2:35
8. Truck Stop. (Bob Markley, Dan Harris) - 3:19
9. Zoom! Zoom! Zoom! (Bob Markley, Dan Harris) - 2:11
10.Sweet Lady Eleven. (Bob Markley, Michael Lloyd) - 2:18
11.The Magic Cat. (Bob Markley, Dan Harris) - 2:58
12.Outside/Inside. (Bob Markley, Shaun Harris) - 2:39

Musicians
*Dan Harris - Vocals, Guitar 
*Shaun Harris - Vocals, Bass 
*Michael Lloyd - Vocals, Keyboards, Guitar 
*Bob Markley - Vocals, Percussion

1965-67   Volume One
1967  Part One
1967  Volume Two
1968  Volume Three
1960-71  Companion

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West Coast Pop Art Experimental Band - Companion (1960-71 us, garage beat, psychedelic acid folk rock, 2011 Sunbeam issue)

 There are few groups as enigmatic, as mysterious as The West Coast Pop Art Experimental Band. The prime mover in the band was Bob Markley, born in Oklahoma and the son of an oil tycoon. He moved to Los Angeles early in the 1960's, and in late 1961 he began his recording career with "It Should've Be Me" / 'Summers Comin' On", released on Warner Bros.

Both sides were pure teen doo-wop, giving little indication what would follow. Markley remained involved in music, and three years later he met up with two brothers, Shaun and Danny Harris, whose interest in music seemed inevitable as their father was a renowned classical composer and their mother a concert pianist.

In 1964 Shaun and Danny formed a group The Snowmen, with two musicians who would go on to form The Sunrays and score 1967 hits with 'Andrea' and 'I Live For The Sun'. Later, with the group now split, Shaun and Danny were studying at the Hollywood Professional School where they met Michael Lloyd, leader of yet another local band, Laughing Wind, who had cut some tracks for Tower Records. With Bob Markley and John Ware, a friend of the family, they started a new group.

In 1966 the line-up was Dan Harris (lead guitar), Shaun Harris (bass), Michael Lloyd (guitar), John Ware (drums), and Bob Markley who became the inspirator of the band. They band played around all the Sunset Strip clubs and "every freakout that ever happened at the Hollywood Palladium" (to quote Ware).

Few 60s artists have attracted such mystique or so devoted a cult following as The West Coast Pop Art Experimental Band. This fascinating compilation draws together many of the rare recordings made by its members before, during and after their existence.

Taking in pop, garage, folk-rock, psych, the avant-garde and more, the set highlights the disparate elements that fused to create their extraordinary and enigmatic music, and comes complete with rare pictures and comprehensive notes by the world’s leading WCPAEB authority.

Tracks
1. Bob Markley - Will We Meet Again? - 2:35
2. Bob Markley - Tia Juana Ball - 1:57
3. Bob Markley - Summer's Comin' On - 2:23
4. Bob Markley - It Should've Been Me - 1:57
5. Lucifer & The Peppermints - The Green Itch Got The Bear - 2:41
6. Lucifer & The Peppermints - Money Back Guarantee - 2:18
7. Bobby Rebel - Valley Of Tears - 2:32
8. Bobby Rebel - Teardrops From My Eyes - 2:21
9. Judy Brown - I'm Such A Fool - 2:25
10. Sonny Knight - A Swingin' Door - 1:45
11. Sonny Knight - If You Want This Love - 2:04
12. The Rogues - Wanted: Dead Or Alive - 2:28
13. The Laughing Wind - Good To Be Around - 2:53
14. The Laughing Wind - Don't Take Very Much To See Tomorrow - 1:54
15. The Laughing Wind - John Works Hard - 2:07
16. The Laughing Wind - The Bells - 2:27
17. The West Coast Pop Art Experimental Band - Sassafras - 2:02
18. The West Coast Pop Art Experimental Band - I Won't Hurt You - 2:11
19. Neo Maya - I Won't Hurt You - 2:30
20. Boystown - Hello Mr. Sun - 2:17
21. Boystown - End Of The Line - 2:32
22. California Spectrum - She May Call You Up Tonite - 2:30
23. Rockit - Blame It On The Pony Express - 2:55
24. Rockit - Amblin' - 2:05
25. Brigadune - I'll Cry Out From My Grave (God I'm Sorry) - 2:50
26. Brigadune - Misty Mornin' - 3:10
27. Brigadune - My Wife Likes To - 2:14
28. California - Spectrum Rainbo - 2:07
29. Halim El-Dabh - Leiyla & The Poet - 7:32

Musicians
*Bob Markley - Vocals
*Shaun Harris - Bass
*Danny Harris - Guitar, Vocals
*Michael Lloyd - Guitar, Vocals
*Ron Morgan - Guitar
*John Ware - Drums

1965-67   Volume One
1967  Part One
1967  Volume Two
1968  Volume Three

Related Acts

1969  Markley - A Group

1973  Shaun Harris - Shaun Harris (2005 remaster)

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The West Coast Pop Art Experimental Band - Volume III A Child's Guide To Good And Evil (1968 us, magnificent psychedelia, Sundazed issue)

The West Coast Pop Art Experimental Band was a psychedelic rock band from Los Angeles active during the late 1960s. Formed by the son of an Oklahoma oil tycoon and two aspiring surf rockers, TWCPAEB released their paramount release A Child’s Guide To Good And Evil in 1968. Taking a more rock n’ roll oriented sound than the folkier San Francisco scene, while still remaining poppy and psychedelic as any other group, the band manages to create a unique release that stands out in the horde of similarly veined releases of the ‘60s.

With a rocking sound heavily laden by a fuzzy guitar, and the world music influence (specifically Indian) that inflected the styles of many bands in that era, TWCPAEB leads you through their acid soaked world through infectious melodies, perfectly placed guitar chords, and nonsensically hippie lyrics. Instrumentally sounding like The Doors with an extra member who alternates between sitar and a heavily distorted guitar, the album is perfect for sitting on long green grass on a beautiful day, or journeying through a psychedelic forest, and doesn’t let up with its trip-induced melodies for its short duration (around a half hour). The vocal style alternates between a kind of staccato singing and almost disturbing Talking Tina-esque narration of visions giving another unique aspect to the band’s music.

All the songs are great (besides the worthless closer “Anniversary of World War III,” which is two minutes of silence), with a few top notch entries such as “Eighteen Is Over The Hill,” “Watch Yourself,” the fuzzy “In The Country,” and the eastern influenced “Ritual” tracks. “Eighteen Is Over The Hill” is one of the folk influenced tracks, opting for a softer sound through serene guitars, and a chorus that wouldn’t sound out of place on a Simon and Garfunkel album, while “In The Country” is the polar opposite, a true ancestor to fuzz rock.

The live track “Watch Yourself” is probably the best here, combining all the aspects that made the other tracks great: folky acoustic guitars, fuzz, and catchy vocals, not to mention a sufficient dose of drug-induced psychedelia.

A largely forgotten gem in the mines that are psychedelic rock, A Child’s Guide To Good And Evil should not be overlooked, and if prospective listeners are turned off by the rumors of common lyrics about infatuation with young girls, fear not, for those are fairly quarantined to the band’s sophomore release. A must listen for fans of the genre, and a good listen regardless of your preferences, The West Coast Pop Art Experimental Band created a quirky, unique, and most importantly, satisfying release in the field of psychedelic rock.

by  Tarkus

Tracks
1. Eighteen Is Over The Hill (Bob Markley, Ron Morgan) - 2:42
2. In The Country (Markley, Shaun Harris, Terry Kath) - 2:03
3. Ritual #1 (Markley, Harris, John Ware) - 2:09
4. Our Drummer Always Plays In The Nude (Markley, Harris) - 2:45
5. As The World Rises And Falls (Markley, Morgan) - 4:52
6. Until The Poorest People Have Money To Spend (Markley, Harris) - 2:18
7. Watch Yourself (Buddy Guy, Robert Yaezel) - 5:52
8. A Child's Guide To Good And Evil (Markley, Harris) - 2:29
9. Ritual #2 (Markley, Harris) - 2:04
10.A Child Of A Few Hours Is Burning To Death (Markley, Morgan) - 2:41
11.As Kind As Summer (Markley, Harris, Roger Bryant) - 1:10
12.Anniversary Of World War III (Markley) - 1:36
13.Shifting Sands (Single Mix) (Baker Knight) - 3:54
14.1906 (Single Mix) (Markley, Morgan) - 2:17

The West Coast Pop Art Experimental Band
*Bob Markley - Vocals
*Shaun Harris - Vocals, Bass
*Ron Morgan - Guitar
*Jim Gordon - Drums
*Hal Blaine - Drums

1965-67   Volume One
1967  Part One
1967  Volume Two

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John Mayall Bluesbreakers With Eric Clapton (1966 uk, masterpiece, japan SHM double disc set)

 Bluesbreakers with Eric Clapton was Eric Clapton's first fully realized album as a blues guitarist -- more than that, it was a seminal blues album of the 1960s, perhaps the best British blues album ever cut, and the best LP ever recorded by John Mayall's Bluesbreakers.

Standing midway between Clapton's stint with the Yardbirds and the formation of Cream, this album featured the new guitar hero on a series of stripped-down blues standards, Mayall pieces, and one Mayall/Clapton composition, all of which had him stretching out in the idiom for the first time in the studio. This album was the culmination of a very successful year of playing with John Mayall, a fully realized blues creation, featuring sounds very close to the group's stage performances, and with no compromises.

Credit has to go to producer Mike Vernon for the purity and simplicity of the record; most British producers of that era wouldn't have been able to get it recorded this way, much less released. One can hear the very direct influence of Buddy Guy and a handful of other American bluesmen in the playing.

And lest anyone forget the rest of the quartet: future pop/rock superstar John McVie and drummer Hughie Flint provide a rock-hard rhythm section, and Mayall's organ playing, vocalizing, and second guitar are all of a piece with Clapton's work. His guitar naturally dominates most of this record, and he can also be heard taking his first lead vocal, but McVie and Flint are just as intense and give the tracks an extra level of steel-strung tension and power, none of which have diminished across several decades.

by Bruce Eder



 Tracks

Disc 1
1. All Your Love (Otis Rush) – 3:36
2. Hideaway (Freddie King, Sonny Thompson) – 3:17
3. Little Girl (Mayall) – 2:37
4. Another Man (Mayall) – 1:45
5. Double Crossing Time (Clapton, Mayall) – 3:04
6. What'd I Say (Ray Charles; Interpolating Day Tripper By John Lennon, Paul McCartney) – 4:29
7. Key To Love (Mayall) – 2:09
8. Parchman Farm (Mose Allison) – 2:24
9. Have You Heard (Mayall) – 5:56
10.Ramblin' On My Mind (Robert Johnson, Traditional) – 3:10
11.Steppin' Out (James Bracken) – 2:30
12.It Ain't Right (Little Walter) – 2:42  
13.All Your Love (Otis Rush) – 3:36
14.Hideaway (Freddie King, Sonny Thompson) – 3:17
15.Little Girl (Mayall) – 2:37
16.Another Man (Mayall) – 1:45
17.Double Crossing Time (Clapton, Mayall) – 3:04
18.What'd I Say (Ray Charles; Interpolating Day Tripper By John Lennon, Paul McCartney) – 4:2
19.Key To Love (Mayall) – 2:09
20.Parchman Farm (Mose Allison) – 2:24
21.Have You Heard (Mayall) – 5:56
22.Ramblin' On My Mind (Robert Johnson, Traditional) – 3:10
23.Steppin' Out (James Bracken) – 2:30
24.It Ain't Right (Little Walter) – 2:42
Tracks 1-12 Original Album in Mono
Tracks 13-24 Original 1969 Album in Stereo

Disc 2
1. Crawling Up A Hill (Mayall) – 2:08
2. Crocodile Walk (Mayall) – 2:23
3. Bye Bye Bird (Sonny Boy Willamson, Willie Dixon) – 2:49
4. I'm Your Witchdoctor (Mayall) – 2:11
5. Telephone Blues (Mayall) – 3:57
6. Bernard Jenkins (Clapton) – 3:49
7. Lonely Years (Mayall) – 3:19
8. Cheatin' Woman (Mayall) – 2:03
9. Nowhere To Turn (Mayall) – 1:42
10.I'm Your Witchdoctor (Mayall) – 2:10
11.On Top Of The World (Stereo Mix) (Mayall) – 2:34
12.Key To Love (Mayall) – 2:02
13.On Top Of The World (Mayall) – 2:34
14.They Call It Stormy Monday (T-Bone Walker) – 4:35
15.Intro Into Maudie (John Lee Hooker, Mayall) – 2:27
16.It Hurts To Be In Love (Dixon, Toombs) – 3:22
17.Have You Ever Loved A Woman (Myles) – 6:44
18.Bye Bye Bird (Williamson, Dixon) – 3:51
19.Hoochie Coochie Man (Dixon) – 3:53
Tracks 1-3 BBC Saturday Club Session
Tracks 4-7 appeared as singles
Tracks 8-10 BBC Saturday Club Session
Track 11 unreleased stereo mix
Tracks 12-13 BBC Saturday Club Sessiong
Tracks 14 from Lookin Back
Tracks 15-19 appeared on Primal Solos with Jack Bruce on bass

The Bluesbreakers
*John Mayall – Lead Vocals, Piano, Hammond B3 Organ, Harmonica
*Eric Clapton – Guitar, Lead Vocals On "Ramblin' On My Mind"
*John McVie – Bass Guitar
*Hughie Flint – Drums
Additional Musicians
*Alan Skidmore – Tenor Saxophone
*John Almond – Baritone Saxophone
*Derek Healey – Trumpet
*Jack Bruce – Bass (Disc Two Tracks 14-19, Not Featured On Original Album)
*Geoff Krivit – Guitar (Disc Two Tracks 8-10, Not Featured On Original Album)

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Various Artists - Downer Rock Genocide (1970-73 uk, ultra heavy underground early downer rock)

 Definitely any lover of early '70s proto-metal heaviness needs to put this on their wish list. Downer Rock Genocide is a collection of super rare tracks by some really obscure heavy psych/prog acts who kicked around the same scene as early Black Sabbath. And it's pretty darn killer.

Too many gems here to talk about 'em all, but i will mention a few... Flying Hat Band (2 tracks from them, from a never released 1973 album) was where Glenn Tipton slung his axe before joining up with Judas Priest.No wonder they hired him! If you have never heard FHB's stuff before then this comp is worth it just for the badass rockin' doom of their first cut, "Seventh Plain". It's like Comus meets Judas Priest! Clear Blue Sky, who also contribute two demo tracks(their album is a Sabbathy treat). And Sabbath lovers will really want this for "Nightjar" by the Tony Iommi produced Necromandus, easily that band's heaviest and best track. So good.

What else? The Iron Maiden on here is NOT the Iron Maiden you're familiar with, it's another, earlier band with the same name but a much doomier disposition. Actually who they really sound like is Wishbone Ash, Argus-era, all folky and epic. Gnidrolog is another killer act who are a great, super dramatic prog act in the vein of Van Der Graaf Generator who offer up their doomiest "Long Live Man Dead".

Red Dirt are a gruff slice of raw, primitive bluesy heaviness.Iron Claw kick out the jams big time on"Lightning" from a 1971 cassette only release, Egor tear it up on the blown-out live track "Street" also from '71, Hackensack deliver some wild fuzzed out soloing and wailing vocals on their kick ass cut "River Boat" circa '72, and Bum bring us the pagan "God Of Darkness" from way back in '68. Did Sabbath hear these guys? All of it good stuff!
Doommancia

Artists - Tracks
1. Flying Hat Band - Seventh Plan - 3:03
2. Clear Blue Sky – Veil Of The Viken - 7:22
3. Necromandus – Nightjar - 4:15
4. Egor – Street (Live) - 7:55
5. Monument – Dog Man - 3:13
6. Iron Maiden – Falling - 6:00
7. Flying Hat Band – Reaching For The Stars - 4:32
8. Gnidrolog – Long Live Man Dead - 3:57
9. Iron Claw – Lightning - 3:35
10.Red Dirt – Death Letter - 3:08
11.Clear Blue Sky – Spooky - 3:24
12.Slowbone – Quicksand Dream (Live) - 3:01
13.Bram Stoker – Extensive Corrosion - 4:16
14.Hackensack – River Boat - 3:33
15.Bum – God Of Darkness - 4:16
16.Writing On The Wall – Lucifer Corpus - 5:44
17.Unknown Artist – Untitled - 0:52

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