Jonathan Richman And The Modern Lovers - Roadrunner The Beserkley Collection (1971-79, amazing proto punk wave freakish 'n' roll, double disc set)

Lest the Gods of Indie strike me down, I have a confession to make that could well ruin the few hip credentials in my possession.  But here goes nothing: 

Forgive me, oh Indie Father, for I have sinned. I am guilty of ignorance and bandwagon jumping.  I regret that until recently I have been sinful due to an ignorance of the works of Jonathan Richman and his band, the Modern Lovers. 

There I said it—but let me defend myself. Yes, Richman has been releasing records since the early 70s and is still releasing them today. Yes, his name is uttered amongst the musical cognoscenti in hushed tones. Yes, he helped to pioneer and promote the proto-punk sound along with the Velvet Underground and the Stooges. And yes, he’s also influenced more of today’s acts than the wacky-baccy. So why is that when I tell people I’ve been listening to the Modern Lovers that I’m met with blank looks? 

Maybe I am forgiven for my obliviousness. The sad truth is that Jonathan is the muso’s best kept secret,  the kind of guy who gets namedropped more often than played.  So if you’re shaking your head thinking “OMG! This guy doesn’t have a clue about the Modern Lovers WTF?!” then stop reading—for once this is not for you. Please go back to trying to impress people with your in-depth knowledge of Wackies Dub obscurities. 

We all have to start somewhere and Roadrunner Roadrunner, a 46 track retrospective of Richman’s 1970s output, is the perfect Alpha course to the church of the Modern Lovers. 

Richman’s influences are obvious from the outset: shambolic Velvets-style rock’n’roll fused with tinges of doo-wop and sweet melodies reminiscent of the Beach Boys.  These influences pale in significance however, when compared to the massive list of performers who took their cues from him. 

Anyone who ever dared to challenge the balls-out machismo of the atypical rock idol has Jonathan to look up to.Every lovable nerd from Stephen Malkmus to MC Paul Barman can thank the Modern Lovers for handing them their pass to the world of uncool. 

As for Emo? Pah! Richman practically invented the stuff. “This is your chance to make me feel awkward”, intones the jealous male dumpee on “I’m Straight”, but this isn’t the kind of cloying self-pity one would get from the likes of Death Cab and Co. 

Even through his beat-up nasal whine, one can tell Richman has tongue placed firmly in cheek,  winking wryly at his audience as if to say “yes, we all act like asses in times of love and hate”.  It’s this kind of honesty—Jonathan’s straight-up but witty sentiments—that make the Modern Lovers such an endearingly feel-great act. 

The playfulness and delivery on some of the more downbeat tracks such as “Hospital” and “Affection” propel them well away from the wallowing drudgery of any of your present-day indie wimpsters. 

In the past, bands like the Beach Boys would boast about the speed of their motors.  Jonathan had his own take on the “Little Deuce Coupe” mentality with his own clapped-out “Dodge Veg-O-Matic”—the story of one man’s love for a no-go junk-heap.  He turns the Beach Boys on their heads again on the California Girls-y “New England” in which he compares Maine with the magnificent Israeli desert. 

It’s these celebrations of the mundane that make Richman a true champion for the common man. It didn’t hurt that the Modern Lovers would also regularly play old folks and children’s homes as well as the obligatory rock venues. “Government Centre”, a song about playing a gig in an office, conjures up images of secretaries dancing on their desks. Similarly, nursery rhymes such as “I’m a Little Dinosaur” and “Here Come The Martian Martians” are soundtracks for infant mosh-pits. 

This is all encompassing rock’n’roll—inventive and shambolic enough to satiate the toughest of rockers  yet wholesome enough that holidaying families could easily sing along to it in the car.  Sorry all you hipsters and musos—thanks to this compilation your secret is well and truly out. 

This music is for everybody.

by Charlie Frame

Tracks

Disc One 

1. Roadrunner (Twice) - 4:06 

2. Astral Plane - 3:00 

3. Pablo Picasso - 4:22 

4. She Cracked - 2:55 

5. Hospital - 5:31 

6. Someone I Care About - 3:39 

7. I'm Straight - 4:18 

8. Modern World (Alternate Take) - 3:16 

9. Dignified And Old - 2:28 

10.Government Centre - 2:17 

11.The New Teller - 1:42 

12.It Will Stand (General Johnson) - 2:36 

13.Back In The Usa (Chuck Berry) - 2:26 

14.Rockin' Shopping Center - 3:38 

15.New England - 2:25 

16.Lonely Financial Zone - 3:00 

17.Here Come The Martian Martians - 3:15 

18.Amazing Grace (John Newton, Traditional) - 2:48 

19.Rockin' Rockin' Leprechauns - 2:12 

20.Summer Morning - 3:52 

21.Afternoon - 2:51 

22.Egyptian Reggae (Earl Johnson, Jonathan Richman) - 2:37 

Disc Two
1. The Sweeping Wind (Ewa Ti Feng) (Traditional) - 2:03
2. Dodge Veg-O-Matic (Extended Version) - 5:42
3. Fly Into The Mystery - 3:18
4. The Wheels On The Bu (Traditional) - 2:29
5. Angels Watching Over Me (Traditional) - 1:51
6. I'm A Little Airplane - 2:41
7. Hey There Little Insect - 2:46
8. Ice Cream Man - 7:28
9. I'm A Little Dinosaur - 2:03
10.The Morning Of Our Lives - 5:28
11.Chapel Of Love (Jeff Barry, Ellie Greenwich, Phil Spector) - 2:43
12.Abdul And Cleopatra - 3:17
13.Lover Please (Billy Swan) - 1:57
14.Affection - 4:07
15.Buzz Buzz Buzz (Robert Byrd, John Gray) - 1:58
16.Back In Your Life - 2:13
17.Party In The Woods Tonight - 3:01
18.I'm Nature's Mosquito - 2:44
19.Lydia (Levy) - 3:09
20.I Hear You Calling Me (Charles Marshall) - 2:51
21.Roadrunner (Once) - 4:43
All Songs by Jonathan Richman unless as else indicated.

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Jardine - Look In The Window (1969 uk, psych sparkler with folk shades)

A lost jewel of the late 1960s UK psychedelia! Jardine recorded this album in 1969 for release by Polydor. That never happened, and the LP was shelved. 

Now, almost 40 years later, you can be among the first to discover the excellence of these brooding poetic tracks, all written by Keith Law just before he joined psych band Velvett Fogg for their only album. Something strange and sinister, with moments of fragile beauty, perhaps akin to what would have resulted if Comus had set their lyrics to Moody Blues-esque melodies. 

Some heavy guitar solos, organ, flute, and flowing sitar, for good measure. Most of the bands in Birmingham were either pop or soul hased. Velvet! togg, along ivith Black Sabbath, The Moi>e, and Traffic were probably the onfy progressive bands. Velvett Fogg was the more outrageous and the more psychedelic. Keith Law's band Love and Understanding was pure flower-power, and as such was being, they were in 1967, one of the first Psych bands. 

Jardine is the French translation of the English word "garden." Jardine is also the name of a short-lived but also charismatic and exceptional group from 1960 5 Birmingham, a hand that managed to leave some jewels which could easily have granted them a place close to the now legendary "kings" of the British psychedelic scene.

by Nick Karathanassis

Tracks
1. Execution Of The Child (Version 1) - 4:07
2. Rain Day Julep - 3:48
3. Hello, Goodbye, Victoria Cane - 3:12
4. Hannah, Wife Of Thomas Kite - 1:57
5. Harpsichord - 3:40
6. Somewhere Within Orphelius - 4:09
7. Roses And Ribbons - 3:08
8. Masochists Of Strangulation - 3:09
9. Lady On The Hillside - 3:07
10. Execution Of The Child (Version 2) - 3:29
11. The Story Of Acorn Rose - 1:45
12. Blackbirds Of Jardine - 5:21
All songs by Keith Law.

Jardine
*Keith Law - Vocals, Guitar, Flute
*Mickey Cox - Guitar, Vocals
*Brian Urquart - Bass
*Colin Appleyard - Drums
Guest Musicians
*Peter Frampton - Guitar
*Andy Bown - Keyboards
*Michael Berg - Keyboards

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Various Artists - The Electric Asylum, Vol. 4 (1970-75 uk, rare hard 'n' heavy freakrock)

The fourth volume in Past & Present's Electric Asylum series walks away from the psychedelic themes of the earlier installments in favor of U.K. hard rock singles of the early to mid-'70s, most hailing from the days before heavy metal had fully codified itself and sometimes betraying the influence of the working-class end of glam (think Slade, not Bowie). 

If there is a psychedelic angle to these tunes, it usually presents itself in the form of twisty melodies, the occasional lyrical eccentricity, or curious band names, but most of these 20 tunes are hard-stomping numbers full of big guitars, bigger drums, and growling vocalists, and acts like Incredible Hog, Wolfrilla, and Hard Horse deliver pretty much the sort of meat-and-potatoes hard rock thunder you'd expect. 

Seeing as '70s hard rock hasn't been compiled to death like a number of other genres, Rock Hard British Freakrock certainly has novelty going for it, and there are a few real gems to be found here -- Mustard's "I Saw, I Heard" is built around a brilliant chunky guitar sound and a superb throbbing bassline, Slowload's "Big Boobs Boogie" is as raucous as the title would suggest, "Red Shoe Trucken" by Bear Brothers sounds like some odd but fortunate cross between Deep Purple and Gary Glitter, Bubbles' "Zap n' Cat" has a sleazy swagger along with some great nasty guitar licks, and "Eagles" by Sundance suggests what the James Gang might have sounded like if they'd come from Birmingham and not Ohio. 

While not every track here sounds like a lost classic, and some of the source singles are noticeably worn, this collection is never boring, and the best stuff is choice beer-swilling, air-guitar mangling music that will get your denims dirty in no time flat. 

by Mark Deming

Artists - Tracks
1.Hector - Lady - 3:13
2.Slowload - Big Boobs Boogie - 3:08
3.Rog And Pip - Warlord - 3:28
4.Wolfrilla - Come Tomorrow - 3:09
5.Incredible Hog - Lame - 3:22
6.Smoke - That's What I Want - 2:25
7.Spunky Spider - You Won't Come - 2:44
8.Ning - Machine - 3:22
9.Quiet World - Rest Comfortably - 2:52
10.Turtle - You Turned Your Back And Walked Away - 2:46
11.Bear Brothers* - Red Show Trucken - 2:45
12.Hard Horse - So Long I'm Moving On - 2:42
13.Mustard - I Saw I Heard - 2:39
14.Tuesday - Big Mr. Little Man - 2:12
15.Godson - We've Not Made It - 3:01
16.Bubbles - Zap N' Cat - 2:33
17.Sunshine Kid - My Linda - 2:22
18.Clutch - Black Angel - 3:36
19.Jackal - Year Of The Tiger - 3:32
20.Sundance - Eagles - 3:11

The Electric Asylum series
1970-74  Volume One
1969-73  Volume Two
1970-74  Volume Three

other Past and Present compilations
60-70's  Floor Filler Killers / New Directions Vol. 3
60-70's  Mind Expanders Vol.2
1967-74  Psych Bites Vol.1
1968-74  Psych Bites Vol.2
1969-73  Up All Night

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Various Artists - The Electric Asylum Vol. 3 (1970-74 uk, rare psych mod glam rock)

The title of this 20-track compilation might mislead some listeners to expect too much in the way of psychedelic music. Certainly there's some lingering influence from mod rock and psychedelia on this collection of early-'70s cuts. 

But really, it's more pop than anything else, and arguably glam rock is more of a factor than mod psychedelia, even of the slightly retro sort. It's not a genre easy to pigeonhole or, one would think, to market. That hasn't stopped Past 'n' Present from dedicating a whole series to it, however, and this anthology is actually fairly entertaining and amusing on the whole, if lacking in killer songs and somewhat on the lightweight side overall. 

Certainly it's not stuff you're likely to have encountered before; one look at the track listings will be enough to zap any "seen that, heard that" collector smugness you might have out of your system, with only Roger Ruskin Spear (formerly of the Bonzo Dog Band) and the novelty group the Barron Knights likely to be familiar names even to Anglophiles. 

Occasionally the material is obviously derivative, if never quite annoyingly so. Part of M.A.S.K.'s "Gotta Get Away" can't fail to recall the Beatles' "Dear Prudence," for instance, while Shakane's "Rhona" sounds a little like a hybrid of "Honky Tonk Women"-era Rolling Stones and Creedence Clearwater Revival, and T. Rex is echoed on a number of tracks. But there are some quite cool more offbeat things here, like Spode's "Cincinnati Woman," which is an uncanny, eerie early-'70s update of Joe Meek's productions; 1984's weird and wobbly cover of the Syndicate of Sound's mid-'60s garage rock hit "Little Girl"; and Roger Ruskin Spear's predictably absurd, monstrous, heavy rock satire "Drop Out."

 There are also some connections to much more familiar names in some of these tracks, like Wheels' respectable modish groover "She Don't Mean It," featuring Crispian St. Peters. 

by Richie Unterberger

Artists - Tracks
1. Renegade - Lovin' And Forgiving - 2:40
2. Primitive Man - Animal Love - 2:28
3. The Sensations - Oh My Eli - 3:37
4. Puzzle - Houla - 3:06
5. Barracuda  - I Feel So Down - 2:38
6. Grumbleweeds - Hey Babe) Follow Me - 2:52
7. Boneshaker  - Sweetness - 3:00
8. Barron Knights - You’re All I Need - 3:12
9. Dynasty  - Tutankhamun - 3:46
10.M.A.S.K.  - Gotta Get Away - 3:37
11.Shakane - Rhona - 3:01
12.Wheels  - She Don’t Mean It - 3:00
13.Spode  - Cincinatti Woman - 2:47
14.1984  - Little Girl - 2:38
15.Greg Robbins - Virginia Creeper - 2:20
16.Things Fall Apart - Bye Bye My Rose - 2:56
17.Roger Ruskin Spear - Drop Out - 2:03
18.Don Crown - The Flying Machines - 2:02
19.Zebedee  - She Couldn’t Make Gravy - 3:43
20.Amazon Trust - Sheila Lee - 2:36

The Electric Asylum series
1970-74  Volume One
1969-73  Volume Two

other Past and Present compilations
60-70's  Floor Filler Killers / New Directions Vol. 3
60-70's  Mind Expanders Vol.2
1967-74  Psych Bites Vol.1
1968-74  Psych Bites Vol.2
1969-73  Up All Night

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Liar - Straight From The Hip (1977 uk, great hard rock ballanced between melodic and pub rockin, with Clive Brooks from Uriel/Egg fame, japan remaster)

Liar was formed in 1975 in Maidenhead in Berkshire by Dave Taylor formerly of Edison Lighthouse. In 1976, the band came to the attention of Chris Demetriou, a freelance producer and A'n'R man for Decca Records. Demetriou took the band into Decca's West Hampstead studios, inviting singer/guitarist Paul Travis, with whom he had worked before, to sit in with them to help with song arrangements and also to provide a channel of communication between studio and control room. 

After various personnel changes, the line-up for the first album, Straight from the Hip, comprised David Burton (lead vocals and guitar), Dave Taylor (formerly of Catapilla; bass and vocals), Paul Travis (guitar and vocals) and Clive Brooks (previously of Egg and The Groundhogs; drums). Lead guitar was provided on a session basis by Geoff Whitehorn, then working with Crawler, although at the time of the album's release this role had been filled by Steve Mann, subsequently with Lionheart, MSG and Sweet, who completed the final line-up. Keyboards on two tracks were by John (Rabbit) Bundrick.

Following the debut album 'Straight From The Hip' in 1977, released on  Decca label during 1977, the band undertook an initial tour of the UK with Slade, followed by two European tours, covering Holland and Germany. A three week tour of Hungary, sharing the stage with top Hungarian band Piramis, followed, and the final show of this tour in Budapest had an audience of 35,000. 

Tracks

1. Soft Light, Sweet Music (Paul Travis, Barrylord) - 3:38

2. Straight From The Hip Kid (Paul Travis, Norma Tager) - 3:16

3. Roll Me Down - 3:23

4. Rich Man's Woman - 4:03

5. Try Lovin' (Paul Travis, Norma Tager) - 3:09

6. Chicago Shakedown (Dave Taylor, Steve Mitchell) - 4:29

7. Full Time Woman (Paul Travis, Norma Tager) - 4:17

8. Born To Rock And Roll - 3:46

9. Light Of The City - 3:34

10.Blame It On The Kids (Paul Travis, Norma Tager) - 4:36

11.Full Time Woman (Paul Travis, Norma Tager) - 4:36

12.Here You Come Knocking - 3:20

All songs by Dave Taylor unless as else stated.

Bonus tracks 11-12 as Paul Travis

Liar
*Dave Burton - Vocals
*Paul Travis - Guitar
*Dave Taylor - Bass
*Clive Brooks - Drums
*Steve Mann - Guitar

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Starwood - Starwood (1977 us, nice mellow rock with country folk rock drops, Vinyl edition)

Starwood formed in Aspen Colorado round the mid seventies.The band made a self-titled album for Columbia; it was recorded at the Caribou Ranch in Nederland, where Elton John, Stephen Stills, Rod Stewart and numerous others would make albums.

 The single “Burning Over You” was released to radio in 1977. The band toured with the Dirt Band for most of a year, appearing at Red Rocks; they finished 1978 with a show at the Cow Palace in San Francisco, on a bill with Santana and Eddie Money. 

Starwood didn't quite hit rock-star status. They played a final gig, at the Dorothy Chandler Pavilion in Los Angeles, and never made another record, never toured again.

Musically they’re running upon country and folk forms, somehow like  a light version of Crosby Stills and Nash  with sound closest to Little River Band and Firefall, in conclusion an enjoyable album with many good moments.  

Tracks
1. Burnin' Over You (D. J. Holster) - 4:54
2. Almost Monte Carlo (D. J. Holster) - 4:28
3. Simone (D. J. Holster, B. Mysior) - 2:53
4. Always Brings Me Tears (H. Gregg) - 3:22
5. Tortuga (M. Moore) - 3:34
6. (I Gotta) Dance With You (D. J. Holster) - 3:15
7. You Don't Have To Cry (D. J. Holster, H. Gregg) - 3:33
8. Silver And Gold (D. J. Holster, H. Gregg) - 5:46
9. Give A Little Bit (D. J. Holster, H. Gregg) - 3:40
10.Ophelia (D. J. Holster, R. E. Carpenter) - 3:29

Starwood
*David James Holster - Vocals, Guitar,
*Robert E. Carpenter - Keyboards,
*Haden Gregg - Guitar, Vocals,
*Bob Mason - Guitar, Vocals,
*Bernie Mysior - Bass,
*Michael Buono - Drums,
*Bryan Savage - Woodwinds

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Various Artists - The Electric Asylum Vol. 2 (1969-73 uk, more rare acid freakrock)

These are obscurities -- and you better believe they are very obscure when the most well-known artists are Steamhammer and the Montanas -- from the late '60s and early '70s, and about as much early hard rock (with some prog rock elements as well) as psychedelia. With all due respect to the estimable Past & Present label for digging into a genre that reissues haven't explored much, it's doubtful that comps such as these will launch as much collector enthusiasm for the style as specialist reissues did for freakbeat. 

The material is largely somber, the arrangements on the heavy side, and the songs not too memorable, if often tightly played and well produced. These are the kinds of releases that, in any era, clutter the bins of ill-distributed records that very few people have heard or are familiar with; these just happen to be ones belonging to the British early-'70s hard rock division. You can hear echoes of Jimi Hendrix, Spooky Tooth, Peter Green-era Fleetwood Mac, Ten Years After, the Jeff Beck Group, Jethro Tull, and the like, if usually in a less lively and ebullient mood, but nothing that's going make you wonder why these acts didn't get bigger. 

The inclusion of a couple pretty pointless covers of well-known tunes by big stars (the Deep Set doing Neil Young's "Cinnamon Girl" and the Treetops singing the Moody Blues' "Gypsy") doesn't help. On a more positive note, Josephine Levine's vocals on J.C. Heavy's "Mr. Deal" add welcome spice to what otherwise is a pretty testosterone-heavy set, and Steamhammer's "Windmill" has a lighter, dreamier, more psychedelic feel than their predominantly blues-based output (and the rest of this CD). And no, the Iron Maiden who do "Falling" here are not the famous metal band of the same name. 

by Richie Unterberger

Artists - Tracks
1.Cats Eyes - The Wizard - 3:38
2.Buster Jangle’s Flying Mattress - Taken Over My Brain - 2:55
3.J.C. Heavy - Mr. Deal - 3:35
4.Eastwood - I Am Free - 3:58
5.Iron Maiden - Falling - 6:05
6.Wolfrilla - Song For Jimmi - 3:08
7.The Deep Set - Cinnamon Girl - 3:20
8.Steamhammer - Windmill - 4:25
9.Gentry - Attempted Contact - 3:14
10.Humbug - Ebeneezer - 3:52
11.Montanas - Doctor Nero - 2:49
12.Choc - Time - 3:11
13.Magnet - Mr. Guy Fawkes - 3:56
14.Mosaic - Bird Of Time - 2:19
15.Chameleon - Who Am I? - 3:27
16.Now - People Are Standing - 3:09
17.Iron Cross - All Of The Time - 3:10
18.The Treetops - Gypsy - 3:32
19.Lost Dog - Latchkey Child - 3:04
20.J.C. Heavy - That Woman’s Mind - 2:39

The Electric Asylum series
1970-74  Volume One

other Past and Present compilations
60-70's  Floor Filler Killers / New Directions Vol. 3
60-70's  Mind Expanders Vol.2
1967-74  Psych Bites Vol.1
1968-74  Psych Bites Vol.2
1969-73  Up All Night

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Various Artists - The Electric Asylum Vol. 1 (1970-74 uk, rare acid freakrock, Past and Present release)

20 blasts of long-forgotten British Freakrock. The Glorious British Psychedelic music scene did not cease to exist at midnight on December 31st 1969, it took on the previous decade with furore, new gadgets and studio gimmicks, but with some of the same key players. 

From the hard and loud sound of J.C. Heavy, Rainbow Family and Steel Mill to the sublimely bonkers Asylum, Monsoon, Mighty ‘Em and Galahad interspersed with spoonfuls of Psychedelia, Doom and Acid Rock.

Artists - Tracks
1. Mighty 'Em - Jekyll & Hyde - 3:23
2. Asylum - Suzy's Back - 2:36
3. Iron Horse - Magic Love - 3:04
4. Monsoon - Night Of The Fly - 3:01
5. Galahad - Rocket Summer - 3:06
6. J.C. Heavy - Is This Really Me - 3:12
7. Rainbow Family, The - Travellin' Lady - 2:49
8. Puzzle - Do You Feel The Pain - 2:48
9. Grumbleweeds, The - In A Teknicolor Dreem - 3:44
10.Explosive, The - Hey Presto, Magic Man - 3:05
11.J.C. Heavy - Do What You Like - 3:15
12.Choc - The Devil - 3:07
13.Danta - Queen Of Sheba - 4:17
14.Vincent Crane's Atomic Rooster* - O.D.- 3:19
15.Renegade - Never Let Me Go - 2:34
16.Satisfaction - Love It Is - 3:01
17.Audience - Eye To Eye - 2:33
18.Steel Mill - Get On The Line - 4:17
19.Kirk St. James - Tears I Cry3:55
20.Legs - So Many Faces - 2:54

The Past and Present compilations
60-70's  Floor Filler Killers / New Directions Vol. 3
60-70's  Mind Expanders Vol.2
1967-74  Psych Bites Vol.1
1968-74  Psych Bites Vol.2
1969-73  Up All Night

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Dick Campbell - Blue Winds Only Know (1965 us, great folk rock with smart pop feel, 2003 Rev Ola issue)

The enigmatic Dick Campbell, singer, songwriter, producer and one of the most famous humorists in the 1960's music business, it's sometimes difficult to tell whether he means something seriously or not the quality of the music remains the same as ever outstanding! In 1965, on his way from Massachusetts to join Gary Usher in California, he stopped off in Chicago to produce a band.and ended up making one of the foremost and most collectable electric-Dylan clone albums of the period....with backing from the Butterfield Blues Band and the young Peter Cetera.

Dick had never any intention of being a folk rocker, The Beach Boys and The Four Seasons being more his thing, his publisher being behind the deal, but the idea of making a record with these outstanding musicians AND getting paid was too much to turn down! only the occasional incongruous surf backing vocal and deliberately over-convoluted faux Dylan lyric gives away Dick's real personality It is possible to take it all as a straight Dylan cop ala David Blue..(with rather better melodies!)..if one does not spot Dick's enigmatic smile on the cover!.

Dick would go on to produce many classic mid-west garage bands, and write and record the amazing fairy tale album "Beyond A Shadow Of A Doubt" with Gary Usher and Curt Boettcher, as well as be publishing A'n'R for Harry Nillson and Paul Williams, AND writing songs for the Cowsills to boot.but the sheer Mouse And The Traps gall of this record gives us...the essential Dick Campbell! Dick Campbell was a part of the legendary Gary Usher/Curt Boettcher circle and this release contains Backing by The Butterfield Blues Band with Mike Bloomfield, as on the classic Dylan early electric albums, Peter Cetera, later of Chicago and members of The Buckinghams.

Tracks
1 Blue Winds Only Know - 2:30
2 Share With Me - 3:00
3 Don't Give Up On Me - 2:06
4 Echo - 2:00
5 If I Didn't See You - 3:47
6 I'll Be Alone - 2:20
7 Love Knows Only You - 2:07
8 Maybe - 2:43
9 Pretend It's Me - 2:17
10 Sea Gull - 2:26
11 Time To Sing For You - 2:07
12 So Long - 2:39
13 Window World (Dick Campbell, Keypashine Golesorkh) - 1:41
14 Peace On Earth (D. Campbell, K. Golesorkhi, Steve Hoffman) - 1:59
15 Sometimes (Dick Campbell) - 1:46
16 The World (Dick Campbell, Keypashine Golesorkh) - 2:31
All songs by Dick Campbell and Gary Usher unless as else stated.
Bonus tracks 13-16

Musicians
*Dick Campbell - Voclas, Guitar
*Michael Bloomfield - Guitar
*Paul Butterfield - Harmonica
*Peter Cetera - Bass
*Sam Lay - Drums
*Mark Naftalin - Organ

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Hudson And Ford - Worlds Collide (1975 uk, delicate glam soft rock, Vinyl edition)

“Worlds Collide” was the “difficult” third album by Hudson and Ford, more glam than their previous works, but not bad at all. Their single "When Love has Overgrown" tanked, and no other was attempted from the album. This was despite Hudson Ford's invocation in soft-rock numbers like as "As Hours Go By," a gentle piece with Latin percussion and echoing electric piano. The album develops sharper edges later, with the shrill "Jesus Said" and the satisfyingly jagged guitar in the glam rave-up of "Petro Rock." All in all an  enjoyably release.

Tracks
1. Did Worlds Collide? - 5:52
2. Mechanics - 3:28
3. When Love Has Overgrown - 3:48
4. As Hours Go By - 3:01
5. Bootleg - 3:11
6. Jesus Said - 3:42
7. Day Without Love - 4:44
8. Petro Rock - 3:20
9. Mile High City - 3:37
10. Keep Me Rolling - 4:07
Words and Music by Richard Hudson, John Ford

Musicians
*Richard Hudson - Vocals, Accoustic Guitar
*John Ford - Vocals, Bass
*Micky Keene - Electric Guitar
*Chris Parren - All Keyboards
*Ken Laws - Drums, Percussion
*Johnny Mealing - Bass, Strings Arrangement
*Dick Morrissey - Saxophone
*Tom Allom - Organ

Others releases
1973  Nickelodeon
1974  Free Spirit

Related Acts
1967  Elmer Gantry's Velvet Opera
1969  Ride A Hustler's Dream

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Pulse - Pulse (1969 us, tough 'n' rough psych blues rock, Fallout bonus tracks edition)

From New Haven, Connecticut, The Pulse evolved out of The Bram Rigg Set and The Shags, and were originally known as The Pulse Of Burritt Bradley.

The track, Burritt Bradley, is a surreal slice of psychedelic madness, which can also be found on the Beyond The Calico Wall (LP & CD) compilation.

By contrast, their album is a furious heavy rock affair and rated highly by some collectors.

Tommy Violante left in 1969, although the band soldiered on until '72, playing mostly rehashed Cream-type stuff.

Pulse (originally named "The Pulse of Burritt Bradley," after a name they saw on a grave stone) released two singles: "Can Can Girl" / "Burritt Bradley" and "My Old Boy" / "Another Woman".

Pulse initially included Augusto, Violante, Bennett Segal (drums), Peter Neri (lead guitar), Richard "Sno Whyte" Bednarzcyk (organ), and Paul Rosanno and Lance Gardner both playing bass.

The group honed their skills for almost a year just jamming in the studio, but by the time their first album was released both Violante and Gardner had departed.

The self-titled album Pulse was a real accomplishment. Not only was the playing and songwriting solid, the heavy style and complex arrangements seem a few years ahead of their time 

by Fuzz, Acid 'n' Flowers

Tracks

1. Too Much Lovin' (Peter Neri) - 3:15

2. Another Woman (Paul Rosanno) - 737

3. Hypnotized (Peter Neri) - 4:36

4. Thanks For Thinking Of Me (Bennett Segal) - 3:53

5. Lo-Down (Carl Donnell) - 3:54

6. She's Killin' Me (Bennett Segal) - 3:45

7. Garden Of Love (Peter Neri) - 3:33

8. Amassilation (Bennett Segal) - 5:54

9. My Old Boy (Bennett Segal) - 2:25

10.Can Can Girl (Carl Donnell, Tommy Roberts) - 2:45

11.Burritt Bradley (Paul Rosano, Benet Segal, Peter Neri, Jeffrey Potter, Richard Bednarczyk, Carl Donnell) - 2:57

Pulse
*Carl Augusto - Vocals
*Tom Violante - Rhythm Guitar
*Bennett Segal - Drums
*Peter Neri - Lead Guitar
*Richard "Sno Whyte" Bednarzcyk - Organ
*Paul Rosanno - Bass

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Various Artists - Quiet Days In Clichy (1969 multinational, exiting varied styles psych blues jazz rock, 2010 remaster)

Looking back at this over forty year old film, it's an interesting relic, to be sure, and actually a very intriguing piece of art. At times, seemingly intending to offend, though in others attempting to draw us in to the characters and their escapades, 'Quiet Days in Clichy' is a fairly uneven piece of cinematic experimentation, based off the novel by Henry Miller, that will surely attract or repel its audience, and fast.

This is the story of two men in France, whose bond is seemingly formed by their shared interest in sharing the opposite sex. 'Quiet Days in Clichy' is more than just what's on the surface. The constant prolonged shots, where any action seemingly is shown for three to five times as long as it needs to take, creates a fascinating look at the characters, even if they are only as interested as their genitalia are locked and loaded. 

There are no quick flashes, or brief moments whatsoever, and that makes the film somewhat intimate, holding on like a lover right at the edge of satisfaction trying to extend that moment as long as possible. The extended silence that permeates the majority of the film is also quite refreshing, as the Country Joe McDonald soundtrack acts as a narrative, of sorts, crude as it may be. 

We don't get the characters thoughts, save for some crudely drawn random thought bubbles that pop up on screen, as McDonald tells the tale from a different angle, chauvinistic as it may be, concerning their romps, and predicaments caused by their constant skirt chasing.

by Nate Boss

Artists - Tracks
1. Country Joe McDonald - Quiet Days in Clichy I. - 1:49
2. Country Joe McDonald - Nys' Love. - 4:20
3. Country Joe McDonald - Hungry Miller & The Hungry World. - 2:26
4. Andy Sundström - Clichy. - 2:46
5. Young Flowers - Behind the Golden Sun. - 2:17
6. Papa Bue's Viking Jazzband - Luxembourg Stomp. - 4:12
7. Country Joe McDonald - Quiet Days in Clichy II. - 3:52
8. Ben Webster - Blue Miller. - 4:02
9. Andy Sundström - Champs Elysées. - 2:40
10.Young Flowers - Menilmontant. - 4:08
11.Young Flowers - Party Beat. - 4:05
12.Country Joe McDonald - Mara. - 1:53

Country Joe discography
1965-71  The First Three E.P's
1967  Electric Music For The Mind And Body
1967  I-Feel-Like-I'm-Fixin'-To-Die
1969  Live! Fillmore West
1969  Here We Are Again
1970  CJ Fish
1970  Tonight I'm Singing Just For You
1971  Hold On It's Coming
1971  War War War
1973  Paris Sessions

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Albert Hammond ‎– It Never Rains In Southern Califonia / The Free Electric Band (1972-73 uk, fabulous country folk sunny rock, 2004 remaster)

Albert Hammond was born on May 18, 1944, in London and grew up in Gibraltar to Gibraltarian parents. In 1960, Albert left school, formed a band and began sending out recordings of his very first compositions to labels in England, where they were released by Parlophone Records. Soon thereafter, Albert met Mike Hazlewood and almost immediately, they teamed up as collaborators and began gaining recognition as a songwriting team: “Little Arrows” (Leapy Lee in 1968 - top 10 country and pop charts), “Make Me An Island” (a number one hit in 14 countries), “Gimme Dat Ding” (The Pipkins in 1970 - pop and R&B charts), “Freedom Come, Freedom Go” (The Fortunes in 1971), “Good Morning Freedom” (Blue Mink, 1970). “Gimme Dat Ding” was written for a children's television program called "Oliver In The Overworld" which starred Freddie and the Dreamers.

Having become one of Britain's most successful songwriting teams, Albert and Mike decided to move to southern California. Albert played his songs to every record company possible, until Hal Landers and Bobby Roberts gave him the first artist’s contract ever for their newly-built Mums label, a division of CBS’s Epic label. After auditioning for CBS president Clive Davis, and over 30 other people, Albert was asked to record some songs. Albert went into the studio to record what would become the It Never Rains In Southern California album. The title song went to number five in the U.S. and became a worldwide success. This offered Albert the opportunity to tour, which led him to almost all continents. Albert went on to record seven albums for the CBS label.

It Never Rains in Southern California is not only Albert Hammond's biggest solo hit, the album which spawned that Top Five smash was the best representation of the songwriter until his When I Need You album was released a few years later. The band is in a groove on this disc, and the songs are more happening than on the two immediate follow-ups, The Free Electric Band in 1973 and 1974's self-titled Albert Hammond. Songs like "Down by the River" and "The Road to Understanding" have more enthusiasm and spirit than the two succeeding albums. Albert Hammond, better-known as a songwriter for Jefferson Starship, Julio Iglesias, and Leo Sayer, among others, could have been a superstar on his own had he maintained the high level of songwriting exhibited on this disc. 

Though Mama Cass Elliot did a brilliant rendition of "If You've Gotta Break Another Heart" on her The Road Is No Place for a Lady album, that single was not embraced by the public as it should have been. The original version is here, along with the songwriter's take on his own "The Air That I Breathe." The Hollies would get a bigger hit out of this song than they had with "He Ain't Heavy, He's My Brother," but Hammond's has more tenderness and more subtlety. It's great. "Listen to the World" has the singer preaching with a band who is rock-solid behind him. Dan Altfeld's co-production with Hammond and Michael Omartian's impeccable arrangements (Omartian was everywhere at this point in time) are captivating. 

The material Mike Hazelwood was writing with Hammond here is also top-notch. "If You Gotta Break Another Heart" keeps coming back as a brilliant pop classic that will someday top the charts if given the chance. "Names, Tags, Numbers, & Labels" would get rearranged and released two years later on the Albert Hammond album, a practice the singer/songwriter continued on other releases. Taking previously recorded work and recrafting it wasn't a bad idea for a man whose tunes have helped so many other artists. It Never Rains in Southern California is a wonderful primer for people interested in this multifaceted artist. Songs like "From Great Britain to L.A." continue the theme initiated in It Never Rains in Southern California and continued on The Free Electric Band album -- a musician in search of fame. The arrangements, the vibe, all the elements fall into place perfectly on this outing, and it is a shame they couldn't duplicate the magic quickly and with such brio. Hammond could have rivaled Elton John for chart dominance at this time had he been able to churn out more albums as superb as this. 

by Joe Viglione

Tracks

1. Listen To The World - 3:00

2. If You Gotta Break Another Heart - 2:41 

3. From Great Britain To L.A. - 3:32

4. Brand New Day - 3:27 

5. Anyone Here In The Audience - 3:58 

6. It Never Rains In Southern California - 3:53 

7. Names, Tags, Numbers And Labels - 4:30  

8. Down By The River - 3:06 

9. The Road To Understanding - 4:24 

10.The Air That I Breathe - 3:51 

11.Smokey Factory Blues - 3:30 

12.The Peacemaker - 2:42  

13.Woman Of The World - 3:09 

14.Everything I Want To Do - 2:35 

15.Who's For Lunch Today? - 2:58 

16.The Free Electric Band - 3:26  

17.Rebecca - 3:09  

18.The Day The British Army Lost The War - 4:04  

19.For The Peace Of All Mankind - 4:13  

20.I'll Think I'll Go That Way - 3:36

All songs written by  Albert Hammond, Mike Hazelwood

Tracks 1-10 from "It Never Tains In Southern California" 1972

Tracks 11-20 from "The Free Electric Band" 1973

Musicians

*Albert Hammond - Guitar, Vocals

*Larry Carlton - Guitar

*Carol Carmichael Parks - Vocals

*Jim Gordon - Drums

*Jay Lewis - Guitar

*Michael Omartian - Keyboards

*Joe Osborn - Bass

*Sid Sharp - Strings

*Michael Omartian - Keyboards

*Alan Beutler, Jacky Kelso, Tommy Scott - Flute

*Don Altfeld - Percussion

*Ray Puhlman - Bass

*Carol Carmichael and Friends - Vocals

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Cargo - Cargo (1970-72 holland, tremendous hard progressive rock, remaster edition with bonus tracks)

This unit started out as September and recorded a few singles that hold no interest to progheads. They then changed their name to Cargo and recorded their sole album. CARGO consist of brothers Ad and Jan De Hont both on guitars, Willem DeVries on bass and vocals and English drummer Denis Whitbread. 

The music developed here is a seducing hard rock with a killer twin-guitar attack much in the line of Wishbone Ash around their “Argus” album. The two brothers play delightfully long and cooperative guitar lines that intertwine beautifully (what a pleasure it is to follow in stereo their progress) proof of their long-standing mutual trust and camaraderie.

The De Hont and De Vries brothers had found particular favour with the Dutch public under the rock band September with numerous singles in 1970 such as Presley’s “Little Sister” and the De Vries penned “Yelly Rose”. September’s finest cover was an urgent version of Bert Bacharach “Walk On By” which kicks the shit out of the original. After changing their name to Cargo they launched their 1970 self-titled album has enough guitar slash to rip half of Holland’s Dykes to shreds. 

To describe the turbulent guitar breaks of Cargo, one needs to create a setting and describe the structures that extorted the ferocious solos. It was awesomely pulverizing when Jan De Hont unleashes his Fender Strat in parallel with Ad De Hont’s Gibson SG on the thudding “Cross Talking” in the spirit of Wishbone Ash. This 8min indulgence also trembles with the bass hammering Willem De Vries on his Gibson B3. Nothing like this has ever thundered through Amsterdam since the rolling Panzerwagens of 1940. 

Cargo’s entourage of drummers comprised of drummers Jerry Gobel, Frans Smit, Snuffel and ex Ekseption Dennis Whitebread who played on the Ekseption concept album Beggar Julia’s Time Trip. Cargo was primal export that never happened.The tour de force of the album is vibrantly illuminated on the 15min “Summerfair” with escalating guitar trade - offs that reach an excruciating pinnacle.The astounding vox by Willem De Vries shudders like those November North Winds that lash the barges of Amsterdam. 

Cargo are turbulently forceful in the same windforce as Tractor, Rush or Jericho. Cargo also covered the sensitively squeezed “Lydia Purple” originally written by Dunn and McCashen for their album Mobius. This superb psychedelic gem was also covered by The Collectors and Giant Crab. Cargo released This power packed Prog group supported the Flock during sell-out concerts. Next to the summit driven Focus and Finch, Cargo were Holland’s most engaging contraband.

Lastfm 

Tracks
1.Sail Inside - 10:54
2.Cross Talking - 8:33
3.Finding Out - 5:14
4.Summerfair - 15:35
5.Choker - 3:52
6.Lydia Purple - 3:51
7.Telly Rose - 4:01
8.If Mr. Right Comes Along - 4:23
9.Little Sister - 3:41
10.Walk On By - 2:59
11.Run Away - 3:14
12.One More Change - 2:35
Bonus tracks 5-12

Cargo
*Willem De Vries - Vocals, Bass
*Jan De Hont - Guitar
*Ad De Hont - Guitar
*Dennis Whitebread - Drums
*Hessel De Vries - Vocals, Electric Piano
*Jerry Gobel - Drums
*Ador Otting - Hammond Organ
*Frans Smith - Drums (9-10)
*Snuffel - Drums (11-12)

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Various Artists - Cosmarama (1969-73 uk/europe, prog psych behemoths, Psychic Circle release)

It should be noted that the set is liberally populated with Euro progsters, with half a dozen representatives from Holland and another half-dozen from Belgium and Germany. The set opens with the title track from the UK band, Distant Jim, who only released albums on the continent. They were a sort of supergroup whose family tree included members of Methuselah, Amazing Blondel, Junior’s Eyes and The Smoke. 

The unusual time signatures and syncopated beats are pure prog, highlighted by some firebreathing soloing from guitarist Les Nicol. Saloman, one of today’s premiere guitarists, is a sucker for flashy stringbenders, which may explain the inclusion of Belgian rockers, Carriage Company’s ‘In Your Room.’ Guitar licks abound, but besides a few organ flourishes, the track is more akin to heavy metal than prog.

Saloman flips Dutch band, The Tower’s oft-comped ‘Slow Motion Mind’ over for the dreamy B-side, ‘In Your Life,’ a wonderful, Procol Harum-ish floater. The Liverpudlian Back Street Band take liberties with the melody from Lennon’s ‘Come Together’ on their 1969 B-side, ‘Daybreak’ and Family completists may enjoy the Dutch supergroup (including members of Q65 and Focus), Big Wheel’s chugging, boogie bar blues rendition of ‘Old Songs New Songs,’ but I fail to hear the prog connection.

Holland’s Silence give us the hard rocking ‘Devil Woman,’ which takes a familiar Led Zep riff and morphs it into an enjoyable amalgam of Black Sabbath and Jethro Tull – imagine ‘Immigrant Song’ tagteaming with ‘Paranoid’ and ‘Locomotive Breath.’ Another prolific Dutch band, Ginger Ale check in with ‘Get Off My Life Woman,’ wherein Roek Williams’ credible Jim Morrison impersonation leaves this listener thinking “The Doors with horns.”

Pussy formed out of the ashes of Jerusalem, so I don’t think it’s the same outfit that released the Pussy Plays album. Like the Jerusalem album, ‘Feline Woman’ was produced by Deep Purple’s Ian Gillan, so once again you can expect more heavy metal than prog results. German heavy rockers, Electric Food’s family tree includes branches to Lucifer’s Friend and Uriah Heep, so you know what to expect from ‘I’ll Try.’ And although there are no women in the Dutch band, Mr. Albert Show, the vocalist on ‘Kings of Galaxy’ sounds like Suzi Quatro, Do with that information what you will! Castle Farm’s self-released ‘Hot Rod Queen’ is a stomping little rocker that successfully mines the Mott The Hoople oeuvre with a title that seems ripped straight off an old Marc Bolan album! 

And finally, and quite surprisingly, the Irish showband, Chips (from Sligo) turn in the most traditional prog track in the bunch with ‘Earth,’ which is full of swirling keyboards, multi-layered vocals, and astrological themes that all combined to remind me of the German prog/kraut band, Triumvirat. But other than that, despite the fact that many of the songs provide varying degrees of entertainment in their own right, prog purists should be cautioned that, to these ears, most of these tracks lean more towards the heavy, power blues end of the spectrum. 

by Adamus67

Artists - Tracks - Composer
1.Distant Jim - Cosmarama (Austin) - 5:59
2.Carriage Company - In Your Room (Kent) - 3:48
3.Kingdom - All I Need (Edwards) - 3:31
4.The Tower - In Your Life (De Groot) - 4:42
5.Back Street Band - Daybreak (Bellis) - 2:56
6.Big Wheel - Old Songs New Songs (Chapman, Whitney) - 3:15
7.Bismarck - Shotgun Express (Englebert, Thomas) - 3:51
8.Cwt - Widow Woman (Jones, Kirk, White) - 3:17
9.Silence - Devil Woman (Weeda, Putter) - 2:51
10.Ginger Ale - Get Off My Life Woman (A. Toussaint) - 2:41
11.Pussy - Feline Woman (Pussy) - 2:30
12.Tenderfoot Kids - Man In Black (Vion) - 2:10
13.Electric Food - I’ll Try (Hesslein, Monro) - 3:15
14.Mr.Albert Show - Kings Of Galaxy (Borgers, Schrama) - 2:47
15.The Petards - Free (King) - 2:30
16.Castle Farm - Hot Rod Queen (Benike) - 4:00
17.The Pebbles - Half Past Dead (Bekky) - 5:01
18.Corporal Gander’s Fire Dog Parade - Love Song (Scott, Talby) - 3:20
19.Chips - Earth (Chips) - 2:51
20.Richard St. Clair And Forum - Give Me Back (St. Clair) - 3:44

Psychic Circle compilations
1961-64  Phantom Guitars: A Cool Collection of Twangin' Instrumentals
1966-72  With The Sun In My Eyes
1968-72  White Lace And Strange
1968-72  The Room Of Loud Sounds
1964-69  Realistic Patterns Orchestrated Psychedelia
1965-69  Wednesday Morning Dew 
1965-70  The Electric Coffee House 
1965-70  The Golden Road The Electric Coffee House Vol.2
1969-74  Blow Your Cool: 20 Prog Psych Assaults
1969-74  Lovin’ Fire 20 Obscure Gems
1970-77  A Visit To The Spaceship Factory

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Hudson And Ford - Nickelodeon (1973 uk, delightful country folk rock with glam splashes, Vinyl issue)

Hudson-Ford,  were sadly underrated and largely ignored by the pop music buying public. Why? Couldn't tell you. Not any particular reason you could put your finger on.

Bear in mind this is the mid-1970's, Hudson-Ford were a good and competent band, with good song writing skills and good production, they failed to click with an audience who were just getting tired of what was available, certainly in mainstream. 

The sound of Hudson Ford, though, ranged to glam, with a occasional nod to their electric folk past. Their roles broadened as well, with Hudson leaving the drums to others in order to focus on singing and lead guitar, and Ford expanding his vocal and acoustic guitar duties. 

The debut album "Nickolodeon" was bolstered by the presence of Rick Wakeman and other studio sharpshooters, the sounded more country/folk than their following albums with well writing tunes, they  scored a hit in the U.K. with the single "Pick Up the Pieces."

Tracks
1 Crying Blues - 3:30
2 Angels - 3:06
3 I Wanted You - 2:40
4 Hello, I Thought You Were Dead - 0:58
5 Burn Baby Burn - 2:57
6 Dark Lord - 4:37
7. Pick Up the Pieces - 2:34
8. Let Her Cry - 2:31
9. Tea Leaf (To Joss) - 0:58
10.Take It Back - 4:40
11.I Don't Understand - 1:50
12.Revelations - 5:09
Words and Music by Richard Hudson, John Ford

Musicians
*Richard Hudson – Vocals, Guitar, Sitar
*John Ford – Vocals, Bass, Guitar
*Rick Wakeman – Harpsichord, Piano
*Mickey Keen - Lead Guitar, Steel Guitar, Vocals
*Ken Laws - Drums
*Chris Parren – Piano, Clavinet
*Gerry Conway - Drums
*Tom Allom - Harmonium, Piano
*Billy Bell - Banjo. Jack Emblow

2nd album
1974 Hudson Ford - Free Spirit  

Related Acts
1967  Elmer Gantry's Velvet Opera
1969  Ride A Hustler's Dream

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Alicia May - Skinnydipping In The Flowers (1976 us, wonderful folk rock tinged with prog and traditional colors, 2008 korean release with bonus track)

In the 60s and 70s Alicia May was a singersongwriter gigging regularly in the bars and saloons of Laguna Beach, California. She got to know a lot of musicians, one of them knew Joni Mitchell, they all went on a picnic, Joni introduced her recording engineer Henry Lewy, Lewy let Alicia use studio downtime to record, another friend fronted up $1,000 and a privately-pressed LP was born. That’s how it happened back then.

Skinnydipping In The Flowers is like an archaelogical treasure; a find that faithfully encapsulates the music of a particular time and place. The songs, all May’s own, are performed well and the instrumentation is varied, but the lyrics are that bit too whimsical and wordy to achieve universal resonance. It’s a great reissue but it’s probably not going to be put on repeat too often.

by Tim Holmes

Tracks
1. Borderline - 3:58
2. Summer Days - 3:13
3. The Prism Song - 3:26
4. Love Jig #1 - 1:59
5. Forest Of Dreams - 2:04
6. Dearly Beloved - 3:29
7. Carry Me Home - 3:26
8. End Of The Sky - 2:12
9. By And By - 2:39
10.My Favorite Stream - 3:24
11.Liza - 2:32
12.Kindred Spirits - 1:35
All songs by Alicia May Cory

Musicians
*Alicia May - Vocals, Acoustic Guitar, Appalachian Dulcimer
*Danny Dettwyler - Flute, Vocals
*Karen Hammack - Piano
*Will Brady - Bass
*Tony Selvage - Violin, Viola
*Red Rhodes - Steel Guitar
*Steve Leach - Bass
*Tris Imboden - Drums
*Nissan Eventoff, John Smith - Vocals
*Michael Gwinn, Phillip Morgan - Vocals
*Henry Lewy - Deep Vocal

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The Unspoken Word - The Unspoken Word (1970 us, splendid psych blues rock, Wounded Bird edition)

Largely unknown group from Long Island, New York. After their debut that could be described as folk rock with a psychedelic edge, the 2nd record is definitively more rock/blues orientated.

The harmonies of Dede Puma and guitarist Zenya Stashuk still sport a Jefferson Airplane-style vocal blend, and R’n’B-flavored sound of Pacific Gas and Electric. Puma's vocals lean closer to the cool, vibratoless style of Grace Slick than the soul/blues ululations of Janis Joplin. The guitar and organ riffs often bear a distortion-laden crunch that nods to the burgeoning hard rock scene of the time. Nevertheless, the things that served the band in good stead on its first album - strong harmonies, tight playing, and a solid sense of structure - still shine through here.

Tracks
1. Pillow - 2:42
2. Sleeping Prophet - 3:04
3. Put Me Down - 2:34
4. Personal Manager (Albert King, David Porter) - 9:40
5. Reincarnation (Chuck Berry) - 1:49
6. Sleepy Mountain Ecstacy - 4:02
7. I Don't Need No Music - 2:44
8. Little Song - 2:28
9. Healthy, Wealthy And Wise - 2:38
10.Around And Around - 5:19
11.Morning - 1:50
All songs by Granlegede Bupumacstasin except where noted

The Unspoken Word 
Zenya Stashuk - Lead Guitar, Rhythm Guitar, Vocals
Dede Puma - Vocals
Greg Buis - Bass,  Vocals
Les Singer - Drums
Angus Macmaster - Keyboards

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