Laid down at the height of the UK blues boom, Fresh Cream covers the kind of territory you might expect from three of the most respected players on the scene at the time. With Clapton fresh just from his time with John Mayall, Ginger Baker leaving behind the R'n'B backwaters of Graham Bond Organisation, and a woefully under-employed Jack Bruce hightailing it from the increasingly pop-leaning Manfred Mann, the electric blues was their natural turf.
Highlights include the racing harmonica work-out, and the call and response excitements on Muddy Waters’ “Rollin’ and Tumblin,’” a spine-tingled vocal on the Willie Dixon classic, “Spoonful” as well as the self-penned “Sleepy Time Time” which gives Clapton a free hand to wake up all and sundry. The traditional standard, "Cat’s Squirrel" is given a rousing treatment, showing how well these players meshed. Only a particularly anaemic stroll through Robert Johnson’s “Four Until Late”, sounds like a side filler.
What lifts this album beyond the blues-tinged pigeon-hole are some superior pop songs brought along for the ride. It’s well-neigh impossible to hear the opening bars of “I Feel Free” without conjuring up images of dolly birds, hip young guys in new threads full of finger-clicking coolness hopping aboard one of those brand new Mini cars and soaring off for groovy times. Cultural cliché’s aside, given the amount of musical information that’s been packed into those two minutes and fifty-five seconds, it’s a wonder the thing doesn’t implode under the weight of its own inventiveness.
The rhythmic ambitions and ambiguity of “NSU” adds to the thrill, and if some of it doesn’t quite work as well as it should (Bruce’s dreary “Dreaming” is especially lame), “Sweet Wine” with its psyche-tinged lyrics and the heavy breakout offers a clear hint of what was to come. Overshadowed by its more famous successor (1967’s Disraeli Gears) and their reputation lengthy improvisations during which mighty civilisations would rise and fall, their debut captures one of those elusive moments in music when blues, pop and rock magically starts to coalesce to create something brand new.
by Sid Smith
Tracks
1. I Feel Free (Bruce, Pete Brown) - 2:53
2. N.S.U.(Bruce) - 2:47
3. Sleepy Time Time (Bruce, Godfrey) - 4:22
4. Dreaming (Bruce) - 2:01
5. Sweet Wine (Baker, Godfrey) - 3:20
6. Spoonful (Willie Dixon) - 6:33
7. Cat's Squirrel (Instrumental) (Traditional, Arr. S. Splurge) - 3:05
8. Four Until Late (Robert Johnson, Arr. Eric Clapton) - 2:10
9. Rollin' And Tumblin' (Mckinley Morganfield) - 4:43
10.I'm So Glad (Skip James) - 3:59
11.Toad (Instrumental) (Baker) - 5:09
Along with the Nazz, this was one of Philadelphia’s top bands throughout the late 60′s. Prior to Puzzle, they released two good rock albums that had a vague Doors influence, mixing keyboards with guitar oriented psychedelia. Puzzle, released in 1969, is an extremely challenging album that is not recommended to those who are into song oriented pop. It’s also a very progressive album that mixes classical/avant garde elements into a dreamy soundscape.
The album is really a mood piece, with plenty of strange moments including one track devoted to a choir of children praying while Whisper Play has, you guessed it, whispers amongst a classical backdrop. Randy Monaco croons throughout the album and there is the occasional guitar freakout, one heard at the end of the 9 minute instrumental Bucket of Air. The reoccuring theme, Just a Blur is a nice, short trippy piece of acoustic music that hints at a concept.
For the era, the Puzzle album is somewhat long, clocking in at around 50 minutes. The real meat of the album lies within the songs. Earthfriend and Hiding are so ambient and so full of great sound effects that they predate a style of psychedelia that Spacemen 3 pioneered throughout the late 80′s. Ocean’s Daughter is another great, menacing song, being a trippy psychedelic ballad with studio trickery and light orchestration. The song characterizes the album itself: confused, dark and unsettling on one hand but alluring and full of beauty on the other. Even the album cover art is really weird and demented, featuring a well known painting with chrome plated maggots inching their way up an endless flight of stairs.
While not for everyone, Puzzle shrouds itself in a velvet mystery. It’s a totally unique experience within the world of pyschedelia that sounds completely unfamilar!
by Jason Nardelli
Tracks
1. Earthfriend (Prelude) - 3:50
2. Earthfriend - 4:49
3. Just A Blur (Version 1) - 0:46
4. Hiding - 3:01
5. Just A Blur (Version 2) - 1:38
6. Tadpole - 2:17
7. Kyrie - 3:18
8. Ocean's Daughter - 3:32
9. Volcano (Prelude) - 1:53
10. Volcano - 0:41
11. Whisper Play - 4:55
12. Bucket Of Air (1) - 0:36
13. Bucket Of Air (2) - 14:21
14. childrens Prayer - 3:03
15. Puzzle - 1:24
Mandrake Memorial
Randy Monaco - Vocals, Bass
Craig Anderton - Guitar
Michael Kac - Keyboards
Kevin Lally - Drums
Los Mads started out in the mid-1960s, playing covers and a few of their own songs on Peruvian television. But a chance sea-side encounter with Mick Jagger and Keith Richards after a private party got the Mads the chance to go to England; interest from Stones' manager Marshall Chess got them backstage to see Hendrix at the Isle of Wight—and recording time in the Rolling Stones studio.
Some demos recorded there and at Jagger's Stargroves castle (recorded live to studio truck, just like Led Zeppelin did for their third and fourth albums) plus a name change to MOLESTO got them gigs at the main venues in London. They jammed with Steve Winwood and Brian Davison (The Nice); they played with Jeff Beck and Carmine Appice; Molesto's guitar player, Alex Ventura, worked in a clothing boutique alongside Freddie Mercury and Roger Taylor. They were in the musical heart of England. And at that point, faced with growing friction within the group, Molesto disbanded. This disc collects recordings from all three stages of Los Mads/The Mads/Molesto's six year career, including two tracks from the Stargroves session.
The early tracks are groovy post Summer of Love stuff: 'Birds in My Tree' is a musical creamsicle, just right for summer nights. The excellent eight plus minute instrumental 'Tumor Bossa' has a Santana-esque feel. But the flamethrower guitar on Molesto tracks like 'Feels Like Love' and 'Fly Away' (which luckily clocks in at more than seven minutes) needs to be heard to be believed. Hard driving and heavy; wild, fast, rhythmic, and furious: top of the table stuff. Most tracks are sung in English.
by Adamus67
Tracks
1. If You Feel - 4:39
2. Fly Away - 7:04
3. Feels Like Love - 2:59
4. Tumorbossa - 8:37
5. Birds In My Tree - 4:54
6. Live A Little Longer - 3:22
7. Rock ‘n’ Roll Woman - 9:18
8. Aouh Aouh - 6:36
9. Last Time (Bonus Track) - 3:00
10.I've Got That Feeling (Bonus Track) - 3:06
The Mads
*Manolo Ventura - Lead Guitar
*Bil Morgan - Bass, Vocals
*Alex Ventura - Rhythm Guitar
*Richard Macedo - Drums
*Manongo Mujica - Drums
John Verity Band namesake John Verity has a wealth of experience with Argent, Charlie and Phoenix. Previous to Argent he had created The John Verity Band touring America as support to artists such as Jimi Hendrix and Mountain prior to journeying back to the UK in 1971.
In 1973 the John Verity Band was revived once more issuing a Steve Rowlands produced album the following year. Joining him were guitarist Geoff Lyth, bassist Jerry Smith, the enigmatically titled vocalist Thunderthighs and drummer Ron Kelly. Later recruits into the band were bassist Peter Byford and guitarist Paul Quinn, both from Son Of A Bitch. The John Verity Band supported Argent in the UK and following these dates Verity was enticed into the ranks of the headline act to fill the gap left by a departing Russ Ballard. Verity stayed for two albums 'Circus' and 'Counterpoint' before forming Phoenix.
As the 80's dawned Verity found himself reuniting with old friends Byford and Quinn producing the first album for their newly found status as Nwobhm heroes Saxon. He would also produce MotȪrhead and Tank. Verity also tried out for a position in Uriah Heep.
1981 had the man working with ex-Argent colleagues guitarist Russ Ballard and drummer Bob Henrit together with ex-Sweet frontman Brian Connolly in a short lived act titled Vel Verity. This union fell apart but Verity did produce and appear alongside Rod Argent and Henrit once more on Connolly's third solo single 'Hypnotized', a cover of the Fandango tune. Verity also formed part of Connolly's touring band when he supported Pat Benatar on her January 1983 tour.
Later the same year he also played one gig as a stand-in member Of Michael Schenker Group during their UK tour. 1983 proved a groundbreaking year for the man as he was offered positions in Michael Schenker Group, Asia and with Ted Nugent but chose instead to tour with John Coghlan's Diesel Band.
1983's 'Interrupted Journey' saw guests including GENESIS guitarist Mike Rutherford, Rod Argent and Russ Ballard. Bass came from former IF and Phoenix man Dave Wintour. Among the songs was a re-working of a Phoenix track written by Ballard 'Just Another Day (In The Life Of A Fool)' and 'Love Is Blind' also covered by Uriah Heep. For touring the band enrolled Jim Rodford's son Steve on drums and Terry Uttley on bass.
Verity's 1985's 'Truth Of The Matter' album featured Rutherford again, erstwhile Argent colleagues Henrit and Argent, as well As Smokie musicians Terry Uttley and Chris Norman. In late 1986 Verity formed The Guest List with Uttley, guitarist Patrick McDonald, erstwhile Rio and Berlin keyboard player Steve Thompson, ex Smokie guitarist Alan Silson and ex-Toy Dolls drummer Paul Smith.
Tracks
1. Schoolgirl - 9:16
2. 5000 Miles - 4:47
3. I Wish - 2:33
4. People - 7:07
5. Hitch-Hiker - 2:59
6. Gimme Some Lovin' - 5:47
7. So Hard So Long - 7:24
8. It's Alright - 4:48
9. Back On The Road Again - 3:17
All song by John Verity
John Verity Band
*John Verity - Guitar, Vocal, Bowed Guitar
*Geoff Lyth - Guitar, Keyboards
*Gerry Smith - Bass Guitar
*Ron Kelly - Drums
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.
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
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.
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.
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
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
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.
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
