One of the best US private press hard rock/progressive rock albums of the 1970s, from the master tapes. Only 250 copies available. Formed in 1969 in Houston, TX, Oz Knozz's original crew included multi-instrumentalists Jack Alford, Bill Massey and Duane Massey. Alford left the group in 1971 and was replaced by drummer Marty Naul, while the next year the trio was joined by guitarist Richard Heath.
The band had also a three-man horn section, which was dropped quite fast, although horns remained a part of the band's sound, even on their rare and epochal 1975 private press debut 'Ruff Mix,' released on the band's own Ozone label. 'Ruff Mix' mainly grooves in hard rock territory, the second track 'Peanut Butter Yoni' sounds a bit like Judas Priest with a proto-metal feeling. Yet the album also has elements of progressive rock, horn rock and pomp rock. Like most bands of the era, the idea may have been to take a shot at a few different styles to see if something would stick_ the theory being that a major label might hear the private album by chance and sign said band so they could open for Led Zeppelin or Foghat's next US tour... or something like that.
What separates Oz Knozz from other bands is a strong compositional component; they have plenty of original ideas and muster superb instrumentation. The guitar work ranges from hard and powerful to melodic and bluesy, and is supported by some great keyboard, including awe-inspiring organ and synth waves. The three-part 15-minute 'Doodley Squat' suite features heavy dual keyboard parts, crunchy guitars and expressive vocals; the result is a terrific hard prog track with lot of energy. Strange to say about a hard rock album, for many the standout track is the groovy and infectious horn rocker 'Love Poem,' which sounds like it easily could have been from 1969. High energy and impressive songwriting.
This quintessential blues bar band, part of the "blue wave" movement of the late '70s, has been knockin' em cold for years. This album exclusive is a stellar example of their early recordings: bare-boned; naked and unashamed, a flip of the bird to anything high-tech, with one foot planted squarely in the Mississippi Delta and the other in the old Chess Studios. Still touring today, the 'Hawks are one of the hardest working units around, and their special brand of energy and "rawness" is highlighted on this disc, which includes a live version of Red Hot Mama, featuring Pinetop Perkins pounding the ivories. Other selections include the writings of Sonny Boy Williamson, Elmore James and Muddy Waters as the 'Hawks rip through the dictionary of blues.
Tracks
1. Nine Below Zero (Sony Boy Williamson) - 3:23
2. Help Me (Sony Boy Williamson, Willie Dixon, Ralph Bass) - 4:00
3. Shake Your Moneymaker (Elmore James) - 3:11
4. Big Boss Man (Luther Dixon, Al Smith) - 3:23
5. Little By Little (Mel London) - 2:35
6. Madison Blues (Elmore James) - 2:52
7. Next Time You See Me (Earl Forest, Bill Harvey) - 3:53
8. That's Alright (James A. Lane) - 4:00
9. Long Distance Call (McKinley Morganfield) - 5:44
From Nebraska of all places came this little-known 70's act, debuting as a power trio in 1976 with A Ninth Alive and following that up two years later with Kiss Heaven Goodbye, by which time they'd recruited a new vocalist to expand their sound. By most accounts the first album is a bit of an ordinary hard rock album and it's Kiss that often gets the long-lost-classic accolades, and that's the album reviewed here.
On their second "Kiss Heaven Goodbye" released in 1978, their main characteristic is the singer which has a unique voice, The record is quite heavy for its time and this is obvious judging from cover and songtitles however don't forget it's still hard rock. There are songs (e.g "Respected man") that contain Sabbath elements, in general these guys were more hard rock oriented. Songs like "Prince Of The Southern Ice" would be right at home on any early NWOBHM album, and that movement was still a year away from taking hold. Like many a band over the years, the breaks didn't go their way and they disbanded. Granmax is indeed one of those gone-but-not-quite-forgotten bands that 70's fans should track down.
Tracks
1. Take You Away - 4:45
2. U.S. Is Coming Around - 3:56
3. Crumbling Towers - 2:43
4. Bankers Bar - 4:31
5. Find A New Day - 3:24
6. Out On The Tide - 3:58
7. Ceiling Wall - 4:37
8. Glitter Boots Boogie - 3:50
9. Let Me Know - 3:22
10.Letters To Myself - 4:47
11.Mistress Of Eternity - 4:24
12.Dream Woman - 2:47
13.Daughter Of Hell - 4:43
14.It's Worth The Wait - 3:11
15.Prince Of The Southern Ice - 4:31
16.This Life's For Me - 3:58
17.Respected Man - 3:35
18.Travels Of Tim - 3:34
All songs by Steve Myers, Tim McCorkle, Louis McCorkle, plus Nick Christopher for tracks 11-18
Mendoza is jazz prog rock from Linköping, Sweden formed in early 1970s. Debut album was released in 1972. Line up are Anders Hogman (bass), Anders Östryd (drums), Arne Gustafsson (guitar, flute), Björn Larsson (trumpet), Lennart Palmefors (keyboards, vocals) and Rolf Öhlin (guitar).
Tracks
1. Jojk (Anders Hogman) - 7:20
2. Steamship (Rolf Öhlin, Björn Håkanson) - 2:15
3. Hello, Hello (Lennart Palmefors, Björn Håkanson) - 3:30
4. A Sinful Man (Anders Hogman, Björn Håkanson, Jack Downing) - 1:56
5. The Grateful Salesman And Co (Lennart Palmefors, Jack Downing) - 3:09
6. The Land Of Little Rain (Lennart Palmefors, Björn Håkanson) - 5:45
As You Like It was formed in the latter part of 1972. Paul Vincent Myerson (bass), Paul King (drums) and John Ellis (keyboardist extraordinaire) had been playing together in Norman Mitchener's covers band The Beachcombers (former members included a certain Mr. Keith Moon...!) but had broken away to pursue original material. After a couple of relatively short-term guitarists (the first being session player Laurence Juber, a friend of John's from music college who went on to join Paul McCartney's Wings), the lineup was consolidated when Martin Paine was invited to join in the Spring of 1973.
Martin's own original-material band, Bruin (members over time included Harold "H" Vickers, formerly of Dr. K's Blues Band on bass and saxophonist Richard Blanshard, who later played in Kim Wilde's band for a number of years) had been active on the London area clubs and colleges circuit, supporting, amongst others, jazz-rock band If, prog rock outfit Skin Alley and Supertramp. On November 12 1972, Bruin were again supporting Supertramp at the Sirius club in Southgate, N. London (that was the night Roger Hodgson asked to try Martin's Marshall amp, but was unimpressed - "too clean" - so sent his roadie out to the van mid-set to drag in a very battered Vox AC30!) to find an additional combo on the schedule, which included Paul VM, Paul K and John, who were possibly playing some kind of showcase (no one can quite remember..!).
Paul VM and Martin already knew each other slightly as both worked at that time at Polydor records, so when AYLI were looking for a replacement guitarist Paul approached Martin, to discover that Bruin had recently broken up, and thus the stage was set! As was often the case at that time, a local businessman & property developer (whose nephew was a close friend of Paul K) wanted to dip a toe into the "glamorous world of music" and allocated a "shed" on his farm (the chickens had been evicted..) in which the band could rehearse, and a "manager" (of sorts), Tay Devlin, who we believe also managed Cross e Ross (Keith Cross, formerly of prog rock outfit T2, and Peter Ross).
Following several months of writing and rehearsing, AYLI went into the R. G. Jones studio in Wimbledon to record several demos. The band essentially ended up mixing these themselves as the Producer lined up, Dave Hitchcock, who had previously worked with Genesis, Camel and Caravan amongst others, left the premises early after some kind of disagreement with Tay.
Not to be put off, the band continued writing and rehearsing and during 1974, Gerry Dane, who is believed to have previously been involved with the UK office of Buddah Records (whose roster included Melanie, The Edwin Hawkins Singers, The Isley Brothers, Gladys Knight and Curtis Mayfield) came on board as producer/manager.
At New Year 1975, Gerry took the band into Chalk Farm Studios, N. London, where they laid down a further set of demos. The band was "excluded" from the mix and were not entirely happy with the final versions. Despite some interest by record labels (RCA in particular considered signing the band), nothing came of these recordings and the band decided to call it a day, at least as a writing/recording outfit. They did, however, continue playing together for some while as a covers band and continued to collaborate on subsequent demo recordings of songs written by Paul VM and Martin.
CD Liner Notes
Tracks
1. No More Sunshine Till May - 5:19
2. One By One - 3:56
3. Wait For You - 3:10
4. Ages Come, Ages Go - 4:20
5. Turn Around - 4:43
6. September Song - 3:57
7. Together - 2:43
8. Bed of Tears - 3:32
As You Like It
*Paul Vincent Myerson - Bass, Vocals
*Paul King - Drums, Vocals
*Martin Paine - Electric, Acoustic Guitars, Vocals
About 25 years ago, actor Tom Hanks wrote and directed a pitch-perfect movie called “That Thing You Do!” Taking place in the mid ‘60s, it tells the story of The Oneders (pronounced “Wonders”), a regional band riding their hit song to the top of the charts, experiencing not even 15 minutes of fame and then quickly fading into obscurity.
After the meteoric rise of the Beatles, millions of bands formed in small town garages all over America, hoping to mirror that success. A few, like the Standells (“Dirty Water’), Blues Magoos (“We Ain’t Got Nothing Yet”), Music Machine (“Talk, Talk), the Capitols (“Cool Jerk”), Strawberry Alarm Clock (“Incense And Peppermints”) and Bubble Puppy (seriously, that’s a real band, and their big hit was “Hot Smoke & Sassafras”), made it into Billboard’s Top 20.
Others weren’t as lucky. For Cleveland’s The Choir, and Corpus Christi’s Zakary Thaks, songs like “It’s Cold Outside” and “Bad Girl” went to #1 on local radio, but their hometown appeal never translated to national success. The Palace Guard was that kind of band.
First known as The Emerals, they formed in 1964, in the Los Angeles suburb of Hawthorne. The original line-up included brothers David, Don and John Beaudoin on rhythm guitar, lead vocals and keys and lead vocals and tambourine, respectively. Along with Mike Conley on backing vocals, Chuck McClung on lead guitar, Rick Moser on bass and lead vocals and Emitt Rhodes on drums. The band made their bones playing local spots like Reb Fosters and the Revelaire Club in Redondo Beach, building up a loyal following. They signed with the small Orange-Empire Records. It was around this time they became The Palace Guard, (abbreviated to “the Guard,” by fans).
Their first single, “All Night Long” arrived a few months later. Despite it’s somewhat “suggestive” title, it received airplay on the popular Los Angeles station, KFWB (who, along with KRLA “The Big 11-10” and KHJ “Boss Radio,” shaped the listening tastes of teenagers across the sprawling L.A. metropolis). It quickly became a local hit.
Not so coincidentally, The Palace Guard’s manager partnered with celebrated DJ, Dave Hull and opened the Hullabaloo Club across from the Hollywood Palladium. The Guard performed there regularly. By 1966, they had opened for, or played with British Invasion hit-makers like the Yardbirds and the Hollies, as well as stateside acts like the Association, The Byrds, Dick Dale And The Del-Tones, the Hondells and Paul Revere And The Raiders. They also appeared on local TV shows like Casey Kasem’s “Shebang” along with the nationally televised summer series, Dick Clark’s “Where The Action Is.” They tried out for Ed Sullivan, but didn’t make the cut, most likely because their popularity was limited to L.A.
Emmitt quit the band in mid ’65. The wunderkind had joined at age 14 but had bigger plans. He quickly teamed with lead guitarist Gary Kato, bassist Bill Rinehart and drummer Joel Larson to form The Merry-Go-Round. There he took the reins as lead vocalist and primary songwriter. He created indelible hits like “Live” and “You’re A Very Lovely Woman” before embarking on a critically acclaimed solo career.
The Guard soldiered on, recruiting ex-Driftones drummer Terry Rae. But they soon soured on their management and record label, who failed miserably (or couldn’t be bothered) to get them national exposure. Even when they were paired with actor/singer Don Grady (“Robbie” on the hit series “My Three Sons”), for a couple of songs, the results were hit-and-miss. Frustrated by their lack of success on the charts and limited financial compensation, the band called it quits in 1967. All told, they had recorded 12 songs, spread over six singles.
Fast-forward more than half a century, and record collectors and Garage/Psyche enthusiasts still rummage through record stores, thrift shops, flea markets and scour the interwebs in search of those elusive six singles from The Palace Guard. Thanks to Lenny Kaye’s exhaustive “Nuggets” series (albums devoted to the original Garage and Psychedelic scene), the band has acquired a cult following. Luckily, the cool kids at Omnivore Recordings have gathered the band’s songs in a convenient 12-song set.
Despite their youth and inexperience, the album’s first three songs display a musical acumen that belies their tender age. The record kicks into gear with the buoyant first single, “All Night Long.” Ringing guitars jangle and chime over elastic bass lines and a whipcrack beat. The vocals are surprisingly growly and gritty, the lyrics, slightly risqué; “Well, I want to be your man baby all night long, I want to be your man baby all night long/Sitting on the sofa trying to have some fun comes early in the morning and it’s half past one.” But they hedge their bets on the puerile chorus; “No cootchie, cootchie, cootchie, cootchie coo, all night long.” Luckily the rollicking arrangement, replete with raw rhythm guitar riff-age, feral bass, pummeling drums and a sizzling guitar outro distracts from the baby-talk.
Next up, “Playgirl” exhibits a mellower touch. This was a groovy kind of love powered by plangent guitars, twinkly keys, agile bass, a tambourine shake and a heartbreak beat. Even as lyrics like “Playgirl, that’s what I heard somebody call you today, you’re a Playgirl, haven’t you heard or don’t you care what they say/Here’s what they say: ‘She’s racing around in a foreign car, all made up like a movie star, going too fast, going too far,’” gently chastising a former crush who’s become a Sunset Strip habitue, the vibe is cautionary rather than accusatory.
Meanwhile, “A Girl You Can Depend On” starts off slightly spooky and contemplative, before accelerating into a confident, mid-tempo Rocker. Sidewinder guitars, sultry bass and a thunking beat are enhanced by icy keys. Painfully sincere lyrics extol the virtues of a reliable gal who “only wants to be with me all night and day” and “is always there on time.” Perhaps all this punctuality will give way to more Playgirl-ish proclivities. Only time will tell.
The Guard tackle a couple of well-known songs, “If You Need Me” and “Saturday’s Child,” and acquit themselves nicely. The former, was originally a hit on the Soul/R&B charts for it’s composer, Wilson Pickett. But The Guard takes their cues from the Rolling Stones’ version. It’s all Farfisa and Fuzz, latticing tart and tangy organ notes over fuzz-crusted guitar riffs. The sanguine instrumentation is matched by ardent but defiant vocals. Initially, lyrics passionately pledge undying loyalty, but during a spoken-word interlude the truth emerges; “People have always said, darlin, that I didn’t mean you no good, and you would leave me someday/But way deep down in my heart I know I’ve done the best that I could that’s why I know that one of these days, it won’t be long, you’ll come walkin’ through that same door.”
The latter was written by future Bread front-man David Gates and appeared on the Monkees’ self-titled debut, But The Palace Guard beat them to the punch by a few months, and their approach is positively primordial. Distorto guitars partner with spiky keys and a stompy beat. Jaunty harmonies crest atop lyrics that cleverly compare and contrast the virtues of being born on a Saturday, rather than Sunday through Friday.
Midway through the collection unveils their biggest hit, “Falling Sugar.” Here insistent shang-a-lang guitars are bookended by spidery bass lines, wailing harmonica and a crackling beat. The hooky chorus is made all the sweeter by honeyed harmonies, which helps to camouflage clumsy metaphors like “The hurt is so deep, that I can’t eat or sleep, if you would come back, you’d make my thoughts of you sweet and they’d tumble down like sugar.” The opening number, “All Night Long” is an original by Guard brothers Don and John Beaudoin, three more of their songs are featured here. “Oh Blue (The Way I Feel Tonight)” fares the best. Surf-Rock guitars crash over nimble bass lines and a rattletrap beat. The whipsmart arrangement and instrumentation are juxtaposed by hushed, Beatlesque and sad-sack lyrics that parse the beginnings of a broken heart.
The Beaudoins’ other two compositions are hampered by overly ambitious and weirdly cheesy production values. “Calliope” floats in ¾ time, affecting a woozy, circus atmosphere. But all manner of bird whistles, gimcracks and animal noises quickly subtract from the fun. The flipside, “Greed” is a wild-eyed Mazurka that’s frenetic and overwrought. Somewhere, beneath the dross, are a couple of not-bad songs.
Other interesting tracks include the ramshackle “Party Lights” which is anchored by spiraling carnival keys, chunky rhythm guitars, roiling bass and a taut military cadence. On the break, chicken-scratch lead guitar that recalls the fleet fretwork of the Rolling Stones’ original guitarist, Brian Jones.
The final two tracks are billed as Don Grady And The Place Guard. The actor/singer, who segued from a Mouseketeer to one of Fred McMurray’s three TV sons, has a pleasing tenor that echoes television’s most famous Rocker, Ricky Nelson. But the song “Little People” provided a weak showcase.
“Summertime Game” is suitably breezy blending a Tijuana brass fanfare with splayed guitar riffs and a snapback beat. It’s pleasant enough, but The Guard is relegated to the background. The partnership with Grady, was short-lived. He went play drums for the Sunshine Pop band, Yellow Balloon. Not long after, fed up with the music industry, The Palace Guard called it quits.
Although he faced his own frustrations, Emitt Rhodes released four quietly brilliant solo records in the early ‘70s. Critics compared him to Paul McCartney, but album sales were lackluster. Discouraged, he continued to work in the music industry on the production side of things. Something of a recluse, he was coaxed out of retirement a few years ago. Thanks to the patient encouragement of musician/producer Chris Price, (as well as a coterie of famous friends and admirers), he made a stunning return with “Rainbow Ends” in 2016. Sadly, he passed away quite suddenly last year, a few months after his 70th birthday.
Don, John and David Beaudoin, along with Mike Conley, Chuck McClung and Rick Moser all walked away from the music business. Each found a measure of success in their chosen career paths, raised families and stayed in touch.
The Palace Guard had the goods, tapping into the sort of melodic zeitgeist that would propel both the Byrds and the Zombies to greater heights. Who knows what might have happened if they’d had sharper representation or a record label that was more invested in getting them to the next level. “All Night Long: An Anthology 1965-1967” offers a aural snapshot of those halcyon, early days of Rock & Roll. Back when woodshedding in a garage could lead to gigs on the infamous Sunset Strip, a recording contract and a couple of hit singles. The Guard didn’t get to rule the world, but they definitely left a lasting impression.
by Eleni P. Austin, May 27, 2021
Tracks
1. All Night Long (Don Beaudoin, John Beaudoin) - 2:55
2. Playgirl (Tudy Hudgings) - 2:26
3. A Girl You Can Depend On (Russell Alquist) - 2:29
4. If You Need Me (Robert Bateman, Sonny Sanders, Wilson Pickett) - 2:02
5. Falling Sugar (Lawrence Rush, Paul Leka) - 2:10
6. Oh Blue (The Way I Feel Tonight) (Don Beaudoin, John Beaudoin) - 2:39
7. Saturday's Child (David Gates) - 2:35
8. Party Lights (Claudine Clark) - 3:19
9. Calliope (Don Beaudoin, John Beaudoin) - 2:41
10.Greed (Don Beaudoin, John Beaudoin) - 2:24
11.Little People (Billy Page) - 2:39
12.Summertime Game (Tudy Hudgings) - 2:12
Tracks 11-12 as Don Grady And The Palace Guard
The Palace Guard
*Rick Moser - Bass
*Don Beaudoin - Lead Vocals, Tambourine
*John Beaudoin - Vocals, Keyboards
*Chuck McClung - Lead Guitar, Vocals (Tracks 1-10)
The elder statesman of rock historians, Fred Dellar, wrote of the hugely-underrated Starry Eyed And Laughing that they were either 15 years ahead of their time or 10 years too late, by which he meant that with better timing they could have been as big as the Byrds or REM. Certainly, SEAL arrived somewhat late for the first and most popular phase of their chosen genre, country-rock. The two involuntary albatrosses they carried round their necks didn’t help much, either: being cast by the UK rock media as an ersatz Byrds by dint of their prominent Rickenbacker twelve-string jangle and close harmony vocals, and being saddled with the uncultured, back-to-basics Pub Rock image by virtue of working the same London venues as the R’n’B and Chuck Berry-fuelled likes of Dr Feelgood and Ducks Deluxe. Neither association was deserved.
SEAL was initally old school friends Ross McGeeney and Tony Poole from Bedford, who worked the capital’s folk clubs, pubs and subway stations as a guitar/vocal duo in the early 70s, taking their name from a line in Dylan’s Chimes of Freedom and covering the Zim himself, Jackson Browne, Michael Nesmith and other quality singer-songwriters. Late in ’73 they aspired to a stable four-piece line-up with Brighton bassist Iain Whitmore and appropriately-named drummer Mike Wackford, and began working up a set of country-rock originals based around the songwriting of the three frontmen, Poole’s chiming Rickenbacker 330-12, McGeeney’s bend-laden Telecaster and fluid vocal harmonies. These graced the eponymous debut album which appeared on CBS in October ’74 to considerable critical approval. While the Byrds influence could be detected, so could those of various other heroes of the genre “ CSN&Y, Poco, even Moby Grape – and there were yet plenty of original touches. The songwriting may not have been as smoothly adroit as the more sublime compositions of McGuinn or Browne, but still showed an adventurous respect for their West Coast antecedents. Poole’s dexterity on the Rick Twelve was (whisper it low . . .) way ahead of Roger McGuinn’s, and his duels with McGeeney’s fiery Fender made the uptempo cuts sizzle.
The debut’s twelve tracks comprised a classy, energetic, varied set. Lady Came From The South recalls Notorious-era Byrds with flanged 1string, powerhouse percussion and psychedelic overtones, while the joyous boogie Oh What? rocks along on guitar and piano in best Southern Rawk style. All four musicians generate an absolute tour-de-force on Going Down, on which Poole’s licks in particular are incandescent. But despite support from heavy UK touring the album failed to sell in large numbers at home, and didn’t get a release in America at all. CBS nonetheless optioned a follow-up which appeared eleven months later as Thought Talk and which, following the prevailing trend, offered more keyboards, less twelve-string twang and more mature, complex compositions; different, but certainly as accomplished and rewarding as the debut. SEAL then embarked on a brief but well-received US tour, during which McGeeney visited Gene Parsons to have his Tele fitted with a String Bender.
The history becomes sketchy thereafter; at a tour post-mortem meeting McGeeney was summarily fired or resigned (depending on whose account you read) for reasons never made public, and the depleted band fell apart shortly afterwards when their management went bust. Unlike many of their contemporaries, there has been no reformation, though Poole remains active in the genre as producer and record label owner and struts his Rickenbacker along with Whitmore in the rather excellent Falcons. The best way to experience SEAL’s oeuvre thirty-five years on is via the fine 2CD package That Was Now And This Is Then, containing all of both albums, interesting bonus cuts (including their version of Chimes Of Freedom) and snatches of concerts and radio broadcasts.
by Len Liechti, June 28th, 2010
Tracks
Disc 1
1. Going Down (Ross McGeeney) - 3:06
2. Closer To You Now (Ross McGeeney) - 3:51
3. Money Is No Friend Of Mine (Tony Poole) - 3:21
4. Lady Came From The South (Tony Poole) - 3:46
5. Oh' What (Tony Poole) - 3:01
6. See Your Face (Ross McGeeney, Tony Poole) - 3:15
7. Nobody Home (Tony Poole) - 2:40
8. 50/50 (Better Stop Now) (Iain Whitmore) - 3:37
9. Living In London (Ross McGeeney, Tony Poole) - 2:44
10.Never Say Too Late (Iain Whitmore) - 2:59
11.In The Madness (Ross McGeeney) - 2:56
12.Everybody (Ross McGeeney) - 5:45
13.Chimes Of Freedom (Bob Dylan) - 4:51
14.Strangers All Over Again (Tony Poole) - 3:38
15.Meet Me Lord (At The Bottom Of The Hill) (Ross McGeeney, Tony Poole) - 3:14
Tracks 1-12 "Starry Eyed And Laughing" 1974
Bonus Tracks 13-15
Disc 2
1. Good Love (Ross McGeeney, Tony Poole, Iain Whitmore, Michael Wackford) - 4:52
2. One Foot In The Boat (Tony Poole) - 4:15
3. Since I Lost You (Iain Whitmore) - 4:45
4. Down The Street (Ross McGeeney) - 4:16
5. Fool's Gold (Iain Whitmore) - 4:45
6. Believe (Ross McGeeney) - 5:56
7. Keep It To Yourself (Ross McGeeney, Tony Poole, Iain Whitmore, Michael Wackford) - 3:35
8. Don't Give Me A Hard Time (Ross McGeeney) - 3:45
9. Flames In The Rain (Tony Poole) - 7:02
10.Thought Talk (Iain Whitmore, Tony Poole) - 4:56
Documented during an era in which U.K. performances by Caravan were few and far between, Live at the Fairfield Halls 1974 is a brilliantly remastered and likewise complete presentation of a concert held just prior to their inaugural tour of North America. Although Caravan had been subjected to several key personnel and managerial alterations in the preceding months, once they hit the stage they shed any behind-the-scenes acrimony and were transformed into a stunning synergy of progressive and symphonic rock. This warm-up show took place on September 1, 1974, at Fairfield Hall in Croydon and was initially documented as a possible promotional tool for their upcoming stateside appearances. The tapes remained on deposit, seemingly forgotten, at the Decca studios storage facility in West Hampstead, U.K., until the stunning 19-minute "For Richard" was resurrected for inclusion on the two-LP Canterbury Tales compilation in 1976.
Enthusiasts who prefer the band's lineup and subsequent edgier tone, circa For Girls Who Grow Plump in the Night, will be doubly thrilled with this release as they re-create most of the album. Additionally, they wrap themselves around the crushing "Memory Lain, Hugh"/"Headloss" opener. Perhaps foreshadowing how powerful this rendition will be, the evening's proceedings fade in to the hovering resonation of Geoffrey Richardson's electric viola as he fiddles underneath the band's introduction. Caravan's most recent release concurrent to this performance is the equally impressive Caravan & the New Symphonia.
From that disc comes "Virgin on the Ridiculous" -- performed here by just the quintet. Although composed for the incorporation of an orchestra, this rendition is leaner and displays the band's almost conversational way of jamming and improvising. The transition into the "Be Alright Now" suite is seamless, and, under the thunder sticks of Richard Coughlan (drums), the band is propelled into one of the only live versions of the medley to have been professionally documented. With a well-deserved nod to the "New Symphonia," Live at the Fairfield Halls 1974 will perhaps become the quintessential live Caravan release. The sound is crisp and the stereo image is direct and very warm. This disc is highly recommended for newly found fans as well as the more seasoned consumer.
by Lindsay Planer
Tracks
1. Memory Lain, Hugh / Headloss - 9:27
2. Virgin On The Ridiculous - 7:14
3. Be Alright / Chance Of A Lifetime - 6:37
4. The Love In Your Eye (Richard Coughlan, Pye Hastings, Dave Sinclair, Richard Sinclair) - 15:23
5. L'Auberge Du Sanglier / A Hunting We Shall Go / Pengola / Backwards / A Hunting We Shall Go (Reprise) (Pye Hastings, Mike Ratledge) - 9:49
6. The Dog The Dog He's At It Again - 6:23
7. For Richard (Richard Coughlan, Pye Hastings, Dave Sinclair, Richard Sinclair) - 19:01
8. Hoedown - 5:58
All compositions by Pye Hastings except where indicated
Caravan
*Pye Hastings - Guitar, Lead Vocals
*David Sinclair - Hammond Organ, Electric Piano, Synthesizer
Moving to New York in 1972, Taylor recorded The American Album with Nashville and Los Angeles session players. He remained in the United States through 1974. Returning to England, Taylor formed a group, Cajun Moon, featuring fiddler Brian Golbey and keyboard player Jon Gillaspie, to perform American folk and roots music.
Signed by Chrysalis in May 1976 following a tour with Steeleye Span, the future seemed secure for Taylor and the group. Their dreams faded, however, when Taylor damaged his vocal cords and was forced to rest for three months. The hiatus put an end to the band's momentum. By the time he had healed from surgery and was ready to return, the group had folded. Resuming his solo career, Taylor signed a publishing deal with Chrysalis and a recording deal with Rubber Records. His first new album, The Traveller, featured instrumental backing by melodeon and accordion player John Kirkpatrick. The album received the Grand Prix du Disque de Montreux for Best European Folk Album in 1980. Taylor spent much of the '80s and early '90s as a student.
Although he continued to record, much of his focus was devoted to his studies. He received a bachelor's degree from Leeds University in 1983, a master's from Lancaster University in 1985, and a doctorate from Queens University in Belfast in 1993. His thesis explored the creative process and the power and aesthetics of song.
by Craig Harris
Tracks
1. Get Down (The Proud And Noble Savage) - 5:00
2. Something's Changed - 3:16
3. Old Joe - 3:55
4. The City - 3:49
5. The Story - 4:26
6. My Father's Room - 2:58
7. Always You - 2:22
8. Lavinia Forsythe-Jones - 5:46
9. Only A Few - 3:15
10.Lead On, I'll Follow (Belfast '71) - 4:25
11.Calling On - 2:56
12.Close To The Edge - 3:16
13.Back Again - 3:20
14.Lady Of Pleasure - 3:07
15.Darkness In The Valley (Allan Taylor, Brian Golbey) - 3:38
16.Mistress Music - 3:55
17.Misty On The Water - 4:07
18.Fiddler John (Allan Taylor, Jim Parker, Muriel Holland) - 3:12
19.Sawtooth Line (Allan Taylor, Brian Golbey) - 2:32
20.Losers Can Be Winners (Allan Taylor, Brian Golbey, Jon Gillaspie) - 3:10
This group and their one and only album were once considered so hot, what with Nicky Hopkins, Alun Davies, and Jon Mark in the lineup, that a reissue in 1971 rated a full-page ad from the source label in Rolling Stone. In fact, it's a pleasant, well-played midtempo piece of late-'60s rock, with elements of British blues ("Side of the Road"), psychedelic harpsichords and flute ("Cobwebs"), and R&B, mid-'60s U.K. style. Alun Davies and Jon Mark are more than good enough guitar players and singers.
Jon Mark's "Rescue Me" is one of the better numbers here, dominated by Hopkins' organ playing and driven by a great beat, and carried by his attempts at a white soul vocal performance; it's no surprise for the neophyte to learn that all of these guys played with outfits like Zoot Money's Big Roll Band and the Cyril Davies All-Stars. And then there's "Gilbert Street," which shows some finesse and a robust vocal performance, and sustains interest for five minutes plus; this number must have been something to hear in concert, and a whole album like it would have lived up to a reputation stretching across the decades. It's also easy to see why this record never caught on at the time, there are also two bonus tracks from their 45' single.
