Various Artists – What's Shakin' (1966 us/uk, excellent, blues psych folk rock)

 Throughout the 1960’s, rock music went through a turbulent period of transition. As bands like The Who and Cream steered the music industry toward album-based efforts and away from the singles-oriented business model, many bands found their musical catalogues re-arranged, distorted, and occasionally lost beneath the wheels of change. The most high profile causalities of this innovation were the Beatles, who, to the frustration of fans, were forced to arrange different tracks for British and American album releases (thus creating overlap and paradoxical phenomena, like two Rubber Souls).

Yet it was out of this chaos that emerged perhaps one of the best kept blues-rock secrets of the 60’s. Resulting from a series of back-room deals and compromises, 1966 saw the release of What’s Shakin’, an Elektra compilation featuring a loose collection of early recordings from a number of notable blues-rock acts- including a Paul Butterfield Blues Band fresh from of their groundbreaking debut, a yet-to-be famous Lovin’ Spoonful, and an Eric Clapton in the early stages of forming Cream (complete with a certain Mr. Jack Bruce on bass).

Though the album is fairly obscure to the public at large, these early blues cuts are anything but. Fans of Al Kooper will be quick to recognize the alternate version of “Can’t Keep from Crying, Sometimes", which in itself is a fantastic find. And those acquainted with the Bluesbreakers repertoire will be not fail to pick up on the take on “Steppin’ Out", a version that rivals in quality Clapton’s tenure with John Mayall. (And yes, that is Stevie Winwood on vocals).

Remarkably, the album only slows down really in one place (chiefly “I’m In Love Again"). Aside from this, the album soars. The Lovin’ Spoonful keep up their melody end, Eric Clapton remains faithful to his Southern delta roots, and The Butterfield Band are on fire with quality leads and a grooving beat. But what makes this album, whose concept is flimsy at best, work so well?

The secret is in the total absence of self-indulgence. The lack of a central artistic ego negates any bad effects that pop up on countless other records- leaving only a band that wants to play the blues. Clapton especially seems to have taken this stance- one gets the impression that Eric is purifying himself before his long tour-of duty with Cream. Case in point: no solo on “Crossroads"

For those who crave blues, this back-to-the basics experiment will not fail to please you. If you’re willing undertake a small online search, you’ll find that What’s Shakin’ is quite possibly the best low-key compilation of the 60’s. It is every bit as refreshing as a shot of Jack Daniels, yet is guaranteed never to make you black out. Who else can say that?

by L. Jackson Weisberger

Artists - Tracks
1. The Lovin' Spoonful – Good Time Music - 3:06
2. The Lovin' Spoonful – Almost Grown - 1:50
3. The Paul Butterfield Blues Band – Spoonful - 2:55
4. The Paul Butterfield Blues Band – Off The Wall - 2:02
5. Al Kooper – Can't Keep From Crying Sometimes - 4:30
6. Eric Clapton And The Powerhouse – I Want To Know - 2:14
7. Eric Clapton And The Powerhouse – Crossroads - 2:32
8. The Paul Butterfield Blues Band – Lovin' Cup - 2:35
9. The Paul Butterfield Blues Band – Good Morning Little Schoolgirl - 2:20
10.Eric Clapton And The Powerhouse – Steppin' Out - 3:12
11.Tom Rush – I'm In Love Again - 2:04
12.The Lovin' Spoonful – Don't Bank On It Baby - 1:52
13.The Lovin' Spoonful – Searchin' - 3:13
14.The Paul Butterfield Blues Band – One More Mile - 3:30

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The Allusions - Anthology (1966-68 aussie, pretty beat rock with garage sparkle)

 

 

 The Allusions was a Sydney-based quintet that burst out of nowhere in 1966, scoring a couple of major hits in Sydney. Although they disappeared into obscurity after their short career ended, this is a band that deserves much more recognition.

 

The Allusions formed in late 1965, its members drawn from several other accomplished Sydney groups, and boasting four singers. Their leader, singer-guitarist-composer Mike Morris, had previously played with Dennis & The Dellawares; Terry Hearne had been the bassist in popular instrumental group The Dave Bridge Trio, led by ace gutarist and Joy Boys founder-member Dave Bridge. Terry Chapman and Kevin Hughes had both been members of the early '60s Sydney surf band The Midnighters.

 

Within a short time of forming, The Allusions were signed to Robert Iredale's Leopold Productions, one of Australia's first independent record production companies (which had also recently signed Max Merritt & the Meteors) and their recordings were issued on EMI's Parlophone label. It's possible that their rapid signing came about because Robert Iredale was already familiar with Morris' talent -- it's known that The Dellawares provided backing for The Bee Gees on some of the trio's early recordings, which Iredale had produced.

 

The Allusions shot to prominence in early 1966 with their captivatingly melodic version of the old Rick Nelson hit "Gypsy Woman", backed with "Fever (Burns My Brain)", a Mike Morris original. The single proved a disc-jockey's dream, securing solid airplay on Sydney's 2SM and 2UW, registering impressive sales and peaking at #12. The Allusions' reading in turn inspired The Saints to record the song as a single B-side in 1981.

 

With this hit under their belt, the group was given the opportunity to record two original songs (both penned by Morris) for their mesmerising follow-up. "The Dancer" / "Roller Coaster Man" developed the polished sound and strong harmonies of their debut, and echoed The Beatles' "I'm Happy Just To Dance With You". The A-side, the song for which they are best remembered, fared even better than their debut, making the Sydney Top Ten (#9) and giving great hopes for this 'mysterious' outfit among punters and pundits alike. However, because of the parochial nature of radio and the pop scene at the time, The Allusions' chart success was limited entirely to Sydney, and their Singles made no impact whatsoever in Melbourne.

 

Morris' impressive songwriting ability and the success of the two singles persuaded Iredale to finance the recording of a full album -- a comparitively rare occurrence at that time for a new and relatively unproven group. The original LP is now a sought-after rarity, with copies changing hands for as much as $50; copies with the older-style black Parlophone label are particularly sought-after. Happily all the tracks from this rare gem of mid-Sixties OzPop have been included in the complete Allusions Anthology, recently released by Canetoad Records (see below).

 

The LP contains a variety of material, mixing originals by Morris with covers such as Smokey Robinson's "Shop Around". Some commentators have been rather critical of the album, reserving particular scorn for the song "I Believe", but Chris Spencer opines that "it's not as bad as some make us believe, and doesn't sound out of place on this collection".

 

Terry Chapman quit the band in July 1966, not long before their third single was recorded, apparently unhappy with the Beatles-ish direction in which Morris was taking them. He went on to join one of Australia's first psychedelic groups, The Knack, which included drummer Craig Collinge, formerly of The Librettos and later of Procession. Chapman's replacement was Bruce Davis, who had worked with Morris in The Dellawares.

 

Their third single "Looks Like Trouble" (Oct. 1966) didn't chart, although the follow-up "Roundabout" (another Morris original, released in March 1967) managed to scrape into the bottom of the Top 40. An EP, The Dancer, followed in April, compiling the A-sides from the first three Singles, plus "Roller Coaster Man".

 

According to Vernon Joyson, some time during 1967 The Allusions also recorded as the (uncredited) backing band for Digger Revell on his LP To Whom It May Concern. Another Allusions curiosity from this period is a promotional single -- which the group recorded under the pseudonym The Telemen -- the A-side of which was a version of the theme from the popular TV sitcom My Name's McGooley, What's Yours?.

 

The Allusions released two more Singles, "Seven Days Of Rain" (July 1967) and "Mr Love" (February 1968), but neither was successful. Between these two releases, Mike Morris left the band in late 1967, and he was replaced by John Spence. The Allusions continued as a four-piece until October 1968, when Terry Hearne quit to join Digger Revell's backing band. Mike Morris then rejoined, to raise money for an overseas trip, but by this time the momentum of their early success had dissipated, and in the face of changing trends they split for good in early 1969.

 

Not much is known about what happened to the members after their brief spell in the limelight; what little we have gleaned comes from Vernon Joyson's entry on the band in his book. Mike Morris worked with a number of local country-rock bands after returning to Australia. Terry Hearne was reported to be still playing with Digger Revell in the 1990s, although that was presumably ended by Digger's arrest conviction on charges of marijuana cultivation and trafficking, and his subsequent incarceration. Sadly, drummer Kevin Hughes committed suicide in 1975.

 

The Allusions left behind a fine batch of records that are highly sought after by collectors of quality sixties Aussie pop. The evidence we have is that they could indeed "rock out" -- exemplified by the spirited cover of The Kinks' "I Gotta Move" on the LP, which arguably rivals the original -- along with strong similarities to other early beat-boom merchants like The Zombies and The Searchers. They used "I Feel Fine"-style guitar feedback too, before it was remotely de rigeur.

 

If this band will be remembered at all though (and they should be), it would be for their extremely tight and inventive sound, those complex vocal harmonies, and their mastery of the three-minute beat-pop single idiom.
by Paul Culnane

Tracks

1. Gypsy Woman (Dorsey Burnette, Joe Osborn) - 2:19

2. Fever (Burns My Brain) (Michael Morris) - 2:29

3. The Dancer (Michael Morris) - 2:02

4. Roller Coaster Man (Michael Morris) - 2:12

5. Looks Like Trouble (Michael Morris) - 2:41

6. Ninety Seven Cigarettes (Michael Morris) - 2:23

7. Roundabout (Michael Morris) - 3:10

8. I'll Be Home (Bruce Davis) - 2:13

9. Seven Days Of Rain (Michael Morris) - 1:58

10.Two Of A Kind (Michael Morris) - 2:43

11.Mr Love (Bruce Davis) - 2:40

12.And She's Mine (Bruce Davis) - 2:35

13.I Gotta Move (Bruce Davis) - 3:36

14.Blue Tomorrow (Bruce Davis, John Shaw, Michael Morris) - 1:59

15.In My Solitude (Michael Morris) - 2:43

16.Shop Around (Berry Gordy, William Robinson Jr.) - 2:42

17.Lady Of Leisure (Michael Morris) - 2:12

18.Out Of Order (Michael Morris) - 2:06

19.I Believe (Jule Styne, Sammy Cahn) - 2:23

20.Theme From 'My Name's McGooley' (Max Martin) - 2:00

21.Stop Gently (Michael Morris) - 1:52

Tracks 20-21 as The Telemen

The Allusions
*Terry Chapman - Bass, Vocals (1965 - July 1966)
*Bruce Davis - Bass, Vocals (July 1966 - Early 1969)
*Terry Hearne - Lead Guitar, Vocals (1965 - Oct 1968)
*Kevin Hughes - Drums
*Michael Morris - Rhythm Guitar, Vocals (1965-Late 1967, October '68 - Early '69)
*John Shaw - Piano, Organ, Vocals
*John Spence - Guitar Late (1967 -)

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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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