The Peanut Butter Conspiracy - Living Dream (1967-68 us, beautiful west coast sunny psych, Sundazed release)

A late-'60s California quintet with a sound that falls somewhere between the Mamas & the Papas and the Jefferson Airplane -- unfortunately without the elegance of the former or the edgy recklessness of the latter -- the Peanut Butter Conspiracy's albums now seem like timepieces of the flower power era, and since the group never managed a big radio hit, they don't even generate the easy nostalgia that might bring them a fresh audience in the 21st century.

Led by bassist Alan Brackett and guitarist John Merrill, both songwriters, and singer Sandi Robinson, who should have been the marketable centerpiece of the band, but curiously wasn't, the PBC certainly had potential. Columbia Records teamed them with producer Gary Usher, who spotted the 12-string guitars and the careful group harmonies of the band and promptly made them sound like the Byrds, which wasn't necessarily a bad idea, but a better idea might have been to make Robinson's vocals the clear focus of the group, which would have given them a stronger public identity.

The closest the PBC came to having a hit was with their first single, the now hopelessly dated "It's a Happening Thing," and if most of the songs on this anthology (drawn from the group's first two albums, The Peanut Butter Conspiracy Is Spreading and The Great Conspiracy) now seem half-written and full of hippie-driven jargon, there are still a few gems here, including Merrill's Byrdsian "Twice Is Life" and "Dark on You Now," as well as Brackett's intriguing "Living Dream." Other songs have strong points, like Brackett's "Living, Loving Life," which has a killer opening line ("Everyone has a bomb in their mind"), or the previously unissued "Peter Pan," which sounds today like a brilliant satire of the late-'60s hippie ethos, but wasn't anything of the sort when PBC recorded it.

Maybe the strongest cut is "I'm a Fool," a Brackett song that features an unusually aggressive vocal from Robinson (matched in the arrangement by horn blasts) that suggests an alternate musical path for the group that unfortunately was never followed. This set from Sundazed has all the essentials from the group's 1967 and 1968 albums for Columbia, plus two previously unissued tracks and the single mix of "It's a Happening Thing," making it both an ideal introduction to the Peanut Butter Conspiracy and probably all that most listeners will ever really need.
by Steve Leggett

Tracks
1. It's A Happening Thing (Single Version) (Brackett) - 2:21
2. Twice Is Life (Merrill) - 2:46
3. You Can't Be Found (Brackett) - 2:44
4. Why Did I Get So High? (Brackett) - 2:08
5. Dark On You Now (Merrill) - 2:18
6. The Most Up 'Til Now (Brackett) - 2:33
7. Peter Pan (Brackett) - 3:07
8. Turn On A Friend (To The Good Life) (Brackett) - 2:20
9. Lonely Leaf (Merrill) - 3:52
10.Pleasure (Merrill) - 3:24
11.Too Many Do (Brackett) - 6:31
12.Living, Loving Life (Brackett) - 3:18
13.Captain Sandwich (Merrill) - 2:07
14.Living Dream (Brackett) - 4:17
15.Ecstasy (Merrill) - 6:17
16.Time Is After You (Brackett) - 3:01
17.Wonderment (Merrill) - 4:10
18.I'm A Fool (Brackett) - 2:36
19.It's So Hard (Brackett) - 2:32
20.Out Of Phase (Brackett) - 2:25

The Peanut Butter Conspiracy
*Alan Brackett - Bass
*John Merrill - Rhythm Guitar
*Jim Voight - Drums
*Sandi Robison - Vocals, Percussion
*Lance Fent - Lead Guitar (Tracks 1-6, 16)
*Mikhael Kollander - Lead Guitar (Tracks 8, 11, 17)
*Bill Wolf - Lead Guitar (Tracks 9, 10, 12-15)

1965-71  Ashes - Ashes

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The New Colony Six - Sides (1965-74 us, fine sunny beat psych, 2007 issue)

The New Colony Six started out as one of the better garage bands to come out of the Midwest in the mid-'60s, playing tough British Invasion-style rock & roll (their "At the River's Edge" made it onto the Nuggets box set), and they later evolved into a surprisingly sophisticated and skillful pop group that scored nationwide hits with the singles "Love You So Much" and "Things I'd Like to Say." 

However, this collection of odds and ends doesn't quite play to either side of the band's personality; in fact, most of the 24 songs aren't actually by The New Colony Six, with 11 tunes by the Raymond John Michael Band (which featured three NC6 alumni, singer Ray Graffia, drummer Chick James, and keyboard man Craig Kemp) and one each by Junior and Graffia, both latter-day Ray Graffia projects. The compilers also present a number of tracks in multiple versions, which gets a bit tiring; "The Power of Love," "Accept My Ring," and "Rap-A-Tap" by The New Colony Six all appear twice, while there are two different takes of "Hitch-Hiker" by the Raymond John Michael Band, and their cover of Terry Reid's "Rich Kid Blues" shows up no less than three times. 

Given the plentiful supply of alternate takes and recordings by post-New Colony Six acts, Sides is clearly for hardcore NC6 fans only, but that's not to say they won't enjoy this collection; there's a charging live recording of the New Colony Six rarity "The Time Is Right," "Come and Give Your Love to Me" is a fine high-attitude rocker, most of the Raymond John Michael Band material sounds like a solid if slightly over-polished variation on the latter-day NC6, "Bobby and Georgia" and "Gwendolyn" are witty novelty numbers, and Graffia's "Sides" is an admirably ballsy hard rock number. In short, if you're looking for The New Colony Six's greatest hits, steer clear of Sides, but if you're a committed fan looking for some choice rarities, you'll find them on this collection. 

by Mark Deming

Tracks
1. The New Colony Six - Sunshine (Gerry Van Kollenburg, Pat McBride, Ray Graffia Jr) - 2:25
2. The New Colony Six - The Power Of Love (Gerry Van Kollenburg, Pat McBride, Ray Graffia Jr) - 2:12
3. The New Colony Six - Rap-A-Tap (Ray Graffia Jr, Ronnie Rice) - 2:05
4. The New Colony Six - The Power Of Love (Gerry Van Kollenburg, Pat McBride, Ray Graffia Jr) - 2:26
5. The New Colony Six - Accept My Ring (erry Van Kollenburg, Ray Graffia Jr, Pat McBride) - 2:17
6. The New Colony Six - Rap-A-Tap (Ray Graffia Jr, Ronnie Rice) - 2:32
7. The New Colony Six - Accept My Ring (Gerry Van Kollenburg, Ray Graffia Jr, Pat McBride) - 2:16
8. The New Colony Six - Come And Give Your Love To Me (Ray Graffia Jr, Gerry Van Kollenburg, Chuck Jobes) - 1:57
9. The New Colony Six - The Time Is Right (Wally Kemp) - 2:14
10.The New Colony Six - Muddy Feet (On The Mississippi) (Billy Herman) - 2:56
11.The Raymond John Michael Band - Let There Be Love (Barry Gibb, Robin Gibb, Maurice Gibb) - 2:51
12.The Raymond John Michael Band - Feel Free (Ray Graffia Jr, Greg Kempinskii) - 2:02
13.The Raymond John Michael Band - Rich Kid Blues (Terry Reid) - 2:59
14.The Raymond John Michael Band - Hitch-Hiker (James Chitkowski, Ray Graffia Jr, Greg Nashan) - 2:07
15.The Raymond John Michael Band - Rich Kid Blues (Terry Reid) - 2:35
16.The Raymond John Michael Band - Bobby And Georgia (Ray Graffia Jr.) - 1:39
17.The Raymond John Michael Band - Hitch-Hiker (James Chitkowski, Ray Graffia Jr, Greg Nashan) - 2:10
18.The Raymond John Michael Band - I Can't Believe That We're Alone (Ray Graffia Jr, Greg Kempinski) - 3:19
19.The Raymond John Michael Band - Rich Kid Blues (Terry Reid) - 3:21
20.The Raymond John Michael Band - Gwendolyn (Ray Graffia Jr, Greg Nashan) - 2:56
21.The Raymond John Michael Band - I Confess (Ray Graffia Jr, Gerry Van Kollenburg) - 4:08
22.Junior - I Will Always Think About You (Ronnie Rice,  Leslie Kummel) - 2:51
23.The New Colony Six - Can't You See Me Cry (Ray Graffia Jr, Gerry Van Kollenburg) - 2:34
24.Graffia - Sides (Ray Graffia Jr.) - 2:24

The New Colony Six
*Ray Graffia - Vocals
*Chick James - Drums
*Pat Mcbride - Harmonica
*Craig Kemp - Organ
*Wally Kemp - Bass
*Gerry Van Kollenburg - Guitar
*Ronnie Rice - Vocals, Keyboards, Guitar
*Ellery Temple - Bass
*Les Kummel - Bass
*Billy Herman - Vocals, Drums
*Bruce Gordon - Bass
*Chuck Jobes - Keyboards
*Skip Griparis - Vocals, Guitar

The Raymond John Michael Band

*Ray Graffia - Vocals

*Chick James - Drums

*Craig Kemp - Organ

*Greg Nashan - Guitar

*Terry Stone - Bass 

*Jeff Tuckman - Bass 

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Jeremy And The Satyrs - Jeremy And The Satyrs (1968 us, awesome groovy jazzy bluesy psych)

One of the earliest and finest jazz-rock flutists, Jeremy Steig is an outstanding soloist. He's mastered the entire flute family, including bass, and also plays piccolo well. He has a similarly rich, classically pure tone and timbre as James Newton or Hubert Laws, and uses almost as many devices, such as tongue fluttering, humming, and swirling lines. But he's not as blues- or swing-oriented, and his associations include working in the early '60s with Richie Havens and heading Jeremy and the Satyrs in 1967.

Steig's father is the famous artist William Steig; he began playing recorder at six and took flute lessons at 11. Steig attended the High School of Music and Art. He played with Gary Peacock and Paul Bley in the early '60s, then led a jazz-rock combo in 1967 backing Tim Hardin before heading his own groups. Steig played with Mike Manieri and Eddie Gomez in the '60s, and Jan Hammer in 1970. He began using electronics and synthesizers in the '70s, and toured Europe both as a soloist and heading quartets and quintets. He recorded with Gomez and Joe Chambers in the late '70s, and did sessions with Mike Nock, Karl Ratzer, Nana Vasconcelos, Ray Barretto, Steve Gadd, and Jack DeJohnette in the '80s. 

by Ron Wynn

Tracks
1.In The World Of Glass Teardrops - 5:22
2.Superbaby - 3:52
3.She Didn't Even Say Goodbye - 6:30
4.The Do It - 2:58
5.The First Time I Saw You, Baby (With Your Pretty Green Eyes) - 3:29
6.Lovely Child Of Tears - 3:55
7.(Let's Go To The) Movie Show - 2:41
8.Mean Black Snake - 5:15
9.Cazonetta - 2:25
10.Foreign Release (The Satyrs) - 3:21
11.Satyrized - 3:41

Jeremy And The Satyrs
*Jeremy Steig - Flute
*Adrian Guillery - Vocals, Guitar, Harmonica
*Warren Bernhardt - Vocals, Keyboards
*Eddie Gomez - Bass
*Donald McDonald - Drums

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Fruupp - Seven Secrets (1974 ireland, splendid art baroque prog rock, 2004 japan, 2009 esoteric and 2016 blu spec)

Flushed with critical acclaim Fruupp returned to the studio at the beginning of 1974 to record their second album Seven Secrets, released just six months after its predecessor. Bassist and vocalist Farrelly was responsible for the multicoloured artwork as he had been with the previous release. They were now established as a regular live act in the UK supporting the likes of Genesis and the Electric Light Orchestra as well as headlining in their own right. Possibly as a result of extensive gigging the rougher edges had been smoothed away resulting in a more refined album where the classical leanings are even more pronounced. 

To illustrate the point a string overture based on Handel’s Water Music opens the album and the song Faced With Shekinah. The classical composer’s contribution goes unacknowledged however with the song credited to Houston who also adds vintage keys and woodwind sounds that bring Gryphon to mind. It was a clear sign that the keyboardist was providing a viable challenge to McCusker’s dominance as the bands principle songwriter. For his part McCusker adds a lovely weeping guitar sound ala Jan Akkerman.

Wise As Wisdom is not the bands strongest song to date but it does benefit from a restless organ rhythm in the vein of Genesis’ Return Of The Giant Hogweed. In addition to a mellow vocal, acoustic guitar and strings interlude, White Eyes introduces a jaunty piano rhythm that would feature prominently in many Fruupp songs. If you’re familiar with Tony Banks’ title song to Genesis’ Trick Of The Tail then you’ll know where I’m coming from. Garden Lady is the bands longest offering to date providing a good balance between strident, up-tempo sections and melodic, ambient moments rounded off by one of McCusker’s finest guitar solos. 

The wistful Three Spires is easily one of the bands most exquisite tunes thus far with violin, acoustic guitar and piano (courtesy of guest David Lewis) evocative of early Ant Phillips. Elizabeth follows the tone of the opening track and remains probably the bands most successful attempt at blending classical and prog. Cascading strings and rippling piano lift the lyrical vocal melody with Farrelly performing at his best (both vocally and bass wise) with muscular support from drummer Martin Foye. The album ends with The Seventh Secret, a whimsical acoustic guitar and spoken ditty written as an afterthought to ensure the album had seven songs to match its title. 

by Geoff Feakes

Tracks
1. Faced With Shekinah (Stephen Houston) - 8:23
2. Wise As Wisdom (Vincent McCusker, Paul Charles) - 7:07
3. White Eyes (Vincent McCusker, Paul Charles) - 7:16
4. Garden Lady (Vincent McCusker) - 9:00
5. Three Spires (Vincent McCusker, Paul Charles) - 5:00
6. Elizabeth (Stephen Houston) - 7:45
7. The Seventh Secret (Vincent McCusker) - 1:08

Fruupp
*Peter Farrelly - Bass, Flute, Vocals
*Martin Foye - Drums, Percussion
*Stephen Houston - Keyboards, Oboe, Vocals
*Vincent McCusker - Acoustic, Electric Guitars, Vocals
With
*David Lewis - Piano

1973  Fruupp - Future Legends (Japan remaster)

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Fruupp - Future Legends (1973 ireland, sensational art prog rock, 2004 japan, 2009 esoteric and 2016 blu spec with bonus track)

One of the hardest-working progressive bands to end up languishing in relative obscurity, Fruupp was begun in 1971 by guitarist Vince McCusker. After a brief musical apprenticeship in London, McCusker returned to Belfast and quickly pulled together a group of largely classically trained musicians; the lineup was unusual in that keyboardist Stephen Houston doubled on the oboe. (The unusual band name was taken from a Lectreset sheet.) 

The band's resulting sound is not unlike Spring or early Genesis, with primary composers McCusker and Houston acting as foils for each other: Houston's cello, oboe, and violin typically lend dark folk textures beneath McCusker's aggressive guitar parts and Peter Farelly's Celtic-influenced vocals. After two years of gigging, they shopped their demo tape around and were picked up by Pye Records for their Dawn label. Between 1973 and 1975, Fruupp released four albums, the last of which was produced by King Crimson alum Ian McDonald; the band also toured in support of Crimson.

 Despite playing hundreds of gigs per year throughout the U.K. and Europe during this period, their record sales never quite took off, and the band closed up shop after a final London gig at the Roundhouse in 1976. 

by Paul Collins

Tracks
1. Future Legends - 1:27
2. Decision - 6:21
3. As Day Breaks With Dawn - 4:58
4. Graveyard Epistle - 6:14
5. Lord Of The Incubus - 6:20
6. Olde Tyme Future - 5:33
7. Song For A Thought - 7:25
8. Future Legends - 0:47
All titles composed by Vince McCusker

Fruupp
*Peter Farrelly - Bass, Flute, Vocals
*Martin Foye - Drums, Percussion
*Stephen Houston - Keyboards, Oboe, Vocals
*Vincent McCusker - Acoustic , Electric Guitars, Vocals

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Gospel Oak - Gospel Oak (1970 uk / us, fine rural blues rock)

Gospel Oak was a surprise to me, both in bibliographical terms and for the music. This was another album I picked up at a yard sale with no prior knowledge of the product. I literally bought it for the album cover which showed what I thought were a bunch of English hippy guys poised in a beatific rural setting (the oak tree picture on the cover was stunning). I literally had visions of early 1970s UK progressive moves.  Besides, Kapp had some interesting late 1960s and early-1970s acts on its roster (no, I'm not thinking about Cher). Anyhow it turned out that virtually every one of my preconceived notions was wrong. 

Matthew Kelly was a Californian who'd previously attracted attention playing blues harmonica and touring with the likes of Mel Brown, John Lee Hooker, and T-Bone Walker. The man clearly had some chops to be supporting names like that. Kelly soon found himself caught-up in San Francisco's burgeoning rock scene. He added electric guitar to his repertoire and started playing with Chris Herold and Dave Torbert. In 1969 the three of them were hired to play in the band Horses which was fronted by sometimes actor and lead singer Don Johnson (yeap, the Miami Vice guy). Horses recorded one self-titled album before collapsing.  

I found a brief online interview where Kelly actually talked about the experience: "I'm a bit embarrassed about. We actually made a record. We were backing up this Hollywood singer, a guy who was sort of a Jim Morrison type. We got flown down to Hollywood and lived there for three or four months while we were making this very commercial record, of which Jump for Joy (A Kingfish tune) was on the record with this guy Don Johnson was singing. Fortunately this record is very difficult to get. So for anybody that wants to run right out and buy it, I think they will have a very difficult time. It is just as well for it is a bit embarrassing." 

Perhaps out of personal shame Kelly's next move found him headed for the UK.  At the same time drummer Kerry Gaines, keyboardist Cliff Hall, pedal steel guitarist Gordon Huntley, lead guitarist Bob Le Gate, and singer/bassist John Rapp found themselves in England.  Originally from Indiana, they somehow managed to attract the attention of Beatles publicist Tony Barrow. Barrow signed on as manager and used his connections to get the band a record deal with Kapp. The label then decided to ship the group to London where they hooked up with fellow expatriot Kelly.  The expanded lineup was the teamed with producers Mike Leander and Roger Watson for their self titled debut LP.  

Musically "Gospel Oak" was all over the genre map.  With Rapp and Le Gate responsible for most of the material, tracks like 'Recollections of Jessica' and 'Big Fat White Man' were decent country-rock complete with nice melodies and catchy group harmonies. Showcasing Kelly's harmonica and Le Gate's lead guitar 'Brown Haired Girl', 'Common Expressions' and the instrumental 'South Bleach' offered up a harder edged blues sound, while 'Go Talk To Rachel' and 'O.K. Sam' found the group taking a stab at a more conventional and accessable rock attack.

Propelled by some nifty Le Gate guitar, best of the lot was the album-closer 'St. Anne's Pretension'.  The album was never less than enjoyable, but by the same token it lacked anything to distinguish it from the competition.  The album's certainly likeable which makes it too bad if didn't sport one or two slightly stronger compositions.  With those ingredients these guys could have been major players.  Kapp also tapped the album for a single in the form of 'O.K. Sam' b/w 'Go Talk To Rachel' (Kapp catalog number 2115).

Bad-Cat

Tracks
1. Brown Haired Girl (John Rapp) - 3:34
2. Common Expressions (John Rapp) - 3:17
3. Recollections Of Jessica (Tim Hovey, Bob Le Gate) - 3:05
4. Big Fat White Man (Tim Hovey, Bob Le Gate) - 2:35
5. South Bleach (Instrumental) (Bob Le Gate, Kerry Gaines, Matthew Kelly) - 2:36
6. Why We Came (Kerry Gaines, John Rapp) - 2:57
7. Go Talk To Rachel (John Rapp) - 4:07
8. O.K. Sam (Tim Hovey, Bob Le Gate) - 3:25
9. St. Anne's Pretension (Kerry Gaines, John Rapp) - 4:39

Gospel Oak
*Kerry Gaines - Drums, Percussion
*Matthew Kelly - Harmonica, Guitar
*Bob Le Gate - Lead Guitar, Vocals
*John Rapp - Vocals, Bass, Rhythm Guitar
With
*Cliff Hall - Keyboards
*Gordon Huntley - Pedal Steel Guitar

Related Act
1969  Horses - Horses

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Mojo Men - There Goes My Mind (1967-68 us, splendid folk sunny psych, Sundazed release)

There Goes My Mind is essentially the album the Mojo Men would have liked Warner Brothers to put out in 1968, but which Warners, for whatever reason, declined to do. Although the liner notes make clear that the intention was for the band to eventually record the material with Warners with full orchestration, these 16 1967-1968 recordings -- all original songs, and all but two previously unreleased -- actually sound almost as fully produced as the typical late-'60s finished product. All but two of the tracks come from a June 30, 1968, session, and to be honest most of these aren't quite as good as the sweet early harmony-laden pop-folk-psych buzz the Mojo Men conjured on their best slightly earlier recordings, shortly after drummer-singer Jan Errico had joined. 

Some good early San Francisco rock-type bittersweet melodies, yearning melancholy lyrics, and accomplished male-female harmonies on songs like "I Wish Today Were Yesterday," "Unaware of Me," and the haunting harpsichord-laden "Watch You Walk Away," though occasionally the tunes lean toward a slightly bubblegummy sunshine pop vibe. Yet it's one of the 1967 demos, "Today" (no relation to the Jefferson Airplane classic of the same name), that emerges as the standout, qualifying as a lost near-classic of San Francisco rock with its enchanting never-neverland lyrics, startling tempo changes, and beguiling wistful melody. And the other 1967 demo, the jazzy and similarly reflective "But Now and Then," isn't too far behind. 

by Richie Unterberger

Tracks
1. When You're Down - 2:37
2. Sure of Your Love (Jim Alaimo, Jan Errico) - 2:59
3. Everyday Love - 4:04
4. I Wish Today Were Yesterday - 2:48
5. Take Me Away (Jim Alaimo, Jan Errico) - 1:36
6. Unaware of Me (Jim Alaimo, Jan Errico) - 2:56
7. Candy (Jim Alaimo, Jan Errico, Paul Curcio, Don Metchick) - 2:50
8. Ashamed of Me (Jim Alaimo, Jan Errico) - 3:15
9. It's Okay (Jim Alaimo, Jan Errico) - 2:28
10.Watch You Walk Away - 3:08
11.There Goes My Mind (Jim Alaimo, Jan Errico, Paul Curcio, Don Metchick) - 2:48
12.Today (Mono Demo Version) - 2:09
13.But Now and Then (Mono Demo Version) - 2:16
14.Summer Flowers (Mono Demo Version) - 2:29
15.Not for Me (Mono Demo Version) - 1:44
16.Take Me Away (Mono Demo Version) (Jim Alaimo, Jan Errico) - 1:29
All songs by Jim Alaimo, Jan Errico, Paul Curcio except where noted

The Mojo Men
*Jim Alaimo - Bass, Vocals
*Jan Errico - Vocals, Drums
*Paul Curcio - Guitar, Vocals
*Don Metchick - Keyboards

1965-66  The Mojo Men - Whys Ain't Supposed To Be (Sundazed release)

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The Mojo Men - Whys Ain't Supposed To Be (1965-66 us, excellent garage beat, Sundazed release)

Quite a few references show The Mojo Men as being part of the San Francisco music scene.  Technically that's correct, but the original line up of 

singer/bassist Jim Alaimo, guitarist Paul Curcio, drummer Dennis DeCarr and keyboard player Don Metchick morphed out of the Coral Gables, Florida based The Valiants.  

Frontman Alaimo was a cousin to Steve Alaimo and had recorded some material under the monikers 'Jim Paris' and 'Jimmy Summers and the Slicks'.  The Valiants had actually provided backing on some Steve Alaimo sides, but 1964 saw the quartet head for San Francisco where they changed their name to 'The Mojo Men' and briefly picked up Sly Stone as a member. While Stone quickly moved on to form Sly and the Family Stone, he was instrumental in getting the group signed to San Francisco DJ 'Big Daddy' Tom Donahue's Autumn Records where they recorded three 45s during the 1965-66 period.  Stewart also wrote some of their material, including the hit 'She's My Baby' and produced most of their Autumn Records sides.

Prior to the release of their third single the band underwent a personnel change that saw original drummer DeCarr replaced by former Vejtables singer/ drummer Jan Errico.  The personnel switch also marked a change in musical direction with the band dropping their earlier garage/R&B leanings (they'd opened for the Stones during their first San Francisco concert appearance at the Civic Auditorium) for a far more polished and produced pop-oriented sound.  With Autumn in financial collapse, the group switched over to the much large Reprise Records. 

Bad-cat

Tracks
1. Something Bad (S. Stewart, Steve Alaimo, Paul Curcio) - 2:12
2. She's My Baby (Stone, S. Stewart, Steve Alaimo, Paul Curcio) - 3:33
3. My Woman's Head (S. Stewart, Steve Alaimo, Paul Curcio) - 3:53
4. The New Breed (S. Stewart, Steve Alaimo, Paul Curcio) - 3:35
5. Dance With Me (Steve Alaimo, Paul Curcio) - 2:39
6. Off The Hook (Mick Jagger, Keith Richards) - 2:43
7. Why (Steve Alaimo, Paul Curcio) - 2:18
8. Fire In My Heart (Paul Curcio) - 2:51
9. As I Get Older (S. Stewart, Steve Alaimo, Paul Curcio) - 3:11
10.Mojo Men Day (Wmex Radio Spot) - 0:56
11.Mama's Little Baby (Steve Alaimo, Paul Curcio, Don Metchick) - 2:26
12.Oh Misery (Steve Alaimo, Paul Curcio) - 2:10
13.Lost Love (Steve Alaimo, Paul Curcio, Don Metchick) - 2:07
14.Why Can't You Stay (Steve Alaimo, Paul Curcio) - 2:25
15.Girl Won't You Go On Home (Steve Alaimo, Paul Curcio) - 1:41
16.Cry Baby (Steve Alaimo, Paul Curcio) - 2:40
17.Everything I Need (Paul Curcio) - 2:44
18.he Goes With Me (Steve Alaimo, Paul Curcio) - 1:49
19.Free As A Bird (Steve Alaimo, Paul Curcio) - 2:22
20.Loneliest Boy In Town (Steve Alaimo, Paul Curcio) - 3:03
21.Fire In My Heart (Demo Version) (Paul Curcio) - 2:34

The Mojo Men
*Jim Alaimo - Bass, Vocals
*Paul Curcio - Guitar, Vocals
*Dennis DeCarr - Drums, Vocals
*Don Metchick - Keyboards

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The Southwest F.O.B. - Smell of Incense (1966-69 us, lovely sunny folk psychedelia, Sundazed remaster and expanded)

Late-sixties Dallas band Southwest F.O.B. are mostly remembered for "Smell of Incense," a pop-psychedelic tune with an ethereal organ that was a big regional hit in the South, and a small national one. The group were more aligned with the "soft rock" or sunshine pop sounds typical of many late-sixties pop-psychedelic southern Californian acts than the tough Texas garage style. Multi-part vocal harmonies characterized many of their arrangements, and their occasional use of horns added a mild dash of soul. 

Although "Smell of Incense" was a pop-slanted cover of a song by L.A. psychedelic group the West Coast Pop Art Experimental Band, most of their material was original, penned by Dan Seals and John Ford Colley [sic], who went on to land some big soft-rock hits in the 1970s as England Dan and John Ford Coley. Their brand of psychedelia was way tougher than what they'd make in the 1970s, but certainly on the tame side. After making one album and a few singles, Seals and Colley left the group to form a duo, leaving the remaining members to carry on for about a year before disbanding. 

by Richie Unterberger

Tracks
1. Smell Of Incense (Bob Markley, Ron Morgan) - 2:40
2. Tomorrow - 3:11
3. Rock 'N' Roll Woman (S. Stills) - 2:47
4. Downtown Woman/Nadine (Colley,  Seals, C. Berry) - 6:54
5. All One Big Game - 2:54
6. On My Mind - 2:26
7. Bells Of Baytown - 3:30
8. And Another Thing - 11:55
9. Mercy, Mercy, Mercy (Joe Zawinul) - 2:59
10.Independent Me - 2:27
11.Green Skies - 2:02
12.As I Look At You (Tony Durrell) - 2:23
13.Beggar Man - 2:29
14.Feelin' Groovy (P. Simon) - 2:52
15.Theze Few – Dynamite (Dan Seals) - 2:36
16.Theze Few – I Want Your Love (Dan Seals) - 2:15
17.Smell Of Incense (Single Mix) (B. Markley, R. Morgan) - 2:41
18.Nadine (Single Version) (C. Berry) - 2:59
19.Tomorrow (Alternate Mono Mix) - 3:11
20.And Another Thing (Edited Mono Version) - 3:10
All songs by John Colley and Dan Seals except where indicated

The Southwest F.O.B.
*Mike "Doc" Woolbright - Bass
*Tony "Zeke" Durrell - Drums
*Larry "Ovid" Stevens - Guitar
*Dan Seals - Lead Vocals, Saxophone
*John Colley - Organ, Keyboards
*Randy Bates - Trumpet

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Big Brother Feat. Ernie Joseph - South East Tour (1971 us, exciting raw hard psych, Akarma issue)

Supposedly "South East Tour" was originally released in 1971 under All American catalog number AA-5773-LPD.  Not that we're experts or anything, but we've never seen an original copy of the album which probably makes Akarma's 1998 reissue your only real choice if you want to hear this set.   

The title and packaging certainly give you the impression this is a live set, but that's not really the story here. Half of the ten tracks are pulled from Joseph's earlier band - A Giant Crab Comes Forth.  (I'm too lazy to pull the LP, but I think the songs are all pulled the first Giant Crab LP).  The other five selections are billed as previously unreleased efforts, but tracks such as "Keeping the Faith" and "How Many Times" don't sound like concert recordings to our ears.  In terms of quality, the new stuff varies from ponderous boogie ("Satisfied Woman") to mildly entertaining ("Truthfulness").  To be honest,  Giant Crab tracks such as the fuzz guitar propelled "Hotline Conversation" and the blue-eyed soul-ish "Save Me (Save Me)" provide the highlights. 

Bad-cat

Tracks
1. Satisfied Woman (Ernie Joseph, Cary Colt, Brian Faith) - 3:44
2. Truthfulness  (Ernie Joseph, Cary Colt, Brian Faith) - 5:08
3. Hotline Conversation  (Ernie Joseph, Cary Colt, Brian Faith) - 3:00
4. Thru The Fields  (Ernie Joseph, Bill Holmes) - 2:41
5. Keeping The Faith  (Ernie Joseph, Cary Colt, Brian Faith) - 0:38
6. Save Me (Save Me)  (Scott English, K. Young) - 2:15
7. How Many Times  (Ernie Joseph, Cary Colt, Brian Faith) - 5:25
8. Directions  (Ernie Joseph, Cary Colt, Brian Faith) - 2:59
9. Look At the Way  (Ernie Joseph, Cary Colt, Brian Faith) - 4:17
10.My Love (Is Gonna Grow On You)  (Scott English, H. McCracken) - 2:15

Big Brother
*Ernie "Joseph" Orosco - Vocals, Guitar, Bass
*Cory Colt - Rhythm Guitar, Bass, Keyboards, Backing Vocals
*Brian Faith - Drums, Bass
*Greg Munford - Backing Vocals

1970  Big Brother Feat. Ernie Joseph - Confusion

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