<a href="http://library.vu.edu.pk/cgi-bin/nph-proxy.cgi/000100A/http/therockasteria.blogspot.com/"> Plain and Fancy

Wednesday, August 14, 2024

The Cyrkle - Red Rubber Ball (1966 us, wondrous light folk rock, 2001 remaster and expanded)

The Cyrkle didn't seem like much more than a two-hit wonder in 1966 when they charted with "Red Rubber Ball" and "Turn Down Day." Their pleasant, upbeat folk/pop/rock sound, coupled with the fact that they got to record two complete LPs, speaks volumes about how good music was in the years 1965-1967 as even second-tier groups like this were a delight to hear. Ironically, for a group remembered for just a pair of singles, the Cyrkle were considered a promising and choice signing, and were, to different degrees, wired into the management and creative circles surrounding the Beatles and Simon & Garfunkel.

Brooklyn-born Tom Dawes, an ex-folky who had previously played in a group called the Ironwood Knights, and Albany, NY, born Don Dannemann were both attending Lafayette College in Easton, PA, in 1961 when they decided to form a frat band called the Rhondells (not to be confused with the Rhondels, of Bill Deal & the Rhondels fame who, oddly enough, later ended up signed to a label in Pennsylvania). The Rhondells mostly played covers of current pop/rock hits by the Four Seasons and other top groups of the era, as well as basic, dance-oriented rock & roll. They were a cut above most other frat bands, however, in the care they gave to those covers, which mostly grew out of Dawes' and Dannemann's respective ears for music.

Though officially the group's bassist, Dawes could also analyze the interior structure of any vocal ensemble that he heard and also began writing songs after meeting Dannemann, who was already writing songs when they met. They were good enough to play some of the better rooms in Atlantic City (long before the legalization of gambling), which was then a popular but somewhat declining East Coast resort. While playing the Alibi Lounge during the summer of 1964, they were heard by Nat Weiss, an entertainment lawyer and would-be music entrepreneur who suddenly became very prominent in 1964 when he hooked up with British manager Brian Epstein. He played a key role in getting the Beatles some prime gigs, including their Carnegie Hall and Shea Stadium concerts in 1964 and 1965, respectively.

In late 1965, Weiss got seriously interested in the group -- which also included drummer Marty Fried and keyboardist Earl Pickens -- and brought them to New York to play some club dates in Greenwich Village. The name the Rhondells, with its early-'60s aura, was abandoned in favor of the Cyrkle -- a name supposedly suggested by John Lennon, whose advice was asked by Epstein -- which was as clever a play on spelling as the Byrds (who were burning up the charts at the time) or, for that matter, the Beatles. The group was heard there by Barry Kornfeld, a musician and a friend of Paul Simon, who was then belatedly enjoying a ride to the top of the charts with the Simon & Garfunkel single "The Sound of Silence." Just back from England and preparing to record an album, Simon had a full songbag and not a lot of time.

As 1966 dawned, there was some interest gathering around the Cyrkle based on word-of-mouth from their shows, where they delivered a tight folk-rock sound. Spending a couple of years of being a rock & roll band developing a tight sound, coupled with Dawes' prior stint in a folk band, paid off. Also helping was Weiss' hookup with Brian Epstein; at that time, any record label that could was trying to grab a piece of Epstein's action, based not only on the success of the Beatles but also that of Gerry & the Pacemakers, Billy J. Kramer & the Dakotas, and Cilla Black, among others, all of whom were generating serious sales and major amounts of money.

Just at that moment, Don Dannemann was obligated to leave the band and civilian life for a short stint in the United States Coast Guard, which put the band on hiatus. What seemed like an interruption in their momentum, however, became the source of one of the biggest breaks imaginable -- Dawes, left with nothing to do and having hooked up peripherally with Simon & Garfunkel, signed on as bassist for Simon & Garfunkel on one of their tours. While playing with them, he got to hear just about all of Paul Simon's songs that Simon cared to utilize.

The duo's repertory was fairly thin, owing to their sudden success, including two numbers that Simon had written in England with Bruce Woodley of the Seekers, "Red Rubber Ball" and "Wish You Could Be Here." "Red Rubber Ball" was recorded as soon as the quartet was back together, and with Epstein and Weiss exerting all of the pressure they could, got Columbia Records to sign the group and release the single. Issued in April of 1966, it rode the charts all that spring and got as high as number two, earning the group a spot on the Beatles' 1966 summer and subsequently, final scheduled, concert tour. The bandmembers themselves, who had started doing this as a lark in college and, as recently as six months earlier had been playing Greenwich Village folk clubs to audiences of a couple of hundred people, were astonished to find themselves suddenly thrust into the role of an arena act.

An LP, titled Red Rubber Ball, was recorded that spring under producer John Simon, utilizing the same lyrical folk-rock sound found on the 45 disc. It rose to number 47 on the charts and a second single, "Turn Down Day," was issued in the early summer of 1966, reaching number 16 and thus completing the group's stay in the pop chart annals.

by Bruce Eder

Tracks

1. Red Rubber Ball (Bruce Woodley, Paul Simon) - 2:19

2. Why Can't You Give Me What I Want (Stephen Friedland, Tom Dawes) - 2:27

3. Baby, You're Free (Bob Crewe, Gary Weston) - 2:43

4. Big, Little Woman (Don Dannemann, Tom Dawes) - 2:22

5. Cloudy (Bruce Woodley, Paul Simon) - 2:12

6. Cry (Don Dannemann, Tom Dawes) - 2:37

7. Turn-Down Day (David Blume, Jerry Keller) - 2:32

8. There's A Fire In The Fireplace (Stephen Friedland) - 2:24

9. Bony Moronie (Larry Williams) - 2:31

10.How Can I Leave Her (Don Dannemann, Tom Dawes) - 2:36

11.Money To Burn (Don Dannemann, Tom Dawes) - 3:05

12.Straighten Out My Messed Up Life (R.Morrison) - 2:02

13.Downtown Blues (Don Dannemann, Tom Dawes) - 3:32

14.How Can I Leave Her (Don Dannemann, Tom Dawes) - 2:34

15.Money To Burn (Don Dannemann, Tom Dawes) - 3:17

16.We Had A Good Thing Goin' (Howard Greenfield, Neil Sedaka) - 2:44

17.Reading Her Paper (Barbara Cooper, Frank Catana) - 3:01

18.Penny Arcade (Denny Randell, Sandy Linzer) - 2:38

19.The Words (Tom Dawes) - 3:21

Bonus Tracks 12-19

The Cyrkle

*Don Dannemann – Vocals

*Tom Dawes – Guitar, Sitar, Bass, Harmonica, Castanets, Vocals

*Marty Fried – Drums

*John Simon – Organ

1973 The Marshall Tucker Band - The Marshall Tucker Band (2004 bonus track)

Tuesday, August 13, 2024

Marshall Tucker Band - Together Forever (1978 us, awesome southern rock, flooded with jazz and blues drops, 2004 remaster with bonus track)

The expanded reissue of Marshall Tucker's Together Forever, originally issued in 1978 and the follow-up to the platinum-selling Carolina Dreams, was not so much a change in direction, but a musical expansion of their various strengths. Working with veteran jazz producer Stewart Levine, the Tuckers looked outside the Southern rock paradigm a little farther for inspiration and sustenance. Jazz had always been a fringe element of the band's sound, and here, Levine brought it closer to the surface. That is not to say that Marshall Tucker abandoned their rock & roll aesthetic, far from it.

They just deepened the open-ended nature of their tunes to include more improvisation and took a more textural approach to composing and recording. The set opens with Toy Caldwell's stellar "I'll Be Loving You." His stiletto-edged guitar is the catalyst for the song's drive, but the gorgeous suspended and major sevenths that created new harmonic vistas made Doug Gray's highly emotive vocals sound as if they were coming from the land itself. Likewise, "Love Is Mystery" was progressive country at its best in the 1970s. The jazzy stroll of "Dream Lover," with its lilting funk undertones, was something from outer space.

The 2004 expanded remaster includes a live reading of "Bound and Determined," which is jazz-funk cowboy music. And if that sounds awful, its groove is over the top and riddled with knots and grease. The recording quality on the tune isn't so great, but the performance is so inspired it's a welcome addition here.

by Thom Jurek

Tracks

1. I'll Be Loving You - 5:31

2. Love Is A Mystery - 7:12

3. Singing Rhymes - 3:16

4. Dream Lover (George McCorkle, Jerry Eubanks) - 4:38

5. Everybody Needs Somebody (Doug Gray, George McCorkle, Jerry Eubanks) - 4:42

6. Change Is Gonna Come (Tommy Caldwell) - 6:29

7. Asking Too Much Of You - 6:31

8. Bound And Determined - 5:13

All songs by Toy Caldwell except where noted

Bonus Track 8 recorded live at Armadillo World H.Q., Austin, TX, November 2nd 1975

Marshall Tucker Band

*Doug Gray - Lead Vocals, Percussion

*Toy Caldwell - Acoustic, Lead, Steel Guitar, Vocals

*George McCorkle - Rhythm, Acoustic Guitar

*Tommy Caldwell - Bass, Vocals

*Paul Riddle - Drums

*Jerry Eubanks - Alto Saxophone, Flute, Backing Vocals, Percussion

1973 The Marshall Tucker Band - Way Out West, Live From San Francisco (2010 remaster)

1974 The Marshall Tucker Band - Where We All Belong (2004 remaster with bonus track)

1974 The Marshall Tucker Band - A New Life (2002 Bonus Track)
1975 Marshall Tucker Band - Searchin' For A Rainbow (2004 remaster and expanded)
1976 The Marshall Tucker Band - Long Hard Ride (2004 extra track remaster)

1972 Capability Brown - From Scratch (2011 japan remaster)

Sunday, August 11, 2024

Capability Brown - Voice (1973 uk, beautiful art prog rock, 2011 japan SHM remaster)

This album is probably the main reason why the band was branded with the genre "progressive". While the first four songs are strongly in the direction of their first work, offering rather perfect and sophisticated arrangements in pop and mainstream rock, on the other side, the full-length "Circumstances" offers the band's well-hidden prog splendor in its purest form. In over 20 minutes, echoes of the great works of bands such as Yes, Gentle Giant, Wishbone Ash, Queen and many more can be heard here in a highly original way.

Completely overlooked and undervalued, this is the 'magnum opus' of a band that I would at least grant the status of one of the pioneers of "ArtPop". As on their debut, the band also knows how to make cover versions of "I am so are You" (Affinity) and "Midnight Cruiser" (Steely Dan) their own. More than just "nice", you should definitely check it out. If the first 4 numbers are too sweet for you, you will at least get a 20-minute prog hammer of the upper category. Capability Brown had everything going for them - at least musically and it is a shame that this release caps their career and output.

Tracks

1. I Am And So Are You (Alan Hull, Tony Ferguson, Dave Nevin, Kenny Rowe, Grahame White, Joe Williams, Roger Willis) - 3:56

2. Sad Am I (Tony Ferguson) - 3:51

3. Midnight Cruiser (Donald Fagen, Walter Becker) - 4:01

4. Keep Death Off The Road (Drive On The Pavement) (Dave Nevin) - 6:20

5. Circumstances (In Love, Past, Present, Future Meet) (Tony Ferguson, Dave Nevin, Kenny Rowe, Grahame White, Joe Williams, Roger Willis) - 20:49

Capability Brown

*Tony Ferguson - Vocals, Acoustic, Electric, Pedal Steel Guitar, Bass, Flute,

*Dave Nevin - Vocals, Electric, Acoustic Guitar, Bass, Recorder, Mellotron, Synthesizer, Keyboards, Percussion, Vibraphone

*Kenny Rowe - Vocals, Bass, Percussion

*Grahame White - Vocals, Electric, Acoustic Guitar, Lute, Balalaika, Keyboards

*Joe Williams - Vocals, Percussion

*Roger Willis - Vocals, Drums, Piano, Harmonica

1971 Fuzzy Duck - Fuzzy Duck (2007 bonus tracks remaster)

1973 Camel - Camel (2013 japan SHM remaster)

Saturday, August 10, 2024

Camel - Moonmadness (1976 uk, prog rock masterpiece, 2009 japan SHM double disc remaster)

It is very difficult to select just one record to cover from such a fantastic and underrated band, but we’d be here till the second coming if I were to go through all of Camel’s fourteen studio albums in detail. Instead, I’d have you take a look at the first one I ever picked up, and the one I consider to be the group’s very best.

Founded in 1971 (as The Brew) by guitarist Andrew Latimer, bassist Doug Ferguson, and drummer Andy Ward, the band eventually drafted keyboardist Peter Bardens, changed their name to Camel and released their self-titled debut in 1973. Debut albums from this period seem to be bloody solid and Camel was no exception. Bardens shows off his formidable writing (and playing) with cuts like the awesomely gloomy “Mystic Queen,” and Latimer presents his own equally fantastic skills in tunes like “Never Let Go.” The second record, Mirage, was released the following year and saw the band fall steadily into the groove of their own original sound with the addition of Latimer’s flute. A purely instrumental album, inspired by Gallico’s novella The Snow Goose, followed in 1975 and a year after that we arrive at the subject at hand.

The fourth, and final, album to feature Camel’s original line-up of Latimer, Ferguson, Ward, and Bardens, is in this writer’s opinion one of those masterpieces that rarely happens when a band is on the eve of fracture. Allow me to explain. Often times, an educated ear can hear when a band is about to change or loose something. Usually, one or more members of the band develops an idea of what the band should sound like and if they’re loud or influential enough, they dominate and the record careens awkwardly for the transitional record until the rest of the band catches up. If they are one or two of the quiet members, it is done with a less obvious, passive-aggressive approach and the transitional album shows it in their lack of enthusiasm for the old sound. If both sides are loud, you end up with something completely disjointed or over-the-top (methinks maybe Rammstein’s last album Liebe ist für alle da), if both sides are quiet you end up with an uninspired mess that is a rehash of older elements. I feel that 1976’s Moonmadness is more like the band coming together for one final bit of perfect sweetness before things were to change.

The record opens with the short and sweet moog-dominated instrumental track “Aristillus.” This was the first song I ever heard by Camel and I was immediately entranced. From there, we transition to the superb Latimer/Bardens venture “Song Within a Song.” With soaring moog work and epic keys from Bardens, soft and stunning flute from Latimer, and delightfully wistful vocals from Ferguson, this tune is totally a triumph of golden age prog. Latimer’s guitars come in later to shift the mood a little bit before we are treated to a driving moog solo and a softly triumphant coda.

To me, “Chord Change” shows off Andy Ward’s talents behind the drum kit. He frantically keeps pace while Latimer and Ferguson stride all over it with an adeptness that makes it all seem so easy. Bardens comes in during and after the mood change with organ to complete the picture. I must note that the instrumental tracks on the album illustrate well how this configuration of Camel played together. They are as exciting and as breathtaking as any awesome prog jam, but with the skill and hooks that transform a mere jam into a thing of legend. “Spirit of the Water” is a Peter Bardens solo piece, with his sombre vocals bubbling soothingly beneath beautiful piano work. It is a nice, quiet end to the first side of the record.

Side two starts with a bang. The riveting “Another Night” reminds me strongly of Pink Floyd’s most powerful work, or perhaps of the energy of Manfred Mann’s Earth Band’s “Road to Babylon.” This track features the entire band writing and it shows. It starts of softly enough, but builds into a magnificently gnarly riff. Andrew Latimer’s vocals glide marvellously over top of the grim musical landscape and take us to a charged pre-chorus guitar riff that leads into a soft chorus line eerily reminiscent of some of David Gilmour’s (in style only, nothing is ripped off). Midway through, we get to hear a wonderful coming together of all four players. Ferguson’s bass creeps around beneath Ward’s stready drumming while Bardens’ organ and Latimer’s guitars soar overhead. The song returns to its epic verse before Bardens delivers with a wicked organ solo, and shortly after Latimer whips out a sweet guitar solo of his own before the song fades out, leaving me wishing it had have been a twentyminuter!

“Air Born” begins with a short flute and piano segment before the entire band comes in. More sombre vocals from Latimer follow a gorgeous melody with a sweet hook. A brisk, folky acoustic guitar/flute section follows and takes us into an early Genesis-like pastoral setting (I’m thinking Foxtrot). We return to the sweet vocal section once more before the song comes to its Genesis-like conclusion (now I’m thinking Trespass).

The final track, “Lunar Sea” is a thing of atmospheric beauty. It carries on almost eighites-like until a charged jam with Bardens, Ward, and Ferguson driving and Latimer’s guitar wailing away in all its glory. Ward and Ferguson form up a groovy little rhythm section and pave the way for another great Peter Bardens moog section. We return to the original riff for a heated guitar solo that lasts a glorious amount of time before the band comes together again for paced outro jam. The intro returns for a time but fades into a trippy effect that, if you listen to it on vinyl, carries on forever, thanks to a built-in feature on the record’s groove that kicks the needle back to the beginning of the effect. On CD, it simply fades out after a while.

Following the release of Moonmadness, the great Mel Collins, formerly of King Crimson, joined Camel on tour before joining the band officially. Stylistic disagreements led to Doug Ferguson’s departure. He apparently played in a band called Headwaiter before dropping out of professional music. Peter Bardens left in 1978 and played on Van Morrison’s Wavelength album before going it solo. We unfortunately lost his great talent in 2002 due to cancer. Andy Ward ran into substance abuse problems and parted ways with the band. He did a short stint with Marillion before their Fugazi album. After this, Andrew Latimer became the sole remaining original member of Camel (although he released the album The Single Factor in 1982, which featured Bardens as a guest, as well as Genesis alumnus Ant Phillips) and carried the torch until 1984. Latimer later revived the band in 1991.

Final score: Moonmadness is a must have for any and every progressive rock fan’s collection. It’s one of those solid, magical discs that includes everything that made seventies progressive music so effing incredible! Although I’m sure I’ll anger more than a few people with this, musically I prefer Moonmadness over Dark Side of the Moon (Dark Side is still a technological wonder, however). I guess it’s like this: just as with King Crimson’s Red, I love it when a line-up’s swan song ends up being the biggest and the best – a final, passionate hurrah from extremely talented musicians who would never again record an album together.

by Ryan Smith, March 21, 2013

Tracks

Disc 1

1. Aristillus (Andrew Latimer) - 1:56

2. Song Within A Song (Andrew Latimer, Peter Bardens) - 7:16

3. Chord Change (Andrew Latimer, Peter Bardens) - 6:45

4. Spirit Of The Water (Peter Bardens) - 2:07

5. Another Night (Andrew Latimer, Peter Bardens, Andy Ward, Doug Ferguson) - 6:58

6. Air Born (Andrew Latimer, Peter Bardens) - 5:02

7. Lunar Sea (Andrew Latimer, Peter Bardens) - 9:11

8. Another Night (Andrew Latimer, Peter Bardens, Andy Ward, Doug Ferguson) - 3:22

9. Spirit Of The Water (Peter Bardens) - 2:13

10.Lunar Sea (Andrew Latimer, Peter Bardens) - 9:51

Bonus Tracks 8-10

Disc 2

1. Song Within A Song (Andrew Latimer, Peter Bardens) - 7:13

2. Excerpts From The Snow Goose (Peter Bardens) - 10:41

3. Air Born (Andrew Latimer, Peter Bardens) - 4:58

4. Chord Change (Andrew Latimer, Peter Bardens) - 6:49

5. The White Rider (Andrew Latimer) - 8:51

6. Preparation / Dunkirk (Andrew Latimer, Peter Bardens) - 9:32

7. Another Night (Andrew Latimer, Peter Bardens) - 6:27

8. Lady Fantasy (Andrew Latimer, Peter Bardens, Andy Ward, Doug Ferguson) - 16:05

Disc 1 Track 10 and Disc 2, recorded live at Hammersmith Odeon 14 April 1976

Camel

*Andrew Latimer - Electric, Acoustic, Slide Guitars, Flute, Vocals

*Peter Bardens - Keyboards, Vocals

*Doug Ferguson - Bass, Vocals

*Andy Ward - Drums, Percussion, Voice (Track 1)

1974 Camel - Mirage (2013 japan SHM)

1975 Camel - Music Inspired By Snow Goose (2009 japan SHM double disc remaster)

1979 Peter Bardens - Heart To Heart (Japan remaster)

1969 Elephant's Memory - Elephant's Memory

Friday, August 9, 2024

Elephants Memory - Angels Forever (1974 us, groovy classic rock)

The Elephant's Memory's Angels Forever has the five men looking more like saints than angels on the cover. Stan Bronstein's vocals on "Running Man" are as lightweight as the song. The late Jimmy Miller tracked a killer version of "I Heard It Through the Grapevine" with this group in the '80s, a female vocalist over mesmerizing instrumentation. This music from a decade before represents a band with much potential still struggling for identity.

After releases on Buddah and Metromedia in the late '60s and 1970, this is a different and revamped EM. Only Bronstein and drummer Rich Frank remain (he was listed as Reek Havoc on the Take It to the Streets release), and the changes in lineup were not as beneficial as those that would make a band like Blue Cheer so interesting. "Face the Day" and "Going to a Party" show little musical expertise and less songwriting intrigue, making for really tough stuff -- tough to listen to.

"Rock & Roll Streaker" is the bastard-son sequel to Ray Stevens' "The Streak" from this very same year, and if one song did not need a sequel, "The Streak" was it. "La Sopa" is the most interesting thing on side one, a Spanish-flavored instrumental showing that this version of the group actually had chops not seen on the more frivolous previous tracks. Side two is much more interesting, a cover of the Otis Redding/Ray Charlesnugget "Tell the Truth" (by songwriter Lowman Pauling) sounds like it could be Delaney & Bonnie by way of Derek & the Dominoes -- and with the flavor of the Dominoes "Tell the Truth," though that Clapton composition is an entirely different tune. Bronstein and Frank's "First to See the Last of Me" is reggae-pop, and here the band as an anachronism works and works well.

They go back to their '60s sound and all is not lost. The title track is a failed experiment but everything else on side two really works, keyboard player Chris Robison's "Tonite" the best original on the disc. With the right production it could have been a big '70s hit, a surprising diamond in the rough that demands repeated spins. The fabulous Thunderthighs (who backed Lou Reed, Genya Ravan, and many others) shows up, adding something special to the mix. Boy, if there were a few "Tonite"-type songs on this, Angels Forever would almost get the fame of the group's recordings with John Lennon, Yoko Ono, and David Peel. "Hoochie Coochie Rockin Information Man" ends the album and sounds a lot better than the title may indicate. Angels Forever is a real Jekyll & Hyde project, but has enough good stuff to make it a keeper.

by Joe Viglione

Tracks

1. Running Man (Chris Robison, Jon Sachs, Rick Frank, Stan Bronstein) - 3:06

2. Face The Day (Gary Van Scyoc) - 3:51

3. Going To A Party (Adam Ippolito, Gary Van Scyoc, Rick Frank, Stan Bronstein) - 4:44

4. Rock 'n' Roll (Chris Robison, Rick Frank, Stan Bronstein) - 3:15

5. La Sopa (Adam Ippolito, Stan Bronstein) - 3:45

6. Angels Forever (Gary Van Scyoc, Rick Frank, Stan Bronstein) - 4:00

7. Tell The Truth (Lowman Pauling) - 3:02

8. Firt To See The Last Of Me (Rick Frank, Stan Bronstein) - 3:16

9. Tonite (Chris Robison) - 3:47

10.Hoochie Coochie Rockin Information Man (Chris Robison, Rick Frank) - 2:55

The Elephant's Memory

*Gary Van Scyoc - Bass, Lead Vocals (Tracks 2,9)

*Rick Frank - Drums, Lead Vocals (Track 10), Percussion

*Jon Sachs - Guitar

*Chris Robison - Keyboards

*Stan Bronstein - Saxophone, Lead Vocals (Tracks 1,3-8)

With

*Terry Bronstein - Backing Vocals

*Casey Synge - Backing Vocals

*Dari Lalou - Backing Vocals

*Karen Friedman - Backing Vocals

1969 Elephant's Memory - Songs From Midnight Cowboy (2006 remaster)

1970 Elephant's Memory - Take It To The Streets
1972 Elephant's Memory - Elephant's Memory

1969-71 Roy Buchanan - The Prophet

Wednesday, August 7, 2024

Roy Buchanan - Live Stock (1975 us, thrilling blues rock)

By the time this long-player hit the street, Roy Buchanan (guitar/vocals) had already departed from his oft-acrimonious relationship with Polydor Records. To their credit, the label issued Live Stock (1975), which captured the artist in performance at Town Hall in New York City on November 27, 1974. This disc features the recently corralled combo of Bill Price (vocals), John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals). Interestingly, the instrumentalists would reconvene behind Buchanan for his next two studio albums, A Street Called Straight (1976) and Loading Zone (1977), as well as the thoroughly superior, import-only Live in Japan (2003).

With the exception of the seminal Snakestretchers, this aggregate would stay with the guitarist for longer than any of his numerous other support bands. Practically by default, having returned Buchanan to the stage, the music instantly becomes more conducive to inspiration. The set list highlights both a sampling from earlier efforts, as well as a few covers that are personalized by Buchanan's inimitable stringed artistry. Whether by design or serendipity, each track focuses on his animated solos. Ranging from the driving boogie of Roy Milton's "Reelin' and Rockin" [note: not to be confused with Chuck Berry's rock & roll anthem of virtually the same name] to the stinging fretwork that commences the Memphis soul of Al Green's slithery "I'm a Ram," Buchanan is undeniably at the peak of his abilities.

The spirited reading of "Further on up the Road" is particularly worthwhile, as his leads alternately from a rapid-fire slide action to emphatic wails that punctuate the melody with equal measures of deadly accuracy and limber precision. Live Stock is a primary recommendation for all dimensions of blues guitar lovers and those interested in experiencing the craftsmanship of the man once hailed as "The Greatest Unknown Guitarist In The World." Hardcore collectors and the like should also be aware of the essential nine-plus minute rendering of Neil Young's "Down by the River," which was recorded at this show, yet remained unissued until its inclusion on Sweet Dreams: The Anthology (1992) double-disc set. Equally as impressive, and as highly recommended, is the posthumously released archival American Axe: Live in 1974 (2003), as well as the previously mentioned Live in Japan (2003) -- both of which have the same musicians and similarly exceptional results.

by Lindsay Planer

Tracks

1. Reelin' And Rockin' (Roy Milton) - 2:25

2. Hot Cha (Willie Woods) - 4:20

3. Further On Up The Road (Bill Mack) - 3:39

4. Roy's Bluz (Roy Buchanan) - 8:10

5. Can I Change My Mind (Barry Despenza, Carl Wolfolk) - 6:38

6. I'm A Ram (Al Green, Mabon "Teenie" Hodges) - 4:23

7. I'm Evil (Roy Buchanan) - 6:17

Tracks 1-6 recorded at Town Hall, New York City, November 27, 1974

Track 7 recorded at Amazingrace Coffeehouse, Evanston (IL)

Personnel

*Roy Buchanan - Lead Guitar, Vocals (Tracks 4,7)

*Billy Price - Lead vocals

*John Harrison - Bass

*Malcolm Lukens - Keyboards

*Byrd Foster - Drums, Vocals

1969-78 Roy Buchanan - Sweet Dreams The Anthology
1972-73 Roy Buchanan - Roy Buchanan / Second Album
1974 Roy Buchanan - Live At Town Hall (2018 double disc set)

1975 Roy Buchanan - Telemaster Live In '75 (2017 remaster)
1977 Roy Buchanan - Loading Zone (2005 remaster)
1978 Roy Buchanan - Live In Japan (2003 remaster)

Tuesday, August 6, 2024

Ellen McIlwaine - We The People (1973 us, brilliant jazzy bluesy folk rock)

Brilliant work from the great Ellen McIllwaine! Ellen's certainly not a soul artist -- but she's got a particularly soulful approach to folk rock -- one that's made her a favorite of groovers worldwide in the past few decades, thanks to a big push from Gilles Peterson, and the club scene in Tokyo and Germany! The approach on this record is kind of like a mixture between Chaka Khan and Joni Mitchell -- lots of upbeat grooves, mixed with jazzy acoustic guitar and some wonderfully soaring vocals -- in a style that needs to be heard to be fully understood. The standout cut is the amazing "Jimmy Jean", a soaring jazzy dance cut with unbelievable vocals -- and other nice ones include "Sliding", "Ain't No Two Ways", and "All To You".

Tracks

1. Ain't No Two Ways About It (It's Love) - 4:26

2. All To You - 3:05

3. Sliding - 2:52

4. Never Tell Your Mother She's Out Of Tune (Jack Bruce, Pete Brown) - 2:25

5. Farther Along (Traditional) - 3:44

6. I Don't Want To Play - 3:20

7. Underground River - 3:54

8. Everybody Wants To Go To Heaven (But Nobody Wants To Die) (Al Fields, Timmie Rogers, Tom Delaney) - 2:25

9. Jimmy Jean - 2:59

10.We The People - 3:23

All songs by Ellen McIlwaine except where stated

Track 10 Recorded Live At Carnegie Hall, New York

Musicians

*Ellen McIlwaine - Guitars, Vocals

*James Madison - Drums

*Don Payne - Bass

*Gerry Mercer - Drums

*Don Moore - Bass

*Thad Holiday - Bass, Vocals

*Don Kaplan - Piano

*Colin Tilton - Saxophone

*Candido - Conga

*Bill Curtis - Conga

*Bill Keith - Pedal Steel

1972 Ellen McIlwaine - Honky Tonk Angel

Monday, August 5, 2024

The Briks - Singles Plus (1966-67 us, texas garage punk)

In early 1965, a band formed at Texas Tech called The Embers. Most of the band members were around 18 years old. During the summer break the group shifted to Dallas and changed their name to The Briks. Their rehearsals consisted of covers of the then popular British sound as exemplified by The Beatles, Kinks, Zombies, Stones, and Animals. As the band improved, they began to play at popular clubs in Dallas, becoming the house band at The Studio Club and Louanns.

At the start of 1966, The Briks entered the studio to record a couple of original songs ("It's Your Choice" and "I'm Losing"). Although not released commercially, the tunes displayed the bands versatility in tackling both folk-rock and hard-rock (on par with The Stones). In the spring of 1966, The Briks once again went into the studio, this time to cut two more originals for a single release ("Foolish Baby" and "Can You See Me"). The songs were released on Bismark Records (#1013). Although the band wanted "Foolish Baby" as the A-side, the local. radio stations preferred "Can You See Me". On KLIF(AM) it rose to #15 on the top 40 hit list. Final sales were around 5,000 copies, but The Briks only received a $16.00 royalty check from Dot records who bought the master from Bismark and released it nationally.

The success of "Can You See Me" led to The Briks appearance on The Sump 'N Else TV show, a couple of times. Their first appearance came a day after Frank Zappa and The Mothers Of Invention (Zappa didn't think much of the show and it's host, later insulting him at a concert that night). Once on the show, The Briks lip synched to "Can You See Me". On their next appearance they did "Baby Let Me Take You Home" (Animals song) and "I'm A Man" (Yardbirds style). In Houston, The Briks appeared on The Larry Kane TV show. A big moment for the group was opening for The Beau Brummels at Louanns.

In the summer of 1966, The Briks original lineup was disrupted by Uncle Sam as lead singer Cecil Cotten, drummer Steve Martin, and manager Reggie Lange left for the Air Force. They were replaced by lead singer Paul Ray, and drummer Chris Vandercolt. With this new lineup the band cut the manic "Keep Down" and "From A Small Room" (which would later surface as the b-side to The Briks second. single).

In January of 1967, Cecil re-entered The Briks and took over his original task of lead vocals. Paul Ray went on to form his own band The Cobras. Later in 1967 a live tape was made of The Briks performance at the Northwood Country Club in Dallas. Needless to say the bands high voltage energy is perfectly captured on this live tape. 1967 was also the year Cream released their first album, "Fresh Cream", and it influenced The Briks to release another single on the Bismark label (#1020). It was a cover version of Creams NSU. Sadly this single failed to have the same success as their first one and the band began to split up by 1968. Fortunately, The Briks phenomenal sounds are captured on this release.

The In Cave

Tracks

1. Over You (Jamie Herndon) - 2:40

2. Can You See Me (Cecil Cotton, Richard Borgens) - 2:28

3. Foolish Baby (Cecil Cotton, Richard Borgens) - 2:43

4. Baby, Let Me Take You Home (Traditional) - 2:08

5. Keep Down (Unknown) - 2:18

6. N. S. U. (Jack Bruce) - 2:25

7. Everybody Needs Somebody To Love (Bert Berns, Jerry Wexler, Solomon Burke) - 3:38

8. Till The End Of The Day (Ray Davies) - 2:19

9. The Nazz Are Blue (Chris Drega, Jeff Beck, Jim McCarthy, Keith Relf) - 2:59

10.Heart Full Of Soul (Graham Gouldman) - 3:11

11.I'm A Man (Doc Pomus, Mort Shuman) - 4:09

12.N. S. U. (Jack Bruce) - 2:29

Tracks 7-12 recorded live at Northwood Country Club, 1967.

The Briks

*Cecil Cotton - Lead Vocals

*Richard Borgens - Lead Guitar

*Steve Martin - Drums

*Lee Hardesty - Rhythm Guitar

*Mike Maroney - Bass

*Chris Vandercolt - Drums

*Jamie Herndon - Lead Guitar

*Paul Ray - Vocals (Track 5)

Sunday, August 4, 2024

Society's Children - Mister Genie Man (1968-74 us, rough fuzzy garage psych, 2023 release)

Society’s Children after the Shamrocks split up, Pat Sassone recruited two brothers and a friend of theirs to start the first version of Society’s Children. His mother, Doreen, had suggested the name. Doreen took over on vocals and continued to pitch in with lyrics. I can’t think of a single other 60s garage band that included a parent and child

Society’s Children recorded “Mister Genie Man” at Columbia Records Studios in Chicago on December 13, 1968. It’s now considered a “punkadelic” masterpiece: sounding like Grace Slick, Doreen wails doomy lyrics (Patrick described the tune as “basically about someone having a terrible nightmare”) while blasts of fuzz guitar and propulsive Farfisa organ double down hard.

Tiny local imprint Cha Cha Records, which had distribution through Chess, released the 45 before the end of the year. Cha Cha had its own small recording studio on West Randolph in the Loop, but Society’s Children never used it. The single didn’t take off, but if everything Sassone says about Cha Cha owner Donald DeLucia is true, that’s no surprise.

In 1974 Society’s Children recorded what was supposed to be their second single, “Listen” b/w “I Don’t Wanna See Tomorrow,” at the studio operated by Palos Records (which released mostly blues artists such as Lonnie Brooks, Bobby Rush, and Eddie Boyd). The interview at It’s Psychedelic Baby includes a photo of hub labels apparently from this single, but I have to assume they’re from a test pressing—the record never came out.

The band would keep recording in a home studio with various rhythm players, but in 1976 Sassone and his family (including Doreeen) moved to California. They soon moved to Arizona and tried again, but we had trouble keeping musicians. In 1977 the band ended for good.Patrick Sassone never stopped making music, and he’s been putting out solo material since 2010. Sadly, Doreen passed away in 2017.

The story of Society’s Children also continues to unfold. Because Sassone held onto the band’s unreleased recordings (including a “gospel rock” album from the early 70s), he could help assemble a new archival release, Mister Genie Man, that compiles the Cha Cha single with never-before-heard tracks from between 1968 and 1974.

by Steve Krakow, August 7, 2023

Tracks

1. Can It Be - 2:17

2. People, People - 3:14

3. Mister Genie Man - 2:33

4. Darkness - 3:05

5. Love Hour - 2:23

6. I Don't Wanna See Tomorrow - 2:19

7. Help - 3:00

8. Slippin' Away - 2:22

9. Velvet, Love, And Lace - 3:05

10.Bells Of St. Peter's Square - 2:23

11.I Am A Minstrel - 2:55

12.Goodbye Baby - 4:00

13.Listen - 2:39

14.Light Of My Gargen - 3:17

15.Wanna Gotta - 2:20

All compositions by Patrick Sassone

Society's Children

*Patrick Sassone - Electric Guitar, Organ, Backing Vocals

*Doreen Sassone - Lead Vocals

*John Kolada - Bass

*Fred Sudlow - Drums