Satin Whale formed in 1971 and featured here is their rather spirited first album, Desert Places, released in 1974. A collection of mostly organ and guitar instrumentals that sound like they have rehearsed arrangements but maintain excitement throughout with memorable tones and musicianship. There’s sporadic vocals, flute and sax from multi-instrumentalist Dieter Roesberg, driving grinding organs from Gerard Dellman with fluid bass lines from Thomas Brück (I think he may be the lead singer, too). The line up is completed by the handy Horst Schöffgen on drums.
by Marty Willson-Pipe
Satin Whale's main influence was definitely Santana, and much of the guitar/organ interplay is similar to Carlos Santana / Gregg Rolie on the early line up from '68-'72. I always have thought that some sort of progression on early Santana rock would be great, and this album in every way is like a great Kraut rock version of that band. While certainly not original, and not really that progressive, this is a superb rock album with great moves and band interplay.
by Mike McLatchey
Tracks
1.Desert Places (Thomas Brück) - 6:58
2.Seasons Of Life - 6:44
3.Remember - 9:38
4.I Often Wondered - 7:17
5.Perception - 13:01
All songs by Dieter Roesberg, Thomas Brück except track #1
Saunders and Friends CD Fire Up Plus featuring guitarist Jerry Garcia is two previous albums Heavy Turbulence and Fire Up reissued on a single disc less two songs.
There are many solid moments on this release, though, none better than the lovely blues inspired riffs that Garcia lays out on "Lonely Avenue." I generally prefer the cover versions to the original Merl compositions. John Lennon's song "Imagine" is done instrumentally. The rendition of J. J. Cale's "After Midnight" is top notch. This song was an outstanding outlet for long jamming at Merl and Jerry's live performances.
Merl Saunders Fire Up Plus is a more than worthwhile addition to a CD collection.
by Barry Small
This reissue set combines the two early Merl Saunders albums on Fantasy, Fire Up and Heavy Turbulence. The content of these original albums is almost there in its entirety and nothing new and previously unreleased is added to the stash. "Chock-Lite Puddin'" is the single missing pearl, representing quite a severe mistake in editing, as this was not a marble for playing with. A better tune to experience the fall of the axe would have been one of several covers with a faded '70s presence that is a bit like day-old cigarette smoke. "The Night They Drove Old Dixie Down" could have been left out, please, that or "After Midnight," although the latter number was an FM airplay hit at the time of its initial release. To be fair, the vocal work of Saunders on the former number is actually formidable, as are his interesting organ variations on the theme.
Listeners may associate the collective jams of Saunders in various ensembles with Grateful Dead guitarist Jerry Garcia as friendly but loose-knit music created casually, the tempo sometimes the most casual aspect of all. Yet these early albums were much more like a real band than the efforts of some ensembles who actually call themselves bands -- it is a lot tighter than a Grateful Dead record, for example. The players involved actually represented a coming together of musical forces that was every bit as significant as Crosby, Stills, Nash & Young. In fact, the merging of the Grateful Dead and Creedence Clearwater Revival with a seasoned jazz and rhythm & blues organist had great musical implications that are fulfilled, from time to time, on the best moments of these sessions, such as the truly thrilling extended jam "Manchild." For Garcia, simply playing alongside a rhythm guitarist who could keep time must have been something of a revelation.
Much of the time the players don't try to change the world while keeping the beat, settling into enjoyably funky music designed by Saunders and clearly expressing his gestalt: "My Problems Got Problems" is the opening complaint, "Soul Roach" the eventual cure. Garcia fans can be proud of their man here, as his playing is sharp and detailed, obviously inspired by the input from his keyboard buddy.
by Eugene Chadbourne
Tracks Heavy Turbulence 1972
1. My Problems Got Problems (Merl Saunders, Pam Carrier) - 4:29
2. The Night The Drove Old Dixie Down (Robbie Robertson) - 4:03
3. Save Mother Earth (Edmund Lewis, Merl Saunders) - 7:18
4. Imagine (John Lennon) - 2:36
5. Welcome To The Basement (Eddie Moore, Merl Saunders) - 6:12
6. Man-Child (Edmund Lewis, Merl Saunders) - 12:30 Fire Up 1973
7. After Midnight (J.J. Cale) - 4:58
8. Expressway (To Your Heart) (Kenneth Gamble, Leon Huff) - 5:14
9. Soul Roach (Merl Saunders, Ray Shanklin) - 4:24
10.Benedict Rides (Merl Saunders, Pam Carrier) - 3:03
11.The System (Merl Saunders, Pam Carrier) - 3:55
12.Lonely Avenue (Doc Pomus) - 8:42
After the release of Wrecked Again, Chapman parted company with Harvest, choosing to sign to Decca's Deram subsidiary, where he altered course somewhat, adding electric guitar and harder rhythms to his work. The first result, Millstone Grit, is a somewhat confused affair, with Chapman's trademark gloomy writing mixed with a couple of lively instrumentals, some almost experimental work, and the country-styled "Expressway in the Rain.
Electric guitar, still with that distinctive Chapman fluidity, featured more prominently. Tracks like “New York Ladies” and “Firewater Dreams” on ‘Millstone Grit’ showed a guitar master pursuing sounds and textures.
Tracks
1. Firewater Dreams - 5:12
2. Sea Of Wine - 2:44
3. New York Ladies - 9:27
4. Champion - 1:19
5. Sundamental - 5:20
6. The Hero Returns - 3:37
7. Wellington The Skellington - 3:29
8. Expressway In The Rain - 3:05
All songs by Michael Chapman
Phillips takes folk and throws it together with prog rock, with touches of jazz and classical. This album is titled Collaboration and the jacket describes it as a collaboration by Shawn Phillips with Paul Buckmaster and Peter Robinson.
Songs like “Moonshine” have some nice keyboards from Robinson too, with a dexterity and morose ease that works very well. The side one closer “Armed” brings all the instrumentalists’ talents together best.
by Syd Fablo
Tracks
1. Us We Are - 5:05
2. Burning Fingers - 3:33
3. Moonshine - 4:45
4. For Her - 2:00
5. What's Happenin' Jim! - 3:37
6. Armed - 6:52
7. Spaceman - 3:29
8. Times Of A Madman, Trials Of A Thief - 2:47
9. 8500 Years - 2:31
10.The Only Logical Conclusion - 4:51
11.Coming Down Soft And Easy - 5:17
12.Springwind - 9:37
Music and Lyrics by Shawn Phillips
Musicians
*Shawn Phillips - Vocals, Guitar
*Brian Odgers - Bass
*Paul Buckmaster - Cello, Orchestral Arrangements
*Barry deSouza - Drums
*Martin Ford - French Horn
*Tony Walmsly - Guitar
*Ann Odell - Electric Piano
*Peter Robinson - Piano, Organ, Bass, Orchestral Arrangements
*John Gustafson - Bass
*The David Katz Orchestra
Bread was one of the most popular pop groups of the early '70s, earning a string of well-crafted, melodic soft rock singles, all of which were written by keyboardist/vocalist David Gates. A session musician and producer, Gates met in 1968 guitarist/vocalist James Griffin, who had already released a solo album called Summer Holiday. Griffin hired Gates to produce a new album, and the pair soon became a group, adding guitarist/vocalist Robb Royer from the band Pleasure Fair, who Gates had produced early in its career. The trio soon signed with Elektra Records, becoming one of the label's first pop bands. Naming themselves Bread, the group released its self-titled debut album in late 1968. Although it was filled with accessible, melodic soft rock that became the band's signature sound, the record had no hit singles.
With their second album, On the Waters, Bread established themselves as hitmakers. "Make It With You," the first single released from the album, became a number one hit, which led to "It Don't Matter to Me," a song taken from Bread, becoming a Top Ten hit. With On the Waters becoming a gold record, the group embarked on a tour, adding a full-time drummer, Mike Botts, to the lineup. Manna, released in the spring of 1971, wasn't as big a hit as the previous record, yet it launched another Top Ten hit with "If." Royer left the group after the album and was replaced by Larry Knechtel, a Los Angeles session musician who played on records by the Byrds, the Beach Boys, and the Monkees, among others. The new lineup released its first single, "Mother Freedom," in the summer of 1971; the single scraped the Top 40 at number 37. Bread's next single, "Baby I'm-a Want You," became a number three hit at the end of the year. After "Everything I Own" reached number five in January of 1972, an album called Baby I'm-a Want You was released. Peaking at number three, the record became the group's most successful album. The group's fifth album, Guitar Man, followed in the fall of 1972.
At the beginning of 1973, Bread disbanded after a dispute between Gates and Griffin. Griffin claimed that, when the group was conceived, the pair agreed that the singles would be divided equally between the two songwriters; Gates wrote most of Bread's hits and wanted to continue to compose the singles. The two parted ways, with each of the musicians pursuing solo careers. Bread reunited in 1976, releasing Lost Without Your Love in early 1977. The title track became their last Top Ten hit, peaking at number nine. The success could not keep the group together as tensions between Gates and Griffin began to escalate again. After Griffin split from the group, Gates assembled a new version of the band and toured under the name Bread. Griffin sued Gates for using the name, which the duo co-owned. A judge ordered the group not to perform, record, or collect royalty payments until the case was resolved; it wasn't resolved until 1984. In the meantime, Gates and Griffin pursued solo careers. Of the two musicians, Gates was more successful, scoring a number 15 hit in 1978 with the title theme to Goodbye Girl. However, his career declined in the '80s; by the '90s, he was running a California ranch. Griffin relocated to Nashville, forming Dreamer with Randy Meisner in the early '90s.
by Stephen Thomas Erlewine
The band’s incredible success with a new boxed set that includes all six of Bread’s studio albums, the collection concludes with Bread’s 1977 reunion album, Lost Without Your Love. The title track stands as the group’s sixth and final Top 10 hit.
Tracks Disc 1 Bread 1969
1. Dismal Day (David Gates) - 2:19
2. London Bridge (David Gates) - 2:30
3. Could I (James Griffin, Robb Royer) - 3:30
4. Look At Me (David Gates) - 2:42
5. The Last Time (James Griffin, Robb Royer) - 4:10
6. Any Way You Want Me (James Griffin, Robb Royer) - 3:12
7. Move Over (James Griffin) - 2:35
8. Don't Shut Me Out (David Gates) - 2:39
9. You Can't Measure The Cost (David Gates) - 3:21
10.Family Doctor (James Griffin, Robb Royer) - 2:13
11.It Don't Matter To Me (David Gates) - 2:41
12.Friends And Lovers (James Griffin, Robb Royer, Tim Hallinan) - 3:51
Disc 2 On The Waters 1970
1. Why Do You Keep Me Waiting (James Griffin, Robb Royer) - 2:29
2. Take Comfort (James Griffin, Robb Royer) - 3:32
3. Too Much Love (James Griffin, Robb Royer) - 2:45
4. If (David Gates) - 2:33
5. Be Kind To Me (James Griffin, Robb Royer) - 3:03
6. He's A Good Lad (David Gates) - 2:57
7. She Was My Lady (David Gates) - 2:50
8. Live In Your Love (James Griffin, Robb Royer) - 2:46
9. What A Chance (David Gates) - 3:38
10.I Say Again (James Griffin, Robb Royer) - 2:52
11.Come Again (David Gates) - 4:01
12.Truckin' (James Griffin, Robb Royer) - 2:31
Disc 4 Baby I'm-A Want You 1972
1. Mother Freedom (David Gates) - 2:55
2. Baby I'm-A Want You (David Gates) - 2:25
3. Down On My Knees (David Gates. James Griffin) - 2:44
4. Everything I Own (David Gates) - 3:06
5. Nobody Like You (David Gates, James Griffin, Larry Knechtel) - 3:11
6. Diary (David Gates) - 3:05
7. Dream Lady (James Griffin, Robb Royer) - 3:23
8. Daughter (David Gates) - 3:21
9. Games Of Magic (Robb Royer) - 3:09
10.This Isn't What The Governmeant (David Gates) - 2:25
11.Just Like Yesterday (James Griffin, Robb Royer) - 2:35
12.I Don't Love You (James Griffin) - 2:50
Disc 5 Guitar Man 1972
1. Welcome To The Music (David Gates) - 2:58
2. The Guitar Man (David Gates) - 3:55
3. Make It By Yourself (James Griffin, David Gates) - 3:48
4. Aubrey (David Gates) - 3:38
5. Fancy Dancer (James Griffin, Mike Botts) - 3:31
6. Sweet Surrender (David Gates) - 2:35
7. Tecolote (David Gates) - 4:34
8. Let Me Go (James Griffin, Robb Royer) - 3:26
9. Yours For Life (David Gates) - 3:20
10.Picture In Your Mind (Larry Knechtel) - 4:40
11.Don't Tell Me No (James Griffin, Robb Royer) - 3:33
12.Didn't Even Know Her Name (James Griffin, David Gates) - 3:09
Disc 6 Lost Without Your Love 1977
1. Hooked On You (David Gates) - 2:18
2. She's The Only One (Robb Royer, James Griffin) - 3:00
3. Lost Without Your Love (David Gates) - 2:56
4. Change Of Heart (David Gates, James Griffin) - 3:18
5. Belonging (David Gates) - 3:17
6. Fly Away (Robb Royer, James Griffin) - 3:05
7. Lay Your Money Down (David Gates) - 2:41
8. The Chosen One (David Gates) - 4:40
9. Today's The First Day (Robb Royer, James Griffin) - 3:24
10.Hold Tight (David Gates) - 3:05
11.Our Lady Of Sorrow (Robb Royer, James Griffin) - 4:14
In the late 1960s, the exploding popularity of underground FM radio allowed for the broadcast of songs of a length that had been previously unimaginable in rock (and, for the most part, folk) music. Arlo Guthrie's 18-minute "Alice's Restaurant Massacree" (more popularly known simply as "Alice's Restaurant") may have been the most renowned of these, following a loose talking folk-blues format to relay an amusing shaggy dog of a tale. Somewhat less remembered, though likewise a big FM favorite in its time, is Jaime Brockett's 13-minute "Legend of the U.S.S. Titanic." Like "Alice's Restaurant," it too followed a talking folk-blues format, and also threw in knowing countercultural references, albeit with a mania that seemed like Brockett was going to jump right off the grooves and into a straitjacket. Unlike Guthrie, however, Brockett was unable to build upon his marathon monologue to sustain a long-running career as a recording artist. Indeed, "Legend of the U.S.S. Titanic" wasn't even too typical of his work, the rest of his debut album leaning toward introspective folk ballads. It was "Legend of the U.S.S. Titanic," however, that most listeners bought the LP for, and which would come to overshadow not only the rest of the album, but Brockett's entire career.
Brockett had achieved popularity on the Boston folk circuit before recording Remember the Wind and the Rain, which was initially issued on the small Oracle label before getting picked up by Capitol for wider distribution. It was a simple production, and a folk album, rather than a folk-rock one. The arrangements featured only Brockett's vocals, six-string guitar, twelve-string guitar, and dulcimer, though Tony Rubino added second guitar on "Remember the Wind and the Rain" and "Suzzane" [sic]. And although it was the dawn of the age of the singer-songwriter, Brockett in fact wrote just one and a half of the songs.
One of those songs, however, was "Legend of the U.S.S. Titanic." Brockett split the writing credit for that composition with fellow Boston folk-bluester Chris Smither, who went on to a long career himself -- in fact, he'd release many more albums than Brockett would, and though he never landed a popular success on the level of "Legend of the U.S.S. Titanic," he did reach the pop audience again when Bonnie Raitt covered his composition "I Feel the Same" for her 1973 album Takin' My Time. Relatively few listeners were aware that "Legend of the U.S.S. Titanic" was actually an updated mutation of a song that had been recorded by the great folk-bluesman Leadbelly, "The Titanic." In fact, Leadbelly remembered performing the song with fellow blues great Blind Lemon Jefferson in the streets of Dallas in 1912 -- shortly after the Titanic sank, and long before Leadbelly recorded it in late 1948, shortly before his death a little more than a year later.
As sung by Leadbelly, "The Titanic" was a relatively straightforward (and brief) tale of the ship going down in the Atlantic Ocean as the band played "Nearer My God to Thee." Also slipped in were couple of sly namechecks of the great African-American boxing champion Jack Johnson, with the ship's captain denying him passage at boarding. "Legend of the U.S.S. Titanic" kept some references to the sinking and Johnson, but otherwise took extreme, hilarious liberties with both the Leadbelly song and the actual Titanic saga. Brockett's crazed, largely speed-rapped version added a batch of wife-swapping Jewish passengers from Miami; an ominous declaration of intent by Johnson to watch the ship go down after being refused a place on board; and a hemp-smoking first mate whose funny cigarette, when shared with the captain, spaces them out enough to seal the disaster. It was a comic tour de force, though the marijuana toke and, more to the point, a very elongated utterance of a major profanity, helped ensure that the back cover marked the track with an asterisk cautioning "Audition Before Airplay." Not that it deterred too many FM jocks, judging from the number of listeners who remember hearing it on the radio in the late 1960s and early 1970s.
Tracked down by the Massachusetts paper the Worcester Telegram & Gazette in 1997, Brockett said the song demonstrated how "you should smoke [marijuana] in the privacy of your own house," not on the bow of a ship. "The song was sort of a metaphor for the sinking of Western civilization," he observed. "I embellished a lot of decadence on the boat. With the movie [Titanic] coming out, I've been getting all sorts of offers to record it again." The article also noted that Brockett was a member of the Titanic Historical Association and owner of a large collection of Titanic memorabilia, and keen to stress that the tale he spun in "The Legend of the U.S.S. Titanic" had no basis in actual historical fact.
There was just one other song on the LP, the opening "Talking Green Beret New Super Yellow Hydraulic Banana Teeny Bopper Blues" -- with its snipes at Spiro Agnew and pop music, and another upfront mention of dope smoking in the lyric -- that was anything remotely like the talkin' folk-blues of "Legend of the U.S.S. Titanic." (Ironically, considering how crucial FM airplay was to the success of "Legend of the U.S.S. Titanic," "Talking Green Beret" was dedicated to AM radio listeners.) Most of the rest of the album -- an extraordinarily long one for the vinyl era, incidentally, running about 55 minutes -- was given over to mellow folk ballads. Save for his co-credit on "Legend of the U.S.S. Titanic," the only Brockett original was the dulcimer-dominated instrumental "St. Botolph St. Grey Morning Dulcimer Thing." Including a phrase that came close to quoting verbatim from the melody of "Norwegian Wood," it was reminiscent of the similar pieces that had cropped up on Richard & Mimi Farina's albums a few years earlier. There was also a Bob Dylan cover, "One Too Many Mornings"; "Blue Chip," whose extended instrumental introduction very much recalled the tune the Blues Project used in their own instrumental intro to "Steve's Song"; and a closer, "Bag on the Table," that, when listened to closely, turned out to conclude with a rather grisly suicide narrative. Alas, it's likely that many of the album's purchasers rarely got that far, playing "Legend of the U.S.S. Titanic" (which led off side two) far more often than any other of its songs. With sales concentrated in the Northeast, the album, Brockett told the Worcester Telegram & Gazette, sold 100,000 copies.
"Legend of the U.S.S. Titanic" was a difficult act to follow, and Brockett did just one more album for Capitol (Jaime Brockett 2), also putting out an LP on Adelphi, North Mountain Velvet, in the mid-1970s. Perhaps it was difficult to give many listeners what they expected or wanted, "Legend of the U.S.S. Titanic" being a one-of-a-kind flash that was hard to repeat or follow up. "Unfortunately, Jaime Mellowed" ran the headline of a review of one of his 1973 shows in Concert magazine, which went on to complain, "Once a master of the sardonic comment, Brockett has mellowed, only occasionally revealing the bite of his sharp wit. The political songs and talking blues of the earlier days are also gone. His material now consists mostly of ballads, by other songwriters, that are pleasant but nondescript...It seems that Brockett is bored with playing his music, and he uses just about every distraction to avoid doing a song...The underground folk troubadour of the late sixties has not grown with the times."
When he spoke to Shaun Sutner of the Worcester Telegram & Gazette in 1997, Brockett was living in Vermont, acknowledging that his repeated performances of "The Legend of the U.S.S. Titanic" had been responsible for "what people say is the distinctive...gravelly voice I have today. I stopped doing it for a while. It was like 'Alice's Restaurant' for Arlo [Guthrie]. But I'm not complaining. A good song takes you a long way, and I probably wouldn't be working today if it wasn't for that song."
by Richie Unterberger
Tracks
1. Talking Green Beret New Super Yellow Hydraulic Banana Teeny Bopper Blues (Michael Peter Smith) - 5:20
2. Remember The Wind And The Rain (John Bassett) - 5:30
3. St. Botolph St. Grey Morning Dulcimer Thing (Jaime Brockett) - 3:25
4. Blue Chip (Paul McNeil) - 7:22
5. Nowadays (Craig Allen) - 5:50
6. Legend Of The U.S.S. Titanic (Chris Smither, Jaime Brockett) - 13:28
7. Suzzane (Norman Schell) - 4:29
8. One Too Many Mornings (Bob Dylan) - 3:02
9. Bag On The Table (Ken Lyon) - 6:50
In 1974 Gregg Allman released The Gregg Allman Tour, a follow up double live album to his treasured 1973 solo release Laid Back. Taken from performances at Carnegie Hall, NY and the Capitol Theatre in Passaic, NJ, it features rootsy, jazzy performances that, like the album it partially celebrates, reveals the softer side of Allman’s creative spirit. He was backed by Cowboy, a band who had been signed to Capricorn at the urging of brother Duane, and the album includes two of their own originals, “Time Will Take Us” and “Where Can You Go?” Also included are three Allman Brothers Band numbers and some traditional blues and Americana.
Appearing along with Cowboy guitarist Tommy Talton and rhythm guitarist Scott Boyer are keyboardist Chuck Leavell and drummers Bill Stewart and Johnny Lee Johnson. Saxophonist Randall Bramblett shapes much of the album’s sound with a flurry of very spirited solos. The addition of breezy horns and a trio of female backing vocalists lend the recording a wonderful fullness. It is a varied and enthusiastic performance that covers the many colorful dimensions of Allman’s musical pallette and is a must listen for any true fan of the Allman Brothers Band.
by Tom Premtaj
Tracks
1. Don't Mess Up A Good Thing (Oliver Sain) - 5:06
2. Queen Of Hearts (Gregg Allman) - 7:43
3. I Feel So Bad (Chuck Willis) - 4:47
4. Stand Back (Gregg Allman, Berry Oakley) - 3:32
5. Time Will Take Us (Frank Thomas Talton) - 5:51
6. Where Can You Go? (Frank Thomas Talton) - 8:10
7. Double Cross (Gregg Allman, Chuck Leavell) - 4:41
8. Dreams (Gregg Allman) - 7:29
9. Are You Lonely For Me Baby (Andy Cousin, Warne Livesey, Mark Price, Julianne Regan) - 4:27
10.Turn On Your Love Light (Deadric Malone, Joseph Wade Scott) - 10:45
11.Oncoming Traffic (Gregg Allman, Janice B. Allman) - 5:56
12.Will The Circle Be Unbroken (Traditional) - 7:21
Tracks 5,6 with Cowboy
Personnel
*Gregg Allman - Lead Vocals, Organ
*Tommy Talton - Lead Guitar, Slide Guitar
*Scott Boyer - Rhythm Guitar
*Bill Stewart - Drums
*Jai Johanny Johanson (Jaimoe, Credited As Johnny Lee Johnson) - Drums And Percussion
*Ken Tibbetts - Electric Bass
*Chuck Leavell - Piano And Electric Piano
*Randall Bramblett - Soprano Saxophone, Alto Saxophone, C-Melody Saxophone (All Horn Solos)
*David Brown - Tenor Saxophone
*Harold "Bullets" Williams - Baritone Saxophone
*Todd Logan - Trumpet
*Peter Eklund - Trumpet
*Annie Sutton - Background Vocals
*Erin Dickins - Background Vocals
*Lynn Rubin - Background Vocals
Cowboy (Tracks 5,6)
*Tommy Talton - Lead Vocals, Lead Guitar, Slide Guitar
*Scott Boyer - Harmony Vocals, Rhythm Guitar, Lead Guitar
*David Brown - Electric Bass
*Chuck Leavell - Piano, Electric Piano
*Randall Bramblett - Organ, Saxophone
*Bill Stewart - Drums
*Johnny Lee Johnson - Congas, Drums
*Todd Logan - Trumpet
*Peter Eklund - Trumpet
*Harold "Bullet" Williams - Baritone Saxophone
A true icon of swamp rock, Tony Joe White parlayed his songwriting talent and idiosyncratic vocals into a modestly successful country and rock career in Europe as well as America. Born July 23, 1943, in Goodwill, Louisiana, White was born into a part-Cherokee family. He began working clubs in Texas during the mid-'60s and moved to Nashville by 1968. White's 1969 debut album for Monument, Black and White, featured his Top Ten pop hit "Polk Salad Annie" and another charting single, "Roosevelt and Ira Lee (Night of the Moccasin)." That same year, Dusty Springfield reached the charts with White's "Willie and Laura Mae Jones." Brook Benton recorded a version of White's "Rainy Night in Georgia" that hit number four early in 1970; the song has since become a near-standard with more than 100 credits. White's own "Groupie Girl" began his European success with a short stay on the British charts in 1970.
He moved to Warner Bros. in 1971, but success eluded him on his three albums: Tony Joe White, The Train I'm On, and Homemade Ice Cream. Other stars, however, continued to keep his name on the charts during the '70s: Elvis charted with "For Ol' Times Sake" and "I've Got a Thing About You Baby" (Top Five on the country chart), and Hank Williams, Jr. took "Rainy Night in Georgia" to number 13 on the country chart. White also wrote music for and appeared in the 1974 rock musical film Catch My Soul. White himself recorded Eyes for 20th Century Fox in 1976, but then disappeared for four years. He signed to Casablanca for 1980's The Real Thang but moved to Columbia in 1983 for Dangerous, which included the modest country hits "The Lady in My Life" and "We Belong Together."
White was inactive through much of the '80s, but worked with Tina Turner on her 1989 Foreign Affair album, writing four songs and playing guitar and harmonica. He released Closer to the Truth a year later for his own Swamp label and toured with Eric Clapton and Joe Cocker to very receptive French crowds (Closer to the Truth has sold 100,000 copies in that country alone). His 1993 album Path of a Decent Groove was released only in France, though Warner's The Best of Tony Joe White earned an American release the same year. Lake Placid Blues (1995) and One Hot July (1998) were Europe-only efforts until 2000, when Hip-O Records brought out One Hot July in the U.S., giving White his first new major-label domestic release in 17 years. But White was just beginning to roll, or re-roll, as the case may be. The critically acclaimed The Beginning appeared from Swamp Records in 2001, followed by Heroines, featuring several duets with female vocalists, from Sanctuary in 2004, and a live Austin City Limits concert, Live from Austin, TX, from New West Records, appeared in 2006.
In 2007, White released another live recording, Take Home the Swamp, as well as the compilation Introduction to Tony Joe White. In the summer of 2010, Rhino Handmade released a previously unissued live date from 1971 entitled That on the Road Look; later that fall, White's latest studio offering, The Shine, appeared through his Swamp Records imprint. The Shine gained enough attention that he then made the leap to the high-profile roots rock indie Yep Roc, which released Hoodoo in the fall of 2013. In 2015, White's sides for Warner Bros. got a new lease on life with the release of the collection The Complete Warner Bros. Recordings by Real Gone Records. White's second album for Yep Roc, Rain Crow, was released in 2016. Produced by Tony Joe's son Jody White, the album included a guest appearance by musician and actor Billy Bob Thornton.
by John Bush
Tracks Disc 1
1. Rainy Night In Georgia - 3:34
2. Roosevelt And Ira Lee (Night Of The Mossacin) - 3:06
3. Soul Francisco - 1:58
4. Polk Salad Annie - 3:43
5. Groupy Girl - 3:02
6. Hard To Handle (Allen Alvoid Jones Jr, Tony Joe White) - 2:53
7. What Does It Take (To Win Your Love) (Johnny Bristol, Harvey Fuqua, Vernon Bullock) - 3:39
8. Stockholm Blues - 3:26
9. Boom Boom (Johnny Lee Hooker) - 7:51
10.They Caught The Devil And Put Him In Jail In Eudora Arkansas - 3:50
11.The Daddy - 4:46
12.I Just Walked Away - 4:44
13.I've Got A Thing About You Baby - 2:42
14.Even Trolls Love Rock And Roll - 4:50
15.As The Crow Flies - 3:50
16.Saturday Night In Oak Grove Louisiana - 2:14
17.Ol' Mother Earth - 3:08
18.Backwoods Preacher Man - 2:47
19.Soulful Eyes - 3:43
20.Hold On To Your Hiney - 3:36
21.Swamp Rap - 5:03
All songs by Tony Joe White except where indicated
Disc 2
1. I Get Off On It (Leann White, Tony Joe White) - 5:11
2. Tunica Motel - 4:22
3. Ain't Going Down This Time - 5:08
4. Steamy Windows - 3:58
5. (You're Gonna Look) Good In Blues - 5:13
6. Cool Town Woman - 4:19
7. Undercover Agent For The Blues (Leann White, Tony Joe White) - 4:45
8. Closer To The Truth (Leann White, Tony Joe White) - 6:35
9. On The Return To Muscle Shoals - 3:47
10.I Want To Be With You - 4:53
11.Backside Of Paradise (Leann White, Tony Joe White) - 3:36
12.Way Down South - 3:51
13.Tina - 3:56
14.Up In Arkansas (Ricky Ray Rector, Tony Joe White) - 4:16
15.Always The Song - 5:23
16.The Path Of A Decent Groove - 6:17
17.Paris Mood Tonight (Leann White, Tony Joe White) - 3:38
All songs by Tony Joe White except where stated
Disc 3
1.Lake Placid Blues - 5:20
2.The Guitar Don't Lie (Joe Dassin, Tony Joe White) - 5:31
3.Menutha (Leann White, Tony Joe White) - 4:13
4.Let The Healing Begin - 4:38
5.High Horse (Leann White, Tony Joe White) - 3:55
6.Crack The Window Baby - 4:13
7.Cold Fingers - 4:29
8.I Want My Fleetwood Back - 5:04
9.Ol' Black Crow (Chet Hinesley, Tony Joe White) - 5:34
10.Ice Cream Man (Leann White, Tony Joe White) - 4:29
11.Can't Go Back Home (feat Shelby Lynne) (Shelby Lynne, Tony Joe White) - 4:23
12.Closing In On The Fire (feat Lucinda Williams) - 4:30
13.Playa Del Carmen Nights (feat Michelle White) (Leann White, Tony Joe White) - 4:36
14.Rich Woman Blues - 4:58
15.Did Somebody Make A Fool Out Of You (feat Eric Clapton) - 4:42
16.Louvelda (feat J.J. Cale) (J.J. Cale, Tony Joe White) - 7:30
All songs by Tony Joe White except where noted
Originally from Detroit, Marcus found a home in L.A, and went on to carve a niche for himself in the hard rock scene, were he recorded his debut album in 1976. Originally from Detroit, Marcus found a home in L.A, and went on to carve a niche for himself in the hard rock scene, Malone takes his version of hard rock in a different direction to most.
One of the tracks ('Black Magic') ended up on the Striktly For Konnoisseurs Double LP in 1984 by the Music For Nations label, though by this time, it was more of a memorial, as the band hadn't been together for many years. Life after this album proved lucrative for some of the band members. Gene Bloch went on to a career playing in Holly Knight's band Device under the name Gene Black, plus he was one half of the hi-tech duo Scarlett And Black. Dandy Holmes later became a member of Paul Sabu's band.
Marcus has performed at the Royal Albert Hall opening for BB King, Burnley, Upton and Colne Festivals in the UK; and various UK Art Centres and Blues Clubs including Darlington Arts Ctr and the Brewery Arts. Marcus ended 2013 by headlining the Tenby Blues Festival in Wales. In 2014 played the Great British R&B festival (International Stage) in Colne and 2015 The Skegness Rock and Blues Festival.
Performances in the Netherlands include Kwadendamme, Tegelen, Huntenpop, Oisterwijk, Hoogeveen, Geithoorn, Enchede and Texel Festivals. The Luxemburg Festival in Luxemburg. In France Pleins Feaux Festival 2013 in Bonneville; 'American Journeys' in Cambrai, Fete de la Musique in Marc En Baroeul, Presqu'ile Blues Festival in Ambialet (opening for The Straits), Buc n' Blues (Buc France), Blues & Rock Festival in Segoufielle and Le Show Room, Valenciennes France.
Since relocating to the UK Marcus has written, produced and recorded 6 albums on the Redline Music Label. The“One More Time” was released on Redline Music label in 1999. The title song “One More Time” is featured on ‘Blueprint 99 –The Best of The British Blues’ album.
The second album -’Walkin’ Shoes’- was released in August 2002. The track ‘Take It To Heart’ is featured on Blues In Britain 2002 - ‘The Best of British Blues’ album.
The third album ‘Blue Radio’ was released in early 2005. The song ‘Mama Said’ was featured on ‘The Best of British Blues” 2005.
The fourth album 'Hurricane' was released in March 2007 and received great reviews in several rock publications and traditional blues magazines including ‘Rock Tribune‘ in Belgium & ‘Bluesnews‘ in Germany.
The fifth album 'Let The Sunshine In' -- recorded in the UK --was released 25 April 2011 in the UK , NL and BE through Cadiz Distribution (UK).
In 2014 Marcus completed recording his 6th CD 'Stand or Fall' on Redline Music, distributed through In-akustik of Germany. Another collection of original blues based rock songs. The album was nominated for Best Recorded Session 2014 by European Blues Awards.
Tracks
1. Black Magic (G. Beam, Gene Bloch, Marcus Malone) - 5:49
2. Salomon Ball (Randall David) - 6:15
3. Kelly (K.J. Knight, T. Curry, Gene Bloch, Marcus Malone) - 4:01
4. Gypsy Fever (Gene Bloch, Marcus Malone, Randall David) - 6:16
5. Pillow Stars (K.J. Knight, T. Curry, Gene Bloch, Marcus Malone) - 5:44
6. Highschool Ladies Streetcorner Babies (Gene Bloch, Marcus Malone, Randall David) - 5:08
7. Dream Wheel (Jack Weber) - 3:44
8. Rise Unto Falcon (Y. Bear, Marcus Malone, Randall David) - 6:32
The Morning Dew began as a good but not especially remarkable garage band from Topeka, Kansas, but as the mid-1960s became the late 1960s, their sound grew increasingly adventurous, and their approach became harder but more complex at the same time. The Morning Dew cut an album for Roulette that was released in 1970 not long before the band broke up, and Cicadelic Records have paired that album with some unreleased late-period recordings from the group on the collection At Last: 1968-1970.
While an earlier Morning Dew anthology charts the band's growth from their early days to their rise to regional fame, At Last captures them at the peak of their instrumental powers -- Mal Robinson had grown into a fluid, expressive guitarist and powerful singer, Don Anderson's rhythm guitar provided plenty of muscular support, and drummer Don Shuford and bassist Blair Honeyman kept the songs rolling along and gave the melodies a firm bottom end. By this time, the Morning Dew had also learned to stretch out, and frankly a few of the four and five minute songs on their LP could have lost some noodling without hurting them a bit, but Robinson was a good enough soloist, gutsy and forceful, to keep the tunes from getting lost, and songs like hard rocking "Gypsy" and "Crusader's Smile," the folky "Something You Say," the twangy "Country Boy," and the trippy finale "Epic:The Mann/Death Is A Dream" prove this band had more on the ball than most second-string psych acts of the era.
The disc also includes five songs recorded for a second album that was never completed, and though the nine and a half minutes of "Lions>Away From It All" are mostly filler, the other tracks are solid, especially the rocking "1849" -- if three final tracks from a 1968 session don't add up to much, they at least point out to the melodic ambition that came to fruition on the album. At Last: 1968-1970 isn't quite the work of a great lost band, but if Cicadelic Records were trying to provide evidence that the Morning Dew at least deserves a larger cult following, then consider this collection a success.
by Mark Deming
Tracks
1. Crusaders Smile - 3:39
2. Upon Leaving - 2:11
3. Young Man - 2:31
4. Then Came The Light - 4:14
5. Cherry Street - 4:08
6. Gypsy - 5:48
7. Something You Say - 4:28
8. Country Boy Blue - 2:37
9. Save Me (Kerry Livgren, Malcolm Robinson) - 3:38
10.Epic: The Mann / Death Is A Dream - 4:33
11.Lion-Away From It All - 9:36
12.Flying Above Myself - 4:26
13.My Kind Of Music - 4:12
14.1849 - 5:01
15.Some Day - 4:29
16.This Sportin' Life (Ian Whitcomb)- 3:56
17.Something You Say - 4:12
18.Out Last Song - 1:41
All songs by Malcolm Robinson except where stated
Tracks 1- 10 from Morning Dew "At Last" LP 1970
Tracks 11-15 from Morning Dew unreleased second LP 1970
Tracks 16-18 unreleased Fairyland tapes from 1968
