Prior to the release of the (at the time, disappointing) Live album in 1974, the only officially available record of Mott the Hoople's live prowess was one track tacked onto the end of 1971's Wildlife album, a protracted take on "Keep a Knockin'" that was, apparently, the only salvageable cut from a projected full live album. The rest, producer Guy Stevens insisted, was so marred by technical problems as to be unusable. However, 36 years later listeners would discover that Stevens was a lot of things, but -- at least on this occasion -- he wasn't necessarily honest. Fairfield Halls, Live 1970 captures the full concert, from the tumultuous opening "Ohio," all ragged guitars and Verden Allen's foreboding organ, through a dynamite "Rock and Roll Queen" and three slabs from the then-forthcoming Mad Shadows, and on to the closing oldies, "Keep a Knockin'" and "You Really Got Me."
And, alongside the Fillmore tapes recorded earlier in the year, at last the true magic of the original Mott the Hoople has been unleashed, a rock band that could have redefined "rock" if only more breaks had gone its way. Less exciting, but filling up the disc regardless, five tracks recorded five months later in Sweden (and previously available on the same label's All the Way from Stockholm to Philadelphia: Live 71/72 set) repeat "Thunderbuck Ram" but do add a Himalayan "Walkin' with a Mountain," "Laugh at Me," and "The Original Mixed Up Kid" to the brew, plus a volcanic cover of Mountain's "Long Red" that will leave you reeling. As if the rest of the disc hasn't already battered you hard enough.
by Dave Thompson
Tracks
1. Ohio (Neil Young) - 5:00
2. No Wheels To Ride (Ian Hunter) - 7:45
3. Rock 'N' Roll Queen (Mick Ralphs) - 5:18
4. Thunderbuck Ram (Mick Ralphs) - 4:56
5. When My Mind's Gone (Ian Hunter) - 6:42
6. Keep A Knockin' (Richard Wayne Penniman) - 8:28
7. You Really Got Me (Ray Davies) - 8:55
8. Long Red (Leslie West, Felix Pappalardi, John Ventura, Norman Landsberg) - 4:22
9. The Original Mixed-Up Kid (Ian Hunter) - 4:37
10.Walking With A Mountain (Ian Hunter) - 7:08
11.Laugh At Me (Sony Bono) - 5:46
12.Thunderbuck Ram (Mick Ralphs) - 4:42
Tracks 1-7 Recorded 13th September 1970 at Fairfield Halls, Croydon, England
Tracks 8-12 Recorded 16th February 1971 at the Konserthuset, Stockholm, Sweden
After the departure of both Ian Hunter and Mick Ronson from Mott The Hoople in 1974, remaining members Overend Watts (bass), Morgan Fisher (keys) and Dale Griffin (drums) formed the spin-off band Mott with guitarist Ray Major and vocalist Nigel Benjamin. Intending to be harder hitting, but still emphasising their links to their illustrious past, the band went straight into the studio to launch themselves with the self-produced 'Drive On'.
Commercial Rock and Roll was the order of the day; not a million miles away from whence they came but with the joyous vocals of Benjamin pushing mostly Watts-written tunes like 'By Tonight', 'Monte Carlo', 'The Great White Wail' and 'She Does It' into a Rockier direction. The Pop side of the band was still evident on the inventive 'Stiff Upper Lip' and the infectious 'It Takes One To Know One', along with quality ballads 'I'll Tell You Something', 'Here We Are' and 'Apologies', all based around Fisher's great piano work and Benjamin's heartfelt vocals.
Watts sang the excellent 'Love Now' himself, and this version also features the single b-side 'Shout It All Out', a laid-back tune that's just as musical as anything else here. Produced by the band themselves, 'Drive...' was a rough diamond with many appealing qualities.
by Phil Ashcroft
Tracks
1. By Tonight - 3:45
2. Monte Carlo - 4:35
3. She Does It - 3:26
4. I'll Tell You Something - 4:30
5. Stiff Upper Lip - 4:34
6. Love Now - 2:48
7. Apologies - 0:50
8. The Great White Wail - 5:09
9. Here We Are - 5:28
10.It Takes One To Know One (Dale Griffin) - 4:28
11.I Can Show You How It Is (Pete Overend Watts, Dale Griffin) - 2:51
All songs by Pete Overend Watts, except where stated
The Mott
*Nigel Benjamin - Lead Vocals, Rhythm, Acoustic Guitars
*Ray Major - Lead, Slide Guitars, Backing Vocals
*Morgan Fisher - Piano, Backing Vocals, Organ, Synthesizer
*Pete Overend Watts - Bass, Vocals
*Dale "Buffin" Griffin - Drums, Backing Vocals, Percussion
"Enigmatic" was the tag oft-times tossed 'round Bill Fay, whose loyal cult following grew significantly over the years. Signed to Decca, the singer/songwriter and pianist released two albums in the late '60s and early '70s; their haunting, darkly shadowed songs were never meant to appeal to the masses, even at the height of the psychedelia-streaked introspection sparked by the soul-searching of the day.
While the Beatles flew off to meet the Maharishi, Fay fell under the spell of a 19th century compendium of commentaries on the Biblical books of Daniel and Revelations, which would inspire his second album, Time of the Last Persecution. But before the born-agains jump on to the Fay bandwagon, they should be warned that the artist was equally influenced by the ravaging events of the day. The title track, "Time of the Last Persecution," was written in an immediate and visceral response to the killings of four students at Kent State.
Even in 1971, the intensity of Fay's lyrics -- reflecting his commentaries in their poetical language, their highly introspective nature, the brooding quality of the music, all exquisitely enhanced by Ray Russell's evocative blues guitar work -- left most reviewers cold and confused. In truth, the album would have slotted much more neatly into the coming firestorm that descended on Britain later in the decade, and would have provided a surprisingly supple bridge between the apocalyptic visions of roots reggae and the political polemics of punk.
The set certainly contains all the fire and fury of the latter movement, as well as the deeply dread atmospheres of the former. By 2005, with the rise of evangelicalism and Christian rock, Persecution no longer sounds so obscure or out of place; it is, however, a personal journey of spirituality, not a platform from which to proselytize. For all its dark vision, it's the possibility of peace and hope that shines through the gloom, and as for all the seeming quietude of the music, it thunders, too, with a power and emotion that speak in volumes as loudly as Fay's striking lyrics.
by Jo-Ann Greene
Tracks
1. Omega Day - 3:14
2. Don't Let My Marigolds Die - 2:26
3. I Hear You Calling - 2:57
4. Dust Filled Room - 2:03
5. 'Til The Christ Come Back - 3:08
6. Release Is In The Eye - 2:41
7. Laughing Man - 3:15
8. Inside The Keepers Pantry - 2:29
9. Tell It Like It Is - 2:32
10.Plan D - 3:12
11.Pictures Of Adolf Again - 2:27
12.Time Of The Last Persecution - 3:54
13.Come A Day - 2:27
14.Let All The Other Teddies Know - 2:31
Lyrics and Music by Bill Fay
Ian Matthews left Fairport Convention in 1969, and while the U.K.'s greatest folk-rock band was beginning to reinvent itself in a more traditional and very British direction, Matthews began digging deeper into the American influences that had marked his old band's first era. Later That Same Year, the second album from Ian's new group Matthews Southern Comfort (it was released in late 1970, a mere six months after their debut, hence the title), is a beautiful set of songs that splits the difference between West Coast folk-rock and early country-rock, with Gordon Huntley's pedal steel and Roger Coulam's lending an air of sunny sadness that dovetails beautifully with Matthews' silky tenor.
Matthews wrote three of the songs on Later That Same Year, and they rank with the album's finest moments, especially the ethereal harmonies of "And Me" and the graceful simplicity of "My Lady," but Matthews also borrows some excellent material from American writers, including a cover of Neil Young's "Tell Me Why" that remains faithful while creating a languid mood of its own, a fine, poignant take on Jesse Winchester's "Brand New Tennessee Waltz," and two by Al Anderson, which date from the latter days of the Wildweeds before he joined up with NRBQ (and "Mare Take Me Home" and "And When She Smiles" show Big Al was already a songwriter of no small talent and Matthews handles both tunes beautifully).
While country influences run all through the album, Matthews had the smarts not to try to emulate a Nashville production or arrangement style, and instead the album suggests the shadows of Tim Buckley or early Crosby, Stills & Nash while adding an English pastoral subtext all their own. After Later That Same Year, Matthews parted ways with Southern Comfort to record solo and later form Plainsong, but you'd never guess that this album was recorded by a band on its last legs -- this is subtle but confident music that comes from a handful of artists working at the height of their skills. [Before the release of Later That Same Year, Matthews Southern Comfort released a cover of Joni Mitchell's "Woodstock" as a single, and it became a sizable hit in both America and Europe; it was added to the American edition of the album when it was released in the States in 1971.
by Mark Deming
Tracks
1. To Love (Gerry Goffin, Carole King) - 4:42
2. And Me (Ian Matthews) - 4:37
3. Tell Me Why (Neil Young) - 2:03
4. Jonah (Carl Barnwell) - 4:13
5. My Lady (Ian Matthews) - 1:37
6. And When She Smiles (She Makes The Sun Shine) (Alan Anderson) - 2:16
7. Mare, Take Me Home (Alan Anderson) - 3:44
8. Sylvie (Carl Barnwell) - 5:40
9. The Brand New Tennessee Waltz (Jesse Winchester) - 2:59
10.For Melanie (Carl Barnwell) - 6:45
11.Road To Ronderlin (Ian Matthews) - 2:21
12.Woodstock (Joni Mitchell) - 4:30
13.The Struggle (Ian Matthews) - 3:50
14.Parting (Ian Matthews) - 2:54
15.Scion (Howard Blaikley, Ian Matthews) - 3:28
Bonus Tracks 12-15
A singular talent who passed almost unnoticed during his brief lifetime, Nick Drake produced several albums of chilling, somber beauty. With hindsight, these have come to be recognized as peak achievements of both the British folk-rock scene and the entire rock singer/songwriter genre. Sometimes compared to Van Morrison, Drake in fact resembled Donovan much more in his breathy vocals, strong melodies, and the acoustic-based orchestral sweep of his arrangements. His was a much darker vision than Donovan's, however, with disturbing themes of melancholy, failed romance, mortality, and depression lurking just beneath, or even well above, the surface. Ironically, Drake has achieved a far greater stature in the decades following his death, with an avid cult following that grows by the year.
Part of Drake's failure to attract a mass audience was attributable to his almost pathological reluctance to perform live. It was at a live show in Cambridge, however, that a member of Fairport Convention saw Drake perform, and recommended the singer to producer Joe Boyd. Boyd, already a linchpin of the British folk-rock scene as the producer for Fairport and the Incredible String Band, asked Drake for a tape, and was impressed enough to give the 20-year-old a contract in 1968.
Drake's debut, Five Leaves Left (1969), was the first in a series of three equally impressive, and quite disparate, albums. With understated folk-rock backing (Pentangle bassist Danny Thompson plays bass on most of the cuts), Drake created a vaguely mysterious, haunting atmosphere, occasionally embellished by tasteful Baroque strings. His economic, even pithy, lyrics hinted at melancholy, yet any thoughts of despair were alleviated by the gorgeous, uplifting melodies and Drake's calm, measured vocals. Bryter Later (1970) was perhaps his most upbeat effort, featuring support from members of Fairport Convention, and traces of jazz in the arrangements. On some cuts, the singer/songwriter, remarkably, dispensed with lyrics altogether, offering only gorgeous, orchestrated instrumental miniatures that stood well on their own.
Neither album sold well, and Drake, already a brooding loner, plunged into serious depression that often found him unable to make music, work, or even walk and talk. He managed to produce one final full-length work, Pink Moon (1972), a desolate solo acoustic album that ranks as one of the most naked and bleak statements in all of rock. He did record a few more songs before his death, but no more albums were completed, although the final sessions (along with some other fine unreleased material) surfaced on the posthumous compilation Time of No Reply.
Drake's final couple of years were marked by increasing psychiatric difficulties, which found him hospitalized at one point for several weeks. He had rarely played live during his days as a recording artist, and at one point declared his intention never to record again, although he wished to continue to write songs for others. (It's been reported that French chanteuse Françoise Hardy recorded some of Drake's songs, but she hasn't released any.) On November 25, 1974, he died in his parents' home from an overdose of antidepressant medication; suicide has been speculated, although some of his family and friends dispute this.
In the manner of the young Romantic poets of the 19th century who died before their time, Drake is revered by many listeners today, with a following that spans generations. Baby boomers who missed him the first time around found much to revisit once they discovered him, and his pensive loneliness speaks directly to contemporary alternative rockers who share his sense of morose alienation.
Hunger for "new" Nick Drake material had reached enough of a fever pitch by the 21st century for Island to try digging up enough for this odd patchwork collection, combining outtakes with remixes of tracks that had been previously issued on the Time of No Reply album. The result is a curious disc that's not quite an anthology of wholly previously unreleased material, and thus of somewhat limited value to Drake collectors, though it contains much good music. The only song here previously unavailable in any form is the 1974 outtake "Tow the Line," a melancholic solo acoustic performance (as are most of the tracks on the CD) that's well up to the standards of Pink Moon and the 1974 tracks that previously surfaced on Time of No Reply.
Also new to official release are spring 1968 solo acoustic versions of "River Man" (later to appear on Five Leaves Left with orchestration) and "Mayfair" (a later recording of which was used on Time of No Reply), as well as a March 1969 version of "Three Hours" that's longer than the one later cut for Five Leaves Left. There's also a newly discovered take of "Hanging on a Star" (one of the 1974 outtakes used on Time of No Reply) with a different vocal. The differences between these and the familiar studio renditions aren't knock-your-socks-off different, but certainly good and well worth hearing by Drake cultists.
It's the rest of the material that might be the target of criticism from concerned consumers, whether for posthumous tampering or redundancy with previously available albums. Most controversially, two tracks from Time of No Reply -- "Time of No Reply" itself and "I Was Made to Love Magic" (the latter here, for some reason, retitled simply "Magic") -- have been altered to include Robert Kirby's original orchestral arrangements, recorded in 2003. Actually in both instances, the substituted orchestration is integrated very tastefully, but it can never be answered whether Drake himself would have approved or had it done the exact same way.
The remaining cuts are simply remixes or remasterings of six songs that appeared on Time of No Reply, the remixes of the 1974 songs "Black Eyed Dog," "Rider on the Wheel," and "Voices" (originally titled "Voice from the Mountain" when it first appeared on Time of No Reply) being done by the original recording engineer, John Wood. Though those remixes of the 1974 tracks in particular are an improvement (the songs on the original release had been mixed onto a mono listening tape), again it's not the sort of thing that will generate revelations unless you're an audiophile. As everything Drake recorded was worth hearing, this CD too is quite worthy judged in isolation, and certainly full of the subdued mystery the singer/songwriter brought to his music. It's just not the gold mine of discoveries for which some might have hoped.
For many years after his death, unreleased home tapes that Nick Drake made shortly before beginning his official recording career have been bootlegged among collectors. The 28 songs on Family Tree add up to an extensive (though not quite complete, missing some minor covers like "Get Together," "Don't Think Twice, It's Alright," and "Summertime") compilation of the performances he recorded on such equipment before he cut his debut album, 1969's Five Leaves Left. The bulk of it, and the part that's been oft-bootlegged, was recorded on a reel-reel at his family home (and include a vocal duet between him and sister Gabrielle Drake on "All My Trials," though otherwise they're all solo performances).
Less familiar, and hence probably new even to many hardcore Drake collectors, are eight songs taped on cassette somewhat earlier during his spring 1967 stay in Aix-En-Provence in France, as well as a couple of earlier versions of songs that later appeared on Five Leaves Left that were taped by Robert Kirby in 1968, and a couple recordings of songs sung and played (on piano) by Nick's mother, Molly Drake. Many Drake fans will already be familiar with the performances he taped at his family home, but the cleaned-up sound here makes this disc much easier to listen to than those earlier unauthorized releases, though everything's still (inevitably given the sources) a little lo-fi.
As for the music, it's a very pleasant and listenable portrait of Drake's folk roots, though not on par (and not meant to be) with his studio releases. For one thing, at this point, he wasn't playing much of his own material; most of the songs are traditional folk tunes, or covers of compositions by '60s folk songwriters that were obviously big influences on Drake, such as Bert Jansch, Jackson C. Frank, and Dylan (and, on "Been Smokin' Too Long," a friend he met in France, Robin Frederick). Also, both his guitar work and singing are more derivative of the likes of Jansch, Donovan, and country bluesmen such as Blind Boy Fuller (whose "My Baby's So Sweet" he covers here) than they would be by the time he settled into his own style on Five Leaves Left. Still, much of what makes Drake special does come through, even with the relatively low percentage of original material and primitive recording conditions.
His folk guitar work is already nimble, but more striking are his vocals, which already boast his characteristic mixture of assured slight smokiness and English reserve. And the few Drake compositions put his reclusive yet poetic world view in greater, more original focus, though it's really only on the songs later used on Five Leaves Left (and, perhaps, the haunting if Donovan-esque "Strange Meeting, Pt. 2") that it becomes fully mature. The two Molly Drake songs, incidentally, aren't mere completist add-ons; they make it clear that she was likely a substantial influence upon her son's melancholy melodies and songwriting, if perhaps a subliminal one. Less essential, though still illuminating for the dedicated Drake fan is a classical instrumental (by "the Family Trio") with Nick on clarinet.
by Richie Unterberger
Tracks Disc 1 - Five Leaves Left 1969
1. Time Has Told Me - 4:27
2. River Man - 4:22
3. Three Hours - 6:15
4. Way To Blue - 3:11
5. Day Is Done - 2:28
6. Cello Song - 4:48
7. The Thoughts Of Mary Jane - 3:22
8. Man In A Shed - 3:55
9. Fruit Tree - 4:49
10.Saturday Sun - 4:05
All Songs by Nick Drake
Disc 2 - Bryter Layter 1970
1. Introduction - 1:32
2. Hazey Jane Ii - 3:46
3. At The Chime Of A City Clock - 4:45
4. One Of These Things First - 4:51
5. Hazey Jane I - 4:29
6. Bryter Layter - 3:22
7. Fly - 3:00
8. Poor Boy - 6:09
9. Northern Sky - 3:45
10.Sunday - 3:43
All Compositions by Nick Drake
Disc 3 - Pink Moon 1972
1. Pink Moon - 2:06
2. Place To Be - 2:43
3. Road - 2:02
4. Which Will - 2:58
5. Horn - 1:23
6. Things Behind The Sun - 3:57
7. Know - 2:25
8. Parasite - 3:36
9. Free Ride - 3:06
10.Harvest Breed - 1:37
11.From The Morning - 2:32
Words and Music by Nick Drake
Disc 4 - Made To Love Magic 1968-74
1. Rider On The Wheel - 2:37
2. Magic - 2:45
3. River Man - 4:01
4. Joey - 3:03
5. Thoughts Of Mary Jane - 3:38
6. Mayfair - 2:11
7. Hanging On A Star - 3:23
8. Three Hours - 5:11
9. Clothes Of Sand - 2:31
10.Voices - 3:46
11.Time Of No Reply - 2:48
12.Black Eyed Dog - 3:34
13.Tow The Line - 2:16
Lyrics and Music by Nick Drake
Disc 5 - Family Tree 1968
1. Come In To The Garden (Introduction) - 0:32
2. They're Leaving Me Behind - 3:17
3. Time Piece - 0:43
4. Poor Mum - 1:38
5. Winter Is Gone - 2:43
6. All My Trials - 1:55
7. Kegelstatt Trio - 1:13
8. Strolling Down The Highway (Bert Jansch) - 2:50
9. Paddling In Rushmere - 0:24
10.Cocaine Blues - 2:59
11.Blossom - 2:41
12.Been Smokin' Too Long (Robin Frederick) - 2:13
13.Black Mountain Blues - 2:36
14.Tomorrow Is A Long Time (Bob Dylan) - 3:42
15.If You Leave Me - 2:02
16.Here Come The Blues - 3:53
17.Sketch 1 - 1:00
18.Blues Run The Game - 2:24
19.Milk And Honey - 2:59
20.Kimbie - 3:26
21.Bird Flew By - 2:54
22.Rain - 3:07
23.Strange Meeting Ii - 4:27
24.Day Is Done - 2:20
25.Come Into The Garden - 2:00
26.Way To Blue - 2:52
27.Do You Ever Remember? (Molly Drake) - 1:34
All Songs by Nick Drake except where Stated
Musicians Disc 1 - Five Leaves Left 1969
*Nick Drake - Vocals, Acoustic Guitar, Piano
*Danny Thompson - Bass
*Richard Thompson - Electric Guitar
*Paul Harris - Piano
*Rocki Dzidzornu - Congas
*Clare Lowther - Cello
*Tristam Fry - Drums, Vibraphone
*Robert Kirby - Arrangements
This was one of the great albums of the sixties - brilliantly melodic, original and intelligent - but known till now only to a small band of passionate cognoscenti.
ARK 2 was the first 'concept album' - a 'space cantata' (though that makes it sound inaccessible and pretentious, which it is far from being). Written by the UK songwriting team whose success, according to The Penguin Encyclopedia of Popular Music, was 'rivalled only by Lennon & McCartney': Ken Howard and Alan Blaikley, both from Hampstead, London.
Though brilliantly reviewed in the music and rock press of the time (it was Sunday Times Rock Album of the Year in 1969), the BBC did not know what to make of it: there were no radio or TV slots for an extended rock work at the time. So it remained largely unheard except by those who sought it out.
It is noteworthy for the first appearance on disc of Phil Collins, but (Flash) Gordon Smith, Brian Chatton and Ronnie Caryl each contributed their own fantastic musicianship and vocal power.
As can be seen from the original 'sleeve notes', ARK 2, nearly forty years ago, was extraordinarily prescient, anticipating many of today's private and global dilemmas and anxieties.
"After a while, supporting John Walker of The Walker Brothers, Collins and his guitarist friend Ronnie Caryl formed Hickory who soon found themselves with a concept album, the backing of Phonogram, and a new name, Flaming Youth.
Their album Ark II, was premiered at the London Planetarium and received lots of favourable press, but musical differences and a lack of commercial success soon meant it was time to answer another Melody Maker ad, this time from a struggling young band from Surrey, called Genesis."
Tracks
1. Guide Me, Orion - 3:16
2. Earthglow - 2:52
3. Weightless - 2:37
4. The Planets - 12:47
.a. Mars - Bringer Of War
.b. Venus - Bringer Of Peace
.c. Mercury - The Winged Messenger
.d. Jupiter - Bringer Of Jollity
.e. Saturn - Bringer Of Old Age
.f. Uranus - The Magician
.g. Neptune - The Mystic
5. Changes - 5:48
6. Pulsar - 3:05
7. Space Child - 5:10
8. In The Light Of Love - 3:26
9. From Now On (Immortal Invisible) - 4:19
10.Man, Woman And Child - 3:14
11.Drifting - 3:52
All songs written by Ken Howard, Alan Blaikley
Bonus Tracks 10-11 The Flaming Youth
*Phil Collins - Drums, Percussion, Vocals
*Ronnie Caryl - Bass, 12-string Guitar, Vocals
*(Flash) Gordon Smith - Bass, Vocals, Guitars
*Brian Chatton - Organ, Piano, Vocals
The original (and best known) Sonics lineup lasted for a total of three albums -- 1965's Here Are the Sonics, plus 1966's Boom and Introducing the Sonics. With the first two releases having been reissued on CD by the Norton label, the third release has become increasingly hard to come by over the years -- until it was issued in 2001 as part of the import release The Jerden Years 1966-69.
The 30-track set is padded with post-Introducing the Sonics filler, but the Sonics were still firing on all cylinders by the time of their third album -- as such classic originals as "The Witch" are combined with a smattering of covers (Bo Diddley's "I'm a Man," etc.). While the extra tracks don't exactly measure up to the Sonics' classic tunes, Introducing the Sonics was one heck of a record, and hunting down a copy of The Jerden Years 1966-69 will allow you to complete your Sonics CD collection.
by Greg Prato
Tracks
1. The Witch (Gerald Roslie) - 2:42
2. You've Got Your Head On Backwards (Gerald Roslie) - 2:21
3. I'm A Man (Ellas McDaniel) - 2:59
4. On The Road Again (John Sebastian) - 1:45
5. Psycho (Gerald Roslie) - 2:11
6. Dirty Old Man (Gerry Roslie) - 2:16
7. I'm Going Home (Larry Parypa) - 2:24
8. High Time (Andy Parypa) - 1:45
9. I'm A Rolling Stone (Andy Parypa, Larry Parypa) - 2:22
10.Like No Other Man (Gerald Roslie) - 2:00
11.Maintaining My Cool (Gerald Roslie) - 1:51
12.Bama Lama Lu (Richard Penniman) - 2:38
13.Leave My Kitten Alone (James McDougal, Little Willie John, Titus Turner) - 2:41
14.Hanky Panky (Jeff Barry, Ellie Greenwich) - 2:21
15.Diddy Wah Diddy (Willie Dixon, Ellas McDaniel) - 2:25
16.Anyway The Wind Blows (Pt. 1) (Frank Zappa) - 2:52
17.Anyway The Wind Blows (Pt. 2) (Frank Zappa) - 3:25
18.Loveitis (Albert James Vance, Harvey Scales) - 2:31
19.Always Love Her (Gerald Roslie) - 2:42
20.Lost Love (Gerald Roslie) - 2:16
21.Good Hard Rock - 2:17
22.Once Again (Gerald Roslie, Larry Parypa) - 2:33
23.I'll Stay With You (Bob Demmon, Dennis Lindsey, Jim Gallagher, Rich Fifield, Stormy Patterson) - 2:51
24.I'm Right (Gerald Roslie) - 2:19
25.Only She Would Do (Gerald Roslie) - 2:20
26.Love Lights (Gerald Roslie) - 2:44
27.Goodbye (Randy Hiatt) - 2:20
28.Near My Soul (Randy Hiatt) - 2:38
29.Wake Me, Shake Me (Al Kooper) - 2:18
30.You're In Love - 3:24
The Sonics
*Andy Parypa - Bass
*Bob Bennett - Drums
*Larry Parypa - Lead Guitar
*Gerry Roslie - Lead Vocals
*Rob Lind - Saxophone, Vocals
*Jim Brady - Vocals
In 1968 Electra Records made an offer to sign the group after their performance at the famed Cheetah Club in LA. with "Genesis" and "The Iron Butterfly".
In August 1968 "The Litter" recorded 7 songs live at The Electric Theatre for the movie "Medium Cool". The band was paid $500 for the days shooting, but when the movie was released to theatres the scenes of "The Litter" on stage were intact but the soundtrack was Frank Zappa.
In 1969 The Electric Theatre in Chicago held a contest to see which band was louder, "The Litter", or "Blue Cheer". "The Litter" won hands down.
ABC Probe Records signed "The Litter" sight unseen to a recording contract and the album Emerge - The Litter was recorded in Michigan. Although the record was charting in Billboard and the group was touring the U.S. with acts like "The Who", unavailability of their albums due to distribution problems, plagued the group everywhere they appeared.
The album Emerge - The Litter is the only album by the group to chart in Billboard magazine, also was #1 in Puerto Rico and successful as well in the European market.
The single Silly People (flip side Feeling) from the album Emerge - The Litter was picked as a Special Merit Spotlight in Billboard magazine, but was banned from airplay by some radio stations because of the lyrics.
Dan Rinaldi is the only member of "The Litter" to have played in and recorded with all 12 versions of the band.
Tracks
1. Journeys (Mark Gallagher, Ray Melina) - 2:14
2. Feeling (Jim Kane, Mark Gallagher, Tom Murray) - 2:50
3. Silly People (Jim Kane, Mark Gallagher, Ray Melina, Tom Murray) - 3:31
4. Blue Ice (Jim Kane, Tom Murray) - 3:10
5. For What It's Worth (Stephen Stills) - 5:21
6. Little Red Book (Burt Bacharach, Hal David) - 3:30
7. Breakfast At Gardenson's (Ray Melina) - 3:02
8. Future Of The Past (Jim Kane) - 12:37
9. On Our Minds (Mark Gallagher, Sean Jones) - 2:15
The Litter
*Jim Kane - Bass, Fuzz Bass, Special Effects
*Tom Murray - Drums, Percussion
*Dan Rinaldi - Rhythm Guitar, Vocals
*Ray Melina - Lead Electric, Acoustic Guitars, Vocals
*Mark Gallagher - Lead Vocals
The Litter were one of the few garage bands to invest enough energy and imagination into their interpretations to make a cover-heavy LP worth hearing. "Action Woman" is here, and they go about tackling, and sometimes dismantling, numbers like the Small Faces' "Whatcha Gonna Do About It" and the Who's "A Legal Matter" (both of which were barely known in the U.S. at this point, incidentally).
"I'm a Man," though based on the Yardbirds' version, gets into some pretty incredible feedback/distortion swirls in the closing rave-up section. Distortions has been reissued a few times, but the 1999 CD on Arf! Arf! is the one to get, as it includes two outtakes ("Hey Joe" and the 25-second, hardly worth noting "Harpsichord Sonata #1") and seven songs, mostly previously unreleased, recorded live at Chicago's Electric Theatre in August 1968. This was the music that the band played while filming a scene in Haskell Wexler's film Medium Cool (although none of the music was used in the movie), and it's in a heavier, bluesier hard rock direction than their 1967 recordings, but still retains some of the punky spirit of the Distortions era.
by Richie Unterberger
Tracks
1. Action Woman (Warren Kendrick) - 2:32
2. What'cha Gonna Do About It? (Brian Potter, Ian Samwell) - 2:27
3. Codine (Buffy Sainte-Marie) - 4:30
4. Somebody Help Me (Jackie Edwards) - 1:55
5. Substitute (Pete Townshend) - 2:36
6. The Mummy (Tom "Zippy" Caplan, B. Bomberg) - 1:25
7. I'm So Glad (Skip James) - 3:47
8. A Legal Matter (Pete Townshend) - 2:47
9. Rack My Mind (Jeff Beck, Chris Dreja, Paul Samwell-Smith) - 3:41
10.Soul Searchin' (Warren Kendrick) - 2:47
11.I'm a Man (Doc Pomus, Mort Shuman) - 4:00
12.Hey Joe (Billy Roberts) - 4:08
13.Harpsichord Sonata #1 - 0:25
14.Here I Go Again - 2:37
15.The Egyptian - 2:52
16.(Under the Screaming Double) Eagle (Tom "Zippy" Caplan, Denny Waite, Woody Woodrich) - 3:01
17.Confessions (Of a Traveler Through Time) (Larry Loofbourrow) - 2:23
18.Blues One (Tom "Zippy" Caplan, Denny Waite) - 4:03
19.She's Not There (Rod Argent) - 7:53
20.Pegasus - 3:19
Tracks 14-20 Live At The Electric Theatre, 18th August 1968
The Litter
*Denny Waite - Vocal, Keyboard
*Tom "Zippy" Caplan - Lead Guitar
*Dan Rinaldi - Rhythm Guitar
*James Worthington Kane - Bass
*Tom Murray - Drums
*Bill Strandlof - Lead Guitar
*James Worthington Kane - Organ, Vocals
From the sweet to the salacious to the poignant, Maria Muldaur's eponymous, strong debut features savvy studio vets, talented guests, strong tunes, and Muldaur's lissome pipes. The outstanding players include Ry Cooder, David Grisman, Clarence White, and Mac Rebennack, better known as Dr. John. A tasteful guitar solo by the underrated Amos Garrett elevates the charming surprise hit single "Midnight at the Oasis." Although she later gravitated to jazz and gospel, Muldaur's first outing is heavy on songs derived from country and blues. A rousing "Work Song," borrowed from Kate & Anna McGarrigle, is only one of several highlights.
by Mark Allan
Tracks
1. Any Old Time (Jimmie Rodgers) - 03:45
2. Midnight At The Oasis (David Nichtern) - 03:49
3. My Tennesse Mountain Home (Dolly Parton) - 03:32
4. I Never Did Sing You A Love Song (David Nichtern) - 02:49
5. The Work Song (Kate McGarrigle) - 04:04
6. Don't You Make Me High (Don't You Feel My Leg) (Blue Lu Barker, Danny Barker, J. Mayo Williams) - 02:48
7. Walkin' One And Only (Dan Hicks) - 02:47
8. Long Hard Climb (Ron Davies) - 03:03
9. Three Dollar Bill (Mac Rebennack) - 03:58
10.Vaudeville Man (Wendy Waldman) - 02:41
11.Mad Mad Me (Wendy Waldman) - 03:13
Musicians
*Maria Muldaur - Vocals
*Clarence White - Acoustic Guitar
*Bill Keith - Banjo
*Ry Cooder - Acoustic Guitar
*David Lindley - Hawaiian Guitar
*Andrew Gold - Acoustic Guitar
*David Nichtern – Acoustic, Electric Guitar
*David Grisman - Mandolin
*Dr. John – Keyboards, Horn Arrangements
*Jim Dickinson - Piano
*Mark T. Jordan - Piano
*Spooner Oldham - Piano
*Greg Prestopino - Piano
*James Gordon - Organ
*Chris Ethridge - Bass
*Klaus Voormann - Bass
*Ray Brown - Bass
*Dave Holland - Bowed Bass
*Jimmy Calhoun - Bass
*Tommy Mcclure - Bass
*Freebo - Bass
*Amos Garrett - Bass, Guitar, Vocals, Guitar Solo
*Jim Keltner - Drums
*Ed Shaughnessy - Drums
*John Boudreaux - Drums
*Jim Gordon - Drums
*Chris Parker - Drums
*Jerry Jumonville - Alto Horn, Horn Arrangements
*Artie Butler - Alto Horn, Horn Arrangements
*Nick Decaro - Accordion, String Arrangements
*Richard Greene - Violin
*Larry Packer - Violin, Viola
*Karen Alexander - Vocals
*Gloria Jones - Vocals
*Ellen Kearney - Vocals
*Bettye Lavette - Vocals
*Jessica Smith - Vocals
*Beryl Marriott - Violin
