Migty baby - Mighty baby (1969 uk, outstanding jamming psych prog rock, bonus tracks edition)

When the Action broke up in the late 60s, they reformed minus Reggie King as Azoth. The Azoth name was short lived, leading the band to settle on Mighty Baby. The Action had played the club circuit for years, releasing many excellent mod singles before plunging into the world of psychedelia. This band had always worked hard, and now they were finally given the luxury to record a long player.

Mighty Baby’s album was released in 1969 off the small independent Head label. At this point, Mighty Baby could technically and instrumentally hold their own against rock’s finest: The Grateful Dead, King Crimson, Collosuem, Caravan and the Allman Brothers. The album is miles away from the soulful, sweaty mod garage of their mid 60s singles and could best be described as a melding of Crosby, Stills, Nash and Young harmonies, Allman Brothers guitar improv and Notorious Byrd Brothers psychedelia.

Few debut openers are as good as the revolutionary Egyptian Tomb. It’s a sleek, powerful piece of psychedelia with strong west coast style guitar interplay. At 5:30 minutes, this great song never falls flat and is definitely one of the defining moments of British acid rock. Same Way From The Sun has a similar stoned vibe with psychedelic echo and sounds like it could have been lifted from a really good latter day Byrds album.

The spacious, pounding A Friend You Know But Never See, yet another highlight, rocks really hard with some interesting raga style guitar and has a strange mountain air aura. Other works such as the rural I’m From The Country provided a sound Mighty Baby would further explore on their next album, the equally brilliant Jug of Love from 1971.

Mighty Baby along with the Action and various band member’s solo careers are one of rock’s great lost family trees. During their peak they were innovative and unstoppable, thus the “English Grateful Dead” label really doesn’t do them any justice.

by Jason Nardelli

Tracks
1. Egyptian Tomb - 5:28
2. A Friend You Know but Never See - 4:24
3. I've Been Down So Long - 5:05
4. Same Way From the Sun - 5:37
5. House Without Windows - 6:10
6. Trials of a City - 5:58
7. I'm From the Country - 4:49
8. At a Point Between Fate and Destiny - 4:44
9. Only Dreaming - 3:16
10. Dustbin Full of Rubbish - 2:47
11. Understanding Love - 3:50
12. Favourite Days - 3:54
13. A Saying for Today - 3:27
Compositions from 1-8 by Mighty Βaby
Songs 9-13 written by Ian Whiteman and perfomed by The Action

Migty Βaby
*Alan King - Guitar, Vocals
*Michael Evans  - Bass
*Roger Powell  - Drums
*Martin Stone  - Guitars
*Ian Whiteman  - Flute, Organ, Percussion, Piano, Saxophone, Vocals

1970  Mighty Baby - Live In The Attic
1971  Reg King
1966-90  The Action - The Ultimate Action

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Luther Allison - Luther's Blues (1974 us, superb chicago electric blues, remaster and expanded)

 

 

Born in Widener, Arkansas in 1939, Luther Allison (the 14th of 15 musically gifted children) first connected to the blues at age ten, when he began playing the diddley bow (a wire attached by nails to a wall with rocks for bridges and a bottle to fret the wire).

 

His family migrated to Chicago in 1951, and Luther began soaking in the sounds of Muddy Waters, Sonny Boy Williamson, and Robert Nighthawk. He was classmates with Muddy Waters’ son and occasionally stopped in the Waters’ house to watch the master rehearse. It wasn’t until he was 18 already in Chicago for seven years that Luther began playing blues on a real guitar and jamming with his brother Ollie’s band.

 

By 1957, Allison had dropped out of school and formed a band called The Rolling Stones. Unhappy with the name, they became The Four Jivers, gigging all over the West Side of Chicago. Before long, Luther was jamming with the West Side’s best, including Magic Sam, Otis Rush, and Freddie King, who encouraged Allison to sing. “That,” said Allison, “was my school.” When King began to tour nationally in the early 1960s, Allison took over King’s band as well as his weekly gigs at Walton’s Corner and became one of the hottest acts on the West Side.

 

For five years, Allison honed his craft. He moved to California for a year and cut sides with fellow Chicagoans Shakey Jake Harris and Sunnyland Slim. He cut his first two songs as a leader on the now-classic Delmark anthology Sweet Home Chicago before releasing his first solo album (also on Delmark), Love Me Mama , a record of hard-hitting blues that spoke to the growing rock audience. But even before his debut album came out, Luther landed a headlining spot at the influential Ann Arbor Blues Festival in 1969, and went from relative unknown to major blues-rock attraction. “His guitar riffs seemed to defy the possible,” raved John Fishel, the program director of the festival, who brought Allison back to perform at the following two festivals.

 

Allison signed with Motown Records in 1972 as the label’s only blues act. His three records for the Gordy subsidiary led to numerous concert dates and both national and international festival appearances, but domestically, interest in the blues was fading. After finding instant acceptance in Europe, he was convinced that Paris was the place to be. While he gained superstar status in Europe and released a dozen European records, his presence in the American music scene diminished.

by Chip Eagle

Tracks
1. Luther's Blues (L. Allison, Traditional) - 6:18
2. SomeDay Pretty Baby (Berry Gordy Jr., James Wookley) - 2:40
3. Easy Baby (Willie Dixon) - 5:17
4. Part Time Love (Janie Bradford, Clay Hammond, Richard Wylie) - 2:43
5. Now You Got It (L. Allison, Gary Beam, Walter Block, Kenneth George Mills) - 3:38
6. Kt (L. Allison) - 3:07
7. Let's Have A Little Talk (L. Allison) - 7:04
8. Driving Wheel (Roosevelt Sykes) - 5:34
9. Into My Life (L. Allison) - 3:30
10.San-Ho-Zay (Freddie King, Sonny Thompson) - 5:20
11.Bloomington Closing (Early Version) (L. Allison) - 5:27
12.Medly: I'm Gonna Miss My Baby/Bad News Is Coming?The Thrill Is Gone (L. Allison, J. Peraino, P. White, R. Hawkins, R. Darnell) - 19:10

Musicians
*Luther Allison - Guitar, Harmonica, Slide Guitar, Vocals
*Bob Babbitt - Bass
*Gary Beam - Bass
*Gene Block - Guitar
*Tom Curry - Keyboards, Organ, Piano
*Ray Goodman - Guitar
*K.J. Knight - Drums
*Andrew Smith - Drums
*Paul White - Keyboards, Organ, Piano

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Beggars Opera - Waters Of Change (1971 uk, essential heavy progressive rock, 2006 Repertoire digi pack edition)

 Beggars Opera are one of the most intriguing of all the bands to emerge from the Progressive Rock era of the 1970s. Hailing from Scotland the group was and still remains built around the talents of guitarist Ricky Gardiner and his wife Virginia Scott, who sings, plays keyboards and composes lyrics.

Still active today, but now based in Wales, the pair have released such albums as ‘Close To My Heart’ (2007), a richly varied and dynamic set of performances that took ten years to bring to fruition. This was mainly due to the effects of a medical condition known as ‘electro sensitivity’ that has affected Ricky Gardner for many years. This is brought about by exposure to radiation from mobile phones and computers. Ricky and Virginia have based their latest album ‘Lose A Life’ (2011) on the theme. Sub-titled a ‘Nano Opera’ it is based on the story of his battle against ‘E.S.’

Roderick ‘Ricky’ Gardiner’ was born in Edinburgh, Scotland in 1948. He has enjoyed a busy career, including working with David Bowie and Iggy Pop. But his first brush with fame came when Beggars Opera was formed in 1969. The original group was based in Glasgow and took its name from the ‘The Beggar’s Opera’ a play by the poet John Gay. Ricky began playing guitar in bands at the age of 14. Among his earliest groups were the Kingbees, Vostoks and the System. Beggars Opera first comprised Gardiner (guitar, vocals), Martin Griffiths (lead vocals), Alan Park (organ, piano), Gordon Sellar (bass, acoustic guitar, vocals) and Raymond Wilson (drums). Virginia Scott (Mellotron and vocals) joined later.

The group signed to Vertigo, alongside Black Sabbath, Colosseum and Manfred Mann’s Chapter Three. They released four albums over the next few years, ‘Waters Of Change’ (1971) was their second , the band had now added a female mellotron-player named Virginia Wolf who also wrote some material for the group too. Openoing track "Time Machine" has a relaxed and dreamy feeling to it, while "I've No Idea" and the folky "Festival" were both more energetic and excellent progressive rock tracks. "The Fox" was probably the most complex song the group ever recorded. "Silver Peacock" has a very beautiful mellotron arrangement, and especially the intro sounds cool. There are also some short and very nice instrumentals between the longer tracks. The best of these is probably "Nimbus". An essential album from the early 70's progressive scene of England.
Repertoire

Tracks
1. Time Machine (Park, Gardiner, Griffiths) - 8:08
2. Lament (Park, Wilson) - 1:50
3. I've No Idea (Park, Griffiths) - 7:42
4. Nimbus (Griffiths, Gardiner, Sellar) - 3:35
5. Festival (Park, Erskine, Griffiths) - 5:59
6. Silver Peacock (Intro) (Scott, Park, Griffiths) - 0:23
7. Silver Peacock (Scott, Park, Griffiths) - 6:32
8. Impromptu (Scott, Gardiner) - 1:18
9. The Fox (Scott, Gardiner, Griffiths) - 6:47

Beggars Opera
*Ricky Gardiner - Lead Guitar, Vocals, Acoustic Guitar
*Martin Griffiths - Lead Vocals, Cow Bell
*Alan Park - Organ, Piano
*Gordon Sellar - Bass, Acoustic Guitar, Vocals
*Virginia Scott - Mellotron, Vocals
*Raymond Wilson - Percussion

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Various Artists - My Mind Goes High (1966-68 us, psychedelic pop nuggets from the wea vaults, double Vinyl edition)

 

 

 «My Mind Goes High» is a true excavation of the vaults, picking overlooked album tracks and neglected singles from a cornucopia of WEA-owned labels, including Warner Bros., Cotillion, Jubilee, Valiant, Reprise, and Atco.

 

While the focus is on acts that released a single or forgotten album, there are a handful of recognizable names -- the Association, Kim Fowley, the Electric Prunes, the Bonniwell Music Machine, the Tokens, the West Coast Pop Art Experimental Band -- and in the Monkees' "Porpoise Song," there's even a genuine hit. But that song is the exception to the rule: most of these are quite obscure, and it's even arguable that because they were released on major labels (or at the very least, high-profile labels), the songs haven't been given the attention or respect as psychedelia released on smaller, regional labels.

 

That argument is laid out in the introduction of the excellent liner notes, and the music on «My Mind Goes High» supports it strongly. Often, collections of rare heavy psychedelia and garage rock can grow a little samey even when the musical quality is high, since bands tended to emulate the same sounds and ideas, using the same production techniques as their peers. «My Mind Goes High» is a much more interesting listen than the average psychedelic rarities collection since these underground ideas are applied in bizarre, unpredictable ways to professionally written, melodic songs that were designed for mainstream radio.

 

Where its companion collection, Come to the Sunshine, is heavy on lush surfaces and harmonies, «My Mind Goes High» is overtly trippy and psychedelic, filled with fuzz guitars, echoes, phased vocals, organs, studio effects, and minor-key drones. This brings it closer to familiar Nuggets territory, but there's a much heavier emphasis on studiocraft and production here than there is on anything on the original double-vinyl Nuggets or Rhino's original box set; again, the focus is on the record, not the song, even though there are some excellent songs here.

 

Nevertheless, the sound and effects of the productions are the most memorable aspects,  Jeff Thomas' "Straight Aero," quite likely the trippiest square anthem ever recorded, has a weird undercurrent of menace in its hiccupping bass and clanging piano.

 

«My Mind Goes High» is filled with moments as strong as this, and it makes a convincing argument that psychedelic pop is at its best when it's pure, undiluted ear candy like this. It's not just a good introduction to the charms of psychedelic pop; it holds its own next to any collection of freaky, guitar-fueled garage-psychedelic rarities.
by Stephen Thomas Erlewine

Tracks
Disc 1
1. Baker Knight And The Knightmares - Hallcuinations - 2:54
2. The Misty Wizards - It's Love - 2:10
3. The Next Exit - Break Away - 2:47
4. The Collectors - Looking At A Baby - 2:18
5. Adrian Pride - Her Name Is Melody - 3:02
6. The Association - Pandora's Golden Heebie Jeebies - 2:53
7. The World Column - Lantern Gospel - 3:30
8. Tom Northcott - Who Planted Thorns In Miss Alice's Garden - 2:50
9. John Wonderling - Man Of Straw - 2:50
10.Ellen Margulies - The White Pony - 2:24
11.Jeff Thomas - Straight Aero - 3:14
12.M.C.2 - My Mind Goes High - 2:39 

Disc 2
1. Brass Buttons - Hell Will Take Care Of Her - 2:59
2. The Salt - Lucifer - 3:04
3. Kim Fowley - Strangers From The Sky - 2:59
4. The Electric Prunes- Antique Doll - 3:13
5. The Bonniwell Music Machine - Astrologically Incompatible - 2:23
6. The Tokens - How Nice? - 2:58
7. Noel Harrison - Sign Of The Queen - 2:44
8. Lee Mallory - That's The Way It's Gonna Be - 2:57 
9. The Glass Family - House Of Glass - 3:13
10.The Holy Mackerel - Wildflowers - 3:59
11.The Monkees - Porpoise Song - 4:04
12.The West Coast Pop Art Experimental Band - Smell Of Incense - 5:48

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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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