The self-titled debut by Orion Express was released in 1975 on the Round Mound Of Sound label. Hailing from California, Orion Express deliver rural hard psych/rock with acid guitar jamming. As with many of the 'back woods' guitar bands of that era the influences of Greg Allman and the Allman Brothers are never far away, with swirling keyboards, wailing leads, bluesy southern rock. great harp work... you can tell these guys were playing with the wind in their hair and the West coast sun in their faces!! Vocal comparisons are hard to tie down but Greg Allman, Paul Rodgers and a less warbly Roger Chapman all spring to mind!! Its good time summer boogie... the way it should be played.
Tracks
1. Hey Mama (Mick Martin) - 2:20
2. Blackness of Your Thoughts (Robbie Smith) - 4:19
3. Don't Give Up On Me (Mick Martin) - 4:50
4. Gotta Get the First Plane Home (Ray Davies) - 1:56
5. Mercury Blues (Steve Miller, K.C. Douglas) - 2:14
6. Hard Goin' Up (Bettye Crutcher) - 5:56
7. Down the Rail (Mick Martin) - 2:18
8. Time for Livin' (Robbie Smith) - 2:54
9. Another Bar Song (For Audrey) (Mick Martin) - 3:00
10.Your Mind Is On Vacation (Mose Allison) - 1:56
11.Misty Daydreams (Robbie Smith) - 3:46
12.Sunshine Lady (Richard Russom, Mick Martin) - 4:42
The second version of Strongbow started when Dave Smith met Bill Bendler when both were playing in the Rhodes Brothers touring band. David (drums) and Bill (vocals, trombone) wanted to play in a progressive hard rock band, so they left and got together with Sandy Edelstine (formerly of the Jaguars/Baroque Montly) and Bud Fowler to form Axis. Later in 1972 "Buzz" Ashton replaces Edelstine on guitar, and Mike Haines returns on bass. The band resurrects the Strongbow name and plays a lot of gigs in Michigan. Ashton departs, to be replaced with Michael Shortland (guitar) and John Stelzer (organ, sax, flute, synth, and vocals).
In the summer (likely July) of 1973 Strongbow went to Cleveland Recording and cut two original songs - "If You're Going to the City" (by John Stelzer) and "Change" (by Bill Bendler and Mike Haines). The 45 was released on the band's own Epodus label with the songs published under "Pizza music" - "If You Don't Like it, Eat It"!
John Durzo provides a first hand account - "I joined in October 1973. Mike Haines had just quit. The line-up was Bill Bendler, John Stelzer, Michael Shortland, and David Smith. It was an INCREDIBLE band, a musician's band. We toured throughout Ohio, Michigan, Indiana, West Virginia, Georgia and Florida. We opened for Ted Nugent at Alex Cooley's Electric Ballroom and then six months later came in as the opening act for Elvin Bishop. We opened for Bob Seger, Cactus, Thee Image, and tons of other national and regional acts. The writing of the band was definitely edgy, but the covers we played ranged from Iron Man to Can't Get Next To You. We kind of had a Uriah Heep/Deep Purple sound, due largely to the Hammond B3, but also had horn arrangements in some songs and straight forward driving rockers. We had a LARGE following who would pack every show we did, especially after the album was released. The disolution of the band was mainly due to poor management and the record company going belly up. I left in 1976 to play with a group called Tyler, and Mike Shoaf (ed. note - Mike had been in local bands in the 60s, including the Gears) took my place. I believe that Strongbow lasted until 1977, or there about."
Strongbow released an LP in 1975 on Buddah's Southwind subsidiary. The band had recorded a demo LP of seven original songs at Owl in Columbus, but re-recorded them at Buddah's request. John Durzo - "The reason for re-recording was the record company (Southwind) didn't like the sound quality (or they wanted to be able to fleece more money from us somehow). Mega Sound Studios in Bailey, NC, was - as I recall - a rat-infested little dump out in the middle of a field, miles from civilization. It sounded okay there, and there was room to spread the equipment out and isolate big amps (Ampeg SVTs) with fans from the speaker cabinets and mics, etc. The album kind of got wimpy-ized during the mastering or pressing. That's why I prefer the Owl demos on Con Carne to the actual album. It sounded more "Strongbow." In 2001 the band released a CD of the Owl recordings entitled "Con Carne" - a meatier sound. "We played all the album songs live. Our concert sets were usually 95% original. When we were on the bar circuit, we had a pile of covers that we used to fill the 4 or 5 sets per night."
"In 1975, Strongbow went on a western jaunt, playing in Sioux Falls, SD on our way to California. We went to the Starwood in LA, where we opened for Lydia Pense and Cold Blood for 3 nights, then opened for Ruby Starr and Grey Ghost for another 3 nights. One of Michael Shortland's old girlfriends was living out there and brought in her boyfriend to see a show. It was John Mayall of John Mayall and the Bluesbreakers fame He actually got up on stage with us and jammed for 40 minutes. What a set! Boy, was Ruby Starr's entourage pissed off! Oh, well. We went back to his house and helped him celebrate his son's 16th birthday party. Quite a list of Rock'n'roll Who's Who there as well. Joe Cocker, Richie Blackmore, then I passed out.....from there, back to Columbus for a couple of months of sold-out shows."
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.
