Mother Earth - Make A Joyful Noise (1969 us, gorgeous blues folk rock with a west coast aspect, Wounded Bird issue)

Mother Earth has to be one of the best American rock and roll bands to have ever been forgotten. A hot act in its day, it seems folks have tended to overlook the group in recent years. Perhaps the band’s aesthetic center in 1960s blues and soul music makes them just a little too straight for today’s “forward-thinking” music listeners more hip to the weird, experimental sounds of bands like Faust or The Incredible String Band than righteous electric combos like the Paul Butterfield Blues Band (now that I mention it, East/West really does beg review on these pages). No matter, though; let us take the first steps in reintroducing listeners to the wild, rootsy sounds of Mother Earth.

Make A Joyful Noise is the band’s second album, and marks a clear evolution in the band’s dynamic by containing both a “city side” and a “country side,” the latter recorded in Nashville with legendary pedal steel player and country music producer Pete Drake. Whatever new angles the band was introducing to their sound, however, they certainly hadn’t lost sight of their strengths, for there is soul enough aplenty across both sides of this collection. Dig the explosive opening number, “Stop the Train,” starring part-time Mother Earth shouter The Reverend Ron Stallings. Though the band is best remembered for Tracy Nelson’s fiery vocal talents, they were actually an extraordinary collaborative ensemble, also including among their ranks the enigmatic Powell St. John, occasional lyricist with The 13th Floor Elevators and whose stunning “The Kingdom of Heaven” the band had recorded the year before.

The “country side” here introduces Tracy Nelson’s talent for Music City soul, which would really shine on her first solo record Country, itself recorded around the same time as the Pete Drake selections on Joyful Noise. The band’s recording of Doug Sahm’s slow-grooving “I Wanna Be Your Mama Again,” a song purportedly written with Nelson in mind, really cooks and includes some tight picking. Dig the way the fiddle, pedal steel and electric guitar weave together during the instrumental breaks; rocking, rolling, backwoods bliss. Powell’s lazy, West Texas vocal spot on “Then I’ll Be Moving On” further highlights the appeal of the communal group organization, one which would eventually be discarded when the band turned into Tracy Nelson and Mother Earth.

All of the early Mother Earth albums are go-to records for me when I’m in the mood for beautifully honest, down-to-earth music (and yeah, I reckon that’s pretty often). If you’re really digging the rhythm and blues here, look for a copy of the band’s follow-up Bring Me Home; if you’re more into the country half, you absolutely need to get your hands on Nelson’s aforementioned solo record. Fortunately for all, every one of these records are still in print and readily available.

by Nik Rayne

Tracks
1. Stop The Train (Castille, Andrews, Arthur) - 3:23
2. What Are You Trying To Do (Naomi Neville) - 3:56
3. I Need Your Love So Bad (Little Willie John) - 5:25
4. Soul Of The Man (Oliver Sain) - 3:07
5. Blues For The Road (Stallings, Andrews) - 3:36
6. You Win Again (Hank Williams) - 4:16
7, Come On And See (Robert Arthur) - 3:12
8. Then I'll Be Moving On (R.B. St John) - 3:22
9. The Fly (R.B. St John) - 3:36
10.I Wanna Be Your Mama Again (Doug Sahm) - 3:31
11.Wait, Wait, Wait (Naomi Neville) - 2:43

Musicians
*Tracy Nelson - Piano, Vocals
*Powell St. John - Harmonica, Vocals
*John Cameron Andrews  - Guitar
*Bob Arthur - Bass, Vocals
*Joe Arnold - Horn Section,  Tenor Sax
*Larry Butler - Piano
*Sadie Cantrell - Vocals
*Lonnie Castille - Drums
*James "Curly" Cooke - Rhythm  Guitar
*Lady Corder - Vocals
*Clay Cotton - Organ, Piano
*Jack Drake - Bass
*Pete Drake - Steel Guitar
*Ronnie Eades - Baritone, Horn Section
*D.J. Fontana - Drums
*Johnny Gimble - Fiddle, Violin
*Ben Keith - Dobro, Guitar
*Shorty Lavender - Fiddle, Violin
*Gene "Bowlegs" Miller - Horn Section, Trumpet
*Gerald Richardson - Horn Section, Trombone
*Hargus "Pig" Robbins - Keyboards
*Irma Routen - Vocals
*Boz Scaggs - Rhythm Guitar
*Dale Sellars - Rhythm Guitar
*Rev. Ron Stallings - Vocals
*Aaron Varnell - Horn Section, Tenor Sax

1968  Mother Earth - Living With The Animals (Vinyl edition)

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Spectrum - Part One (1971-72 aussie, remarkable progressive rock, 2007 digipack remaster and expanded edition)

During their short but illustrious career Spectrum were in the vanguard of progressive rock in Australia, and they left a legacy of innovative and imaginative music, too little of which is currently available on CD.

The central figure in Spectrum was singer/songwriter/guitarist Mike Rudd, one of the many outstanding expatriate NZ performers who have contributed so much to the Australian music scene. Mike arrived in Australia in 1966 as rhythm guitarist for the NZ group Chants R&B. (For the full History of this great band, please visit the Chants R&B page on Bruce Sergent's excellent New Zealand Music of the 60's and 70's website.)

Chants only lasted a short time after they arrived in Australia, but Mike remained in Melbourne, where he soon teamed up with young singer-songwriter Ross Wilson and guitarist Ross Hannaford. Their first band The Pink Finks (which had also just broken up) worked in a similar vein to Chants, and had some local chart success in Melbourne. Mike was invited to be the bass player in a later lineup of their next band, the short-lived but legendary Party Machine (1967-69). This was followed by the more experimentally-oriented Sons of The Vegetal Mother (1969-71).

Sons of the Vegetal Mother was an occasional project rather than a full-time band, but Mike was apparently involved on a regular basis, even after the formation of Spectrum, and he played bass on the Vegetal's only recording, an ultra-rare EP called The Garden Party, of which only about 250 copies were ever pressed. Although close connections between them continued, by 1970 Wilson and Hannaford were concentrating on the Vegetals new offshoot Daddy Cool, so Rudd decided to put together his own band, continuing down the progressive path he had been following with Party Machine and the Vegetals.

Before being signed up by EMI, Spectrum had cut a demo single, which they hawked around to record companies as a 7" acetate. One side was an early, folky version of one of the newer songs in their set, I'll Be Gone; the flip was another original, "You Just Can't Win". According to Ian McFarlane, these acetates are now "impossibly rare" with only two or three copies known to have survived. "You Just Can't Win" was reissued to subscribers to From The Vault magazine on a 7” flexidisc in 1990, accompanied by the almost equally rare Vegetals track "Let It Begin", from their fabled Garden Party EP. The Spectrum track is now available of Aztec Music's CD reissue of Spectrum's first album.

As the 1971 opened, all the hard slog paid off handsomely when "I'll Be Gone" (b/w "Launching Place Part II") was released as Spectrum’s debut single in January 1971. Heralded by Mike’s unforgettable harmonica intro, "I’ll Be Gone" announced the arrival of both Spectrum as a major new band and Mike Rudd as a significant new songwriter. It is without question one of the greatest Australian pop-rock songs ever written. Mike’s lyric is timeless, simple but eloquent -- a wistful, almost fatalistic observation of life on the road and the elusiveness of love and fortune. With its loping country-blues feel, the easy, swinging backbeat from Mark and Bill, and interlocking guitar and electric piano by Mike and Lee, "I'll Be Gone" became an immediate hit, racing up the charts to became the national #1 in February 1971 and spending 20 weeks in the charts.

Its success was considerably assisted by one of Australia's classic early promotional films, created by musician and film maker Chris Lofven (who also made the clip for Daddy Cool's Eagle Rock soon after). The simple but evocative monochrome film clip, which cost the princely sum of $300, was filmed around Tullamarine and features brief glimpses of Mike's wife Helen and their young son, Chris, who also appears on the front cover of Spectrum Part One. 

Milesago

Tracks
1. Make Your Stash (Ross Wilson) - 4:11
2. Fiddling Fool - 12:30
3. Superbody) - 9:15
4. Drifitng - 3:24
5. Mumbles I Wonder Why (M. Rudd - Ross Hannaford) - 5:51
6. Launching Place, Part I (Mono) - 3:33
7. I'll Be Gone (Mono Single Edit, Harvest Australian Single) - 3:31
8. Launching Place, Part II (B-Side Of Harvest Australian Mono Single) - 3:03
9. I'll Be Gone (Full Length Stereo Version, Harvest Germany Single) - 4:25
10. Launching Place, Part II (Psycho-Psychedelic Version, B-Side Of Harvest Germany Single) - 2:54
11. I'll Be Gone (Original Mono Acetate Demo) - 3:40
12. You Just Can't Win (Original Mono Acetate Demo) - 4:44
All songs by Mike Rudd except where noted

Spectrum
*Michael (Mike) Rudd - Guitar, Vocals
*Lee Neale - Organ, Piano, Vocals
*Mark Kennedy - Drums, Percussion
*Bill Putt - Bass

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The Mandrake Memorial - The Mandrake Memorial (1968 us, great art psych early progressive rock)

Anyone who lived in Philadelphia in the late '60s would remember the Mandrake Memorial well. They opened for many of the star rock bands who passed through the city, and in terms of local popularity, they were probably only second to the Nazz. Outside of Philadelphia, they were scarcely known whatsoever, though they did manage to produce some fine second-division psychedelia. As vocalists they were adequate, but they were accomplished players and interesting writers, dressing their solid melodies with liberal jazz and Middle Eastern influences. Guitarist Craig Anderton became a noted music technology writer, contributing to magazines such as Electronic Musician. 

Their debut album, a suite-like collection features some haunting, first-rate songs, such as "Bird Journey," "Here I Am, " and "Dark Lady." With their harmonies and interplay between guitar, electric keyboards, and occasional sitar, they were very much a band of their age, but played with a drive and precision that anticipated progressive rock. 

by Richie Unterberger

Mandrake Memorial's trippy debut--dig that sitar and electric harpsichord--did very well for them along the East Coast, partly because they played live so incessantly. George Manney says: "They were the unofficial Trauma 'house' band. The Trauma was an underground venue on Arch Street (1967-'68) that hosted bands such as Velvet Underground, Frank Zappa and the Mothers of Invention, Tim Buckley, Moby Grape, plus many more." This eponymous album was ethereal and melodic, a quiet contrast to the tumultuous days when it was released.

P/W

Tracks
1. Bird Journey - 2:40
2. Here I Am - 3:50
3. Rainy May - 3:45
4. This Can't Be Real - 3:45
5. Dark Lady - 4:14  
6. House Of Mirrors - 2:28
7. To A Lonely - 3:50  
8. Strange - 3:55  
9. Next Number - 4:11
10. Sunday Noon - 7:08
All selections composed and arranged by Mandrake Memorial

The Mandrake Memorial
*Craig Anderton - Guitars, Sitar
*Michael Kac - Keyboards, Vocals
*Randy Monaco - Bass, Vocals
*John Kevin Lally - Drums, Timpani

1969  Medium

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Delaney, Bonnie And Friends - D 'n' B Together (1969-72 us, bright groovy blues folk country psych, 2003 extra tracks remaster)

The husband and wife team of Delaney & Bonnie has fallen through the cracks of time, and today, the couple is barely remembered for its influence on music. Even during its heyday, Delaney & Bonnie struggled to score a hit, although it eventually succeeded with the definitive cover of Dave Mason’s Only You Know and I Know, the lead-off track from its sixth and final album D&B Together.

Though Delaney and Bonnie Bramlett never found the commercial audience for which they strived, they did achieve a high-level of recognition among their peers. It was Byrds-man Gram Parsons who first introduced George Harrison to the duo’s music, and Harrison brought Eric Clapton into their rapidly growing family. Clapton immediately became Delaney & Bonnie’s biggest supporter, inviting them to open for Blind Faith as well as performing on the pair’s subsequent albums and tours. 

For certain, within Delaney & Bonnie’s albums was the inspiration and impetus for Clapton’s own solo career. The rich mixture of gospel, soul, R&B, country, and folk that he used to great effect on his self-titled debut (as well as 461 Ocean Boulevard and Slowhand) was rooted in these freewheeling sessions with the Bramletts.

D&B Together features an all-star line-up, including Dave Mason, Tina Turner, King Curtis, Bobby Keys, Rita Coolidge, Leon Russell, Billy Preston, Red Rhodes, Steve Cropper, and the entire cast of Derek & the Dominoes. Often, albums with this many guests become bogged down in ego trips, but the early ’70s was the perfect time for these sorts of jam sessions, which frequently worked quite well. Such is the case with D&B Together, an organic, earthy album that generally finds the perfect combination of musicians. 

Highlights are plenty, including Bonnie’s righteously rapturous vocals on Wade in the River of Jordan, the rolling percussion-fueled Well, Well, the rousing groove Big Change Comin’, and the soulful, Band-tinged I Know Something Good about You. Ultimately, though, it’s the Clapton-contributed Comin’ Home that steals the show with its flurry of churning guitars and percussion. Beautifully remastered and augmented with six tracks from the Bramletts’ post-collaborative solo outings, D&B Together has never sounded better.

by John Metzger

Tracks
1. Only You Know And I Know (Dave Mason) - 3:26
2. Wade In The River Of Jordan (Traditional, Arr. Delaney Bramlett) - 2:10
3. Sound Of The City (Delaney Bramlett, Joe Hicks) - 2:39
4. Well, Well (Delaney Bramlett) - 3:03
5. I Know How It Feels To Be Lonely (Bonnie Bramlett, Leon Ware) - 3:47
6. Comin' Home (Bonnie Bramlett, Eric Clapton) - 3:13
7. Move 'Em Out (Steve Cropper, Bettye Crutcher) - 2:50
8. Big Change Comin' (Delaney Bramlett) - 3:22
9. A Good Thing (I'm On Fire) (Delaney Bramlett, Gordon Dewitty) - 2:13
10.Groupie (Superstar) (Bonnie Bramlett, Leon Russell) - 2:49
11.I Know Something Good About You (Delaney Bramlett, Joe Hicks) - 4:11
12.Country Life (Delaney Bramlett, Bobby Whitlock) - 3:38
13.Over And Over (Delaney Bramlett) - 2:41
14.I'm Not Your Lover, Just Your Lovee (Delaney Bramlett, Doug Gilmore) - 4:28
15.Good Vibrations (Gordon Dewitty) - 3:13
16.Are You A Beatle Or A Rolling Stone (Delaney Bramlett, Doug Gilmore) - 3:22
17.(You Don't Know) How Glad I Am (Jimmy Williams, Larry Harrison) - 3:58
18.California Rain (Delaney Bramlett, Doug Gilmore) - 3:52
 
Musicians
*Delaney Bramlett - Guitar, Vocals
*Bonnie Bramlett - Vocals
*Eric Clapton - Guitar, Vocals
*Leon Russell - Piano, Keyboards, Vocals
*Duane Allman - Guitar, Vocals
*Dave Mason - Guitar, Vocals
*Carl Radle - Bass, Vocals
*John Hartford - Banjo, Vocals
*Steve Cropper - Guitar, Vocals
*Jim Gordon - Drums, Vocals
*Red Rhodes - Steel Guitar, Vocals
*Jaimoe - Drums, Vocals
*Billy Preston - Keyboards, Piano, Vocals
*Charlie Freeman - Guitar, Vocals
*Kenny Gradney - Bass, Vocals
*Bobby Whitlock - Keyboards, Vocals
*Bobby Keys - Saxophone, Vocals
*James Jamerson - Bass, Vocals
*Jerry Jumonville - Saxophone, Vocals
*King Curtis - Saxophone, Vocals
*Larry Knechtel - Bass, Vocals
*Darrell Leonard - Trumpet, Vocals
*Jim Price - Horns, Vocals
*Chuck Rainey - Bass, Vocals
*Larry Savoie - Trombone, Vocals
*Rita Coolidge - Vocals
*Tina Turner - Vocals
*Venetta Fields - Vocals
*Merry Clayton - Vocals
*Eddie Kendricks - Vocals
*Sam Clayton - Vocals
*Joe Hicks - Vocals
*Patrice Holloway - Vocals
*Tex Johnson - Vocals
*Clydie King - Vocals
*Sherlie Matthews - Vocals
*Gordon De Witty - Vocals
*Jay York - Vocals

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The Floating House Band - The Floating House Band (1969 us, beautiful folk psych harmonies, korean remaster)

When the Stone Poneys break-up, Bob Kimmel created and developed the concert series at McCabe's Guitar Shop in Santa Monica, California. It was to become one of the premier acoustic music venues in the country. 

By the time he left 7 years later, McCabe's was on everyone's map and names like Jackson Browne, Odetta, Emmylou Harris, Bill Monroe, Jennifer Warnes, Doc & Merle Watson, The New Grass Revival, David Grisman, Tom Waits and Chet Atkins had all headlined there - along with hundreds of others. McCabe's had become a folk music mecca on the west coast.

During that time, Bob also teamed up with still another Tucsonan, Shep Cooke (who was on the final Stone Poneys tour) and LA musician Kit Alderson and they formed The Floating House Band, another acoustic singing trio. They signed a record deal and recorded an album for Takoma Records, which was owned by folk guitarist John Fahey. 

A chemistry of wonderful vocal harmonies acoustic guitars great songwriting, an amalgam of folk, country and psychedelia.

BKspecial

Tracks
1. Livin' Like There's No Tomorrow (Wendy Waldman) - 2:44
2. Any Day Woman (Paul Siebel) - 2:44
3. Mayday Waltz (Shep Cooke) - 3:15
4. It Won't Be Easy (Bob Kimmel) - 3:41
5. Valentine Day Massacre (Shep Cooke) - 3:41
6. Song for Martha Lee (Bob Kimmel) - 3:46
7. One Way Road (Bob Kimmel) - 4:04
8. Simple Life (Bob Kimmel) - 3:20
9. For Sharl (Shep Cooke) - 1:56
10.Doubter's Highway to Glory (Bob Kimmel) - 2:42
11.Shep's Goin' to the Country (Shep Cooke) - 2:29
12.Let Me Fly (Bob Kimmel) - 3:17

The Floating House Band
*Pat Cloud - Banjo
*Andrew Gold - Drums
*Shep Cooke - Guitar, Bass, Vocals
*Kit Alderson - Guitar, Autoharp, Keyboards, Vocals
*Rick Epping - Harmonica
*Bob Kimmel - Guitar, Vocals
*Dennis Wood - Percussion

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Kevin Coyne - The Dandelion Years (1969-1972 uk, amazing blues folk rock, 2007 three disc boxset)

I first became acquainted with the utterly unique phenomenon that is Kevin Coyne with his second solo album, Marjory Razorblade, which is generally recognized by critics and fans as his best overall work.

And what a work it is, nightmarishly combining blues, folk, Van Morrison-meets-Beefheart vocals and simultaneously humorous and disturbing lyrics and images across its sprawling 2 LPs worth of space. After digesting Marjory Razorblade, I had to hear more from Kevin Coyne.

Since his mid-70's albums are considerably harder to find and since his solo debut, Case History, has nearly as strong a reputation as its sequel, I decided to pick up this 3 album compilation.

The Siren material in this set doesn't hold up as well as Coyne's solo work. Their self-titled first album is the better of the two; it's a wide-ranging platter of British blues, ranging from hopping, dancy numbers ("Ze-Ze-Ze-Ze" and the raunchy "Gardener Man") to acoustic and electric slide-drenched ("Get Right Church" and "Wasting My Time") to piano-powered grinders like "Rock Me Baby" and "The War is Over").

The band whips out about every instrument and style in the blues idiom, but there's not a ton of idiosyncrasy to the playing (or a lot of the lyrics, for that matter), which both makes for a slightly bland experience and mirrors the direction British blues was going--running out of fresh ideas and retreading old ground.

There's some good energy on some tracks, and Coyne has a great blues voice--growling, howling, wailing and whispering.

There's no doubt that most of the personality found on Siren is thanks to him--tracks like "And I Wonder," "Asylum" and "I Wonder Where" all stand out as breaking the mold with more interesting, off-kilter lyrics and quiet intensity that presages later work.

Strange Locomotion doesn't succeed in building upon Siren's promise. For the most part, it's more of the same in style and quality. At its best, the bluesiest stuff ("Gigolo," "Sheke My Hand") approaches the quality of Led Zeppelin a la Hats off to (Roy) Harper or the less weird tracks on Safe as Milk.

Again (but less often than on the debut) the best moments are when Coyne's fascinatingly weird personality shines through, as on the subtly twisted "Some Dark Day" and the sparkling "Soon."

 Case History. It's much more bare bones than Siren's albums, featuring mostly acoustic guitar and Coyne's distinct songwriting voice.

All of the ideas that are later fleshed out with large band arrangements and varying styles and tempos on Marjory Razorblade are visited here with quiet intensity--"White Horse" is impenetrable and uneasy, "Uggy's Song" features Coyne's knack for jagged chord progressions and dissonance, "Need Somebody" is a perfect representation of his uncanny ability to project emotional isolation and loneliness, and "Evil Island Home" is an echoey creep-out.

Themes of church oppression and eerily authentic accounts of madness appear on "My Message to the People" and "Mad Boy," respectively.

Throughout, Coyne proves his style as uncompromising and unique, from his experimental and evocative vocal style to his recognizable acoustic guitar style to his utterly inimitable songs (which is more than can be said for the bulk of the Siren albums).

This is often unsettling work on several levels, but once you connect with these songs you'll understand why so many people praise this man's work.

This reissue is of top quality--it sounds great, each album has its own disc and sleeve with original artwork, and the liner notes are informative and illuminating (especially with regards to Coyne's work in the mental health sector).

I'd recommend starting with Marjory Razorblade, which has more bang for the buck, but this is a perfect next step, as it's currently the easiest way to get ahold of Case History, plus the occasionally gripping Siren albums 

by Elliot Knapp

Tracks

Disc 1 (as Siren)

1. Ze-Ze-Ze-Ze (Clague, Coyne, Cudworth) 3:04

2. Get Right Church (McDowell) 3:20

3. Rock Me Baby (Josea, King) 3:30

4. Wake Up My Children (Clague, Coyne, Cudworth) 3:37

5. Wasting My Time (Clague, Coyne, Cudworth) 2:49

6. Sixteen Women (Clague, Coyne, Cudworth) 2:46

7. First Time I Saw Your Face (Clague, Coyne, Cudworth) 2:52

8. Gardener Man (Clague, Coyne, Cudworth) 3:32

9. And I Wonder (Coyne, Cudworth) 2:45

10.The War Is Over (Clague, Coyne) 4:48

11.Asylum (Coyne, Cudworth) 3:44

12.Bertha Lee (Petway) 3:17

13.I Wonder There (Coyne, Cudworth) 5:09

14.Mandy Lee (Clague, Coyne) 2:01

15.Bottle Up and Go (Traditional) 3:12

16.The Stride (Clague, Coyne) 2:36

Disc 2 (as Siren)

1. Relaxing with Bonnie Lou (Coyne, Cudworth) 3:24

2. Some Dark Day (Coyne, Cudworth) 3:31

3. Hot Potato (Clague, Coyne, Cudworth) 4:07

4. Soon (Coyne, Cudworth) 3:46

5. Gigolo (Coyne, Cudworth) 4:25

6. I'm All Aching (Coyne, Cudworth) 3:03

7. Strange Locomotion (Clague, Coyne, Cudworth) 2:56

8. Shake My Hand (Coyne) 3:17

9. Lonesome Ride (Coyne, Cudworth) 2:20

10.Fetch Me My Woman (Clague, Coyne, Cudworth) 7:38

11.Fat Moaning Minnie (Coyne, Cudworth) 2:50

12.Squeeze Me (Clague, Coyne, Cudworth) 2:35

Disc 3
1. God Bless the Bride (Coyne, Cudworth) 3:55
2. White Horse (Clague, Coyne, Cudworth, Ferguson) 4:13
3. Uggy's Song (Coyne) 2:58
4. Need Somebody (Coyne) 4:15
5. Evil Island Home (Coyne) 5:00
6. Araby (Coyne) 3:38
7. My Message to the People (Coyne) 5:23
8. Mad Boy (Coyne) 4:45
9. Sand All Yellow (Clague, Coyne, Cudworth) 5:44
10.Cheat Me (Clague, Coyne, Cudworth) 3:13
11.Flowering Cherry (Clague, Coyne, Cudworth) 2:41

 Musicians
*John Chichester - Guitar
*Dave Clague - Bass
*Kevin Coyne - Guitar, Vocals
*Nick Cudworth - Guitar, Piano
*Mick Gratton - Guitar
*Tat Meager - Drums
*Mick Sweeny - Guitar

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Foghat - Rock And Roll Outlaws (1974 uk, 4th album, tough boogie 'n' roll, japan remaster)

Though "Energized" had reached gold status in the U.S., the band wasn't exactly happy with its production. "Tom Dawes was really talented, but his musical tastes differed from ours," Peverett says. "We wanted someone who understood the feeling of our music a little more."

The band found such a studio partner in Nick Jameson. Hailing from Philadelphia, Jameson had become part of the Bearsville family when Todd Rundgren worked with Nick's band "American Dream." From there, Jameson became an engineer, remixing some tracks on the "Foghat" album. He returned to produce and engineer the group's "Rock And Roll Outlaws" LP (1974), from which comes the melancholy midtempo track "Dreamer."

Foghat-history

Tracks
1. Eight Days On the Road - 6:08
2. Hate to See You Go - 4:39
3. Dreamer - 6:39
4. Trouble In My Way - 3:32
5. Rock and Roll Outlaw - 3:53
6. Shirley Jean - 3:46
7. Blue Spruce Woman - 4:08
8. Chateau Lafitte '59 Boogie - 6:17

Foghat
*Roger Earl - Drums
*Rod Price - Lead Guitar, Vocal
*Tony Stevens - Bass
*Lonesome Dave - Lead Vocal, Guitar

Foghat
1972  Foghat (1st Album, Japan remaster)
1973  Rock And Roll (Japan remaster)
1974  Energized (Japan remaster)
Related Acts
1967-68  Savoy Brown - Shake Down / Getting To The Point
1969-70  Savoy Brown - Raw Sienna / Looking In

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Jacob's Creek - Jacob's Creek (1969 us, essential folk psych bluesy rock, 2011 reissue)

This Trenton New Jersey band was lead by brothers Lon and Derrek Van Eaton, who previousle played with local garage band The Tree, along with drummer Tim Case and are best-known for the subsequent music they made for The Beatles’ Apple label. 

They added guitarist Steve Burgh and singer guitarist Bruce Foster to form Elisium in 1968, which morhed into Jacobs Creek. Basing themselves in New York, they played at Andy Warhole's Factory, opened the Doors and soon signed to Columbia, who placed them with producer  Al Lawrence (perhaps best known for his work with Santana).

The quintet's resulting album was issued in August 1969 complete with a lyric insert and touched on pop, rock, country, blues, psychedelia and Folk. With arrangements encompassing electric guitars, horns and sitar, unfortunately the label didn't promote it, and (despite encouranging radio play) didn't sell. The band continue to play around New Jersey

finally splitting in March 1971. Brothers Lon and Derrek Van Eaton put together some home recorded demos as a duo, Apple's manager Tony King liked what he heard and recommended the duo  to George Harrisson who arranged for them to singed to Apple in September 1971 and went on to produce their album, Brother, released next year.

Tracks
1. Colors - 5:20
2. Anonymous Verdict Suite (Jesus' Return / Christian Man) - 7:18
3. Everything's Gonna Be Alright - 2:26
4. Coming… The River - 5:04
5. Do You Understand? - 3:09
6. What's Around - 3:02
7. A Love Song - 2:08
8. Behind The Door - 4:06
9. What You Hear (Lon Van Eaton, Bruce Foster) - 2:53
10.Lonely Fire - 4:10
11.The Circle - 6:10
12.Katharine - 1:01
All songs written by Lon Van Eaton, except where noted.

Jacob's Creek
*Lon Van Eaton - Keyboards, Guitars, Vocals
*Steve Burgh - Guitars, Organ, Vocals
*Derrek Van Eaton - Vocals
*Tim Case - Drums
*Bruce Foster - Guitar, Banjo, Organ
*Steve Mosley -  Drums
Guest Musician
*Denny Storley - Congas

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Louie And The Lovers - The Complete Recordings (1970-72 us, impressive guitar folk psych roots 'n' roll)

 

In 1970, I worked at Rolling Stone magazine and got to know Doug Sahm, the eccentric Texas rocker and leader of the Sir Douglas Quintet. He was living in Marin County, Calif., but was uneasy living in what he considered the big city. One day, he vanished, and I was told he'd gone to Vancouver. But it wasn't true: He called me out of the blue and told me he'd discovered a great band out where he was living now: Prunedale. This turned out to be about five miles north of Salinas, smack in the middle of what was then violence-ridden agricultural country, where Cesar Chavez was organizing the farmworkers and meeting resistance from the big growers.

Doug wasn't telling the strict truth. In fact, it had been his wife Violet who'd discovered Country Fresh, as its members were calling themselves, a band that had formed in high school around Louie Ortega's songwriting talents, Frank Paredes' guitar, Steve Vargas' bass and Albert Parr's drums. Vargas knew someone who knew Violet Sahm, and so she got a copy of a tape the band had made to help it get gigs. After one listen, she knew she had to get Doug to listen to it, which wasn't easy. Once he did, though, he flipped, and started agitating to get them a deal. Epic Records took the bait, and Doug told the band that he'd rechristened them Louie and the Lovers in the course of contract negotiations. He hustled them up to Columbus Studios in San Francisco, where he was also recording the Sir Douglas Quintet, and he produced a mammoth 18-hour session that resulted in Louie and the Lovers' first album, Rise.

Doug saw to it that Epic didn't release the album until the four boys graduated from high school, but then nothing happened. Two singles, "Rise" and "I Know That You Know," were released, and the latter was praised by Greil Marcus in Rolling Stone. There was no tour, but I saw the band play at Keystone Berkeley one night, and it was a magnificent show until Doug decided he could make it even better by jumping onstage, plugging in and turning up to 11, drowning out the band.

But Epic believed in the guys enough to fund another album, which Glen Kolotkin co-produced with the band. A single, "Tomorrow Just Might Change," has survived from this, and it's pretty good.

Two other tracks, "Little Georgie Baker" and "Tomorrow Just Might Change," show that Louie Perez was still writing memorable melodies. Doug had disappeared back to Texas, but since Louie and the Lovers were a big deal in and around Salinas, they worked a lot.

Then the legendary producer and co-owner of Atlantic Records, Jerry Wexler, came on the scene. He was crazy about Doug and signed him to Atlantic, and Doug raved about this band he knew in Prunedale. Wexler sent his private jet to fly them to Florida to record — the first time any of them had flown — and when they got there, they found not only Doug, but the Memphis Horns and another friend of Doug's, the legendary San Antonio accordionist Flaco Jimenez on his first trip out of Texas.

To my ears, the song "Ya No Llores" was about the best thing on the session. The rock stuff sounds crowded, what with all the talent in the room, and even though the vocals for the entire album were re-recorded in Hollywood, Atlantic shelved it after spending tons of money on it. Back in Prunedale, two of the guys left for day jobs, and Louie Perez and Frank Paredes soldiered on playing around Salinas and making a living at it.

One day in the early '80s, Perez found himself at a Doug Sahm show at the Whiskey a Go-Go in Los Angeles, and Doug called him on stage to sing "I Know That You Know." Shortly thereafter, Perez got a call from Doug asking if he could go on tour. The next day, he was on a plane to the Midwest. From then until Doug died in 1999, Louie Perez played, not only in the various versions of the Sir Douglas Quintet, but later in the Texas Tornados, the supergroup Doug formed with keyboardist Augie Meyers, Freddie Fender and Flaco Jimenez. He's still writing and recording songs, living in San Luis Obispo. As he told me a few years ago, he can work seven days a week if he wants to. Cesar Rojas of Los Lobos is a fan. Me, too. 

by Ed Ward

Tracks
1. Rise - 3:59
2. I've Always Got You on My Mind - 3:05
3. Sittin' by Your River - 3:50
4. Driver Go Slow - 3:11
5. I Know You Know - 2:51
6. Royal Oakie - 2:46
7. I Don't Want to Be Seen with You - 3:18
8. I Just Met You - 2:03
9. Rock Me Baby (Joe Josea, Riley King) - 3:21
10.If the Night (Chris Darrow) - 3:32
11.It's the Morning - 2:43
12.Four-Time Loser - 2:17
13.Little Georgie Baker - 3:07
14.Tomorrow Just Might Change - 1:48
15.Out of Jail (Steve's Tune) (Steve Vargas) - 4:05
16.My Belief in You - 2:45
17.Caribbean (Mitchell Torok) - 2:15
18.We Don't Have to Change - 2:49
19.Spread Some Love Around (Doug Sahm) - 3:08
20.Forgive Me This Time - 2:57
21.Ya No Llores - 2:11
22.Please Wake Up - 2:40
23.Down Around Salinas (Jackie DeShannon) - 3:35
24.La Paloma (Sebastián Yradier) - 2:26
25.If You Ever Say You Love Me (Doug Sahm) - 3:42
26.El Paso (Marty Robbins)- 4:40
27.Never Be a Saint - 4:17
All songs by Louie Ortega except where noted

Louie And The Lovers
*Louie Ortega - Guitar, Vocals
*Steve Vargas - Bass, Keyboards, Organ
*Albert Parra - Drums
*Frank Paredes - Bass, Guitar, Vocals
Guest Musicians
*John Rendon - Vocal Guitar
*Flaco Jiménez - Accordian
*Joe Lala - Timbales
*David "Fathead" Newman - Memphis Horns, Saxophone
*Dr. John - Keyboards
*Charlie Owens - Steel Guitar
*Doug Sahm - Guitar, Producer

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Peter Green's Fleetwood Mac - Live At The BBC (1967-71 uk, classic blues rock, double disc issue)

After many years of wailing I am proud to be able to present to you an incredible selection of Fleetwood Mac songs found deep from within the archives of the BBC. I searched tor a way in this first release to portray the magic of those early Fleetwood Mac days and to also show a very different side of the hand that many of 'you may not have even known existed.

This journey into my past was one that has not only reconnected me with main personal memories, hut one that has given me insight; a reminder of why the passion of playing has stayed with me for all these years. Now you may be asking who all these young players are? We are Peter Green. John Mc-Vie. Jeremy Spencer. Danny Kirwan and Mick Fleetwood. In simple language, we were a group of young Englishmen who assembled themselves around one person - Peter Green.

Even looking back now it amazes me how Peter's vision came through his music, and how that vision helped to create, and to leave behind an incredible feast of work. These BBC recordings may for the first time allow many of you an insight into Peter's live performances with Fleetwood Mac. Peter was a player with passion, a special touch and incredible talent. He was a player I am proud to say I was able to play drums with!

Jeremy Spencer, now how does one describe this tiny man of 5 feet 3 inches with the power of a giant. As you will hear on these recordings. Jeremy brought not only his love of the blues (which is demonstrated with his passion for Elmore .lames), but also his obsession for rock and roll, a side of him that in many ways would leave its imprint on the band's history. While performing live Jeremy always had a sense of f u n with the music.

I only wish that some of these sessions had been caught on film, for seeing was believing this crazy man on stage, Lest we not forget, he was also one hell of a slide guitar player. John Mc-Vie and myself I put together, for we are still just that - together. Musically he is a Bass player that has an innate ability to be there always in the right amounts and at the right time.  His sense of knowing is still very- often my guiding light.

Danny Kirwan was to join the original four members of Fleetwood Mac and to add a freedom to our music. This freedom of having 3 guitars was something especially Peter had found the need to explore. On these tapes you will certainly hear that musical magic between Peter and Danny. I believe there was an innocence in Danny that lent itself to the bands journey into the world of harmonies and melody.

In the end I think it is fair to say that all five original members contributed their own musical steps to the dance that was Fleetwood Mac.
I hope you like myself, enjoy the spirit of these BBC recordings.
by Mick Fleetwood

Tracks
Disc one
1. Rattlesnake Shake (Green) - 7:37
2. Sandy Mary (Green) - 4:58
3. I Believe My Time Ain't Long (Johnson arr. Spencer) - 2:58
4. Although the Sun Is Shining (Kirwan) - 2:30
5. Only You (Kirwan) - 2:49
6. You Never Know What You're Missing (Spencer) - 2:50
7. Oh Well (Green) - 2:24
8. Can't Believe You Wanna Leave (Price) - 3:25
9. Jenny Lee (Spencer) - 2:19
10.Heavenly (Unknown) - 2:35
11.When Will I Be Loved (Everly) - 2:11
12.When I See My Baby (Kirwan) - 2:09
13.Buddy's Song (Holly) - 2:07
14.Honey Hush (Turner) - 3:08
15.Preachin' (Unknown) - 3:03
16.Jumping at Shadows (Bennett) - 3:33
17.Preachin' Blues (Johnson) - 1:56
18.Need Your Love So Bad (Mertis John Jr.) - 3:48

Disc two
1. Long Grey Mare (Green) - 2:52
2. Sweet Home Chicago (Johnson) - 3:08
3. Baby Please Set a Date (McCoy) - 2:58
4. Blues with a Feeling (Jacobs) - 2:54
5. Stop Messin' Round (Green) - 2:14
6. Tallahassee Lassie (Slay, Picariello, Crewe) - 3:22
7. Hang on to a Dream (Hardin) - 2:56
8. Linda (Spencer) - 2:02
9. Mean Mistreatin' Mama (Carr) - 4:01
10.World Keeps Turning (Green) - 2:37
11.I Can't Hold Out (James) - 2:25
12.Early Morning Come (Kirwan) - 2:27
13.Albatross (Green) - 2:46
14.Looking for Somebody (Green) - 2:39
15.A Fool No More (Green) - 3:38
16.Got To Move (James, Seahorn) - 2:55
17.Like Crying Like Dying (Kirwan) - 2:32
18.Man of the World (Green) - 2:49

Fleetwood Mac
*Peter Green – Guitar, Vocals
*Jeremy Spencer – Guitar, Vocals, Piano
*Danny Kirwan – Guitar, Vocals
*John McVie – Bass
*Mick Fleetwood – Drums, Percussion

1968-71  The Best Of Peter Green's Fleetwood Mac
1969  Shrine '69

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