The Nice's third album was their first to break them into the star recording bracket in the U.K., where it reached number three on the charts. Though only measuring six songs in all, it covered a lot of territory, in a rich mixture of psychedelic rock, jazz, and classical that did a lot to map the format for progressive rock. The extended pretension of some of the numbers, viewed less forgivingly, might also seem like an antecedent to pop/rock. But the studio side of the LP (in its pre-CD incarnation) included one of their best tracks, a cover of Tim Hardin's "Hang on to a Dream," with grand Keith Emerson classical lines and an angelic choir.
It also included a reworking of the B-side of their first single in "Azrael Revisited," a slight throwback to the more playful psychedelia of their roots with "Diary of an Empty Day," and the nine-minute "For Example," in which Emerson stretched out his jazz-classical mutations to a fuller length, throwing in a quote from "Norwegian Wood" along the way. More attention was given to the second side of the LP, recorded live at the Fillmore East, with a berserk workout of a number from their debut album, "Rondo" and a 12-minute overhaul of Bob Dylan's "She Belongs to Me."
by Richie Unterberger
Tracks
1. Azrael Revisited - 5:56
2. Hang On To A Dream (Tim Hardin) - 4:45
3. Diary Of An Empty Day - 3:59
4. For Example - 8:54
5. Rondo '69' (Brubeck, Emerson, Jackson, Davison) - 7:55
6. She Belongs To Me (Bob Dylan) - 11:51
7. Hang On To A Dream (Single A Side) (Tim Hardin) - 4:46
8. Diary Of An Empty Day (Single B Side) - 4:00
All songs by Keith Emerson, Lee Jackson except where indicated
The Nice
*Keith Emerson – Keyboards
*Lee Jackson – Bass, Vocals
*Brian Davison – Drums
*David O'List - Guitar, Vocals
Adopting their name from the Sonny Boy Williamson song "Mr Downchild," Downchild Blues Band's roots run deep, first planted in the Toronto jungle in 1963. Singer Mike Smith, guitarists Don Walsh, Tom Extence, and Gary Stodolak, John Lamb on bass and drummer John Tanti got together playing mostly for fun while attending Northern Secondary School at Mount Pleasant and Eginton in Toronto.
By '68, a new version that had Walsh and his brother Rick, bassist Jim Milne, Tanti, and Dave Woodward became the house band at Grossman's Tavern. But after a couple of years, they outgrew the nest and flew the coop. They doubled the horns attack by adding Ron Jacobs, and their gigs across Canada and into the Chicago and Detroit areas became more frequent.
They released their independent debut, Bootleg, in 1971, starting a career of albums that traditionally featured a few originals mixed in with covers, such as their copies of Taj Mahal's "Change My Way of Livin'" and Jimmie Rogers' "That's All Right."
After signing with GRT Records, their first single was "Flip Flop Fly" from their sophomore album in '73, Straight Up. The song spent time in the top 40 pop list, and made them the first homegrown blues act with a gold single, (50,000 copies). As they continued a relentless tour schedule on both sides of the border for the next few years, and the Walsh Brothers' "I've Got Everything I Need (Almost)" was released as the second single," also spending time in the top 40. Also included was "Shotgun Blues," another tune pegged by the Walsh Brothers, which would be covered later by The Blues Brothers during their movie and subsequent soundtrack.
Tracks
1. Every Day I Have The Blues (Peter Chatman) - 2:51
2. (I Got Everything I Need) Almost (Don Walsh) - 2:45
3. York County (Don Walsh) - 3:25
4. Can't Lose What You Ain't Never Had (McKinley Morganfield) - 4:13
5. Flip Flop And Fly (Charles E. Calhoun, Lou Willie Turner) - 3:00
6. Good Morning Blues (Richard Walsh) - 3:33
7. Bring It On Home (Willie Dixon) - 2:54
8. Shot Gun Blues (Don Walsh, Richard Walsh) - 5:40
9. Dig Myself A Hole (Arthur Crudup) - 2:37
10.Everything's Gonna Be Alright (Walter Jacobs) - 2:58
The Downchild Blues Band
*Don Walsh - Guitar, Harmonica
*Rick (Tha Hook) Walsh - Vocals
*Jim Milne - Bass
*Paul Nixon - Drums
*Dave Woodward - Tenor
*James Warburton - Alto
*Vic Wilson - Baritone
*Wayne Jackson - Trumpet
In 1973 Terry Reid was living in the high desert landscape of the Santa Monica Hills a semi wilderness utopia north of Los Angeles. After a brief spell in a temporary home he moved on to stay at the ranch belonging to Tony Duquette . Tony Duquette was a world renowned designer and sculptor with past commissions for Paul Getty and The Duke and Duchess of Windsor amongst others. His property was like a cross between a sculpture park and a design Museum with dozens of buildings and sculptures made from found objects. There are a couple of pictures of Terry at that time posing in front of some antique furniture. All this set in the hills with breathtaking views west to the Pacific Ocean and spectacular sunsets night after night. Sadly this unique place was largely destroyed by fire in 1993.
Properties in the hills were much sought after and people often drove along the narrow roads looking out for potential homes. One day, one such person found his way up the ranch inquiring about places that might be available. This particular person a popular songwriter and one-time protest singer, pleased to find a fellow musician, spent a happy couple of hours discussing music, songs and the like. Bob Dylan, for it was he, didn’t quite make it up into the hills to live, ending up nearer the coast in Malibu itself. Needless to say it was the ideal environment in which an artist could relax dream and create. It was here that Terry would mostly write the songs that would form the basis of his next album, Seed of Memory.
As well as living and composing in his hillside retreat Terry was weaving his way into the multilayered fabric of the West Coast music community. Still friends and playing music with David Lindley and Lee Miles, Terry became acquainted with a whole host of West Coast artists some of whom he'd already met at various gigs and tours in England and America. Terry jamming and gigging with whoever was around, playing at places large and small. Probably the most significant connection though was somebody
Terry already knew from way back, his old friend and fellow Brit Graham Nash, also settled in California. Having written a load of new songs Terry was unsure about how to record them and recalled in a magazine interview at the time” I went to Graham with the songs and said, I don't know where to go at this point, in a sense that I want to get a person who will read into the songs, I wanna get someone on the other side of the window who understands what I wanna do. I wanted somebody that's just going to totally lift the responsibility off my shoulders of having to make sure a things plugged in just so I can sit in the studio and loosen up just like I'm sitting on the front couch at home and sing a song”. Graham proved to be the perfect person to go to and readily agreed to work with Terry on the songs. Rehearsals began at Graham's home and were recorded in part at the studio, Rudy records in L.A., which Graham had set up and owned. Graham used to have a lot of equipment at his own home but seeing it unused a great deal of the time decided to move it to a proper studio in downtown L.A and allow others to use it.
The album was produced by Graham and although all the songs were written by Terry there is a clear sense of Graham's involvement in the whole project. Apart from anything else he shared the vocal harmonies on some of the songs. With Graham producing and David Lindley on hand there is a strong country feel to half of the album with the remaining tracks encompassing a typical Terry brew of funk, rock, blues and jazz.
Terry is often considered to be mainly a vocal stylist, concentrating his songwriting efforts on lyrics and words that when sung can give the correct sound that he was striving for. On this album there is also clear evidence of Terry's wordsmithing abilities. Well illustrated than in the opening line of the title track Seed Of Memory, ‘Brave dreams that are kindled from ashes’. Listen also to the words of Brave Awakening with its reflections on the dangers and inevitable tragedies connected with mining, a theme inspired by firsthand experiences of Terry's family in northern England.
Apart from Graham and David other players on the album were long-time Terry associate Lee Miles on bass and another former Ike and Tina Turner stalwart Soko Richardson on drums. Probably the most polished and coherent of Terry's albums it is definitely a good introduction for a newcomer. The album was released under the ABC label with plenty of airplay and positive reviews, it should have been a hit. Unfortunately ABC, in financial difficulties, was in the process of being taken over by MCA resulting in lacklustre promotion and initial sales that didn’t reflect the commercial appeal of the album. Always popular it has had something of a renaissance recently due to the inclusion of three songs on a recent film soundtrack (more of that later in the biography).
Terry now effectively a permanent Californian resident played various gigs with the core of the band that he'd assembled for seed of memory. David by this time was heavily committed to other work particularly with James Taylor and was unable to tour with Terry, they did though manage fairly frequent acoustic gigs in places like McCabe's in Santa Monica. MCCabes is a famous guitar shop with a small concert space, sells all manner of string driven things and no doubt a favourite haunt of David Lindley's. Sadly the mess with ABC meant that Terry could not afford to keep the band going very long and people soon went their separate ways.Resilient as ever, Terry carried on writing, storing up songs playing whenever the opportunity arose.
by Keith Duncan
Tracks
1. Faith To Arise - 4:36
2. Seed Of Memory - 5:29
3. Brave Awakening - 6:30
4. To Be Treated Rite - 5:57
5. Ooh Baby (Make Me Feel So Young) - 3:58
6. The Way You Walk - 4:44
7. The Frame - 4:36
8. Fooling You - 7:21
All songs by Terry Reid
Miriam Linna once opined that the Roy Loney-era lineup of the Flamin' Groovies suggested what the Rolling Stones would have sounded like if they'd sworn their allegiance to the sound and style of Sun Records instead of Chess Records. If one wants to buy this theory (and it sounds reasonable to me), then Teenage Head was the Groovies' alternate-universe version of Sticky Fingers, an album that delivered their toughest rock & roll beside their most introspective blues workouts. (In his liner notes to Buddha's CD reissue of Teenage Head, Andy Kotowicz writes that Mick Jagger noticed the similarities between the two albums and thought the Groovies did the better job.)
While the Flamin' Groovies didn't dip into the blues often, they always did right by 'em, and "City Lights" and "Yesterday's Numbers" find them embracing the mournful soul of the blues to superb effect, while their covers of "Doctor Boogie" and "32-20" honor the originals while adding a energy and attitude that was all their own. And the rockers are among the best stuff this band ever put to tape, especially "High Flying Baby," "Have You Seen My Baby?," and the brilliant title track.
Teenage Head sounds just as good as it deserves to; Richard Robinson's production is clean, sharp, and gets the details onto tape with a clarity that never gets in the way of the band's sweaty raunch. While Flamingo rocks a bit harder, Teenage Head is ultimately the best album the Flamin' Groovies would ever make, and after Roy Loney left the band within a few months of its release, they'd never sound like this again. [Buddha reissued the album, added quite a few bonus tracks in the process.]
by Mark Deming
Tracks
1. High Flyin' Baby - 3:31
2. City Lights - 4:25
3. Have You Seen My Babe? (Randy Newman) - 2:52
4. Yesterday's Numbers - 3:59
5. Teenage Head - 2:52
6. 32-20 (Robert Johnson, new lyrics by Roy A. Loney) - 2:04
7. Evil Hearted Ada - 3:21
8. Doctor Boogie - 2:32
9. Whiskey Woman - 4:47
10.Shakin' All Over (Fred Heath, Heath, Johnny Kidd) - 6:05
11.That'll Be The Day (Jerry Allison, Buddy Holly, Norman Petty) - 2:22
12.Louie Louie (Richard Berry) - 6:48
13.Walkin' The Dog (Rufus Thomas) - 3:41
14.Scratch My Back (Slim Harpo) - 4:50
15.Carol (Chuck Berry) - 3:15
16.Going Out Theme (Version 2) (Roy Loney, Cyril Jordanm, George Alexanderm, Tim Lynch, Danny Mihm) - 3:04
All songs written by Cyril Jordan, Roy A. Loney except where stated
The Flamin Groovies
*Cyril Jordan - Guitar, Vocals
*Roy Loney - Guitar, Vocals
*Tim Lynch - Guitar
*George Alexander - Bass Guitar
*Danny Mihm - Drums
*Jim Dickinson - Piano With
*Karin Berg, Jean Charles Costa, Richard Meltzer - Vocals
Forming in late-'60s Chicago, the Flock forever languished in the shadow of the Chicago Transit Authority (later famous as just plain Chicago), whose peculiar approach to art rock -- incorporating horns and other unorthodox instrumentation into rock and jazz forms -- they also pursued. But though they clearly lacked Chicago's smash-hit-penning abilities, the Flock possessed a secret weapon in masterful violinist Jerry Goodman, and their genre-smashing compositions were often even more extreme, if not exactly Top 40 material.
by Eduardo Rivadavia
Inside Out recorded in 1975 after several line up changes. The only original members where the lead vocalist and guitar player Fred Glickstein, together with rhythm section, bassist Jerry Smith and drummer Ron Karpman. The album produced by Felix Pappalardi and has the kind of the progressive style in mid seventies, the horn parts gave their place to keyboards, but the violin still shares some long parts.
The compositions aren't bad, instead, sometimes they take off thanks mainly to the ability of the musicians, but in the end, you have the feeling that something is missing, something is not completed. After that the band did few recordings which later released as "Heaven Bound – The Lost Album", the band stuck at a crossroads yet so hopeful for a new record deal that unfortunately never came.
Tracks
1. Music For Our Friends (Jim L. Hirsen) - 4:26
2. Back To You (Jim L. Hirsen) - 8:06
3. Metamorphosis (The Flock) - 5:37
4. Hang On (Fred Glickstein, Jerry Smith, Ron Karpman) - 3:15
5. My OK Today (Fred Glickstein, Jerry Smith, Ron Karpman) - 7:23
6. Straight Home (Jim L. Hirsen, Ron Karpman) - 6:00
The Flock
*Fred Glickstein - Guitars, Lead Vocals
*Jerry Smith - Bass Guitar, Vocals
*Ron Karpman - Drums, Vocals
*Jim L. Hirsen - Keyboards, Vocals
*Felix Pappalardi - Backing Vocal On "Straight Home"
*Mike Zydowsky - Violin
"Peace For Our Time" Warm Dust ,have titled their second album. This quote from Neville Chamberlain, with Selbiger statement to waiting journalists held out the contract paper of the Munich Agreement of September 30, 1938, and apparently a soldier Performing Cover suggest it to know: The LP is a concept album or against the war and its consequences (eg, hunger and environmental degradation).
Each of the tracks begins with a brief spoken introduction, in a historic, mostly war-related event is described, followed by a moral world-improving warning or confirmation. Underlaid the whole thing each with a slightly dissonannten sound jumble of different instruments and threatening organ Wabern. With the Munich agreement mentioned just now it starts, then follow inter alia Pearl Harbor / Hiroshima, the Korean War, the Russian invasion of Czechoslovakia and Vietnam before is read to the last track, the "Constitution Of Life" by Timothy Leary. But this musical program actually does not match the serious subject. An almost cheerful, easy-fuzzy jazz rock is to come out of the speakers that can not deny a certain relationship to simultaneous productions of Canterbury.
Most accentuate rather gentle, just behave roaring organ tones this music, rhythmic support from a pretty powerful bass and drums. In general, the sweeping solos and duets of the two blower from working on various saxophones and flutes, oboe and clarinet at. Sometimes sounds even once a vibraphone, a jazzy piano or a guitar solo, rarely gets really rocked level. The somewhat silly Honky Tonky number "Wrote A Letter" and the final "Peace Of Mind", a ballad worn with longer oboe solo, but do not fit into this scheme. Dransfield Walker no longer sings more than ever on "And It Came To Pass", but his voice will occasionally be electronically altered. But when he sings, he acts quickly affected and intrusive. "Peace For Our Time" is a pretty decent album in which (in my opinion) the underlying concept does not really fit the music, and from today's perspective anmutet a little naive. Nevertheless, one has to acknowledge the dedication of the group.
Warm Dust but are at their best when they jazzy rock in the form of long sequences, the lines of the various instruments devour complex, as in the middle of "Justify The Things Your Hands Have Done". The rest of the album is very nice, not necessarily surprising, but certainly not bad.
by Adamus67
The second album from UK '70's prog band warm dust - Peace For Our Time - highlights their jazz rock fusion sound with several War themes. The sax really stands out counterpointing the organ nicely and combined with some great vocals shows how Jazz fusion should be played.
Peace For Our Time” is an excellent progressive album with strong vocals, long sax and flute instrumental sections and good organ work. Several tracks like “Rejection” and “Wind Of Change” veered towards jazz but one, “Wrote A Letter”, was an acoustic bluesy number with interesting lyrics.
Tracks
1. Blood Of My Fathers – 5:02
2. Winds Of Change – 5:10
3. Justify, Things Your Hands Have Done – 8:48
4. Rejection – 4:38
5. Very Small Child (David Kubinec) – 4:10
6. Songs For A Star – 4:47
7. Peace Of Mind – 3:30
All compositions by Warm Dust except track #5
Forming Ivan and the Sabres while attending the University of Cincinnati, Ivan Browne left the group and moved to Miami University in Oxford, OH, as a replacement for Tony of Tony and the Bandits. The quintet - Ivan Browne (vocals/rhythm guitar), Bill Bartlett (lead guitar), R.G. "Reg" Nave (organ), Steve Walmsley (bass) and Bill Albuagh (drums) - made its debut in 1967 with the single Turn Around And Take A Look. Catching the attention of Kasenetz and Katz and assigned to the songwriting/production team of Paul Leka and Shelly Pinz, they created a distinctive Lemon Pipers sound, a synthesis of sweeping strings and psychedelic organ and percussive elements exemplified on the group's million-selling #1 hit, Green Tambourine.
Their first album for Buddah contained several songs - Rice Is Nice, Shoeshine Boy - which were recorded in psychedelic stabs that juxtaposed their forced commercial leanings with their psychedelic aspirations. The group was unable to match their early success even though the song Jelly Jungle (Of Orange Marmalade) a that failed to crack the Top 40.
Despite stellar efforts such as Catch Me Falling, Dead End Street/Half Light, and the slightly gummy Everything Is You, the Lemon Pipers were labeled bubblegum and, like the later-day 1910 Fruitgum Co., had nowhere to go. The group broke up in 1969, with Bartlett later finding success as a member of Ram Jam.
Comcast-net
Tracks Green Tambourine 1968
1. Rice Is Nice (Leka, Pinz) - 2:08
2. Shoesine Boy (Leka, Pinz) - 3:24
3. Turn Around And Take A Look (B. Bartlett) - 2:47
4. Rainbow Tree (Laguna, Mizrahi) - 2:18
5. Ask Me If I Care (Ehrmann) - 3:08
6. Straglin' Behind (Lemon Pipers) - 2:33
7. Green Tambourine (Leka, Pinz) - 2:24
8. Blueberry Blue (Leka, Pinz) - 2:24
9. The Shoemaker Of Leatherwear Square (Leka, Pinz) - 2:01
10.Fifty Year Void (Lemon Pipers) - 5:43
11.Through With You (B. Bartlett) - 9:06 Jungle Marmalade 1969
12.Jelly Jumble (Of Orange Marmalade) (Leka, Pinz) - 2:23
13.I Was Not Born To Follow (Goffin, King) - 2:31
14.Everything Is You (Leka, Pinz) - 2:43
15.Catch Me Falling (Lemon Pipers) - 5:16
16.Hard Core (Lemon Pipers) - 2:54
17.Love Beads And Meditation (Ross, Crane, Gajnos) - 2:48
18.I Need Someone (The Painters) (Leka, Pinz) - 2:40
19.Lonely Atmosphere (Leka, Pinz) - 2:52
20.Wine And Violet (Lemon Pipers) - 3:06
21.Dead End Street / Half Light (Lemon Pipers) - 11:42
A blast from Man's psychedelic past, this debut shows the band making an auspicious debut with Hammond-drenched guitar rock. It's easy to see, between the spacy effects and unearthly vocal choruses of their single "Sudden Life," how Man positioned themselves between the space prog of Nektar and the acid-fried rock of Quicksilver Messenger Service.
When "The Future Hides Its Face" melds Apollo mission control transmissions with jamming, it's certainly evocative of time both musically and historically. "And Castles Rise in Children's Eyes" takes a more measured and orchestral approach, while the wonderful "Don't Just Stand There" is the great should-be single of the album, careening as it does between spiraling organ solos and sunny choruses of harmonica and Dylanesque vocals. Not every experiment works on this album, but when Man get it right, they get it very right.
by Paul Collins
Tracks
1. And In The Beginning..... (Roger Leonard) - 4:22
2. Sudden Life (Roger Leonard, Clive John) - 4:40
3. Empty Room (Clive John, Ray Williams) - 3:43
4. Puella! Puella! (Woman! Woman!) (Mike Jones) - 3:34
5. Love (Roger Leonard) - 2:52
6. Erotica (R. Leonard, C. John, Mike Jones, Jeff Jones, Ray Williams) - 4:10
7. Blind Man (Roger Leonard) - 4:17
8. And Castles Rise in Children's Eyes (Mike Jones) - 3:21
9. Don't Just Stand There (Come in Out of the Rain) (Mike Jones) - 4:15
10.The Missing Pieces (R. Leonard, C. John, M. Jones, J.Jones, R. Williams) - 1:55
11.The Future Hides Its Face (Roger Leonard) - 5:30
12.Erotica (First Version) (R. Leonard, C. John, M. Jones, J.Jones, R. Williams) - 8:40
13.Sudden Life (Roger Leonard, Clive John) - 4:12
14.Love (Roger Leonard) - 2:52
15.Erotica (R. Leonard, C. John, M. Jones, J.Jones, R. Williams) - 4:14
Bonus Tracks 12-15
Man
*Deke Leonard - Lead Guitar, Vocals
*Clive John - Keyboards
*Ray Williams - Bass
*Micky Jones - Lead Guitar, Vocals
*Jeff Jones - Drums
The original band, initially called: "Children Of Fools" was Co-Founded in Berlin, Germany, by two Americans -NYC Composer/Pianist Fred Schwartz and Jazz Trumpeter/298th Army Bandsman LARRY "FISH" BROWN Jr., after recording a demo of Fred's new music with a small group of top Euro and American session men (including: UK Drummer Dai Bowen and US Jazz Altoist Leo Wright) at a West Berlin Recording Studio, in 1969.
It all began began back at Berlin's famous Jazzgalerie! Fred had turned-up at 'The Gallerie' one evening, looking for some good 'Horn Men' to fill-out the sound and solos on a Jazz/Rock demo session. Featured Artists at the club that night were Leo Wright and Jazz Trumpeter Carmell Jones! During break after the 1st set, Fred was able to book Wright for the session. As it turned out, Jones was "too busy" but he introduced and recommended Brown (a friend, protege and Trumpeter with The 298th US Army Band!)
The resulting session was inspirational -and with the Master Copy of that demo, (later lost) Schwartz and Brown were able to bring-in other Top Bandmates: -Brian Bevan, g.,and voc./ Major Wilburn Jr., t.,and s.sx./ Jerome Johnson, tb./ George "Bert" Thompson Jr., bs./ and Bob Howell, dr., -who were later granted a Public Relations motivated "Early Out" from the military (negotiated by Schwartz) -initially forming-up as: "Fun, Travel and Adventure" -and shortly thereafter, as: "Adventure Train!" Fish ran the band rehearsals, Fred composed music and booked the gigs and Everyone helped to shape the arrangements!
By early '71, the group had grown to 10 members -and were gigging around Germany, when the they were offered a Contract to Record in the UK!. At that time, Brown opted to remain on Berlin's Jazz Scene, while the group (now appearing as: "Fishbrown" with Brown's old roommate Ron Phillips replacing him on Trumpet) made the the move to London! Once on Great Britian's vibrant Rock Scene, the group was further expanded with Philly and NYC Jazzmen brought in by Schwartz -Altoist Charles Bowen and Drummer William Goffigan, along with London session men- Trumpeter Jim Dvorak, Afro Percussionist Joe Oge -and Bassist Neville Whitehead, who is Heard on All Tracks, but Not Credited, because of his decision to Sign On with Don "Sugarcane" Harris! They recorded at Morgan Studios, London, as: "The Gasoline Band" having been persuaded by the lure of "Product Marketability" advised by executives at the new Cube Record Label.
"The Gasoline Band" LP was released in May of 1972! -The Melody of this tune, "Ein Grosses" (written by Bevan in 1969) came-into Brian's head while sharing a pitcher of Schultheiss with Fish Brown, over at Frau Falk's Pub: "The Hoffbrau Haus" (located diagonally across the the street from the front gates of Andrews Barracks) and it became one of the band's earliest Jazz/Rock Jams! *Note: None of these facts (nor many others) about the group were recorded in Bob Harris' liner notes on The Gasoline Band Album's Cover! Solos here, feature: Major Wilburn (S.Sax) and Brian Bevan (Guit/Comp.) AwRight- Dig It! -bluesviews
Tracks
1. The Bitch (Brian Bevan, Jerome Johnson) - 5:08
2. Can't You See Me (DougHowell) - 3:50
3. Find It In You (Brian Bevan, Jerome Johnson) - 2:23
4. Ein Grosses (Brian Bevan) - 5:12
5. Folk Song (Brian Bevan) - 4:35
6. Schrapnel (Doug Howell) - 4:21
7. Loafers End (Erhardt, Fred Schwartz) - 3:51
8. Road (Brian Bevan) - 2:06
9. World What You Gonna Do (Brian Bevan, Jerome Johnson) - 4:30
10.Now's The Time (Fred Schwartz) - 5:00
The Gasoline Band
*Fred Schwartz - Keyboards
*William Goffigan - Drums
*Brian Bevan - Guitar, Vocals
*Jerome Johnson - Trombone
*Major Wilburn Jr. - Saxophones
*Charles Bowen Jr. - Saxophones
*Jim Dvorak - Trumpets
*Ronald Phillips - Trumpets
*Jose Oge - Congas
*George Thompson Jr. - Bass
Blue Pine Trees was the sound of Unicorn at the peak of their musical and songwriting abilities. An album that puts you in mind of Lindisfarne before they got desperate, or the Beatles if Ashley Hutchings had produced them, this is British folk-rock at one of its most idiosyncratic extremes. On the one hand, Unicorn's roots in the sounds of the American west coast are unmistakable. But, on the other, they never forget their English roots and, mindful too of their familial links to Pink Floyd (Dave Gilmour produced the best of their albums), Blue Pine Trees soars with melancholy subtlety above all of its influences, to remind us just how unique Unicorn were.
Key cuts like "Electric Night," "Autumn Wine," and the spectral beauty of "Ooh! Mother" are subjective; like a great Al Stewart album, with the Flying Burrito Brothers behind him, Blue Pine Trees might lure you in with its overall sheen, but it can continue surprising your ears for weeks. And, according to the fan club, it's not even the best record they ever made!
by Dave Thompson
Tracks
1. Electric Night - 4:52
2. Sleep Song - 4:58
3. Autumn Wine (Smith, St. John, Waters) - 3:04
4. Rat Race (Smith, St. John, Waters) - 4:22
5. Just Wanna Hold You - 5:04
6. Holland - 3:26
7. Nightingale Crescent - 3:36
8. The Farmer - 3:32
9. In The Gym - 5:28
10.Blue Pine Trees - 3:46
11.Ooh Mother! - 3:52
12.Ooh Mother! (Single Version) - 2:45
13.Bogtrotter - 4:52
14.I Believe In You (The Hymn) - 3:34
15.Take It Easy - 2:42
16.Volcano - 3:21
All compositions by Ken Baker except where indicated
Bonus Tracks 12-16
The Unicorn
*Ken Baker - Guitar, Keyboards, Vocals
*Pat Martin - Bass, Mandolin, Vocals
*Peter Perrier - Drums, Percussion, Vocals
*Kevin Smith - Guitar, Slide Guitar
