The Puerto Rican band Kaleidoscope, who recorded their album in the Dominican Republic and saw it issued in a promotional run of two-hundred copies on Mexico’s Orfeon label. It’s gone on to become one of the sought after artifacts of the late 60s world-rock scene, with clean copies – when the surface – selling for upwards of $8,000.
Like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars. Yet mucho eccentricity and spontaneity make it more interesting than many such relics. That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility. Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands.
by Richie Unterberger
Cover artwork was created by Bob Molidor an Austrian/German hippy who lived in Mexico that time and also released an album the same year titled "Hits Internacionales"
Tracks
1. Hang Out - 2:15
2. Ps Come Back - 2:05
3. A Hole In My Life - 2:29
4. Let Me Try - 3:31
5. I Think It's All Right - 2:55
6. Colours - 2:30
7. Once Upon A Time There Was A World - 8:10
8. A New Man - 2:35
9. I'm Crazy - 3:30
10.I'm Here, He's Gone, She's Cryin' - 2:28
All songs by Kaleidoscope.
The Kaleidoscope
Rafael Cruz - Drums
Julio Arturo Fernández - Organ
Pedrín García - Guitar
Frank Tirado - Bass, Vocals
Orly Várzquez - Bass, Guitar, Vocals
In spite of the name, these guys were apparently a full fledged band showcasing the talents of namesake singe/keyboardist Paul Kent, multi-instrumentalists David Richards and Gavin (Spencer) Watson, and drummer John Ward. The four apparently met while attending school in London, somehow attracting the attention of RCA Victor.
Produced by Sandy Robertson, 1970's "P.C. Kent" featured all original material; Kent, Richards and Watson responsible for penning all eleven tracks. Musically the set's quite an early-1970s timepiece, bouncing all over the musical spectrum. As lead singer Kent had a likable and versatile voice, that displayed a bit more Cockney accent than normally encountered on Brit LPs. That Brit sense of humor was best displayed on the wild 'drunk driving' ode 'One for the Road'. In spite of the clumsy title 'Little Baby Won't You Please Come Home Honey Child Won't You Just Allow Me One More Chance, Please' started the set off on a commercial high note.
A killer melody and performance would have made this a dandy single. Similarly, 'Sweet Suzie Brown Boots', 'I'm Hanging On' and 'After Dark' all had commercial potential. Like any early-1970s outfit these guys also felt the need to show off their blues chops. Judging by 'Please Please Time' and 'Blues Railway Field' the results were competent, though nowhere near as impressive as their pop moves. Elsewhere the weird hybrid of English music hall and experimental sound collage moves on 'We Are the Police' would not have sounded out of place on The Beatles' "White Album". (Kind of neat cover courtesy of Tony Bond. Obscure yet commercial and strange enough that this one should appeal to quite a few folks ...
Tracks
1. Little Baby Won't You Please Come Home Honey Child Won't You Just Allow Me One More Chance, Please (David Richards, Paul Kent, Gavin Watson) - 2:36
2. Sweet Suzie Brown Boots (Paul Kent) - 3:15
3. Broadened (Ιnstrumental) (David Richards, Gavin Watson) - 1:36
4. Please Please Time (Paul Kent) - 3:31
5. I'm Hanging On (Paul Kent) - 3:05
6. We Are the Police (David Richards, Paul Kent) - 5:07
7. Prelude To Brighton (Paul Kent) - 1:34
8. One for the Road (Paul Kent) - 2:03
9. Suzy (David Richards) - 3:37
10.After Dark (David Richards, Paul Kent) - 2:41
11.Blues Railway Field (Ιnstrumental) (David Richards, Gavin Watson) - 3:25
12.Plastic Wedding (David Richards, Paul Kent) - 4:20
The Hot Dogs featured the talents of Memphis-based musicians Greg Reding and Bill Rennie. keyboardist/guitar player Reding had previously been a member of Village Sound, while singer/bass player Rennie had been in The Poor Little Rich Kids (he was known as Bill Renni). Along with former Piccadilly Circus guitarist Jack Holder, in 1970 the pair started playing together under the moniker Silver. The same year the trio went into Memphis' famed Ardent Studios to record some demos. The demos caught the attention of producer Terry Manning who brought in sessions drummer Prouty for backup. Unfortunately Silver fell apart before anything could come of it, with Reding and Rennie subsequently paying their bills as touring sidemen for Albert King.
Back in Memphis, 1972 saw Reding and Rennie renew their relationship with producer Manning and with his support went into the Stax-affiliated Ardent Studios to record an album. With backing from Holder, guitarist Robert Johnson, and Prouty, 1973's Manning-produced "Say What You Mean" was a surprisingly likeable set of British-influenced power pop. With Reding and Rennie responsible for much of the material (Manning also contributed several tracks), these guys clearly had an affection for English-styled pop with more than a passing nod to the Fab Four. In fact, imagine what Badfinger would have sounded like if they'd been from Memphis and you'd be in the right aural ballpark.
The title track 'Say What You Mean' was a gorgeous ballad with a haunting melody and some beautiful harmony vocals. Even better were the stunning guitar solos (I'm guessing Holder and Johnson were the featured performers). You had to wonder how this was overlooked as a single. Kicked along by a xylophone (?), 'Morning Rain' started out with a beguiling laidback tropical feel, before taking brief detours into Uriah Heep organ terrain, following by a Hammond B3 cocktail jazz interlude, and ending with a tasteful lead guitar (Terry manning?). For some reason this one's always reminded me of an early Steely Dan track. It would have slotted nicely on "Can't Buy a Thrill".
Shifting gears 'When I Come Home Again' displayed the group's proficiency in the country-rock department. Nice melody with an incidiously catchy chorus be forewarned that this one will stick in your head. Time Is All' started out as an acoustic ballad, but exploded into an outright rocker before returning to it's roots. Not my favorite track, though the guitar solo was pretty hot.
'Another Smile' has a pretty melody and some wonderful harmony vocals from the pair. Always liked the chiming twelve strings and the handclap percussion on this one. 'Thanks' was one of the track that reminded me of something out of the Badfinger catalog. Pretty melody and a dazzling guitar solo made this one of the best songs on the album. Great Rennie bass pattern to boot.
'Take the Time To Let Me Know' was another pretty ballad, but it didn't really go anywhere. Once again the highlight came in the form of the tasty guitar solo. Manning's 'Feel Real Fine' offered up a weird mix of country and rock influences. It was definitely weird and almost sounded like a "White Album" outtake. Kicked along by some acoustic slide guitar and harmonica, this was actually one of the catchiest numbers.
Starting off as another country-tinged number the mandolin-propelled 'Let Me Look At the Sun' came as another major surprise. Showcasing a fabulous melody and the album's best lead guitar, this was another lost single. Following a pattern, 'Way To Get To You' opened up with spare acoustic guitars before bursting into a fuller rock arrangement. Another pretty melody with glorious harmony vocals.
'Lowdown' ended the album with another out-and-out rocker. While the song was quite good (another killer guitar performance), on this one Reding and Rennie seemed somewhat uncomfortable singing in the high key. This one was tapped at their third and final single. All hyperbole aside, this was one of those rare albums that actually seemed to get better the more often you listened to it.
Tracks
1. Say What You Mean (Steve Smith, S.T. Smith) - 6:36
2. Morning Rain (Greg Reding, Bill Rennie, Terry Manning) - 4:50
3. When I Come Home Again (Steve Smith, S.T. Smith) - 2:25
4. Time Is All (Bill Rennie, Jack Holder, Terry Manning) - 3:33
5. Another Smile (Bill Rennie, Terry Manning) - 2:56
6. Thanks (Greg Reding, Bill Rennie) - 5:38
7. Take the Time To Let Me Know (Greg Reding, Jack Holder, Bill Rennie) - 3:35
8. Feel Real Fine (Terry Manning) - 2:59
9. Let Me Look At the Sun (Bill Rennie, Terry Manning) - 2:26
10.Way To Get To You (Greg Reding, Bill Rennie) - 2:24
11.Lowdown (Greg Reding, Bill Rennie, Terry Manning) - 3:41
The Hot Dogs
*Greg Reding - Vocals, Keyboards, Guitar
*Bill Rennie - Lead Vocals, Bass Guests Musicians
*Jack Holder - Lead Guitar
*Steve Holt - Drums
*Robert Johnson - Lead Guitar
*Terry Manning - Lead Guitar
*Fred Prouty - Drums
*Richard Rosebrough - Drums
*Steve Smith - Keyboards
Born Rossignuoli Rossi in Naples, Italy in 1948, Walter Rossi and his family moved to Montreal when he was a child, and grew up listening to his mother sing and admired his carpenter father's guitar playing in his spare time. Walter didn't pick up the guitar until after finishing grade school, but soon began spending endless hours on it, taking his first and only guitar lesson at the age of 15.
Barely a year later he began playing at two of the city's biggest R&B clubs with The Soul Mates - at The Grand National and the Esquire Show Bar, where he also saw some of his mentors playing, including King Curtis and TV Mama. The drummer of that band was Buddy Myles, taking a break from Wilson Pickett's touring schedule.
From the ensuing meeting, a week before his 19th birthday, he was auditioning for Pickett during a live show at Toronto's Massey Hall. He was hired as his new guitar player (making him the only white member of the band) after one song. At first he found it difficult to move to New York. His father didn't approve of it and he didn't have a green card, so he simply shipped his guitar to New York ahead of himself, and followed on a bus full of weekend tourists.
He spent nearly two years with Pickett's band before tiring of the road rigors. That, plus his father's failing health prompted Rossi to move back to Montreal, turning down offers to play with Little Richard and Janis Joplin in the process. He joined The Influence, moved to Toronto, and before long were opening for Steppenwolf and The Doors. They cut one self-titled album at Bell Studios in New York.
But when that band ran its course after a little more than a year, he moved back to New York and got reacquainted with Buddy Myles, joining The Buddy Myles Express. They recorded toured the college circuit and recorded one album, producing the hit "Them Changes" (later covered by Jimi Hendrix). But by 1971 he decided to strike it out on his own, moved back to Canada, settling in Toronto. Putting together the power trio Charlee, they were signed to RCA and they recorded an eponymous debut album, launched on CHOM FM. They sold 6,000 copies of the record from only one local record store in one week. "Lord Knows I've Won" was released as a single and got decent airplay at home and in pockets in the US (most notably Dayton, Ohio), but spent three weeks in the #1 spot in Australia.
Tracks
1.Wizzard (Walter Rossi, Danny Ippersiel) - 3:29
2.Lord Knows I've Won (Walter Rossi, Danny Ippersiel) - 2:45
3.Just You and Me (Walter Rossi) - 3:32
4.A Way to Die (Walter Rossi, Danny Ippersiel) - 6:50
5.Let's Keep Silent (Walter Rossi, Danny Ippersiel) - 3:28
6.Wheel of Fortune Turning (Walter Rossi) - 6:32
7.It Isn't the First Time (Jack Geisinger) - 6:09
8.Let's Keep Silent (Walter Rossi, Danny Ippersiel) - 1:57
Fuse offers a fascinating glimpse into the musical beginnings of Rick Nielsen and Tom Petersson before superstardom beckoned as members of Cheap Trick, but it also stands on its own as a prime example of keyboard driven psychedelic pop, circa 1969.
Fuse was the predecessor of the famous 70's hard rock american band Cheap Trick, earlier called The Grim Reapers. As Fuse a solitary album was issued prior to guitarist Rick Nielsen and bassist Tom Petersson allying themselves with ex NAZZ members vocalist Robert 'Stewkey' Antoni and drummer Thom Mooney for a revised NAZZ.
Great tunes, my favorites being 4/4 3/4, Show Me and To Your Health. Rick Nielsen mainly plays Keyboards on this, but he does display some early signs of songwriting ability as in Show Me and To Your Health.
The singer was only 17 years old when this was released, what a strong voice for a kid!!! Tom Peterson has to be one of the most UNDERrated Bass players in popular rock.
Just listen to his tight, chunky-bass on this album, and he was only 19 years old! Each track is different, nothing seems repetitive. That is to say, the guitarist, keyboards everyone sounds different on each track. Do not expect to hear any "Cheap Trick sounding" material on this album. It is Hard-rock, a bit progressive, hard hitting music.
This is a very good album, played by a bunch of Rockford kids, and is highly recomended.
by J.D. Kammerer
Tracks
1. Across The Skies (Rick Nielsen, Joe Sundberg) - 4:35
2. Permanent Resident (Joe Sundberg, Craig Myers) - 4:24
3. Show Me (Rick Nielsen) - 4:17
4. To Your Health (Rick Nielsen) - 6:00
5. In A Window (Rick Nielsen, Joe Sundberg) - 5:54
6. 4/4 3/4 (Joe Sundberg, Craig Myers) - 4:2
7. Mystery Ship (Rick Nielsen) - 3:23
8. Sad Day (Rick Nielsen) - 5:49
9. Hound Dog (Jerry Leiber, Mike Stoller) - 2:55
10.Cruisin' For Burgers (Joe Sundberg, Craig Myers) - 5:01
Taste Of Blues was formed in Malmö in 1967. American singer Don Washington replaced Stridsberg in time for the recording of Schizofrenia. The psychedelic title track takes up the entire first side of the album and features creative guitar work from Rolf Fredenberg. The other highlight is the more structured "Another Man's Mind". The band broke up soon after the album’s release and Claes Ericsson and Patrik Erixson went on to form Asoka.
Taste of Blues challenges their listeners with a saucy concoction of the late 60s psych sound as well as something entirely original and free. It might just be a stretch to call this one Krautrock, but when one jumps in at the deep end here, the overt improvisations beyond the relative blues banner up front, is downright uncanny. Loads of CAN reminding moments, and this is well before CAN even developed their legendary monotonous rhythm based structure.
Schizophrenia opens with the title track, which is a feast of krautocking hypnotising rhythms and then flips over to a more bluesy style on the 2nd side whilst still retaining a sonic playfulness. The booklet holds a complete history of the band.
Tracks
1. Schizofrenia (Claes Ericsson, Rolf Fredenberg) - 16:52
2. A Touch Of Sunshine (Claes Ericsson, Don Washington) - 03:16
3. On The Road To Nidaros (Claes Ericsson, Rolf Fredenberg) - 01:33
4. Another Kinda Love (John Mayall) - 04:05
5. Another Mans Mind (Claes Ericsson, Rolf Fredenberg, Don Washington) - 04:50
6. What Kind Of Love Is That (Claes Ericsson, Don Washington) - 02:11
The Taste Of Blues
*Don Washington - Vocals
*Rolf Fredenberg - Guitars
*Claes Ericsson - Organ, Violin
*Robert Moller - Bass
*Patrik Erixson - Drums
Boasting all of the Rascals' essential hits as well as many enjoyable album tracks, this two-CD set does a fine job of summarizing the New Yorkers' accomplishments. Whether the Rascals are tearing into rockers like "You Better Run" (covered by Pat Benatar in 1980) and the Olympics' "Good Lovin'" (a frat rock staple) or expressing their love of soul music (both Northern and Southern) on "Groovin'," "A Beautiful Morning" and "I've Been Lonely Too Long," the package shows us just how dynamic they could be.
The Rascals' cover of Wilson Pickett's "In the Midnight Hour" is hard to resist, and it should be noted that their version of Sir Mac Rice's "Mustang Sally" was recorded before the song became a major hit for Pickett. Sadly, things broke down for the Rascals commercially in the early '70s, but the socially aware soul-pop songs "Love Me," "Saga of New York" and "Brother Tree" show that they still had some creative life left in them. And they indicate that with the right guidance and input (working with someone like Curtis Mayfield, maybe?), the band could have made a comeback and become an important part of the '70s soul-pop scene. From obvious choices to surprises, Anthology: 1965-1972 is a package that both rock and soul aficionados should savor.
by Alex Henderson
Tracks
Disc 1
1. I Ain't Gonna Eat Out My Heart Anymore (Lori Burton, Pam Sawyer) - 2:46
2. Good Lovin' (Rudy Clark, Arthur Resnick) - 2:32
3. Do You Feel It (Felix Cavaliere, Gene Cornish) - 3:24
6. In the Midnight Hour (Steve Cropper, Wilson Pickett) - 4:05
7. You Better Run - 2:28
8. What Is the Reason - 2:26
9. I've Been Lonely Too Long - 2:07
10.Come on Up (Felix Cavaliere) - 2:45
11.Too Many Fish in the Sea (Eddie Holland, Norman Whitfield) - 2:19
12.Love Is a Beautiful Thing - 2:34
13.Groovin' - 2:31
14.A Girl Like You - 2:48
15.Find Somebody - 3:42
16.How Can I Be Sure - 2:55
17.If You Knew - 3:07
18.I'm So Happy Now (Gene Cornish) - 2:50
19.Easy Rollin' - 2:55
20.Rainy Day - 3:29
21.It's Wonderful - 3:24
22.Silly Girl - 2:44
23.Finale: Once upon a Dream - 3:53
24.A Beautiful Morning - 2:34
All songs by Eddie Brigati, Felix Cavaliere xcept where indicated
Disc 2
1. People Got to Be Free - 3:01
2. Island of Love - 2:23
3. Look Around - 3:03
4. A Ray of Hope - 3:43
5. Heaven - 3:24
6. See - 4:48
7. I'd Like to Take You Home - 2:37
8. Temptation's Bout to Get Me (James Diggs) - 3:31
9. Nubia - 3:44
10.Real Thing - 2:45
11.Carry Me Back - 2:52
12.Right On - 3:48
13.Ready for Love - 3:09
14.I Believe - 3:58
15.Glory, Glory - 3:33
All songs by Felix Cavaliere except where noted
Hailing from Greeley, CO, the Monocles served as an unwitting example of the strange effect LSD had on America's youth during the mid- to late 1960s. Early on, the Monocles started out as a fairly ordinary pop-rock outfit, playing stuff like "Sound of the Surf," "Heartbreak Hill," and "Treat Me Nice" that would raise no eyebrows at a typical teen club gig or high school dance. Then in mid-1966 the Monocles began to change; they cut a tune called "Psychedelic (That's Where It's At)" that doesn't sound all that freaky until you get to the guitar solo, but it led to some truly bent sessions later on, most notably the twisted psychodramas of "The Spider and the Fly," "The Boogie Man," and "The Diamond Mine" (the theme song for Dave Diamond's Los Angeles radio show).
What happened to these guys? It's anyone's guess if they were ingesting the dreaded lysergic acid, but they certainly learned the benefits of sounding like you were gobbling the stuff by the fistful, and there are some prize moments of small-town psychedelia lurking on The Spider, the Fly and the Boogie Man, a collection of 31 rare and unreleased sides from the band. In the summer of 1967, the Monocles changed their name to the Higher Elevation, but while the new name may have sounded a bit more trippy, by this time the band had scored a deal with Liberty Records and their material developed a far greater degree of polish, with sharper playing and exacting harmonies, though there are some fine examples of psychedelic pop ("Odyssey" and "Crazy Bicycle") and sunshine pop ("Here Comes Sunshine" and "Summer Skies") featured here, as well as a solid cover of the Lovin' Spoonful's "Good Time Music" which supposedly features John Sebastian on tambourine and backing vocals.
Given that neither the Monocles or the Higher Elevation ever released an album, this is a surprisingly thorough summary of their career, including a well-detailed liner essay by Les Peterson (though someone needs to tell the folks at Fab Gear that small grey type on a black page doesn't make for easy reading), and is likely to remain the definitive anthology of their recorded work.
by Mark Deming
Tracks
1. KLZ Jingle (The Monocles) - 0:19
2. Let Your Lovin' Grow (The Monocles) - 1:57
3. You Don't Know (The Monocles) - 2:18
4. A Little Bit Less (The Monocles) - 2:54
5. On The Other Side Of Happiness (Jon Floth, John S. Carter Jr) - 2:50
6. Looking Glass (The Monocles) - 2:38
7. Boogie Man (Jon Floth, Don Hirschfield, Tom Behm, Rick Hull) - 1:54
8. Psychedelic (That's Where It's At) (Jon Floth, Robb Casseday, Don Hirschfield, Tom Behm, Rick Hull) - 2:19
9. The Spider And The Fly (Stevens, Strong) - 2:06
10.The Diamond Mine (Dave Diamond) - 2:15
11.Crazy Bicycle (Jon Floth, John S. Carter Jr) - 2:48
12.Here Comes Sunshine (William R Baughn, Frank Slay Jr) - 2:52
13.Thoughts Of Lila (Jon Floth) - 2:20
14.Country Club Affair (John S. Carter Jr, Timothy B. Gilbert) - 2:18
15.Summer Skies (John S. Carter Jr, Timothy B. Gilbert) - 2:08
16.Odyssey (Jon Floth, John C. Phillips) - 2:55
17.Highway 101 (Jon Floth, Roy Robert Freeman, John C. Phillips, Frank Slay Jr) - 2:32
18.Crazy Bicycle (Alternate) (Jon Floth, John S. Carter Jr) - 2:46
19.Wizard Of Love (Charles Hatfield, Paul O'Lone, Gary Young) - 2:20
20.Good Time Music (John Sebastian) - 3:03
21.Country Club Affair (Alternate) (John S. Carter Jr, Timothy B. Gilbert) - 2:16
22.What Is It (The Monocles) - 1:44
23.Sound Of The Surf (The Monocles) - 3:16
24.Heartbreak Hill (The Monocles) - 2:07
25.Where Is My Life (The Monocles) - 2:31
26.Treat Me Nice (The Monocles) - 2:30
27.Boogie Man (Instrumental) (Jon Floth, Don Hirschfield, Tom Behm, Rick Hull) - 1:55
28.Looking Glass (Instrumental) (The Monocles) - 2:39
29.A Little Bit Less (Instrumental) (The Monocles) - 2:55
30.Psychedelic (That's Where It's At) (Instrumental) (Jon Floth, Robb Casseday, Don Hirschfield, Tom Behm, Rick Hull) - 2:19
31.Boogie Man (Alternate) (Jon Floth, Don Hirschfield, Tom Behm, Rick Hull) - 2:47
Tracks 12, 13, 14, 15, 16, 17, 19, 20, 21 as The Higher Elevation.
The Monocles
*Jon Floth - Lead Guitar, Vocals
*Rick Hull - Bass, Vocals
*Robb Casseday - Rhythm Guitar, Vocals
*Don Hirschfield - Piano
*Kevin McIlhenny - Drums
*Tom Behm - Drums, Vocals
*Peter Johnson - Keyboards
The Higher Elevation
*Jon Floth - Lead Guitar, Vocals
*Rick Hull - Bass, Vocals
*Peter Johnson - Keyboards, Vocals
*Tim McDonald - Vocals
*Bob Saunar - Drums
*Rich Sallee - Bass
*Jim Krug - Drums
Charlie Daniels found his sound on 1974's Fire on the Mountain, but with its 1975 follow-up, Nightrider, he found the definitive lineup of the Charlie Daniels Band and, with it, crystallized the group's sound and entered into his golden era. Guitarist Barry Barnes and drummer Gary Allen are replaced by Tom Crain and Don Murray, respectively, and the result is a band that sounds fuller and more adventurous than before, capable of following all the paths that the country and blues-rock fusion on Fire on the Mountain suggested.
As such, Nightrider focuses much more on the playing as opposed to the songs -- which is kind of ironic, considering that this brought Daniels his first big hit in "Texas." Then again, the jamming, while heavy, never overwhelms the songs. In fact, it enhances the songs, opening them up to new vistas in how rock, blues, hillbilly country, and bluegrass sit next to each other, and when the group just lays back and plays, there's the kinetic excitement of hearing these musicians learn how they interact together. Fire on the Mountain remains the Charlie Daniels Band's classic album, but this damn fine album comes in as a close second.
by Stephen Thomas Erlewine
Tracks
1. Texas - 3:04
2. Willie Jones - 3:14
3. Franklin Limestone (Tom Crain) - 5:40
4. Evil - 2:53
5. Everything Is Kinda All Right - 5:11
6. Funky Junky - 5:06
7. Birmingham Blues - 4:43
8. Damn Good Cowboy - 4:35
9. Tomorrow's Gonna Be Another Day - 3:31
All Songs by Charlie Daniels except where stated
Founded in the late 1950s, Vanguard Records quickly established itself as a stalwart folk and blues label, issuing Joan Baez, Odetta, the Weavers, Charlie Musselwhite, Buddy Guy and the Newport Folk Festival recordings. Many of these successes were unconventional, showcasing a daring A&R vision held by Sam Charters and Maynard Solomon, amongst others. Yet, alongside the label’s hits, these early visionaries signed, produced and released other challenging and genre-pushing records that came and went without a whimper or a prayer.
Charters and Vanguard scouted the cutting edge (and at times the cutting-cutting-edge) of music from the greatest counter-cultural scenes of 1960s America. From the East Village of New York to the Jabberwocky crazed-folk of Berkeley and the auto-factory clang and chop of Detroit, Vanguard schizophrenically strove to present to its audience new sounds and new grooves. And while the wild experimentation of John Fahey’s “Requia” and the crazed jams of Country Joe are still beloved by audiences and readily available, those records present only a small part of the story.
This compilation marks the first time the Vanguard label has gone through its archives to hand-select tracks from their best “lost” records and 45s. Many of the bands featured here only released one record, or a smattering of singles, before drifting into obscurity, although many of the artists went on to greater fame after their stint at Vanguard was done. And while they are stylistically varied, there lies a common thread of musical proficiency and integrity that represents the trademark of quality Vanguard strived to uphold…no matter how bombastic, fuzz-soaked or outer-worldly the music may have seemed.
Ultimately, this record isn’t about digging for “Nuggets” or “Pebbles”, but rather about mining gems from the Vanguard vaults. I invite you to “Follow Me Down” and discover the treasures that have emerged from the excavation. I assure you that you won’t be disappointed.
by Isaac Slusarenko
Artists - Tracks
1. The Third Power - Getting Together (Drew Abbott, Jem Targal) - 4:22
2. Erik - You Said/But I've Got My Way (Eric Heller) - 5:48
3. Listening - Stoned Is (Gilbert Moses, Michael Tschudin) - 4:43
4. The 31st Of February - A Nickel's Worth Of Benny's Help (Scott Boyer) - 4:24
5. Elizabeth - You Should Be More Careful (Robert Patterson) - 4:06
6. Jeff Monn - I Can Understand Your Problem (Jeff Monn) - 2:28
7. Listening - See You Again (Ernie Kamanis, Peter Malick, Walter Powers, Michael Tschudin) - 3:46
8. Circus Maximus - Travelin' Around (Bob Bruno) - 4:00
9. The Frost - Take My Hand (Dick Wagner) - 4:23
10.Notes From The Underground - Where I'm At (Mike O' Connor, Skip Rose) - 3:01
11.The Vagrants - I Can't Make A Friend (Trade Martin, Jerry Storch) - 2:35
12.Serpent Power - The Endless Tunnel (David Meptzer) - 13:16
13.The Family Of Apostolic - Saigon Girls (Garry Bonner, Alan Gordon) - 2:25
14.The Third Power - Persecution (Drew Abbott) - 3:26
15.Notes From The Underground - Why Did You Put Me On (Mark Mandell) - 2:42
16.The Hi-Five - Did You Have To Rub It In? (Ted Baron) - 3:08
17.The Far Cry - Hellhound (Jerey Whiting) - 3:44
18.The Frost - Big Time Spender (Dick Wagner) - 4:32
