sabato 4 marzo 2017

Blackwood Apology - The House of Leather (2010 Aurora Records) 1969

Biography : An obscure concept album dating back to 1968, recorded in Chicago by musicians from Minnesota. It's not a rock opera (it has no magnitude of, let's say, "Tommy" by the Who ), more likely a musical or a vaudeville, although without the gaiety of the latter. Aesthetically, it is collection of pleasant and melodic pieces of moderate psychedelia based mainly on sunshine pop. It has some bright and promising moments, with good organ and keyboards, but they are lost in uninspiring harmonies and in eunuch-like vocals badly imitating "voice of the angels" - too sweet to be digested harmlessly.
The main catch of the album was bizarre and revolutionary plot, doomed for a greater success (which didn't happen): the story happened during Civil War, in a brothel cum ammunitions factory (in its basement), this way (I think) the facility could diversify its patriotic efforts; not "Gone With The Wind", but still...
This winning concept was concocted by 23-year old songwriter and guitarist Dale Menten, and thus Blackwood Apology was born: Dale Menten on guitar & vocals, seasoned session musician Bruce Pedalty on organ, Tom Husting (guitar), Dennis Craswell (drums), Dennis Libby (piano). Another session musician - Greg Maland - was invited to provide extra keyboards and pipe organ sound for the recording (and an impressive job he did!). Menten managed to sell the final product to Chicago-based Fontana and if the sales were far from being spectacular, a playwright was recruited, and a theatrical hastily produced. The stage performance enjoyed a grand success of 50 sell-outs in local 90-seat theatre in 1969 (but with a different line-up) , and in 1970 an ambitious off-Broadway musical was launched. This first New York performance (without original musicians) became its last.
Musical values of the album, however scarce, fell short of its reputation among vinyl collectors.

01.Medley: Swanee River Overture / House Of Leather Theme 2:06
02.Do You Recall The House Of Leather? 2:47
03.Recess With Mrs. Grim 1:03
04.Graduates Of Mrs. Grim’s Learning 3:10
05.There Is Love In The Country (On The Donny Brooks Farm) 2:03
06.Here I Am 4:27
07.She Lives With Me 1:07
08.There’s Love In The Country (On The Donny Brooks Farm)  Reprise 2:05
09.Time Marches On 5:23
10.Dixie And The War 3:21
11.Death And Reality 2:52
12.Sarah’s On Her Knees 2:46
13.Theme From House Of Leather (Epilogue In Suede) 2:45

Ron Beckman - Bass,
Dennis Caswell - Drums, Vocals
Tom Hustin - Guitar, Vocals
Dennis Libby - Piano, Vocals
Greg Maland - Keyboards, Pipe Organ
Dale Menten - Guitar, Vocals
Bruce Pedalty - Organ, Vocals

sabato 21 gennaio 2017

The City - Now That Everything's Been Said (2015 Light in The Attic Digipack Edition) 1968

Biography : With her marriage on the rocks and looking for a fresh start, Carole King moved to Los Angeles in 1967. More specifically, Laurel Canyon, where she fell in with the nascent singer/songwriter crowd. She and bassist/boyfriend Charles Larkey (formerly of the Myddle Class, a band she and then-husband Gerry Goffin had signed to their record label) soon formed a band, adding old friend from NYC, guitarist Danny Kortchmar. The trio spent time at King's house working on a batch of songs she had written with Goffin (some previously released by other acts, some not), plus some co-written by another member of Myddle Class, Don Palmer, and fellow Brill Building refugee Toni Stern. Thanks to their industry connections it wasn't long before they had a record deal. Adding drummer Jim Gordon and naming themselves the City, they hit the studio with Lou Adler producing. The outcome of the sessions was the thoroughly charming Now That Everything's Been Said LP. Released in 1968 on Ode Records, the album had one foot in the kind of radio pop bands like the Monkees and the Mamas & the Papas were cranking out and another in the earthy, homegrown realm of singer/songwriters like Joni Mitchell and, a few years later, King herself. The songs are unsurprisingly strong, a fact borne out by how many of them were picked up by other groups (American Spring covered the title track, the Monkees did "Man Without a Dream," Blood, Sweat & Tears had a hit with "Hi-De-Ho (That Old Sweet Roll)," and the Byrds' version of "Wasn’t Born to Follow" memorably appeared on the Easy Rider soundtrack.) The group is obviously a very talented batch of musicians, while Larkey's melodic basslines provide a beating heart to many of the songs, and Kortchmar shades things in around the edges with subtle fills. King's piano playing isn't as up front as on her solo work, which isn't surprising since this was truly a band effort. Her wonderfully honest and crookedly real-sounding vocals are the star of the album, though. She's never been accused of being a great singer, but she's a hell of a vocalist, able to break a heart without trying very hard at all. Songs like "Wasn't Born to Follow" or the truly lovely chamber pop ballad "Snow Queen" certainly don't suffer from having a less-than-spectacular vocalist out front -- King is able to wrench all the emotions she can out of them with her expressive amateurism. Her duets with Kortchmar on a couple tracks are nice enough, too, that you wonder why they didn't do it more often. The strength of the songs plus the care and thought that went into the music make the album a stirring success. While King went on to hit far greater heights commercially, and Tapestry is an unqualified stroke of genius, she rarely made an album as strong from beginning to end as Now That Everything's Been Said.

01.Snow Queen 4:10
02.I Wasn't Born To Follow 3:42
03.Now That Everything's Been Said 2:19
04.Paradise Alley 3:01
05.Man Without A Dream 3:46
06.Victim Of Circumstance 2:31
07.Why Are You Leaving 3:55
08.Lady 2:57
09.My Sweet Home 3:09
10.I Don't Believe It 2:38
11.That Old Sweet Roll (Hi-De-Ho) 3:22
12.All My Time 3:16

Carole King - Lead Vocals and Keyboards
Danny "Cooch" Kortchmar - Lead Guitar and Backing Vocals
Charles Larkey - Bass & Lights
Jimmy Gordon - Drums

sabato 3 dicembre 2016

Necromandus - Orexis Of Death plus...(2005 Audio Archives) 1973

Biography : Although they never did shrug off the unwelcome nickname of "Second Sabbath" and then had to endure a doom arguably worse than never being noticed at all: watching their would-be first album, 1973's Orexis of Death, pitilessly shelved forever by their record company, England's Necromandus would receive a modicum of belated recognition when said album finally gained release in 1999. Big whoop! Tell that to the three out of four bandmembers who were already in their graves by then! But, at least for fans of obscure hard rock and metal, the album's unearthing was cause for celebration; festivities that had been denied to Necromandus singer Bill Branch, bassist Dennis McCarten, and drummer Frank Hall when their supposed benefactor, Black Sabbath power chord maestro Tony Iommi, lost interest in them, and then their guitarist and driving force, Barry Dunnery, lost faith, deciding to pack his bags as things began looking grim for the group. After all, it was Dunnery's monolithic riffing and nimble lead guitar work that first captured the attention of both the U.K. press and Iommi, prompting the latter to sign the group to a management contract and personally oversee production for Orexis of Death. So it's not at all surprising that the album's opening statement, "Nightjar" (following shortly upon a cryptically named and sounding, string-scraping introduction named "Mogidismo"), is quite similar to the Sabbath template, alternating chugging staccato doom riffing and reverberating power chords from Dunnery, only fleshed out with, frankly, tighter performances and better sound by the rest of the band. What is surprising is how quickly and completely Necromandus shifts gears thereafter, scaling back on the first number's general heaviness and distortion to delve into far more supple, eclectic, and at times rather impressive stabs at the fanciful art rock prototypes typical of the era. Namely, these included the mildly jazzy "A Black Solitude," energetic folk strummer "Homicidal Psychopath" (neither of which does justice to its foreboding title, allegedly changed later without the band's knowledge), and the very definition of anything-goes prog rock that is "Gypsy Dancer." The more compact, guitar-driven construction of "Stillborn Beauty" reverts a little closer to hard rock expectations, but the title track's urgent brand of folk-jazz (including guest guitar from Iommi) and the closing reprise of "Mogidismo" ultimately leave listeners with more questions than answers. These questions combine with some of those unforeseen stylistic meanderings and the fact that Necromandus' songwriting simply wasn't on par with that of comparable success stories like Black Sabbath, Genesis, Jethro Tull, or even Gentle Giant, to in some way justify Vertigo Records' decision to not bother releasing Orexis of Death in the first place. But the album's unquestionable bright spots and the inclusion in most available CD reissues of a revealing live set from March 1973 (a show they headlined over Judas Priest!), featuring some of their other, non-LP, heavier compositions, actually do justify the interest of collectors of ‘70s rock.

01.Judy Green (Previously unreleased acetate demo) 3:39
02.Mogidisimo 0:31
03.Nightjar 4:14
04.A Black Solitude 4:32
05.Homicidal Psychopath 3:24
06.Stillborn Beauty 4:07
07.Gypsy Dancer 6:53
08.Orexis Of Death 4:30
09.Mogidisimo (reprise) (feat. Tony Iommi) 1:16
10.Judy Green Rocket (Live & previously unavailable) 3:34 

Barry Dunnery - guitar
Frank Hall - drums
Dennis McCarten - bass
Bill Branch - vocals

sabato 29 ottobre 2016

Butts Band (Feat. John Densmore & Robby Krieger) - Butts Band & Hear and Now - The Complete Recordings (1996 One Way Records) 1974 - 1975

Biography : Formed in 1972, the Butts Band included two former members of the Doors, Robbie Krieger (b. Robert Alan Krieger, 8 January 1946, Los Angeles, California, USA; guitar) and John Densmore (b. 1 December 1944, Santa Monica, California, USA; drums). After the 1973 dissolution of the Doors, the two musicians teamed up with vocalist Jess Roden (b. England), formerly of Bronco. Roy Davies (keyboards; also a member of funk/soul unit Gonzalez) and Phillip Chen (bass) completed the original line-up. One of the first white American bands to specialize in reggae music, the Butts Band signed to Blue Thumb Records. The first album was a self-titled affair that did not chart. For the second and final album, 1975’s Hear & Now, Krieger and Densmore fired the rest of the band and formed a completely new line-up, featuring Michael Stull (guitar/keyboards), Alex Richman (keyboards/vocals), Karl Rucker (bass) and Mike Berkowitz (drums). It, too, failed to chart and they disbanded in 1975. Krieger and Densmore returned to their solo careers and the other members faded into obscurity, with the exception of Roden, who recorded a number of solo albums for Island Records.

Review First Album Butts Band 1974 : The 1973 debut of Butts Band, produced by Doors engineer turned producer Bruce Botnick, is along with Ray Manzarek's 1974 release, The Golden Scarab (also produced by Botnick) the true fulfillment of what Other Voices and Full Circle initiated. A release of Golden Scarab and The Butts Band on one CD would be a good companion piece to the aforementioned post-Morrison Doors releases; it's most likely what would have evolved had the Doors' trio given us a third album in the early '70s. Make no mistake, this is very musical and great stuff, it just had no image, introduced us to new personalities, and was saddled with a terrible name (c'mon, the Butts Band? What was Jimmy Castor's line in "Troglodyte"? "Bertha Butt, one of the Butt sisters." It's just plain silly with the world watching the Doors' legacy). Before Robbie Krieger went on his jazz tangent, this folky blues group may have been a necessary diversion. There's none of the Doors' darkness or Ray Manzarek's manic intensity here. It's laid-back, well-played, perfectly recorded music on the Blue Thumb label. What is surprising is that Robbie Krieger was an integral part of the Doors' hit singles. He seems to have put that in the past on these compositions. "Baja Bus," with conga by Larry McDonald, might as well be the Allman Brothers. Side one was recorded in Kingston, Jamaica, with Botnick as engineer, while in London for side two at Olympic Studios they used Keith Harwood on the boards, though Bruce Botnick is the producer of the entire package. More of what you'd expect than the follow-up, Hear and Now, which changes all the musicians save the two Doors and completely reshuffles the sound. Gotta hand it to Krieger and Densmore; they can be as proud of this as Ten Wheel Drive's Zager and Schefrin can be of their post-Genya Ravan disc on EMI. That record wasn't Ten Wheel Drive with Genya Ravan, but it was competent and worth a listen, as is The Butts Band

Review Second Album Hear and Now 1975 : John Densmore and Robbie Krieger put together a second version of Butts Band for Hear & Now, which is really bizarre because Roy Davies, Phillip Chen, and vocalist Jess Roden did an admirable job on the first disc's folky blues sound. With Mike Berkowitz brought in as a second drummer, Karl Rucker on bass, and Bobbi Hall on congas, the band is expanded and substantially changed. Add Michael Stull and Alex Richman, both on keyboards and vocals, with Stull on guitar as well, and you may think you have what the Doors were up to on Other Voices. Almost, but not quite. The jazz element is definitely there, but subdued, for this is a soul record, an honest to God soul record by two of the guys who backed up Jim Morrison. Krieger and Densmore sound like they are sponsoring Barry White doing the songs of Percy Sledge. "If You Gotta Make a Fool of Somebody" is pure rhythm & blues, as is "Livin' and Dyin'," but it is not Butts Band that producer Bruce Botnick worked with. Sure it is dynamite stuff, but as the first go round for Butts Band had no image, this must have confused the hell out of radio programmers, retail workers, critics, and fans of the Doors. Botnick has been replaced by Jerry Fuller and is truly is the anomaly when it comes to Doors spin-off projects. Heck, even Ray Manzarek's work with poet Michael McClure contains Jim Morrison American Prayer elements, but the quasi-Steely Dan sound of "Caught in the Middle" could be early Lou Rawls cutting his teeth backed by a pseudo-pop band. It's commendable that Blue Thumb allowed rock stars to stretch like this, but no one familiar with Densmore and Krieger could get a handle on where Hear & Now was going. What might have been a nice calling card would be to take the Doors' "Touch Me" and let this crew send it up the R&B charts. For two members of a totally established group to create a new entity then switch genres is totally original and quite obscure. Butts Band would have been better off trying to get Tower of Power to do this arrangement of Bob Marley and Peter Tosh's "Get up, Stand Up." Robbie Krieger writes a majority of the songs, and female vocalist Alex Richman has a bit of Kathi McDonald in her for her composition "Everybody's Fool," but it is territory not embraced by most Doors aficionados. Labelmates with the Four Tops, this was moved to the Blue Thumb/ABC imprint (the Four Tops were on sister label Dunhill for their "Keeper of the Castle" phase). Gotta have it for the collection, but Manzarek's The Golden Scarab will get more spins. Reviews by

01.I Won't Be Alone Anymore 4:31
02.Baja Bus 4:42
03.Sweet Danger 4:55
04.Pop-A-Top 3:25
05.Be With Me 4:24
06.New Ways 3:58
07.Love Your Brother 4:55
08.Kansas City 4:08

09.Get Up, Stand Up 3:39
10.Corner Of My Mind 4:39
11.Caught In The Middle 3:25
12.Everybody's Fool 2:47
13.Livin' And Dyin' 3:16
14.Don't Wake Up 4:15
15.If You Gotta Make A Fool Of Somebody 4:07
16.Feelin' So Bad 4:20
17.White House 4:30
18.Act Of Love 3:07
19.That's All Right 3:21
20.Lovin' You For All The Right Reasons 2:32

John Densmore - drums (1973-1975)
Robby Krieger - guitar (1973-1975)
Phil Chen - bass (1973-1974)
Roy Davies - keyboards, synthesisers (1973-1974)
Jess Roden - vocals (1973-1974)
Mick Weaver - organ (1973-1974)
Mike Berkowitz - drums (1974-1975)
Alex Richman - keyboards, vocals (1974-1975)
Karl Ruckner - bass (1974-1975)
Michael Stull - guitar, vocals (1974-1975)
David Paul Campbell - keyboards, vocals (1975)

lunedì 17 ottobre 2016

Bakerloo - Bakerloo (2000 Repertoire Records Digipack) 1969

Biography : Bakerloo were originally formed as the Bakerloo Blues Line in 1967, at the outset of the blues boom spearheaded by Cream. A power trio similar to the latter outfit, they also incorporated some of the artier elements of pop music from that period -- Dave "Clem" Clempson played solid, bluesy lead guitar, but he also doubled on harpsichord and piano as well as providing the mouth harp, while Terry Poole played bass and Keith Baker played drums. They made all the right moves as a performing outfit, courtesy of their manager, Jim Simpson (who also handled Black Sabbath, known as Earth at the time) -- he organized a U.K. tour, dubbed "Big Bear Ffolly" (which later became the title of a Bakerloo song) which had Bakerloo, Earth, Locomotive, and Tea and Symphony playing throughout the country. Bakerloo was also one of the support acts on October 18, 1968, the night Led Zeppelin made their debut at London's Marquee Club. Bakerloo were among the early signings to EMI's Harvest label, where they made their debut in the middle of 1969 with the single "Driving Backwards" b/w"Once Upon a Time" in July. They followed it up that fall with their self-titled album, which gave their jazz-inflected electric blues, reminiscent in some ways of Blodwyn Pig's work, a full workout. Cut under the guidance of producer Gus Dudgeon and released in November of that year, the album was one of the harder rocking releases in the early Harvest schedule. Bakerloo were one of the more sophisticated blues-oriented power trios, and that might've been their undoing in finding an audience. Given time, they might've been another Ten Years After, but there was barely any time to find their potential, for the band broke up in late 1969 when Clem Clempson quit to join Colosseum, which proved to be a stopping point on his way into the lineup of Humble Pie as Peter Frampton's successor, and later worked with Roger Daltrey, Tom Waits, and the Records, among other major acts. Terry Poole passed through Graham Bond's band in the early to mid-'70s, and Keith Baker later became a member of Uriah Heep. Poole and Baker later reteamed, while Clempson has been a very busy session player for decades. Biography by Bruce Eder

Review : One of the first acts signed to the fledgling Harvest label in 1969, Bakerloo were very much a product of their time, a hard-hitting progressive blues band whose predilections ranged from a straightforward assimilation of Willie Dixon to some positively dazzling flashes of instrumental prowess. Guitarist Dave Clempson's "Big Bear Folly," the opening cut on the band's first and only album, is a dazzling Ten Years After-style showcase, while a jazzy variation on a theme of Bach, the aptly titled "Driving Bachwards," proves that the band wasn't averse to messing with the classics, either. The quartet's virtuosity occasionally overwhelms the songs themselves, although there is no shortage of gripping atmosphere. Bassist Terry Poole unleashes an almost sepulchral vocal across the stygian "Last Blues," a seven-minute marathon that swiftly develops into a full-fledged heavy rocker, punctuated by mood shifts that amount to separate movements -- it's a magnificent piece, rendered with both musical precision and some of producer Gus Dudgeon's most inspired washes and effects. Impressive, too, is "Son of Moonshine," a distorted metal effort that clocks in at double that length and combines Clempson's intensive guitar soloing with a desperately driving blues rhythm. Period comparisons with Cream and early Led Zeppelin really weren't that far off the mark. Bakerloo were not long for this earth -- Clempson quit to join Colosseum shortly after the album's release; Poole reappeared alongside Graham Bond; drummer Keith Baker departed for Uriah Heep; and Bakerloo itself disappeared off the shelves fairly quickly. Review by Dave Thompson

01.Big Bear Ffolly 3:55
02.Bring It On Home 4:16
03.Drivin' Bachwards 2:06
04.Last Blues 7:04
05.Gang Bang 6:15
06.This Worried Feeling 7:03
07.Son Of Moonshine 14:52
Bonus tracks
08.Once Upon A Time 3:37
09.This Worried Feeling (Alternative Take) 5:45

Dave 'Clem' Clempson - Guitar, Harmonica, Harpsichord, Piano, Vocals
Terry Poole - Bass, Vocals
Keith Baker - Drums
Jerry Salisbury - Trumpet

sabato 1 ottobre 2016

Petra - Petra (Epic Music/Word Records) 1974

Biography : Opening with a blues-inflected "Get Back to the Bible," the original eponymous Petra album hearkens more to Southern rock bands like Lynyrd Skynyrd than to the arena-type groups that they became more associated with, both in vocal style and in musical texture. Who knew that guitarist Bob Hartman could sing? Though the Southern rock theme is predominant here, the style is not very unified on this record, and it is obvious that the group was under pressure to keep things more subdued and "sensible" to be in line with the teachings of the major theologians of the day. Guitarist/vocalist Greg Hough lends his voice and songwriting skills to "Wake Up," which is reminiscent of the James Gang. One very silly novelty tune, "Lucas McGraw," takes on a hillbilly persona featuring Hartman on banjo and Hough on mandolin. Standout track "Back Sliding Blues" is easy to not take seriously in the context of "Lucas McGraw," but is a strong tune in and of itself and was a concert favorite back in the day. Certainly not on par with the bands they are trying to emulate, this first record can stand well on its own and offers an interesting anthropological perspective for a group that has attracted fans along the whole spectrum of musical taste. Review by Mark Allender

01.Wake Up 3:40
02.Get Back To The Bible 2:22
03.Gonna Fly Away 4:55
04.Storm Comin' 4:30
05.Parting Thought 1:31
06.Walkin' In The Light 3:16
07.Mountains And Valleys 2:48
08.Lucas Mcgraw 3:23
09.Backslidin' Blues 4:30
10.I'm Not Ashamed 3:02

Bob Hartman - Guitar, banjo, vocals
Greg Hough - Guitar, mandolin, vocals
John DeGroff - Bass
Bill Glover - Drums, percussion

giovedì 22 settembre 2016

Master's Apprentices - Now That It's Over 1974

Biography : One could easily make the case for designating the Masters Apprentices as the best Australian rock band of the '60s. Featuring singer Jim Keays and songwriter/rhythm guitarist Mick Bower, the band's earliest recordings combined the gritty R&B/rock of Brits like the Pretty Things with the minor-key melodies of the Yardbirds. The compelling "Wars or Hands of Time" and the dreamy psychedelia of "Living in a Child's Dream" were undiscovered classics, although the latter was a Top Ten hit in Australia. Bower left the group after suffering a nervous breakdown in late 1967, and the Masters grew steadily less interesting, moving from flower pop and hard rock to progressive and acoustic sounds. Plagued by instability (undergoing eight personnel changes between 1966 and 1968), the group moved to England in the early '70s, achieving some cult success with progressive rock albums before breaking up in 1972. Review by Richie Unterberger

01.Turn Up Your Radio 3:35
02.Because I Love You 4:33
03.Easy To Lie 4:31
04.I'm Your Satisfier 3:19
05.Death Of A King 3:14
06.5.10 Man 2:35
07.Love Is 4:15
08.Rio de Camero 3:19
09.Michael 3:52
10.Future Of Our Nation 4:28
11.Southern Cross 4:57
12.How I Love You 3:10
13.Think About Tomorrow Today 3:24
14.Thyme To Rhyme 2:46

Mick Bower - guitar (1965-1967)
Jim Keays - vocals, harmonica, guitar (1965-1972)
Rick Morrison - guitar (1965-1967)
Brian Vaughton - drums (1965-1967)
Gavin Webb - bass (1965-1968)
Steve Hopgood - drums (1967-1968)
Tony Sommers - guitar (1967-1968)
Rick Harrison - guitar (1967)
Peter Tilbrook - guitar, bass (1967-1968)
Colin Burgess - drums (1968-1972)
Doug Ford - guitar (1968-1972)
Glenn Wheatley - guitar, bass (1968-1972)
Denny Burgess - bass (1972)

Master's Apprentices - Future Of Our Nation 1970

domenica 28 agosto 2016

Poe - Up Through The Spiral (2006 Mason Records) 1971

Biography : This is a pretty good late period hard rock psych concept LP that few people know about. Poe originally were the Playboys of Edinburg, a McAllen Texas band who began releasing singles in 1965. The Playboys of Edinburg released 7 or 8 singles in various pop rock styles (garage, beat, folk-rock and hard rock) throughout the 1960’s and eventually relocated to Houston. 
For this 1970/71 UNI release the Playboys of Edinburg changed their name to Poe and created this concept lp. Many of the songs were written and arranged by band members McCord and Williams. The album chronicles the life and thoughts of Edgar Cayce, a man who could put himself into some kind of self-induced sleep state by lying down on a couch, closing his eyes, and folding his hands over his stomach. This state of relaxation and meditation enabled him to place his mind in contact with all time and space. No song better illustrates this theme than the great Up Up Thru The Spiral. This track opens with classic paisley guitar riffs and one of the all time great opening psych lines which refers to Cayce’s incredible ability. Up Up Thru The Spiral is also notable for a horn arrangement, distorted vocals and what sounds like tape loop experimentations. This is flat out a great psych pop track with an English sound similar to that of the Move. Other tracks like the futuristic psych of Automatic Writing, Tune In, the furious Sons of Belial, and Fallin’ Off are pretty vicious and rock hard. Fallin’ Off is more than a nod to English rock group Free, with it’s great, heavy guitar riffs, gritty vocals and sound fx explosion mid way thru the track. This song sounds like a lost classic rock radio hit and had considerable pop appeal, it’s definitely a good one! The lead off track, There Is A River reveals a strong gospel influence and has George Harrison style guitar playing and Beatlesque harmonies. Another reflective number, Debt To Pay is a really good acoustic song with sweet, sugary harmonies and a personal favorite. 
This is a solid set from an unknown band who can balance soft reflective tunes with druggy, stoned hard rockers. Vinyl orginals are somewhat cheap although the album saw a cd reissue in 2006 off the Mr. Nobody record label.

01.There Is A River 3:26
02.You Prayers Have Been Answered Little Boy 0:35
03.What Do You Want To Do 0:40
04.I Want To Heal The Sick 0:44
05.You've Got To Try 2:11
06.A Dept To Pay 3:16
07.Up Up Through The Spiral 4:00
08.Tune In 3:28
09.Sons Of Belial 3:31
10.A New Day Is Dawning 0:58
11.The Garden 1:29
12.Automatic Writing 3:08
13.Fallin' Off 3:13
14.Sweet Morning 4:48

Val Curl - keybords, bass, guitar
Don Faires - drums
Jerry McCord - Lead guitar, piano, bass
James Williams - guitar
Michael Williams - percussion, vocals

martedì 23 agosto 2016

The End - Introspection (2005 Decca Music Group) 1969

Biography : Although never achieving the success they deserved, the End are best remembered for their Bill Wyman-produced psychedelic-pop that was a masterful mixture of swirling, dream-like numbers, and flowery, but never twee, pop. Their Introspection album is now viewed as one of the finest examples of British psychedelia. Dave Brown and Colin Giffin formed the End in 1965 following the demise of beat group the Innocents. Nicky Graham and John Horton were drafted in from Dickie Pride's backing group, the Original Topics, and the line-up was completed with former Tuxedos drummer Roger Groom. After recording at the now legendary R.G. Jones' Morden studio, successful friend Bill Wyman arranged a tour with the Rolling Stones. They also appeared with Spencer Davis on ITV television's Thank Your Lucky Stars playing "Hallelujah I Love Her So." At this time their music was very much in the club-soul/blue-eyed soul style that was sweeping England by storm. Following the tour, Roger Groom quit to be replaced by Hugh Atwooll, a former school friend of Nicky Graham. John Horton also quit, but the split was amicable as he continued to help out on their second single, "Shades of Orange." Cut by Bill Wyman, with the addition of Charlie Watts on tabla, the song was recorded during the sessions for the Rolling Stones' psychedelic foray, Their Satanic Majesties Request. "Shades of Orange" epitomizes British Psychedelia and is one of the genre's most sought after items. Following the single's release, Gordon Smith also left and was replaced by former Mode guitarist Terry Taylor. The band then decamped to Spain, where several singles were released domestically, including "Why," a Top Five hit in April 1967. By Christmas 1968, both Colin Giffin and Hugh Attwooll had left after recording the Introspection album, and although a new drummer, Paul Francis, was enlisted, the writing was on the wall. With the arrival of another Mode refugee, Jim Henderson, the End metamorphosed into the more progressive-sounding Tucky Buzzard. Introspection was delayed for over a year due to a fallout from the Rolling Stones' bust-up with Allen Klein and was musically the type of psychedelia that had gone out of fashion by the time of its December 1969 release. The band had changed name and style, leaving this glorious album to sink without a trace. Review by Jon "Mojo" Mills

01.Dreamworld 4:16
02.Under The Rainbow 3:47
03.Shades Of Orange 2:39
04.Bromley Common 0:49
05.Cardboard Watch 2:54
06.Introspection (Pt. 1) 4:05
07.What Does It Feel Like 2:49
08.Linen Draper 0:13
09.Don’t Take Me 3:24
10.Loving, Sacred Loving 2:59
11.She Said Yeah 2:50
12.Jacob’s Bladder 0:55
13.Introspection (Pt. 2) 2:46
14.Shades Of Orange (Mono Single Version) 2:41
15.Loving, Sacred Loving (Mono Single Version) 3:02

Dave Brown - bass, vocals
Colin Griffin - guitar, lead vocals
Nick Graham - keyboards, vocals
John Horton - saxophone
Roger Groom - drums


Il contenuto di questo blog è in qualche modo già presente sul web ma è comunque frutto di un accurata ricerca e cultura musicale. Un particolare ringraziamento va agli Uploader originali. Vi ricordo che i Cd vanno acquistati regolarmente.
Buon ascolto!
Ogni commento o ringraziamento è bene accetto,aiuta e stimola il Blogger a continuare il lavoro con passione.

Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body