Tempest - Under The Blossom The Anthology (1973-75 uk, spectacular tight prog rock, 2005 double disc set)

Holdsworth and Williams left before Tempest’s second album "Living In Fear". Their replacement was more than a match for any musician. Ollie Halsall was a fine vocalist and keyboard player and it is certainly a measure of the rrtan that he replaced two musicians by himself.

The recruitment of Halsall was a slight move back towards jazz (ironically in view of Allan Holdworth's subsequent jazz-orientated career with Gordon Beck, Soft Machine, Gong, Bruford, and solo). He had begun his career in Timebox, a soulpop group featuring the brilliant vocalist Mike Patto, who cut several sides for Pye and Oecca, moving from soul to psychedelia (and often showcasing Halsall's excellent vibes playing). Weary of lack of success, they changed their name to Patto, and cut a string of equally unsuccessful but absolutely brilliant jazz-rock albums, wherein Ollie Halsall became a by-word for fiery jazz soloing with an avant-garde edge.

So "Living in Fear" was no less of an album that its predessor, but was a different beast. One again, Hiseman and Clark laid down complex rhythms over which Halsall laid down some startling textures. Unlike "Tempest", it is an album which has dated well. That is not to say that the first album sounds old, but rather to say that the second Tempest line-up achieved a kind of timelessness.

After a short but interesting career (like getting mobbed at the Venice Festival in '75. In recent years, he has played mainly jazz, and is still partially recovering from a heart attack suffered in 1988. Mark Clarke went on to work with Uriah Keep and Rainbow, while Ollie Halsall formed Boxer with Mike Patto, worked on Eric Idle's "The Rutles", and became more left field than ever. But we still have the music: "Grey and Black", "Funeral Empire", "Waiting For a Miracle", and "Brothers" still sounds great today!

by Andy Boot

This two-disc set takes the full recordings of Tempest's lone two releases and puts them on one disc. Hard-rocking as any of their peers, Tempest also brought a jazzier side to their sound, no doubt in part to Allan Holdsworth's involvement. The second disc contains two previously unreleased tunes and the much in-demand BBC sessions that have been traded with great frequency (and of much lower quality) by collectors. 

by Rob Theakston

Tracks
Disc 1 
1. Gorgon (Jon Hiseman, Mark Clarke, Allan Holdsworth) - 5:43
2. Foyers Of Fun (Jon Hiseman, Mark Clarke, Allan Holdsworth) - 3:41
3. Dark House (Jon Hiseman, Mark Clarke, Allan Holdsworth) - 5:03
4. Brothers Jon (Jon Hiseman, Allan Holdsworth) - 3:37
5. Up And On (John Edwards, Allan Holdsworth) - 4:19
6. Grey And Black (Mark Clarke, Susie Bottomley) - 2:30
7. Strangeher (Mark Clarke, Jon Hiseman) - 4:07
8. Upon Tomorrow (Clem Clempson, Jon Hiseman) - 6:44
9. Funeral Empire (Ollie Halsall) - 4:25
10.Paperback Writer (John Lennon, Paul McCartney) - 2:30
11.Stargazer (Mark Clarke, Susie Bottomley) - 3:36
12.Dance To My Tune (Mark Clarke, Susie Bottomley) - 7:50
13.Living In Fear (Ollie Halsall) - 4:19
14.Yeah Yeah Yeah (Ollie Halsall, Jon Hiseman) - 3:40
15.Waiting For A Miracle (Ollie Halsall) - 5:18
16.Turn Around (Mark Clarke, Susie Bottomley) - 6:12
Tracks 1-8 from LP Tempest 1973
Tracks 9-16 from LP Living In Fear 1974

Disc 2
1. You And Your Love (Mark Clarke, Ollie Halsall) - 4:19
2. Dream Train (Jon Hiseman, Mark Clarke, Ollie Halsall) - 4:41
3. Foyers Of Fun (Allan Holdsworth, Jon Hiseman, Mark Clarke) - 6:56
4. Gorgon (Allan Holdsworth, Jon Hiseman, Mark Clarke) - 8:41
5. Up And On (Allan Holdsworth, John Edwards) - 7:39
6. Grey And Black (Mark Clarke, Susie Bottomley) - 3:38
7. Brothers  (Allan Holdsworth, Jon Hiseman) - 15:25
8. Drums Away (Jon Hiseman) - 7:26
9. Strangeher (Jon Hiseman, Mark Clarke) - 5:58
Tracks 1-2 Previously Unreleased  recorded April 1974
Tracks 3-9 BBC Radio One Pop Spectacular concert, recorded 2nd June 1973  at Golders Green Hippodrome, hosted by Alan Black

Tempest
*Jon Hiseman - Drums, Percussion
*Mark Clarke - Bass, Vocals
*Paul Williams - Vocals
*Allan Holdsworth - Guitar, Violin
*Ollie Halsall - Guitar, Moog, Piano, Vocals

1974  Tempest - Tempest (2011 remater)
1973-74  Tempest - In Concert (2013 release)
Related Acts
1967-69  Timebox - Beggin' (2008 remaster)
1968  Zoot Money - Transition
1969  Igginbottom - Igginbottom's Wrench
1970  Juicy Lucy - Lay Back And Enjoy It
1969 Colosseum - Valentyne Suite (2004 deluxe expanded edition) 
1969  Colosseum - Those Who Are About To Die Salute You (2004 remaster and expanded)
1970  Colosseum - Daughter Of Time (remaster with bonus track)
1971  Colosseum - Colosseum Live (2016 double disc set remaster)

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Rich Mountain Tower - Can't You Feel It (1976 us, wonderful country rock, Vinyl edition)

While mixing their first record in Chicago, the band was asked by Ovation to begin work on their second album, Can’t you Feel It? Unfortunately, the label shelved the record, and the band wouldn’t record again until 1975. They continued to play around Knoxville and tour, opening for such acts as Steppenwolf, the Rascals, the Eagles, Steve Miller, the James Gang, Earl Scruggs, and the Four Seasons.

Tracks
1. Can You Feel It? - 3:36
2. Underneath The Train - 5:08
3. Bringing In This Morning - 2:59
4. Circle Sky Moon Mix - 4:17
5. Heaven Help The Beggar - 4:49
6. Men In Bondage - 4:32
7. Old Man David - 2:52
8. Billy The Kid - 5:48
9. Hundred Blessings - 3:48
All songs by Dana Paul

The Rich Mountain Tower
*Dana Paul - Keyboards, Lead Vocals
*David Carr - Lead Guitar, Acoustic Guitar
*Scott McClure - Bass
*Bob Tuccillo - Drums, Percussion
With
*Michael Fogerty - Vocals
*Butch McDade - Vocals

1971  Rich Mountain Tower - Rich Mountain Tower (2014 issue) 

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Heaven - Brass Rock One (1971 uk, sensational heavy prog jazz rock, 2019 japan blu spec bouble disc and 2008 remaster)

A nine man band with a five man horn section comprising everything from trombone to clarinet and flutes, two guitarists who where also the alternating lead singers (one harsh the other softer), a very dynamic drummer and a competent bass player; no keyboards except some acoustic piano on a couple of a tracks; all this translates in a muscular sound, often reminding B.S&T or Chicago not only because of the brass arrangements (which also have a soundtrack quality sometimes), but also on the vocals (an (even) more powerful David Clayton Thomas) or the guitar sound and style that sometimes reminds Terry Kath’s. But some amateurism is felt on some of the horn players, which are not so skilled as those in the aforementioned bands and that at times seem to struggle to get a fluid sound on the complex arrangements; the song writing is rich and diversified. 

The album starts with a Riff based Rock Blues, powered by a raucous double guitar attack and harsh vocals, with a swinging jazzy brass arranged middle part, and some adventurous wah filtered guitar;“This Time Tomorrow” is an instrumental track with a 6/8 Spanish feel, a softer acoustic guitar and flutes part, and a faster one with double e-guitar leads and nice horns harmonizing.Back to up tempo, this time with a Country feel and very Chicago-ish horns is “Never Say Die” whereas “Come Back” has a 60’s feel, soft voice and pop flavoured vocal line often broken by hi-speed drum fills, guitar, brass and flute urgent grooves and even a distorted guitar solo – somewhat surprising…

Things get more proggy with “Song for Chaos” that starts with a mid tempo pumping bass driven 60’s vocal feel, changes to harsh vocals over a driving jazz rock pattern, a quiet brass interlude, a ethnic hand clapped part, swinging brass arrangements with guitar solo on top, a calm Spanish trumpet part over piano backing, and then a rolling distant bass lays the basis for a raunchy guitar lead as the intro part resumes.

“Morning Coffee” is another instrumental with quiet flutes arrangements enriched by some brass over clear guitar chords; a nice octaves jazzy guitar solo graces the middle part. With “Number One” things get back to Jazz Rock with blistering guitar riffs, harsh vocals and blaring horns ,the some being true for “Number Two” which has a more swinging vibe (more B.S.&T sounding too).

“Dawning” that opens with sea and seagulls sounds has Yes like vocals over gentle double acoustic guitars arpeggios, piano backing and soaring flute lines; the sea sounds make the transition to “Got to Get Away” which starts with a melancholic bass fiddle soon joined by flugelhorn and clarinet; a bubbling bass introduces a vocal line on top gentle strummed e-guitar and staccato horns; it builds up with backing vocals and more horn arrangements; the drum enters to support a nice eastern sounding sax; Latin percussions and slide guitar chords and solos speed things up; the song climaxes with the two guitars trading solos and blaring horns as the vocals theme is reintroduced.

by Micheal Cooper

Tracks
Disc 1
1. Things I Should've Been (Eddi Harnett) - 6:19
2. This Time Tomorrow (Eddi Harnett, Terry Scott Jr) - 5:14
3. Never Say Die (Eddi Harnett) - 3:57
4. Come Back (Eddi Harnett) - 5:24
5. Song for Chaos (John James Gordon) - 7:41

Disc 2
1. Morning Coffee (A Theme to a Film) (Heaven) - 4:58
2. Number One (Last Request) (Heaven, Rikki Farr) - 4:58
3. Number Two (Down at the Mission) (Heaven) - 5:40
4. Dawning (Rikki Farr) - 5:13
5. Got to Get Away (Eddi Harnett) - 8:53
6. Hangin' On (Michael Waller) - 3:22
7. Funny Lines (Heaven) - 7:26
Bonus Tracks 6-7

The Heaven
*Terry Scott Jr - Guitar, Keyboards, Vocals
*Eddi Harnett - Guitars, Vocals
*John James Gordon - Bass, Vocals, Fiddle
*Vic Glover - Drums, Percussion
*Dave Gautrey - Flugelhorn, Horn, Trumpet
*Butch Hudson - Flugelhorn, Horn, Piccolo Trumpet, Trumpet
*Ray King - Saxophones, Flutes, Clarinette
*Derek Sommerville - Saxophones, Flute, Horn
*David Horler - Trombone, Piano

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Capability Brown - From Scratch (1972 uk, prog art rock with tight and complex harmonies, 2011 japan remaster)

Before coming together as Capability Brown (named after the famed 18th century British landscaper/gardener Lancelot Capability Brown), these guys had a rather impressive pedigree,  At different times Tony Ferguson, Joe Nevin, Grahame White and Roger Willis had all been members of Harmony Grass.  White had also been a member of Fuzzy Duck.  Kenny Rowe had been in The Moments (not the US soul outfit), while Roger Willis had been a member of The Gremlins.

The six members came together in 1971, eventually signing with Charisma which showed immense faith in the group's commercial potential (I'm saying that in a sarcastic way), releasing their debut single the same year; a cover of Russ Ballard's 'Liar' (Charisma catalog number BCP 7).  Ironically the flip side wasn't even a Capability Brown track, rather featured label mates Spreadeagle and their song 'Nightmare'.

Produced by Steve Rowlands, 1972's "From Scratch" featured an interesting blend of musical genres; occasionally layered in the same composition.  The lead off track 'Beautiful Scarlet' served as a perfect example of their dynamic approach, blending bits of top-40 pop with CSN&Y styled vocal harmonies (along with a wandering David Crosby-styled jazz lead guitar), and a modest progressive feel and structure (particularly the sci-fi inspired closing suite 'Sole Survivor').  The CSN&Y influences were even stronger on the rocker 'Do You Believe', 'I Will Be There' and the beautiful country-rock ballad 'Redman' (one of two Rare Bird covers).

At the other end of the spectrum the power pop ''No Range' sounded like something Chinn and Chapman would be writing for The Sweet in a couple of years.  While all of the original numbers were good, the standout tracks were various covers.  Though clocking in at over seven minutes it was a little too long, their version of 'Liar' crushed the Argent original and though it wasn't as poppy as the Three Dog Night version, has always struck me as being the best version.

Elsewhere while they were a little too fey for my tastes, even the ballads 'Garden' and 'Day In Day Out' (the latter sounding like something David Crosby would have written), were worth hearing for their gorgeous melodies and for the killer group harmonies.  Most bands would sell their drummer to be able to come even close and every time I hear those harmonies I can see where Freddie Mercury and Queen took much of their inspiration from.   All hyperbole aside, this is a lost 1970s classic.  Having listened to it dozens of times over the years I'm at still at a complete loss to explain why it tanked.  

Bad Cat

Tracks
1. Beautiful Scarlet (Mark Ashton, Dave Kaffinetti, Graham Field, Steve Gould) - 4:55
2. Do You Believe (Dave Nevin) - 4:30
3. The Band (Tony Ferguson) - 3:42
4. Garden (Tony Ferguson) - 3:24
5. Liar (Russ Ballard) - 7:15
6. No Range (Dave Nevin) - 4:08
7. I Will Be There (Tony Ferguson) - 3:26
8. Redman (Aaron Hall, Andrew Curtis, Dave Kaffinetti, Fred Kelly, Steve Gould) - 3:10
9. Day in Day Out (Dave Nevin) - 3:51
10.Sole Survivor (Tony Ferguson) - 9:48

Capability Brown
*Tony Ferguson - Vocals, Guitar, Bass
*Dave Nevin - Keyboards, Guitar, Vocals, Bass
*Kenny Rowe - Bass, Vocals, Percussion
*Grahame White - Vocals, Guitar, Bass
*Joe Williams - Vocals, Percussion
*Roger Willis - Vocals, Drums, Keyboards

Related Act 
Fuzzy Duck - Fuzzy Duck (2007 bonus tracks remaster) 

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Phil Trainer - Trainer (1972 us / uk, wonderful jazzy folk classic rock with Trees members, 2007 remaster)

Phil Trainer was an American folk-rock singer-songwriter. He released his first album when in the UK, with backing by members of UK folk group, Trees. It was originally released in 1972 and it is rated as a world classic of the genre by many.

Tracks
1. The Promise Mind - 3:39
2. Beautiful Jim - 5:56
3. No No No - 3:55
4. She's Gone West - 4:12
5. No Change Baby - 4:32
6. Stud - 3:15
7. In The City - 4:50
8. Leave Me Alone - 4:02
9. Rose-Coloured Sky - 4:19
10.Live Together - 9:29
All Music and Lyrics by Phil Trainer

Personnel
*Phil Trainer – Vocals, Acoustic Guitar, Bass, Harmonium, Harmonica
*Barry Clarke – Electric Guitar
*Alan Eden - Drums
*Bias Boshell - Piano
*Barry Lyons – Dulainer
*Dick Parry – Tenor, Baritone Saxophone
*Chuck Fleming – Fiddle
*Celia Humphris – Angelic Vocals

Related Act
1970  Trees - The Garden Of Jane Delawney (2008 remaster with extra traks) 
1970  Trees - On the Shore (2007 remaster edition, with bonus disc) 

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Eric Burdon And The Animals - Love Is (1969 uk, bluesy psych rock, 2013 japan SHM remaster)

It's an eyebrow-raising experience to encounter the cover of "River Deep, Mountain High" that opens the Animals 1968 album, Love Is. Clocking in at nearly seven and a half minutes, it's the weirdest version of the song ever cut. Self-produced by the band, it juxtaposes vocalist and bandleader Eric Burdon's staggering abilities as a rhythm & blues singer with few peers with then-modern-day psychedelia. The Phil Spector, Ellie Greenwich, Jeff Barry-penned vehicle for Ike & Tina Turner was never envisioned like this. There are moments of pure greatness in the track, a rough, garage-hewn rock and R&B foundation underscored by Burdon's blues wail is, unfortunately, completely messed over by the sound effects and his insistence on yelling "Tina, Tina, Tina..." ad nauseam in the bridge. And this is just the beginning. This version of the Animals contained enough serious players that they should have known better: Burdon, keyboardist Zoot Money, drummer Barry Jenkins, bassist John Wieder, and a young guitarist who'd been booted from Soft Machine after a very brief period named Andy Summers. 

For those who found charm and even inspiration in the Twain Shall Meet and Winds of Change -- both recorded in San Francisco -- Love Is may hold some sort of place in the heart. For those who looked back to the Animals catalog that included such dynamic albums as Animalism and Animalization as well as a slew of killer four-track EPs, this must have seemed like the bitter end. On the other hand, this trainwreck of an album has some interesting moments -- mainly for hearing how hard they tried to imitate other acts who were successful while at the same time trying to forge a new identity from the ruins of who they once were as a band whose day had come and gone. 

Psychedelia versions of Sly Stone's "I'm an Animal," Traffic's "Coloured Rain," and the Bee Gees "To Love Somebody." The latter -- which has to be heard to be believed -- begins with Summers playing Chuck Berry licks as an intro before it slows down into a completely over-the-top Don Covay-styled soul shot with Burdon underscored by a female backing chorus which counters to push him into the stratosphere. Despite its cheesy organ sound, it has enough power drumming, crunchy guitar, and a neat little piano break by Money to make it work. It's easily the best thing here even if it is absolutely mental. Burdon had heard ex-bandmate Chas Chandler's young guitar protégé Jimi Hendrix's "Third Stone from the Sun" from the Jimi Hendrix Experience's debut album as well. In fact, he enlisted Money's buddy, guitarist Steve Hammond (of Johnny Almond's Music Machine) to come up with a long-form psychedelic suite that evoked it and some of Pink Floyd's weirder experiments at that time. The end result, "Gemini," is hysterically funny now, and must have just seemed to be ecstatically drug-addled tomfoolery at the time. The closer, "The Madman (Running Through The Fields)," by Summers and Money would have been a killer single if they'd edited the acid-fried middle section out of it. As it stands, Love Is was a mess from a band who, once great, had completely lost its way and was on its last legs. 

by Thom Jurek

Tracks
1. River Deep, Mountain High (Phil Spector, Jeff Barry, Ellie Greenwich) - 7:25
2. I'm An Animal (Sylvester Stewart) - 5:37
3. I'm Dying, Or Am I? (Eric Burdon) - 4:30
4. Ring Of Fire (June Carter, Merle Kilgore) - 4:53
5. Coloured Rain (Steve Winwood, Jim Capaldi, Chris Wood) - 9:41
6. To Love Somebody (Barry Gibb, Robin Gibb) - 6:57
7. As The Years Go Passing By (Deadric Malone) - 10:55
8. Gemini (Steve Hammond) - 11:54
9. The Madman (Running Through The Fields) (Zoot Money, Andy Summers) - 5:24
10.River Deep, Mountain High (Single Version) (Phil Spector, Jeff Barry, Ellie Greenwich) - 7:42
Bonus Track 10

Musicians
*Eric Burdon - Lead Vocals, Spoken Word
*Zoot Money - Bass, Vocals, Organ, Piano, Spoken Word
*Andy Summers - Guitar, Backing Vocals
*John Weider - Guitar, Violin, Backing Vocals
*Barry Jenkins - Drums, Percussion, Backing Vocals
*Robert Wyatt - Backing Vocals

1964-67  The Animals - The Complete French EP (ten disc edition)
1966  The Animals - Animalism (2014 remaster and expanded)
1967  Eric Is Here
1967  Winds of Change (2013 Double SHM CD)
1968  The Twain Shall Meet (2013 Japan SHM)
1966-68  Roadrunners! Rare Live And Studio Recordings
1974-75  The Eric Burdon Band - Sun Secrets / Stop

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John Mayall - Blues From Laurel Canyon (1968 uk, outstanding blues rock, 2007 Japan SHM remaster)

John Mayall is of course the Godfather Of British Blues, first recording in 1965 and still touring and recording prolifically today, well into his seventies. My favourite of his many albums is this offering from 1968, which is both a collection of original blues-based songs with contemporary psych overtones and also a diary in music of his three-week vacation in Los Angeles that summer: either a song cycle or a concept album, according to your own definitions, but certainly unique among the slew of straightforward blues albums being produced by white performers on both sides of the Atlantic at the time.

Starting with the roar of a jet swinging across the stereo plane – a device cheekily lifted from the Beatles’ White Album – the record chronicles Mayall’s discovery of the heady delights of late sixties LA, his first sojourn in Laurel Canyon where he would later make his permanent home, his stay as a guest of Canned Heat with whom Mayall struck up a strong and lasting rapport – later, both Harvey Mandel and Larry Taylor would leave Heat to join Mayall’s band – and, in considerable detail, his mission to get laid. It ends with a rueful recollection of the brief love affair and a moody anticipation of returning home to the UK.

In fact this is a collection of many moods, from joyous exploration of glamourous new surroundings, to irritable self-examination following a bust-up with an unidentified companion, to deep and intimate relations in the bedroom. The changes of mood are emphasised by Mayall’s constant switches of instrumentation – he was already virtuosic on piano, Hammond, and mouth-harp and capable on guitar – and by the careful segue of each track into the next, plus the pitching of each song in a different key. Every one of the twelve keys of the chromatic scale, except F#, is used (try playing blues in Db or Ab, if you will).

Backup is provided by the rock-solid rhythm section of drummer Colin Allen and 18-year-old bassist Stephen Thompson, while guitarist Mick Taylor, on his final studio outing with Mayall prior to joining the Stones, wields his Les Paul always tastefully and often excitingly throughout. Production by Decca’s veteran producer Mike Vernon is commendable for those eight-track days.

My standout tracks are Ready To Ride, on which Mayall’s overactive hormones fuel some explosive harp work, The Bear, whose intro pays tribute to a well-known Heat riff before segueing into a delightful piano-led country blues dedicated to Bob Hite, and Miss James, in which the Hammond reels through jazzy changes in their best Jimmy Smith style. But individual tracks cannot do justice to this album; for best effect it demands to be heard in sequence at a single sitting.

by Len Liechti, August 6th, 2009

Tracks
1. Vacation - 2:47
2. Walking On Sunset - 2:50
3. Laurel Canyon Home - 4:33
4. 2401 - 3:42
5. Ready To Ride - 3:32
6. Medicine Man - 2:43
7. Somebody's Acting Like A Child - 3:27
8. The Bear - 4:40
9. Miss James - 2:30
10.First Time Alone - 4:49
11.Long Gone Midnight - 3:27
12.Fly Tomorrow - 8:59
13.2401 - 3:56 A
14.Wish You Were Mine - 8:36
All songs by John Mayall
Bonus Tracks 13-14
Track 13 Single Version
Track 14 Live 1968

Personnel
*John Mayall - Guitar, Harmonica, Keyboards, Vocals
*Mick Taylor - Guitar, Pedal Steel Guitar
*Colin Allen - Drums, Tabla
*Steve Thompson - Bass Guitar
*Peter Green - Guitar (Track 10)

1966  John Mayall Bluesbreakers With Eric Clapton (Japan SHM double disc set)
1967  John Mayall And The Bluesbreakers - A Hard Road (Double Disc Set)
1967  John Mayall's Bluesbreakers - Crusade (2007 SHM remaster with extra tracks)
1969  John Mayall - The Turning Point (Remaster And Expanded)
1972  John Mayall - Moving On (2009 remaster)
1967  Various Artists - Raw Blues

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Thunderclap Newman - Hollywood Dream (1970 uk, delightful album with unique sound)

How anyone will manage to remain a nasty narrow-minded jade in the presence of this unremittingly delightful album defies the imagination.

There's simply no exaggerating the pimply splendor or Speedy Keen's lead voice, a reedy, breathless, disarmingly earnest affair that resides in the No-Voice's-Land between little-boy soprano and grown-up falsetto. There's simply no describing the charm of Andy Newman's keyboard-tickling, which takes the form of a dazzling assortment of boogie-cum-piano-bar chops laid down with unerring clumsiness only in the least likely places (and there without accompaniment, as there's apparently no keeping up with it). Nor could one exude excessively in behalf of wee Jimmy McCulloch's precisely lyrical lead guitar.

Put alternatively, nothing in Thunderclap's music has anything much to do with anything else in Thunderclap's music, the result being that Thunderclap's is at once unexaggerably bizarre and a mightily refreshing rock and roll sound. That sound couldn't in a month of Halloweens be better suited to Speedy's imbecilically catchy little songs, which abound with surreal, nostalgic, surreally nostalgic, and other wonderful lyric sentiments.

Try on for size "Wild Country," in which he glorifies the great outdoors because, simply, it's such a nice place to ball in. Try on both the modest and colossal (the latter featuring all manner of domestic and exotic percussion) takes of "Hollywood," an eminently hummable little ditty in which Speedy laments the passing of bigger-than-life film-stars who used to make him sick, and a very McCartney-ish instrumental exploration of this theme, "Hollywood Dream." And the delightfully-dated "Accidents," which here bends the mind with its late 1966 psychedelic ambiguity for nearly ten minutes and contains dazzling piano and kazoo freak-outs by Andy. And, of course, "Something In The Air," which you'll find as emphatic a knock-out on 600th hearing as it was on first. "Pass out the arms and ammo....": have you ever encountered a TV revolutionary line that can match that for sheer charm? 

To top it all off, they're the oddest-looking bunch you've ever laid eyes upon. Newman, with slicked-back, receding hair, a corncob pipe, and the face of a 40-year-old mailman (in actual fact he's a former mailman who used to attend art college with Pete Townshend) is so straight he's surreal, while Speedy's your workaday big-nosed English longhair. And McCulloch is that archetypal moddie, a tiny teen with an adorable toothy smile who a casual groupie of my acquaintance has informed me will find long lines of takers should he ever venture onto the stage of the Whisky A-Go-Go.

by John Mendelsohn, Rolling Stone, 10/15/70

Tracks
1. Something In The Air – 3:54
2. Hollywood #1 - 3:20
3. The Reason - 4:05
4. Open The Door, Homer (Bob Dylan) - 3:00
5. Look Around - 2:59
6. Accidents - 9:40
7. Wild Country - 4:14
8. When I Think - 3:06
9. The Old Cornmill - 3:58
10.I Don't Know - 3:44
11.Hollywood Dream (Instrumental) (Jack McCulloch, Jimmy McCulloch) - 3:06
12.Hollywood #2 - 2:54
13.Something In The Air (Single Version) - 3:54
14.Wilhemina (Andy Newman) - 2:56
15.Accidents (Single Version) - 3:46
16.I See It All (Jack McCulloch, Jimmy McCulloch) - 2:46
17.The Reason (Single Version) - 3:47
18.Stormy Petrel (Andy Newman) - 2:57
All songs by Speedy Keen except where stated

Musicians
*John "Speedy" Keen - Congas, Drums, Glockenspiel, Gong, Guitars, Maracas, Organ, Percussion, Tambourine, Vocals
*Jimmy McCulloch - Acoustic, Electric, Rhythm, Spanish Guitar, Maracas, Wood Block
*Andy Newman - Bells, Cor Anglais, Finger Cymbals, Flute, Glockenspiel, Handbells, Kazoo, Keyboards, Oboe, Piano, Baritone, Bass, Soprano, Tenor, Saxophones, Sleigh Bells, Temple Blocks, Tin Whistle, Vocals, Whistle
*Ian Green - Arranger, String Arrangements
*Chris Morphet - Harmonica
*Pete Townshend "Bijou Drains" - Banjo, Bass, Pedal Steel Guitar

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Velvert Turner Group - Velvert Turner Group (1972 us, groovy heavy guitar psych rock)

Ever since his death in 1970, Jimi Hendrix has certainly had his share of guitarists who thoroughly studied him -- some would say even copied him -- to a tee. One such gentleman would be Velvert Turner, who fronted the Velvert Turner Group. But there is an interesting reason why Turner resembled the self-proclaimed "Voodoo Child" -- not only was he supposedly friends with Hendrix, but allegedly, Hendrix took the guitarist under his wing, and taught him quite a few tricks on the six-string.

Born on October 12, 1951 and raised in Brooklyn, NY, Turner befriended Hendrix during the mid- to late '60s -- and Turner would show what Hendrix was teaching him to another guitarist friend of his, future Television member Richard Lloyd. After Hendrix's passing, Turner formed the Velvert Turner Group, with bassist Prescott Niles, keyboardist Christopher Robinson, and drummer Tim McGovern, and in 1972, issued a self-titled debut album. Highly derivative of his mentor -- both musically and even in the song titles, as evidenced by "Madonna (Of the Seven Moons)," "'Xcuse Me, Gentlemen (The Fall of Atlantis)," "(Love Rides)... The Slowly Swirling Seas. 

There was even a cover of a Hendrix tune, "Freedom," that closed the album. Although the album didn't set the charts alight, it has become a sought-after cult item amongst Hendrix fanatics over the years.

And that was all that many heard from Velvert, although he did appear on a self-titled release by Arthur Lee in 1977, and in the mid-'80s, was involved in a Jimi Hendrix instructional guitar video, which strangely, only featured Turner narrating it and not showing the viewer the tricks of the trade that Hendrix had taught him (the guitar parts are played by Andy Aledort). Subsequently, the other members of the Velvert Turner Group would reappear in the Knack (Niles), the Motels (McGovern), and the New York Dolls (Robinson). 

Sadly, on December 11, 2000, it was reported in the New York Times that Turner had passed away at his Brooklyn home. In the article, fans learned that in recent years Turner had been employed by Samaritan Village in Brooklyn, where he worked with those battling substance addiction. Four years after his passing, a snippet of Turner playing some Hendrixian guitar, titled "Going Home," was included on the star-studded tribute, Power of Soul: A Tribute to Jimi Hendrix. In 2009, Turner's old friend, Lloyd, recorded an album of Hendrix covers, titled The Jamie Neverts Story, whose title came from a code name that Turner and Lloyd used for Hendrix, when they would go visit him (to keep their visits "secret" from kids in the neighborhood). The album was also dedicated to Turner, and features altered album covert art based on Turner's Velvert Turner Group from over three decades prior. 

by Greg Prato

Velvert Turner was apparently a friend of Jimi Hendrix's, and the Hendrix vibe on the album Velvert Turner Group is almost overpowering, right down to the fish-eye photo on the back cover. Turner's got great guitar tone and a playing style quite similar to Jimi. The songs are also similar to later-period Hendrix, circa First Rays of the New Rising Sun, but with some keyboards added. In fact, "Three O'Clock Train" starts out with a riff very close to "Izabella," then sounds more like "51st Anniversary" in the body of the tune. The really shocking thing, though, is how much Turner's voice sounds like Jimi. It's jarring, right down to the same vocal inflections. But it doesn't sound like imitation, it just sounds like they came from the same places. The songs are good, although not the equal of Hendrix's, but some of the guitar playing is great, with some good feedback and panning effects to boot. It's certainly derivative, but Jimi left so few official albums that this will be a welcome sound to Hendrix fans. 

by Sean Westergaard

Tracks
1. Madonna (Of The Seven Moons) - 3:35
2. Talkin' 'Bout My Baby - 4:00
3. Country Chicken (Christopher Robinson) - 2:56
4. Strangely Neww (Christopher Robinson, Prescott Niles) - 6:05
5. Scarlet Warrior (Prescott Niles, Tim McGovern) - 3:32
6. Three O'Clock Train - 4:15
7. Just Look And See (Prescott Niles, Velvert Turner) - 4:15
8. 'Xcuse Me, Gentlemen (The Fall Of Atlantis) - 4:32
9. (Love Rides...) The Slow Swirling Seas - 3:50
10.Freedom (Jimi Hendrix) - 6:17
Song by Velvert Turner except where indicated

The Velvert Turner Group
*Bob Hogans - Organ
*Bob Lenox - Organ
*Tim McGovern - Drums, Percussion
*Prescott Niles - Bass
*Christopher Robinson - Keyboards
*Velvert Turner. Guitar - Vocals

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Tempest - In Concert (1973-74 uk, solid heavy prog rock, 2013 release)

Tempest will. From a four piece, to a five piece, the band name aptly describes their music, and has always been the basis of their style. With Hiseman, the Thunderous God of Percussion, the musical elements ebb and flow like a storm, or a rock translation of Wagner. Thus, the overall feel is one of adventure, turbulence and down the line funk.

Naturally by trimming the group format they operate with more advantages, and conversely more limitations.

Halsall, the ex-Patto axe-man, has the scope to improvise licks continually, with Clarke using an equal amount of imagination. So the front two provide an enormous dose of entertaining playing.

And although Hiseman plays with true excellence throughout the set, at times he does have to restrict himself to strict rhythms and tempos.

But his solo, towards the end of the concert, was one of the highlights.

Visually too the band are impressive, with some good lighting effects, and Clarke bent over his instrument, his hair bursting from his skull, as if somebody had put a hatchet right down the middle. And of course Hiseman demonstrates the ancient art of stick juggling.

by Tony Stewart, from NME October 13, 1973

At the moment Tempest are creating more of a commotion in Europe than in England, to quote Jon Hiseman they are somewhat forgotten here. In an attempt to correct this these patriotic lads are currently undertaking a few dates in their Mother land before hot footing it back to the Continent. On Saturday they played at the Belfry near Sutton Coldfield deep in the heart of the green and pleasant land of Warwickshire and showed that they deserved to be thought of more often, more highly by more people.

The start of their set concerned my original opinion of Tempest that although their individual and collective musical ability was not in doubt they seemed to be falling between two stalls. They were neither an out and out instrumental group nor was their music following the more simplistic pattern of vocally orientated numbers.

However this doubt was soon removed as later numbers varied in pace and the vocals served as a focus rather than a limitation for some intricate instrumentalisation. Particularly successful was "Living In Fear", a blues gone wild that showed the dual talents of Ollie Halsall on guitar and moog, and contained some very effective bass runs by Mark Clarke; "Dream Train" with some slow harmonics; and "Stranger" which emphasised what a superb technician Jon Hiseman is.

The crowd warmed to the group and the night was rounded off with a rousing version of "Paperback Writer". 

by Phil Holt, from Sounds, May 4, 1974

Tracks
1. Foyers Of Fun (Jon Hiseman, Mark Clarke, Allan Holdsworth) - 6:51
2. Gorgon (Jon Hiseman, Mark Clarke, Allan Holdsworth) - 8:16
3. Up And On (John Edwards, Allan Holdsworth) - 7:19
4. Grey And Black (Mark Clarke, Susie Bottomley) - 3:32
5. Brothers (Jon Hiseman, Allan Holdsworth) - 14:43
6. Round About Golders Green (Jon Hiseman, Mark Clarke) - 7:07
7. Strangeher (Jon Hiseman, Mark Clarke) - 5:39
8. Yeah Yeah Yeah (Ollie Halsall, Jon Hiseman) - 3:09
9. Living In Fear (Ollie Halsall) - 7:58
10.Dance To My Tune (Mark Clarke, Susie Bottomley) - 10:12
11.Paperback Writer (John Lennon, Paul McCartney) - 5:10
Tracks 1-7 Recorded Live At The Golders Green Hippodrome, London On 2 June 1973
Tracks 8-11 Recorded Live In London In April 1974

Tempest
*Jon Hiseman - Drums
*Mark Clarke - Bass, Vocals
*Ollie Halsall - Guitar, Keyboards, Vocals
*Paul Williams - Vocals (Tracks 1-7)
*Allan Holdsworth - Guitar (Tracks 1-7)

1974  Tempest - Tempest (2011 remater) 

Related Acts
1968  Zoot Money - Transition
1969  Igginbottom - Igginbottom's Wrench
1970  Juicy Lucy - Lay Back And Enjoy It
1969 Colosseum - Valentyne Suite (2004 deluxe expanded edition) 
1969  Colosseum - Those Who Are About To Die Salute You (2004 remaster and expanded)
1970  Colosseum - Daughter Of Time (remaster with bonus track)
1971  Colosseum - Colosseum Live (2016 double disc set remaster)

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