Crazy Horse - Scratchy, Complete Recordings (1962-73 us, exceptional country rock, 2005 double disc issue)

Crazy Horse’s 1971 self-titled debut, with Danny Whitten, Nils Lofgren and Jack Nitzsche, remains a roots-inflected, heavy-rock touchstone, boasting a uniformly strong set balancing mournful ballads and left-field rockers (notably, an ode to erectile dysfunction and a party stomper about scoring heroin). Just a year later, the follow-up Loose found Talbot and Molina fronted by an anonymous collection of minor leaguers, delivering limp country-rock several notches below the not exactly hearty CSN/Eagles standard. Rhino’s “limited edition” supplements the official releases with the usual oddments and arcana, but given the original lineup’s too-brief run, these barrel scrapings inspire a benevolent indulgence. The simulated innocence of the early-’60s close harmony and Brill Building knockoffs that close the set is sweet enough to induce tears.

by Scott Manzler

Neil Young may not ever allow his Reprise outtakes to be released, but that doesn't mean there's not a lot of equally cool stuff from an orbit near his that can't be enjoyed -- and Rhino Handmade has hit a mother lode with this double-CD set, which offers a lot more than even dedicated Crazy Horse fans may expect. Thanks to their convoluted membership history and a series of label changes, Crazy Horse had one of the stranger release histories of almost any '70s band -- their stuff and, to some extent, their sound are all over the map. Scratchy: 

The Complete Reprise Recordings makes a strong case, however, for the primacy of the first lineup and their work on Reprise, assembling all of their released work for the label plus the equivalent of an album's worth of outtakes and radio spots, and two tracks by Danny & the Memories, the group that preceded the formation of Crazy Horse by five years or so. The group's self-titled debut album has bounced in and out of print for the last 34 years, but here it's been remastered with the kind of attention that makes it sound like one is hearing it for the first time -- the close sound of the acoustic guitars on "I Don't Want to Talk About It" and the roaring electric instruments on "Gone Dead Train," "Dance, Dance, Dance," and "Downtown" are impressive to these ears, the harder-rocking numbers now displaying the raw power and impact that the group exuded on-stage; the remastering job has undone the inevitable flattening process that went into the vinyl release, so that Billy Talbot's bass, in particular, now gets a killer showcase, and Jack Nitzsche's piano on "Carolay" gets as much play as the massed acoustic guitars that carry the rhythm figure at the center of the song. 

What's more, the crispness of the sound has brought the singing out in vivid detail -- if the LP could have sounded this bracing and powerful, this band might well have seen the success it deserved. The second half of the first CD is filled out with the tracks off of their second album, Loose; thanks to the ensuing lineup changes that took place, they're a bit of a letdown after the 11 gems from Crazy Horse, though not bad on their own terms -- the group plays from less melodic strength and raw inventiveness, but make up for it with a lot of enthusiasm and positive vibes in their sound, especially on the acoustic numbers such as the gorgeous "One Thing I Love" or "All Alone Now." 

The real treat, however, is the second disc, which opens with a string of extraordinary outtakes, including the title track -- the outtakes sound incredible and feature exceptional playing, and "Scratchy" by itself is worth the price of admission, 12 minutes of stunning electric interaction; and it's followed by the gorgeous acoustic piece "Dear Song Singer," plus a long version of "Downtown"; the first Danny & the Memories cut, "Can't Help Loving That Girl," was, in its own time, a throwback to early-'60s doo wop style, while the second, "Don't Go," was much more contemporary circa 1965. The set is attractively designed, with separate pockets for each disc and a beautifully designed booklet with extensive annotation, all in a very practical slipcase-style package. It's a bargain for any fan of this band or any of its members, and worth tracking down.

by Bruce Eder

Tracks

Disc 1 "Crazy Horse" 1971

1. Gone Dead Train (Russ Titelman, Jack Nitzsche) - 4:10

2. Dance, Dance, Dance (Neil Young) - 2:13

3. Look At All The Things (Danny Whitten) - 3:14

4. Beggars Day (Nils Lofgren) - 4:33

5. I Don't Want To Talk About It (Danny Whitten) - 5:20

6. Downtown (Danny Whitten, Neil Young) - 3:16

7. Carolay (Jack Nitzsche, Russ Titelman) - 2:53

8. Dirty, Dirty (Danny Whitten) - 3:33

9. Nobody (Nils Lofgren) - 2:39

10.I'll Get By (Danny Whitten) - 3:08

11.Crow Jane Lady (Jack Nitzsche) - 4:27

"Loose" 1972

12.Hit And Run (John Blanton) - 2:41

13.Try (George Whitsell) - 3:18

14.One Thing I Love (Greg Leroy) - 2:37

15.Move (George Whitsell) - 3:13

16.All Alone Now (George Whitsell) - 2:46

17.All The Little Things (Greg Leroy) - 5:01

18.Fair Weather Friend (Greg Leroy) - 2:41

19.You Won't Miss Me (George Whitsell) - 2:47

20.Going Home (Greg Leroy) - 2:50

21.Don't Believe It (George Whitsell) - 3:07

22.Kind Of Woman (John Blanton) - 4:25

23.One Sided Love (George Whitsell) - 3:12

24.And She Won't Even Blow Smoke In My Direction (George Whitsell) - 1:21

Disc 2
1. Dirty, Dirty (Alternate Version) (Danny Whitten) - 3:56
2. Scratchy (Takes 1-3) (Unknown) - 12:12
3. Dear Song Singer (Unknown) - 3:10
4. Downtown (Unedited Long Version) (Danny Whitten, Neil Young) - 10:42
5. Susie's Song (Takes 1-5) (Nils Lofgren) - 6:13
6. When You Dance You Can Really Love (Neil Young) - 2:52
7. Radio Spot - 1:07
8. Danny And The Memories - Can't Help Loveing That Girl (Jerome Kern, Oscar Hammerstein II) - 2:03
9. Danny And The Memories - Don't Go (Danny Whitten) - 1:59
Tracks 1-5 from "Crazy Horse" sessions
Track 6 recorded January 1973
Track 7 Reprise  1971
Tracks 8-9 Danny And The Memories Valiant single  1962

1968  The Rockets - The Rockets

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The Leaves - The Leaves...Are Happening! Best Of (1965-66 us, stunning folk garage psych, Sundazed release)

At last, a legitimate and well-distributed reissue of everything the Leaves released on Mira between 1965 and 1966: the entire Hey Joe album, all of the non-LP songs from their singles, the single version of "Too Many People," and three versions of "Hey Joe" (from the hit single and two previous 45s which used slightly different arrangements). This is not the complete work of the Leaves, as it doesn't include anything from their 1967 Capitol LP All the Good That's Happening, but this is no loss, as that album was pretty lousy. (Two covers of unspecified origin from the compilation 1966 are also missing.) Although the Leaves were erratic, at their best they were a fine band who drew from the Byrds' folk-rock, the Beatles' melodicism, and the hard rock of the Rolling Stones, as best heard on "Hey Joe" and the less celebrated "Too Many People," "Be With You," "Just a Memory," "Dr. Stone," "Funny Little World," and "Words." The reissue is enhanced by the detailed history in the accompanying 16-page booklet. 

by Richie Unterberger

Tracks
1. Dr. Stone (J. Pons, J. Beck) - 2:19
2. Just A Memory (B. Arlin) - 2:16
3. Get Out Of My Life Woman (A. Toussaint) - 2:46
4. Girl From The East (R.P. Jameson) - 2:55
5. He Was A Friend Of Mine (Traditional) - 3:22
6. Hey Joe (B. Roberts) - 2:48
7. Words (B. Hart, T. Boyce) - 2:19
8. Back On The Avenue (B. Arlin, J. Pons, J. Beck, R. Reiner, T. Ray) - 3:07
9. War Of Distortion (B. Arlin) - 2:08
10.Tobacco Road (J.D. Loudermilk) - 2:09
11.Goodbye My Love (A. Mcnally, C. Pender) - 3:05
12.Too Many People (B. Rinehart, J. Pons) - 3:15
13.Hey Joe Where You Gonna Go? (Single Version) (B. Roberts) - 2:43
14.Funny Little World (B. Arlin) - 2:07
15.You Better Move On (A. Alexander) - 2:24
16.That's A Different Story (B. Rinehart, J. Pons) - 2:38
17.Love Minus Zero (B. Dylan) - 2:26
18.Be With You (B. Rinehart, J. Pons) - 2:01
19.Too Many People (Single Version) (B. Rinehart, J. Pons) - 2:43
20.Hey Joe Where You Gonna Go? (Promo Single Version) (B. Roberts) - 2:52

The Leaves
*Jimmy Kern - Drums
*Robert Leereiner - Guitar
*Jim Pons - Bass
*Bill Rhinehart - Guitar
*John Beck - Sax, Harmonica, Vocals
*Tom Ray - Drums
*Bobby Arlin - Guitar

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Flash - Out of Our Hands (1973 uk, smart prog rock, 2010 japan SHM remaster)

The last and least good of the Flash albums. Compared to the two first albums, the songs here are shorter and less complex. But the music is still quite progressive and with the unmistakable Flash sound dominated by Banks’ gutsy guitar playing. The best tracks here are probably “None the Wiser” and “Dead Ahead”. And the 39-second long opener “Open Sky” is a very atmospheric and beautiful piece played solo by Banks. Personally, I could probably listen to a 40-minute version of it without getting bored! But unfortunately, too many of the tracks doesn’t get better than just ok and some of them (like “Man of Honour” and “Manhattan Morning”) are simply just weak. But the album is still worth having if you enjoyed the two first Flash albums.

by Tommy Schönenberg

Tracks

1. Open Sky (Banks) - 0:35
2. None The Wiser (Bennett) - 3:17
3. Farewell Number One (Bennett) - 1:36
4. Man Of Honour (Bennett) - 4:45
5. Dead Ahead (Bennett) - 4:38
6. The Bishop (Bennett) - 4:21
7. Psychosync (Banks, Bennett) - 4:50
.I...Escape
.II..Farewell Number Two
.III.Conclusion
8. Manhattan Morning (Christmas ’72) (Carter) - 6:23
9. Shadows (It’s You)  (Carter) - 3:20

Flash 
*Peter Banks – Guitar, Backing Vocals, Moog, Arp Synthesizer, Banjo
*Ray Bennett – Bass, Backing Vocals, Mellotron, Piano, Clavinet, Acoustic Guitar, Arp Synthesizer
*Colin Carter – Lead Vocals
*Mike Hough – Drums, Congas, Tablas

1972  Flash - Flash (2010 SHM)
1972 Flash - In The Can (2010 SHM)

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John Hammond - Source Point / I'm Satisfied (1970-72 us, excellent blues rock, 2007 remaster)

John Hammond's lifelong fascination with the country blues is well-known, and his passion for it is admirable, even if his approximation of it on his many records is at times a bit of an acquired taste. No one can doubt his fervor for the genre, though, and he has developed over the years into a much less affected vocalist, a solid slide player, and a stirring and excellent harmonica player. This set combines his two albums for Columbia Records, 1970's Source Point and 1972's I'm Satisfied, on a 21-track single disc, and while on paper the two albums wouldn't appear to be good running mates, they actually fit together pretty well. 

Hammond produced the spare Source Point himself, working with a rhythm section of Charles Otis on drums and Billy Nichols on bass, and manages to get a nice, natural, and slightly swampy sound going, particularly on the lead cut, a cover of Slim Harpo's "I Got Love If You Want It," the haunting "My First Plea," and a ragged, stomping version of the classic "Junco Partner." I'm Satisfied is a more complex affair. Produced by Delaney Bramlett, it features horns, gospel backing vocals, layered guitars, and stacks of keyboards, and has a distinct Southern rock feel. It manages to work much more than it doesn't, and the highlights include the fast shufflin' "Man in the Road" and the impressive "Ride Till I Die (Jockey Blues)."

At times Hammond's voice feels almost like an afterthought, but the album was by no means a train wreck. Placed together, the two sessions, although obviously quite different in their angles of approach, share a certain general atmospheric feel, and if neither alone is exactly essential, together they show Hammond willing to try different things, even as the blues stay central in all of it. 

by Steve Leggett

Tracks
1. I Got Love If You Want It (J. Moore) - 3:17
2. Hoo-Doo Blues (O. Hicks, J. West) - 3:41
3. Mellow Down Easy (W. Dixon) - 3:07
4. Takin' Care Of Business (R. Toombs) - 3:15
5. She Moves Me (M. Morganfield) - 3:11
6. Let's Go Home (R. Staples) - 2:57
7. Tell Me Mama (W. Jacobs) - 3:08
8. No Place To Go (C. Burnett) - 3:46
9. My First Plea (J. Reed, E. Abner) - 4:49
10.Junco Partner (Shad) - 2:34
11.As The Years Go Passing By (D. Malone) - 4:07
12.Outside Your Door  (D. Bramlett, D. Gilmore) - 3:41
13.If You Ever Need A Man (D. Bramlett) - 3:53
14.Man In The Road (T. Furlong) - 2:25
15.Mama Tain't Long For Day  (W. McTell) - 4:25
16.Farther Up The Road  (J. Veasey, D. Robey) - 2:45
17.I'm Satisfied (D. Bramlett) - 3:21
18.If You Got The Feelin' (D. Bramlett) - 2:33
19.Ride Till I Die (John Lee Hooker) - 2:32
20.I'm Gonna Leave (M. Morganfield) - 2:59
21.From Four Until Late  (R. Johnson) - 3:49

Musicians
*John Hammond - Vocals, Guitar
*Charles Otis - Drums
*Billy Nichols - Bass

1973  Bloomfield, Hammond, Dr.John - Triumvirate (Japan remaster)

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Beau Brummels - Beau Brummels (1975 us, beautiful folk country rock)

After The Beau Brummels dissolved in 1968 following their swan song, Bradley's Barn, it was doubtful that we'd ever hear from the band again, despite their individual and collective brilliance. The group did somehow reunite in 1975, however, for this fine and somewhat understated album. 

The band's weaving of folk, country,  and pop stylings hadn't really changed that much from their prime in the mid- to late '60s. Ron Elliot has several superb songs on here, notably "Tennessee Walker" and the excellent album closer, "Today by Day," which is sung by Sal Valentino in his most soulful and intense style. 

Unfortunately, the group's appeal was probably lost in the mid-'70s arena rock world, and precious few people bought the record. This, however, does not take anything away from a record that, for all intents and purposes, was one of the most successful "reunion" projects of its time. 

by Matthew Greenwald

Tracks
1. You Tell Me Why - 3:15
2. First In Line (Elliott, Engle) - 2:59
3. Wolf - 2:23
4. Down To The Bottom (Elliott, Engle) - 3:24
5. Tennessee Walker - 3:14
6. Singing Cowboy - 3:17
7. Goldrush (Elliott, Engle) - 3:20
8. The Lonely Side - 4:34
9. Gate Of Hearts - 3:00
10.Today By Day (Elliott, Engle) - 2:36
All songs by Ron Elliott except where stated.

Beau Brummels
*Sal Valentino - Vocals
*Ron Meagher - Bass, Guitar, Vocals
*Declan Mulligan - Bass, Guitar, Vocals
*John Petersen - Drums
*Ron Elliott - Guitar, Vocals
With
*Victor Feldman - Percussion
*Mark T. Jordan - Piano
*Mark Wilson Jordan - Piano
*Dan Levitt - Banjo, Guitar
*Ronnie Montrose - Lead Guitar On "Down To The Bottom"
*Nick Decaro - String Arrangements

1965  Introducing The Beau Brummels (Sundazed edition)
1966  Beau Brummels' 66 (Japan edition)
Related Act
1970  Ron Elliott - The Candlestickmaker

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Flash - In The Can (1972 uk, delicate progressive rock, 2010 japan SHM double disc remaster)

While listening to the first notes of Lifetime, the opening tune from In The Can (1972) the second album of the British band Flash, I realized that this was the first time since the seventies that I listened to a Flash-album. The band made three albums altogether. They’d released their eponymous debut album earlier in 1972. The third one, Out Of Our Hands, was released in 1973. Not only the music on these albums was exceptional; the album covers caught the eye as well featuring titillating sexy body parts of women. 

Nowadays, not so many prog heads know that Peter Banks, the original guitarist of Yes, was one of the founding members of Flash and he was predominantly responsible for the band’s sound. After two albums with Yes: Yes (1969) and Time And A Word (1970), he was forced to leave the band to make room for Steve Howe whom the band thought to be a better musician. Besides, on the eponymous debut album of Flash we discover another ex-member of Yes. Tony Kaye played the keyboards, but left the band to tour with David Bowie, whereupon he started his own band Badger.

If you listen to Lifetime, the first track of In The Can, you can without doubt hear the typical Yes-sound. This song even features guitar parts that might have been taken from Yours Is No Disgrace, a song from The Yes Album (1971) that Yes made after Banks had left and Howe had joined. On this second Flash-album Ray Bennett plays the Rickenbacker-bass just like Chris Squire did in Yes. And just like Chris he also had a leading role in the music performed. The high-pitched vocals of Jon Anderson have been imitated by lead singer Colin Carter in a way. 

Together with Ray Bennett he also sang the harmony vocals similarly as we can hear on the many albums released by Yes. On this album the keyboards don’t have a prominent role; occasionally we hear some synthesizers played by Mr. Banks. It has to be said that I didn’t miss the keyboards that much; the songs are strong enough to enjoy without them. Even the short drum solo by Michael Hough at the beginning of Stop The Banging gets my approval although, in general, I don’t like drum solos. The A- and B-side of a single released in 1973 add some extra time compared to the original release. The single is a shorter version of Lifetime plus the song Watch Your Step on the flip side. The latter has a nice and poppy tune and sounds in fact radio-friendlier than the A-side.

by Henri Strik 

Tracks
1. Lifetime (Colin Carter) - 10:07
2. Monday Morning Eyes (Ray Bennett) - 5:11
3. Black And White (Peter Banks, Ray Bennett) - 12:03
4. Stop That Banging (Mike Hough) - 1:58
5. There No More (Ray Bennett) - 11:30
6. Watch Your Step (Ray Bennett) - 2:47
7. Lifetime (Single Version) (Colin Carter) - 2:59

Flash
*Peter Banks - Lead Guitar, ARP Synth, Vocals
*Ray Bennett - Bass, Vocals
*Colin Carter - Lead Vocals
*Mike Hough - Drums, Percussion

1972  Flash - Flash (2010 Japan SHM)

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Flash - Flash (1972 uk, elegant progressive rock, 2010 japan SHM double disc remaster)

After Peter Banks found himself replaced in Yes by Steve Howe, he set his sights on creating a new band. That band was Flash. The group formed in 1971 when Banks recruited longtime associate Ray Bennett (Gun) along with Colin Carter (Pete Bardens' Camel) and Mike Hough. Original Yes keyboardist Tony Kaye rounded out the group. 

Flash had a sound that felt a lot like that of Yes on its first two albums, but perhaps with a more pop-oriented texture. The group also had a more free-form approach to its virtuosic jamming, seeming to prefer improvisation to well-charted music. Flash's first album, a self-titled one, was released the following year. Kaye did not stay around very long past that release. Rather than replace him, the group carried on as a four-piece. They released two more albums, In the Can and Out of Our Hands in 1973. 

by Gary Hill

Tracks
1. Small Beginnings - 9:21
2. Morning Haze - 4:36
3. Children Of The Universe - 8:57
4. Dreams Of Heaven - 12:54

5. The Time It Takes - 5:45
6. Small Beginnings (Single Version) - 3:11

All songs by Flash

Flash
*Peter Banks - Acoustic, Electric, Spanish Guitars, Hooter, ARP Synth, Backing Vocals
*Ray Bennett - Bass, Acoustic Guitar, Vocals
*Colin Carter - Vocals, Percussion
*Mike Hough - Drums, Percussion, Cymbals, Badinage
*Tony Kaye - Organ, Piano, ARP Synthesizer

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Paper Bubble - Scenery (1969 uk, impressive folk psychedelia)

This quite obscure British pop-folk-rock effort might hold some interest for intense fans of British folk-rock of the late 1960s and early '70s, if only because it was produced by two members of one of the major bands in that genre (Dave Cousins and Tony Hooper of the Strawbs). Compared to the Strawbs, however -- and, for that matter, most British folk-rock acts -- Paper Bubble were far more lightweight. 

Emphasizing the close, merry harmonies of guitarists Terry Brake and Brian Crane, many of the tracks have a bouncy, singalong feel that's too happy-go-lucky, in fact, if you're in the wrong mood, though there are occasional breaks into more wistful numbers. Though bassist Neil Mitchell was the only other member of the group, the sound is thickened with some piano, light orchestration, and vague psychedelic textures. Like much American sunshine pop of the period, however, it has an upbeat vibe that verges on the sappy at times, even if this particular record isn't too strongly related to the sunshine pop style, with an innocent childlike escapist quality found in much British psychedelia of the time. And like many such efforts, it has pleasant surface qualities, but lacks memorable depth or truly standout compositions. 

In this context, the least characteristic track, "Mother Mother Mother," rocks like the devil, with berserk organ breaks, effective distorted electric guitar licks, a hard cheery folk-rockin' verve absolutely missing from the rest of the LP. It's the standout number on the record -- and was, in fact, anthologized in 1983 on the Broken Dreams, Vol. 3 compilation of psychedelic British rock rarities -- but, unfortunately, was the only hint of such brazen energy Paper Bubble ever displayed.

by Richie Unterberger

Tracks
1. Fillin' A Gap - 3:17
2. Being Human Being - 3:16
3. She - 4:35
4. I'm Laughing - 3:09
5. Just An Actor - 2:26
6. Energy - 6:46
7. Scenery - 5:23
8. MM Of LA - 3:38
9. Silly Bit Of Sentiment - 3:14
10.Mother, Mother, Mother - 3:08
11.Tomorrow Never Comes Like A Silver Spoon - 4:42
Music and Lyrics by Terry Brake and Brian Crane

Paper Bubble
*Terry Brake - Guitars, Vocals
*Brian Crane - Guitars, Vocals
*Neil Mitchell - Bass
With
*Rick Wakeman - Keyboards
*Richard Hudson - Drums

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Duncan Browne - Give Me Take You (1968 uk, lovely baroque folk psych, japan issue)

As a boy, Duncan Browne intended to follow his father, an Air Commodore (British equivalent of a one-star Air Force general), into the Royal Air Force, but his poor health even as a youth precluded this as a possibility. Instead, he chose to pursue his interests as an actor -- he played the clarinet and studied music theory, but wasn't possessed to consider a career in music until, at age 17, he saw Bob Dylan in an appearance on a BBC drama called The Madhouse on Castle Street, during the American folk-rock star's first tour of the U.K. It was Dylan's guitar playing rather than his singing that served as Browne's inspiration and entryway to rock music. "Most people find that odd," he recalled in a 1991 interview from his home in London, "but I was interested in the way he tuned and played his guitar, especially on The Freewheelin' Bob Dylan." In response, he bought a Yamaha acoustic model and taught himself to play in a technique that was heavily classically influenced. 

He spent some time busking around London and later traveled across Europe on 30 pounds borrowed from his father, before entering the London Academy of Music and Dramatic Art. During his three years there, in addition to studying drama, he kept up with his guitar playing and developed a greater command of music theory -- which he'd begun studying as a teenager -- and formed a folk-rock trio called Lorel. They were later signed to Andrew Oldham's Immediate Records and cut one single, ironically enough an original song that had the bad luck to use as its source the same Bach-originated tune that Procol Harum had utilized for "A Whiter Shade of Pale" -- Immediate saw no point in releasing the single, and the trio soon dissolved.

Browne was able to salvage his own career out of the debacle, however -- he had done some arranging for other acts on the label and Oldham was impressed with what he'd seen, and wanted a solo album from him. He turned to a former student friend of his, David Bretton, to serve as lyricist, and the two composed a dozen songs together. The resulting album, Give Me Take You, was one of the jewels of the Immediate Records catalog, a quietly dazzling work that embraced elements of folk, rock, pop, and classical, all wrapped around some surprisingly well-crafted poetry and Browne's stunning voice. Over the decades,

Many who only discovered it well after its original release compare its dulcet introspective tone to Nick Drake's albums. It does fall into a similar English folk vein, though Browne's arrangements are, on the whole, more Baroque, giving the album a semi-classical, regal feel. Browne charted his own classical arrangements and wrote out vocal charts for a choir, but turned to his art school friend David Bretton for song lyrics. It's Bretton's lovely Pre-Raphaelite-style phrases, used here in the guise of lyrical content, that fans of this album often react strongly to, one way or another. True, there's a youthful innocence and melancholy that come off as somewhat naïve-sounding, mawkish, and awkward in our modern age -- "Better a tear of truth than smiling lies" is one example -- but this is a minor quibble. Immediate issued only one single from the album, "On the Bombsite," but it failed to connect with listeners.

 At the time of its release, Oldham's Immediate Records was reportedly falling apart. He was in financial ruin and reportedly cut the sessions short to save money. Apart from a hard to find Canadian LP reissue in the mid-'70s (on which the original cover art was reproduced in tinted monochrome against a silver background).

by Bruce Eder

Tracks
1. Give Me Take You - 3:17
2. Ninepence Worth Of Walking - 3:40
3. Dwarf In A Tree (A Cautionary Tale) - 3:40
4. The Ghost Walks - 5:39
5. Waking You (Part One) - 1:50
6. Chloe In The Garden - 5:14
7. Waking You (Part Two) - 0:58
8. On The Bombsite - 2:44
9. I Was You Weren't - 2:21
10.Gabilan - 4:04
11.Alfred Bell - 4:36
12.The Death Of Neil - 4:36
13.On The Bombsite (Mono Single Version) - 2:47
14.Alfred Bell (Mono Single Version) - 4:35
Music by Duncan Browne, Words by David Bretton

Musicians
*Duncan Browne - Vocals, Guitars
*Nicky Hopkins - Keyboards

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Jesse Colin Young ‎– Together (1972 us, marvelous folk psych bluesy rock)

Made while the Youngbloods were still together, Jesse Colin Young's first solo album since 1965's Young Blood was a busman's holiday on which he played favorite songs from a variety of genres -- '50s rock & roll (Chuck Berry's "Sweet Little 16"), country (the Dave Dudley hit "6 Days on the Road"), folk-blues (Mississippi John Hurt's "Creole Belle"), Chicago blues (the Butterfield Blues Band song "Born in Chicago"), and folk (Woody Guthrie's "Pastures of Plenty"). 

Having covered those bases, Young also introduced some timely originals, such as "Peace Song," an anti-war anthem, and "Good Times," which was very reminiscent of the rustic sound Van Morrison had found recently on such albums as Tupelo Honey. It all made for an enjoyable, if unambitious album that reached the charts for several weeks, which inspired Young to give the Youngbloods notice and, after one more album and tour with them, relaunch his solo career full-time. 

by William Ruhlmann

Tracks
1. Good Times - 4:22
2. Sweet Little Child - 3:00
3. Together - 4:55
4. Sweet Little Sixteen (Chuck Berry) - 3:09
5. Peace Song - 4:34
6. Six Days On The Road (Earl Green, Carl Montgomery) - 3:10
7. It's A Lovely Day - 3:13
8. Creole Belle (John Hurt) - 2:07
9. 6000 Miles (Mercy Dee Walton) - 3:50
10.Born In Chicago (Nick Gravenites) - 2:40
11.Pastures Of Plenty (Woody Guthrie, Traditional) - 4:10
All songs by Jesse Colin Young except where stated

Musicians
*Jesse Colin Young - Bass, Guitar,Sax Tenor, Alto Sax, Vocals
*Suzi Young - Vocals
*Rick Anderson - Harmonica
*Pete Childs - Dobro
*Jerry Corbitt - Vocals
*Scott Lawrence - Piano
*Jeff Myer - Drums
*Eddy Offenstein - Guitar
*Rev. Ron Stallings - Horn, Saxophone
*John Wilmeth - Horn

Jesse Colin Young releases
1973  Song For Juli (2009 remaster)
1974  Light Shine
1976  On The Road (Japan remaster)
with The Youngbloods
1967/69  The Youngbloods / Earth Music / Elephant Mountain 
1969  Elephant Mountain (Sundazed expanded)
1971  Beautiful! Live In San Francisco (Sundazed edition)
1972  High On A Ridge Top (Sundazed remaster)

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