The Bloomsbury People was an important band in the late 1960's psychedelic/progressive music movement, playing to over 500,000 people at the Atlanta Pop Festival alongside Jimi Hendrix and other 60's icons. Bloomsbury People songs Now, after 30 years, this cult classic is available on Compact Disc. The CD includes three bonus tracks - "Gingerbread Man", "Madeline" and "Saga of the Red Sea" - never previously released.
This seminal album is a must for anyone's Snopek collection, and for fans of the best on progressive rock. Original released by MGM Records in June 1970.
Tracks
1. Birdsong - 3:36
2. Witch Helen - 2:36
3. Have You Seen Them Cry - 3:37
4. Lake Of Sand - 2:11
5. State Of Confusion (Jon Wyderka) - 3:32
6. Golden Lion - 3:02
7. Pioneer Saint Of Death - 3:38
8. The Resurrection - 2:30
9. Demian - 4:39
10.So It Seems - 2:35
11.Gingerbread Man - 6:29
12.Madeleine - 3:08
13.Have You Seen Them Cry - 3:30
All songs by Sigmund Snopek III excpet where indicated
In the late 60s and early 70s numerous collectible LPs were made by studio musicians, or band members moonlighting from their regular duties. Examples include Hungry Wolf, Green Bullfrog, Ugly Custard and Rumplestitlskin.
The one off album released under the Panhandle moniker fits into this category. Somewhat surprisingly, its producer was Rodger Bain, then riding high as the architect of Black Sabbath's influential sound (as well as overseeing discs by Budgie, Indian Summer, Wild Turkey, Freedom and others).
Presumably recorded during downtime in Decca's West Hampstead Studios, it featured vocalist Jon Gobin (formerly of pop act the Selofane), guitarists Chris Spedding and Martin Kershaw, keyboards from Dudley Moore, bass from Herbie Flowers, and drums from Barry Morgan, as well as percussion by Dennis Lopez, and backing vocals by PP Arnold, Liza Strike and Kay Garner.
Spedding, Flowers, Morgan and Strike had recently contributed to Elton John's Tumbleweed Connection album, perhaps explaining the inclusion of his Amoreena here. They also tackled material by the Rolling Stones (a rare cover of Bitch), Creedence Clearwater Revival (Up Around The Bend and a rare cover of Penthouse Pauper), Sly & the Family Stone, Randy Newman, and other contemporary hitmakers. The sole original cut is the curiously titled From The Film Of The Same Name, penned by the project's musical director / arranger, the prolific Roland Shaw.
Engineered by seasoned Decca hands Peter Rynston and David Grinsted, the album received next to-no publicity or attention upon release in early 1972. According to Hi-Fi News ‘n’ Record Review 'A star-studded studio band work their way through rock and soul favourites with a combination of high gloss and enthusiasm.
Chris Spedding, Herbie Flowers, Barry Morgan, Martin Kershaw, Dennis Lopez, P. P. Arnold, Kay Garner and Liza Strike are among the names involved. Jon Gobin handles the lead vocals, and the keyboard man is, rather surprisingly, Dudley Moore. Enjoyable, but no more.'Perhaps predictably, sales were dismal, and it was swiftly forgotten about.
CD Liner-Notes
Tracks
1. Amoreena (Elton John, Bernie Taupin) - 4:25
2. Mama Told Me Not To Come (Randy Newman) - 2:14
3. Penthouse Pauper (John Fogerty) - 4:16
4. Dimples (John Lee Hooker) - 2:27
5. Bitch (Mick Jagger, Keith Richards) - 3:25
6. I Heard It Through The Grapevine (Barrett Strong, Norman Whitfield) - 3:01
7. Susie (Dale Hawkins, Eleanor Broadwater, Stanley Lewis) - 4:29
8. From The Film Of The Same Name (Roland Shaw) - 2:54
9. Up Around The Bend (John Fogerty) - 2:38
10.I Want To Take You Higher (Sylvester Stewart) - 5:28
Personnel
*Chris Spedding - Guitar
*Dudley Moore - Piano
*Barry Morgan - Drums
*Herbie Flowers - Bass
*Jon Gobin - Lead Vocals
*Martin Kershaw - Guitar
*Dennis Lopez - Percussion
*P.P. Arnold - Backing Vocals
*Liza Strike - Backing Vocals
*Kay Garner - Backing Vocals
Chicago's enormous success with their horn-driven rock in the '70s was naturally followed by several other bands who tried to hit it big with the same sound and formula. But many of them would remain in complete obscurity, and the ten-piece Mom's Apple Pie were among them. Their self-titled debut had all the right moves: good tunes, massive brass-arrangements along with organ, guitar and overall solid musicianship. Still, the success they sought never came.
The record opens with a cover of Willie Dixon's well-known "I Just Wanna Make Love to You" that showcases the band's arrangements and musical skills very well. "Lay Your Money Down" has some spacey organ that is quite unusual to find in this genre, and also a nice jam where the bass has one of the main roles. My favourite here is probably "Good Days", a tasty ballad with lots of flute and gorgeous vocal-harmonies. And the beat and rhythm of the track is quite ballsy for being a ballad.
Keyboardist Dave Mazzochi was obviously one of the main songwriters in the group, and also knew just how to use the right sounds on his organ. "People" varies between a quiet and mellow verse and over into a more powerful a rocking chorus, while "Dawn of a New Day" and "Happy Just to Be" are cheerful rockers very typical for this style of '70s brass rock.
The closer "Mr. Skin" is a song packed with so many catchy hooks that it really had deserved to be a hit for the band, and remains one of the very best from the album. If you're into bands like Lighthouse and the earlier mentioned Chicago, then "Mom's Apple Pie" will be just your thing.
Tracks
1. I Just Wanna Make Love To You (Willie Dixon) - 5:30
2. Lay Your Money Down (Dave Mazzochi, Tony Gigliotti) - 5:49
3. Good Days (Bob Fiorino, Dave Mazzochi) - 4:39
4. People (Bob Fiorino, Dave Mazzochi, Roger Force) - 4:29
5. Dawn Of A New Day (Dave Mazzochi, Roger Force) - 3:52
6. Happy Just To Be (Dave Mazzochi, Tony Gigliotti, Hartzell) - 3:01.
7. Secret Of Life (Roger Force, Bob Fiorino) - 3:29.
8. Mr. Skin (Jay Ferguson) - 5:33
Mom's Apple Pie
*Joe Ahladis - Guitar
*Pat Aulizia - Drums
*Bob Fiorino - Vocals
*Roger Force - Saxophone, Flute
*Tony Gigliotti - Vocals
*Fred Marzulla - Trombone
*Dave Mazzochi - Keyboards, Vocals
*Bob Miller - Lead Guitar
*Bob Pinti - Trumpet, Vocals
*Greg Yochman - Bass
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
