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, 2000 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 (Jim Pons, John Beck) - 2:19
2. Just A Memory (Bobby Arlin) - 2:16
3. Get Out Of My Life Woman (Allen Toussaint) - 2:46
4. Girl From The East (Bobby Jameson) - 2:55
5. He Was A Friend Of Mine (Traditional) - 3:22
6. Hey Joe (Billy Roberts) - 2:48
7. Words (Bobby Hart, Tommy Boyce) - 2:19
8. Back On The Avenue (Bobby Arlin, Jim Pons, John Beck, Robert Lee Reiner, Tom Ray) - 3:07
9. War Of Distortion (Bobby Arlin) - 2:08
10.Tobacco Road (John D. Loudermilk) - 2:09
11.Goodbye My Love (John McNally, Mike Pender) - 3:05
12.Too Many People (Bill Rinehart, Jim Pons) - 3:15
13.Hey Joe Where You Gonna Go? (Billy Roberts) - 2:43
14.Funny Little World (Bobby Arlin) - 2:07
15.You Better Move On (Arthur Alexander) - 2:24
16.That's A Different Story (Bill Rinehart, Jim Pons) - 2:38
17.Love Minus Zero (Bob Dylan) - 2:26
18.Be With You (Bill Rinehart, Jim Pons) - 2:01
19.Too Many People (Bill Rinehart, Jim Pons) - 2:43
20.Hey Joe Where You Gonna Go? (Billy 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 (Peter Banks) - 0:35

2. None The Wiser - 3:17

3. Farewell Number One - 1:36

4. Man Of Honour - 4:45

5. Dead Ahead - 4:38

6. The Bishop - 4:21

7. Psychosync (Peter Banks, Ray Bennett) - 4:50

 a.Escape

 b.Farewell Number Two

 c.Conclusion

8. Manhattan Morning (Christmas ’72) (Colin Carter) - 6:23

9. Shadows (It’s You)  (Colin Carter) - 3:20

Songs 2-6 written by Ray Bennett

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 (1971-72 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 (James Moore) - 3:17

2. Hoo-Doo Blues (Otis Hicks, Jerry West) - 3:41

3. Mellow Down Easy (Willie Dixon) - 3:07

4. Takin' Care Of Business (Rudolph Toombs) - 3:15

5. She Moves Me (McKinley Morganfield) - 3:11

6. Let's Go Home (Roebuck Staples) - 2:57

7. Tell Me Mama (Walter Jacobs) - 3:08

8. No Place To Go (Chester Burnett) - 3:46

9. My First Plea (Jimmy Reed, Ewart G. Abner) - 4:49

10.Junco Partner (Traditional) - 2:34

11.As The Years Go Passing By (Deadric Malone) - 4:07

12.Outside Your Door  (Delaney Bramlett, Doug  Gilmore) - 3:41

13.If You Ever Need A Man (Delaney Bramlett) - 3:53

14.Man In The Road (Terry Furlong) - 2:25

15.Mama Tain't Long For Day (Blind Willie McTell) - 4:25

16.Farther Up The Road  (Joe Veasey, Don Robey) - 2:45

17.I'm Satisfied (Delaney Bramlett) - 3:21

18.If You Got The Feelin' (Delaney Bramlett) - 2:33

19.Ride Till I Die (John Lee Hooker) - 2:32

20.I'm Gonna Leave (McKinley Morganfield) - 2:59

21.From Four Until Late  (Robert Johnson) - 3:49

Tracks 1-11 from "Source Point" LP 1971

Tracks 12-21 from "I'm Satisfied" LP 1972

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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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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Tim Rose - Tim Rose / Love, A Kind Of Hate Story (1970/72 us, outstanding classic rock melted with folk psych)

Born in September of what was, at the time I originally wrote this, an indeterminate year ("age is a personal thing - maybe someone will find it out for my obituary.") and brought up in Washington where he won the top music award at High School, Tim first came to prominence in 1967 with his first album on CBS (Columbia). Prior to that, he had trained for the priesthood (but got thrown out for inappropriate behaviour  - smoking) and been a navigator for Strategic Air Command before becoming involved in the music business.

His first notable group was The Journeymen, along with John Phillips and Scott McKenzie, both of whom went on to musical fame. He then teamed up with fellow members of the New York folk scene, James Hendricks and Cass Elliott, to form The Big Three (not to be confused with the British group of the same name).

CBS, in the wake of their success with Bob Dylan, sought out artistes looking for record deals and the first solo album was born. The blues, folk and rock influences made it a classic, with session musicians of a high quality brought in by CBS to ensure their product was a success. However, the record company didn't seem to have a clue about how to market the album and Tim got lost amongst a host of new acts that had been signed. Jimi Hendrix picked up Tim's version of  Hey Joe and made a hit out of it. Because Tim didn't actually write it, he never got a penny in royalties.

More successful in the UK and Europe than in his home country, Tim moved to England in the mid-seventies, performing occasionally in clubs around London, sometimes with fellow expatriate Tim Hardin. These appearances were often shambolic, probably because of the uncertain state that Hardin was in. His heroin and alcohol addiction meant that while he could sing brilliantly, he was unpredictable and therefore grossly unreliable.

The first CBS album was followed by several more excellent recordings, but the one elusive thing that Tim faced was chart success. This led to a variation in styles in the hope of capturing a different market, but no matter whether he rocked, sang ballads or played country, the record sales were getting less as the years went on. Meanwhile, he was messed around by people in the music business and he became soured by the way things were going.

After The Musician, Tim retired from the music business for a number of years before The Gambler was eventually released in 1991. During that time, he was involved in construction work, did some TV commercials that paid for his degree, did some geography teaching and was a Wall Street stockbroker.

In the late 1990s, encouraged by Nick Cave and Jacques Laureys, he started playing live again, supporting Cave at the Royal Albert Hall in London. This collaboration led to a new album, Haunted,  a mixture of older material, recorded live, and new material produced by Cave. His older albums started being re-released as double CDs and a further album of new material came out in 2002. Tim had managed to get back to touring, with a substantial tour of England and European venues in 1999 and further sporadic gigs from then on. Another interesting development was that Brook Guitars of Exeter, Devon, designed and manufactured a Tim Rose guitar. Made of ebony and spruce, with rosewood sides and a mahogany neck, the guitar had Tim's autograph on it. The price? £1795. Not the kind of thing one would smash up on stage.

Tim went into hospital to have a bowel complaint investigated.  His heart didn't survive the second of two operations and he died on  24 September 2002, his age now admitted as 62.

Song-singer

Tracks
1. It Takes A Little Longer (Garry Wright) - 2:43
2. Ode To An Old Ball (Tim Rose) - 3:36
3. Boogie Boogie (Tim Rose) - 1:11
4. If I Were A Carpenter (Tim Hardin) - 2:52
5. Boogie Boogie (Reprise) (Tim Rose) - 0:58
6. I Know These Two People (Tim Rose) - 3:36
7. Georgia By Morning (Cadd Muddie) - 4:13
8. Dim Light A Burning (Tim Rose) - 3:14
9. Sympathy (Rare Bird) - 2:39
10.You Can't Stop Yourself (Tim Rose) - 2:46
11.Sad Song (Clinton Brown) - 4:40
12.Crying Shame (Garry Wright) - 3:37
13.You've Got To Hide Your Love Away (J. Lennon, P. McCartney) - 5:05
14.Jamie Sue (Tim Rose) - 3:55
15.Cotton Growin' Man (Garry Wright) - 4:10
16.You Can't Keep Me (Tim Rose) - 3:47
17.I Gotta Get A Message To You (Gibb Brothers) - 2:26
18.Darling You Were All That I Had (Bettis, Chater) - 4:26
19.Where Do You Go My Lovely (Sasdted) - 6:16
20.Goin' Down In Hollywood (Rose, Bettis) - 4:49

Musicians
*Tim Rose - Vocals, Guitar
*Alan Parker - Guitar (1970)
*Herbie Flowers - Bass (1970)
*Alan Haekshaw - Keyboards (1970)
*Clem Cattini - Drums (1970)
*Peter Lee Stirling - Vocals (1970)
*Garry Wright - Keyboards, Vocals (1972)
*Mick Jones - Guitar (1972)
*Archie Leggett - Bass (1972)
*Bryson Graham - Drums (1972)

Tim Rose 
1967/1969  Tim Rose / Through Rose Coloured Glasses

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