Paul Revere And The Raiders - Hungry For Kicks, Singles And Choice Cuts (1965-69 us, fantastic garage beat, 2009 release)

Kicks is the first compilation to exclusively concentrate on the Raiders at the absolute peak of their hit making powers. Before we go any further, here are some statistics worth pondering. During those all important years between 1965 and '69, the Raiders scored no less than 16 US hit singles, were the first rock act to be signed to Columbia – for whom they released eight albums – and, on the top of all this, had their own network TV show Where The Action Is.

Built around the partnership of Paul Revere, Mark Lindsay and co-songwriter and producer Terry Melcher, the 27 tracks on Hungry For Kicks represent no less than the absolute golden age of Raiders pop, if not American mainstream ’60s pop in general.

The band's habit of dressing themselves up in cheesy matching band outfits not to mention the notorious American Revolutionary garb may to a degree have compromised their credentials as a serious garage act but the real proof of the pudding lies in the quality and quantity of the selections showcased here.

Sequenced in non-chronological order the track listing literally bounces its way around between the twin landmarks of the Raiders' ’65 breakthrough 'Steppin' Out' and their last single release of the decade, the soulful 'We Gotta All Get Together' from late '69 with original (and often markedly different) single versions rubbing shoulders with a selection of the Raiders' most happening album tracks and a rare radio promo from ’67.

Whether its the out and out garage frenzy of 'Kicks', 'Hungry', 'Just Like Me', 'Steppin' Out', 'Louie, Go Home' or Boyce and Hart's 'I'm Not Your Stepping Stone' (which actually predated the Monkees’ hit version) or the more psych-tinged 'I Had A Dream', 'Peace Of Mind', 'The Great Airplane Strike', 'Why? Why? Why? (Is It So Hard)' and 'Tighter' you're well and truly spoilt for choice here whatever your bag.

by Grahame Bent

Tracks
1. Kicks Song (Barry Mann, Cynthia Weil) - 2:28
2. Him Or Me (What's It Gonna Be?) (Terry Melcher, Mark Lindsay) - 2:51
3. Hungry Song (Barry Mann, Cynthia Weil) - 2:55
4. Let Me! (Single Version) (Mark Lindsay) - 2:30
5. Just Like Me Song Review (R. Dey, R. Hart) - 2:32
6. Too Much Talk (Single Version) (Mark Lindsay) - 2:12
7. Ups And Downs (Terry Melcher, Mark Lindsay) - 2:48
8. (I'm Not Your) Steppin' Stone (T. Boyce, B. Hart) - 2:47
9. Good Thing (Terry Melcher) - 3:04
10.I Had A Dream (Terry Melcher, Mark Lindsay) - 2:20
11.Mr. Sun, Mr. Moon (Single Version) (Mark Lindsay) - 2:35
12.Steppin' Out (Paul Revere, Mark Lindsay) - 2:30
13.Peace Of Mind (Terry Melcher, Mark Lindsay) - 2:26
14.We Gotta All Get Together (Freddy Weller) - 2:58
15.The Great Airplane Strike (Terry Melcher, Paul Revere, Mark Lindsay) - 4:09
16.Louie, Go Home (Paul Revere, Mark Lindsay) - 2:39
17.Gone / Movin' On (Terry Melcher, Mark Lindsay) - 2:30
18.Cinderella Sunshine (Single Version) (Mark Lindsay) - 2:00
19.Action (S. Venet, T. Boyce) - 1:28
20.Don't Take It So Hard (Mark Lindsay) - 2:21
21.Why? Why? Why? (Is It So Hard) (Peter Volk) - 2:54
22.Ballad Of A Useless Man (D. Levin) - 2:11
23.Tighter (Mark Lindsay, Terry Melcher) - 1:59
24.Freeborn Man (Mark Lindsay, Keith Allison) - 3:32
25.Observation From Flight 285 (In 3/4 Time) (Mark Lindsay) - 3:22
26.Louise (J. Kincaid) - 2:05
27.Theme From It's Happening (Single Version) (Mark Lindsay) - 2:44
 
Paul Revere And the Raiders
*Keith Allison - Bass
*Charlie Coe -  Bass
*Joe Corero, Jr. - Drums
*Joe Foster - Synthesizer
*Mike Doc Holiday - Bass
*Drake Levin - Guitar
*Mark Lindsay - Saxophone, Vocals
*Paul Revere - Organ
*Nick Robbins - Synthesizer
*Michael "Smitty" Smith - Drums
*Jim Valley - Guitar
*Phil "Fang" Volk - Bass
*Freddy Weller - Guitar

Paul Revere And The Raiders
1963-65  Mojo Work Out (Sundazed issue)
1965-67  Evolution to Revolution: 5 Classic Albums (2013 double disc remaster)
1967  A Christmas Present... And Past
1968  Goin' To Memphis (Sundazed remaster)
1968  Something Happening  (Repertoire digipack remaster and expanded)
1969  Alias Pink Puzz (Sundazed remaster)
1969  Hard 'N' Heavy With Marshmallow (Sundazed issue)
1970-71  Indian Reservation / Collage (2009 remaster)
1982  Special Edition (Vinyl edition) 
Related Act
1970  Mark Lindsay - Arizona / Silverbird

Free Text
Just Paste

Cottonwood - Camaraderie (1971 us, great rural classic rock)

Cottonwood, the 1971 ABC Dunhill band, was a classic product of the times and cultural metamorphosis unfolding throughout the West Coast in the late ’60s. Los Angeles was a hotbed of diverse musical activity, and Hollywood bulged with record companies big and small looking to sign bands which happened to enjoy a discernible difference or unique sound, qualities that those companies could exploit for potentially explosive profits.

The strictly psychedelic sound which had dominated the West Coast scene for several years was starting to give way to new influences, and fusions of various sorts began to appear in the local clubs and on the radio stations which played a broader range of music. Doug Weston’s Troubadour Club on Santa Monica Boulevard was arguably the epicenter of the transformation, a sort of petri-dish of mutating musical influences, starting it would seem with the formation of the Byrds, rising out of strictly folk influences to become the nascent electric folk/country paragon.

The blues influence was ever present, but a decidedly southern flavor began appear in ostensible Cajun borrowings from musicians like Mac Rebbenac, aka Dr. John. Faux cajun bands like Creedence Clearwater dominated airwaves with West Coast imaginings of what southern life must have been like, singing of swamps, bayous, and riverboats, apparently romantically ignorant of the paroxysms of southern culture, those seemingly insoluble conflicts by the way, being a major reason the blues influence was so prevalent on the West Coast. Country influences had also appeared, making it acceptable to use traditional country instruments like a lap steel or dobro, in a rock band. The Byrds, Linda Ronstadt, Buffalo Springfield, Poco, the Nitty Gritty Dirt Band, Crosby Stills, Nash, and Young, as a start, opened the doors for many musicians to try their hands at incorporating country styles and instruments, with layered multi-part vocal harmonies. The Flying Burrito Brothers embraced full pedal steel, at the hands of “Sneaky” Pete Kleinow 

Cottonwood

Tracks
1. Cottonwood - 03:02
2. Thank You Mr.Man - 02:28
3. Passin' Through (Gary Rowles) - 02:32
4. In My Life - 03:31
5. Red - 03:21
6. 50 LBS Of Smile - 03:02
7. Now Is The Time (Gary Rowles) - 02:39
8. Holdin' On - 03:00
9. Pacoy - 02:06
10.Mother Earth (I Love You) (Gary Rowles) - 02:25
All songs by Doug Phillips unless as else stated

Cottonwood
*Gary Rowles - Guitar, Vocals
*Doug Phillips - Vocals
*David Vaccaro
*Rick Allan - Bass
*David Weyer

Gravy Train - The Ballad Of A Peaceful Man (1971 uk, exceptional hard prog rock, japan remaster)

Among the lesser-feted jewels released by the Vertigo label during its swirly-logo purple patch, Gravy Train's restful hybrid of jazz-tinged virtuosity, folky pastorals, and heartfelt vocalizing peaks on this, their second album, and that despite A Ballad of a Peaceful Man doing little more than treading water when compared to the experimental peaks of its predecessor. Part of the album's appeal lies in the then-novel concept of splitting its contents neatly in half, the hard rockers on one side, the softer material on the other. 

On the whole, the ballads have dated a lot better than the monsters, particularly "Alone in Georgia," which clashes sweet soul with (of all things!) Southern rock and, for some reason, sounds a lot like the Heavy Metal Kids. But that is not to denounce the sheer power of the band in full flood. The title track postulates an unholy collision of Uriah Heep and Atomic Rooster, and shows off Norman Barrett's vocals to maximum effect, while "Won't Talk About It" is almost stubbornly likable, and that despite prophesying every yowling power ballad of the '80s and beyond. Best of all, though, is the spookily atmospheric "Home Again," all throbbing percussion, primal flute, and timeless melancholy. On an album that flirts across a variety of moods, the moodiest track of all makes for a breathtaking finale. 

by Dave Thompson

Tracks
1. Alone In Georgia - 4:35
2. (A Ballad Of) A Peaceful Man - 7:06
3. Julie's Delight - 6:58
4. Messenger - 5:58
5. Can Anybody Hear Me - 2:59
6. Old Tin Box - 4:45
7. Won't Talk About It - 3:00
8. Home Again - 3:25
All compositions by Gravy Train

Gravy Train
*Norman Barrett - Guitar, Vocals
*Barry Davenport - Drums
*J.D. Hughes - Keyboards, Vocals, Wind
*Lester Williams - Bass, Vocals

1970  Gravy Train - Gravy Train

Free Text
the Free Text

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

Free Text 
Text Host

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

Free Text

Just Paste

Text Host

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

Free Text
Text Host

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

Free Text 
Just Paste

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

Free Text 

Just Paste

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

Free Text
Text Host

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

Free Text
Text Host