Now here’s a blues album for ya. Recorded in 1968 and getting its first-ever CD release, Magic Sam Live at the Avant Garde is a time capsule from the days when this Chicago blues trio could step into a Milwaukee club and tear the place up. Magic Sam’s guitar throttling is dextrous, snaky but always clean, and his rhythm section of Big Mojo Elam on bass and Bob Richey on drums keeps everything moving along nicely. From instrumental opener “San-Ho-Zay” to well-worn standards such as “Hoochie Coochie Man”, the band is simultaneously energetic, laid back and tighter than a watch spring.
Sam’s vocals are unvarnished but honest in the way that true blues delivery requires, and the between-song patter is just a bonus (one that does not wear out its welcome, either). There’s no showing off here, as Sam is a practitioner of the “less is more” school of guitar wizardry, but the solos are extensive and note-perfect without being busy. Standout cuts include the nervy “Lookin’ Good” and the murky, downtempo “It’s All Your Fault, Baby”, but the whole album is smoking hot. Sam tragically passed away in 1969, but this recording stands as a testament to his mastery.
Eschewing their normal frenzied mix of soul and rock, the brothers package their socially uplifting messages more in James Brown-style funk than usual. They produce the album themselves and their ambition often exceeds their grasp. String orchestrations by band members Brian Keenan and Joe Chambers clutter an already-busy mix. The title track is the kind of extended rave-up that seems to be on every one of their albums. "Going to the Mill" closes the session with a straightforward, and welcome, shot of gospel.
by Mark Allan
Tracks
1. Are You Ready (Joseph Chambers) - 3:50
2. Young Girl (Lester Chambers, Willie Chambers) - 3:39
3. Funky (Lester Chambers) - 2:54
4. When The Evening Comes (C. LaMarr) - 6:40
5. Practice What You Preach (Joseph Chambers) - 3:32
6. Reflections (George Chambers) - 5:24
7. Pollution (Joseph Chambers) - 1:48
8. New Generation (C. LaMarr, Joseph Chambers) - 11:55
Revival is a country-rock band founded by the East Coast folk duo of Dan Daley and Michelle Conway. They built around strong two, three and four part harmonies, this group touches more bases than the country‐rock which dominates the album. There are two beautiful ballads—”I Was, You Were” and “Words No. 1”—and an exciting pop jazz number, “Barbara.” Mi chelle Conway's gutsy vocal solo on the latter serves as much as a musical instru ment as the coneyor of the lyrics.
All but three of the songs contained herein—Gerry Se gal's comment on deception, “Darrell Heywood,” Merie Haggard's classic “Mama Tried,” and Bobby Flax and Lanny Lambert's tuneful if innocuous “One Too Many Goodbyes” — are originals from the pen of lead singer and guitarist Dan Daley, who shows promise in all three areas. As a composer he moves freely between the country and pop idioms. As a vocalist he is clean and straight‐foward.
Rounding out the group are bass player Paul Guzzone and drummer Mike Malfesi, both of whom also sing. Though the quartet is moving in sev eral directions at once, the vocal harmonies hold every thing tightly and happily together.
by Ira Mayer, March 26, 1972
Tracks
1. Way That It Feels (Dan Daley) - 3:35
2. Mama Tried (Merle Haggard) - 2:23
3. So Hard Lovin' (Mike Malfesi, Dan Daley) - 2:24
4. I Was, You Were (Dan Daley) - 4:47
5. One Too Many Goodbyes (Bobby Flax, Lanny Lambert) - 2:18
The Jaggerz, who formed in the Beaver Falls/Aliquippa Pennsylvania, around 1965, released their first single in 1968 and produced their first album on Philadelphia's Huff-Gamble label in 1969. Although they regarded themselves as a rhythm and blues act, The Jaggerz broke the charts with "The Rapper", a more pop sounding single they recorded on the Kama Sutra label in 1970. "The Rapper" reached the number one spot in the pop music charts in March of that year, and became a gold record. (Based on the success of their single, The Jaggerz toured the country and appeared on Dick Clark's American Bandstand.
After band member Jimmie Ross left to join the Skyliners in 1975, the Jaggerz disbanded. More recently, Ross, along with three other original band members, revived the group earlier this year and released a CD of old Jaggerz favorites, as well as some new tunes.
Tracks
1. The Rapper (Dominic Ierace) - 2:47
2. I Call My Baby Candy (Dominic Ierace) - 3:02
3. Memoirs Of The Traveller (Joe Rock, Dominic Ierace, Benny Faiella) - 3:33
4. With A Little Help From My Friends (John Lennon, Paul McCartney) - 6:39
The Thunder Mugs were an obscure late-'60s band from California that recorded an album's worth of songs for Bill Holmes' All American label. Although the band never released a full album, they did manage a single: "Motion Tree" b/w "Captain Midnight." The band consisted of Dennis Bassetti (bass, vocals), Bob Jonte (drums), Jack Lutz (lead vocals, guitar, keyboards), and Jerry Roy (lead guitar, vocals). Composed by Lutz, the music on this album is predominantly soft psychedelic pop with good guitar, a few effects, and a very British sound.
The material offers good period charm and features a few standout songs that, if released in Britain in 1967, could've easily become hits. This release on Akarma Records was officially licensed from All American and contains the band's entire output of 13 songs.
by Keith Pettipas
Tracks
1. Motion Tree - 2:47
2. Sweetwater Roll - 3:33
3. Muffin Man - 2:49
4. Mary Jane - 2:10
5. Figure This - 3:00
6. Captain Midnight - 2:09
7. Lucky Lady - 2:43
8. You For Me To Love - 2:09
9. Mistah Moon Risin' - 2:20
10.Marmalade Lady - 2:20
11.Mr. Z's Backyard - 2:29
12.What Is There Left - 2:29
13.Rooms Of Laughter - 2:29
All songs by Jack Lutz
Thunder Mugs
*Jack Lutz - Lead Vocals, Lead Guitar, Drums, Keyboards
Bram Stoker was formed in the summer of 1969 by Hammond organist Tony Bronsdon, guitarist Pete Ballam, drummer Rob Haines and bass guitarist Jon Bavin, in their south coast town of Bournemouth, England, UK.
Kindred spirits Tony, Pete and Rob were in separate bands at the time but collaborated on a project with Jet Harris (ex Shadows bass player). When the project ended they recruited bass player friend Jon Bavin. The chemistry was now right and Bram Stoker became their opportunity to explore and create their own music. They were young, enthusiastic and inspired by the current progressive musical trends.
After intense rehearsals in a room above a pub in Poole, the band went on the road. That summer of 1969 was the start of a busy schedule. The band’s live performances were well received and drew enthusiastic audiences. From the vast circuit of clubs, colleges and universities throughout the UK the band developed a loyal following.
Although influenced by the Gothic image, Bram Stoker chose its own musical direction, composing its own material and experimenting with new musical styles. Inevitably the band acquired the "progressive classical rock" label but succeeded in creating its own identity. The band’s focus was on stage performance and raw, powerful sound. Each member embraced fresh ideas and encouraged originality.
Tony Bronsdon's classical training is augmented by a formidable technique, with a Hammond organ sound that is majestic, biting and haunting. His stirring ability to integrate his classical interpretation into their musical compositions - with drummer Rob Haines' driving rhythms - defined the Bram Stoker sound. Pete Ballam’s antics on stage were spontaneous and unpredictable, his legendary "Doppler" (a spinning speaker cabinet) had to be seen - and heard - to be believed. Rob Haines took an individual approach to his role in the rhythm section and created his own spinning cymbal, which - like Pete’s "Doppler" - is unique to Bram Stoker (evident on "Poltergeist"). Jon Bavin enhanced their compositions with melodic themes, ethereal vocals and dextrous bass lines.
One of their early gigs was as support act for The Who at Bournemouth Pavilion. Front man Roger Daltrey saw the potential and invited Bram Stoker to his home in Berkshire, where he made demo recordings of the band. After six tracks had been recorded The Who embarked on an extensive USA tour, so the demos were put on hold until his return. Derek Lawrence, record producer of rock band Deep Purple, showed an interest and more tracks were recorded in London’s De Lane Lea Studios with Deep Purple’s engineer, Martin Birch. A few months later Bram Stoker was signed up to an independent label owned by Rolling Stones manager Tony Calder.
The band had also developed a keen following in Holland. Bassist Tony Lowe had now replaced Jon Bavin and the new line-up enjoyed a successful tour of that country in the spring of 1971. The "Heavy Rock Spectacular" album was released that same year.
Bram Stoker enjoyed remarkable interest from the music industry during the period from 1969 to 1972 and this is shown in the wake of the "Heavy Rock Spectacular" album - from its original vinyl release by Windmill Records in 1972 through to its present CD format. The album became a collector's item; an original vinyl LP is particularly valuable. Inevitable bootlegging ensued and CD copies of "Heavy Rock Spectacular" appeared on various labels world-wide. Sales of the album continue unabated, and the band's following on the Internet grows daily with fresh blood.
Bram Stoker re-formed in 2009 and composed new material. The band is now based in Salisbury, Wiltshire.
Kristyl, where a Louisville band and released their classic self-titled LP in 1974. The album is a blend of homemade psychedelia with a nice mixture of of gentle dreamy passages, heavy acid guitar and wah-wah fuzz along with charmingly vocals and spiritual influences.
W. S. "Sonny" Tongue "Country" had done some time in prison in the mid-1960s for draft resistance. After the first record was issued by the band, Sonny concluded he'd had enough as a performer and decided to become a full-time songwriter. Peter Weston, a singer/songwriter/guitarist, replaced him in the group. They recorded a song that Sonny wrote titled Anthem that was about his imprisonment. They toured nationwide and performed at major rock venues of the time. In 1969 Anthem went on the charts in Cleveland and then the song was banned from airplay. It was also banned from airplay in Memphis and Atlanta markets. The label then pulled it from production.
The group reorganized and moved to the Los Angeles area during the early 1970s. N.D. Smart became the drummer in the band. They toured on shows with comedians Richard Pryor and George Carlin. They even appeared on a show with crooner Rudy Vallee. Both Peter Weston and Michael Sagarese left the band leaving it a four-piece group for the remainder of its days.
The Hello People became part of Todd Rundgren's touring group in the '70s. During this period George Kiernan joined the group as an extra mime performer holding signs for the group.
The Hello People continued as a group through the seventies then went their separate ways.
Drummer Cel De Bauwer and singer/keyboardist Luc Smets had achieved some international recognition as members of the band Pebbles. When Pebbles called it quits in 1971 they decided to form Shampoo recruiting the talents of Mad Curry sax player Giorgio Chitschenko, lead guitarist Yves De Vriendt, sax player Francois Maes and bassist Rudy Pinlйe. The band's efforts didn't do a great deal in their native Belgium, but they found a supporter in the form of Francis Dreyfus who signed them to his French Motors label, releasing their sole album in 1972. Produced by guitarist De Vriendt, the optimistically titled "Volume One" took a little bit of effort to get warmed up to, and while it wasn't a classic album by any stretch of the imagination, it had enough interesting segments to warrant the investment of time.
Whereas Pebbles had been a pop-oriented band, Shampoo shared more in common with Mad Curry's jazz-rock leanings. That said, these guys clearly had an affection for quality pop music. It was unlike anything else on the album, but the opener 'Brother' was a glistening slice of '60s pop-psych. Even their more jazz-rock moves embedded distinctive pop elements - check out 'Keep The Day Cool'. As the band's lead singer Smets was actually pretty good. He sang with an accent, but it wasn't particularly pronounced, or irritating. As musicians, the entire band were first rate with Chitschenko and Maes adding jazz-tinged solos throughout.
Bad Cat
Tracks
1. Brother (Luc Smets) - 3:12
2. Keep The Day Cool (Luc Smets) - 6:24
3. Some Reason (Giorgio Chincheko, Luc Smets) - 10:55
In 1969, the members of a rather loose session line-up joined together to found Electric Sandwich, a jazz rock band from Bonn/Germany. Instead of working on a fixed repertoire, the band preferred to stay spontaneous and as free as possible both from a personal and a musical point of view. It was only gradually that they developed a set of fixedly arranged pieces combined with a great deal of improvisation.
Guitarist Jörg Ohlert doubled on keys, with organ on I Want You and a short Mellotron flute solo, followed by a string part on album closer Material Darkness, so not enough to make it worth it on the Mellotron front (where have we heard this before?). Overall, Electric Sandwich is a decent enough album.
Tracks
1. China (Jörg Ohlert, Klaus Lormann, Wolf Fabian) - 8:03
2. Devil's Dream (Jörg Ohlert) - 6:15
3. Nervous Creek (Jochen Carthaus, Klaus Lormann) - 5:00
