Blue Max was a rock trio from Amherst, Nova Scotia that formed in 1973 with all the hopes and aspirations ofr many similar groups of that era, albeit they were probably a little younger than most. When they played their first professional gig in 1974, George Douglas and Robert Graves, the drummer and vocalist/ guitarist, were both 15. Andrew Douglas, the bass player, was just 12 years old!! Through endless practice, relentless determination, and confidence only youth can provide, the inseparable trio managed to carve out a curcuit for themselves in the Maritimes and Eastern Québec, playing mainly high school dances on the weekends, since they were still in school themselves. Being the same age as the audience they were performing for helped make them a popular choice for schools again and again.
From the beginning, Blue Max played many of their original songs in every performance and soon felt the need to create an album of their own. On their Christmas vacation from school, in 1976, they traveled to Halifax, to the only studio in the area at the time and recorded "limited Edition", which was released soon after. It was an apt title since only 1,000 copies were issued but it served it's purpose well as a promotional tool and a keepsake for some of the most ardent fans. It captured the unique flavor of rock that was Blue Max. Soon after it's release, Blue Max started playing the bars as well as school dances, even though they were still underage themselves, and they discovered a whole new audience. They also began promoting their own Concerts in arenas around the Maritimes during the summer months when schools were not available. For two more years the band enjoyed regional success.
After seven years together, they all felt the need for some change and Blue Max disbanded with each of them going their own separate ways. George continued to play drums part time in local bands and pursue other hobbies of collecting Corvettes and playing hockey.He is now manager of two NAPA auto supply stores in his home town of Amherst, and Springhill, and is the father of two sons. Andrew put down his bass and pursued his first love, the guitar, and was reunited with me twice in the twin guitar bands "Achilles" and "Mother's Fear". He continued to be a "gun for hire" guitarist and after years of national and international touring, settled in Halifax, where he is currently working on his first solo recording.
by Robert Graves
Tracks
1. Sweet Lovin' - 2:02
2. Prisoner - 2:31
3. Life Long - 3:44
4. Teaser - 3:17
5. March of the Trolls (Robert Graves, George Douglas) - 8:43
6. The New One - 5:12
7. Your Friends (Andrew Douglas, George Douglas) - 3:50
8. I Need You - 3:21
9. The Hooker (Robert Graves, Andrew Douglas, George Douglas) - 4:07
10.Freight Train (Robert Graves, George Douglas) - 1:26
11.omething On My Mind - 2:43
12.Tomorrow's Sorrow - 6:12
All songs by Robert Graves except where indicated
The Blue Max
*George Douglas - Drums
*Andrew Douglas - Bass, Vocals
*Robert Graves - Guitar, Lead Vocals
The Fraternal Order of the All is guitarist Andrew Gold in a home studio overdubbing mode, making the record he always wanted to make back in 1967 and 1968. To call this album retro-flavored would be putting it mildly, as Gold's tongue is firmly planted in his cheek all throughout the record and attendant booklet, right down to the fake names for all the musicians. With the exception of guest turns from Jimmy Caprio, Jimmy Herter and Graham Gouldman (who also produced one track and like Caprio and Herter, wrote one other), this is pretty much Andrew's ballgame here, with him playing and singing all the parts.
The British rock, Beatles-styled psychedelic sounds truly abound on this disc, in the production values, instrumental work, and songwriting style. Highlights include "Tuba Rye and Will's Son/Balloon in the Sky" (with its Beach Boys-like vocal intro), "Rainbow People," "Freelove Baby," the three instrumentals that help the mood along ("Swirl," "Twirl," and "Whirl" and don't forget the "Groovy Party at Jimmy's Magic Pad"), and the trippy title track.
Gold successfully nails all the sounds and cosmic junk that came with these kind of albums back during those heady times, and if the music wasn't so darn good on here, you'd declare this record just a nostalgic joke that works, but it is so much more than merely that; it's a tucked-away little gem that deserves a much wider audience.
by Cub Koda
Tracks
1. Greetings From Planet Love - 0:35
2. Rainbow People - 2:46
3. Love Tonight (Graham Gouldman, Mike Botts) - 5:45
4. Chasing My Tail - 2:29
5. Swirl - 1:19
6. Tuba Rye And Will's Son / Balloon In The Sky - 3:44
7. King Of Showbiz (Andrew Gold, Graham Gouldman) - 4:12
8. Whirl - 0:58
9. Freelove Baby - 2:44
10.Groovy Party At Jimmy's Magic Pad - 2:29
11.It's Beautiful - 0:52
12.Wink Of The Third Eye - 2:00
13.It Has No Eyes But Sight - 0:55
14.Twirl - 0:58
15.Space And Time - 3:24
16.Time Is Standing Still (James Caprio, Jim Herter) - 4:48
17.Ride The Snake - 1:47
18.Mr. Plastic Business Man - 4:14
19.Ccosmicc Ccarnivall - 0:32
20.Tomorrow Drop Dead - 4:34
All songs by Andrew Gold except where noted
The Crystal Mansion's relatively short story is that of a white R&B band moving towards groovy psychedelic rock in the '70s. At times they sound like Rare Earth but lack some of their force. The origins of the band are found in a cover band called the Secrets that existed from 1962 to 1968. The original setting included drummer Rick Morley and guitarist Ronnie Gentile. Later singer Johnny Caswell and organist Sal Rota were recruited. In 1968 they released The Thought of Loving You, their first single to get national airplay, and in the process decided to change the name to the Crystal Mansion.
Capitol Records showed interest and let the band record The Crystal Mansion, an album that turned out a disappointment for all involved and did not sell much. A bass player had been lacking for a longtime but finally Billy Crawford was recruited, and in 1970 the single Carolina in My Mind was released, but only got to number 44 on the national charts. This song hinted a shift towards pop, maybe even sunshine pop similar to that of groups like the Mamas & the Papas, but that was never to be.
Percussionist Mario Sanchez joined the band in 1971, and in 1972 the album Crystal Mansion (the title confusingly similar to that of their debut album) was released on the Motown label Rare Earth. This time the group made much more use of their funky qualities but also showed strong influences from the psychedelic and progressive rock scene.
by Lars Lovén
Tracks
1. For The First Time (Dave White) - 3:22
2. I Used To Be A Boy (Dave White, Johnny Caswell, Vince Baldino) - 2:21
3. Everything's In Love Today (Dave White, Johnny Caswell) - 3:19
4. Country (Eric Faulkner) - 3:23
5. Hallelujah (Dave White, Johnny Caswell) - 2:53
6. I Got Somethin' For You (Dave White, Johnny Caswell, Rick Morley, Ronny Gentile) - 3:33
7. The Thought Of Loving You (Dave White) - 2:33
8. And It Takes My Breath Away (Dave White, Johnny Caswell) - 4:12
9. Barbara (Dave White) - 4:13
10.Wishful Thinking (Johnny Caswell) - 2:38
11.Rhapsody (Dave White, Vince Baldino) - 2:28
12.Goin' To The Fields (Dave White, Johnny Caswell) - 7:05
13.The Thought Of Loving You (Mono Single Version) (Dave White) - 2:29
Storming into the growing Austin music scene in 1967, the group became the house band at the Vulcan Gas Co. and the first group to perform at the renowned Armadillo World Headquarters. Shiva’s Headband ’s quickly rose to a leading position in the new Austin music scene and built a large following of loyal fans all over Texas—from Dallas to San Antonio and the Valley, to Corpus Christi, to Houston and Nacogdoches! As the Headband’s reputation grew, both locally and world-wide, its appearance became a must on shows featuring national acts. They played with such luminaries as Spirit, Steppenwolf, ZZ Top, Janice Joplin, Canned Heat and Steve Miller. Contract offers arrived from RCA, CBS, Electra, Fillmore and others. Finally, they signed with Capitol and released the first LP from the Austin scene (Take Me To The Mountains, produced by Spencer Perskin with Fred Catero ). The Headband has had a number of subsequent releases over the years and now offers their first CD- Shiva’s Headband Classics, Vol. 1, Down in Texas (Produced by Spencer Perskin for Moontower).
The often imitated but never duplicated sound of leader and founder, Spencer Perskin, is undoubtedly the backbone of Shiva’s Headband. Perskin began his career at age 8, and by age 9 was accepted as a special music student at Southern Methodist University in Dallas where he studied for eight year. During his high school years, he played with the Hillcrest High Orchestra, the Hillcrest Band and the Dal-Hi Orchestra. Following high school, Perskin attended North Texas State University where he, along with fellow classmates Michael Murphy and Steve Fromholz, was a member of the school’s Folk Music Club. Perskin also played with the N.T.S.U. Orchestra.
Three years later, in Austin, he and his wife, Susan, and friends founded the soon-to-be- famous Shiva’s Headband. In 1969 Perskin released the Shiva’s second single on his new Armadillo Record label, after the Capitol release in 1970 he founded, with a lot of help from his friends, the now-legendary Armadillo World Headquarters—the institution most responsible for placing Austin, Texas firmly on the World Music Map! Leading the group for almost three decades today Perskin fronts a rejuvenated Shiva’s that is as much a part of the new millennium as it was the 60’s, 70’s and 80’s.
"Coming to a Head" recorded in Houston in 1971 and released it on the Armadillo label Produced by Spencer and recorded by Zak Lam.
Tracks
1. Such A Joy (Shawn Siegel) - 03:44
2. Hungry Ghost - 03:24
3. My Girlish Days (Spencer Perskin, Fred Lawler) - 03:50
4. Anyone (E. E. Cummings, B. McAdams) - 04:10
5. Denton - 03:06
6. California Mountain Klopper (Spencer Perskin, Shawn Siegel) - 04:30
7. Country Boy - 03:56
8. 'A' Rockslide (Spencer Perskin, Susan Perskin) - 03:28
9. Baby What You Didn't - 05:40
10.Someone - 03:53
11.Tennessee Waltz (Pee Wee King) - 02:59
12.Mr.Noname (Live) - 08:20
All compositions by Spencer Perskin except where stated
The Shiva's Headband
*Spencer Perskin - Fiddle, Guitar, Sax, Recorder, Vocals
*Shawn Siegel - Keyboards, Vocals
*Jerry Barnet - Drums
*Isaiah “Ike” Ritter - Rhythm, Lead, Pedal Steel Guitars, Vocals
*Susan Perskin - Vocals
*Mike Cooper - Bass
*Ed Vizard - Sax Lead In "Such Ajoy", Horns In "A" Rockslide
Long recognized as two of the best garage bands from Michigan, The Unrelated Segments whose “The Story Of My Life” has appeared on Rhino’s Nuggets box set and The Tidal Waves who scored a number one hit with “Farmer John” are the main focus of this compilation of Detroit garage bands. All of The Unrelated Segments and The Tidal Waves material are included on this release, in the finest sound yet. All tracks from the original master tapes.
The Tidal Waves consisted of two High School students (Mark Karpinski and Tom Wearing) and three Junior High School students (Bob Slap, Bill Long, and Jon Wearing). Mark and Tom were seniors at Roseville High. Bill, Bob, and Jon were ninth graders and went to Roseville's Burton Jr. High. Jon was the one who asked Bill to join the group and play guitar. The Tidal Waves’ first release “Farmer John” was a smash. Bill Gavin’s Weekly Record Report for May 20, 1966 picked “Farmer John” as a “probable hit”. It entered the charts at Detroit radio station, WXYZ on May 9, at number 35 and the next week was already at number 14, two weeks later on May 30, it was number 5! That same week over at rival WKNR the song peaked at no. 6 (it had entered the WKNR Charts on May 2 at no.30). It reached the coveted No.1 position on WTRX the week of June 17. Nationally it got as high as #79 on the Cash Box Top 100 survey, the week of June 25, 1966.
The Tidal Waves popularity grew to such a degree that they opened for national touring bands such as The Animals and The Herman's Hermits at Olympia Stadium and the Dave Clark Five at the Ford Auditorium. The Tidal Waves also played some shows with The Unrelated Segments. As for TV appearances, The Tidal Waves played all of their recorded output at various times on Robin Seymour’s “Swingin’ Time” TV show. In fact if not for The Tidal Waves performance of “Action” on “Swingin’ Time“, the single probably would have gone completely unnoticed in Detroit. The next Tidal Waves’ single would be under a different name, The Gruve.
When the lead singer for The Unrelated Segments, Ron Stults, was growing up in the fifties he was impressed by Elvis and Ricky Nelson’s hits. Ron developed his vocal style while singing along with their songs on the radio. In 1963, while barely in high school, he formed a group called The High Tones. The band recorded three songs that were cut to acetates, but are now missing in action. The group became popular around Michigan and opened for national bands such as The Four Seasons. In late 1963, The High Tones changed their instrumental style after listening to a Beatles’ album issued in Canada. This was a few months before The Beatles were known in America. The High Tones lasted till the early 1965, when one of the members was drafted into the Navy.
Ron then joined The Village Beaus(who also played on the same bill as The Lykes Of Us). Rory Mack, a classmate of Ron, was also in the group. The band played lots of Beatles, Stones, and Them songs. Internal conflicts led to the break up of the group by September of 1966 and nothing was ever recorded. About two and a half months later Rory got hold of Ron because he was forming a new group with John Torock and they needed a lead singer. Ron joined up with the as yet unnamed group. John Torock was the oldest member of the group (all the other members were still in high school) and was going to business college, taking a course in micro-economics. There was some theory about unrelated segments in his class and thus was born the name of the new group. John's father Louis was very helpful to the band and allowed them to use the Torock basement and garage for rehearsals. Louis would also become the group's official manager.
While many groups from the era were content to do cover songs for their live shows, The Segments performed mainly original songs that were unfortunately never recorded. One song, “Chocolate Graveyard”, has attained mythical status among Unrelated Segment fans as existing, but the song was never recorded because Checkaway was afraid of the potential for racial overtones. Ron says it was “a psychedelic song with a psychedelic title, influenced by bands with such names as The Strawberry Alarm Clock.” A couple of other problematic songs were "It’s All Right Mr. White" which was about the social upheavals in the 60's and again was not meant to have any racial overtones and "War In Vietnam", a protest song, very popular with the Segments’ audience. Another unreleased war protest song was "Mr. Christopher”. It was about a man who was misused by the establishment and written in November of 1968
On January 1, 1969, U.S. recorded a song written by Ron and Rory titled "Hey Love". It was also produced by the band and recorded at GM Recording Studios in East Detroit. A couple of months after this recording Rory decided he was leaving the music business for good and was replaced by Craig Webb on lead guitar. The next song by U.S. was written by Ron and Craig entitled "There's Gonna Be A Change". It was recorded in March of 1969. The personnel changes in the band though, had a permanent fracturing effect and before 1969 ended US dissolved. Fragments of the group went on to form “Lost Nation” and record a Lp for Motown.
Artists - Tracks - Composer
1. The Unrelated Segments – Hey Love - 3:06
2. The Unrelated Segments – Story Of My Life - 3:02
3. The Unrelated Segments – Where You Gonna Go? - 2:49
4. The Unrelated Segments – Cry, Cry, Cry - 3:05
5. The Unrelated Segments – It's Not Fair - 3:04
6. The Unrelated Segments – It's Gonna Rain - 2:28
7. The Tidal Waves – She Left Me All Alone (Victor Wittkowski) - 3:06
8. The Tidal Waves – I Don't Need Love (Dennis Mills) - 2:36
9. The Tidal Waves – Action! (Speaks Louder Than Words) (Dennis Mills) - 3:04
10.The Tidal Waves – Farmer John (Dewey Terry, Don "Sugarcane" Harris) - 2:12
11.The Tidal Waves – Big Boy Pete (Dewey Terry, Don "Sugarcane" Harris) - 2:38
12.The Tidal Waves – She's My Woman (Richard Cioffari) - 2:12
13.The Unrelated Segments – There's Gonna Be A Change - 2:55
14.Ron Stults – Wait - 4:21
15.Ron Stults – Easy Money - 4:53
16.Ron Stults – Lady Lace - 3:35
17.Ron Stults – Cool Slick Jenny - 4:11
18.Ron Stults – No Excuses - 4:30
19.The Unrelated Segments – Story Of My Life - 3:06
20.The Unrelated Segments – Where You Gonna Go? - 2:54
21.The Unrelated Segments – It's Gonna Rain - 2:08
All songs by Ron Stults, Rory Mack except where stated
Tracks 14-18 written by Ron Stults
The Unrelated Segments
*Ron Stults - Lead Vocals
*Rory Mack - Lead Guitar
*Barry Van Engelen - Bass
*Andy Angellotti - Drums
*John Torock - Rhythm Guitar
The 2016 March 29th issue of world renown music magazine MOJO is flying out, probably due to its coverage of the Rolling Stones, who have just played a historic gig in Cuba, made possible after the thawing of relationships between the USA and its old enemy.
Cuba had a ban on foreign music for many years, so the Rolling Stones made a perfect pick to break the ice. The Stones actually played the gig for free – and I’m sure made many new fans in the process.
The Mojo issue is zeroing in on The Rolling Stones stellar 1966 before zooming forward for an exclusive glimpse of their career-spanning Exhibitionism show (your guide: Mick Jagger!).
The FREE covermount CD, entitled “Paint It Black” features 15 tracks that illustrate mid-’60s rock’s turn to the weird, from The Yardbirds, The Seeds, 13th Floor Elevators, The Rationals and more.
Artists - Tracks - Composer
1. The Mickey Finn - Garden Of My Mind (Mickey Waller, Alan Mark, Bernard Jory) - 2:29
2. The Bonniwell Music Machine - Dark White (Sean Bonniwell) - 4:13
3. The Silence - Down Down (Andy Ellison) - 2:53
4. The 13th Floor Elevators - Reverberation (Doubt) (Sutherland, Erickson, Hall) - 2:45
5. The Spencer Davis Group - Morning Sun (Spencer Davis, Eddie Hardin, Kirk Duncan, Nicky James) - 3:20
6. The Seeds - Sad And Alone (Daryl Hooper, Sky Saxon) - 2:44
7. The Yardbirds - Still I'm Sad (Jim McCarty, Paul Samwell-Smith) - 2:55
8. The Pretty Things - The Sun (Phil May, Wally Waller) - 3:02
9. Chris Farlowe - Paint It Black (Soundtrack Version) (Mick Jagger, Keith Richards) - 2:50
10.The Rationals - Leaving Here (Eddie Holland, Lamont Dozier, Brian Holland) - 3:10
11.Hat And Tie - Finding It Rough (Patrick Campell Lyons, Chris Thomas) - 2:48
12.Mountain Men - Too Many People Around (Mountain Men) - 2:56
13.The Lloyd Alexander Real Estate - Whatcha Gonna Do (When Your Baby Leaves You) (Chuck Willis) - 2:55
14.The Crazy World Of Arthur Brown - Devil's Grip (Arthur Brown) - 3:18
15.The Red Crayola - Hurricane Fighter Plane (Mayo Thompson, Frederick Barthelme, Steve Cunningham) - 3:45
A true icon of swamp rock, Tony Joe White parlayed his songwriting talent and idiosyncratic vocals into a modestly successful country and rock career in Europe as well as America. Born July 23, 1943, in Goodwill, Louisiana, White was born into a part-Cherokee family. He began working clubs in Texas during the mid-'60s and moved to Nashville by 1968. White's 1969 debut album for Monument, Black and White, featured his Top Ten pop hit "Polk Salad Annie" and another charting single, "Roosevelt and Ira Lee (Night of the Moccasin)." That same year, Dusty Springfield reached the charts with White's "Willie and Laura Mae Jones.
Brook Benton recorded a version of White's "Rainy Night in Georgia" that hit number four early in 1970; the song has since become a near-standard with more than 100 credits. White's own "Groupie Girl" began his European success with a short stay on the British charts in 1970.
by John Bush
Tracks
1. Stud Spider - 5:37
2. High Sheriff Of Calhoun Parrish - 3:51
3. Widow Wimberly - 3:42
4. Groupie Girl - 3:04
5. Conjure Woman - 3:57
6. Save Your Sugar For Me - 2:21
7. Hard To Handle (Otis Redding, Alvertis Isbell, Allen Jones) - 2:53
8. What Does It Take (Vernon Bullock, Johnny Bristol, Harvey Fuqua) - 3:40
9. My Friend (Donnie Fritts, Spooner Oldham) - 3:12
10.Stockholm Blues - 3:28
11.Boom Boom (John Lee Hooker) - 7:52
12.I Protest (Wayne Carson) - 3:10
13.Man Can Only Stand Just So Much Pain (Mickey Newbury) - 2:31
Songs written by Tony Joe White except where stated
Bonus Tracks 4, 12 and 13
Musicians
*Tony Joe White - Vocals, Guitar, Harmonica, Whomper Stomper Box
*Norbert Putnam - Bass
*Mike Utley - Organ, Piano
*Jerry Carrigan - Drums
*Tommy McClure - Bass
*David Briggs - Organ, Piano
*Sammy Creason - Drums
*The Nashville Horns And Strings Arranged by Bergen White
Founded in 1965, the Druids of Stonehenge not only looked dark and mysterious, but the music they played emitted a menacing bite as well.
Gaining recognition on the local front, the New York band even had a chapter devoted to them in Richard Goldstein’s Goldstein’s Greatest Hits, a book pertaining to popular culture of the day. Due to such glowing feedback and wide exposure, the Druids of Stonehenge were clearly primed for world domination.
The band then hooked up with Uni Records and released the album Creation in 1968, which has recently been reissued by the Sundazed label. Although the disc was bundled tight with terrific tunes and inspired performances, sales were underwhelming and the Druids of Stonehenge simply faded into the ether. But like a lot of albums that were ignored at the time they were cut, in hindsight Creation has attained the praise it so wildly deserves.
Most of the material presented on the record pays apparent homage to the crude and crass blues laced rock of Them, the Rolling Stones and the Pretty Things. Anchored by filthy vocals growling and snarling with bile, “Six Feet Down” moves at a slow and haunting pace, while “Speed” crackles and crunches with clattering guitars and edgy harmonies.
Blending eerie tones with gritty rock rhythms, “Painted Woman” and “A Garden Where Nothing Grows” hang fast as other notable songs on “Creation,” along with numbing covers of Bob Dylan’s “It’s All over Now Baby Blue” and Screaming Jay Hawkins’ “I Put A Spell On You.” As attested by these tracks, the Druids of Stonehenge were masters of melancholy. Motivated by doom and gloom, the band produced a stupefying spooky sound. Imagine the Chocolate Watchband jamming with Black Sabbath, and that should give you some idea what zone the Druids of Stonehenge operated in.
While the band was certainly not shy about flaunting their British beat influences, they were definitely not a one trick pony. The original material on “Creation” exhibits plenty of initiative, particularly “Forgot To Begot,” which offers a surprising change of scenery from the band’s bluesy brash anthems. Speckled with the twirling ting of a harpsichord, the shimmery song flickers with surrealistic sensations, resulting in a remarkably sophisticated piece of psychedelic pop.
Churning and burning with raw emotions, Creation portrays the fine art of authentic garage rock in all its ragged glory.
by Beverly Paterson
Tracks
1. Six Feet Down (Billy Tracy, Carl Hauser, Steven Tindall) - 2:36
2. Earthless (David Budge, J. Budge) - 2:45
3. I Put A Spell On You (Screamin' Jay Hawkins) - 2:42
4. Speed (Carl Hauser, David Budge) - 2:57
5. Bring It On Home (Can't Get By Alone) (M. Hardo) - 6:47
6. Painted Woman (Jerry Goldstein) - 3:25
7. Pale Dream (Carl Hauser) - 2:35
8. Signed D. C. (Arthur Lee) - 3:23
9. Forgot To Be Begot (M. Coachbarepeno) - 2:36
10.A Garden Where Nothing Grows (Jerry Goldstein, Richard Gottehrer) - 3:00
11.It's All Over Now Baby Blue (Bob Dylan) - 5:06
The Druids Of Stonehenge
*Tom Paine - Bass, Vocals
*Steven Tindall - Drums, Organ, Piano, Vocals
*Billy (B. T.) Tracy - Guitar
*Carl Hauser - Lead Guitar, Harpsichord, Vocals
*David Budge - Lead Vocals
For a guy who was a founding father in the Mersybeat movement; worked with the likes of Eric Clapton (briefly), and enjoyed a recording career that's spanned some four generations, he isn't particularly well known in either the UK, or the States.
Born Brian Casser in Liverpool, England after a brief career in the merchant Navy by the late 1950s he'd supplemented his income as a cook by adopting the stage name Casey Jones and formed one of Liverpool's earliest rock bands - Cass and the Casanovas. Casser quickly discovered there was money to be made in rock and roll and by 1959 he was running one of Liverpool's first rock clubs - The Casanova Club which began booking local groups, including an early gig by the newly formed Beatles. Unfortunately, personality issues and differences in musical approaches saw The Casanovas fall apart. With Jones interested in handling lead vocals, the other three members fired him, subsequently reappearing as The Big Three. The trio quickly picked up a manager in the form of Brian Epstein, signed with Decca and began a brief recording career that included stints working as Cilla Black's backing band.
For his part Jones split for London where after about a year he scored a contract with Columbia. Credited to Casey Jones & the Engineers, he made his debut with the release of 1963's 'One Way Ticket' b/w 'I'm Gonna Love You' (Columbia catalog number DB 7083). Anxious to support the single, he ended up recruiting former Roosters lead guitarist Eric Clapton and bass player Tom McGuinness, with backing from drummer Ray Stack. The band's pop orientation didn't particularly suit Clapton or McGuinness and within a matter of months they'd both tendered their notices; Clapton reappearing in John Mayall's Bluesbreakers. With a new line up consisting of lead guitarist David Coleman, rhythm guitar player Roger Cook, drummer Peter Richards, and bassist Jim Rodford Casey Jones and the Engineers soldiered on, releasing a pair of German singles on the Bellaphon label.
Aware of the immense pool of musical talent in the UK and cutthroat nature of the business, Jones decided to relocate the band to West Germany where there was considerable demand for the talents of English bands. The band also opted for a modest name change - becoming Casey Jones and the Governors. The name was apparently chosen to underscore their British roots. That move proved quite shrewd with Bellaphone repackaging the two earlier singles under an EP credited to Casey Jones and the Governors.
While the EP did little commercially, it attracted the attention of the Golden 12 label which signed the band and agreed to finance an album.
Musically "Casey Jones and the Governors" wasn't going to change your world outlook. None of the 14 performances was bad, but without a single original composition the album found Jones and company forced to plow through a pedestrian mixture of R&B and soul chestnut covers. Showcasing Jones' somewhat goofy demeanor and mediocre voice, it was obvious these guys simply would not have been able to compete with the majority of their English competitors. That left them in an awkward position of having to try to make it on the basis of personality - not a strength that translated to vinyl particularly well. So here's the funny thing about the set ... even though there wasn't an ounce of originality in these grooves, the results were surprisingly enjoyable. Who knows why this one struck such a chord with me. Perhaps because these guys were such underdogs? Maybe because they actually showed some in-studio enthusiasm? Who knows.
The Ministry of Sound issued just one 1966 single while they were active. But they recorded several albums' worth of material within the space of about a couple of years, eventually bringing them to the notice of those who collect the small British school of '60s sunshine pop. Too, their history was quite complicated considering their small discography, as they were a studio outfit whose personnel included noted songwriter John Carter, although Carter was not the dominant member.
The core of the Ministry of Sound was the duo of singer/songwriters Robin Shaw and Micky Keen, who had first performed together back in the late '50s in Mick Everly & the Prophets. By the mid-'60s they were part of the house band of Southern Music Studios, and signed to Carter's publishing company as songwriters. They also recorded often at Southern Music Studios as Ministry of Sound, with Carter pitching in with songwriting, guitar, and some lead vocals. Songwriter Russ Alquist also sang lead on some tracks, as well as making some contributions as a writer, with Robin Shaw handling some of the lead vocal duties as well. Top British session drummer Clem Cattini and keyboardist Barry Kingston also recorded with them.
At least several dozen songs were recorded by the aggregation between 1966 and 1968, but the only two that found release were issued on the 1966 Decca single "White Collar Worker"/"Back Seat Driver." In common with much of the material with which the prolific John Carter was associated in the mid- to late '60s (with groups such as the Flower Pot Men and the Ivy League), it gave a British spin to the harmony sunshine pop of groups like the Beach Boys, the Turtles, the Association, and the Tokens, perhaps with a bit of the Four Seasons and Motown thrown in. Some of it also drew from psychedelia in the sophisticated production, use of then-advanced instrumentation such as the Mellotron, songs that explored British characters and situations, and lightly trippy lyrics. It wasn't as good as their most obvious influences, but it was very smoothly recorded and sung, with pleasant if not indelible tunesmithery.
Although some of the songs they recorded were covered by British pop group Amen Corner and Australian singer Normie Rowe, the Ministry of Sound didn't get the chance to release any more records while they were active. They came to an end when Robin Shaw joined the touring version of the Flower Pot Men, with Keen, Carter, and Cattini continuing to focus on studio work. In 2005, 35 of the tracks they recorded between 1966 and 1968 were issued on the two-CD set Midsummer Nights Dreaming/Men from the Ministry, most of them previously unreleased, though it did include both sides of their 1966 single.
At a glance, this 35-track, two-CD set looks like it's combining two 1960s albums by the Ministry of Sound with bonus tracks. It's not; the Ministry of Sound issued just one single, and this is a witty facsimile of how their discography might have played out if things had turned out differently, complete with mock artwork for two LPs, one from 1966 and one from 1968. So almost all of these 35 cuts, all recorded between 1966-1968, were previously unreleased; the only two that actually came out in the 1960s were on the 1966 single "White Collar Worker"/"Back Seat Driver." The group did deserve better than just one official single, but nor was its output particularly deserving of deluxe treatment.
Fans of John Carter, who sang and helped write some of the tracks, will be familiar with the kind of idiosyncratic spin on late-'60s harmony pop the Ministry of Sound offered, combining elements of sunshine pop, the Beach Boys, the Beatles at their poppiest, pop-psychedelia, and maybe a bit of the early Bee Gees. This blend is particularly prevalent on the second and better of the CDs, which groups the more sophisticated and psychedelically inclined tracks into the mock album Midsummer Nights Dreaming, with its very British lyrical blend of everyday life and fairytale imagery.
It's an attractive sound, and so well produced it's hard to believe these weren't actual releases. But it's just not as memorable, hooky, or penetrating as the best work in this general field, though the melancholy "Rain Rain Rain" comes close with its slight sub-Brian Wilson circa 1966-1967 vibe. It's odd to hear a riff that almost approximates the one heard in Cream's "Sunshine of Your Love," however, on the 1966 single "White Collar Worker." The earlier-sounding material on disc one is weaker, populated by some pale attempts to marry British Invasion pop with Motown-influenced production. There's also more straightforward passable sunshine poppiness with a strong California vocal harmony streak; "Three in the Morning," for instance, sounds very much like something the Turtles or the Association might have done. The packaging is superb, with comprehensive liner notes and excellent sound.
by Richie Unterberger
Tracks
Men From The Ministry
1. Mary Mary - 2:32
2. Someone Like You (Robin Shaw, Mickey Keen) - 2:26
3. I'm Coming Home (Robin Shaw, Mickey Keen) - 3:15
4. Something Very Good (John Carter, Robin Shaw, Peter Nelson, Neil Landon) - 2:27
5. Goodbye To Rosalie - 2:33
6. Sunday In The Park (John Carter, Russell Alquist) - 3:41
7. Hey Girl (No Need To Push) (Robin Shaw, Mickey Keen) - 2:49
