Sopwith Camel - Sopwith Camel (1966-67 us, awesome folk psychedelia, 2006 issue)

Timing, as they say, is everything. The adage is just as applicable to the realms of commerce and marketing as it is to creative inspiration. When the Sopwith Camel's debut album was issued, in 1967, almost a year after its featured hit had peaked ("Remember 'Hello Hello'?" read the sleeve sticker), there was a sense of misalignment, of clock and calendar time running off schedule. In short, despite notching a national Top 30 hit, the San Francisco band's moment had passed.

Recording delays and the departure of Willie Sievers (guitar) and Terry McNeil (guitar) were factors in the album's delayed release. So were the newly formed quintet's inexperience in the studio, its lack of material, lead singer Peter Kraemer's winter illness, New York City and the Albert Hotel.  None of which prevented The Sopwith Camel from being one of the most enjoyable, consistent and pop LPs to emerge from mid-'60s Frisco. 

The pop factor has always played into folks' perception of the band, since the December '66 Hot 100 success of "Hello Hello," achieved by only the second S.F. group to sign a record contract (the Airplane was first), bugged many underground- rock longhairs, who saw hit singles  as impossibly gauche items. "It was a known fact that we weren't hardened musicians," Kraemer told Pete Frame in a Zigzag interview. "We didn't do extended versions of 'Midnight Hour,' though we did 'Born in Chicago' and 'Bright Lights, Big City.'" (I recall them delivering a house-wrecking take on the Stones' "2120 South Michigan Avenue" at the Avalon. August '66, on a bill with the Dead.)

But the Camel's psychedelic papers were in order. Kraemer, after all, had grown up in Virginia City, Nevada—the acknowledged ground zero for the Charlatans and the whole lightshow-LSD-Victoriana formula that would blow the pop-music lab sky high - and was one of the first S.F. State students to room in the Haight (with, among other proto-freaks, future Grateful Dead manager John Mclntyre). Drummer Norman Mayell had played with Charlie Musselwhite in Chicago and hung with Kesey's Pranksters. And the band (which would add London-born, Frisco-bred bassist Martin Beard) formed in the basement of 1090 Page, the delivery room that birthed Big Brother & the Holding Company.

The young band played plenty, on local bills with the Great Society and the Charlatans, Allen Ginsberg and the Dead, the Grass Roots and the Daily Flash. And it caught the ear of producer Erik Jacobsen, who'd helmed the Lovin' Sooonful's hits and recorded the Charlatans "I heard a tape of 'Hello Hello,' and it just knocked me out," recalled Jacobsen in Zigzag. "If that couldn't become a huge hit, I'd eat my watch and chain!"

In short order, the Camel signed with the Spoonful's producer, the Spoonful's label (Kama Sutra) and the Spoonful's manager (Bob Cavallo, later to guide the careers of Little Feat and Prince), and, in late 1966, trekked to New York to cut its album. With Cavallo grooming the band to open for the touring Spoons, it's no surprise that the IP's songs veer to the bright side of the road; they're compact, melodic vehicles, many of which fall into the then-prevalent "goodtime music" bag ("Daydream," "Good Day Sunshine," etc.). The most obvious examples of this style are "Hello Hello," "Walk in the Park" and "The Things That I Could with You," though the campy vaudevilliana of "Little Orphan Annie" (about the Depression-era comic strip that introduced the exclamation "Leapin' lizards!") likewise fits. Inspirational Verse: "The wisdom of the ages/ Clutters Annie's pages."

But there's ambition and adventurousness present too. "The Great Morpheum" starts ominously and builds, on some great changes, to a killer chorus, and the largely instrumental "Maybe in a Dream," a modal, 12-string-harmonium-fuzz-guitar piece not unlike Country Joe & the Fish's "Cetacean," is a sleeper treat. Sievers' "Saga of the Low Down Let Down" resembles a jangly Charlatans-Spoonful co-venture, while the punky "Cellophane Woman," with its "Diddy Wah Diddy" verse rhythm, could easily have come from the Standells or Chocolate Watch Band songbooks. It sports a classic Frisco psyche guitar solo, as does the subtler "Frantic Desolation."

The marketplace failure of The Sopwith Camel and the group's subsequent dissolution make one wonder what could have been. The 45 follow-up to "Hello Hello," though it barely scraped the bottom of Billboard's Hot 100, may have been the band's finest four minutes. The A-side, "Postcard from Jamaica," sounds solidly commercial, the band having sanded off some of the campy edges of its style while retaining the knack for melody and striking arrangements. The flip, "Treadin,"' is simply sublime — Spoonful-ish, yes (think "You Didn't Have to Be So Nice"), but with a sparkling twin-guitar solo unspoolmg mid-song and some of the Bach-ish flavour that makes "Maybe in a Dream" so tasty.

As quickly as "Hello Hello" charmed its way up the charts, the Sopwith Camel got the goodbye look and disappeared down the hall of pop-rock history. A reunited band produced 1972's The Miraculous Hump returns from the Moon (Reprise), but the timing and the tunes failed to connect. One certified classic album was all they had in them, but we can surely be thankful for it.

by Gene Sculatti, November 2005

Tracks
Stereo
1. Hello Hello (T. MacNeil, P. Kraemer) - 2:27
2. Frantic Desolation (T. MacNeil, P. Kraemer) - 2:15
3. Saga Of The Low Down Let Down (W. Sievers) - 1:46
4. Little Orphan Annie (T. MacNeil, P. Kraemer) - 2:53
5. You Always Tell Me Baby (T. MacNeil, P. Kraemer) - 1:47
6. Maybe In A Dream (T. MacNeil, P. Kraemer) - 2:02
7. Cellophane Woman (W. Sievers) - 2:27
8. The Things That I Could Do With You (T. MacNeil, P Kraemer) - 2:12
9. Walk In The Park (W. Sievers) - 2:25
10.The Great Morpheum (T. MacNeil, P. Kraemer) - 2:57
11.Postcard From Jamaica (T. MacNeil, P Kraemer) - 2:25
Mono
12.Treadin' (T. MacNeil, P. Kraemer) – 2:19
13.Hello Hello (T. MacNeil, P. Kraemer) - 2:27
14.Frantic Desolation (T. MacNeil, P. Kraemer) - 2:15
15.Saga Of The Low Down Let Down (W. Sievers) - 1:48
16.Little Orphan Annie (T. MacNeil, P. Kraemer) - 2:53
17.You Always Tell Me Baby (T. MacNeil, P. Kraemer) - 1:47
18.Maybe In A Dream (T. MacNeil, P. Kraemer) - 2:02
19.Cellophane Woman (W. Sievers) - 2:27
20.The Things That I Could Do With You (T. MacNeil, P. Kraemer) - 2:12
21.Walk In The Park (W. Sievers) - 2:25
22.The Great Morpheum (T. MacNeil, P. Kraemer) - 2:57
23.Postcard From Jamaica (T. MacNeil, P Kraemer) - 2:25

Sopwith Camel
*Martin Beard - Bass
*Peter Kraemer - Keyboards, Vocals, Wind
*Terry MacNeil - Guitar, Keyboards
*Norman Mayell - Drums, Harmonica, Sitar
*William Sievers - Guitar

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Elder Kindred - Kindred Spirits (1971-73 uk, remarkable melt of folk prog jazz rock, 2011 issue)

Originated from Huntingdon, Cambridgeshire circa 1970. Previously known as Slow Dog whose lone single was issued by EMI in 1972. Hemery, Knibbs, Judd, Ward, Loakes was the line-up responsible for these recordings. All songs recorded at Beck studios in Wellingborough. Rape and Superior Camp recorded January 1971 (sourced from surviving acetate). 

Finding Out and Saga recorded December, 1971. Playing To You, To The Old and Young, Castles, Work Song recorded February, 1973. The band supported many famous acts such as Renaissance, Uriah Heep, UFO and Sam Apple Pie. They were managed by Rufus Manning Associates, a booking agency based in Huntingdon responsible for managing artists such as Mr. Lucifer, Little Women, Cuckoo and Tuesday's Children.

British-music

Tracks
1. Playing To You - 3:36
2. Work Song - 4:47
3. Castles (Geoff Knibbs) - 5:17
4. To The Old and Young - 4:54
5. Finding Out - 7:24
6. Saga - 5:54
7. Rape - 6:27
8. Superior Camp - 8:37
All songs by Nick Hemery except where stated
Tracks 1-4 February 1973
Tracks 5-6 December 1971
Tracks 7-8 January 1971

Elder Kindred
*Nick Hemery - Guitar, Vocals
*Simon Judd - Keyboards
*Geoff Knibbs - Bass, Vocals
*Ivan Ward - Alto Sax, Flute, Percussion
*Vince Loakes - Drums
*Chris Curtis - Bass, Vocals (Tracks 7, 8)

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Mother Superior - Mother Superior (1975 uk, classy wise prog rock)

Mother Superior were a rare breed, for not only were they musicians of obvious talent, they were an all female group responsible for recording the definitive crossover album between progressive rock and jazz rock of the mid seventies. This period was a time of transition in the British rock scene; the prog era's candle had finally flickered out two or three years earlier, even the more successful bands that survived its demise were largely on the downslide as punk drew ever closer During this time, Mother Superior emerged displaying leanings towards the earlier progressive sound but with a jazz rock feel and enchanting vocals blending intricate harmonies 'and slick interplay making an altogether delightful concoction. 

However, the nature of this music is such that any attempt to try to categorise it is to dilute its richness of style and appeal. Enthusiasts of the progressive era may draw comparisons with Earth and Fire, Sandrose and Fusion Orchestra all of which featured female singers. But how many good all female rock bands were there in the 70s? Fanny spring to mind and; a bit later on, there were the Runaways. After that it's a struggle. Here we have this rare phenomenon, a magical songwriting and arranging partnership of Lesley Sly (keyboards) and Audrey Swinburne (guitars) often alternating on lead vocals giving the compositions a mixture of tenderness and sensitivity plus exuberance and wit. Furthermore their adeptness at rousing improvisation is epitomised by extensive soloing notably in 'Mood Merchant' and 'No Time Toulouse Lautrec'. A steady rhythm section of Jackie Badger (fingering a Gibson bass) and Jackie Crew (drums and percussion) also add backing vocals where required. 

Their prowess in renovating old songs and turning them into highly listenable pieces shows up in 'Love The One You're With' and an absolutely splendid version of 'Lady Madonna'. In 1975 the band were given the opportunity by IBC Studios to make use of all night downtime recording sessions. Whilst these recordings were taking shape they were gigging regularly, especially in and around London, in expectation of a forthcoming record deal. Test pressings were circulated, but unbelievably, the album never secured a UK release. This setback spurred the band on to look further afield in search of a deal for their finely crafted, exquisite work of art, which really ought to have gained an automatic right to worldwide release and acclaim if foresight and enlightened judgement had prevailed.

Instead it was in Scandinavia, where greater appreciation of this exceptional group emerged. Mother Superior's album finally escaped on the tiny SMA label albeit in a ridiculously small quantity making it nigh on impossible to locate these days. That LP. titled 'Lady Madonna' (Cat No SMA 3014), is presented here, on this painstakingly remastered CD together with the original artwork. Shortly after the low-key album release the line-up abandoned their hopes of hitting the big time. Alas prematurely. At a time when chauvinism was rife in the music industry and where it was widely declared that girls couldn't play rock and roll it was hardly surprising that their patience wore despondently thin.

Mother Superior may not have had the luck of the draw but perhaps it was because they were such a unique band, not easily pigeon-holed, that led to them ultimately being overlooked rather than becoming a sensation. In any case, we are honoured to present to you this true lost gem which we hope you will cherish as we do. 

Bassist Jackie Badger went on to join Snips featuring ex Wild Turkey guitarist  Mick Dyche. About four decades later their timeless artistry and dazzling finesse can at last live on to bewitch a new audience.

by Pedro Sassafras

Tracks
1. No Time Toulouse Lautrec - 5:49
2. Just One Look - 5:53
3. Mood Merchant - 7:03
4. Love the One You'r With (Stephen Stills) - 4:39
5. Ticklish Allsorts - 5:19
6. Lady Madonna (John Lennon, Paul McCartney) - 4:35
7. Year Upon Tears - 5:57
All songs by Lesley Sly, Audrey Swinburne except where indicated

Mother Superior
*Lesley Sly - Keyboards, vocals
*Jackie Badger -  Bass, vocals
*Jackie Crew - Drums, vocals
*Audrey Swinburne - Guitar, vocals

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Mr. Flood's Party - Mr. Flood's Party (1969 us, pleasant psychedelia, 2010 edition)

Originally known as The Now, this little known sextet debuted with the 1968 single 'I Want b/w 'Like a Flying Bird' (Embassy catalog 1968).  Picked up by Atlantic's newly formed Cotillion subsidiary they quickly released an equally unheralded follow-up single 'Deja Vu' b/w 'A Hard Time' (Cotillion catalog number 44005) before opting to change their name to the curious Mr. Flood's Party.

1969's cleverly-titled "Mr. Flood's Party" offered up a pleasant set which managed to mix lite psychedelia with some progressive moves. With five of the six members contributing material (Jay Hirsh and Michael Corbett responsible for the bulk of the set), selections such as 'Northern Travel', 'Deja Vu' and 'Advice' sounded like a stoned version of The Association suffering from a J.R. Tolken fixation (if you doubt the description check out 'Simon J. Stone'). 

In hindsight that description probably doesn't sound too attractive ... which isn't fair since the set's actually pretty entertaining. Full of pretty melodies, nice harmonies and unorthodox song structures, highlights include the psychy 'The Liquid Invasion' and the dreamy 'Garden of the Queen'.  Elsewhere Cotillion tapped the album for a single: 'Deja Vu' b/w 'Alice Was A Dream'

Bad-cat

Tracks
1. Northern Travel (Jay Hirsh, Michael Corbett) - 6:45
2. Deja Vu (Jay Hersh, R. Amerling) - 5:02
3. Advice (Freddy Toscano) - 3:10
4. Prince Of Darkness (Jay Hirsh, Freddy Toscano) - 3:59
5. Simon J. Stone (Jay Hirsh) - 2:38
6. Stanley's Tea (Jay Hirsh, Marcel Thompsen) - 2:12
7. The Liquid Invasion (Jay Hirsh) - 4:40
8. Garden Of The Queen (Jay Hirsh, Michael Corbett) - 3:21
9. The Mind Circus (Jay Hirsh, G. Raines) - 6:49
10.Alice Was A Dream (Bonus Track) (Jay Hirsh, K. Melrose) - 3:13

Mr. Flood's Party
*Michael Corbett - Vocals, Flute, Percussion
*Jay Hirsh - Vocals, Guitar, Keyboards
*Rick Mirage -
*Marcel Thomspen -
*Freddy Toscano - Guitar

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Saturnalia - Magical Love (1973 uk, fine prog folk rock, 2003 Akarma issue)

Saturnalia were a British band activated in the late 60's early 70's. Their sole and rare album was on the ostentatious side of progressive folk rock, perhaps slightly anticipating some of the earnest classical-rock-fusion-with-female-vocals explored by Renaissance in the 1970s. 

The songs tend toward the winding and ponderous side, and the vocals -- especially those by female singer Aletta -- can cross into the histrionic in the more strident passages. Perhaps a little more influenced by the male-female vocal tradeoffs typical of some late-'60s American psychedelic bands than most such British efforts, it also boasts plenty of hard rock guitar and a good helping of lyrics reflective of a fantasy world, à la "Princess and the Peasant Boy" and the title track. 

As the song that brings in the strongest British acoustic folk feel, "Dream" is one of the more palatable tracks, but groups such as Renaissance were able to craft more accessible and memorable material using some of the same elements. 

by Richie Unterberger

Tracks
1. Magical Love (Aletta Lohmeyer) - 4:32
2. She Brings Peace - 4:42
3. And I Have Loved You - 3:22
4. Winchester Town - 7:55
5. Traitor - 4:36
6. Soul Song (Aletta Lohmeyer, Pilikian) - 2:58

7. Princess And The Peasant Boy - 3:34
8. Dreaming (Aletta Lohmeyer) - 2:43

9. Step Out Of Line - 4:18

All songs by Rod Roach, Adrian Hawkins except where indicated

Saturnalia
Aletta Lohmeyer - Vocals
Tom Crompton - Drums
Adrian Hawkins - Vocals
Richard Houghton - Bass
Rod Roach - Guitar

Related Act
1970-71  Horse - For Twisted Minds Only (2016 remaster and expanded)

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Scott McKenzie - The Voice Of Scott McKenzie (1967 us, wonderful sunny folk psych, 2006 remaster and expanded)

Scott was born Philip Blondheim on January 10, 1939 (not on October 1 as often stated) in Jacksonvile, Florida. That's where he lived for half a year before moving to Asheville, North Carolina. Scott's father died in Asheville in 1941, just a few months after Scott's second birthday.

Early in 1942, World War II had just begun, Scott's mother moved to Washington D.C. where she'd found a job with the Administration. During the years of the war rents were very high as was travelling and thus Scott didn't see his mother very often, usually just once a year. She had to share a room with colleagues because she couldn't afford an appartment of her own. Until 1946 Scott lived with grandmother, then with three other families in North Carolina, Kentucky and Rhode Island.

Scott became interested in singing and playing guitar in the mid fifties. Singing always meant more to him than playing any instrument, although he entertained the fantasy of becoming a jazz guitarist for a while. His real love at the time was jazz. He used to spend hours singing along at the top of his voice to jazz vocal albums.

In the mid fifties Scott and John Phillips were both singing, but in separate vocal groups. They first met at one of John's legendary parties in his apartment on Ramsey Alley in Alexandria, Virginia.  John sat in a corner on the floor, singing and playing one of his songs on guitar. Scott told him he liked to sing and play guitar too. John said "Well, sit down and sing this part." Scott did as he was told, and so began a long musical friendship.

John and Scott formed a quartet, which they named The Abstracts. They fashioned themselves after groups like The Four Freshmen, The Hi-Los and the Four Preps. In 1959, they made their first trip to New York and met an agent who had been in a group called "The Smoothies", which had a big hit in the 40's called "You're an Old Smoothie". "The Abstracts" became "The Smoothies" and began to work in traditional night clubs with chorus girls and comedians.

In 1960 "The Smoothies" recorded a few pop singles, produced by Milt Gabler, who was later inducted into the Rock & Roll Hall of Fame for a lifetime of producing artists like Billie Holiday, Louis Armstong, and Bill Haley.

But in 1960 folk music was selling, and soon John and Scott were looking for a banjo player to form a folk trio. They found Dick Weissman, considered one of world's finest 5 string banjo players. They became "The Journeymen" and recorded three albums for Capitol Records.

Then came The Beatles, and everything changed. John formed "The Mamas and the Papas" and throughout the 60's wrote a remarkable body of songs that captured and chronicled the personal and social upheavals of the decade. Billy Joel refers to John as the "Stephen Foster of the 60's." One of these remarkable songs was San Francisco. 

Early on the day Scott recorded San Francisco, some friends picked wildflowers and wove a garland, which he wore while he sang, as his friends sat on the floor and meditated in the studio.

In the rest of the world, especially in Eastern Europe, San Francisco became a freedom song. "During the Cold War the secret police threatened residents with imprisonment just for listening to western music. Many of these people adopted San Francisco as their personal anthem of hope and freedom. It is very humbling," says Scott.

It had been intended that the John Phillips song Twelve Thirty (Young Girls Are Coming to the Canyon) would be Scott's follow up song to San Francisco but contractual obligations resulted in the Mamas and Papas recording the song and Scott released Like An Old Time Movie, which was a minor hit, and to this day he is known as a 'one hit wonder'. On stage Scott says that if you are going to be a one hit wonder, San Francisco is the hit to have.

There is a theory that Like An Old Time Movie was not a bigger hit, especially in Europe, because at that time Europeans did not really know what an old time movie was - they didn't have late movies on television.

After his hit song and the subsequent album, The Voice of Scott  McKenzie, Scott released an album of his own songs, called Stained Glass Morning. Sadly Scott passed away in his LA home on 18th August, 2012, after two weeks in hospital.

Scott McKenzie

Tracks
1. San Francisco (Be Sure to Wear Flowers in Your Hair) (John Phillips) - 3:01
2. Like an Old Time Movie (John Phillips) - 3:17
3. Twelve Thirty (Young Girls Are Coming to the Canyon) (John Phillips) - 3:19
4. No, No, No, No, No (Michel Polnareff, Geoff Stephens) - 2:52
5. Celeste (Donovan) - 3:31
6. Rooms (John Phillips) - 3:29
7. Don't Make Promises (Tim Hardin) - 3:56
8. Reasons to Believe (Tim Hardin) - 2:24
9. It's Not Time Now (John Sebastian, Zal Yanovsky) - 2:48
10.What's the Difference, Chapter 1 (Scott McKenzie) - 2:20
11.What's the Difference, Chapter 2 (Scott McKenzie) - 2:42
12.San Francisco (Mono Single) (John Phillips) - 2:57
13.What’s The Difference (Mono) (Scott McKenzie) - 2:18
14.Like An Old Time Movie (John Phillips) - 3:17
15.What’s The Difference (Chapter II) (Scott McKenzie) - 2:42
16.Celeste (Mono Single) (Donovan) - 3:31
17.No, No, No, No, No (Mono Single) (Michel Polnareff, Geoff Stephens) - 2:53
18.Holy Man (John Phillips) - 2:48
19.What’s The Difference (Chapter III) (Scott McKenzie) - 3:36

Musicians
*Scott McKenzie - Vocals
*John Phillips - Guitar
*Joe Osborn - Bass
*Hal Blaine - Drums
*Gary L. Coleman - Bells, Chimes

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Flying Norwegians - New Day / Wounded Bird (1974/76 norway, fine country soft rock, two disc set)

Countryrock Band from Bergen, Norway, formed in January 1974. The band was the first Boosting Countryrock band in Norway.

Rune Walle guitarist and drummer Gunnar Bergstrøm had both played with Hole In The Wall. They had just served with Saft when they joined with Jimmy Martin (vocals, guitar), John Torkelsen (bass) and Jarle Zimmerman (vocals, keyboards) to create Norway's answer to American groups like Eagles, Poco and the Flying Burrito Brothers. Quintet moved to Denmark, where they lived in a collective in the country and created songs to their first LP, recorded in Oslo with Hallvard Kvåle as a producer. The album New Day (1974) attracted attention both for the strong music - especially the title cut, with its dramatic final sequence - and jacket that showed a blimp floating over a dense cloudy.

The original Flying Norwegians unraveled when Walle was a member of the American band Ozark Mountain Daredevils in June 1976. January 1977 (with Jan Ove Hommel on bass) was released on the album the same year. The band had already marked him as studio musicians for Teddy Nelson under the name Flyvende Nordmenn, including  «Diggy Liggy»,, and they continued with this too without Walle. Among the many artists they worked for, had Johannes Kleppevik and lentil Hansen. In 1978 stacked sand, Zimmerman and Bergstrøm a new crew for the legs, now with the Ronald Jensen (bass), Egil distinguishable (steelgitar) and Jan Ove Hommel (guitar, accordion). Walle was a producer for the crew's only LP, This Time Around.

Rune Walle participate in the following LPs with Ozark Mountain Daredevils: Men From Earth (A & M, 1976), Do not Look Down (A & M, 1977), It's Alive (A & M, 1978) and Ozark Mountain daredevil (CBS, 1980).

Tracks

Disc 1

New Day 1974

1. Young Man (Rune Walle, Cato Sanden, Gunnar Bergstrøm, Jarle Zimmermann, Johannes Torkelsen) - 3:58

2. Time's Drawing Circles (Cato Sanden, Per Helge Hansen) - 3:41

3. Those Were The Days (Gunnar Bergstrøm) - 4:15

4. Lucky Number (Cato Sanden) - 3:27

5. New Day (Cato Sanden) - 5:57

6. Behind The Words (Jarle Zimmermann) - 3:56

7. Spanish Tragedy (Rune Walle) - 3:22

8. Tricky Lies (Rune Walle) - 3:06

9. Human Need (Rune Walle) - 2:50

10.You'll Come Around (Per Helge Hansen, Rune Walle) - 6:00

11.It Ain't Just Another Blow (Per Helge Hansen, Rune Walle) - 2:24

Disc 2
Wounded Bird 1976

1. Crazy Eyes Go Blind (Per Helge Hansen, Rune Walle) - 4:19

2. Turn The Page (Per Helge Hansen, Cato Sanden) - 3:27

3. Taste Of The Money (Rune Walle, Cato Sanden, Gunnar Bergstrøm, Jarle Zimmermann, Johannes Torkelsen) - 4:27

4. Let's Walk To The River (Jarle Zimmermann, Rune Walle) - 2:14

5. Evening Prayer (Jarle Zimmermann, Cato Sanden) - 3:40

6. Wounded Bird (Per Helge Hansen, Rune Walle) - 4:35

7. Tangles (Jarle Zimmermann) - 4:26

8. It's Over (Jarle Zimmermann) - 4:21

9. Old Lady (Cato Sanden) - 2:50

10.Absolutely Sweet Marie (Bob Dylan) - 3:57

The Flying Norwegians

*Rune Walle - Guitar, Vocals, Harmonica, Banjo

*Cato Sanden - Guitar, Vocals

*Gunnar Bergstrøm - Drums

*Jarle Zimmermann - Keyboards

*Johannes Torkelsen  - Bass

With

*Harald Dyb - Pedal Steel Gyuitar

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Twogether - A Couple Of Time (1973 germany, groovy prog jazz fusion rock)

The two-man formation Twogether went back to an early 70s in Dusseldorf resulting band called BBC, which is made ​​up of former members of the band Blue Squad, Beathovens and crew (recruited). The initials of the old bands revealed the name of the new group (BBC). Early 1973, the band fell apart when three musicians got out. Those who remained, Klaus Bangert (keys) and Reinhard Fischer (drums), the duo decided to continue and called themselves from then on Twogether. 

In the fall of 1973 Bangert and Fischer played in a small studio in Dusseldorf a 13 numbers, of which two were published as a single and the rest on the only LP by the duo. "A couple of times" still appeared in 1973 on the small Victory label, records were released on their own. Because of the very small number of copies, the records are hardly available at all - and when found they are, it is hardly affordable. Classic drum and keyboard combo,a rarity in and of itself. After two handful of appearances in 1974 Twogether be solved..

It's been years, 2004 was the extremely rare in the original vinyl "A couple of times", published including the two single tracks "I was away too long" and "I've found a love again," Garden of Delights CD again. The master tapes were there, of course, has long been lost, so that a (relatively) good as new LP served as a template. Despite NoNoise treatment therefore some LP-typical noise can be heard, but otherwise the sound of the recordings is good. Organ and drums there to hear especially here. These now and then a piano and electronic sounds from the synthesizer come. Finally Bangert provides some of the pieces with very ordinary song. As the dynamic Duoprog of bands like Hansson & Karlsson, Sixty Nine or minus two sounds the best, slightly jazzy and classical-tinged symphonic (there's even an adaptation of "Bolero" to hear). 

Interspersed between, there are still a few slightly psychedelic pop songs with great organ ("I look around" and "Meet Me Every Day" for example, and of course the single numbers). Jazzy-rock, more relaxed, but quite varied rocks this mostly instrumental held music then, dominated by Bangerts organ (of both the melody and the bass adds), but also every now and then weaves jazzy piano runs (you can hear eg, "Out of Range "). Something verspiel-naive affects the whole, similar to the earlier or at the same time created albums of Sweden Bo Hansson. 

The looming in the cast details synthesizer come unfortunately rarely used, most notably in the opening, sometimes almost wild "Percussion", which is probably the best track here otherwise. Sacred Georgel (you listen to "Cathedral") and psychedelic Hammond Gewaber (in "fusion" eg) exist on the entertaining album finally also occasionally heard. "A couple of times" is an obscure little album with a rather unspectacular Duo prog and some pop songs, which is nice to listen to, A classic drum and keyboard combo,a rarity in and of itself.

by Adamus67

Tracks
1. Percussion - 3:26
2. Don't Cry - 2:56
3. Out Of Range - 4:03
4. Make Me Feel Alright - 2:23
5. On The Move - 3:35
6. Toss-Up - 2:55
7. I Look Around - 5:00
8. Meet Me Every Day - 3:23
9. Bolero - 2:43
10.Cathedral - 3:45
11.Fusion - 3:51
12.I Was Away Too Long (Bonus Track) - 2:32
13.I've Found A Love Again (Bonus Track) - 2:56
All compositions by Twogether

Twogether
Klaus Bangert - vocals, organ, piano, synthie
Reinhard Fischer - drums, percussion, synthie

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Wind - Seasons (1971 germany, exceptional heavy prog kraut rock, 2009 remaster)

The German band Wind’s 1971 debut Seasons was one to watch out for. Well, it finally just got reissued via the Long Hair label (who have recently brought us several kraut-prog winners from Cannabis India, Mammut, and Et Cetera, amongst others) and so, already curious about it, we ordered a copy of it in…

First impression, before we even put it on, from looking at the photo on the back: damn, for a krautrock band, these guys have some seriously impressive, huge Afros!!! So, a lot of expectation / anticipation / long hair to live up to. And as it turns out, Wind don’t blow it (sorry). This album is fine indeed. It hits our “heavy” buttons but also has enough melodic and groove appeal that some of the folks here at AQ who, y’know, don’t spend time memorizing stuff out of krautrock reference books or obsessing about 1971 were into it too!

Wind were a five piece: guitar, organ, bass, drums, the singer sometimes busting out flute (yes!) and harmonica. With the organ, they’re in the “heavy progressive” mode of a lot of other early krautROCK bands, sounding as much like Deep Purple as they do Can. Both of which are cool by us, and the DO sound like both sometimes. Another once-popular krautrock band they remind us of is Birth Control (who we love, but sadly have never reviewed, relevant reissues seem scarce right now). So that means lots of thumping organ and fuzzy guitar riffs, which do indeed pound forth, especially on opener ‘What Do We Do Now’, and later on the even heavier ‘Dear Little Friend’, but even those songs have their shades of light as well as dark.

Wind featured raw sounds and tight playing, on this record definitely conveying an impassioned feeling, in part due to the singer’s often gruff, sandpapery voice, that at his toughest makes us think of Nazareth’s Dan McCafferty, though at times he can be quite smooth and soulful. His harmonica blowin’ on the 16 minute album-closer ‘Red Morningbird’ gives that song an evocative Ennio Morricone / Spaghetti Western vibe, also sounding a lot like one of Can’s Soundtracks tracks, and this album might be worth the price of admission alone just for that epic track. Certainly kraut-fans of Birth Control, Murphy Blend, Dies Irae, Gift, early Out Of Focus, will need to hear Wind’s Seasons, and like we said it has also been catching the ears of even those here who aren’t the biggest prog and proto-metal fiends.

Liner notes in German and English tell us that prior to the release of this album, the members of Wind were involved in recording an exploito-psych LP by “Corporal Gander’s Fire Dog Brigade”, and did an ill-fated, six-month tour of Vietnam (where there was a war going on, you may recall). But they survived all that to release this debut and another (much softer, we’re told) album in ’72, calling it a day not long after, having bad luck selling records despite good reviews and success on stage, having played clubs and festivals with the likes of Can, Family, East Of Eden, Pink Floyd and others.

Aq/rius recs

Tracks
1. What Do We Do Now (Lucky Schmidt, Thomas Leidenberger) - 8:25
2. Now It's Over (Thomas Leidenberger) - 4:22
3. Romance (Lucky Schmidt, Thomas Leidenberger) - 1:31
4. Springwind (Lucky Schmidt, Thomas Leidenberger) - 7:08
5. Dear Little Friend (Lucky Schmidt, Thomas Leidenberger) - 4:15
6. Red Morningbird (Steve Leistner) - 15:56

The Wind 
*Steve Leistner - Lead Vocals, Harmonica, Percussion
*Thomas Leidenberger - Guitars, Vocals
*Andreas Bueler - Bass, Vocals, Percussion
*Lucian Bueler - Organ, Piano, Vocals, Percussion
*Lucky Schmidt - Drums, Percussion, Vibraphone, Clavinet, Piano

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Otis Spann - Cryin' Time (1968 us, awesome electric blues, 2005 issue)

An integral member of the nonpareil Muddy Waters band of the 1950s and '60s, pianist Otis Spann took his sweet time in launching a full-fledged solo career. But his own discography is a satisfying one nonetheless, offering ample proof as to why so many aficionados considered him then and now Chicago's leading post-war blues pianist. Spann played on most of Waters' classic Chess waxings between 1953 and 1969, his rippling 88s providing the drive on Waters' seminal 1960 live version of "Got My Mojo Working" (cut at the prestigious Newport Jazz Festival, where Spann dazzled the assembled throng with some sensational storming boogies).

The Mississippi native began playing piano by age eight, influenced by local ivories stalwart Friday Ford. At 14, he was playing in bands around Jackson, finding more inspiration in the 78s of Big Maceo, who took the young pianist under his wing once Spann migrated to Chicago in 1946 or 1947.

Spann gigged on his own and with guitarist Morris Pejoe before hooking up with Waters in 1952. His first Chess date behind the Chicago icon the next year produced "Blow Wind Blow." Subsequent Waters classics sporting Spann's ivories include "Hoochie Coochie Man," "I'm Ready," and [roviLink="MC"]"Just Make Love to Me."

Strangely, Chess somehow failed to recognize Spann's vocal abilities. His own Chess output was limited to a 1954 single, "It Must Have Been the Devil," that featured B.B. King on guitar, and sessions in 1956 and 1963 that remained in the can for decades. So Spann looked elsewhere, waxing a stunning album for Candid with guitarist Robert Jr. Lockwood in 1960, a largely solo outing for Storyville in 1963 that was cut in Copenhagen, a set for British Decca the following year that found him in the company of Waters and Eric Clapton, and a 1964 LP for Prestige where Spann shared vocal duties with bandmate James Cotton. Testament and Vanguard both recorded Spann as a leader in 1965. 

The Blues Is Where It's At, Spann's enduring 1966 album for ABC-Bluesway, sounded like a live recording but was actually a studio date enlivened by a gaggle of enthusiastic onlookers who applauded every song (Waters, guitarist Sammy Lawhorn, and George "Harmonica" Smith were among the support crew on the date). A Bluesway encore, The Bottom of the Blues, followed in 1967 and featured Otis' wife, Lucille Spann, helping out on vocals. 

Spann's last few years with Muddy Waters were memorable for their collaboration on the Chess set Fathers and Sons, but the pianist was clearly ready to launch a solo career, recording a set for Blue Horizon with British blues-rockers Fleetwood Mac that produced Spann's laid-back "Hungry Country Girl." He finally turned the piano chair in the Waters band over to Pinetop Perkins in 1969, but fate didn't grant Spann long to achieve solo stardom. He was stricken with cancer and died in April of 1970. 

by Bill Dahl

Tracks
1. Home to Mississippi - 3:26
2. Blues Is A Botheration - 4:02
3. You Said You'd Be On Time (Otis Spann, George Spink) - 4:46
4. Cryin' Time - 3:11
5. Blind Man (Traditional) - 3:18
6. Some Day - 4:35
7. Twisted Snake - 3:02
8. Green Flowers (McKinley Morganfield) - 3:44
9. The New Boogaloo - 2:09
10.Mule Kicking In My Stall - 3:30
All compositions by Otis Spann except where stated

Musicians
*Otis Spann - Organ, Piano, Vocals
*Lucille Spann - Vocals
*Joseph Davidson - Bass
*Luther "Guitar Junior" Johnson - Guitar
*Barry Melton - Bass, Guitar
*Lonnie Taylor - Drums

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