Tom Rush - Tom Rush (1965 us, pure tough 'n' rockin' folk, 2001 remaster)

When Tom Rush's self-titled album appeared on Elektra Records at the beginning of 1965, the recent university graduate was already an established veteran of the Cambridge, Massachusetts folk scene. A popular performer at local venues such as Club 47 and the Unicorn, he had already recorded three albums, the first of those a private production done live at the Unicorn, the next two for the Prestige label.

Tom Rush marked a step up for the artist, moving him to a label that was actually more prestigious than Prestige, and filling out his sound with an all-star squad of accompanists. The music, though, remained much as it had been on his previous LPs: warm, affable interpretations of a diverse range of folk songs.

It was an age when there seemed to be a sort of mini-competition among various prominent folkies in trying to select the most eclectic repertoire possible, always accompanied by liner notes that meticulously documented the sources, as a testament to their assiduous choices and diligent folkloric research. In this respect Rush could more than hold his own, rambling through country blues by Kokomo Arnold and Bukka White, Woody Guthrie compositions, and traditional folk songs of indeterminate origin, some learned from peers such as Dave Van Ronk, Eric Von Schmidt, Geoff Muldaur, and Ian Tyson.

There was even a cover of a Jerry Leiber-Mike Stoller composition that had been recorded by the Coasters, a daring move at a time when some purists were trying to keep the gap between rock and folk as wide as possible. And, naturally, there were diligent notes about the songs and how Rush had learned them, penned by the singer himself.

Moving from Prestige to Elektra along with Tom was producer Paul Rothchild, one of the top folk producers of the day, and soon to become a top rock producer at the helm of Elektra recordings by the Paul Butterfield Blues Band, Love, Tim Buckley, and the Doors. This helped create a confusing situation where Rush's Elektra debut actually hit the stores before his second Prestige LP, which had been recorded prior to Tom Rush.

The fuller, yet not electric, folk sound was in keeping with the approach then being pioneered on Rothchild-Elektra sessions; the producer also enlisted Sebastian and Pappalardi around this time for support on a crucial early folk-rock milestone on Elektra, Fred Neil's Bleecker & MacDougal. Pappalardi and Herald were also important sidemen on sessions by Ian & Sylvia that likewise were vital in expanding folk music's sonic canvas.

Elaborated Rush in a 1998 interview with Wally Breese (for Joni Mitchell's website), "When Paul and I sat down to make these two albums, we put the more traditional, I should say, simpler material on the Prestige project. We weren't really high-grading for Elektra, but we put the stuff that sounded best solo or solo with a washtub bass, which is how I recorded the first one, on the Prestige album, and the stuff that lent itself to more backup was on the Elektra album."

Tom Rush was still very much a folk record, though, and not a pop or rock one. None of the songs were written by Rush himself, who leaned most toward blues numbers such as "Milk Cow Blues" and the Robert Johnson-derived "If Your Man Gets Busted," as well as ageless folk tunes that had been around the block many times, like "The Cuckoo" and "Solid Gone" (also sometimes called "The Cannonball").

Certainly the most inventive cut was the eight-and-a-half-minute closer, "The Panama Limited, " which strung together several Bukka White songs. Another standout was the solo performance "Poor Man," with D modal tuning and a darker atmosphere than was typical for what was largely an upbeat, good-time collection.

If only in hindsight, the most significant track might have been "When She Wants Good Lovin'," taken from the B-side of a Coasters single. Rush, as well as collaborators Sebastian, Pappalardi, and Rothchild, would be heading full steam into the folk-rock revolution within a year, and Tom would devote most of an entire LP side of his next Elektra album to electric rock treatments of such rock'n'roll oldies.

by Richie Unterberger

Tracks
1. Long John (Traditional) - 4:00
2. If Your Man Gets Busted (Traditional) - 3:30
3. Do-Re-Mi (Woodie Guthrie) - 2:39
4. Milk Cow Blues (Kokomo Arnold)  - 3:14
5. Black Mountain Blues (Traditional) - 2:44
6. The Cuckoo (Traditional) - 3:24
7. Poor Man (Traditional) - 3:30
8. Solid Gone (Traditional)  - 3:01
9. When She Wants Good Lovin' (Jerry Leiber, Mike Stoller)  - 2:45
10.I'd Like to Know (Woodie Guthrie)  - 2:17
11.Jelly Roll Baker (Lonnie Johnson)  - 3:01
12.Windy Bill (Traditional) - 2:16
13.The Panama Limited (Bukka White) - 8:23

Musicians
*Tom Rush - Vocals, Guitar
*Felix Pappalardi - Guitar
*John Herald - Guitar
*John Sebastian - Harmonica
*Bill Lee - Bass
*Fritz Richmond - Bass

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Spontaneous Combustion - Triad (1972 uk, tight, clever hard progressive rock, 2012 Esoteric remaster)

 This second album from Dorset trio SC, also got the Esoteric de Luxe treatment, re-mastered (great sound) and refined booklet, restored artwork and essay (as with the debut album, read review on these pages) this album shows how mature these guys have grown within´ the same year. The music here are tighter and more coherent, but still imaginative and progressing.

As opposed to the first album I didn't own this second on vinyl, so even though I heard it way back then, I has not immediate the same effect on me understandably. But with several listening now this sparkling new edition is as brilliant as the first album! The sound here seem a tad better (well you can only do so much with the original material/master tapes cant you?) than on the debut. On the other hand, the debut had some spontaneous (there I did it again, sorry) moments, whereas this shows more directed or collected music ideas and delivery!

This album grows with every spin and it is a fine release, my favorite will always be the debut (you know the feeling, it's the one you´ve heard first, it's the one you kissed too, it's the first you found out you wanna be a musician too..etc etc.) In all fairness, this second release has the better instrumentation, tighter melody structure and a clearer and fuller sound!

This outing has 3 bonus tracks (I forgot to mention that the debut album also boast´ s a bonus track) two of them here are renditions of "Sabre Dance" (done by Love sculpture in 1968) the first one in that same fashion as LS, the latter one, in a moody semi acoustic version, with original sequences, that I quite like!! Another fine re-release from Esoteric (these guys are amazing)

Fave tracks: "Spaceship" / "Pan" / "Rainy Day" / and the second version of Sabre Dance! Oh..trivia: Sabre Dance are a classical music piece composed by Khachaturian.

by Tonny Larsen

Tracks
1. Spaceship - 3:29
2. Brainstorm - 6:22
3. Child Life - 4:14
4. Love And Laughter - 3:33
5. Pan - 7:36
6. Rainy Day - 3:13
7. Monolith Parts 1, 2, 3 - 9:16
8. Gay Time Night - 2:50
9. Sabre Dance - 5:55
10. And Now For Something Completely Different , Sabre Dance - 2:54
All songs written by Spontaneous Combustion
Tracks 9-10 single released January 1973

Spontaneous Combustion
*Gary Margetts - Guitar, Vocals,
*Tristan Margetts - Bass Guitar, Vocals, Synthesiser
*Tony Brock - Drums, Percussion, Vocals

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The Astral Projection - The Astral Scene (1968 us, lovely, delicate baroque psych pop, Gear Fab edition)

 

 Bernice Ross and Lor Crane had enjoyed some mid-1960s successes as songwriters (Danny White's "White On White") and as producers.  Crane produced several of Chad and Jeremy's hit singles and albums.  1968 saw the pair dipping their creative toes into psych via the studio project The Astral Projection.  Musically "The Astral Scene" is an oddity falling somewhere between Curt Boetcher-styled sunshine pop, Association-styled top-40 and Animated Egg styled exploito.

 

Ross and Crane wrote all of the material but it was performed by an all star cast of sessions players including guitarists Al Gorgoni and Hugh McCrackin. Thematically tracks such as 'The Sunshine Seekers' and 'Plant Your Seeds' were highly orchestrated tying together as a full-fledged concept piece.  If you waded through the extensive back panel liner notes by Barbara Christensen, the plot line had something to do with the concept of escaping the physical body to experience spiritual embodiment. 

 

Certainly something many of us ponder day in and day out ...  In spite of the goofy titles and lyrics ('Today, I saw The Sunrise') and the fact the arrangements were full of rather spacey instrumentation, virtually of the songs were quite commercial. It's easy to imagine stuff like '(Mind Flight) ... Overture The Airways Of Imagination' or 'The Happening People' having been adopted for some sort of 1960s television theme song.  

This has absolutely nothing to do with the music, but the album's also kind of interesting in that it carries a dedication to 'Oric Bovar'.  Bovar's best known as a guru who attracted a following in Broadway circles.  Folks such as Carol Burnett, Marsha Mason, Bernadette Peters and Neil Simon fell under his spell and helped him to become quite popular for a short period of time. 

 

Originally renowned for generating accurate astrological charts and prescribing medications that could provide one with inner peace, Bovar was actually a nut case.  Convinced he was Jesus Christ, he instructed his followers to start celebrating Christmas on August 29th (his birthday).  He started arranging marriages between followers, mandated strict diets for them and forbade extramarital sex among his followers.  Bovar also attracted attention in the Fall of 1976 when he tried to resurrect the body of a 29 year old disciple who had died of cancer. 

 

Nothing wrong being positive, but Bovar and a couple of followers spent two months chanting over the decomposing body in a New York apartment.  Someone finally called the cops and he was arrested for violating city health ordnances.  In April 1977, a couple of hours before he was to appear in court Bovar decided he would jump of of a 10th floor window with the intention of appearing in court cloaked in resurrected glory.  Needless to say Bovar missed his court appointment.

Bad-cat



Tracks
1. (Astral Projection ... Leaving The Body) Overture / The Sunshine Seekers - 3:00
2. Plant Your Seed - 2:48
3. (Mind Flight) ... Overture The Airways Of Imagination - 3:23
4. The Happening People - 3:15
5. Accordion Pleated Mind - 2:32
1. (Astral Exploration) ... Oveture Dreams, Shadows And Illusions - 3:09
2. Whatta We Gotta Lose - 2:56
3. Something To Believe In - 2:47
4. Today, I Saw The Sunrise - 2:11
5. (Spiral Interiorization)...Overture - The Astral Scene - 4:07
All compositions by Berncie Ross and Lor Crane

Musicians
*Syemour Barab - Cello
*Eugene Bianco - Harp
*Jay Berliner - Guitar
*Seymour Berman - Viola
*Lor Crane - Percussion
*Al Gorgioni - Rhythm Guitar
*Louis Haber - Violin
*Harold Keinz - Woodwinds
*Harry Lookfsky - Violin
*Hugh Mccracken - Lead Guitar
*Joseph Macho Jr. - Bass
*Boris Mnidney - Clarinet
*Dominick Mobardo - Trombone
*Joseph Newman - Trumpet
*Frank Owens - Keyboards
*Alan Raph - Bass Trombone
*David Sackson - Viola
*Buddy Saltzman - Drums
*James Sedlar - Trumpet
*Irving Spice - Violin

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The Fire Escape - Psychotic Reaction (1967 us, raspy fuzzed out garage psych)

 A totally bewildering 60's album from San Francisco recorded by session musicians and put together by the legendary Kim Fowley and Michael Lloyd (October Country, W.C.P.A.E.B., Smoke). The album comprises "far out" cover versions of various artists including, "? & The Mysterians", "Music Machine", "Count Five", "The Seeds" and more. A totally mind-blowing psychedelic garage compilation by this mysterious group who have never revealed themselves although it's always been rumoured to have involved Sky Saxon & Mars Bonfire. A nugget from the colourful 60's.

San Francisco, a far-out city; The Fire Escape, a far-out group; a natural for each other. This group was the creation of a certain Michael Lloyd and the notorious Kim Fowley who put together a collection of musicians to record a far out record for far out times.

From the age of twelve Michael Lloyd lived and breathed music. Sometime during his tenure with various teenage pop bands, Lloyd crossed paths with the colourful producer, Kim Fowley. Fowley was smitten with the precocious youngster and at the tender age of thirteen, Lloyd inked a publishing deal for his songs with Fowley. Shortly after Fowley introduced him to the entertainment mogul and future California lieutenant governor Mike Curb with the hopes that Curb would use some of Lloyd's songs in his films. Instead, Curb handed the young musician the production reins for a couple of his projects which appeared on Lloyd’s Tower imprint and its Sidewalk label division (the Rubber Band albums were early examples).

Fire Escape is just one of the albums that Lloyd, in his capacity as an arranger, worked on with Fowley in the early days. For further evidence of the man’s talents on the psychedelic front, check out the 1968 Sidewalk album The Smoke on which Michael, as well as singing, playing keyboards, guitar, bass and horn, added the string arrangements as well. Other projects included The West Coast Pop Art Experimental Band, the Wild In The Streets soundtrack and October Country, to name but a few.

To say Michael Lloyd was simply a producer is an understatement. He was a Vice President of MGM Records by the age of 20 and was to spend more than 35 years producing hit records and soundtracks, garnering more than 100 gold and platinum records for his efforts. Some of the international artists he's worked with include The Moody Blues, Lou Rawls, Barry Manilow, Dionne Warwick, The Monkees, Sammy Davis Jr., The Righteous Brothers, Pat Boone, Air Supply and Frank Sinatra.

Kim Fowley also gained quite a reputation for spotting bands and then offering his services as their producer and the list of his discoveries is longer than anyone could remain awake to read. It was Kim who gave Rodney Bingenheimer, whose house was the refuge for wasted musicians and budding guitar heroes in the mid-‘60s, the title "Mayor of Sunset Strip." He also had a knack for producing hit novelty singles, giving the world such musical oddities as Napoleon XIV's They're Coming To Take Me Away, and more importantly, certainly within the context of this, writing the first rock song about LSD (The Trip).

Psychotic Reaction was the only release by the Fire Escape for GNP-Crescendo (home of the Seeds and Orphan Egg) and comprised of covers of the "far out" hits of the day by the likes of the Count Five's Psychotic Reaction (which GNP-Crescendo spelt wrong on the back of the sleeve!), Kim Fowley's The Trip which opens with the classic line "Summer's here kiddies/It's time to take a trip", Sean Bonniwell's Music Machines' Talk Talk, The Seeds Tripmaker and more. It's rumoured that Sky Saxon, Mars Bonfire (of Steppenwolf fame) and Kim Fowley played and sang on the album, although none of this was ever proven. But whatever the facts, like so many acts from this creative period, it was over before the record was released.

This nugget of an album was produced by Hank Levine and Larry Goldberg who worked with other credible late ‘60s psyche outfits such as The Flying Circus as well as one of other Hollywood mystery groups of the time, The Mesmerizing Eye.

The Rare-Music

Tracks
1. Psychotic Reaction (Craig Atkinson, John "Sean" Byrne, John Michalski, Kenn Ellner, Roy Chaney) - 2:58
2. Talk Talk (Sean Bonniwell) - 1:57
3. Love Special Delivery (James J. Espinoza, William Garcia) - 2:21
4. The Trip (Kim Fowley) - 1:51
5. 96 Tears (Rudy Martinez) - 2:36
6. Blood Beat (Larry Goldberg, Hank Levine) - 2:07
7. Trip Maker (Daryl Hooper, Sky Saxon) - 2:54
8. Journey's End (Larry Goldberg, Hank Levine) - 2:41
9. Pictures And Designs (Daryl Hooper, Sky Saxon) - 2:32
10.Fortune Teller (Allen Toussaint) - 2:17

*Unknown session musicians

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Beefeaters - Meet You There (1969 denmark, relevant psych blues rock, Repertoire edition)

 

 

 In November 1968 the Beefeaters played on the Danish tour of Alexis Korner who joined them as guitarist and lead-vocalist on two tracks of their second annum Represented ihrough the introduction of the Gemían ulule by 'Thorup, this period showed a more jazz-oriented side of the Beefeaters. In May 1969 Thorup left the Beefeaters lo live and work in England. Ile joined Korner to forra New Church, C.C.S. and Snape, the taller even for a U.S. tour.

 

In 1973 Thorup returned to Denmark where - apart from his solo alburas - countless jobs as sideman, stucho musician or producen for the vide-spread Danish music scene from the Young Flowers to Sanne Salomonsen always are keeping him very busy. While Korner is called Father of13ritish Blues, Thorup is candidato as Father of Danish Blues.

 

This he can claim contrary to his start as a professional musician at the early age of 13 years - then being rather a son not a Eather. The first of many more peaks to fbIlow in his carcer was the nomination for the #1 Danish Blues singer at the age of 19.

 

Record collectors should look out for Thorup's first solo albura featuring Kjazumgard, "Nhuthzhi", Nils Ilenriksen and Erik Stcdt Rastnussen of the 13eefeaters plus members of the Young Flowers, the Black Pools, Maxwells' and Burnin' Red Ivanhoe - Ole Christian Eich. The cover was designed by Eich and ex¬Beefeater Madsen. This last available document with the Beefeaters was produccd by Thorup for "Ale¬xis Korner Productions" being published in many countries.

 

To sum up the history of the Beefeaters, Fich - ex-Burnin' Red Ivanhoe replaced Thorup in May 1969 as load-vocalist and -guitarist. When Folgersen quit in aulumn 1969. the group was re-joined hy founder member Scirup. This line-up recorded the soundtrack for "Smil Fruti" and the cinema commcrcial for "Jolly Cola".

 

By turn of the year 1969/1970, Eral beeame seriously ill to be replaced by I lenriksen - ex¬liam. At the same time, Nielsen was replaced by Carsten Smedegárd - ex-l- eethovens on drums. Stedt - pre-Day of Phoenix joined on hass in the middle of 1970 to replacc Eolgersen. I ich returned alter recovery, and the Beefeaters carried on as a sextet until they finally disbanded in 1971.

1Pocod Musica

Tracks
1. I'll Meet You There - 4:47
2. You Changed My Way Of Living - 4:09
3. Night Train (Forrest, Washington, Simpkins) - 4:22
4. Now I Know - 4:54
5. Serenade To A Cuckoo (Kirk) - 9:55
6. Stormy Monday (Crowder, Eckstine, Hines) - 9:54
All songs by the Beefeaters except where noted

Beefeaters
*Peter Thorup - Guitars, Vocals, Flute
*Morten Kjærumsgård - Organ, Piano
*Keith Volkersen - Bass
*Max Nhuthzhi - Drums
With
*Alexis Korner - Guitar, Vocals

1967  Beefeaters - Beefeaters

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Beefeaters - Beefeaters (1967 denmark, remarkable organ drivin' r 'n' blues psych rock, digi pack remaster)

 

 

 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).

1Pocod Musica

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

Beefeaters
*Peter Thorup - Guitars, Vocals, Flute
*Morten Kjærumsgård - Organ, Piano
*Keith Volkersen - Bass
*Max Nhuthzhi - Drums

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Dickey Betts - Dickey Betts And Great Southern / Atlanta's Burning Down (1977-78 us, fine southern blues funky rock, 2010 Retro World reissue)

 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

Related Act
1971  The Allman Brothers Band - S.U.N.Y. at Stonybrook NY

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Burning Plague - Burning Plague (1970 belgium, dirty raw hard blues rock)

 

 

 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.

Belgian-bands

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

Burning Plague
*Michael Heslop - Guitars, Vocals
*Alex Capelle - Guitar, Piano
*Roger Carlier - Bass
*Willy Stassen - Drums

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Mallard - Mallard / In A Different Climate (1975/76 us, classy acid blues, progressive, jazzy experimental folk rock, Beefheart's Magic Band members)

 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.

Beefheart

Tracks
Mallard 1975
1. Back On The Pavement (David Wagstaff, Harkleroad) - 3:09
2. She's Long And She's Lean (Ted Alvy, Harkleroad) - 3:15
3. Road To Morrocco (Inst. Harkleroad, Boston) - 2:58
4. One Day Once (John French, Harkleroad) - 3:25
5. Yellow (Harkleroad)  - 2:22
6. Desperadoes Waiting For A Train (Guy Clark Arr. Jim Dickenson) - 3:30
7. A Piece Of Me (French, Harkleroad)  - 4:36
8. Reign Of Pain (Dan Moore, French, Harkleroad) - 3:03
9. South Of The Valley (John French, Arr. Harkleroad) - 4:48
10.Winged Tuskadero (Wagstaff, Harkleroad) - 3:18
11.Peon (Donald Van Vliet)  - 3:26
In A Different Climate 1976
12.Green Coyote (Harkleroad, Boston) - 4:15
13.Your Face On Someone Else (Wagstaff , Harkleroad, Thomas) - 4:30
14.Harvest (Wagstaff, Thomas) - 3:40
15.Mama Squeeze (Alvy, Harkleroad)  - 4:04
16.Heartstrings (Harkleroad, Thomas) - 8:08
17.Old Man Grey (Boston) - 1:45
18.Texas Weather (Alvy, Harkleroad ) - 4:32
19.Big Foot (Alvy, Harkleroad) - 4:39

Mallard 1975
*Bill Harkleroad -  Acoustic, Electric Guitars
*Mark Boston -  Bass Guitar
*Art Tripp III -  Drums, Percussion & Marimba
*Sam Galpin -  Vocals
*John "Rabbit" Bundrick -  Fender Rhodes Piano
*Barry Morgan -  Latin Percussion
In A Different Climate 1976 
*Bill Harkleroad -  Guitars
*John Thomas -  Keyboards & Backing Vocals
*Sam Galpin -  Vocals
*Mark Boston -  Bass Guitar; Dobro
*George Draggota -  Drums
*John McFee - Pedal Steel Guitar

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The Fraternity of Man - Get It On! (1969 us, superb garage psych blues folk rock)

 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

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