Wakefield - The Lost Warthog Tapes (1970-71 us, tremendous heavy acid jam brass rock)

We started in Pueblo Colorado, in about 1968 or '69. Ron, Carl and Charlie started jamming together at Ron's house which soon turned into regular practice sessions. Carl and Charlie were close friends and had been in other bands. They also lived close to each other so they saw each other often. A couple of months later, Charlie went to one of their practices and was very impressed with the band, especially with this new guitar player they had, a 16 year old kid from Fountain, Colorado, named Bobby Barth. That is when Charlie joined the band. The band went through several members during that time. Rose Mary Duran sang in between knitting. Steve Brown played the bass for a few months.

We had another female vocalist for a couple of gigs, Beatrice Oven I think was her name? I remember we always called her BO. We played at the Southern Colorado State College student union a few of times and also in the little mountain town of Salida, Colorado a couple of times. Carl was playing organ in this incarnation and Tom Snowbrick played trumpet. Mike Carrroll and Steve Moore had played together in another band and joined our band at the same time. Mike played trumpet and Steve played organ and French horn. When Mike and Steve joined. Carl moved back to bass. The band then consisted of Bobby Barth on lead guitar and vocals, Ron Struthers on sax, flute and vocals, Mike Carroll on trumpet, flute and vocal (later Mike also played guitar and piano), Steve Moore on organ, French horn and vocals, Carl Marcon on Bass and vocals, Charlie Ferrill on Drums.

That was the incarnation of "Wakefield" that started playing around the state. We played shows in Colorado Springs with a fake "Zombie's" and one incarnation of "Fleetwood-Mac" We also played several high school proms in Pueblo. We got our first "steady gig" at the "New Gnu" a restaurant/night club at the Vail ski area. Six nights a week, a few hundreds dollars, a meal a day at the restaurant and use of a condo in East Vail. That was the start of what would be a pattern of working at ski areas over the next couple of years.

From there, we got an offer to go to Seattle, Washington for three weeks We played at a club down by the University in Seattle called the Warehouse. That gig ended with us getting fired for being a non-union band in a union town. We sued the owner and lost A couple of years later we played at that club again with much better results Shortly after the Seattle mess we decided to move from Pueblo to the northern part of the state, Boulder or Fort Collins or Denver. We went to Denver and Boulder and did four auditions on the same day. One at "La Pitcheau", a 3.2 bar on West Mississippi Ave. in Denver, a second at the "Skunk Creek Inn", the third at another 3.2 bar in the college town of Boulder and I think the fourth one was the "Psychiatrist" in the Cherry Creek district of Denver. 

We actually got hired at all four clubs!! We didn't know at the time that two of the dubs, Skunk Creek Inn and La Pitcheau, were owned by the same group of people: Al Roth and his dad and his uncle, Nate FeW. As a side line, Nate Feld, Allen Roth and Al's dad were the money behind Barry Fey. Barry had great ideas but no money. When we called Al's office and wanted to be put straight through to Al instead of being on hold for a long time, we'd tell the secretary that we were Barry and we would be put through immediately. Of course, it pissed Al off to no end. Al was a club owner/club manager at that time, not really a booking agent or artist manager but he became our manager and later became an agent.

About this time, Steve quit the band and we auditioned several people but decided that we were better off just having one of other guys in the band fill in on keyboard when we needed it. It was about this time that we did a recording session at "Fred Arthur Studio" on East 17th Ave. in Denver. Fred Arthur is best known for recording radio and TV commercials but he did do some classical music. I think we were the first rock band to record there, maybe the only one. The tapes from that session have not been found.

We met Brent Lewis around this time. He was from San Francisco and did an act called "Putee". He played congas and bongos and had an immense sound system. We toured with Brent for several months. He would play our breaks. Traveling with Brent was a guy named Paul Zamucen. Paul had been a trap drummer in several bands in the San Francisco area. He also played congas. 

We played several Santana songs and asked him to sit in on them. From then on he sang, played congas, timbales and tympanis. It was around this time that we did a recording session at a low budget studio at the comer ot about 42nd and Sheridan in Denver called "Warthog Studio". Many of the songs on this CD were recorded there. Chuck Berry played several times at me "Skunk Creek Inn* and we were hired to be his back up band on those gigs. We were the opening act for 'War* at the Skunk and another show at Colorado State University. 

During 70, 71 and 72, we played in Kansas, Nebraska, South Dakota, Montana, Oklahoma, Arizona, California, Washington, Idaho, Illinois and Michigan. It was on one ot the Seattle trips that we did a recording at a studio associated with the agent that helped book the club dates up there. That session started after we got through playing about 1:30 am and went all night. At that session we did "Something is Coming', "Bring It On" and "How Does it Feel*. We finished the basic tracks and over dubs in about 8 hours.

In late 72 Ron left the band. We changed managers and moved our base of operations to Seattle, Washington. From there we played Vancouver, BC, Spokane, Ellensburg, and several other towns in the state of Washington. During our time in Seattle we played a club north of down town called "The Aquarius". It was a bar/dance club that had major acts several time a week. We got to play shows with the Eric Burdon Band, Bach man/Turner Overdrive, James Cotton Blues Band, and several other national acts.

In 73, we took a job in Anchorage. Alaska. Three months starting in September through December. It was quite an adventure. What happened in those three months could fill a book and most of the stories are almost unbelievable, but we were there and we know they are true. After that we went back to Seattle and did several Showcases for agents and record people. We got a couple of bites from one of the Showcases and decided to go to LA and do a Showcase there. We arranged tor two nights at "The Whisky A Go-Go". We sent our manager there for several months lining up-agents, record people and management companies to come to the show.

There was a mix up and the place was double booked for that weekend so we made a deal with the other band. We would do one night and they would do the other. I don't remember if any people of consequence showed up but if they did they didn't approach us. Total bust. We came back to Denver very disappointed and down . We played a couple of times in Oklahoma City after that. Apparently some body from Shelter Records came and heard us. Our manager went up to Tulsa and met with them. He didn't tell us the whole story, but he turned down their offer because there was no "up front" money.

A couple of years later Bobby Barth said he ran in to someone from Shelter who said they still had a contract for us on his desk. But that was long time ago. Our last big show was in Pueblo in June of 1974. We were second billed at the first stadium show ever held in Pueblo The heacfliner was "Red Bone". By then we were down to a three-piece band- Bobby Barth, Carl Maroon, and Charlie Ferrill. Shortly after that we each went our own way. Bobby Barth went on to play with many notable acts since then. Axe and Blackfoot being the most famous. 

by Charlie Ferrill, Denver, Colorado, August, 2002

Tracks
1. Bring It On - 4:50
2. Something Is Coming - 4:10
3. How Does It Feel? - 3:54
4. I Will Always Come Back - 4:32
5. Old Man - 11:06
6. I Know - 3:10
7. Water - 8:18
8. Snowchild - 9:45
9. In My Mind - 8:03
10.Landgrabber - 4:40
11.You And I - 6:07
12.Let's Get Loaded - 3:27
13.Youll Find Your Man - 4:56
14.Rollin' Down The Highway - 0:33
All Songs written by Wakefield

Wakefield
*Bobby Barth - Lead Guitar, Vocals
*Mike Carroll - Trumpet, Flute, Guitar, Piano, Vocals
*Charlie Ferrill - Drums
*Carl Marcon - Bass, Vocals
*Steve Moore - Organ, French Horn, Vocals
*Ron Struthers - Saxophone, Flute, Vocals
*Paul Zamucen - Percussion
*Rose Mary Duran - Vocals
*Steve Brown - Bass

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Them - The Story Of Them Featuring Van Morrison (1964-66 ireland, pioneer garage blues, two discs set)

Them were a formidable, popular group in their own right before singer Van Morrison went on to even greater fame. This Belfast five only produced two LPs and a potful of 7" singles during its ascendance in the molten heat of the British Invasion. But they did manage two Top 40 hits in America in 1965 (the enduring number 24 "Here Comes the Night," later covered glam-style by David Bowie on Pin Ups, and number 33 "Mystic Eyes") and two Top Ten hits that same year in their native Britain ("Here Comes the Night" and a cover of Joe Williams' "Baby Please Don't Go"). And is there a single bar band in America that doesn't play "Gloria," shouting "G-L-O-R-I-A" just like the 19-year-old Morrison in 1964? Moreover, the group's West Coast U.S. tour of arenas like the Fillmore in the spring of 1966 had the Ulster youths commanding bills that included such admiring support groups as the Doors, Captain Beefheart & the Magic Band, the Grass Roots, and the Association. At one of them, Frank Zappa even joined them on-stage. 

Clearly, Them's tough, heavily American blues captivated, a direct result of the vicious voice of Morrison. It was even more a weapon on this tougher-sounding material than it's been since he became a solo star. Although the band chose songs to cover by John Lee Hooker, Jimmy Reed (twice), T-Bone Walker, Ray Charles, Screamin' Jay Hawkins, and Fats Domino, as seen here (as well as others by Bob Dylan, Simon & Garfunkel, and Bobby Troup), the real precedent for the white-hot, gnashing growl in Morrison's teenage voice was Howlin' Wolf. Here's a red-throated snarl not even other great '60s English white soul singers -- such as the Small Faces' Steve Marriott or the singer for the Action -- could match, one even more unsettling than the Animals' Eric Burdon. 

Talk about making the hairs on your neck stand up! It's actually a pity, then, that Them relied so heavily on others' material (as did everyone else circa 1964), for the two dozen originals stand up well. In addition to "Gloria," Morrison was well on the road to his later genius when he penned "Could You, Would You" and "Hey Girl." True, his material could stand to rock & roll more, just as the Yardbirds held fast to Chicago blues but made their beat stomp. But still he comes on like some swamp-dwelling, moonshine-drinking, big man on the prowl. Them were raw and ready, and digitally brought back kicking and screaming from the original analogue master tapes, they are an eerie thing of bluesy beauty. 

by Jack Rabid

Tracks 

Disc 1

1. The Story Of Them Parts 1 & 2 - 7:18

2. Don't Start Crying Now (Moore, West) - 2:03

3. Gloria 2:35 

4. Philosophy - 2:35

5. One Two Brown Eyes - 2:34 

6. Baby Please Don't Go (Williams) - 2:40

7. Here Comes The Night (Berns) - 2:46 

8. All For Myself - 2:47

9. One More Time - 2:48

10.Little Girl - 2:47

11.I Gave My Love A Diamond (Berns) - 3:02

12.Go On Home Baby (Berns) - 2:32 

13.My Little Baby (Berns, Farrell) - 2:00 

14.Mystic Eyes - 2:41 

15.Don't Look Back (Hooker) - 3:20 

16.If You And I Could Be As Two - 2:51 

17.I Like It Like That - 3:16 

18.I'm Gonna Dress In Black (Gillon) - 3:29 

19.(Get Your Kicks On) Route 66 (Troup) - 2:22 

20.Just A Little Bit (Gordon) - 2:21

21.You Just Can't Win - 2:21

22.Bright Lights, Big City (Reed) - 2:30

23.Baby What You Want Me To Do (Reed) - 3:26

24.I'm Gonna Dress In Black (Gillon) - 3:34 

25.One More Time - 2:45 

26.Little Girl - 2:47 

Disc 2
1. How Long Baby (Gillon) - 3:37
2. (It Won't Hurt) Half As Much (Berns) - 3:01
3. Something You Got (Kenner) - 2:31
4. Call My Name (Scott) - 2:20
5. Turn On Your Love Light (Malone, Scott) - 2:19
6. I Put A Spell On You (Hawkins) - 2:36
7. I Got A Woman (Charles) - 3:12
8. Out Of Sight (Wright, Brown) - 2:21
9. It's All Over Now Baby Blue (Dylan) - 3:47
10.Bad Or Good - 2:06
11.Hello Josephine (Domino, Bartholomew) - 2:04
12.Don't You Know (Scott) - 2:22
13.Hey Girl - 3:00
14.Bring 'Em On In 3:13
15.Times Gettin' Tougher Than Tough (Witherspoon) - 2:12
16.Stormy Monday (Walker) - 2:40
17.Friday's Child - 3:27
18.Richard Cory (Simon) - 2:43
19.My Lonely Sad Eyes - 2:28
20.I Can Only Give You Everything - 2:39
21.Could You, Would You - 3:08
22.Bring 'Em On In - 3:41
23.Richard Cory (Simon) - 3:47
24.Call My Name (Scott) - 2:18
All songs written by Van Morrison except where stated

Them
*Van Morrison - Lead Vocals
*Ronnie Milling - Drums (63 - 65)
*John McAuley - Drums (65 - 66)
*Billy Harrison - Guitar
*Jackie McAuley - Keyboards (63 - 65)
*Peter Bardens - Keyboards (66)
*Alan Henderson - Bass Guitar

Themology
1967  Them - Now And Them
1967  Belfast Gypsies
1968-69  Them - Time Out Time In
1969-70  Truth - Of Them And Other Tales
1971  Them
1971  Them In Reality

Van Morrison
1967  Blowin' Your Mind! (extra tracks edition)
1971  Tupelo Honey (Japan SHM remaster)

1974  It's Too Late To Stop Now (Japan SHM remaster)
1974  Veedon Fleece  (Japan SHM remaster)

Peter Bardens 
1970  The Answer (2010 esoteric remaster with extra tracks)
1971  Write My Name In The Dust (Japan remaster)
1979  Heart To Heart (Japan remaster)
1973  Camel - Camel

1965-66  The Wheels - Road Block
1970-71  Rod Demick And Herbie Armstrong - Little Willie Ramble
1971  Jackie McAuley - Jackie McAuley...Plus  (2009 Esoteric extra tracks issue)

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Keith - 98.6 / Ain't Gonna Lie (1966-67 us, delicious sunny orchestrated pop)

James Barry Keefer, born in Philadelphia on May 17,1949, started his music career in the early 60's with his first band The Admirations, who recorded one single for Columbia Records entitled "Caravan of Lonely Men." Soon after the recording of "Caravan," he was discovered while performing at a school dance by radio DJ Kal Rudman.  Rudman introduced Keefer to Mercury Records' executive Jerry Ross, who then signed him to the Mercury label and renamed him "Keith." He recorded his first solo single "Ain't Gonna Lie," which placed in the US Top 40 charts. "98.6," Keith's best-known song and his biggest hit, was released in January 1967, charting as a top ten single.  Keith charted with two other songs in 1967, "Tell Me To My Face" and "Daylight Savin Time."

Keith recorded two albums for Mercury before leaving to join the RCA family. At RCA, he recorded Adventures of Keith -- an album of mostly original songs in which Keith also had the creative control to hand pick his studio band.

With an undeniable talent and charisma, in addition to chart topping songs, Keith was featured in numerous teen magazines, toured with many top acts of the 1960's including the Beach Boys and Neil Diamond.  In the 1970s, he toured with Frank Zappa and also recorded one single "In and Out of Love," for Zappa's Discreet label. Keith also appeared as a featured guest a record twenty times on Dick Clark's "Where the Action Is!"

Keith is still active in the music business and continues to write, record and perform. In the 1980's Keith set up his own record label A.I.R. Records and produced albums for several local California bands. Over the last few years, he has been especially busy with numerous radio interviews, to which he is happy to oblige. Aside from music, he is a successful part of the TV Industry, working on hit shows such as Judge Judy and Dr. Phil.

Keith-com

Not to be confused with his debut LP, 98.6/Ain't Gonna Lie, the more briefly titled Ain't Gonna Lie has all the Keith anyone should need. The 27 tracks include everything from his first two LPs, 1967's 98.6/Ain't Gonna Lie and the follow-up, Out of Crank (also from 1967), as well as three additional songs from 1967-1968 singles and one previously unreleased cut, "I'll Always Love You." There are also finely detailed historical liner notes, including quotes from producer Jerry Ross and period photos. The chief drawback of this anthology is one true of so many artists only remembered for one or two hits: those one or two hits are much more memorable than everything else the artist had to offer. 

In Keith's case, those hits were "98.6" and "Ain't Gonna Lie"; though a much lesser smash, the latter was actually a better song and the singer's peak moment, with its immensely catchy melody and light swinging blue-eyed soul groove. True, his strange cover of the Hollies' "Tell Me to My Face," with its strange snake-charming instrumental accompaniment, did make the Top 40. Beyond that, however, much of this sounds like AM pop radio of 1966-1968 without the hooks to actually get on AM radio, reflecting the day's trends in blue-eyed soul, bubblegum, and slightly Philly soul-influenced mainstream pop/rock. Keith's voice was good and some of material was fun, but both voice and material fell a little short of being something truly special. 

All that's being a bit too harsh on the lad, perhaps, since a good chunk of this is passingly pleasant, unassumingly upbeat, and quite well-produced ear candy. Most of the best stuff is from the first album, like the aforementioned hits and "Pretty Little Shy One," "You'll Come Running Back to Me," "Mind if I Hang Around," and the Righteous Brothers-ish "Our Love Started All Over Again," though the subsequent "There's Always Tomorrow," "Times Gone Bye," "Be My Girl," "I'm So Proud," and "Hurry" are pretty fair too.

by Richie Unterberger

Tracks
1. 98.6 (G. Fischoff, T. Powers) - 2:07
2. Ain't Gonna Lie (G. Fischoff, T. Powers) - 3:01
3. To Whom It May Concern (C. Andrews) - 2:27
4. Pretty Little Sly One (J. Ross, M. Barkan) - 2:03
5. You'll Come Running Back to Me (C. Baer, G. Fischoff) - 2:13
6. White Lightnin' (M Whitson) - 2:23
7. Tell Me to My Face (A. Clarke, T. Hicks, G. Nash) - 2:52
8. Sweet Dreams (G. Fischoff, T. Powers) - 2:15
9. Mind If I Hang Around (Goldberg, J. Renzetti) - 2:27
10.Our Love Started All Over Again (N. Brian, W. Frederik, J.Ross, J. Renzetti) - 2:35
11.Teeny Bopper Song (A. Wayne, J.Ross) - 2:23
12.I Can't Go Wrong (A. Wayne, J.Ross) - 3:04
13.Sugar Man (D. Randell, S. Linzer) - 2:18
14.Candy Candy (A. Wayne, J.Ross) - 2:36
15.Easy as Pie (B. Carl, D. Cohen, J. Ross) - 2:31
16.Making Every Minute Count (Morier, Akbestal) - 2:42
17.Hope Girl (Melrose, Hess) - 2:28
18.Sweet and Sour (Barkan, Melrose) - 2:28
19.There's Always Tomorrow (Renzetti, Ross) - 2:18
20.Daylight Savin' Time (Schuman, Ross) - 2:53
21.Times Gone Bye (Ross, Gamble) - 2:08
22.Happy Walkin' Around (B. Keefer) - 2:36
23.Be My Girl (Spector, Sands) - 2:35
24.I'm So Proud (D. Landan) - 2:45
25.I'll Always Love Yu (Hunter, Stevenson) - 2:28
26.Hurry (J. Curtis, Mahoney) - 2:25
27.Pleasure of Your Company (E. Cobb) - 2:14

*Keith - Vocals

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Gordon Lightfoot - Complete Greatest Hits (1965-93 canada, fantastic folk country rock, 2002 edition)

There must be something in the water, or the beer, but Canada has given the world some of the strongest singer-songwriters of the modern pop era. Gordon Lightfoot emerged in the mid-'60s, first as a composer and soon after as a noted performer whose virile yet sensitive voice and striking songs quickly established him as one of the most gifted folk-inspired artists in a era bursting with talent. By the 1970s, Lightfoot went on to reach superstardom with a series of hit albums and singles. Complete Greatest Hits provides a career overview drawing on many of the Canadian bard’s signature songs, touching on those that first drew public attention (“Early Morning Rain,” “For Lovin’ Me,” “Pussywillows, Cat-tails”) before moving forward into the glory years (“If You Could Read My Mind,” “Sundown,” “Wreck of the Edmund Fitzgerald”) and beyond (“Stay Loose,” “Restless,” “Daylight Katy”). Although Hits only scratches the surface of Lightfoot’s rich oeuvre, it provides a fine entry point to explore the work of a genuine legend. 

by Steve Futterman

Rhino's 2002 collection The Complete Greatest Hits is certainly welcome for presenting what is essentially all of his most popular songs on one 20-track disc, but, the thing is, that's actually a trickier task with Gordon Lightfoot than you might think. On both volumes of Gord's Gold, he re-recorded early songs and mixed them with current hits -- which meant that a new "Canadian Railroad Trilogy" sat next to the hits like "Sundown," but on Gord's Gold, Vol. 2, newer songs which weren't quite hits were next to re-recorded versions of staples like "The Wreck of the Edmund Fitzgerald." This, needless to say, was a bit of an irritant, but this is well-executed enough to make up for the years of awkward compilations by covering everything from his UA recordings to his latter-day recordings for Warner in the mid-'80s. Some might say there should be a little bit more of the earlier songs, but, for most listeners, this will contain all the major items and is as close to definitive as possible to get. 

by Stephen Thomas Erlewine

Tracks
1. Early Morning Rain - 3:07
2. For Lovin' Me - 2:27
3. Go-Go Round - 2:40
4. Canadian Railroad Trilogy - 6:22
5. Pussywillows, Cat-Tails - 2:50
6. Bitter Green - 2:44
7. If You Could Read My Mind - 3:50
8. Summer Side Of Life - 4:05
9. Cotton Jenny - 3:26
10.Beautiful - 3:24
11.Sundown - 3:40
12.Carefree Highway - 3:43
13.Rainy Day People - 2:49
14.The Wreck Of The Edmund Fitzgerald - 6:29
15.Race Among The Ruins - 3:20
16.Daylight Katy - 4:19
17.The Circle Is Small - 3:59
18.Baby Step Back - 3:56
19.Stay Loose - 3:55
20.Restless - 3:36
All songs by Gordon Lightfoot

Musicians 

*Gordon Lightfoot  - Guitar, Vocals

*David Rea  - Guitar

*Vesta Williams  - Background Vocals

*Victor Feldman  - Percussion

*James Newton Howard  - Synthesizer

*David Foster  - Keyboards

*Doug Riley  - Piano, Electric Piano

*Jim Gordon  - Percussion, Drums

*Robbie Buchanan  - Synthesizer

*Kenny Buttrey  - Percussion, Drums

*Pee Wee Charles  - Pedal Steel Guitar

*Chip Young  - Guitar

*Mitchell Clarke  - Bassoon

*Vassar Clements  - Fiddle

*Terry Clements  - Guitar, Background Vocals

*Nick Decaro  - Piano, Accordion

*Vern Dorge  - Alto Saxophone, Tenor Saxophone

*Michael Francis  - Guitar

*Buddy Harman  - Drums

*Hoyt Hawkins  - Background Vocals

*Mike Heffernan  - Keyboards

*Milt Holland  - Percussion

*Roy M. "Junior" Husky  - Bass

*Jim Isbell  - Drums

*Sheree Jeacocke  - Background Vocals

*Barry Keane  - Percussion, Drums, Tambourine, Hand Drums

*Millie Kirkham  - Background Vocals

*Michael Landau  - Guitar

*Bill Lee  - Bass

*Herb Lovelle  - Drums

*Bob Mann  - Guitar

*Gene Martynec  - Moog Synthesizer

*Richard Marx  - Background Vocals

*Neal Matthews  - Background Vocals

*Hugh McCracken  - Guitar

*Suzie McCune  - Background Vocals

*Laverna Moore  - Background Vocals

*Farrell Morris  - Percussion

*Dean Parks  - Guitar

*Herb Pedersen  - Background Vocals

*Dennis Pendrith  - Bass

*Lou Pomanti  - Organ

*Hargus "Pig" Robbins  - Piano

*James Rolleston  - Bass

*Red Shea  - Dobro, Guitar

*Jerry Shook  - Guitar

*Catherine Smith  - Background Vocals

*John Stockfish  - Bass

*Gordon Stoker  - Background Vocals

*Henry Strzelecki  - Bass

*Tom Szczesniak  - Bass, Keyboards

*Jackie Ward  - Background Vocals

*Jack Zaza  - Harmonica, Bass Clarinet, Alto Flute, Harmonium, English Horn, Recorder, Alto Saxophone, Baritone Saxophone, Tenor Saxophone

*Charlie Mccoy  - Guitar, Harmonica, Celeste, Bells

*Ray C. Walker  - Background Vocals

*Rick Haynes  - Bass, Background Vocals

*Bruce Langhorn  - Guitar

1966-67  Gordon Lightfoot - Lightfoot! / The Way I Feel

1970-80  Gordon Lightfoot - The Complete Singles (2019 double disc remaster)  

1974  Gordon Lightfoot - Sundown (audio fidelity vinyl issue)  

1976  Gordon Lightfoot - Summertime Dream 

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The Lemon Drops - Crystal Pure (1966-69 us, splendid garage psych)

Anyone who likes the Leaves, the Seeds et al will love the early cuts by this band, a hard-luck Chicago outfit who couldn't turn a local wave of popular enthusiasm into something bigger, despite some good songs. Their later stuff was more self-consciously psychedelic, but it's still very well done, with superb playing and harmonies. The Lemon Drops were Jeff Brand (bass), Bobby Lunack (rhythm guitar), Gary Weiss (drums), Eddie Weiss (rhythm guitar), and Danny Smola (vocals), who began rehearsing in the Weiss home when they were between 14 and 17 years old. With lead guitarist Ricky Erickson in tow and later an official member, they cut their first record, "I Live In the Springtime," for Rembrandt, a local label co-owned by one of the Weisses' elder siblings. "I Live in the Springtime" got an enthusiastic reception locally, and was played as far away as New York. 

The bandmembers became celebrities among the local kids when they were thrown out of school for their long hair. By that time, they were on their second single, the angry anti-Vietnam rocker "It Happens Everyday," and soon after had a new lead singer, Dick Sidman. The band slipped easily into the psychedelic blossoming of the Summer of Love, adding more overt flower-power references to their mix of sounds. It looked as though RCA was interested in the group, but a mix-up prevented the tapes for their third single, "Sometime Ago"/"Theatre of Your Eyes," from getting to the company in New York on time. A potential contract with Uni Records came to nothing, and their third single, as well as a dozen tracks cut live in the Weiss home in January of 1968, went unheard. A few more songs were cut on behalf of Buena Vista Records, but the death of the label head scotched the deal, and a potential contract with Alden Records fell apart, along with the group, following an acid party at the owner's Los Angeles mansion in the summer of 1969. 

by Bruce Eder

Combines the contents of both LPs issued on the Cicadelic label in the mid-'80s (Crystal Pure and Second Album) onto one CD, making this indeed the definitive collection. Almost all of their known tapes, covering both their searing electric garage/psych and softer, acoustic garage/folk sides. Dating from 1967 and 1968, this features a lot of original material that the band recorded in Chicago studios, as well as some drummerless home demos. These are endearing (and still moving) relics of an age of great exuberance, innocence, and hope. Good harmonies on the psychedelic ballads, which have been described as "garage-band Donovan." One of the best reissues of unknown '60s garage/psychedelic music. 

by Richie Unterberger

Tracks
1. I Live In The Springtime - 3:03
2. It Happens Everyday - 2:18
3. Sometime Ago - 3:41
4. The Theatre Of Your Eyes - 3:22
5. Popsicle Girl - 5:19
6. Flower Pure - 4:00
7. Paperplane Flyer (Weiss, Sidman, Thunderbolt) - 2:34
8. Talk To The Animals (Weiss, Sidman, Thunderbolt) - 4:20
9. Fairy Tales (Weiss, Sidman, Thunderbolt) - 2:26
10.Hi, How Are You Today - 3:11
11.Alone (Weiss, Sidman, Thunderbolt) - 1:32
12.Sleeping On Colours (Weiss, Sidman, Thunderbolt) - 4:55
13.Sometime Ago (Acoustic Version) - 0:22
14.Guinevere - 4:02
15.Learn To Fly (Weiss, Sidman, Thunderbolt) - 2:05
16.Flowers On The Hillside (Weiss, Sidman, Thunderbolt) - 4:06
17.Flower Dream (Erickson, Thunderbolt) - 2:41
18.Flower Child Eyes And Arms - 2:27
19.My Friend - 0:33
20.To The Tower (Erickson, Thunderbolt) - 1:58
21.Death Calls (Weiss, Sidman, Thunderbolt) - 2:05
22.Hi, How Are You Today - 2:54
23.Love Is A Word (Weiss, Sidman, Thunderbolt) - 2:42
24.I Like You (Weiss, Sidman, Thunderbolt) - 2:06
All songs by Weiss, Thunderbolt except where noted

The Lemon Drops
*Dick Sidman - Lead Vocals (3-23)
*Danny Smola - Lead Vocals (1-2)
*Ricky Erickson - Lead Guitar (1-4, 11-23)
*Eddie Weiss - Lead, Rhythm Guitars
*Bobby Lunak - Rhythm Guitar (1-4, 10), Bass (5-9)
*Jeff Brand - Bass (1-4, 10-23)
*Garry Weiss - Drums

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Thorinshield - Thorinshield (1968 us, elegant baroque sunny folk psych)

The mysteriously-named Thorinshield released an album and two singles in 1968 which, though they sank with­out trace, are now prized by fans of so-called 'sunshine pop'. Their roots lay in Los Angeles, where drummer Terry Hand had played in numerous surf bands, as well as recording two singles with Everpresent Fullness. Bassist Bobby Ray, meanwhile, was a seasoned session player who had participated in Donovan's legendary May 1966 sessions in LA, resulting in songs including the classic Season Of The Witch. They teamed up with guitarist James Ray in 1967, and Smith and Ray began to write com­mercial songs together that reflected an interest in both folk and psych­edelia.

Having scored a deal with Philips records and recruited famed sax player Steve Douglas (whom Ray probably knew through the ses­sion circuit) as producer, and leg­endary arranger Perry Botkin (later to work with the Righteous Bros, Harry Nilsson, Bobby Darin, Barbara Streisand and many others), their sole, self-titled album was record­ed at numerous studios (Western Recorders, Wally Heider, Inc. and RCA Victor) in late 1967 and early 1968. A varied but consistent col­lection, its songs featured intricate harmonies akin to the work being carried out at the same time by Curt Boettcher on albums by Sagittarius and the Millennium (check out Pleasure Time), complex orchestra­tions (Prelude To A Postlude) and psychedelic guitar work (One Girl).

A single was extracted (Life Is A Dream I The Best Of It), promo copies of which came in a picture sleeve, but neither it nor the LP (promo copies of which were accompanied by an extensive press kit) sold. A further, non-LP 45 appeared later in 1968 (Family Of Man I Lonely Mountain Again, included here as bonus tracks), but when it also failed to sell, the band splintered. Smith is not known to have continued with a career in music, but Hand joined soft-psych band The Moon, and Ray recorded an excellent folk-psych solo LP entitled Initiation Of A Mystic, which appeared on Johnny Rivers's Soul City label in 1970. Though the album they made together was ignored for decades, it is now rightly regarded as a minor classic of late 60s soft psychedelia.

CD Liner-notes

Tracks
1. Life Is A Dream - 02:06
2. Brave New World - 02:24
3. Wrong, My Friend - 02:23
4. Here Today - 02:44
5. Pleasure Time - 02:24
6. Best Of It - 02:28
7. Daydreaming - 02:49
8. Light That Love Brings - 02:27
9. Prelude To A Postlude - 04:15
10.One Girl - 02:16
11.Collage Of Attitudes - 02:04
12.Family Of Man (Bonus Track) - 04:45
13.Lonely Mountain Again (Bonus Track) - 03:16
All songs by Bobby Ray and James Smith

Thorinshield
*James Smith - Guitar
*Bobby Ray - Bass
*Terry Hand - Drums

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The Outsiders - CQ (1968 holland, pioneer punkadelic, 2011 remaster and expanded)

With a plethora of recent reissues (Jackpot – vinyl and RPM – cd), it seemed like a good idea to backtrack to this classic record and give it another listen.  C.Q. was to be the Outsiders last album (their 3rd LP), an attempt to reach the group’s original core audience amidst a troubling commerical downfall.  Not only is this one of the best “international” psych albums but it’s as good as anything by the early Pink Floyd, psychedelic era Pretty Things or Love.  Its closest reference point is probably the Pretty Things superb S.F. Sorrow – there are no soft, wimpy moments on either of these records, just pure intensity and garage punk muscle.  C.Q. is what the Rolling Stones’ Their Satanic Majesties Request should have sounded like.

C.Q.’s strength is in it’s consistency and diversity.  No two songs sound alike yet every experiment is well thought out and successful.  The group’s hallmark start-stop punk rhythms are firmly in place on many of C.Q.‘s tracks but by 1968 the Outsiders had grown considerably, incorporating more folk-rock and psych sounds into their repertoire.  Psych cuts such as the very European sounding “Zsarrahh” (supposedly a nod to Wally Tax’s Russian roots), the brief “Bear,” an avant garde folk-rock cut titled “Prison Song” and “C.Q.” heralded a new, more experimental outfit.   

Other cuts such as the sensitive “You’re Everything On Earth,” a bluesy, spacy cut titled “It Seems Like Nothings Gonna Come My Way Today,” and “I Love You No. 2″  were folk-rock gems that showed off Tax’s soft, expressive side.  That being said, it’s the harder cuts that warrant the greatest attention.  “Misfit,” “Doctor,” “The Man On The Dune,”  ”Happyville,” and “Wish You Were Here With Me Today” are masterful acid punkers.  “Doctor,” one of the group’s best LP tracks, features distorted vocals and an explosive fuzz guitar freakout.  “The Man On The Dune,” another classic and personal favorite, is a blistering psych punker with jagged guitar fuzz and a strange, unsettling conclusion.  It goes without saying that C.Q. is one of the immortal 60s albums.

As mentioned above, there have been many reissues of C.Q. To me, the Pseudonym reissue was the best as it featured three terrific non-lp tracks (“Do You Feel Alright” is an excellent cut that should have been a hit). In this  RPM disc features six good live cuts from 1968.

by Jason Nardelli

Tracks
1. Misfit (F. Beek, Buzz) - 3:04
2. Zsarrahh (Buzz, W. Tax) - 3:25
3. CQ (Buzz, W. Tax) - 3:26
4. Daddy Died On Saturday (R. Splinter, W. Tax) - 3:01
5. It Seems Like Nothing's Gonna Come My Way Today (F. Beek, R. Splinter) - 1:50
6. Doctor (F. Beek, Buzz) - 4:42
7. The Man On The Dune (F. Beek, R. Splinter) - 2:07
8. The Bear (Buzz, R. Splinter) - 1:03
9. Happyville (F. Beek, W. Tax) - 2:25
10.You're Everything On Earth (R. Splinter, W. Tax) - 3:05
11.Wish You Were Here With Me Today (R. Splinter, W. Tax) - 1:54
12.I Love You No.2 (F. Beek, W. Tax) - 3:13
13.Prison Song (Buzz, W. Tax) - 5:42
14.Do You Feel Alright (F. Beek, L. Busch, R. Splinter, W. Tax) - 3:21
15.Daddy Died On Saturday (R. Splinter, W. Tax) - 3:07
16.I Love You No.2 (F. Beek, W. Tax) - 3:15
17.Misfit (F. Beek, Buzz) - 3:10
18.Happyville (F. Beek, W. Tax) - 2:22
19.Prisonsong (Buzz, W. Tax) - 5:34
Bonus Tracks 14-19 Live at Fantasio Amsterdam 31.12.68

The Outsiders
*Frank Beek - Bass, Composer, Cymbals, Guitar, Organ, Piano, Vibraphone, Voices
*Ronald Splinter - Bass, Guitar, 12 String Guitar, Vocals
*Wally Tax - Balalaika, Cymbals, Flute, Guitar, Harmonica, Organ, Tambourine, Vibraphone, Vocals
*Buzz - Drums, Congas, Tambourine, Maracas, Mouthharp, Vocals

Related Act
1970  Tax Free - Tax Free

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Jackson Browne - Saturate Before Using (1972 us, brilliant folk country soft rock)

One of the reasons that Jackson Browne's first album is among the most auspicious debuts in pop music history is that it doesn't sound like a debut. Although only 23, Browne had kicked around the music business for several years, writing and performing as a member of the Nitty Gritty Dirt Band and as Nico's backup guitarist, among other gigs, while many artists recorded his material. So, if this doesn't sound like someone's first batch of songs, it's not. Browne had developed an unusual use of language, studiedly casual yet full of striking imagery, and a post-apocalyptic viewpoint to go with it. 

He sang with a calm certainty over spare, discretely placed backup -- piano, acoustic guitar, bass, drums, congas, violin, harmony vocals -- that highlighted the songs and always seemed about to disappear. In song after song, Browne described the world as a desert in need of moisture, and this wet/dry dichotomy carried over into much of the imagery. In "Doctor My Eyes," the album's most propulsive song and a Top Ten hit, he sang, "Doctor, my eyes/Cannot see the sky/Is this the prize/For having learned how not to cry?" If Browne's outlook was cautious, its expression was original. His conditional optimism seemed to reflect hard experience, and in the early '70s, the aftermath of the '60s, a lot of his listeners shared that perspective. 

Like any great artist, Browne articulated the tenor of his times. But the album has long since come to seem a timeless collection of reflective ballads touching on still-difficult subjects -- suicide (explicitly), depression and drug use (probably), spiritual uncertainty and desperate hope -- all in calm, reasoned tones, and all with an amazingly eloquent sense of language. Jackson Browne's greater triumph is that, having perfectly expressed its times, it transcended those times as well. (The album features a cover depicting Browne's face on a water bag -- an appropriate reference to its desert/water imagery -- containing the words "saturate before using." Inevitably, many people began to refer to the self-titled album by that phrase.

by William Ruhlmann

Tracks
1. Jamaica Say You Will - 3:25
2. A Child In These Hills - 3:59
3. Song For Adam - 5:23
4. Doctor My Eyes - 3:17
5. From Silver Lake - 3:52
6. Something Fine - 3:48
7. Under The Falling Sky - 4:09
8. Looking Into You - 4:19
9. Rock Me On The Water - 4:14
10.My Opening Farewell - 4:44
All songs by Jackson Browne

Personnel
*Jackson Browne - Acoustic Guitar, Guitar, Piano, Keyboard, Vocals
*David Campbell - Viola
*David Crosby - Vocals, Harmony Vocals
*Jesse Ed Davis - Guitar, Electric Guitar
*Craig Doerge - Piano, Keyboard
*Jimmie Fadden - Harmonica
*Jim Gordon - Organ
*David Jackson - Piano
*Sneaky Pete Kleinow - Pedal Steel
*Leah Kunkel - Vocals
*Russ Kunkel - Drums
*Albert Lee - Guitar, Electric Guitar, Electric Piano
*Graham Nash - Harmony Vocals
*Leland Sklar - Bass
*Clarence White - Acoustic Guitar

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Grass Roots - Let's Live For Today / Feelings (1967-68 us, bright sunny folk psych)

Released in the spring of 1967, Let's Live for Today was almost a musical throwback, steeped in folk-rock, which was fairly passé at the time, rather than psychedelia, but that's what makes it so appealing to listeners today. Listeners in 1967 were probably disappointed that there was nothing on the album as dramatic or memorable as the title track, but everything else is solid folk-rock with a pretty hard edge, which allows it to stand quite well alongside rival releases by the Beau Brummels, the Cryan Shames, the Blue Things, et al. 

Most of the music here is derived from the P.F. Sloan/Steve Barri songwriting and production team, spiced with four surprisingly strong originals -- mostly drawn from the original demo tape that they submitted as the 13th Floor -- by the band members themselves. The Sloan-Barri numbers are smooth, hook-laden folk-rock "Things I Should Have Said," "Is It Any Wonder," some of it with a garage band edge, and with elements of mild pop psychedelia ("Wake Up, Wake Up") occasionally manifesting themselves. 

Sloan and Barri's production gave the music a polish that made it thoroughly commercial without entirely losing sight of the band's fervor; the Grass Roots, only a few months out of playing bowling alleys, rose to the occasion in the singing and the basic playing, but they were also in the hands of two producers who knew how to add such embellishments as an unobtrusive harpsichord or flute over a garage band workout like "Tip of My Tongue," and who also took full advantage of stereo separation. 

The latter made this album a real treat for the fans, who bought it and got to hear the playing by Sloan (who contributed some guitar), Creed Bratton, and Warren Entner, and the singing by all of them (especially on "Is It Any Wonder") in vivid detail. Also surprising are the group originals, such as Entner and Bratton's "Beatin' Round the Bush" and Bratton's rocking "House of Stone," each of which is a match musically for most of the Sloan-Barri numbers. Admittedly, the lyrics on Sloan and Barri's songs are somewhat more sophisticated than those on most of the group originals, but the simpler words on the latter firm up this album's rock & roll credentials. The CD reissue has decent sound and is worth tracking down as one of the last examples of 1960s commercial folk-rock. 

In their next album "Feelings" changed their name to "Grassroots" (and then changed it back two albums later) -- was a serious departure from its predecessor. Having reached the Top 10 with "Let's Live for Today" and made the Top 100 with the accompanying album -- all done under the direction of producers Steve Barri and P.F. Sloan, with a lot of outside musicians playing on them -- the group members were eager to flex their own musical muscles. The result was Feelings, a much less slick, less polished work but one that better reflected the quartet's own sensibilities. 

This album was to the Grass Roots roughly what Headquarters was to the Monkees, though not remotely as popular. The album opens with the title track, a group original going back two years, to their days as a garage band -- the sound is psychedelia with a garage band edge, complete with fuzz effects and a spaced-out feel, complete with a faux-raga break. A trio of Barri/Sloan and P.F. Sloan numbers follow, all produced in a more lyrical folk-rock/pop mode that recalls the prior album -- indeed, "Here's Where You Belong" closely resembles "Where Were You When I Needed You" in tempo and texture. "The Sins of the Family Fall on the Daughter" is a surprisingly catchy number for so serious a subject (and title), with pleasant hooks and a searing lead guitar part of the sort that AM radio listeners seldom associated with this band; and "Melody for You" is a pleasant piece of midtempo Baroque pop/rock. 

The members' own compositions dominate most of the rest of the record, and the sound varies widely -- the Warren Entner/Rob Grill-authored "Who Will You Be Tomorrow" offers a deliberately heavier sound without any attempt at emulating the pretty pop harmonies that dress up the Barri/Sloan numbers -- but on "You Might as Well Go My Way" (written by Richard Podolor) and "All Good Things Come to an End" (authored by Albert Hammond), the group delivers a leaner, punchier version of their folk-rock sound. 

Creed Bratton's bluesy "Hot Bright Lights" gives the lead guitarist a chance to show off his work with the volume pedal; they switch gears to languid psychedelic pop on Entner and Grill's "Hey Friend," while the same writing duo's "You and Love Are the Same" gives Entner a great part on rhythm guitar and all four a chance to contribute some lush choruses amid a psychedelic haze that is enhanced by the presence of a string orchestra accompaniment. And "Dinner for Eight" is an eerily reflective piece with a disconnected psychedelic break that rolls right back into a reprise of "Feelings." Without a hit single to drive its sales, Feelings was ignored by most listeners and never charted, which is a shame. 

by Bruce Eder

Tracks
Let's Live For Today 
1. Things I Should Have Said - 2:35
2. Wake Up, Wake Up - 2:54
3. Tip of My Tongue - 2:34
4. Is It Any Wonder - 2:50
5. Let's Live for Today (Julien, Michael, David Shapiro) - 2:51
6. Beatin' Round the Bush (Creed Bratton, Warren Entner) - 2:33
7. Out of Touch - 2:55
8. Won't You See Me (Warren Entner) - 3:04
9. Where Were You When I Needed You - 3:01
10.No Exit (Creed Bratton, Warren Entner, Rob Grill) - 2:35
11.This Precious Time - 3:10
12.House of Stone (Creed Bratton) - 2:32
Feelings 1968
13.Feelings (Rick Coonce, Warren Entner) - 3:00
14.Here's Where You Belong - 3:14
15.The Sins of a Family Fall on the Daughter (P.F. Sloan) - 3:02
16.Melody for You song review (P.F. Sloan) - 2:58
17.Who Will You Be Tomorrow (Warren Entner, Rob Grill) - 2:39
18.You Might as Well Go My Way (Richard Podolor) - 2:06
19.All Good Things Come to an End (Hammomd) - 2:47
20.Hot Bright Lights (Creed Bratton, Warren Entner, Rob Grill) - 5:04
21.Hey Friend (Warren Entner, Rob Grill) - 3:03
22.You and Love Are the Same (Warren Entner, Rob Grill) - 2:47
23.Dinner for Eight (Creed Bratton) - 2:59
24.Feelings (Reprise) (Rick Coonce, Warren Entner) - 0:40
Additional Tracks
25.Depressed Feeling (P.F. Sloan) - 2:34
26.Midnight Confessions - 2:46
27.Bella Linda - 2:53
All songs by Steve Barri, P.F. Sloan except where indicated

Grassroots
*Creed Bratton - Lead Guitar, Vocals
*Rick Coonce - Drums, Percussion, Vocals
*Warren Entner - Rhythm Guitar, Vocals
*Rob Grill - Bass, Vocals

1969 The Grass Roots - Leaving It All Behind (2010 edition)
1972-73  The Grass Roots - Move Along / Alotta Mileage

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The Beau Brummels - Bradley's Barn (1969 us, brilliant country folk rock)

By the time Bradley’s Barn (Warner Brothers – 1968-) recording sessions commenced, the Beau Brummels had scaled down to the duo of founders Ron Elliott (guitarist) and Sal Valentino (vocalist). Nashville session pro contributions (guitarist Jerry Reed and drummer Kenneth A. Buttrey) tend to overshadow the strong batch of Elliott/Valentino/Durand originals written for this classic LP. Some 40 years after it’s release date, Bradley’s Barn is still considered one of the very best country-rock records. Instead of taking their cues from Buck Owens, Merle Haggard, Hank Williams Sr. and The Louvin Brothers (see The Byrds and Flying Burrito Brothers), the Brummels created their own unique fusion of rock and roots music that’s arguably more original and less reliant on the C&W masters.

Highlights run across the board, making it really tough to single out individual performances. Elliott’s guitar work is nimble, Lenny Waronker’s arrangements/production sparkle (Waronker was a real wild card and major influence during these important sessions) and Valentino’s vocals are rich and expressive. There is no pedal steel guitarist on these recordings but session men used dobros, banjos, keyboards, marimbas and any other instruments they could find in the studio to create a mystical, backwoods vibe. If you think Poco rocked hard, check out the awesome “Deep Water.” “Deep Water” along with “Love Can Fall A Long Way Down”, find the group locked in and at their best – these are country-rock classics.

 Other key tracks such as “Turn Around” and “Cherokee Girl” have a unique spiritual feel without losing their rock underpinnings. “Bless You California,” a Randy Newman original, recalls the roots/psych fusion of the Beau Brummels 1967 masterpiece, Triangle. Other great cuts: “The Loneliest Man In Town” is the Brummels most traditional country offering while “Jessica” and “Long Walking Down To Misery” progress into excellent songs.

by Jason Nardelli

Tracks
1. Turn Around (B. Durand, R. Elliott) - 3:03
2. An Added Attraction (Come And See Me) (S. Valentino) - 3:03
3. Deep Water (R. Elliott, S. Valentino) - 2:33
4. Long Walking Down To Misery (R. Elliott) - 3:16
5. Little Bird (R. Elliott) - 2:42
6. Cherokee Girl (B. Durand, R. Elliott) - 3:36
7. I'm A Sleeper (R. Elliott, S. Valentino) - 3:20
8. Loneliest Man In Town (R. Elliott) - 1:54
9. Love Can Fall A Long Way Down (B. Durand, R. Elliott) - 4:16
10.Jessica (R. Elliott, S. Valentino) - 2:22
11.Bless You California (Randy Newman) - 2:16

The Beau Brummels
*Sal Valentino - Vocals
*Ron Elliott - Guitar, Vocals
With
*David Briggs - Keyboards
*Kenny Buttrey - Drums
*Norbert Putnam - Bass
*Jerry Reed - Guitar

1964-66  Beau Brummels - Autumn Of Their Years
1965  Introducing The Beau Brummels (Sundazed edition)
1966  Beau Brummels' 66 (Japan edition)
1967  Triangle
1975  Beau Brummels
Related Act
1970  Ron Elliott - The Candlestickmaker

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