This 1977 double-album opus represents Golden Earring's entry into the series of live albums that were so popular in the late '70s. At this point in its career, the band's live sound had a newfound sense of power, thanks to the addition of second guitarist Eelco Gelling. Indeed, classics like "Radar Love" and "She Flies on Strange Wings" benefit from a newfound complexity and energy that stems from the energetic guitar interplay between Gelling and George Kooymans. Golden Earring's new double-guitar sound also allows the group to overhaul some of its material in new and interesting ways.
Live remains a solid portrait of the group's live act at this juncture of its career and further benefits from a sharp, full-blooded sound (the engineer was future U2 producer Steve Lillywhite). All in all, Live isn't an album for the casual fan, but is likely to keep the group's following entertained.
by Donald A. Guarisco
Live is a double live album by Golden Earring and ranked by the experts of the highlights of their careers. Known for their live reputation distinguishes this live album with a very long drawn-out songs are also concert recordings of all the work.
Together with Contraband (1976) and Grab It For a Second (1978) is one of the three live albums which Eelco Gelling and Earring member participated. With his maniacal solos on Mad Love's Comin', Con Man Radar Love Gelling gives an added value to the Earring sound. That sound is the emphasis on solid and swinging rhythm section, which fully reflected in, inter alia, Mad Love's Comin 'and Radar Love.
Barry Hay gets on Candy's Going Bad and Vanilla Queen. "Live" marks a turning point in the period after the success of Radar Love. Until this at the Rainbow Theatre in London recorded the live album tries to maintain its international position Earring. After "Live" threatens everything the band in years Hague has made up her hands to slip. Sales plummet and the survival of the band is disputed.
Brainwashed
Tracks
Disc 1
1. Candy's Going Bad - 5:06
2. She Flies On Strange Wings - 8:10
3. Mad Love's Comin' - 9:53
4. Eight Miles High (Gene Clark, David Crosby, Roger McGuinn) - 10:01
5. The Vanilla Queen - 11:45
All songs written by Barry Hay,George Kooymans, except where noted
Disc 2
1. To The Hilt - 6:55
2. Fightin' Windmills - 8:26
3. Con Man - 9:09
4. Radar Love - 11:17
5. Just Like Vince Taylor - 6:25
All songs written by Barry Hay, George Kooymans The Golden Earring
*Eelco Gelling - Guitar
*Rinus Gerritsen - Bass
*Barry Hay - Vocals
*George Kooymans - Guitar
*Cesar Zuiderwijk - Drums
In February and April of 1971, they recorded their self-titled album, which was released by the Bacillus label later that year. In June of 1971 My Solid Ground entered the studios of SWF in Baden-Baden for a live radio broadcast. Because of legal issues they could not play any of the pieces from the LP, so they debuted entirely new material. Though the group now had nationwide success, they were frequently losing members. By 1972 the band consisted of Rendel with a totally new lineup. That year they moved to Frankfurt where they lasted until 1974, when Rendel dropped My Solid Ground to pursue academics. He has since become a lecturer on music at Muinz University, as well as producer and composer.
The first track, the 13-minute "Dirty Yellow Mist," certainly lives up to its reputation, as the group goes into dark space rock that sounds like something between Pink Floyd and Thirsty Moon, with lots of long keyboard drones, a crunchy guitar riff, some acid guitar licks, and some distorted spoken vocals, as well as some higher-pitched wordless chanting. Unfortunately, much of the rest of the record does not live up to the promise of that first track, coming off like a typical early-'70s hard rock band, with belted vocals and maybe some occasionally interesting guitar work. "That's You" has enough energy to be proto-punk, and certainly its chorus of "do you wanna die" doesn't weaken that impression.
Far more notable is the track "The Executioner," a sinister piece that alternates between echoed-spoken vocals and intense guitar solos. The rest of the original album is too mainstream, but thankfully the CD adds another album's worth of bonus tracks, and some of these are really good, especially the original full-length version of "Flash," a 24-minute tour de force of guitar solo blitzkrieg between a variety of segued pieces, some of which are far better than the two-minute cut that ended up on the LP. Other bonus tracks include some instrumental versions of songs and a stripped-down version of "Dirty Yellow Mist."
by Rolf Semprebon
Tracks
1. Dirty Yellow Mist - 13:07
2. Flash Part IV - 2:19
3. That's You - 2:23
4. The Executioner - 3:32
5. Melancholie - 4:19
6. Handful Of Grass - 2:45
7. Devonshire Street W1 - 3:29
8. "X" - 3:43
9. "Y" - 1:34
10.Z" - 1:31
11.Flash (Original Full Lenght Version) - 24:42
12.The Executioner (Different Mix) - 3:35
13.Handful Of Grass (Different Mix) - 2:42
14.That's You (Different Mix) - 2:21
15.Dirty Yellow Mix (Different Vocals) - 7:30
All songs written by Bernhard Rendel, Karl-Heinrich Dorfler, Andreas Wursching
My Solid Ground
*Bernhard Rendel - Guitar, Vocal
*Karl-Heinrich Dorfler - Bass, Vocal
*Andreas Wursching - Drums Guest
*Ingo Werner - Organ, Piano
This group has long been one of the more obscure Krautrock bands, even though their single eponymous album from 1971 has become legendary, even though much of the record is fairly conventional hard-rock.
Bernhard Rendel, only 14 years old at the time, started My Solid Ground in 1968 in Russelsheim, near Frankfurt, Germany. Prior to this, his mother encouraged his interest in music and guitar, and she continued to support him even as his music became louder and harder. The group began to practice at the home of Rendel?s parents, and his family also helped arranged live performances. With their musical talent and an elaborate lightshow, the band soon became a popular in the region around Frankfurt. By 1970 after a few lineup changes, the group gelled with Kalrheinz Dorfler on bass, Andreas Wurching on drums, and Ingo Werner on organ. In late October of that year they recorded the track ?Flash? the Morfelden Studio in Frankfurt, and used it to win second place in an amateur competition hosted by Sudwestfunk (SWF) Radio.
by Rolf Semprebon
This CD contains 4 unreleased tracks from 1971 (19mins) recorded at a broadcast session for SWF radio. Those songs are in the vein of the original album -- even better -- heavy guitars cosmic organ! Bonus: A complete album recorded in 2001 by bandleader and guitar player Bernhard Rendel with a scope reaching from space rock and lyrical elements to floating psychedelic sounds. Resourceful and innovative: My Solid Ground 2001. Informative 12 page booklet cool photos.
Tracks
1. Hysterical - 2:48
2. BBB - 6:41
3. Superconstellation - 2:38
4. Short Waves - 6:55
5. Drive - 5:25
6. Grand Nightmare - 6:35
7. 1-40 - 9:51
8. The Cruzifixion - 4:11
9. Frogster - 4:16
10.Moonclouds (On Earth) - 4:10
11.Mystery Metal Thing - 11:12
All compositions by Bernhard Rendel
“Space Shanty” is a one-off album by a foursome of pedigreed Canterbury musos, and it’s considered a love-it or hate-it classic by proggies. Some love its loose, jazzy jams, and others hate its hippie lyrics and flowery arrangements. But what’s notable is that “Space Shanty” is a distillation of the many styles of the Canterbury musos — the cosmic-hippy humor, the fascinating and busy arrangements — but it remains completely fresh and exciting.
As is typical of the Canterbury bands, each member was also a member of a number of other bands. Keyboardist Dave Stewart played with Arzachel, Egg, Gong, Hatfield and the North, and National Health, to name a few. Guitarist Steve Hillage went on to play and record a number of notable albums with Kevin Ayers, Gong, and as a solo artist. Basist Nick Greenwood had done time with the Crazy World of Arthur Brown.
After a few false starts and some rotating membership, Khan came together in 1971, and finished this album in March, 1972 with Neil Slaven producing. Dave Stewart even took time off from his band Egg to sit in on the “Space Shanty” sessions. Khan did its share of live shows, supporting such acts as Van Der Graaf Generator and Genesis. Khan continued playing live after “Space Shanty” was finished, but its membership continued to change. Only Hillage remained the original member. After some live dates the money dried up and Khan dissolved. Hillage joined Kevin Ayers on the road four days later and played on the “Banamour” album and later joined Daevid Allen’s Gong.
The music has a real sense of scale and joy, and the guys are clearly enjoying themselves and their instruments. The recording is warm and straightforward with panning and flanging done to good effect. The Canterbury crowd were quite innovative, particularly with combining effects pedals with keyboards, so by this time weren’t relying too much on studio trickery and tape manipulation.
“Mixed Up Man Of The Mountains” starts with a fairly straightforward rock beat played at a stride. “Looking at the ground, I’m crying for the sky. I know I can’t hope to go where I can’t be found. But when I close my eyes I start to fly.” And fly they do — just listen and wait for them to break into some of the best Canterbury prog jamming you’ll ever hear. “Driving to Amsterdam” features some particularly fiery keyboard work by Dave Stewart and his prepared keyboards.
The album has been issued quite a few times, starting with the original Brain and Pink Elephant vinyl pressings in 1972, and a vinyl reissue in America in 1978 on PVC records. There have been CD pressings by Mantra, Deram, Polydor (a Japanese mini-LP style reissue). The vinyl has also recently been reissued by Tapestry records. The CD to get is the new remastered expanded edition by Eclectic Discs (ECLCD 1016), which features great, tight sound from the original master tapes, excellent liner notes, and two previously unreleased cuts.
Tracks
1. Space Shanty - 9:01
.a. The Cobalt Sequence
.b. March Of The Sine Squadrons
2. Stranded - Effervescent Psychonovelty No.5 - 6:35
3. Mixed Up Man Of The Mountains (Steve Hillage, Nick Greenwood) - 7:14
4. Driving To Amsterdam - 9:22
5. Stargazers - 5:33
6. Hollow Stone - Escape Of The Space Pirates - 8:18
7. Break The Chains (Steve Hillage, Nick Greenwood) - 3:24
8. Mixed Up Man Of The Mountains - 4:25
All compositions by Steve Hillage except where indicated
If I wanted to get anything out of this business," Roger Daltrey says, "it was never to have to go back and work in a factory again. And I've got that. But the one thing I've learned is that money never buys you out of being working-class. The middle classes don't ever let you forget where you come from."
Daltrey has no intention of forgetting. Despite the 12 years that have passed since the Who's apocalyptic "My Generation" and the criticism from today's punk rockers that the Who have lost touch with their roots, Daltrey is adamant that – as the title of his latest solo album insists – he's still very much One of the Boys. The album's title track, written for Daltrey by Steve Gibbons, begins: "He speaks with a terrible stammer/Doesn't have much to say," and, sure enough, the song is marked by the Who's classic amphetamine stutter. Daltrey, in fact, describes the song as "a 1977 'My Generation.'"
Daltrey's conflict with the middle class also stems from a more immediate personal experience. When he recently erected an eight-foot penis (a prop from the film Lisztomania in which he starred) on the grounds of his 200-acre farm in Sussex, complaints from outraged neighbors led to a visit from high-ranking police officers who requested that the offending organ be removed. "It could only happen in England," sighs Daltrey. "There were probably banks being robbed and people being murdered, and the police force were concentrating their efforts on my eight-foot penis." Unbowed, the singer simply planted another next to it.
Daltrey has taken advantage of a six-month sabbatical from the Who to work his farm and record his third solo album. While his previous two LPS were commercial successes (the last, Ride a Rock Horse, went Top Ten in Britain and America), Daltrey feels that One of the Boys will be the first to establish a coherent musical direction for his solo career. "It's always been difficult for me to do that up till now," he says. "I've always said that if I wanted to make a rock & roll album I'd do it with the Who, because that's the finest rock & roll vehicle in the world. It would be pointless to do second-best to that. But there are all kinds of music the Who don't touch."
Certainly the album showcases an eclectic and well-balanced collection of songs – ballads, tough rockers and even some country-flavored tunes (although Daltrey insists he is "too British" to consider a full-fledged Nashville album) – by such writers as Andy Pratt, Colin Blunstone and Paul McCartney, whose "Giddy" was written especially for Daltrey. The album's three original compositions, which mark the singer's belated songwriting debut, were done in collaboration with the album's producer, Dave Cortney. Daltrey says he was always inhibited by Peter Townshend's prolific output, "but a solo album seemed a good opportunity to put my own material to the test."
His first attempt as a lyricist includes a song about life in jail, "The Prisoner." It was inspired by the autobiography of John McVicar, who is currently serving a 26-year term in an English prison for armed robbery. Daltrey was so taken with McVicar's account of prison life that he acquired the film rights to the book. "McVicar doesn't make any excuses," he says. "He is a criminal, no question of it. But the book really illustrates how prison isn't the answer to anything. It really made me think what it must be like. I've been in the nick for a maximum of a week out of my life, and every day of that week seemed like a year. To think of a guy who's doing 26 years, and nobody cares . . ." Daltrey leans forward on the leather couch, his voice rising with intensity as he pummels his leg with a clenched fist. "Where I come from, anyone with the least bit extrovert tendencies either became a footballer, a boxer, a rock musician or a thief. If I hadn't found rock & roll I would have ended up like McVicar," he allows a laugh," 'cause I'm not very good at football."
Tracks
1. Parade (Phillip Goodhand-Tait) - 3:42
2. Single Man's Dilemma (Colin Blunstone) - 3:03
3. Avenging Annie (Andy Pratt) - 4:31
4. The Prisoner (David Courtney, Todd, Daltrey) - 3:32
5. Leon (Goodhand-Tait) - 4:46
6. One of the Boys (Steve Gibbons) - 2:46
7. Giddy (Paul McCartney) - 4:46
8. Written on the Wind (Paul Korda) - 3:23
9. Satin And Lace (David Courtney, Tony Meehan, Daltrey) - 4:05
10.Doing It All Again (Murray Head) - 2:27
11.Say It Ain't So, Joe (Murray Head) 4:19
12.You Put Something Better Inside Me (Gerry Rafferty, Joe Egan) - 3:50
13.Martyrs and Madmen (Steve Swindells) - 4:18
14.Treachery (Swindells) - 4:58
First time around Gnidrolog had a fairly short career running from 1969-1973, but in that time they managed to play some of the classic venues alongside some of the most illustrious names in the history of rock music. Sadly, despite producing some truly inspiring works, they never quite achieved the level of acclaim that they richly deserved.
The lineup on this album are Colin and Stewart Goldring, Peter Cowling (bass) and Nigel Pegrum (drums) - who after leaving Gnidrolog went on to join Steeleye Span. The music is a real blend of guitar work and vocals augmented by recorders, flutes, saxophones, harmonicas, and such like. The end result is a unique style that was leading edge for it's time. Now, looking back it's really very hard to tell exactly who was influencing who, but this album certainly has some elements that are strongly reminiscent of the likes of VDGG, Gentle Giant and Jethro Tull.
The album opens with 'Long Live Man Dead' and from the outset one is struck by the starkness of the powerful vocals set against some very harsh guitar riffs. After the initial opening the sound throttles back a little and there is a nice passage with woodwind sounds contrasting well with the guitar and percussion work. Vocals continue with less harsh tone, but they are charged with emotion and feeling. 'Skull' is effectively a continuation of the first track and is marked by gently echoing flute work set against the acoustic guitar. The track finishes with a reprise of the opening vocal and guitar theme, before lapsing into a series of musical echoes reminiscent of King Crimson's earlier works.
'Peter' has a very mellow opening with Peter Cowling's cello coupled with a beautiful flute arrangement which plays alongside. Acoustic guitar and vocals add to the air of melancholy on the track.
There is a brooding sense of unease as 'Snails' starts up with recorder and oboe. A repeating pattern on the electric guitar soon joins in, the percussion part is gradually introduced and the pace slowly builds up. The vocals intially come in short, fairly quiet sections, alternating with heavy oppressive, and somewhat disharmonious, guitar work. The track is musically very advanced for its time and it provides a relentless assault on the senses as the frenzied pace and feeling of dischord contiues to build - it's almost above likes and dislikes - it simply is! It takes a little getting used to but is very effective.
In complete contrast 'Time and Space' is another piece that opens peacefully, a recorder and oboe passage is set against acoustic guitar and a lightly tripping vocal line. It gives way to some far more progressive elements with a much heavier sound. The song seems to have it's roots set in renaissance period music but overall, I am tempted to draw comparisons to King Crimson and Gentle Giant. The following song ,'Who Spoke', is a quiet acoustic guitar track with some very plaintive, almost anguished vocals, very akin to Peter Hammill.
The final track 'Goodbye-Farewell-Adieu' is another piece split into two parts. The first section 'Goodbye-Farewell-Adieu' contains woodwind sounds winding gently around, with gentle trills and more quiet guitar work. The vocals are very melancholic with harmonizing that is truly superb. The second part of the piece, 'Harry's Toenail', is an instrumental piece which is suddenly more upbeat with driving drum rhythms and pacey guitar work. Harmonicas give a really nice bluesy feel to the track. The eight tracks referenced above, which made up the original album, were all recorded in 1972.
Following hard on the heels of 'In Spite of Harry's Toenail' Gnidrolog produced what is, for me, a much more coherent and polished performance with their second album, 'Lady Lake'. The nucleus of the band consists of the Goldring twins; Stewart on lead guitar and Colin providing rhythm guitar, vocals, recorder and lead horn. As before, Nigel Pegrum provides drums and flute, while Peter Cowling plays bass and cellos. A new face to the lineup this time around came with the addition of John Earle on soprano, tenor and bass sax and second flute - John also sings lead vocals on one of the tracks, more of which later ...
The CD follows the same format as the original album, consisting of just six tracks, with a playing time of just under forty minutes, which actually strikes me as quite long for the year! As with my previous Gnidrolog review I have to reiterate the point that, even with hindsight, it's actually very hard to tell who influenced who, but again there are certain similarities to bands such as Van der Graaf Generator and Gentle Giant - although I find the music here to be much more emotional and capable of creating moods.
The opening track, 'I Could Never Be A Soldier', is the longest on the album at 11'36". Although it is, in many ways, a product of its time - written when the the Vietnam war was very much in the media spotlight - it is a song with a clear and powerful message. Having said that, the song is written without any direct reference to time or country and, due to this, the message is humanitarian rather than political and it works perfectly. Musically this is a song of contrasts; at times light and airy, at other times a darker heavier feel prevails - and it is these contrasts that help create a sense of urgency as we move through the track. The verse/chorus structure is apparent in the early part of the song where flute and recorder work feature prominently and create beautiful additions that are woven around the main theme. The instrumental section that follows is a real joy to listen to as a repeating motif comes into play with gentle percussion rhythm, excellent bass work and very subtle echoes cutting in from the guitar. Bit by bit the layers of sound are built up as the percussion becomes more complex and the guitar part fills out, while the flute/recorder sounds really break free from any constraint. The final vocal section is sung with real passion as the song launches into a final instrumental section with a truly breathtaking lead guitar line which is finally joined by the saxophone for the last climactic moments.
'Ship' is one of the highlights of the album. It is a very moving and inspired song and, of all of Gnidrolog's early work, is probably the one I like the most. The song, basically, deals with refugees finally finding a place to call home - but Stewart tells me it actually works on a number of levels. It kicks off with some great sax playing which makes way for acoustic guitar work that supports the vocals for the song verses. The vocals have a slightly raw edge to them, but they command the whole performance gliding effortless through the verses and soaring to ecstatic heights during the chorus, where the saxophone rejoins with magnificent effect. As with the first track this is another number that just builds and builds to a peak ... and the way the guitar and saxophones run rings around each other towards the finish has to be heard to be appreciated.
The shortest track of all is 'A Dog With No Collar' at just over two minutes. Although, on first hearing, it seemed a little weak by comparison to its immediate predecessors, it has grown on me with time and is now very high in my estimation. The main feature is the very bleak, but well defined, vocal line supported by acoustic guitar. Despite my early misgivings, I love the production on this track as you can hear the finger movements across the guitar strings - and this seems to really heighten the intensity of the piece. The addition of a sensitive saxophone line from about half way through adds to the air of melancholy
The album's title track 'Lady Lake' is the one most at odds with the rest of the featured material - and is most likely to be a problem for those not familiar with the genre of early experimental prog. Musically this one is very avant garde in its outlook and it seems to be very jazz-influenced. Throughout the early stages of the track there is a sense of structured dischord with driving bass lines and swirling sax sounds which have a very anarchic feel. This starts to die down at the point where the vocal line is first introduced and, at this point, I can sense strong similarities with the style later adopted by Gong offshoot Here and Now. Overtones of an angst ridden Peter Hammill echo through the remaining vocals while instrumentally things seem to settle down into a more structured pattern although the style becomes quite heavy and oppressive.
'Same Dreams' is another very compact song at under three minutes, but it is strong on content. The lead in features some gentle piano playing which continues throughout the whole piece building strongly where appropriate. This is, in fact, the only early Gnidrolog track that I'm aware of which features any kind of keyboard. It is played by Charlotte Fendrich and the style seems to have a classical edge, giving a slightly Procol Harum feel to the proceedings. Pleading vocals and fine harmonisation from the sax come across well and the strong percussive build up to the choruses, supported by fine bass work, is masterful.
I have heard it said that the final track, 'Social Embarrasment', sounds more like Gentle Giant than Gentle Giant did themselves, and I have to concede that this is not far off the mark! My only criticism here is that the incessant repetition in the closing section of the song tends to jar the nerves a little after a while but other than that this is a good, if at times quirky, track which makes a strong end piece to the album.
Often overlooked and rarely imitated, Gnidrolog represent many of the best aspects of true progressive rock music. Not only has their album stood the test of time well but it has also retained a freshness that should be a source of real inspiration - and with the exception of piano on one track, still not a keyboard in earshot ... but don't let this put you off! This CD comes highly recommended to all fans of seventies prog or to those who want to discover where it all began!
by Simon Hill
Tracks
Disc 1 In Spite Of Harry's Toe Nail 1972
1. Long Live Man Dead - 9:44
2. Peter - 3:28
3. Snails - 7:12
4. Time And Space - 7:34
5. Who Spoke - 2:22
6. In Spite Of Harry's Toe-Nail - 9:25
7. Snails (Instrumental First Version) - 6:46
All songs by Stewart Goldring, Colin Goldring, Nigel Pegrum, Peter Cowling
Bonus Track 7
Disc 2 Lady Lake 1972
1. I Could Never Be A Soldier - 11:34
2. Ship - 6:42
3. A Dog With No Collar - 2:08
4. Lady Lake - 8:51
5. Same Dreams - 2:47
6. Social Embarrassment - 6:33
7. Baby Move On - 4:11
All compositions by Stewart Goldring, Colin Goldring, Nigel Pegrum, Peter Cowling, John Earle
There has been understandable confusion for decades about the overlap and differences between Colosseum's second UK album and their second US album. Their second UK LP was titled Valentyne Suite; their second US album, however, was not only given a different title, The Grass Is Greener, but featured a substantially different track listing, with only four of the eight tracks overlapping with Valentyne Suite (although the version of "The Grass Is Greener" on the US release has a guitar overdub by Clem Clempson, the original part by James Litherland getting lost in the process). The variance can partially be traced back to the US version of Colosseum's debut Those Who Are About to Die Salute You, which included three tracks yet to be issued in the UK, including the first two (but not the third) of the sections comprising "The Valentyne Suite." It's enough of a mess to instigate a booming headache among those trying to assemble Colosseum's complete early output.
This deluxe expanded edition of Valentyne Suite, thankfully, completely sorts out this hassle for the CD era. With the sort of logic too uncommon in the record industry, it places the whole of the UK Valentyne Suite album on disc one, and the whole of the US The Grass Is Greener album on disc two, as well as adding a couple of tracks recorded for BBC radio in November 1969. That does mean that four of the tracks are heard twice, and that only the third part of "The Valentyne Suite" ("The Grass Is Greener") is heard on The Grass Is Greener, since the first two parts had already been issued in the US as part of the altered version of Those Who Are About to Die Salute You. But the redundancy is forgivable, considering this finally allows listener to hear all of the band's studio material from this era in the same place, with lengthy liner notes that explain the discographical tangle as well as possible.
Not to be overlooked, of course, should be the music, which in both albums found the band expanding their rock-blues-jazz format in interesting directions that encompassed more improvisation and a richer range of melodic colors, though the songs sometimes could have used some editing. Especially satisfying was the deft insertion of some classical influences from time to time, particularly in parts of the 17-minute "The Valentyne Suite." "The Kettle" was as close as the band got to catchy blues-rock-pop, and the jazzier "Elegy" (in which the vocals almost sound like a foreshadowing of Sting) was also one of their best songs.
Both "The Kettle" and "Elegy" were placed on both Valentyne Suite and The Grass Is Greener, but the songs unique to the The Grass Is Greener (all recorded, unlike the rest of the studio material here, with new guitarist Clem Clempson replacing James Litherland) aren't filler. Of these, "Jumping Off the Sun" in particular got Colosseum more in the swing of hard-charging psychedelic-pop-influenced rock than anything else they did, while "Rope Ladder to the Moon" was a cover of a quality song from Jack Bruce's debut solo album, and Ravel's "Bolero" gave them a chance to plunge further into classical material. Finally, disc one adds the aforementioned two November 1969 BBC tracks, including a version of "Lost Angeles" (from The Grass Is Greener) and the fusion instrumental "Arthur's Mustache," which didn't find a place on either of the two albums.
by Richie Unterberger
Tracks
Disc 1
1. The Kettle (Heckstall-Smith, Hiseman) - 4:29
2. Elegy (Litherland) - 3:14
3. Butty's Blues (Litherland) - 6:47
4. The Machine Demands A Sacrifice (Heckstall-Smith, Litherland, Hiseman, Brown) - 3:54
5. The Valentyne Suite - 16:55
.a Theme One - January's Search (Greenslade, Hiseman)
.b Theme Two - February's Valentyne (Greenslade, Hiseman)
.c Theme Three - The Grass Is Always Greener (Heckstall-Smith, Hiseman)
6. Arthur's Moustache (Reeves) - 6:31
7. Lost Angeles (Farlowe, Greenslade, Heckstall-Smith) - 8:37
Disc 2The US Album 'The Grass Is Always Greener'
1. Jumping Off The Sun (Tomlin, Taylor) - 3:38
2. Lost Angeles (Farlowe, Greenslade, Heckstall-Smith) - 5:34
3. Elegy (Litherland) - 3:14
4. Butty's Blues (Litherland) - 6:46
5. Rope Ladder To The Moon (Bruce, Brown) - 3:45
6. Bolero (Ravel) - 5:30
7. The Machine Demands A Sacrifice (Heckstall-Smith, Litherland, Hiseman, Brown) - 2:53
8. The Grass Is Greener (Heckstall-Smith, Hiseman) - 7:35
With their second album Rides Again, the James Gang came into their own. Under the direction of guitarist Joe Walsh, the group -- now featuring bassist Dale Peters -- began incorporating keyboards into their hard rock, which helped open up their musical horizons. For much of the first side of Rides Again, the group tear through a bunch of boogie numbers, most notably the heavy groove of "Funk #49."
On the second side, the James Gang departs from their trademark sound, adding keyboard flourishes and elements of country-rock to their hard rock. Walsh's songwriting had improved, giving the band solid support for their stylistic experiments. What ties the two sides of the record together is the strength of the band's musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads.
by Stephen Thomas Erlewine
Tracks
1. Funk #49 (Fox, Peters, Walsh) - 4:06
2. Asshtonpark (Fox, Peters, Walsh) - 1:51
3. Woman (Fox, Peters, Walsh) - 4:38
4. The Bomber: Closet Queen/ Boléro/ Cast Your Fate To The Wind (Fox, Peters, Walsh, Maurice Ravel, Vince Guaraldi) - 7:04
5. Tend My Garden - 5:39
6. Garden Gate - 1:41
7. There I Go Again - 2:50
8. Thanks - 2:20
9. Ashes, The Rain And I - 4:58
All songs by Joe Walsh except where noted
The James Gang
*Joe Walsh - Guitars, Vocals, Keyboards, Piano, Percussion
*Dale Peters - Bass Guitars, Vocals, Guitars, Keyboards, Percussion
*Jim Fox - Drums, Vocals, Percussion, Keyboards, Organ, Piano
*Rusty Young - Pedal Steel Guitar
Larry Murray was born in Gram Parsons’ hometown of Waycross, Georgia, but moved to Los Angeles, California in the early 60s.There he co-owned the Blue Guitar, a guitar store which also served as an important meeting place for folk musicians and fans. Before long he’d formed a bluegrass group named the Scottsville Squirrel Barkers, with future Byrd Chris Hillman and future Burrito Brother and Eagle Bernie Leadon. When that folded in 1964, Murray and Hillman joined the Green Grass Group, a folk collective in the style of the New Christy Minstrels. By 1966, however, Murray’s interests had shifted towards the burgeoning folk-rock movement, and he formed Hearts and Flowers with Dave Dawson and Rick Cunha.
Though they released two classy collections of pioneering country rock (1967’s Now Is The Time For… and the following year’s Of Horses, Kids & Forgotten Women, on which Cunha was replaced by Bernie Leadon) under the supervision of producer Nik Venet (also responsible for work by the Beach Boys, the Stone Poneys, Fred Neil and many others), good reviews didn’t translate into the deserved sales. By the decade’s end, the group’s members had scattered to the Flying Burrito Brothers, the Eagles, and the backing bands of Linda Rondstadt and Emmylou Harris, and have only received their due acclaim in recent years.
Murray went on to produce sessions by artists including Elektra folk duo Kathy and Carol, Mary McCaslin and others before signing to Verve and recording this superbly mellow collection of acid-tinged country rock. Featuring stellar support from cult singer-songwriter J.D. Souther, pedal steel legend Buddy Emmons, Gib Guilbeau (and his band, Swampwater, also produced by Murray) and members of the Nitty Gritty Dirt Band, it’s an expertly-played mixture of earthy originals (Headed For The Country, All I Need Is A Friend) and judiciously-chosen covers (Elton John and Bernie Taupin’s Country Comfort, Paul Parrish’s When I See Jamie (Jaynie) and Souther’s classic Out To Sea).
When it failed to sell, however, Murray focused his energy on production work instead, as well as collaborating with Johnny Cash on a variety of projects. It is to be hoped that this first full CD release of Sweet Country Suite will help to consolidate his reputation as both a country-rock pioneer and a fine singer-songwriter in his own right.
CD Liner-Notes
Tracks
1. Headed For The Country (Murray) - 3:44
2. Big Bayou (Guilbeau) - 2:21
3. Country Comfort (John, Taupin) - 4:07
4. Back To The Good Earth (Murray) - 2:22
5. Sweet Country Suite (Murray) - 3:05
6. Dakota (Murray) - 2:37
7. Bugler (Murray) - 3:09
8. When I See Jamie (Jaynie) (Parrish) - 3:02
9. Out To Sea (Souther) - 5:33
10.Nora’s Boy (Murray) - 4:40
11.All I Need Is A Friend (Murray) - 3:57
A one-stop roundup of Affinity rarities probably won't dislodge their one official album from the top of most fans' lists, but it does complete the story in enjoyable fashion. Kicking off with both sides of their "Eli's Coming" single, If You Live then divides itself between early (1968-1969) demos and material intended for the group's abandoned second album.
A seven-minute jazz workout, "Yes Man," is as strong as anything on the first album, while there's also a powerful revision of "I Am the Walrus" that might not be as intense as their "All Along the Watchtower," but still rates among the most dynamic Beatles covers of the age. It all adds up to the most consistent of the manifold Affinity outtakes, off cuts, and oddities collections to have surfaced since the early 2000s, and a well-deserved indication of just how far they could have traveled if they hadn't imploded so tragically early.
by Dave Thompson
Tracks
1. Eli's Coming (Laura Nyro) - 3:32
2. United States of Mind (Alan Hull) - 2:50
3. Yes Man (M. Foster, L. Naiff, L. Hoyle) - 7:25
4. If You Live (M. Allison) - 3:16
5. I Am The Walrus (J. Lennon, P. McCartney) - 4:08
6. You Met Your Match (S. Wonder, D. Hunter, L. M. Hardaway) - 3:03
7. Long Voyage (Carol King) - 4:19
8. Little Lonely Man (M. Foster, L. Hoyle) - 3:58
