Samson was one of the more obscure outfits signed to Andrew Oldham's Immediate label, considering that they got to cut an entire concept album, Are You Samson?, which was released by the label in 1969. They played the Marquee Club, and were known around London, but never caught on. Keyboard man and singer Ian Kewley later worked with Strider and Limey, before hooking up with Paul Young. This Samson had no relationship to an early '70s English band of the same name.
Originally released in November 1969 on Andrew Loog Oldham's subsidiary to his failing Immediate, Samson sank without trace, which was about as much as could be expected. Oldham's seemingly careless attitude of not even releasing a single to wet the record buyer's appetite however is now easier understood: Immediate was at its end; within weeks of Samson's debut release Oldham's empire went bankrupt! As the band were eagerly recording their carefully calculated work, Oldham had a lot more to worry about than whether the next album released on his subsidiary would be a big seller.
With little assistance from the label, and practically no promotion, it's not surprising that the album had such low sales figures. But the poor turnover of this admittedly tackily sleeved album is by no means an indicator of the music contained within. Samson brought into their music a successful blend of harmonies which sound akin to the Gregorian psych-era choral vocal parts of the Pretty Things and the Zombies, a touch of Deep Purple circa Shades of Purple, and a hint of the increasingly popular concept album. For sake of classification, their blending of Kinks-ish psych-pop with more progressive elements is befitting of the title progressive pop -- a contemporary handle used to describe everything from the Fox's For Fox Sake, Caravan's early work, and fellow north country lads the Koobas' 1969 album. If the later songs compiled on the superb Rubbles series appeal to you, Samson are well worth investigating.
Tracks
1. Traffic - 3:26
2. Sleep - 2:22
3. Journey - 4:34
4. Fair - 7:23
5. The End Song - 4:42
6. Mars - 4:48
7. Venus - 2:57
8. Saturn - 3:50
9. Poem For Sam - 4:22
10.Water (B-Side) - 4:23
11.Venus (New Version) (A-Side) - 3:03
All songs by Ian Kewley, Les Jones, Les Olbinson, Mike Delaney, Norman Findley, Paul Ford.
The Collectors' Colosseum is a compilation album by Colosseum that was released in England in 1971 and contains early recordings from 1968-69.
Jumping off the Sun was originally recorded late in 1969, with Chris Farlowe's vocals overdubbed over Dave Clempson's originals. In addition, there are extra guitar overdubs by Clempson. I Can't Live Without You was recorded in 1968.
Bolero (yes Maurice Ravel's composition), Rope Ladder to the Moon (written by Jack Bruce, Pete Brown) and The Grass is Greener recorded in late1969. Three more tracks Walking In The Park (penned by Graham Bond), Beware The Ides Of March and Those About To Die are form their 1969 album "Those Who Are About To Die Salute You".
Tracks
1. Jumping Off The Sun (Dave Tomlin, Mike Taylor) - 3:40,
2. Those About To Die (Dick Heckstall-Smith, Jon Hiseman, Dave Greenslade, Tony Reeves) - 4:52
3. I Can't Live Without You (James Litherland) – 4:15
4. Beware The Ides Of March (Dick Heckstall-Smith, Jon Hiseman, Dave Greenslade, Tony Reeves) - 5:53
5. Walking In The Park (Graham Bond) – 3:55
6. Bolero (Maurice Ravel) – 5:29
7. Rope Ladder To The Moon (Jack Bruce, Pete Brown) - 3:22
8. The Grass Is Greener (Dick Heckstall-Smith, Jon Hiseman) - 7:37
If you thought Crocodile Dundee was wild, then you haven't heard Billy Thorpe & The Aztecs, a rabble-rousing Hard Rockin' group from Down Under. These guys knew how to bottle lightning.
After listening to More Arse Than Class, it's no surprise that they were one of the most popular 1970's Hard Rock groups in Australia, but why haven't they gained fame in the United States where similar bands like Grand Funk Railroad, Foghat, and Bachman-Turner Overdrive were making names for themselves? I don't see any reason other than geography why they couldn't have made it big in the States.
The album opens with the rollicking “Boogie Woogie”, whose songtitle tells no lie, it is indeed a boogie woogie. It's also a peculiar boogie woogie, what with its menacing pace and crazy ascending key-changes toward the end. Billy Thorpe's powerful raspy vocals are also amazing to behold, bearing a resemblance to Roy Wood's, but with slightly more body. I also bring up Roy Wood, because “Boogie Woogie” reminds me of Wizzard. It's normal genre music, but with a slightly alien edge to it. And it's very good too!
Probably the greatest testament to Thorpe's vocal prowess is the epic closing track “Slowly Learning How”. It alternates back and forth between a soulful blues number and a tight rock'n'roll groove that resembles early Dire Straits. Thorpe's utterly soaring vocals have the same effect on me as Joe Cocker's, and bringing in a Gospel choir at the end only made me wish I could have joined in with them. That song is hardly amazing as a composition (it does nothing more than repeat those two sections for an entire nine minutes), but it's such a rousing experience that I'd gladly listen to it many more times.
“I Wanna Know” is also a Gospel-oriented number, and Thorpe's commanding lead vocals keep the song exciting. The melody is catchy, and I like the ascending chord progression its based on. But I'd have to say the star of that show is the wily harmonica solo in the middle. If one thing's clear about Billy Thorpe & The Aztecs, they were a first-class jam band.
And that fact about them couldn't be any clearer than it is on “Back on the Road Again”, a powerful rocker that's so tight and exciting I can't contain myself! (I'm not kidding, either, I'm hopped up on adrenaline right now.) It's obvious they're emulating 1950's rock, but it's impossible to not get caught up in its spirit. The drive of that song is amazing, and Thorpe's lead vocals take an incredibly commanding lead over it. Perhaps even more amazing is the extended jam sequence in the middle. It takes a lot for me to enjoy a rock'n'roll jam, but I rarely run across things this exciting. When the Jerry Lee Lewis-style piano solo comes in, it's like nothing could be more thrilling ... it starts normally, then starts to favor the high-pitched keys in the middle, playing some brilliantly weird patterns. The electric guitar solo operates in a similar fashion ... it's normal and exciting at first, but it turns into something more fuddled and hyperactive. Crikey!
Still good, but not one of the highlights is the energetic R&B number “Walking Down the Street”. Thorpe's spirited vocal that opens the track is hilarious (at one point nearly going off into a rant), but unfortunately whoever was in charge of producing this album did a weird number on the panning effects ... it's painful to listen to this song with headphones. “No More War” is apparently a psychedelic anthem, with a rubbery guitar throughout and a huge reverb on the vocals. It's jam-oriented, but it's not quite as arresting as the others I've mentioned.
It's a shame that Billy Thorpe & The Aztecs aren't well-known in America. This style of music is still very popular round here, and if I'm able to enjoy the crap out of this, then there are millions of others who are bound to like it more. Trust me, if you've had your fill of all the Foghat you can handle (as if that's possible!), and you're feel like visiting the land of wallabies and Vegemite, then you should put Billy Thorpe & The Aztecs on your list.
Even if you're not, then you should still consider giving them a try. After all, they seemed very passionate about rock'n'roll, and they could rock like nobody's business. That's more than I get from most Hard Rock bands. Plus, it's kind of cool to have an album called More Arse Than Class on your iPod, just to see the reaction on people's faces.
by Don Ignacio
Tracks
1. Boogie Woogie - 4:23
2. Walking Down The Street - 4:52
3. Don't You Know You're Changing - 4:46
4. No More War - 5:26
5. I Wanna Know - 5:22
6. Back On The Road Again - 4:14
7. Slowly Learning How - 9:11
8. A Little Bit Of Lunacy, Maestro Please - 3:30
9. I Wanna Know - 5:42
10.Pig's Blues - 6:25
11.Mame - 3:53
12.Movie Queen - 2:52
13.Kawasaki - 0:33
14.Kawasaki (Long Version) - 2:33
15.Slowly Learning How (Demo Instrumental) - 9:49
Tarcks 8-10 Live At Bill Armstrong Studios, 1973
Tracks 11-15 Singles, Ads and Demos, 1973
The Aztecs
*Billy Thorpe - Vocals, Guitar
*Warren "Pig" Morgan - Vocals, Piano, Organ, Harpisichord
Before he released his first solo album in 1978, Mickey Jupp's reputation as a songwriter had begun to grow, as pub rockers like Dr. Feelgood and Ducks Deluxe were covering his compositions. As a performer, Jupp didn't fare as well. The main problem with Juppanese, his first solo album, is his lifeless vocals. The first half of Juppanese was recorded with Rockpile, the rock & roll group fronted by guitarist Dave Edmunds and bassist Nick Lowe. Because Jupp's strength is standard three-chord rock & roll, the first side of the album works the best; while it never captures the joyous energy of Rockpile's best moments, it is considerably tighter and rawer than the slick second side, where Jupp's nondescript voice struggles to be heard amid the studio professionalism.
Even though it features several of Jupp's finest songs, including "You'll Never Get Me up in One of Those" and "Old Rock 'n' Roller," Juppanese doesn't include "Switchboard Susan," arguably his best song. Rockpile recorded the backing track for the album, yet Jupp refused to sing on it. Nick Lowe kept the tape, recording his own vocals for the song; his version is included on his 1979 album Labour of Lust.
The complete recorded works of the Harmony Pop/Prog Rock band Deep Feeling, including their sole album and single sides…Ian Canty wonders how a band could combine two seemingly disparate styles into a pleasing whole….
Guy Darrell was a very talented singer and recorded extensively in the 1960s (see here for a review of the compilation of his solo singles entitled I’ve Been Hurt), mainly in a Soul vein. As the new decade arrived his latest outfit, the Guy Darrell Syndicate, changed both their name and their modus operandi. Darrell reverted to his real name John Swail and the band was remodelled in a more “progressive” style and renamed Deep Feeling. Guitarist Martin Jenner, Dave Green on bass, drummer Dave Clare and Derek Elson on keys made up the rest of the band. For the first two this change meant they could finally have a chance to flex their considerable songwriting muscles. To make the break with the past complete, no reference was made to Darrell’s past career in any of the Deep Feeling publicity material.
The first recording that emerged on the Page One label in 1971 showed the strengths of the newly retitled act. The single’s top side was a cover of the old Contours/Berry Gordy number Do You Love Me? and this record and subsequent singles would have more in common with the kind of symphonic, beautifully sung Pop Music the Bee Gees had perfected during the latter half of the 60s, than anything much to do with the Prog Rock explosion. There is a lovely warmth to this, they tease out feeling from the song and accompany the great vocals appropriately. There’s not much of the instrumental grandstanding that you might have expected, but this offering is all the better for the treatment applied. The band nudged at the lower end of the UK charts, though it was a shame such a pristine Pop nugget did not go higher.
The flipside Move On could have comfortably fitted into Darrell’s mid-60s Mod Soul set – very danceable indeed, with a real groove. The follow up was Skyline Pigeon, an Elton John/Bernie Taupin song that Darrell had cut previously for Pye Records way back in 1968. It didn’t achieve anywhere near the success of the debut single, this was of course just before Elton John made his breakthrough – timing was everything and on this occasion they missed the window of opportunity and the record flopped. After this slight setback the band moved onto the DJM imprint and for their first waxing with the new label they went back to the template of their debut. They slowed the pace of Bobby Freeman’s R&B favourite Do You Wanna Dance to a tranquil trot replete with heavenly harmonies – it was another minor marvel and restored them to the edge of the charts again, just falling short of scoring that elusive big hit single.
The self-titled debut album (also sometimes called “Guillotine” after the sleeve cover) arrived in the Winter of 1971. It certainly had much more of a progressive tint than anything the band had set down on tape previously, but still the material is darn catchy in its own long-winded way. The front cover of the sleeve was plain black with a small cartoon Guillotine in the bottom right corner and inside was a creepy drawing with photos of the bands’ heads growing out of a tree branch. So far, so early 70s Rock. Even so the opener Welcome For A Soldier has the kind of choral approach that wasn’t a million miles away from the dreamy harmonies of the Beach Boys, not a typical gambit in the Prog world. They paint a luscious landscape despite the fatalistic nature of the lyrics.
The album’s centrepiece is the band’s version of Classical Gas. It is certainly their most Prog moment, long and full of changes of emphasis and time plus some natty instrumental set-pieces. This is right in the Prog-riffing mode, but the light touch Deep Feeling possessed means the 8 minute running time does not seem that long at all. Probably better that you listen to this than I describe it, so there you go.
A shortened version of Country Heir, a piece of self-explanatory Country Rock, was extracted from the LP as a single, with the slowie We’ve Thrown It All Away on the b-side. Meeting with little in the way of success, it would be almost a full year before Deep Feeling were heard from again. Switching labels to Phillips, they reappeared with the Sunday Morning Leaving single in October 1972. This one was another strong offering, a fluid guitar line and again some traces of Country in the outro. Though again appealing, it disappeared without trace and the band busied themselves recording under a variety of aliases (including the National Shinguard Company!)
Meanwhile, Darrell/Swail’s 1966 recording of I’ve Been Hurt was starting to played to wild reaction on the Northern Soul scene, resulting the record being re-released. It made number 12 in the charts and he and the band ending up appearing on Top Of The Pops in 1973. Boosted by this success, Darrell resumed his solo status, which effectively ended the career of Deep Feeling. As a postscript there was a final single by the band, a cover of the Stones’ Lets Spend The Night Together, treated in much the same, slowed down way as the debut single. It was another sparky bit of Pop but didn’t make any headway. The flipside Avalon was dramatic treat though and showed that the band could always pen a decent tune themselves – a great Jenner/Green original.
The vocal abilities of Deep Feeling set them apart from the great-coated Prog hordes and they were dab hands in the art of constructing stately Pop music pieces. In reality, they weren’t a Progressive band in the true sense of the word, but they did manage to assemble a concoction that was novel and sometimes quite beautiful. For me the singles are the pick here, but for anyone more Prog minded, the album is a peach. Sadly only Derek Elson is still with us from the band to see their oeuvre finally gain a re-release – hopefully people hearing this for the first time will listen to what Deep Feeling had to offer – a potent and bewitching brew indeed.
by Ian Canty, May 15, 2018
Tracks
1. Welcome For A Soldier - 5:58
2. Old People's Home - 3:53
3. Classical Gas (Mason Williams) - 8:16
4. Guillotine - 9:02
5. Country Heir - 5:47
6. Lucille (Albert Collins, Richard Penniman) - 5:28
7. Do You Love Me? (Berry Gordy Jr.) - 3:26
8. Move On (Roger Easterby, Desmond Herbert Champ) - 2:19
As the title suggests, ‘Boogie!’ is a celebration of the blues-based sounds that dominated Australian music in the early 70s and onwards. It features many of the all-time biggest names in Australian rock, including Billy Thorpe & the Aztecs, Chain, Cold Chisel, Daddy Cool, Skyhooks, Rose Tattoo, the Angels, Lobby Loyde & the Coloured Balls and Max Merritt & the Meteors, and numerous others that were household names back in the 70s, including the La De Da's, Madder Lake, Buffalo, Blackfeather, Spectrum, the Dingoes, Jo Jo Zep & the Falcons and Sports.
The 44-track collection features original cover art by Ian McCausland, who designed iconic cover and poster art for the likes of Daddy Cool, Chain and the Rolling Stones back in the day, as well in-depth liner notes by Jen Jewell Brown who, as Jenny Brown and Jenny Hunter-Brown, was one of the most incisive Australian rock critics of the day.
Boogie looks at the distinctively Australian brand of blues that developed out of the ‘60s R&B scene and came into its own at festivals like Sunbury and in the nascent pub rock scene of the ‘70s. This music was massive at the time – bands like Billy Thorpe & The Aztecs and Daddy Cool were genuine social phenomena, and directly inspired to the biggest bands of the late 70s, Cold Chisel and the Angels. And of course AC/DC were a direct product of this scene too.
by Dave Laing
Tracks
Disc 1
1. Chain - Black And Blue (Single Version) (Barry Harvey, Barry Sullivan, Matt Taylor, Phil Manning) - 3:53
2. Blackfeather - Boppin' The Blues (2010 Remastered Version) (Carl Perkins, Howard Griffin) - 3:15
3. Billy Thorpe And The Aztecs - C.C. Rider (Ma Rainey) - 4:08
4. Band Of Light - The Destiny Song (Pamela Key, Phillip Key) - 3:17
5. Spectrum - I'll Be Gone (Mike Rudd) - 3:32
6. La De Das - Gonna See My Baby Tonight (Kevin Borich) - 3:21
7. Stevie Wright - Guitar Band (George Young, Johannes Henderikus Jacob Vandenberg) - 3:21
8. Rose Tattoo - Bad Boy For Love (Ian Rilen) - 3:08
9. Buster Brown - Something To Say (2005 Remastered Version) (Angry Anderson, Angry Anderson, Paul Grant, Phil Rudd) - 5:30
Down Under Nuggets: Original Australian Artyfacts 1965-67 is a collection of the best Australian garage-rock of the ‘60s. It features 29 of the wildest Australian recordings from the '60s from such outfits as The Missing Links, The Purple Hearts, The Black Diamonds, The Lost Souls, The Wild Cherries, The Loved Ones, The Throb and The Moods. Long term fans of the genre will be thrilled to find we’ve included the never-before heard full-length 5:29 version of The Sunsets’ classic ‘The Hot Generation’ Released on the revived Festival label, it features many tracks originally released by Festival back in the day. Booklet with detailed informations about every artists and songs
Artists - Tracks
1. The Masters Apprentices - Buried And Dead (Michael Bower) - 2:38
2. The Elois - By My Side (Alan Rowe, Bill Van Berkel, Dennis Fiorini, Greg Heenan) - 2:15
3. The Black Diamonds - I Want, Need, Love You (Alan Oloman) - 2:59
4. The Atlantics - Come On (Peter A. Hood) - 2:53
5. The Purple Hearts - Early In The Morning (Traditional) - 2:07
6. The Missing Links - Wild About You (Andy Anderson) - 2:35
7. The Creatures - Ugly Thing (Greg Lawrie, Keith Matcham) - 3:17
8. The Lost Souls - This Life Of Mine (Terry Paul, Bill Putt) - 2:41
The Ozark Mountain Daredevils combines humor and diverse talents of the writers and musicians in the band to play feel good, cozy alt country, Appalachian rock & roll. In short, they created timeless Southern rock.
The Ozark Mountain Daredevils was formed in Missouri during the early ’70s with and Steve Cash and John Dillon on guitars, Michael Granda on bass, Randle Chowning on vocals, Buddy Brayfield on keyboards and Larry Lee on drums.
The Ozark Mountain Daredevils, while not being the most successful country-rock outfit, had released five fine albums prior to Don't Look Down. Their sound had changed little over the years, which suited most fans who frankly wanted more of the same. This release is somewhat more polished than earlier recordings.
Fine musicianship is present as usual, but the move to a lighter rock style has forced guitar solos to take a backseat throughout. Don't Look Down is consistent enough, and is undoubtedly an enjoyable album.
In 1978 they releade a double live album "It’s Alive" but like the previous one saw decreasing sales, multiple personnel changes and Ozark Mountain Daredevils was finally dropped from A&M roster in late 70’s.
In 1980 The Ozark Mountain Daredevils signed to CBS records and made one more album, but buying audience didn’t agree with their modern sound and The Ozark Mountain Daredevils slowly faded away from music scene before making their comeback in mid-nineties.
After forty years and over two million albums sold, even today The Ozark Mountain Daredevils keeps performing live on selected dates with original members Michael Granda, Steve Cash and John Dillon.
by Ben Davies and parts of Pure Southern Rock
Tracks
1. River To The Sun (Steve Cash, John Dillon) -3:25
2. Crazy Lovin' (Steve Cash, John Dillon) -3:53
3. Giving It All To The Wind (Larry Lee) - 4:13
4. The Fox (Steve Cash) -2:45
5. Backroads (Steve Canady) -3:13
6. Snowbound (Steve Cash, John Dillon) - 3:30
7. Following The Way That I Feel (Larry Lee) - 3:35
8. Love Makes The Lover (John Dillon, Steve Cash) - 3:21
9. True Believer (Larry Lee, Steve Cash) - 4:13
10.Moon On The Rise (Larry Lee, Steve Cash) - 3:05
11.Stinghead (Michael Granda) - 2:09
12.Sweetwood (John Dillon, Kevin Wray, Cathy Wray) - 4:32
13 Plainity (Michael Granda) - 2:34
14.Valencia Road (Steve Canady) - 2:54
The Ozark Mountain Daredevils
*Larry Lee - Drums, Acoustic Guitar, Synthesizer, Vocals
*Steve Cash - Harp, Percussion, Vocals
*John Dillon - Guitars, Fiddle, Piano, Vocals
*Michael "Supe" Granda - Bass, Acoustic Guitar, Vocals
Two discs of 1972-1977 BBC performances by the Sensational Alex Harvey Band with excellent sound are collected on this set, though it's not quite as lengthy as you might assume, adding up to about an hour and a half in all (with only about half an hour on the second disc). There aren't great surprises in store for those familiar with Harvey's BBC work during this, his commercial peak. As was also true of his records, his reputation as a truly sensational live visual performer isn't quite mirrored by this audio-only document. Too, the only song that doesn't appear on his studio releases of this time is a 1972 cover of "Dance to the Music," which might be energetic but certainly wouldn't give Sly & the Family Stone cause to worry.
Disc one is entirely devoted to two performances at BBC's Paris Theatre, one in November 1972 and the other in October 1973, where they run through the bulk of the material from the SAHB's first couple albums. Some of his most celebrated songs, like "Framed" and "The Faith Healer," are naturally included, as well as his oddball cover of the early rock & roll hit "Giddy Up a Ding Dong," though Harvey's manic-tinged vocals are more impressive than the period hard rock backing.
Disc two actually features 1973-1975 performances from the BBC television shows The Old Grey Whistle Test and Top of the Pops rather than radio spots, and the two songs from a December 1973 OGWT appearance -- an anguished cover of Jacques Brel's infamous "Next" and a second version of "The Faith Healer" that utterly outclasses the one on the first disc from just two months earlier -- are the highlights of the collection, though this "The Faith Healer" is actually a live Harvey vocal fronting a pre-recorded backing track. His 1975 U.K. Top Ten hit "Delilah" (from a 1975 OGWT broadcast) is another highlight, but take note that the final and least essential two tracks, from a 1977 appearance on the same program, are the SAHB without Harvey.
by Richie Unterberger
Tracks
Disc 1
1. Midnight Moses (Alex Harvey) - 4:40
2. St. Anthony (Alex Harvey) - 6:24
3. Framed (Mike Stoller, Jerry Leiber) - 6:41
4. There's No Lights On The Christmas Tree Mother, They're Burning Big Louie (Alex Harvey, Jimmy Condron) - 3:54
5. Hole In Her Stocking (Alex Harvey, Ray Russell) - 5:44
6. Dance To The Music (Sylvester Stewart) - 7:30
7. The Faith Healer (Alex Harvey, Hugh McKenna) - 6:25
8. Midnight Moses (Alex Harvey) - 4:35
9. Gang Bang (Alex Harvey, Hugh McKenna) - 4:55
10.The Last Of The Teenage Idols (Alex Harvey, Alistair Macdonald Cleminson, Hugh McKenna) - 8:21
11.Giddy Up A Ding Dong (Pep Lattanzi, Frank R. Bell) - 3:27
Tracks 1 - 6 recorded for BBC Radio 1's In Concert at the Paris Theatre, London, 2 November 1972.
Tracks 7 - 11 recorded for BBC Radio 1's In Concert at the Paris Theatre, London, 2 October 1973.
Disc 2
1. Next (Jaques Brell, Mort Shuman) - 4:01
2. The Faith Healer (Alex Harvey, Hugh McKenna) - 3:18
3. Give My Compliments To The Chef (Alex Harvey, Alistair Macdonald Cleminson, Hugh McKenna) - 6:08
4. Delilah (Les Reed, Barry Mason) - 5:04
5. Boston Tea Party (Alex Harvey, Hugh McKenna) - 3:48
6. Pick It Up And Kick It (Alex Harvey, Hugh McKenna) - 4:36
7. Smouldering (Chris Glen, Hugh McKenna) - 4:39
Tracks 1,2 recorded for BBC Television's "The Old Grey Whistle", 20th December 1973
Tracks 3,4 recorded for BBC Television's "The Old Grey Whistle", 30th May 1975
Track 5 recorded for BBC Television's "Top of the Pops", 10th June 1976
Tracks 6,7 recorded for BBC Television's "The Old Grey Whistle", 25th January 1977
Boston psychedelic band the Tangerine Zoo formed in 1967 in nearby Swansea, MA. Guitarist Robert "Benny" Benevides, bassist Tony Taveira, and drummer Donald Smith first collaborated in the Ebb Tides, which the previous year issued "My Baby's Gone" on the Arco label. With the additions of singer/guitarist Wayne Gagnon and keyboardist Ronald Medeiros, the group renamed itself the Flower Pot, abandoning the Ebb Tides' garage rock sound in favor of a more psychedelic approach. In addition to serving as the house band at the local Venus de Milo restaurant, the band also opened for the likes of the Jimi Hendrix Experience, Van Morrison, and Deep Purple.
Their growing popularity was buoyed by a large fan base in Boston, and in late 1967 signed with the New York City-based Mainstream label. While recording their debut LP, label execs demanded another name change, fearing backlash from the obvious marijuana reference in the Flower Pot moniker; after setting on the Tangerine Zoo, the group released its self-titled debut in early 1968. Taveira exited the lineup prior to recording the follow-up, Outside Looking In. In mid-1969, the Tangerine Zoo was invited to play the Woodstock festival, but were forced to decline due to prior commitments. The band dissolved in 1970, with Gagnon soon resurfacing in Wadsworth Mansion, which scored a Billboard Top Ten hit with 1971's "Sweet Mary." The original Tangerine Zoo lineup reunited in 1988 to play a charity fundraiser, intermittently reconvening during the decades that followed.
by Jason Ankeny
Tracks
1. Birth (Ronald Medeiros) - 2:41
2. Like People (Robert Benevides) - 2:43
3. Wake Up Sun (Robert Benevides, Wayne Gagnon, Ron Medeiros, Donald Smith, Tony Taveira, Vic Armen) - 4:25
4. Another Morning (Ray Thomas) - 2:51
5. Confusion (Wayne Gagnon) - 4:54
6. You I Love (Ronald Medeiros, Vic Armen) - 3:54
7. Farther Down The Road (Vic Armen, Wayne Gagnon) - 4:26
8. Can't You See (Ronald Medeiros, Wayne Gagnon) - 3:49
9. Young Dream (Wayne Gagnon) - 9:25
10.Gloria (Van Morrison) - 6:11
11.Trip To The Zoo (Robert Benevides) - 3:56
12.Please Don't Set Me Free (Wayne Gagnon) - 3:54
13.Nature's Children (Donald Smith, Ronald Medeiros) - 3:54
14.The Flight (Ronald Medeiros) - 4:26
15.Mommy And Daddy (Ronald Medeiros) - 1:46
16.Symphonic Psyche (Wayne Gagnon) - 3:56
17.Crystalescent Heaven (Wayne Gagnon) - 4:49
18.One More Heartache (Marvin Tarplin, Robert Rogers, Ronald White, Warren Moore, William "Smokey" Robinson, Jr.) - 2:31
