The Loot - Singles A's And B's (1966-69 uk, excellent freak beat)

Formed in 1966 the Andover, Hampshire-based band showcased the talents of singer Chris Bates, bassist Jeff Glover, drummer Roger Pope, lead guitarist  Bruce Turner, and rhythm guitarist Dave Wright.  Glover and Pope had previously been members of The Soul Agents who recorded a series of 1964 - 1966 R'n'B-oriented singles for Pye.  Guitarist Wright had briefly been a member of The Troggs. The Troggs connection also helped the band score a contract with Larry Page's Page One label where they recorded a series of four singles over a three year period.

The group never recorded an album so if you're interested in hearing their catalog you've essentially got two choices - collect all of their singles (which are fairly expensive), or opt for one of the retrospective sets that may not be legitimate releases.

Released by James Plummer's Radioactive label, unlike a lot of releases on the label, there's a good chance "The Loot Singles A's and B's" was an approved compilation.  I make that statement based on the fact the 1,000 copy pressing served to collect all of the band's six singles from Page One and CBS, along with a pair of demos ('You Need someone To Love' and 'I've Just Gotta Love You' and the 'A' side of a French-only single 'Gotta Get Home'.  Messing with big label copyrights like CBS/Columbia would take considerable gumption ...  Not that Plummer didn't have that characteristic.  

So aside from the business considerations what did these guys actually sound like?  Most of the reviews I've seen have been lukewarm, labeling them second tier Troggs.  Judging by these 14 tracks I'd beg to disagree.  While nothing here was particularly original, Bates had a great voice (easily as good as Reg Presley), while the rest of the band were every bit as talented as their Page One competitors.   Taking these in chronological order as opposed to the track listing sequence, here's a quick run down.

Bad-Cat

Tracks
1. She's a Winner (Dave Wright, Grundley) - 2:01
2. Try To Keep a Secret (Caleb Quaye) - 3:13
3. Baby (Dave Wright) - 2:15
4. Baby Come Closer (J. Price, T. Dwyer) - 2:33
5. Meet Jacqueline (Hammond) - 2:15
6. You Need Someone To Love (Jeff Glover) - 2:36
7. Radio City (Dave Wright) - 2:14
8. Save Me (D. Glover) - 2:15
9. I've Just Gotta Love You (J. Price, T. Dwyer) - 2:23
10.Don't Turn Around (Bruce Turner) - 2:46
11.I Got What You Want (Chris Bates) - 2:06
12.Gotta Get Home (Bruce Turner) - 2:36
13.You Are My Sunshine Girl (Jeff Glover) - 2:04
14.Whenever You Are Ready (Jeff Glover) - 2:14

The Loot
*Chris Bates - Vocals (1966-69)
*Jeff Glover - Bass (1966-69)
*Roger Pope - Drums, Percussion (1966-69)
*Bruce Turner - Guitar (1966-69)
*Dave Wright - Rhythm Guitar (1966-69)

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Tom Lucas - Red Letter Days (1975 us, exciting folk acid psych rock)

Another top-notch release from the series of private label pressings that is becoming an important part of the Radioactive reissue programme, this time by the New York electric folk/rock singer-songwriter, Tom Lucas. Although virtually nothing is known about Lucas, Red Letter Day is an extremely fine album on the New Fate label (New Fate 500) that in all probability the artist funded and distributed himself. The sound is awesome, the song writing tight and occasionally politically motivated (particularly the title track with its eye glancing towards Woody Guthrie's tribute to Sacco and Vanzetti), and the music often risky and experimental. 

Lucas's vocal style is almost pure Neil Young (although on 'Broken Wheel' his New York roots do make him sound very similar to Lou Reed), and at times Red Letter Day feels almost like the album Young never got around to making. Other influences come up and take a bow without in any way detracting from Lucas's own original style. However, it is the consistently-high standard of just about everything to do with this superb folk/rock album that leaves the listener gasping in disbelief that any record this good has only been heard by the 500 people (and possibly some of their friends) who were fortunate enough to acquire a copy when it was originally released in 1976. 

Tracks
1. Red Letter Day - 4:07
2. Babylon Rising - 3:47
3. One Eyed Gods - 4:32
4. They're Coming - 3:57
5. Down To The Ground - 4:00
6. Days Of Reckoning Come - 4:25
7. Days Numbered - 3:30
8. Self Made Man - 3:27
9. Broken Wheel - 3:19
All compositions by Tom Lucas

Musicians
*Tom Lucas - Vocals, Guitars, Piano
*Geoffrey Davis.
*Paul K. Johnson II.
*Steve Klass.
*Laura Kranker
*Ismael Rodríguez.
*Peter Sanders.
*Russell Simon

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John Entwistle - Smash Your Head Against The Wall (1971 uk, essential varied rock)

Entwistle's quirky, labored solo debut still offers a lot of creative experiments and occasional Who-style thunder. Half the tunes would have worked on a Who album, including the stately acoustic guitar/piano ballad "What Are We Doing Here?", like a melancholy "Hey Jude," and the joyous sing-along "You're Mine," propelled by a rollicking piano line. 

The two centerpiece rockers are among his best compositions ever: the swaying, strutting "My Size," and the philosophical "Heaven And Hell," where he recreates the Who's standard live arrangement, but switches to a druggy, slowed-down tempo. Entwistle dubs horns and piano onto most tracks, and he's helped by Humble Pie drummer Jerry Shirley and Pie/Who roadie Cy Langston, who's an effective, understated guitarist, even able to ape Townshend ("Heaven And Hell"). 

Entwistle's bass playing is as awesome as ever ("You're Mine"), his lead and harmony vocals are warm and even pretty (the deceptively sunny funeral ballad "Ted End"), and although the tunes don't always hold together ("Pick Me Up (Big Chicken)"), there's always something interesting going on: baroque horn riffs ("What Kind Of People Are They?"), psychedelic mantras ("You're Mine"), a bizarre percussion break featuring Keith Moon and Bonzo Dog Band members Neil Innes (the future Rutles mastermind) and Viv Stanshall ("No. 29 (External Youth)," otherwise standard fare). And he ends with a hysterical parody of John Lennon's "God" ("I Believe In Everything"). 

A must-have if you enjoy Entwistle's contributions on contemporary Who records. The CD includes an outtake cover of "Cinnamon Girl" that's remarkably close to the original. 

by John Alroy

Tracks
1. My Size - 3:46
2. Pick Me Up (Big Chicken) - 3:44
3. What Are We Doing Here? - 3:50
4. What Kind Of People Are They? - 2:44
5. Heaven And Hell - 4:55
6. Ted End - 2:37
7. You're Mine - 4:38
8. No. 29 (Eternal Youth) - 5:37
9. I Believe In Everything - 3:11
10.Cinnamon Girl (Outtake) (Neil Young) - 3:05
11.It's Hard To Write A Love Song - 4:54
12.The Haunted Can Be Free -
13.World Behind My Face - 4:56
14.My Size (Early Take) - 3:50
15.What Kind Of People Are They? - 2:55
16.Pick Me Up (Big Chicken) - 3:07
17.No. 29 (Eternal Youth) - 4:38
18.Ted End - 1:56
All songs by John Entwistle, except where noted.
Tracks 11-18 Demo recordings

Personnel
*John Entwistle - Vocals, Bass Guitar, Brass, Percussion, Piano, Keyboards
*Dave "Cyrano" Langston - Electric And Acoustic Guitar, Percussion, Vocals
*Jerry Shirley - Drums, Percussion
*Keith Moon - Percussion, Vocals
*Neil Innes - Percussion, Vocals
*Vivian Stanshall - Percussion

1965  The Who - My Generation (Japan SHM Remaster)
1966  The Who - A Quick One (Japan SHM Remaster)
1967  The Who - Sell Out (Japan SHM Remaster) 
1968  The Who - Live At Fillmore East (Japan Edition)
1971  The Who - Who's Next (Japan SHM Remaster)

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Picadilly Line - The Huge World Of Emily Small (1967 uk, marvellous psych baroque pop, 2006 remaster)

The Picadilly Line's The Huge World Of Emily Small is one of those albums that just seems to have slipped under the radar of most UK pop psych collectors. As such, it has never been re-issued in any form! The band (essentially a duo led by Rod Edwards and Roger Hand, who would later record as Edwards Hand) flourished briefly in the late '60s releasing this one album. 

With them is the cream of UK session men including Danny Thompson (bass), Alan Hawkshaw (keys), Herbie Flowers (bass) and Harold McNair (flute). The Picadilly Line even managed an appearance at The Middle Earth club in London, the then hallowed centre of the UK psychedelic scene. The album is breezy post-Sgt. Pepper psychedelic pop with plenty of swinging London vibes, orchestration and evocative whimsical lyrics.

Reference points are a psychedelic Hollies, Chad and Jeremy (circa Of Cabbages and Kings) Nirvana, Kaleidoscope (UK), World Of Oz, Donovan and The Bee Gees. Filled with beautiful dreamy vocal harmonies and elaborate electric and acoustic arrangements, this is a real trip back to the height of UK Flower Power. 

All material is original except for a great version of Dylan's 'Visions of Johanna' and The Everly Brothers' 'Gone, Gone Gone.' Features ten unreleased bonus tracks exclusive to this CD, including their non-album singles 'Yellow Rainbow'/'Evenings with Corinna' and 'Evening with Corinna'/'My Best Friend,' both from 1968. Digitally re-mastered from the original master tapes and re-released with full consent of the producer and band. Booklet includes unseen photos from the period and band biography and the CD features ten bonus tracks.

Tracks
1. Emily Small (The Huge World Thereof) - 2:28
2. Silver Paper Dress - 2:42
3. At The Third Stroke - 2:56
4. Can You See Me? - 2:08
5. Your Dog Won't Bark - 2:55
6. How Could You Say You're Leaving Me? - 2:37
7. Gone, Gone, Gone (Don Everly, Phil Everly) - 2:17
8. Twiggs - 3:44
9. Tumble Down World - 2:50
10.Visions Of Johanna (Bob Dylan) - 6:08
11.Come And Sing A Song - 2:57
12.Her Name Is Easy - 3:25
13.Rosemary's Bluebell Day - 3:08
14.Gunny Sunside - 3:37
15.Country Girl - 3:07
16.No One Else Can See - 2:41
17.Yellow Rainbow (Graham Nash, Kirk Duncan, Nicky James) - 2:16
18.I Know, She Believes (Spencer Davis) - 3:02
19.Evenings With Corinna - 2:47
20.My Best Friend (Norrie Maclean) - 2:31
21.Memories Fade - 1:35
22.I Can Tell You Everything - 2:18

All compositions by Rod Edwards, Roger Hand except where indicated

The Picadilly Line
*Roger Hand - Vocals, Acoustic Guitar
*Rod Edwards - Vocals, Acoustic Guitar, Keyboards
Guest Musicians
*Norrie McLean - Bass Guitar   (tracks: 17 to 20)
*Herbie Flowers - Bass (tracks: 1 to 16)
*Mo Foster - Bass (tracks: 1 to 16)
*Danny Thompson - Double Bass [String] (tracks: 1 to 16)
*Barry Morgan - Drums  (tracks: 1 to 16) ,
*Dougie Wright - Drums  (tracks: 1 to 16) ,
*Keith Hodge - Drums  (tracks: 17 to 20)
*Tony Carr - Drums, Percussion  (tracks: 1 to 16)
*Harold McNair - Flute (tracks: 1 to 16)
*Alan Parker - Guitar  (tracks: 1 to 16) ,
*Colin Green - Guitar  (tracks: 1 to 16)
*Alan Hawkshaw - Keyboards (tracks: 1 to 16)
*Roger Coulam- Keyboards (tracks: 1 to 16)
*Harry Stoneham - Organ (tracks: 1 to 16)
*Jan Barber - Vocals  (tracks: 17 to 20)

Related Acts

1968  The Edwards Hand - Edwards Hand
1970  Edwards Hand - Stranded (Japan remaster edition)
1971  Edwards Hand - Rainshine (2015 issue)

1972  Ashman Reynolds - Stop Off (2012 korean remaster)  

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Crazy Horse - At Crooked Lake (1972 us, excellent classic folk country rock, 2013 remaster)

Most of you will know Crazy Horse as Neil Young's backing band who have been his musical cohorts, off and on, since joining him for his classic second solo album "Everybody Knows This Is Nowhere" in 1969. Indeed, they still play with Neil even now, both live and on record. What is less well-known is that between 1971 and 1989, Crazy Horse released five albums, three of which were released between 1971 and 1972! "At Crooked Lake" was their third album, being released on Epic Records in late 1972.

Crazy Horse, as a band, had anything but a stable line-up. In fact, they have the distinction of having a different line-up on each of their albums, the only constants being Ralph Molina [drums] and Billy Talbot [bass]. In that respect, they have had a similar history to Fleetwood Mac, where the rhythm section forms the basis for a fluctuating line-up of front persons.

By the time Crazy Horse recorded "At Crooked Lake", former members Nils Lofgren [guitar] and Jack Nitzsche [keyboards] had moved on and their main singer/songwriter Danny Whitten had sadly died from an overdose. Whitten is best remembered for penning "I Don't Want To Talk About It" which has been covered by many artists, most notably Rod Stewart, who had a number one hit with it in 1977 [thus keeping "God Save The Queen" by The Sex Pistols from the top spot]. Danny's song also reached number three in the charts in 1988, when covered by Everything But The Girl.

Crazy Horse released their second album "Loose" in 1972 but by the end of that year the line-up had changed again and for the recording of "At Crooked Lake" the band consisted of Molina and Talbot together with the Curtis Brothers [Rick and Michael] and lead guitarist Greg Leroy.

The songwriting duties on "At Crooked Lake" are split between the Curtis Brothers [six songs] and Leroy [three songs]. Despite the inconstant line-up of the band, "At Crooked Lake" is a remarkably strong and consistent album. As I said at the beginning, I was not expecting too much from this album but I was very pleasantly surprised as it turns out to be an accomplished West Coast psychedelic-tinged country rock album which stands favourable comparison with other bands of that ilk, such as Buffalo Springfield, Poco, Pure Prairie League and even The Eagles [when they were a country rock band].

The album gets off to a flying start with "Rock and Roll Band" by Sidney Jordan,which is the only cover song on the album, and a cracker it is too, with its superb harmonies, driving rhythm and powerful guitars. A great start to the album.

"Love Is Gone" is a mellow,harmony-laced country ballad written by the Curtis Brothers, which features Greg Leroy's bottleneck guitar to great effect.

"We Ride" by Rick Curtis is an excellent acoustic guitar and mandolin-based song which bears more than a passing resemblance to the best solo work of Stephen Stills [think "Love The One You're With", for example]. "Outside Lookin' In" by Greg Leroy is a prime slice of country rock which wouldn't sound at all out of place on the first album by The Eagles.

Whilst we are playing spot the similarities, "Don't Keep Me Burning" is a hard-edged blues-rock number which might well appeal to fans of Free !

Perhaps the most unexpected track is "Vehicle",which is a spacey, psychedelic piece complete with backwards guitars which has echoes of the more experimental tracks by The Byrds or, indeed, The Beatles. It's a stunning track and all the more surprising for having been released in 1972, rather than 1967.

It's back down to earth for another country rock gem from Greg Leroy, in the shape of "Your Song", which features some sublime pedal steel from Sneaky Pete Kleinow of The Flying Burrito Brothers.

One of Buffalo Springfield's greatest recordings is " Mr.Soul" by Neil Young, and on "Lady Soul" by Mike Curtis, Crazy Horse sound remarkably like their boss's old band. Nonetheless, this is a fine slab of West Coast Psych Rock.

To close the album, we have a tongue-in-cheek pastiche of a straight country song in "85 El Paso's", complete with honky-tonk piano and a seemingly drunken crowd singing the chorus.

Unfortunately, as with previous line-ups, this version of Crazy Horse did not last long as Molina and Talbot soon returned to work for Neil Young [along with Nils Lofgren and Ben Keith] as The Santa Monica Flyers, recording "Tonight's The Night" in the process. The rest, they say, is history.

It's a pity that the "At Crooked Lake" line-up of Crazy Horse did not stay together as it was certainly an accomplished band and its one album is a fine piece of work. All credit is due to Floating World for making it available again.

by Peter Cowley

Tracks
1. Rock And Roll Band (Sidney Jordan) - 3:10
2. Love Is Gone (Rick Curtis, Michael Curtis) - 3:15
3. We Ride (Rick Curtis) - 3:08
4. Outside Lookin' In (Greg Leroy) - 2:05
5. Don't Keep Me Burning (Michael Curtis) - 4:18
6. Vehicle (Rick Curtis) - 3:38
7. Your Song (Greg Leroy) - 2:42
8. Lady Soul (Michael Curtis) - 3:32
9. Don't Look Back (Rick Curtis) - 3:28
10.85 El Paso's (Greg Leroy) - 4:50

Crazy Horse
*Billy Talbot - Bass,  Vocals
*Ralph Molina - Drums,  Vocals
*Greg Leroy - Guitars, Bottleneck Guitar, Vocals
*Michael Curtis - Organ, Guitars, Mandolin, Piano, Vocals
*Rick Curtis - Banjo, Guitars, Vocals
With
*"Sneaky" Pete Kleinow - Pedal Steel
*Patti Moan - Vocals
*Bobby Notkoff - Violin

1962-73  Crazy Horse - Scratchy, Complete Recordings
1968  The Rockets - The Rockets

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Improved Sound Limited - Improved Sound Limited (1971 germany, spectacular prog psych krautrock)

It all started in 1961 as a student band at the Willstätter School in Nuremburg. They called themselves the "Pyjamas Skiffle Group" and copied Lonnie Donegan relentlessly. From 1964 to 1966 they appeared under the name "Blizzards" and backed the German pop singer Roy Black at 33 shows. Starting in the fall of 1966, they called themselves "Improved Sound Limited", and so they remained, except for a brief intermezzo in 1976 when CBS called the band „Condor“.

In 1966 they won the 1st Place in the competition "Best Beat Band in Bavaria" at Bavarian Radio (BR) Participation in the BR "Schmusical" called "How Beatles turn into citizens". In 1968 first soundtrack Music for Megan Terry's play "Vietrock" with Inge Brandenburg, directed by: Stavros Doufexis, choreographed by José Luis Gómez Music for the solo pantomime "Idylls of Herr Meck" by José Luis Gómez

The next year came with music for the Film  "Engelchen macht weiter – hoppe, hoppe Reiter", directed by Michael Verhoeven Film music for "Der Bettenstudent", directed by Michael Verhoeven Single "Sing Your Song" / "Marvin Is Dead" (Polydor), also Music for the TV documantary "Ezra Pound", for the 13 part series "The 6th Day" and for the first five episodes of "The Play School"

One more soundtrack "o.k.", directed by Michael Verhoeven and a Single "Oedipus" / "Where Will The Salmon Spawn" (United Artists). More music for the series "The Play School" and for the series "The Kommissar", episode "Dr. Meinhardt's Tragic End".

In 1971 they recorded and released a Double album simply named "Improved Sound Limited" (Liberty) Film music "Lass knacken, Ive" with the song "The Policeman" BR Open Air Concert in Bergdorf (with Tangerine Dream, Birth Control, Ihre Kinder and Klaus Kreuzeder) German Pop Festival in Koblenz and Burg Herzberg Festival (with Frumpy, Can,Achim Reichel, Xhole, Embryo, Guru Guru etc.).

Improved-Band

Tracks
1. Doctor Bob Dylan - 5:14
2. Pink Hawthorn - 3:05
3. Johanna - 3:59
4. If You Want To - 2:08
5. Oedipus - 3:42
6. Fudd McGorges - 3:18
7. Thingamannalime - 3:26
8. An Old Army Poem - 2:00
9. Where Will The Salmon Spawn - 2:46
10. To My Son - 5:13
11. Shining Brightly In The Sun - 4:11
12. It Is You (You Belong To Me) - 1:58
13. Columbines, Violets And Daisies - 2:32
14. I Am The Wolf - 4:46
15. A Well-Respected Man - 3:34
16. Drunken Mr. Hyde - 0:45
17. A Soldier's Songbook - 17:17
18. *** - 0:47
All songs written by Axel Linstädt, Bernd Linstädt 

Improved Sound Limited
*Johnny Fickert - Vocals, Percussion, Flutes, Alto Sax
*Axel Linstädt - Guitars, Keyboards, Vocals
*Uli Ruppert - Bass
*Rolf Gröschner - Drums

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Eugene Mc Daniels - Headless Heroes Of The Apocalypse / Outlaw (1970-71 magnificent funk jazz blues protest folk rock)

At the start of the 1960s Gene McDaniels was flying high. Smartly-dressed and clean-cut, the smooth crooner from Kansas City scored two Top 10 US pop hits for the Liberty label, 'A Hundred Pounds Of Clay' and 'Tower Of Strength.' But as the '60s progressed, McDaniels' career took a commercial nose-dive as musical tastes changed and in 1970, after several fallow years, he re-launched his career as Eugene McDaniels and signed to Atlantic Records (aided by the fact that his song, 'Compared To What,' was a big hit for the label by Les McCann and Eddie Harris).

Those who were familiar with McDaniels' previous oeuvre would have been shocked by his Atlantic debut, 'Outlaw,' released in 1970, which has now been remastered and reissued alongside a clutch of classic soul and jazz titles by Warner Japan (the good news is that they're available over here at mid-price). The provocative cover of 'Outlaw' depicted a hirsute, scruffy McDaniels - who dubbed himself 'the left rev. mc d' - holding a revolver and clutching a bible alongside two armed women. 

The music (produced by Joel Dorn) was even more provocative, though perhaps not as revolutionary as McDaniels had hoped - songs like 'Welfare City,' 'The Silent Majority' and the ironically-titled 'Love Letter To America' are Bob Dylan-esque folk-rock songs with trenchantly polemic lyrics focusing on America's domestic problems. There's a jazz-meets-funk tinge to 'Unspoken Dreams Of Light' and the excellent 'Cherrystones,' a cleverly-wrought jazz-style paean to wilful ignorance. McDaniels' also serves up his own version of 'Reverend Lee,' a song about a preacher beset by carnal temptations that Roberta Flack brilliantly covered on her 'Chapter Two' album.

McDaniels' second Atlantic album, '71's 'Headless Heroes Of The Apocalypse,' continues lyrically where 'Outlaw' left off with its protest themes though the music is darker, jazzier and funkier, thanks to a crack rhythm section comprising pianist Harry Whitaker and future Weather Report duo, bassist Miroslav Vitous and drummer Alphonse Mouzon. On 'Outlaw,' McDaniels was trying to be a black Bob Dylan but on 'Heroes,' he's channelling Mick Jagger, who's the inspiration behind a faintly sinister homage, 'Jagger The Dagger,' a song whose off-kilter jazzy groove has been sampled by a Tribe Called Quest and numerous other hip-hop acts.  

The funkafied title track is a conspiracy theory song that focuses on conflict in the Middle East, while the epic 'The Parasite' finds McDaniels' commenting on the genocide of Native Americans. Arguably the album's best cut is the jazz-inflected 'Freedom Death Dance' (which references Eddie Harris's jazz classic, 'Freedom Jazz Dance'). It laments the futility of good human endeavours in an unjust world. Sounds heavy? Well, lyrically, it is but the album's more sober themes are often leavened with a wry sense of humour, as evidenced by the absurd and hilarious narrative 'Supermarket Blues.'

Sadly, not many people saw the humour and satire behind some of McDaniels' lyrics, which came to the attention of President Richard Nixon's regime and resulted in a complaining phone call by then US vice-president Spiro Agnew to Atlantic Records' boss, Ahmet Ertegun. The fallout from that call was that McDaniels was unceremoniously dumped from the label (though he went on to become a hit-making producer and songwriter for Roberta Flack, Gladys Knight and Phyllis Hyman). 

The album sank into obscurity until segments of it were sampled by hip-hop acts in the late '80s, which eventually brought about its reissue in the early noughties. Now deemed a cult classic, 'Headless Heroes Of The Apocalypse' is back in circulation again. Remastered, it sounds better than ever, though sadly these Japanese reissues don't possess liner notes, although McDaniels' lyrics are present and are well-worth reading. Much of what he wrote remains relevant to today's troubled world. The late producer Joel Dorn said of McDaniels: 'He's a genius.' McDaniels, himself, was more modest. "I'm just a half-assed poet,' he declared to this writer in 2002.

by Charles Waring

Tracks
Headless Heroes Of The Apocalypse 1971
1. The Lord Is Back (G. Mc Daniels, Singleton) - 3:18
2. Jagger The Dagger - 6:00
3. Lovin' Man - 4:45
4. Headless Heros - 3:30
5. Susan Jane - 2:08
6. Freedom Death Dance - 4:16
7. Supermarket Blues - 4:07
8. The Parasite (For Buffy) - 9:36
Outlaw 1970
9. Outlaw (G. Mc Daniels, Suzan Jane) - 5:00
10.Sagittarius Red (G. Mc Daniels, Zito, Johnson) - 3:03
11.Welfare City - 2:52
12.Silent Majority - 4:10
13.Love Letter To America - 3:57
14.Unspoken Dreams Of Light - 6:40
15.Cherrystones - 3:08
16.Reverend Lee - 6:31
17.Black Boy (G. Mc Daniels, Blair) - 2:59
All songs by Eugene Mc Daniels except where stated

Personnel
Headless Heroes Of The Apocalypse 1971
*Eugene Booker McDaniels - Vocals
*Harry Whitaker - Piano
*Gary King - Electric Bass
*Miroslav Vitous - Acoustic Bass
*Alphonse Mouzon - Drums
*Richie Resnikoff - Guitar
*Carla Cargill - Vocals
Outlaw 1970
*Eugene Booker McDaniels - Vocals
*Ron Carter - Bass
*Ray Lucas - Drums
*Eric Weissberg - Guitar
*Hugh McCracken - Guitar
*Mother Hen - Piano
*Buck Clarke - Percussion
*Welfare City Choir - Choir

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Jellybread - The Complete Blue Horizon Sessions (1969-70 uk, ellegant blues rock, 2008 remaster)

In 1968, John Best posted a notice in the Common Room of Sussex University advertising a search for members to play in a band. Those accepted were Pete Wingfield (keyboards and vocals), Paul Butler (guitar and vocals) and bassist John Best (because, as he says, "I put the notice up"). Drummer Chris Waters heard 'the blues' coming from upstairs in the Union Building's music practice room and realised the trio had need of a drummer. John Best was born 20 December 1948 near Dorchester, Dorset. During his early school years, he learned to play piano, violin and clarinet but lost interest in music until a school friend sold him a bass guitar. 

After teaching himself to play the guitar, John found himself in one of the Sherborne School bands, Style 5 that played parties during the holidays. Occasionally, he filled in for another school band, called Four Pillars of Wisdom. The guitarist was Henry Marsh (Toast) and drummer Jeremy Irons (the actor). Upon leaving school, John moved to London and went to work at EMI in Hayes. John then enrolled at Sussex University to study engineering. The course was linked to EMI and during holidays he would work as 'button pusher'. (His parked car is on the cover of the Beatles' "Abbey Road".) Paul Butler was born in Ranikhet, in the Himalayan foothills of India on 1st July 1946 and was raised by his grandmother in the Andaman Islands, where the family owned coconut plantations. Paul then moved to what is now Bangladesh and attended Jesuit school before moving to England in 1958. 

The family's interest was jazz, as was Paul's, until he discovered rock and roll on the radio. But the R&B scene of Greater London finally caught his attention, and harmonica playing Paul formed his first band, The Turnkeys, in 1963. Paul discarded the harmonica and turned to guitar, fronting a band The Kleek. Later he would be at Sussex University. Pete Wingfield was born in Hindhead, Surrey on 7 May 1948 and began playing piano at an early age. His early influences were Winifred Atwell and Russ Conway but he soon discovered rock and roll. While at Wellington College, Pete was a member of various groups, first playing a Hohner Pianet and then Farfisa Organ. He left school in 1966 with plans to enroll at Sussex the following year. Pete then visited the US and travelled by Greyhound bus planning to see as much of the country as possible. He visited Stax Records in Memphis, and saw James Brown, B.B.King, The Temptations and The Vanilla Fudge at various venues throughout the US. Chris Waters was born 28 August 1946 in Peckham, S.E.London. 

While in grammar school, he joined the Combined Cadet Force, playing the snare-drum. Chris also took lessons from a pro jazz-drummer, leading to the formation of The Beat-Routes. His record collection consisted of many of the home grown jazz bands, some of whom he saw at local pubs. Chris joined Sussex University in 1964 and after graduating in 1967, spent the summer in Lower East Side New York with an American girlfriend. He returned to Sussex University to take a Literary MA course. Jellybread was formed by the four to have fun and earn a bit of money. The band began to build a reputation, both in the Brighton area and on the nationwide University Student Union Blues Club circuit. John Holbrook, who had been guitarist with Wingfield in their various college bands, was a trainee disc-cutting engineer at IBC Studios in Portland Place. Holbrook snuck the group into Studio 2 in February 1969 while the office staff were out and recorded six tracks, wiping the multi-track after they were finished, in order not to leave any evidence. 

A 12" boot-leg style album of 99 copies was released and sold on campus and at gigs. Further pressings occurred as demand always out-weighed supply. The album brought Jellybread to the attention of Blue Horizon, the band were signed and were at CBS Studios recording their album "First Slice". "Chairman Mao's Boogaloo" was pulled from the album but did not have any more success than their album. A second single also flopped. The third "Rockin' Pneumonia and the Boogie Woogie Flu" received a fair amount of airplay and good reviews. "Old Man Hank" almost made the charts. The band continued as semi-professionals, since they were all still attending university. Fellow students James Atkinson and Richard Sanders acted as road crew driving the group throughout the UK for a night-time gig and then rushing back to attend morning classes. In mid 1970, following honour degrees for all six of the Jellybread entourage, the decision was made to go professional. 

A second album " Sixty Five Parkway" with all original material was released, under Blue Horizon's new distributorship, Polydor. Shortly after, Pete Wingfield was offered a job with Keef Hartley. Chris Waters, with family commitments, returned to teaching. Paul Butler recruited guitarist Rick Hayward and drummer Kenny Lamb. With the new line-up, the "Back to Begin Again" album was recorded. Kenny and John then departed and Paul regrouped, signing to Transatlantic, but nothing came of the association and the group disbanded. 

Forty Five Cat

Tracks
1. River's Invitation (Percy Mayfield) - 2:22
2. I Pity the Fool (Deadric Malone) - 4:46
3. Never Say No (Percy Mayfield) - 4:18
4. Chairman Mao's Boogaloo - 2:09
5. Evening (Chirs Waters, John Best, Paul Butler, Pete Wingfield) - 7:14
6. I've Got to Forget You (Deadric Malone) - 2:50
7. Boogie Sandwich - 1:53
8. Rusty Blade (Chirs Waters, John Best, Paul Butler, Pete Wingfield) - 4:18
9. No Brag Just Facts, Parts 1, 2 (Chirs Waters, John Best, Paul Butler, Pete Wingfield) - 3:57
10.No One Else (Paul Butler, Pete Wingfield) - 3:38
11.Don't Pay Them No Mind - 3:17
12.Comment (Charles Wright, Yusuf Rahman) - 5:20
13.Funky Wasp - 3:11
14.Rockin' Pneumonia and the Boogie Woogie Flu (Huey Smith) - 2:44
15.Readin' the Meters (hirs Waters, John Best, Paul Butler, Pete Wingfield) - 2:22
16.Old Man Hank - 3:40
17.Faded Grace (Paul Butler) - 3:00
18.That's Alright (Jimmy Rogers) - 2:08
19.Don't Want No Woman (Don Robey) - 3:00
20.Drivin' Wheel (Roosevelt Sykes) - 3:35
21.Never Say No (Percy Mayfield) - 3:49
22.Sugar Mama (John Lee Williamson) - 4:05
Songs written by Pete Wingfield unless as else stated
Tracks 18-22 Mono

Jellybread
*John Best - Bass
*Paul Butler - Guitar, Vocals
*Chirs Waters - Drums
*Pete Wingfield - Keyboards, Vocals

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Aerovons - Resurrection (1969 us, fabulous beatlesque psychedelia)

The dozen songs that would have been on the Aerovons' album had it come out (though a couple of the songs did come out on a 1969 single) form the core of this release, Resurrection,the U.K. bonus edition also tacks on four bonus tracks. the Aerovons' unusual story -- a band from the American Midwest recording in Abbey Road in 1969, led and produced by their 17-year-old singer-songwriter -- might be the main reason there was interest in excavating these sessions, but this CD is not a mere curio. It's quite respectable late-'60s Beatles-style pop/rock, if a little green around the edges and pretty derivative. 

In fact, in a couple of spots it's downright imitative, with "Say Georgia" taking licks from "Oh! Darling," and "Resurrection" itself lifting from "Across the Universe." (Neither of those songs had yet been released by the Beatles at the time of the sessions, but the group heard them by virtue of working in Abbey Road.) Fortunately, those are the only blatant cops, though Beatles comparisons abound throughout, particularly in the Paul McCartney-esque piano-playing. Songs like "With Her" and "The Years" recall the acoustic outings of both John Lennon and Paul McCartney on The White Album, while "Bessie Goodheart" uses McCartney's more vaudevillian Sgt. Pepper-era outings as an obvious launching pad, and "Something of Yours" brings to mind "Michelle." 

To this list you could also add the very Lennon-esque echo on the vocal of "The Children." the Aerovons leaned more toward wistful and sadness-tinged moods than the Beatles did, though. One of the best tracks, "World of You," brings out that quality very well, recalling the better late-'60s orchestrated Bee Gees opuses. The bonus tracks include both sides of a non-LP 1969 single ("The Train," their poppiest number, which echoes both the Hollies and the Bee Gees), the outtake "Here" (very much like McCartney's piano ballads), and a demo of "World of You." 

by Richie Unterberger

Tracks
1. World Of You - 2:31
2. Resurrection - 3:04
3. Say Georgia - 2:20
4. With Her - 2:23
5. Quotes And Photos - 2:34
6. Words From A Song - 3:51
7. Bessy Goodheart - 2:00
8. Something Of Yours - 2:22
9. She's Not Dead - 2:48
10.The Years - 1:38
11.Everything's Alright - 2:49
12.The Children - 5:06
13.The Train (Single A-Side) - 2:56
14.Song For Jane (Single B-Side) (Mike Lombardo) - 2:37
15.Here (Unreleased Song) - 2:18
16.World Of You (Demo) - 5:07
All compositions by Tom Hartman except where stated.
Bonus Tracks 13-16

Aerovons
*Tom Hartman - Guitar, Piano, Vocals
*Mike Lombardo - Drums
*Phil Edholm - Guitar
*Billy Lombardo - Bass
*Bob "Ferd" Frank - Guitar
With
*Johnny Arthey - String Arrangements

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The Five Day Week Straw People - The Five Day Week Straw People (1968 uk, splendid mod beat psych)

A collectible psychedelic album from this one-off studio-only group consisting of UK songwriters, The Five Day Week Straw People was originally on Saga Records and features your standard British underground psychedelia, laced with some Pretty Things and the Attack.

That’s fitting since the Straw People included the Attack’s John Du Cann on lead guitar and vocals, along with David Montague and Guy Moascolo on guitar and vocals, bassist Mike Hawksworth, and One in A Million drummer Jack McCulloch.

The lead-off title track sets the dreamy hazy mood for all of the tunes, though a bit of sameness tends to creep in on the whole record, which is heavy on the echo and wah-wah guitar — in particular on “Sunday Morning.” “I’m Going Out Tonight” is a very Attack-sounding track, and perhaps the best track here — in particular because of John Du Cann’s handling of the lead guitar

by Steve Elliott

Tracks
1. Five Day Week Straw People - 3:23
2. I'm Going Out Tonight - 3:36
3. Gold Digger - 3:30
4. Postmen - 3:46
5. Car Wash - 3:15
6. Feel Like Having A Party - 3:21
7. Sunday Morning? - 4:30
8. Does It Rain! - 3:15
9. If You Were Around - 3:50
10.Dust In My Eyes - 4:08
11.Magic In The Air - 3:38
12.Mr. Pinnodmy's Dilemma - 4:27
13.Freedom For You - 2:35
14.Strange House - 4:10
15.Feel Like Flying - 2:37
16.Too Old - 3:05
17.Go Your Way - 2:45
18.Now The Sun Shines - 3:32
19.Sleep Like A Child - 3:28
All songs by John Du Cann
Tracks 1-10 by The Five Day Week Straw People
Tracks 11-19 by The Attack

The Five Day Week Straw People
*John Du Cann - Guitar, Vocals
*Mick Hawksworth - Bass, Vocals
*Jack Collins - Drums

The Attack
*John DuCann  - Guitar
*Richard Sherman - Vocals
*Keith Hodge - Drums
*Roger Deane - Bass Guitar

Related Acts
1967-68  The Attack - About Time
1967-69  The Attack - Magic In The Air
1967-69  Andromeda - The Definitive Collection
1970-72/81  Atomic Rooster - Devil's Answer / Rare Live Recordings

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