Prudence - Tomorrow May Be Vanished/Drunk And Happy (1972-73 norway, beautiful folk psych prog rock)

Prudence was one the most important bands on the Norwegian prog scene in the 1970s, a scene that included the likes of Aunt Mary, Junipher Greene, Titanic, Popol Vuh (Ace), Ruphus, Folque and Høst. They fused rock with old party/dance music from Trøndelag and (on their last album) sang in their local dialect, thereby creating a rock style dubbed Trønderrock. 

The band signed with Polydor and released their first LP 'Tomorrow May Be Vanished', cryptically subtitled 'Victoria Så bærre pass dæ!' (Victoria so just watch out!) in 1972. The album received great reviews, in which the band was compared to greats as Jethro Tull and The Band…

Tracks
1. North in the Country (Per Erik Wallum) - 4:16
2. Mild Grey Fog (Åge Aleksandersen) - 3:27
3. Tomorrow May Be Vanished (Per Erik Wallum) - 4:26
4. What Man Has Made of Man (Åge Aleksandersen) - 2:04
5. 14 Pages (Åge Aleksandersen) - 4:24
6. Going Through This Life (Åge Aleksandersen) - 4:01
7. Oh, Grandpa (Per Erik Wallum) - 3:40
8. Lost in the Forest (Åge Aleksandersen) - 2:16
9. Kerre Volin (Åge Aleksandersen) - 4:39
10.Daida (Åge Aleksandersen) - 4:02
11.Elsie Olivia (Per Erik Wallum) - 4:25
12.Sitting Bull (Åge Aleksandersen) - 3:54
13.Stones (Åge Aleksandersen) - 5:00
14.Poor Annabelle (Per Erik Wallum) - 2:38
15.Drunk and Happy (Terje Tysland) - 3:15
16.Sawmill (Åge Aleksandersen) - 3:22
17.Undeveloped Country Rag (Åge Aleksandersen) - 2:15
18.Bandwagon (Terje Tysland) - 3:55
19.Days Before (Åge Aleksandersen) - 3:27
20.I Hope We Never Get Too Serious About the Music So This Is Just a Joke (Åge Aleksandersen) - 5:49
21.Drunk and Happy (live 1975) (Terje Tysland) - 3:23

The Prudence 
*Åge Aleksandersen – Guitar, Vocals
*Per Erik Wallum – Flute, Vocals
*Terje Tysland – Guitar, Accordion, Vocals
*Kaare Skevik jr. – Drums
*Johan Tangen – Mandolin, Congas
*Kjell Ove Riseth – Bass

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Bull Angus - Free For All (1972 us, significant heavy blues rock, 2010 digi pak edition)

While "Bull Angus" didn't do a great deal commercially, it garnered generally favorable reviews from the critics, leading Mercury to finance a second album - 1972's 'Free For All' produced by Vinny Testa including a cover version of The Beatles 'Savoy Truffle', and supported the likes of Deep Purple and Fleetwood Mac. Their brand of post-psychedelic heavy blues successfully crossed between Southern rock jam and budding Prog.

Frankie Previte subsequently relocated back to New Jersey where he formed the much more smooth and AOR dealing Franke And The Knockouts, dropping the 'i' in Frankie in the process. He also co-wrote music for the hit soundtrack to the 1987 movie Dirty Dancing, "(I've Had) The Time of My Life" with co-composers John DeNicola and Donald Markowitz.

Tracks
1. Lone Stranger (Larry La Falce) - 7:01
2. City Boy (Stepen Stills, Neil Merryweather) - 6:50
3. Loving Till End  (Larry La Falce) - 5:41
4. Savoy Truffle  (George Harrison) - 3:23
5. Drivin' Me Wild (Larry La Falce, Frankie Previte, Geno Charles, Dino Paolillo) - 4:48
6. (We're The) Children of Our Dreams (Frankie Previte, Ron Piccolo) - 5:34
7. Train Woman Lee (Frankie Previte) - 5:46

The Bull Angus
*Geno Charles - Drums, Percussion
*Larry LaFalce - Guitar, Vocals
*Dino Paolillo - Guitar, Vocals
*Frankie Previte - Vocals, Recorder, Percussion
*Ron Piccolo - Organ, Piano, Vocals
*Lenny Venditti - Bass

1971  Bull Angus - Bull Angus (2010 digi pak issue)

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Bull Angus - Bull Angus (1971 us, superb heavy rock, 2010 digi pak issue)

Bullangus came together in the late-1960s with most of the members having paid their dues in various Hudson Valley, New York outfits such as The Oxford Watchband (Previte), The Pyramid (LaFalce and Venditti), and The Revells (Piccolo).  The name came from a farm they rented as a rehearsal site in Rhinebeck, New York which was surrounded by nearby Angus farms.  Club dates and extensive local touring caught the attention of Mercury which signed them resulting in the release of 1971's cleverly titled "Bull Angus".  Produced by Vinny Testa, the album featured a first-rate set of all-original hard rock.  Largely written by the team of  Previte, LaFalce, and Paolillo, nothing here was particularly original, or groundbreaking, but by the same token all ten tracks were uniformly strong and enjoyable.

Opening up with 'Run Don't Stop' the album started with a blazing rocker that had all; pounding rhythm, killer melody, crushing guitars, and a nice vocal from Previte.  Kicked along by Piccolo's organ, and Previte's snarling vocals, 'Mother's Favorite Lover (Margaret)' always reminded me of Deep Purple - okay Previte's jazzy recorder solo wasn't a Deep Purple-ish trait.  Great subject matter to boot; a mom with lesbian tendencies.  The subject matter's always been a mystery to me (though kind of ominous), but 'Uncle Duggie's Fun Bus Ride' sported a catchy melody, some killer lead guitar, and showcased the band's killer harmony vocals. 

In marked contrast to the rest of the album, 'A Time Like Ours'  found the band pursuing a distinctive progressive direction.  Mind you, propelled by some nifty twin lead guitar from LaFalce and Paolillo, it wasn't pompous ELP-styled prog, rather stood as one of the unexpected album highlights.  The song was also interesting for showcasing the band's unexpectedly tight harmony vocals.  For some reason I've associated 'Miss Casey' with Spinal Tap.  I'm assuming that the song wasn't meant to be humorous, but within the confines of this 7 and a half minute song the band somehow managed to cobble together all the elements that are now associated with hard rock song - screaming lead vocals, dumber-than-dirt, hyper sexist lyrics ("you're my morning do"), cart wailing organ, blazing twin lead guitars, Cro-Magnon bass, and multiple time changes.  

Penned by LaFalce, 'Pot of Gold' was the most mainstream and commercial track.  With a strong melody, a great lead guitar pattern, and some wonderful harmony vocals, this one would have made a dandy FM hit.  Coming as a totally unexpected surprise, the acoustic ballad 'Cy' showcased the band's 'sensitive' side.  Beautiful song with fantastic acoustic guitars and it even included a but of scatting. Time to get heavy ...  'No Cream for the Maid' (hysterical title), found the band shifting their standard metal moves to incorporate some progressive moves.  Such hybrids usually fall flat on their faces, but these guys were talented enough to pull it off resulting in one of the album's best tracks. 

Bad-Cat

Tracks
1. Run Don't Stop (Frankie Previte, Larry La Falce, Dino Paolillo) - 4:27
2. Mother's Favorite Lover (Margaret) (Frankie Previte, Larry La Falce, Dino Paolillo) - 3:47
3. Uncle Duggie's Fun Bus Ride (Frankie Previte, Larry La Falce, Dino Paolillo) - 4:28
4. A Time Like Ours (Frankie Previte, Larry La Falce, Dino Paolillo) - 6:25
5. Miss Casey (Frankie Previte, Lenny Venditti, Larry La Falce, Dino Paolillo) - 7:34
6. Pot Of Gold (Larry La Falce) - 4:02
7. Cy (Frankie Previte, Dino Paolillo) - 5:11
8. No Cream For The Maid  (Frankie Previte, Lenny Venditti, Larry La Falce, Dino Paolillo) - 6:45

The Bull Angus
*Geno Charles - Drums, Percussion
*Larry Lafalce - Vocals, Guitar
*Dino Paolillo - Vocals, Guitar
*Ron Piccolo - Vocals, Keyboards
*Frankie Previte - Vocals, Percussion, Recorder
*Lenny Venditti - Bass

1972  Bull Angus - Free For All (2010 digipak)

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Swampgas - Swampgas (1972 us, fine blues psych rock with southern air, 2004 edition)

The Swampgas consisted of bassist Jock Davis, guitarist Baird Hersey, singer Kim Ornitz and drummer Ricky Slater.  The album was recorded at New York's A&R Studios, with Artie Kornfeld and the band co-producing.  

With Hersey serving as the prime writer (he's credited with penning seven of the eight tracks), overlooking the bland cover, the album's quite diverse and impressive.  This comparison probably won't trigger everyone's imagination or interest, but on material such as the molten opener 'Patato Strut' and 'Trapped In The City' the combination of Ornitz's grizzly drawl and Hersey's guitar recalls 38 Special, or Skynyrd had they been interested in pursuing a tougher, mildly psychedelic and progressive sound.  Hersey's licks also make it an album that should appeal to folks who like Hendrix-influenced guitar (check out the blazing 'Eulogy' and '').  The handful of ballads are equally impressive - 'The Waiting, E Train Blue'.  Weirdest (and coolest) track here - the raga !!! influenced 'Egg Shells'.  

Hersey reappeared in the late 1970s/early 1980s with a couple of jazzy/experimental solo efforts.  He continues to perform and record, though judging by a review of one  his recent releases (), his interest's are a little more eclectic - 'deep and calming meditations with only Tibetan cymbals, reverberation and his voice'.  Ornitz also seems to have remained active in music, though as a producer and sound mixer.  He's worked on literally dozens of movies and film series.  No idea whatever happened to Davis and Slater ...

Bad-Cat

Tracks
1. Patato Strut (Baird Hersey) - 5:12
2. Don't (Baird Hersey) - 4:39
3. The Waiting, E Train Blue (Baird Hersey) - 6:14
4. Trapped In The City (Edlen) - 6:20
5. Eulogy (Baird Hersey) - 3:15
6. Frolic Child (Baird Hersey) - 5:36
7. Pala (Baird Hersey, Kim Ornitz) - 4:37
8. Egg Shells (Baird Hersey) - 7:12

The Swampgas
*Jock Davis - Bass
*Baird Hersey - Guitar
*Kim Ornitz - Vocals
*Ricky Slater - Drums, Percussion

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Bobby Harrison - Funkist (1975 uk, fantastic heavy funky blues rock)

Singer/songwriter and drummer Bobby Harrison’s history can be traced back to the late fifties and the legendary Brentwood group The Rockefellas. Subsequently, during the early part of the sixties, he was in Golden Apples Of The Sun, who signed to Andrew Loog Oldham’s Immediate label and released one single, Monkey Time, in 1965. Following that, Harrison formed the CBS-signed Powerpack, who put out two singles in 1966 and 1967. Backed by famous jazzer Ronnie Scott, Bobby also released his first record in his own name for CBS in the mid-sixties, a version of the song Sonny.

Harrison then became one of the original members of Procol Harum during the spring of 1967, when the group recorded their famous No 1 single, A Whiter Shade Of Pale. However, at the same time as the record was at the top of the charts all over the world, Harrison and the band’s guitarist left the group to form their own outfit, Freedom.

Considered to be the "missing link" in Bobby Harrison’s career between the two legendary bands Freedom and Snafu, the solo album Funkist has previously only been available on vinyl in the US. With this Angel Air release the rest of the world can now finally catch up with not just Bobby Harrison in top shape, but also a bunch of top notch British rock legends.

The material had basically been written for Freedom, but at that time Bobby started to go in a different direction. He wanted to get away from straight R’n’B and more into mixing the R'n'B with funk. Funk was happening then with The Average White Band, War, Redbone and Little Feet.

In the early eighties, after Snafu had folded, Bobby decided to move to Iceland. There he got involved with many musical activities and also teamed up with local supergroup Mezzoforte. With this group he recorded the wonderful Solid Silver album, a collection of R&B classics displaying his excellent abilities as a singer.

by Claes Johansen

Tracks
1. Cleopatra Jones (Joe Simon) - 3:37
2. Whiskey Head (Harrison, Monaghan) - 4:32
3. Thinkin' 'Bout You (Harrison, Monaghan) - 2:35
4. King Of The Night (Harrison, Sargeant) - 7:09
5. Little Linda Lovejoy (Harrison, Sargeant) - 4:21
6. Spotlight (Goffin, Goldberg) - 3:05
7. Long Gone (Harrison, Moody) - 5:01
8. Looking For A Friend (Harrison, Sargeant) - 4:22

Musicians
*Bobby Harrison – Voice, Drums
*Ian Paice - Drums
*Micky Moody - Guitar
*Matthew Fisher - Keyboards
*Chris Stewart - Bass
*Walt Monogham - Bass
*Clem Cattini - Drums
*Herbie Flowers - Bass
*Bob Sargent - Keyboards
*Tony Iommi - Guitar
*Henry Mcculloch - Drums
*Ray Owen - Voice

Bob's Pieces in time
1969  Freedom - Nero Su Bianco / Black On White
1969  Freedom - Freedom At Last (2004 remaster)
1970  Freedom - Freedom

1971  Freedom - Through The Years (2004 remaster)
1972  Freedom - Is More Than A Word
1973-74  Snafu - Snafu / Situation Normal

1978  Nobody's Business - Nobody's Business (2007 bonus tracks remaster)
1987  Bobby Harrison - Solid Silver

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Great Speckled Bird - Great Speckled Bird (1970 canada / us, awesome country folk rock, 2007 japan bonus track remaster)

The Great Speckled Bird was lead by Ian and Sylvia Tyson. The above album was recorded and released in 1970. The record company pulled the album from store shelves within months, making this album rare and thus sought after. It’s not uncommon for a copy of the Great Speckled Bird to exchange hands for hundreds of dollars, if not more!

The album itself was a great mixture of early country-rock and folk. At the time it was a bold move for the Tysons to break free from their folk straight jackets. The Great Speckled Bird was supposed to signal the beginning of something new for this famous folk-rock duo. The band was very tight from live gigging, containing some good musicians such as the Remains’ N.D. Smart. Amos Garrett (lead guitar) and Buddy Cage (steel guitar) play with an added venom, incorporating different tones and textures to their guitar playing that work just brilliantly.

The concept of the Great Speckled Bird was to change the direction of folk as well as add electricity and rock n roll power to contemporary country music. The songs speak for themselves, just listen to the power in Ian Tyson’s Calgary. Both he and Sylvia are in great voice, adding a compelling and courageous element to this landmark album. Some of the songs such as Love What You’re Doing Child have that funky rural vibe while others (Rio Grande) recall their folk past. Flies in the Bottle is a beautiful country song and one cannot help but think how this album predates the Gram Parsons and Emmylou Harris collaborations. At times this album rocks hard too, as heard on Bloodshot Beholder.

by Jason Nardelli

Tracks
1. Love What You're Doing Child (Ian Tyson) – 3:39
2. Calgary (Ian Tyson, Sylvia Fricker Tyson) – 3:03
3. Trucker's Cafe (Ian Tyson) – 3:22
4. Long Long Time To Get Old (Ian Tyson) – 3:07
5. Flies In The Bottle (Ian Tyson) – 3:47
6. Bloodshot Beholder (Ian Tyson) – 2:58
7. Crazy Arms (Chuck Seals, Ralph Mooney) – 2:54
8. This Dream (Ian Tyson) – 3:40
9. Smiling Wine (Sylvia Fricker Tyson) – 3:11
10.Rio Grande (Ian Tyson, Amos Garrett) – 3:51
11.Disappearing Woman (Sylvia Fricker Tyson) – 2:10
12.We Sail (Sylvia Fricker Tyson) – 4:37
13.New Truckers Cafe (Live) (Sylvia Fricker Tyson) - 3:09

Personnel
*Ian Tyson - Guitar, Vocals
*Sylvia Fricker Tyson - Vocals
*Buddy Cage - Pedal Steel Guitar
*Amos Garrett - Guitar, Vocals
*N.D. Smart - Drums
*David Briggs - Piano
*Norbert Putnam - Bass Guitar
*Todd Rundgren - Producer

1967-68  Ian And Sylvia - Lovin' Sound / Full Circle 

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The Superfine Dandelion - The Superfine Dandelion (1967 us, magnificent garage beat folk psych)

This Superfine Dandelion reissue is one of the more compelling installments, if only for Dixon's liner notes. Imagine a Valley music scene where bands are allowed to play 'til three in the morning like normal cities. And how's this for lost innocence? The Doors share a bill with the Superfine's earlier incarnation, The Mile Ends, in 1966. After the Fifth Estate gig, Jim Morrison and company wind up at rhythm guitarist Richard Mickel's house for a keg party. The most mischief the Lizard King got up to there? Pulling blues records out of Mickel's sister's room!

The first four cuts on the Superfine Dandelion CD make up the entire recorded output of the Mile Ends (also issued as a separate Sundazed vinyl EP). Said to be one of the best live bands in Phoenix, the Mile Ends started out in that transitional pop year of 1966 as British R&B wanna-bes playing American covers. Here was a teen group with enough smarts to rock up Them's jazzy "Bring 'Em On In" and enough dumb luck to piss off Double Shot Records by changing one word in Roy Orbison's "Candy Man" (singer Mike McFadden decided to croon "let me grasp you by the hand" instead of "take." The nerve!).

The EP leaves off at the point where the Mile Ends morphed into the Superfine Dandelion for the mystical "Ferris Wheel." Hearing this sitar simmering single, one is reminded about how Ravi Shankar sheepishly giggled when asked what he thought about the playing on "Norwegian Wood." Mickel's sitar playing is no more laughable than Beatle George's; thankfully the Dandelion chose not to incorporate any barely digested Eastern philosophy into its lyrics.

The Dandelion's only long-player, issued on Mainstream Records in late 1967, found the group moving toward a hybrid of Byrds/Youngbloods country rock and the good-time jug-band music of Lovin' Spoonful and Sopwith Camel (dig the dueling stereo kazoos on "It's Raining"). Lyrics, however, weren't the Dandelion's strong point. Take "Shameful Lady," a rewrite of the Byrds' "Girl With No Name" with Chris Hillman's same lame "name/game" rhyme, while "Janie's Tomb" pits the identical declining bass line of the Kinks' "Sunny Afternoon" to a morbid vaudeville number about a psycho who kills his girlfriend and then marries her.

The Superfine Dandelion's best moments come when it steers clear of the psychedelic dissonance of "The Other Sidewalk" and keeps things simple. The band's twang and jangle leanings seem to anticipate the "desert rock" sound of the Gin Blossoms, particularly on "Don't Try to Call Me," the kind of song that could coax a free beer from any Long Wong's patron even today.

The most recent track is a 1968 demo which finds the band mastering acid rock and ready to change direction again. "Mr. and Mrs. Potato Head" is a heavy anti-establishment rant that's as funny as Zappa's best work with Mothers ("Mr. and Mrs. Potato Head/Sleepin' in a box at the foot of my bed/Waiting all morning, waiting to rise/Waiting for someone to stick in their eyes"). Yet just one year after the Summer of Love, the Dandelion scattered into a few more short-lived bands. Most notably, Rick Anderson helped start the Tubes (of which he's still a member), while the late Ed Black did high-profile session and road work with Linda Ronstadt and Karla Bonoff. 

by Serene Dominic

Tracks
1. Candy Man (Fred Neil, Beverly "Ruby" Ross) - 2:51
2. Bottle Up and Go  (Michael McFadden) - 2:16
3. I Can Never Say (P. May, D. Arthur, D. Taylor) - 3:07
4. Bring 'Em on In (Van Morrison) - 3:03
5. Ferris Wheel (Michael McFadden) - 2:43
6. People in the Street (M. McFadden, Mike Collins, Ed Black, C. Carver, Jim Musil) - 3:32
7. Crazy Town (Move on Little Children) (Mike Collins, Jim Musil) - 3:07
8. My Place (Michael McFadden, Jim Musil) - 2:14
9. Day and Night (Michael McFadden, Jim Musil) - 2:49
10.Shameful Lady (Michael McFadden, Jim Musil) - 2:43
11.Janie's Tomb (Michael McFadden, Jim Musil) - 2:55
12.It's Raining (Mike Collins, Jim Musil) - 3:05
13.Don't Try to Call Me (Michael McFadden, Jim Musil) - 2:56
14.The Other Sidewalk (Mike Collins, Jim Musil) - 3:05
15.What's the Hurry? (Michael McFadden, Jim Musil) - 2:50
16.Mr. and Mrs. Potato Head (Mike Collins, Jim Musil) - 2:46
17.Ferris Wheel (Michael McFadden) - 2:38
18.The Other Sidewalk (Mike Collins, Jim Musil) - 6:39
Tracks 1-4 as The Mile Ends

The Mile Ends
*Steve "Wally' Fresener - Bass
*George Alexander - Guitar
*Michael McFadden - Guitar, Vocals
*Richard Mickel - Guitar
*Danny Pacheco - Drums

The Superfine Dandelion
*Rick Anderson - Bass, Rhythm Guitar
*Michael McFadden - Guitar, Harmonica, Vocals
*Ed Black - Lead Guitar, Piano, Vocals
*Mike Collins - Drums, Vocals

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The Victors - Victorious (1964-65 us, fabulous garage beat, pre-Litter, 2006 release)

“Before there was the Litter, there were the Victors. Including two future members (bassist Jim Kane and vocalist Denny Waite) of that fab Minneapolis combo, the Victors didn’t have the psycho-destructo stage show, fiery sound, and psychedelicized pyrotechnics of their successors. But their repertoire of British Invasion covers laid the groundwork for the Litter, and they had the teen garage sound that propelled them to battle of the bands victories and into the hearts of garage fans when five unreleased recordings were first unearthed by Arf! Arf! on The Scotty Story (now out of print) in 1993.

Victorious expands the Victors’ legacy with not only those five, but also 21 previously unreleased tracks, including eight relics from their beginnings as a surf-styled band, a stunning seven-song demo tape, five spirited covers from a 1966 rehearsal, and a raw romp through “Gloria” (or “G-L-O-O-R-A,” as they erroneously spelled it!) straight off an acetate. It also includes the now legendary 1965 Scotty single, “Beer Bust Blues” b/w “Scotch Mist,” in which four-fifths of the band (billed as the Scotsmen) romped as their friend Pete Lokken did his best “Surfin’ Bird”/“The Crusher” vomit-tone into the mike.

Victorious traces the evolution of the Excelsior, Minn. miscreants from a ’64 surfy combo (named after a Dick Dale song, “The Victor”) following in the footsteps of the Trashmen and fellow Minnetonka high school pals the Ready Men and the Yetti Men to a British Invasion-styled combo covering Them and the Yardbirds in 1965—before it was cool.

It was all over for the Victors by 1966, but their legacy lived on when Kane and Waite joined former members of the Tabs to form the Litter, a band that grew from garage Yardbirds roots into one of the most innovative hard rock bands on the scene by the late ’60s—and that has been documented on four Arf! Arf! CDs. Victoriousadds to that legacy with 31 stompin’ tracks and an extensive 20-page book featuring tons of archival photos and graphics, a band history by Doug Sheppard of Ugly Things magazine, and recollections from their producer, Warren Kendrick, the man who wrote and produced the Litter’s definitive version of “Action Woman.”

ArfArf-Recs

Tracks
1. Little Girl - 2:36
2. Midnight Hour - 3:37
3. I Ain't Gonna Eat Out My Heart Anymore - 2:47
4. One More Time - 2:28
5. You're A Better Man Than I - 3:39
6. Gloria - 2:45
7. Love Me - 2:04
8. She Gives Me Lovin' - 1:48
9. Walking The Dog - 2:53
10.Louie Louie - 3:51
11.I Don't Know - 2:34
12.Baby What You Want Me To Do - 2:40
13.Low Down Trick - 2:31
14.Beer Bust Blues - 3:04
15.Scotch Mist - 2:04
16.Froggy - 3:35
17.I Go Crazy - 2:38
18.I Ain't Gonna Eat  Out My Heart Anymore - 3:03
19.Good Lovin' - 2:46
20.Kicks - 2:29
21.All I Really Want To Do - 1:55
22.Steel Pier - 1:56
23.Mr - Peppermint Man - 1:57
24.I've Had It - 2:22
25.Death Of A Gremmie - 2:59
26.Shake 'N' Stomp - 2:39
27.Good Golly Miss Molly - 2:24
28.Long Tall Sally - 1:23
29.Arabic - 2:13
30.Scotch Mist II - 2:42
31.Beer Bust Blues (Excerpt) - 0:26

The Victors
*Jim Crill - Guitar, Vocals
*Ron Daily - Guitar, Vocals
*Jim Kane - Bass, Vocals
*Warren Kendrick - Guitar, Vocals
*Terry Knutson - Keyboards, Vocals
*Gary Leech - Drums
*Pete Lokken - Vocals
*Denny Waite - Vocals

1968  The Litter - One Hundred Dollar Fine (extra tracks issue)

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The Psychedelic Aliens - Psycho African Beat (1969-71 ghana, awesome funky groovy acid psych, 2010 issue)

The Psychedelic Aliens described their music as "Psycho-African Beat," and if "Psycho" isn't as important as the other two parts of the equation, that's not to say that their music doesn't sound trippy and adventurous by the standards of the time it was recorded (1969 to 1971), or even the present day. The Psychedelic Aliens were a band from Ghana that fused funky R&B grooves with rock-influenced guitars (Jimi Hendrix was clearly a touchstone for guitarist Carl Ricky Telfer, though he reaches for his feel more than his flash), and African rhythmic and melodic textures, and while their music was leaner and less kinetic than many of the pioneering Afro-beat acts that would follow, it generated a powerful sense of groove suggesting a meeting between James Brown and Fela. 

The Psychedelic Aliens cut a four-song EP and two singles for Polydor's African branch, and all eight songs are included on this reissue from Academy LPs. While the recording is frustratingly flat sounding and the short length of the songs (the longest track here is just 3:11) prevents the grooves from growing into something truly epochal, none of it dampens the genuine excitement the Psychedelic Aliens could generate when they played, and the interplay between guitarists Telfer and Reyad Couri, the loping basslines of Lash Laryea, the fierce but jazzy organ breaks from Malek Caryem, and the percussive skills of Smart "Pozo" Thompson (trap drums) and Patrick (congas) coheres into something that was truly unique, a fusion of rock and funk with a truly African viewpoint. 

Running a bit less than 24 minutes, the biggest disappointment of this disc is that there isn't more music, but what's here is unique, exciting, and joyous; if ever there was an obscure band that screamed out for proper rediscovery, The Psychedelic Aliens are it, and Academy deserves kudos for making this music available outside Africa for the first time. 

by Mark Deming

Tracks
1. Blofonyobi Wo Atale - 2:58
2. Hijacking - 2:58
3. We're Laughing - 3:06
4. Extraordinary Woman - 3:11
5. Gbe Keke Wo Taoo - 2:32
6. Gbomei Adesai - 3:11
7. Homowo - 2:55
8. Okponmo Ni Tsitsi Emo Le - 2:56

The Psychedelic Aliens
*Reyad Couri - Rhythm Guitar, Vocals
*Malek Crayem - Organ, Vocals
*Lash Laryea - Bass, Vocals
*Carl Ricky Telfer - Guitar, Vocals
*Smart "Pozo" Thompson - Drums, Vocals

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Stefan Grossman - Bottleneck Serenade (1975 us, elegant instrumental bluesy folk with prog touches)

For Bottleneck Serenade, this 1975 recording from Stefan Grossman, the guitarist brought his instrumental music into a 16-track professional studio. Far from being an exercise in indulgence, however, multi-tracking and studio effects are kept to a tasteful minimum. In fact, the recordings seem to benefit from the crisp fidelity afforded by modern technology. 

Working with an array of microphones and recording techniques, Grossman captures the many subtle shades of his numerous acoustic guitars. Typically, the guitarist's love of early American country blues and folk idioms is on full display, yet the compositions (the bulk of which are originals) also bear the mark of Grossman's own developing voice. He only loses sight of what roots his material on "Tomorrow, Pt. 1-3." Beginning in fine form, Grossman slows the music down to a crawl, showcasing its characteristic syncopation. 

The song loses potency, however, with a misplaced guitar figure soaked in distortion and wah-wah. He then makes his way into a rather dull and unnecessary solo on acoustic guitar. At best, Grossman's perfectly distilled melodies seem built into the compositions. The overdubs on "Tomorrow" feel superfluous. The biting bottleneck showcases "Concrete Parachute" and "Delta Slide of 1928" are thrilling highlights. Choppy rhythms are comprised of abrupt, stinging steel lines, wrung from the instrument. On the spacious title track, he lets the long, shivering slide notes ring. 

What brings the album to life is the sure presence of the instrument -- the intimate sound of the slide rattling against the guitar strings. Bottleneck Serenade is a fine introduction to the breadth of Grossman's work, ranging from the graceful fingerpicking of "Working on the New Railroad" and the gritty bottleneck blur of "Birdnest Two-Step" to complex original material like "Tightrope."

by Nathan Bush

Of all the instrumental albums I have worked on, this has been the most exciting to put together. At times ! felt like a painter. Instead of using a canvas, palette, and colors my tools were a wide assortment of guitars, sophisticated microphones, and the ambience of a studio; The tunes vary from guitar solos to collages of guitar sounds.  

By using a 16-track lope machine I was able to overdub various guitar parts arid experiment to hear which sounds and textures complemented others.  The combination of the acoustic guitar and the advanced recording studio intrigues me and m these recordings I have tried lo combine both worlds. 

Bottleneck Serenade was recorded over a three-month period while I was living in Rome/Italy and London, England.  I am very thankful to my friends who allowed me to use their studio facilities as well as the engineers who contributed many ideas.

by Stefan Grossman

Tracks
1. Tightrope - 4:05
2. Lullaby For Anna - 3:16
3. Bottleneck Serenade - 3:58
4. The First Time Ever I Saw Your Face - (Ewan MacColl) - 2:58
5. Birdnest Two-Step - 1:48
6. Dance Of The Blind Minotaur - 3:55
7. Tomorrow (Parts 1,2 and 3) - 4:56
8. Working On The New Railroad (Traditional) - 2:33
9. Concrete Parachute - 2:21
10.For Elvie (And Then Some) - 2 :34
11.Delta Slide Of 1928 - 4:50
12.Friends Forever - 2:11
All selections written by Stefan Grossman except where indicated

Musicians
*Stefan Grossman - Acoustic, Guitar (Electric On 7 Only)
*Mike Cooper - Bottleneck Guitar (3,5,11 Only)

1969  Danny Kalb And Stefan Grossman - Crosscurrents (2005 Collectable's reissue)

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