Poobah - Let Me In (1972 us, superb hard rock, 2010 remaster and expanded)

In much the same way as you can throw a stone nowadays and hit a band riding along on the coat tails of some or other genre fad, be it stoner, doom, drone, sludge, emo or whatever, if you crack open enough rocks you will find the fossilized remains of a million albums from days gone by that have been long forgotten and discarded. In many cases these little gems are destined to remain languishing in obscurity but occasionally one will rise to the surface and gain a certain notoriety…look at Leafhound and Sir Lord Baltimore for example. It would seem that the guys at Ripple Music were talking a walk through the desert one day and tripped up on this cracking piece of wax from Poobah sticking out of the sand and decided to give it the kiss of life once more.

Unlike many of their contemporaries who have decided to ride the current wave of their newfound popularity and forge new line-ups to hit the road, it would appear that Poobah have never really gone away and have always been plugging away cranking out their proto metal psychedelic blues for nearly 40 years now chucking out albums and tearing up stages. It is, however, for this album that they seem to be the most well known with vinyl copies changing hands for up to $300 dollars on eBay. Well folks, save your cash for here is a spanking new, bells and whistles version that presents the original 6 track album and an incredible 12 bonus tracks all lovingly remastered by sonic genius Tony Reed from Stone Axe.

As with Leafhound and Sir Lord Baltimore, with whom Poobah share many of the common traits of early 70’s heavy rock, on first listen I was immediately hit with the “how the fuck did I miss theses guys?” vibe. Considering myself something of an aficionado of 70’s metal I am ashamed to say that Poobah completely fell short of my radar. This album is little short of incredible so how these guys aren’t living in mansions now and living fat off the royalties of a golden career I’ll never know.

Kicking off with “Mr Destroyer”, for 1972 this would have been the musical equivalent of being hit with a tazer (did tazers even exist in 1972?). Jim Gustafson’s thick, biting guitar is set to stun as the band blast through a tune that somehow bridges the proto punk of The Stooges, the psychedelic tones of Hawkwind and the drug addled minimalism of The Pink Fairies. Gustafson proves himself to be one of the unsung heroes of acid blues guitar playing while drummer Glenn Wiseman throws in some heroic fills. Next up the band do a musical 360 on “Enjoy What You Have” which is a stripped back, light and airy piece that revolves around a mellow repeated guitar line and spacey, breathy vocals…a real smoker’s delight!!!

Poobah dust off the blues on “Live To Work”, albeit under a layer of syrup thick fuzz guitar and Ritalin avoiding drums. The themes of dissatisfaction with working for “the man” ring as true 38 years on as they did when this was laid to tape (yes tape!!!). Brief and to the point it paves the way for one of the most memorable tracks on the album “Bowleen”. Showing that there is far more to Poobah than cranked amps and gut wrenching vocals this track possibly owes more to Syd Barratt era Pink Floyd than Deep Purple or Sabbath as it explores Eastern themes in the guitar lines and a steady, hypnotic beat. Gustafson still mages to throw in some radical shapes but tempers it alongside some sparse keyboards. Structurally this is pretty linear but it seems to work.

“Rock N’ Roll”, as the title suggests is a 12 bar blast through some deliciously filthy rock and roll that would make Little Richard shit his extravagant stage wear!!! Once again Wiseman excels with his Keith Moon meets Ginger Baker on a sugar rush skin work while Gustafson’s guitar sounds as though it’s pushing the Marshall to the point of tears. The album proper rounds of with some more bump and grind boogie with the title track. Gustafson takes centre stage again with some more finger bleeding axe work while Phil Jones works the bottom end with pure sex dripping from his fingers. Obviously the 70’s wouldn’t be what it was without a drum solo and hot on the heels of Bonham’s “Moby Dick”, Wiseman pitches in with his own tumble round the kit. Excessive? Maybe. Kick ass? Of course it is!!!

Of the bonus tracks we’re treated to some alternative versions of “Bowleen” and “MR Destroyer” and various studio and rehearsal outtakes that run the gamut from blasting blues jams such as “Blooey Gooey” to the psychedelic metal groove of “Make a Man Outta You” that isn’t a million miles away from the fuzzed up blueprint set by Blue Cheer 4 years previously. “Upside Down Highway” is 7 plus minutes of frantic bass and guitar heroics, Gustafson clearly enjoying the spotlight but taking his time to allow the drums and bass interplay to breathe. “Walk of the Bug” throws some more Blue Cheer style, ear-splitting, speaker bothering proto metal into the mix while “Going To Rock City” comes across as ZZ Top with a heavier dose of testosterone. Poobah bring the jam again with the Hendrix stylings of “Smoke” while “Passion For Freedom” lays down a bass and drum groove that would have Grand Funk Railroad creaming their flares and a vocal line that barely stays on the right side of a visit from the men in white coats.

This reissue is very much a labour of love from all involved. Ripple Music show their passion for quality with the general layout and commitment to unearthing a wealth of quality bonus tunes. Tony Reed has given the whole thing a beautiful warmth that brings it into the modern age without sacrificing the purity of it’s vintage origins and Poobah themselves obviously relish the opportunity to give their first born new life. If, like me, you’re keen to unearth the origins of this thing we all love called metal then by all means keep dusting off your Sabbath, Zeppelin and Purple albums but please find a little space in your collections for Poobah.

by Ollie Stygall, 2nd October 2010

Tracks

1. Mr. Destroyer - 6:01

2. Enjoy What You Have - 6:10

3. Live To Work - 2:55

4. Bowleen - 6:05

5. Rock N' Roll - 3:48

6. Let Me In - 6:41

7. Here's The Band - 0:20

8. Make A Man Outta You - 7:12

9. Upside Down Highway - 3:42

10.Walk Of The Bug - 2:51

11.Blooey Gooey - 1:07

12.Going To Rock City - 2:51

13.Smoke - 3:14

14.Mr Destroyer - 5:19

15.Passion For Freedom - 2:08

16.Aww, Not Now - 2:44

17.Bowleen - 3:31

18.I’m Crazy, You’re Crazy - 3:46

All songs by Jim Gustafson

Bonus Tracks 7-18

Poobah

*Jim Gustafson - Lead, Acoustic, 12 String Guitars, Organ, vocals

*Phil Jones - Bass, Vocals

*Glenn Wiseman - Drums, Percussion, Screams

With

*Nick Gligor - Drums, Vocals (Tracks 8,10,18)

*Steve Schwelling - Drums (Tracks 9,11,13,14,15)

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Frame - Frame Of Mind (1972 germany, remarkable psych prog rock)

In retrospect, the German music scene in the early '70s was in some ways open to highly ambitious musicians. This is because not only the minor labels represented by Ohr, Pilz, Brain, etc., but also the major labels such as BASF and Philips opened their doors to them to some extent. If you think about it now, of course, it is true that major investments were not made... Frame, they released this work in 1972 with a relatively major Bellaphone on their back. If you look at the works contained in their album, they contain 8 songs in total, including major songs that are over 11 minutes long. 

Although the hard rock sound accompanied by the organ and melotron is the deepest on the other side, its experimental elements are often noticed, and you can hear performances close to the symphonic rock tendency accompanied by hard performances, so you can hear many kinds of music. It contains elements that will only delight fans. Even jazz-rock elements can be heard in some parts, but not enough to characterize their sound. If you look at the composition of the members, it's Andy Limburger - guitar vocals, piano). Cherry Hochdorfer - keyboard), Peter Lotz - bass vocals), Dieter Berker - vocals, percussion), and Wolfgang Clans - drums, percussion) are the musical core of the group. 

It is playing a keyboard instrument. You can enjoy their performances, and << a masterpiece that makes this album valuable.All Ireally want explain> has a large scale suitable for a long play time of over 11 minutes, and Cherry Hochdorfer's keyboard instrument performance, which is not strong but adds to the taste, along with Andy Lirnburg's savory guitar playing, is a dazzling sound based on technique. It's not, but it delivers a charming performance that remains in the heart. Of course, the guitar performance of Andy Kirnberger, who leads the first half, is also excellent. 

Overall, the sound they pursued can be evaluated as a performance that emphasizes the effort to keep the hard feeling while avoiding the rough sound, and to give a clean performance using keyboard instruments as much as possible.  

Tracks 

1. Frame of Mind - 4:08

2. Crusical Scene - 3:56

3. All I Really Want Explain - 11:15

4. If - 5:07

5. Winter - 5:35

6. Penny for an Old guy - 3:10

7. Childrens Freedom - 2:31

8. Truebsal - 0:18

All compositions by Andy Kirnberger, Cherry Hochdorffer, Peter Lotz, Dieter Becker, Wolfgang Claus

Frame

*Andy Kirnberger - Guitar, Vocals, Piano

*Cherry Hochdorffer - Organ, Piano, Mellotron

*Peter Lotz - Bass, Vocals, Percussion

*Dieter Becker - Vocals, Percussion

*Wolfgang Claus - Drums 

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Sons Of Champlin - Welcome To The Dance (1973 us, nice funky jazz brass rock, 2001 edition)

The Sons of Champlin were written off after the commercial washout of their third album, Follow Your Heart, but they came roaring back two years later with Welcome to the Dance. The crucial difference for a band as committed to funky rhythms as the Sons was an all-new rhythm section: bassist Al Strong and drummer Bill Bowen had been replaced by David Schallock and James Preston, respectively, giving the band the sort of soul groove R&B fanatic Bill Champlin had always sought. Champlin brought in his strongest bunch of material since the Sons' debut, Loosen Up Naturally (1969), once again returning in his lyrics to themes of personal responsibility and encouragement. 

You've got to wonder how a guy who liked to sing lines like "It's up to us to rearrange" and "We can do it now" ever got tagged as a hippie, especially since his musical inspirations seemed to be James Brown for his vocals and Jimmy Smith for his organ playing. But guitarist Terry Haggerty confirmed the band's psychedelic credentials with his biting, often complex solos, and the songs tended to go off into jams after a couple of choruses. Welcome to the Dance was the Sons' best realized album yet, a good compromise between their need for coherent structure and their desire to play free. 

Had it not been sabotaged by record company machinations, it might have been the record that finally broke this long star-crossed outfit. (The 2001 CD reissue by the British Acadia label bands both of the medleys on the album, so that what was originally the third track, "Who/Heaven Only Knows," now makes up the third and fourth tracks, and the 12-minute, four-part "Welcome to the Dance" medley that was the seventh track is now tracks eight, nine, ten, and eleven.)

by William Ruhlmann 

Tracks

Daytime 

1. Lightnin' - 4:09

2. For Joy - 3:43

3. Who/Heaven Only Knows - 6:22

4. Right On - 3:54

Nighttime 

5. No Mo' (Terry Haggerty) - 2:58

6. The Swim - 2:54

7. Welcome To The Dance - 12:06

.a.Silence

.b.Sound/Turn Around

.c.Healthy Woman

.d.Welcome To The Dance

All compositions by Bill Champlin except where stated

The Sons Of Champlin

*Bill Champlin - Guitar, Keyboards, Baritone Saxophone, Vocals 

*Terry Haggerty - Lead Guitar, Vocals   

*Geoffrey Palmer  - Bass, Keyboards, Saxophone, Tabla, Vibe Master, Vibraphone, Vocals

*James Preston  - Drums, Percussion  

*David Schallock - Bass, Rhythm Guitar, Vocals

With

*Mark Usham  - Horn

*Philip Woods  - Horn 

*Michael Andreas  - Horn

1966-67  The Sons Of Champlin ‎- Fat City  

1969  The Sons Of Champlin - Loosen Up Naturally
1969  Sons Of Champlin - The Sons (japan issue)  

1971  The Sons Of Champlin - Follow Your Heart (2002 remaster)  

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The Sidekicks – Fifi The Flea (1966 us, beautiful garage sunny beats)

The Sidekicks were a garage/pop rock band from Wildwood, NJ. First known as The Redcoats, the lineup consisted of John Spirt, Mike Burke, and brothers Randy and Jack Bocelle. Spirit and Burke co-wrote the band's 1966 hit, "Suspicions."

Tracks

1. Suspicions (John Spirit, Mike Burke) - 2:34

2. Up On The Roof (Carole King, Gerry Goffin) - 2:37

3. You’re A Girl (David White, John Madara, Ray Gilmore) - 2:13

4. More (Theme from “Mondo Cane”) (Nino Oliviero, Norman Newell, Riz Ortolani) - 2:28

5. Not Now (John Spirit, Mike Burke) - 2:40

6. Ask Your Friend (John Spirit, Mike Burke) - 2:36

7. Fifi The Flea (Allan Clarke, Tony Hicks, Graham Nash) - 2:37

8. Sight And Sound (Jimmy Wisner, Norma Mendoza) - 2:25

9. Out Of The Dark (Joe Renzetti, Neal Brian) - 2:27

10.He’s My Friend (John Spirit, Mike Burke) - 2:23

11.The Best Things (Bobby Lance, Fran Robins) - 2:01

12.Ollie Wong (The Same) (Jimmy Wisner, Norma Mendoza, Samuels, Bocutto) - 2:38

The Sidekicks

*Zach Bochelle - Lead Vocals, Rhythm Guitar

*Randy Bochelle - Bass Guitar

*Mike Burke - Lead Guitar, Vocals

*John Spirit - Drums

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Steve Gibbons - Short Stories / Stained Glass (1971/1996 uk, superb roots 'n' roll, pub rock, 2001 double disc remaster and expanded)

Rock n’ roll sometimes isn’t fair with some of its representatives. Rock n’ roll isn’t giving everybody what he/she deserves. However, even if they are regarded as obscure or cult acts, these not so well-known artists aren’t lost in oblivion. Steve Gibbons is such a rock n’ roll representative, a true rock n’ roll hero, who never got famous, however, his work is here for us to enjoy. 

Steve Gibbons was born in Harborne, Birmingham (England), on the 13th of July, 1941, and belongs to the great Birmingham rock scene (Moody Blues, Black Sabbath, Judas Priest, Electric Light Orchestra among others). His first occupation was a plumber's apprentice in his hometown – nevertheless, he started his musical career in 1960 as the lead singer of The Dominettes. His first performance with The Dominettes was at The California Public House, near Weoley Castle. According to music historians, The Dominettes were a rhythm and blues act, with a rough image and quite a following. They played numerous shows in Birmingham, in music venues like The Grotto Club, The Sicilia Coffee Bar etc., but sometimes they were hired to back strippers at some of the more seedy establishments. The Dominettes didn’t last too long, since in 1963 they were renamed The Ugly’s.

Contrary to The Dominettes, The Ugly’s left a considerable work behind them. They secured a recording deal with Pye Records and their first single was “Wake Up My Mind” (1965), an original composition, co-written by Gibbons, advanced for its time, featuring some socially conscious lyrics, not a hit in England but a big hit on the national Australian chart, reaching No. 14. The Ugly’s were a psychedelic pop/rock band, with very interesting songs, like “It’s Alright”, “A Quiet Explosion”, “This is Your Mind Speaking”, “Real Good Girl” etc. They even covered a Kinks song (“End of the Season”), but failed to succeed. Besides that, the band suffered many line-up changes – in 1968 Richard Tandy, a keyboards player, joined The Ugly’s, however, he tasted worldwide success, only when he became a member of Electric Light Orchestra. By the end of 1968, Steve Gibbons was the only remaining original member of The Ugly’s – the last line-up of the band included, apart from Gibbons, Will Hammond, Dave Morgan (later in Electric Light Orchestra, Tandy/Morgan etc.), Keith Smart and Richard Tandy – with these members, The Ugly’s recorded the song “I See The Light”.

That single was the last The Ugly’s song, because by April of 1969, Gibbons formed with The Move guitar/bass player, Trevor Burton, a new band called Balls, a Birmingham supergroup, since apart from Gibbons/Burton, it featured Richard Tandy, Keith Smart and Dave Morgan. The summer of 1969 Morgan was replaced by Denny Laine (vocals, guitar, ex-Moody Blues) and after some personnel changes, Gibbons left the band in February 1971. Balls recorded only one single in 1971, the Trevor Burton-penned “Fight for my Country” (the b-side was “Janie Slow Down”), and then dissolved.

In 1971 Steve Gibbons released his first solo album, called “Short Stories” via the Wizard label (through which also Balls released their only single), produced by Gary Wright (one of the founding members of Spooky Tooth) and Jimmy Miller (worked also with Blind Faith, Motörhead, Traffic, The Rolling Stones etc.) and composed by Gibbons himself (in collaboration with Burton in three tracks). Several artists helped Gibbons in his first effort, for example Alan White (drums, became a member of Balls and later of Yes), Greg Ridley (bass, Spooky Tooth, Humble Pie) and Albert Lee (one of the greatest rock/country session guitarists). “Short Stories” is a fantastic rock n’ roll album, with a lot of blues and folk elements, very inspired compositions and outstanding performances from Gibbons and his accompanying musicians.

Steve Gibbons released his second solo album in 1996 (“Stained Glass”). Steve Gibbons belongs to the pantheon of British rock n’ roll of the 70s; he started his career in the psychedelic 60s and became a rock n’ roll band leader in the 70s, releasing some wonderful albums and touring endlessly around the world. The characteristics of Steve Gibbons, his tough, filthy voice, the way he spitted the words, his sincere sense of original rock music, are always there to remind us how beautiful is the story of Steve Gibbons and his band. They say that Gibbons is the English Bob Seger, one of the influences of bands like Dire Straits, a more electrifying version of Bob Dylan. Call it how you like it, Steve Gibbons is an underrated rock n’ roll icon, whose music shines brightly and will shine forever!

by Dimitris Zacharopoulos

Tracks

Disc 1 Short Stories 1971

1. Leader Of The Band - 3:38

2. Now You're Leaving (Steve Gibbons, Trevor Burton) - 4:28

3. The Last Farewell (Steve Gibbons, Trevor Burton) - 2:44

4. One Of Those Days - 3:56

5. Alright Now - 5:39

6. You've Gotta Pay - 3:26

7. Bye Bye Buffalo (Steve Gibbons, Trevor Burton) - 4:30

8. Brown Girl - 3:46

9. Until She Comes Home - 5:05

10.Don't Wanna Let You Down - 3:16

11.Trouble - 3:24 - 

12.Lamb To The Slaughter - 4:53

13.I'm Going Home - 2:40

14.Tired Clock - 2:12

All compositions by Steve Gibbons except where stated

Bonus Tracks 12-14

Disc 2 Stained Glass 1996

1. Take It Easy - 3:32

2. You're A Big Girl Now (Bob Dylan) - 4:47

3. The Last Farewell (Steve Gibbons, Trevor Burton) - 3:15

4. Oh What A Thrill (Chuck Berry) - 3:10

5. Grace - 3:33

6. Looking Glass In The Rain - 3:20

7. One Day - 3:20

8. Looking For The Heart Of Saturday Night (Tom Waits) - 4:33

9. New Leather Shoes - 4:05

10.Stolen Hearts - 3:35

11.Hey Buddy - 3:23

12.Man In The Long Black Coat (Bob Dylan) - 3:35

13.Immaculate Conception - 2:38 

14.Where Was I Last Night? - 3:27

15.Smoky Joe's - 3:54

All songs by Steve Gibbons except where indicated

Bonus Tracks 14-15

Personnel

Disc 1 Short Stories 1971

*Steve Gibbons - Vocals, Guitar, Harmonica

*Doris Troy - Backing Vocals (Tracks 2,5,8) 

*Gary Wright - Backing Vocals (Track 5), Piano (Tracks 1-5,3-4)

*Madeline Bell - Backing Vocals (Tracks 2,5,8)

*Greg Ridley - Bass (Track 8)

*Trevor Burton - Bass (Tracks 1,3-5), Guitar (Track 10)

*Pat Donaldson - Bass (Tracks 2,6-8,11)

*Larry Fallon  - Brass, Flute (Track 8)

*Claire Deniz - Cello (Track 9)

*Bill Povey - Clarinet

*Alan White - Drums (Tracks 8,10), 

*Mike Kellie - Drums (Tracks 1-9, 11)

*Alan White - Bass Drum, Flute (Track 10)

*Albert Lee - Electric Piano (Track 10), Guitar (Tracks 1-9, 11)

*Hugh McCracken - Guitar (Track 10) 

*Gerry Donahue - Guitar 

*Ginger Johnson - Percussion (Track 5)

*Jimmy Miller - Percussion (Track 5) 

*Rocki Dzidzornu - Percussion (Track 5)

*Ian Whiteman - Piano (Tracks 6-7,9)

*Gerry Conway - Steel Guitar (Tracks 2-4)

*Johnny Van Derek - Violin (Tracks 6,9)

Disc 2 Stained Glass 1996

*Steve Gibbons - Vocals, Guitar, Harmonica

*Bob Lamb - Drums

*Bob Griffin - Bass (Tracks 1,3,9)

*John Caswell - Guitar (Tracks 2,5,6,8,10-13) Bass (Tracks 2,6,10-13)

*Steve Dolan - Bass (Track 4)

*Roger Inniss - Bass (Tracks 5,7-8)

*Phil Bond - Keyboards (Tracks 1-2,5-6,8,10,12), Accordion (Tracks 11,13)

*Bob Wilson - Guitar (Tracks 3,5-7,9,11)

1976  The Steve Gibbons Band - Any Road Up 
1977  The Steve Gibbons Band - Rollin' On 

Related Act

1965-69  Uglys - The Quiet Explosion (2004 remaster)  

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The Hollies - Bus Stop / Stop! Stop! Stop! (1966 uk, marvellous folk beat, 2011 remaster)

The Hollies scored their first American smash in 1966, when “Bus Stop” (written by Graham Gouldman, a future member of 10cc) cracked the Billboard Top Ten. Looking to cash in on that song’s success, Imperial Records threw together a quick compilation, Bus Stop, which combined the titular tune with several older Hollies songs. Some of the tracks were two years old, and  -- who often released several albums a year during their heyday -- became angry with the label’s decision to exploit their success with a collection of old material. 

They left Imperial the following year, but not before releasing Stop! Stop! Stop! (issued in Europe under the title For Certain Because…), the first Hollies album written entirely by the bandmates themselves. Spliced together on this two-for-one compilation, the albums mark a turning point for the band, documenting the point at which  transformed their straightforward Merseybeat sound into an experimental pop hybrid. All 24 tracks are remastered, and the presence of the original sleeve notes (“Allan Clarke is a mischievous, grinning person with nomadic eyes which have surely tormented many a female heart”) should attract those who already own copies of both records.

by Andrew Leahey

Tracks

1. Bus Stop (Graham Gouldman) - 2:51 

2. Candy Man (Fred Neil, Beverly "Ruby" Ross) - 2:28 

3. Baby That's All (Chester Mann) - 2:15 

4. I Am a Rock (Paul Simon) - 2:50 

5. Sweet Little Sixteen (Chuck Berry) - 2:22 

6. We're Through - 2:15 

7. Don't Run and Hide - 2:33 

8. Oriental Sadness (She'll Never Trust in Anybody No More) - 2:35 

9. Mickey's Monkey (Lamont Dozier, Brian Holland, Eddie Holland) - 2:30 

10.Little Love (Allan Clarke, Graham Nash) - 2:00 

11.You Know He Did (Al Ransom) - 2:02 

12.What'cha Gonna Do About It? (Gregory Carrol, Doris Payne) - 2:17 

13.What's Wrong with the Way I Live - 2:02 

14.Pay You Back with Interest - 2:44 

15.Tell Me to My Face - 3:08 

16.Clown - 2:13 

17.Suspicious Look in Your Eyes - 3:36 

18.It's You - 2:12 

19.High Classed - 2:21 

20.Peculiar Situation - 2:54 

21.What Went Wrong - 2:11 

22.Crusader - 3:49 

23.Don't Even Think About Changing - 2:08 

24.Stop! Stop! Stop! - 2:50

All songs by Allan Clarke, Tony Hicks, Graham Nash except where noted

The Hollies

*Allan Clarke - Vocals, Harmonica

*Tony Hicks - Lead Guitar, Vocals

*Graham Nash - Rhythm Guitar, Vocals

*Bobby Elliott - Drums    

*Eric Haydock - Bass 

*Bernie Calvert - Bass (Track 1)

1966  The Hollies - Bus Stop (2012 japan remaster) 

1974  The Hollies - Hollies (2009 remaster with extra tracks)  

Related Acts

1971  Graham Nash - Songs For Beginners (2008 digipak remaster)

1973  Graham Nash - Wild Tales

1972  Graham Nash David Crosby - Graham Nash David Crosby (2008 remaster)

1971  Crosby Stills Nash And Young - 4 Way Street (2016 japan double disc remaster)
1974  Crosby Stills Nash And Young - Live (2013 four discs box set)

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White Lightning - Strikes Twice (1968-69 us, raw garage heavy psych rock)

Hard fuzz trio featuring the blazing leads of Zippy Caplan (ex-Litter). The band was less garagy and more pounding hardrock than the Litter. "Under the Screaming Double Eagle" collects studio tracks from 1969. White Lightning was a slang term for LSD at the time (and bootleg whiskey prior to that). The group added two new members and shortened their name to Lightning. They continued in the hardrock mode but now with dual leads. "Lightning" is another excellent effort, just missing the certain magic they possessed as a power trio.

"White Lightning" was formed in Minneapolis, Minnesota in 1968 by ex-"Litter" guitarist "Zippy" Caplan and bassist Woody Woodrich. The two musicians had been jamming together for close to a year before they decided to become a group. 

The name "White Lightning" was picked by "Zip" Caplan and Woody Woodrich during their drive back from the "Litter's" filming of "Medium Cool" because it was another name for acid. "White Lightning's" original drummer, Garr Johnson, quit the group after only a months rehearsals because he didn't believe a three-piece act could make it in Minneapolis. Mick Stanhope was immediately brought in from Chicago by Ronn Roberts to fill the empty drummer's chair. 

Minneapolis Music

Tracks

1. Prelude To Opus IV (Mick Stanhope, Tom Caplan, Woody Woodrich) - 2:02

2. (Under The Screaming Double) Eagle (Denny Waite, Tom Caplan, Woody Woodrich) - 3:22

3. Born Too Rich (Mick Stanhope, Tom Caplan, Woody Woodrich) - 3:59

4. Coming Down (Larry Loofbourrow) - 3:32

5. Borrowed And Blue (Mick Stanhope, Tom Caplan) - 3:01

6. Bogged Down (Mark Gallagher, Tom Caplan, Woody Woodrich) - 2:31

7. Let Me Feel It Too (Larry Loofbourrow) - 3:17

8. Only Love (Larry Loofbourrow) - 1:45

9. Age (Mick Stanhope, Tom Caplan) - 3:36

10.Fantasy Days (Mick Stanhope, Tom Caplan, Woody Woodrich) - 3:25

11.No Time For Love (Mick Stanhope, Tom Caplan, Woody Woodrich) - 11:18

12.William Tell (Gioacchino Rossini) - 5:15

13.Prelude To Opus IV (Mick Stanhope, Tom Caplan, Woody Woodrich) - 4:18

14.Freedom (Mick Stanhope, Ronn Roberts, Tom Caplan) - 5:15

15.Groundhog (Mick Stanhope, Tom Caplan, Woody Woodrich) - 3:38

16.1930 (Mick Stanhope, Ronn Roberts, Tom Caplan) - 4:11

17.Just Let The World Roll On By (Mick Stanhope, Tom Caplan) - 1:46

18.Before My Time (Bernie Pershey, Mick Stanhope, Ronn Roberts, Tom Caplan, Woody Woodrich) - 3:12

19.Age  (Mick Stanhope, Tom Caplan) - 3:50

20.Fantasy Days  (Mick Stanhope, Tom Caplan, Woody Woodrich) - 2:31

White Lightning

*Mick Stanhope - Vocals, Drums, Percussion

*Tom "Zippy" Caplan - Guitar

*Woody Woodrich - Bass, Vocals

*Bernie Pershey - Drums (Tracks 13-20)

*Ronn Roberts - Guitar (Tracks 13-20)

With

*Barbara Hess - Vocasl (Tracks 15,17)

Related Acts
1966-68  The Litter - Distortions / Live At The Electric Theatre 
1968  The Litter - One Hundred Dollar Fine

1969  The Litter - Emerge (2009 edition)  

1968-71  Lightning - Lightning

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Strider - Misunderstood (1974 uk, good hard rock, 2009 digipak remaster)

Misunderstood, is well worth the effort; hard rock without being overbearingly heavy, it's got great songs, all-round good musicianship and superb dynamics (listen to opener Open Your Eyes for proof). A couple of tracks on side two feature Mellotron strings from Ian Kewley, but they're not exactly classics of the genre; Wing Tips is excellent, a bit of a mini-epic, in fact, while Take It Or Leave It is more of a rocker, with a quick burst of Mellotron in the slow middle-eight and its reprise. 

Tracks

1. Open Your Eyes (Gary Grainger, Ian Kewley, Rob Elliott) - 4:57

2. Misunderstood (Gary Grainger, Ian Kewley, Lee Strzelczyk, Rob Elliott) - 5:53

3. Crossed Line (Gary Grainger, Jack Noton, Rob Elliott) - 3:44

4. Seems So Easy (Brian Leigh, Gary Grainger, Rob Elliott) - 5:23

5. Already Monday (Gary Grainger, Rob Elliott) - 5:03

6. Wing Tips (Ian Kewley, Jack Noton) - 6:17

7. Take It Or Leave It (Gary Grainger, Rob Elliott) - 4:23

8. Searching The Clouds (Gary Grainger, Ian Kewley, Rob Elliott) - 4:38

Strider

*Rob Elliott - Lead Vocals

*Gary Grainger - Lead, Rhythm Guitar

*Ian Kewley - Electric Piano, Grand Piano, Hammond, Mellotron, Moog, French Horn, Backing Vocals

*Tony Brock - Drums, Vocals 

*Lee Strzelczyk - Bass 

With

*Jennie Haan - Backing Vocals

1973  Strider - Exposed (2007 digipak)  

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Stack - Above All (1969 us, solid heavy psych hard rock with ultra loud guitars)

Don't let the murky sound quality, almost certainly a result of imperfect source tapes, fool you; Above All is an above-average slab of snotty garage psychedelia. The cloudy sound actually enhances the album in certain ways. The stab at "Da Blues" gives the song not exactly an authenticity but a grittiness that gives the performance the sound and texture of a live recording. The psychedelic cuts, on the other hand, have an enveloping claustrophobic sound that traps the listener beneath the music. While probably meant to be experienced under the influence of certain chemical enhancers, the music is trippy enough on its own to send the listener on a trip of sorts. 

That wouldn't matter, of course, if the songs were not strong or were less than fully formed, but that is not the case. The album opens with a fuzzed-up version of Lieber and Stoller's "Poison Ivy," but the rest of the album is given over to standout originals by Stack, with lead guitarist Rick Gould penning five of the nine cuts. "Only Forever" is a power pop/psychedelic hybrid with some nice fuzz guitar by Gould, and Bob Ellis' vigorous, potent drumming is perhaps the band's secret weapon. Buddy Clark's robust bass, too, is terrific and helps songs such as "Cars," "Everyday," and "Valleys" get completely inside the listener with uncommon force. 

On top of the psychedelic cacophony, Bill Sheppard's vocals simply wail. Stack was obviously skilled, as their resumé bears out, and it is apparent through the subpar sound that the band could be quite powerful. Gear Fab's CD is well worth hearing for fans of garage and psychedelia and may even qualify for the top echelon of unearthed psychedelic obscurities. 

by Stanton Swihart

Tracks

1. Poison Ivy (Jerry Leiber, Mike Stoller) - 3:20

2. Only Forever (Rick Gould) - 3:37

3. Da Blues (Rick Gould, Bill Sheppard, Bob Ellis, Buddy Clark, Kurt Feierabend) - 7:00

4. Cars (Rick Gould) - 3:36

5. Everyday (Rick Gould) - 6:54

6. Valleys (Bill Sheppard, Rick Gould) - 2:53

7. Time Seller (Rick Gould) - 5:07

8. Hot Days (Steve Hoffman) - 2:53

9. Do It (Kurt Feierabend) - 2:54

Stack

*Bill Sheppard - Lead Vocals

*Bob Ellis - Drums

*Buddy Clark - Bass

*Kurt Feierabend - Rhythm Guitar

*Rick Gould - Lead Guitar

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Phil Ochs - Tape From California (1968 us, astonishing baroque folk psych, 2000 remaster)

With his first album for A&M, Pleasures of the Harbor (1967, also reissued on CD by Collectors' Choice Music), Phil Ochs made a daring entry into both full band arrangements and complicated near-art songs, in styles ranging from Dixieland jazz and lounge music to classical orchestration and musique concrete. The transition might have been too abrupt for much of his audience, coming from an artist that had made his name with protest folk songs, performed solo on acoustic guitar. Ochs perhaps bore that in mind when he made his next record, 1968ís Tape from California, a simpler affair, recorded quickly with notably less elaborate backing. 

"In my new album," he told Broadside, "Iím going to make the next step, which will be a comment on the spiritual decline of America, with some of the musical elements I had in Harbor but somewhat played down. And the words are coming to the fore again. Essentially, Iím going to try and get a balance between the Harbor record and the (solo guitar 1966) Concert one that preceded it." 

As a composer, however, Ochs was not going to regress to the topical folk songs that had dominated his mid-1960s Elektra albums to the exclusion of almost all else. Tape in Californiaís eight songs were as varied a lot as those on its predecessor, jumping from his artiest poetry to numbers that could have just about fit into his pre-1967 repertoire. Pleasures of the Harbor producer Larry Marks would once again work on the sessions, as would pianist Lincoln Mayorga and, for "The Floods of Florence" at least, arranger Ian Freebairn-Smith, who had devised much of the settings that gave Pleasures its diverse, ornate character. 

Ochs never played rockíníroll in as straightforward a fashion as he did on the six-minute title cut. Musically straightforward, that is. Lyrically, it was the sort of epic found on much of Pleasures for the Harbor (and some of his subsequent work), a drifting narrative that most likely contained some autobiographical elements, as it was written around the time he moved from New York to Los Angeles. "White Boots Marching in a Yellow Land," in contrast, found Ochs returning to the anti-war statements that comprised much of his bread-and-butter in his folkie rise to fame. However, it had a more observational tone and more poetic imagery than his early strident tunes of the sort. "Weíre fighting in a war we lost before the war began," he lamented, accurately mirroring the despair of the counterculture as the United States sank deeper into the quicksand of the Vietnam War in 1968, with no end to the senseless escalation in sight. The track nonetheless boasted a characteristically gentle, memorable Ochs melody and understated vocals, as well as clever insertions of martial bugles and gunfire. 

"Half a Century High" had actually been in Ochsí repertoire for some time, as a 1966 concert version was included on his posthumously released Phil Ochs at Newport CD. It could be said that, as with the avant-garde/electronic treatment of "Crucifixion" on Pleasures of the Harbor, the singer tried to be too clever for his own good with the studio version. His voice was distorted so that it sounded like it was indeed playing through a 50-year-old wind-up gramophone, although the harpsichord tinkles added some nice color. "Joe Hill," likewise, had been written some time before it was recorded. The ode to the legendary labor hero, set to the melody of Woody Guthrieís "Pretty Boy Floyd," could have fit onto a 1964 Phil Ochs LP with its leftist topicality and unadorned acoustic guitar-vocal arrangement. The flat-picked guitar on this track was by Rambliní Jack Elliott, whose drunkenness, Larry Marks has recalled, made the tune difficult to complete. 

"The War Is Over" was the finest song on Tape from California. This was released at a time, of course, when the war in Vietnam seemed as far from being over as was humanly possible. Ochs had a knack for cannily playing disturbing lyrics and images off jaunty melodies and exuberant vocals, a trait heard to brilliant effect on his famous "Outside of a Small Circle of Friends" and this less celebrated composition. Military beats, flutes, and horns set the table for this surreal portrait of the absurdity of war, with its indelible scene of one-legged veterans whistling as they mow the lawn. The war is over, yes, but was that kind of cost worth it? Ochsí own likely sentiments peeped through the irony when he noted that even treason might be worth a try, not just to prevent more deaths, but to keep the country itself from committing suicide. 

Side two of Tape from California found Ochs moving towards the more florid musical settings and lyrics that had typified much of Pleasures of the Harbor. "The Harder They Fall" twisted nursery rhymes into sinister scenes, and though the lyrics were more abstract than cogent, itís undeniably memorable to hear Jack and Jill going up the hill for the kind of thrills not hinted at in the original prose, and Mother Goose cited for stealing lines from Lenny Bruce and killing Jews. The 13-minute "When in Rome" was the Ochs epic to end all Ochs epics, a nightmarish journey through a Boschian landscape that could have been taking place in ancient Rome, twentieth century America, or both. As with Bob Dylanís own 1960s marathons ("Desolation Row" is the song to which "When in Rome" is most likely to be compared), it could be subjected to infinite interpretations, none of them necessarily correct or incorrect. Reportedly the composition was inspired by the Elia Kazan film Viva Zapata!; the relentlessly downbeat lyrics were leavened somewhat by Ochsí lilting vocal and the simple, just-a-man-and-his-acoustic-guitar arrangement. 

"When in Rome" might have been too much of a downer to end the album with, and Tapes from California came to a more graceful close with "The Floods of Florence." Its strings, flute, and harpsichord marked a return to the baroque orchestrated pop that Ochs, Marks, and arranger Ian Freebairn-Smith flirted with throughout Philís first two A&M albums. Actually the lyrics of the song were just as dreamlike and non-linear as those in "When in Rome," but the vibe was more romantic than despairing. 

Despair, however, was a sentiment that would become more prevalent in Ochsí music (and life) as 1968 progressed and American society seemed to edge closer to collapse. It was a mindset that Ochs would explore more fully in his next album, 1969's Rehearsal for Retirement, also reissued on CD by Collectors' Choice. Tape from California, however, captured a juncture at which Ochsí optimism and sensitivity were still to be found, even as the darker sides of personality came to the fore on occasion as well. 

by Richie Unterberger 

Tracks

1. Tape From California - 6:45

2. White Boots Marching In A Yellow Land - 3:30

3. Half A Century High - 2:48

4. Joe Hill - 7:18

5. The War Is Over - 4:20

6. The Harder They Fall - 3:55

7. When In Rome - 13:13

8. Floods Of Florence – 4:53

Music and Lyrics by Phil Ochs

Personnel

*Phil Ochs - Guitar, Vocals

*Joe Osborn - Bass on "Tape From California"

*Lincoln Mayorga - Piano, Keyboards

*Van Dyke Parks - Piano, Keyboards on "Tape From California"

*Ramblin' Jack Elliott - Flat-Picked Guitar on "Joe Hill"

1964  Phil Ochs - All The News That's Fit To Sing  

1967  Phil Ochs - Pleasures Of The Harbor (2000 remaster)  

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