Impi - Impi (1971 south africa, fantastic jazz funky brass rock, 2012 remaster)

At the turn of the '70s rock mutated into a multi backed beast ,cross pollinating with jazz, classical, folk and ethnic influences, forming what is loosely termed 'progressive rock'. On the tip of Africa bands like Hawk, Abstract Truth and Freedoms Children were tapping into the poly rhythms and modal structures of African indigenous music, incorporating this into elements of rock, pop and folk, creating a truly unique progressive rock movement.

Starting out as a Beatles styled pop group in 1964,The Bats had racked up multiple hit singles and albums in their native South Africa, in the process becoming the biggest pop band in the country. The group has already experimented with psychedelia on tracks like “The Image” and ‘The Rock Machine” but growing frustrated with the creative restrictions of 3 minute pop singles and endless package tours, they decided to broaden their musical horizons. Teaming up with ex Sounds of Brass member Peter Hubner (trumpet, trombone & keyboards) , the sultry Deni Loren (vocals) and The Square Set's singer Neville Whitmill they formed Impi in 1971.

Impi is an isiZulu word for any armed body of men and in the case of this band of musical warriors it's an apt description. Paul Ditchfield remembers “Peter Hubner was with The Sounds of Brass, and when they broke up Peter came to us ,bringing Deni Loren, a great singer who had a very sexy stage presence and was also his girlfriend. We had previously worked with Neville Whitmill, who had a strong Ray Charles kind of voice with a fantastic range, and he too came along, completing the Impi line up”.

Influenced by the emerging jazz rock bands like Chicago Transit Authority, Chase and Blood, Sweat & Tears the band went into intense rehearsals before hitting the road, playing all the big venues across South Africa. Honed by the roadwork, Impi entered the studio with producer Johnny Boshoff to record their sole, self titled debut album.

“Impi” is an exciting merger of stomping African rhythms and melodies, powerful brass arrangements and soulful rock with elements of psych-tinged folk. The evocative “Herd Boy” with it’s haunting 'kwela' pennywhistle was released as a single in South Africa and reached the lower echelons of the charts; the languid ballad “Deep River” was released in the States but failed to make an impact.

Despite being critically acclaimed “Impi” failed to capture the either the burgeoning prog rock market or the conservative pop audience and the band quietly split – The Bats returning to the pop domain, Neville Whitmill rejoining The Square Set for the sterling “Those many feelings” album; Peter Hubner opening Emcee Studios and Deni Loren into relative obscurity. Now reissued over 40 years later the “Impi” album stands as a testament to a musically ambitious band ,perhaps ahead of it’s time in conservative South Africa.

Fresh-Music

Tracks
1. Son Of A Zulu Man - 4:01
2. No One Seems To Notice - 4:12
3. Catch My Love - 3:44
4. Rifleman - 3:01
5. Seven Kinds Of Hell - 3:21
6. Deep River - 3:17
7. Herd Boy (Dlamini, Ditchfield, Jarman, Eckstein) - 2:58
8. Piccaninnies - 3:21
9. Nada - 2:30
10.Sun - 5:22
All compositions by P. Ditchfield, P. Clifford, B. Jarman, E. Eckstein except track #7

Impi
*Paul Ditchfield - Vocals, Bass, Keyboards
*Eddie Eckstein - Vocals, Drums, Perscussion
*Barry Jarman - Vocals, Guitar, Trumpet, Valve Trombone, Flute, Penny Whistle, Concertina
*Peter Clifford - Vocals, Guitar
*Neville Whitmill - lead Vocals
*Deni Loren - Lead Vocals
*Peter Hubner - Trumpet, Trombone, Organ

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The Parlour Band - Is A Friend (1972 uk, beautiful prog silk rock, 2010 remaster with extra track)

The Parlour Band have the dubious honour of being the first band from the small English Channel island of Jersey to be signed by a major UK label (Decca) and put into a studio to record an album. This was in late 1971 after Decca had been impressed by some very basic demos submitted the previous year by Peter Filleul, the band's song writer, lead vocalist and keyboard player. At the time, the band was based in Leicester as the group's drummer (Jerry Robins) and one of the guitarists (Jon 'Pix' Pickford) were studying at the local polytechnic (also the venue for the group's first mainland concert). 

The other two group members were brothers Craig and Mark Anders (guitar and bass, respectively), and the five of them shared two low-rent houses typical of the squalor fit only for habitation by mice and students! However, the accommodation did give the band space to practice and Leicester was a fairly convenient location to travel from to get to gigs, although after signing a deal the band relocated to London to be nearer the hub of the English music industry.

From the opening Hammond riff of Forgotten Dreams with its accompanying layered vocals there is no mistaking that Is A Friend? is a product of the 70s. A fantastic opening which surprisingly leads into the more mellow Pretty Haired Girl. The harmony vocals are spot on and the twin lead guitars provide a gloriously melodic interlude. What is essentially a superior pop song breaks with conformity with a guitar solo which stridently leads the listener directly into Spring's Sweet Comfort. And so it goes on, song after song of melodic glory that effortlessly combines prog stylings, pop overtones and west Coast US harmonies. 

Although identifiable as being from the 1970s, it is not surprising that the album failed to capture the imagination of the masses. Sure the players are technically very proficient and the song writing is first class, but the album lacks the bombast of an out-and-out progressive album of the era and is crushed in comparison to the glam rock that occupied the singles charts. Filleul's writing was not entirely unaffected by the contemporary influences as evidenced by tracks such as Evening and the closing suite, Home which provides a light prog finale to the album, and also the rather enigmatic album title (the lyrics include the line: Home is a friend).

I am sure a lot of people would dismiss this album as lightweight and somewhat inconsequential. However, I have to state that I seriously love all of the songs; from the uplifting Little Goldie, through the melancholy of Don't Be Sad to the harder Early Morning Eyes. The killer vocals get to me, the playing is concise and precise, the tunes are memorable and the production (by Nick Tauber) is crystal clear. With Esoteric's precision remastering the sound of the album is perfect and at last there is an informative booklet, written by band member Craig Anders, with information on the band and what they are up to these days. As we have come to expect, the album also features a bonus rarity, Runaround, a horn embellished rocker, the number shows a different side to the band that is not so evident from the 10 core album tracks.

The Parlour Band only released the one album under that moniker but didn't split when the album failed to sell. Instead they changed their name, first to A Band Named O and then simply The O Band, and released four more albums, albeit on a different label. The style of music also changed, taking on a harder edge with Filleul's songwriting dominance usurped. Being a long-time fan of Is A Friend?, this remasterered version is a treat to behold and will no doubt provide me many hours of late night enjoyment. This is an album I would unfailingly recommend to anyone based purely on my own love of the music. However, being somewhat more objective, the progressive elements of the album are rather thin on the ground and, as such, may not find much appeal with our readership. Of course, that doesn't mean that it is not a worthwhile album to possess... 

by Mark Hughes

Tracks
1. Forgotten Dreams - 2:42
2. Pretty Haired Girl - 2:51
3. Spring's Sweet Gomfort - 5:05
4. Early Morning Eyes - 3:52
5. Follow Me - 4:56
6. Evening - 4:58
7. Don't Be Sad - 3:19
8. Little Goldie - 3:20
9. To Happiness - 2:59
10.Home - 7:38
11.Runaround - 4:26
All Words and Music by Peter Filleul

The Parlour Band
*Peter Filleul - Lead Vocals, Keyboards, Rhythm Acoustic
*Pix - Vocals, Wah Wah Gibson
*Craig Anders - Vocals, Electric, Acoustic , Slide Guitar
*Mark Ashley Anders - Vocals, Bass
*Jerry Robins - Percussion

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John Mayall - The Turning Point (1969 uk, outstanding blues, jazz, folk, psych rock, remaster and expanded)

Remastered from a live 1969 recording at Bill Graham’s Filmore East in New York City and with three bonus tracks, the album starts off with the folk blues “The Laws Must Change”. The song seems an appropriate opener given the time and social, political and cultural changes that transpired in that time period. Far from the sound of Leadbelly or Son House, the blues quotient still can be heard in Johnny Almond’s flute, Mayall’s harmonica solos, and Jon Mark’s unique finger-picking style on acoustic guitar. And judging from the fan’s response, it’s not an abhorrent sound. “Saw Mill Gulch Road” is bit bluesier, starting off with a slide guitar in the distant background and lyrically lending itself towards the traditional structure.

One of the noticeable traits is how organically sounding the album is, needing little in the way of literal electricity to evoke the same slow blues swagger and sway in the audience, which you can imagine hanging on basically every note. “I’m Gonna Fight for You J.B.”, a song for one of Mayall’s biggest influences, J.B. Lenoir, is perhaps one of the average songs on the album given the subsequent swerves and curves in “So Hard to Share”. Initially slow and almost veering into an early seventies disco sound, the song evolves after two minutes into a jazz/folk/blues collage, each musician complementing the other while maintaining their lengthy individual solos quite well. And just when you think the song is about to lose its momentum, the group ups the ante to further outstanding results.

If there’s a slight problem with the album, it’s how canned the applause after each song appears, as some tunes receive a far greater ovation than perhaps warranted. The hoots and hollers are also repeated, sounding as if they’re on a loop. Regardless though, it’s a small annoyance in the larger picture. And nowhere is the sound Mayall craves more indicative than on “California”, a free form jazz piece, which could be taken for a very early, very sketchy Pink Floyd contraption. Adventurous to a fault, the song falters midway in, with nothing surpassing Johnny Almond’s saxophone solo until near the song’s last legs.

The biggest song on the album, and in fact, the biggest song of Mayall’s long and storied career is “Room to Move”. Originally thrown in as an impromptu encore number for shows in Germany and Europe, the song has a bit of “chicca chicca” in it to quote Mayall. Working overtime on the harmonica as Almond’s flute adds a nice touch, it’s the solo work by Mayall that drives the song full steam ahead and the scat like phrasing between both. Even more remarkable is how the group sounds so tight considering they’d been playing together for only four weeks!

The album closes the same way it starts, making it an incredibly satisfying journey of ideas being heard rather than just thought.

by Jason MacNeil

Tracks
1. The Laws Must Change - 7:21
2. Saw Mill Gulch Road - 4:39
3. I'm Gonna Fight For You J.B. - 5:27
4. So Hard To Share - 7:05
5. California (John Mayall, Steve Thompson) - 9:30
6. Thoughts About Roxanne (John Mayall, Steve Thompson) - 8:20
7. Room To Move - 5:03
8. Sleeping By Her Side - 5.10
9. Don't Waste My Time (John Mayall, Steve Thompson) - 4.54
10.Can't Sleep This Night - 6.19
All songs by John Mayall except where indicated

Personnel
*John Almond - Flute, Saxophone, Alto Saxophone, Tenor Saxophone, Mouth Percussion
*Jon Mark - Acoustic Guitar
*John Mayall - Guitar, Harmonica, Keyboards, Tambourine, Vocals, Slide Guitar, Mouth Percussion
*Steve Thompson - Bass Guitar

1966  John Mayall Bluesbreakers With Eric Clapton (Japan SHM double disc set)
1967  Various Artists - Raw Blues

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Hoyt Axton - My Griffin Is Gone (1969 us, marvelous psych tinged country folk rock, 2006 issue)

Hoyt Axton was still in his first decade as a recording artist when he made this album, but it was a decade in which performing artists were certainly encouraged to think lofty thoughts. Pretension was as common on the radio in the late '60s as things would be in the '90s, hence we have an album, but sadly enough no song, on the theme of losing one's "griffin," typical Axton imagery that subtly invokes the wonder of childhood while pretending to be doing something else. 

He settles into some remarkable moods on the best parts of the album, communicating with such a sense of the natural that it makes the work of many other recording artists seem stilted. He can evoke the feeling of Colorado simply by mentioning the state as if in passing conversation; other singers would have to be recorded riding up and down a ski lift strumming in order to establish any equivalent sense of time and place. 

While his social commentary, such as "Beelzebub's Laughter," has the sting, if not the detail, of mid-period Phil Ochs, some of the songs -- such as "Way Before the Time of Towns" and "Revelations" -- ring so totally hollow, without any real sense of conviction or commitment, that the listener will be longing for one of the musicians to make a satirical raspberry. Instead it is a subdued, talented crowd doing the backup, pursuing a mood that can be quite effective when the ingredients are right -- roughly about half the time on this uneven but respectable production. Lead guitar is in the capable hands of James Burton, but this cannot be said to have been one of his most rip-roaring days in the studio. 

by Eugene Chadbourne

Tracks
1. On The Natural - 3:58
2. Way Before The Time Of Towns - 3:09
3. Beelzebub's Laughter - 2:43
4. Sunshine Fields Of Love - 3:41
5. It's All Right Now - 2:33
6. Gypsy Will - 3:10
7. Revelations - 3:01
8. Snow Blind Friend - 2:49
9. Childhood's End - 2:36
10.Sunrise (Hoyt Axton, Terje Rypdal) - 2:29
11.Kingswood Manor - 3:06
12.Chase DownThe Sun - 2:24
All songs by Hoyt Axton except where stated

Personnel
*Hoyt Axton - Guitar, Vocals
*Ben Benay - Harmonica
*Chuck Berghofer - Bass
*James Burton - Dobro
*David Cohen - Guitar
*Gary Coleman - Percussion
*Jimmie Fadden - Harmonica
*Jim Gordon - Drums
*Larry Knechtel - Keyboards
*Steve La Fever - Bass
*Paul Lewinson - Keyboards
*Michael Melvoin - Keyboards

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Banchee - Banchee / Thinkin' (1969-71 us, exceptional classic rock with psych, prog and folk shades)

Signed by Atlantic, their 1969 debut "Banchee" teamed the quartet (former Peepl singer/guitarist Peter Alongi, drummer Victor Digilio, rhythm guitarist Jose Miguel deJesus, and bassist Michael Marino) with producers Warren Schatz and Stephen Schlaks.  Like much late-1960s product the debut displayed some psych influences (the leadoff, mid tempo number 'The Night Is Calling' has a distinctively trippy feel to it), but the predominant sound was heavy, guitar-powered rock.  

With all four members contributing material, original numbers such as 'Beautifully Day' (sic), the fuzz guitar-propelled 'Evolmia', 'I Just Don't Know' and the extended 'Tom's Island' offered up a series of high energy guitar powered rockers that were both tuneful and structural interesting. That said, the album was surprisingly diverse. 'Train of Life' sounding like a post-Monkees Mike Nesmith after a week of heavy speed usage, 'Hands of a Clock' had a pseudo-jazzy feel, while the Latin-tinged 'As Me Thinks' recalled early-Santana. Overlooking DiGillo's pompous back cover liner notes, it's a surprisingly enjoyable and not particularly difficult to find debut ... (Original copies include a separate lyric insert.)

Released two years after their debut, 1971's "Thinkin'" found Banchee signed to Polydor.  It also found the group expanded to a five piece with the addition of singer/percussionist Fernando Roman (who happened to be Jose Miguel deJesus' cousin).  With the band co-producing with an assist from Dave Palmer and Ralph Moss (Jimi Hendrix manager Michael Jeffrey credited as executive producer), the sophomore set found the band aiming for an even tougher rock sound.  Unlike the debut which was a largely democratic project with everyone contributing to the writing chores, this time around singer/rhythm guitarist Jose Miguel deJesus was responsible for the majority of the material (lead guitarist Peter Alongi contributing two tracks).  

Kicked along by Alomgi's squealing lead guitar (this is one of those great headphone LPs), some understated Latin percussion, and their "group" lead vocals, songs such as the blazing opener 'John Doe', 'Willya' and the title track made for hard rock that was simultaneously tuneful and commercial.  At least to my ears the results recalled Santana at their most rocking, or perhaps Manassas-era Stephen Stills. While it wasn't particularly original, or groundbreaking, this was one of those rare albums where there simply wasn't a bad song on the entire set.  No, it wasn't perfect, but it beat the crap out of scores of better known and selling competitors.   Curiously this is the album that seems to attract critical attention (it's listed in one of the Hans Pokora reference books), though I find the debut just as entertaining.  

Bad-Cat

Tracks
Banchee 1969
1. The Night Is Calling (Peter Alongi) - 3:27
2. Train of Life (Michael Marino) - 3:18
3. As Me Thinks - 3:05
4. Follow a Dream - 4:21
5. Beautifully Day (Peter Alongi) - 5:07
6. Evolmia (Jose Miguel DeJesus, Victor DiGillo) - 3:18
7. I Just Don't Know (Peter Alongi) - 3:17
8. Hands of a Clock (Michael Marino) - 4:14
9. Tom's Island (Peter Alongi) - 8:39
Thinkin 1971
10.John Doe - 4:30
11.Willya - 3:28
12.3/4 Song (Peter Alongi) - 3:18
13.Thinkin' - 4:08
14.Searcher's Life (Peter Alongi) - 3:10
15.Iceberg - 3:47
16.Children of the Universe - 3:11
17."38" - 8:54
All songs by Jose Miguel DeJesus except where indicated

Banchee
*Peter Alongi - Vocals, Lead Guitar
*Victor Digilio - Drums, Percussion
*Jose 'Joey' Miguel DeJesus - Vocals, Rhythm Guitar  
*Michael Marino - Vocals, Bass

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Purple Gang - Purple Gang Strikes (1968 uk, fabulous folk jug psych)

The Purple Gang was formed in Cheshire, UK, in the late 1965 by a group of students at the Stockport Art College, including Chris "Joe" Beard (guitar), Peter Walker (vocals), Trevor 'Ank' Langley (Jug), Geoff Bowyer (piano, washboard, vocals, Kazoo. and Gerry Robinson (harmonica, mandolin). The band was originally formed as the Young Contermporaries Jugband and it was one of the most original folk and blues British acts in the late 60's.

After moving to London, the band started working under the management of producer Joe Boyd, who also managed Pink Floyd and was a co-runner of the legendary underground psychedelic club the UFO.

In 1967 the band released the single "Granny Takes a Trip" on the British folk label Transatlantic records. The song became a popular anthem of the psychedelic scene and was wrongly banned by the BBC from its airwaves for making reference to LSD in it's lyrics.

In early 1967, the Purple Gang performed the first of three gigs at the Marquee club, supporting Long John Baldry. None of these gigs were officially billed and Trasnsatlantic records contracted the band's shows to the Marquee club for no money. Their last performance supported young songwriter Steve Adams -widely known as Cat Stevens-, as Joe Beard can remember: "I met a young dark-haired guy in there in the dressing room called Steve Adams and he let me have a go on his beautiful "Black Box" Gibson..he let me tune-it in for him as his hands were shaking (after all he was going on solo as compere). He did OK and was signed up after that gig. His song "I Love My Dog" was haunting that night and we all congratulated the young "Cat Stevens" to be."

At the time, the band became a popular underground act in London's scene and used to perform dressed in gangster suits, an image that was also used by other underground bands at the time such as the Move and Syn. They played at the top clubs of the London psychedelic underground scene, such as the UFO, Wizard and the Roundhouse. During these days they had a close friendship with Pink Floyd and Syd Barrett wrote the song "Here I Go" for the band.

In 1968, the Purple Gang released their debut album "Strikes", featuring bassist Tony Moss, where they were forced by the record company to refrain from producing psychedelic and experimental oriented stuff.

1969 saw numerous changes in the band. Vocalist Peter Walker quit the band and later became a painter artist. Trevor Langley quit also and later began an advertising and graphics firm. Drummer and washboard player Alex Sidebottom joined the band and later bassist Chris Millward replaced Tony Moss. Eventually, the band split when Joe Boyd formed a new project called Sudden Earth, along with Pete Band (drums. and Barry Edge (bass vocals). The Purple Gang reformed shortly later featuring Joe Boyd, Geoff Bowyer, Gerry Robinson, Tony Moss and Alex Sidebothan and started working under the management of Dave Symonds. In 1972 Joe Beard quit the band to start a solo career and was replaced by Tony Davies from the Jericho Jug Band. Finally, the band split shortly after.

After the split of the Purple Band, Joe Beard produced the multi-media project "The Edge". In the following years he concentrated to his career as a painter, artist and lecturer and opened his own art gallery. Geoff Bowyer went into comedy and acting and formed a comedy duo with Radio 1 DJ, Annie Nightingale. He also became a writer and a teacher for drama in London. 

The Marquee

Tracks
1. Auntie Monica - 3:07
2. Bootleg Whisky - 3:19
3. Viola Lee Blues - 3:13
4. The Wizard - 3:52
5. Mr Aldred Jones - 2:59
6. Granny Takes a Trip - 2:36
7. Overseas Stomp - 2:17
8. Freightliner - 2:51
9. The Sheik - 3:11
10.Rising Sun (Traditional) - 2:33
11.Kiss Me Goodnight Sally Green - 2:32
12.Carlo's Circus - 3:37
13.Madam Judge (Joe Beard) - 4:14
14.Brown Shoes - 4:44
15.The King Comes Riding (Ken Cambell) - 4:50
All songs by Geoff Bowyer, Joe Beard except where noted

Purple Gang
*Joe Beard - guitar
*Geoff Bowyer - Piano, Washboard, Vocals
*Trevor "Ark" Langley - Jug
*Gerry Robinson - Electric Mandolin, Harmonica
*Peter "Lucifer" Walker - Vocal, Kazoos
*Tony Moss - Bass

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Formerly Fat Harry - Formerly Fat Harry (1971 uk / us, great folk psych, 2013 edition)

Formed in 1969 in Croydon by three ex-Berkeley musicians, Gary Peterson, Phil Greenberg and Bruce Barthol who had not long left Country Joe & the Fish, Formerly Fat Harry were signed to the legendary Peter Jenner and Andrew King’s Blackhill Enterprises and became a mainstay of the festivals and underground club circuit.

The band mined a rich blues, folk and country vein which nowadays might have been called Americana, and heavily infused it with a psychedelic edge – after all these guys had been part of the San Francisco acid rock explosion!

They left behind a very musical if rather low-key album for Harvest Records before splitting up in early 72. 

Tracks
1. Passing The River (Phil Greenberg) - 5:04
2. My Friend Ws A Pusher (Gary Peterson) - 5:15
3. About My Life (Phil Greenberg) - 5:45
4. Please Go Away (Gary Peterson) - 4:35
5. I Saw The Ringing Of The Bell (Gary Peterson) - 4:45
6. Tell Me All About It (Gary Peterson) - 4:40
7. Captain Heart (Phil Greenberg) - 3:28
8. Goodbye For Good (Phil Greenberg) - 6:55

Formerly Fat Harry
*Laurie Allan - Drums
*Bruce Barthol - Bass
*Phil Greenberg - Guitar, Vocals
*George Khan - Saxophone
*Gary Peterson - Guitar, Keyboards, Percussion, Vocals

1969-72  Formerly Fat Harry - Goodbye For Good, The Lost Recordings

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Kaleidoscope - Pulsating Dreams (1967-70 us, fascinating melt of folk, orient, psych rock, 2007 three disc set)

It's a little surprising that a cult band like Kaleidoscope would get honored with an all-out three-CD set, considering the limited market. But here it is, and it certainly leaves no stone unturned, including the entire recorded output of the band while they were on Epic. That essentially covers the entire period of interest to most fans, spanning the band's formation to their breakup in the early '70s (though they subsequently reunited for some albums that aren't represented here). In addition to everything from their albums Side Trips, A Beacon from Mars, Incredible, and Bernice, it has quite a few tracks that only showed up on non-LP singles or as outtakes on posthumous compilations. And some of those extras aren't even easily found on Kaleidoscope compilations, namely the old-timey psychedelia of the early B-side "Little Orphan Nannie" and the less impressive, heavily bluesy 1968 B-side "Just a Taste." The problem with this compilation is not so much to do with the music as whether it might be suitable for either the completist or neophyte. 

The completist might well already have virtually all of this on the albums and scattered comps, and resent having to fork out for a three-CD set just to get those two B-sides; the neophyte might find it way too much to start (and end) with, both in length and expense. But -- if you want the complete works of Kaleidoscope in their first and best incarnation, it's all here, down to the crazy psychedelic soul single they did with Larry Williams and Johnny "Guitar" Watson, "Nobody." It's also well annotated, and contains plenty of exhilarating psychedelic world fusion highs, though the band's incredibly eclectic scope means there are some turkeys as well. Plus, some of those non-LP items aren't mere frivolities -- the B-side "Rampe, Rampe," for instance, is a superb Greek-like instrumental that winds itself up into a frenzy. 

by Richie Unterberger

Tracks

Disc 1

Side Trips 1967

1. Egyptian Gardens (D. Feldthouse) - 3:05

2. If The Night (Chris Darrow) - 1:45

3. Hesitation Blues (Charlie Poole) - 2:25

4. Please (M. Freedman, D. Feldthouse) - 3:16

5. Keep Your Mind Oven (Chris Darrow) - 2:15

6. Pulsating Dream (C. Darrow, D. Lindley, D. Feldthouse) - 1:54

7. Oh Death (Dock Boggs) - 3:25

8. Come On In (Traditional Arr. D. Lindley) - 2:07

9. Why Try (D. Lindley) - 3:43

10.Minnie The Moocher (C. Calloway, I. Mills, C. Gaskill) - 2:13

11.Elevator Man (Single Issue) (D. Feldthouse) - 2:54

12.Little Orphan Nannie (Single Issue) (C. Darrow, C. Crill) - 1:54

A Beacon from Mars 1967

13.I Found Out (E. Shackleforf) - 2:09

14.Greenwood Sidee (Traditional Arr. Kaleidoscope) - 4:12

15.Life Will Pass You By (C. Darrow) - 3:22

16.Taxim (Kaleidoscope) - 11:20

17.Baldheaded End Of A Broom (Traditional Arr. D. Lindley) - 3:12

18.Louisiana Man (D. Kershaw) - 2:42

19.You Don't Love Me (W. Cobbs) - 3:57

Disc 2

1. Beacon From Mars (Kaleidoscope) - 12:29

2. Rampé, Rampé (Single Issue) (Turkish Traditional Arr. by Kaleidoscope) - 3:31

3. Nobody (Single Issue) (D. Cooper, E. Shelby) - 2:35

4. Love Games (Remix For Egyptian Candy) (Kaleidoscope) - 2:28

5. Egyptian Candy (Remix For Egyptian Candy) (Kaleidoscope) - 3:01

6. Hello, Trouble (Single Issue) (E. McFucci, O. Church) - 1:42

7. Just A Taste (Single Issue) (Kaleidoscope) - 2:13

Incredible Kaleidoscope 1969

8. Lie To Me (D. Lindley, D. Feldthouse, S. Brotman, P. Lagos, T. Parcely) - 2:45

9. Let The Good Love Flow (Smith. Lindley) - 2:10

10.Killing Floor (C. Burnett) - 2:44

11.Petite Fleur (D. Lindley, D. Feldthouse, S. Brotman, P. Lagos, T. Parcely) - 3:29

12.Banjo (D. Lindley) - 3:34

13.Cuckoo (Traditional Arr.Kaleidoscope) - 4:15

14.Seven-Ate Sweet (D. Lindley, D. Feldthouse, P. Lagos, T. Parcely) - 11:31

Disc 3
1. Sefan (Remix For Egyptian Candy) (Traditional Arr.Kaleidoscope) - 4:25
Bernice 1970
2. Chocolate Whale (D. Feldthouse) - 2:27
3. Another Lover (D. Lindley) - 2:42
4. Sneakin' Thru Ghetto (C. Crill, P. Lagos) - 3:17
5. To Know Is Not To Be (P. Lagos) - 2:13
6. Lulu Arfin Nanny (D. Lindley, P. Lagos, C. Crill, S. Brotman, c. Darrow) - 3:09
7. Lie And Hide (C. Crill, P. Lagos, D. Lindley, S. Brotman) - 2:49
8. Ballad Of Tommy Udo (D. Lindley) - 2:47
9. Bernice (C. Crill) - 2:41
10.Soft And Easy (D. Feldthouse) - 2:55
11.New Blue Ooze (D. Lindley) - 9:39
12.Why Try (Single Issue) (D. Lindley) - 2:46

Musicians
*Paul Lagos - Drums, Percussion, Rap, Vocals
*David Lindley - 7-String Banjo, Arranger, Banjo, Guitar, Harp, Mandolin
*Stuart Brotman - Bass, Vocals
*Connie Crill - Keyboards
*Chris Darrow - Bass, Guitar, Mandolin, Vocals
*Solomon Feldthouse - Clarinet, Guitar, Jumbus, Oud, Saz, Stomping, Vocals
*Templeton Parcely - Organ, Violin, Vocals
*Jeff Kaplan - Vocals
*John Vidican. Drums, Percussion, Timpani
*Fenrus Epp - Violin, Viola, Bass, Piano, Organ, Harmonica
*Max Buda - Harmonica

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The Mystic Tide - Solid Sound (1965-67 us, astonishing garage psych beat)

In reality The Mystic Tide was single vision of one Joe Docko. Joe was the mainman of The Mystic Tide and believe it or not he stills resides in Woodbury. I actually called up information in Woodbury and got his phone number. But so far I have been too chicken to ring him up. I mean you just don't make a cold call to Joe Docko, do you?

The group's early material is well represented by "I Wouldn't Care", "Why", "Stay Away" & "I Search For New Love." These tracks are all ultra cool stabs at a sort of Mersey-Beat sound with garage and surf rock overtones. However things really get cooking with the immortal "Mystic Eyes" (possibly influenced by Them.) "Mystic Eyes" is a pulsating death wail of garage punk oblivion. This thing just oozes all over you, Joe sounding like a second cousin of Eric Burdon on vocals while musically the Tide sound like an east coast answer to the Calico Wall. "Frustration" (not the Painted Ship track) is just a seething, full bore punk camando raid which brings to mind The Craig's "I Must Be Mad" in terms of all out intensity.

"Running Through The Night" heads off into Third Bardo territory of surf/psychedelic madness. "Psychedelic Journey Parts 1&2" is a non-stop instrumental choke hold which was inspired by The Butterfield Blues Band's landmark "East West" title track from 1966. Next up is the group's tour de force "Mystery Ship", this one is in the same bag as "Mystic Eyes", it just sort of sits there in it's own juices then strikes at the listener like a rattlesnake, Joe's guitar is just lethal on this one. "You Won't Look Back" ties up the original 60's material of the band in fine style, turning back to the group's early garage/folk sound.

When it's all said and done, The Mystic Tide were one of the truly great group's of the late 60's as this album so readily affirms. The Mystic Tide were easily the equals of the 13th Floor Elevators, Chocolate Watchband or any other 60's garage band you care to mention. 

by Dave Furgess

Tracks
1. I Wouldn't Care - 3:10
2. Why - 1:59
3. Stay Away - 2:15
4. I Search For New Love - 2:46
5. Mystic Eyes - 3:32
6. Frustration - 2:41
7. Running Through The Night - 2:27
8. Psychedelic Journey Pt.1 - 4:59
9. Psychedelic Journey Pt.2 - 4:27
10.Mystery Ship - 2:55
11.You Won't Look Back - 2:56
12.You Know It's True - 4:43
13.It's Simple Sister - 4:32
14.Mystery Ship - 3:53
15.Frustration - 3:42
16.Silver Rails/Going Home - 3:45
17.See The Light - 4:19
18.Solid Ground - 3:17
All Songs written by Joe Docko

The Mystic Tide
*Paul Picell - Bass, Backing Vocals
*John Wilham - Drums
*Jim Thomas - Rhythm Guitar, Vocals
*Joe Docko - Vocals, Lead Guitar

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Gold - Oregins S.F. (1970 us, outstanding hard psych latin jazzy blues rock, 2003 issue)

With nine songs recorded in the studio at Golden State Recorders in San Francisco in 1969 and 1970, plus eight songs (in decent if imperfect fidelity) from a live show at the Fillmore West on March 3, 1970, this is a generous document -- lasting 78 minutes in all -- of a San Francisco band that only got to release one obscure single, never putting out an LP. (Both sides of that single, "No Parking"/"Summertime" -- the latter produced by Country Joe McDonald, who also plays clavichord on the track -- are here, though the notes don't make it clear if these were the same recordings used on the 45.) 

It's a decent slab of period late-'60s San Francisco rock, though Gold were neither top-tier when judged against the many similar bands from the time and region, nor possessed of a fully formed musical identity. Certainly you can hear bits and pieces of other major Bay Area acts -- "High on Love" and "When I Saw You" have the spacy languor of Quicksilver Messenger Service at their most folk-rocking wistful, and "Conquistadores" is very much in the spirit of Santana's first album (in fact both bands had "Fried Neck Bones," heard on the live portion of this CD, in their repertoire). Other tracks have a more macho, bluesy hard rock approach, and while eclecticism was a trademark of numerous San Francisco psychedelic acts, Gold were missing that something that might have elevated them to a notable rank. 

Despite their derivative nature, however, "When I Saw You," "High on Love," and "Colores" are all enjoyable songs for those who like the distinctively bittersweet sound of much gentler S.F. psychedelia. Other tracks indicate they could have done well with a Santana-esque fusion of rock, blues, and Latin rhythms had they wanted to go further down that route. The scattershot liner notes don't give you much of a coherent history of the band's life and times, however. 

by Richie Unterberger

Tracks
Golden State Recorders - San Francisco 1969/70
1. No Parking - 2:35
2. High On Love - 4:07
3. Righteous Road - 2:52
4. Conquistadores - 5:20
5. Heavy - 2:54
6. When I Saw You - 2:40
7. PSB - 5:51
8. Filet Of Soul - 5:44
9. Summertime - 4:45
Live at the Fillmore-West Auditorium 03/03/1970
10.When I Saw You - 3:44
11.Filet Of Soul - 4:55
12.Colores - 4:32
13.PSB - 6:59
14.Conquistadores - 6:15
15.No Parking - 6:21
16.Fried Neck Bones - 5:36
17.Heavy - 2:53
All songs by Gold

Gold
*Ed Scott - Rhythm Guitar
*Joe Bajza - Lead Guitar
*Louie Goursau - Drums
*Chico Moncada - Bass
*Richard Coco - Vocals
*Robin Sinclair - Vocals
*Ron Cabral - Percussion (Cowbell, Maracas, Guido, Sticks, Tambourine)
*Sebastian Nicholson - Congas
*Bob Golden - Vocals

1969 Gold - Gold (Vinyl limited edition)

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