Danish band, formed 1969 in Copenhagen. Originally a hippie band with roots in avant-garde jazz-rock. Most of their body of work come from live recordings - mostly improvisations dominated by sax, organ and guitar. The music is mainly instrumental, with some South African inspiration.
The band was very popular at that time among youngsters, having strong spiritual power when they performed live. Their album from 1973 presents similar style but a bit more peaceful with leading sax and vocal, alternately. Disbanded and reformed several times with changing members throughout the 1970s until they split up for good in 1981.
This is no less than Blue Sun's 2 LP's and their single on 1 CD. The first LP was a live recording from 'Tagskaegget' in Aarhus Danmark 1970 titled 'Peace be Onto You' (Spectator Records). The second LP named just 'Blue Sun' (Parlophone). Also Parlophone released their single from 1970. In a very short period Blue Sun was the prefered hippie-party band.
No one hit the hippie-wave better than this jazz-rock-soul inspired band with 2 unique front figures: Charismatic black man Dale Smith (vocal + percussion) and Jesper Zeuthen. The latter achieved in no tim reputation to be best in Dk on tenor-saxophone, based on the fact that he archieved his totally unique way of playing. The band was inspired of Dollar Brand, Jimi Hendrix and Black Soul.
by Adamus67
Tracks
1. Festival (Smith. Zeuthen) - 2:48
2. Katedralen (Zeuthen) - 4:26
3. På Fjeldet (Kaspersen. Zeuthen) - 3:22
4. Kære Irene (Smith. Kaspersen. Zeuthen) - 2:14
5. Afro Blue (Kaspersen) - 3:22
6. Working Man (Blue Sun, Smith) - 9:46
7. Velkomst (Zeuthen. Pontoppidan) - 4:49
8. Aum (Blue Sun) - 11:15
9. Peace Be Unto You (Smith. Kaspersen. Zeuthen) - 16:24
10.John Henry (Smith. Ehlers) - 8:40
11.Lyset (Zeuthen) - 6:51
Blue Sun
*Dale Smith - Vocals, Percussion
*Jesper Zeuthen - Tenor, Soprano Saxophones
*Soren Berggreen - Flute,Alto Sax,Mouth Harp, Electric Violin
*Jan Kaspersen - Keyboards
*Niels Pontoppidan - Guitar
*Poul Ehlers - Contrabass
*Bo Jacobsen - Drums
A few days ago I had a three-way telephone conversation with Michel Boisier and Jose Rosemblut. In one of my turns I asked Jose about his musical influences, as he paused for a moment to think about his answer, he repeated to himself "influences", then I heard Michel's voice in the background saying "Ah? Influences' Tell him we belong "to the spirit of the Woodstock generation" I thought that this is a sincere and clear answer and could be a great metaphor to explain the reasons behind the appearance on the Chilean scene in the late 50s and early 70s of bonds as free and outstanding as "Los Jaivas" "Slops". 'Kissing Spell" and of course "los Escombros"
I liked the answer very much, because I believe the strong enthusiasm is a significant part of the group s music and that is why even today, everything that surrounds their history continues to be so beautiful Apparently everything began with the friendship of two classmates in the Faculty of Engineering at the University of Santiago In their first year and |ust at the lime when the firs' rock groups were emerging in Chile (“Jockers". "Vidrios Quebrados". "Beat 4". etc )
Jose and Michel met and created their first group "Colored Soap" to which Michel brought two North American friends - John & Matt, who were living in Santiago as they were the children of diplomats - and Jose brought Lito Benito.
For a while the five of them played together until halfway through 1968. when the two Americans had to go back home it was just after that first setback when the "spirit" appeared for the first time, and m the wake of this disappointment they decided to stay together and introduce a new second guitarist to the band. Ricardo Mendeville (Lolin). So, after they got over the setback, they finally named themselves "los Escombros" (which means rubble or debris in English, in other words, dispersed elements after the catastrophe! upon Michel’s initiative Things started to go extremely well, thanks to one of those great secrets behind the creation of marvellous bands play, play and enjoy.
It was precisely at one of these performances where they met Walter Sitzmann, an Austrian who had recently arrived in Chile. He connected very well with them and their music and quickly became another "Escombro" member and contribute his ideas to the group Now as a five-piece band, the group began performing at every possible venue and giving some outstanding shows They hove started playing cover versions of "Grand Funk Railroad". "Led Zeppelin" "Conned Heat" and "Jimi Hendrix" But soon they ve added a large number of own compositions to the program which the audience connected with really well (From what I hove been able to read in venous magazines from that time, most of the performances were always booked out, no matter if they were playing alone or with other bonds together at different festivals and concerts which big groups of the time - such as "Aguaturbia", "Los Tropos" and "Kissing Spell'- and the connection was brilliant).
So the complete line up of the band was Lito Benito on lead guitar (several members of the band have all agreed in telling me that he was an especial talented musician) the youngest member Ricardo Mendeville (Lolin) alternating between second guitar and organ and Jose and Michel on the bass and drums respectively, making up a strong Rhythm section. On top the band had a very interesting and exotic frontman Walter Silzmann, who wrote many songs and sang with great personality and even more, in "perfect English".
Under Allende's government, the country was culturally successful, with a young society that enthusiastically look part in the progressive hippie movement. However, on the organisational side perhaps things where not as good and without a doubt both, the company 'Arena" where they recorded - over 4 night shifts on a simple 4 track - an LP and subsequently a single "love Machine / Green Eye Lady' (both tracks are included in this edition). and the scarce music press that were around were incapable of promoting sales property That is why today the record is so rare and difficult to find, this poor distribution did not happened to others groups of the same music style And Escombros were not exactly a band of the minorities.
The group always had a full agenda and their concerts were packed and sold-out meaning they were mostly well-accepted They even performed alongside "Los Jaivas" in February 1970. at the important festival in the 'Quinla Vergorn de Vina del Mar", an event with a huge audience where the group were had a fantastic performance
Due to the time of year (February in Chile is summertime) and after the drummer of en Argentinean band got a sunstroke (who offer spending the entire day in the sun was red as a lobster) Michel even performed for another group at the festival going on stage as a replacement hardly knowing the repertoire and improvising the entire performers the spirit of Woodstock' indeed)
At the end of this fantastic musical journey. Walter had to return to Vienna, so the group split up and each member was going their own way Michel and Lito together with Sergio del Rio (Ex Jockers and Carlos Eduardo Reyes (The future keyboardist of Boney M!!) formed a group, which unfortunately lasted only o short lime, by the name of "Masquenunca"
After that Lito continued with "Miel" and then travelled to several different places. He ended up becoming genuine master at making guitars (luthier) He went on to live in the United Stales working for the guitar manufacturer "Taylor at upon his return to Chile set up his own company Jose continued in music as a session musician for the Brazilian artist "Manduka and the as guitarist of 'Antonio Restucci". I don't wont to miss out the curious anecdote that took place on a flight between San Francisco and New York. He travelled with Soft Machine and one of their greatly admired musicians, Hendrix himself, who he had the opportunity to chat with and was able to confirm the truth of two myths how accessible and friendly he was in person and the attraction he had for groupies! Apparent halfway through the journey while the film "Mary Poppins" was showing on the plane right there, on an improvised bed, using the seals of the plane, he made it with o beautiful admirer.
Finally. Ricardo Mendeville (Lolin), who was the first "Escombro" we where able to locate for this great project, left Chile shortly after the Military Coup (September 1973) He sold his "Leslie" amplifier from his Hammond organ" bought a boat ticket and came to Europe, where he lives ever since In Holland he formed the very interesting group 'Amankay" and after finishing his studies in classical guitar in Rotterdam he started, together with his teacher Paco Pena, the Flamenco Guitar department of the Rotterdam! Conservatory, where he works today.
Walter is continuing to produce his music in Vienna. Austria and recently has finished recording a double CD called SITZMANN Heartbreakers & Soultakers'. He still continues to be inspired by classic rock where the marriage of melody rhythms and sincere words continue to be the main motive to transfer true feelings hence the "spirit of Woodstock” lives on.
My admiration goes to all five of them and I hope that their "spirit' lives on today in all the people who listen to their great songs.
by Enrique Rivas Viniegra, January 2012
Tracks
1. Stone Free (Jimi Hendrix) - 2:31
2. Romeo Y Juliet (Nino Rota) - 3:12
3. Zenith (Richard Schonherz, Walter Sitzmann, Victor Rigoni) - 3:32
4. Cyclops (W. Sitzmann, Ricardo Mendeville) - 3:29
5. Magnetism - 2:45
6. Mauritius - 3:04
7. Green Eyed Lady (Jerry Anthony, James Corbetta, John C. Phillips, David Riordan) - 3:32
8. Circumstances (W. Sitzmann, Lito Benito) - 2:42
9. Sitting In The Park (Karl Ratzer, R. Schonherz, W. Sitzmann) - 3:39
10.Understandiflfg - 3:03
11.I Love You - 3:40
12.Girl - 3:53
13.Love Machine - 3:45
All songs by Walter Sitzmann except where noted
Escombros
*Lito Benito - Lead Guitar
*Ricardo Mendeville - Guitar, Organ
*Jose Rosemblut - Bass
*Miguel "Michel" Boisier - Drums
*Walter Sitzmann – Vocals, Piano
After a string of pop hits that were, and largely remain, underrated for their artistry, Chad Stuart and Jeremy Clyde were looking for the project that would boost their esteem beyond the teen idol level. Releases like Pet Sounds and Sgt. Peppers had raised the bar for pop production considerably, and in September of 1967, Chad & Jeremy entered the studio to create their response, Of Cabbages And Kings. Although the album didn't have the commercial impact the duo hoped for, it has stood as one of the underrated gems of 60's pop. Sundazed has assembled the original album's six bonus cuts for reissue, and it's a reissue that should delight any fan of Brit-pop who is familiar with it, and happily inform those who aren't.
Producer Gary Usher ran interference with the Columbia accountants, providing Stuart and Clyde the time and resources they needed to realize their ambitions, and their ambitions were high. Using sounds ranging from didgeridoo, horns and strings to flushing toilets and the verbal antics of their labelmates, The Firesign Theater, they produced a set of original songs that included the five movement "Progress Suite," a collage of music and found sounds.
The result was an album worthy of inclusion in the pantheon established by its noteworthy predecessors, but ultimately it wasn't the album Chad & Jeremy fans were looking for, and save for the relative handful of us who revered it both then and now, it became best remembered more as a novelty near the end of a career (they would record one more album, the similarly ambitious The Ark, before Clyde departed to pursue an acting career on British stages) than as a triumphant peak.
by Shaun Dale
Tracks
1. Rest In Peace (Chad Stuart) - 6:47
2. The Gentle Cold Of Dawn - 3:52
3. Busman's Holiday - 3:25
4. Can I See You - 3:49
5. Family Way - 2:47
6. I'll Get Around To It When And If I Can (James William Guercio) - 2:41
7. Prologue (Chad Stuart) - 5:48
8. Decline (Chad Stuart) - 4:08
9. Editorial (Vocal) - 2:56
10.Fall (Chad Stuart) - 8:30
11.Epilogue (Vocal) - 5:08
12.Rest in Peace (Chad Stuart) - 3:18
13.Family Way - 2:47
14.The Progress Suite: Editorial - 2:56
All compositions by Jeremy Clyde except as else indicated
Count Five (also Count V) was a garage rock group consisting of the member Kenn Ellner, John “Sean Byrne”, Roy Chaney, John “Mouse” Michalski and Craig “Butch” Atkinson, from San Jose California who’s song Psychotic Reaction reached number 5 in the Billboard charts in 1966 and was selected as one of the five hundred most influential songs in Rock n’ Roll History by the Rock n’ Roll Hall of Fame. Psychotic Reaction was released worldwide and obtained prominence in United Kingdom, Spain, Japan, and Mexico.
The history of the Count Five begins in 1964 in San Jose, CA with two friends Roy Chaney (born 1948) and John “Mouse” Michalski (born 1949). They formed a surf band known as the Citations. An additional member was Skip Cordell who played drums. In 1965 Roy and Mouse wanted to add a lead vocalist and change the direction of the band so after auditions they added as lead vocalist a long time friend Kenn Ellner (born 1948) and a piano player Phil Evans. All of the members went to Pioneer High School in San Jose, CA except for John Michalski who attended Blackford High School but later also attended Pioneer for a short time.
The band’s new direction and genre was English Invasion music and some rhythm and blues. The name of the band was changed to The Squires. Both Skip and Phil exited the band. A new neighbor moved in across the street from Kenn Ellner his name was John “Sean” Byrne (1947-2008). John was a prolific song writer a guitarist and great vocalist. One day while at Pioneer High School Kenn heard John playing his guitar and singing Mrs. Brown You’ve Got A Lovely Daughter. Kenn asked John if he would like to come to rehearsal that night at his house and see if he would like to join the band. John joined the band and a few months later at Kenn’s kitchen table the two band members came up with both a new name for the band Count V and style of Dracula capes and “Tom Jones (the movie)” styled shirts as stage outfits. The band had gone through several drummers and Kenn Ellner talked to Craig “Butch” Atkinson (1947-1998) who also attended Pioneer High School and asked if he would come to a rehearsal at his house and see if he wanted to play with the band. The first song he played was an original and Butch played it as if he had been playing the song for years. Butch was a perfect fit and he joined the group.
The band shifted genres to mostly garage style rock and roll with influences from The Yardbirds, The Beatles, The Who, and The Rolling Stones. The Standells were not an influence. The line up for the band was Kenn Ellner vocals and harmonica, John “Sean” Byrne vocals and rhythm guitar, Roy Chaney, Bass Guitar, John “Mouse” Michalski, Lead Guitar, and Craig “Butch” Atkinson, drummer. The band members were rejected by several record labels before they got signed to the Los Angeles-based Double Shot Records. The band decided to pursue their collegiate endeavors and disbanded in 1968 and reunited as later described.
At a rehearsal in early 1966, Psychotic Reaction was composed by the group. Psychotic Reaction” is an early garage rock song released by the American rock band Count Five in 1966, and also the title of their only album. The song Psychotic Reaction was written by the five members of the Count Five, Craig “Butch” Atkinson, John Byrne, Roy Chaney, Kenn Ellner and John “Mouse” Michalski. The song started off as an instrumental jam between Ellner, Chaney and Michalski and was composed in the living room of Craig Atkinson’s at the beginning of a rehearsal. Kenn Ellner was breaking in a new harmonica for the first time and Chaney and Michalski were jamming and composing. The harmonica was a C harmonica, so the jam was in G. Atkinson and Byrne joined the rehearsal and added to the jam and composition. Many weeks prior to this monumental rehearsal Byrne had a psychology class at San Jose City College.
The lecturer was discussing psychotic reactions and a friend and classmate Ron Lamb thought it would be a good name for a band. John Byrne had mentioned to the band about that event and it evolved from the name of the band to a good name for a song. At the rehearsal Ellner and Byrne looked at each other and said this is “Psychotic Reaction”. The song was played by the band for a long time at their live performances as an instrumental and was well received by the Count Five fans in attendance. Fans were wildly ecstatic about the instrumental version. However, after much prodding from the band’s manager Sol Ellner at a rehearsal at Ellner’s house, Byrne was told by Sol to “Go across the street and don’t return without lyrics to the song” (Byrne lived across the street from Ellner with Byrne’s uncle Leo). Byrne complied.
The song went through months of modifications by the band modifying beats, rhythm and the like. As the band auditioned for various labels and producers all had constructive criticism about the song and its structure. Taking into account some of the criticisms and discarding others the band members worked many hours and many months modifying and rearranging the composition with assistance from multiple sources., a DJ from KLIV Radio Brian Lord, various producers of audition sessions, management, agents, friends and fans. In the studio at Nashville West on Melrose Avenue in Los Angeles, Double Shot Record’s producer even modified the lyrical content by suggesting and adding the famous tag line “And it feels like this”. Psychotic Reaction was truly a collaborative composition. This is the true story of how the song was composed.
Psychotic Reaction was not written by any one individual any such report is entirely false. The song was modeled after the Yardbirds’s song “I’m a Man”, with a repetitious rhythm that eventually changes to a faster beat, an electric guitar playing a hypnotic melody going up the scales, and a similar style of percussion to that of the Yardbirds hit.
Upon the initial establishment of the Rock n’ Roll Hall of Fame, Psychotic Reaction was featured in a long running exhibit in the Hall entitled The Five Hundred Most Influential Songs of Rock n’ Roll History. The name of the exhibit has changed to The Most Influential Songs of Rock n’ Roll History as additional songs have been added.
The band regrouped first for their high school twenty year reunion in 1986 all original members in tact. Then again in 1987 they appeared at “One Step Beyond” in Santa Clara California, with a new drummer Rocky Astrella for most of the set, though Butch did perform on Psychotic Reaction. That was the last time all of the original members performed together. This performance has been released as Psychotic Reaction Live.
The Count Five is still performing as of this writing in April 2012 with the latest line up consisting of Chaney, Ellner, Michalski, Indovina and Astrella.
Jeff Thorpe wrote about Heron, that after attempting to research the group (and coming up empty handed), that perhaps he was content to leave their biography a mystery and let the music speak for itself. In truth, even if one would like to dig deeper, when it comes to Heron it is not a matter of preference, but rather, a true lack of information.
Aside from a few band members’ reflections – found on an otherwise completely sparse website – there is very little history to be found. [...] Recently, we were lucky enough to track down one of the albums by its lonesome, abd listening to it as an individual document proves that the painfully overlooked group was crafting a remarkably unique sound that feels both new and yet very familiar. The record is Twice As Nice & Half the Price.
An album in which songs of jolly demeanor (“My Turn to Cry,” a driving song with the heaviest drums on the record and sung like a smiley pop orchestration) are mixed into the record seamlessly between solo-efforts and quiet introspective works. Two of the LPs most devastating tracks are both covers. The Isley Brothers “This Old Heart of Mine” is reinvented to reflect the forlorn nature of the lyrics. Dylan’s “John Brown” can be added to the short list of tracks whose cover version is stronger than the original.
A war-commentary originally penned in 1963 and mostly forgotten until it’s appliance in an “Unplugged” setting, it is sung here in a beautiful harmony that is far from perfect, with a jangling but not up-front piano. It’s this looseness that makes many of these tracks feel like old standards instead of originals. Jovial, yet sad songs that blossom with the raw emotion of single-takes. This is non-abrasive, “easy” folk of the highest caliber, allowing the listener to either get lost in its lyrics, the instrumentation, or the Sunday-afternoon delight.
by B. Kramer, 2008
Tracks
Disc 1
1. Madman (G.T. Moore) - 4:42
2. Take Me Back Home (R. Apps) - 2:03
3. Love 13 (Lone) (T. Pook) - 2:49
4. Something Inside (R. Apps) - 2:32
5. Miss Kiss (G.T. Moore) - 2:47
6. John Brown (Bob Dylan) - 7:14
7. Big A (G.T. Moore) - 2:58
8. The Sound Of Music (G.T. Moore) - 8:49
9. Winter Harleequin (G.T. Moore) - 4:01
10. Your Love And Mine (R. Apps) - 2:25
Disc 2
1. You Really Got A Hold On Me (S. Robinson) - 3:18
2. The Great Dust Storm (W. Guthrie) - 3:32
3. My Turn To Cry (G.T. Moore) - 1:59
4. This Old Heart Of Mine (Holland, Dozier) - 4:44
5. Minstrel And A King (G.T. Moore) - 5:29
6. Getting 'Em Down (R. Apps) - 2:00
7. I Wouldn't Mind (G.T. Moore) - 4:02
8. He's A Poor Boy (R. Apps) - 2:42
9. The Devil (G.T. Moore) - 2:40
10. Wanderer (T. Pook) - 2:55
11. Harlequin 5 (G.T. Moore) - 2:52
Also an alumni of Robbie Lane and The Disciples, when Dominic Troiano left Mandala in 1969, he was looking for a change from the high class big band r&b rhythms. Along with Mandala-mates vocalist Roy Kenner and Pentti 'Whitey' Glan on drums, they moved to Arizona early the next year to get different musical vibes and a fresh start. They recruited bassist Parkash John and began playing the circuit, cutting their teeth on the harder blues based riffs and less sophisticated material they were trying out on a hungry market looking for something different to wet their appetite.
They caught the attention of Reb Foster, an LA disc jockey while he was in Arizona. Foster ran a management company through his Cuordoroy Records that was affiliated with ABC/Dunhill Records. He agreed to manage the band and had them signed to Dunhill in early 1970. Bush in fact was the first band to sign with Cuordoroy. They got bigger gigs, opening for the likes of Steppenwolf and Three Dog Night, but found themselves in the middle of a nightmarish R'n'R political BS situation as they prepared to release their first lp. ABC/Dunhill sued Cuordoroy, and Bush became the football, punted back and forth with no one ever scoring.
Their first and only lp was self-titled and like the band's name, straight forward, simple, catchy and easy. Tracks like the lead off "Back Stage Girl, "Got To Leave The City," "Messin' Around With Boxes" and their only single "I Can Hear You Calling" all showed Troiano and company were looking for a different direction, straight to the bones driving rhythms. The reminiscent "Yonge St. Patty" paid homage to 'the girls from home,' not far from where Troiano grew up.
They carried along the dusty trails but by early the next year, they were broke. The band packed it in, but Troiano and Kenner weren't out of work for long. The James Gang came knocking on Troiano's door to fill Joe Walsh's guitar duties, and he convinced them Kenner would be the perfect vocalist for them. Troiano then would go on to join The Guess Who and cut several solo albums, as well as form his Black Market project before becoming immersed in production and behind the scenes work, scoring a number of soundtracks for film and television. Kenner would also appear on again off again in Troiano's solo projects, as well as in Black Market, as did John, who also went on to record with Alice Cooper, along with Glan.
The album was re-released in 1995, but not without controversy. Around the same time that Troiano was remastering the album, a band came out of Britain with the same name. To avoid legal hassles, they changed their name to Bush X for their Canadian release. The original Bush did indeed re-release their only lp, but oddly - with a different cover. Also included were four live tracks from the last show they ever performed at LA's Bitter End club with Three Dog Night.
Two years later, Troiano and Gavin Rossdale, leader of the British band held a press conference in Toronto to announce they'd been given permission to use the 'Bush' name on recordings.
Tracks
1. Back Stage Girl (Roy Kenner, Domenic Troiano) - 2:57
2. Yonge St. Patty (Domenic Troiano) - 2:48
3. Got to Leave the City (Roy Kenner, Domenic Troiano) - 3:36
4. I Miss You (Domenic Troiano) - 2:52
5. Grand Commander (Roy Kenner, Domenic Troiano) - 4:19
6. Cross Country Man (Domenic Troiano) - 3:56
7. I Can Hear You Calling (Pentti "Whitey' Glan, Roy Kenner, Hugh Sullivan, Domenic Troiano) - 2:48
8. Messin' Around With Boxes (Roy Kenner, Domenic Troiano) - 2:51
9. Livin' Life (Roy Kenner, Domenic Troiano) - 3:17
10.Turn Down (Roy Kenner, Domenic Troiano) - 4:00
11.Drink Your Wine (Roy Kenner, Domenic Troiano) - 5:51
12.Try (Roy Kenner, Domenic Troiano) - 2:50
13.Lookin' (Roy Kenner, Domenic Troiano) - 3:22
14.Wicked Woman (Roy Kenner, Domenic Troiano) - 3:11
15.Cross Country Man (Domenic Troiano) - 20:21
Tracks 12-15 Recorded Live at The Bitter End Los Angeles, June 5-6 / 1971
Bush
*Domenic Troiano - Guitars, Vocals
*Roy Kenner - Vocals
*Pentti "Whitey' Glan - Drums
*Prakash John - Bass, Vocals
*Hugh Sullivan - Piano (Only on tracks 12, 13, 14)
Early '70s French psych-rock here, not so much on the proto-metal side of things but still totally groovy, and from the get-go not failing to rock the cowbell (well, the opening track on this 22 song collection, "Peut-etre Demain", is the number one cowbell culprit, gotta love it). Wakhevitch was an avant-garde, electronic composer whose first few albums enlisted the fuzzed guitars of Triangle as part of their surreal soundscapes. So we'd been always curious to hear Triangle's own music. Of course it's not as far out as the Wakhevitch stuff, they're basically a pop band, tres commercial, yet with a freaky side to 'em.
This disc, as the title reveals, collects some of their crucial cuts from '69 through '74... a lot of upbeat numbers with DJ-friendly beats, symphonic prog moves, catchy choruses, and swingin' horns. Really, judging from this disc, Triangle were all over the place, from synth-laced proto-disco to placid piano ballads to bubblegum hard rock. If you like stuff of the "B-music" persuasion (like the Prog Is Not A Four Letter Word comp), or that Total Freakout collection on Mucho Gusto, or rad '70s "library music" and things like that, we figure you'll dig these Triangle tunes.
This digipack includes pictures of all of Triangle's original 33 and 45 rpm record sleeves, which are nice to have -- the first album's got a piano engulfed in flames on it, the second has Triangle lined up for a firing squad, also comprised of the band members. But there's no liner notes to speak of, so we don't know a heck of a lot more about 'em, other than that they recorded three albums and a bunch of singles, had some hits, went on to back up pop singer Papillon on a solo LP of his (three tracks from that album, including their cover of Bowie's "Starman" en Francais, are to be found here).
Tracks
1. Peut-Etre Domain - 4:47
2. Elegie A Gabrielle (F. Jeanneau, G. Fournier, J,P. Prevotat, P. Farges) - 4:58
3. Blow Your Cool (Version Single) (Triangle, C. Watson) - 3:09
4. Let Brumes De Chatou - 5:16
5. Les Contes Du Vieil Homme - 4:24
6. J'ai Vu - 3:32
7. Viens Avec Nous - 3:01
8. Litanies - 5:08
9. L'arbre De Juin - 3:16
10.A Cor Et A Cri - 2:47
11.Le Temps Des Tams Tams - 3:08
12.I.A.M. - 3:02
13.Mama, Tu Ne Sais Pas - 3:18
14.Peut-Etre Domain (Version Anglaise Inedite) - 4:48
15.Vlvre Au Present (I Heard It Through The Grapevine) (N. Whitfield, B. Strong, Triangle) - 4:21
16.Con Nosotros (Version Espagno) (Triangle, Adapt. A. Betgrano) - 3:09
17.Genenque 1042 (Homefaber) - 1:41
18.Un Ticket Pour... - 2:16
19.Dis Moi - 3:55
20.La Planete Rock'n'roll (G. Foumief, B. Bergman) - 2:23
21.Le Rock Plus Electricite (Free Electric Band) (Hammond, Hazelwood, E. Roda Gil) - 3:19
22.L'air Que Je Chante (Starman) (Gringo, D. Bowie) - 3:37
All compositions by Triangle except where noted
Living Game is the most appealing of Mick Greenwood's '70s trilogy of albums, more focused than 1972's To Friends and much less slick than 1974's Midnight Dreamer. Recorded with members of Fotheringay (drummer Gerry Conway) and Fairport Convention (bassist Dave Pegg), among others, Living Game is a straightforward British folk-rock album with some pop and psychedelic influences.
The lilting opener, "Taxi," sounds rather like Kiln House-era Fleetwood Mac (although Lyn Dobson's fluid, mellow flute work adds a not-unappealing hippie-ish edge) and the quite pretty, Indian-accented closer, "Sight," features both the album's best lyrics and strongest melody. Some of what lies between is forgettable post-hippie singer/songwriter stuff, but surprisingly, what could potentially have been the album's worst track, the lengthy centerpiece "After the First World War," is one of its triumphs.
Greenwood and lead guitarist Jerry Donahue up their instrumental intensity a few notches here, for a sound that melds folkish grace and heavy electrics in the manner of contemporaneous Fairport Convention, and Greenwood spits out the ironic lyrics in a credible sneer. Living Game isn't a buried treasure or anything, but it has much that would interest a curious fan of British folk-rock.
by Stewart Mason
First released back in 1971, 'Living Game' is an album that still holds a strong appeal some 30 years later. Here we are treated to well composed pieces that are not long winded and self indulgent affairs, but concise and to the point. Furthermore, the songs are played with with an honest simplicity and a sense of conviction that is sadly lacking in many modern day recordings, and which allows the listener to easily connect with the music.
by Simon Hill
Tracks
1. Taxi - 2.57
2. Friend of Mine - 2.42
3. Living Game - 4.34
4. My Life - 3.50
5. To The Sea - 3.23
6. After The First World War - 5.50
7. To The Farside - 2.45
8. Truth Seeker - 2.46
9. Situation Number Four - 2.22
10.Keep Coming Back - 4.07
11.Sight - 4.00
All songs written by Mick Greenwood
Ariel formed in mid-1973, after the breakup of Spectrum. When Spectrum drummer Ray Arnott announced he was leaving to join Ross Wilson's new band Mighty Kong, Putt and Rudd commendably decided to end the band rather than try to recruit a new member, feeling that it wouldn't be possible to recreate the special spirit of that group. Within a few months of Spectrums's farewell performance their new band (whose name was taken from the character in Shakespeare's "The Tempest") was up and running. Ironically, the two new members, Tim and Nigel, had originally come to Melbourne to work with Ross Wilson and Ross Hannaford on their new project (which became Mighty Kong) and it was after they departed that Wilson asked Ray Arnott to join, thus precipitating the split of Spectrum!
Strong record company interest in Ariel quickly led to a contract with EMI's progressive Harvest imprint. Their superb debut single "Jamaican Farewell" looked set to repeat the early success of Spectrum but it only managed to reach No.34, its success hampered by lack of airplay, especially in Sydney, although it impressed the industry enough to win the FACB 'Single Of The Year'. They toured as support to Gary Glitter November 1973 and released their excellent first LP A Strange Fantastic Dream in December, with writing credits split fairly evenly between Gaze and Rudd. According to Noel McGrath, the album was also the first use of Moog synthesizer on an Australian rock record (though it's possible Tully may have been the first Australian band to recod with one) and producer Peter Dawkins still names it as one of his favourite productions.
It fared well commercially and critically, reaching #12 in the LP charts in February 1974, although there was a minor controversy about Stephen Nelson's brilliant, hallucinatory cover painting, which included (shock! horror!) a hypodermic syringe. Airplay for the LP was further hindered by the banning of three songs ("Confessions Of A Psychotic Cowpoke", "Medicine Man" and "Chicken Shit") by the commercial radio industry's self-regulatory body, the FACB.
One particularly important outcome for the group was that EMI International's President, Allan Davies, fell in love with the album: "You know, Peter," he enthused to Dawkins, "I can't recall ever hearing a song about necrophilia!" Renowned British DJ John Peel also picked up both album and single and "said some really nice things about both of them". These and other factors led to Ariel being invited to tour the UK and record their next album at Abbey Road.
Tracks
1. Jamaican Farewell (Rudd, Gaze) - 2:50
2. No Encores - 3:47
3. Confessions of a Psychotic Cowpoke - 4:43
4. And I'm Blue - 2:52
5. Garden of the Frenzied Cortinas - 7:46
6. Miracle Man (Gaze) - 5:29
7. Chicken Shit - 4:23
8. Worm Turning Blues - 2:56
9. Wheezer Grunter Module Threadaboy/Harry v. Dirchy (God the Man) (Ariel, Gaze) - 4:20
10.Hard Way to Go - 3:49
11.And if it Wasn't for You - 2:32
12.Red Hot Momma - 2:38
All songs by Mike Rudd unless as else stated
By 1970 Galliard was recognized as one of the new-wave of progressive rock bands and following the impact of the first album went back into the studios in late 1969 to commence work on the next album 'New Dawn'. John Smith the original sax player had become increasingly unreliable and had been replaced by a tremendous new player friend of Dave's, Lyle Jenkins. The only trouble with having such a brilliant brass section was that it was being eyed by other bands of much higher recognition than Galliard at the time.
The second album, 'New Dawn', was recorded in the Beatles' legendary Abbey Road Number 2 studio. Surrounded by an array of extra instruments (including the famous Mellotron from Strawberry Fields), the band included supplemented brass sections, sitars, keyboards, sine-wave generators, accordion, harpsichord and other creative inputs that meant it took longer to record than the first album. The album, again produced by Phil Wainman, was far more ambitious and polished than the first album and the band had finally found its own sound.
The first two tracks; the classic 'New Dawn Breaking' written by Geoff with a great brass arrangement by Dave Caswell and a stunning free-form sax-solo from Lyle Jenkins; and 'Premonition', an instrumental written by Dave, were both finished by February 1970. The third track with them playing trumpet and sax, 'Your Mind's Eye', was completed by March. Then, out of the blue, both Dave and Lyle were poached by 'The Keef Hartley Band'. Understandable now as Keef Hartley was an established professional London band with a big following, but at the time it was a massive blow and it was hard to replace them. Keef Hartley subsequently lost Dave and Lyle to 'Ashton Gardner & Dyke'.
Dave and Lyle played together in various bands following AG&D and Dave went on to play with some very high profile bands and artists such as The Who, Elkie Brooks, Rick Wakeman, Randy Crawford, The Yellowjackets, Paul McCartney and many others.
Undeterred, the remaining Galliard line-up was determined to get the album finished. John Morton, a local trombone player and arranger, and a friend of Geoff's, was the key to providing the musicians and working alongside Geoff on the arrangements for the remaining tracks of New Dawn. He also contributed as a co-writer with Geoff on a couple of new songs for the album.
Galliard were back in the studio in May 1970 with a new line-up to include John Hughes brass arranger and trombone/keyboards, Tony Roberts (sax), and Harry Becket - a session trumpeter to complete the album. The first track, 'Winter-Spring-Summer' with this ensemble was recorded on the 3rd May 1970 with a stunning flugelhorn solo by Harry Becket, followed by one of Geoff's favorite tracks, 'Open Up Your Mind' on the 31st May. The album was completed in July and released in September 1970.
John Peel had a major radio-show at the time and invited Galliard to appear live twice earlier in the year when Dave and Lyle were still with the band. The recordings are still available as bootlegs and show how exciting the band could be in a live setting. The band was then a 6-piece with John Morton on trombone and Bob Rae on sax/trumpet.
1970 was a busy year for Galliard with lots of live performances plus a gig in June at the legendary 'Festival of The Midnight Sun' at the Mantorps Racing Circuit in Sweden. This gig though was played as a quartet with no brass section as the guys couldn't make it and it became clear to the band that the cost of touring with a brass section, plus the unreliability of the players and the changes of personnel made it necessary to revert back to the four-piece guitars, bass and drums line-up. This was the line-up that went, inexplicably, to the Belgian Congo in November 1971 to play for Mobutu's presidential celebrations - and came back alive!
Losing the brass section was not a detrimental thing for Galliard who continued to thrive and tour with the quartet line-up. Richard still played sitar and Geoff supplemented with keyboards as synthesizers slowly started to creep into rock group line-ups.
Phil Wainman meantime, with his pop successes, wanted to record Galliard under a different name. The same line-up released a single in 1971 under the name of 'Helicopter' on Phil's own 'Maple Annie' label with a song written by Geoff entitled 'I Belong To Yesterday' which featured Richard on his legendary sitar. The band unfortunately by then had lost its way. The lack of success at the time of the albums had disheartened the guys and Les decided to quit.
Geoff had by then moved on from progressive rock to more commercial music and was attracted to the keyboards and the possibilities that they offered, especially the new electronic samplers and other synthesizers. It was really the end of the road for Galliard as Geoff's new songs moved the band in a new direction towards funk/jazz black-American influenced music that got Geoff and Andy back to their R&B/Blues roots, which was not the direction that all the band wanted to go in. It also got the band more work as they switched to the Birmingham-based Fewtrell/Tully agency and started to work in more night clubs than colleges.
Richard Pannell eventually left in 1973 and joined E.L.O. as their permanent sound engineer. Les Podraza moved on as he wasn't interested in the new music, to be replaced firstly by the late Fred Woolley, followed by Steve James, and then another Geoff drummer discovery, Mel Gaynor (Carl Palmer being the first). Mel later went on to fame with Simple Minds! Lyle Jenkins is still playing and runs a jazz club and teaches sax/woodwinds in Essex. Dave Caswell is retired but still active with local bands in Dorset. He commutes to Germany each year for serious jazz gigs.
Geoff's next band to take the stage and make an impact in Birmingham and the recording scene was 'Muscles' who became Birmingham's answer to 'Level 42', but that's another story!
Tracks
1. New Dawn Breaking - 4:22
2. Ask For Nothing - 9:01
3. Winter-Spring-Summer - 5:57
4. Open Up Your Mind (Brown, Morton) - 3:14
5. And Smile Again - 4:09
6. Something Going On (Brown, Morton) - 4:55
7. Premonition (Caswell) - 4:45
8. In Your Mind's Eyes - 6:28
All songs by Geoff Brown except where stated
Musicians
*Andrew Abbott - Bass, Lead Vocals
*Geoff Brown - Lead Vocals, Rhythm, 12 String Guitars, Hammond Organ, Piano
*Dave Caswell - Trumpet. Indian Flute, Electric Piano, Vocals
*Richard Pannell - Lead Guitar, Sitar, Vocals
*Leslie Podraza - Drums, Tambourine, Sleigh Bells, Vocals
*Harald Beckett - Trumpet, Flugelhorn
*John Hughes - Trombone
*Lyle Jenkins - Tenor, Baritone Saxophones
*John Morton - Piano
*Tony Roberts - Saxophone, Flute
*Tommy Thomas - Congas
