Neil Merryweather, John Richardson And Robin Boers - Neil Merryweather, John Richardson And Robin Boers (1970 canada, incredible heavy psych blues rock, Vinyl edition)

After his exit from the band “Merryweather”, Neil and his manager flew to Toronto where Neil found his new band members. He recruited Robin Boers as drummer. Robin was in the “Ugly Ducklings”, a local Toronto band that had a single on the Canadian charts. For guitarist, he chose John Richardson who had played with the “Lords of London” and “Nucleus”, two popular bands on the Toronto scene. Neil and Morey Alexander flew them back to LA.

The “Merryweather, Richardson & Boers” album was recorded for Kent Records as a one-off deal to raise money to support the band, with the advance being used to rent a house to live and rehearse in. The LP was recorded in one night at Paramount Studios. Neil wrote the songs on the fly, they did a couple of cover songs, and it was done in about four hours. It was quickly mixed at Village Recorders.

Neil brought Jack Velker into the crew to play organ. He was a member of a Canadian band called the “49th Parallel” that disbanded in LA.

“Merryweather, Richardson & Boers” added Neil’s girlfriend, Lynn Carey, to the band for some more recordings at Kent Studios. They did covers of “Shop Around” and “Lucille” with Neil and Lynn singing a two-part harmony. Kent Records put the songs out as a single by “Mama & Papa Rock ‘n’ Family”.

“Merryweather, Richardson & Boers” never played a live date.
Neil Merryweather

Tracks
1. Aren't You Glad That You Know (Merryweather) - 3:08
2. City Boy (Steven Stills) - 3:00
3. Dust My Blues (Elmore James) - 2:38
4. Flat Black (Richardson, Merryweather, Boers) - 4:15
5. You Must Live It (Carey, Merryweather) - 2:48
6. Your Real Good Thing Is About To End (David Porter, Isaac Hayes) - 3:32
7. Local 149 (Velker, Richardson, Merryweather, Boers) - 10:57

Band
*Neil Merryweather – Vocals, Bass
*John Richardson – Guitar
*Robin Boers – Drums
*J.J. Velker – Organ

1969  Merryweather
1971  Neil Merryweather And Lynn Carey - Vaccum Cleaner
1973  Heavy Cruiser - Lucky Dog

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Siegel-Schwall Band - R.I.P. Siegel-Schwall (1974 us, fantastic blues rock, Vinyl issue)

Before the Siegel-Schwall Band decided to wrap things up, they released one more album, and it became one of their best. With their bountiful, down-on-the-farm blues sound led by Corky Siegel's harmonica, R.I.P. became an excellent sendoff for one of the most enjoyable groups ever to play this style of blues music.

Most of the cuts belong to the band's favorite musicians and songwriters, but are wonderfully molded in the SSB's traditional style of rollicking piano riffs and greasy mandolin. "Take Out Some Insurance" kicks things off with a wallop, followed by a respectful cover of John Prine's "Pretty Good."

Although the lyrics aren't exactly dead-on, the band's version of Little Richard's "I Can't Believe You Wanna Leave" fairs as one of the album's strongest tracks, and the background vocals on "Night Time's the Right Time" give the song its character as the band humorously tries to imitate a horn section.

Little Walter's "Tell Me Mama" and Jimmy Reed's "You Don't Have to Go" are equally impressive, right down to Sheldon Plotkin's loosely knit percussion work, and the whistles and foot-stomping that fill the album's last track are proof that these guys weren't just another blues band. 

Every one of the Siegel-Schwall Band's albums have something to offer, but they really outdid themselves on R.I.P., their farewell album.

by Mike DeGagne

Tracks
1. Take Out Some Insurance (Charles Singleton, Wadense Hall) – 3:19
2. Pretty Good (John Prine) – 2:53
3. (I) Can't Believe You Wanna Leave (Leo Price, Richard Penniman) – 2:54
4. Wild About My Lovin' (Traditional) – 4:07
5. Night Time's The Right Time (Nappy Brown, Ozzie Cadena, Lew Herman) – 4:52
6. I'm A Hog For You Baby (Jerry Leiber, Mike Stoller) – 4:38
7. Tell Me Mama (Walter Jacobs) – 1:52
8. You Don't Have To Go (Jimmy Reed) – 3:31
9. Long Distance Call (McKinley Morganfield) – 4:51
10.It's Too Short (W. R. Calaway, Clarence Williams) – 2:46
11.Women Make A Fool Out Of Me (Johnny Bond) – 3:20

The Siegel-Schwall Band
*Corky Siegel – Piano, Harmonica, Vocals
*Jim Schwall – Guitar, Mandolin, Vocals
*Rollo Radford – Bass, Vocals
*Shelly Plotkin – Drums, Percussion

The Siegel Schwall tales
1971  The Siegel-Schwall Band
1972 Sleepy Hollow

1973 953 West

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Caravan - Caravan And The New Symphonia (1974 uk, brilliant art progressive rock, japan SHM remaster)

The newly mined creative energies that guided For Girls Who Grow Plump in the Night continued into the Caravan & the New Symphonia project. Fusing with a 39-piece orchestra is a daring move that pays off. The remastered CD includes over a half an hour of unissued material from Caravan, with and without the New Symphonia, during the same October 28, 1973 Theatre Royal concert.

Subtitled "The Complete Concert," this performance captures Caravan at a creative zenith. The newly restored program commences with a brief introduction from BBC Radio's Alan Black. The band then presents three from For Girls Who Grow Plump in the Night: "Memory Lain, Hugh"/"Headloss" suite, "The Dog, the Dog, He's at It Again," and "Hoedown."

This mini-set sparkles with the frenetic energy that a live audience will often provide. The intense interaction during the waning moments of "The Dog, the Dog, He's at It Again" allow Caravan to reach a whole different stratum. The second set features the orchestra with the band and commences with "Introduction," an orchestrated piece which leads into the very delicate preface of "The Love in Your Eye."

The synergies truly begin to flow as the band weaves in and out of the orchestra. Pye Hastings composed two new pieces specifically for this recording: "Mirror for the Day" and the brilliant "Virgin on the Ridiculous"; the latter became a performance standard for Caravan. The remainder of the set features some of their most formidable performance numbers, including an emotive "For Richard." The newly restored encore, "A Hunting We Shall Go" is stunning in it's scope and perfectly encapsulates what Caravan & the New Symphonia is really all about: allowing good music and good musicians the chance to be mutually superior.
by Lindsay Planer

Tracks
1. Introduction By Alan Black/Memory Lain, Hugh Headloss - 11:00
2. The Dog, The Dog, He's At It Again - 6:36
3. Hoedown - 3:54
4. Introduction - 6:49
5. The Love In Your Eye (Simon Jeffes) - 12:49
6. Mirror For The Day - 4:29
7. Virgin On The Ridiculous - 7:57
8. For Richard (Coughlan, Hastings, D. Sinclair, R. Sinclair) - 14:18
9. A Hunting We Shall Go - 10:23
Music and Lyrics by Pye Hastings except where indicated

Caravan
*Richard Coughlan - Drums
*Pye Hastings - Vocals, Guitar
*John G. Perry - Bass, Vocals
*Geoff Richardson - Electric Viola
*David Sinclair - Keyboards
With
*Jimmy Hastings - Flute, Alto Saxophone
*Morris Pert - Percussion
*The New Symphonia Orchestra
*Vicky Brown, Tony Burrows, Helen Chappelle, Robert Lindop, Margot Newman, Danny Street, Liza Strike - Backing Vocals

the journey of Caravan
1968  Caravan (Japan SHM remaster)
1970  If I Could Do It All Over Again, I'd Do It All Over You (Japan SHM remaster)
1971  In The Land Of Grey And Pink (Japan SHM remaster)
1972  Waterloo Lily (Japan Mini LP)
1973 For Girls Who Grow Plump In The Night (japan SHM remaster)

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Mother Tuckers Yellow Duck - Home Grown Stuff (1969 canada, spectacular west coast psych)

Mother Tucker’s Yellow Duck were a folk rock group from Vancouver, British Columbia formed in 1968. Commercial success eluded them although they managed to release two fine albums that melded blues, country, folk, hard rock and psychedelia seamlessly. The group had a few interesting non-LP 45s as well, “I” being the best of these forgotten releases.

Most psych fans prefer their highly regarded Home Grown Stuff album from 1969 (Capitol). Mother Tucker’s Yellow Duck has a strong SF influence, at times sounding like Kak or more accurately, the late 60s Youngbloods. “Someone Think,” the album’s best song, features plenty of fuzz guitar distortion and a superb psych styled guitar solo.  This cut is mandatory listening and a true classic of underground psychedelia. “One Ring Jane,” which isn’t far off in terms of quality, was released on 45 and is another excellent psych jam with lots of chaotic electric guitar soloing. Much of this record is folk-rock best exemplified by bouncy, uptempo numbers like the “Times Are Changing” and “Blue Dye.” Other gems are the sparkling country rock track “One Glass For Wine” and the folk psych cut “Elevated Platform.”

Admittedly this album has three or four dud tracks but is still notable for it’s strong songs (it’s highs are pretty high) and fluid SF style guitar work – it’s a firm favorite among late 60s Canadian/American psych rock collectors.  Their second album, Starting a New Day, is more of a country rock record but a good one that’s perhaps more consistent than the great Home Grown Stuff album.

by Jason Nardelli

Tracks
1. Times Are Changing (McDougall, R. Law, Patrick Caldwell) - 2:41
2. No One In Particular (McDougall) - 3:41
3. Little Pony (H. Law, R. Law) - 2:10
4. One Glass For Wine (McDougall, W. Iveniuk) - 3:13
5. Elevated Platform (Patrick Caldwell, R. Law) - 2:37
6. Walk Your Head Around (Patrick Caldwell, R. Law, McDougall) - 4:36
7. One Ring Jane (McDougall, W. Iveniuk) - 4:19
8. Pot O' Gold (McDougall) - 3:27
9. Intermission Poetry (Patrick Caldwell) - 3:09
10.Funny Feeling (Patrick Caldwell, McDougall) - 5:44
11.Blue Dye (McDougall, R. Law, Patrick Caldwell) - 2:41
12.Someone Think (McDougall) - 3:55

Mother Tuckers Yellow Duck
*John Patrick Caldwell - Vocals, Harmonica
*Roger Law - Guitar
*Charles Faulkner - Bass
*Hugh Lockhead - Drums
*Donnie McDougall - Guitar, Vocals

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Merryweather - Merryweather (1969 canada, excellent hard psych blues rock)

 We recorded our first album “Merryweather”. Morey and I set up “Merryweather Music”, and with BMI. The songs I wrote generated some cash advances and I used the money to help support the band.

The band lived in a series of motels and finally found a rehearsal space in Hollywood where we could also sleep. Some months before, Dave Burt met a girl at “Big Pink” and was staying miles away in Reseda most of the time.

I was becoming frustrated with his choices and attitude; there were some tense moments at rehearsals and a petty jealousy was growing. Sadly their history was short-lived, but nevertheless, “Merryweather” made an imprint on the LA scene. They headlined at Thee Experience Club many times, played the Whisky where they shared the bill with “Chicago Transit Authority (Chicago)” and again with “Mountain”. They also played Newport ’69, a 3-day festival at Devonshire Downs with Credence Clearwater Revival, The Byrds, The Jimi Hendrix Experience, Marvin Gaye, Joe Cocker, Ike and Tina Turner, and many others.

Club owner Marshall Brevitz told me that Jimi liked us a lot and on several occasions, he snuck into the back of the club to watch us play. One night, Jimi and Johnny Winter came on stage to jam at the end of our set. Merryweather also played Balboa Stadium in San Diego with “Country Joe and the Fish”, “Chicago”, and “Poco”, and there was even a “Merryweather Day” at Universal City where the band played in the square.

I was working with Robert Lockert, the Art Director at Capitol Records, and photographer Ivan Nagy on the album cover and we were putting together the liner notes – that’s when I decided to become Neil Merryweather. I had previously talked to Morey Alexander about changing my name and mentioned it to our producer John Gross, and they thought it was a good idea. Also, one day as I was sitting on the curb in front of Capitol Records and I met Linda Ronstadt.

We talked about music for awhile and our new deals with Capitol. She was waiting for her producer. When she was leaving, she turned around and said “Nice meeting you, Neil Merryweather”, and I really liked the sound of it!

I put the band together to come to Los Angeles and make a career out of music, so calling myself Neil Merryweather was a logical choice. Through musical history, it wasn’t unusual for bands to be named after the lead singer – some were even named after a member of the band. Nevertheless, as far as I was concerned, "Merryweather" was the whole band and not just me.

by Neil Merryweather

Tracks
1. Mr. Rich Man - 3:40
2. Feeling of Freedom (N. Merryweather, Ed Roth) - 3:20
3. Littleman (Nobody's Home) - 4:46
4. Annie Don't Let Me Down - 2:25
5. We Try Softer (N. Merryweather, D.C. Burt) - 4:30
6. Curiosity - 3:23
7. Something - 3:24
8. Listen to Me - 4:55
9. What's It All About? - 2:45
10.No Passenger Allowed - 4:37
All songs by Neil Merryweather except where noted.

Band
*Neil Merryweather – Vocals, Bass
*Edward M. Roth – Organ, Piano, Flute
*Coffi Hall – Drums, Percussion
*David Colin Burt – Guitar

1971  Neil Merryweather And Lynn Carey - Vaccum Cleaner

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Tinkerbell's Fairydust - Tinkerbell's Fairydust (1965-69 uk, wonderful sunny beat psychedelia, 2009 bonus tracks remaster issue)

 

 

At the beginning of the 1960's, brothers Gerald 'Ged' Wade (guitar) and Charlie 'Chaz' Wade ("tea chest" bass) formed a skiffle group in Barking, Essex, called The Moonrakers with Bob Holding on vocals. The Moonrakers became The Ramrods/The Ramrod Combo with Chris Howell and Pete Hole on guitars and Fred Gamage on bass. In 1963, they changed their name to The Ricochets and Dave Hunter became their lead singer. When Tommy Bishop became lead singer, they called themselves Tommy Bishop and The Ricochets and then Tommy Bishop's Ricochets.

By this time, the group included local resident Dennis 'Ned' Smith on keyboards and saxophone player Steve Salfield from Derby. Their manager, Alvin Roy, who had a jazz band, obtained work for the group in Germany and Spain. Alvin Roy also secured them a deal with Decca, leading to the release of "I Should Have Known" b/w "On the Other Hand".

 

After a year of gigs in the UK and Europe, the work dried up and Ged was asked to act as bassist for Upminster band Easy Come Easy Go (previously known as Dave and The Strollers) with Stuart Attride, Barry Creasey and future Grapefruit member John Perry. Chaz Wade then followed his brother into this grouping as a second singer. (Prior to the Wade brothers joining Easy Come Easy Go, Gene Latter's cover of The Rolling Stones' "Mother's Little Helper" featured Easy Come Easy Go as the backing band.)

In early 1967, they evolved into The Rush with members Barry Attride (stage name of Stuart Jefferson) on guitar, keyboards and vocals; Pete Hole on keyboards and guitar; Ged Wade on bass guitar and vocals and Chaz Wade on drums and vocals. Promoter Alan Eisenberg took an interest in The Rush and the group attracted the attention of manager/entrepreneur Don Arden. Arden had recently parted company with the Small Faces and was looking for a replacement band.

 

A deal was arranged with the Don Arden Agency and the group obtained a three year deal with Decca. "Happy' b/w "Once Again" recorded at West Hampstead studios, with Marc Wildey as producer and Vic Smith as engineer received frequent airplay on Radio Caroline and Radio London, but did not chart. Shortly afterwards, Pete Hole emigrated to Australia and new guitarist Steve Maher (formerly Doughnuts, Shades of Blue and The Circle) from Witham near Chelmsford was recruited into the group. The following week, "Make Mine Music" b/w "Enjoy It" was recorded and its release led to an appearance on Granada's TV series "The Firstimers" performing "Happy" and Make Mine Music".

The Wade brothers father owned a music shop called The Gearbox and a clothing shop, the Gearbox Group-tique in Ripple Road, Barking. As a result, the band were able to rehearse in the music shop and borrow the best equipment for gigs and recordings and wear the latest Carnaby Street fashions from stock sold in the clothing shop. In late 1967, Chaz Wade joined The Symbols just after the release of "(The Best Part of) Breaking Up" and ex-Stollers drummer Barry Creasey (aka Barry Naill) was brought in as his replacement.

 

Decca in-house producer Vic Smith was working closely with the group and decided to name them Tinkerbell's Fairydust for studio projects while the group continued to gig as The Rush. The band obtained a residency at the Plough & Harrow in Leytonstone, run by the infamous Jacob brothers and this was followed by a residency for two years at the Queens Arms every Thursday with another at The Empire, Edmonton on Saturdays and Sundays.

A cover of Spanky and Our Gang's "Lazy Day" was chosen for the first release under the Tinkerbell's Fairydust name backed by a Vic Smith original "In My Magic Garden". Soon after, various band members reunited with Tommy Bishop for a one-off single as the Rock 'N' Revival Show. A second Tinkerbell's Fairydust single, "Twenty Ten" b/w "Walking My Baby" failed to nudge the UK charts but "Twenty Ten" climbed to number two in Japan's International Charts, only be held off the top spot by The Beatles' "Hey Jude".

 

With the addition of another ex-Stroller, Dave Church, on lead vocals, "Sheila's Back in Town" was released and it also entered the Japanese Top 10 chart. The song was recorded the day of Halloween and, after the backing track was produced, at around 8 P.M. approximately 30 people from other Decca sessions filed into the control room to add the party-like atmosphere. Jeff Lynne's "Follow Me Follow" from The Idle Race's "The Birthday Party" album was chosen for the B-side.

For unknown reasons, Decca chose to assemble an album (possibly for the Japanese market), that received finished labels and sleeves, but only reached the test pressing stage. In mint condition, it is arguably the most valuable LP ever made in Britain, according to the website of Cherry Red Records. The Rush continued to gig for four more years in the London clubs and Chaz Wade rejoined as frontman for a while during this period.

 

Manchester born Eileen Woodman (formerly She Trinity, British Maid and Gilded Cage and future The Humblebums, Pete Brown's Flying Tigers and Bitch), assisted The Rush for a period of time as their Hammond organist. With the rising prominence of the Canadian band Rush, the group became J.J.Foote and continued to gig under this name until they split in 1981.
FortyFive-cat



Tracks
1. Twenty Ten (Hill, Cochrane) - 2:42
2. Marjorine (Cocker, Stainton, Ramigan, Myles) - 2:46
3. The Worst That Could Happen (Webb) - 3:20
4. In My Magic Garden (Smith) - 2:35
5. Never My Love (D. D. Addrisi) - 2:48
6. You Keep Me Hangin' On (Mire, Allen) - 6:03
7. Lazy Day (Powers, Fischoff) - 2:58
8. Every Minute Every Day (Wade) - 2:26
9. Sheila's Back in Town (Rabbitt) - 2:19
10.Jeff's Boogie (Beck) - 1:36
11.They Didn't Believe Me (Kurn, Rourke) - 2:12
12.Whole World (Bonner) - 3:05
13.Happy (Gorman, Michaels) - 2:09
14.Tommy Bishop's Ricochets - I Should Have Known (Lawrence, Davies) - 2:35
15.Tommy Bishop's Ricochets - On The Other Hand (Bishop, Wade) - 2:22
16.The Rush - Once Again (Attride, Wade) - 2:41
17.The Rush - Make Mine Music (Wade) - 2:03
18.The Rush - Enjoy It (English) - 2:19
19.Walking My Baby (Hare) - 2:17
20.Follow Me Follow (Lynne) - 3:21
21.Follow Me Follow (Lynne) - 3:23
22.Good Day (Unknown) - 2:51
Bonus Tracks 14-22

Tinkerbell's Fairydust
*Stuart Attride - Guitar, Keys, Vocals
*Gerry Wade - Bass, Vocals
*Steve Maher - Guitar, Vocals
*Barry Creasy - Drums, Vocals
*Chas Wade - Drums, Vocals
*Eileen Woodman - Hammond, Vocals
*Dave Church - Vocals
*Pete Hole - Guitar, Vocals

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Blues Magoos - Basic Blues Magoos (1968 us, impressive garage psych, 2004 Repertoire expanded edition)

Basic Blues Magoos (1968) is the final long-player with the lineup of Ralph Scala (keyboards), Ronnie Gilbert (bass), Emil "Peppy" Thielheim (guitar), Mike Esposito (lead guitar) and Geoffrey Daking (drums) -- is arguably their best and easily most progressive outing. Perhaps this can partially be credited to the combo's retreat from creating in the comparatively uninspired environs of a studio. Instead, they essentially cocooned themselves into their legendary Bronx, New York digs, which at one time had been inhabited by none other than Gram Parsons.

The autonomy paid off, as did their sizable influence from the U.K.-derived mod and freakbeat scenes, kick-started no doubt by a recent tour with the Who. Nowhere is that more evident than the cover of the Move's "I Can Hear the Grass Grow" or the similarly spirited original light psych opener "Sybil Green (Of the In Between)" and the propulsive "There She Goes." "All the Better to See You With" and "Chicken Wire Lady" provide a harder edge and sit well beside the notable Brit pop vibe of "I Wanna Be There." "I Can Move a Mountain" is a long lost jangle pop side tinged in a darkness recalling "Love Seems Doomed" from the Magoos' debut, Psychedelic Lollipop (1967), especially the insidious vocal arrangement.

On the other side of the spectrum is the affective baroque-tinged "Yellow Rose." The refined acoustic ballad is unlike the majority of the album's aggressive amplified excursions. As the title might suggest, "Presidential Council on Psychedelic Fitness" is a bit of an indulgence, as is "Subliminal Sonic Laxative," the latter being nothing more than a minute and change of a sole subsonic frequency -- a 'D' note. Collectors and enthusiasts should be aware of the highly recommended and significantly expanded Basic Blues Magoos [Bonus Tracks] (2004) from Repertoire, tacking on monaural 45 rpm versions of "I Wanna Be There," "There She Goes," "I Can Hear the Grass Grow" and "Yellow Rose."

Also included is the rare single "Let Your Love Ride" b/w Bo Diddley's "Who Do You Love," issued prior to the Magoos' late-'60s reformation with only Emil "Peppy" Thielheim. Sadly, Basic Blues Magoos failed to join their earlier LPs on the charts, as it is debatably their most solid effort.
by Lindsay Planer

Tracks
1. Sybil Green (Of the in Between) (Gilbert, Scala, Theilhelm) - 2:41
2. I Can Hear the Grass Grow (Wood) - 2:18
3. All the Better to See You With (Gilbert, Scala) - 2:19
4. Yellow Rose (Gilbert, Theilhelm) - 2:30
5. I Wanna Be There (Theilhelm, Scala) - 2:57
6. I Can Move a Mountain (Theilhelm, Kelly) - 3:49
7. President's Council on Psychedelic Fitness (Gilbert, Scala) - 2:44
8. Scarecrow's Love Affair (Gilbert, Theilhelm) - 4:01
9. There She Goes (Gilbert, Scala, Esposito, Theilhelm) - 2:50
10.Accidental Meditation (Esposito) - 1:42
11.You're Getting Old (Gilbert, Theilhelm) - 4:15
12.Subliminal Sonic Laxitive (Blues Magoos) - 1:05
13.Chicken Wire Lady (Gilbert, Theilhelm) - 4:07
14.I Wanna Be There (Theilhelm, Scala) - 2:57
15.There She Goes (Gilbert, Scala, Esposito, Theilhelm) - 2:50
16.I Can Hear the Grass Grow (Wood) - 2:18
17.Yellow Rose (Gilbert, Theilhelm) - 2:30
18.Let Your Love Ride (Ted Munda) - 2:36
19.Who Do You Love (E. McDaniels) - 3:16
Tracks 1-13 Original Album release 1968
Tracks 14-19 Single releases between 1967-69

The Blues Magoos
*Ralph Scala - Keyboards, Vocals
*Emil "Peppy" Thielhelm - Guitar, Vocals
*Ron Gilbert - Bass
*Mike Esposito - Guitar
*Geoff Daking – Drums, Percussion

1966  Psychedelic Lollipop (expanded issue)
1967  Electric Comic Book (expanded issue)

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Blues Magoos - Electric Comic Book (1967 us, tremendous garage psych, 2004 Repertoire expanded issue)

The Blues Magoos' second long-player, Electric Comic Book (1967), has been significantly expanded with ten 45 RPM-only titles otherwise unavailable on CD. The quintet was formed by Bronx, New York school chums Ralph Scala (keyboards), Ronnie Gilbert (bass) and Emil "Peppy" Thielheim (guitar).

They found Mike Esposito (lead guitar) -- who was several years older -- performing at the infamous Night Owl Café in Greenwich Village, and with him came the addition of Geoffrey Daking (drums). Their first album Psychedelic Lollipop (1966) yielded the Top Five punk/garage entry "We Ain't Got Nothin' Yet." While Electric Comic Book submits edgier rockers and strong acidic-tinged originals, the offering likewise infuses the Magoos' quirky wit.

Tracks such as the brisk yet agile "Life Is Just a Cher O' Bowlies" -- sporting deft fretwork from Esposito -- or the 'pause for the cause' "Intermission" practically define the light-hearted head humor of the era. The flip side of all the sonic chicanery are a few equally adept numbers, primarily the suitably trippy "There's a Chance We Can Make It," a ballsy proto-metallic "Rush Hour," the propulsive "Albert Common Is Dead" and a six-minute excursion on Van Morrison's "Gloria."

The supplements are arguably more fascinating than the feature presentation, especially for collectors who can retire their well-worn 45s. "So I'm Wrong and You Are Right" -- which is in stereo on the final cut of this anthology -- b/w "The People Had No Faces" represents the Magoos' debut single on the Verve/Forecast label. The tunes actually pre-date Psychedelic Lollipop, reflecting the folkie and authentic blues inherent in their Greenwich Village influences. Among the other extras are mono mixes of "Pipe Dream," "There's a Chance We Can Make It," "Summer Is the Man," "Life Is Just a Cher O' Bowlies," the far-out and suitably-named "Dante's Inferno," and a remix of "One by One."

The latter initially surfaced on Psychedelic Lollipop and was overhauled in a last-ditch effort to find a suitable follow-up to "We Ain't Got Nothin' Yet." Concluding the collection is a blue-eyed soul rave on the seasonal "Jingle Bells," which was b/w a comparatively off-the-cuff "Santa Claus Is Coming to Town." The eight-page liner notes contain an essay from Ugly Things fanzine guru Mike Stax. Plus, a four-panel replica of the coloring book insert/advert that came with early pressings of Electric Comic Book is also included.
by Lindsay Planer

 Tracks

1. Pipe Dream (Gilbert, Scala) - 2:26
2. There's A Chance We Can Make It (Gilbert, Scala) - 2:14
3. Life Is Just A Cher O'bowlies (Gilbert, Scala) - 2:35
4. Gloria (Van Morrison) - 6:02
5. Intermission (Esposito) - 1:05
6. Albert Common Is Dead (Gilbert, Scala) - 1:48
7. Summer Is The Man (Esposito, Scala) - 2:59
8. Baby, I Want You (Gilbert, Theilhelm) - 2:42
9. Let's Get Together (Reed) - 3:06
10.Take My Love (Gilbert, Scala) - 1:50
11.Rush Hour (Daking, Gilbert, Esposito) - 2:35
12.That's All Folks (Blues Magoos) - 0:08
13.So I'm Wrong And You Are Right (Shorter, Lewis) - 2:25
14.The People Had No Faces (Shorter) - 2:50
15.Pipe Dream (Gilbert, Scala) - 2:25
16.There's A Chance We Can Make It (Gilbert, Scala) - 2:14
17.One By One (Gilbert, Theilhelm) - 2:45
18.Dante's Inferno (Gilbert, Scala, Theilhelm, Esposito, Daking) - 3:26
19.Summer Is The Man (Gilbert, Esposito) - 2:59
20.Life Is Just A Cher O'bowlies (Gilbert, Scala, Theilhelm) - 2:35
21.Jingle Bells (Adapted by Blues Magoos) - 2:35
22.Santa Claus Is Coming To Town (H. Gillespie, J. F. Coats) - 1:25
23.So I'm Wrong And You Are Right (Alternative Stereo Mix) (Shorter, Lewis) - 2:25

The Blues Magoos

*Ralph Scala - Keyboards, Vocals
*Emil "Peppy" Theilhelm – Guitar, Vocals
*Ron Gilbert – Bass, Vocals
*Mike Esposito – Guitar
*Geoff Daking – Drums, Percussion

1966  Psychedelic Lollipop

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Blues Magoos - Psychedelic Lollipop (1966 us, splendid bluesy garage psych, 2005 Repertoire expanded digi pack)

 Masterminded by singer Peppy Castro (born Emil Thielhelm) and organ-grinder Ralph Scala, the Bloos Magoos, as they initially called themselves, were formed around 1964 in the New York Bronx. Other members were Mike Esposito (guitar), Ronnie Gilbert (bass) and drummer Geoff Daking. They played their bluesy bits with traces of folkrock in Greenwich Village, especially at the Cafe Wha and the Night Owl Cafe.

The Magoos' first singles were released on Verve ("So I'm Wrong And You Are Right'T'People Had No Faces") and the Small Ganim Label ("Who Do You Love"l"Let Your Love Ride"), both of which are soughtafter collectors' items now.

In 1966 they got signed by Mercury, and changed their image immediately, with sort of electric clothes flashing off and on while on stage. For the first time the word "psychedelic" appeared in the title of their debut album - see discography. Furthermore there were other signs in songs like "Love Seems Doomed" and "Albert Common Is Dead" who first letters spelt LSD and Acid.

During 1966/67 three singles made the charts: "(We Ain't Got) Nothing Yet" (No. 5), "Pipe Dream" (No. 60), and its flipside "There's A Chance We Can Make It", (No. 81), and "One By One" (No. 71). Other 45's sank without a trace, for instance "Summer Is The Man", "Life Is Just A Cher O'Bowlies", "Jingle Bells" and, in 1968, "/ Can Hear The Grass Grow" of Move fame.

Both their first albums were critically acclaimed, reaching the charts at No. 21 ("Psychedelic Lollipop") and No. 74. respectively ("Electric Comic Book"). In 1968 the Magoos released "Basic Blues Magoos" recorded at their home in New York's University Avenue. In the meantime their straight psychedelic sound had gone lost in favour of mediocre flower power banalities, thus the disc flopped saleswise, and the band's line-up changed dramatically in 1969.

With only Castro/Thielhelm left, it comprised new members Roger Eaton (b), Eric-Justin Kay. (kb), John Liello (vib), Herb Lovelle (dr) and hornplayers Dean Evanson and Ritchie Dickon. One album was cut until Lovelle, Eaton and Evanson were replaced by Pee Wee Ellis, Cooker Capresti and Jim Payne. After the Magoos' final LP (with lots of electronics) the group broke up for good. Founder member Peppy/Emil joined the Broadway cast of "Hair", and later on formed Barnaby Bye with Alessi Brothers Billy and Bobby (two albums for Atlantic, "Room To Glow"/1973, and "Touch"/1974).

In 1976 Peppy founded Wiggy Bits (one eponymous LP). Five years later he established Balance with Doug Katsaros and Dennis Feldman, whose "Breaking Away" reached the charts at No. 22 in 1981 (two albums were tracked down for the Portrait label, "Balance"/!981, and "InForTheCount'71982).

by Bernd Malheja

Tracks
1. (We Ain't Got) Nothin' Yet (Esposito, Gilbert, Scala) – 2:18
2. Love Seems Doomed (Esposito, Gilbert, Scala) – 3:02
3. Tobacco Road (John D. Loudermilk) – 4:42
4. Queen of My Nights (Blue) – 3:05
5. I'll Go Crazy(James Brown) – 2:03
6. Gotta Get Away (Adams, Gordon) – 2:42
7. Sometimes I Think About (Esposito, Gilbert, Scala) – 4:13
8. One by One (Gilbert, Theilhelm) – 2:53
9. Worried Life Blues (Big Maceo Merriweather) – 3:45
10.She's Coming Hom (Atkins, Miller) – 2:43.  .
11.Tobacco Road (John D. Loudermilk) – 4:42
12.Sometimes I Think About (Esposito, Gilbert, Scala) – 4:13
13.(We Ain't Got) Nothin' Yet (Esposito, Gilbert, Scala) – 3:02
14.Gotta Get Away (Adams, Gordon) – 2:41

Blues Magoos
*Ralph Scala - Keyboards, Vocals
*Emil “Peppy” Theilhelm – Guitar, Vocals
*Ron Gilbert – Bass, Vocals
*Mike Esposito – Guitar
*Geoff Daking – Drums, Percussion

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Juan De La Cruz Band - Up In Arms (1971 philippines, very good psych prog brass hard rock, 2001 reissue)

 

 The Juan De La Cruz Band is one of the few less commercial electronic bands in the Philippines which claims to have more Western-orientated musician per square mile than any other country in the world. The impact of the group in the local hard and mellow rock scene is tremendous considering it was organized only 2 years ago. In December 1970, the band was featured in the first open-field rock festival in the Philippines, the "Antipolo Rock Festival."

 

 The bands popularity gained terrific momentum in September of 1971 when it reaped a singular honor in backing-up the "Jesus Christ, Superstar" rock opera production at the Cultural Center of the Philippines (CCP). Then in December of the same year, the band garnered its crowning glory when again, for the first time in the Philippines, a rock group on its own, backed by a full symphony orchestra (the National Philharmonic) was presented in concert at the prestigious CCP.

 

No other group in the Philippines gained so much greater heights of success in relatively a very short span of time. This album debut is a monumental testimony. It is the first venture of it/s kind in this part of the musical globe. The Juan De La Cruz Band now reaches for a wider audience.
by O. Salazar, Billboard Magazine, Philippines 1971

 

Tracks 7 - 12 are not from the original album. They're released only as a very rare livetape in 1974 and the tracks are from either their second album Mascara or third album Himig Natin , and some where unreleased tracks too.

On Mascara and Himig Natin the band had menbers of the Japanese band Speed Glue and Chinki. On those albums Mike Hanopol joined the band who also made several famouse and rare solo albums. Wally Gonzales, the guitarist of "Up In Arms" and all other Juan De La Cruz Band albums released also the very rare solo album On The Road.

This album "Up In Arms"  was found so far only ones by a collector and the value of it would be something like $ 3000 or more, if a few more copies turned up. The later albums Mascara and Himig Natin have both a value of $ 1000,- and are very hard to find in nice condition. The same price and quality problem goes for Wally Gonzales and Mike Hanapol/s solo albums. Nothing realy survived from way back then in the Philippines. There was also a close relation between bands from Japan and the Philippines, but the musical influence is USA. Most releases go in the direction of heavy Psychrock with an Progressive touch. Juan De La Cruz was really a liveband (which you can hear on the extra tracks on this CD). They/ve played big audiences in the Philippines because not many Western band made it over there (maybe for political reasons).

Normal-recs

Tracks
1. Justice (Where Are You) - 6:46
2. Stranger In A Strange Land - 5:52
3. Mystery Roach - 2:33
4. Requiem For A Head - 5:59
5. Love Of A Woman - 5:21
6. Lady In White Satin - 5:49
7. Love Of A Woman - 3:48
8. Kagatan - 2:40
9. Balong Malalim - 4:27
10.Beep Beep - 2:05
11.Langit - 10:03
12.Sarap Ng Buhay - 5:07
Bonus tracks 7-12 live recordings

Juan De La Cruz Band
*Wally Gonzales - Lead guitar, Vocals
*Clifford Ho - Bass, vocals
*Rene Sogueco - Piano, Organ, Vocals
*Romy SAntos - Alto, Baritone Sax, Flute, Clarinet
*Bobot Guerrero - Drums

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