Mighty Joe Young (Young was using the name well before the movie of the same name was released) arrived on the Chicago blues scene from Louisiana a bit late in the game and never really received the critical attention he deserved. Add in health problems related to a pinched nerve in his neck, and Young's solo recording dates were relatively few (he was, however, an active sideman, working for a time as Otis Rush's rhythm guitarist) given his obvious talent as an electric guitarist and as a strong and sturdy vocalist.
This solid set, The Sonet Blues Story, was tracked in Chicago in 1972 and was originally released as part of Samuel Charters' Legacy of the Blues series on the Stockholm-based Sonet Records imprint. It features Young with the rhythm section from his club band at the time: Sylvester Boines on bass and Alvino Bennett on drums, along with Chicago session pianist Bob Reidy, and horn men Charles Beechham (trumpet) and Walter Hambrick (tenor sax). Together they produce a classic South Side sound. Highlights include the elegantly done opener, "Rock Me Baby," a solid cover of Percy Mayfield's "Baby, Please," and a pair of horn-augmented gems, the instrumental soul piece "Just a Minute" and the blues/R&B blend of "Lookin' for You." Nothing here is too flashy, but that ends up being part of the charm.
by Steve Leggett
Tracks
1. Rock Me Baby (Traditional) - 2.57
2. Baby, Please (Percy Mayfield) - 3:20
3. Just a Minute (Mighty Joe Young) - 6:20
4. Drivin' Wheel (Roosevelt Sykes) - 4:18
5. Wishy Washy Woman (Mighty Joe Young, Oscar Wills) - 3:04
6. Early in the Morning (Eddie Silvers, Mighty Joe Young) - 4:28
7. Sweet Kisses (Maurice Simpkins) - 5:30
8. Lookin' For You (Mighty Joe Young) - 4:30
9. It's Alright (Traditional) - 4:13
10.I Have the Same Old Blues (Traditional) - 5:01
Personnel
*Mighty Joe Young - Vocals, Guitar
*Bob Reidy - Piano
*Sylvester Boines - Bass
*Walter Hambrick - Tenor Saxophone
*Charles Beecham - Trumpet
*Alvino Bennett - Drums
Watching major labels attempt to plug in to the exploding underground music scene from 1966 onwards was often hilarious as groups changed their uniforms to go with current trends and, in the time span of this follow-up to 2003’s Legend Of A Mind, their music from innocently bonkers garage-psych to convoluted greatcoat stodge. Decca did a better job than many, running the Deram and Nova labels to represent myriad strains in the sonic spectrum from folk to proto-metal.
The beauty of this compilation is not so much getting another chance to hear The Moody Blues, Genesis or Caravan, but getting weird and wonderful delights by the likes of standout Disc One’s Curiosity Shoppe, The Accent, World Of Oz or ever-startling Tintern Abbey, while being reminded what a magnificent band East Of Eden were at this time. Other names include many then trudging round the nation’s clubs, including Chicken Shack, Principle Edwards, Curved Air, Keef Hartley, Ten Years After and Thin Lizzy. It’s also uncannily revealed that The Egg invented deep house with I Will Be Absorbed! By Disc Three there is obviously a need for punk rock, but this is a mighty, astutely-compiled picture of an era which many today can only dream of.
by Kris Needs
Tracks
Disc 1
1. Genesis - In The Beginning (Anthony Phillips, Mike Rutherford, Peter Gabriel, Tony Banks) - 4:04
2. Al Stewart - Turn Into Earth (Paul Samwell-Smith, Rosemary Simon) - 2:52
3. The Accent - Red Sky At Night (Allan Davies, David Birkett, John Hebron, Peter Beetham) - 3:12
6. Satisfaction - Sharing (Derek Griffiths, John Michael Beecham) - 6:16
7. T2 - J.L.T (Peter Dunton) - 5:50
8. Keef Hartley Band - The Time Is Near (Miller Anderson) - 10:10
9. Clark Hutchinson - First Reminder (Andrew Clark, Michael James Hutchinson) - 3:00
10. Ashkan - Practically Never Happens (Bob Weston, Ron Bending, Steve Bailey, Terry Sims) - 5:59
11. Stud - Harpo's Head (James Cregan, J. Wilson, R. McCracken) - 7:17
12. Egg - Contrasong (Clive Colin Brooks, Dave Stewart, Hugo "Mont" Montgomery-Campbell) - 4:23
13. East Of Eden - Marcus Junior (Dan Drummond) - 5:09
14. Caravan - Winter Wine (David Sinclair, Pye Hastings, Richard Coughlan, Richard Sinclair) - 7:36
Disc 3
1. Thin Lizzy - Things Ain't Working Out Down At The Farm (Phil Lynott) - 4:30
2. Ten Years After - I'm Coming On (Alvin Lee) - 3:45
3. Khan - Space Shanty (Steve Hillage) - 9:00
4. Zakarrias - Cosmic Bride (Robert Haumer, Samy Birnbach) - 6:08
5. Bill Fay - Time Of The Last Persecution (Bill Fay) - 3:52
6. Caravan - Waterloo Lily (Pye Hastings, Richard Coughlan, Richard Sinclair) - 6:46
7. Pete Brown - Ballade For The Queen Of Outer Space (Max Middleton, Pete Brown) - 8:34
8. Darryl Way's Wolf - Steal The World (Darryl Way, John Hodkinson) - 4:18
9. The Parlour Band - Spring's Sweet Comfort (Peter Filleul) - 5:02
10. Chicken Shack - Crying Won't Help You Now (Hudson Whittaker) - 5:09
11. Thin Lizzy - Sarah (Version 1) (Phil Lynott) - 2:51
12. Principal Edwards - Triplets (Richard Jones) - 2:24
13. Curved Air - Marie Antoinette (Darryl Way, Sonja Kristina Linwood) - 6:52
14. Michael Chapman - New York Ladies (Michael Chapman) - 9:28
Day was originally released in 1971. Besides Parameter, this is the rarest release on U.K. Deroy label, as rare as Forever Amber & Dark. If you're into Tony, Caro & John and Then Play On-era Fleetwood Mac, then this is your cup of tea. This is pure Underground with that bluesy Peter Green-like guitar and a folky edge. All original songs and all beauties. Heavy fuzz-guitar, piano, effects -- the whole U.K. Underground thing. A killer album from beginning to the end.
Tracks
1. Day (Stuart Mellor) - 5.53
2. Don´t Leave Me (Colin Stott) - 5.03
3. White Dove (Geoff Dodd, Frank Hobbs, Stuart Mellor, Colin Stott) - 2.32
4. Darkness (Stuart Mellor, Colin Stott, Geoff Dodd) - 5.16
5. Dark Clouds (Colin Stott) - 5.06
6. My Life (Stuart Mellor) - 4.47
7. Reach Out (Stuart Mellor, Colin Stott) - 3.31
8. Free (Stuart Mellor) - 2.43
Candida Pax
*Geoff Dodd - Bass Guitar, Vocal
*Frank Hobbs - Percussion, Special Effects
*Stuart Mellor - Lead Electric Guitar, Vocals, Recorders, Special Effects
*Colin Stott - Electric Guitar, Vocals, Acoustic 12 String Guitar, Kkeyboards
Texas had the knack in the late '60s and early '70s for birthing excellent rock bands -- whether they were psychedelic, blues-rock, pop/rock, or some oddball hybrid -- that were, first and foremost, exceedingly heavy. Loud was the rule rather than the exception, and incendiary guitar work and thundering drums the hallmark of the sound, even as each band found individual ways of utilizing the volume. On their 1971 debut, Nil Desperandum, Deerfield occasionally show the vaguest hints of heaviness -- white-lightning guitar runs, for instance -- but mostly follow a decidedly divergent path, one that emphasizes a laid-back charm and textured group harmonies. The album is a smiling, fresh-faced effort, permeated by a good-time communal vibe so full of country goodwill that it melts away any possibility for cynicism.
While Nil Desperandum is without question a rock & roll album, roots music is an important formative influence on the record -- and not just the normal, blues-based infatuation most of Deerfield's Lone Star peers favored. This is unequivocally American music, bursting at the seams with references to, and borrowed tricks from, California country-rock, folk-rock, and bluegrass. Its rootsy amalgam strongly recalls the Grateful Dead, and, indeed, there are strong strains of Workingman's Dead and American Beauty on the loping title track, the effervescent "Kitty Is a Lady," and "Me Lovin' You" that rarely sound like affectations. Sunny, CSNY/America-like harmonies pop up on occasion, and there are fingerprints of Buffalo Springfield all over the songwriting. The band also toss in the odd British touch (the offbeat, English music-hall feel of "Magapolis/Out Without") and a bit of Bob Dylan's spicy humor, as well.
Many of their contemporaries couldn't shoehorn such overt influences into a personal hybrid, but there's something singularly appealing about Deerfield's music. There are missteps along the way, to be sure: The playing can occasionally drag, while "Riverside" and "Do You Believe in Words," attempts to write epic Neil Young/Crazy Horse-style tracks, are only partly successful. But surprises such as the funky, wah-wah-laced "Better Way" and "The Great Rio Grande Border Run," with its hayseed guitar picking and farmyard languidness, easily trump any criticisms that can be leveled at this sweetheart of an album.
by Stanton Swihart
Tracks
1. Nil Desperandum (Steve Coleman, John Guerry) - 3:16
2. Man From Barnaby (Charlie Bickley) - 2:51
3. Kitty Is A Lady (Michael Hickman) - 3:35
4. Family Comfort (John Guerry) - 3:08
5. The Great Rio Grande Border Run (Michael Hickman, Steve Coleman) - 2:36
6. Better Way (Dennis Hansen) - 3:06
7. Megopolis/Out Without (Charlie Bickley, John Guerry) - 3:14
8. The Trilogy: Do You Believe In Words/Sing Together/Relax (Enjoy Your Friend) (John Guerry, Steve Coleman, Michael Hickman) - 12:18
9. Me Lovin' You (John Guerry, Steve Coleman) - 2:37
10.Riverside (John Guerry) - 6:29
This great CD compilation collects together all the recordings from one of the most interesting Brum bands of the 1960s. The Uglys were a big part of the West Midlands live music scene with a line-up that included a long list of well-known local musicians. Despite recording a number of fine singles, the band never had the chart success deserving of the considerable talent existing within the group.
All of the band's original singles have been much in demand by collectors during recent years and apart from a handful of tracks appearing on various compilations, there has not been a collection dedicated to The Uglys until now. Along with the previously-released Ugly's records on this CD, Sanctuary Records included a dozen tracks never before issued which more than makes this compilation worth purchasing.
The CD package comes with extensive liner notes and band biography written by David Wells who chronicles the history of the Uglys from their first incarnation as "The Dominettes" in 1957 up to their evolution into "Balls"! by the end of the 1960s. David Wells interviewed original band members in order to write a definitive Uglys biography - not an easy task considering the number of different musicians who went through the line-up. Included also is a good selection of rare photos and memorabilia from various band members' own collections. The highly appropriate cover artwork and design were created by Rupert and Phil Smee.
The first 12 tracks on the Uglys CD are arranged in chronological order consisting of all their released 1960s singles (A-sides and B-sides). This starts with 'Wake Up My Mind' from 1965 which is probably one of their best known records outside of the U.K. Although not a hit in Britain, the song apparently reached the top chart position in Australia and New Zealand. It's probably one of the earliest socially aware pop songs by a British group - no doubt a result of vocalist Steve Gibbons' attraction to the music of Bob Dylan. The unique sound of the recording is achieved partly due to Steve's use of a king-sized harmonica. In contrast, the sparse instrumentation of the B-side 'Ugly Blues' gives the impression that the band used up their production budget on the A-side but it remains a lyrically amusing song nonetheless.
The next Uglys single 'It's Alright', features prominent use of the harpsichord (as played by the talented Jimmy O'Neil) but what stands out most to me in this recording is John Hustwayte's great bass playing which really adds power to this track. This record got plenty of airplay on the U.K. Pirate Radio stations - soon gaining the Ugly's an appearance on television's popular Ready Steady Go! and it seemed set for a high chart placing. Unfortunately, a strike by the record distributors prevented it from reaching the shops (I wonder if the Ready Steady Go! performance still survives on tape somewhere? - what a fantastic find it would be!). The singles' B-side entitled 'A Friend', is a faster paced and highly danceable track composed by guitarist Bob Burnett and Jimmy O'Neil.
'A Good Idea' from 1966, features a distinctive kazoo intro by Steve Gibbons, but it's really the B-side 'The Quiet Explosion' which is the stand-out track. The lyrically-gifted Steve Gibbons does nothing less than a brilliant job on this one with a socially aware verse and chorus even more relevant in 2004 than it was back in 1966! This record is powered along by Jim Holden's innovative drumming and John Hustwayte's echoey Dr. Who style bass riff. This, when coupled with Jimmy O'Neil's prominent organ, creates the most psychedelic-sounding track to be released by the band up to that point.
New Ugly's recruits Dave Pegg (bass) and former Brumbeats guitarist Roger Hill were present for the next single which was a cover of a Kinks record 'End Of The Season' as composed by the brilliant Ray Davies. This one marks a departure from the Ugly's previous records as up to this point they had been composed by the group themselves. Despite the addition of sound effects in the form of chirping woodland songbirds, this record missed out on a chart placing. The B-side however, is likely much more representive of the band's sound at that time as their recording of 'Can't Recall Her Name' has a distinctly "live" feel to it - certainly one of my favourites on this disc. Dave Pegg and Roger Hill left the Ugly's to form their own band called The Exception and Dave later joined the Ian Campbell Group before becoming a pivotal member of Fairport Convention.
1967 saw the arrival into the band of former Yamps/Traction guitarist Will Hammond. The new line-up recorded 'And The Squire Blew His Horn' which continued the Uglys tradition of including strange instruments on their records as it features Steve Gibbons' performance on a real hunting horn. This track has long been highly prized amongst collectors and when listening to the quirky lyrics and vocal backing it's not hard to see why. The song was apparently recorded as a joke by the group and not intended for release, but the record company thought otherwise. The B-side 'Real Good Girl' was far more representive of the band's sound. Guitarist, Will Hammond says it was a powerful number for the group to perform on-stage but they were told to tone it down for the recording session as the producer thought it was too loud!
The final Uglys record was 'I've Seen The Light' that was never officially released until now. The song is probably the band's heaviest number and was undoubtedly very powerful when performed live. The track was recorded by the final line-up of the Uglys consisting of Steve Gibbons (by this time the only remaining original member), Will Hammond on guitar, Dave Morgan (bass), former Lemon Tree drummer Keith Smart, and Richard Tandy (piano). Composed by the multi-talented Dave Morgan, I've Seen The Light was intended as the A-side of a proposed Uglys single in February of 1969.
Due to the band re-forming as Balls with the addition of the Move's Trevor Burton and ex-Moody Blues vocalist Denny Laine, I've Seen The Light was pressed as demo-copies only. It has since attained status as not only the rarest of all the Uglys singles, but for record collectors, THE rarest U.K. psychedelic single. One of the few copies known to exist belongs to Will Hammond and as the master tape is lost, the recording heard on this CD was re-mastered from Will's vinyl original.
The proposed B-side 'Mary Colinto' also composed by Dave Morgan and again recorded with the final Uglys line-up, is a much more straight-forward 'rocker' sounding like it could have been written for The Move. This was certainly a possibility as Dave's composition 'Something' featuring Carl Wayne, was selected for the B-side to the Move's chart topping Blackberry Way single in 1968. Mary Colinto features an especially fine performance by Keith Smart - certainly one of Birmingham's best drummers (he later joined Roy Wood as part of the Wizzard line-up).
All the remaining tracks on this CD are issued here for the first time. The first of these is a Steve Gibbons original titled 'This Is Your Mind Speaking' recorded as a demo for Carl Wayne's "Penny Music" publishing venture in 1968. This track will be of much interest to fans of The Move and ELO as it includes Carl on backing vocal and Trevor Burton on bass guitar/backing vocal as well as Dave Morgan and Richard Tandy both contributing on guitar. Two more Steve Gibbons compositions 'All That Glitters' and 'Speakly Weekly' feature the later line-up of the Uglys - only this time with original drummer Jim Holden instead of Keith Smart.
The tracks 'Love & Best Wishes' and 'Morning' (both Dave Morgan originals) are from rare BBC sessions recorded during 1968 at Walker Hall in Edgbaston. The line-up of the band for these sessions was Steve Gibbons (lead vocal); Will Hammond (lead guitar, vocal); Dave Morgan (rhythm guitar, vocal); Jimmy O'Neill (bass); and Jim Holden on drums. Other BBC tracks included here are covers of Moby Grape's 'Hey Grandma' and Eddie Cochrane's 'Summertime Blues'.
These, along with the other BBC tracks are probably the closest most of us will get to hearing what a 1968 Uglys performance sounded like. They are certainly performed with an exciting raw energy and some have an almost "garage punk" feel to them - especially 'Summertime Blues' to which Will Hammond delivers the kind of blistering guitar solo that Jimmy Page would make famous within the next couple of years. Another worthy cover by The Uglys was Arthur Lee's 'She Comes In Colours' as originally performed by Love.
The collection includes an alternate recording of 'Mary Colinto' - this time with lead vocal by the song's composer Dave Morgan. This version, though obviously a demo, sounds far more like The Move than the previous one - hardly surprising really when considering both Carl Wayne (vocal, tambourine) and Trevor Burton (bass guitar, vocal) also participated on this track. Note also Keith Smart's drumming which sounds more like Keith Moon on this recording. 'Ill Wind That Blows', also by Dave Morgan, is a real gem as it features some slide guitar as played by the Move's Roy Wood who also contributes some backing vocals to this plaintive composition.
The final listed track on the CD is Steve Gibbons 'Roses In The Rain' demo from 1967 which reportedly attracted the attention of no less than Graham Nash from The Hollies. A proposed new recording deal did not go as far as planned due to Nash's condition that The Uglys change their name to "Yellow Balloon" but fortunately the group, especially Steve Gibbons, decided against it. This final cut on the CD is shortly followed by a "hidden" track but I won't spoil the surprise by saying what it is!
In conclusion, The Complete Ugly's - The Quiet Explosion lives up to the high standards we have come to expect from the Sanctuary Records re-issues. Fans of The Uglys, Steve Gibbons, Fairport Convention, The Move or ELO will certainly be interested in getting this and the package makes a solid addition to the collection of anyone who collects Brum bands or 1960s U.K. psychedelic pop.
by John R Woodhouse, 2004
Tracks
1. Wake Up My Mind (Bob Burnett, Jim Holden, Steve Gibbons) - 2:48
2. Ugly Blues (Bob Burnett, Jim Holden, Steve Gibbons) - 3:00
3. It's Alright (Bob Burnett, Jim Holden, Jimmy O'Neil) - 2:14
4. A Friend (Bob Burnett, Jimmy O'Neil) - 2:13
5. A Good Idea (Bob Burnett, Jim Holden, Steve Gibbons) - 2:52
6. The Quiet Explosion (Bob Burnett, Jim Holden, Jimmy O'Neil, Steve Gibbons) - 2:38
7. End Of The Season (Ray Davies) - 2:54
8. Can't Recall Her Name (Dave Pegg, Jim Holden, Roger Hill, Steve Gibbons) - 2:38
9. And The Squire Blew His Horn (Jimmy O'Neill, Steve Gibbons) - 3:34
10.Real Good Girl (Jimmy O'Neill, Steve Gibbons) - 3:02
11.I've Seen The Light (Dave Morgan) - 3:35
12.Mary Colinto (Dave Morgan) - 3:02
13.This Is Your Mind Speaking (Steve Gibbons) - 2:14
14.Love And Best Wishes (Dave Morgan) - 2:57
15.Morning (Dave Morgan) - 3:00
16.All That Glitters (Steve Gibbons) - 3:07
17.Hey Grandma (Don Stevenson, Jerry Miller) - 3:06
18.Speakly Weekly (Steve Gibbons) - 3:07
19.Summertime Blues (Eddie Cochran, Jerry Capehart) - 2:46
20.She Comes In Colours (Arthur Lee) - 2:59
21.Mary Colinto (Alternative Version) (Dave Morgan) - 3:00
22.Ill Wind That Blows (Dave Morgan) - 2:26
23.Roses In The Rain (Steve Gibbons) - 5:32
Tracks 15, 17, 19 BBC Sessions
The Uglys
*Steve Gibbons - Lead Vocal, Harmonica
*Bob Burnett - Guitar (Left In 1966)
*John Gordon - Organ (Left In 1965)
*Jim Holden - Drums (Left In 1968)
*John Hustwayte - Bass Guitar (Left In 1966)
*Roger Hill - Guitar, Vocal (Joined In 1966 Left In 1967)
*Jimmy O'Neil - Piano, Organ, Bass Guitar (Joined In 1965 - Left In 1968)
*Dave Pegg - Bass Guitar, Vocal (Joined In 1966 - Left In 1967)
*Will Hammond - Guitar, Vocal (Joined In 1967)
*Dave Morgan - Bass Guitar, Vocal (Joined In 1967)
*Keith Smart - Drums (Joined In 1968)
*Richard Tandy - Guitar, Keyboards (Joined In 1968)
Led by the heroically sideburned Ray Dorset, Mungo Jerry rose to overnight fame with their debut single, 1970's "In the Summertime," a loose-limbed celebration of the carefree summer months set to a rollicking acoustic accompaniment that invoked the sounds of skiffle and jug band music in its playful approach to the blues. "In the Summertime" would become and remain their signature song, but it was also the basis for a long and successful career for Dorset, who continued to tour and record under the Mungo Jerry banner half-a-century after the band made their debut. The playful acoustic sound of that effort would give way to a more full-bodied approach on 1971's You Don't Have to Be in the Army and 1972's Boot Power, and tougher electric arrangements would dominate 1976's Impala Saga and 1977's Lovin' in the Alleys, Fightin' in the Streets. But the playful, good-time spirit of Mungo Jerry would almost always shine through, even on latter-day experiments like 2001's Candy Dreams, which featured several electronic reggae tracks, and the rockabilly leanings of 2007's Naked - From the Heart.
Mungo Jerry were formed in 1970 by singer/guitarist Ray Dorset, who was fascinated with early rock & roll sounds, as well as skiffle and blues. The other original members were Mike Cole on upright bass; Paul King on guitar, kazoo, and jug; Joe Rush on washboard; and Colin Earl on keyboards. Dorset and Earl had first hooked up in the Good Earth, a group with a mixed rock & roll and blues sound that cut some tracks for the mid-priced Saga label, none of which sold. Cole, King, and Rush came aboard, and the Mungo lineup was complete. The name Mungo Jerry -- from a T.S. Eliot poem -- came next, along with a contract from Pye Records.
The quartet had a pleasing, low-key jug band sound, folk-like but also bluesy, which was unusual at a time when most British bands into the blues were shooting for high-wattage virtuosity. They sounded less like Cream or Blind Faith and a lot more like Jesse Fuller or Tampa Red. Mungo Jerry became one of the very first acts placed on Pye's new Dawn Records imprint, a progressive label that was intended to update Pye's image. In May of 1970, following an appearance at the Newcastle Hollywood Festival, their debut single "In the Summertime," written by Ray Dorset, was released. An easygoing, catchy skiffle-like piece reflecting the mood of the season in its title was an instant hit, shooting to number one in England in only two weeks and riding the charts for much of the summer. Concerts and television appearances followed in profusion. The song was a Top Ten hit in America, riding the charts for weeks, and was a success in practically every country in which it was released, ultimately selling between eight and 16 million copies around the world.
A self-titled debut album was rush-released to capitalize on the hit. By the time the LP was recorded, washboard player Rush was gone, and Cole had left by the time the record was issued, departures that started a dizzying series of personnel changes. The group's second single, "Baby Jump," was a chart-topper in England but didn't fare as well overseas; the song heralded a second album, Electronically Tested, which was followed by a third, You Don't Have to Be in the Army, that same year with a parallel U.S. release, Memoirs of a Stockbroker (issued by Janus Records). "Maggie," "Johnny B Badde," "Mighty Man," "Lady Rose," and "You Don't Have to Be in the Army to Fight in the War" all charted in England and got decent, if not spectacular, airplay at various other points around the globe.
The membership of Mungo Jerry began coming apart almost from the outset of their success. Cole, who was replaced by John Godfrey, led to the exodus of King and Earl, although their exit was somewhat more acrimonious. They attempted to take the name Mungo Jerry, but Dorset, as the singer, guitarist, and songwriter, held onto the handle. Instead, King and Earl cut solo albums for Pye and went on the road as the King Earl Boogie Band, with former bandmate Rush in the lineup. Meanwhile, Dorset recruited keyboard player Jon Pope and drummer Tim Reeves for Mungo Jerry.
Essentially, from 1972 onward, Dorset was Mungo Jerry, much in the same way that Ian Anderson was Jethro Tull in the eyes of his fans. Drummer Paul Hancox (ex-Chicken Shack), bassist (and future Ozzy Osbourne alumnus) Bob Daisley, and keyboard man John Cook passed through, as did piano player Ian Milne and guitarist Dick Middleton, and that was just during the band's time on Pye through 1975.
2019 saw the release of Gold, an ambitious three-CD, 45-track box set that included all of Mungo Jerry's U.K. hits of the '70s, as well as a bonus 15-track LP pressed on gold-colored vinyl.
by Bruce Eder
Tracks
Disc 1
1. In The Summertime - 3:35
2. Mighty Man - 4:48
3. Johnny B.Badde - 3:07
4. Sad Eyed Joe (Paul King) - 2:53
5. Maggie - 4:14
6. See Me - 3:58
7. My Friend - 2:40
8. Santo Antonio Santo Francisco (Paolo Conte, Vito Pallavicini) - 2:57
9. Baby Jump - 4:13
10.The Man Behind The Piano (Paul King) - 3:26
11.Lady Rose (Single Version) - 3:12
12.Have A Whiff On Me (Traditional) - 3:58
13.Somebody Stole My Wife - 2:59
14.She Rowed - 3:19
15.Follow Me Down -3:23
All songs by Ray Dorset except where stated
Disc 2
1. You Don't Have To Be In The Army To Fight In The War - 3:14
2. Memoirs Of A Stockbroker - 4:09
3. You Better Leave That Whisky Alone - 4:04
4. The Sun Is Shining - 3:40
5. Take Me Back (Traditional) - 3:27
6. Northcote Arms - 3:16
7. There's A Man Going Round Taking Names (Traditional) - 3:09
8. Simple Thing - 3:53
9. On A Sunday - 3:19
10.We Shall Be Free (Traditional) - 3:00
11.Open Up (Single Version) - 3:25
12.Going Back Home - 2:18
13.I Don't Wanna Go Back To School - 4:01
14.My Girl And Me (Single Version) - 3:00
15.No Girl Reaction - 4:37
All compositions by Ray Dorset except where noted
Disc 3
1. Summer's Gone - 3:40
2. 46 And On (Single Version) - 3:20
3. She's Gone - 5:25
4. Lookin' For My Girl - 4:23
5. Alright Alright Alright (Jacques Dutronc, Jacques Lanzmann, Joe Strange) - 2:50
6. Little Miss Hipshake (Barry Murray) - 2:37
7. Wild Love - 3:17
8. Glad I'm A Rocker - 2:52
9. Long Legged Woman Dressed In Black - 2:54
10.Gonna Bop Till I Drop - 2:58
11.All Dressed Up And No Place To Go - 2:06
12.Shake Till I Break - 1:04
13.Don't Stop - 2:32
14.Too Fast To Live And Too Young To Die - 1:46
15.Say Goodnight - 4:04
All tracks by Ray Dorset except where indicated
Mighty Joe Young, longtime sideman for Magic Sam, leads his own 1970 session on Blues With A Touch Of Soul (Delmark DD-629; 43:18). With Dawkins on second guitar and John “Big Moose” Walker on piano and organ, Young turns in urgent and earthy renditions of Albert King’s “I Walked All Night,” Guitar Slim’s “The Things I Used To Do” and Bill Doggett’s instrumental classic “Honky Tonk.” But he digs deepest here on the slow blues, “Somebody Loan Me A Dime.”
This was Mighty Joe Young’s first LP. Fellow Delmark recording artist Jimmy Dawkins wrote the original LP notes and said “Young is one of the Midwest’s most gifted and conclusive guitarists and certainly Chicago’s best.” Mighty Joe was very active in the 60’s with his own career and as session player; he recorded with Magic Sam on the two classic Delmark albums West Side Soul and Black Magic, with Willie Dixon for Columbia and on Tyrone Davis’ million-seller “Can I Change My Mind.” Similar to Magic Sam’s albums, the music is sound of 60’s soul .
Mighty Joe Young was born as Joseph Young Jr. in September 23, 1927 and passed away on March 24, 1999.
Tracks
1. I Walked All Night (Mighty Joe Young) - 3:06
2. Somebody Loan Me A Dime (Fenton Robinson) - 10:40
3. Every Man Needs A Woman (Mighty Joe Young) - 8:24
4. Why, Baby? (Mighty Joe Young) - 5:36
5. Things I Used To Do (Eddie Jones) - 3:50
6. Got A Bad Case Of Loving You (Mighty Joe Young) - 5:50
7. Honky Tonk (Bill Doggett, Billy Butler) - 5:23
The sixties, as we all know, provided us with a slew of cult heroes whose reputations rest almost as much as them either shuffling off this mortal coil or succumbing to the pressures of fame and mislaying their marbles as their musical achievements. In the latter bracket we have names like Brian Wilson, Syd Barrett, Roky Erickson, Skip Spence and Peter Green. Green stands apart from the crowd. He wasn't a psychedelic voyager (though lysergic experimentation doubtlessly helped his decline). He was, first and foremost a bluesman, with the ability to replace Eric Clapton in John Mayall's Bluesbreakers.He was a fabulous singer and songwriter who was equally adept at adapting blues classics or conjuring new standards, seemingly, with ease. He's returned to something approaching form in recent years, but Man Of The World barely approaches the full story.
There's no getting around the fact that Sanctuary are pulling a little bit of a fast one with this anthology. The bulk of Green's studio work with Fleetwood Mac resides in the Columbia catalogue, leaving them to present us with alternative mixes, demos or live versions to represent the man in his prime. Luckily even offcuts and rarities from this period shine brighter than most artist's main output. While rougher versions of ''Green Manalishi'' (Green's most psychedelic hour and a true indicator of where his mind was headed) and the gorgeous ''Man Of The World'' just leave one hungering for the finished originals, live versions of ''Oh Well'', or ''Jumping At Shadows'' (taken from the legendary Boston Tea Party gig) are simply stunning in their power. The latter is demonstration in itself of Green's mastery of tone and attack with nothing more than a vintage Les Paul and a Marshall stack. His mastery of the blues guitar remains more emotive than any other of his generation.
Unfortunately following his debut solo album, The End Of The Game, and his retreat into psychological turmoil in 1971 he fell mainly silent. By 1980 he was coaxed back into the studio with several famous friends (Pete Bardens, Snowy White, Dave Mattacks etc) and produced several desultory albums that were but a pale shadow of his late 60s output. The bulk of this album comes from these. Add to this a couple of jokey, early extra-curriclar numbers from jams with Bob Brunning's Sunflower Blues Band.
by Chris Jones 2004
Tracks
Disc 1
1. Man Of The World (Peter Green) - 3:00
2. Long Grey Mare (Peter Green) - 1:58
3. Cryin' Won't Bring You Back (Mike Green) - 5:04
4. A Fool No More (Peter Green) - 7:42
5. Trying To Hit My Head Against The Wall (Mike Green) - 3:44
6. Last Train To San Antone (Mike Green) - 5:30
7. Walkin' The Road (Mike Green) - 3:48
8. Uranus (Bob Brunning) - 3:20
9. Whatcha Gonna Do? (Mike Green) - 3:48
10.Born On The Wild Side (Mike Green) - 2:58
11.Lost My Love (Mike Green) - 5:22
12.Fast Talkin' Woman Blues (Peter Green) - 3:21
13.Long Way From Home (Mike Green) - 3:42
14.Touch My Spirit (Mike Green) - 3:44
15.Seven Stars (Peter Green) - 3:04
16.Loser Two Times (Mike Green) - 4:28
17.Oh Well (Peter Green) - 2:46
18.If You Let Me Love You (B. B. King, Sam Ling) - 10:30
Tracks 1, 2, 12, 17, 18 with Fleetwood Mac
Track 8 with Brunning Sunflower Blues Band
Disc 2
1. Jumping At Shadows (Duster Bennett) - 4:22
2. Black Magic Woman (Peter Green) - 7:10
3. Big Boy Now (Mike Green) - 5:53
4. You Won't See Me Anymore (Mike Green) - 3:35
5. Got To See Her Tonight (Mike Green) - 5:48
6. Same Old Blues (Traditional) - 3:43
7. Showbiz Blues (Peter Green) - 4:04
8. Ride With Your Daddy Tonight (Traditional) - 3:28
In 1980 Peter Green released his third solo album "Little Dreamer", most of the material this time written by brother Mike (aside from a too-pleasant Born Under a Bad Sign and a co-write on the title track).
Again Green kept things mellow, perhaps even more so than on In the Skies. Some of the material like the bluesy pop of Loser Two Times and Baby When the Sun Goes Down sounded like a serious pitch at radio play, the funk didn't quite suit him but the seven minute closer title track took him right back to the sound and style of Albatross, with lyrics.
by Graham Reid, Feb 17, 2020
Tracks
1. Loser Two Times - 4:28
2. Momma Don'tcha Cry - 3:19
3. Born Under A Bad Sign (Booker T. Jones, William Bell) - 2:53
4. I Could Not Ask For More - 4:55
5. Baby When The Sun Goes Down - 5:33
6. Walkin' The Road - 3:49
7. One Woman Love - 5:28
8. Cryin' Won't Bring You Back - 5:03
9. Little Dreamer (Peter Green, Mike Green) - 7:00
All compositions by Mike Green except where stated
Recorded during a legendary extended weekend stand in 1970, these live recordings from the three-guitar lineup of Fleetwood Mac have existed in various shoddy, uneven, and sometimes sloppy configurations, but were finally sorted out and released as a triple-disc box (also available individually) in 1999. First-generation source tapes were utilized, approximately an hour's worth of previously unreleased tracks as well as between-song patter is interspersed among the discs, and the running order is restored to match that of the original performance. Live at the Boston Tea Part, Vol. 1, taken from the first set, is a Peter Green bonanza.
Kicking off with a sharp "Black Magic Woman," then weaving his liquid guitar lines into an achingly slow cover of Duster Bennett's "Jumping at Shadows," and finally breaking into a formerly unavailable 25-minute version of "Rattlesnake Shake," the disc's centerpiece, Green sings and plays with restrained authority. The extended jam on "Shake" proves that Green was a master improviser, referencing his blues roots even when flying off on spontaneous tangents no less riveting than those of the Allman Brothers or the Grateful Dead. Jeremy Spencer takes the lead on two rollicking Elmore James covers, "I Can't Hold Out" and "Got to Move," the latter seeing the light of day after being hidden in the vaults for 29 years. The set closes with Green's proto-metal "The Green Manalishi" in a riotous 13-minute version that leaves the original four-minute single looking limp. This is the tightest, and most varied of the three albums, and is recommended for newcomers not interested in the entire set.
Live at the Boston Tea Party, Vol. 2 starts strong with a floating "World in Harmony," the only Peter Green/Danny Kirwin co-written track in the Mac catalog, and one that, interestingly, never appeared on a studio album. An abbreviated but aggressive "Oh Well" (the rocking opening only) segues into a half-hour "Rattlesnake Shake" that's more raucous, driving, and intense than the lower key, and slightly stiffer version on Vol. 1. The Kirwin/Green interplay here is stunning as they push each other past previous limits, driven by the forceful rhythm section of John McVie and Mick Fleetwood. Jeremy Spencer runs through terse versions of "Stranger Blues" and "Red Hot Mama," two hot and jittery Elmore James covers. But the show becomes slipshod with his '50s doo wop tribute "Teenage Darling," complete with faux-Elvis singing that is pandering and irritating.
The band jogs through a few revved-up, enthusiastic, but hardly essential Little Richard covers, redeemed by Fleetwood's driving drums and Green's wiry leads weaving through ten minutes of "Jenny Jenny." It may have been a blast at the time, but the tracks don't translate well without the visual impact of the three guitarists flailing away. The set ends with a heretofore unheard 12-minute jam simply entitled "Encore," where Joe Walsh of opening band the James Gang, adds a fourth guitar. Intermittently interesting, the quadruple guitars trading leads and riffs make for some predictably cluttered and unfocused music. Followers of the band during these early years might find this of passing curiosity, but for most people, you had to be there. Still, with Green playing at the peak of his powers, at least half of this disc is essential, especially to fans, and the numerous high points more than make up for the parts that drag.
Part Three is a goldmine for fans of this Mac lineup, as it features a whopping six tracks-over 35 minutes-worth of newly found material. Most importantly, almost all of this music is of exceptional quality. Unfortunately the album's centerpiece, an intense, eleven minute, slow blues cover of B.B. King's "If You Let Me Love You," is marred by Peter Green's dead microphone, giving his vocals a hollow quality. But his guitar attacks with startling clarity, as he alternately pushes and lays back with style and moderation. Green deftly massages his solo, and the band gives him plenty of room to navigate, making this one of the most impassioned performances on all three discs.
An instrumental version of Danny Kirwin's "Coming Your Way" is another recent addition, and throughout its seven minutes, the dueling guitars of Kirwin and Green spar with Mick Fleetwood's tribal drums creating a rhythmic whirlwind that frustratingly fades away before it's over. Jeremy Spencer whips out four Elmore James covers with a lately discovered version of "The Sun is Shining" a highlight, as his buzz-saw slide slices through the tune. A few Little Richard oldies crop up, and a frayed but propulsive version of "Tutti Frutti" where the band relaxes and rocks with class and restraint, shows how innovative they could be even working with the most basic three chord material. A remarkably subtle, weekend closing, eight minute "On We Jam" is the final unearthed cut, and proves that even with three talented guitarists sharing leads, the improvisational skills of this band were second to none. Not the most cohesive album of the trio, Part Three is still indispensable to fans, and a reliable overview of the strengths and diverse approaches of this short-lived but renowned version of Fleetwood Mac.
by Hal Horowitz
Tracks
Volume 1
1. Black Magic Woman (Peter Green) - 6:45
2. Jumping at Shadows (Duster Bennett) - 4:48
3. Like It This Way (Danny Kirwan) - 4:28
4. Only You (Danny Kirwan) - 4:23
5. Rattlesnake Shake (Peter Green) - 24:38
6. I Can't Hold Out (Elmore James) - 6:35
7. Got to Move (Elmore James) - 3:25
8. The Peter Green Manalishi (With the Two-Prong Crown) (Peter Green) - 12:52
Volume two
1. World in Harmony (Danny Kirwan, Peter Green) - 4:10
2. Oh Well (Peter Green) - 3:12
3. Rattlesnake Shake (Peter Green) - 25:36
4. Stranger Blues (Elmore James, Marshall Sehorn) - 3:55
5. Red Hot Mama (Elmore James) - 4:03
6. Teenage Darling (Jeremy Spencer) - 4:16
7. Keep A-Knocking (Richard Wayne Penniman) - 4:56
8. Jenny Jenny (Enotris Johnson, Richard Wayne Penniman) - 7:40
9. Encore Jam (Peter Green, Danny Kirwan, Jeremy Spencer, Joe Walsh) - 13:25
Volume 3
1. Jumping at Shadows (Duster Bennett) - 4:17
2. Sandy Mary (Peter Green) - 5:21
3. If You Let Me Love You (B. B. King) - 10:30
4. Loving Kind (Danny Kirwan) - 2:57
5. Coming Your Way (Danny Kirwan) - 7:06
6. Madison Blues (Elmore James) - 4:49
7. Got to Move (Elmore James) - 3:56
8. The Sun Is Shining (Elmore James) - 3:11
9. Oh Baby (Elmore James) - 4:26
10. Tiger (Ollie Jones) - 3:44
11. Great Balls of Fire (Jack Hammer, Otis Blackwell) - 3:16
12. Tutti Frutti (Joe Lubin, Richard Wayne Penniman, Dorothy LaBostrie) - 6:45
13. On We Jam (Peter Green, Danny Kirwan, Jeremy Spencer, John McVie, Mick Fleetwood) - 7:56
