Ashra - Blackouts (1978 germany, inspiring progressive experimental space rock)

 

 

 Right from the beginning of Track One 77 Slightly Delayed you just know that this is going to be something special, Manuel wastes no time in setting up a great syncopated backing. Then the guitar comes in - and what guitar! Clean, precise and wonderfully effected. OK, yes I am a fan and have been for over twenty years. So its a joy to pull this album from the shelves in order to write this review.

 

Manuel manages to mesh his rhythm and lead playing so well, the rhythm being one of those classic and perfect sounds. This isn't one of those guitar improv work-outs, the listener is left in no doubt that Manuel meant to play every note he played.

 

Track Two Midnight On Mars, ah - my favourite ASHRA track EVER. It's "Midnight on Mars" and I'm there right alongside him. Again Manuel sets up the lead line perfectly with his mix of synths, drum machine (wasn't it the classic EKO Rhythm Computer?) and wicked guitar. This particular melody has lived in my brain since the first moment I heard it, twenty plus years ago. In fact, everyone.  I've ever played this track to has commented on it. Manuel should be praised for creating one of the most sublime guitar moments ever to be recorded. I think I'm gushing here. Still what the hell, this track is worth it.

 

Track Three Don’t Trust The Kids isn't letting up, a bass sequence brings in the piece. This is soon joined by subtle percussion and a very well-crafted rhythm guitar. Manuel certainly gets an amazing rhythmic feel. The lead line isn't far behind, this time two guitars playing in harmony. I've never been really sure whether or not that's a guitar synth. It's the right time for the early Roland GR500 and I believe Edgar Froese was using one at about this time as well.

 

The lead is given over to a nicely distorting guitar, again Manuel really means every note he's playing. A superb bit of programming moves the whole piece into double-time, and Track Four Blackouts. He isn't even breaking into a sweat, this is fantastic guitar.

 

Track Five Shuttle Cock again shows off the rhythm playing and what a groove he sets up. The piece just lopes along with some great interplay between the guitars and the sequencers.

 

Track Six Lotus Part I-IV continues the lesson in setting up a groove, Manuel actually gets a bit discordant here for a while before pulling it all back for the typical ASHRA sound, namely babbling sequencers, the minimum of percussion and smartly effected arpeggios. This track shows his ability to generate a flowing piece of music that takes the listener with it, wherever the end of the journey may be.

 

The Bottom Line: Buy it, buy it, buy it. Couldn't be clearer really, could it? Beware there is a subliminal message hidden in that last sentence.

 

The wording on the old LP sums it up quite nicely really, "Manuel Göttsching plays Sequencer, Keyboards and a lot of Guitar". He sure does.
by Andy Bloyce

Tracks
1. 77 Slightly Delayed - 6:40
2. Midnight On Mars - 6:51
3. Don't Trust The Kids - 3:16
4. Blackouts - 4:38
5. Shuttle Cock - 8:27
6. Lotus-Part I - IV - 17:05
All compositions by Manuel Göttsching.

*Manuel Göttsching - Guitar, Keyboards, Sequencer

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Victoria - Victoria (1971 us, great west coast psych, 2005 reissue)

 

 

 Though initially recorded in the late '60s and early '70s, the tracks that make up Victoria's sole release didn't see wide release until nearly 30 years later, seeing a further re-release on Shadoks in 2005.

 

Consisting of a small limited-edition album and a variety of further cuts from tape and acetate, Victoria's appeal lies perhaps most in the sextet's ability to get a lot out of limited resources.

Opening cut "Peace" is almost surprisingly lush and detailed, triumphant brass parts mixing in with the exultant rock & roll from the band.

 

From there the 15 songs on the CD wend their way, ranging from gentle contemplation to fuller-bodied affairs, less fried psychedelia than the kind of widescreen pop that coexisted with it.

 

The exact lineup of the band is unclear -- only four people are credited, not all of whom appear to have performed at the same time -- but one Greg Ruban was the core songwriter and arranger, and it's his ability to capture his band surprisingly well that ensures Victoria is more than simply a rare curio.

 

In ways he simply reflects his time -- "Gevaro" sounds like a lost cut by contemporary Santana, while the proto-prog of "Village of Etaf (Prelude and Overture)" goes on a touch too long in the end.

 

Throughout, singers Maureen Deidelbaum, Cherryl Simpson, and Sharon Barton -- or some combination of them -- acquit themselves well enough. One of their best efforts is one of the quietly wittiest -- "Never Knew Blues," the title of which is both somewhat descriptive (the descending blues influence is mostly heard in the verses) and an apt section of lyric.

 

Intriguingly, some of the best tunes never made the original LP release -- "Mister Let Me Go" is a lovely piano-led country song a la the Band, while the autoharp-led "Wheels" feels almost like a cousin to the third Velvet Underground album thanks to the murky rhythm section and steady rumbling pace

by Ned Raggett

Tracks
1. Peace - 2:44
2. Cumberland - 4:41
3. Gevaro - 4:11
4. Ride a Rainbow - 2:50
5. Never Knew Blues - 4:58
6. Down to the Park (Earth Day Park) - 2:57
7. Village of Etaf (Prelude and Overture) - 12:23
8. Core of the Apple - 8:09
9. Mister Let Me Go - 3:37
10.Johny and Lisa - 3:02
11.Peace - 2:52
12.Cumberland - 2:51
13.Child of Princess - 3:07
14.Sundance - 1:46
15.Wheels - 2:02

Victoria
*Greg Ruban
*Maureen Deidelbaum
*Cherryl Simpson
*Sharon Barton

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Focus - Focus III (1972 holland, extraordinary experimental prog rock with folk shades, japan mini lp release)

 Riding on the success of their hit single "Hocus Pocus" from the revolutionary Moving Waves album, Focus got to work on this, their third LP in four years. While the debut album featured a style not too dissimilar to the Bonzo Dog Doo Dah Band, Focus' second LP, Moving Waves, was purely instrumental and wholly serious-minded.

Focus III kept this same sound, but approached it with a jollier, more accessible tone. As with its predecessor, Focus III featured only one tune that would have a chance of being a hit single. The enjoyable rhythm of "Sylvia," partnered with Jan Akkerman's victorious guitar solo, some of Van Leer's finest organ work, Bert Ruiter's tight basslines, and Pierre Van Der Linden's mellow drumming, assured the track classic status. "Sylvia" found worldwide success and gained the band valuable radio and press exposure.

The song remains one of the most loved and best remembered songs from Focus' catalog. The consistency in musical quality throughout Focus III is enough to merit any listeners' respect. To be frank, this LP has it all: diverse songs, astounding musicianship, one of the finest singles ever released -- Focus III should unquestionably be ranked alongside the likes of Revolver, Dark Side of the Moon, and any others of rock's greatest.

by Ben Davies

Tracks
1. Round Goes The Gossip..(Virgil AENEIDOS LIBER IV) (Thijs Van Leer)  - 5:16
2. Love Remembered (Jan Akkerman) - 2:49
3. Sylvia (Van Leer) - 3:32
4. Carnival Fugue (Van Leer) - 6:02
5. Focus III (Van Leer) - 6:07
6. Answers? Questions! Questions? Answers! (Akkerman, Bert Ruiter) - 14:03
7. Anonymus II (Part 1) (Van Leer, Akkerman, Ruiter, Pierre Van Der Linden) - 19:28
8. Anonymus II (Conclusion) (Van Leer, Akkerman, Ruiter, Van Der Linden) - 7:30
9. Elspeth Of Nottingham (Akkerman) - 3:15
10.House Of The King (Akkerman) - 2:23

Focus
*Thijs Van Leer – Vocals, Piano, Organ, Alto Flute Piccolo, Harpsichord
*Jan Akkerman – Electric, Acoustic Guitar
*Bert Ruiter – Bass Guitar
*Pierre Van Der Linden – Drums

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Marsupilami - Marsupilami (1970 uk, magnificent progressive rock, 2008 Eosteric remaster)

 

The band Marsupliami borrowed its name from the Belgian cartoonist André Franquin who created this comic character in 1952. Marsupilami was a cross between a monkey and a cat, yellow with black spots; cute, resourceful and anti-authority. Perhaps not an obvious choice, but the progenitors of the group, the Hasson brothers Fred (Vocals and Harmonica) and Leary (Organ), with their Anglo-French upbringing, had grown up with comic characters like Tin-Tin and Les Pieds Nicklés. Pre-empting Prince by several decades, the idea was to use the symbol rather than the name. When Transatlantic Record boss, Nat Joseph, wrote to seek permission, he neglected to mention this and so clearance was given for the name only. At that point a name change was suggested, but Nat Joseph said the name was cool and so it remained.

 

The idea for Marsupilami began in 1968 following a tour of Southern Spain, organised by Leary for his school r&b band, 'Levitation.' At the last minute Fred, who had sung in the school choir, was drafted in as a replacement for the absent lead singer. Returning to the UK the band secured a gig in its home town metropolis of Taunton, backing the Joe Cocker Band. Fred and Leary were completely smitten with what playing live offered but none of the other members of Levitation could make the commitment. The band had to reform going through numerous iterations, including a short period when a bassoon was featured.

 

The eventual line up for this eponymous first album was largely recruited through poaching musicians from local bands. The rhythm section of Mike Fouracre (drums) and Ricky Hicks (bass guitar) came from local blues outfit Justin's Timepiece and Dave Laverock (guitar) came from a semi-pro band, the Sabres. Leary's flute playing, art student girlfriend, Jessica Stanley Clarke (now Jecka McVicar, Britain's foremost organic herb grower) completed the line up.

 

Marsupilami were popular on the Continent and especially at Paradiso in Amsterdam and the AMVJ in Rotterdam. The band also appeared at the 1970 Hamburg Easter Festival alongside Alexis Corner, Chicken Shack and Renaissance. Waiting all day to play, the band finally went on at 5 a.m, only to have the plug pulled by the riot police 30 minutes into the set. This debacle guaranteed the band the first slot the next day - they brought the house down with the only music not written by them, a jam session of Spoonful - the finale of every Marsupilami set.

 

This first Marsupilami album (originally released at Transatlantic TRA 213) was recorded in June 1969 at the Sound Techniques Recording Studios, just off London's King's Road, and released in April 1970. The studio, which was converted from an old dairy and now replaced by flats, was just being fitted out with some new gizmo's called Dolby's. It is famous for the rosta of artists
recorded there by Joe Boyd: Nick Drake, Incredible String Band and Fairport Convention but Joe was reputedly not enamoured with the Marsupilami sound. The engineer was John Wood.

 

All five tracks were done in a handful of takes, virtually live. The music is really unique and distinctive; hard to categorise and never emulated. There are more sublime melodies packed into a single track than most bands of the period muster in an entire album. Time sequence changes, stylistic shifts and ruptures of mood follow one another: passages move from light jazzy ensembles, driving guitar and organ rock pumped up by the rhythm section, to slow ethereal dream sequences featuring flute, organ and chanting.

 

The content of the album can only be described as apocalyptic, even misanthropic at times and the titles penned by Dave (Facilis Descensus Averni [It's easy to go to Hell!] and The eagle chased the dove to its ruin) contain some especially gloomy lyrics to accompany the affecting guitar. The only instrumental on the album, Leary's Ab Initio ad Finem is a musical interpretation of an Old Testament style sermon, recounting man's demise through a recent cataclysm.
Marsupilami  

Tracks
1. Dorian Deep - 7:34
2. Born To Be Free - 5:42
3. And The Eagle Chased The Dove To Its Ruin - 6:36
4. Ab Initio Ad Finem (The Opera) - 10:48
5. Facilis Descencus Averni - 9:34

Marsupilami
*Mike Fouracre - Drums
*Fred Hasson - Vocals, Harmonica
*Leary Hasson - Keyboards
*Richard Lathan Hicks - Bass
*Dave Laverock - Guitar
*Jessica Stanley Clarke - Flute, Vocals

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Sea Level - Cats On The Coast (1977 us, bright jazz fusion with southern flavor)

The cover photo of Sea Level's sophomore album, 1977's Cats on the Coast, depicts nearly twice the number of musicians as the cover photo of the band's eponymous debut album released earlier that same year. There's a lot of promise on display, and the music largely fulfills expectations.

In addition to the quartet introduced on Sea Level -- keyboardist/vocalist Chuck Leavell, drummer/percussionist Jaimoe, bassist Lamar Williams, and guitarist Jimmy Nalls -- the band now includes singer/songwriter and saxophonist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver (the latter featured prominently since Jaimoe only plays congas, and only on three tracks).

This lineup bears remarkable similarity to the then-disbanded Allman Brothers, from whom Leavell, Jaimoe, and Williams had departed: two guitarists, two percussionists (well, sometimes), a bassist, a keyboardist -- and, importantly, Bramblett, a proven session man, saxophonist, and singer/songwriter with two acclaimed but underappreciated solo albums (1975's That Other Mile and 1976's Light of the Night) under his belt. Cats on the Coast wastes no time introducing the new singer with the Bramblett/Causey co-written leadoff track "That's Your Secret," building from pure Southern R&B/soul/funk into dual-guitar fireworks (Causey in one channel; Nalls in the other) that any Southern rock fan could appreciate.

Bramblett's somewhat oblique lyrics may lack the emotional immediacy his writing often possesses, but Sea Level clearly weren't about to introduce the singer with anything remotely approaching a downer ("This Could Be the Worst" could wait for the next album, On the Edge).

Leavell takes over the mike on the soul shouter "It Hurts to Want It So Bad," featuring the Muscle Shoals Horns, and Bramblett and Leavell trade off verses on the down-n-dirty Louisiana swamp blues-funk of "Had to Fall," which collapses into utterly unhinged howling derangement at the end. The mood is far calmer in "Every Little Thing," Bramblett's "let's-talk-it-over" display of sensitivity later in the track list. But Sea Level's instrumental skill was the main attraction on the debut, and here they arguably up the ante.

Leavell's "Storm Warning" stands with his best jazz-rock fusion numbers, but with stinging dual lead guitars the likes of which hadn't emerged from a Capricorn studio date since the Allmans left their blues at home on Idlewild South. Bramblett's soprano sax here, and his soulful alto on Neil Larsen's "Midnight Pass," add even stronger jazziness to the band's palette. Best of all is the two-part instrumental title track, with Nalls' slide approaching Duane Allman territory and Bramblett's soprano answering him in a stunning call and response; after a full-band climax, Jaimoe and Weaver take the track out under a flurry of simulated seagull cries.

The album then concludes with the brief "Song for Amy," a lovely and unexpected coda featuring Leavell on piano accompanied by a string quartet. Some great music from Sea Level was still to come, but the best moments of Cats on the Coast wouldn't be topped.

by Dave Lynch

Tracks
1. That's Your Secret (Randall Bramblett, Davis Causey) - 5:15
2. It Hurts To Want It So Bad (Charles Feldman, Tim Smith, Steve Smith) - 3:38
3. Storm Warning (Chuck Leavell) - 5:23
4. Had To Fall (Randall Bramblett, Jimmy Nalls, Lamar Williams) - 4:35
5. Midnight Pass (Neil Larson) - 6:30
6. Every Little Thing (Randall Bramblett) - 4:40
7. Cats On The Coast (Davis Causey) - 5:38
8. Song For Amy (Chuck Leavell) - 1:40

Sea Level
*Randall Bramblett - Organ, Alto, Soprano Sax. Vocals, Percussion
*Davis Causey - Guitar, Vocals
*Jai Johanny Johanson - Congas
*Chuck Leavell - Piano, Organ, Electric Piano, Arp Odyssey, Clavinet, Percussion, Vocals
*Jimmy Nalls - Guitar, Background Vocals
*George Weaver - Drums
*Lamar Williams - Bass

1977  Sea Level

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Sea Level - Sea Level (1977 us, classy southern rock jammed with funky jazz tones)

 Keyboardist Chuck Leavell formed the Sea Level quartet in 1976 in the aftermath of the Allman Brothers' first breakup of their post-Duane Allman years, and since two other Sea Level members had also been in the Allmans -- bassist Lamar Williams and original Allmans drummer Jaimoe -- it was tempting to regard the band as an Allman Brothers spinoff, but that wasn't exactly the full story.

Jaimoe and Williams had played together before the Allmans formed, and Sea Level guitarist Jimmy Nalls had been part of Alex Taylor's band -- which also included Leavell -- before both Leavell and Williams had joined the Allmans in the wake of the deaths of Duane and original Allmans bassist Berry Oakley, so the four musicians of Sea Level might be seen as simpatico even outside the Allman Brothers narrative. Of course, the Allmans sound was a major touchstone for Sea Level; certainly, Leavell's pianism had reached its largest audience ever with his solo break on "Jessica," and he would bring similar stylings to his quartet's 1977 eponymous debut album. But Sea Level didn't need to stand in the shadow of any other group, as the debut made clear.

The opening track, the Leavell-penned "Rain in Spain," is as driving and melodic as any Allman Brothers instrumental but also possesses a jazzy harmonic sophistication beyond what the Allmans might have attempted in the lead-in to their first breakup, and the same goes for other instrumental tracks like Leavell's "Tidal Wave," the Neil Larsen composition "Grand Larceny," and certainly the moody, sensitive read of Simon & Garfunkel's "Scarborough Fair." Leavell also wrote the swampy, funky "Nothing Matters But the Fever," with wah-wah slide guitar from Nalls, woozy, disorienting effects on the piano, and a fine vocal turn from Leavell as well, a bluesy cry from the soul that never crosses the line into histrionics.

Another pleasure of this album derives from Jaimoe's role as sole drummer/percussionist; for those who had only heard him as half of the Allman Brothers' powerful drum tandem with Butch Trucks, his inventiveness, drawing from jazz, blues, rock, soul, and funk idioms, stood out on Sea Level in a way that was revelatory for many listeners. Sea Level was a fine debut from a killer quartet, and with the addition of singer/songwriter and saxophonist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver to the lineup for the recording of the sophomore album Cats on the Coast, it did not seem unreasonable to surmise that this band's future possibilities were nearly without limits.

by Dave Lynch

Tracks
1. The Rain In Spain 6:47
2. Shake A Leg (Edward Hoerner) 3:53
3. Tidal Wave 5:40
4. Country Fool 3:39
5. Nothing Matters But The Fever 7:20
6. Grand Larceny (Neil Larsen) 5:22
7. Scarborough Fair (P. Simon, A.  Garfunkel) 5:32
8. Just A Good Feeling 3:01
All Songs written by Chuck Leavell except where noted.

Sea Level
*Chuck Leavell - Keyboards, Lead Vocals
*Jimmy Nalls - Guitars, Vocals
*Lamar Williams - Bass, Vocals
*Jai Johanny Johanson - Drums, Percussion
with
*Rudolf Carter, Charles Fairley, Earl Ford - Horns
*Leo LaBranche, Donald McClure - Horns

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Matt Taylor - Straight As A Die (1973 aussie, debut solo album, excellent blues rock)

 Matt had been writing songs with an environmental theme so when he heard of Fred Robinson, he became interested in alternative lifestyles. Fairly soon Matt was living on a commune near Beechworth Victoria growing his own food and baking his own bread. After 9 months Matt decided to fast. He lasted 2 weeks on just water. A few days later with a clear mind he thought “I'll tell you, when I was young the world had just begun”, he tuned up his one remaining guitar, sung a melody and wrote down a few words with his gardening pen. The next day he wrote ‘I Remember When I Was Young’.

Matt and his then girlfriend Gillian sold up again and moved to a farm near Frankston. Michael Gudinski visited the farm and asked Matt if he wanted to record for his new label ‘Mushroom Records’. Not ready to record in the city Matt asked if the recording studio could be bought to him. So a few days before the Sunbury Music Festival, Matt and his old Chain mates plus ‘Carson’ guitarist Sleepy Greg Lawrie recorded ‘ I Remember when I was Young’ in a paddock .

'I Remember when I was Young' fought with ‘Sweets’ ‘Ballroom Blitz’ for the No1 spot each in turn. Matt ended up recording three albums for Mushroom and toured with Muddy Waters, Willy Dixon, Jethro Tull and did shows with BB King, Sonny and Brownie, Freddy King, John Mayall and many more before some old friends told Matt and Gillian about Fred Robinsons commune in Western Australia, so they sold up once again and ventured west.

Matt Taylor-Chain

Tracks
1. Mother Nature - 4:48
2. Brisbane to Beechworth - 6:12
3. Simple Decision - 4:45
4. Well Never Be the Same Again - 4:51
5. Chickens - 5:59
6. Hall of Fame - 4:14
7. Krishna Love You Too - 7:12
8. Dance - 3:45
9. I Remember When I Was Young - 3:58
All songs by Matt Taylor

Musicians
*Matt Taylor - Vocals, Harmonica
*Phil Manning - Lead Guitar
*Greg 'Sleepy' Lawrie - Guitar
*Barry Harvey - Drums
*Barry Sullivan - Bass
*Ian Winter - Guitar
*Jibon D.Mandall - Tabla

1975  Old New Intuitive
with Chain
1971  Toward The Blues
more Chain
1969-70  Live
1973  Two Of A Kind

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Neil Merryweather And Lynn Carey - Vaccum Cleaner (1971 us, fine blues rock melted with soul funky vibes, 2008 RDI edition)

 After leaving Bruce Cockburn's group, The Flying Circus in March 1968, Neil Lillie (born in Winnipeg on December 27,1945) reunited with keyboard player Ed Roth (bom in Toronto on February 16,1947) and singer Jimmy Livingstone (bom in Toronto on February 28, 1938) to form a new band. They had worked together previously in The Just Us, The Tripp and Livingstone's Tripp (which Roth and Livingston had renamed Livingstone's Journey following Lillie's departure to join Rick James briefly in the final version of The Mynah Byrds in May 1967).

Adding guitarist David Kindred and drummer Gary Hall, the new group, initially called New King Boiler began rehearsing in Lillie's grandmother's basement in May 1968. Kindred was quickly replaced by ex-Fraser Loveman Group guitarist Dave Burt (bom in Hamilton, Ontario on September 19,1948). (Apparently, Gary Hall drank so much coffee that Lillie's grandmother called him 'Coffee', and the band started to call him 'Coffi').

Renamed Heather Merryweather after a song the band performed whose lyrics were written by a band friend, June Nelson, the group soon shortened it to simply Merryweather. After recording a lone unreleased track "Heather Merryweather" in the autumn, the band drove down to Los Angeles but Livingstone dropped out before the band signed to Capitol Records in the spring of 1968.

Merryweather performed at Thee Experience in Los Angeles on September 21-23,1969 and appeared at Balboa Stadium, San Diego with Country Joe & The Fish, Poco, Chicago and Framework on October 12,1969, after which Burt, followed by Hall and Roth, left to join forces with Rick James in a group called Salt and Pepper. ' Shortly before the release of the band's eponymous debut, produced by John Gross, Lillie changed his name to Merryweather.

The group's second (double album), "Word of Mouth" (released in September 1969) was recorded in Los Angeles with the same basic line-up of Merryweather, Roth, Hall and Burt, plus Steve Miller, Barry Goldberg, Charlie Musselwhite, Dave Mason, Howard Roberts and Bobby Notkoff. Although the album was reasonably successful, the group still fragmented, with Burt, Hall and Roth hooking up with Ricky James Matthews in a new group called Salt 'N' Pepper.

Merryweather flew back to Toronto to recruit replacements, then returned with them to record an interesting album for the important blues label, Kent in early 1970. The resulting album, credited to Merryweather, ex-Ugly Ducklings drummer Robin Boers, guitarist John Richardson from Nucleus (and before that Lords of London) and ex-49th Parallel member JJ Velker attracted only limited interest, as did a follow-up album for RCA, "Ivar Avenue Reunion", featuring the same basic group plus Goldberg, Musselwhite and Neil's new girlfriend, ex-CK Strong singer Lynn Carey.

Neil Merryweather and Lynn Carey, using a pool of musicians, recorded the "Vacuum Cleaner" LP for RCA, then came out with a more permanent unit, Mama Lion, which recorded two albums.

CD Liner-notes

Tracks
1.Livin’ In The USA (Steve Miller) - 3:10
2.Let It Shine (Merryweather, Carey) - 4:42
3.So Fine (Johnny Otis) - 2:52
4.Few and Far Between (Merryweather, Carey) - 2:04
5.No Worries (Carey, Merryweather) - 4:35
6.If I Were You (Merryweather, Carey) - 2:36
7.Introduction by Kim Fowley - 0:35
8.Shop Around (B. Gordy, S. Richardson) - 2:59
9.Sugar Man (Carey, Merryweather) - 3:52
10.Can I Get A Witness (Holland, Dozier, Holland) - 3:01
11.Five Days on the Trail (Merryweather, Carey) - 4:05
12.Captain Terrific (Carey, Merryweather) - 3:53
13.Get Straight With Your Brother (Merryweather, Carey) - 3:37

Musicians
*Neil Merryweather – Vocals, Bass
*Lynn Carey – Vocals
*Kal David – Guitar
*John Richardson – Guitar
*Edward M. Roth – Piano, Organ, Clavinet
*Huey Sullivan – Organ, Piano
*J.J. Velker – Organ
*Coffi Hall – Drums, Percussion
*Robin Boers – Drums
*Sidney George - Saxophone

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Matt Taylor - Old New Intuitive (1975 aussie, glorious classy bluesy rock)

 

 An Australian blues legend, Matt Taylor has been playing his brand of Australian-twinged blues music since the mid-'60s. His first band, the Bay City Union, was formed in March 1966 and was one of Australia's first traditional Chicago blues bands. They issued one single, "Mo'reen"/"Mary Mary," in April 1968 before breaking up in July 1968 due to a general lack of interest in blues bands.

 

Taylor briefly sang with the Wild Cherries before forming the Horse, and then briefly stepped in as lead singer with Cam-Pact for a two-week tour of Sydney during early 1970. He then joined blues band Genesis in February, who released a collaborative single with Carson County Band, titled "Bad Luck Feeling"/"Back Home" under the banner the Meating. They toured until August 1970 when Taylor left to join Chain; the move proved fruitful with the hit single "Black and Blue"/"Lightning Ground" (March 1971) and the groundbreaking album Toward the Blues (September).

 

Taylor left Chain in October 1971 and spent the next year living on a farm in Beechworth, Victoria. In January, Taylor performed at the 1973 Sunbury festival and the track "From Brisbane to Beechworth" appeared on Mushroom's triple live album set The Great Australian Rock Festival Sunbury 1973. Another live performance, "Roberta" (recorded June 1973), appeared on the album Garrison the Final Blow Unit 2, and his performance with Chain on "Grab a Snatch and Hold It" also made it on the album.

 

His debut solo album, Straight as a Die, was released at the end of 1973. The single "I Remember When I Was Young"/"Krishna Loves You, Too," which had been recorded in an open paddock at Kingston Park Farm, hit the Top Ten in Melbourne. The album reached number 15 on the national charts and Taylor toured the country, performing at Sunbury 1974; the live track "We'll Never Do the Same Again" appeared on the various artists album Highlights of Sunbury '74 Part 2.

 

His second album, Music, was released in August 1974 and he supported Jethro Tull on their Australian tour in August 1975. His third solo album, Old, New, Intuitive, was released in September 1975, before Taylor once again retired to a commune, this time at Balingup, Western Australia. He formed a new band, Western Flyer, in 1977 and played with them until August 1979. He then formed the Matt Taylor Band with legendary slide guitarist Dave Hole and they toured Australia during the next year.

 

In December 1980, Taylor and Phil Manning formed the Matt Taylor Phil Manning Band, which issued the Oz Blues album in June 1981 and the single "Spring Hill"/"The Line." They supported U.S. guitarist Roy Buchanan on his Australian tour before disbanding in December 1981. In January 1982, Chain re-formed for the Mushroom Evolution Concert to celebrate the tenth anniversary of Mushroom Records. Taylor then re-formed the Matt Taylor Band which released the album Always Land on Your Feet (February 1983). The Matt Taylor Band broke up in December 1983, and Chain re-formed yet again. Chain would tour on and off until 1995.

 

In April 1991, Taylor and Manning toured the country with other Australian blues legends before Taylor flew to Germany in 1993 to tour with a band called the Booze Brothers. He then played in the U.K., followed by the U.S., where he supported the John Heussenstenn Band and Walter Trout Band.

 

Taylor's fourth solo album, Pyramids and Spirals, was released in March 1995 followed by his fifth solo album, The Awakening, in 1997. Again working with Chain after its release, the band recorded a new album, The First 30 Years, and toured during 1988. A new Chain album, Mix Up the Oils, was released in July 1999.

by Brendan Swift

Tracks
1. Bendigo - 4:03
2. Hound Dog Dust Bust - 3:58
3. The Beast - 5:04
4. Good Advice - 3:49
5. Hope - 4:09
6. This Story Must Have No End - 5:48
7. Watch Out - 4:55
8. Somebody Stole My Hair - 3:37
9. My My My - 6:09
All songs by Matt Taylor

Musicians
*Matt Taylor - Vocals, Harmonica
*Greg 'Sleepy' Lawrie - Lead Guitar
*Graham Morgan - Drums
*Barry Sullivan - Bass

with Chain
1971  Toward The Blues
more Chain
1969-70  Live
1973  Two Of A Kind

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Rory Gallagher - Live In Europe (1972 ireland, incredible hard blues rock, 2018 remaster)

 ‘Live in Europe’ was compiled from live performance recorded throughout Europe during February and March 1972. It has gone on to become one of the best live albums of all time, serving as a massive influence on budding musicians such as The Edge and Adam Clayton of U2, who both cite this album as the recording that made them want to learn guitar and play in a band.

 

For some Rory had wanted to capture the adrenaline and excitement of his live performance. Whilst touring extensively in Europe he decided to record his shows, the results were little short of phenomenal and Live In Europe earned Rory much acclaim, including his first solo Top Ten album and 1972’s Melody Maker ‘Top Musician Of The Year’ award.

Rory Gallagher-official

Tracks
1. Messin' With The Kid (London) - 6:25
2. Laundromat (Gallagher) - 5:12
3. I Could've Had Religion (Traditional arr. by Gallagher) - 8:35
4. Pistol Slapper Blues (Fulton Allen) - 2:54
5. Going To My Hometown (Gallagher) - 5:46
6. In Your Town (Gallagher) - 10:03
7. What In The World (Traditional arr. by Gallagher) - 7:57
8. Hoodoo Man  (Traditional arr. by Gallagher) - 5:56
9. Bullfrog Blues (Traditional arr. by Gallagher) - 6:47

Musicians
*Rory Gallagher - Guitar, Harmonica, Mandolin, Vocals
*Gerry McAvoy - Bass
*Wilgar Campbell - Drums

1971  Rory Gallagher (Japan Mini Lp replica)
1971  Deuce (Japan Mini Lp replica)
with Taste
1970  On The Boards (Japan SHM edition)

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