Mason Proffit's second major-label album and fifth album overall was similar in construction to its predecessor, Rockfish Crossing. Once again, the Talbot brothers and their supporting players turned in a combination of effective originals that touched on subjects from romance to politics with some enthusiastically performed country covers, notably a version of "Setting the Woods on Fire" that sounded like a deliberate attempt to impersonate Jerry Lee Lewis and featured a furious kazoo solo.
The political element came out in "Black September/Belfast," with its reflections on Northern Ireland and Vietnam. You'd have thought that music this impressive could get a hearing, but Mason Proffit appeared at a time when music fans were more polarized than musicians, not only by music but by politics and culture. Despite the band's evident affection for traditional country music, their left-wing political stance and status as hippie rock musicians meant they could never be accepted in Nashville. And their music was too overtly country for them to score a pop hit.
Thus, they were doomed to appeal only on the country-rock-oriented Los Angeles club scene and to some music critics. Bare Back Rider did a little better than Rockfish Crossing had, even scraping into the charts for a couple of weeks, but that wasn't the level of success a major label expected, and Mason Proffit was forced to hang up its spurs.
by William Ruhlmann
Tracks
1. Lilly - 2:17
2. Cottonwood - 4:16
3. Setting The Woods On Fire (Ed Nelson, Fred Rose) - 2:52
4. Dance Hall Girl - 4:47
5. To Be A Friend - 4:10
6. Stoney River - 3:47
7. Black September/Belfast - 3:45
8. I Saw The Light (Hank Williams) - 2:55
9. Five Generations - 4:40
10.Sail Away - 3:10
All songs written by John Talbot, Terry Talbot except where noted
James Aumann was doing his usual tax-collecting work as Warren County Treasurer late last year when he received an email about a secret from his long-ago past.
It was from Darren Blase, co-owner of Northside’s Shake It Records store. He wanted to know if the county treasurer was the same James Aumann who once led an obscure and short-lived local rock group called Jade.
The band had issued one album in 1971, Faces of Jade, on a small Cincinnati label called General American Records.
Aumann had quit Miami University to pursue Jade at the time. When that failed, he went into banking – getting a degree in finance from American Institute of Banking and rising to become vice president of Warren County’s old Community National Bank. Fifteen years ago, he was hired to be the county’s chief deputy treasurer and he then moved up.
On Friday, Shake It will debut its vinyl reissue of Faces of Jade, with original album-cover art. It will be for sale at the store to launch Black Friday, the kick-off for the Christmas shopping season. There is a new 500-copy pressing (on green vinyl, with download code included). It will also be available via Shake It’s website, www.shakeitrecords.com, starting on Dec. 2.
Blase believes that Faces of Jade holds up well as an example of the way a regional American band was inspired by the sophisticated, boundary-breaking rock and pop of the Beatles. Its 10 songs are artistically ambitious. Aumann and the band used the studio to create songs with ambitiously ornate instrumental and vocal arrangements, innovative recording techniques, and substantial melodies. In short, it wasn’t just garage rock. Parts of songs like “Prelude Willow’s End” and “My Mary (More Than Ever)” fit well into the psychedelic-rock genre of the time; other passages are more folk-pop.
In Jade, Aumann played keyboards and was a songwriter and singer who worked on arrangements. Other members were guitarist/songwriter/singer Randy Morse, bassist/singer Nick Root, drummer Timothy Nixon and business/songwriting partner and co-producer David Smith. The band was active from roughly 1970-1973.
by Steven Rosen
Tracks
1. Prelude Willow's End - 6:42
2. Blue Ways - 3:23
3. Well - 2:24
4. We (Got To Make It Thru) - 4:00
5. My Mary (More Than Ever) - 2:41
6. My Honey - 2:26
7. Rest Of My Life - 3:13
8. All Alone - 2:09
9. Flying Away - 2:23
10.Wait Till I Come Home - 3:53
All songs by Dave Smith, Jim Aumann, Randy Morse
Claire Hamill was a direct contemporary and label-mate of the late, but increasingly mythical, Nick Drake. Her second solo outing, October, proved her the mistress of tender bedsitter missives that still can haunt the heart. Fans of confessional songwriting should value and explore this neglected selection of artistry and craft that has stood the test of many passing seasons.
Recorded by Cat Stevens maestro Paul Samwell Smith in the month of 1972 that lends its name to the proceedings, it retains echoes of Joni Mitchell and Linda Thompson. Hamill possessed a maturity that reached far beyond the eighteen years her life had encompassed by the time the record appeared. In its evocative shots of her by Lord Lichfield, she seems a wayward Alice, gazing from rain-streaked panes or kicking up a cloak of bronzed Autumn leaves.
A small pearl of wintry perfection, October holds songs that pull with gentle strength on the strings of the heart, since she possess a voice of tremendous assurance and clarity. By turns piano-led, guitar driven, or beautifully coated in strings, she extols a wistful longing that lingers like an evocation.
Hamill went on to record two superlative albums for the Kinks Ray Davies's short-lived Konk Records before briefly joining Wishbone Ash. Her work throughout the '80s became more experimental and choral, though her recent outings hold more in common with the tone and texture of her Island years. One of the most alluring fantasy pairings would have been Claire Hamill and Nick Drake. Everything was almost there, the talent, a shared sensibility, mouthfuls of reflective and haunting songs, even the same record label. It wasn't to be; it seems they never even met.
The best dreams are the ones that hover just out of reach, beautiful but unsullied by the sad light of what we commonly know as the real world.
by Robert Cochrane
Tracks
1. Island (Steve Smith) - 3:20
2. To The Stars - 2:02
3. Please Stay Tonight - 3:01
4. Wall To Wall Carpeting - 2:21
5. Speedbreaker - 3:10
6. I Don't Get Any Older (Mike Coles, Claire Hamill) - 2:30
7. Warrior Of The Water - 2:54
8. The Artist - 2:37
9. Baby What's Wrong (With You) (Jimmy Reed) - 4:29
10.Sidney Gorgeous - 1:54
11.Crying Under The Bedclothes - 3:36
12.Peaceful - 2:19
All songs by Claire Hamill except where noted
The ferociously talented Claire Hamill charmed her way onto Island Records, although initially label head Chris Blackwell was a bit put off by her tender age. But the 16-year-old with the crystalline voice and powerful pen was determined, Blackwell relented and ended up co-producing her 1971 debut album alongside her manager John McCoy. The bulk of the ten-song set was composed by either Hamill herself or co-written with her then boyfriend Mike Coles. Invariably romantic themes predominated, so did songs about growing up, as did thoughtful, introspective numbers, with a pair showcasing the artist's youthful sense of fun. But how to market this ferocious talent? As a singer/songwriter? as a folkie? or as a soft-rocker? McCoy and Blackwell never did decide and brought in a group of top-notch musicians to create a set that encompassed all angles.
The cutesy "Baseball Blues" that opened the One House Left Standing set Hamill up as the British Melanie; oddly, though, it wasn't chosen as the single, instead Blackwell opted for the searching "When I Was a Child." The powerful "Alice in the Streets of Darlington" featured on the flipside, and is one of two bonus tracks included on the Esoteric reissue. Neither were particularly representative of the album, which leaned in a somewhat folkier direction. The comic book horror of "Flowers for Grandma" is presented as a medieval ballad, the affecting "The Man Who Cannot See Tomorrows Sunshine" is more pastoral, "Consummation" features a lovely Western tinge, while "Smile Your Blues Away" dances into a banjo-led, knees-up hoedown. But musically, the album's sole cover, Joni Mitchell's "Urge for Going," is the most astonishing, an epic seven-minute track that slides from folk into psychedelia and out into prog.
There are also more lavish numbers, lush with strings and classical piano. The entire set is carefully crafted, deftly arranged, and beautifully played, while Hamill shines throughout. The only complaint one can make is that she tries too much. Intent on perfectly hitting every note, concentrating on her emotive vibrato, working hard on her enunciation, Hamill never relaxes a muscle, giving the entire set a rather brittle and forced feel. The difference is crystal clear when you hear her electric performance on the reissue's other bonus track, "Meet Me on the Corner," where she let down her hair with Stealers Wheel. Now if only she could have brought that sense of excitement to the actual album. Notwithstanding, this is a phenomenal set beautifully showcasing one of Britain's most astonishing talents.
by Jo-Ann Greene
Tracks
1. Baseball Blues (Claire Hamill) – 4:19
2. Man Who Cannot See Tomorrow's Sunshine – 2:40
3. Consummation – 2:16
4. River Song – 4:16
5. Where Are Your Smiles At – 2:21
6. When I Was A Child (Claire Hamill) – 2:12
7. Urge For Going (Joni Mitchell) – 6:47
8. Flowers For Grandma – 1:40
9. Phoenix – 2:40
10.Smile Your Blues Away (Claire Hamill) – 2:15
11.Alice In The Streets Of Darlington (Bonus Track) - 4:27
12.Meet Me On The Corner (Bonus Track) - 3:43
All songs written by Claire Hamill, Mike Coles, except where stated
The Pink Fairies were from the same trashy underbelly of English underground rock as the Edgar Broughton Band, the Deviants, Hawkwind, Arthur Brown, and Gong. Twink, one of the band’s founders, had been in the beat era Fairies, The In-Crowd, Tomorrow, the Pretty Things, and he even managed to released a great solo album in 1970, prior to this.
The Pink Fairies were special, a truly dynamic band that was England’s very own MC5. They released 3 albums during the early 70’s, and while their true swan song, Kings Of Oblivion, is usually cited as their masterpiece, Never Never Land is nothing less than stellar. It kicks off with the misleading Do It. The album version of this tune begins with an acoustic intro than blasts into a hard punk rocker that should really be a classic radio anthem. War Girl engages in some cosmic blues rock soul with some fantastic wah-wah and a great spacey atmosphere. Say You Love Me and Teenage Rebel are more proto-punk/power pop highlights that show off the bands impressive instrumental chops which were honed at countless outside festivals. Surprisingly, Heavenly Man recalls early 70’s Pink Floyd, with slow profound drumming, dazed vocals and David Gilmour style guitar flourishes.
The band’s sound was a combination of the burgeoning progressive rock scene, the earlier psychedelic revolution, proto-punk/garage rock roots, a small hint of politics, and good ole fashioned rock n roll. All these elements make the 10 minutes of Uncle Harry’s Last Freakout a joy to listen to. This is an undeniably great album from an unsung band. Never Never Land shows a vital band fighting for its life, creating some of the hardest outdoor festival music of the time. Anyone into the early Flamin’ Groovies, the Stooges, MC5, the Coloured Balls, or the Amboy Dukes should do themselves a favor and pick this album up.
by Jason Nardelli
Tracks
1. Do It - 4:15
2. Heavenly Man (John Charles Alder) - 3:41
3. Say You Love Me - 3:48
4. War Girl (John Charles Alder) - 4:34
5. Never Never Land - 6:55
6. Track One, Side Two - 4:41
7. Thor (John Charles Alder) - 0:58
8. Teenage Rebel - 5:20
9. Uncle Harry's Last Freak-Out - 10:51
10.The Dream Is Just Beginning (John Charles Alder) - 1:18
11.The Snake - 3:58
12.Do It (Single Version) - 3:04
13.War Girl (Alternate Extended Mix) (John Charles Alder) - 4:34
14.Uncle Harry's Last Freak-Out (First Version) (John Charles Alder) - 12:24
All songs by Paul Rudolph, Duncan Sanderson, Russell Hunter, John Charles Alder except where stated
Bonus Tracks 11-14
Bassist Graham Amos, vocalist Martin Cure began their musical adventure in 1963 in the Coventry band called The Sabres. They later formed The Peeps in 1965. The other two members of the band were Roy Albrighton (guitar) and Paul Wilkinson (drums). The Peeps recorded five SPs for Philips (1966-68). In 1968, they recruited Terry Howells on organ (ex-Ray King Soul Band). The drummer Paul Wilkinson left the band in 1968. He joined a band called Flying Machine. With new drums player, Gordon Reed (ex-Vampires), group's name was changed to Rainbows. They recorded two singles for CBS. The Rainbows had some gigs in Hamburg, Germany and when they were finished the guitarist, Roy Albrighton decided to stay in Germany. Later, he formed a band called Nektar.
When Rainbows came back to England, the drummer G.Reed left the band. So then there were three musicans: Amos, Cure, Howells. They changed a band name to Still Life and wrote the songs which turned into the album. But the band had not a drummer. Alan Savage was contacted to do the session and he had about a week to learn the material prior to recording. Album was recorded at Sound Recording Studios, near Marble Arch, London Savage was involved with the recording on the following dates: 1st October 1970, 2nd October 1970, 5th October 1970, 6th October 1970, 13th October 1970. The Album was mixed Monday 26th October 1970. Obviously, the other members were doing overdubs, vocal etc.on the dates in between. S.Shane did produce the LP. The Band had a contract to make a six LPs. But unfortunately the band drifted apart.
Tracks
1 People In Black (Terry Howells) - 8:17
2 Don’t Go (Terry Howells, Martin Cure) - 4:37
3 October Witches (Terry Howells) - 8:04
4 Love Song No. 6 (Terry Howells) - 6:37
5 Dreams (Terry Howells, Martin Cure) - 7:34
6 Time (Terry Howells, Graham Amos) - 6:26
Still Life
*Martin Cure - Vocals
*Terry Howells - Keyboards
*Graham Amos - Bass
*Alan Savage - Drums
Already a veteran performer on several LA-scene novelty/psych singles, Simon Stokes put together his own band and made his vinyl debut on MGM in 1968 with this rather uneven collection of swampy sex-prowler psych and screechy ballads. Comparisons with Beefheart are inevitable, if only because this is crazy-dude blues backed with genuine accomplishment; but there’s something altogether less cerebral about Stokes, who sings like a wrestler.
Back in the day, roughneck tales mixing violence, sex and humour – the ultimate taboo – won few friends among the peace’n’love pushers, but plenty among the outlaw biker fraternity. “The Bible says thou shalt not kill/But man, I heard that line before/If the Bible says thou shalt not kill/What excuse has the law?” Best bits are Big City Blues (a rework of Mini Skirt Blues by the Flower Children, aka Stokes, later covered in a Cramps/Iggy duet) and the redneck stomper Voodoo Woman, which was a Billboard hit and jukebox regular in a certain kind of bar in a certain kind of state.
by Derek Hammond
Tracks
1. Big City Blues (Simon Stokes) - 2:49
2. Where Are You Going (Simon Stokes) - 2:53
3. Jambalaya (On The Bayou) (Hank Williams) - 3:03
4. Sugar Ann - 2:45
5. Southern Girl - 2:15
6. Which Way - 5:43
7. Voodoo Woman - 2:27
8. Rhode Island Red - 3:19
9. Cajun Lil - 1:48
10.Down In Mexico (Jerry Leiber, Mike Stoller) - 3:13
11.You've Been In - 3:52
12.Ride On Angel (Simon Stokes) - 4:02
All songs by Randall Keith, Simon Stokes except where noted
Simon Stokes And The Nighthawks
*Nick Robbins - Keyboard
*Simon Stokes - Vocals
*Robert Ledger - Bass
*Joe Yuele - Drums
*Joe Foster - Keyboard
*Randall Keith - Guitar
*Butch Senneville - Guitar
Tucky Buzzard. You might vaguely recall the name if not the music. You could be forgiven in thinking that they were long haired southern rockers. Truth is, they morphed out of UK psychedelic rockers The End, were largely produced by Rolling Stone Bill Wyman and their debut album featured a Spanish symphony orchestra conducted by Waldo de Los Rios. Confused?
Coming On Again is the only album of this five album box set not to have been produced by Bill Wyman and this might have allowed the band a flexibility absent in subsequent years. Alan Robinson’s somewhat musically subjective liner note enthuses – “I am willing to nail the sorry arse of my critical faculties to the wall” – over its essentially classical/prog fusion content that may have been overlooked in the pantheon of the genre. He may be right.
With its guitar/Hammond interplay the long “suite” immediately recalls early Deep Purple who were to figure in the band’s story a few years later.
The band attracted Capitol Records in the USA for the next two albums. The sophomore release Tucky Buzzard actually featured recordings made for a second, aborted The End album in the late 1960s. The music is a mixture of Humble Pie and even a ballsy Badfinger which is probably why the band appealed across the pond as both had achieved considerable success in the States by this time.
Warm Slash was more reflective of the band’s hard rocking style when released in June 1971 influenced by the likes of Grand Funk Railroad with whom they had toured in the States. ‘Burnin” and ‘Heartbreaker’ are particularly groovy.
1973′s All Right On The Night was the start of the band’s relationship with Deep Purple and their fledgling Purple label. The band would count the band amongst their heroes and this connection was furthered when the band opened for Purple on tour in the States. The album sits well with its predecessor; in the main, excellent, driving hard rock/boogie.
The band’s final outing Buzzard released in 1973 brings them almost full circle with a more rock and roll feel and aligning them more closely with bands like The Rolling Stones, The Faces and even Led Zeppelin. But that particular musical boat had already sailed and was well established. Tucky Buzzard were destined to become a mere footnote and “also-rans”.
One can only wonder what might have happened if they’d have continued the prog themes of their debut album, the musicianship was certainly top notch and with a refreshing sense of adventure. The band’s essentially British-based rock and roll could have provided the template for many a modern wannabe and anyone who can trace their lineage from the early 1970s.
Interestingly the band never filtered through in other incarnations after their split. Keyboard player Nicky Graham later wrote material for the pop duo Bros in the early 1990s whilst guitarist Terry Taylor remained with Bill Wyman, this time in The Rhythm Kings.
This well presented box set will do much to put the band’s story in context and brings together their output which previously has been single or 2 on 1 CD releases and often difficult or expensive to obtain. There are no bonus tracks and the curious will probably want to seek out the earlier Edsel box set chronicling the pre-Buzzard, The End.
by David Randall
Tracks
Disc 1 Coming On Again 1971
1. Suite - 14:12
.a.Coming On Again (Part 1)
.b.For Maryse (Terry Taylor)
.c.Over the Hill
.d.Coming On Again (Part 2)
.e.Believe Me (Dave Brown)
.f.Here I Am (Terry Taylor, Dave Brown, Nicky Graham)
2. You're All Alone (Terry Taylor, Jimmy Henderson) - 6:03
3. You Never Will (Terry Taylor, Jimmy Henderson) - 2:56
4. Free Ticket - 3:40
5. Lady Fair - 4:15
All compositions by Terry Taylor, Jimmy Henderson, Dave Brown, Nicky Graham, Paul Francis except where indicated.
Disc 2 Tucky Buzzard 1971
1. Time Will Be Your Doctor (Nicky Graham, Dave Brown, Paul Francis) - 3:53
2. Stainless Steel Lady (Nicky Graham, Terry Taylor, Jimmy Henderson, Dave Brown) - 4:30
3. Sally Shotgun (Terry Taylor, Dave Brown) - 3:06
5. My Friend (Terry Taylor, Paul Francis, Nicky Graham, Dave Brown) - 4:01
6. Pisces Apple Lady (Leon Russell) - 2:53
7. She's Meat (Nicky Graham, Terry Taylor, Jimmy Henderson, Dave Brown) - 3:17
8. Ace The Face (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 3:20
9. Whiskey Eyes (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 5:54
10.Rolling Cloud (Terry Taylor, Jimmy Henderson) - 5:18
Disc 3 Warm Slash 1972
1. Mistreating Woman - 2:57
2. (She's A) Striker - 3:19
3. Fill You In (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 3:16
4. Need Your Love - 2:25
5. Which Way, When For Why - 8:01
6. Burnin' (Nicky Graham, Terry Taylor, Dave Brown, Paul Francis, Jimmy Henderson) - 5:30
7. Heartbreaker - 4:40
8. Sky Balloon - 5:52
9. Ain't Too Soon (Terry Taylor, Dave Brown) - 4:31
All songs by Terry Taylor, Jimmy Henderson except where noted
Disc 4 Allright On The Night 1973
1. Can't Live Without It (Terry Taylor, Jimmy Henderson, Dave Brown) - 3:50
2. Fast Bluesy Woman (Jimmy Henderson, Terry Taylor, Dave Brown, Chris Johnson) - 3:36
3. Gold Medallions - 4:34
4. All I Want Is Your Love - 3:44
5. Rainbow Rider (Dave Brown, Jimmy Henderson, Terry Taylor) - 4:27
6. 'Rudi' Movie Star (Paul Kendrick) - 4:02
7. Pictures - 3:32
8. Last War - 5:16
All songs by Terry Taylor, Jimmy Henderson except where stated
Disc 5 Buzzard 1973
1. Who Do You Love (Ellis McDaniel) - 4:00
2. Run In The Mornin' - 4:24
3. Hanging On In There (Waiting For You To Come) (Terry Taylor, Jimmy Henderson, Dave Brown, Chris Johnson) - 5:39
4. Superboy Rock'n'Roller '73 (Terry Taylor, Jimmy Henderson, Dave Brown, Chris Johnson) - 2:12
5. Bo-Bo's Hampton - 4:30
6. Wine And Wimmin (Bill Wyman) - 4:55
7. Superfine Lady - 4:24
8. Near To Me (Terry Taylor, Jimmy Henderson, Dave Brown) - 3:38
9. Shy Boy - 7:32
All songs by Terry Taylor, Jimmy Henderson except as else marked
The Tucky Buzzard Disc 1 Coming On Again 1971
*Terry 'Tex' Taylor - Electric, Acoustic Guitars, Backing Vocals
*Nicky Graham - Piano, Organ, Backing Vocals
*Dave Brown - Bass Guitar, Acoustic Guitars, Backing Vocals
*Paul Francis - Drums, Timbales, Percussion
*Jimmy Henderson - Lead Vocals, Percussion Guests
*Howard Neldrett (Lennie) - Electric, Acoustic Guitars
*Hugh Attwooll - Percussion
Disc 2 Tucky Buzzard 1971
*Jimmy Henderson - Lead Vocals
*Dave Brown - Bass Guitar, Lead Vocals
*Nicky Graham - Keyboards, Lead Vocals
*Terry Taylor - Guitars
*Chris Johnson - Drums
Disc 3 Warm Slash 1972
*Dave Brown - Bass Guitar
*Nicky Graham - Keyboards
*Jimmy Henderson - Singer
*Terry Taylor - Guitars
*Chris Johnson - Drums
Disc 4 Allright On The Night 1973
*Jimmy Henderson - Lead Vocals, Harp
*Terry Taylor - Lead, Slide, Rhythm,, Acoustic Guitars
*Dave Brown - Bass, Acoustic Guitar
*Chris Johnson - Drums, Percussion
*Ron Taylor - Guitar Guests
*Paul Kendrick - Rhythm Guitar
*Jeff Workman - Piano
*Phil Cordell - Piano
*Don Weller - Brass
Disc 5 Buzzard 1973
*Jimmy Henderson - Lead Vocals, Harp, Percussion
*Terry Taylor - Lead Guitar, Slide, Electric Piano
*Dave Brown - Bass, Acoustic Guitar, Percussion
*Chris Johnson - Drums, Percussion
*Phil Talbot - Rhythm Guitar Guests
*Paul Kendrick - Rhythm Guitar, Backing Vocals
*Tony Ashton - Hammond Organ, Piano
*Bill Wyman - Rock 'N' Roll Piano, Electric Piano
*Rob Cooksey - Bon Vibes
*The Buzzettes - Backing Vocals
*Brass Sections:
*John Lee - Trombone
*Ricky Dodd - Tenor Sax
Lesley Duncan, was one of Britain's first female singer-songwriters. Her songs had an astonishing emotional depth and her voice a rare combination of warmth and clarity, bringing an intimacy to the experience of listening to her records. For those who discovered her music in the early 1970s, she stood out from all the other pop and rock of the era.
Her big break came when Elton John recorded her Love Song as a duet with her for his album Tumbleweed Connection (1970). Love Song – "a little song I'd knocked up as a suitable B-side," said Lesley – went on to be covered by more than 150 artists, including Olivia Newton-John, David Bowie and Barry White. In 1977, Topol and Najah Salam recorded it in Hebrew and Arabic to commemorate the peace meeting between Egypt's president, Anwar Sadat, and Israel's, Menachem Begin.
Born in Stockton-on-Tees, Lesley had an unpromising background, leaving school just before her 15th birthday and home soon after. In 1962, while she was working in a London coffee bar, she and her brother Jimmy (soon to become manager of the Pretty Things) took some songs to a leading Tin Pan Alley music publisher. Jimmy was signed with a weekly retainer of £10, and Lesley with £7, on the grounds that she had fewer songs, no guitar and was a girl. Within a year, she had an EMI recording contract and had appeared in the film What a Crazy World (1963), with Joe Brown, Marty Wilde and Susan Maughan.
She released a dozen singles from 1963 to 1970, while continuing to write songs for other performers, including the Walker Brothers. She was also in great demand as a session singer, contributing backing vocals to Dusty Springfield's singles from 1964 up to her See All Her Faces album in 1972; Springfield returned the favour, doing backing vocals on Lesley's singles.
By the late 60s, Lesley's songwriting was changing in style from girl-pop to more reflective writing. Her first album, Sing Children Sing (1971), was produced by Jimmy Horowitz, whom Lesley married in 1970 (they later divorced). It was followed by Earth Mother (1972); the title track, dedicated to Friends of the Earth, is one of the first, and finest, eco-songs.
Throughout the 70s, Lesley sang backing vocals for Donovan, Long John Baldry, Kiki Dee, Ringo Starr and many others, and also sang on the Jesus Christ, Superstar album, Pink Floyd's Dark Side of the Moon (1973) and the Alan Parsons Project's Eve (1979).
Her first two solo albums were critically acclaimed but, despite a lot of radio play, neither sold well. Her next two, Everything Changes (1974) and Moon Bathing (1975), again failed to break through. Her last album, Maybe It's Lost (1977), was a conscious attempt to hit the popular market; when it didn't, she decided to call it a day.
She moved to Cornwall and, in 1978, married her second husband, the record producer Tony Cox; they later moved to Oxfordshire and, in 1996, to Mull, in the Inner Hebrides. She contributed both her time and her music to causes she believed in, including releasing a new version of her song Sing Children Sing for the Year of the Child in 1978. Lesley Duncan, passed away on 12 March 2010.
by David Barrett
Tracks
1. My Soul - 3:25
2. Broken Old Doll - 3:50
3. The Serf - 3:54
4. Hold On - 3:30
5. Everything Changes - 3:43
6. Love Melts Away (Lesley Duncan, Jimmy Horowitz) - 3:40
7. Sam - 2:55
8. You - 4:23
9. Watch The Tears (Lesley Duncan, Jimmy Horowitz) - 4:20
10.We'll Get By - 4:43
All songs by Lesley Duncan except where stated
Original private pressing LP out of Upstate NY, This is pretty good mid to late 70's style dual guitar hard rock stoner, in the vein similar to Truth and Janey, but more psychedelic and more wasted!"
"Dryewater run into Truth and Janey after a really nasty relationship breakdown. Essentially a concept LP about a relationship gone wrong, each song being a different aspect of how “his chick done him wrong”. Sounds terrible doesn’t it? But it is pretty good, with tracks like "Borderline" delivering that seventies chunk fuzz with insane lyrics and "Cookin’ for you" having so much phasing it could be Marcus
Acid-Archives
Tracks
1. Borderline - 3:16
2. Blow Me Away - 3:07
3. Flesh And Blood - 3:42
4. Cookin 'For You - 3:15
5. Again - 4:31
6. Second Chance - 4:45
7. Running Out - 4:07
8. So Many Miles - 7:33
The Unison
*Bruce C. Van Iderstine - Vocals, Congas, Harmonica
*Guy D. Van Iderstine - Electric Six Twelve String Guitars
*Mark A. Tuberdyke - Lead Guitar
*John N. Vasey - Bass
*David Richmond - Drums, Vocals
