Before they were on par with Rush as Canada's prog-rock heroes, Triumph were earnestly forging away to develop their sound. Triumph (later released as In the Beginning...) captures just that: the band's debut recording while they were still finding and developing the formulas that would make them so successful. The opening "24 Hours a Day" wouldn't sound out of place during the finest moments of Boston's catalog, but the majority of the tunes found herein are highly informed by the presence of Led Zeppelin. Gil Moore's take on the infamous Bonham stutter kick of the bass drum, the exact chord progression found on the climax of "Stairway to Heaven" is also the anchor to "Don't Take My Life", and the comparisons go on and on. But that's not to say In the Beginning... is a total loss -- far from it. It's the cornerstone from which their house of prog-rock greatness was built.
by Rob Theakston
Tracks
1. 24 Hours A Day (Rik Emmett) - 4:29
2. Be My Lover (Rik Emmett) - 3:19
3. Don't Take My Life (Gil Moore) - 5:02
4. Street Fighter (Gil Moore) - 3:28
5. Street Fighter Reprise (Gil Moore) - 3:02
6. What's Another Day Of Rock 'N Roll (Gil Moore, James Brian Maloney, James Richard Huff, Mike Levine, Rik Emmett) - 4:51
Formed in Brussels back in 1969, Doctor Downtrip were to debut with a single for the Vogue label. The outfit’s slightly “psychedelic” leanings (with regards to their use of saxophone on “gravitation” and flute on “music for your mind”), gained them quite some attention. Who exactly was in the band remains a mystery, although the Dutchman J. Van Wagensveld did compose both songs on this effort. In june 1970 they played the “Puzzle P-festival”(a famous Brussels club in the Rue De Bouchers) with many Belgian hardrock bands as well as headliner Wallace Collection. But the first highlight of their relatively brief career was their appearance at the Bilzen Rock & Jazz festival in august 1970 along such acts as Badfinger and Screaming Lord Sutch. Both festivals also had another Brussels band, Burning Plague on the bill.
When by the end of 1970 Plague’s Michael Heslop (who was original from the USA) decided to put his band on hold, the announcement of his entry to Doctor Downtrip quickly followed. After a while this new line-up (John Hastry on bass, Michael Heslop on guitar, Paul Van De Velden on drums, Michel Rorive on vocals and Sylvain Paul on organ) was really rocking as proven on the “summer festival Den Haan “ and the fondly-remembered Jemelle festival on august 8th,1971 where they supported Golden Earring and Genesis.(In april 1972 they supported Genesis a second time when they played in Arlon). It took more than a year before the new five-piece had an impressive armoury of self-penned compositions at their disposal, and the first proof of it, came in 1972 when they released the single “take my place” backed with “depressed” on CBS records. Both songs showed the real potential of this hardrock band as their fine organ/guitar work was finally captured on vinyl. After healthy sales a second two-tracker was scheduled for release, but without haste, as it was already 1973 when “jumpin’ in the air / winter’s coming” saw the light of day.
The “A” side was a radio-friendly rock song (along with sing-along and handclaps) but it was the backside who made impression with yet another heavy song with great solo’s. An appearance as support act for Mark Bolan’s T-REX (on march 24th ,1973) at the big vorst/forest national hall also made impression. Therefore it came as a surprise to hear the band was working on a full-lp with a new singer; Jean Paul Goossens (and Serge Paul on second guitar). This first lp (recorded with Jean Huysmans in five days!) was without any doubt a cracking way to make their mark on the Belgian scene, and capable numbers such as “free morning time”, ”lost city”, “wanted”(heavy!!!) and the uptempo “big blue train” all demonstrated an uncanny knack for creating great hardrock-music.1974 saw the release of another 7” with two reworked songs from that first album but after this, there was only silence from the Doctor’s camp. By the end of 1975 Doctor Downtrip had already undergone a few changes with Heslop & Paul leaving to be replaced by only a guitarplayer: Jose Cuisset who came from Lagger Blues Machine. But it wasn’t only the line-up who’s been changed, also the name was shortened to Downtrip.
After that, the band managed to record their second lp and for the first time produced it themselves (all other recordings were produced by Jean Huysmans). “If You Don’t Rock Now” was released in 1976 on CBS/Epic. Excellent hard-rocking stuff throughout; highlights were “sweet lies” and the awesome “getting louder”. Although they were a regular attraction at nations rock clubs and festivals, from then on, they no longer seem to have been able to get invitations to play the bigger support slots. It took more than two years before another Downtrip album hit the shops, but “Downtown” was a fine third set. Especially the first side had storming numbers such as “scarecrow”, ”shout it out”, “dedicated to you” and the longer title song. Despite this album things started falling apart and by the end of the decade, the Downtrip members concluded that they were fighting a losing battle and had called it a day without making much of a fuss about it.
Pete Dello was the original leader of the Honeybus, a short-lived but wonderful English baroque-pop group who only managed to release one album in 1970 (finally reissued in 2008-). For all the gems available on compilations like Honeybus At Their Best and She Flies Like A Bird: The Anthology, fans of their brand of summery, rootsy pop couldn’t be truly satisfied without an ear on Dello’s fine solo efforts.
Comparisons to the Beatles are somewhat unavoidable, from the next-level songwriting to the double-tracked voice, chamber orchestra production, but assertions of cheap imitation are unacceptable. Dello’s album is a pretty mix, most songs led with a clean acoustic guitar or piano, flavoring the sound with modest string and brass sections. This is where the record gets its baroque tag, but at times the music, like Honeybus, approaches a country-folk-rock sound. Tracks like I’m A Gambler illustrate that perfect mix of rural rock and sunshine pop, blessed with some especially tasteful percussion. The trick to the record’s charm may be the Nilsson inspired vocal treatments, either Dello’s unassuming lead or the lilting vocal turns and harmony parts.
I wouldn’t call it a perfect record, but it gets pretty close and grows to be very solid. Pete scored with his first Honeybus single, I Can’t Let Maggie Go, and gets a chance at a full showcase with Into Your Ears. Only a couple tracks push the British camp too much for my ears, so take note if you’re fond of skipping sillier tracks. If you’re looking for gems, you’ll be right on target.
Headstone consisted of three Fiynn brothers and a friend Torn Applegate who recorded this, their sole album at the Rome Recording Studios in Columbus Ohio in 1974. Interestingly the Rome Studios, which still exist today, was run by jack Casey and provided studio facilities to primarily Christian bands at the time although there is no evidence that Headstone were a Xian band. Ohio was full of obscure hard rock bands in the 70s and many of their self-released albums have stood the test of time.
This album is of a consistent high quality throughout and has been described as psychedelic and there are certainly some psych tinges but what we are talking about here is good old-fashioned hard rock of the BOC, Steppenwolf or ZZ Top variety mixed with a couple of potentially commercial and catchy hard rock pop tracks like "Peace of Mind*" and "Springtime" with vocals that would compete for the AOR FM plays if it weren't for the roughness of the production.
But this is a good thing in the same way as say the Morgan album. OK Morgen is more psychedelic hue that's more to do with the time gap of 1969 to this album’s 1974 and the Headstone vocals are more Styx than the punky snarl of Morgan but both albums have the same raw energy and pounding drumming high up in the mix making it part of the music rather than simply a rhythm section.
This album is full of fuzz and extended guitar solos and most of the tracks are well constructed with lots of tempo changes and well played with super swirling Hammond, hard drumming, hard riffing and lots of guitar effects. Headstones sole album is presented here with 6 extra tracks consisting of both sides of their non-album 45s.
Tracks
1. Still Looking (David Flynn, Bruce Flynn, Barry Flynn, Tom Applegate) - 8:29
2. I Like It (David Flynn) - 7:47
3. Misery (David Flynn, Barry Flynn) - 4:09
4. Those Days - 5:45
5. Peace Of Mind (Barry Flynn) - 5:01
6. Springtime (Barry Flynn, Tom Applegate) - 4:08
7. I Love You - 5:03
8. Buying Time (Barry Flynn) - 2:34
9. Snake Dance (David Flynn, Bruce Flynn, Barry Flynn, Tom Applegate) - 2:20
10.What People Say (Bruce Flynn) - 3:14
11.Carry Me On - 3:20
12.Hey Boy - 3:15
13.Ragin' River - 4:42
All tracks by David Flynn, Bruce Flynn, Barry Flynn except where noted
Again, using this column to shine a bit of light on an album that’s been pinched between the cracks. While there are dozens of reissues pressing down each month, it seems that for each complete knockout, there are just as many superfluous retreads of dollar bin fodder best left to their original incarnations. So Necessary Repress finds me wandering through those records that elude local capture or beg too much on the secondary market. An apt example as any would certainly be the sophomore LP from L.A. folk artist Kathy Smith. Though she’s been a collector’s gem for quite some time, I came to Smith (as I imagine many might have) through Andy Votel’s lovely compilation Folk Is Not A Four Letter Word. Her song “It’s Taking So Long” from 2 gets prime placement on the comp and acts as an easy hook into Smith’s songwriting and style.
Like her equally scarce debut, Some Songs I’ve Saved, 2 was issued on Richie Havens’ pet label Stormy Forest, which aside from the ‘70s output of Havens himself, only issued the works of Smith, Havens associate Bob Brown, and Canadian folk singer Bruce Murdoch. It’s little wonder then that her albums suffered from a slight lack of promotion. The record breaks from her debut to push a slightly more eclectic mix of songs, though both have a bit of Havens’ stamp of mixed instrumentation and jazz touches – augmenting the album with flutes, slight funk nodes and psychedelic overtones. Her second album is Smith at her peak.
It would have seemed like she was poised for greater things with 2. She’d played to an audience of 600,000 at the Isle of Wight just the year prior and with the album’s expanded palliate it certainly had some potential. However, like other psych-folk gems from the likes of Linda Perhacs, Vashti Bunyan, and Susan Christie, it would prove to slip through the fingers of the buying public. Though unlike any of those it has yet to find a second life in reissue glory. It feels like a record with enough of a cult following to make the crossover. Plus, while its a great record no one needs to spend $100 + on a copy. Recommending this one for a repress, puttin’ the vibes out to the universe.
by Andy French
Tracks
1. Lady Of Lavender (Jimmie Spheeris) - 3:47
2. It's Taking So Long (C. Jackson Brown) - 4:57
3. Rock 'n' Roll Star (Pamela Polland) - 4:00
4. Willie (Jimmie Spheeris) - 3:55
5. Fly Off With The Wind - 4:32
6. Seven Virgins (Jimmie Spheeris) - 3:49
7. For Emile - 3:43
8. Travel In A Circle - 5:57
9. Blessed Be The People - 4:57
Lyrics and Music by Kathy Smith, except where noted
Kathy Smith began as a fixture around the Los Angeles hippie and folk scene of the 60’s and 70’s, playing regularly at venues such as Paradox, the Troubador, along with coffeehouses around town. Eventually, she captured the attention of Richie Havens, who would release her equally rare debut album Some Songs I’ve Saved, along with the followup 2 on his label, Stormy Forest.
"Some Songs I've Saved", is one of the best-kept secrets in the history of singer-songwriting, this wonderful album is sure to appeal to fans of artists like Carole King, Neil Young, Joni Mitchell and James Taylor. A glorious blend of melodic songs, deeply personal lyrics and imaginative arrangements (incorporating sitar, tabla and flute alongside guitars and piano), it's beautifully sung and features support from Pamela Polland (The Gentle Soul) and Jim Fielder (Blood, Sweat & Tears), as well as session favourites Jeremy Steig, Artie Traum and Eric Weissberg. Produced by long-time Richie Havens collaborator Mark Roth and engineered by Val Valentin (Frank Zappa, the Velvet Underground, Lee Hazlewood), it was originally released in 1970.
by Jocelyn Romo
Tracks
1. Topanga - 3:34
2. What Nancy Knows (Dennis D'Asaro) - 4:37
3. A Vision Of Two Saints (Pamela Polland) - 3:56
4. End Of World - 6:34
5. Same Old Lady - 4:42
6. Blackbird And The Pearl (Jim Spheeris) - 4:38
7. Russel: Gemeni Ii - 3:27
8. If I Could Touch You (Pamela Polland) - 3:05
9. Circles Of Love - 3:36
Words and Music by Kathy Smith, except where stated
This became my favorite new record in under a full day. Normally, we are looking at albums that we’ve sat with, kinda know inside out, but this is an emergency. It’s been an evil secret that nobody told me about this one sooner.
Originally released in 1972, and only available on 8-track cassette until 1990, when it was finally put out on CD- just in time for the alt-country kids to scoop it up- this is a perfect country album. If you’ve ever detected a note of irony when the Byrds put their cowboy hearts on for Sweetheart, this is the record to set you straight. The real deal (and you know because it’s on Rounder).
It’s hard to describe what it is about the sweet spot this record hits, but here’s a shot: The Flatlanders match an electric sound with acoustic, bluegrass instrumentation (sans banjo). They play in an old-timey (lazy fiddle) way with a swing in their step, and add a nice psych touch with the musical saw (imagine a tasteful theremin adding hints of accompaniment on about half the record). Jimmie Dale’s singing is A+ number one and the harmony is also great. Oh and listen to that fine dobro work on Stars In My Life.
Or look at it this way: 13 great new songs to love, a beautiful forgotten classic for your shelves, and a serious contender for Sweetheart of the Rodeo’s coveted country-rock trophy spot. Yes, it’s the newest record in my collection, but I think I would grab for it first on my way to the island.
by Brendan McGrath, April 23rd, 2007
Tracks
1. Dallas (Jimmie Dale Gilmore) - 2:46
2. Tonight I'm Gonna Go Downtown (Jimmie Dale Gilmore, John Reed) - 2:41
3. You've Never Seen Me Cry (Butch Hancock) - 2:09
4. She Had Everything (Butch Hancock) - 2:07
5. Rose From The Mountain (Louis Driver) - 2:00
6. One Day At A Time (Willie Nelson) - 3:42
7. Jole Blon (Traditional) - 3:27
8. Down In My Hometown (Jimmie Dale Gilmore) - 2:42
9. Bhagavan Decreed (Ed Vizard) - 2:45
10.The Heart You Left Behind (Angela Strehll) - 2:18
11.Keeper Of The Mountain (Angela Strehll) - 2:44
12.Stars In My Life (Butch Hancock) - 3:00
13.One Road More (Butch Hancock) - 2:25
The Flatlanders
*Joe Ely - Harmony Vocals, Harmonica, Guitar, Dobro
During their stint, Complex released two excellent albums pitched somewhere between psychedelic power pop and progressive rock. My favorite of the pair happens to be the British band’s second effort, The Way We Feel, which initially surfaced in 1971 on the Deroy Sound Studio imprint.
From the super sunny sensations of “Every Time I Hear That Song” to the hard and heavy jamming of the jazz influenced “We Don’t Exist,” the disc conveys an abundance of excitement and adventure.
Toe-tapping rhythms and nagging hooks are wired tight throughout cuts such as “The Way I Feel” and the paisley pinched “Lemon Pie Fair,” while “Moving Moor” is a brooding instrumental formed of classical music passages reflecting those of Procol Harum and the Moody Blues.
Beaming vocals, assisted by sweeping harmonies, expansive organ drills and stabbing guitar riffs are staples of Complex’s intricately crafted material. Although a hypnotic vibe holds the reins, the music maintains a lively and colorful exterior.
Commercial aspirations interact nicely with an experimental bent, resulting in the kind of record that would satisfy both top 40 listeners and followers of underground rock. A masterpiece of its genre sadly heard by few due to an extremely limited pressing, The Way We Feel is much deserving of a reissue. So kudos to the Wooden Hill label for recognizing the band’s worth back in 1999, and allowing their music to be enjoyed by a wider net of folks.
by Beverly Paterson
Tracks
1. Every Time I Hear That Song - 2:47
2. Am I - 4:10
3. We Don't Exist - 5:55
4. Lemon Pie Fair - 3:19
5. The Way I Feel - 3:22
6. Moving Moor (Steve Coe) - 4:48
7. Jeananette - 4:32
8. Hey Girl You've Got Style - 3:02
9. If You Are My Love (Steve Coe) - 6:42 -
10.Moving Moor (Steve Coe) - 4:49
11.The Way I Feel - 3:17
All songs by Bob Mitchell, Steve Coe except where indicated
In 1974 the original Electric Flag members reunited for one album on Atlantic Records. The Band Kept Playing was their last album, and contains some of the best music ever recorded by the Electric Flag. "Every Now and Then" ranks among the best songs Buddy Miles ever wrote, and Grevenite's "Earthquake Country" is a classic piece of early‘70s soul-rock and the standout boogie "Doctor Oh Doctor (Massive Infusion), also penned by Gravenites, also most of the other material is well-played.
Tracks
1. Sweet Soul Music (Michael Bloomfield, Arthur Conley, Sam Cooke, Otis Redding, Roger Troy) - 3:56
2. Every Now and Then (Buddy Miles, Vonda Shepard, Roger Troy) - 3:45
3. Sudden Change (Roger Troy) - 3:56
4. Earthquake Country (Nick Gravenites) - 4:03
5. Doctor Oh Doctor (Massive Infusion) (Nick Gravenites) - 5:22
6. Lonely Song (Mark Naftalin) - 3:59
7. Make Your Move (Buddy Miles) - 4:20
8. Inside Information (Mick Jones, Sonny Thompson) - 3:40
9. Talkin' Won't Get It (Michael Bloomfield, Buddy Miles) - 4:12
10.The Band Kept Playing (Michael Bloomfield) - 5:12
The late Big Joe Williams said: "Charlie Musselwhite is one of the greatest living harp players of country blues. He is right up there with Sonny Boy Williamson." The Memphis-born harp player is one of few white harp players who have stamped their mark on the blues, mainly because he was one of the first and also remains faithful to the style.
Musselwhite began playing blues with people he'd read about in Sam Charters' Country Blues-.-Memphis greats such as Furry Lewis, Will Shade and Gus Cannon. It was these rural roots that set him apart from Paul Butterfield.
Musselwhite migrated north from Memphis in his teens, in search of the mythical $3 per hour job, which had lured a significant portion of the black population onto the same route. He became a familiar face at blues haunts like Pepper's, Turner's, and Theresa's, eventually playing alongside harmonica greats such as Little Walter, Walter Horton, Good Rockin' Charles and Sonny Boy Williamson. Before recording his first album, Musselwhite appeared on LPs by Tracy Nelson and John Hammond and duetted with Walter Horton on Vanguard's Chicago/The Blues/Today series.
"Stone Blues" is a high energy blues album. Strong Little Walter feel (includes the man's 'Juke', amongst other tracks) and a rocking band featuring Tim Kaihatsu (later with Johnny Winter).
Charlie Musselwhite's tone and his performance are unique. His playing is extremely sensitive, balanced and innovative. His appearance is incredibly congenial, and his singing has gained in intensity, feeling and humor over the years.
Charlie has appeared on albums by such diverse musicians and bands as INXS, Tom Waits, Cyndi Lauper, the Blind Boys Of Alabama, Vassar Clements, Cat Stevens, and Bonnie Raitt. He has been honored with lifetime achievement awards. His open, friendly and human nature and elegant coolness have made him one of today's great ambassadors of the blues.
Charlie Musselwhite still lives in Northern California. He can look back on more than 50 years of history as a professional musician, has released about 30 albums, won the Blues Music Award of the Blues Foundation in Memphis countless times, was inducted into the 'Blues Music Hall of Fame' in 2010 and, after ten nominations, received a Grammy Award together with Ben Harper for the album 'Get Up!'
by Detlev Hoegen, February 2019
Tracks
1. My Buddy Buddy Friends (Aaron Corhton) - 1:54
2. Everything's Gonna be Allright (Little Walter) - 2:37
3. My Baby's Sweeter (Little Walter) - 4:21
4. Clay's Tune (Clay Cotton) - 5:12
5. Gone and Left Me (Little Walter) - 3:42
6. Cry for Me Baby (Elmore James) - 2:32
7. Hey Baby (Albert King) - 4:28
8. Juke (Little Walter) - 2:19
9. She Belongs to Me (Al Benson, Magic Sam) - 2:35
