Well known Vertigo release (at least in progressive circles) of early 70's Hammond-dominated progressive with some jazz-influences. The band had an excellent female singer in Linda Hoyle. The material on the album is quite strong all the way through. "I Am and So Are You" and "Three Sister" do both use horns to good effect. "Mr. Joy" is a relaxed and excellent jazzy track, while "Night Flight" is a more typical early 70's progressive rock track. There are two excellent cover versions here too.
You would may not expect much from a cover of The Everly Brother's "I Wonder If I Care As Much", but its sounds awesome with a incredible symphonic and great arrangement. And their 11-minute version of "All Along the Watchtower" is a irresistible Hammond-orgy you must hear to believe. Definitively one of the classic Vertigo releases.
Tracks
1. I Am And So Are You (Hull) - 3:31
2. Night Flight (Jopp, Hoyle) - 7:15
3. I Wonder If I Care As Much (Everly, Everly) - 3:20
4. Mr. Joy (Peacock) - 5:02
5. Three Sisters (Naiff, Hoyle) - 4:57
6. Cocoanut Grove (Sebastian, Yanofsky) - 2:35
7. All Along The Watchtower (Dylan) - 11:36
8. Eli's Coming (Nyro) - 3:26
9. United States Of Mind (Hull) - 2:44
Bonus Tracks 8-9
At the end of January 1971, lead vocalist Linda Hoyle and Hammond organist Lynton Naiff, having both given a month's notice, quit Affinity - the band they had been with for two and a half years - to go their separate ways. It was an amicable split.
The remaining members of the band - bass-player Mo Foster, guitarist Mike Jopp, and drummer Grant Serpell - each began to embrace new projects. However they missed the fun of a small cohesive team and, after some discussion, made the decision to keep the name Affinity and to try to continue as a performing and recording entity. It was not an easy task since finding replacements for Linda and Lynton - both of whom were superb musicians - was necessarily a challenge.
Affinity had first met Vivienne McAuliff e at Exeter University while playing one of their last gigs with the original line-up. She had been lead vocalist with the college band, Principal Edwards Magic Theatre. Vivienne had been a founder member of Principal Edwards Magic Theatre, a band that was formed at Exeter University. One of the first bands to use theatre as part of their act, they were signed by Radio One DJ John Peel to his own label, Dandelion, and were very successful during the time that they were together. She went on to play with Affinity, and then sung with various bands around London. She also sang on many records, with artists such as Gerry Rafferty (the Baker Street album, City to City), Patrick Moraz (from the band Yes), and various members of Genesis.
In later life she worked with the legendary fashion designer John Galliano and eventually became senior lecturer at the London College of Fashion whilst still being involved in the music scene. She leaves behind one son, James, and a lot of very happy memories for those of us who were lucky enough to have known her. Back in London the band held a set of tortuous auditions but it soon became clear that Vivienne - with her crystal-clear voice and outgoing personality - was the only possible choice to replace Linda. She became one of the lads.
At about this time ex-Tornados keyboard-player Dave Watts answered an advert in Melody Maker and brought with him not only his own Hammond Organ but also an impish sense of humour. Within minutes he slotted in to the band banter and, as soon as he played, the guys knew he was the right man. Unlike Linda - whose voice was jazz-tinged - Vivienne's voice was higher pitched and more folky - in the style of Sonia Kristina of Curved Air. The band initially adapted some of their older material, but they mainly set out to write and rehearse new songs with Vivienne in mind: Mike spent some time composing and refining material with songsmith BA Robertson whilst Mo wrote with Vivienne herself.
There was soon enough material for a whole new set and UK college gigs and club dates soon followed. Sadly, as quickly as the musicians had come together, there were problems and the band eventually fragmented with the various members being torn in different directions. Affinity truly ended in 1972 when Mo, Mike, and Grant were invited to play with ex-Manfred Michael d'Abo for a lengthy US tour.
Frustratingly, a studio album of the new material at that time never happened. But this album - the album that never was - is an attempt to fill that void and is compiled from a set of studio demos and full band rehearsals. To make the tracks sound as the band would have intended there have been a few discreet overdubs. In addition Mo and Mike have composed two new instrumental pieces especially for the project.
1970's Daughter of Time is less bluesy, songs sound straighter, more vivid, the production is improved, sorta brightened, performances shine and gleam even when all around is dark.
As guests also appear additional saxist (f), plus brass duo and string quintet on two tracks ("Time Lament" and title song). This gives the sound width, depth and brightness, mentioned earlier, as the brass and string arrangements are demonstrating pristine gaiety. The opener, "Three Scores and Then ..." is straighter, as the openers should be or they usually are. "Time Lament" has so good orchestrated lines that it is rather festival than lament. The best track is "Take me back to Doomsday" with the superb melody and vocal lines, here Dave Clempson sings, fits more to my ears than Farlowe (maybe won't fit to yours, who knows; of course, neither him, nor Farlowe could surpass Hammill or Gabriel, still talking ‘bout my taste, and not anybody elses).
"Daughter of Time" begins with great orchestral part and proceeds rather solemn. "Theme for Imaginary Western" is cover of or is written by Pete Brown, don't know exactly. "Bring Out Your Dead" is great instrumental piece. Track no.7, "Downhill and Shadows", is still very bluesy and I must really "wade" through it in comparison with first six ones. O.K., sax at the begining is great but rest is much predictable. "The Time Machine" (last track) is recorded live and is Hiseman drum solo. Awesome, at least for track length and the endurability of a drummer. "The Rope Ladder to the Moon" and "Jumping-off the Sun" are peak efforts. If the rest of Grass is Greener is third-quarter as good, let's unearth this gem, which still remains un-rereleased and undeservably so.
by Nenad Kobal
Tracks
1. Three Score and Ten, Amen (Clem Clempson, Dave Greenslade, Jon Hiseman) - 5:38
2. Time Lament (Greenslade, Hiseman) - 6:13
3. Take Me Back to Doomsday (Clempson, Greenslade, Hiseman, Dick Heckstall-Smith) - 4:25
4. The Daughter of Time (Barry Dennen, Greenslade, Heckstall-Smith) - 3:33
5. Theme for an Imaginary Western (Pete Brown, Jack Bruce) - 4:07
6. Bring Out Your Dead (Clempson, Greenslade) - 4:20
7. Downhill and Shadows (Clempson, Hiseman, Tony Reeves) - 6:13
8. The Time Machine (live) (Hiseman) - 8:11
9. Jumping Off The Sun (1971 Chris Farlowe Version) (Taylor, Tomlin) - 3:36
Originally released in 1977, the second live album from these funky, soulful southerners was reissued in 1999 with five extra cuts, adding a whopping 30 minutes to the original vinyl record's limited playing time. With a completely different track listing than 1973's excellent Drippin' Wet, Left Coast Live captures all that was memorable about Wet Willie.
They tear through soul standards, like Jimmy Reed's "Shame, Shame, Shame," Little Milton's "Grits Ain't Groceries," and a shimmering 13 minute slow blues version of Billy Eckstein's "Jelly Jelly" (featuring guest guitarist Toy Caldwell on loan from the Marshall Tucker Band), with obvious passion for not only the songs, but for performing them in front of an enthusiastic audience like the one fortunate to be at this 1976 second set at L.A.'s Roxy club. Lead vocal, sax, and harmonica man Jimmy Hall is in solid form as he hoots, hollers, shouts, moans, and blows like the soul men he obviously idolizes and the band, now tightened through almost a decade of playing one night stands, chugs along like a fine tuned engine pumped with high octane gas.
Pianist Mike Duke pounds the ivories with religious fervor and guitarist Ricky Hersh plays with barely controlled passion throughout. Featuring touches of gospel on "Ring You Up," Sly Stone styled funk with "Baby Fat," and southern fried R&B on their show stopping 12 minute version of "Lucy Was in Trouble," it's evident how overlooked this group was as one of the most eclectic, soulful, and talented bands to emerge from the glutted '70s southern rock circuit.
Oddly the album's least impressive moment is a rote rendition of their biggest hit, "Keep on Smiling," played without the energy injected into the rest of the show. Wet Willie lost the majority of its original members and direction after this final, contract fulfilling Capricorn release, but Left Coast Live remains a compelling and often exhilarating document of a gifted band in their prime.
by Hal Horowitz
Tracks
1. Shame, Shame, Shame (Jimmy Reed) - 2:57
2. Baby Fat (Jack Hall, Jimmy Hall, Michael Duke, Ricky Hirsch) - 3:41
3. Grits Ain't Groceries (Titus Turner) - 3:21
4. Everything That 'Cha Do (Will Come Back To You) (Ricky Hirsch) - 5:47
5. Teaser (Michael Duke) - 4:08
6. Jelly Jelly (Billy Eckstine, Earl Hines) - 12:52
7. Country Side Of Life (Ricky Hirsch) - 3:44
8. Ring You Up (Michael Duke) - 5:29
9. Lucy Was In Trouble (Ricky Hirsch) - 12:14
10.Keep On Smilin' (Jack Hall, Jimmy Hall, John Anthony, Lewis Ross, Ricky Hirsch) - 5:49
11.No, No, No (Michael Duke) - 4:12
Wet Willie
John Anthony - Keyboards, Moog Synthesizer, Vocals
Mike Duke - Clavinet, Keyboards, Piano, Vocals
Jack Hall - Bass, Vocals
Jimmy Hall - Harmonica, Harp, Saxophone, Vocals
Ricky Hirsch - Guitar, Vocals
Lewis Ross - Drums Special Guest
Toy Caldwell - Guitar
This is one of those late-'60s collaborations where I expected the world to explode when I put it on, and felt disappointed when it didn't. However, when you get past looking at players in the band, and listen to the music, there are a number of wonderful cuts. Enough of them for me to replace the vinyl with the CD. "Blues for Barry And..." is Bloomfield at his best with a solid band behind him cranking out this slow blues you wish wouldn't end. Barry Goldberg has always played a solid organ, whether with Harvey Mandel. Charlie Musselwhite, or out on his own.
This is his chance to be the leader of an all-star lineup. My regrets are that it is only 35 minutes, and most importantly I would have liked to put all the guitar players together for a cut or two; they never get to play off one another.
by Bob Gottlieb
Tracks
1. You're Still My Baby - 3:31
2. That's Alright Mama (Arthur Crudup) - 2:47
3. Maxwell Street Shuffle - 2:35
4. Blues For Barry And... - 10:15
5. Jimi The Fox (Dedicated To Jimi Hendrix) - 3:27
6. A Lighter Blue - 2:45
7. On The Road Again (John Sebastian) - 2:00
8. Twice A Man (Barry Goldberg, Roy Ruby) - 4:25
9. Spirit Of Trane - 4:00
All songs by Barry Goldberg except where stated
British band Colosseum fuse the progressive rock of the time with the experimentation of modern jazz. In a career that lasted a little over three years the band were one of the most popular bands on the progressive rock circuit due to their constant gigging and many sessions recorded for the BBC. They did eight sessions for Radio One within the space of twelve months.
The bands leader was drummer Jon Hiseman, who along with saxophonist Dick Heckstall-Smith, after stints with early British R&B group The Graham Bond Organization, and the short lived John Mayall's Bluesbreakers big band line-up which recorded the legendary album "Bare Wired", wanted to form a group "in which there were no drug addicts or other time wasters, no passengers". They were joined by Dave Greenslade on organ who had played with the very popular soul covers band "Geno Washington And The Ran Jam Band", and bassist Tony Reeves who had both played with Hiseman as teenagers in a couple of bands around South East London.
The debut "Those Who Are About To Die Salute You", the title taken from the gladiators of ancient Rome, was released in March 1969. The album consisted of mainly sturdy instrumentals with each musician being given the chance to take the spotlight, unlike certain other groups of the era who were basically a vehicle for one member to hog the limelight. The bonus tracks on this CD reissue are mainly BBC sessions of the album tracks.
by Derek McCann
Tracks
1. Walking In The Park (Bond) - 3:55
2. Plenty Hard Luck (Greenslade, Heckstall-Smith, Hiseman, Litherland, Reeves) - 4:29
3. Mandarin (Reeves, Greenslade) - 4:26
4. Debut (Greenslade, Heckstall-Smith, Hiseman, Reeves) - 6:20
5. Beware The Ides Of March (Greenslade, Heckstall-Smith, Hiseman, Reeves) - 5:38
6. The Road She Walked Before (Heckstall-Smith) - 2:44
7. Backwater Blues (Leadbelly) - 7:39
8. Those About To Die (Greenslade, Heckstall-Smith, Hiseman, Reeves) - 4:55
9. I Can't Live Without You (Litherland) - 4:16
10.A Whiter Spade Than Mayall (Unidentified) - 4:50
11.Walking In The Park (Bond) - 3:43
12.Beware The Ides Of March (Greenslade, Heckstall-Smith, Hiseman, Reeves) - 4:09
13.Plenty Hard Luck (Greenslade, Heckstall-Smith, Hiseman, Litherland, Reeves) - 2:42
14.Walking In The Park (Bond) - 3:17
Bonus Tracks 9-14
Argus was a milestone release for the band. who invented the twin guitar sound. Released on April 28, 1972 Argus transformed Wishbone Ash into international stars – at the third time of trying. Pooled from the London-based combo’s disparate backgrounds in hard rock, folk and crisp, electric blues, its soothingly evocative strains introduced a pioneering twin-guitar approach that was adopted by countless other bands. So extraordinary was Argus that its popularity became a bugbear for the band in the coming years.
Struggling to come to terms with the success it had brought them, Ted Turner, the younger half of their inspirational guitar team, elected to quit after one further album. And yet 42 years later, Argus remains so fresh, vibrant and enduringly popular that two different permutations of the group recently performed the record in its entirety on respective British tours.
Entwined business-wise with Miles Copeland, a brash, fast-talking American [who later emerged as manager of The Police], Ash signed a deal with MCA Records, after none other than Ritchie Blackmore recommended them to producer-cum-A'n'R man Derek Lawrence Ash’s Andy Powell had impressed Deep Purple’s Man In Black when the pair performed a bizarre, spontaneous guitar battle during a soundcheck at Dunstable Civic Hall in May 1970.........
Tracks
1. Time Was - 9:44
2. Sometime World - 6:56
3. Blowin' Free - 5:19
4. The King Will Come - 7:08
5. Leaf And Stream - 3:55
6. Warrior - 5:54
7. Throw Down The Sword - 5:56
8. No Easy Road - 3:37
9. Jail Bait (Live From Memphis) - 4:55
10.The Pilgrim (Live From Memphis) - 10:09
11.Phoenix (Live From Memphis) - 17:06
All songs composed by Andy Powell, Martin Turner, Ted Turner, Steve Upton
Bonus Tracks 8-11
The Wishbone Ash
*Martin Turner - Bass, Vocals
*Andy Powell - Guitar, Vocals
*Ted Turner - Guitar, Vocals
*Steve Upton - Drums
*John Tout - Organ
Following the release of 1970's aptly titled "The Last Puff", Spooky Tooth called it quits with singer Mike Harrison striking out in pursuit of a solo career. Signed by Chris Blackwell's Island Records (which had been Spooky Tooth's label), Harrison made his solo debut with the release of 1971's cleverly-titled "Mike Harrison". Self-produced, the album found Harrison teamed with the band Junkyard Angel (who were from his hometown of Carlisle), showcasing the talents of bassist Peter Batey, guitarist/keyboard player Ian Herbert, drummer Kevin Iverson, and lead guitarist Frank Kenyon.
Anyone expecting to hear a pseudo-Spooky Tooth album was probably going to be disappointed by the collection. Mind you, Harrison's voice was enough to ensure there were some comparisons to Spooky Tooth (check out the ballad 'Damian'), but the very fact Harrison kept things low keyed and somewhat un-commercial had a lot to do with making the album such a pleasure to hear. None of the eight tracks was particularly flashy; the majority firmly in the mid-tempo folk-rock, blues-rock realm, but the performances were all energetic - you got the distinctive impression that Harrison and company were having a blast recording music for themselves.
Here's another big label release that has left precious little biographical information behind it. Good luck finding out much about this short-lived early-1970s California-based quartet, let alone locating a decent review of their sole 1972 release.
During high school drummer Fred Darling and guitarist Gary Stovall played together in the band Churchill Downs. After school the pair relocated from Idaho to Southern California and began to enjoy some late 1960s local success on the L.A. club circuit when Darling got his induction notice, bringing the band to an end. Completing his two years of active duty in the Army, in 1971 Darling returned to L.A. where Stovall invited him to join a band he'd just put together. Featuring Darling, Stovall, bassist Brad Palmer, and singer Kent Sprague, while not exactly ground breaking (but still rare in rock circles), the quartet's integrated line up and country-rock moves attracted the attention of Columbia Records which promptly signed them to a contract.
Produced by Jim Messina (of Loggins and Messina fame), 1972's cleverly-titled "Boones Farm" was clearly intended to appeal to the growing country-rock audience (just check out the cover photos that made the quartet look like they had just finished a cattle round up). Largely written by Sprague and Stovall with the other two members contributing, tracks like the acoustic ballad 'She's So Good', 'The Me Nobody Knows', and 'If You Can't Be My Woman' had a distinctive country-rock edge, complete with acoustic arrangements and some nice Crosby, Stills, Nash & Young-styled four part harmonies (check out 'Love has a Mind of Its Own' for a taste of the comparison).
That said, similar to era-competitors like The Buffalo Springfield, The Byrds, or Poco their roots were far more diverse and the collection included a healthy dose of conventional rock. In fact, over half of the album was straight ahead rock. Powered by Sprague's deep, soulful voice, 'Good Old Feelin'', 'Play Children Play', 'Livin' Together', 'The Me Nobody Knows' and the blazing 'So Much Wrong' (with a killer Stovall guitar solo) were all first-rate, out-and-out rockers that would have sounded fine on FM radio.s you wonder how these talented guys fell through the cracks when so many far less talented outfits made it onto the charts ... Another one that sounds better the more I listen to it and you can still pick up on the cheap.
Tracks
1. Good Old Feelin' (Kent Sprague, Gary Stovall) - 3:00
2. She's So Good (Kent Sprague, Gary Stovall, Brad Palmer) - 3:20
3. Play Children Play (Kent Sprague, Gary Stovall) - 4:40
4. Love has a Mind of Its Own (Kent Sprague, Gary Stovall) - 3:56
5. Livin' Together (Kent Sprague, Gary Stovall, Brad Palmer) - 3:55
6. Mother-In-Law (Kent Sprague, Gary Stovall, Fred Darling) - 2:59
7. The Me Nobody Knows (Kent Sprague, Gary Stovall) - 2:53
8. You Say You Love Me More (Kent Sprague, Gary Stovall, Brad Palmer, Fred Darling) - 3:29
9. If You Can't Be My Woman (Kent Sprague, Gary Stovall) - 3:12
10.So Much Wrong (Kent Sprague, Gary Stovall, Brad Palmer) - 3:35
11.Start Today (Kent Sprague, Gary Stovall) - 4:19
Bread is known for its 1970s soft rock hits, mostly written by band member David Gates. The Best Of Bread opens with “Make It With You,” which was the group’s first top-ten hit, released as a single in 1970 and reaching the #1 spot in the summer of that year. If you’re having trouble recalling the song for some reason, here is a taste of the lyrics to remind you: “Life can be short or long/Love can be right or wrong/And if I chose the one I’d like to help me through/I’d like to make it with you.”
It’s a good song, but I much prefer the album’s second track, “Everything I Own.” This is a sweet and beautiful tune, with lines like “The finest years I ever knew/Were all the years I had with you/And I would give anything I own/Give up my life, my heart, my home/I would give everything I own/Just to have you back again.” This is one of those songs that finds you in tears in your weaker moments. Boy George covered this one, giving it a happier, sort of reggae vibe, which completely changes the tone. Olivia Newton-John also covered it, her version remaining truer to the original.
“Baby I’m-A Want You” was another big hit for Bread, reaching #3 on the Billboard Hot 100 in late 1971. If you’ve listened to the radio, you’ve heard this song. You’ve also probably heard it in several films and television shows. But in case you haven’t, here are the opening lyrics: “Baby I’m-a want you/Baby I’m-a need you/You’re the only one I care enough to hurt about/Maybe I’m-a crazy/But I just can’t live without/your lovin’ and affection.” “If” likewise has been used in films and television programs, and is another beautiful song, this one reaching #4 on the Billboard Hot 100. This one was also covered by Olivia Newton-John, as well as by Frank Sinatra, Dolly Parton and Petula Clark. “If a picture paints a thousand words/Then why can’t I paint you/The words will never show/The you I’ve come to know.”
If you’ve only heard Bread’s mellow tunes, then a song like “Mother Freedom” will come as a surprise. This is more of a rock tune, with some really nice work on electric guitar. It kicked off the band’s 1972 record Baby I’m-A Want You, and opened the second side of The Best Of Bread. It wasn’t as successful as the band’s mellower material, reaching only #37 on the Billboard Hot 100. “Down On My Knees,” from that same album, is another more energetic tune, this one co-written by David Gates and James Griffin. “Let Your Love Go” is also more of a rock tune, and was released as a single in early 1971, and also kicked off their 1971 LP, Manna.
One of my favorites is “Too Much Love,” which has more of a folk and country flavor, which I really like. This is one of the few tracks not written or co-written by David Gates. It was written by James Griffin and Robb Royer. This compilation ends with another Griffin/Royer tune, “Truckin’,” a good song that includes a harmonica part.
by Michael Doherty
Tracks
1. Make It With You - 3:15
2. Everything I Own - 3:06
3. Diary - 3:05
4. Baby I'm A Want You - 2:25
5. It Don't Matter To Me - 2:41
6. If - 2:33
7. Mother Freedom - 2:55
8. Down On My Knees (David Gates, James Griffin) - 2:44
9. Too Much Love (James Griffin, Robb Royer) - 2:45
10.Let Your Love Go - 2:25
11.Look What You've Done (James Griffin, Robb Royer) - 3:10
12.Truckin' (James Griffin, Robb Royer) - 2:31
All compositions by David Gates unless as else stated
