The Charlatans - The Amazing Charlatans (1965-68 us, prime psych folk rock)

The Charlatans were, by dint of timing, effort and wardrobe, the first on the scene of the 60s San Francisco psychedelic rock bands. The folkie jug-band scene going down in the Bay Area, circa 1964, was destined to be electrified. The Charlatans achieved this on several levels.

The man behind the Charlatans was architecture student George Hunter, who couldn't play a musical instrument, but wanted to be in a rock 'n' roll band. His concept and ambition were joined by Haight-Ashbury musician and entrepreneur Michael Ferguson's artistic and theatrical bent.

During 1964, the nascent group - which included Richie Olsen and Sam Linde - not only rehearsed, but also filmed and photographed themselves, as Hunter thought a successful band should. Some of that early footage may be seen in the film "The Life And Times of the Red Dog Saloon". The only thing missing was a paying gig, which the band was yet to have.

Drummer Linde eventually left the band, and Dan soon took his place, allegedly when he happened by the band's pad to score pot.

In the summer of 1965, The Charlatans were recruited by Chandler Laughlin to audition as the house band for the newly-opened Red Dog Saloon in Virginia City, Nevada. Dan was skeptical and somewhat reluctant to go, but the other members prevailed upon him, and their LSD-fueled audition at the Red Dog was a success.

The Charlatans' groundbreaking summer engagement at the Red Dog inspired musicians and promoters from San Francisco to begin what was to become a "golden era" of psychedelic music at the various SF dancehalls.

The Charlatans had several recording sessions from 1965 to 1968, and released a single on Kapp Records – "The Shadow Knows" b/w "32-20". The band wanted "Codine" to be the A-side, but the label deemed the subject matter to be too controversial.

Dan left the band in 1968 to concentrate on developing His Hot Licks, which had become an opening act for the Charlatans. After Dan's departure, a Charlatans album was released on Phillips.

Most of Dan's songs from this era are well-known to his fans today: "How Can I Miss You When You Won't Go Away", "By Hook Or By Crook", and "'Long Come A Viper". But his classic anthem of hippie relationship ennui, "We're Not On The Same Trip", should have had the success he envisioned for it. As Dan put it, "That could have been a fuckin' hit. man."

The tracks on the CD are from several sessions; The Autumn Demos (Coast Recorders, SF CA, 8/65), The Kama Sutra Sessions (Coast Recorders, early '66), The Golden State Demo (Golden State Recorders, SF CA, 7/67) and The Pacific High Sessions (Pacific High Recorders, Sausalito CA, early '68).

The Charlatans were not fated to get swept up in the massive SF Band Signings by major labels in the 60s. As Dan says in the liner notes, "We were just cast to be local, just doomed, that was it. Whatever the circumstances were."

by Dan Hicks

Tracks

1. Codine (Buffy Sainte Marie) – 2:22

2. Alabama Bound (Traditional, Arr. M. Ferguson, D. Hicks, G. Hunter, R. Olsen, M. Wilhelm) – 6:24

3. I Always Wanted A Girl Like You (G. Hunter, R. Olsen) – 1:31

4. I Saw Her (Traditional, Arr. M. Ferguson, D. Hicks, G. Hunter, R. Olsen, M. Wilhelm) – 2:06

5. How Can I Miss You When You Won't Go Away (D. Hicks) – 2:22

6. 32–20 (Robert Johnson) – 2:27

7. We're Not On The Same Trip (D. Hicks) – 3:12

8. Walkin' (G. Hunter, R. Olsen) – 3:08

9. Sweet Sue, Just You (Will Harris, Victor Young) – 3:40

10.East Virginia (Traditional, Arr. P. Gogerty, D. Hicks, G. Hunter, R. Olsen, M. Wilhelm, T. Wilson) – 1:40

11.The Shadow Knows (Jerry Leiber, M. Stoller) – 2:14

12.I Got Mine (D. Hicks) – 2:27

13.Steppin' In Society (Alex Gerber, Harry Akst) – 1:14

14.Devil Got My Man (Skip James) – 2:46

15.By Hook Or By Crook (D. Hicks) – 2:24

16.'Long Come A Viper (D. Hicks) – 2:41

17.Sidetrack (Traditional, Arr. M. Ferguson, D. Hicks, L. Hughes, G. Hunter, R. Olsen, M. Wilhelm) – 2:26

18.Alabama Bound (Traditional, Arr. M. Ferguson, D. Hicks, G. Hunter, R. Olsen, M. Wilhelm) – 2:45

19.Number One (M. Wilhelm) – 4:15

20.Baby Won't You Tell Me (John Hammond) – 3:41

21.Jack Of Diamonds (Traditional, Arr. M. Ferguson, D. Hicks, G. Hunter, R. Olsen, M. Wilhelm) – 4:49

22.The Blues Ain't Nothin' (M. Wilhelm) – 4:58

23.Groom N' Clean Ad (Traditional, Arr. M. Ferguson, D. Hicks, G. Hunter, R. Olsen, M. Wilhelm) – 0:40

The Charlatans

*George Hunter – Autoharp, Percussion, Vocals

*Michael Ferguson – Piano, Vocals

*Mike Wilhelm – Lead Guitar, Vocals

*Richard Olsen – Bass Guitar, Clarinet, Vocals

*Dan Hicks – Drums, Rhythm Guitar, Vocals

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The Spike Drivers - 60's Folkrocking Psychedelia From The Motor City (1965-68 us, exceptional psych garage rock)

The Spikedrivers had two line ups between 1965 and 1968 when these (largely) demo recordings were made. With dual male and female vocals some of these tunes are resonant of early Jefferson Airplane (Often I Wonder, Strange, Mysterious Sounds, Baby Let Me Tell You) whilst here and there, there is a definite Fairports influence (e.g. Portland Town). 

Many of the first nine cuts along with tracks 14 & 15; Can't Stand The Rain and I'm So Glad (no, not the Cream song) are infectious and you will soon find yourself humming them all day. There is a small patch of five numbers from their second incarnation though which have been over-recorded (in a rehearsal room seemingly) and which are supposedly ragga based, but which actually descend into over-amped acid-fried mayhem (Grocery Store, Everybody's Got That feeling, I Know, Time Will Never Die, Sometimes) which you will either love or skip past. 

So, an uneven set, but not surprising given that most are demo and rehearsal recordings from two different line-ups covering the transition from folk-rock to (heavy) psychedelia. As an all-round package and artefact however, it has history, a story to tell, colour and great hooks - I would grab it with both hands!

by Paul Martin 

Tracks
1. Often I Wonder (Ted Lucas) - 5:49
2. Strange, Mysterious Sounds (Ted Lucas) - 5:31
3. Baby, Let Me Tell You (Richard Keelan) - 4:32
4. Blue Law Sunday (Tony Wright) - 4:01
5. Baby, Can I Wear Your Clothes? (Joel Myerson) - 3:51
6. Got The Goods On You (Joel Myerson) - 3:45
7. High Time (Joel Myerson) - 2:29
8. Portland Town (Daryl Adams, Sid Brown) - 5:29
9. Grocery Store (Marshall Rubinoff) - 3:30
10.Everybody's Got That Feeling (Marshall Rubinoff) - 4:26
11.I Know (Marshall Rubinoff) - 5:18
12.Time Will Never Die (Marshall Rubinoff) - 3:08
13.Sometimes (Marshall Rubinoff) - 5:56
14.Can't Stand The Pain (Joel Myerson) - 2:30
15.I'm So Glad (Ted Lucas) - 2:28

The Spike Drivers
*Marycarol Brown - Vocals
*Ted Lucas - Guitar, Vocals (1-7, 14,15)
*Richard Keelan - Bass, Vocals (1-7, 14,15)
*Larry Cruise - Drums (1-13)
*Sid Brown - Guitar, Banjo
*Ron Cobb - Bass, Keyboards (8-13)
*Marshall Rubinoff - Lead Vocals, Rhythm Guitar (8-13)
*Steve Booker - Drums (14-15)

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The Shaggs - Wink (1967 us, rare psych garage folk rock)

Guaranteed original of this prep-rock classic, well-known among garage collectors already 25 years ago. From the prestigious Notre Dame school came this quintet with a jangly, Beatles/Byrds-inspired teenbeat album. I love the rubber band-sounding guitars! An excellent cover of "If I Were A Carpenter" and two moody originals are among the highlights. 

Although recorded in 1967 at the International Recording Studio in Chicago, this one and only offering by the five-piece preppy outfit from Notre Dame University in Indiana, with its multi-part vocal harmonies and jangly guitar, could easily have appeared in 1965 or ‘66. The liner notes helpfully inform us that the 12 well recorded tracks (10 covers and 2 originals) were laid down in a single 20-hour session, although the claim that this feat was “probably recording history” is surely born more out of youthful hyperbole than solid fact!However, there is no doubting the band’s musical proficiency as they canter through a selection of songs by such luminaries as the Stones, Who, Beau Brummels, Byrds and Them, with the high point being an inspired version of If I Were A Carpenter.

 As was so often the case, the band members, after producing what was to become a massively-collectable rarity, went their separate ways, probably to pursue fascinating careers in the world oforthodontistry or accounting. The exception was organist Geoff Gillette who, clearly finding the musical experience convivial, went on to forge a career as a recording engineer, working in thiscapacity with the likes of Flora Purim, Sergio Mendes, T-Bone Burnett and Dave Gruisin. 

by Adamus67

Tracks
1. Feel A Whole Lot Better (Gene Clark) - 2:28
2. I Call Your Name (Lennon, McCartney) - 2:15
3. If I Were A Carpenter (T.Hardin) - 3:01
4. Sugar And Spice (Tony Hatch) - 2:48
5. Little Girl  (Geoff Gillette) - 2:17
6. Let's Spend The Night Together (Jagger, Richards) - 3:14
7. My Generation (P. Townshend) - 2:21
8. If I Needed Someone (George Harrison) - 3:07
9. The Night Before (Lennon, McCartney) - 2:57
10.Cry Just A Little (Ron Elliot, Robert Durand) - 2:22
11.Impossibility (Rick Medich, Ted Poulos) - 2:28
12.Hey Joe (Billy Roberts) - 2:21

The Shaggs
*Rick Medich - Vocals
*Ted Poulos - Guitar, Vocals
*Geoff Gillette - Organ, Guitar, Vocals
*Franklin Krakowski - Drums
*Ray Wheatley - Bass, Vocals

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The Sun Also Rises - The Sun Also Rises (1970-72 uk, bright acid folk)

Superb sought-after 1970 British acid folk rarity from the Village Thing label. The Sun Also Rises is another case of a folk/psych duo (we’re thinking of Emtidi, whose “Saat” album we have also reissued) who virtually disappeared in the flesh, once they had left behind a small but fascinating recorded legacy. 

The sole Sun Also Rises album has been reissued (legally and illegally) on several occasions, a testament to continuing interest in the music contained therein. Who were they? They were Graham and Anne Hemingway from Cardiff, described everywhere as a mystical, magical hippie female and male folk duo, who played guitars, dulcimer, glockenspiel, vibes, bells, kazoo, percussion—joined throughout by label-mate John Turner (bowed and finger-picked string bass), and Andy Leggett.

Their one and only album is very much in the creative style and delivery of the Incredible String Band, with similarities to the work of their contemporaries Dr. Strangely Strange, COB, Comus, Forest and Tir Na Nog, as well as others of the original freak-folk brigade. The results of their efforts were tripped-out, spellbinding, esoteric folk collages—songs of wizards and dragons, dreams and intentions, love, flickering candlelight, the sweet scent of half-remembered summers, death, jasmine, and suicide. 

We hope that this album will come as a wonderful surprise for lovers of the Incredible String Band and their ilk, as there were few bands that were able to stray into this much loved and much loathed world of fantasy and folk music, and live to tell the tale. This Lion Productions edition comes with a 16-page booklet printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy, which contains a small dose of band info, album lyrics, histories of the Village Thing and Saydisc labels by co-founder Gef Lucena, as well as a Village Thing label discography.

Light-Attic

Tracks
1. Until I Do (Words by Phil Sawyer) - 3:47
2. Wizard Shep - 5:01
3. Part Of The Room - 3:45
4. Green Lane - 8:09
5. Tales Of Jasmine And Suicide (Words by Richard Sylverster) - 3:21
6. Flowers (Words by Heather Holden) - 5:19
7. Song Of Consolation (Words by Spike Woods) - 1:39
8. Suddenly It's Evening - 2:30
9. Death (Traditional arr. by Graham Hemingway) - 6:35
10.Fafnir And The Knights (Words by Heather Holden) - 4:30
Words and Music by Graham Hemingway arrangments by Anne Hemingway except where noted

The Sun Also Rises
*Graham Hemingway - Vocals, Guitars
*Anne Hemingway - Vocals, Dulcimer, Glockenspiel, Vibes, Percussion
With
*John Turner - String Bass
*Andy Leggett - Whistle

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Spirit - Feedback (1971 us, marvelous hard psych with blues jazz and country shades)

Feedback is one of the strangest happenings in rock, more dramatic than Michael MacDonald taking over the Doobie Brothers, but more successful artistically than it was financially, and a chapter of the group that is sadly forgotten. The original band was produced by Lou Adler and built around guitar prodigy Randy California, and a bit of history is in order to understand this hybrid project. David Briggs, producer of Kathi MacDonald, Alice Cooper's Easy Action, and Neil Young, helped the band forge their classic Twelve Dreams of Dr. Sardonicus and was retained for this follow-up. 

William Ruhlmann's liner notes to Spirit's Time Circle Epic/Legacy release notes that Randy California resigned from the group at this point. Mark Andes and Jay Ferguson formed Jo Jo Gunne with Curly Smith, and Smith's friends, the Staehely Brothers, joined Cassidy and company. What Ed Cassidy and keyboard player John Locke created with producer David Briggs was a phenomenal reinvention of Spirit, which worked, sometimes better than the original group. Bassist/vocalist Al Staehely wrote the music, with guitar chores and backing vocals by his brother J. Christian Staehely.

"Witch," the final track on the disc, is typical of this new Spirit sound, a fusion of pop/jazz/rock with a dab of country. It would have been a perfect blend for Randy California to step back into, though his ego might have been the stumbling block here. In concert, this version of Spirit was serious and precise, playing with a cool efficiency. David Briggs was the perfect guy to oversee this project, allowing the musicians their space and developing a true counterpart to The Twelve Dreams of Dr. Sardonicus, considered by many to be the band's highpoint. 

The cover is in eerie aqua blue with the faces looking like spirits peering out of a distorted television. The gatefold contains a band photo and a smart evolutionary image for this eclectic and underrated West Coast band. Here's the clincher: musically, some of the best work on Feedback are the two instrumentals by keyboard player John Locke, "Puesta Del Scam" and "Trancas Fog-Out," fragments of the original "Spirit" performed by this new quartet. 

The stuff is brilliant, and that it was excised from Time Circle is a pity. It was this writer who put Epic/Legacy in touch with Randy California in the development of 1991's Time Circle compilation project, and certainly the elegant "Darkness," the third John Locke title, deserved to be included on that double disc, and some representation of this remarkable work would have been appropriate rather than nine whopping cuts from The Twelve Dreams of Dr. Sardonicus. Jo Jo Gunne guitarist Matthew Andes (brother of Spirit's Mark Andes) co-wrote "Mellow Morning" with Al Staehely, and it, along with "Right on Time" and "Ripe and Ready," all display the Spirit vibe, even hinting at some Jo Jo Gunne, as strange as that may seem. 

The Cassidy/Locke/Staehely/Staehely combo added enough jazz to Spirit to temper the all out assault that was Jo Jo Gunne, and therein lies the difference. This is not David Bowie's ex-drummer and bassist forming the Spiders From Mars; keep in mind that Ed Cassidy was not only the band's insignia with his Yul Brynner look, he was this group's spiritual leader. As Randy California's step-dad, it's a shame he didn't get more firm with the boy and demand they all be "the family that plays together." 

Had the Staehely brothers and John Locke stayed on board for Cassidy and Randy California's next project, the erratic Potatoland disc may have mutated into something totally brilliant. The best of Al Staehely, John Locke, and Randy California would have been truly something. Feedback is a solid performance and remarkable album which deserves its place in the Spirit catalog, and not the status of bastard son. It is a legitimate Spirit project and it is very, very good. 

by Joe Viglione

Tracks
1. Chelsea Girls – 3:38
2. Cadillac Cowboys – 3:41
3. Puesta Del Scam (Locke) – 2:10
4. Ripe And Ready – 3:53
5. Darkness (Locke) – 4:59
6. Earth Shaker (Locke) – 4:02
7. Mellow Morning (Andes, A. Staehely) – 2:30
8. Right On Time – 2:50
9. Trancas Fog-Out – 2:46
10.Witch – 5:25
11.New York City – 3:36
All songs written by Al Staehely except noted

Spirit
*Ed Cassidy - Drums
*John Locke- Keyboards
*Al Staehely - Bass, Vocals
*Chris Staehely - Guitar, Vocals

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Cream - Fresh Cream (1966 uk, blues psych rock masterpiece, japan SHM remaster)

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

Cream
*Ginger Baker - Drums, Percussion, Vocals
*Jack Bruce - Vocals, Bass, Harmonica
*Eric Clapton - Guitar, Vocals

1967  Cream - Disraeli Gears (Japan SHM remaster)

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Mandrake Memorial - Puzzle (1969 us, great art psychedelia early prog)

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

1968  The Mandrake Memorial
1969  The Mandrake Memorial - Medium

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The Mads - Molesto (1967-68/71 peru, fantastic rough heavy groovy psych)

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

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John Verity Band - John Verity Band (1973 uk, pleasant hard rock, 2008 remastered digipack edition)

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.

Music-Might

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

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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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