Galaxy is a space rock band that played their largest performances in Jacksonville, Florida. The first was in 1975 at the 4th of July street concert sponsored by the Jacksonville Beach chamber of commerce. Galaxy was the only band performing that night, playing to a crowd the newspapers said was over 30 thousand strong. Galaxy performed 42 of their original rock songs that they had learned after being together only 3 months. They performed at the same venue the following year. Galaxy won WAPE radio's first "battle-of-the-bands" in 1976, winning the prize of a recording contract with Bang Records in Atlanta, Ga. that turned out only to be a midnight recording session.
Their winning year brought them to the concert stages to large audiences that included : Annhauser Busch Natural Light Beer debuton Jax. Beach to a crowd of over 250 thousand rock fans as thefinal feature act following a country rock band called "Road Dust" and during Galaxy's concert Leif Garrette made a guest appearance. Galaxy also performed to a Daytona Beach crowd of more that 20 thousand fans at the city's famous band shell on the beach. They recorded only one album called "Day Without The Sun" originally recorded in Florida in 1976 and unearthed by the Italian Akarma label, this is a wonderful mixture of space rock, West Coast guitar solos and Gong-like female vocals which combine superbly to richochet around your brain. The 14 minute title track is awesome....
In 1965 the German band The Vampires arrives in Spain. Lovers of Rhythm 'N' Blues and Soul and based in Madrid, they released several singles with the Session label and participated in several festivals of the time. A few years later, tired of the pace of work and the pressure of their record label, they moved to Castelldefels, Barcelona. There they meet the guitarist Tony Ponce, leaving the formation of these new Vampires.
In the autumn of 1969, Artur Mas, founder of the Ekipo sub-label, Dimension, signs a contract with the band, who change their name to Evolution (for Mas this name suggested a more progressive attitude) and in December his first single, which contained a version of “Fresh Garbage” by Californians Spirit, with wind arrangements a la Blood, Sweat and Tears, and another blues classic on the B-side, “You Don't Love Me Baby”, with wind arrangements. similar that showed that fusion of styles that characterized his music. After the replacement of the saxophonist Paul Waldhecker by the organist T.J Brown, a new single with two quite commercial pieces is published. The first was “Water”, with influences from the early Traffic and a certain Soul air, and the second was called “Loving Me (Is Not The Only Thing To Do)”, a ballad that was too cloying for my taste. The third single would arrive in September 1970, and that's when we noticed a hardening in the sound of the band.
They moved away from Soul, as we can see in "She's So Fine", catchy, psychedelic, almost garage, or in the instrumental "I'm Walking High", which occupied the B side of the single. Composed by T.J Brown, with the hammond organ, a good bass line, percussion and a nice guitar solo, it is one of the best pieces of the group. In November of this same year, on the 20th and 22nd, Evolution plays at the First Permanent Festival of Progressive Music, organized by Oriol Regás in the Iris room. In that same month, Ekipo publishes the band's first and only album. Recorded at the Gema studios in Barcelona (of course!), and produced by Miquel Casas, the LP contained new mixes of the six songs that had been previously released as singles, plus three new pieces. The first was the fantastic “Dr. Vazquez”, a raw song, with an impressive rhythm and the organ and the guitar as protagonists. The second was a good version of "21st Century Schizoid Man by King Crimson. Whenever I hear the central instrumental part I imagine Deep Purple covering Fripp's band. The third, "Get Ready/Evil Ways" was a mix between Smokey Robinson's song (covered quite successfully by The Temptations and Rare Earth) and Santana's.
The album was mixed while the band was touring Europe, and when they returned to Barcelona, they didn't like the result at all. At that time they were considered a powerful rock band, with psychedelic and progressive influences and a sound based on the organ and guitar, in Miquel Salas's mixes the wind arrangements reappeared (directed by the Catalan trumpeter Rudy Ventura ) with whom they no longer felt satisfied. It is curious how, despite everything, it seems to me to be an album full of strength, but both Tony Ponce and Det Ferring expressed their disagreement in the interviews that Marc Argenter and Jordi Segura did for the booklet of the reissue on CD that he did the Wah-Wah label in 2003 (respecting the original vinyl format of the time, in the form of a bag). The reception by the public was good, since television and radio, considering them as a foreign band, did not put inconveniences for them to sing in English, which facilitated their promotion.
In May 1971, they released their fourth single, which contained a beautiful version of another King Crimson classic, “In The Court Of The Crimson King”, and “Problems”, a song that I like it a lot, very much like the Chicago Transit Authority, but without winds. Ferring's interpretation and Ponce's guitar details are fantastic. In this same month they participate in the Granollers Progressive Rock Festival and from this moment the problems begin. There is less and less room to play, the media supports less and less this type of band and the progressive movement in Barcelona decreases day by day.
In 1972, T.J Brown left the group, and in May of this same year the band published its last single, already as a quartet. Unfortunately, this single leaves a bad taste in their mouths, since the record company needed commercial songs that could sell well for the summer, and the song “I Must Live” is “imposed” on them, again with wind arrangements, but this time much more tacky. I particularly like this piece, although I perfectly understand why they didn't like it too much. On side B we find "Pain and Pleasure", another smooth piece with a somewhat more elegant orchestration, but with the same commercial aims. Shortly after, Wolfgang Jünger left the band, being replaced by Artur Domingo from Pan y Licorice. After Tony Ponce's call-up, at the end of 1972, the band split definitively.
by Francisco Macias
Tracks
1. Dr. Vazquez (Det Ferring, T.J. Brown) - 2:51
2. I'm Walking High (T.J. Brown) - 4:13
3. She's So Fine (Det Ferring, Wolfgang Jünger) - 3:05
4. Water (Det Ferring, Tony Ponce) - 3:23
5. Fresh Garbage (Jay Ferguson, Paul Waldhecker) - 2:50
6. 21st Century Schizoid Man (Greg Lake, Ian McDonald, Michael Giles, Peter Sinfield, Robert Fripp) - 4:26
7. Get Ready / Evil Ways (Smokey Robinson, Clarence Henry, J. Zack) - 5:06
8. Loving Me (Is Not The Only Thing To Do) (T.J. Brown) - 3:13
9. You Don't Love Me Baby (T.J. Brown) - 3:43
10.I Must Live (Det Ferring, Ignace Baert) - 3:13
11.Pain And Pleasure (Det Ferring, Tony Ponce) - 3:13
12.In The Court Of The Crimson King (Ian McDonald, Peter Sinfield) - 2:48
"No connection with the band who recorded Eye of the Tiger"
The only album by Shreveport, LA, hard rockers Survivor, All Your Pretty Moves is gritty, tough, but still supple and groovy enough to be an unmistakable product of the late '70s -- born before the likes of Journey, Foreigner, and a more famous, "Eye of the Tiger"-toting namesake could dilute hard rock into slicker AOR; and before heavy metal went into a thrash-fueled overdrive that would distance it from roots like those heard here. Vintage rockers such as "So Blind," "Breakout," and "Black Sea" contain harmonizing twin guitars inspired by Thin Lizzy, and high-energy stomps like "The New Order" and "Kristallnacht" recall several Judas Priest anthems of the day, but plagiarizes none of them.
All are topped with not altogether powerful but still serviceable vocals from frontman Brian Clark, who's equally at ease feigning Philip Lynott's knowing, conspiratorial tone as he is at approximating Rob Halford's less strident registers. And two more, particularly notable highlights shed additional light on a less explored, but arguably even more effective, softer side of the group's talents.
The first, "Deceive Me," is a stunning, slow-building dreamscape that eventually breaks out into a truly epic climax; and the second, closing ballad "Back to the Homeland," unfurls a glorious guitar melody so stirring and laconic, it challenges 1970s six-string wizard Ritchie Blackmore for sheer, supernatural, dark-tinged beauty. That final song alone would justify this reissue's existence, but for those not already desperate enough to replace their super-rare and scratched-up vinyl copies with the 2003 Monster Records CD, there's also a non-album cover of Mott the Hoople's "Rock and Roll Queen" to consider. Simply put, All Your Pretty Moves is a worthwhile addition to the library of any serious classic rock enthusiast.
by Eduardo Rivadavia
Tracks
1. The New Order - 4:11
2. So Blind - 5:05
3. Breakout (Brian Clark) - 4:17
4. Deceive Me (Brian Clark, Pat O'Hara, Paul Restovich, Brian Martini) - 7:10
5. Kristallnacht - 5:20
6. Black Sea - 4:07
7. Delicate Adversary - 4:06
8. Back To The Homeland (Brian Clark, Paul Restovich) - 5:35
9. Rock 'n Roll Queen (Mick Ralphs) - 7:16
All songs by Brian Clark, Pat O'Hara, Paul Restovich except where noted
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
