Hatfield And The North - The Rotters' Club (1975 uk, elegant inspired canterbury prog rock, 2011 japan SHM bonus tracks remaster)

Featuring some of the most stunning musicianship ever associated with England's Canterbury scene, Hatfield and the North's second LP features, like their eponymous debut, Dave Stewart on keyboards, Phil Miller on guitar, Richard Sinclair on bass and vocals, and Pip Pyle on drums (supplemented by a few guest instrumentalists and the ever-ethereal Northettes with their "la la" backing vocals). The participants show an admirable sense of restraint and, like their Canterbury peers, are careful to avoid the pomposity and bombast of better-known prog rockers of the era, such as Emerson, Lake & Palmer and Yes. 

The Hatfields' convoluted instrumental passages segue into the occasional Sinclair vocal vehicle, in which the exemplary bassist sings in a polite and mellow croon that utterly avoids melismatic displays, histrionics, or over-emoting; in other words, his style -- closer to, say, Bing Crosby than, say, Joe Cocker -- would likely cause many 21st century pop music listeners to scratch their heads with bemusement. And the songs' rather whimsical lyrical content, while perhaps another conscious attempt to steer clear of the pretentiousness of the typically overbearing prog rock song style, certainly reflects a '60s/'70s mindset more than a 21st century one, so today's jaded listeners should realign their expectations. Things get off to a strong start with "Share It," a catchy little number with Sinclair expressing some idealistic and hard-to-criticize Brit hippie sentiments. Elsewhere, the "songs" are few and far between, but crop up in odd spots nevertheless; the Hatfields were masters of the segue and the most accomplished demonstrations of instrumental technique wind up bleeding into ditties that might seem out of place to some. 

But Stewart, Miller, Sinclair, and Pyle all make wonderful instrumental statements. Particularly noteworthy are Miller's two short jazzy numbers, "Lounging There Trying" and "Underdub," which, with their sparkling electric piano work from Stewart, have a light and airy improvisational feel despite rather thorough scoring; Pyle's propulsive "Yes No Interlude" with its furious melding of Stewart's keyboards and the sax of guest Jimmy Hastings; and Stewart's 20-minute opus "Mumps." The latter is particularly impressive, with everything anyone would want from an extended-form Canterbury-style workout. The piece ebbs and flows through nimbly executed thematic passages and variations, featuring one of Stewart's most compelling themes and also one of the best fuzz organ solos that he (or Mike Ratledge or David Sinclair for that matter) ever recorded.

Smack dab in the middle of it all, another Sinclair-sung tune arrives, this time making punning use of letters of the alphabet. But the suite gets back on track with a dramatic instrumental coda, melding spacy effects, more great organ playing from Stewart, and spectacularly executed unison lines from Miller and Hastings in crescendo before the final fade. The Virgin Records CD reissue features several live bonus tracks (also found on the Afters compilation), including two comparatively crazed and heavy Miller instrumental pieces recorded in France and, from a date at the Rainbow Theatre in London, Sinclair's "Halfway Between Heaven and Earth," which has a bit more of the feel of his vocal work with Caravan than with the Hatfields. Too bad there's a premature fadeout during another great Stewart organ solo. One wonders where the band was headed with that. 

by Dave Lynch

Tracks 
1. Share It (Richard Sinclair, Pip Pyle) - 3:03
2. Lounging There Trying (Phil Miller) - 3:14
3. (Big) John Wayne Socks Psychology On The Jaw (Dave Stewart) - 0:43
4. Chaos At The Greasy Spoon (Richard Sinclair, Pip Pyle) - 0:30
5. The Yes No Interlude (Pip Pyle) - 7:01
6. Fitter Stoke Has A Bath (Pip Pyle) - 7:33
7. Didn't Matter Anyway (Richard Sinclair) - 3:31
8. Underdub (Phil Miller) - 3:53
9. Mumps (Dave Stewart) - 20:23
.a.Your Majesty Is Like A Cream Donut (Quiet)
.b.Lumps
.c.Prenut
.d.Your Majesty Is Like A Cream Donut (Loud)
10.Halfway Between Heaven And Earth (Full Version) (Richard Sinclair) - 6:18
11.Oh, Len's Nature (Phil Miller) - 2:00
12.Lything And Gracing (Phil Miller) - 3:58
Bonus Tracks 10-12

 The Hatfield And The North 
*Phil Miller - Guitars
*Dave Stewart - Hammond Organ, Fender Rhodes, Piano, Minimoog, Tone Generator
*Richard Sinclair - Bass, Lead Vocals, Guitar
 *Pip Pyle - Drums, Percussion
With 
*Mont Campbell - French Horn
 *Lindsay Cooper - Oboe, Bassoon
 *Jimmy Hastings - Flute, Soprano, Tenor Saxophones
 *Tim Hodgkinson - Clarinet 
*Amanda Parsons - Backing Vocals
*Ann Rosenthal - Backing Vocals
 *Barbara Gaskin - Backing Vocals

Related Acts 
1970 Delivery - Fools Meeting 
1972  Matching Mole - Matching Mole (Japan remaster)
Caravan
1968  Caravan (Japan SHM remaster)
1970  If I Could Do It All Over Again, I'd Do It All Over You (Japan SHM remaster)
1971  In The Land Of Grey And Pink (Japan SHM remaster)
1971 In The Land Of Grey And Pink (2011 double disc deluxe edition) 
1972  Waterloo Lily (Japan Mini LP)
1973  For Girls Who Grow Plump In The Night (japan SHM remaster)
1974  Caravan And The New Symphonia (japan SHM remaster)
1975 Cunning Stunts (Japan remaster)
The Egg 
1969  Uriel - Arzachel (2007 remaster, collectors edition)
1969-72  The Metronomical Society
1971  Egg - The Polite Force (2008 Esoteric remaster)
1969-70  Egg (2008 Esoteric remaster)
1974 Egg - The Civil Surface

Free Text 
Text Host

Riff Raff - Riff Raff (1973 uk, fantastic prog rock, 2016 korean remaster)

Riff Raff's self-titled effort from 1973 was the band's first album proper. Alan Marshall was not replaced when he left, with Tommy Eyre, Roger Sutton, and Pete Kirtley all taking turns on the vocal chores. The jazz -rock sound that Eyre and Sutton had explored with Mark-Almond was the springboard for the exploratory rock music made by Riff Raff. Here deep groove -- à la Brian Auger's Oblivion Express -- and tough rock choruses and dynamics were married to the jazz sense of structure and composition.

Far more "progressive" sounding than their early demos, this music nonetheless has little to do with the excesses of the Canterbury Scene. From the opener, with the glorious Fender Rhodes and electric guitar interplay in which the blues and jazz commingle in a rock picture frame, through the improvisational melodic and modal work on "Dreaming" to the glorious theatricality and drama of "La Même Chose" that closes the album, Riff Raff comes off as one of the most original, innovative, and brilliant bands of the early '70s. It's too bad they never got to America; they would have been as huge as their former bosses in Mark-Almond. 

by Thom Jurek

Tracks
1. Your World (Roger Sutton) - 7:39
2. For Every Dog (Peter Kirtley) - 3:46
3. Little Miss Drag (Thorpe, Richardson) - 3:12
4. Dreaming (Peter Kirtley) - 4:32
5. Times Lost (Tommy Eyre) - 4:15
6. You Must Be Joking (Peter Kirtley) - 7:29
7. La Même Chose (Roger Sutton, Tommy Eyre) - 12:12

Riff Raff
*Tommy Eyre - Hammond Organ, Piano, Acoustic Guitars, Concert, Bass Flute, Vocals
*Peter Kirtley - Guitar, Vocals
*Roger Sutton - Basses, Acoustic Guitars, Vocals
*Aureo De Souza - Drums, Percussion
Guest Musicians
*Bud Beadle - Saxophones

1974  Riff Raff - Original Man (2017 korean remaster)  

Related Acts
1968  Joe Cocker - With A Little Help From My Friends (2015 SACD)
1969  Jody Grind - One Step On (2006 japan remaster)
1969  Jaklin - Jaklin
1969-70  The Aynsley Dunbar Retaliation - To Mum From Aynsley And The Boys / Remains To Be Heard
1972  Roger Morris - First Album (korean remaster with extra tracks)
1974  Zzebra - Zzebra
1976  The Sensational Alex Harvey Band - British Tour

Free Text
Text Host

Riff Raff - Original Man (1974 uk, remarkable jazz prog rock, 2017 korean remaster)

Tommy Eyre and Roger Sutton were neighbours in 1969. Eyre was the organ player with Joe Cocker's Grease Band, and when the band broke up after their No.1 hit () - "With a Little Help From My Friends") he chose to stay in London and try his luck rather than go back home to Sheffield. Tommy got the gig with Aynsley Dunbar's Retaliation and brought Roger in for the Blue Whale project. When Aynsley left to join Frank Zappa, Roger, in turn, introduced Tommy to John Mark and Johnny Almond who had just left John Mayall's Turning Point band. The four of them became the Mark-Almond Band which was very succesful in the USA for about three years. Roger Sutton left the Mark-Almond Band shortly before their third album, when he and Jon Mark couldn't get along, () - check Roger's lyric, "God damn the man who ever tried to put his mark on you"). It was recorded in a place that Richard Branson had recently opened as a "live-in" studio called the Manor, Oxfordshire, England, a beautiful old mansion where Mike Oldfield's "Tubular Bells" was made.

When John Mark's behaviour forced even Tommy to quit, he and Roger spoke about reforming a studio band, Strabismus (pre-Riff Raff) that they had put on hold due to the success of Mark-Almond. They were introduced to Peter Kirtley, guitarist, singer and composer who had been involved with all the major bands in his native Newcastle. His musical ideas fit perfectly with Eyre and Sutton's plans and he was asked to join () - it was Peter who came up with the name Riff Raff). Tommy brought in Kenny Slade from the Grease Band on drums and of course Alan Marshall, Strabismus' brilliant singer who was going to be the linchpin. Songs were written, demos recorded and then Alan quit. His management advised him that merely being the singer in a band would be a back-step for him and he should pursue a career as a soloist. Kenny Slade decided the music was too complex () - "I couldn't get to grips with all these strange time signatures!"), so auditions were held and the Brazilian drummer Aureo de Souza was hired, while Peter and Roger took over vocals. Tommy suggested recording at the Manor, Riff Raff produced the record themselves and the sessions were wonderful. Bud Beadle played sax, Tom Newman engineered. When it came to mix time, though, their inexperience showed and Peter recommended Eddie Offord who remixed the album in a now-defunct studio in Victoria, London.

During the next few months, Tommy also worked extensively on other projects with producer-composer Ken Burgess, and when Riff Raff's second album was due, Tommy recommended Ken to co-produce. Ken and Tommy had used a studio in Kent called Escape. It was a converted coast house, (a building for drying hops in the beer-making process). Its biggest claim to fame was that Jeff Beck lived nearby and would often come in to jam, Jeff's the guitarist on "Put a light on me" on Zzebra's "Panic" album, (uncredited, of course).

Thus, "Original Man" was recorded. Buddy Beadle and Steve Gregory played saxes, Tony Taverner engineered and some dubs were done at Advision Studios in London, engineered by Martin Rushent. For Riff Raff the US deals that had looked so promising collapsed one by one. But there were other problems too. Aureo was not granted an extension on his work permit in England. The British goverment and the Musicians Union were inflexible and that was that. Aureo had to return to Brazil, Peter joined the Alan Price group, Roger and Tommy returned to studio work.

However, many of the connections made during this time endured. In one form or another the music has continued until the present day. The reader will see many of the same names turning up in the most unlikely of places, but the future of music that we hoped for never happened. Apart from beautiful exceptions (Stevie Wonder, Marvin Gaye, Weather Report), everything in the seventies seemed to revert to the mindless three-minute pop song, new dance crazes and artists with no musicianship but great make-up.

There will always be the Top 40. Nobody has any problem with that, but the feeling at that time was that pop and progressive music could co-exist and everyone would be the better for it. AM for the teenagers and FM for the people that were intrigued and wanted to know more. Well it never happened.

by Tommy Eyre, Encino, California. 1999

Tracks
1. Original Man (Pete Kirtley) - 7:47
2. Havakak (Kenny Craddock, Pete Kirtley, Colin Gibson) - 6:13
3. Goddamm The Man (Roger Sutton) - 6:18
4. In The Deep (Pete Kirtley) - 4:06
5. The Waster (Roger Sutton) - 5:18
6. Tom's Song (Tommy Eyre) - 4:28
7. Speed (Roger Sutton) - 9:26

Riff Raff
*Tommy Eyre - Keyboards, String Synthesizer, Vocals
*Bud Beadle - Saxophones
*Steve Gregory - Saxophone, Flute, Clarinet
*Pete Kirtley - Guitars, Vocals
*Roger Sutton - Bass, Cello, Vocals
*Aureo De Souza - Drums, Percussion
Guest Musicians 
*Joanna Newman - Vocals
*Joe O'Donnell - Viola

Related Acts
1968  Joe Cocker - With A Little Help From My Friends (2015 SACD)
1969  Jody Grind - One Step On (2006 japan remaster)
1969  Jaklin - Jaklin
1969-70  The Aynsley Dunbar Retaliation - To Mum From Aynsley And The Boys / Remains To Be Heard
1972  Roger Morris - First Album (korean remaster with extra tracks)  
1974  Zzebra - Zzebra
1976  The Sensational Alex Harvey Band - British Tour

Free Text
Text Host

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.

Free Text
the Free Text

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

Free Text
Just Paste

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." 

Paste-Mag

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

Free Text
Text Host

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)

Free Text
the Free Text

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

Free Text
the Free text

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)

Free Text
Just Paste

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

Free Text
the Free Text