Kalevala - People No Names / Boogie Jungle (1972/75 finland, hard progressive with growling vocals in a variety of styles)

 

As some might know, Kalevala (Kale's Land) is the name of a Finnish cultural treasure - a collection of written mythical legends about the hero Kale. “People No Names” (1972) is among the best of Nordic albums from the 70s.

 

Included were several beautiful instrumentals evoking pictures of freshwater lakes and pine forests, such as "Where I'm From" (first and last part), "Waves" (a fantastic impersonation of a jazzy Frank Zappa adding Leslie-treated organ!) and "Escape From The Storm". Leslie effects are frequently used tastefully on the lead guitars.

 

The vocal tracks are even more effective due to Harri Saksala's weird but magnificent vocal style. His illustrious past included time with the groups Topmost, Soulset and Apollo. After the first Kalevala line-up broke up, he initially joined Punaise Langa before moving on to another short-lived group named Manifest with guitar player Hasse Walli (ex-Blues Section and Piirpauke) and keyboard player Jukka Linkola (before he joined Finnforest).

 

Almost three years later, Kurkinen and Salonen recorded a new Kalevala album with new recruits. Jim Pembroke wrote the lyrics to both “Boogie Jungle” and Abraham's “Blue Refrain”, but he also seemed to influence the new Kalevala's good-natured rural American rock sound. Matti Kurkinen sadly died in a car accident soon after.

 

He had been a good friend of Pekka Pohjola from adolescence. The music on the last album, widely known by continental collectors due to its French release on Crypto, was mainly written by Leppänen.
from Scented Gardens of the Mind  

Tracks
People No Names 1972
1. People No Names - 8:55
2. Where I'm From - 4:05
3. Waves - 6:02
4. In The Net - 4:43
5. My Friend - 2:47
6. Lady With The Veil - 4:12
7. Escape From The Storm - 5:10 
8. Tamed Indians - 1:45 
Boogie Jungle 1975
9. Mind The Fly Hunter - 4:26
10.Attack At Nineteen Hundred - 2:32 
11.If We Found The Time - 3:36 
12.Where The Fire's Warm - 3:20
13.Boogie - 4:18
14.Rockin Fish - 2:10 
15.Snow Bill - 4:00 
16.Capseller - 3:20 
17.Jungle - 7:18

Kalevala 1972 People No Names
*Harri Saksala - Vocals, Mouth Organ, Accordion
*Juha Salonen - Bass
*Markku Luukkanen - Drums
*Matti Kurkinen - Guitar
Guest Musicians
*Olli Ahvenlahti - Piano
*Raimo Wallen - Flute
*Ile Kallio (Hurriganes) - Acoustic Guitar

Kalevala 1975 Boogie Jungle
*Juha Salonen - Guitar, Keyboards
*"Limousine" Leppänen - Vocals, Percussion
*Matti Kurkinen - Guitar
*Ari Vaahtera - Bass Guitar, Moog
*Beaver Aitto-Oja - Drums
Guest Musicians
*Juka Gustavson - Clavinet
*Jim Pembroke - Vocals

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Samurai - Samurai (1971 uk, exciting progressive jazzy brass rock, 2008 Esoteric remaster)

 Samurai was previously known as Web. Web released three albums, Fully Interlocking (1968), Theraphosa Blondi (1970), and I Spider (1970). The first two featured American singer John L. Watson, and were released on Deram. I Spider was released on Polydor and Watson was replaced by future Greenslade vocalist/keyboardist Dave Lawson.

The Deram albums are said to be more pop/psychedelic offerings, but I've not heard them (a little hard to come by and apparently neither reissued on CD). I Spider is considered the best and where Web's reputation in progressive rock circles rests on. But for some odd reason, when Tom Harris left and they brought in two new wind players, Tony Roberts and Don Fay, they were now called Samurai. Legal reasons? Did Tom Harris have the rights to the Web name? I really can't say, since finding info on bands like this is often very difficult to come by.

Once Web became Samurai, the band was no longer recording for Polydor, but for a far more obscure label, Greenwich. Finding an original LP these days, of course, is practically, forget it, find the CD reissue (Akarma in Italy had most recently reissued it). Honestly I really think Samurai is by and far the finest album Dave Lawson ever played in.

I even highly recommend this to those who aren't much for Greenslade. Greenslade's music could end up as cheesy at times to some listeners, Samurai avoided all of Greenslade's cheesy-tendencies. Let's not forget Dave Lawson's voice. On those Greenslade albums his singing was often high pitched and strained, here he has a much more pleasant voice in Samurai which really fits the style of music just great.

I'm sure you might detect some of that future Greenslade, but you don't have Dave Greenslade's keyboard style, and you also get treated with vibraphone and various wind instruments (saxes, mainly) and nice organ work throughout. This is early '70s, where many progressive rock bands were still making song-based material, and Samurai was one of them. In fact, I really think the reason progressive rock got such a bad reputation later on was many people felt too many bands abandoned writing great songs in place of showing off their instrumental abilities and how complex they can make their music. I really think this group could've ended up being better known were it not for the label they were on.

It's hard for me to describe the album on a song to song basis, but I'll pick out some of my favorites. "More Rain" is a nice, laid-back piece with nice use of flute. I really like the acoustic passages too. I get reminded a bit of Jade Warrior here. "Maudie James" and "Holy Padlock" are just plain great catchy songs, while "Give a Little Love" has a more aggressive edge. I really like the sax and organ work. "Face in the Mirror" is one of those songs that really grew on me big time, I really like the mellow nature of this song. "As I Dried the Tears Away" is a wonderful, epic closing piece with some great creative passages to go with it.

Samurai broke up after this album. No surprise given they recorded for such a short-lived and obscure label as Greenwich, and probably no longer had the finances to continue one. But that didn't stop Dave Lawson. Ex-Colosseum members Dave Greenslade and Tony Reeves, with ex-King Crimson and Fields drummer Andy McCulloch brought in Dave Lawson to form Greenslade, who managed four albums between 1973 and 1975, before throwing in the towel at the right time (just right before punk rock came in).

Samurai is truly another great, lost gem of early British progressive rock. I really like the jazzy feel that goes with it, and this is one progressive rock album you can't call "pretentious" (and we all know every prog rock detractor out there calls this kind of music "pretentious"). It's nothing but a collection of great songs with interesting use of instruments (organ, wind instruments, and the way the vibraphone is integrated in the music, rather than using it during jazzy solos like many other bands did at the time). I really highly recommend this album!

by Ben Miler

Tracks
1. Saving It Up For So Long  3:45
2. More Rain  4:27
3. Maudie James  4:56
4. Holy Padlock  4:43
5. Give A Little Love  3:40
6. Face In The Mirror  6:44
7. As I Dried The Tears Away  8:17
All composition written by Dave Lawson

Samurai
*Dave Lawson - Keyboards, Vocals
*Tony Edwards - Electric, Acoustic Guitars
*John Eaton - Bass
*Kenny Beveridge - Drums
*Lennie Wright - Vibes, Drums, Percussion
With
*Don Fay - Tenor Sax, Concert Flute
*Tony Roberts  - Tenor Sax, Concert, Alto  Flute, Bass Clarinet

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Robert Savage - The Adventures Of Robert Savage Vol. 1 (1971 us, great hard guitar rockin' funky blues psych)

Volume 1 is the First and only Album by the American Hard-Rock Psychedelic Band The Adventures Of Robert Savage. Little is known about this Band, apart from having recorded this Album in California, United States, so it is thought that they are Americans. I really don't know what i can say about them, because there is really no information, and the fact that they are Americans is already a supposition.

The opening song, "Beaver Baby" starts with a strong Guitar Riff, very groovy, and some extraordinary Vocal work, especially the Female. The song is very powerful, and it is undoubtedly one of the best songs in the Album. "Milk Run" there are parts of the song thar are extremely enjoyable, the Vocals for instance, have some great moments (some weren't so great) and the Guitar Solo is also something which should not be discarded. "Don´t Run And Hide" best part is the Refrain, which unfortunately is repeated only a few times, for a music this long.

The Drums take the lead role in "A Hard One", which is a very Soul-full song, with Jimi Hendrix like Vocals. This one, "7 Days Drunk", would be better of without the Guitars, because it as some very catchy moments, but they don't correspond to the Guitar lines.

The largest song in the Album is probably also the weakest "Save Us From The Cyclops", is extremely tedious, and has the smell of something that has been rotten for ages. "Amy" starts bad, but it starts getting better and better, until the moment where a Guitar full of effects, starts a Kick-Ass Solo. "Road Apples" is truly a great finale. A 4 and an half minutes instrumental Jam, with a fantastic Guitar work and an amazing Beat. It is truly the best end this Record could have.

by Adamus67 

Tracks
1. Beaver Baby (Robert Savage, Don Parish) - 3:05
2. Milk Run (Robert Savage, Don Parish) - 3:10
3. Don't Run and Hide (L. Ransford) - 4:03
4. A Hard One (Don Parish) - 3:19
5. Seven Days Drunk (Robert Savage, Don Parish) - 4:29
6. Save Us From The Cyclops (Robert Savage) - 5:46
7. Amy (The Insane) (Robert Savage) - 3:55
8. Lonely World (Robert Savage) - 3:08
9. Road Apples (instrumental) (Robert Savage) - 4:24

Band
*Don Parish - Vocals, Bass
*Robert Savage - Vocals, Guitar
*Tommy Richards - Drums

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Michael Yonkers Band - Microminiature Love (1969 us, twisted cult freak psych, digi pack edition)

Originally recorded in 1968 and slated for release on Sire Records, Microminiature Love languished unreleased until last year, when it was finally unearthed by De Stijl Records (who put out a limited, vinyl-only pressing of the original album). Its creator, Michael Yonkers, is a legendary figure in Minneapolis music-lore, who, through his own modifications, created his own guitars and effects. However, Microminiature Love is no mere curiosity or feat of gadgetry.

Raised on a steady diet of Link Wray and the Trashmen, Yonkers pushed the boundaries of distortion and truly transformed it into a powerful voice. The songs on Microminiature Love defy immediate categorization, but in them are shades of Pere Ubu, the howl of Iggy, the blunt primitivism of the Godz, and the seeds of countless other underground heroes.

Michael Yonkers started his musical career as the leader of Michael & The Mumbles, who played proms and dances all over the Twin Cities area. Constantly refining and re-imagining their sound, the band gradually morphed into the Michael Yonkers Band with Michael’s brother Jim Yunker on drums and Tom Wallfred on bass. In 1967, Michael cut his Telecaster down to a plank; one of the many modifications he made to his equipment. He still plays this same guitar on stage today.

Soon enough, the band hooked up with Peter Steinberg, a local music impresario, who set them up with a contract with Sire Records. As Cecile Cloutier points out in her thorough piece from Minneapolis’ City Pages, this was one of many times throughout the course of rock history that the fertile music underground was being mined by the majors. At the time, bands like The Fugs, Captain Beefheart and The Mothers of Invention had major label deals. For various reasons that remain unclear, dealings with the label fell apart and they and the band parted ways.

Yonkers continued to record and released several solo records on his own label, including Grimwood, Michael Lee Yonkers and Goodby Sunball in the early seventies. In 1971, Michael’s back was broken in an on-the-job accident in an electronics warehouse. Years of ongoing exploratory surgeries have done nothing to help the situation, instead ultimately disabling him further. His allergic reaction to the dye used in an X-ray procedure led to a degenerative condition of his spinal cord lining from which he suffers to this day. Dance has proven to be Yonkers’ greatest therapy and he has, as a result, been active in the Minneapolis dance community for years.

In 1997, Get Hip Records released a collection of songs recorded at Richfield, MN’s Dove Studios called Free Flight: Unreleased Dove Recording Studio Cuts 1964-69. The collection contained two of the songs heard on Microminiature Love; “Puppeting” and the anti-Vietnam War song “Kill the Enemy.” These tracks caught the attention of De Stijl’s Clint Simonson and launched a search for Yonkers that lasted over a year. Simonson eventually located Yonkers not through the music community, but through the local dance community.

Michael Yonkers still resides in St. Paul, MN and has recently played shows with such diverse bands as Wolf Eyes, Six Organs of Admittance and Low.

Sub-pop

Tracks
1. Jasontown - 2:41
2. Microminiature Love - 3:02
3. Boy in the Sandbox - 3:45
4. Smile Awhile - 4:25
5. Returning - 3:50
6. Puppeting - 3:07
7. Kill the Enemy - 3:39
8. The Clock Is Running - 4:08
9. My House - 3:12
10.Hush Hush - 3:50
11.Sold America - 3:36
12.The Thunder Speaks - 4:43
13.Scat Jam - 4:19
All compositions by Michael Yonkers

Band
*Tom Wallfred - Bass
*Michael Yonkers - Electronics, Guitar, Vocals
*Jim Yunker - Drums

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Heaven And Earth - Refuge (1973 us, lovely sunny folk with angelic vocals)

 This reissue has been a long time coming, in no small part because we wanted it to be perfect. We’re happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint).

At one time this was an album completely unknown outside of Chicago, where the label was based; but these days, word gets around, and tracks like ‘Feel The Spirit’ and ‘Jenny’ have been making the rounds on the DJ circuit. No matter what your musical taste is—psych-folk, funk, soft rock—this LP seems to have something special to offer.

This is due in part to notable backing from veterans like bassist Phil Upchurch (Curtis Mayfield, Otis Rush, Stan Getz, Groove Holmes, and Cannonball Adderly), and space age pop maven Bobby Christian on drums and percussion. But primarily, the perfection that this album emanates is due to the clear voices and intelligent songs crafted by Gefell and Andrews.

The replica LP version (another fine collaboration between Lion Productions and Vintage Records) comes in an old style tip-on gatefold jacket with lyrics printed inside, and includes an insert packed with band history and rare photos. It is a quality vinyl pressing, newly mastered from the original tapes; the sad news: this LP version is limited to 750 copies.

Light In The Attic

Tracks
1. Jenny (Jo D. Andrews, Pat Gefell) - 3:23
2. Voice In The Wind (Pat Gefell) - 2:40
3. To A Flame (Stephen Stills) - 2:33
4. Tomorrow Is A Long Time (Bob Dylan) - 4:14
5. Refuge (Jo D. Andrews, Pat Gefell) - 2:38
6. Sixty Years On (Elton John, Bernie Taupin) - 3:50
7. Song For Craig (Pat Gefell) - 2:51
8. Tell Me How To Know You (Jo D. Andrews, Pat Gefell) - 2:47
9. A Light Is Shining (Charles Chittenden, Jo D. Andrews) - 2:40
10. Feel The Spirit (Jo D. Andrews, Pat Gefell) - 4:47  
11. Voice In The Wind (Single Mix) - 2:36
12. Jenny (Single Mix) - 2:57
13. Home For Christmas - 2:58
14. Country Women - 2:28
15. We All Need A Friend - 1:57
16. You're The Reason - 2:28
17. Unknown - 2:58
18. Joy - 3:11
19. Jenny (Alternate Take) - 3:33
20. Voice In The Wind (Alternate Take) - 1:41
21. Refuge (Alternate Take) - 2:23
22. Song For Craig (Alternate Take) - 2:48
23. A Light Is Shining (Alternate Take) - 2:59
24. Country Women (Alternate Take) - 2:26
25. Hawg For You Baby - 2:11
Tracks 1-10 original album
Bonus Tracks 11-25

Musicians
*Pat Gefell  - Guitars, Vocals
*Jo D. Andrews  - Vocals
*Charles Chittenden  - Guitars
*Bobby Christian  - Bongos, Congas, Percussion
*Jorge Dalto  - Clavinet, Piano
*Joseph Golan  - Violin
*Arthur Lauer  - Arp Echoplex, Flute
*Samuel Magad  - Strings
*Jerry Sabransky  - Strings
*William Schoen  - Strings
*Joseph Sciacchitano  - Strings
*Don Simmons  - Drums
*Fred Spector  - Strings
*Ron Steele  - Guitars
*Phil Upchurch  - Bass
*George Andrews  - Organ

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UFO - Live (1972 uk, excellent hard bluesy rock, 2008 Repertoire edition)

 One of the most entertaining hard rock groups of all time, UFO quickly became a popular touring band throughout the world. This rare live recording features six scintillating performances by the group blasting on all cylinders. Kicking off with a spirited version of Eddie Cochran’s ‘C’mon Everybody’ followed by Bo Diddley’s ‘Who Do You Love’, the openers typify the heavy rock band’s R'n'B roots.

With charismatic vocalist Phil Mogg at the helm, this album documents a classic rock band at its best. “Live’ was recorded back in the days when we didn’t have any roadies and had to carry their own gear to every gig.”

Live (later re-issued as UFO Lands In Tokyo), was originally only released in Japan in 1972, soon after Mick Bolton left the group, and UFO set out to find a guitarist who could provide the band with a more standard rock sound.
Repertoire-recs

Tracks
1. C'mon Everybody (Jerry Capehart, Eddie Cochran) - 4:10
2. Who Do You Love (Ellis McDaniel) - 9:00
3. Loving Cup (Paul Butterfield) - 5:10
4. Prince Kajuku/The Coming Of Prince Kajuku (M. Bolton, P. Mogg, A. Parker, P. Way) - 8:20
5. Boogie For George (Bolton, Mogg, Parker, Way) - 11:30
6. Follow You Home (Way) - 6:00
7. Loving Cup (Single Edit) (P. Butterfield) - 3:58

UFO
*Phil Mogg - Vocals
*Mick Bolton - Lead Guitar
*Pete Way - Bass
*Andy Parker - Drums

1970  UFO 1 (2008 Repertoire remaster)

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UFO - UFO 1 (1970 uk, great blues acid psych space rock amalgam, 2008 Repertoire remaster)

There have been in the history of rock music bands, which, like a UFO and Scorpions,international career took off with racial progressive album, and after his "birth" music coalition will decide to move to a different area of ​​styling. Sometimes, listening to metal or hard rock albums of these groups completely forget about their progressive origins. Their titled first album debuted in 1970 and was a typical example of blues and boogie based hard rock.

UFO is a British group, which does not need to specifical recommend - for any lover of hard rock classics. The team has been working since 1969 and making music, which is a brilliant combination of classic hard rock sounds of the NWOBHM influences, thus creating an exciting new quality. That UFO remained an unattainable model for the whole spectrum of heavy metal bands active in the 80s. The inspiration achievements UFO openly to such artists such as Steve Harris of Iron Maiden, Kirk Hammett of Metallica and Dave Mustaine of Megadeth.

But let's start from the beginning, that is, the creation of formation and its artistic assumptions. The period of, in which there was to assumptions formation dates back to years in 1969, and her Initial name was the Hocus Pocus. After several months of a change of honoring in this way one of the London clubs with the logo of a UFO, where they were spotted by Noel Moore, who signed them to his Beacon Records label. Debut of "UFO 1" album included a heavy version of Eddie Cochran's classic, "C'mon Everybody" was maintained in hard rock style, full of energy and guitar poweru. Did not cause the expected resonance in the UK and the USA, the most wanted musicians, but the band turned out unexpectedly rock fans in Japan (especially the single "C'mon Everybody" which became a huge hit there) and Germany (the song "Boogie For George", also from the first album, reached #30 in German singles charts

With UFO 1, the band's sound incorporates a lot of the psychedelia of the 1960's and combines with a glimpse of the hard rock that will come. The albums opening track is pure space rock. Had this song been on any Hawkwind album, it would have fit right in. However, with "Boogie" and "Timothy" there is a glimpse of the hard rock that is to come. "Who Do You Love" is a seven and a half minute trip down psychedelic days gone by. (Probably best left that way!)

Pete Way's bass is prominent throughout this CD, bouncing along with a hippie, trippie, vibe. His bass is sometimes the glue that even binds these songs together with Mick Bolton often dropping out of the song all together or going off into somewhat accomplished 60's-style guitar solos. Phil Mogg sounds the same as he always has on this early platter. His smooth distinctive voices is one of the few clues that this is even a UFO record. Much like Hawkwind, UFO's early material had a sort of sci-fi image to it. Give it a listen, and turn on, tune in , and drop back to a time when the winds of change were a coming.

by Adamus67

Tracks

1. Unidentified Flying Object (Pete Way, Phil Mogg, Andy Parker, Mick Bolton) – 2:19
2. Boogie (Way, Mogg, Parker, Bolton) – 4:16
3. C'mon Everybody (Eddie Cochran, Jerry Capehart) – 3:12
4. Shake It About (Way, Mogg, Parker, Bolton) – 3:47
5. (Come Away) Melinda (Fred Hellerman, Fran Minkoff) – 5:04
6. Timothy (Way, Mogg, Parker, Bolton) – 3:28
7. Follow You Home (Way) – 2:13
8. Treacle People (Bolton) – 3:23
9. Who Do You Love? (Ellas McDaniel) – 7:49
10.Evil (Way) – 3:27

UFO
*Phil Mogg - Vocals
*Mick Bolton - Guitar
*Pete Way - Bass
*Andy Parker - Drums

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Dark - Teenage Angst The Early Sessions (1969-71 uk, raw fuzzed psych)

 

 

 Dark are a bygone band from a bygone but very beloved era. Their psych-rock is represented here by eleven songs—by two different lineups—that predate their 1972 album Teenage Angst. The only common element is guitarist-vocalist Steve Giles. The first five tracks were recorded in 1971 by the trio of Giles, bassist Carl Bush, and drummer C. Thornycroft.

 

The last six tracks are from 1969, and probably sequenced this way due to the shabby quality of those recordings. The ’69 cuts were recorded by Giles and a different backup unit: organist Martin Moloney, bassist Bruce Duncan, and drummer Charlie Hiams.

 

 “In The Sky,” “Wasting Your Time,” and “Could Have Sworn” are built upon loose “jammy” structures, fuzz-drenched guitar, and leaden basslines—a very familiar formula. “Maypole” kicks things up a notch with a melodic bass lead, plodding cadence and a cool wah~fuzz guitar solo.

 

The next pair of tunes (from 1969) rooted by Martin Moloney’s velvety organ tone. An earlier, version of the first half’s best song, “Maypole,” appears here with a slacker, undermixed guitar solo, and an obnoxious fadeout at the middle, akin to experiencing a space-time warp. Bowl haircuts whip themselves into a collective frenzy with the unproduced acid rock jam, “Bad Taste,” (also anointed with a theremin-charged ending).

 

“Grey Man” and “Cloud Of Unknowing” round out the set, and are barely listenable due to the lowest of production values, complete with dropouts, incomprehensible vocals, teetering signal limits, and all that nonsense. This kind of rawness is testament makes Dark an interesting piece of nostalgia.
by Elias Granillo

Tracks
1. In The Sky - 04:22
2. Wasting Your Time - 05:03
3. Could Have Sworn - 04:57
4. Maypole - 05:54
5. R.C.8. - 03:58
6. All Through The Night - 03:11
7. I'm Not Sad - 06:46
8. Maypole - 04:46
9. Bad Taste - 05:29
10.Grey Man - 05:13
11.Cloud Of Unknowing - 15:20

Dark
*Steve Giles - Guitar
*Carl Bush - Bass (Ttacks 1-5)
*Clive Thorneycroft - Drums (Ttacks 1-5)
*Bruce Duncan - Bass (Ttacks 6-11)
*Charles Hiams - Drums (Ttacks 6-11)
*Nartin Moloney - Organ, Vocals (Ttacks 6-11)

1972  Round The Edges

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Rory Gallagher - Against The Grain (1975 ireland, remarkable blues rock, 2018 bonus tracks remaster)

 Rory's seventh album catches him in sparking form. He had released the hugely successful 'Irish Tour' album a year earlier, recorded with the great Albert King at the Montreuxm Music Festival and had just negotiated a new deal with Chrysalis Records. Rory was now established as a major solo artist and was producing some of the best live and studio performances of his career. 'Against The Grain' perfectly captures the enthusiasm and emotion of the time.

 

"All Around Man" was written by Bo Carter, one of the original members of the Mississippi Sheiks, a band Rory greatly admired and pays tribute to on 'Photo Finish'. This inspired cover version features a great Lou Martin solo.

 

"Watching the sky with tears in my eyes, I feel lonely

Time's flying by, but I start to smile, it's not easy"

The demise of Taste is described in "At The Bottom". It had been nearly five years since the split, but it is clear in the lyrics that Rory was only just coming to terms with that time in his life.

Last Of Independents

Tracks
1. Let Me In  - 4:03
2. Cross Me Off Your List  - 4:26
3. Ain't Too Good  - 3:54
4. Souped-Up Ford  - 6:24
5. Bought and Sold  - 3:24
6. I Take What I Want (Porter, Hodges, Isaac Hayes) - 4:22
7. Lost at Sea  - 4:06
8. All Around Man (Bo Carter) - 6:14
9. Out on the Western Plain (Leadbelly) - 3:53
10.At the Bottom  - 3:18
11.Cluney Blues - 2:12
12.My Baby, Sure - 2:55
All tracks composed by Rory Gallagher; except where stated
Bonus tracks 11-12

Musicians
*Rory Gallagher - Guitars, Vocals
*Gerry McAvoy - Bass
*Lou Martin - Keyboards
*Rod de'Ath - Drums, Percussion

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Caravan - If I Could Do It All Over Again, I'd Do It All Over You (1970 uk, brilliant canterbury progressive jazz rock, SHM remaster with bonus tracks)

 'If I Could Do It All Over Again, I'd Do It All Over You' was Caravan's second album. Their self-titled first LP, for Verve (home of Bird, Ella and the Velvets, natch) had held some promise, but was underproduced and underpowered: some great songs ('Place Of My Own', 'Love Song With Flute') and a lot of filler*.

A move to Decca two years later brought a much more assured and distinctive sound, however. Indeed, this record perfectly bridges that awkward gap between psych and prog, being every bit as much of a muso-fest as their more illustrious (and dull) Melody Maker poll winning rivals could boast, but - and it's a big but - full of good, old fashioned, acid-fuelled SONGS WITH TUNES. And what tunes. I wanna elect Pye Hastings as the great lost English songsmith of our time. But I digress.

The title track starts proceedings. And a catchier little ditty is impossible to find. One of those songs where one hearing alone lodges itself into your brain for life. I bet there are people out there who may have heard that 'Who - do - you - think you are - do - you - think you are' refrain on Top Gear or similar back in 1970, have never heard it since, and could sing it from memory even now.

It's got a well-weird time signature a la the grossest excesses of Messrs Emerson and Greenslade (and a keyboard solo likewise) but, like the best Canterbury tunes, you can't fail to move to it. In an ideal world this would have knocked Mungo Jerry and the sodding Archies into the remainder bins straight away, and would be a perennial feelgood oldie 45. It was a single, by the way. It sold, by my conservative estimate, two copies.

Then things move up...nah, they rocket ten miles high. 'And I Wish I Were Stoned' is a cracking example of the aforementioned songwriting genius. On first impressions, a simple, repeating upward verse (sung in the rustic tenor of Richard Sinclair) with a corresponding decending chorus (sung in the charmingly strained alto of the mighty Pye), it follows the first song in avoiding 4/4 altogether, not so's you'd notice though. Okay, this one might take TWO hearings this time, but then I'd defy you to not be singing it the next morning.

The only thing that might stop you is the fact that the segued 'Don't Worry' that follows is THE MOST WONDERFUL TUNE EVER WRITTEN IN THE HISTORY OF MANKIND. Well, since Schubert's Rosamunde Overture anyway. There is no justice in this world that this perfect song hasn't been covered a hundred times since and earned its composers a fortune. Just hear it, please. The two tracks together constitute the best eight minutes of psych-tinged rock that my stylus has ever ploughed.

After such an early peak, things have to go downhill, but not far. A phased, stereo-panned drum sequence leads into the deadly slow 'As I Feel I Die' where "everything's going a slight shade of purple" and the downers take hold. Not for long though. Another fatally catchy (and blatantly jazz-based) riff forms the basis of the remainder of the song, and, as on every track before and after, Dave Sinclair takes over with an organ solo that tells Ray Manzarek the news.

And the side ends with the 'With An Ear To The Ground You Can Make It' sequence, another blisteringly tuneful epic with the best keyboard sequence of the whole album three minutes in. The slower, flute-accompanied reprise of the main tune is pure delight, before the piece ends with what sounds like Rick Wright falling asleep at Keith Jarrett's Koln Concert.

Side Two starts with two short, nice-but-inessential tracks in 'Hello Hello' and 'Asforteri', the former being the better of the two and Richard Sinclair's only real vocal spotlight on the album (he was to have a much greater showcase on the excellent 'In The Land Of Grey And Pink' album twelve months later). But his name is immortalised on the longest and most famous (in Caravan and Canterbury terms, you understand) track on the record that comes next. 'For Richard' starts slowly, quietly, and menacingly, not a million miles away from the Floyd's 'Careful With That Axe, Eugene' epic on 'Ummagumma', but with another otherwise tender, melodic vocal with flute obligato.

Then, like 'Eugene', the intensity slowly increases, until, 3'40" in, comes...THE RIFF. And here, more than at any point on the record, Caravan rocks. The track palls a little as the solos progress (and god, do they progress) but comes to life again in the guitar-driven coda that emerges after ten minutes or so. The album ends with the pointless half-song that is 'Limits'. Never mind.

The 14 minutes that comprise 'For Richard' have become the staple of every Caravan live set to this day, but that track is a muso-fest only as far as I'm concerned. The real meat and two veg of Caravan's second album is the almost faultless sequence of SONGS that comprise Side One, essential listening for anyone with an interest in the latter days of sixties drugrock.

by Fitter Stoke

Tracks
1. If I Could Do It All Over Again, I'd Do It All Over You - 3:07
2. And I Wish I Were Stoned - Don't Worry - 8:21
3. As I Feel I Die - 5:17
4. With An Ear To The Ground You Can Make It / Martinian / Only Cox / Reprise - 9:56
5. Hello Hello - 3:46
6. Asforteri 25 - 1:21
7. Can't Be Long Now / Francoise / For Richard / Warlock - 14:18
8. Limits - 1:34
9. A Day In The Life Of Maurice Haylett - 5:40
10.Why? - And I Wish I Were Stoned - 4:22
11.Clipping The 8th - Hello Hello - 3:13
12.As I Feel I Die - 4:39
All songs by Richard Coughlan, Pye Hastings, Richard Sinclair and Dave Sinclair.

Caravan
*Richard Coughlan - Drums, Congas, Bongos, Maracas, Finger Cymbals
*Pye Hastings - Vocals, Guitars, Claves
*David Sinclair - Keyboards
*Richard Sinclair - Vocals, Bass, Tambourine
Guest
*Brother James - Sax, Flute

1968  Caravan (japan SHM-CD remaster)

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