The years from 1964 to 1968 gave birth to dozens of Danish beat groups with hundreds of musicians Mvolved. This musical period is called "Pigtrád". Most of the hands were short-lived playing a few gigs only. Some of Mem made it on record. Many oí these records carne out on smal1 independent labels - some being one-time-publications only - but few hands managed lo gel a contract from big labels of tile record industry, mainly Sonel. Metronome, Polydor, 1-MI or CBS.
Both, independent or industrial issues of Mis era, today in many cases are hard-to-fínd collectors' iteras. This results in the l'ad that some Men unknown narres became important in the end of the sixties through the beginning of the seventies. "ro name some of those comercial ly most successful bands, first, e.g.11ur¬nin' Red Ivanhoe, Gasolin', Gnags, Savagc Rose or Secret Oyster became famous even internationally. They tourcd outside Scandinavia with their records being edited in West Germany, France, the Nether¬lands, United Kingdom or even United States.
Ache, Alrune Rod, Coronarias Dans, Culpepers' Orchard, Day of Phoenix, Dr. Dopojam, Mo-i-Rana or the Young Flowers ag. belonged lo thosc commercially more or less successful bands in Dentnark with some recognition abroad, especially among collectors, hased on gigs abroad or international record con¬tracts.
At the peak of the Pigtrild era, on the threshold to Psychedelia and .lazz-Rock, one most successful Danish bands were the Beefeaters. They were founded in Eebruary 1964 by Soren "Bor Seirup (6, ) (ex-Stringers), Lars Kolbed (rh-g, later 6-str-el-b), Jimmy "Biller" Sardorff (lead-g) (ex Elintsto¬nes), Niels Kjz.er Mortensen (d) and Kurt Parking (rh-g, v). The group played various very successful gigs around Copenhagen until September 1964 When Kjler and Parking left to carry on with Les Rivals or thc Jockeys (later Yes Indeed), respectively. Irving Waldorf became new drummer until the group dis¬banded around turn of the year 1964/1965.
Seirup and Sardorff reformed the band in February 1965 With new members Erling "Mozart" Madsen (d, pc) and Morten Kjlerumgard (o). This line-up marked the turning point of the group emerging from Pig¬trád into Soul. This new style mude the Beefeaters a legend all over Denmark. During 1965 Sardorff left to be followed by lead-guitarist Hans Mogensen (ex-Shindings) for a short period and Tom Methling.
\ Mack Pools) on second guitar. The group also found a new bass-player, lemming "Keith" Folger¬,en. N, ls the line-up was complete for thcir first recording session in January 1966.
Tounder member Seirup lett in March 1966, brielly replaced by ()le "Bingo" Frederiksen. In April 1966 funn'e legend Peter Thorup (ex-Black Pools) joined the Beefeaters on lead-vocals and rhythm-guitar. Alter Methling left a few months later, Thorup took ovar lead-guitar.
The departure of Seirup as a soul¬oriented singer, and the entrance of Thorup mude the Beefeaters change their style, again. Concerts now showed on stage a rough hand playing the dirtiest Rhythm & Blues using light shows as early as May 1967. A new label in the media, "Psychedelic Underground", became their new image which helped them Gnd warm-up gigs for Jimi Hendrix, Pink Floyd„lohn Mayall or the likes.
In 1968 the Beefeaters also played for the Young Flowers' TV-series "Blomsterpistolen", or Benny Andersen's childrens' play "Den htese Drage". They also supported singer songwriter Povl Dissing who had a name outside Denmark due to his collaboration with Burnin' Red Ivanhoc. In March 1968 Madsen was replaced by Max Nutzhom "Nhuthzhi" Sehmidt Nielsen (ex-Black Pools).
Tracks 1. It Ain't Necessarily So (G. Gershwin, Ira Gershwin) - 3:53 2. Crossroads (R. Johnson) - 2:31 3. My Babe (J. Stone, W. Dixon) - 3:34 4. I Want You (Graham Bond Organisation) - 3:39 5. Hey Little Girl (Graham Bond Organisation) - 2:17 6. Papa's Got A Brand New Bag (J. Brown) - 3:29 7. Let Me Down Easy (Dee Dee Ford) - 3:40 8. Shakin' Fingerpop (Beefeaters) - 2:49 9. Night Flight (Beefeaters) - 3:18 10. Summer Scene (Beefeaters, Campbell) - 4:28
Three years after the issue of his landmark solo recording, Highway Call (and countless inbred brawls and unholy wars among the Allman Brothers), guitarist, singer, and songwriter Dickey Betts released the debut by his "other" band, Great Southern. Attempting to capture the loose, easy feel of Highway Call and combine it with the more blues-driven sound of the Allmans, Betts was largely successful though the record does suffer a tad from overly slick production.
Nostalgia, or at least the previous, is the backbone of Betts' sentiment as his vice rings through the guitars and rhythm section with conviction and a sureness that only comes out of the finest country-rock music.
On his third solo outing -- and his second with his backing band Great Southern -- Allman Brothers lead guitarist Dickey Betts moves back into the deep-fried Southern boogie that the Brothers are (in)famous for and serves it up with just a smidgen of country and comes out with another winner. Once again the mood is laid back and greasy with the guitars taking center stage in a funky, spunky mix that concentrates as much on the backbeat as it does on the swinging Southern boogie blues.
Hence Betts digs deep into New Orleans as a source of inspiration on tracks like "Good Time Feeling," "Dealin' With the Devil," and "Back on the Road Again." Again relying heavily on the harmonica stylings of Topper Price for color and nuance, Betts uses this cue as a way of bringing the entire band into the proceedings this time out. While it's true that his guitar is the centerpiece of the album, Great Southern is present more as a unit than as Betts' backing band.
On the title track, a ballad that offers a ghostly narrative of the end of the Civil war, Betts also uses Bob Dylan's backing choir of Bonnie Bramlet, Clydie King, and Shirley Mathews for added emotional impact as well as a string section. While the string section could have been dispensed with, it doesn't hurt too much as the integrity of the song is so focused and sharp it's a minor nuisance.
Production on this set is a bit muddier than on the Great Southern album that preceded it, and this is a good thing. There is more immediacy in the band's presence on the record than the studio's. Given that this was issued in 1978, when the bottom was about to drop out of rock & roll in favor of things like new wave and rap, this album holds up surprisingly well over two decades later. The shuffle and roll that was then Betts' trademark is refreshingly untouched by the production or musical excesses of the time.
There is no attempt to be "relevant" or "cutting edge." But there is no retro feel on this disc either; it sounds consistent with a man's vision who's always considered himself right on time and still does. Loud, tough, and funky, Atlanta's Burning Down is a winner.
by Thom Jurek
Tracks
1. Out To Get Me - 4:42
2. Run Gypsy Run - 3:30
3. Sweet Virginia - 3:40
4. The Way Love Goes - 5:30
5. Nothing You Can Do - 4:10
6. California Blues - 5:00
7. Bougainvillea - 7:14
8. Good Time Feeling - 4:27
9. Atlanta's Burning Down (Billy Ray Reynolds) - 4:30
10.Leavin' Me Again - 4:13
11.Back On The Road Again (Dickey Betts, Billy Ray Reynolds) - 4:10
12.Dealin' With The Devil (D. Betts, B. R. Reynolds, Dan Toler) - 3:46
13.Shady Streets (D. Betts, B. R. Reynolds, Dan Toler) - 4:27
14.You Can Have Her (I Don't Want Her) (W.Cook) - 3:51
15.Mr. Blues Man (D.Betts, C.Buck) - 4:12
All songs by Dickey Betts except where indicated.
Musicians 1977 Dickey Betts & Great Southern
*Dickey Betts - Electric Guitar, Slide Guitar, Lead Vocals
*"Dangerous" Dan Toler - Electric Guitar, Acoustic Guitar, Background Vocals
*Ken Tibbets - Electric Bass
*Tom Broome - Keyboards, Background Vocals
*Jerry Thompson - Drums, Percussion
*Doni Sharbono - Drums, Percussion
*Don Johnson - Background Vocals On Track 7
*Topper Price - Harp On Tracks 1 & 2
*Mickey Thomas - Background Vocals On Track 5 1978 Atlanta's Burning Down
*Dickey Betts - Guitars, Lead Vocals
*"Dangerous" Dan Toler - Guitars
*David Goldflies - Bass
*Michael Workman - Keyboards, Background Vocals
*Reese Wynans - Keyboards On Track 9
*Topper Price - Mouth Harp
*David Toler - Drums, Percussion
*Doni Sharbono - Drums, Percussion, Background Vocals
*Bonnie Bramlett, Clydie King, Shirley Mathews - Vocals On Track 9
When Brussels band Four Of A Kind split-up in august 1969, Wim Hombergen and Roger Wollaert formed Kleptomania. Guitar player / singer Michael Heslop (original from the UK) kept the heavy bluesrock-spirit alive in his new venture called Burning Plague. He got together with Roger Carlier (bass), Alex Capelle (guitar & piano) and Willy Stassen (drums and harmonica).
They soon had crafted some extraordinary blues tunes, so when appearing at the clubs, they made quite impression. A few support slots made their star rise as they supported Pink Floyd and Yes when those two visited Belgium. In June 1970 they played at the then famous Puzzle P. (in the “rue des bouchers”) along Kleptomania, Doctor Downtrip, Jenghiz Khan, Waterloo and Belgian hit-wonder Wallace Collection. And also the prestigious Bilzen Rock & Jazz festival put them on their bill in august 1970 (also with Black Sabbath and The Kinks).
Burning Plague 1970 wim luyten Eventually, Burning Plague signed a contract with CBS thanks to the Belgian “production company RAZA” (who already did business with Carriage Company). The album, recorded with producer Jean Huysmans (from The Cousins), was released by the end of 1970 and did get really good reviews.
Télémoustic magazine readers voted it to the first place on their “pophot” list. It surely sold reasonable amounts but main composer Heslop was disappointed by the lack of support from the record company and decided to end the band and to join Doctor Downtrip.
But it wasn’t all finished course Heslop,Carlier and Capelle got on stage in a Brussels club to jam with Doctor Downtrip drummer Paul Van De Velden. They decided to give it another try. In 1994 former Machiavel drummer Marc Isaye stepped in and finally twenty-five years after the original album, they released a new cd called “two”.
It was clear now that they abandoned their rock leanings to launch headlong into the blues. Most of the songs featured great guitar playing but weren’t strong enough to make their mark on the blues scene. The well known classic “A38” from the first record was re-recorded but it was “The Only One Guilty Is You”, a slow “Good Lookin’ Woman” and the melodic “The touch” who made a good impression. The band, now with guitar player Alain Pire (from the band Such A Noise) who already contributed on “two”, replaced Alex Capelle and continued to play a lot of shows the following years.
In 1998 Marc Isaye had to leave as he got to busy with the also reunited Machiavel. Mario Zola replaces him, but after a new cd “live at last” (still with Isaye on drums) their last sign of life was an appearance on the Rhythm & Blues festival in Peer. The majority of their last live set can be heard on this last live cd as it contained three new songs, as well as five cover tunes as a homage to the blues standards they liked themselves.
Tracks
1. Night Travellin’ Man - 5:17
2. First Time I Met You - 4:36
3. Life Is Nonsense (Heslop, Capelle) - 4:21
4. Will I Find Somebody - 5:38
5. A38 - 2:46
6. She Went Riding (Heslop, Capelle) - 8:12
7. Follow That Road - 3:24
8. Hairy Sea (Heslop, Capelle) - 6:20
All songs by Michael Heslop except where noted
Is it a duck ? … is it a train? No, it's the Magic Band after they left Beefheart in 1974. Bill Harkleroad (aka Zoot Horn Rollo) and bassist Mark Boston (aka Rockette Morton) decided to form their own band. John French joined on vocals and drums and John Thomas, who'd been with French in Rattlesnake & Eggs, played keyboards.
Unfortunately only six demo songs were recorded with this line-up before French got the call to rejoin the Magic Band. Jethro Tull's Ian Anderson, a Magic Band fan and friend of Mark Boston, financed their first album which resulted in their signing with Virgin Records UK. The album was recorded in the UK with just Bill and Mark from the original line-up. Art Tripp (aka Ed Marimba) had agreed to play drums (only if he had money upfront), and the vocals were handled by country/lounge bar circuit singer Sam Galpin who had no idea about the history of his fellow band mates. John 'Rabbit' Bundrick was brought in on keyboards.
Denounced by Beefheart as 'a bunch of quacks' they nevertheless included a version of 'Peon' because they'd heard he was in financial difficulties. However the track is credited to DONALD van Vliet! The band went on to record another album, In A Different Climate. On this one George Draggota takes over on drums and John Thomas gets to play keyboards.
These two with Bill Harkleroad, Mark Boston and Sam Galpin were the band that toured Europe in 1976, appearing at the Reading Festival, the Roundhouse in London and on the German TV show 'Rockpalast' amongst other venues.
Poor distribution and the subsequent lack of financial success led to the band deciding not to continue. The two albums have been released on CD although it is now deleted and fairly difficult to find.
Fraternity Of Man is the band that forms the link between Frank Zappa and The Mothers, Lowell George & The Factory, Little Feat, and Captain Beefheart and His Magic Band. In its short period of existence between these ancestors, relatives and descendants, the band managed to record two albums, 'Fraternity Of Man' in 1968, and 'Get It On' in 1969, before fragmenting.
Elliott Ingber had joined the fifth lineup of The Mothers in time to participate in the recording of their first album 'Freak Out' in August 1966, the landmark double album produced by Tom Wilson. According to Zappa, he had to fire Ingber at the end of 1966, and in the course of 1967 the guitarist linked up with Warren Klein, Martin Kibbee and Richard Hayward, who had been three quarters of The Factory. Along with fourth member Lowell George, The Factory had been recording (with Zappa producing) in the latter half of 1966 and early 1967. (See the Edsel Records CD by Lowell George and The Factory 'Lightning Rod Man'
With the inclusion of Lawrence 'Stash' Wagner (rather than George) on lead vocals, Fraternity Of Man set about their first album with Tom Wilson in the producer's chair. 'Fraternity Of Man' was released on ABC Records in 1968 and featured a cover of 'Oh No I Don't Believe It' by Zappa (which he had yet to release himself), and 'Don't Bogart Me' which was subsequently featured in the film 'Easy Rider' and its huge-selling soundtrack album, issued in 1969.
The second album, again with Tom Wilson producing, was released on Dot Records in 1969, and featured credited session help from Lowell George and pianist Bill Pavne. By the end of 1969, however, Fraternity Of Man were no more. Richard Hayward found himself in a studio with Lowell George again, and with Bill Payne and bassist Roy Estrada (another ex-Mother), the first Little Feat line-up was complete. Elliott Ingber joined Captain Beefheart's Magic Band, appearing first on 'The Spotlight Kid' album in 1972, now with the monicker of 'Winged Eel Fingerling'.
CD-Liner notes
Tracks
1. Boo Man - 3:14
2. Don't Start Me Talkin' (Sonny Boy Williamson) - 2:37
3. Pool Of Tears - 2:48
4. The Throbber - 3:40
5. Cat's Squirrel (Adapted By Fraternity Of Man) - 3:18
6. Too High To Eat - 3:37
7. Forget Her - 3:32
8. Coco Lollipop - 3:03
9. Trick Bag (P. Weedon) - 2:40
10.Mellow Token - 3:28
All songs by The Fraternity of Man except where indicated
The Fraternity Of Man
*Lawrence "Stash" Wagner - Guitar, Vocals
*Elliot Ingber - Guitar
*Warren Klein - Guitar, Sitar
*Martin Kibbee - Bass
*Richard Hayward - Drums With
*Lowell George - Guitar
*Bill Payne - Piano
Mayo Thompson's first album was produced in Houston, Texas in 1970 by Thompson, Frank Davis and Roger 'Rocket' Romano for the short-lived but nonetheless legendary Texas Revolution label of Walt Andrus.
Though pressed and advertised in the pages of Rolling Stone, the demise of the label meant the album went largely undistributed until the mid 1980s when Glass Records (London) gave it its first proper release. Coming as the sun set on the first psychedelic rock era, Corky's Debt evokes the early days of acoustic blues, but is already in the maelstrom from which punk rock would emerge just a few years later.
The set features innovative performances by some of Houston's finest musicians of the time playing eleven songs by Thompson -- one with Frederick Barthelme, with whom he started The Red Crayola. They represent a broad range of expressive manners and forms. Made to stand with the finest comparable work of the period, Corky's Debt shows Thompson at his most accessible.
Unique ballads, blues, rock and love songs flow one to another with style, grace and intensity, and the handling of diverse popular-music idioms and language that characterize his more widely known work in The Red Crayola are also to be found. The line between genius and madness is very thin.
The line between a million dollars and nothing is also very thin. Had Corky's Debt been heard back then, today, if someone mentioned Astral Weeks, you might say, 'It does?' The beat lives on."
Tracks
1. The Lesson 2:42
2. Oyster Thins 6:04
3. Horses 3:14
4. Dear Betty Baby 3:52
5. Venus In The Morning 2:33
6. To You 2:52
7. Fortune 2:14
8. Black Legs (Mayo Thompson, Ricky Barthelme) - 3:54
9. Good Brisk Blues 3:11
10.Around The Home 2:55
11.Worried Worried 5:02
All songs by Mayo Thompson except where noted.
Musicians
*Mayo Thompson - Vocals, Guitar, Bass
*Frank Davis - Fiddle Guitar, Timpani
*Roger Romano - Percussion
*Joe Duggan - Piano
*Mike Sumler - Slide Guitar, Bass, Tenor Saxophone
*Le Anne Romano - Baritone Sax
*Chuck Conway - Drums, Bongos, Percussion
*Jimi Newhouse - Drums
*Carson Graham - Drums
*The La Las - Backing Vocals
*The Whoaback Singers - Backing Vocals
Apple came to Larry Page's attention via their first single issued on Smash records, "Thank You Very Much"/"Your Heart Is Free Just Like The Wind" in early 1968.
As a result, Page's record label, Page One Records, released their sole LP, which is a fine mixture of psych pop and psychedelic, heavy r&b. Two singles preceded the LP's release, "Let's Take A Trip Down The Rhine" (Oct 1968) and "Doctor Rock" (Dec 1968).
However, with little to no promotion for the record or the band, despite a colour brochure extolling the virtues of apples as supplied by the British Apple & Peau Development Council, the record didn't sell.
Despite having some of the finest British psych moments (i.e. "The Otherside", "Buffalo Billycan"), only a limited number of copies were pressed. In result, it is listed as one of Record Collector's Top 20 most collectable albums of all time.
However, thanks to a 1994 reissue on CD by Repertoire Records, An Apple A Day has finally been able to reach a larger audience than when it was first released.
Tracks
1. Let's Take A Trip Down The Rhine - 2:59
2. Doctor Rock - 3:07
3. The Otherside - 3:17
4. Mr. Jones - 2:49
5. The Mayville Line - 2:54
6. Queen Of Hearts Blues - 2:28
7. Rock Me Baby - 3:28
8. Buffalo Billycan - 3:05
9. Photograph - 4:10
10.Psycho Daises - 2:22
11.Sporting Life - 5:51
12.Pretty Girl I Love You - 2:39
13.Let's Take A Trip Down The Rhine - 3:04
14.Buffalo Billycan - 3:07
15.Doctor Rock - 3:11
16.The Otherside - 3:16
Bonus tracks 13-16 Single Mix.
Apple
*Dennis Regan - Vocals
*Robbo Ingram - Lead Guitar
*Jeff Harrod - Bass Guitar
*Charlie Barber - Piano
*Dave Brassington - Drums
Although he'd been a fixture on the East Coast folk circuit for several years, Arlo Guthrie did not release his debut album until mid-1967. A majority of the attention directed at Alice's Restaurant focuses on the epic 18-plus-minute title track, which sprawled over the entire A-side of the long-player.
However, it is the other half-dozen Guthrie compositions that provide an insight into his uniformly outstanding, yet astoundingly overlooked, early sides on Warner Bros. Although arguably not 100 percent factual, "Alice's Restaurant Massacree" -- which was recorded in front of a live audience -- is rooted in a series of real incidents.
This decidedly anti-establishment saga of garbage dumps closed on Thanksgiving, good ol' Officer Obie, as well as Guthrie's experiences with the draft succeeds not only because of the unusual and outlandish situations that the hero finds himself in; it is also his underdog point of view and sardonic delivery that maximize the effect in the retelling. In terms of artistic merit, the studio side is an equally endowed effort containing six decidedly more traditional folk-rock compositions.
Among the standouts are the haunting "Chilling of the Evening," which is given an arrangement perhaps more aptly suited to a Jimmy Webb/Glen Campbell collaboration. There is a somewhat dated charm in "Ring-Around-a-Rosy Rag," a sly, uptempo, and hippie-friendly bit of jug band nostalgia. "I'm Going Home" is an underrated minor-chord masterpiece that is not only reminiscent of Roger McGuinn's "Ballad of Easy Rider," but also spotlights a more sensitive and intricate nature to Guthrie's craftsmanship.
Also worth mentioning is the first installment of "The Motorcycle Song" -- which was updated and discussed further on the live self-titled follow-up release Arlo (1968) -- notable for the extended discourse on the "significance of the pickle."
by Lindsay Planer
Tracks
1. Alice's Restaurant Massacree - 18:20
2. Chilling of the Evening - 3:01
3. Ring-Around-a-Rosy Rag - 2:10
4. Now and Then - 2:15
5. I'm Going Home - 3:12
6. The Motorcycle Song - 2:58
7. Highway in the Wind - 2:40
Words and Music by Arlo Guthrie
If ever a record by a major 1960s artist was a "transitional" album, Phil Ochs’ Pleasures of the Harbor was it. The LP was his first recording to use full band arrangements; his first to almost entirely depart from the topical protest folk songs with which he had made his reputation; his first to be recorded for a then-young A&M label; and his first to be recorded in Los Angeles, the city to which he moved from New York in the late 1960s.
It is undoubtedly his most sonically ambitious work, and if the almost ludicrously huge scope of his ambitions guaranteed an uneven album, it nevertheless contained some of his most enduring and successful songs and performances.
When Ochs began working on Pleasures of the Harbor in August 1967, he was among the last of the major American folk singer-songwriters of the early-to-mid-1960s who had yet to make the leap from folk to rock. With the exception of a (very good) electric version of "I Ain’t Marchin’ Anymore" on a 1966 single, all of his prior recordings-including three full albums for Elektra-had featured plain acoustic guitar-and-voice arrangements.
In fact he had not done any recording at all since the sessions (actually a mixture of live and studio taping) in early 1966 that had been issued as Phil Ochs in Concert. In the interim (and even by early 1966), acoustic folk music had been totally overtaken by the folk-rock of his chief rival Bob Dylan and the likes of the Byrds, Simon & Garfunkel, and the Mamas & the Papas.
By the summer of 1967, even folk-rock was passing its peak as the psychedelia of Sgt. Pepper, the Jefferson Airplane’s Surrealistic Pillow, and the Doors’ debut album shook the top of the charts. Ochs continued to write songs at a good clip, but recording-wise sat on the sidelines during these crucial 18 months, in part due to prolonged business machinations that saw him switch both managers and record companies.
Pleasures of the Harbor may have been the first Ochs album to use electric instruments and elaborate arrangements, but it would not be folk-rock, exactly. Influenced by rock’n’roll, jazz, soundtrack music, classical composition, and even the electronic avant-garde, Ochs sought elaborate, sometimes orchestral settings that would complement the progressively complex poetry of his lyrics.
Moreover, he wanted each song to be strikingly different from each other in mood and production, and yet wished the album to flow together well as a whole. Instrumental collaborators in this process would be producer Larry Marks, arranger Ian Freebairn-Smith (responsible for translating Ochs’ countermelodies into finished products utilizing numerous instruments), and pianist Lincoln Mayorga, who gave classical, ragtime, and lounge jazz spices when needed.
Baroque pop-rock production-and, perhaps, over-production-was fully in evidence on the opening track, "Cross My Heart," with its drums, harpsichord, flutes, strings, orchestral horns, and vocal overdubs. The song served notice that Ochs was largely abandoning explicit social comment for more abstract statements whose lyrics demanded multiple listenings to absorb all the nuances.
Ochs was beginning to write long songs at this point, and in fact Phil might have gotten carried away with "Cross My Heart," as he cut several verses from the number after the album was finished (one of those verses appears on the demo version of the tune on Rhino’s Farewells & Fantasies box set). Nothing in the six minutes of "Flower Lady" was a waste, however, the track-with strings, oboe, and piano-standing as the best of the several pseudo-chamber classical arrangements that Ochs and Marks would attempt in the late 1960s.
The moving, just-this-side-of-maudlin composition, with its almost cinematic narrative of a flower lady all but ignored amongst the bustle of numerous contrasting characters, also boasted one of Ochs’ best melodies. Even before Pleasures of the Harbor, cover versions had already appeared by British Invasion stars Peter & Gordon and folk-rock duo Jim & Jean; the Byrds, unfortunately, declined to record it although they had considered doing so.
"Outside of a Small Circle of Friends" is perhaps Ochs’ best-known song, and certainly the most celebrated track from his post-acoustic folk recording career. Inspired by the murder of Kitty Genovese in New York, during which several witnesses did nothing to stop the killing for fear of getting involved, it was also Ochs’ most imaginative arrangement.
The appalling apathy of idle bystanders doing nothing to stop a woman getting stabbed, and several other similar situations laid out by the subsequent verses, was juxtaposed with a jaunty Dixieland-style backup (with Mayorga on tack piano) and Ochs’ splendidly deadpan vocal. Where most songwriters would have let the statement boil over into self-righteous rage, Ochs shrewdly realized that the message would hit home with a far more chilling punch via understatement and gallows humor.
This should have been a hit single, and in fact did become popular in Los Angeles and Seattle. Its chart prospects, however, were scotched by a reference to marijuana. No less than three separate releases of the cut on 45-an unedited one, a version which took out the verse containing the offending word, and another that simply removed the word "marijuana"-were to no avail, as the single failed to break nationally.
"I’ve Had Her," a song of bitter romance with a devastating (and heartless) putdown line, had one of the album’s more lugubrious arrangements, highlighting Mayorga’s classical-style piano. It was back to lighthearted Dixieland jazz, however, for "Miranda," one of the few songs from this period of Ochs’ development that could be fairly characterized as fun, though it didn’t dispense with acute narrative detail. Certainly Ochs’ eye for savage yet witty character sketches reached an apex in the eight-minute "The Party," which like "Outside of a Small Circle of Friends" was a perfect match of lyric and arrangement. Ochs took the (singing, not playing) role of the pianist at a party of upper-class snobs, though he didn’t exclude himself from criticism either.
Lincoln Mayorga played the role of lounge lizard to the hilt, mimicking the styles of Bach, Beethoven, and Schumann, and purposefully misquoting standards such as "Stardust" to lounge jazz backing. The title cut returned to rich, somewhat overblown orchestration, however, with its bittersweet tales of sailors seeking escape on shore leave, though this was probably a metaphor for escapes of all sorts by everyone, not just sailors.
No track in the Phil Ochs canon is more controversial than "Crucifixion," not so much for its lyrics-although those were plenty controversial-as its musique concrete-like arrangement. Its ten verses of martyred heroes couldn’t help but be interpreted as a comment on the still-fresh assassination of President Kennedy. In fact it did bring tears to the soon-to-be-slain Robert Kennedy when Ochs sang it to him. In keeping with the eclectic experimentalism of Pleasures of the Harbor, however, Ochs decided to set his vocal against an eerie morass of loops, electric harpsichord, and washes of electronic distortion, arranged by Joseph Byrd (leader of the excellent late-1960s experimental electronic rock group the United States of America).
This made him sound for all the world like a lone voice drowning in an avant-garde thunderstorm, which in the eyes of many fans obscured the terrible beauty of the song as heard when played solo, on acoustic guitar, in concert. The point is now moot as live acoustic versions of the song were eventually released, from 1968 (on There and Now: Live in Vancouver, 1968) and 1970 (on the Chords of Fame anthology and the Farewells & Fantasies box).
Pleasures of the Harbor, clocking in at more than 50 minutes, was an outrageously long album for 1967, with most of songs exceeding five minutes and some approaching the ten-minute mark. It was also not terribly successful, peaking at #168 in the charts. While Ochs would not retreat to acoustic folk for his subsequent A&M LPs, and would continue to write songs as unusual (and often lengthy) in construction throughout the rest of the 1960s, he would never again employ textures as recklessly varied as those heard on Pleasures of the Harbor.
by Richie Unterberger
Tracks
1. Cross My Heart - 3:23
2. Flower Lady - 3:23
3. Outside Of A Small Circle Of Friends - 3:37
4. I've Had Her - 8:03
5. Miranda - 5:17
6. The Party - 7:57
7. Pleasures Of The Harbor - 8:05
8. Crucifixion - 8:45
Words and Music by Phil Ochs
Musicians
*Phil Ochs – Vocals, Guitar
*Lincoln Mayorga – Piano
*Warren Zevon – Guitar On "Pleasures Of The Harbor"
*Ian Freebairn-Smith – Arrangements
*Joseph Byrd – Arrangements On "The Crucifixion"
Janus was born as a progressive rock band made up of English musicians in Krefeld in Germany in 1970, retired broke and unknown in 1973, despite being signed to the prestigious EMI "Harvest" label, alongside such bands as Deep Purple, Pink Floyd, and Edgar Broughton. Re-born in 1990, and just achieving success in 2001.
The original band, were Colin Orr (Guitar/Keyboards), Roy Yates (Classical Guitar), Bruno Lord (Vocals), Derek Hyett (Vocals), Mick Peberdy (Bass) and Keith Bonthrone (Drums). Style was truly original, and it has been said that Janus were the originators of the genre that became "acoustic rock". That probably misses the fact, that like the name, the band had two very distinct, schizophrenic, sides. Capable of soft, beautiful melodies, they also cranked out some mega-decibel material, which a few years later would have had them tagged as a punk band.
Signed to EMI Harvest in 1970, in 1971 they recorded the classic "Gravedigger" album. Remarkably, the whole album, including mixing was put together in 24 hours of studio time.
For two years, the band lived in Holland, partied on - making the "summer of love" a 36 month event - and managed very few live appearances. The second album, which should have been made in 1972/3 included some dramatic concept pieces, and a 25 minute track "Under the Shadow of the Moon", which included elements that other artists would not make popular until the 1980's. Sadly, EMI never took up the option on the contract, due to the disappointing sales of "Gravedigger", so the album never got further than the rehearsal studio. But keep reading as in 2013 something really strange happened.
At the tail of 1973 Janus came to England, and managed to perform to one or two appreciative university audiences, before becoming the only band in history to be thrown out of the Cavern Club in Liverpool (too heavy.... read loud). By 1974 it was time to call it a day, so that was the first end of Janus.
CD 1 (Remaster)
1. Red Sun (Colin Orr) - 8:55
2. Bubbles (Colin Orr, Derek Hyatt) - 3:51
3. Watcha Trying To Do? (Colin Orr) - 3:50
4. I Wanna Scream (Colin Orr, Bruno Lord) - 2:43
5. Gravedigger (Janus) - 20:50
5. I'm Moving On (Rare Single A Side) (Colin Orr, Roy Yates) - 3:12
6. I Don't Believe You (Rare Single B Side) (Colin Orr, Bruno Lord) - 3:16
CD 2 (Remix)
1. Red Sun (Colin Orr) - 8:55
2. Bubbles (Colin Orr, Derek Hyatt) - 3:51
3. Watch Trying To Do? (Colin Orr) - 3:50
4. I Wanna Scream (Colin Orr, Bruno Lord) - 2:49
5. Suma Manatilly (Previously Unreleased) (Colin Orr, Keith Bonthrone) - 3:40
6. Sinful Sally (Previously Unreleased) (Colin Orr) - 2:52
7. Gravedigger (Janus) - 20:50
