Ethos were that rarest of things; an American progressive band who got a major label deal. Capitol signed the band around 1975 and let them release two albums before (presumably) pulling the plug. Of course, while in Britain it was punk that scuppered prog, in the States it was disco; unlike punk, a major-league cash cow for the record companies, without too much financial input.
In 2000, an archive set, cheekily entitled Relics appeared, containing demos and live tracks from 1973-74, including early versions of both Intrepid Traveler and Pimp City. The material isn't all as good as that on their two proper releases, but most of it's pretty much up to scratch, making this a welcome find. The hidden track at the end is a slightly pointless instrumental jam, but as with most of the other tracks, it's got loads of (L. Duncan) Hammond and Ponczek's Mellotron and Chamby work, the only obvious exception being Intrepid Traveler, replacing the later version's Mellotron with string synth. Tape replay highlights are the great strings pitchbend work on Placebo and a lengthy section of flute lead on Experimental War.
Planet-Mellotron
Tracks
1. Nightingale - 6:24
2. Elephant Man - 2:48
3. Placebo - 9:00
4. Identity - 4:02
5. Experimental War (Instrumental) - 5:39
6. Troilus And Cressida - 3:29
7. Intrepid Traveler (Instrumental) - 4:45
8. Doing Your Duty - 2:10
9. Perceptions - 6:44
10.Pimp City - 7:33
10.-(Silence) - 1:02
10.1.Dream - 9:05
Tracks 1,2,3,5,6,7,8 recorded at Thiele Road home studio in 1974.
Tracks 4,11 recorded live at Electric Flag Concert in 1974.
Tracks 9,10 recorded on home equipment in 1973.
Ethos
*Wil Sharpe - Acoutic, Electric Guitars, Voice
*Michael Ponczek – Mini Moog, Poly Moog, Hammond Organ, Chamberlin, Rhodes Piano
Having built a strong Christchurch following, the band took stabs at other South Island centres, returning to hometown Rotorua in 1971.
From there they began building up a North Island following, proving popular on the Univertiy circuit with their combination of originals and Led Zeppelin and Whishbone Ash covers.
Some television exposure followed with a spot on Happen Inn, Popco and Free Ride. This was fairly rare for and underground group and even with this they never really gained much pulling power.
In 1973 they recorded a self-titled album for Pye. It was released on the Family label an from it came the single Especially For You.
A lost sunshine pop gem – with some unique Brazilian touches! The album's the first offering from the folk rock team of Joe & Bing – an earthy duo who remind us a fair bit of Alzo & Udine, with jangly use of acoustic guitar, sweet harmony vocals, and a surprisingly soulful undercurrent. But added to this already-great style are some beautiful arrangements by a young Deodato and Atlantic pop stringmeister Harry Lookofsky – expanding the sound wonderfully, and giving the album a beautifully airy quality.
The record also has the distinction of being one of the few to appear in Brazil on the legendary Quartin label – no doubt because of the Deodato connection – but overall, it's got a wonderful post-folk sound that's right up there with the best Sunshine pop of the late 60s! Titles include "Summer Sound", "Sail", "Drifting With Time", "Fenario", "If Love's In Season", and "I'm Not Forgetting Your Name". CD also features a whole bunch of bonus tracks, including the tunes "Come & Bring The Sun Again", "Those Sunday Soda Pop Dreams", "More Than I Can Live With", and "Panther Pond Breakdown".
Tracks
1. Daybreak - 2:31
2. I'm Not Forgetting Your Name - 3:25
3. It's OK - 2:59
4. Summer Sound - 2:54
5. Fennario - 3:43
6. Love The One You're With (Stephen Stills) - 3:09
7. If Love's In Season - 2:53
8. Just Plain Livin' Blues - 2:21
9. Sail - 3:14
10.Drifting With The Time - 3:14 -
11.Come And Bring The Sun Again - 3:15
12.Summer Sound - 2:47
13.If Love's In Season - 2:47
14.Without Her (Harry Nilsson) - 2:53
15.More Than I Can Live With - 2:31
16.Panther Pond Breakdown - 2:07
17.Those Sunday Soda Pop Dreams (William "Bing" Bingham, Joe Knowlton, McKeon) - 3:59
Words and Music by William "Bing" Bingham, Joe Knowlton except where noted
"Calabasas" is the fourth album by BW Stevenson, released in 1974 on RCA, and is backed by the likes of Larry Carlton on guitar (who also played on the "My Maria" release), Kim Carnes and Linda Ronstadt.
Tracks
1. Look For The Light (Daniel Moore) - 3:12
2. Little Bit Of Understanding (Kenny Edwards) - 2:48
3. We Had It All (Donnie Fritts, Troy Seals) - 2:32
Part of the Texan country-rock scene of the 1970s, B.W. Stevenson landed a smash hit in 1973 with "My Maria. Singer/songwriter B.W. Stevenson (the "B.W." reportedly stood for "Buckwheat" -- his real first name was Lewis) was born October 5, 1949, in Dallas, TX. As a teen he played in a variety of local rock bands before attending college, eventually joining the U.S. Air Force; upon returning from duty Stevenson settled in the Austin area, where he became a frequent attraction on the city's thriving club circuit.
Upon signing to RCA he was marketed primarily to country listeners, enjoying little success with either his 1972 self-titled debut or its follow-up, Lead Free; the title track of 1973's My Maria, however, became a Top Ten pop favorite, although ironically it missed the country charts altogether. Stevenson never again recaptured the single's success, and after 1974's Calabasas he landed at Warner Bros. to issue We Be Sailin' a year later. "Down to the Station," from 1977's Lost Feeling, was his last chart hit, and after 1980's Lifeline his recording career was over. Sadly, Stevenson died on April 28, 1988, shortly after undergoing heart surgery; he was just 38 years old.
by Jason Ankeny
Tracks
1. My Maria (B. W. Stevenson, Daniel J. Moore) - 2:33
2. Be My Woman Tonight (Al Anderson) - 2:36
3. Sunset Woman (Dave Loggins) - 3:30
4. A Good Love Is Like A Good Song (Casey Kelly) - 2:29
5. Grab A Hold Of My Soul (Alex Del Zoppo, B. W. Stevenson) - 2:51
Zephyr the band will always be overshadowed by their original guitarist, Tommy Bolin. He found fame in the James Gang and Deep Purple, and Zephyr’s place in the canon, to most rock fans, is as the springboard for his talents. Their first album sold 100,000 copies and still stands as a unique piece of heavy metal history. The combination of Bolin’s robust but tasteful guitar playing (on songs almost all in the 6/8 time signature) and Candy Givens’ histrionic, even more overpowering singing makes ZEPHYR unlike any other metal album of the 60s. The record is spotty, mostly because Candy is uncontrolled and often unhinged. Half the time her voice is stunning, as in the opening “Sail On,” but the other half of the time it’s strident. Her obvious talent is not balanced by “taste.”•
The second album, "Going Back To Colorado", an attempt to add some complexity to Zephyr’s sound, softens the heavy metal edge, and it sold poorly. It’s even spottier than the debut, but includes some interesting experimentation that foreshadows their future. Bolin left after this album, and many don’t even know that Zephyr continued on as a band. Theoretically, the 1972 release Sunset Ride would be nothing but a footnote in the history of a well-known guitarist, an album to be filed with the Doors’ Other Voices and the Velvet Underground’s Squeeze. Indeed, Sunset Ride’s continued obscurity shows that critics and public alike dismissed it without listening to it. (It is housed in one of the ugliest sleeves ever, possibly another reason the album fell under the radar.) What a surprise, then, to discover the brilliant album it is.
Obviously the departure of Bolin liberated the band, and with Sunset Ride, the husband/wife team of Candy and David Givens truly came into their own as songwriters. Since the songs no longer needed to be structured to accommodate long guitar solos, the songwriting became impeccably tight. The experimentation on this album is entirely structured and intentional, the exact opposite of the kind of improvisation that passes for heavy metal “innovation.” The more refined and intricate song structure also works miracles with Candy’s singing. Gone is the wailing and screeching, most of which took place during and around Bolin’s solos when Candy obviously didn’t know what else to do. Here her voice is 100% under control. It’s a thing of beauty and power, potential completely fulfilled. New guitarist Jock Bartley’s jazzy but unobtrusive style and undistorted sound is a perfect fit for the songs. This is blues-rock, but it lacks the musical cliches of traditional blues. The production, which puts the percussion high in the mix and the guitar and voice low (the exact opposite of the first album) adds an eerie, late night feel; there’s no question that the *sound* of this album is as effective as the songs. The overall vibe is that of Candy struggling to the surface from a not-so-happy hole she’s found herself in. The end result is a positive one: wasted energy being trumped by creativity. The upbeat songs are filled with longing; the downbeat ones filled with hope. Moments like the raveup at the end of “Moving Too Fast” are intensely powerful, and lyrics like “I’ve been smokin’ hash/talking trash/wishing things weren’t real” have a sense of tragedy. This album has the kind of indefinable magic of a true masterwork.
The album itself is as perfectly structured as the songs within. Side one is relatively straightforward, developing the new style confidently but safely. “I Am Not Surprised” and “Moving Too Fast” brim with understated energy, “Someone To Chew” with sexual passion. “No Time Lonesome,” which has all of the heartbreak of a Hank Williams song, features a lovely, unexpected violin break by Bobby Notkoff, known for his work with Neil Young. On side two, the song cycle goes completely haywire, with each song being more experimental than the previous. Brilliantly, as strange as the songs are, they’re organized in a way that creates a perfect flow. “Sold My Heart” begins the side in understated (but lovely) fashion. Its mild country leanings are absorbed into the warped psychedelic country rock of “Sierra Cowgirl.” The following “Chasing Clouds” dispenses with the country and is pure downer psychedelia. Candy’s voice is almost buried beneath the heavy tremolo of the organ and the overwhelmingly loud cymbals. It feels like a windstorm many levels beyond the gentle breeze of the band’s name. Toward the end, a backwards guitar appears, moving the listener from this storm to one even more mysterious. The effect of floating in the sea, no destination in sight, is even more pronounced on “Sunset Ride.” It’s a wordless tone poem that anticipates the repetition and fade-in/fade-out structure of Brian Eno’s “Here Come The Warm Jets” and “Taking Tiger Mountain By Strategy.” The turn towards art-rock completes itself with the free-form introduction to “Winter Always Finds Me,” which could have been pulled from the weirdest parts of Kevin Ayers’ Shooting At The Moon album. When the song itself kicks in, it merges blues and jazz and brings the album to a breathtaking conclusion.
"Sunset Ride" combines startling performances, unique production, and amazing precision. While it’s instantly melodic and appealing, it takes many listens for the overall brilliance of this album to fully reveal itself. Sit back and feel it a few times, then really start to listen closely. It may seem absurd to think that a very American band who started out as heavy metal and gravitated to blues and jazz could be legitimately compared to Eno and Ayers, but like all works of genius, Sunset Ride defies categorization. If there’s anything here to criticize, it’s the inclusion of the much-covered “High Flying Bird” on side one. Zephyr’s rendition is fantastic, fits nicely in the context of this album, and gives Candy her best chance here to belt it out. Nonetheless, given the strength of Zephyr's own songwriting on this album, a song we’ve heard by dozens of other artists is a mild letdown, probably enough to keep the album from being “perfect.”
Like Bolin, Candy Givens would die young, about ten years after the release of this album. It’s sad that Zephyr didn’t produce an immediate followup, but it’s hard to imagine that they could have. By the time Sunset Ride ends, they seem completely spent. Despite the lack of product, Candy and David Givens stayed musically active for years. They reunited with Bolin for some concerts and even released a mildly inspired new wave-styled album under the Zephyr name in 1980. Nonetheless, Sunset Ride is their real swan song. It doesn’t have the same air of doom and foreshadowing as pre-death albums like Joy Division’s Closer or Badfinger’s Wish You Were Here, but it does have the feel of artists who are going through great pain and turning it into beauty. Candy’s ability to express this feeling without words in the title track is almost awe-inspiring. Her legacy lives on with Sunset Ride.
by Aaron Milenski
Tracks
1. I'm Not Surprised (Candy Givens, David Givens) - 5:12
2. Someone To Chew (Candy Givens, David Givens) - 3:00
3. High Flying Bird (Billy Edward Wheeler) - 3:34
4. No Time Lonesome (David Givens) - 4:00
5. Moving Too Fast (David Givens) - 5:00
6. Sold My Heart (David Givens, Jock Bartley) - 3:45
7. Sierra Cowgirl (Candy Givens) - 3:07
8. Chasing Clouds (Dan Smyth, David Givens) - 4:06
9. Sunset Ride (Candy Givens) - 3:45
10.Winter Always Finds Me (Alan Armstrong, David Givens, Jock Bartley) - 6:02
Tommy Bolin left the James Gang after the release of "Miami", leaving the band without a compelling lead guitarist once again. Fox and Peters broke up the group after his departure, but they re-formed a year later, adding guitarist Richard Shack and vocalist Bubba Keith. The new version of the James Gang released their first album, "Newborn", in 1975.
"Jesse Come Home" was the James Gang's final album, with new line up, Bubba Keith and Richard Shack left the band and replaced by Bob Webb and Phil Giallombardo. After "Jesse Come Home" failed to make the charts, Fox and Peters wisely decided to call it a day, disbanding the James Gang for the last time.
by Stephen Thomas Erlewine
Tracks
1.Merry-Go-Round - 3:04
2.Gonna Get By (Bubba Keith, Mark Smith) - 3:57
3.Earthshaker (Bubba Keith) - 3:48
4.All I Have - 2:16
5.Watch It (Bubba Keith) - 3:32
6.Driftin' Dreamer - 3:31
7.Shoulda' Seen Your Face - 3:45
8.Come With Me - 2:33
9.Heartbreak Hotel (Mae Boren Axton, Tommy Durden) - 2:15
10.Red Satin Lover - 2:17
11.Cold Wind - 2:36
12.I Need Love (Phil Giallombardo) - 3:17
13.Another Year (Bob Webb) - 3:59
14.Feelin' Alright (Phil Giallombardo, Dale Peters, Bob Webb) - 3:26
15.Peasant Song (Phil Giallombardo) - 3:56
16.Hollywood Dream (Bob Webb) - 3:12
17.Love Hurts (Andrew Gold) - 3:29
18.Pick Up the Pizzas (Bob Webb) - 2:30
19.Stealin' The Show (Bob Webb) - 3:58
20.When I Was A Sailor (Phil Giallombardo) - 6:46
All songs by Bubba Keith, Richard Shack except where stated
Tracks 1-11 from "Newborn" LP 1975
Tracks 12-20 from "Jesse Come Home" LP 1976
James Gang
Tracks 1-11
*Bubba Keith – Lead Vocals, Guitars
*Richard Shack – Guitars, Backing Vocals
*Dale Peters – Bass, Backing Vocals, Percussion
*Jim Fox – Drums, Organ, Piano
With
*Al Perkins – Steel Guitar
*David Briggs – Organ, Piano
*Kenneth Hamann – Synthesizer
*George Ricci – Cello
*Don Brooks – Harmonica
Tracks 12-20
*Bob Webb – Guitars, Vocals
*Phil Giallombardo – Keyboards, Vocals, Piano
*Dale Peters – Bass, Backing Vocals, Percussion
*Jim Fox – Drums, Backing Vocals, Percussion, Keyboards
Hardly another German rock act looks back on as long and successful a history as Jane. Founded in autumn 1970, after bassist Klaus Hess, saxophonist Werner Nadolny and vocalist Peter Panka had split from the professional act, Justice of Peace, changing not only their musical environment but also their instruments, Hess switched to guitars, Nadolny to organ, and Panka to drums.
Over two million copies of the eleven albums that saw the light of day via the legendary Krautrock label, Brain, were sold between 1972 and 1982, while releases like the debut, Together, and Fire, Water, Earth And Air or Live At Home (both tram 1976) are considered milestones in German rock history.
The clear, charismatic voice of mastermind, Peter Panka, and the deeply melodic style of their songwriting give the band their incomparable flair.
Barely noticed when it was first released on Epic Records in January 1969, Kak's eponymous album has been a collector's item since the late 1970s and has also been bootlegged several times. A legitimate CD version on US Sony opened up a new chapter in 1992, but in the ensuing seven years time has passed that straight (and now out-of-print) reissue by. Since then, reissue standards have risen dramatically, which brings us to the latest offering in Big Beat's "Nuggets From the Golden State" series.
Retitled Kak-Ola, this reissue gives you the full original album, resplendent Inverness cover and all. But you also get the rare alternate single version of Rain, both sides of guitarist/vocalist Gary Lee Yoder's even rarer 1970 Epic single, and eight previously unreleased demos and live cuts for good measure. The latter eight consist of three pre-album Yoder recordings that bridge the gap between Kak and the Oxford Circle (the previous band he and fellow Kak-ster Dehner Patten were in, documented on Live At The Avalon 1966, CDWIKD 178). There are revelatory acoustic demos, live versions of three album cuts by Kak, plus a fine Yoder medley of the previously unheard Bye Bye / Easy Jack.
One might call these eleven extras the icing on the cake, but it's more like another cake considering what you already have in the original album. If you were to hold up any record as exemplifying the "feel-good" West Coast sound of the late 60s, it might as well be Kak's. Through poignant imagery and strong playing, the album touches on the era's social turbulence on Everything's Changing, free-spirited lifestyles on Electric Sailor and Lemonaide Kid, dreamy idealism on I've Got Time, and mind expansion with the Trieulogy of Golgotha, Mirage and Rain. The textures range from hard to soft to ethereal, and by the end of this CD visions of grassy California hillsides seen through granny sunglasses are guaranteed to be on your mind.
While you're still in the fantasy, be sure to check out the liners for the band's spoken-word history via a transcript of interviews conducted by Kak-Ola compiler Alec Palao.
by Doug Sheppard
Gary Lee Yoder passed away on August 7, 2021 at the age of 75.
Tracks
1. HCO 97658 (Gary Lee Yoder, Gary Grelecki, Dehner Patten, Joe Dave Damrell, Chris Lockheed) - 1:40
2. Everything's Changing (Gary Lee Yoder, Gary Grelecki) - 4:07
3. Electric Sailor (Gary Lee Yoder, Dehner Patten, Joe Dave Damrell, Chris Lockheed) - 3:08
4. Disbelievin' (Gary Lee Yoder) - 4:00
5. I've Got Time (Gary Lee Yoder) - 3:41
6. Flowing By (Gary Lee Yoder, Gary Grelecki) - 3:58
7. Bryte 'N' Clear Day (Gary Lee Yoder, Gary Grelecki) - 3:47
8. Trieulogy a. Golgotha/b. Mirage/c. Rain (Gary Lee Yoder, Gary Grelecki) - (8:12)
9. Lemonaide Kid (Gary Lee Yoder) - 5:56
10.Rain (Gary Lee Yoder, Gary Grelecki) - 2:06
11.Everything's Changing (Gary Lee Yoder, Gary Grelecki) - 2:54
12.I've Got Time (Gary Lee Yoder) - 2:06
13.Medley: Bye Bye / Easy Jack (Gary Lee Yoder) - 4:14
14.Bryte 'N' Clear Day (Gary Lee Yoder, Gary Grelecki) - 6:10
15.Medley: Mirage / Rain (Gary Lee Yoder, Gary Grelecki) - 5:53
16.When Love Comes In (Gary Lee Yoder) - 2:50
17.I Miss You (Gary Lee Yoder) - 3:59
18.Lonely People Blues (Gary Lee Yoder) - 4:16
19.Flight From The East (Gary Lee Yoder) - 4:13
20.Good Time Music (Gary Lee Yoder) - 2:20
Bonus Tracks 10-20
Tracks 16-20 as Gary Lee Yoder
Kak
*Gary Lee Yoder - Lead Vocals, Rhythm, Acoustic Guitars
Originally formed in El Paso in the late 60s, this Texan four-piece soon relocated to Memphis and released a couple of singles. Finding that their sound and lyrics were apparently too strong and dark for the times, the band broke up in 1972 leaving behind only a thin legacy. This CD compiles ten songs for a half hour of vintage, rough psychedelic rock, sometimes not far off from Blue Cheer, sometimes more laid-back like many of their contemporaries.
Mark Evans' guitar work ranges from pure fuzzed-out riffing to mildly funkified wah scratches, while Steve Phipps' organ distinguishes the group from many of the dual guitar outfits of the time. Being the band leader and singer, it's perhaps not surprising that Carl Neer's bass lines are often mixed higher than usual for this sort of band, while Rick Ramaka's drums get the job done rhythmically.
The delicate guitar picking during the first bars of "Precincts" soon expands into classic 70s psych, with expansive keyboards and vocals that are nearly-but-not-quite over the top. When the guitar kicks into the lead, it's got the perfect fuzz tone, on the edge of breaking up completely. One of the best songs here, "Love Come Wicked" sports deep riffing, cool organ, and vocals perhaps mildly reminiscent of early Deep Purple. The burning guitar lead in the middle is really something.
Heavier rock filled with distorted guitar and a blues-derived riff, "Glympses" leads into the slower, dark-tinged bit of psych aptly titled "R.I.P." The doo-wah chorus of "Better Place" feels somewhat different, with a vaguely funky feel, while "Bottle Baby" will make you nod your head to the thick bass riff and staccato organ.
The rest of the brief collection includes the spacious feel of "Sing For You" and "The Words Are True," with strong organ and a really compressed distorted guitar sound. "I'm Gonna Be a Man" is a more traditional late 60s garage rock tune, while "Our Love so Warm" is the most "of-its-time" song, a paisley-covered psych tune complete with pure '60s-era vocal harmonies and jangly guitars.
Great to have Shadoks pulling out items like this from various label archives. This one's a pretty welcome find, whether you're looking for some pretty heavy fuzz-riffs or flower-power psych. Shame it's only thirty minutes, but then, that's all there was to find, which is better than nothing!
