The second and final album from New Zealand's Farmyard – a record that continues some of the jazzy spirit of their debut, but which also goes into territory that's a bit more rough and raw too! It's almost as if the group were getting their wind a bit more – and finding a way to make a statement that was bolder than before, but still had a quality to set them apart from the rest – plenty of flute and tenor from Andrew Stevens, but mixed with more electric guitar and bass – on a set of tunes that have hard rock appeal, but also plenty of sharp proggy changes!
After Farmyard disbanded, Tom Swainson joined Wellington underground band Arkastra in February 1972, and Redeye in 1976.
Tracks
1. All In Your Head (Paul Curtis) - 5:17
2. Me, The Dog, Ma And Dear Old Dad (Rick White) - 2:33
3. Nothing Happening Here (Milton Parke) - 5:10
4. Too Much Wrong (Rick White) - 3:45
5. Feeling Pretty Good (Paul Curtis, Rick White) - 3:30
6. Fantasia (Georg Philipp Telemann, Rick White) - 5:00
7. Looking For A Place (Paul Curtis, Rick White) - 8:27
Hailing from Wellington, the windy city and capital of New Zealand, Farmyard's initial line up consisted of Rick White on bass and vocals, Tom Swainson on drums, Milton Parker on lead guitar, Andy Stevens on sax and Paul Curtis on rhythm guitar and lead vocals. Rick White who formed the band, and Milton Parker were originally in fledgling beat combo The Relics. After being kicked out of the Relics, Rick went on to form Tom Thumb. Tom Thumb moved from R&B, to pop, to progressive rock, and their 1970 Ludgate Hill EP is considered one of the first prog recordings in the country.
After a successful single, Polydor issued Farmyard’s first LP in 1971 which came housed in a silk screened plastic bag, and is an amazing psych/prog -rock killer, with superb musicianship, great tunes and a splendid production by Peter Dawkins.
Tracks
1. Those Days Are Gone (Paul Curtis, Rick White) - 4:23
2. Through My Window (Milton Parker) - 7:46
3. Which Way Confusion (Part 1) (Rick White) - 3:48
4. Which Way Confusion (Part 2) (Rick White) - 3:35
5. Learning ‘Bout Living (Paul Curtis) - 3:14
6. Da Woirks (Rick White, Milton Parker, Andrew Stevens, Tom Swainson) - 2:52
7. I Sit Alone (Andrew Stevens) - 9:37
Farmyard
*Paul Curtis - Lead, Harmony Vocals, Congas
*Milton Parker - Nylon String, Electric Guitar, Congas, Bass
*Rick White - Bass, Maracas, Lead Vocals, Acoustic, Electric Guitar, Vibes, Handclaps
*Andrew Stevens - Flute, Tenor, Baritone Saxophone, Piccolo, Woodblock
*Tom Swainson - Drums, Maracas, Harmony Vocals, Woodblock, Indian Bells, Percussion With
*Terry Condon - Handclaps
*Peter Dawkins - Congas, Tambourine, Handclaps
Often referred to as Bruno Castellucci’s band, Plus’ music was slightly more rock-infused than his work on Placebo and Solis Lacus, most of the tracks on their first and only album – 1972’s self-titled Plus – edging ever so subtly towards fusion funk and prog-rock territory. Featuring Francis Goya (Francis Weyer) on guitar and vocals, Douglas Lucas (who played with The J.J. Band, The S.S.O Orchestra as well as pan-European touring outfit Mombassa) on trumpets as well as Ralph Benatar (also of The J.J. Band) on guitar, this one’s a bit of a holy grail amongst connoisseurs.
Castellucci’s name circulates not only on the entire European jazz scene as a reliable and professional drummer for live concerts but he is also a very sought-after studio musician.
He is still active as a teacher and he is not yet prepared to miss the stage for anything in the world. As a matter of fact, he will be celebrating the 50th anniversary of his career along with a few fellow musicians.
Francis Goya (Francis Weyer) born of musician parents in the city of Liege (Belgium). He receives his first guitar at the age of 13 and takes guitar lessons over a one year period to become a true auto dictate. At the age of 16, he forms his first rock band with his brother and a few friends, "The Jivaros". In 1970, Francis is taken on by a professional soul band, "The J.J.Band", With whom he tours Europe and Africa. Their second album is produced by Brian Bennet (The Shadows) for CBS International in London. Thanks to all this he becomes a studio guitarist, accompanying various artists on the international scene, Demis Roussos, Three Degrees, Barry White, Vicky Leandros.
Tracks
1. The Search (Ralph Benatar, Douglas Lucas) - 4:45
2. Gimme Some More Of That (Yvan De Souter, Douglas Lucas) - 4:35
3. What Did You Do (Francis Weyer, Douglas Lucas) - 11:21
4. Open Letter (Leslie Kent, Douglas Lucas) - 7:00
5. Put Everything Together (Leslie Kent, Douglas Lucas) - 3:16
6. Enjoy Yourself (Douglas Lucas) - 8:25
7. Kentucky Woman (Francis Weyer, Alan Ward) - 2:45
8. Changing (Mike Butcher, Leslie Kent) - 3:28
Plus
*Bruno Castellucci - Drums, Percussion, Vocals
*Francis Weyer - Guitar, Vocals
*Leslie Kent - Guitar, Vocals
*Yvan De Souter - Bass
*Douglas Lucas - Flugelhorn, Trumpet
*Ralph Benatar - Tenor Saxophone
*Mike Lovell - Trombone
Mom's Apple Pie were a horn rock group that played many concerts opening for national recording artists and released a couple LPs on the Brown Bag label.
The band was started by Dave Mazzochi (keyboards - Hammond B3) and Tony Gigliotti (vocals) from the Shaddows. The group included Bob Fiorino (vocals), Joe Ahladis (guitar), Roger Force (sax, flute), Greg Yochman (bass), Pat Aulizia (drums), Fred Marzulla (trombone), Bob Pinti (trumpet), and Bob Miller (lead guitar). One of the ways the group stood out was the vocals, as the group had two lead singers, with Bob Fiorino being the primary lead, and with other member providing backing vocals.
The group was managed by Larry Patterson from Hermatige, PA, just over OH/PA boarder. Most of the band members were from Warren and like Mazzochi and Gigliotti they had been in other bands. Sometime during 1972 the band was recording some demos at Cleveland Recording and according to legend, they were heard by the wife of former Grand Funk manager Terry Knight, whose connection with Cleveland Recording went back to the mid 1960s. Knight was just starting his Brown Bag record company and the group was signed by Knight for the label.
Unfortunately, the group's 1st LP is somewhat known for reasons that have nothing to do with the music. The original artwotk showed a woman holding a pie with the front slice opened to look like a vagina........go ahead and look it up, and return when you're finished......OK, now that you've seen it, we can talk about the music, which included mostly original songs, with Dave Mazzochi as the primary writer. The LP did get some airplay - it was relssued with the offending cover art redone to look like bricks - and the band embarked on several short tours that took them to New York City and many places inbetween, especially college campuses.
The group recorded a second LP in 1973 and apparently Knight and co wanted to avoid any controversy so the packaged the LP to look like a tape box and named it the somewhat uninspired "No 2". The LP included all original songs. This LP did not sell as well as the first. It's not clear why, but in general Brown Bag was not having much success and it's possible that they were not able to get the promotion strength.
The group continued to play locally and regionally. A third LP was recorded but not released until 2011. The group disbanded in 1974.
Tracks
1. Come With Me (Joe Ahladis, Bob Fiorino) - 3:46
2. Variations In Name (Bob Fiorino, Greg Yochman) - 2:53
3. Love Plays A Song (Rob Parissi) - 3:53
4. Rain (Bob Fiorino, Tony Gigliotti, Dave Mazzochi, Greg Yochman) - 7:05
5. Can You Help Me? (Bob Fiorino, Tony Gigliotti, Dave Mazzochi, Greg Yochman) - 5:25
6. Happy Days (Roger Force) - 3:18
7. Every Mother's Son (Tony Gigliotti, Greg Yochman) - 3:45
8. My Times (Tony Gigliotti, Dave Mazzochi) - 5:25
Mom's Apple Pie
*Joe Ahladis - Guitar
*Pat Aulizia - Drums
*Bob Fiorino - Vocals
*Roger Force - Saxophone, Flute
*Tony Gigliotti - Vocals
*Fred Marzulla - Trombone
*Dave Mazzochi - Keyboards, Vocals
*Bob Miller - Lead Guitar
*Bob Pinti - Trumpet, Vocals
*Greg Yochman - Bass
The Lost Cabin Sessions are the Ozark Mountain Daredevils’ first studio recordings from 1972. To my knowledge these early recordings were first officially released sometime in 2003 off the Varese cd label. The band would go on to become a well known and very successful country pop group similar in sound to the Eagles or the Pure Prairie League. While that sound is a bit commercial and somewhat formula driven, these early recordings represent something a little different. These 18 songs highlight a wonderful group whose sound was caught between the less bluesier aspects of early Little Feat and the astute folk country leanings of the Byrds, circa 1970.
The group had gotten together in the early 70s when Larry Lee and Steve Cash had met John Dillon at a local pizza parlor. At the time Dillon had said to both Cash and Lee “Look, I’m playing in a pizza parlor, they’re not paying me anything but I get to eat and drink all I want,” Lee replied, “Well I will play with you!” Eventually Buddy Brayfield, Randy Chowing and Michael Granda came into the fold. The Ozarks had five strong songwriters who individually brought something new and fresh to the pizza table. Being isolated in the mountains meant that they could only rely on each other for influence. Over a short period of time they would develop into a strong, cohesive unit, whose sound was highly original and roots based. The groups’ strength were their harmonies, songwriting chops, and a unique ability to fuse mountain boogie with both current and traditional country, folk, and pop music. The Lost Cabin Sessions takes 18 of the 28 tracks recorded during this fruitful early period.
It’s difficult to single out highlights on such a strong collection but personal favorites are the gorgeous country folk ballad Someday Darlin’ and the chugging country-rocker Long Time To Here. The latter’s catchy chorus and fine harmonica playing make it a near classic. A Satisfied Mind, the discs’ one cover, is given a good, sparse reading with great harmonies and a nice harmonica solo. Manager Paul Peterson remembers the recording sessions: “We were at a management office, showing our wares and Leatherwood was playing. I was sitting there, then, I felt somebody come in the room and sit behind me. And then as they got up and walked out, I heard their voice say ‘That’s a really good sound.’ I turned around to see that it was Neil Young.” Leatherwood is one of the more rock influenced numbers but it’s a good one, with catchy guitar figures and a hummable melody. Other tracks like Fly Away Home and Chicken Train hit a good authentic bluegrass vibe with rugged banjo playing and down-home mouthbow.
This is a terrific disc and probably better than any of the studio albums they would soon release. The performances are superb, the sound is underground country-rock and the playing is lived-in and timeless.
by Jason Nardelli
Tracks
1. The Rhythm Of Joy (Steve Cash) - 3:08
2. Lovin' Again (Randy Chowning) - 2:35
3. On Our Carousel (Larry Lee, Steve Cash) - 3:39
4. Someday Darlin' (John Dillon, Steve Cash) - 3:42
5. Keep On Churnin' (John Dillon) - 2:47
6. Outside My Country Home (Randy Chowning) - 4:05
7. Lost Cabin (Steve Canaday, Steve Cash) - 4:38
8. You Know Like I Know (Larry Lee) - 4:58
9. Leatherwood (Randy Chowning) - 4:03
10.Fly Away Home (John Dillon) - 2:31
11.Chicken Train (Steve Cash) - 3:22
12.Feelin' Good (John Dillon, Steve Cash) - 4:56
13.Sheriff's Comin' (Larry Lee) - 5:56
14.Walking In The Morning (Randy Chowning) - 2:22
15.(I Threw Away) The Cahins (John Dillon) - 2:37
16.Rainbird (Larry Lee) - 5:32
17.Long Time To Here (Randy Chowning) - 2:46
18.A Satisfied Mind (Jack Rhodes, Joe Hayes) - 3:42
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)
