sabato 24 gennaio 2015

Wild Cherries - Thats Life (2007 Remaster) 1965 - 1968

Biography:If you go just by the records they managed to release during the 1960s, there's not really enough to make a Wild Cherries album. This reissue, however, makes the most of out their slim recorded legacy, combining both sides of their four 1967-1968 singles with 16 previously unreleased 1965-1966 bonus tracks. It's the eight tracks (all written or co-written by guitarist Lobby Loyde) from the singles, though, that are the truly significant ones, since it was on these that the Wild Cherries laid down the music that was among the most innovative in '60s Australian rock. On the most notable of those 45s, the group fused psychedelia, early hard/progressive rock, and soul in a manner that no other Australian band of the time was doing on record, particularly on "Krome Plated Yabby," "That's Life," and "Gotta Stop Lying." These are somewhat similar to the rock being played by some Detroit outfits of the late '60s, and if they're certainly more pop-oriented than, say, the MC5, they do offer a pretty intriguing blend of creative ambition and muscular crunch. The other, far less well-known songs from the singles might surprise listeners who've heard the other tracks on compilations, as they're more straightforward soul-rock than you'd expect (adding some pop-oriented orchestration on "I Don't Care"), though they're fairly good as that style goes. The remaining 16 tracks taken from studio outtakes and home/live recordings capture the group at an earlier pre-Loyde stage at which they were much more an R&B/rock band along the lines of British bands like the Rolling Stones and Yardbirds. In fact, just one of these songs (the quite admirably mean'n'lean "Get Out of My Life") is a group original; not only are all of the others covers, but most of them are covers of tunes that major British Invasion bands like the Yardbirds, the Who, and Manfred Mann put on their early recordings. This section of the CD isn't nearly as original as the Loyde-led material, then, and it's not as well recorded either, though the fidelity's satisfactory. Still, the Wild Cherries do sound like a good, tough, mid-'60s British R&B band at this stage in their development, and without those tracks...well, there wouldn't be enough for a CD. As is standard for the Half a Cow label, the packaging is superb, featuring a 36-page liner booklet jammed with photos. Review by Richie Unterberger 

*Festival Singles 1967 - 1968
01. Krome Plated Yabby 2:58
02. Everything I Do Is Wrong 2:36
03. That's Life 3:20
04. Try Me (I'm Not As Bad As You Think) 3:44
05. Gotta Stop Lying 3:03
06. Time Killer 3:27
07. I Don't Care 3:46
08. Theme For A Merry-Go-Round 2:31
*Unreleased Recordings 1965 - 1966
09. Without You 3:50
10. Coming Home Baby 2:12
11. Tobacco Road 4:19
12. Worried Blues 2:41
13. You Don't Love Me 3:06
14. Get Out Of My Life 2:25
15. Bye Bye Birdie 2:12
*Live At The Fat Black Pussycat 1965 - 1966
16. WIthout You (version 2) 3:05
17. I'm Your Kingpin 1:44
18. Mad Man Blues 2:59
19. Tobacco Road (version 2) 4:37
20. Parchman Farm 3:19
21. Smokestack Lightning 4:03
22. My Generation 2:46
23. Ain't Got You 2:13
24. Baby Please Don't Go 6:12

Wild Cherries:
*1967-68 Festival Singles
Dan Robinson – Vocals
Lobby Loyde (Aka Barry Lyde) – Guitars
Les Gilbert – Bass Guitar, Keyboards, Hammond Organ
Keith Barber – Drums
John Phillips – Bass Guitar
Peter Eddey - Bass Guitar
*1965 Lloyd Carrick's Parent's House
Malcolm Mcgee – Lead Guitar, Vocals
Rob Lovett – Rhythm Guitar, Vocals
Kevin Murphy – Drums
Les Gilbert – Bass Guitar
*1965/66 Live At The Fat Black Pussycat
*1966 Trend Studios Melbourne

John Bastow – Vocals
Malcolm Mcgee – Lead Guitar, Vocals
Kevin Murphy – Drums
Les Gilbert – Bass Guitar
Keith Barber - Drums (1966)

mercoledì 21 gennaio 2015

Relatively Clean Rivers - Relatively Clean Rivers (Radioactive Records) 1975

Biography:Many American rock LPs of the mid-'70s given very small pressings on tiny or vanity labels had something of a time warp hangover feel, as if the trends of hippie rock from about half a dozen years earlier were still in vogue. Relatively Clean Rivers' self-titled album is one such rarity, with an easygoing California folk-rock-psychedelic feel in which light-to-strong traces of Neil Young, the countrified Grateful Dead, and Quicksilver Messenger Service can be heard. It's different than the vast majority of such LPs, however, in that it's actually a fairly good collection of tunes with some decent songwriting and strong, professional playing and harmonizing. No one should investigate this under the illusion that it's nearly as good as the aforementioned influences, mind you. But it's quite alright, and also not as imitative as many artists from numerous eras were who claimed Neil Young and the Dead as influences. There's an attractive resigned, almost addled melancholy to the vocals and melodies that set this apart from the usual such fare, though some of the songs could certainly have benefited from more structured composing and arranging. There's some variety to the proceedings (and from the general folk-rock-psychedelic prototype) too, with some extended instrumental acoustic passages and a Middle Eastern influenced number, "The Persian Caravan," that recalls exotic early Country Joe & the Fish psychedelic excursions like "Section 43." Overall, the album almost gives the impression of documenting the dying embers of a band of hippies who've found refuge in one of the last safe places for souls of such a mindset, clinging to their credo as their species awaits oncoming extinction. The album became much easier to acquire following its CD reissue in the first decade of the 21st century. Review by Richie Unterberger

lunedì 19 gennaio 2015

Tongue - Keep on Truckin' with Tongue (Gear Fab Records) 1969 (Repost)

Biography:Yet another rock band that emerged out of the copious student population of countercultural Wisconsin, Tongue spent ten years developing into one of the most road-savvy ensembles in the state. But Keep on Truckin' was recorded near the beginning of their career, thereby capturing the band during the early peak of their powers. That power doesn't always manifest itself on their sole album, but it remains an enjoyable effort. There are significant similarities between Tongue and fellow Wisconsin band Tayles. Tongue doesn't dip into the good-time roll of Tayles' music too often, but they do have a blues-based, organ-heavy sound that is primarily earnest while verging at times on the musically whimsical, as on songs like "Get Your Shit Together" and the fabulous "Jazz on the Rag," a falsetto beauty like nothing else on the album. On the quickie country interlude "Slap Her Down Again Paw," they even show a comical side. There are bits of country-rock and jugband music (the title track cover of Donovan), and Jerry Garcia personally complimented the band on their version of Tim Rose's "Morning Dew." It is, indeed, a stellar effort, perhaps the best performance on the album, occasionally recalling the Bob Mosley folk-rock ballads of late-'60s Moby Grape. With lovely ringing acoustic guitars and suitably abrasive organ runs, the song is an epic accomplishment that gives some insight into the sort of prettiness Tongue was capable of. At other times the band utilizes some of the atmospherics of psychedelia to dress up its hard rock in an ambience that sounds more edgy than the songs actually are and despite the fact that the band shows itself perfectly adept at drumming up its own earthy brand of Midwestern psych on the momentous "The Earth Song" and the spacy acoustic ballad "The Prophet." Both songs are gorgeous from composition to execution and get at a kind of hazy acid rock that starts to show distinction from either the West Coast or the New York strains of psychedelia. The lead vocals have some of the homespun grit of the Band or Grateful Dead's Pigpen, and they ground the more cosmic qualities of the music, thus making it more palpable and accessible. Perhaps too accessible in the end. Although there is a lot to admire about Tongue, not a whole lot about their album sticks out. A good amount of the songwriting tends toward the unexceptional, and there isn't much production color added to bring out the best traits of the band. The music is certainly competent and the playing above average, and it is a good bet that Tongue was a pretty formidable live unit, but that doesn't come through on Keep on Truckin' strongly or often enough to make it more than a mildly interesting relic from the era. Review by Stanton Swihart

01.Homely Man Blues 3:44
02.Get Your Shit Together 2:28
03.The Earth Song 7:00
04.The Prophet 3:45
05.Sidewalk Celebration 3:13
06.Slap Her Down Again, Paw 0:26
07.Every Time 3:02
08.Get Down 3:00
09.Morning Dew 7:29
10.Jazz On The Rag 2:39
11.Keep On Truckin' 3:20
12.Hashish 0:04
13.Stained Glass Window (Bonus Tracks) 4:43
14.Hey Hey Moma (Bonus tracks) 2:13

Bob Collins - Bass,Vocals
Mick Larson - Organ,Vocals
Paul Rabbit - Guitars,Vocals
Dick Weber - Drums,Vocals

domenica 18 gennaio 2015

Potliquor - First Taste (Repertoire Records) 1970

Biography : Potliquor had its beginning in 1969 in Baton Rouge, Louisiana and played an intriguing mix of  country, blues- and southern rock. They released three excellent albums between 1970 and 1973 and on more in 1979 before finally breaking up. Yet these godfathers of southern rock never got the recognition they deserved.
Potliquor was formed in the late 60´s by George Ratzlaff (keyboards, rhythm guitar, vocals), Les Wallace (guitar, vocals), Guy Schaeffer (bass, vocals) and Jerry Amoroso (drums, percussion, vocals) and soon after that signed a deal with small Janus Records label. Their debut album, First Taste was produced by the band's manager, Jim Brown and came out in 1970. Potliquors´sophomore effort, Levee Blues was released in December 1971 and is considered as their best album by many. Lousiana Rock and Roll followed in 1973. Despite the Molly Hatchet type heavy boogie and horn section that occasionally reminds you of Atlanta Rhythm Section, Pot Liquor never raised to a level they deserved and stayed as a regionally touring band. In 1974 the band took a hiatus until original bass player Guy Schaeffer and drummer Jerry Amoroso put the band back together by adding Steve Sather  and Mike McQuaig to guitars and Pot Liquor released one more self-titled album through Capitol Records. Fans found their new, more radio friendly approach lacking the good ol´southern groove Pot Liquor had on earlier albums and the band broke up soon after that.

01.Down The River Boogie 2:50
02.Ol' Man River 4:39
03.Riverboat 3:16
04.Toballby 7:23
05.The Raven 5:04
06.You're No Good 4:59
07.Price 20 Cents A Copy 3:08
08.Driftin' 8:20

Jerry Amoroso - Drums, Vocals
George Ratzlaff - Guitar, Keyboards, Harp, Vocals
Guy Schaeffer - Bass, Vocals
Les Wallace - Guitar, Vocals

martedì 13 gennaio 2015

Bangor Flying Circus - Bangor Flying Circus (One Way Records) 1969 (repost on request)

Biography : Bangor Flying Circus was a progressive rock trio from Chicago, USA, formed in mid-1967 and breaking up in 1969. It is notable for being formed by members of the Shadows of Knight and H.P. Lovecraft and for being a predecessor band to Madura. Bangor Flying Circus consisted of David "Hawk" Wolinski (bass, keyboards, vocals), Alan DeCarlo (guitar, vocals), and Tom Schiffour (drums), who was replaced in late 1968 by former H.P. Lovecraft member Michael Tegza (drums, percussion). Wolinski and Schiffour had previously been in the Shadows of Knight. They put out one self-titled album in 1969, which peaked at No. 190 on The Billboard 200. After they broke up, Wolinski and DeCarlo formed Madura, while Tegza participated in two reconfigurations of Lovecraft, a successor band to H.P. Lovecraft.

01.Violent Men 6:08
02.Come On People 4:11
03.Ode To Sadness 6:07
04.Concerto Four Clouds 5:26
05.A Change In Our Lives 4:16
06.Someday I'll Find 5:15
07.Mama Don't You Know 3:20
08.In the Woods 4:20
09.Norwegian Wood 6:08

Bangor Flying Circus:
David Wolinski - keyboards, vocals, bass, percussion
Alan Decarlo - guitar, vocals, percussion
Michael Tegza - drums, percussion

domenica 11 gennaio 2015

Music Machine - The Bonniwell Music Machine (2014 Box 2CD Big Beat Records) 1967

Biography : The Music Machine were renamed the Bonniwell Music Machine when they went to Warner Bros., as the original lineup disbanded at some point, leaving only chief singer and songwriter Sean Bonniwell. Much of the material on Warner, however, was recorded by the original group, and this album was pasted together from some singles (some of which had appeared on Original Sound in 1967) and other tracks, both by the original incarnation and a second outfit that was pretty much a Sean Bonniwell solo vehicle. Accordingly, the tone of the album is pretty uneven, but much of the material is excellent. In fact, some of the songs rate among their best; a few are also found on the Rhino anthology, but other first-rate tunes ("Bottom of the Soul," "Talk Me Down," "The Trap") are not. Some of the cuts (presumably those recorded after the first lineup broke up) find Bonniwell branching out from psych-punk into a poppier and more eclectic direction, sometimes with very good results, sometimes not. Review by Richie Unterberger

01.The Music Machine - Astrologically Incompatible 2:36
02.The Music Machine - Double Yellow Line 2:09
03.The Music Machine - The Day Today 2:53
04.The Music Machine - Absolutely Positively 2:14
05.The Music Machine - Somethin' Hurtin' On Me 3:04
06.The Music Machine - The Trap 2:34
07.The Music Machine - Soul Love 3:39
08.The Music Machine - Bottom Of The Soul 2:01
09.The Music Machine - Talk Me Down 1:52
10.The Music Machine - The Eagle Never Hunts The Fly 2:47
11.The Music Machine - I've Loved You 2:49
12.The Music Machine - Affirmative No 2:08
13.The Music Machine - Discrepancy 2:36
14.The Music Machine - Me - Myself, And I 2:14
15.The Music Machine - You'll Love Me Again 1:52
16.The Music Machine - In My Neighborhood 2:21
17.The Music Machine - To The Light 2:12
18.The Music Machine - Everything Is Everything 1:52
19.The Music Machine - This Should Make You Happy 2:04
20.The Music Machine - Black Snow 2:32
21.The Music Machine - Tell Me What Ya Got 2:07
22.The Music Machine - Time Out (For A Daydream) 2:07
23.The Music Machine - Tin Can Beach 2:08
24.The Music Machine - Unka Tinka Ty 2:18
25.The Music Machine - 902 1:57

01.Sean Bonniwell - Gimme Gimme 2:24
02.Sean Bonniwell - Stand Aside 1:57
03.The Ragamuffins - Two Much 1:58
04.The Ragamuffins - Push Don't Pull 2:14
05.The Ragamuffins - Chances 3:03
06.The Ragamuffins - Talk Me Down 1:41
07.The Music Machine - Point Of No Return 2:41
08.Sean Bonniwell - I'll Take The Blame 1:53
09.Sean Bonniwell - The Life I Live 1:51
10.Sean Bonniwell - Would You Believe 2:20
11.Sean Bonniwell - Inside Eternity 2:56
12.Sean Bonniwell - Paper Mache 2:29
13.Sean Bonniwell - You'll Love Me Again 2:06
14.The Music Machine - Dark White 4:34
15.The Music Machine - King Mixer 3:04
16.The Music Machine - She Is 3:21
17.The Music Machine - Reach Me In Time 2:23
18.The Music Machine - Closed 2:11
19.The Music Machine - Temporary Knife 2:37
20.The Music Machine - Advise & Consent 2:57
21.The Music Machine - Mother Nature-Father Earth 2:16
22.The Music Machine - King Mixer 3:17
23.The Music Machine - Dark White 4:16
24.Sean Bonniwell - Citizen Fear 2:29

Music Machine:
Sean Bonniwell - Guitar, Vocals
Ron Edgar - Drums
Mark Landon - Guitar
Keith Olsen - Bass
Doug Rhodes - Organ

venerdì 9 gennaio 2015

Poets - Scotland's No.1 Group (2000 DynoVox) 1963 - 1967

Biography: For most purposes, this is a fine and definitive overview of the output of the band that was indeed Scotland's number one group in the 1960s, in quality if not commercial success. Both sides of all six of the Poets' 1964-1967 singles are here, as well as no less than 11 demos that were not released at the time. One flaw worth noting is that the singles are not mastered from the best possible tapes; however, the difference in fidelity between this and a compilation from more, shall we say, above-the-board sources is so minimal as to be almost meaningless. Fans of the Poets (and they are more numerous than one might suppose) might well already have another, quite similar compilation, In Your Tower, which includes much but not all of the contents from Scotland's No. 1 Group. So, how does one choose? Well, that's a tough one. Each disc has the essential core of the band's discography: both sides of those half-dozen singles. Each also has the quite good, if a little scratchy and muffled, 1965 demos "I'll Keep My Pride" and "It's So Different Now." In Your Tower, however, does have some items not on Scotland's No. 1 Group, and although some of those are pretty dispensable, two are noteworthy: the hypnotic George Gallacher post-Poets track "Dawn," and the mysterious unreleased late-'60s song "Never Thought She Would." Scotland's No. 1 Group, however, has no less than nine 1963-1964 demos not on the other compilation, and although their fidelity veers from substandard to downright treacherous, these include some very good originals: the folk-rockish "Love Is Fading Away," the doomy pseudo-Merseybeat of "This Woman Mine," and the chipper "With You By Me" (the last two of these songs are each presented in two different versions). Those interested enough in the Poets in the first place to want a compilation should throw in the towel and get both. It's still frustrating that the optimum Poets anthology which would include all the singles from the master tapes, everything from these two discs, and other unreleased tracks rumored to exist in the vaults has yet to be assembled. Review by Richie Unterberger

01.With You by Me
02.Why You Still Go On
03.Miss Queen Bee
04.This Woman Mine
05.Love Is Fading Away
06.Now We're Thru
07.There Are Some
08.That's the Way It's Got to Be
09.I'll Cry With the Moon
10.I Am So Blue
11.I Love Her Still
12.I'll Keep My Pride
13.It's So Different Now
14.Some Things I Can't Forget
15.Call Again
16.I'll Come Home
17.Baby Don't You Do It
18.Wooden Spoon
19.In Your Tower
20.With You by Me (Demo)
21.Why You Still Go On (Demo)
22.This Woman Mine (Demo)
23.Why Willows Weep (Demo)

George Gallacher - vocals
Hume Paton - lead guitar
Tony Myles - rhythm guitar
John Dawson - bass guitar
Alan Weir - drums

mercoledì 31 dicembre 2014

Stan Zipperman Everyhead - A Rock Opera (2009 Akarma) 1975

The now notorious Everyhead, inspired by the medieval miracle play "Everyman", was first performed on stage in Hollywood, California in 1975 in secret underground venues in order to protect the identities of its cast who wore ornate masks of their characters.

The Everyhead two-disc 26-song album, also recorded in 1975, was immediately banned from American radio airplay because of three controversial songs, including the protest anthem "Iffa Wanna", "America is a Pig" and "The Ballad of the F***ing Trees" as being too obscene and sexually explicit for United States broadcasting moral standards and guidelines, thus forcing the album to be withdrawn from distribution.

Everyhead, which captures the human experience of every man literally from womb to tomb, "finds its historical status as one of the very first rock music expressions of anti-establishment attitudes of the eventual "punk rock" movement at least one year before the term "punk" was even coined or used anywhere."

The Everyhead album features the lead guitar work of famed Steppenwolf band guitarist Michael Monarch, and was originally mastered by Kent Duncan, who mastered albums for such notable recording artists as the Jefferson Starship, Joe Cocker, Reo Speedwagon, Neil Diamond, Van Morrison, the Doobie Brothers, the Isley Brothers, among others.

It is reported that Stevie Nicks was interested in singing the part of the girl next door while she was still in Buckingham Nicks, but her new commitment to Fleetwood Mac interfered and she was forced to withdraw from the recording sessions.

The original 1975 Everyhead album was finally released decades later in limited vinyl collector editions, but only in select parts of the world, and never officially released in the United States where it was often bootlegged during the last 35 years.

The original Everyhead punk rock opera production was composed and orchestrated by Kenneth Cottrell, who sings the leading role of Everyhead. The album was produced by Stan Zipperman.

A - Spring:
01. Overture 03:55
02. When Your Soul's Your Own 00:59
03. Ballad Of The Fucking Trees 03:39
04. The Garage 02:05
05. Mommie Love 02:27
06. Saturday Night 01:40
B - Summer:
07. The Dream 04:49
08. The Nightmare 04:26
09. Iffa Wanna 07:22
C - Autumn:
10. Hold On To Yourself 01:09
11. Trying 03:08
12. Daddie Sir 02:40
13. Fidelity 02:37
14. You Stole Away My Head 02:45
15. America Is A Pig 04:06
D - Winter:
16. The Ballet Of The Deadly Sins 10:39
17. Last Recourse 01:26
18. There Could Have Been More 03:03
19. Everyman's Hymn 03:38
20. Put Away The Masks (Finale) 02:51

lunedì 29 dicembre 2014

Freddy Lindquist - Menu (Pan Records) 1970

Biography : Back in the 60's, Freddy Lindquist was known as one out of two super leadguitarist in Norway. The Other was Terjie Rypdal. Freddy was hailed as the Hendrix of Norway. Freddy started out his rock path as a member of Gibbons in the early 60's. In 1965 he was offered the job as the new lead guitarist in one of the leading band at the time, The Beatnicks.The band was changing their musical style from a Shadows inspired band to a proper beat-band then. Freddy stayed with them for a couple of singles, until he was headhunted to play lead guitar in an even more popular band, The Vanguards, in 1966. Their former lead guitarist, Terje Rypdal, then went to play the organ, until he quit, diving into psychedelia with The Dream. In addiction to some singles, they both played on both LP's released by The Vanguards. The first best forgotten, but the latter of those, Pnooole, was quite a good popbeat album, both by the standards of that time, and even today. It was released in different sleeves to the Norvegian one, in both Sweden and Italy. After some more singles, Freddy quit the band in 1969, to join his old mates in The Beatnicks/New Beatnicks. One more single followed before Freddy left again, and the rest of the band transformed into Titanic.

Hardrock was then the new formula and Freddy formed the supergroup Jumbo, inspired by the likes of Deep Purple and Led Zeppelin. Two singles was released, again one lousy and one great, the great one being U.F.O. The band then started recording an album, but in the midst of that the band fell apart, and the remaining members fulfilled the album and released in under the name Finjarn/Jensen. An underrated album it is, although not hardrock, but more rock/pop-psych. Some of Freddy's guitar takes was kept and he co-wrote two of the best song on it. A rare album today, and strangely still not released on CD.

Freddy on his side felt that the time was right for a proper soloalbum now, and his Menu was recorded and released in 1970. Freddy played a lot of the instruments in the album, but was joined by among others Freddy Dahl (Junipher Greene, George Keller Band, Ruphus, Saluki) and his mate from Jumbo, Leif Jensen. The album did not sell to well, and soon went into oblivion. Hard to understand why when listening to it today! The album, or some tracks from it, was later released in Mexico. Freddy have since then had his own band, and he have played in numerous bands and recordingsessions, in various musical styles. When collectors in Norway, and then abroad, in the late 1980's rediscovered Menu, the demand for the LP soon was a lot bigger than the supplies, and the prices for a mintish original quickly went skywards. The album was then re-released by Pan on vinyl in 1991, and later bootlegged by some italian gangsters. Now it's finally released on CD for the first time, remastered and sounding fresh as ever. Menu by Freddy Lindquist is for ever established not only as one of the rarest albums from Scandinavia, but also as one of the very best. Thanks to Freddy for sharing his delicious Menu with us all! Skien, october 2004:jarun (Discogs)

01.Sundae Sellers 4:47
02.The Green And Pink Little Man 4:08
03.Ridin', Huggin' And Kissin' 2:41
04.Sharako 3:40
05.How Nice 4:00
06.Black Is Black 4:26
07.Woman Running Around 5:48
08.Join In And Freak Out 3:28

Freddy Lindquist:
Freddy Lindquist - guitar, bass, flute, percussion, vocals
Espen Ruud, Leif Jensen - drums
Geir Wentzel - piano, organ
Kalle Neuman - saxophone
Freddy Dahl - vocals

sabato 27 dicembre 2014

Purple Gang - The Purple Gang Strikes 1968

Biography : The Purple Gang's sole record is an oddity, not comfortably fitting into any of the scenes folk, folk-rock, psychedelia with which some historians have associated it. Actually, it's moderately engaging, moderately modernized jug band music, quite mild even compared to the better revivalists of the style in the 1960s, like Jim Kweskin or Dr. West's Medicine Show & Junk Band. There's little hint of electric rock or psychedelia, and one's left with the feeling that you had to be there to get hip to what made them hip, or that they wouldn't have been that interesting even if you were there. Tossing expectations aside and just judging what's on the platter, it's OK jug band revival music, albeit with wholly original material. It's also pretty restrained, almost to the point of gentility, in its fervor and humor. A bit of the hippie acid-folk vibe seeps into one of the better and more mysterious cuts, "The Wizard," which actually does have a trilling electric guitar. A wee bit of British pop-psych bonhomie also colors "The Sheik," "Kiss Me Goodnight Sally Green," and their most famous track by far, "Granny Takes a Trip" (which is still jug band-based, despite the psychedelic implications that some read into the title). Ultimately, though, it's surprisingly tame and ordinary. Review by Richie Unterberger

01.Auntie Monica 3:04
02.Bootleg Whisky 3:18
03.Viola Lee Blues 3:10
04.The Wizard 3:49
05.Mr Aldred Jones 2:57
06.Granny Takes a Trip 2:38
07.Overseas Stomp 2:15
08.Freightliner 2:50
09.The Sheik 3:08
10.Rising Sun 2:23
11.Kiss Me Goodnight Sally Green 2:30
Bonus Tracks:
12.Carlo's Circus (Unreleased Bonus Track) 3:34
13.Madam Judge (Unreleased Bonus Track 4:13
14.Brown Shoes (Unreleased Bonus Track 4:42
15.The King Comes Riding (Unreleased Bonus Track 4:49

The Purple Gang:
Joe Beard - guitar
Geoff Bowyer - organ
Pete Walker - vocals
Ank Langley - jug, banjo
Gerry Robinson - mandolin, harmonica

mercoledì 24 dicembre 2014

.......and now Merry Christmas to all!

Eternity's Children - Eternity's Children (Rev-ola Digipack) 1968

Biography : Sunshine pop cult favorites Eternity's Children were formed in Cleveland, MS, in 1965 by singer/keyboardist Bruce Blackman and drummer Roy Whittaker, fellow students at Delta College. With the addition of lead guitarist Johnny Walker, rhythm guitarist Jerry Bounds, and bassist Charlie Ross, the group (originally dubbed the Phantoms) began developing the complex, overlapping vocal harmonies that remained the hallmark of their sound throughout their career. According to Dawn Eden's comprehensive liner notes in the 2002 Rev-Ola reissue Eternity's Children, in 1966 the Phantoms relocated to Biloxi, becoming the house band in the basement nightclub of the Biloxi Hotel and backing visiting performers including Charlie Rich and B.J. Thomas. With the addition of local folksinger Linda Lawley, the fledgling band adopted the more contemporary moniker Eternity's Children, and after Baton Rouge health club magnate Ray Roy caught one of their live appearances, he convinced business partner Guy Belello to form a management company (Crocked Foxx Productions and Music), which soon signed the group to a contract.

Eternity's Children quickly recorded a demo that made its way to A&M producer Allen Stanton, and in the spring of 1967 recorded their lone effort for the label, the David Gates-penned single "Wait and See." (It was produced by Keith Olsen, the former Music Machine bassist best known as the production partner of studio wizard Curt Boettcher.) The record went nowhere, and despite touring as part of a package headlined by the Strawberry Alarm Clock, the Seeds, and the Blues Magoos, Eternity's Children were quickly dropped by A&M. Crocked Foxx soon landed their charges a deal with Capitol's tax-shelter subsidiary, Tower; Olsen again manned the boards, this time bringing Boettcher, who'd previously enjoyed massive success with vocal groups like the Association as well as his own Sagittarius and the Millennium. Despite some flashes of brilliance, Eternity's Children's self-titled debut does not rank among the Boettcher/Olsen duo's crowning achievements both producers were distracted by other concurrent projects, and for every potential smash like the lilting first single "Mrs. Bluebird" or the beautiful "Again Again," there was a "Rupert White" (which simply added a new vocal to a backing track issued the year earlier as the Chocolate Tunnel's "The Highly Successful Rupert White") or "You Know I've Found a Way" (which doesn't even feature the group at all a Boettcher production demo, it later resurfaced in much more complete form on Sagittarius' Present Tense).

During production of the album, relations between the members of Eternity's Children and their management became increasingly strained, and prior to the LP's mid-1968 release, Blackman, Walker, and Bounds all exited. Only Blackman was replaced, by classically trained keyboardist Mike "Kid" McClain, previously of the Houston group the Neurotic Sheep. An appearance on American Bandstand spurred "Mrs. Bluebird" up the pop charts, but Tower did little to promote the single or the band, and after three weeks at number 69 on Billboard, both quickly plummeted out of the Hot 100. Eternity's Children nevertheless reconvened to begin work on their second album, Timeless, this time recruiting Boettcher's longtime engineer, Gary Paxton, to helm the sessions. With primary songwriter Blackman now out of the mix, Ross, Lawley, and McClain all contributed original material, and Paxton also wrangled songs from future Byrds Clarence White and Gene Parsons. After Whittaker left the group sometime during the sessions, drummer Bo Wagner was brought into the studio to complete the tracks coincidentally, Wagner would later join Blackman and Walker in their post-Eternity's Children project, dubbed simply the Children. (Blackman and Walker finally achieved massive chart success in the mid-'70s as members of Starbuck, which scored the Top Five smash "Moonlight Feels Right.") The album, titled Timeless, wrapped in late 1968, and promo copies of the first single, "Till I Hear It from You," were soon dispatched to radio.

But when "Till I Hear It from You" caused little excitement among radio programmers, Tower abruptly scuttled Timeless' U.S. release; the album did appear on Capitol's Canadian branch ("Mrs. Bluebird" was a sizable hit north of the border). Desperate for a change in geography and approach, Eternity's Children decamped to Memphis, home of Chips Moman's legendary American Studios. Abandoning the lush, pristine production of their previous efforts for a more earthy, blue-eyed soul sound, the group teamed with Moman and ace session bassist Tommy Cogbill to record the single "The Sidewalks of the Ghetto." It went nowhere -- by now, Capitol was shuttering the entire Tower imprint, although one last Eternity's Children single, the Spooner Oldham-penned "Blue Horizon," slipped through the cracks, as did solo singles from Lawley ("When the World Turns") and Ross ("A Railroad Trestle in California"). Remarkably, there was one last gasp -- Liberty Records, reeling from the loss of the 5th Dimension to rival Bell, seized upon Eternity's Children as a replacement. They signed to record a single, "Alone Again," but when Liberty was folded into parent company United Artists, the band was dropped. No subsequent recordings ever saw official release, but various Eternity's Children lineups continued performing during the 1970s. Review by Jason Ankeny

01.Again Again 3:03
02.Rupert White 2:06
03.Flowers 1:50
04.My Happiness Day 3:05
05.Lifetime Day 2:34
06.Mrs. Bluebird 3:15
07.Your World 2:35
08.You Know I've Found A Way 1:50
09.Little Boy 3:05
10.Sunshine Among Us 2:42
11.Again Again 3:03
12.Rupert White 2:07
13.Flowers 1:51
14.My Happiness Day 3:06
15.Lifetime Day 2:35
16.Mrs. Bluebird 3:15
17.Your World 2:35
18.You Know I've Found A Way 1:50
19.Little Boy 3:06
20.Sunshine Among Us 2:45

Eternity's Children:
Mike "Kid" McClain - keyboards
Linda Lawley - vocals
Charles Ross III - bass
Roy Whittaker - drums
Jerry Bounds - guitar


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body