Gonzalez was a loosely knit, British-based aggregate with a revolving-door membership of anywhere from 10 to 30 players. Their specialty was a mostly instrumental melange of funk, jazz, soul, and (later) disco, though they did employ vocalists for selected tracks on most of their albums. Their core early membership consisted of saxophonists Mick Eve, Chris Mercer, and Geoffrey "Bud" Beadle, keyboardist Roy Davies, and guitarist Gordon Hunte; collectively, their previous credits included Georgie Fame's Blue Flames, Juicy Lucy, John Mayall, Keef Hartley, and the Night-Timers, among others.
First convening in 1971, Gonzalez grew to include bassist DeLisle Harper, trumpeter Ron Carthy, saxophonist Steve Gregory, drummers Richard Bailey and Glen LeFleur, and vocalist George Chandler (among others) by the time they released their self-titled debut album on EMI-Capitol in 1974. Cuts like "Funky Frith Street" and the Latin-tinged "Saoco" later became popular among connoisseurs of obscure funk. The follow-up, Our Only Weapon Is Our Music, appeared in 1975 and featured new members in guitarist/vocalist Lenny Zakatek, trombonist Colin Jacas, guitarist Robert Ahwai, bassist Larry Steele, percussionist Bobby Stignac, and singer Viola Wells.
by Steve Huey
Tracks
1. Pack It Up (George Chandler, Gonzalez) - 4:25
2. Clapham South (Steve Gregory) - 4:05
3. No Way (Michael Eve, Gonzalez) - 3:30
4. Adelanto Nightride (Chris Mercer) - 3:30
5. Underground Railroad (Lisle Harper) - 3:58
6. Gonzalez (Gonzalez) - 4:59
7. Together Forever (Roy Davis) - 5:40
8. Saoco (Ramon Paz) - 6:45
9. Funky Frith Street (Gonzalez) - 1:33
10.Closer To You (Colin Jacas) - 7:05
11.Cuidado (Zangolza, Michael Eve) - 7:02
12.Got It get It (E. Reid, R. taylor, T.J. Cansfield) - 5:06
13.Hey Ambeinte (Zangolza) - 3:32
14.I Believe In You (Keith Forsey, H. Faltermeier) - 5:16
This is the third in a series of previously unreleased live gigs – and though it’s not all 1975 (the first six songs are from the year on the title card, the final two come from 1973, the band is largely the same for all) it is all great.
Worth it for Buchanan’s dazzle across signature pieces like I Used To Have A Woman and The Messiah Will Come Again.
Heck, even when he’s trotting out bar-room blues staples such as Further On Up The Road and Sweet Home Chicago, there’s real fire in his playing.
The version of Don Gibson’s Sweet Dreams (from ’73) is a sublime closer. Like Peter Green and really only one or two others Buchanan had something truly special in his touch, something utterly believable in his soul. He took the blues on his journey while always being respectful to the form.
It’s a solid crew behind him, road-tight and tested. With drummer Byrd Foster a sympathetic hand and bassist John Harrison capable as a vocalist when needed, since that wasn’t Roy’s thing.
Even when the band rocks things up a lot (Running Out, Whole Lotta Shakin’ Goin’ On) it’s worth it for the way Buchanan paints himself into, and then straight out of, the corners of the tune. His attack on Running Out is tremendous, all scrambly and scratchy.
Also, these recordings are – sonically – wonderful. No patchiness, nothing lost. It’s a great live sound that’s been captured here. Probably it’s just for existing Roy fans. But his sad story was score by mesmerising music and so the legend lives on.
by Simon Sweetman
Tracks
1. Can I Change My Mind (Barry Despenza, Carl Wolfolk) - 6:48
2. Running Out (Roy Buchanan, John Harrison) - 3:18
3. Further On Up The Road (Don Robey, Joe Veasey) - 3:40
4. I Used To Have A Woman (Roy Buchanan) - 7:23
5. Sweet Home Chicago (Robert Johnson) - 3:09
6. The Messiah Will Come Again (Roy Buchanan) - 7:24
7. Whole Lotta Shakin' Goin' On (Sunny David, Dave Williams) - 3:35
8. Sweet Dreams (Don Gibson) - 4:00
Personnel
*Roy Buchanan - Vocals, Guitar
*Byrd Foster - Drums
*John Harrison - Bass, Vocals
*Dick Heintze - Organ
*Malcolm Lukens - Organ, Piano
I Reserve the Right album features a naked man running down the main street of a major city, which is a little more appealing than the wardrobe this seven-piece group sports on the back cover. They look like they just got off work for the day at the farm, so you know without the image they'd better have some chops to warrant this record's release. Lead guitarist Rob Walker's "Alone on a Saturday Night" is a beautiful song, with drummer Sebie Lacey getting the honors for the lead vocal. It is the tune that stands out and grabs you on a decent outing produced by Stillwater and engineer Tad Bush for Buddy Buie Productions.
The title track sounds like it is a cross between Duke & the Drivers meets Bachman Turner Overdrive sans Randy Bachman; it is truck-driving rock, the qualities of "Alone on a Saturday Night" or the other subdued highlight here, "Women (Beautiful Women)." With no Top 40 hit to their credit and not much of a cult for this genre of music, this fairly decent outing is one for the bargain bins. Having the Muscle Shoals Horns contribute is pretty neat, and there are some enjoyable moments here nonetheless.
by Joe Viglione
Tracks
1. I Reserve The Right (Buddy Buie, Jimmy Hall, Mike Causey, Rob Walker, Sebie Lacey) - 7:09
2. Women (Beautiful Woman) (Buddy Buie, Rob Walker, Sebie Lacey) - 4:25
3. Keeping Myself Alive (Buddy Buie, James B. Cobb Jr.) - 2:53
4. Kalifornia Kool (Allison Scarborough, Buddy Buie, Jimmy Hall, Rob Walker, Sebie Lacey) - 3:31
5. Sometimes Sunshine (Buddy Buie, James B. Cobb Jr., Mike Causey, Robert Nix) - 4:06
6. Fair Warning (Bobby Golden, Buddy Buie, Jimmy Hall, Mike Causey, Rob Walker) - 4:28
7. Alone On A Saturday Night (Rob Walker) - 2:09
8. Ain't We A Pair (Buddy Buie, Jimmy Hall, Mike Causey, Rob Walker) - 4:26
Stillwater was an obscure multi-membered Southern rock band that featured the triple guitar team of Mike Causey (guitar), Bobby Golden (guitar, vocals), and Rob Walker (guitar), plus Jimmy Hall (vocals, percussion), Allison Scarborough (bass, vocals), Bob Spearman (keyboards, vocals), and Sebie Lacey (drums). Originally formed in Georgia during 1973, Stillwater issued a pair of albums during the late '70s -- 1977's self titled debut and 1979's I Reserve the Right! -- and narrowly missed scoring a Top 40 hit single with the track "Mind Bender."
Between the near-hit single and steady opening gigs for the Atlanta Rhythm Section and the Charlie Daniels Band (the latter of which was riding high at the time with the monster crossover hit "The Devil Went Down to Georgia"), Stillwater seemed to be on the right track for breakthrough success. But when their record label, Capricorn Records, hit upon hard times, Stillwater found themselves without a label, and broke up soon thereafter. Several live tracks from 1978 were included on the 1997 Alive Down South multi-artist collection, which was followed by a Stillwater reunion the same year. A new album, Running Free, was released a year later, and the group began to play live shows once more.
by Greg Prato
Tracks
1. Rock 'n' Roll Loser (Rob Walker) - 4:14
2. Out On A Limb (Bob Spearman, Jimmy Hall, Mike Causey, Rob Walker) - 3:57
3. Sunshine Blues (Bob Spearman, Bobby Golden, Buddy Buie, Jimmy Hall) - 3:37
4. Sam's Jam (Allison Scarborough, Bob Spearman, Bobby Golden, Buddy Buie, Jimmy Hall, Mike Causey, Sebie Lacey) - 9:36
5. Mindbender (Buddy Buie, Rob Walker) - 4:14
6. Universal Fool (Buddy Buie, Jimmy Hall, Rob Walker) - 6:58
7. April Love (Buddy Buie, Mike Causey, Rob Walker) - 4:08
8. Fantasy Park (Allison Scarborough, Buddy Buie, Jimmy Hall, Mike Causey, Rob Walker) - 4:07
Roy Buchanan is one of those artists who seemed to just excel in front of a live audience. A true guitarists’ guitarist, he never had a strong desire to be a studio maverick. Buchanan just wanted to play. While his early studio LPs are all certified classics, 30 years since his passing it is his live sound is what he will be remembered for.
Live Stock, his first official live album released in 1975, is a glimpse of what a typical Buchanan show might have been during his glory days. However, the album only features eight tracks and doesn’t really give the listener the full extent of a live performance. Now over 40 years later, we can hear the whole thing. Live at Town Hall, offers the listener the complete Live Stock show.
Over the course of the double CD set, we can fully experience two full sets of Buchanan’s at the height of his career. It’s easy to picture a smoke-filled room reeking of stale beer and old sweat seeing ol’ stone faced Butch making his ’53 Telecaster squeal.
While Buchanan’s guitar prowess is at the peak of its powers, the music can suffer at times due to the occasionally trite singing, which can seem uninspired in parts. Billy Price, who provides the vocals here, sang on the majority of his ‘70s work but never quite had the power of Butch’s first singer, Chuck Tiley. Nevertheless, the ferocious guitar playing makes up for it. Tracks like “Too Many Drivers”, “Done Your Daddy Wrong” and most importantly “Roy’s Bluz” are pure brilliance.
by Ryan Sagadore
Tracks
Disc 1 Early Set
1. Done Your Daddy Dirty (Roy Buchanan) - 3:17
2. Reelin' And Rockin' (Roy Milton) - 2:13
3. Hot Cha (Willie Woods) - 4:12
4. Further On Up The Road (Don Robey, Joe Medwick Veasey) - 3:39
5. Roy's Bluz (Roy Buchanan) - 8:01
6. Can I Change My Mind (Barry Despenza, Carl Wolfolk) - 5:47
7. Hey Joe (Billy Roberts) - 8:36
8. Too Many Drivers (Andrew Hogg) - 2:50
9. Down By The River (Neil Young) - 9:16
10.I'm A Ram (Al Green, Mabon "Teenie" Hodges) - 4:23
11.In The Beginning (Roy Buchanan) - 2:19
12.Driftin' And Driftin' (Charles Brown, Johnny Moore, Eddie Williams) - 7:45
Disc 2 Late Set
1. I'm Evil (Roy Buchanan) - 3:48
2. Too Many Drivers (Andrew Hogg) - 5:07
3. Done Your Daddy Dirty (Roy Buchanan) - 2:03
4. Roy's Bluz (Roy Buchanan) - 8:48
5. Further On Up The Road (Don Robey, Joe Medwick Veasey) - 3:56
6. Hey Joe (Billy Roberts) - 8:07
7. Can I Change My Mind (Barry Despenza, Carl Wolfolk) - 6:18
8. In The Beginning (Roy Buchanan) - 2:30
9. All Over Again (I've Got A Mind To Give Up Living) (Carl Adams, B.B. King) - 8:55
The British progressive rock band Barclay James Harvest were founded in Saddleworth, Yorkshire (UK) in September 1966 by John Lees (guitar, vocals), Les Holroyd (bass guitar, vocals), the deceased Mel Pritchard (drums) and keyboardist Stuart 'Woolly' Wolstenholme, who passed away in December 2010. After signing with EMI's Parlophone record label in 1968 for one single, they moved to EMI's Harvest-label that was more specialized in progressive rock. BJH released their eponymous debut album in the summer of 1970. It got very positive reviews, but few sales. Their second album Once Again gained more favourable reviews followed by a tour with a classical orchestra conducted by Robert John Godfrey (The Enid).
Generally Once Again is regarded as being one of the strongest efforts by BJH featuring powerful, epic tracks as Song For Dying, She Said and the classic piece Mocking Bird, one of their best known songs. John Lees wrote Mocking Bird in 1968 while he was living with the parents of his future wife Olwen. The song is based on a musical phrase from Pools Of Blue, which he wrote around the same time. It can be found on the CD-version of the debut album as one of the bonus tracks. Another classic BJH-piece is Galadriel on which John Lees played on John Lennon's Epiphone Casino guitar that stood in a corner of the Abbey Road Studios. Later on he wrote a melancholic song about this event called John Lennon's Guitar that appeared on the album Welcome To The Show (1990).
Early 2011, EMI released the 40th anniversary edition of Once Again. The two-disc set comprises a CD with a remastered stereo version of the album, five previously unreleased bonus tracks plus a DVD audio disc with the original album in 5.1 Dolby surround and high resolution stereo. After listening again to this album after such a long time I could only conclude that BJH must have been in great shape in those days. The eight compositions are of a very high level. Recording a radio-friendly hit wasn't something they had in mind, unlike several years later.
All songs are pure and honestly written right from the heart with power and passion. They got complete artistic freedom and could experiment with whatever they would like to create. So they used a Mellotron and asked a classical orchestra to support them which was something bands hardly did at the time. You can hear the orchestra on Mocking Bird and Galadriel. Versions of these songs without the orchestra have been added to this release as bonus tracks. They still sound very strong thanks to the intense Mellotron parts. There has also been added an unreleased version of Mocking Bird as it was recorded in May 1970. It doesn't sound very different from the version that made it to the album. Other previously unreleased songs you can enjoy are the first take of Happy Old World and the full u nedited version of Song For Dying. A special addition is the short piece Introduction- White Sails (A Seascape). Here we can hear the orchestra in full splendour.
by Henri Strik (edited by Peter Willemsen)
Tracks
1. She Said (John Lees) - 8:21
2. Happy Old World (Woolly Wolstenholme) - 4:41
3. Song For Dying - 5:02
4. Galadriel (John Lees) - 3:14
5. Mocking Bird - 6:39
6. Vanessa Simmons (John Lees) - 3:46
7. Ball And Chain - 4:49
8. Lady Loves - 4:01
9. Mocking Bird (May 1970 Version) - 6:17
10.Introduction - White Sails (A Seascape) (Woolly Wolstenholme) - 1:43
11.Too Much On Your Plate - 5:31
12.Galadriel (Non Orchestral Version) (John Lees) - 3:12
13.Happy Old World (Take One) (Woolly Wolstenholme) - 4:40
14.Song For Dying (Full Un-edited Version) - 7:02
15.Mocking Bird (Extended Non-orchestral Version) - 8:01
All compositions by Les Holroyd, John Lees, Mel Pritchard, Woolly Wolstenholme except where indicated
Bonus Tracks 9-15
Barclay James Harvest
*John Lees - Vocals, Guitars, Recorder
*Les Holroyd - Vocals, Bass, Guitars, Keyboards
*Stuart "Woolly" Wolstenholme - Vocals, Mellotron, Keyboards
*Mel Pritchard - Drums, Percussion With
*Alan Parsons - Jaw Harp (On Lady Loves)
A Third Of A Lifetime by Three Man Army was one of the first LPs I bought, around 1972 from a cut-out bin in a dodgy independent supermarket, run by a local chancer and located at the rear of a cattle market. Ah…the smell of fresh vinyl and cow shit, I remember it well. As with all those other bargain LPs by obscure bands it shared the rack with, some of which now change hands for large sums, it was bought (or not) on the strength of its cover design, and the look of the band from the photos on the inner sleeve. The cover is a rather clever amalgam of a gun, based around a machine head and a drumstick. It was no doubt a reference to the band’s previous incarnation as much as it tied in with the new and militaristic band name. I am glad I bought it, as it has remained a favourite over all those years. When I saw Esoteric were reissuing this lost gem I just had to take up the scribbling duties, so here goes…
The coming together of Jack Bruce, Ginger Baker and Eric Clapton in 1966 as Cream not only saw the first instance of what swiftly became known as a supergroup, but it was also the first widely popular rock power trio, beating the likes of The Jimi Hendrix Experience and Taste by a matter of weeks. The power trio would prove to be a format that would become increasingly popular in the years that followed, with bands like Groundhogs – who actually existed before Cream – Blue Cheer, Budgie, Beck Bogert & Appice, ZZ Top and many, many others taking the format on into the ’70s and beyond.
One such trio was UK psychedelic hard rock band Gun, formed in 1967 by guitarist Paul Gurvitz (then known as Curtis), who previous to their 1968 worldwide hit Race With The Devil and subsequent two albums were a larger unit, once famously and briefly including Jon Anderson in the line up. The Yes connection continued, as Gun’s self-titled debut album was illustrated by Roger Dean’s first foray into LP cover art. The version of the band that released records was whittled down to a trio, with Paul Gurvitz on bass guitar, joined by his brother Adrian on lead and rhythm guitar and Louie Farrell on drums.
Gun disbanded after unsuccessful attempts to follow up the hit single, and the brothers briefly went their own ways before reconvening in 1971 as Three Man Army, initially a studio-only project due to other commitments, and ironically without a permanent drummer, rather giving the lie to the name! The punchy band name was reflected in the music, which saw a stylistic shift into the then nascent hard rock sound, as exemplified by contemporaries Budgie, but sweetened by a pop sensibility. The psychedelic embellishments of yore were trimmed right down but not completely shorn, as evidenced by the kaleidoscopic ending to Another Day, probably my favourite track from A Third Of A Lifetime. Largely though, the paisley was replaced by denim, the band pursuing a melodic yet tough rocking sound.
In the post-Gun period Adrian had worked with Buddy Miles, and he appears as a guest drummer on the opening track, offering a typically muscular backing. Buddy Miles also contributes organ to the laid back funk rock of Midnight and bass to the fearsome wah-fest of Nice One. Mike Kellie, on a short sabbatical from Spooky Tooth, who seven or so years later turned up on the drum stool for the fabulous post-punk band The Only Ones is the drummer for the rest of the album, and his percussive flair shines through on Another Day and on Midnight, the gloriously clear mix of this particularly fine remaster highlighting every subtlety of Kellie’s highly musical style.
As with Gun, Adrian Gurvitz writes almost everything for Three Man Army and A Third Of A Lifetime opens with Butter Queen, a song that nails the brothers’ new sound to the floor, it being a fast paced hard rocker that rattles the ornaments in exemplary fashion. Butter Queen, along with the Groundhogs-like sleazy wah-funk of Nice One and the dramatic rhythmic syncopations of See What I Took are ’70s rock classics…I wonder if he wrote them in an attic*?
It’s not all hard rockin’, they did slower songs too, in my humble opinion better than their Welsh contemporaries Budgie, leaders of the UK pack in early ’70s power trio hard rock, but a band whose slow songs sound like the album fillers they were. The romantic instrumental title track here includes a neat string arrangement presaging Adrian’s later forays into the pop market. The pop arrangements Adrian has a knack for are also highlighted on the band anthem Three Man Army, and on Agent Man which both come across as a combination of Slade balladry and early ELO with added guitar wizardry, and both written before either of those bands had got into their stride. Closing with the reflective and latterly joyously charging and symphonic Together, hinting at the musical changes that were afoot in 1971, this is a fine album that does not trap itself into a corner of patchouli scented leather jacketed rocking, as was the case with a lot of similarly structured bands of the time, which is maybe why it didn’t sell in the quantities it certainly deserved to.
Three Man Army eventually became a proper touring band a year or so after this debut, when Adrian’s previous commitments with Buddy Miles had been fulfilled, with renowned tub thumper Tony Newman moving into the drum seat. They recorded two more albums – a third album of unreleased material came out in 2005 – and went on to have moderate success in Europe, and Germany in particular, but the gap between the first album to becoming a touring band meant that impetus was lost here in the UK and they never amounted to anything in their homeland. This was a shame as I consider them to have been at least on a par with their contemporaries, and it took Adrian’s meeting up with Ginger Baker while in the States with Buddy Miles prior to the recording of A Third Of A Lifetime, a meeting that would eventually lead to the formation of the Baker Gurvitz Army, for the brothers to achieve the albeit short-lived level of success that their undoubted talents deserved.
by Roger Trenwith
Tracks
1. Butter Queen (Adrian Gurvitz, Keith Ellis) - 5:23
2. Daze (Adrian Curtis, Lou Reizner) - 4:02
3. Another Day - 6:49
4. A Third Of A Lifetime - 4:29
5. Nice One - 4:10
6. Three Man Army - 5:05
7. Agent Man - 5:36
8. See What I Took - 3:31
9. Midnight - 5:23
10.Together - 6:34
11.What's Your Name (Single Version) (Adrian Gurvitz, Lee Baxter Hayes) - 3:31
12.Travellin' - 4:00
13.What's Your Name (Previously Unreleased) (Adrian Gurvitz, Lee Baxter Hayes) - 4:36
All songs by Adrian Gurvitz except where stated
Bonus Tracks 11-13
Three Man Army
*Adrian Gurvitz - Guitar, Vocals, Organ, Mellotron
*Paul Gurvitz - Bass, Vocals
*Mike Kelly - Drums With
*Buddy Miles - Drums (Track 1), Bass (Track 5), Organ (Track 9)
“'Ages' is a sort-of concept album”, remembers Mike McCully. In the early 70's, the promise made by the improvisational bands in the late 60's, like Cream, Iron Butterfly, The Jimi Hendrix Experience and many others, had started to bear fruit. It was a time of rock music becoming really heavy and progressive, but also a time of the Singer-Songwriters genre and Folk Rock. Medieval themes, Lord Of The Rings and 'Dungeons and Dragons' styles were the also the order of the day. Keyboard wizard Rick Wakeman had released an instrumental album about the 'Six Wives Of Henry VIII', Ritchie Blackmore's Rainbow had sang about 'The Man On The Silver Mountain' and Uriah Heep celebrated 'The Magician's Birthday'.Mike says that when McCully Workshop used to perform live around that time, the set list would include their arrangements of classical pieces like Bach's 'Toccata in D Minor', Grieg's 'Hall Of The Mountain King' and Strauss' 'Also Sprach Zarathustra' (better known as the theme to '2001: A Space Odyssey)' alongside 'Every Little Thing' by The Beatles and 'The Man From Afghanistan' by Curtiss Maldoon. Quite an eclectic mix.
When asked about his favourite song on the 'Ages' album, Mike McCully says without hesitation: 'I Walked Alone'. “This song had very difficult drumming, and I was influenced by Jim Keltner at the time. And the drumming on 'Guinevere' features double-tracked triplets”, continues Mike, “and live I used to play this with four sticks (a la John Bonham) for audio and visual effect.” The album opener, 'Avenue' is a bass-driven rock track, which echoes 'Salisbury'-era Uriah Heep, whilst 'Carbon Canyon' is an up tempo Steve Miller Band influenced blues boogie with rollicking piano and cool guitar licks from Richard Black (born 9th December 1946) who had been playing guitar with various bands since the mid-60s. He had been in a rock power trio, Elephant, with George Wolfaardt (Abstract Truth) and Savvy Grande (Suck) and he brought his impressive rock credentials into McCully Workshop as a replacement to Bruce Gordon. Black also brought his flute-playing skills to the 'Ages' album, and the flute adds an extra dimension to the Focus-inspired instrumental 'Shingles'.
'Step On Easy' is influenced by Country Folk Rock, and would not have been out of place on a Stealers Wheel album. 'Blues In C minor' was recorded live at the Students Union Hall at the University Of Cape Town. It is a tongue-in-cheek improvisational live blues jam with Tully trying out his best Louis Armstrong impersonation. “It was a spoof song”, says Tully, “I would make up different lyrics every time I sang it”. Leon Morton's organ-playing shines on this song.
Emerson, Lake and Palmer were a big influence on the recording sessions. Keyboardist Leon Morton loved Keith Emerson, Mike McCully rated Carl Palmer as a top drummer, and Tully McCully is a singing bassist, just like Greg Lake. Leon Morton used an Elka Rhapsody string synthesizer (also used by artists like Jean-Michel Jarre and Tangerine Dream) extensively on the 'Ages' album, and the epic chords on 'The Plague' are thanks to this instrument.
Richard Wilson's violin playing can be heard on a number of tracks on 'Ages' including a few of his own compositions. '1623' and 'Shingles' are among Tully's favourite songs on the album .'Great medieval sounds, mixed in with Irish jigs”, says Tully. “They were very much in the style of 70's prog-rock band East Of Eden`s surprise hit single,. 'Jig-A-Jig' ,we even used to play that song at our live performances”. Richard Wilson was also a classically-trained pianist and his playing can be heard prominently on 'Guinevere'. This song is a powerful prog-rock ballad that reached the LM Radio Top Ten. The vocal harmonies of Crocodile Harris can be heard on this track and it was performed live during the early days of South African TV.
McCully Workshop always prided themselves on their vocal harmonies, and were influenced by bands such as Crosby, Stills, Nash & Young, Yes, The Beach Boys, Uriah Heep, The Moody Blues and The Beatles. “We were always well-rehearsed with our vocal harmonies”, remembers Tully. 'Forgot How To Smile' was penned by Richard Black and Tully wanted to try something different with the vocals, so he put them through a guitar phase pedal! On the subject of strange effects, the echo chamber for this album was the 18 by 12 foot corrugated iron water tank on the roof of the studio building. “We put a speaker on one side, and two mikes on the opposite side to create echo and reverb effects” says Tully. “Then one day a storm came and blew the water tank across the road on top of the building next door!” Unperturbed they strung cables across and continued to use it.
by Brian Currin
Tracks
1. Avenue - 3:58
2. 1623 (Richard Wilson) - 2:08
3. You - 2:54
4. I Walked Alone (Richard Wilson) - 3:35
5. Carbon Canyon (Richard Black) - 2:50
6. Blues In C Minor - 5:15
7. Step On Easy - 2:40
8. Guinevere - 3:11
9. Goddbye Lonely Blues - 2:56
10.The Plague (Richard Wilson) - 2:54
11.In The Quiet Hours (Richard Black) - 3:13
12.Forgot How To Smile (Richard Black) - 2:34
13.Shingles (Richard Wilson) - 3:43
14.Carnival - 3:14
15.Got A Good Reason - 2:51
16.I'm Waiting - 4:35
17.Inside - 3:52
18.Rainbow'S Illusion - 3:29
19.Gunpoint - 2:54
20.Shamrock - 2:52
All songs by Tully Mccully except where stated
Bonus Tracks 14-20
McCully Workshop
*Mike Mccully - Drums, Vocals
*Tully Mccully - Lead Vocals, Bass, Guitar
*Richard Black - Guitars, Vocals
*Richard Wilson - Violin, Mellotron, Electric Piano
*Leon Morton - Organ, Synthesizer
In the early '70s, Capitol had both the Band and McGuinness Flint on their roster, with both bands producing the best work of their careers. Like the Band, McGuinness Flint excelled by ignoring trends in rock music and drawing on styles with deeper roots. Also like the Band, Happy Birthday, Ruthy Baby is a follow-up that often surpasses their exceptional debut album. Where Dylan's former backup band was making the cover of Time magazine, though, McGuinness Flint remained largely unknown outside their native England. Happy Birthday, Ruthy Baby, with solid production by Glynn Johns and the gifted Nicky Hopkins on piano, expands on the rustic tone of the band's first album.
The title track is a rousing pub rock tribute to one of the band's supporters, a touching picture of life as a struggling musician. Jazz influences permeate the propulsive "Reader to Writer" and "Fixer," with its stunning trombone solo. "Klondike" is a slice of Americana that could easily pass for a Robbie Robertson composition, and the acoustic "Sparrow" is as moving as any ballad to come out of the '70s. From beginning to end, Happy Birthday, Ruthy Baby is a gem, full of promise for the group. It's unfortunate that the album, and the band, were not more widely appreciated. Principle songwriters Gallagher and Lyle left after this album. Although McGuinness Flint rebounded in style with Lo and Behold, lead singer Dennis Coulson soon started a solo career, and the band folded in 1975.
by James A. Gardner
Tracks
1. Happy Birthday, Ruthy Baby - 3:23
2. Conversation - 3:06
3. When I'm Alone With You (Hughie Flint, Tom McGuinness) - 2:42
4. Fixer - 3:55
5. Faith And Gravy - 2:45
6. Klondike - 2:10
7. Reader To Writer - 2:40
8. Changes - 2:44
9. Friends Of Mine - 2:52
10.Piper Of Dreams - 3:41
11.Jimmy's Song - 3:36
12.Sparrow - 2:59
13.Wham Bam (Dennis Coulson, Hughie Flint, Tom McGuinness) - 2:46
14.Back On The Road Again - 2:59
All songs by Benny Gallagher, Graham Lyle except track #3 and #13
Bonus Tracks 13-14
Here’s another roots rock classic in the same vein as The Band, only this slice of ‘Americana’ is from the UK! McGuinness Flint is sort of ‘The British Band’ and their debut album is a good, straightforward roots rock record worthy of your attention.
McGuinness Flint are Steve McGuinness, former Manfred Mann guitarist, and Hughie Flint, former John Mayall & the Bluesbreakers drummer. They only lasted from about 1970-1973 and thus were a bit ahead of the emerging Pub Rock scene in the UK, which might have provided them some more longevity, but it was well received in 1971. Two of these songs made the top 5 upon release in the UK: the upbeat go-to track, When I’m Dead And Gone(#2), and the polka-ish Malt And Barley Blues(#5). There are fun and strong tunes here like Bodang Buck, and Lazy Afternoon has a great mid-song transition. Mister Mister is brilliantly penned and infinitely catchy. Mainly, a good English folk/blues classic, and a pleasurable listen.
Faintly, the album teases some classic rock schmaltz; I don’t know how comfortable I’d be singing along to the lyrics “Rock on, rock on, everybody’s gonna rock on!” (unless it were a T-Rex song or something). And one time I dj’ed a track from this at a party and had to cut it short. But you can’t let missteps like these be judge. Fans of the Band are sure to be pleased with this quality record and will find the right time and place to let it ride.
by Brendan McGrath
Tracks
1. Lazy Afternoon (Tom McGuinness, Dennis Coulson, Hughie Flint) - 3:54
2. Bodang Buck - 3:08
3. Mister Mister - 2:07
4. Heritage - 2:21
5. I'm Letting You Know (Tom McGuinness, Dennis Coulson) - 3:28
6. Let It Ride - 2:52
7. Dream, Darling Dream - 1:47
8. When I'm Dead And Gone - 3:41
9. Brother Psyche - 5:07
10.Who You Got To Love - 2:42
11.International - 3:22
12.Malt And Barley Blues - 2:14
13.Rock On (Dave Kelly, Tom McGuinness) - 2:54
All compositions by Benny Gallagher, Graham Lyle except where indicated
Bonus Tracks 12-13
