Various Artists - Let’s Go Down And Blow Our Minds The British Psychedelic Sounds (1967 uk, impressive psych mod freak beat, 2016 three disc box set)

Top-notch psychedelic box set capturing the far out sound of 1967, focussing mainly on classic underground bands, such as The Pretty Things, Human Instinct, Tintern Abbey and Fleur De Lys, who blend with some who became household names later, such as David Bowie and Marc Bolan.

The psychedelic road has always taken many twists and turns, and this was just as true in 1967 as it is now. The art of a good psychedelic box set is balance and variety, and Cherry Red have definitely succeeded in both, as they did with their Love Poetry and Revolution box set, a couple of years ago. Every shade is included here.

Although Let’s Go Down deals mainly with the underground sounds of 1967, a few familiar-to-most names pop up, such as The Move (Vote For me), The Moody Blues (Life’s Not Life) and Dave Davies from The Kinks (Funny Face), all with lesser-known songs than the ones that made them superstars. And amongst the more underground acts, you can see how some of the featured selections echo their more famous counterparts. Take Turquoise, here under an alias, The Brood, with Village Green. It’s a different Village Green to the song by The Kinks, but it’s along the same lines. Bandwagon jumpers? Or did they record theirs first? Who cares: just enjoy the music!

And in a similar way, it’s interesting to see that during this time of high creativity and experimentation, certain records like say Rain by The Beatles or A Whiter Shade of Pale by Procul Harum set blueprints, forming their own sub-genres within the psychedelic spectrum. Check out The Mirage: Lazy Man and Rupert’s People: Reflections of Charlie Brown, respectively. And then there’s joyous freakbeat shenanigans from the likes of Human Instinct, with A Day In My Mind’s Mind –   from a totally different end of the psych spectrum

Balancing the rocking stuff with the more laidback, it’s great to see Jason Crest here under their previous name The Good Thing Brigade, with the lazy organ-fuelled My House Is Burning. You think you know Arthur Brown, he of The Crazy World and the God of Hell Fire? Think again! On Give Him a Flower, the wonderfully camp and distinctly English song of his on this box set, he sounds more like Kevin Ayers. And while we’re on the bonkers British tip, check out Granny Takes a Trip by Purple Gang

Marc Bolan pops up from his pre-fame days as a member of the Mod-psych warriors, John’s Children, with Desdemona. And speaking of pre-fame, David Bowie is here too as The Riot Squad, with Toy Soldier, a slightly dodgy ode to S&M, with lyrics that echo the Velvets’ Venus in Furs.

Far too many gems here to mention: hearing is believing. And as always with Cherry Red, it comes with great artwork & photos, plus all the information you need about the records, captured in a 44 page booklet. Some of the tracks are alternate versions and some are on CD for the first time. And it’s good news for those who already have an interest in the British psych/freakbeat movement, via compilations such as the Rubble series, because there is plenty of material here that won’t overlap, and no really obvious choices.

by Arash Torabi

Tracks
Disc 1
1. The Alan Bown - Toyland (Single Version) - 2:55
2. The Attack - Magic In The Air - 3:38
3. The Tickle - Subway (Smokey Pokey World) - 2:41
4. Episode Six - I Can See Through You - 3:24
5. Dantalian's Chariot - The Madman Running Through The Fields - 4:11
6. Geranium Pond - Dogs In Baskets - 2:05
7. The Scots Of St. James - Eiderdown Clown - 2:15
8. George Alexander - Dear Delilah - 2:53
9. The Sorrows - Pink Purple Yellow And Red - 2:49
10.The Mirage - Lazy Man (Alternative Version) - 3:00
11.The Crazy World Of Arthur Brown - Give Him A Flower - 3:01
12.Tintern Abbey - Tanya - 2:56
13.Fleur-De-Lys - Prodigal Son - 1:59
14.The Lomax Alliance - See The People - 2:14
15.The Mickey Finn - Time To Start Loving You - 2:40
16.The Fingers - I Hear The Sun - 2:01
17.Crocheted Doughnut Ring - Nice - 3:05
18.The Good Thing Brigade - My House Is Burning - 3:22
19.The Motives - Ice Woman - 2:49
20.Louise - Look At The Sun - 3:30
21.Neo Maya - I Won't Hurt You - 2:30
22.Cliff Ward - Path Through The Forest - 4:33
23.The Spencer Davis Group - Sanity Inspector (Single Version) - 3:01
24.The Summer Set - 'Cos It's Over - 2:45
25.Those Fadin' Colours - Try Me On For Size - 2:39
26.The Slender Plenty - Silver Tree Top School For Boys - 2:22
27.Guy Darrell - Evil Woman - 2:26

Disc 2
1. Elmer Gantry's Velvet Opera - Flames - 3:13
2. One In A Million - Double Sight - 2:35
3. Paul & Barry Ryan - Keep It Out Of Sight - 2:48
4. The Pretty Things - Defecting Grey (Extended Version) - 5:12
5. John's Children - Desdemona - 2:24
6. The Doves  - Smokeytime Springtime - 3:03
7. John Williams - Flowers In Your Hair - 2:42
8. Sweet Feeling - All So Long Ago - 3:13
9. Rupert's People - Reflections Of Charles Brown - 4:19
10.The Riot Squad ,The Riot Squad Featuring David Bowie David Bowie - Toy Soldier - 3:10
11.The Rats - The Rise And Fall Of Bernie Gripplestone - 4:08
12.Circus - Something To Write About - 3:27
13.Dave Davies - Funny Face - 2:17
14.The Brood - Village Green - 2:23
15.Tony Rivers And  The Castaways - Mr. Sun - 2:17
16.The Peep Show - Your Servant Stephen - 3:01
17.The Uglys - And The Squire Blew His Horn - 3:36
18.The Move - Vote For Me - 2:49
19.The Human Instinct - A Day In My Mind's Mind - 2:14
20.Murray Head - She Was Perfection - 2:48
21.Peter And The Wolves - Little Girl Lost And Found - 2:29
22.The Bunch - Spare A Shilling - 2:32
23.Big Jim Sullivan - Flower Power - 3:26
24.Procol Harum - Kaleidoscope (Extended Stereo Mix) - 3:08
25.The Searchers - Crazy Dreams - 2:37
26.The Artwoods - In The Deep End - 3:07

Disc 3
1. Our Plastic Dream - Someone Turned The Light Out - 2:36
2. Hat And Tie - Finding It Rough - 2:49
3. The Fresh Windows - Fashion Conscious - 2:21
4. The Game - The Addicted Man - 2:23
5. Felius Andromeda - Meditations - 4:09
6. The Honeybus - Delighted To See You (Demo Version) - 2:33
7. Ice - So Many Times - 2:06
8. The Flower Pot Men - A Walk In The Sky - 3:53
9. Five's Company - Friends And Mirrors - 2:10
10.The Late - Family Tree - 3:04
11.The Secrets  - I Think I Need The Cash - 2:18
12.Skip Bifferty - Schizoid Revolution - 3:29
13.The Purple Gang - Granny Takes A Trip - 2:35
14.The Picadilly Line - Emily Small (The Huge World Thereof) - 2:31
15.The Outer Limits - Help Me Please - 2:28
16.Focal Point - 'Cept Me - 2:53
17.Jade Hexagram - Great Shadowy Strange - 4:04
18.The Truth - Busker Bill - 2:59
19.The Moody Blues - Life's Not Life - 2:35
20.Don Craine's New Downliners Sect - I Can't Get Away From You - 2:49
21.The Symbols - Again - 1:58
22.The Hi-Fi's - Odd Man Out - 2:21
23.The Marmalade - Laughing Man - 3:24
24.T. J. Assembly - Ginger - 2:31
25.The 23rd Turn Off - Michelangelo (Demo Version) - 2:16
26.The Q. P. R. Supporters - Supporters - Support Us - 2:47
27.Sands - Listen To The Sky - 3:36

For the most of the Acts listed here in this compilation, I have already added some of their albums, if you're interesting of any of them, just write the artist's name on "Search This Blog"  ticker box, if you won't find it just let me know. Thank you.

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Karen Dalton - In My Own Time (1971 us, brilliant acid folk blues rock, 2006 remaster)

To hear Karen Dalton sing "How Sweet It Is" or "When a Man Loves a Woman" is to hear the song completely transformed. The Oklahoma-bred, New York City-based singer sustains what were previously just grace notes, moves the accents around, inverts the rhythms, and plays hide-and-seek with meter. Dalton even changes the lyrics at the end of "When a Man Loves a Woman", fitting them to her female perspective. Her talent isn't merely interpretive, but imperialistic: She takes these songs over completely, bending their melodies and meanings to fit her specific mood. And In My Own Time, her second and final album, has a very specific mood: These songs exalt love, but acknowledge its transitory nature. Dalton gives herself over to its joys on "How Sweet It Is", notes its passing on her majestic take on Richard Manuel's "In a Station", then sounds resigned on closer "Are You Leaving for the Country?" The album contains just the slightest hint of a narrative-- a struggle between love and loss, the city and the country, joy and sorrow-- but she sounds honestly conflicted, a jaded romantic trying to find her way.

So that phrase "in my own time" fairly neatly sums up her life. She arrived in New York City with her daughter Abra in the early 1960s and became a fixture on the budding East Village folk scene-- even sharing the stage with Bob Dylan. But Dalton moved around compulsively, played rarely and begrudgingly, drank and did drugs heavily, and recorded almost never. She enjoyed playing privately with friends and hated the Billie Holliday comparison that dogged her throughout her entire life. Producer Nick Venet reportedly had to trick her into recording songs for her first album, It's So Hard to Tell Who's Going to Love You Best, released in 1969 and reissued by Koch in 1997, four years after her death. Dalton casts a subtle but powerful spell as she sings songs by Tim Hardin, Fred Neil, and Duke Ellington with minimal accompaniment. In My Own Time was released in 1971 on producer Harvey Brooks' Just Sunshine label and has since been a collector's treasure on vinyl. Admirers Nick Cave and Devendra Banhart (who is turning folkie resurrection into a cottage industry) extol her talents in the liner notes for this affectionate reissue.

Compared to It's So Hard to Tell Who's Going to Love You Best, In My Own Time sounds a little more adventurous and lively with its full band and free-wheeling performances, seamlessly and playfully blending folk, country, rock, jazz, and soul. More than a dozen musicians coalesce into a loose, loopy backing band that knows exactly when to push forward ("In a Station"), exactly when to back off ("Take Me"), and exactly when to let Dalton take front and center (pretty much always). In My Own Time has the laidback, lackadaisical vibe of a close-knit group of friends doing single takes around an inspired singer. They play up the jazzy breeziness of "Take Me" and "Satisfied" and soak "In a Station" with multiple organs and Richard Bell's rambling piano, giving the song a majestic push ideally showcasing Dalton's dramatic range. They tackle the tripping rhythms of "How Sweet It Is" as Dalton sings almost independent of the familiar melody.

With such a clear dynamic between all these musicians, it's ironic that two of the album's most moving tracks are also its most naked: the bleakly existential "Katie Cruel" and the supremely lonely-sounding "Same Old Man" showcase her elastic vocals and piercing banjo with only minimal accompaniment. You could easily spill a thousand words on her pronunciation of "mackintosh." Like her debut, In My Own Time reveals a demanding, intuitive, eccentric singer and arranger who never sang her own words but clearly and confidently expressed herself with others'. She was a free spirit who sounds freest on these ten tracks. So "Are You Leaving for the Country?", with its swooning melody and laidback vibe, closes the album on a poignant note: this is her final take, her last number ever. It makes you wish there was just one more record to reissue and even more music to pore over obsessively.

by Stephen M. Deusner

Tracks
1. Something On Your Mind (Dino Valenti) - 3:23
2. When A Man Loves A Woman (Calvin Lewis, Andrew Wright) - 2:59
3. In My Own Dream (Paul Butterfield) - 4:17
4. Katie Cruel (Traditional Arranged By Karen Dalton) - 2:22
5. How Sweet It Is (To Be Loved By You) (Lamont Dozier, Brian Holland, Eddie Holland) - 3:43
6. In A Station (Richard Manuel) - 3:52
7. Take Me (George Jones, Leon Payne) - 4:40
8. Same Old Man (Traditional Arranged By Steve Weber) - 2:45
9. One Night Of Love (Joe Tate) - 3:18
10.Are You Leaving For The Country (Richard Tucker) - 3:14

Musicians
*Karen Dalton - Vocals, Banjo, 12 String Guitar
*Richard Bell - Piano
*Harvey Brooks - Bass
*Amos Garrett - Guitar
*John Hall - Guitar
*Daniel Hanken - Guitar
*Bill Keith - Pedal Steel Guitar
*Ken Pearson - Organ
*Denny Seiwell - Drums
*John Simon - Piano
*Greg Thomas - Drums
*Dennis Whitted - Drums
*Bobby Notkoff - Violin
*Hart Mcnee - Tenor Saxophone
*Robert Fritz - Clarinet
*Marcus Doubleday - Trumpet

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Elvin Bishop - Struttin' My Stuff (1975 us, fine southern funky blues rock, 2013 japan SHM remaster)

Shortly after recording this show for the King Biscuit Flower Hour in April 1976, Elvin Bishop, along with his current album at that time, Struttin' My Stuff, made it to the #2 position on the Billboard pop chart and went gold (thanks, in large part, to its hit single, "Fooled Around And Fell In Love"). The single was already a hit, but it was this Biscuit show that gave Bishop his first extensive national radio exposure.

In addition to Elvin Bishop himself on guitar and vocals, the group featured on his recording was made up of bassist Fly Brooks, keyboardist Bill Slais, second guitarist Johnny Vernazza, drummer Donny Baldwin and vocalists Reni Slais and Mickey Thomas. Thomas, who had charted his first international hit as the singer on "Fooled Around," would emerge two years later (along with Baldwin) as a member of rock-revamped Jefferson Starship, with whom they would reach superstar status, thanks to hits like "Find Your Way Back" and "We Built This City." 

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Tracks
1. Struttin' My Stuff (Philip Aaberg, Elvin Bishop ) - 4:09
2. Hey, Hey, Hey, Hey (Philip Aaberg, Elvin Bishop, Mickey Thomas) - 3:30
3. My Girl (Smokey Robinson, Ronald White) - 3:05
4. I Love The Life I Lead - 2:29
5. Fooled Around And Fell In Love - 4:35
6. Holler And Shout - 3:11
7. Slick Titty Boom - 5:00
8. Grab All The Love - 2:52
9. Have A Good Time - 2:30
10.Joy - 4:02
11.Silent Night (Traditional Arr. Elvin Bishop) - 4:00
12.Silent Night (Instrumental) - 4:15
All songs by Elvin Bishop except where stated
Bonus tracks 11-12

Personnel
*Elvin Bishop - Rhythm, Slide Guitar, Vocals
*Donny Baldwin - Congas, Drums, Percussion, Vocals
*Philip Aaberg - Clavinet, Keyboards, Piano
*Michael Brooks - Bass
*Terry Hanck - Tenor Saxophone
*Mike Keck - Keyboards, Organ, Piano
*Bill Slais - Keyboards, Synthesizer, Vocals
*Mickey Thomas - Vocals
*John Vernazza - Rhythm, Slide Guitar, Vocals

1969-70/72  Party Till The Cows Come Home
1974  Elvin Bishop - Let It Flow
1977  Live! Raisin' Hell (2012 remaster)

with Paul Butterfield Blues Band
1964  The Original Lost Elektra Sessions
1965  The Paul Butterfield Blues Band
1966  East West
1966-68  Strawberry Jam

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The Web - Fully Interlocking (1968 uk, beautiful ethereal baroque psychedelia with jazz and prog elements, 2008 remaster)

One of the more eclectically inclined bands to emerge out of the British psychedelic scene, the Web hailed from the same neck of the woods as Robert Fripp, Greg Lake, and Al Stewart, and very much shared in the same serious outlook that characterized those talents. Jazz-tinged and blues-laden, the Web moved to London in 1966, eventually signing to one of the few labels that actually seemed geared toward their darkly uncommercial brew, Decca's Deram subsidiary, but the three albums the band cut were never going to set the charts on fire, no matter how sincerely atmospheric the music therein.

Moodily produced by Mike Vernon, 1968's Fully Interlocking debut is generally regarded as the band's finest hour, a thoughtful and oftentimes dense exploration of themes, rhythms, and melancholies that were uniquely their own. Three bonus tracks then bounce this reissue up to 13 songs via an intoxicating blueprint for Blood, Sweat & Tears' "I'm a Man" and "God Bless the Child," and -- standing out like more sore thumbs than any single band should be able to raise -- the Bee Gees' "To Love Somebody." What were they thinking? 

by Dave Thompson

Tracks
1. City Of Darkness (Tony Edwards, John Eaton) - 3:07
2. Harold Dubbleyew (Tom Harris, John Eaton) - 3:11
3. Hatton Mill Morning (John Eaton) - 3:49
4. Green Side Up (Tom Harris) - 2:01
5. Wallpaper (Tom Harris, John Eaton) - 3:00
6. Did You Die Four Years Ago Tonight? (Lennie Wright, John Eaton) - 2:11
7. Watcha Kelele (Tony Edwards) - 3:51
8. Reverend J. McKinnon (John Eaton) - 2:59  
9. Sunday Joint (Lennie Wright, John Eaton) - 2:02
10.War Or Peace - 9:42
.1.Theme (Terry Noonan)
.2.East Meets West (John Eaton)  
.3.Battle Scene (Lennie Wright, Kenny Beveridge)
.4.Conscience (Lennie Wright, John Eaton)
.5.Epilogue (Terry Noonan, Lennie Wright, John Eaton)
11.I'm A Man (Steve Winwood) - 3:33
12.God Bless The Child (Billie Holiday, Arthur Herzog Jr) - 5:00
13.To Love Somebody (Barry Gibb, Robin Gibb) - 3:29

The Web
*John L. Watson - Vocals
*Kenny Beveridge - Drums, Percussion
*Lennie Wright - Vibes, Percussion
*John Eaton - Guitar
*Tony Edwards - Guitar
*Dick Lee-Smith - Bass
*Tom Harris - Saxes, Flute

Related Act
1971  Samurai - Samurai (2008 remaster)

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Leonard Cohen - Songs Of Leonard Cohen (1967 canada, folk masterpiece, 2007 Japan remaster)

At a time when a growing number of pop songwriters were embracing a more explicitly poetic approach in their lyrics, the 1967 debut album from Leonard Cohen introduced a songwriter who, rather than being inspired by "serious" literature, took up music after establishing himself as a published author and poet. The ten songs on Songs of Leonard Cohen were certainly beautifully constructed, artful in a way few (if any) other lyricists would approach for some time, but what's most striking about these songs isn't Cohen's technique, superb as it is, so much as his portraits of a world dominated by love and lust, rage and need, compassion and betrayal.

While the relationship between men and women was often the framework for Cohen's songs (he didn't earn the nickname "the master of erotic despair" for nothing), he didn't write about love; rather, Cohen used the never-ending thrust and parry between the sexes as a jumping off point for his obsessive investigation of humanity's occasional kindness and frequent atrocities (both emotional and physical). Cohen's world view would be heady stuff at nearly any time and place, but coming in a year when pop music was only just beginning to be taken seriously, Songs of Leonard Cohen was a truly audacious achievement, as bold a challenge to pop music conventions as the other great debut of the year, The Velvet Underground & Nico, and a nearly perfectly realized product of his creative imagination.

Producer John Simon added a touch of polish to Cohen's songs with his arrangements (originally Cohen wanted no accompaniment other than his guitar), though the results don't detract from his dry but emotive vocals; instead, they complement his lyrics with a thoughtful beauty and give the songs even greater strength. And a number of Cohen's finest songs appeared here, including the luminous "Suzanne," the subtly venomous "Master Song" and "Sisters of Mercy," which would later be used to memorable effect in Robert Altman's film McCabe and Mrs. Miller. Many artists work their whole career to create a work as singular and accomplished as Songs of Leonard Cohen, and Cohen worked this alchemy the first time he entered a recording studio; few musicians have ever created a more remarkable or enduring debut. 

by Mark Deming

Tracks
1. Suzanne - 3:49
2. Master Song - 5:59
3. Winter Lady - 2:17
4. The Stranger Song - 5:07
5. Sisters Of Mercy - 3:36
6. So Long, Marianne - 5:40
7. Hey, That's No Way To Say Goodbye - 2:58
8. Stories Of The Street - 4:38
9. Teachers - 3:02
10.One Of Us Cannot Be Wrong - 4:27
11.Store Room - 5:05
12.Blessed Is The Memory - 3:05
Music and Lyrics by Leonard Cohen
Tracks 11-12 outtakes from the Early Sessions for Songs Of Leonard Cohen

Musicians
*Leonard Cohen - Vocals, Acoustic Guitar
*Jimmy Lovelace - Drums
*Nancy Priddy - Vocals
*Willy Ruff - Bass
*Chester Crill, Chris Darrow, Solomon Feldthouse, David Lindley - Flute, Mandolin, Jew's Harp, Violin

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Shawn Phillips - Spaced (1977 us, fascinating blend of folk funky jazz prog rock, 2013 remaster)

In the public eye, I have been known almost exclusively as a singer-songwriter. This image has tended to limit the number of instrumental pieces I have composed over the years and wished to place on albums. As you listen to this, or any of my other albums, please bear in mind that there has never ever been any written music for the studio musicians, apart from orchestra charts when it was utilized. 

Today it appears that almost anyone who puts on a cowboy hat and / or has played an instrument for two or threeyears can be designated as a musician. All of the people who have played on my albums are musicians who have dedicated the majority of their lives to music.

"Health, Love & Clarity"In All Friendship & With All Love,May The Music Never Stop!

by Shawn Phillips

Wonderful! Shawn Phillips started his career as a shaggy folk rocker with a bit of a jazzy twinge – but this album collects odd bits and pieces that were left off of earlier albums, and works perfectly as a record that shows a whole new side of his genius! 

The album shows Phillips as a master of the funky jazz groove – and although he's still singing on some of the songs, he also lets loose with a number of instrumental cuts, laid out in a tight well-produced mode that puts them up there with some of the best work coming out on labels like Fantasy or Blue Note during the mid 70s. 

The centerpiece of these is the massive long cut "We Came To Say Goodbye", which builds and builds over the course of 15 minutes, with cool keyboards, great guitar, and the kind of tightly compressed grooves you'd expect to find on a Headhunters album (no surprise, since Headhunters Mike Clark, Bill Summers, and Paul Jackson are on the cut!) Other instrumental tracks include "Prelude To A Leaving" and "Italian Phases" – and strong vocal numbers include "Parisian Plight 1" and "Your Eyes".

Tracks
1. Rant - 3:24
2. Italian Phases - 2:22
3. The Light From Between You Eyes - 4:33
4. Stranded - 4:48
5. From All Of Us - 3:46
6. Parisan Plight I - 3:44
7. Prelude To A Leaving - 2:36
8. All Our Love - 1:33
9. I Don't Want To Leave You, I Just Came To Say Good-Bye - 16:15
Music and Lyrics by Shawn Phillips

Personnel
*Shawn Phillips - Vocals, Rhythm, Lead Guitar
*Russ Kunkel - Drums
*Leland Sklar - Bass
*Joe Sample - Organ, Piano
*Sneeky Pete - Steel Guitar
*Peter Robinson - Piano, Clavinet, Synthesizer
*Michael Baird - Drums
*Brandy (A Beautiful Lady) - Bass
*Jim Horn - Soprano Sax
*Chuck Rainey - Bass
*Mike Miller - Bass, Lead Guitar
*Al Wing - Sax
*Steve R. Neilen - Drums
*Anthony Nedza - Synthesizer, Electric Piano
*Joseph Gaeta - Bass, Lead Guitar
*Daniel Timms - Piano
*Bruce Rowland - Drums
*Brian Odgers - Bass
*Chris Mercer - Sax
*Johnny Almond - Bass Flute, Concert Flute
*Mike Clark - Drums
*Paul Jackson - Bass
*Bill Summers - Percussion

1970  Shawn Phillips - Contribution / Second Contribution (2009 remaster)
1969-72  Shawn Phillips - Faces (2014 remaster)  
1974  Shawn Phillips - Furthermore (2014 issue)

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Bill Quick - Maravillosa Gente (1972 us / venezuela, exceptional acid folk psych rock, 2007 remaster)

Long in the works reissue of this amazing and little know gem, “Beautiful People”, from 1972. Born in Miami Florida to an American father and Venezuelan mother, Bill split the USA to Madrid Spain in the early 70s. Once there he quickly landed a recording deal with famous producer Alain Milhaud of the explosion label, and set to work on this, his sole LP release. Sessions went down with an impressive cast of up to eleven players in the studio, including Salvador Dominguez & Chema Pellico (Cerebrum), Jess Lam (Jess & James), and Frank Rojas (Sangre). one of the albums real hidden treasures, though, was the assistance of unknown Texan Mark Gottschall, who co-wrote the title song and adds perfect vocal harmonies as well a second acoustic guitar. 

A finely balanced mix of sounds that drifts between throbbing electric full band groove and gentle acid folk. when bill wants to rock, things get downright funky, with a wickedly hard-hitting rhythm section, pumping organ, scorching electric leads, and flipped out acoustic guitars all locking into some seriously tight jams. Then the next minute the mood swings and you’re deep into some beautifully fragile and introspective folk meditations; often just two acoustic guitars, bill’s lyrics, and huge, angelic, vocal harmonies all weaving together into lush tapestries of sound. A few tracks fill out a more folkrock vibe with flute, autoharp, piano, slide guitar, banjo, and more. bill’s lyrics (all in English) and vocals always feel deeply sincere, which combined with his unique voice, unusual accent, and loose delivery make for one hell of a cool singer. 

The whole album has an air of mystical psychedelia, yet never strays far from pop craft, and there's a real sun-blasted quality to it all that just makes you want to crank the volume… nothing amateur or lo-fi about this one, its a pro recordings and these guys have serious chops. its hard to image why it didn’t become a hit at the time. The album was released only in Spain and Brazil, to very little interest, and Quickly became yet another great album lost to obscurity

Time-Lag

Tracks
1. Take Me Away - 2:51
2. With You, Lord - 2:20
3. Get Me a Pony - 3:15
4. Only the Weather - 3:12
5. Somebody - 3:13
6. I Don't Think You're Listening - 2:31
7. Beautiful People - 3:55
8. Heaven Knows - 4:05
9. Winter's Gonna Come - 4:12
10.I Sing This Song - 4:28
11.When the Night's Fallin' - 2:18
Words and Music by Guillermo Enrique Ruiz Quick (Bill Quick) except track #7 co-written with Mark Gottschall

Personnel
*Bill Quick - Vocals, Acoustic Guitar
*Mark Gottschall - Acoustic Guitar, Backing Vocals
*Gregg Gitts - Backing Vocals
*Bob Carlson - Bass
*Chema Pellico - Bass
*Jess Lam - Bass
*Frank Rojas - Drums
*Joe Cieri - Drums
*Rafa Gálvez - Guitar
*Salvador Domínguez - Guitar
*Luis Franch - Piano, Organ, Backing Vocals

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Firefall - Firefall / Luna Sea / Elan (1976-78 us, classy elegant country folk rock, 2016 double disc set)

As dusk enveloped the spectacular vistas of Yosemite Valley in Yosemite National Park, California, a huge pile of wood lay stacked at the edge of a high cliff. Nature lovers from far corners of the world gathered on the valley floor, waiting till dark when the woodpile was torched and slowly pushed off the cliff, the burning logs forming a blazing cascade down the mountain’s stony face. The image of the primitive light show, staged at Yosemite for tourists, stuck in Florida-born Rick Roberts’ mind for a long time. Then in l973, as he and his new Colorado based band were about to play their first gig but still needed a name, the image flashed back: Firefall. That seems an especially dead-on handle for the country flavored rock’n’roll band that carried the torch of musical forebears such as The Byrds, Buffalo Springfield, and The Flying Burrito Brothers into the mid-’70s and beyond.

In early 1975, FIREFALL recorded a three song demo tape produced by Chris Hillman and began shopping it to several major labels. At the same time, the new group’s members pursued other musical avenues. After CSNY’s mammoth 1974 tour and latest divorce, Stills put a new group together, and signed a solo deal with Columbia. Stills cut his solo album at Caribou Studios near Nederland, Colo., and for the six week supporting tour that summer, Stephen added Roberts to the band on backing vocals and guitar. During the set, Rick sang his song, ‘Colorado,’ a Burrito tune that Linda Rondstat had made famous.

Firefall’s big break came unexpectedly, at around the same time. A few months after splitting up with Richie Furay and J. D. Souther, Chris Hillman hit the road with a backup band that included Firefall’s Bartley, Andes, and Roberts. By the time they were scheduled to play The Other End in NYC, Hillman became ill and could not complete the tour. Firefall flew in it’s other two members from Colorado to finish the engagements. Atlantic A&R reps, who’d been impressed by their demo, caught the show and quickly offered the group a multi-album contract. They signed on and made plans to record their first record in the winter of 1975. Wanting more color and texture to their music, Firefall called upon DAVID MUSE, a high school buddy of Rick’s in Bradenton, Fla., who played sax, flute, harmonica and every imaginable keyboard. It was the final musical piece Firefall would need. With ex-Poco Producer Jim Mason at the helm, the band went into rehearsals in Boulder.

Though Caribou Studios was available and nearby, it was quite pricey and would probably be ‘too close’ to home, families and all the distractions that might take away the needed focus. So Firefall flew to Miami, Florida to record at one of the top studios in the country, Criteria Studios, who had hosted many artists including The Bee Gees, Eric Clapton, The Allman Bros., CSN and Stephen Stills. The band got down to focused work and the magic flowed. The first album, engineered by Karl Richardson (Bee Gees), took one month to record and mix and was made on 16 track tape. It was released by Atlantic Records in the spring of 1976 and became Atlantic’s quickest album to sell gold status (500,000) in it’s storied history. Sparks flew with the album called “FIREFALL” and the group’s sound caught fire on record, radio and on-stage. While the first single, ‘Livin’ Aint Livin,’ climbed into the top 40, songs like ‘Mexico,’ Robert’s original version of ‘It Doesn’t Matter’ and Burnett’s ‘Cinderella’ took off on album oriented rock (AOR) stations. 

The group toured with Leon and Mary Russell, The Doobie Brothers and The Band (on their final tour before making their farewell documentary movie, ‘The Last Waltz’). The second single, ‘You Are The Woman,’ raced into the Top 10, becoming an overnight mega-hit with pop and mellow rock audiences. Firefall continued to tour the summer of ’76 with Fleetwood Mac, who’d recently added Stevie Nicks and Lindsey Buckingham to their lineup for their groundbreaking “White Album.” Firefall cemented relationships with Mick and the band that would last a year and a half. A rare (for the era) third single, ‘Cinderella,’ though having received saturation FM airplay, fared less well on AM radio, hindered, as they would later learn, by a few influential woman’s organizations on the east coast who didn’t like the ‘message’ of the (fictional) lyrics. But Firefall blazed very brightly in 1976 and 1977, making a sizable mark during their first year in a crowded industry with their fresh and melodic music.

The group went back to Miami and Criteria Studios with Jim Mason to make their second album. It was to be called “TROPICAL NIGHTS” and included a number of songs that would later be dropped. Instead of a hotel, they rented one of the ‘Home At Last’ mansions that Eric Clapton made famous on his “461 Ocean Blvd.” album. Percussionist JOE LALA, (ex Manassas and CSN percussionist and an occasional touring Firefall member) and the legendary Memphis Horns added punch to the record. But in L.A., Atlantic C.E.O., Ahmet Ertegen, listened to the playback of the final mix and stated, “You boys need to go back in the studio and re-do this record (as Fleetwood Mac had with the White Album). It must be stronger to follow up your great first album. Write more songs, go back on tour, take your time.. no problem.” And so the band hit the road again and prepared to rework a few existing songs and add a number of newly written ones, including the future single, ‘So Long.’ The new album was renamed “LUNA SEA” with a new cover and released in early 1977. 

The debut single, ‘Just Remember I Love You,’ re-recorded with ex-Poco and future Eagle, TIMOTHY SCHMIDT singing background vocals, shot up the charts into the Top Ten. The album was certified gold on Oct. 3, after less than two months on the Billboard charts, where it peaked at #27. The song however, reinforced Atlantic’s – and radio’s – perception of Firefall as a soft-rock ballads band. The group on the other hand, saw itself as a smokin’ rock unit who happened to have a few mellower hits that got lots of pop and adult contemporary airplay. As a result, the second single off ‘LUNA SEA,’ the more rock’n’roll ‘So Long,’ didn’t get the major push or airplay the first single had. Non-stop touring, managerial problems, alcohol and drug abuse by some of the band and internal friction began to tear at the group – but it was the ‘big time’ and they were enjoying ’star status.’ All differences were swept under the table. The band toured extensively with Fleetwood Mac during their Rumors Tour (playing sold out stadiums nationwide) and also played with The Doobie Bothers, Chicago, The Marshall Tucker Band, The Beach Boys and Lynard Skynard (frequently playing with them right up to Skynard’s terrible plane crash).

Firefall came back stronger than ever in 1978 with their third album, “ELAN,” recorded first at Criteria and later at L.A.’s Record Plant. The band brought in heavyweight producer Tom Dowd (Aretha Franklin, The Rascals, Cream, The Allman Bros., Eric Clapton) to make the record. But band and producer, though getting along fine, had different musical visions. Atlantic was poised to release Dowd’s effort, when Firefall’s new manager, Mick Fleetwood and Limited Mgmt., demanded the group be allowed to ‘beef up’ the record. And so, for a second time, the band re-worked an album (and greatly increased their on-paper debt with the label). And again, their dark luck with managers continued – Limited Mgmt. and Firefall soon parted ways. 

The production team of Ron and Howard Albert (The Allmans, Clapton, Stephen Stills/Mannassas, Crosby, Stills & Nash) were brought in to finish the project. Don Gehman, who engineered the Miami dates and mixed the whole record with the Alberts would go on to produce John Mellencamp in the ’80s. Industry anticipation was so high for “ELAN” that it shipped gold, meaning half a million copies were in stores on release day. Hoping to put any identity issue to rest, the band and Atlantic chose ‘Strange Way’ as the album’s first single. The Roberts tune was a ballad and a rocker rolled into one, alternating mellow, plaintive verses with angry, ballsy choruses and featuring a smokin latin-flavored flute solo at the end. Not surprisingly, it went over big with both Top 40 and AOR radio during the autumn and winter of ’78, and the band embarked on another series of concert dates, this time as the headliners. ‘Strange Way’ and other oft played tracks like ‘Sweet And Sour’ (with future Traveling Willbury’s/Little Village drummer Jim Keltner on drums), helped boost “ELAN” past the million mark in sales as 1978 gave way to ’79. It was certified as Firefall’s first platinum album in mid January, just as ‘Goodbye, I Love You’ was saying hello to the Hot 100. Three months later, ‘Sweet And Sour’ was issued as a single, continuing the long hot run.

by Stephen K. Peeples

Tracks
Disc 1 Firefall 1976
1. It Doesn't Matter (Chris Hillman, Rick Roberts, Stephen Stills) - 3:32
2. Love Isn't All (Larry Burnett) - 4:11
3. Livin' Ain't Livin' (Rick Roberts) - 3:48
4. No Way Out (Larry Burnett) - 4:05
5. Dolphin's Lullaby (Rick Roberts) - 4:33
6. Cinderella (Larry Burnett) - 3:53
7. Sad Ol' Love Song (Larry Burnett) - 4:42
8. You Are The Woman (Rick Roberts) - 2:45
9. Mexico (Rick Roberts) - 4:17
10.Do What You Want (Larry Burnett) - 4:02
Luna Sea 1977
11.So Long (Rick Roberts) - 5:28
12.Just Remember I Love You (Rick Roberts) - 3:18
13.Sold on You (Larry Burnett) - 3:34
14.Someday Soon (Rick Roberts) - 4:05
15.Just Think (Firefall) - 4:14

Disc 2 Luna Sea 1977
1. Getaway (Larry Burnett) - 3:46
2. Only a Fool (Rick Roberts) - 4:24
3. Head on Home (Larry Burnett) - 4:04
4. Piece of Paper (Larry Burnett) - 4:06
5. Even Steven (Larry Burnett, Rick Roberts) - 4:24
Elan 1978
6. Strange Way (Rick Roberts) - 4:45
7. Sweet and Sour (Jock Bartley, Rick Roberts) - 3:32
8. Wrong Side of Town (Larry Burnett) - 2:42
9. Count Your Blessings (Rick Roberts) - 3:32
10.Get You Back (Larry Burnett) - 4:16
11.Anymore (Mark Andes, Larry Burnett) - 4:03
12.Baby (Larry Burnett) - 3:48
13.Goodbye, I Love You (Rick Roberts) - 4:22
14.Sweet Ann (Rick Roberts) - 3:25
15.Winds of Change (Rick Roberts) - 3:31

Firefall 
*Mark Andes - Bass Guitar
*Jock Bartley - Lead Electric, Slide Guitars, Bigsby Palm Pedal Guitar
*Larry Burnett - Electric, Acoustic Rhythm Guitars, Vocals
*Michael Clarke - Drums
*Rick Roberts - Acoustic Guitars, Vocals
*David Muse - Piano, Clavinet Synthesizer Flute, Tenor Sax, Harmonica
With
*Joe Lala - Congas Timbales Shakers Tambourine Finger Cymbals, Sand Blocks

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Donovan - A Gift From A Flower To A Garden (1967 uk, brilliant jazzy trippy folk psychedelia, 2008 remaster)

Separately released in the U.S. as the pop record from 1967's double-LP A Gift From a Flower to a Garden, Wear Your Love Like Heaven stands on its own as one of the brightest, most pleasant works Donovan ever recorded. The title track and "Oh Gosh" were the only nods to the charts (and, tellingly, the only songs produced by Mickie Most). For once in Donovan's career, the remainders far outshone the singles, with brisk, breezy productions and the thoughtful playing of an actual band behind Donovan -- usually just bass, keyboards, and soft, whisking drums or bongos. Donovan's voice is better than ever, playful and unassuming on romps like "Mad John's Escape," "Skip-A-Long Sam," and "Oh Gosh," while expressive and controlled for the slower material. He also makes evocative folkie nostalgia work much better than it should on "Sun" and "Little Boy in Corduroy," helped by the breathy flute playing of Harold McNair. 

The second American LP released from the British two-record set A Gift From a Flower to a Garden, For Little Ones is almost wholly an acoustic-guitar work, with only a few touches of brushing percussion, flute, and harmonica. Donovan frames his long-ago fairy tales with an appropriately faraway yen to his voice, and the songwriting is influenced more by Lewis Carroll and Childe ballads than Bob Dylan. There's a pronounced air of sadness to many of these songs, so small children may grow uneasy by "The Enchanted Gypsy" or "Widow With Shawl (A Portrait)." Donovan's childlike sense of humor also comes through, however, including the irresistible closer "Starfish-On-The-Toast." 

by John Bush 

Tracks
1. Wear Your Love Like Heaven - 2:30
2. Mad John's Escape - 2:23
3. Skip-A-Long Sam - 2:29
4. Sun - 3:20
5. There Was A Time - 2:05
6. Oh Gosh - 1:52
7. Little Boy In Corduroy - 2:37
8. Under The Greenwood Tree - 2:00
9. The Land Of Doesn't Have To Be - 2:32
10.Someone's Singing - 3:09
11.Song Of The Naturalist's Wife - 2:47
12.The Enchanted Gypsy - 3:23
13.Voyage Into The Golden Screen - 3:17
14.Isle Of Islay - 2:25
15.The Mandolin Man And His Secret - 3:36
16.Lay Of The Last Tinker - 1:54
17.The Tinker And The Crab - 2:56
18.Widow With A Shawl - 3:03
19.The Lullaby Of Spring - 3:28
20.The Magpie - 1:33
21.Starfish-On-The-Toast - 2:48
22.Epistle To Derroll - 5:47
All songs by Donovan P. Leitch, except track #8 lyrics by William Shakespeare, music by Donovan 

Musicians
*Donovan - Vocals, Acoustic Guitar, Harmonica, Banjo, Whistling
*Eric Leese - Electric Guitar
*Cliff Barton - Electric Bass
*Ken Baldock - String Bass
*Jack Bruce - Electric Bass
*Keith Webb - Drums
*Mike O'Neil - Keyboards
*Harold Mcnair - Flute
*Tony Carr - Drums, Bells, Conga, Turkish, Finger Cymbals
*"Candy" John Carr - Conga, Bongo
*Mike Carr - Vibraphone

1967  Donovan - In Concert, The Complete Anaheim Show (2006 two disc set)
1973  Donovan - Cosmic Wheels  

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Joe Walsh - So What (1974 us, wonderful guitar rock, 2015 SACD)

Joe Walsh got his start at a guitarist for the James Gang, which he left for a solo career in 1971. Known best for his efforts with the Eagles, it was Walsh's 1974 album, So What, that secured him a place with the Eagles after Bernie Leadon departed. Walsh is still credited as the guy that gave The Eagles's laid-back sound a swift kick in the ass.

First and foremost, Walsh is an unbelievably solid guitar player. Walsh belongs to a class of guitar player that hasn't surfaced in the 90's alternative rock scene. It's almost sad really. Walsh is really a master of his instrument, while recently formed groups can barely play (i.e. Veruca Salt, seen 3/15/97 on my_heart_sings_the_harmony_web_ad_alt_250 Saturday Night Live).

So What has a sound that is firmly rooted in the 70's. Today, the 70's feel is very refreshing. When you listen to So What, you feel like you've jumped back to the mid-70's again, which is a nice feeling. You catch all of the harmonized backing vocals that was a 70's staple, while listening to guitar work that is creative in any era.

"Welcome To The Club" has a enough rhythm changes to keep you hooked for hours, with signature Walsh guitars that build and fade meticulously. Lyrically, Walsh is a bit more subtle here than he's famous for, spinning a yarn about crazy situations on the road.

"Falling Down" has a soulful, western feel to it. The rhythm work is done on a 12-string, with most of the leads added delicately with a 6-string electric. Present again are the 70's vocal harmonies, which are layered so that they're almost ghost like.

On "Time Out", Walsh returns the style that made him famous on "Rocky Mountain Way." The song features a combination of standard and slide lead guitar that Walsh does so well. To date, I can't think of anyone who so perfectly combines these two styles. The drumming and bass are very prominent on this track. Walsh seems to let the rhythm guys hold the song while he paints over it. This isn't anything new, it's the standard Rx for rock and roll. It's just that when you listen to this album, you notice all of the ridiculously simple things that many bands don't do anymore.

"Help Me Through The Night" was the doorway into the Eagles and beyond. This was the first song that Henley, Frey and Walsh worked on together. With Henley and Frey on backing vocals, it sounds like the song is from Hotel California. While the presence of the Eagles is noticeable, the song still preserves the feel of the rest of the album.

While So What lacks any mega hits, it's probably his most beautiful album. With it's firmly rooted 70's style, it will show some signs of age on the turntable today. But its strengths, great guitar work, great vocal harmonies, and peaceful demeanor are timeless in any era. With So What in the background, a nice drink and a loved one nearby, the album promotes a wonderful "time out" to unwind.

by Bill Ziemer

Tracks
1. Welcome to the Club - 5:09
2. Falling Down (Joe Walsh, Don Henley) - 4:57
3. Pavanne for the Sleeping Beauty (Maurice Ravel) - 1:57
4. Time Out - 4:26
5. All Night Laundry Mat Blues - 1:02
6. Turn to Stone - 3:49
7. Help Me Through the Night - 3:40
8. County Fair - 6:40
9. Song for Emma - 4:42
All songs written by Joe Walsh except where stated.

Personnel
*Joe Walsh - Synthesizer, Bass, Guitar, Piano, Vocals,  Moog Synthesizer, Mellotron, ARP
*Jody Boyer - Vocals
*Dan Fogelberg - Guitar, Vocals
*Glenn Frey - Vocals,
*Guille Garcia - Percussion, Conga
*Bryan Garofalo - Bass, Vocals,
*Ron Grinel - Drums
*Don Henley - Vocals
*Russ Kunkel - Drums
*Randy Meisner - Vocals
*Kenny Passarelli - Bass, Vocals
*J.D. Souther - Guitar, Vocals
*Leonard Southwick - Harmonica
*Tom Stephenson - Organ, Keyboards
*John Stronach - Vocals
*Joe Vitale - Flute, Drums, Keyboards

Related Act
1969  James Gang - Yer' Album (Japan SHM remaster)  
1970  James Gang - Rides Again (2010 SHM remaster)  

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