After leaving Stevenage based R'n'B outfit The Jimmy Brown Sound in early 1965 keyboardist / guitarist / vocalist Ken Hensley formed The Gods with Mick Taylor (guitar), John Glasscock (bass / vocals) and Brian Glasscock (drums). However this line up only lasted until June 1967 when Taylor quit to join John Mayalls Bluesbreakers and then The Rolling Stones. Hensley then moved to Hampshire where, whilst living in a van(!), he met up with bassist Paul Newton and put together a new version of The Gods which featured Hensley, Newton, drummer Lee Kerslake and guitarist John Konas. However despite building up a good following on the South Coast collage circuit Newton left (he later became a founding member of Uriah Heep) and was replaced by Greg Lake. With a residency at Londons Marquee and a contract with EMI's Columbia label it looked like The Gods would at last release something but, as Hensley recalls, "Just as we were about to start recording we had a falling out with Greg. The main problem was that he was far too talented to be kept in the background.".
With Lake leaving in the summer of 1968 to form King Crimson (and later Emmerson Lake And Palmer) John Glasscock returned to the line up and the band released the album "Genesis" (SCX 6286), now an £ 85 collectors item, and the single "Baby Rich" / " Somewhere In The Steet" (DB 8486) all recorded on a four track studio. This was followed by the singles "Hey! Bulldog" / "Real Love Guaranteed" (DB 8544) and "Maria" (from "West Side Story") / "Long Time Sad Time Bad Time" (DB 8572) both released in 1969 though by the time the bands second LP "To Sammuel A Son" (SCX 6372) was released at the end of the year The Gods had long since ceased to exist. In fact they had become the band Toe Fat backing ex-Rebel Rouser Cliff Bennett and appeared on one self titled LP released on Parlophone.
Following this Ken Hensley became a founding member of Uriah Heep when again he teamed up with Paul Newton. He also released three solo LPs ("Proud Words On A Dusty Shelf", "Eager To Please" and "Free Spirit") as well as working with the likes of Blackfoot and Ozzy Osbourne. Kerslake, after a short spell with the National Head Band, also joined Uriah Heep whilst John Glasscock later worked with Chicken Shack, Carmen and Jethro Tull whilst Konos quit the playing side to run a music shop in Ontario, Canada.
by Mark Brennan
Tracks
1. Towards The Skies (Joe Konas) - 3:25
2. Candles Getting Shorter - 4:28
3. You're My Life (Joe Konas, Lee Kerslake) - 3:20
4. Looking Glass - 4:14
5. Misleading Colours (Lee Kerslake, Joe Konas) - 3:40
6. Radio Show (Robertson, Sugarman) - 3:11
7. Plastic Horizon (Robertson, Sugarman) - 3:26
8. Farthing Man (Joe Konas) - 3:30
9. I Never Know - 5:41
10.Time And Eternity (Joe Konas, Lee Kerslake) - 2:43
11.Baby's Rich - 2:48
12.Somewhere In The Street (Ken Hensley) - 2:50
13.Hey Bulldog (John Lennon, Paul McCartney) - 3:03
14.Real Love Guaranteed - 2:29
All songs by Joe Konas, Ken Hensley except where stated
Bonus Tracks 11-14
If you were paying close attention to the UMG-released Zappa titles, you may have noticed that Uncle Meat was one of the few pre-1982 albums that wasn't reissued using the original master tapes for the first time (all the Ryko masters were altered by Zappa). Meat Light remedies that by finally releasing the Uncle Meat original vinyl mix, remastered from the original master tapes for the very first time on CD. The results are stunning. The album literally sounds better than it ever has, with a crisp clarity to all the instruments, even on the most dense tracks. This alone would justify purchase for most Zappa fanatics...but wait! There's more!
Who knew there was ANOTHER Uncle Meat?!? Yes, disc two and part of disc three present "Uncle Meat: Original Sequence." Many of the tracks are exactly the same, but with different sequencing and some completely unreleased material, all segued together with some additional contributions from the Apostolic Vlorch Injector (responsible for the blasts of noise on Uncle Meat and We're Only in It for the Money). "Whiskey Wah" and "The Whip" are previously unreleased guitar solos. "King Kong" doesn't end the set; it's the end of "Side 2" (of four), and it doesn't include the part that was recorded on a flatbed diesel at a Miami Pop Festival. "Cops and Buns" was included on The Lost Episodes, but in an edited form. Some of the other spoken bits ("Our Bizarre Relationship," "If We'd Been Living in California...") have just a little bit of extra material on them, providing a bit of further insight. "Mr. Green Genes" has a slightly different mix with some additional organ and vocals. The "Original Sequence" closes with "Cruisin' for Burgers"...but that's not the end of Meat Light! "A Bunch of Stuff" seems to be a spoken intro to the film Uncle Meat. Tracks like "Tango" and "More Beer" are just short cues. The single version of "Dog Breath" is a gas: no main vocals/lyrics -- just prominent (and awesome!) backing vocals with extra guitar and saxophone mixed in. "The String Quartet" is a medley of Uncle Meat tunes that was often performed live by the Mothers, but this sounds like a studio version. "Electric Aunt Jemima" is a different, more modern-sounding mix, while "Exercise 4" is an unused further elaboration of the "Uncle Meat Variations."
The alternate mix of "Mr. Green Genes" has a different vocal mix and cool keyboards added. "Echo Pie" takes Jimmy Carl Black's displeasure in "If We'd Been Living in California" and kicks it up a notch or five. "1/4 Tone Unit" is a short, pretty chamber ensemble piece, "Sakuji's March" is a short percussion piece, and "No. 4" is a scored piece with some amazing double piano followed by double marimba. The extended version of "Prelude to Uncle Meat" adds about a minute and a half to the standard version, along with some interesting extra guitar at the end. "My Guitar (Proto 1)" is a ripping instrumental with FZ jamming on the "My Guitar Wants to Kill Your Mama" riff. Hearing the guitar from "Nine Types of Industrial Pollution" played at the original speed is extremely interesting. You can hear Frank playing acoustic guitar over a faint, slowed-down drum track. It's rare to hear Zappa play acoustic guitar at all, and his playing here is quite different than what he's normally known for. The live version of "Uncle Meat" sounds great. The instrumental version of "Dog Breath" is a bit more refined and not quite as raucous as the single version...until the guitar solo! Meat Light closes with an alternate mix of "The Dog Breath Variations." This is a set fans have been waiting for for years.The sound is a huge improvement over all previous Uncle Meat CDs and the additional material is all excellent.
Uncle Meat is arguably Zappa's most avant-garde, most dense, most wide-ranging, and one of his most difficult albums for some. It's also one of his very best and Meat Light really does justice to this masterpiece.
by Sean Westergaard
Tracks Disc 1 Original 1969 Vinyl Mix
1. Uncle Meat: Main Title Theme - 1:56
2. The Voice Of Cheese - 0:26
3. Nine Types Of Industrial Pollution - 6:02
4. Zolar Czackl - 0:54
5. Dog Breath, In The Year Of The Plague - 3:59
6. The Legend Of The Golden Arches - 3:27
7. Louie Louie (At the Royal Albert Hall in London) - 2:18
8. The Dog Breath Variations - 1:50
9. Sleeping In A Jar - 0:50
10.Our Bizarre Relationship - 1:05
11.The Uncle Meat Variations - 4:46
12.Electric Aunt Jemima - 1:46
13.Prelude To King Kong - 3:39
14.God Bless America (Live at the Whisky A Go Go) - 1:10
15.A Pound For A Brown On The Bus - 1:29
16.Ian Underwood Whips It Out (Live on stage in Copenhagen) - 5:09
17.Mr. Green Genes - 3:13
18.We Can Shoot You - 2:03
19.“If We’d All Been Living In California...” - 1:14
20.The Air - 2:57
21.Project X - 4:49
22.Cruising For Burgers - 2:18
23.King Kong (as played by the Mothers in a studio) - 0:51
24.King Kong (its magnificence as interpreted by Dom DeWild) - 1:19
25.King Kong (as Motorhead explains it) - 1:45
26.King Kong (the Gardner Varieties) - 6:14
27.King Kong (as played by 3 deranged Good Humor Trucks) - 0:37
28.King Kong (live on a flat bed diesel in the middle of a race track at a Miami Pop Festival... the Underwood ramifications) - 7:24
Disc 2 Original Sequence
1. Dog Breath, In The Year Of The Plague - 2:55
2. The Legend Of The Golden Arches - 3:16
3. The Voice Of Cheese - 0:26
4. Whiskey Wah - 1:34
5. Nine Types Of Industrial Pollution - 6:03
6. Louie Louie (Live at the Royal Albert Hall in London) - 2:27
7. The Dog Breath Variations - 1:51
8. Shoot You Percussion Item - 1:28
9. The Whip - 5:03
10.The Uncle Meat Variations - 4:47
11.King Kong - 10:46
12.Project X Minus 5 - 1:47
13.A Pound For A Brown On The Bus - 1:29
14.Electric Aunt Jemima - 1:46
15.Prelude To King Kong - 3:39
16.God Bless America (Live at the Whiskey A Go Go) - 1:11
17.Sleeping In A Jar - 0:51
18.Cops And Buns - 5:56
19.Zolar Czakl - 0:47
19.Zolar Czakl - 0:47
Disc 3
1. We Can Not Shoot You - 1:16
2. Mr. Green Genes - 3:13
3. “PooYeahrg” - 0:32
4. Uncle Meat: Main Title Theme - 1:27
5. Our Bizarre Relationship - 1:10
6. “Later We Can Shoot You” - 0:15
7. “If We’d All Been Living In California…” - 1:19
8. ‘Ere Ian Whips It/JCB Spits It/Motorhead Rips It - 2:30
9. The Air - 2:58
10.Project X .5 - 2:38
11.Cruising For Burgers - 2:23
12.“A Bunch Of Stuff” - 1:40
13.Dog Breath (Single Version) - 2:55
14.Tango - 0:24
15.The String Quartet - 3:06
16.Electric Aunt Jemima (Mix Outtake) - 1:40
17.Exercise 4 Variant - 4:32
18.Zolar Czackl (Mix Outtake) - 0:45
19.“More Beer!” - 0:17
20.Green Genes Snoop - 1:13
21.Mr. Green Genes (Mix Outtake) - 3:11
22.Echo Pie - 2:16
23.1/4 Tone Unit - 1:06
24.Sakuji’s March - 0:35
25.No. 4 - 1:52
26.Prelude To King Kong (Extended Version) - 5:24
27.Blood Unit - 1:22
28.My Guitar (Proto I- Excerpt) - 2:12
29.Nine Types Of Industrial Pollution (Guitar track, normal speed) - 9:53
30.Uncle Meat (Live at Columbia University 1969) - 4:44
31.Dog Breath (Instrumental) - 2:50
32.The Dog Breath Variations (Mix Outtake) - 1:46
Personnel
*Frank Zappa — Guitar, Low Grade Vocals, Percussion
*Ray Collins — Swell Vocals
*Jimmy Carl Black — Drums, Droll Humor, Poverty
*Roy Estrada — Electric Bass, Cheeseburgers, Pachuco Falsetto
*Don (Dom De Wild) Preston — Electric Piano, Tarot Cards, Brown Rice
*Billy (The Oozer) Mundi — Drums
*Bunk (Sweatpants) Gardner — Piccolo, Flute, Clarinet, Bass Clarinet, Soprano Sax, Alto Sax, Tenor Sax, Bassoon (All Of These Electric,/Or Nonelectric Depending)
*Ian Underwood — Electric Organ, Piano, Harpsichord, Celeste, Flute, Clarinet, Alto Sax, Baritone Sax, Special Assistance, Copyist, Industrial Relations, Teen Appeal
*Artie (With The Green Mustache) Tripp — Drums, Timpani, Vibes, Marimba, Xylophone, Wood Blocks, Bells, Small Chimes, Cheerful Outlook, Specific Enquires
*Euclid James (Motorhead/Motorishi) Sherwood — Pop Star, Frenetic Tenor Sax Stylings, Tambourine, Choreography, Obstinance, Equipment Setter-Upper When He’s Not Hustling Local Groupies
*Ruth Komanoff Who Plays Marimba, Vibes With Artie On Many Of The Tracks,
*Nelcy Walker - The Soprano Voice
The recording and production on Roy Buchanan's first record for Polydor, is delightfully bare, sparse in ornamentation, and full of bum notes and aborted ideas that would be deleted on most commercial releases. It is a loose, highly improvised affair that amply demonstrates why the leader is one of the underappreciated giants of rootsy guitar. Straddling country, blues, and traditional rock & roll, Buchanan's playing is fiery and unpremeditated. His tone is delightfully raw and piercing, his solo ideas impetuous and uncluttered. On the instrumental tracks, such as his famous reading of "Sweet Dreams" or Buchanan's own "The Messiah Will Come Again," one can see why he was such an influence on Jeff Beck, another master of the instrument known for his genre-blending and ragged spontaneity.
There is a slight Michael Bloomfield influence felt in Buchanan's blues playing, most evident in the first chorus of "John's Blues" and the quasi-Eastern ornamentations on "Pete's Blue." He plays with pitch, placing notes in unexpected places, constantly keeping the listener guessing. The country tracks, such as "I am a Lonesome Fugitive" and Hank Williams' "Hey, Good Lookin'," benefit greatly from Chuck Tilley's understated vocals. Despite Tilley's presence, the main focus on this record is Buchanan's wailing guitar, which punctuating the vocals with bluesy cries and country moans.
The strongest track on Roy Buchanan is "The Messiah Will Come Again." This song opens with Buchanan's mumbled spoken word intro over quiet organ and then yields to spine-tingling, sorrow-laden Telecaster that cries and screams in existential torment before giving way in turn to percussive flurries that make less sense as melodic improvisation than as cries of passion. This is raw guitar playing and music making, not for the faint of heart. Fans of blues or country guitar, or those just curious why Jeff Beck would dedicate "'Cause We've Ended As Lovers" from Blow By Blow to Buchanan, would do themselves a favor by picking up this album.
by Daniel Gioffre
This release contains Roy Buchanan's major-label debut LP Roy Buchanan (1972) and the follow-up, Second Album (1973). After the record company rejected a request from the artist to release a live set, Buchanan surreptiously issued the platter on his own under the guise of Buck & the Snake Stretchers (1971). Polydor essentially took the same core personnel, removed them from their more familiar concert club environs and put them into the comparatively sterile recording studio to cut much of the same material. Buchanan is supported by the aforementioned Snake Stretchers: Ned Davis (drums), Dick Heintze (keyboards), Teddy Irwin (rhythm guitar), Chuck Tilley (vocals/rhythm guitar), and Peter van Allen (bass). After honing the tunes night after night, there is little wonder when hearing the tight arrangements or the comfortable communication between Buchanan and company.
Fittingly, the opening cover of Don Gibson's "Sweet Dreams" establishes both the performers' unfettered rapport, as well as the deft precision and unbridled emotion evident in Buchanan's playing. Stylistically, the tracks range from the rural-flavored "I Am a Lonesome Fugitive" or the Creole-infused "Cajun" to the hauntingly noir solos on "Messiah Will Come Again." Arguably, the highlights are the instrumentals "Pete's Blues" and, to a greater extent, the simply stunning epic "John's Blues." The latter may be the guitarist's greatest and most illustrative studio side. Less than six months and a few minor personnel changes later, Second Album was documented to similar results. The emphasis is once again on a variety of approaches to traditionals and originals alike. Erskine Hawkins' "After Hours" is given a formidable workout, while Buchanan's own "Five String Blues" is a seminal example of the artistry that he brings to his craft, as the guitar alternately cries and rejoices at his touch. "I Won't Tell You No Lie" is a funkier number, recalling a mid-tempo interpretation of Bill Withers' "Ain't No Sunshine."
From here, the Snake Stretchers disbanded as new producers incorporated their own musicians and vocalists. Sadly, few (if any) of Buchanan's subsequent efforts would reveal the thoroughly solid ensemble work that Roy Buchanan and Second Album so flawlessly demonstrate.
by Lindsay Planer
Tracks Roy Buchanan 1972
1. Sweet Dreams (Don Gibson) - 3:34
2. I Am A Lonesome Fugitive (Casey Anderson, Liz Anderson) - 3:43
3. Cajun - 1:35
4. John's Blues - 5:04
5. Haunted House (Robert Geddins) - 2:45
6. Pete's Blue - 7:16
7. The Messiah Will Come Again - 5:55
8. Hey, Good Lookin' (Hank Williams) - 2:15
The Second Album 1973
9. Filthy Teddy - 3:11
10.After Hours (Erskine Hawkins, Avery Parrish) - 6:13
11.Five String Blues - 6:24
12.Thank You Lord - 2:26
13.Treat Her Right (Roy Head, Gene Kurtz) - 2:43
14.I Won't Tell You No Lies - 6:35
15.Tribute To Elmore James - 3:27
16.She Once Lived Here (Autry Inman) - 3:03
All compositions by Roy Buchanan except where noted
This is an improvement over the best previous Music Explosion compilation, One Way's Anthology, in that it not only contains all 21 of the songs from that release, but adds three non-LP B-sides not on that CD. Granted, all three of these B-sides are psychedelic instrumentals that most likely feature session players and not the Music Explosion. But those are rather cool tracks, in the manner of the trippy fuzz guitar-organ psychedelic songs heard on soundtracks to films exploiting the hippie movement. More importantly, perhaps, the package also includes respectful detailed liner notes, with quotes from several bandmembers.
All that borne in mind, you still can't get around the fact that the group didn't have anything too great to offer other than "Little Bit o' Soul." They did virtually no original material, and their songs were average, OK-to-unexciting pop garage rock with a bit of soul and bubblegum, though Jamie Lyons was an above-average singer for bands of this type, with a grittier and more soul-influenced style than the norm. Interestingly, the liner notes say "Stay by My Side," the folk-rock-influenced B-side of their first single and one of their best and harder-rocking cuts, was a band original, though it got credited to their producers. Incidentally, this doesn't quite round up every last track credited to the band in the 1960s, as it's missing a few 1968-1969 B-sides. Nor does it have any of the sides Lyons did for Laurie on his own, billed as a solo artist or with the Jamie Lyons Group.
by Richie Unterberger
Tracks
1. Little Bit O' Soul (John Carter, Ken Lewis) - 2:21
2. I See The Light (Elliot Chirput) - 2:35
3. Everybody (Jeff Katz, Jerry Kasenetz, Elliot Chirput) - 2:29
4. Love, Love, Love, Love, Love (Terry Knight) - 2:47
5. Good Time Feeling (Jeff Katz, Jerry Kasenetz, Elliot Chirput) - 2:35
6. 96 Tears (Rudy Martinez) - 2:39
7. Can't Stop Now (Jeff Katz, Jerry Kasenetz, Elliot Chirput) - 2:51
8. Let Yourself Go (Jeff Katz, Jerry Kasenetz, Elliot Chirput) - 2:35
9. Patches Dawn (Elliot Chirput) - 2:40
10.One Potato Two (Elliot Chirput) - 3:08
11.What Did I Do To Deserve Such A Fate (J. Stabile, Elliot Chirput) - 2:25
12.(Hey) La, La, La (Jeff Katz, Jerry Kasenetz, Elliot Chirput) - 2:11
13.Little Black Egg (Charles Conlon) - 2:56
14.Stay By My Side (Jeff Katz, Jerry Kasenetz, Elliot Chirput) - 2:13
15.Sunshine Games (Eric Wolfson) - 2:03
16.We Gotta Go Home (B. Gentry, Ritchie Cordell) - 2:11
17.Hearts And Flowers (Jeff Katz, Jerry Kasenetz, Elliot Chirput) - 2:19
18.What You Want (Baby I Want You) (B. Clifford, D. Mani) - 2:09
19.Road Runner (Jeff Katz, Jerry Kasenetz) - 3:38
20.Where Are We Going (Mickey Lane) - 2:15
21.Yes Sir (Joey Levine, Arthur Resnick) - 2:15
22.Dazzling (Jeff Katz, Jerry Kasenetz) - 2:35
23.Jack In The Box (S. Trimachi, Ritchie Cordell) - 2:03
24.What's Your name (B. Gentry, Ritchie Cordell) - 2:20
The Music Explosion
*James "Jamie" Lyons - Lead Vocals, Tambourine, Maracas, Drums
*Donald (Tudor) Atkins - Lead Guitar
*Richard Nesta - Guitar
*Burton Stahl - Bass Guitar, Organ, Piano
*Robert Avery - Drums, Harmonica, Guitar
*Dane Donohue - Guitar
*Dale Powers - Guitar
Produced by brothers Eric and Steven Nathanson, 1970's "Omnibus" served as a showcase for Wegrzyn. In addition to serving as lead vocalist, he was responsible for writing or co-writing all 12 numbers. Whether you were impressed depended on how you felt about the band's derivative sound. Propelled by Wegrzyn's achy voice and organ and horn-propelled material, the band's Doors-meets-Blood, Sweat and Tears catalog struck us as an acquired taste. While occasionally mildly entertaining ("Shake It Off" and the fuzz-guitar powered "Understand"), the majority of the set was simply rather bland. As far as we can tell, the album failed to provide credits for the band members.
Tracks
1. The Man Song (R. Wegrzyn) - 3:26
2. It's All In Your Heart (R. Wegrzyn) - 6:03
3. Shake It Off (R. Wegrzyn) - 3:58
4. Understand (R. Wegrzyn) - 3:52
5. Above Me (R. Wegrzyn) - 2:45
6. Den of Sin (R. Wegrzyn) - 2:10
7. Boogus Black And White (R. Wegrzyn) - 5:08
8. Spring (R. Wegrzyn, J. Polt) - 3:02
9. Winding Thru Your Heart (R. Wegrzyn) - 2:30
10.Harmony (R. Wegrzyn) - 2:32
11.Big Daddy Slave (R. Wegrzyn, A. Raimondi) - 2:37
12.Tired of Screamin' (R. Wegrzyn) - 2:46
The Omnibus
*J. Polt
*A. Raimondi
*R. Wegrzyn - Vocals, Organ
After Tea from the picturesque town of Delft were formed in 1967 after a row in the group The Tee Set whose singer Peter Tetteroo had problems with the psychedelic leanings of his"backing group". Tetteroo chose the James Mean musicians as his new colleagues and the rest of the Tee Set became After Tea.The line up this time was Hans van Eyck (vocals, keyboards), Polle Eduard (vocals, bass, guitar), Martin Hage (drums) and the Englishman Ray Fenwick (vocals, guitar).
All members were composers, expert musicians and good vocalists and soon became well respected and were quickly signed to Decca. Together with producer Bert Schouten they worked hard on their first single, the first Dutch "flower power" record "Not Just a Flower in Your Hair" (complete with children's choir). On the b-side was "The Time is Nigh", with the same choir as a gimmick together with the Sousa march "Stars and Stripes Forever" at the end. The Beatles ended "All You Need is Love" in a similar way later on. The single was played a lot on radio and reached 11 in the Top 40.
In the studio new numbers were tried out for the new album. The old Tee Set song "Long Ago" was redone in a new "easy" style and "Don't Waste Your Love On Me" was written with lyrics by Hitweek's magazine's Laurie Langenbach. In December 1967 the album "National Disaster" came out. The LP is packaged in a "Wanted Dead or Alive" sleeve and includes a large poster inside. The music is a mix of flower power ideology and fragile numbers such as "Gotta Get You In My Garden Girl" and "In The Land Of The Bubble Gum Tree" and more progressive songs like "Play That Record" , the new version of "Long Ago" and Ray Fenwick's title number "National Disaster". The album got a good public response and glowing reviews in Hitweek, Musiek Express and Teenbeat. The LP was released in the UK in June 1968 and received good reviews in NME and Melody Maker.
In England Steve Winwood from the Spencer Davis Group was forming his own group, Traffic. Davis was looking for a replacement and when After Tea and Spencer Davis played together in Rotterdam, he asked Ray Fenwick if he would like to join his band as a replacement for Winwood. Ray had some doubts , but because his work permit as a musician had only months left to run and the possibility of him being asked to leave the country he accepted and left for England. He continued to write some songs for After Tea and played now and then on a few records.
"We Will Be There After Tea" written by Hans and Ray became another hit in December 1967. The song with it's catchy lyrics was underpinned by a strong melody and later became a regular favourite for The Spencer Davis Group with Ray. After Tea went through a period of many changes, Polle was in and out of the band and experimented briefly with Frans Krassenburg (vocals) and Henk Smitkamp (bass) and Ferry Lever (guitar) as a long term replacement for Ray.
In May 1968 they released "Snowflakes On Amsterdam" and then in September, their fourth single"Peregrine Thomas" a country influenced song which didn't break into the Top 40. It's follow up "Love In Jeopardy" didn't make it either. Thanks to their loyal fans, they kept touring and at the end of the sixties they made a picture disc for the jewellers Desiree which was packaged with an engagement ring and book. The songs on the disc were "Desiree" and "The Wedding Song". The last single for Decca was "A Little Bit Today" in August 1969. Here they chose a standard R+B style. At the parting with Decca the album "After Tea" came out filled with a and b sides of previous singles.
Tracks
1. A Perfect Way To Spend A Day (Hans van Eijck) - 3:20
2. Sound Of A Backstreet (Hans van Eijck) - 2:45
3. We Will Be There After Tea (Hans van Eijck, Ray Fenwick) - 3:02
4. Sweet Elaine (Hans van Eijck) - 3:44
5. Not Just A Flower In Your Hair (Hans van Eijck, Ray Fenwick) - 2:28
6. Peruquine Thomas (Hans van Eijck, Ray Fenwick) - 2:05
7. Snowflakes On Amsterdam (Hans van Eijck, Ray Fenwick) - 2:29
8. Sunny Side Of Mable Block (Polle Eduard) - 3:17
9. Water And White Marble (Polle Eduard) - 4:40
10.Lily Of The Valley (Polle Eduard) - 3:06
11.Love In Jeopardy (Tristan Keuris, Hans van Eijck) - 3:09
12.A Little Bit Today (A Little Bit Tomorrow) (Polle Eduard) - 3:49
The After Tea
*Hans van Eijck - Organ
*Martin Hage - Drums
*Polle Eduard - Bass, Vocals
*Ray Fenwick - Guitar
*Frans Krassenburg - Vocals
*Henk Smitkamp - Bass
*Ferry Lever - Guitar
Warpig's formation came the same as so many other rural Ontario bands of the mid 60's. Guitarist/singer Rick Donmoyer toiled in a number of groups, including The Turbines, The Kingbees (later The Wot) and Mass Destruction.
But by late '66 Donmore found himself looking for a new project, and hooked up with fellow Mass Destruction alumni Terry Brett on bass, Dana Snitch (keyboards/guitars) and drummer Terry Hook, all Woodstock, Ont. natives. Endless practices in the Hook basement led to Warpig a few months later. With a mix of influences rivalled by few in the area, the boys soon found themselves as a steady attraction on the Toronto independent scene for the better part of the next two years.
The band was seen by a label owner and were signed to FontHill Records in late 1968. They continued on the circuit, while writing original material and financing the recording of their first lp. With the production help of Robert Thomson, it finally saw the light of day in the spring of 1970. The album was full of raw power, with inspirational remnants from everything from the British Invasion to the surf sound, from Chet Atkins to Black Sabbath. Reminiscent of a less-structured Deep Purple album, tracks like the lead-off "Flaggit" and "Tough Nuts" gave you the unbridled passion of a young band doing it their way, while "Advance in 'A' Minor" showed the band's tight structure and classical influences, in what could only be described as 'early eclectic post psychadelic'. A common theme throughout the lp was the band's pounding rhythms and straight forward guitar licks.
A 45 of "Rock Star" b/w "Flaggit" made the rounds of the radio stations, and along with their live show,the following grew. FontHill was bought out by London Records in '71, leaving the band in the lurches as to their status for several months. The band carried on throughout the circuit, when they discovered they were without a label. London reissued Warpig's debut a year later, repackaged and remastered.
The group carried on, writing material while on the road and slipping into the recording studio when they could book some time. But what was supposed to be the band's second lp got shelved when they couldn't find a distributor. Upset with management and the band's general direction, Snitch left the Warpig tent in '73, followed by the complete breakup of the band a short while later. Everyone went on to do outside projects and their own things, Donmoyer carried on in the business for a few more years, most notably with the Toronto-based Ash Mountain.
By the new millennium more than one bootlegged Warpig CD found its way to the black market. In 2004 the four original members got together to see what would happen, and have since focused their energies on reforming fulltime. The band re-released their only album on Relapse Records in 2006.
Their first album, Hookfoot consisted of songs composed by Caleb, plus renditions of Stephen Stills and Neil Young songs. This first album was very innovative with Caleb switching between guitar and keyboards. It even included a great piano-based jazz instrumental ('Wim Wam') along with a killer tune ('Movies') that starts out with Quaye and Duck on acoustic and finishes with Wishbone Ash style double-lead electric.
Tracks
1. Bluebird (Stephen Stills) - 3:51
2. Mystic Lady (Caleb Quaye) - 5:05
3. Movies (Ian Duck) - 4:50
4. Nature Changes (Caleb Quaye, Ian Duck) - 5:15
5. Wim-Wom (Caleb Quaye) - 3:19
6. Don't Let It Bring You Down (Neil Young) - 2:49
7. Coombe Gallows (Caleb Quaye) - 3:08
8. Crazy Fool (Caleb Quaye, Ian Duck) - 4:48
9. Golden Eagle (Caleb Quaye) - 5:37
10.Bluebird (Revisited) (Stephen Stills) - 4:09
The Hookfoot
*Caleb Quaye - Guitars, Piano, Keyboards
*Ian Duck - Guitars, Mouthharp, Vocals
*Dave Glover - Bass Guitar
*Roger Pope - Drums, Percussion With
*Dicky Birds - Whistling
Vocalist multi-instrumentalist Caleb Quaye was the mastermind fronting the largely forgotten Hookfoot. Quayle started his professional musical career as a member of Long John Baldry's backing band Bluesology. When Baldry decided to disband the group in 1967 Quaye struck out as a solo act releasing an obscure 45 on Philips 'Baby Your Phrasing Is Bad' b/w 'Woman of Distinction'.
When the single disappeared without a trace, Quaye turned to sessions and live working, including supporting former Bluesology keyboardist Elton John. His work with John led to a steady paycheck as a house musician signed to Dick James Music (DJM) which also happened to have signed Elton John to a recording contract. It also introduced him to fellow DJM employees Ian Duck, David Glover, and Roger Pope. Duck, Glover and Pope had a lengthy history themselves having started out as members of The Soul Agents, The Loot, and The Final One. With all four working together in support of various Elton John projects, in 1969 Quaye convinced them to join him in forming a band - Hookfoot and were promptly signed by DJM.
‘A Piece of Pye’ is a collection of earlier songs like, the bluesy filler ‘S.B.W.’ [Sonny Bow Williamson] and the guitar heroics tour-de-force jamthat is ‘Shoeshine Boy’ – oh, dear Lord how well I remember that one blowing my socks off when I first heard it as a teenager! The remaining material on ‘A Piece of Pye’ was completely new to me – early recordings by the sound of it, all of them credited to guitarist Caleb Quaye.
You Better Get On’, a showcase bluesy groover that sounds like it might’ve been the highlight of their live set at the time, up to the standard of the stunning ‘The Way of the Musician’ debut 45 released on Page One in France which unfortunately remains un-re-released to this day. It’s must be a contender for some future late 60s compilation, surely, just as Caleb Quaye's 'Baby Your Phasing is Bad' recorded immediately pre-Hookfoot is a something of a staple requirement.
There's a fair bit of other un-re-released still languishing on 'B' sides of various singles as well, including 'Heart to Heart Talking', 'Red Man', 'Freedom (Nobody's Shoes), 'Hookfoot' (the song the band became named after, apparently due to drummer Roger Pope's habit of hooking his wayward kit back towards him while playing) and 'The Opener' (original B-side of 'Sweet Sweet Funky Music' from Good Times a' Comin'). Plus, the live album that I must confess had a hand in releasing via the SPM label in Germany back in the early 1990s is also overdue for some reissue attention.
by Phil McMullen
Tracks
1. A Peace One - 1:46
2. You Better Get On (Ian Duck, Dave Glover, Roger Pope, Caleb Quaye) - 7:16
3. Death Song (Ian Duck, Caleb Quaye) - 6:36
4. First Things First - 3:05
5. Wide Open Funky Spaces - 4:13
6. S.B.W (Ian Duck, Caleb Quaye) - 2:37
7. Shoe Shine Boy 12:13
8. A Peace Two - 0:55
All songs by Caleb Quaye unless as else stated
In December 1966 Joe Whiting would go on to team with Auburn native the legendary Mark Doyle to form the "New Ridgewoods" and after adding drummer Tom Glaister, bassist Barry Maturevity (a Ridgewood) and rhythm guitarist Chuck Baron plus changed their name to "Free Will". In the summer of 1967, Baron was replaced by John Dean and Bill Irwin added. In the spring of 1967 bassist Maturevitz was replaced by George Egosarian.
A year later Egosarian was replaced by John DeMaso. In 1969 Bill Irwin left and George Egosarian rejoined the band. Freewill zoomed onto the music scene first covering their home base playing Lake Dances in Auburn, Fabins in Skaneateles, Jordan-Elbridge High School and at East High School (Auburn) where they were one of the first to play a concert at a sit down auditorium, rather than a gym. They exploded into the Syracuse market playing the Scene (Dewitt), Jabberwocky (SU Campus) and Country Tavern.
Their music was based on British Blues playing Savoy Brown, Fleetwood Mac, John Mayall etc. They played the entire "Arthur" album by the Kinks and incredible melody by Spirit. We remember those famous Chuck Berry covers & Roy Orbison's version of "Candyman". They also performed several originals as "Carry Me Home", "Ridin' With The Devil", and "Get That Shinning Sun". During this time period Free Will ventured to Connecticut recording several demo tunes in late 1969 . That session included the only recorded versions of the legendary songs "Are You Gone" and "State Police Googie" both originals.
With its lineup finally set in the fall of 1971, Free Will changed its name to "Jukin Bone." Now with a recording contract with RCA Records the band entered Jimi Hendrix's Electric Ladyland Studio in New York City in 1972 and recorded their first album for RCA "Whiskey Woman". Heavy guitar riffs, solid rhythm section and great vocals. It's worth noting that all tracks were recorded completely live with a small, invited audience. Unfortunately, the album went almost unnoticed, although the band got at least a chance to record their second album.
by Ron Wray, John D'Angelo, Pete Shedd
Tracks
1. Jungle Fever (Joe Whiting, Mark Doyle) - 4:47
2. Candy Man (Fred Neil, Beverly Ross) - 4:30
3. Spirit In The Dark (Aretha Franklin) - 4:22
4. Can't Judge What You Miss (George Egosarian, Mark Doyle) - 4:14
5. Whiskey Woman (Joe Whiting, Mark Doyle) - 4:17
6. Going Down (Don Nix) - 3:54
7. The Hunter (Booker T. Jones, Carl Wells, Steve Cropper, Donald Dunn, Al Jackson, Jr.) - 3:59
8. Got The Need (Joe Whiting, Mark Doyle) - 3:02
9. Let Loose (Joe Whiting, Mark Doyle) - 4:18
