Friday, September 20, 2013

Doug Sahm - Doug Sahm And Band (1973 us, great country folk blues rock)



Doug Sahm began his solo career in 1972, after the Sir Douglas Quintet finished its contract with Smash/Mercury and after Atlantic Records co-owner/producer Jerry Wexler convinced him to sign to his label. Wexler gave the Texas maverick the chance to cut a star-studded, big-budget album, shuffling him off to New York where Wexler and Arif Mardin helmed a series of sessions with an ever-revolving cast of musicians featuring Bob Dylan, Dr. John, David "Fathead" Newman, David Bromberg, and Flaco Jimenez, in addition to such Sir Doug stalwarts as Augie Meyers and the rhythm section of bassist Jack Barber and drummer George Rains (all but the latter were in the last incarnation of the Quintet, raising the question of whether the group was indeed finished or not, but such is the nature of Sahm's discography). 

This group cut a lot of material, which was whittled down to the 12-track album Doug Sahm and Band, released in early 1973. At the time, the record received a push from the label and was generally disparaged because of those very all-stars on whose back it was sold, but the years have been kind indeed to the album, and it stands among Sahm's best. Indeed, the heart of the album is not at all far removed from those latter-day Sir Douglas Quintet albums on Mercury, which isn't much of a stretch since Sahm never really strayed from his signature blend of rock & roll, blues, country, and Tejano, but the bigger band and bigger production give the music a different feel -- one that's as loose as the best Quintet material, but off-handedly accomplished and slyly freewheeling. 

Original reviews noted that there was an overtly country direction on And Band, but that's not really true on an album that has Western swing and rambling country-rock like "Blues Stay Away from Me" and the anthemic "(Is Anybody Going To) San Antone" jutting up against pure blues in "Your Friends" and "Papa Ain't Salty," let alone loose-limbed rockers like "Dealer's Blues" and "I Get Off" or the skipping Tejano "Poison Love," fueled by Jimenez's addictive accordion.

These are all convincing arguments that the larger band allowed Sahm to indulge in all of his passions, to the extent of devoting full tracks to each of his favorite sounds -- something that was a bit different than the Quintet records, which usually mixed it all up so it was impossible to tell where one influence ended and another began. That's still true on And Band -- for instance, witness the brilliant cover of Willie Nelson's "Me and Paul," a country song goosed by soulful horns and delivered in a delirious drawl from Sir Doug -- but much of the album finds that signature Sahm sprawl being punctuated by style-specific detours where Sahm seizes the opportunity to stretch out as much as his guests seize the opportunity to jam with this American musical visionary. 

These are all characteristics of a jam session, which these sessions essentially were -- after all, on this album he only penned three out of the 12 songs -- but relying on covers also points out how Doug Sahm sounds so much like himself, he makes other people's tunes sound as if he wrote them himself. Again, that's something that was true throughout his career, but here it is in sharper relief than most of his records due to the nature of the sessions. And while it's arguable whether this is better than latter-day Sir Douglas Quintet albums -- or such mid-'70s records as Groover's Paradise or Texas Rock for Country Rollers for that matter -- there's no question that this is music that is vividly, excitedly alive and captures Sahm at a peak. It's pretty much irresistible.
by Stephen Thomas Erlewine
Tracks
1. (Is anybody Going to) San Antone (Dave Kirby, Glen Martin) - 3:10
2. It's Gonna Be Easy (Atwood Allen) - 3:31
3. Your Friends (Deadric Malone) - 5:23
4. Poison Love (Elmer Laird) - 4:21
5. Wallflower (Bob Dylan) - 2:39
6. Dealer's Blues (Doug Sahm) - 2:58
7. Faded Love (B. Wills, J. Wills) - 3:55
8. Blues Stay Away From Me (A. Delmore, H. Glover, R. Delmore, W. Raney) - 4:48
9. Papa Ain't Salty (Grover McDaniel, T-Bone Walker) - 4:30
10.Me And Paul (Willie Nelson) - 3:34
11.Don't Turn Around (Doug Sahm) - 3:28
12.I Get Off (Doug Sahm) - 2:39

Musicians
*Doug Sahm - Vocals, Guitar, Harp, Fiddle, Bass, Organ, Piano
*Bob Dylan - Vocals, Guitar, Harp
*Dr. John - Organ
*Ken Kosek - Fiddle
*Charlie Owens - Steel Guitar
*Willie Bridges - Baritone Saxophone
*Arif Mardin - Electric Piano
*David "Fathead" Newman - Tenor Saxophone
*Wayne Jackson - Trumpet
*Flaco Jimenez Harmony - Accordion
*Atwood - Vocals
*Andy Statman - Mandolin
*Augie Meyer - Piano
*David Bromberg - Dobro Guitar
*Jack Walrath, Martin Fierro, Mel Martin - Horns
*George Rains - Drums

Sir Douglas Quintet
1964-66  The Best Of ....Plus
1969/73  Mendocino

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Bodo Molitor - Hits Internacionales (1969 mexico, rough 'n' hard garage psych)



Globe-trotting artist Bodo Molitor may have been born in Germany, but heêll forever be associated with the psychedelic scene in Mexico. In addition to creating the zoomorphic art for his own bizarre album, he also created the psychedelic art for the Kaleidoscope album, for La Libre Expresion, and for his brother Reinholdês solo album. 

As for –Hits Internacionales”, it has all the ambience and psychedelic delirium of the time, full of devastating fuzz and wacked out rhythms. And then there is Bodoês raspy and savage voice. Impressive. As Antonio Malcara says in his book "Catologo subjetivo y segregacionista del Rock Mexicano", this LP and that of Kaleidoscope are the two most important and representative pieces of Mexican garage rock-psychedelia. Collectors offer thousands of dollars to be able to get an original copy of –Hits Internacionales” in good condition.
Tracks
1. Sookie, sookie (Don Covey) - 2:16
2. Real real (N.Simone) - 2:17
3. She's a woman (McCartney) - 3:08
4. You don't know (Molitor, Costa) - 2:06
5. St. James Infirmary (Joe Primroge) - 2:30
6. Wen I was seventeen (Lonnie Donnegan) - 3:20
7. I wish i knew how (B.Taylor) - 2:37
8. A girl I knew (John Kay, Morgan Cavett) - 2:24
9. Don't le me be misunderstood (Benjamin, Marcus, Cadwell) - 2:31
10.Laziness (Molitor, Costa) - 1:37
11.The midnight hour (Pickett, Cropper) - 2:42
12.Try minnie try (Molitor, Costa) - 2:10
13.Hello, i love you (Morrison, Manzarek) - 1:56
14.You don't know (Molitor, Costa) - 2:09
15.St. James infirmary (Joe Primroge) - 2:33
16.A girl I knew (John Kay, Morgan Cavett) - 2:22

Musicians
*Bodo Molitor - Vocals, Guitar
*Juan García Aragón - Guitar
*Jorge René González - Organ

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Wednesday, September 18, 2013

George Kooymans - Jojo (1971 dutch, fabulous smooth rock, from Golden Earring's guitarist)



George Kooymans was the guitarist and co-founder of Golden Earring, the longest-lived and most successful rock group the Netherlands ever produced. Kooymans was born on March 11, 1948, in The Hague, and co-founded an instrumental rock 'n' roll combo, the Tornados, with childhood friend and bassist Rinus Gerritsen in 1961. Not long afterward, a British group of the same name had an international hit with "Telstar," and Kooymans and Gerritsen changed the band's name to the Golden Earrings, after a Peggy Lee song. In 1965, having adopted a British beat style, they became the first Dutch rock group to record a full-length album, Just Earrings, and landed their first hit in their home country, the Top Ten "Please Go" (co-written by Kooymans and Gerritsen). 

Three years later, they scored their first Dutch number one with "Dong-Dong-Di-Ki-Di-Gi-Dong," and followed it with another chart-topper, the Kooymans-penned epic "Just a Little Bit of Peace in My Heart." In 1970, Kooymans branched out into songwriting for other groups, penning Earth & Fire's Dutch hit "Seasons." Meanwhile, his main band shortened its name to Golden Earring and set about revamping its sound to keep up with the times, eventually settling on a straightforward, hard-rocking brand of AOR. Kooymans (like lead singer Barry Hay) made a brief detour into solo recording in 1971, cutting an album called Jojo that was released on Polydor. 

Hay and Kooymans co-wrote much of Golden Earring's material, including the international smash "Radar Love," which broke them in America in 1974 and remains an album rock radio staple. Golden Earring's overseas momentum slowed as quickly as it had picked up, but they continued to record prolifically in their home country. Punk and new wave forced them to retool their sound once again, and they returned to international prominence in 1982 with the album Cut and the U.S. Top Ten hit "Twilight Zone," a Kooymans composition that had actually been planned as a solo release at first. 

Golden Earring returned to a major label in 1990 and recorded a string of successful albums and singles that lasted right up into the new millennium. In 1995, Kooymans and Hay discovered female rock singer Anouk, and wrote material for her 1997 debut album, Together Alone, which made her a star in the Netherlands. Golden Earring celebrated their 40th anniversary in 2001, and Kooymans reached the Dutch charts in 2010 with On Location, recorded as part of a duo with American singer Frank Carillo. 
by Steve Huey
Tracks
1. South Side Lady - 3:03
2. Day And Night - 4:12
3. Lay It On Me - 3:02
4. For Gail - 3:57
5. Lovin' And Hurtin - 2:37
6. Low Rider - 5:58
7. We're Just Marking Time (G. Kooymans, B. Birkman) - 3:34
8. A Drifter's Love - 3:58
9. Spending All My Time With You (G. Kooymans, B. Birkman) - 2:03
10.Don't Be Lonely - 3:34
All songs by George Kooymans except where stated

Musicians
*George Kooymans - Guitar, Vocals
*Jan Hollestelle - Bass
*Hans Hollestelle - Guitar
*Louis Debij - Drums
*Frans Doolaard - Steel Guitar
*Paul Natte - Organ
*Cesar Zuiderwijk - Backing Vocals
*Eelco Gelling - Guitar
*Helmig Van Der Vegt - Piano
*Rinus Gerritsen - Organ
*Bertus Borgers - Sax

with Golden Earring
1966  Winter-Harvest
1968-69  Miracle Mirror
1969  On The Double
1972  Together
1973  Moontan

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Barry Hay - Only Parrots, Frogs And Angels (1972 dutch, great prog folk rock with blues drops, from Golden Earring vocalist)



Barry Hay is the lead vocalist of Golden Earring, one of the most popular Dutch rock bands of the 20th century. In addition to his decades of output with Golden Earring, he released solo albums from time to time. Born August 16, 1948, in Faizabad, India, he moved to the Netherlands at age ten. In 1967 he joined the lineup of Golden Earring (then known as the Golden Earrings), a Dutch rock band based in the Hague that had been founded in 1961 and that had made its recording debut in 1965. 

The Hay-fronted lineup experienced decades of international success. The band evolved stylistically with the changing times, most notably progressing from psychedelic rock during the late '60s to hard rock in the 1970s. Best known stateside for their 1973 rock radio classic "Radar Love" and their 1982 early MTV staple "Twilight Zone," Golden Earring were one of the first European rock bands to tour the United States and did so repeatedly over the years. 

While only moderately popular internationally, the band scored several chart-topping hits in the Netherlands: "Dong Dong Diki Diki Dong" (1968), "Back Home" (1970), "Radar Love" (1973), "Twilight Zone" (1982), and "When the Lady Smiles" (1984). As a solo artist, Hay released full-length albums including Only Parrots, Frogs & Angels (1972), Victory of Bad Taste (1987), and The Big Band Theory (2008).

Among these solo album efforts, Victory of Bad Taste spawned the minor hit single "Draggin' the Line," while The Big Band Theory, featuring the Metropole Big Band, was the most successful from a commercial standpoint, reaching number two on the Dutch albums chart. 
by Jason Birchmeier
Tracks
1. Xeña - 8:41
2. Sometimes Three Times - 6:15
3. Oh Lordy I'm Gonna Try - 5:01
4. Roll Another Rock - 4:44
5. I Want To Be With You - 5:43
6. Did You Really Mean It? - 4:40
7. Once Upon A Time - 6:36
8. March-Xeña - 0:45
All song by Barry Hay

Musicians
*Barry Hay - Vocals, Guitar, Sax
*Jan Hollestelle - Bass
*Hans Hollestelle - Guitar
*Louis Debij - Drums
*Frank Van Der Kloot - Guitar
*Ron Westerbeek - Organ
*Herman Van Veen - Violin, Vocals
*Patricia Paay - Vocals
*Robert-Jan Stips - Keyboards, Electronic Effects
*Jose Van Iersel - Vocals
*Gonnie Van Dijk - Vocals
*Cesar Zuiderwijk - Bongos
*Dick Vennik - Sax
*Snowflake Strings - Strings
*Harry Van Hoof - Organ, Harpsychord

with Golden Earring
1968-69  Miracle Mirror
1969  On The Double
1972  Together
1973  Moontan

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Tuesday, September 17, 2013

The Family Tree - Miss Butters (1968 canada, sophisticated psychedelia, Rev Ola extra tracks edition)



It’s great to see an album like Miss Butters finally getting the reissue treatment it deserves. The Family Tree was the product of the genius of Bob Segarini, and their only album is a fantastic and interesting conceptual piece with tunes as memorable as any Broadway musical (only really cool).

This record is a must for any Nilsson fan, not alone for some of the similar feels, it was recorded at the same studio as Aerial Ballet, using the same arranger for orchestra parts, same producer, and Harry even wrote a track. A Nilsson album in spirit, but unlike anything he was capable of creating. The Miss Butters recording is superb in its production, the equal of any Beatles record, and soars with string arrangement, backing vocal, and complex song structure.

Previously, Miss Butters was presented in an unapproved stereo mix on vinyl. The CD reissue has remastered audio from the master tapes presented in original mono (and really, really nice sounding). This is a masterful reissue from Revola for a record that truly deserves it. Bravo.
by Brendan McGrath 
Tracks
1. Birthday/ Dirgeday - 1:29
2. Melancholy Vaudeville Man - 2:02
3. Any Other Baby - 3:27
4. Sideshow - 3:21
5. Mrs. Mcpheeny (Has Flu In Her Chest And Has Needed A Rest For So Long) - 4:11
6. Butters Lament (Harry Nilsson) - 2:14
7. Simple Life - 3:38
8. Slippin' Thru My Fingers - 2:47
9. Nine To Three - 2:53
10.Lesson Book Life - 1:57
11.Nickelodeon Music - 2:04
12.Miss Butters - 4:18
13.Underture - 1:33
14.Keepin' A Secret - 2:19
15.Do You Have The Time? - 2:10
16.She Had To Fly - 1:49
17.He Spins Around - 2:36
All songs by Bob Segarini unless as else stated
Bonus Tracks 14-17

The Family Tree
*Bob Segarini - Guitar, Vocals
*Bill Trochim - Bass
*Jimmy De Cocq - Guitar, Keyboards
*Michel Dure - Vocals, Keyboards
*Vann Scater - Drums

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Monday, September 16, 2013

The Fraternity Of Man - The Fraternity Of Man (1968 us, impressive experimental psych blues folk rock)



The short-lived Fraternity of Man is undoubtedly best known for the pro-pot anthem "Don't Bogart Me," which showed up during an unforgettable scene in the genre-defining biker film Easy Rider (1969). The original quintet included an overhaul of the Lowell George-led Factory, featuring Martin Kibbee (bass), Warren Klein (guitar/sitar/tamboura) and Ritchie Heyward (drums/vocals).

George split and became a very temporary Mothers of Invention member, while the other three joined up with Freak Out (1966) era Mother Elliot Ingber (guitar). The personnel was completed with the addition of Lawrence "Stash" Wagner (vocals/guitar) and the band recorded its 1968 self-titled release Fraternity of Man.

Another Frank Zappa connection could be found in the guise of Tom Wilson, who produced the Mother's earliest studio efforts. As one might anticipate, there are several prominent musical dynamics carried over into the Fraternity of Man from its former incarnation. The stoner wake-n-bake anthem "In the Morning," as well as "Blue Guitar" and "Plastic Rat" retain the psychedelic garage rock that pervaded much of the Factory's sound.

The band's variation of Zappa's "Oh No" -- titled "Oh No I Don't Believe It" -- is a gassed-up rocker replete with Ingber's nimble lead fuzz fret work. Those decidedly more belligerent outings are contrasted by the intricate and Baroque qualities of "Wispy Paisley Skies" and the aforementioned steel guitar-driven "Don't Bogart Me."

However, the comfortable misfit rockers "Candy Striped Lion's Tail," "Field Day," or the slightly perverse R'n'B-flavored "Bikini Baby" are among the best sides on the album.The latter was revived on the utterly dismissible dash for cash EP titled X (1995).
by Lindsay Planer
Tracks
1. In the Morning - 3:57
2. Plastic Rat - 3:44
3. Don't Bogart Me - 3:03
4. Stop Me Citate Me - 2:54
5. Bikini Baby - 2:08
6. Oh No I Don't Believe It (Frank Zappa) - 6:23
7. Wispy Paisley Skies - 2:20
8. Field Day - 2:59
9. Just Doin' Our Job - 2:22
10.Blue Guitar - 3:36
11.Last Call for Alcohol - 3:25
12.Candy Striped Lion's Tails - 4:24
All songs by Fraternity Of Man except where stated

The Fraternity Of Man
*Martin Kibbee - Bass
*Warren Klein - Guitar, Sitar, Tamboura
*Ritchie Heyward - Drums, Vocals
*Elliot Ingber - Guitar
*Lawrence "Stash" Wagner - Vocals, Guitar

1969  The Fraternity of Man - Get It On!

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Sunday, September 15, 2013

Honeybus - She Flies Like A Bird The Anthology (1967-73 uk, fascinating colorful psychedelia melted with folk and country, double disc release)



In a perfect world, every reissue would be as thoughtfully and lovingly compiled as Castle/Sequel's excellent She Flies Like a Bird: The Honeybus Anthology is. There have been various reissues of the group's recordings, including reissues of their 1970 album Story, and See for Miles had previously released a 25-song compilation, Honeybus at Their Best, but this impressive two-CD set easily outshines them all. 

She Flies Like a Bird collects all of the band's original mid- to late-'60s recordings for their label, Deram, adding a rare Italian single, "La Cigona (She Sold Blackpool Rock)" b/w "Chi Sei Tu (Ceilings No. 2)" and a half-a-dozen previously unreleased BBC sessions. One of these -- "Maxine's Parlour" -- was written by obscure introspective singer/songwriter Bill Fay, whose very first single was issued by Deram in 1967; it was never issued as a Honeybus single, having already been promised to labelmates Crocheted Doughnut Ring. Another of the BBC tracks -- "Like an Old-Time Movie" -- was penned by John Phillips. 

Additional highlights include previously unreleased demos and several tracks from an unreleased 1973 album, Recital; Honeybus had recorded an album's worth of material for Warner Bros., but, due to contractual harangues, they decided to have Recital pulled before it was scheduled for release. Several early-'70s non-album tracks (some of them were previously issued on the band's out of print Old Masters, Hidden Treasures compilation) are also included. 

The eight-panel CD booklet unfolds to reveal insightful annotations by noted authority David Wells. Graphic designer Paul Bevoir has also done a wonderful job with his clever assemblage of rare or previously unused photos, all of the band's single sleeves and labels, sheet music, and various clippings and adverts (one side of the foldout is in color, the other is in black and white). 

The double-CD jewel case is housed in a nicely designed sleeve slipcase, too. There are 50 tracks in total, spread out over both CDs. Some fans might grouse that Sequel could have also found a way to include post-1970 solo recordings by various members (especially tracks from Pete Dello and friends' Into Your Ears or Colin Hare's highly regarded March Hare). Until that happens, She Flies Like a Bird is the most definitive Honeybus release yet. 
by Bryan Thomas
Tracks
Disc 1
1.Delighted To See You - 2:31
2.The Breaking Up Scene - 2:31
3.(Do I Figure) In Your Life - 2:32
4.Throw My Love Away (Cane) - 2:19
5.I Can't Let Maggie Go - 2:54
6.Tender Are The Ashes - 2:43
7.Girl Of Independent Means (Cane) - 2:44
8.How Long (Single Version) (Hare, Kircher, Cane) - 2:39
9.She Sold Blackpool Rock (Cane) - 4:30
10.Would You Believe (Hare) - 3:24
11.Story (Cane) - 4:01
12.Black Mourning Band (Cane) - 3:13
13.Scarlet Lady (Hare) - 2:41
14.Fresher Than Than The Sweetness In Water (Cane) - 3:05
15.He Was Columbus (Cane) - 2:45
16.Ceilings No. 1 (Cane) - 3:37
17.Under The Silent Tree (Cane) - 3:59
18.She's Out There (Hare) - 2:58
19.She Said Yes (Cane) - 3:33
20.I Remember Caroline (Hare, Cane) - 2:38
21.How Long (LP Version) (Hare, Kircher, Cane) - 3:03
22.Ceilings No. 2 (Cane) - 4:00
23.The Right To Choose (Cane) - 3:01
24.She Is The Female To My Soul - 2:56
25.For Where Have You Been - 3:01 
Disc 2
1.Pete Dello Radio Interview 1:06
2.(Do I Figure) In Your Life (BBC Session) - 2:26
3.Like An Old Time Movie (BBC Session) (Phillips) - 2:52
4.Maxine's Parlour (BBC Session) (Fay) - 2:08
5.She Comes To Me (BBC Session) (Hare) - 2:26
6.I Can't Let Maggie Go (BBC Session) - 2:50
7.Ain't That Jsut Bonnie For Me (BBC Session) - 2:28
8.Francoise (BBC Session) - 2:09
9.La Cigona (Cane) - 4:33
10.Chi Sei Tu (Cane) - 3:25
11.For You - 2:52
12.Little Lovely One - 2:21
13.Be Thou By My Side (Cane) - 3:40
14.Julie In My Heart - 2:22
15.Big Ship (Hare) - 2:58
16.Hear Me Only - 4:04
17.Texas Gold - 3:58
18.Madam, Chairman Of The Committee - 3:14
19.Jug Of Water - 3:14
20.Proof Enough - 2:38
21.Like Me Like You Used To Do - 1:48
22.Lovely Ladies And Things - 3:27
23.Caterina - 2:37
24.Slow Rock - 4:12
25.Music - 3:15
26.In The End Is My Beginning - 3:32
All song by Pete Dello except where noted

Honeybus
*Pete Dello - Vocals, Keyboards, Guitar
*Ray Cane - Vocals, Bass, Keyboards
*Colin Hare - Rhythm Guitar, Vocals
*Pete Kircher - Drums, Vocals
*Jim Kelly - Lead Guitar, Vocals
*Lloyd Courtenay - Drums (In "Story" Album only)

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Friday, September 13, 2013

Sid Rumpo – First Offense (1974 aussie, fine hard blues rock with psych and prog shades)



The Sid Rumpo album 'First Offense' was released in 1974. By this time my guitar playing was getting stronger, I almost felt I could play. Somehow this band just evolved. We started talking about in 1971 but two of the guys were students finishing off degrees.

When we eventually gathered together late in 1971 at a house in Mount St, Claremont, we were Bob Searls - guitar and vocal, Ken Wallace - piano and percussion, Owen Hughes (ex Jellyroll Bakers) - bass, and myself on guitar and harmonica. We were lacking a drummer. I think we tried out a few local guys and either we didn't like them or they didn't like us. This led to placing an ad in the musical section of the local Sunday paper. 

The results were well worth it. The day Noel Herridge walked though the door it was a dream come true. He been driving around Australia in a Kombi and just happened to be in Perth at the right time. He had great experience playing with Broderick Smith and Paul Lever in blues bands in Melbourne. He had an awesome feel, just what we were after so it became Noel Herridge - drums.

To cut a long story short, we were very successful in Perth. We were lucky to have three of us who were constantly writing songs; Bob, Ken and myself. We played a lot of gigs and I think opened up the rock scene in Perth to the extent that more venues were booking more rock bands. We won a Hoadley's Battle Of The Bands (not too sure if I should have mentioned that), and in November 1972 we moved to Melbourne to try out in the "big smoke". 

We arrived in Melbourne late in 1972 and quickly went about trying to become established in the local scene. We were signed by Mushroom pretty quickly and appeared at Sunbury1973. We also recorded some live gigs at the Garrison. 

 A trip back to Perth allowed us to be the support band for John Mayall at the WACA. I got to talk with his drummer Keef Hartley, who made some fabulous albums with his own band. In our early days, we did a couple of his tracks. His first few albums are just great, I still listen to them.

By about August 1973 I was pretty burned out or freaked out or whatever and decided to return to Perth. I was a partner in 78 Records and went straight back into the business.

The guys picked up a great new guitarist, Mick Elliot, who I think was a better fit than I was. I wanted to improvise and the other guys wanted to rock a lot more. Mick was a great rock guitar player and the band progressed to recording an album, known as First Offense that charted. They also played Sunbury 1974. 
by John Hood
Tracks
1. Spotlight - 5:56
2. Breakin' My Back - 4:14
3. Spider Curry - 1:43
4. Sailing - 8:31
5. The Riddle - 5:14
6. Don't Bug Me Boogie - 3:59
7. Song With No Trees - 8:13
8. Poor Man's Orange - 2:00
All songs by Sid Rumpo

Sid Rumpo
*Mick Elliot - Guitar, Vocals
*Robert "Rob" Searls - Guitar, Vocals
*Ken Wallace - Piano, Percussion
*Noel Herridge - Drums, Percussion
*Owen Hughes - Bass
*John Hood - Guitar

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Thursday, September 12, 2013

Jaklin - Jaklin (1969 uk, magnificent hard psych blues rock)



Variety within the somewhat strict framework of the btues format is something fate and elusive, and although musicians aspire to it and audiences long for it, failure and disappointment are usually their respective regards. Yet unlike so many other musical forms, Variety Mithin btues does not necessarily mean an excess of complexity, sophistication, poetry or melody: it is the continuity of blues and genuine personal feelings that constitutes the prime essential for without it everything doiVn to the most basic twelve bar becomes inherently meaningless. 

This first album by Jaklin demonstrates hour a young composer and singer with an ingrained feeling for contemporary btues manages to produce songs which are both emotionally evokative yet simple enough to be tremendously vehicular - just take a listen to the leaving and pounding, the blending and harmony of the instrumentation on most of the tracks on this LP.

Particularly interesting is the rolling arrangement on "Song To Katherine", a piece with a strong New Orleans atmosphere, or as a contrast the tinkling piano on the mellow "I Can't Go On". As a performer Jaklin sets a high standard of variety - this set kicks off with "Rosie", a raunchy adaptation of an African tribal number that Nina Simone once recorded as "Be My Husband", while in absolute contrast an acoustic guitar opens "Look For Me Baby", a folk-based blues. 

"Early In The Morning" had Jaklin demonstrating a blues shouting technique that merges subtly into the jazz vocal field, and many of the instrumental passages on the LP consist of basic improvisations. In a lighter mood, "Going Home" could easily be a John Lee Hooker song and arrangement from the late fifties or early sixties utith the inspirational influences of rock'n'roll rhythms stamped out all over it. 

Jaklin's Vocals are consistent throughout - the voice itself is a typical piece of British blues workmanship, urith the influence of Alexis Korner coming through strongly certainly Korner's "The Same For You" could Well be a track from an Alexis LP. 

Both sides are rounded off iVith tuVetVe bar numbers ana* "Catfish Blues" which ends the set is undoubtedly one of the most powerfully uncompromising ethnic blues cuts on a British LP today. At 24, Jaklin has been living and playing the blues for many years. This LP marks an important phase not only in his career but in the British blues movement in general.
by Norman Jopling, 1969 (Liner notes from the original album)
Tracks
1. Rosie (Traditional arr, by T, Eyre) - 2:01
2. Song To Katherine - 5:14
3. Look For Me baby - 3:06
4. Early In The Morning (Traditional arr, by T, Eyre) - 2:48
5. Just Been Left Again - 4:50
6. The Same For You (Alexis Korner) - 3:12
7. I Can't Go On - 4:49
8. Going Home - 2:42
9. I'm Leaving - 3:44
10.Catfish Blues (Traditional arr, by T, Eyre) - 4:34
All songs by Jaklin except ehere indicated

Jaklin
*Tommy Eyre - Piano, Organ
*Jaklin - Vocals, Guitar
*Andy Rae - Bass
*John Pearson - Drums

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Tuesday, September 10, 2013

The Flow - The Flow's Greatest Hits (1972 us, terrific rough psych jam rock, Shadoks release)



In the late 1960's I went to Brooklyn Technical High School in New York City. For me. musk was already much more important than school, and when I befriended a guitarist in my class, named Monte Farber, it was to become a long lasting, close and productive relationship. A half-hour subway ride away, Monte had a couple of friends who got together at his house to play musk. My first trip there introduced me to Steve Starer. a talented drummer and fellow hippie, as well as to Bruce Sirota, who took on Bass guitar responsibilities in our newly-born ensemble The bond was called Drunken Dog.

I had been writing original songs on my 12-strinq guitar and I was now inspired to write pieces that the band could play, along with the cover tunes we were doing. Monte wrote a couple of songs, too. It was a wild time- Vietnam protests, LSD, the birth of progressive rock and roll and new ideas. We shared a lot of emotionally and spiritually meaningful experiences, including a two day, drug-induced concert in the auditorium of Baruch College during a student protest. I remember falling asleep on the grand piano afterwards, in a large darkened auditorium, with hallucinations still keeping me company.

In those rebellious and psychedelic times, we all decided to move into a large loft apartment, at the comer of Grand and Mulberry Streets, in the heart of Little Italy in lower Manhattan. We struggled to survive in the real world, barely earning enough to pay for food at times, while developing our musical horizons. We also started recording our jam sessions. I am amazed we survived those days, although I am not sure if Bruce did. He started going his own way and hanging with a crowd that was even too extreme for the rest of us. 

Eventually, Monte moved to Bass and we became a 3 piece band- the FLOW. We rented a room at 10 East 23rd Street from Michael Chassid, who owned the building and Jams rehearsal studios. Also renting a room was Wicked Lester, a band later to be known as KISS Managing the rehearsal studio allowed us to use the space for our own musical explorations, and many great, late night jams occurred in that sacred room. At the same time, we met a guitar teacher, Paul Avakian, who loved our musk and helped promote us in N.Y.C. We actually took the drapes off the balcony windows and wrapped them around us , like robes, for an album photo.

This ted to our playing in bed sheet "robes" at our next few concerts, as captured on the cover photo, which is from a concert near the Fulton Street Rsh Market. I can still smell the fish! We used to hang out at Paul's high scale apartment and sneak pot out of his dad's dresser draw to catch a buzz! Paul helped us produce an album. At his house there was a very primitive synthesizer with all sorts of knobs and patch cables. I used this keyboard to add strange tones to the FLOW album. Our state of the art recorder was all of 4 tracks! We mode the most of it, however.

To get the most out of this early effort, we went to a very talented engineer, Frank Kulaga, whom I had met through a summer job at a recording studio. He helped us mix the tracks With our very limited funds, we could only complete half the project so we released the record with one blank side! Later on, we remastered it with more material. The two sided album is very difficult to find nowadays!

The Flow played many gigs in and around N.Y.C. including a concert before thousands in Central Park, sharing the billing with another, wonderful progressive instrumental bond, Wolfbane, but we never recorded another album. The band got more and more into extended, experimental jamming, and the instrumental {am included on this CD, Baghdad Express, (which I supplied as an afterthought) is one rare recorded testimony to that.

Our paths have diverged over the years, initiated by my moving to Tucson in the early 70's. Monte Farber continued to explore the spiritual seeking that had informed The Flow's music and went on to become, with his artist wife, Amy Zerner, one of the world's foremost experts on tarot, astrology, and other metaphysical subjects and now has over one million copies of his fifteen books in print in nine languages, most notably "The Enchanted Tarot," "The Instant Tarot Reader," "Karma Cards," "The Psychic Circle," and "Gifts of The Goddess Affirmation Cards." They also share the secrets of their legendary twenty-eight year marriage in "Love, Light, and Laughter." 

Their website is: www.TheEnchantedWorld.com He still plays music for fun and just bought a five-string Lakland Skyline bass, which he loves. Steve Starer became a computer expert and is married with two children, Marcy and Zach. Last time I spoke to him he said he hadn't touched a drum in ages. I loved his playing, but everyone follows his own path. Monte, Steve and I have taken three different roads since then, but in many ways I still consider them my brothers.

Since moving to Tucson I have fronted my own fusion groups over the last two decades, including Beyond Words, and prior to that shared songwriting, and played lead guitar with Mark Wolfe and Northstar, and international recording artist, Louis Vine Blanche. More recently I performed concerts of Jimi Hendrix's musk, with Hendrix 2000, and composed and performed several pieces for orchestra, most notably my Concerto for Electric Guitar and Orchestra, performed with the Catalina Chamber Orchestra in 1999. The past decade has also brought me to fruition as a sitarist and serious performer of classical music of India. 

I have a wonderful twenty-seven year old son. Tree, who is a superb guitarist and musician in his own right. It's been a great musical journey, and it continues still, stronger than ever at age fiftythree. Through it all, I have never forgotten the great music the Flow made, and the closeness we shared as friends. I am very pleased that people are still listening and enjoying the fruits of that collaboration after thirty years.
by Pete Fine, May, 2003
Tracks
1. It Swallowed The Sun - 4:55
2. Searchin' - 3:09
3. Funny Funkin' Woman - 3:18
4. Mediations - 3:16
5. Toccata (Bach) - 2:57
6. Bijinkes - 2:39
7. Mousely - 2:07
8. Troubadour Between Sets - 2:44
9. Third Movement - 1:52
10.Get Up & Smile - 2:13
11.Sunday Night Randoms (Flow) - 0:50
12.I Saw A Dog - 0:31
13.Insanity Creeping - 5:01 -
14.Things We Said Today (Flow) - 4:07
15.Baghdad Express (Flow) - 3:45
16.Wynds - 3:50
All songs by Pete Fine unless as else stated
Bonus tracks 14-16

The Flow
*Pete Fine - Guitars, Vocals, Synthesizer
*Monte Farber - Armstrong Bass, Vocals
*Steve Starer - Drums, Waterpipe

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