It was a feeling rarely experienced. Have you ever felt encased in a halo? That's about the most honest way to express it. His style is oh so soft and mellow, yet totally original. Lyrically, it's nothing short of brilliant. With touches of blues, funk and good ole rock and roll Jack creates an atmosphere of unmitigated joy. He stopped by Record World two weeks later. We were eager to learn more about this gifted individual. Jack was born in Italy and when he was only three his family moved to the south Bronx. As the years flew by, Jack realized his destinywas music, but as he said,"I felt too introverted in New York. Musically, I couldn’t express my self. So I moved to Toronto, not to drop out mind you, but to seek a kind of slow withdraw alI so desperately needed."
The Toronto folk scene became a part of his life, playing at places like Grumbles and the Riverboat, and learning from artists like Leon Redbone. Jack appears frequently on Canadian network radio and television, including "The Ian Tyson Show, "which is syndicated in several U.S. markets.
Jack's material has come to the attention of several major artists. Buzzy Linhart, Man hattan Transfer and Bette Midler have requested his songs and one is set for the next Lighthouse album. So the album comes in and each listening gets better and better. A wonderful assortment of Jack Schechtman songs and ideals. I guess it’s kind of fitting that Jack’s album arrives at a time when he and Suzan are preparing for a first child.
by Mitchell Fink, Record World Magazine, 1972
Tracks
1. You Of All People - 3:48
2. Blind Faith - 3:50
3. Sing And Sway - 3:14
4. Criss-Crossing - 3:39
5. A Lady To Love - 3:45
6. Up And Down - 3:37
7. Razor - 2:51
8. Sharpshooter Delight - 3:13
9. On Cherry Mountain - 3:42
10.The Road Rolls On - 3:50
11.Glory Come, Glory Go - 2:25
All Music and Lyrics by Jack Schechtman
Personnel
*Jack Schechtman - Vocals, Guitar
*Suzie Schechtman - Harmony Vocals
*Maribeth Solomon - Piano, Organ, Vocals, Electric Maestro
Alan Hull's third solo album, and his last before Lindisfarne reconvened in 1979, follows firmly in the footsteps of its two predecessors, while advancing their musical outlook towards entire new pastures. Indeed, a crack band and lush production could lure you into mistaking the opening "I Wish You Well" for any number of contemporary MOR troubadours, although the self-deprecating "Anywhere Is Everywhere" quickly brings your ears back to basics, a rock & rolling singalong that finds Hull sounding as sharp and sassy as he ever did in the past… and ever would in the future. Brilliant stuff.
by Dave Thompson
Tracks
1. I Wish You Well - 3:31
2. Anywhere Is Everywhere - 3:51
3. Make Me Want To Stay - 4:17
4. Dancing (On The Judgement Day) - 3:56
5. A Walk In The Sea - 3:11
6. Corporation Rock - 5:48
7. Madmen And Loonies - 3:11
8. Somewhere Out There - 4:17
9. Love Is The Alibi - 2:24
10.Love Is The Answer - 3:37
11.Isn't It Strange - 3:42
12.Spittin' In The Wind (Ken Craddock, Colin Gibson) - 3:29
13.Lay Back And Dream (Pete Kirtley) - 4:26
14.Something Got The Better Of You (Ken Craddock, Colin Gibson) - 4:52
15.Somewhere Out There - 4:19
16.Raw Bacon - 4:00
17.A Walk In The Sea - 3:15
18.Evening - 4:17
19.Dancing (On The Judgement Day) - 3:55
All songs by Alan Hull except where noted
Bonus tracks 11-19
Tracks 11-14 From Radiator's "Isn't It Strange" 1977 LP
Renegades from 60s US pop idols Tommy James & The Shondells, Michael Vale and Peter Lucia formed this outfit in 1970 to follow The Byrds, Burritos and Band in the newly fashionable country-rock direction. A lone self-titled album was the result. Their instrumental ace in the hole was steel guitarist Buddy Cage, whose signature is everywhere here, though his defection in 1971 to replace Jerry Garcia in New Riders Of the Purple Sage effectively ended the Hog’s story early. Five tracks that were canned as a result of this eventuality augment the original Roulette album, making this the definitive document on a little known but interesting outfit.
by Michael Heatley, 08 January 2009
Tracks
1. Wilma Mae - 3:29
2. Glass Room - 4:11
3. Bumpin' Slapcar Mama (Buddy Cage, Ronnie Hand, Chuck Demorat, Peter Lucia, Michael Vale) - 2:09
4. Prayer - 2:21
5. Happy - 6:53
6. Pennsylvania - 3:33
7. Come Away - 7:01
8. We All Go Down - 4:17
9. Theme From A Thought - 3:48
10.Stoned Feelin' - 4:23
11.Light Of The Lord - 2:05
12.You And Me - 4:06
13.If It Feels Good Do It - 3:45
14.Free Spirit - 4:41
All songs by Michael Vale, Peter Lucia except where noted
The Danish group Days was formed in Copenhagen in the winter of 1967/1968 by Peter Lindhe (drums), John Kjaergaard (vocals/rhythm guitar), Ole Fester (vocals/bass) and Lars Reinau (vocals/lead guitar). The band's repertoire was mainly rock and blues-oriented with cover versions of songs from John Mayall's Bluesbreakers, Cream, Jimi Hendrix and The Rolling Stones. Lindhe and Reinau started writing original material for the band and the repertoire started changing from rock/blues cover versions to self-composed, more lyrical songs with elements of The Beatles, Procol Harum and (early) Deep Purple.
In 1969, Jørn Anker (Hammond organ) joined the band and he, too, started contributing new original songs. The Days LP was recorded in the early summer of 1970 and in 1971, the band split up. Days came out on the Spectator label, and is one of the rarest albums from Denmark. It is full of amazing prog tunes with great organ elements and strong fuzz guitar.
Tracks
1. Preambulum (Sound Track In G-Major)/Discovery In Blue (Jørn Anker/Lars Reinau) - 6:24
2. Believe In Me (Ole Fester) - 4:32
3. Feel The Joy (Peter Lindhe, John Kjærgård) - 6:55
4. What Can I Do (Lars Reinau) - 6:44
5. The Lonely Shepherd Boy (Jørn Anker) - 4:32
6. Globe Without A Soul (Jørn Anker, Steen Christiansen) - 6:01
A talented, versatile and prolific musician, Alan Hull rose to prominence with Tyneside folk rockers Lindisfarne, and in 1973 released a Top 30 solo album, Pipedream. Released two years later, the follow-up Squire was written as the soundtrack to the TV play by Tyneside playwright Tom Pickard, broadcast in 1974 with Hull playing the lead role on screen. His character, Alfy, is an unemployed Newcastle boy who has Walter Mitty-like fantasies about being wealthy (and how wonderful is the cover portraying that?).
Produced by Hull at Morgan Studios, the album still sounds exquisite and crystal clear. Shades of The Kinks, solo Lennon and early ELO imbue the mid-tempo title track, rock’n’roller Nuthin’ Shakin’ and heartbreaking One More Bottle Of Wine.
While it’s not a prog album per se, the Mellotron on instrumental I’m Sorry Squire pins it to its mid 70s period and, themed around Pickard’s play, it might even qualify as a concept album of sorts. Regardless, Hull (who died 20 years later, aged just 50) was firing on all cylinders here.
by GRM, September 25, 2013
Tracks
1. Squire - 5:08
2. Dan The Plan - 4:20
3. Picture A Little Girl - 2:43
4. Nuthin' Shakin' (Cirino Colacrai, Diane Lampert, Eddie Fontaine, Johnny Gluck) - 3:45
Freddy Lindquist was a veteran of several Norwegian beat bands before embarking on his solo album in 1970. Moving on to heavy rock he produced an album in the classic vein of Cream and Taste - the comparison being even more apt as the addition of two help-mates made the band into a trio. The guitar-work on the opener 'Sundae Sellers' is very Clapton-influenced, although in no way just a copy-cat, and the jazzy 'Green And Pink Little Man' shows Lindquist is equally at home with hard rock. 'Shakaro' is a flute-led instrumental which nicely breaks up the album, before 'How Nice' re-introduces the guitar as the lead instrument for it's own showcase.
In 1970 he gathered friends from the Club 7 environment and got free access to Arne Bendiksen's studio to record the now legendary album "Menu". Freddy Dahl (Junipher Greene), Calle Neumann, Espen Rud and Geir Wentzel, among others. - a bit of a star team. The result is one of the best Norwegian freak-rock albums of all time and a must for anyone interested in that sort of thing.
A heavy, heavy version of Los Bravos' 'Black Is Black' - done a la Vanilla Fudge - is one of the highlights of the album, but Lindquist's own offerings like 'Women Running Around' and 'Join In And Freak Out' are equally fine, and make this a truly excellent album. All the songs are sung in English, and have a definite British vibe to them, making them accessible to a worldwide audience.
Tracks
1. Sundae Sellers (Bent Birkholm) - 4:43
2. The Green And Pink Little Man (Freddy Lindquist) - 4:08
Brett Smiley was no David Bowie, in fact, the album the 18-year-old Mr. Smiley made with the Rolling Stones producer Andrew Loog Oldham in 1974, “Breathlessly Brett,” didn’t even see the light of day until 40 years had passed.
But he was someone you should know. And in what seemed like some sort of cosmic coincidence, he died on Jan. 8, just two days before his immeasurably more successful contemporary.
The failure of Mr. Smiley — or Brett, as I came to know him — to take his own place in the pantheon of 1970s glam legends wasn’t because of a lack of effort. He was young, American, gorgeous and wrote compelling songs delivered in a breathy, achingly vulnerable voice. Some $100,000 had been invested in starting his career. Disco magazine declared him “the Most Beautiful Boy in the World.” He was poised, on the precipice, ready for his close-up.
But “Breathlessly Brett” was shelved. “I just refused to let them release the album,” Mr. Oldham said recently in an email. “I knew it would be a disaster, and we’d already had one — the 45 r.p.m. release of ‘Space Ace,’ ” a song from the record.
The astronaut-themed “Space Ace,” with its military-style snare drum rolls, “launchpad” sound effects and lush strings might have been titled “Not Quite Space Oddity.” The up-tempo, catchy B-side, “Va Va Va Voom,” would have made a much better debut. Either way, Brett’s glam career crash-landed, and Mr. Bowie — and the rest of the world — moved on.
In 1977, Brett landed a part in “Cinderella,” a low-budget soft-porn flick. Appearing in a movie wasn’t such a big stretch; he had understudied the lead role in “Oliver” on Broadway for a little over a month in 1965. But it was the last major gasp from Brett, who like so many in the hedonistic ’70s and ’80s was wooed by assorted mind-altering substances. And off he went.
By the time I met Brett in Central Park in 1988 while playing Frisbee, his time had passed. To me he was a skinny, friendly, vaguely beat-up-looking man who, like me, carried a guitar everywhere he went. We talked, we jammed, he played me one of his new songs — “From the Head to the Heart” — and he told me to throw out one line of a new song I had just written called “Quittin’ Time.” It was good advice.
We kept seeing each other in the park on weekends and then one last time, for a few hours, at a mutual friend’s house. Eventually, he told me the story of his 15 minutes of almost-stardom, but I didn’t really care. There was no Internet and I could not look up photos, hear recordings or see his and Mr. Oldham’s appearance on Russell Harty’s British TV show.
I just liked the guy; he wasn’t a dude or a bro, but neither was he overly touchy-feely. I was aching at the time for guidance, particularly with music, and Brett gave it to me without being asked. There was something lovable about him. Such is the nature of born stars, whether they become famous or not; you just want to be around them.
When Brett suddenly disappeared and I eventually made inquiries, I was told he’d succumbed again to drugs and had fled to California. I soon left New York to live in an Indian ashram. The past rapidly seemed a millennium away, and the ’80s were cemented in pop culture almost as soon as they were over.
I remembered Brett all through the next three decades, though — his face, his manner and especially the fact that he never complained about his faded career or his drug addiction; he didn’t seem to feel sorry for himself.
Shaken to the core in the wake of David Bowie’s death, I thought of glam and decided, after all these years, to Google Brett Smiley.
I wasn’t surprised, knowing his history, to see the headline “Brett Smiley Dies at 60,” but was gobsmacked to see he’d died in his Brooklyn apartment just 48 hours before Mr. Bowie. He’d been found, the obituaries said, by family members and a friend who had been unable to contact him by phone.
And thus I spent the better part of the day getting to know the Brett I had never known and falling in love with the tiny, beautiful creature on the cover of “Breathlessly Brett” as one might have in 1974 — in the den with friends gathered around a turntable or in one’s bedroom. There was also Andrew Loog Oldham and a nervous Brett Smiley debuting on British TV with “Space Ace,” which Brett had expected to mime but had to perform live. His songs have played nonstop on my iPod since I downloaded them two days ago. It’s all Brett, all the time.
David Bowie, by contrast, does not need me to mourn him. I saw the 1976 film “The Man Who Fell to Earth” when it came out (though I didn’t understand it). I pulled my car over to listen to “Ashes to Ashes” in 1980 the first time it came over the radio because the snapping bass guitar opening the song was so compelling; I didn’t even know it was Mr. Bowie’s song until he started singing. I watched him at Live Aid during a break from the restaurant I was working at near Washington Square Park in 1985, and I’ve sung the words “This is ground control to Major Tom” in public about 500 times since I was 15. I’ve given him more than 40 years of my life, and the world will no doubt see to his legacy without my help.
But maybe Brett Smiley does need me to mourn him. I asked Mr. Oldham for his thoughts, and they were kind. “He was an irresistible spirit, a warrior, superb writer and chronicler of his and our times,” Mr. Oldham said. “A good person to have as a friend, a lovable rogue. He will be missed.”
Brett wasn’t Ziggy Stardust, the Thin White Duke or Major Tom, he didn’t end up getting to record and hang out with John Lennon and Mick Jagger and he didn’t make millions of dollars — not even close. But he was the Space Ace, as well as a talented, slightly mysterious guy who was nice to me when he had no reason to be. Brett Smiley didn’t change the world, but he’s left it now. He lived a life, and it mattered.
by Josh Max, Jan. 16, 2016
Tracks
1. Brett's Lullaby - 0:31
2. Highty Tighty - 2:59
3. Space Ace - 3:50
4. April In Paris - 3:29
5. Solitaire (Neil Sedaka) - 4:03
6. Va Va Va Voom - 3:12
7. Run For The Sun (Brett Smiley, Tony Freed) - 2:44
8. I Want To Hold Your Hand (John Lennon, Paul McCartney) - 2:55
9. Pre-Columbian Love - 2:14
10.Queen Of Hearts - 3:49
11.I Can't Help Myself / Over The Rainbow (Brian Holland, Edward Holland, Jr., Lamont Dozier / Isidore Hochberg, Harold Arlen) - 2:49
12.Young At Heart (Carolyn Leigh, Johnny Richards) - 2:08
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.
