New York based band formed round late sixties, most of the members were from Cuba and Puerto Rico. Their sound is an amalgam of Latin, funk, jazz psychedelic rock. The album was produced by Steve Verroca who was a very known producer, musician, songwriter (he also penned all of the songs except “Louie Louie”), with collaborations such as Link Wray, Kevin Coyne, Juicy Lucy among others. This is their only effort released through Mercury label, in 1970.
Tracks
1. I'm A King (E. Valdes, E. Hernandez, Steve Verroca) - 5:50
2. Manana (Sun Shine On) - 2:59
3. Train Woman - 3:40
4. Back To The City - 3:17
5. I'm Gonna Get You - 3:41
6. She's Famous - 4:51
7. Louie, Louie (Richard Berry) - 3:45
8. Change Your Mind (E. Valdes, E. Hernandez, Steve Verroca) - 3:47
9. Here Comes The Man - 3:21
10.Goin' To Denver - 3:45
All songs by Steve Verroca except where stated
Broth
*William Villanueva - Saxophone, Percussion, Vocals
The aforementioned ‘Duellin’ Banjo’ track is a little bit of an anomaly on here. An oasis amongst the Gallagher brothers, a Ringo to the rest of the Beatles. You do not get more of the same. The LP is filed under Rock, but it’s a bit of a stretch if I’m honest, it’s a bit like the trouble the Sorting Hat had with where to put Harry Potter. An element of country for sure is how the first side kicks off, and after the banjos have departed, ‘Empty Dreams / Flying machines’ is a gentle smouldering track that, to be honest, has more life in it than is given here. Rain from a clear sky is an oddity.
A little psychedelia of noise accompanied by words that ramp along at a pace. It’s almost as if the two were brought together after different nights out and made to work. And Side A finishes with a more traditional violin dominant track which fits in the middle of everywhere.
And so it continues on Side 2. I’m not exactly sure if this fits into any specific genre. Accomplished musicians undoubtedly, it feels a little like a lost afternoon in the hills, trying to find its way home. Not quite sure which direction to take. Promising paths are followed by cul-de-sacs but stick with it as there is enough variation on here to be able to find little gems hidden here and there. Try Snowbird at the end for example. Lovely.
Brooklyn-based Cross Country, it was actually a side-project of The Tokens, formed by brothers Mitch and Phil Margo, together with Jay Siegel, and backed by some great musicians. They released a lone, self-titled album in 1973, and it's quite nice. It's mostly harmonic Americana, similar in the vein of Simon & Garfunkel, Beach Boys and the lighter side of Crosby Stills and Nash.
The record is really lovely a little slice of early 70s rock, with requisite country, folk and pop overtones, with wonderful harmony work to boot. Most of the material was written by Mitch Margo except two songs, the Wilson Pickett's tune “In the Midnight Hour” (written by Steve Cropper and Pickett), and "Choir Boy" penned by Milo Sobel.
Mitch Margo died November 24th, 2017, of natural causes at his home in Studio City, California, at the age of 70. His brother Phil passed away at a hospital in Los Angeles, California, after suffering a stroke, on November 13, 2021, at the age of 79.
Tracks
1. Today - 2:42
2. Just A Thought - 3:18
3. Cross Country - 3:49
4. In The Midnight Hour (Steve Cropper, Wilson Pickett) - 3:14
5. Things With Wings - 2:00
6. Extended Wings - 2:35
7. Tastes So Good To Me - 3:10
8. A Fall Song - 2:49
9. Choir Boy (Milo Sobel) - 3:20
10.A Ball Song - 2:50
11.A Smile Song - 4:28
All compositions by Mitchell Margo except where stated
Lyrical, poetic, mystical are just a few of the words used to describe the music of Dulcimer who first appeared on the Progressive-Folk scene in late '60's. Discovered by the award-winning British actor, Richard Todd, playing in a Cotswold restaurant, they were signed by legendary manager, Larry Page, to launch his new Nepentha label. Upon release their debut album picked up encouraging reviews, notably in Melody Maker, who compared them favourably with Simon & Garfunkel. They were particularly well-received in the United States, Holland, Austria and even Japan, where they acquired something of a cult following. A second album was recorded but remained unreleased until years later when it appeared as a collectors’ item.
It was 1970 and we tumbled into a dream. One minute we were playing to bored diners in a Cotswold restaurant, the next we had been ‘discovered’ by actor Richard Todd and whisked off to London to be signed up by the legendary producer and impresario Larry Page, who at the time was also managing ‘The Troggs’ and ‘The Kinks’, Strange that three ‘wet-behind-the-ears’ country lads writing whimsical songs and poetry should now, albeit briefly, become stable mates with two of the biggest rock bands of that era. We drove to London in my beaten up A35 van with Jem at the wheel and instruments crammed in all around us - a motley crew. Dave and I played two of the cheapest six and twelve string guitars on the market, the dulcimer was held together by tape and will power, the mandolin had been glued back together by Dave after an unfortunate car park incident (I had reversed the van over it), while Jem seemed to be constantly wrestling with faulty leads, his temper and an under-powered treble amp for his bass guitar.
n retrospect perhaps it was these perceived instrument deficiencies which helped to give the album its unique gentle and rather fragile sound; that plus the fact that we were seriously under-rehearsed on several of the new songs which included Caravan (specially written to feature Richard Todd), Fruit of the Musical Tree and While it Lasted — fresh from Dave’s fretboard. In addition our music and ideas had developed independently, in tranquility away from the ‘London Scene’. Landsdown Studio seemed to us to be an exotic grotto of mystery and intrigue. We tuned up, while Larry and Engineer David Baker thrust microphones under our noses and twiddled knobs and dials in the Control Room. We then started to run through a few songs for, what we thought, was a sound check. This seemed to go on for some time until Larry called us in to listen to a play-back of Lisa’s Song. This was the first and only time we heard a track played back and we were amazed when Larry told us that it was ‘a wrap’ ~ but it sounded good so we didn’t argue.
In retrospect this was a very perceptive and clever ruse on Larry’s part to coax a relaxed performance out of us and it gave us confidence for the rest of the recording session. In fact Lisa’s Song was released as the US single. Thereafter Larry’s role as producer mainly consisted of the command ‘Next’ or the request ‘Anything else lads?’ We just kept going and must have put down fifteen or sixteen songs in that one marathon session. Twelve of them ended up going onto the album but the rest are gathering dust somewhere on the shelves of ‘not-to-be’. The majority of the songs were completed in one take and there were no over dubs - just a frenetic swapping of instruments. We were keen to experiment in this new environment but Larry insisted that we kept things simple and natural — he was right again.
Throughout the 1970s Dave and I continued writing, gigging and recording, including several projects at Muff Murfin’s ‘Old Smithy Studios’ in Worcestershire. We tried our hand at more commercial (or so we thought) big production numbers and even a ‘concept’ album with local author Fred Archer entitled A Land Fit for Heroes. Unfortunately, by the time the album was ready for release Fred had moved South and Dave and I had gone our separate ways, so the possibilities for promoting it were, to say the least, somewhat limited!
Late in the decade, and into the 1980s, Dave I and would still get together spasmodically for some recording projects with our old friend Dave Hazelwood at a studio in Leicester. Then in the early 1990s, after being ‘re-discovered’ by President Records, we re-grouped and produced three CDs with Rob Savage at his ‘Ghosts and Nightingales’ Studio in Droitwich, where we were joined by Andrea Blythe and multi-instrumentalist Mike Hooper. Dave and I even collaborated on a musical, “Seeds on the Wind”, based on the short life of Anne Frank. Sadly, although a single recording exists, we never had Andrew Lloyd-Webber worried.
by Peter Hodge
Tracks
1. Sonnet To The Fall (Pete Hodge) - 3:49
2. Pilgrim From The City (Dave Eaves) - 3:08
3. Morman's Casket - 4:27
4. Ghost Of The Wandering Minstrel Boy (Pete Hodge) - 3:09
5. Gloucester City (Pete Hodge) - 2:52
6. Starlight (Dave Eaves) - 2:56
7. Caravan - 8:19
8. Lisa's Song (Dave Eaves) - 2:59
9. Time In My Life - 2:54
10.Fruit Of The Musical Tree - 2:37
11.While It Lasted (Dave Eaves) - 4:19
12.Suzanne - 3:36
All songs by Dave Eaves, Pete Hodge except where noted
Dulcimer
*Dave Eaves - Lead Vocals, Harmonica, Acoustic, Twelve-String Guitar
Panama Limited, having dropped the “Jug Band” from their name, and having seemingly psychedelicised themselves while listening to Captain Beefheart, no doubt taking a tip from label mates The Edgar Broughton Band in the process, are an entirely different proposition on their sophomore and last album Indian Summer. Firstly all but three of the songs are written by Denis Parker, who was definitely under the good Captain’s spell, even down to adopting a sub-Beefheartian growl. Of the three remaining songs, Future and Darkness Brings are penned by Dave Griffiths, and Laughing by Anne Matthews, and all three are at the end of the album, almost as if Denis didn’t want his thematic muse disturbed. The story gets weird when it is revealed in the liner notes that Denis left the band during the recording sessions for the album, and headed back home to Canada, which must have been the fatal blow that ended the band, one assumes?
Released a year after their debut the band have become steeped in the hippy culture of the era and picked up electric instruments. The country element is still there, but fizzed through with eeeeee-lec-triciteee. Ironically, just as Panama Limited were trying to progress and leave their jug band beginnings behind, Mungo Jerry had their hit In The Summertime, prompting Harvest to ask if the band would take a step backwards to secure a cash-in hit. It seems even the most revered of underground labels were not averse to applying biz pressures.
Professionally produced at Abbey Road studios, Indian Summer has a much more polished and serious feel compared to that of the happy-go-lucky debut. That’s not to say it is po-faced, as these grooves feature all the acid-fried lunacy familiar to Beefheart and Broughton fans. An exception to this is the Anne Matthews’ led title track Indian Summer, which has a more traditional folksy feel to it and contrasts nicely with the bug-eyed beans from Venus that surround it.
Dave (not the more formal David of the first album) Griffiths’ Future shows that he too had been listening in rapture to Trout Mask Replica, and it is a bass-led time signature limb-twister that Rockette Morton would be proud of. Darkness Brings on the other hand is a 1967 psychedelia throwback and sounds like it should have been a b-side to a Fire single. Denis’s Beefheartian growl at least makes it sound a little different. We end with Anne Matthews’ Laughing, a twelve-bar that harks back to the first album, but with a boozy feel when Anne’s vocals lurch in.
Could it be that the final three tracks were written after Denis jumped ship in order to complete the album? That may explain the disjointed feel to what was the second side of the original LP. No matter, it is a fairly enjoyable if somewhat derivative romp, mostly through the deserts of Surrey.
Definitely not what I was expecting from a 1974 private pressing with a strangely modern sleeve and a pedal steel guitarist. News, who were four or more lads from Yale University, had the late 60s sound nailed down five years too late, but who’s to complain about a throwback to the best era in rock history? Hot Off The Press is a unique and unknown LP featuring super tight performances, lovely four-part harmonies, and songs that won’t take long to get comfortably lodged in your head.
Kicking off with a pysch-flavored spliced radio parody performed by some of the band members, Hot Off The Press gets right into its first sweet spot with “Loser,” showcasing Mark London’s expert and refreshingly twang-free steel. Throughout the record’s nine songs he has no trouble fitting the instrument in with a pop/rock sound, and essentially designs the rare flavor of this record with soaring, jazzy licks. There are a couple pretty tough rockers, and I must agree with Llama where he labels “One Night Stand” a “so-so Creedence ripoff.” But lighter fare like “Ooo La La” and “Misty Day” (one of the band’s first songs) groove with the sunny sound of Montage. I love the jabber at the end of optimistic bopper “Easy Street:” “…somebody’s way off key…I was doing a 7th,” which adds just the right amount of silliness to this laid-back affair. “Farmer’s Daughter” gets bonus points for the album’s second Beach Boys reference and “New York City” ends the original lineup with an 8-minute jam that finally belies News’ sixties psych disguise. Bonus tracks include the 60-second radio bed that got the band their first shot in the recording studio (1970) and an early demo recording of “Misty Day.”
The CD package is a mini-repro as faithful to a vinyl sleeve as I’ve ever seen, the extensive details of the News story told by principal songwriter Bob Pretcher in the liners. But if you’re willing to shell out some bucks, I’d say go for one of the limited 1974 sealed pressings available direct from Yoga Records. Don’t miss this excellent reissue.
by Brendan McGrath
"Hot Off The Press" is a unique and unknown LP featuring super tight performances, lovely four-part harmonies, and songs that won’t take long to get comfortably lodged in your head. ...These guys had a distinct knack for good hooks and lots of unexpected compositional flourishes. …The bulk of it is terrific 1960s westcoast-flavored folkrock with a dreamy psych vibe and good vocal harmonies. …
If songs like “Loser” and “Misty Day” had gotten attention from record execs, you’d be listening to News on classic-rock radio. …My pick hits are the powerful “Loser,” with a stunning steel guitar solo, and the long album-closer “New York City,” but this is consistent enough that any given listener could feel equally strong about any two others. …There is something timeless about this record, something difficult to put your finger on, yet it grows with repeat listens. …
Here’s a unique and outstanding 70s pop album. The lead instrument is a pedal steel guitar, played with more imagination than almost anywhere. …it can turn a run-of-the-mill country-rock song into a shit-kicking anthem…with soaring, jazzy licks. …This reissue, that boasts two additional tracks, shows off News' honey-tinged harmonies and West Coast easiness, making it one of those great gems that roll out of the seemingly endless vaults. …Here’s a unique and outstanding 70s pop album.
Tracks
1. Radio Blahs (Dean Charles Pailler) - 3:02
2. Loser - 3:09
3. Ooo La La - 2:43
4. Farmer's Daughter - 2:33
5. Misty Day (Bob Prechter, Vic Machcinski) - 4:02
Keyboardist and singer-songwriter from New York, New York, who was kicked out of school for his part in a concert espousing civil rights with his childhood friend, Andy Kaufman. He was in a band called The Living Few and they recorded a demonstration reel, but nothing much came of it. Then he joined Jimmy James and the Blue Flames, which was Jimi Hendrix’s first band.
In 1969, Mark met Todd Rundgren and the two of them set up shop in their own recording studio, Secret Sound. This led to Mark becoming the associate producer and musical director of the album, Music from Free Creek, an all-star extravaganza featuring Jeff Beck, Eric Clapton, Dr. John and Linda Ronstadt, which was released on vinyl in 1976 and CD in 2003.
In 1970, Mark appeared on several albums, including Great Speckled Bird, Taking Care of Business by the James Cotton Blues Band, Kooper Session – Al Kooper Introduces Shuggie Otis, a pair of singles by Allan Nicholls, and Runt by Todd. He collaborated with Buzzy Linhart on Buzzy Linhart is Music and Music, Oliver on Prisms, Carly Simon on her self-titled effort, and Johnny Winter on Johnny Winter And in 1971.
In 1972, he was approached by Lou Reed to contract some musicians for a tour in support of his new album, Transformer. It was a busy year for Mark, who released his own debut, simply titled Mark “Moogy” Klingman, which spawned the single, “Making the Rounds at Midnight”. He also squeezed in time to work with Buzzy on Buzzy (The Black Album) and The Time to Live is Now, Bette Midler on The Divine Miss M, and Todd on Something/Anything?, all the while fronting Moogy & The Rhythm Kings. At that time he recorded his sophomore effort in his loft in New York City with The Rhythm Kings and backing by several great musicians, the album wasn't released until 1978.
In 1973, he appeared on Johnny’s Still Alive and Well and Todd’s A Wizard, A True Star. These were followed by The Handsome Devils by Hello People and self-titled albums by Todd and Utopia in 1974. In 1975, he played on Initiation by Todd and Another Live by Utopia. Then he produced Bette Midler’s 1976 album, Songs for the New Depression, and had a hand in her 1977 LP, Live at Last. In 1978, he released his second solo album, Moogy II, and appeared on Meat Loaf’s Bat out of Hell and Todd’s Back to the Bars, which was recorded at The Bottom Line in New York City.
He reunited with Carly Simon on 1981’s You’re So Vain and wrote the soundtrack of the film, Fear, Anxiety & Depression, which hit the screens in 1989. In between, he occupied himself by writing a play doing a cable television and radio program, and fronting Moogy & the Mojo’s.
Recordings on which he participated in the 1990s include Bette of Roses and Experience the Divine by Bette, the soundtrack of Hail Caesar by Anthony Michael Hall, Free Soul by Todd, City in My Head by Utopia, and White Hot Blues by Johnny Winter. In 1999, he released Old Times, Good Times: A Musical History Part I, a real mixed bag that includes guest artists such as Randy Brecker, Rick Derringer, Fanny, Todd, and Luther Vandross. He followed this up with The First Recordings in 2000, and reunited with Bette on 3 for One and Todd on Reconstructed.
Around this time, Kevin Ellman approached him about co-founding a new band—Mark was still busy with the Mojo’s but most of them followed suit—and Freak Parade was formed. In 2001, they issued Take Your Place in the Freak Parade and Mark pitched in No Time to Live by Johnny and Another Side of Roxy by Todd.
On 1st February 2002, The Moogy Klingman Band played Live at the Triad in New York and the concert has been captured on CD. He also spearheaded a benefit concert for Buzzy which included the talents of David Amram Eric Andersen, John Sebastian, and Phoebe Snow. On 2ndOctober, he returned to the Triad in concert with Freak Parade and Todd Rundgren.
In 2003, he collaborated with Todd on Can’t Stop Running. It is an appropriate title for an artist who has gone on to start yet another band, The Peaceniks, who are mainstays at the P & G Bar in Manhattan, New York, and have recorded a pair of albums, Here Come the Peaceniks and New World Coming.
He passed away from bladder cancer in November 2011 when he was 61 years old.
"Lady of the Lake" comes in with the trifecta of mystic keyboards, jazz-bass, and stunning guitar soloing. In 1976 this 10 minute epic initiated a 30 year love-affair. Starcastle's mixture of symphonic rock and powerful rhythm section invited the listener to spin the album time and again. And I whole heartedly admit that I did. Upon each listen the melody, harmony and groove would find different avenues through my cortex to weave its magic spell.
It seems hard to believe that something that was created by such a young group of musicians has had the lasting power that this debut album retains. Listening today brings back all the awe that it did when I was a teenager. Bassist Gary Strater has the rapid bass grooves that defined much of 70s rock-n-roll. His ability to give a song a unique aura allowed the other talented musicians to fill in the rest of the picture. Steve Hagler and Matthew Stewart were the tandem guitarists that soloed when necessary but usually played the counter-melody fills. The keyboards and awesome vocals of the entire band provide catchy melody that float along the surface of your mind. Terry Luttrell was the lead vocalist, but harmony is just as key as lead here. The vocal tracks may be what get you listening, but it is the guitar/keyboard inter-play that starts to pierce your soul. And just when everything is moving, Strater and drummer Steve Tassler lay down the groove that hooks you for life.
Drummer Stephen Tassler agreed to inject some insight into the making of the classic Starcastle album.
...Starcastle was originally called St. James, and were a college band at the University of Illinois. They played a variety of clubs and other parties around town when their schedules permitted, considering they were all students. Of the people that eventually impacted Starcaste, Steve Hagler, Herb Schildt and my brother Paul were members. Paul plays bass. There were other members that didn't continue to the early SC days. My involvement began the day I graduated from high school in June of 1972. The previous drummer, Mike Castleberry, graduated from college that spring, and the other guys had one more year to complete, graduating in 1973. I came down to Champaign to play because Mike quit to go get "the real job"....
...Matt Stewart was a prodigy, playing around Champaign/Urbana in clubs from a very early (illegal) age. He and Terry Luttrell (of course his history is well known) were playing in a Champaign-based band, doing covers, called Sea Daddy. We had our sights on them both. Matt and Gary knew each other (Champaign music scene was pretty tight-knit) and Matt would come out to see us, have a good time. We started talking, and somehow things came together. Terry wouldn't play without Matt (and deservedly) and they both came to rehearsal and somehow joined the band. This was the lineup that existed for the duration of the band until it's demise in 1980. We played on (on and on and on...) with the intent of getting a record deal. Terry's experience was invaluable to us, and led us to believe we could do it. I'd say we played as this group for most of 1974 and 1975...
...A major concert promoter from St. Louis, Contemporary Productions, consisting of Irv Zuckerman and Steve Schankman, were interested in becoming managers. They heard the first Golden Voice tapes, loved the stuff, and decided to take us on as a project... They had us re-record Lady of the Lake and Forces in a St. Louis studio run by a guy named Steve Littman, who began working with Contemporary Productions as well, and is mentioned in the first record credits. They shopped the tapes, and a couple of labels were interested. Of course we were signed to Epic after Aerosmith's manager came out to see us at a club near St. Louis. I guess they thought we were OK, and gave CBS the green light. The music business was at the time, and for the most part still is, who you know and who you owe! The rest is history (well, almost).
We learned about the signed record deal by a phone call during a party on the night of my 21st birthday, April 2, 1975, at the band house! I will never forget the feeling. As you can imagine, we were ecstatic. (Cake, and eating it too!) We had a lot to learn, however.
Starcastle, although only 40 minutes long, contains one powerhouse after another. "Elliptical Seasons" has a killer bass grove running through it with amazing harmonies. "Forces" is a classic of 70s prog-rock. Luttrell has the vocal quality to carry this song while the rest of the band interject changes, fills, and counter-melody. "Stargate" is a nice instrumental that acts as an intro to my favorite Starcastle tune, "Sunfield". "Sunfield" just soars. Herb Schildt takes his keyboards all around this tune and once again the rhythm section acts as the driving force.
...The songwriting was done as a group. Someone would bring an idea, and we'd all brainstorm on it, play it, change it, refine it. Someone else might suggest a transition or change, and we'd add that if it worked. For me, the songwriting is the greatest part of being in a band. It's the part that is the most personal, and the most self indulgent, but doing it as a group placed checks and balances on that. If someone was critical of a part or suggestion, it pretty much meant that the part would not work or be included. There were no dictators, and there were different leaders on any given day. Lyrically, Steve Hagler was responsible for the Lion's share. We rehearsed the vocals extensively...
The time and effort, the sharing of ideas, and the complete interaction of the band members is what one remembers from Starcastle. "To The Fire Wind" and "Nova" could only be made by a band that was completely in sync. "Nova" has the fastest tempo on the album and closes out leaving the listener dieing for more.
...Personal favorites are just that....People have different memories and favorites, maybe having to do with their part in the song, either playing or writing. My feelings of the songs have to do with how they changed, how they came off live, and how I felt when I played them. Herb may feel completely different due to the problems he might have, such as how much time he had to change a Mini Moog sound or whether they stayed in tune. Terry may feel differently depending on whether he could hear the monitor of if the drums were too loud, etc. I've always enjoyed Lady of the Lake. We played it at Gary's benefit after rehearsing it a few times the day before (after 25 years!). Everyone had to relearn their parts, and did it individually before we got together. I was able to glue them all together, fortunately. I think we've all been playing it in our sleep after all these years.
Elliptical Seasons was a nice follow up to Lady of the Lake, especially with it's quieter opening. I recall playing it with Matt outside the control room with his Strat, sans amplifier, and with my crotales. Vicari came through and wanted to record that sound, because it breathed so well, but we didn't end up doing it. This song fell out of the repertoire after Fountains of Light. Forces changed quite a bit over the years, until it found it's lowest common denominator. The beginning part was pushed aside, and the song became more powerful. We also played this at Gary's benefit, along with Change in Time, after opening with Shine on Brightly from Citadel. We opened our show with Stargate, and the recording of it was used before a good number if 9:00 news shows, I'm told. Playing it live was always very dynamic, although it would have been fun to get all the percussion stuff working live. These days I could use samples and drum pads, but back then I couldn't afford all the gear that Carl Palmer had behind him. My favorite song from the record is Sunfield. I think it is one of the best things we did. Compositionally it's the most interesting to me, I loved to play it. It could really get going live, too. It would go from being very quiet to a tornado of sound. It's my all time favorite SC song, and I'd love to play it again.
To the Firewind was a song with Herb's organ really churning, another powerful song live. I remember trying different tempos during the recording of that song, with an up tempo version winning out in the end. All of the parts that were eliminated from the Chronos 1 version had been done by the band, all for the betterment of the song, we felt. Nova was always a crowd pleaser, with its quicker tempo and dynamics. It led well into Breath and Thunder live, which always got us an encore, unless the headliner pulled the plug. We never put that song on a record, but we should have. Boston made us quit playing it live when we toured with them, or they'd kick us off the tour. Business decision...
When an album is still being talked about years after it was written, there are bound to be as much bad press as good. But let me state one fact, this is an album that thrilled and amazed many a listener in the 70s. Its longevity and influence make it a classic. If you have never heard this band, or haven't spun it since the days of vinyl, I urge you to do yourself a huge favor and take a listen. And then listen again and again. You will be amazed by what goes on in your head while listening to this masterpiece. Starcastle was one of the primary reasons I got into music in the 70s. And it still holds my emotions today. We can relieve an amazing time in our lives with Starcastle, Fountains Of Light, and Citadel. And in the near future, we may get another treat:
...The new record is sounding very good, and is in the mastering stages. I can't be more specific at this time, but it won't be much longer. Too bad Gary will not see it happen. Fortunately, he heard everything recorded that will be on the record before he died...
by Steve Ambrosius
Tracks
1. Lady Of The Lake - 10:28
2. Elliptical Seasons - 4:29
3. Forces - 6:26
4. Stargate - 2:54
5. Sunfield - 7:36
6. To The Fire Wind - 5:15
7. Nova - 2:35
All compositions by Matthew Stewart, Steve Hagler, Gary Strater, Herb Schildt, Steve Tassler, Terry Luttrell
From the remnants of Beantown's psychedelic Beacon Street Union flew the equally short-lived Eagle. After issuing two virtually unheard long-players, the BSU were unceremoniously dropped by their record company in late 1968. By 1970, John Lincoln Wright (vocals), Robert Rosenblatt (keyboards/brass), Richard Weissberg (drums/percussion), and Wayne Ulaky (bass) had honed their sound in a much more earthy fashion, creating an accessible vibe, contrasting the over-produced sound of their former incarnation. However, they did maintain the strong melodic sensibility that had driven the better material from both Eyes of the Beacon Street Union (1968) and The Clown Died in Marvin Gardens (1968).
In keeping with the current trends, Come Under Nancy's Tent (1970), which was ultimately Eagle's sole release, blends both solid and otherwise aggressive electric rock with the lilting countrified sound of the singer/songwriter and early-'70s folk movement. "Pack Up" commences the effort with a driving, propulsive Bo Diddley beat and traveling rhythm. "Brown Hair" stands as one of the better sides on the disc, with its easier acoustic melody. This counters the noir brooding of "City Girl" and the exemplary and slightly trippy "Comin' Home Day." There are a couple of straight-laced rockers as well -- "Snake in the Grass" has a danceable groove that is uncannily similar to the Routers' early surf instrumental "Let's Go," and "Separated" is likewise an uptempo toe-tapper. In 2003, Come Under Nancy's Tent was issued on CD as part of the three-disc State of the Union box set, restoring the title after over 30 years of being out of print.
by Lindsay Planer
Tracks
1. Pack Up (John Wright) - 3:56
2. Come In, It's All for Free (Wayne Ulaky, John Wright) - 2:58
3. Brown Hair (Wayne Ulaky, John Wright) - 3:26
4. Dance on Little Beauty (John Wright) - 2:15
5. City Girl (Wayne Ulaky, John Wright) - 2:59
6. Kickin' It Back to You (Wayne Ulaky, John Wright) - 2:36
7. Separated (Wayne Ulaky, John Wright) - 3:30
8. We Got a Good Thing Goin'/Get a Hit and Run (Joshua James) - 3:36
9. Snake in the Grass (Wayne Ulaky, John Wright) - 3:12
10.Comin' Home Day (Wayne Ulaky, John Wright) - 3:09
MacArthur were formed when a young guitar player and songwriter named Ben MacArthur met a 17-yeard old prodigy musician called Bill Heffelfinger in Saginaw, Michigan, in 1978. Bill was not only a gifted guitar player but also a genius arranger and keyboard wizard. When Ben showed him some of the stuff he had written, Bill took the songs and transformed them into classic pieces of music. They soon recruited Jeff Bauer on drums and Scott Stockford on bass. The chemistry of MacArthur was born.
The first MacArthur album, known in collector’s circles as “The Black Forest” due to the vinyl bootleg of the same title released in the 80s, was recorded in 1979 using a four-track machine. Produced by Bill Heffelfinger, “MacArthur” is a progressive / psychedelic concept album highlighted by devastating, ripping fuzz guitar solos and Mini-Moog / synths attacks.
Due to the lack of funds, the album was originally issued by the band in a primitive hand-made sleeve with just a sticker on front and a paper sheet with the credits glued on back. For this, the first ever legit reissue, we’ve done a printed sleeve with embossed letters on front, as the band originally intended.
