1973's "Eagle Rock" was critically acclaimed and once again quite eclectic, (featuring new keyboardist Helge Groslie and bassist Arica Siggs). There's a slight African tribal percussion theme running through the album, reminding me of, er, Uriah Heep on Look at Yourself. It does have a couple of highlights, though, in the epic One Night In Eagle Rock and the excellent Dying Sun, where the band stumble across a great rif. "Eagle Rock" is one for aficionados of the era.
Tracks
1. One Night In Eagle Rock (Arica Siggs, Janne Loseth, Roy Robinson) - 7:46
2. All Around You - 3:56
3. One Of Your Kind - 5:28
4. Heia Valenga (Arica Siggs, Helge Groslie, Janne Loseth, John Lorck, Kjell Asperud, Roy Robinson) - 1:37
5. Dying Sun - 6:17
6. And It's Music - 3:16
7. Richmond Express (Janne Loseth, Roy Robinson) - 3:36
8. Maureen - 6:12
9. The Skeleton (Arica Siggs, Helge Groslie, Janne Loseth, John Lorck, Kjell Asperud, Roy Robinson) - 2:31
10.Rain 2000 (Kenny Aas, Roy Robinson) - 3:47
11.Blond (Kenny Aas, Roy Robinson) - 5:36
12.Macumba (John Williamson, Roy Robinson) - 3:52
13.Midinght Sadness (Janne Loseth, Roy Robinson) - 3:44
All compositions by Arica Siggs except where stated
1973’s #10, is most famous for not being the bands tenth album. In fact, it was the 12th studio album. However, it was the tenth with vocalist Burton Cummings.
The album is more than decent and starts out with a good song in “Take It Off My Shoulders.” “Cardboard Empire” and “Glamour Boy” are also fine tunes that see Cummings reaching outside of his comfort zone and showing new sides to his musical vocabulary.
Missing from the album are any real hits. Because this album did not have any classic Guess Who moments some fans think it was a flop, however, when given a second listen, the album contains some good music, it is just not what fans of the band were used to hearing, and it's worth for checking it out.
by Jeb Wright
Road Food is filled with leader/singer Burton Cummings's intriguing variety of musical styles and bizarre lyrics. It is also thankfully free of filler. The music ranges from the blithe pop sound of the title track and "Star Baby" to the light jazz feel of "Straighten Out." Many songs evoke the pop/R&B styles of the Fifties and early Sixties, notably "Don't You Want Me" (with its Shirley & Lee piano), "Pleasin' For Reason," and the amusing "Clap for the Wolfman," a potential single with cameo interjections from the legend himself. The antique flavorings are subtle: The ambience is contemporary, with skillfull playing, smooth harmonies and Cummings' nonpareil vocals.
Lyrically Cummings mixes distorted snatches of classic rock & roll songs, sardonic commentary on the travails of touring, and tantalizing, if meaningless, images. "Hurricane wonder boy scratchin' for the scrunge now" or "Well, have you ever seen a Madras monkey/ Have you ever seen an Orlon eel?" reach the heights of whimisical absurdity, but "Don't You Want Me?" (redone from a previous LP) is a ridiculously exaggerated and bloodthirsty jealousy number.
The murky images come together in "Ballad of the Last Five Years," a moody, melodic blues higly reminiscent of Van Morrison's Astral Weeks monoliths: It's a haunting climax for a first-class album from one of rock's most consistently fascinating maverick bands.
by Ken Barnes, Rolling Stone, 6-20-74
Tracks
1. Star Baby (Burton Cummings) - 2:40
2. Attila's Blues (Bill Wallace, Burton Cummings, Garry Peterson, Kurt Winter) - 4:54
3. Straighten Out (Bill Wallace, Burton Cummings) - 2:27
4. Don't You Want Me (Burton Cummings) - 2:21
5. One Way Road To Hell (Bill Wallace, Burton Cummings) - 5:29
6. Clap For The Wolfman (Bill Wallace, Burton Cummings, Kurt Winter) - 4:16
7. Pleasin' For Reason (Burton Cummings, Don McDougall) - 3:21
Despite their musical excellence, Sydney band Galadriel never achieved any commercial success during their short career, and they were forgotten for many years. Ironically, their eclectic and ultra-rare 1971 LP has now became one of the most collectible artefacts of Australian '70s progressive rock and they are now internationally known, thanks the burgeoning worldwide interest in Australian music of the 60s and 70s, and especially due to the efforts of rock historian Ian McFarlane, who championed them in his Freedom Train fanzine and included this long-overlooked group in his Encyclopedia of Australian Rock & Pop.
Galadriel is one of a group of Sydney bands whose histories are connected with the formation of Sherbet -- guitarist/songwriter Garry Adams and drummer Doug Bligh had come from Sydney band House of Bricks, whose other members were singer Daryl Braithwaite and bassist Bruce Worrall, who both moved on to Sherbet during 1969. Taking their name from the Elven queen of Tolkien's Lord of the Rings, Galadriel was formed in 1969 by guitarist and songwriter Garry Adams (ex House of Bricks) and drummer Doug Bligh. In the late 1960s, the repertoire of working bands like House of Bricks usually consisted of covers of local and overseas hits, but Galadriel's members wanted to write and perform their own original material.
Recruiting hotshot lead guitarist Gary Lothian from the highly regarded Sydney band Elliot Gordon Union, singer John "Spider" Sholtens and flautist Mick Parker from fellow Sydney dance band Samael Lilith, Galadriel soon made a name for themselves on the thriving Sydney dance/discotheque circuit. They often played at Sydney's "Joseph's Coat" disco -- and they shared gigs with many of the top progressive groups of the day including , Kahvas Jute, Blackfeather and Spectrum.
The band signed with Gus McNeil's Cellar Music, which was also the publishing company for Spectrum's Mike Rudd and Coutnry Radio's Greg Quill. Around October 1970 Galadriel recorded ten original songs at Sydney's United Sound Studios with American engineer-producer Tom Lubin. Their debut single "Lady Was A Thief" / "Girl of Seventeen" (February 1971) was picked up for release by Martin Erdman's independent label Du Monde, which played such an important part in the Sydney music scene in the late 1960s and early 1970s.
Galadriel shopped the recordings around for several more months without success, but eventually they were signed by the Polydor label (part of the German-based Polygram corporation) , who released the LP and their second single "Standing In The Rain" / "Working", in May 1971. These were Polydor's first local rock releases in Australia and although the recordings were remarkably good, Polydor evidently lacked the experience and clout to get it noticed and regrettably both album and single sank without trace.
Following the single's release, Mick Parker left the band and was replaced by two new members, Bruce Belbin (ex Gutbucket) and flautist Dave Allen. Late in 1971 Galadriel prepared to record their second album. Tracks slated for new LP included the epic live highlight "Song For Your Reason", "In The Night" and "Poor Boy", one of their most commercial numbers, which was earmarked as a probable single. Unfortunately, the second Galadriel LP was never recorded and it's been claimed that it was recorded but then erased.
Dave Allen wrote:
"My memory is this. The second album was to be recorded with Festival. Contracts were drawn up, the band was rehearsing, but there was some dispute between Gary Adams and Spider Sholten, the songwriters of the group, and the whole thing was broken up. The second album never existed."
Adams and Bligh joined Mario Millo's band The Clik, and Bligh later played on Sebastian Hardie's acclaimed Symphinity LP. Gary Lothian played for over a decade with popular Sydney R&B outfit The Cyril B. Bunter Band (1973-1985) and these days he is part of the roots/boogie duo Swamphouse.
Mick Parker joined Jell Ellif for a few months after leaving Galadriel and finished up flute studies at the Sydney Conservatorium when his flute teacher Peter Richardson died. He then moved to Coffs Harbour where he formed small acoustic based bands which included Andrew Gray and former 2SM DJ John Carroll. He also toured regional NSW on a bus (equipped with wood stove and chimney) with a busking trio. In 1976 he moved to Adelaide and was partly responsible for the rise in busking and the headline-making confrontation with Adelaide Council over busking. He also recorded with No Thongs, an original rock band, and Neil Dreamer & The Nightmares, a busking band.
Mick returned to the Coffs Harbour-Bellingen area and joined The Tallowood Bush Band in 1980, which is still going. Tallowood has backed Rolf Harris, Ted Bullpit and Wendy Harmer. Tallowood have four CDs, the most recent of which features Russell Crowe on the backing vocals. Mick comments:
"Tallowood are trying to survive to their 30th annivesary at least. This is not easy as two of their fiddle players (inlcuding Ray Shleifel who played with Pixie Jenkins on the fiddler albums) and a piano player have passed away."
Mick is also an animator and DVD producer and has animated ads and Medieval DVD's circulating locally and overseas.
Top quality Danish psych prog from 1971 with English vocals. Ranges from powerful guitar driven tracks through to Sitar drenched chill out's. Of it's type, one of the best Scandinavian albums of the '70s and originally on a major label!.
Hurdy Gurdy emerged from the Danish group Peter Belli and the Boom Boom Brothers (aka The B.B. Brothers) in June 1967, when three members of the B.B. Brothers, guitarist Claus Bøhling, drummer Jens Otzen and British vocalist and bassist Mac MacLeod formed the power trio HUrdy Gurdy. Inspired by Cream but with more psychedelic leanings, they split from Peter Belli and MacLeod named the band ‘Hurdy Gurdy’.
Otzen and Bøhling had to return to Denmark shortly after those recordings, as they were unable to secure work permits from the Musician's Union. A new bassist (Torben Forne) was recruited to replace MacLeod, and in the early 1971 they released a self-titled album for CBS. MacLeod briefly joined the post Zombies group Argent.
Claus also designed all the artwork for the single cover and rare poster, plus many unseen paintings on the printed inner sleeve and insert of this reissue. The single itself on famous Spectator Records is harder to get than the CBS album. What the band “Charlies” was for Finland, “Hurdy Gurdy” was for Denmark. Extra heavy guitar psychedelic with great drums and bass and extra cool vocals, on the same musical level as British Cream, sometimes even better! We love this album – solid underground all the way!
Tracks
1. Ride On (Claus Bøhling, Torben Forne) - 5:09
2. The Giant (Claus Bøhling) - 4:37
3. Tell Me Your Name (Claus Bøhling, Jens Marqvard Otzen, Torben Forne) - 4:28
The band’s American label, Bell Records, urged the group to return to their original pop crossover country sound, as opposed to Dodson’s “more rockier” approach and for this album they did just that for the most part. The album produced hit singles with the ballads “Minstrel Gypsy”, “Oh My Lady”, the catchy pop styled “Julia Get Up” and the 50’s styled rocker “Johnny Lightning”.
Tracks
1. Minstrel Gypsy (Kim Berly) - 3:42
2. No Destination (Ronnie King) - 2:10
3. Mumbo Jumbo (Rich Dodson) - 2:52
4. Got To Get Me Back Home (Ronnie King) - 3:16
5. I Don't Know (What To Call It) (Kim Berly) - 3:04
Minnesoda did an obscure but fairly interesting self-titled jazz-rock album for Capitol in 1972, produced by Bob Johnston (famous for his work with Bob Dylan, Johnny Cash, Leonard Cohen, Simon & Garfunkel, and numerous others). The record was in limited respects like the first recordings of Chicago and, more distantly, Blood, Sweat & Tears in its jazz-rock-with-vocals format. Minnesoda, however, had a substantially greater funk flavor, and a speedier, more aggressive edge to their material, though they didn't have the pop-friendly melodies of the more renowned bands. Half of Minnesoda's eight members were on horns, with tenor saxophonist Dave Gustafson playing flute as well, adding to the rock band-as-big-band feel.
A couple of the musicians in Minnesoda had performed with name acts prior to the album. Trombonist Don Lehnhoff had played with Mitch Ryder and the Detroit Wheels. Much more unexpectedly, trumpeter Eddie Shaw had in the 1960s been the bassist for the Monks, the 1960s band of ex-GIs who recorded an album of ludicrously minimalist, furious pre-punk in Germany in the mid-1960s -- a record that was unknown by 1972, but which by the 1990s had an avid cult following.
Minnesoda were at first called Copperhead, but without the band's knowledge, they were renamed Minnesoda (in a nod to their Minnesota origins) for the Capitol album. (They were no relation to another band called Copperhead, including ex-Quicksilver Messenger Service guitarist John Cipollina, that also recorded in the early 1970s.)
Minnesoda's little-known self-titled LP is pretty hot white funk jazz-rock, sounding a little like Chicago or Blood, Sweat & Tears might have had those stars decided to go less commercial rather than more commercial after their first albums. Actually, Minnesoda are rawer and more frenetic than Chicago or BS&T were even at their earthiest, though their material lacks the pop hooks of even the boldest Chicago/BS&T outings. A quartet of brassmen on tenor sax, flute, trumpet, and trombone augment the usual rock lineup in this octet, fronted by John Elms' credibly high-octane, lusty upper-register blue-eyed soul vocals.
There's sometimes an almost big band-like dexterity to the horns, yet the more jagged, at times hyper, thrust of the guitars and drums give it a solid funk base. The melodies are often more ominous than they usually are in this kind of fare, frequently jetting off into unexpected, improvised-sounding horn interjections and key changes. Only the adventure film theme-like "Flexible Flyer," and the uncharacteristically reflective, jazzy ballad "Party" slow the tempo down much.
Johnston recorded a second album with the band that went a little further into jazz, and further away from any rough similarities with Chicago, although they were still present. But Johnston was unable to get the album released, and Minnesoda remained their only issued LP.
by Richie Unterberger
Tracks
1. Let's Get It On (Jerry Lacroix, Edgar Winter) - 6:00
A short-lived Los Angeles-based project. Their album has a great cover. The contents incorporate several different styles. All the music is written by W. David Mohr except couple of tracks, and much of it is heavy with lots of fuzz guitar reminiscent of Iron Butterfly. A sorta West Coast sound which seems in places distinctly similar to Fever Tree's San Francisco Girls (well spotted, Max!); pretentious pop with lots of keyboards (Midnight Candle); gimmickry with lots of sound effects (Does Your Head Need Straightening?) to the very plesant After The Storm, which has some delighfful soothing piano.
The original sleeve of this eclectic collection of Los Angeles psychedelia promised it would deliver 'a feeling of newness'. And indeed few albums from 1968 could boast such a range of styles, taking in acid rock, sunshine pop and heavy soul, with plenty of fuzz guitar and progressive keyboard interludes along the way. An overlooked gem that's sure to appeal to fans of classic underground music.
Tracks
1. Debby's Party - 0:32
2. The Ballad of Captain Bob and the Good Ship Venus (Bob Gay, Darrell Devlin) - 4:39
3. Love Allusions - 3:08
4. Milk And Honey Lovin' - 3:56
5. I Just Want to Make Love to You (Willie Dixon) - 4:48
6. Leaf Clover - 3:17
7. Prelude to the Music Makers Concerto - 1:28
8. Does Your Head Need Straightening? - 6:02
9. Midnight Candle - 6:17
10.Mary Lou - 1:51
11.Everything's - Cool 2:38
12.After the Storm - 5:28
All songs by W. David Mohr except where indicated
Rainbow
*Darrell Devlin - Drums, Percussion, Vocals
*Bob Gay - Bass
*W David Mohr - Organ, Piano, Flute, Trumpet, Vocals
After four years of amateur gigs and high-school dates around Toronto, Steel River began playing professionally in 1969 and signed with Tuesday Records the following year. From their 1970 debut album Weighin' Heavy, "Ten Pound Note" became a hit in Canada. Steel River broke up three years after 1971's A Better Road, but re-formed in 1979 to record the single "Armoured Car."
“Southbound Train“, the hit single from A Better Road was recorded at Toronto Sound with Greg Hambleton producing, Terry Brown engineering in 1972 and mixed by Bob Liftin (Regent Sound, NY). The album was released in Canada on Greg’s Tuesday label and licensed by the Stereo Dimension label in the States. Distributed worldwide by Phonogram, the single promoted the album and supported their extensive international touring schedule in major arenas. “Mexican Lady“, featuring John Dudgeon‘s blues-rock vocals and their 3rd hit single, is included along with “Do You Know Where You’re Going?“, “What You Are” & “Take It Slowly“. Completing the lineup was Bob Forrester on keyboards, Ray Angrove on drums, Rob Cockell on bass and Tony Dunning on guitar.
Steel Tiver became an international touring success and performed on three major American tours with The James Gang, Melanie, Steppenwolf, Black Sabbath, Three Dog Night, Edgar Winters, etc. Band members Bob Forrester (keyboards), Rob Cockell (bass), Tony Dunning (lead Guitar) Ray Angrove (drums) and with lead singer John Dudgeon wrote most of the material on their first and second album 'A Better Road' including "Southbound Train" and "Mexican Lady". Licensed by Polygram for release outside North America, all three singles charted in Canada and the States.
Tracks
1. Mexican Lady (Bob Forrester, Rob Cockell, Tony Dunning) - 3:50
2. Do You Know Where You're Going? (Bob Forrester) - 4:39
3. Take It Slowly (John Dudgeon) - 3:09
4. What You Are (Ray Angrove, Bob Forrester) - 3:18
5. They've Been Waiting (John Dudgeon) - 3:47
6. Southbound Train (Bob Forrester, Rob Cockell, Tony Dunning) - 3:56
7. Don't Tell Me (Rob Cockell, Tony Dunning) - 2:40
8. No One Will Hear You (John Dudgeon) - 3:01
9. Take You Away (Bob Forrester, Rob Cockell, Tony Dunning) - 2:45
10.Joyful Judy (John Dudgeon) - 3:11
11.Love Can't Be Made Of Gold / Let's Think Ahead (John Dudgeon) - 5:12
Steel River
*John Dudgeon - Lead Vocals
*Bob Forrester - Organ, Piano
*Rob Cockell - Bass
*Tony Dunning - Guitar
*Ray Angrove - Drums
With
*Lafe (H.F). Buckner And The Funky Hedgehogs - Backing Vocals, Percussion
One of the great British vocalists, with an immediately distinctive sound,Roden cut his teeth with the Alan Bown Set in the 60’s, achieving a minor hit with the single “Emergency 999”. He eventually left to form the band “Bronco” which recorded two albums, which though well received, particularly “Ace of Sunlight” failed to set the world on fire. Roden surfaced again on the eponymously titled “Butts Band” album, a wonderful collection of songs performed by a great band comprising Roden, Robbie Krieger and John Densmore of The Doors, and session favourite Phil Chen on bass. Check out the wonderful “Baja Bus” and “Sweet Danger”.
Around this time Roden also appeared on Keef Hartleys “Lancashire Hustler” album with Robert Palmer. Island records then stood by Roden for a string of great albums, both solo and with his band. The self-titled “Jess Roden” album features the wonderful “Ferry Cross”. “The Player Not The Game” ia a beautifully made album with the cream of New Orleans session men, including Allan Toussaint. Jess also made a memorable version of “You can leave your hat on ” from the album “Keep Your Hat on”.
Sadly, he was never destined for the big time, and albums like “Play it Dirty” and “Stonechaser” became the rarities at the back of the record shop. A brief return in the 80’s with “Multiplay” by the Rivits and some session work, notably Grace Jones “Nightclubbing” album marked a less productive Roden.
However, in the mid 90’s he made a surprise return with a band called The Humans,featuring ex-Strider and Rod Stewart guitarist Gary Grainger, recording one great album, subsequently disappearing from the scene once more following a live album.
This Kidderminster born vocalist has a voice of pure gold, and for most of the record buying public, he is an undiscovered gem, check him out!
by Kev Moore
Tracks
1. You Can Leave Your Hat On (Randy Newman) - 4:01
2. Jump Mama (Jess Roden) - 3:59
3. Blowin’ (John Cartwright, Jess Roden) - 3:24
4. In A Circle (John Cartwright, Steve Webb) - 5:29
5. On A Winner With You (Jess Roden, Steve Webb) - 3:18
6. Mama Roux (Dr John, J. Hill) - 3:31
7. Desperado (Don Henley, Glen Frey) - 5:21
8. Too Far Gone (Billy Sherrill) - 5:12
9. Send It To You (John Cartwright) - 4:05
10.U.S. Dream (John Cartwright, Steve Webb) - 3:52
11.Stay In Bed (Jess Roden) - 3:57
12.Can’t Get Next To You (Norman Whitfield, Barrett Strong) - 7:01
13.Dirty Bars (John Cartwright) - 4:39
14.Me And Crystal Eye (Jess Roden, Steve Webb) - 4:14
15.Stone Chaser (Jess Roden, Steve Webb) - 5:33
16.The Ballad Of Big Sally (John Cartwright, Bruce Roberts) - 5:43
In 1972 the New York born guitarist Howard Feiten who had previous played with Paul Butterfiled for their 1969 "Keep On Moving", met Neil Larsen who was born in Cleveland, Ohio, together they formed the band Full Moon along with Gene Dinwiddie, Philip Wilson who both also had been in the Butterfield band. The LP was on an obscure label, never charted, and was relegated early on to the cut out bins. Even though the sound was an excellent amalgam of fusion “feel good” jazz rock.
Buzz Feiten with Butterfield, toured internationally and played at the Atlantic City Pop Festival and the Woodstock Festival, he was lead guitarist for The Rascals on their albums "Peaceful World" and "Island of Real". Feiten worked with many artists such as Gregg Allman, The Brecker Brothers, Bob Dylan, Aretha Franklin, Michael Franks, Al Jarreau, Rickie Lee Jones, Chaka Khan, Dave Koz, Kenny Loggins, Bette Midler, Olivia Newton-John, Wilson Pickett, David Sanborn, James Taylor, Stevie Wonder,Etta James, Dave Weckl and Don McLean.
Neil Larson was briefly a member of the Soul Survivors, later he began touring as a member of Gregg Allman's band in 1975. He also collaborated with many musicians. From 2008, he had toured and recorded as a member of Leonard Cohen's band.
Tracks
1. The Heavy Scuffle's On (Buzz Feiten, Neil Larsen, Gene Dinwiddie, Phillip Wilson, Freddie Beckmeier) - 2:53
2. To Know (Buzz Feiten) - 4:03
3. Malibu (Neil Larsen) - 4:13
4. Take This Winter Out Of My Mind (Gene Dinwiddie) - 5:26
5. Midnight Pass (Neil Larsen) - 4:22
6. Need Your Love (Buzz Feiten) - 4:10
7. Selfish People (Buzz Feiten, Phillip Wilson) - 7:49
8. Three Step Dance (Dave Holland) - 10:21
9. Jam (Buzz Feiten, Neil Larsen, Gene Dinwiddie, Phillip Wilson, Freddie Beckmeier) - 11:41
