Little Feat - Sailin' Shoes (1972 us, sensational blend of southern country blues rock, 2007 japan SHM remaster)

Now, here's a band with a mission. Little Feat is hewn from the same piece of oak as the Byrds, the Band, and the Flying Burrito Brothers. Like those three great (or once-great) groups, Little Feat is preoccupied with American myths and folklore, though in its own peculiar way. This preoccupation is evocatively evident in the group's two albums, Little Feat (one of the three or four best of 1970), and the new record, Sailin' Shoes. Because of the thematic consistency of Little Feat's recorded work, the two albums must be looked upon as a continuum; there may be more piano on the first and more guitar on the second, but the body of concerns is the same.

And the group's approach to its mythic interests follows the same pattern on both LPs. Rather than telling stories in a literal sense, Little Feat's songs flash a myriad of fleeting, haunting images, appearing with all the vivid suddenness of floodlit roadside billboards zooming past an open car window.

These albums are virtual treasure chests of haunting associations, sketches, and scenarios. It isn't merely the words, of course, but also the proud, powerful way they're driven across. Lowell George and Bill Payne don't stop at being the writers of virile, touching songs–they're also masterful musicians. Payne plays a cool, elegant piano and a hot, whirring organ. George makes his slide guitar howl and roar like a tractor trailer in the midst of a steep, mountainous descent. George illustrates the muscular mating of men and their machines, while Payne celebrates it. Together with former Mother Roy Estrada on bass and Richard Hayward on drums, they compose one super rock 'n' roll band. Little Feat can play steaming hot, iron-ore heavy, over-easy light, or non-stop speedy, as the occasion demands. They never sound pretty, but there's an unmissable beauty about their rough-around-the-edges designs.

Vividly representative of what Little Feat is about is "Willin'," a song so fine they did it twice, once on each album. On the first album, they made the song, written by George, a heroic depiction of the long-distance trucker, a dark, solemn expression of purpose. George sang in his deepest, most tired voice, and the band left the track virtually empty, with only the strumming of a lonely acoustic guitar, until the last section, when Ry Cooder's razor-sharp slide guitar sliced through the emptiness like highbeams on a flat, empty highway. This time, however, they've dressed it up in bright, heroic colors, with George using his high, urgent voice to play the trucker's part, and rich harmonies flapping like banners over the song's most celebratory passages: "Just give me ... weed, whites, and wine,/And show me a sign, And I'll be willin' to be movin'." That Lowell George must've done some driving in his time–or dreamed of it. At any rate, it's a proud, wonderful song, encapsulating a wealth of mythic-heroic elements, from Duke Wayne way back past the Indian Scout and the pathfinder.

But it's primarily contemporary myths Little Feat is involved with–and living folklore. Sailin' Shoes, interweaving its big trucks, seedy hotels, and greasy spoons with songs about rock 'n' roll, seeks to incorporate this special music into the raw, vibrant, and vast setting of mythic America. The band forcefully shows how well this music, with its mixture of the primitive and the technological, fits into the scheme of things. And they do it with a vengeance, playing like bloody murder, brutalizing but at the same time exalting their equipment, in much the same way the trucker both batters and romanticizes his machine. Each knows his machine helps make him what he is–completes him.

by Bud Scoppa

Tracks
1. Easy To Slip (Lowell George, Fred Martin) - 3:19
2. Cold, Cold, Cold - 3:58
3. Trouble - 2:15
4. Tripe Face Boogie - 3:14
5. Willin' (Richie Hayward, Bill Payne) - 2:54
6. A Apolitical Blues - 3:25
7. Sailin' Shoes - 2:49
8. Teenage Nervous Breakdown - 2:10
9. Got No Shadow (Bill Payne) - 5:05
10.Cat Fever (Bill Payne) - 4:35
11.Texas Rose Cafe - 3:43
All songs by Lowell George, except where noted.

Little Feat
*Lowell George - Lead, Rhythm, Slide Guitars, Lead, Backing Vocals, Harmonica, Baritone Saxophone, Drum Machine
*Bill Payne - Keyboards, Lead, Backing Vocals, Piano, Accordion
*Roy Estrada - Bass, Backing Vocals
*Richard Hayward - Drums, Backing Vocals
Guests Musicians
*Milt Holland - Percussion
*Sneaky Pete Kleinow - Pedal Steel Guitar
*Debbie Lindsey - Backing Vocals
*Ron Elliott - Rhythm Guitar

1971  Little Feat - Little Feat (2007 japan remaster)

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Little Feat - Little Feat (1971 us, amazing country rock r 'n' b, 2007 japan remaster)

Drop any preconceived notions you may have about this band and get this debut record. It’s a unique sound in their discography. A bluesy, roots rocker masterpiece with the loose feel of Exile on Main Street and the all around good presence of Manassas.

Formed under the wake of Frank Zappa, and even including former Mother, Roy Estrada on bass, Little Feat would go on, after their poorly selling debut record, to release albums with a different sound, featuring iconic sleeves by Weasels Ripped My Flesh artist Neon Park. I think it’s impossible to flip through a stack of used vinyl without finding that lady duck on the cover of Down on the Farm. Later Little Feat has its place, but we recommend this beast.

Some gems: there’s the beautiful, stripped-down Willin’, the song Zappa supposedly fired Lowell George over (either because it was too damn good for a session man or because it championed “weed, whites, and wine”). This song would be re-recorded by a later incarnation of Little Feat and become one of their most loved songs. A ripping Howlin’ Wolf tribute medley in Forty-Four Blues / How Many More Years is a nice feature. The album is great for a first listen because it just fills up the room with rock, but it is truly better as you delve in and listen more.

by Brendan McGrath

Tracks
1. Snakes On Everything (Bill Payne) - 3:03
2. Strawberry Flats (Bill Payne, Lowell George) - 2:23
3. Truck Stop Girl (Bill Payne, Lowell George) - 2:31
4. Brides Of Jesus (Bill Payne, Lowell George) - 3:22
5. Willing (Lowell George) - 2:24
6. Hamburger Midnight (Lowell George, Roy Estrada) - 2:32
7. Forty Four Blues / How Many More Years (Roosevelt Sykes, Chester Burnett) - 6:28
8. Crack In Your Door (Lowell George) - 2:18
9. I've Been The One (Lowell George) - 2:23
10.Takin' My Time (Bill Payne) - 3:48
11.Crazy Captain Gunboat Willie (Bill Payne, Lowell George) - 1:56

Little Feat
*Lowell George - Lead, Rhythm, Slide Guitars, Lead, Backing Vocals, Harmonica
*Bill Payne - Keyboards, Lead, Backing Vocals, Piano
*Roy Estrada - Bass, Backing Vocals
*Richard Hayward - Drums, Backing Vocals
Additional Musicians
*Russ Titelman - Percussion, Backing Vocals, Piano
*Ry Cooder - Slide Guitar
*Sneaky Pete Kleinow - Pedal Steel
*Kirby Johnson - String, Horn Arrangements

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The International Submarine Band - Safe At Home (1968 us, outstanding country folk rock, 2004 remaster)

This was Gram Parsons’ debut album, the eternally underrated Safe At Home.  Prior to this he had recorded solo demos, music with an early folk band the Shilohs and a few singles with the International Submarine Band – all worthwhile stuff.  Parsons formed this group after he had dropped out of Harvard and moved to New York City.  While he was no stranger to the recording studio, critics and music fans unfairly label Safe At Home as a tentative early album that showed signs of greatness. While it was nowhere near as influential as Gilded Palace of Sin, Sweetheart of the Rodeo, or Parsons’ two solo discs, time has shown Safe At Home to be much more than an early throw away.

The remaining members consisted of rhythm guitarist Bob Buchanan, bass player Ian Dunlop and drummer Jon Corneal.  The album is disappointingly short at 9 songs but all the performances are memorable and Gram’s talent as a bandleader is clearly on display.  Even so early on in his career Parsons’ vocal and songwriting abilities were obvious and on the money.  The rest of the group is tight and engaging, reminding me of a garage band playing country music – reckless playing and soulful harmonies.  There are four originals: an early version of Do You Know How It Feels To Be Lonesome which is sparse but very effective, Luxury Liner, Strong Boy, and Blue Eyes.  The latter three tracks are country rock classics, kind of like early benchmarks for the genre.  Luxury Liner charges hard like a freight train and is probably the most popular track off the original lp.  Without a doubt the album’s most rock oriented number, this track is essential listening.  Just as good is Blue Eyes and Strong Boy which are closer to pure country and show off great Parsons vocal performances.  Strong Boy is one of the true country rock classics, an absolute must hear.

The remaining tracks are wisely chosen covers, all great renditions too.  Satisfied Mind is notable for its powerful drum work, Folsom Prison Blues has great stinging guitar leads and I Must Be Somebody Else You’ve Known sports a gorgeous, catchy chorus that’s worth the price of admission.  The original lp was released off Lee Hazlewood’s LHI Records in 1968.  At the time it was praised widely by the likes of Glen Campbell and Don Everly though sales were pretty poor.  There is really much more to this story that I’m leaving out but my main objective was to comment on the strength of the songs and general quality of performance.

Parsons left the group before the lp’s release and remained inactive for a few months before joining the Byrds.  Many of you know this record, so in a sense it’s not really a lost album like The Wheel (Bernie Schwartz) or Morning.  But taken as a whole, Safe At Home is a fresh, groundbreaking record, that at least in my mind is a classic.  The best cd version is on Sundazed, orignal artwork and all.

by Jason Nardelli

Tracks
1. Blue Eyes (Gram Parsons) - 2:50
2. I Must Be Somebody Else You've Known (Merle Haggard) - 2:14
3. A Satisfied Mind (Jack Rhodes, Joe Hayes) - 2:27
4. Folsom Prison Blues / That's All Right (John R. Cash, Arthur "Big Boy" Crudup) - 4:21
5. Miller's Cave (Jack Clement) - 2:45
6. I Still Miss Someone (John R. Cash) - 2:43
7. Luxury Liner (Gram Parsons) - 2:51
8. Strong Boy (Gram Parsons) - 2:00
9. Do You Know How It Feels To Be Lonesome? (Barry Goldberg, Gram Parsons) - 3:31
10.Knee Deep In The Blues (Melvin Endsley) - 1:55

The International Submarine Band
*Gram Parsons - Lead Vocals, Rhythm Guitar
*Jon Corneal - Drums, Vocals
*John Nuese - Lead Guitar
*Bob Buchanan - Rhythm Guitar, Vocals
With
*Earl "Les" Ball - Piano
*Joe Osborn – Bass
*Jay Dee Maness - Steel Guitar
*Chris Ethridge – Bass
*Suzi Jane Hokom – Harmony Vocal

Related Acts
1968  The Byrds - Sweetheart Of The Rodeo (two disc set remaster and expanded)
1969  Steve Young - Rock Salt And Nails (2010 korean remaster)

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Those Guys - Behind The Glasses (1967 us, excellent garage psych, 2009 release)

Realizing a good thing when one came along, Those Guys David Owens, Jimmy Owens and Bill Dabbs hooked up with Bob Barnes and Eddie Deaton shortly after that duo's own rock band--the legendary Elite--broke up.  This line-up of Those Guys would soon become one of the most popular groups in the Dallas/Ft. Worth area.  The band scored a regional hit in 1967 with their version of 'People Say' but reached their peak behind the incredibly strong songwriting of David Owens.  Over forty years later, their 'Stereopis Of A Floret' and 'Lookin' At You Behind The Glasses' have become recognized as garage rock and psychedelic classics.  

This collection of Those Guys recordings includes the complete recorded output of the core group, including their four single sides, six unreleased recordings enginnered by T-Bone Burnett and four bonus tracks recorded for the Sump'n Else TV show.  

Tracks
1. Lookin' At You Behind The Glasses (Bob Barnes) - 2:28
2. Three Days Gone (D. Owens, B. Barnes) - 2:44
3. People Say (J. Barry, E. Greenwich) - 2:28
4. Steropsis Of A Floret (David Owens) - 2:26
5. Everything's Gonna Be Alright (David Owens) - 2:01
6. Sad Smiling Faces (David Owens) - 2:31
7. Sunshine Go Lightly (David Owens) - 1:55
8. The Fix-It Man (David Owens) - 2:18
9. Workin' Girl (David Owens) - 2:33
10.Wonderin' (David Owens) - 1:51
11.When I'm Alone (D. Clark, M. Smith) - 2:32
12.Kentucky Woman (N. Diamond) - 2:43
13.Never My Love (D.J. Adrissi, R.P. Adrissi) - 2:13
14.Come Home (D. Clark, M. Smith) - 2:51

Those Guys
*Bob Dabbs - Drums, Vocals
*David Owens - Guitar, Keyboards, Vocals
*Jimmy Owens -  Rhythm Guitar, Vocals
*Bob Barnes - Bass, Vocals
*Eddie Deaton - Lead Guitar, Vocals

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The New Nadir/Me And The Others - Uncovered (1966-67 new zealand, awesome garage psych freakbeat with young Gary Thain, vinyl issue)

Groundbreaking split LP including 5 killer previously unreleased 1967 freakbeat/rnb/garage studio tracks by the legendary New Nadir featuring Ed Carter from San Francisco, California on lead guitar and vocals (pre The Beach Boys); Gary Thain from Christchurch, New Zealand on bass (pre Keef Hartley, and Uriah Heep); plus Peter Dawkins also from Christchurch, New Zealand on drums (the greatest record producer from down under).

The New Nadir have played some celebrated clubs in London such as the Speakeasy where they gigged a few times with Jimi Hendrix, who was supposed to produce their first record for the UK Polydor label, however after Ed Carter had received the offer to join The Beach Boys, the band split and nothing was ever released.

The five tracks by The New Nadir on this LP were recorded on Monday, August 28th 1967, at a professional Swiss recording studio near Zurich, and capture them in great mood at their fantastic first recordings. The songs range from top freakbeat/garage masterpieces (TOMORROW, as well as I NEED HER NOW), thru unique eastern influenced freakbeat tracks with raga riffs (BLACK SNOW), and onto the pop-art sound of PEOPLE ARE CHANGING, and the rambling rnb/freakbeat/garage guitar instrumental WALKING.

The LP is highlighted by the monster previously unreleased freakbeat track LOVE IS NOT A GAME, which was recorded by the pre-New Nadir outfit Me And The Others in November 1966, at Regent Sound Studios in London. This could easily hail as one of the greatest freakbeat tracks which was ever produced in the UK.

Me And The Others were a mid 60s beat/rnb/freakbeat band from Christchurch, New Zealand featuring Peter Dawkins on drums, and vocals (ex The Strangers); Dave Chapman on guitar, Gary Thain on bass (ex The Secrets, and The Strangers), as well as Paul Muggleston on lead vocals, guitar, and organ (ex The Secrets, The Dynamics, Atlantics, etc.). The LP is rounded out by 5 choice never before released live tracks from a Me And The Others gig in Germany that was recorded in January 1967: The amazing Graham Bond Organisation type of guitar - organ instrumental COMING HOME BABY, plus fantastic kiwi modbeat/garage/freakbeat versions of YOU BETTER RUN, HOLD ON I’M COMING, and CAN’T TURN YOU LOOSE, as well as the killer garage punk original track EVEN GREEN ONES.

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Gary Thain later joined The Keef Hartley Band (1969-72), also worked with Miller Anderson in his solo album (1971) and Uriah Heep (1972-74).

After continued struggles with health and drug problems, Gary died December 8, 1975, in his flat at Norwood Green at the young age of 27.

Tracks
The New Nadir
1. People Are Changing (Gary Thain, Edward Carter, Peter Dawkins) - 3:25
2. I Need Her Now (Gary Thain, Peter Dawkins, Edward Carter) - 2:39
3. Walking  (Gary Thain, Edward Carter, Peter Dawkins) - 2:54
4. Tomorrow  (Peter Dawkins, Edward Carter) - 3:28
5. Black Snow  (Edward Carter, Gary Thain, Peter Dawkins) - 3:04
Me And The Others
6. Love Is Not A Game (H. Robertshaw arr. by D. Chapman, P. Muggleston, G. Thain, P. Dawkins) - 2:22
7. Even Green Ones (Peter Dawkins) - 2:30
8. Coming Home Baby (Bob Dorough, Ben Tucker Arr. by Paul Muggleston, Gary Thain, David Chapman, Peter Dawkins) - 1:40
9. You Better Run (Edward  Brigati, Felix Cavaliere) - 2:28
10.Hold On I’m Coming (I. Hayes, D Porter) - 2:21
11.Can’t Turn You Loose (Otis Redding) - 3:07

The New Nadir
*Ed Carter - Vocals Guitar
*Gary Thain - Bass, Backing Vocals
*Peter Dawkins - Drums, Backing Vocals

Me And The Others
*Peter Dawkins - Drums, Vocals
*David Champman - Lead Guitar
*Paul Muggleston - Bass
*Gary Thain - Vocals, Rhythm Guitar, Organ

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Blue Max - Limited Edition (1976 canada, astonishing sharp rough 'n' roll, 2003 issue)

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

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The Fraternal Order Of The All - Greetings From Planet Love (1967-68 us, fabulous orchestrated psychedelia with folk drops and experimental mood)

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

Musicians
*Andrew Gold - Vocals, All Instruments
*Jim Caprio - Bass, Vocals
*Gene Pool - Drums, Guitar, Keyboards, Vocals
*Graham Gouldman - Bass, Guitars, Vocals
*Kid Williy - Drums, Guitar, Keyboards, Vocals
*Nicole - Vocals

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Crystal Mansion - Crystal Mansion feat Johnny Caswell (1969 us, essential sunny folk psych r'n'b, Vinyl edition)

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

The Crystal Mansion
*Jerry Marlow - Bass
*Rick Morley - Drums
*Johnny Caswell - Vocals
*Ronny Gentile - Guitar
*Vince Baldino - Organ, Piano
*Dave White - Piano, Vocals
*Eric Faulkner - Vocals, Musical Assistance

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Shiva's Headband - Coming To A Head (1971 us, exceptional jazzy psych r'n'b folk rock)

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.

Shiva's Headband 

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

1977  Shiva's Headband - Psychedelic Yesterday

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The Unrelated Segments And The Tidal Waves - Where You Gonna Go (1966-70 us, magnificent detroit garage heavy raw psych)

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. 

Cicadelic

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 Tidal Waves
*Tom Wearing - Drums, Vocals
*Mark Karpinski - Lead Guitar, Vocals
*Bob Slap - Bass Guitar, Vocals
*Jon Wearing - Percussion, Vocals
*Vic Witkowski - Rhythm Guitar, Vocals

Related Act
1970  Lost Nation - Paradise Lost

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