Strider - Exposed (Universum Records) 1973

Biography Strider released two albums in 1973 and ‘74 respectively. 1973’s “Exposed” is a lost gem of an album and deserves attention. They played an excellent brand of Hard Rock/Blues in line with Status Quo, Deep Purple, Humble Pie, and Free. Their legacy post-Strider far out lived their brief carreer as a band. The record hit the shops in the prolific period of February, 1973, It mirrored much of what was changing about blues based rock. Humble Pie was moving into the mainstream with “Smokin’”, Foghat just released their debut with the Willie Dixon penned “I Just Wanna Make Love to You” getting serious airplay on the FM dial, and Zeppelin was still burning from the “Zoso” release. Most notable was what the Rolling Stones left with “Exile on Mainstreet” permeating every record for the next two years. Strider took their best club show and committed it to 40 minutes of vinyl. They were a tight R&B band with a biting guitar sound. Where other bands were dousing their audience with American standard Blues/Rock, Strider was blasting R&B tunes. Of the seven songs of their debut, two of them were R&B classics. Jackie Wilsons “Higher and Higher”, and the Temptations “Get Ready.” The later becoming a stoned out jam with some searing guitar melee closing down the second side.Ian Kewley (vocals, keyboards) wrote on the liner notes, “I think we should have started with the second album, then we’d have been better prepared for this one” But peole loved the grit of the first one and it landed them openeing tour slots with the Faces, and Rory Galagher. “Flying” was definitely the bands signature song. However, with the release of their second L.P., The band had reached their plateau. Rod Stewart was to grab up their guitar player before embarking on a solo career in the U.S., other members would start The Babys w/Jon Waite, and go on to play with Roger Daltrey and John Entwistle. 

Strider was a hard rock group from the early 70s that had the honor of participating in the Reading Festival for two consecutive years, 1973 and 1974. Strider’s original line-up consisted of Gary Grainger (guitar), Ian Kewley (vocals, keyboards), Lee Hunter (bass) and Jimmy Hawkin (drums). They came from the United Kingdom. His manager, Billy Gaff, was the same as the one of The Faces and for that reason they managed to perform with The Sensational Alex Harvey Band, Rory Gallagher and The Faces. In 1973 his first album “Exposed” would arrive and a year later the second, “Misunderstood”, with new singer, Rob Elliott, and drummer Tony Brock. The Strider delight us with an excellent hard rock. The peculiar voice of Ina Kewley and the guitar strings of Gary Grainger are its main protagonists. The album starts with the powerful “Flying” and a great guitar riff. The tone is minimized in “Is not Got No Love” where good rock is still present. We finally took a break in “Woman Blue” supported by Kewley’s piano and a magnificent solo guitar ending. The hostilities continue in the frantic “Higher And Higher”. “Esther’s Place” with its different rhythm changes is a little gem. Again a typical hard rock theme, “Straddle”. The album closes with a version of “Get Ready”, the longest track of the recording and one of the best.

Tracklist

01.Flying 6:00

02.Ain’t Got No Love 4:17

03.Woman Blue  5:39

04.Higher And Higher 3:53

05.Esther’s Place 6:29

06.Straddle 3:48

07.Get Ready 8:47

Line-up

Gary Grainger - Lead Guitar

Ian Kewley - Lead Vocals, Keyboards

Lee Hunter - Bass

Jimmy Hawkins - Drums, Percussion

Janita “Jennie” Haan - Backing vocals

April Wine - Electric Jewels (Aquarius Records) 1973

Biography April Wine formed in late 1969 in Halifax, Nova Scotia, but vocalist/guitarist Myles Goodwyn, guitarist David Henman, drummer Ritchie Henman, and bassist Jimmy Henman soon moved to Montreal. "Fast Train," their first hit, appeared in 1971, the same year as the self-titled debut album. Jimmy Henman left soon after and was replaced by Jimmy Clench. The next year brought the band's first Canadian number one single, "You Could Have Been a Lady," from On Record. David and Ritchie Henman left before the next album, Electric Jewels, could be recorded; they were replaced by Jerry Mercer and Gary Moffet. After April Wine Live (1974) and Stand Back (1975), Steve Lang replaced Clench, who left to join Bachman-Turner Overdrive and later Loverboy. In 1976, The Whole World's Goin' Crazy became the first Canadian album to go platinum and their resulting tour was the first to gross one million dollars. Forever for Now appeared in 1976, followed by April Wine Live at the El Mocambo in 1977. Guitarist Brian Greenway was added that same year, making the band a sextet. After 1978's First Glance and 1979's Harder...Faster, "Just Between You and Me" became April Wine's biggest U.S. hit. The single (one of three Top 40 American singles by the band) propelled 1981's Nature of the Beast to platinum record status. Power Play followed in 1982, and 1984's Animal Grace was their last album. Myles Goodwyn recorded his first self-titled solo album in 1988. Four years later, all the original members regrouped for a Canadian tour, which convinced them to resume recording. "If You Believe in Me," the band's first single in eight years, was followed by 1993's Attitude.

About Electric Jewels With April Wine's third release, the band was just beginning to make a real name for itself, thanks to "You Could Have Been a Lady"'s Top 40 marking on the charts the previous year. Electric Jewels didn't spark a hit, although the power-driven guitar punch of "Weeping Widow" gained a moderate amount of radio play in Canada, as did the semi-ballad "Lady Run, Lady Hide." This album, like most of April Wine's early material, consisted of a three-tiered formula; two or three strong tracks, two or three so-so rock and rollers or ballads, and two or three unnecessary time fillers. As far as the band's lineup goes, both David and Ritchie Henman had left, replaced by guitarist Gary Moffet, and Gerry Mercer, who took over the drumming duties -- and Moffet's playing does give April Wine an added boost, which is noticeable on a number of cuts. "I Can Hear You Callin'" and "Just Like That" show the greatest potential outside of "Weeping Widow" and "Lady Run, Lady Hide," but both Goodwyn and the rest of the band were still experimenting with their writing, and, more importantly, how heavy of a rock band they were going to be. When all is said and done, the better tracks from Electric Jewels and the two albums that precede it can best be heard on most of April Wine's compilations. allmusic.com

Tracklist
01.Weeping Widow 3:57
02.Just Like That 3:12
03.Electric Jewels 6:01
04.You Opened My Eyes 4:52
05.Come On Along 4:31
06.Lady Run, Lady Hide 3:01
07.I Can Ear You Callin' 3:31
08.Cat's Claw 4:48
09.The Band Has Just Begun 4:12

Line-up
Myles Goodwyn - lead vocals, guitars, mandolin, piano, mellotron
Jim Clench - vocals, bass, arp
Gary Moffet - guitars, vocals
Jerry Mercer - percussion, vocals

REPOST : Gravestone - War (Garden Of Delights) 1980

Biography In the eighties, Gravestone from Illertissen, Swabia, became quite famous as a hard rock group. What many people don't know is that they initially - and with a different line-up - released two LPs with progressive rock and critical lyrics, namely "Doomsday" (AVC K 793102 ST) from 1979 and "War" (AVC LP 80020 ST) from 1980, in small editions of 1000 copies each. Meanwhile both albums have been released as CDs on Garden of Delights; both drawn from the master tape. In addition to a very detailed band history the booklets of both CDs contain a lot of photographs, a complete discography also of the group's late period, cover and label reproductions, etc. "War" contains more vocals than "Doomsday", namely four tracks sung in English, two in German, and one instrumental piece. Krautrock.de

The origins of GRAVESTONE go back to 1975, when Rudi DORNER and Mike SCHMIDT formed a band called HEIZKÖRPER. In 1976 they were joined by Berti MAJDAN and changed the name of the band to OREGON. In early 1977 they were also joined by Wolfgang RITTNER and Andy MÜLLER, and at the suggestion of of Berti MAJDAN they changed name again to GRAVESTONE.

GRAVESTONE, like several compatriots of the time, initially experienced nothing but failure. Their two early LPs - 1979's ''Doomsday'' and 1980's ''War'' - remain relatively unknown even to this day, yet they hung around long enough to enjoy a small taste of recognition following the colossal 80's success of fellow countrymen like SCORPIONS and ACCEPT. Capitalizing on this sudden surge of interest, vocalist Berti MAJDAN - with a new line up featuring guitarists Mathias DIETH and Klaus REINELT, bassist Thomas SABISCH, and drummer Dieter BEHLE - released three additional albums from their home base outside the southern city of Stuttgart - namely 1984's ''Victim of Chains'' (featuring bassist Oli ORLITTA), 1985's ''Back to Attack'', and 1986's ''Creating a Monster'' - before morphing into a new band named 48 CRASH, who played a much more commercial brand of hard rock, releasing an album called ''Some Like It Hot'' in 1990.

1993 saw the release of an eponymous collection of GRAVESTONE's best 80's output, and guitarist DIETH went on to work with both U.D.O. and SINNER in later years. progarchives.com

Tracklist
01.War 3:54
02.Waiting for Peace 5:52
03.Durchbruch 4:42
04.Mörike 3:41
05.It's Over 2:58
06.Hascher Blues 4:37
07.Summer '79 10:27

Line-up 
Rudi Dorner - lead guitar
Taki Gradl - rhythm guitar
Dieter Behle - drums
Andi Muller - keyboards
Dietmar Orlitta - bass, vocals, harmonic

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

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

Tracklist

01.Judy Green (Previously unreleased acetate demo) 3:39

02.Mogidisimo 0:31

03.Nightjar 4:14

04.A Black Solitude 4:32

05.Homicidal Psychopath 3:24

06.Stillborn Beauty 4:07

07.Gypsy Dancer 6:53

08.Orexis Of Death 4:30

09.Mogidisimo (reprise) (feat. Tony Iommi) 1:16

10.Judy Green Rocket (Live & previously unavailable) 3:34 

Line-up

Barry Dunnery - guitar

Frank Hall - drums

Dennis McCarten - bass

Bill Branch - vocals

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

Biography : This is a pretty good late period hard rock psych concept LP that few people know about. Poe originally were the Playboys of Edinburg, a McAllen Texas band who began releasing singles in 1965. The Playboys of Edinburg released 7 or 8 singles in various pop rock styles (garage, beat, folk-rock and hard rock) throughout the 1960’s and eventually relocated to Houston. 

For this 1970/71 UNI release the Playboys of Edinburg changed their name to Poe and created this concept lp. Many of the songs were written and arranged by band members McCord and Williams. The album chronicles the life and thoughts of Edgar Cayce, a man who could put himself into some kind of self-induced sleep state by lying down on a couch, closing his eyes, and folding his hands over his stomach. This state of relaxation and meditation enabled him to place his mind in contact with all time and space. No song better illustrates this theme than the great Up Up Thru The Spiral. This track opens with classic paisley guitar riffs and one of the all time great opening psych lines which refers to Cayce’s incredible ability. Up Up Thru The Spiral is also notable for a horn arrangement, distorted vocals and what sounds like tape loop experimentations. This is flat out a great psych pop track with an English sound similar to that of the Move. Other tracks like the futuristic psych of Automatic Writing, Tune In, the furious Sons of Belial, and Fallin’ Off are pretty vicious and rock hard. Fallin’ Off is more than a nod to English rock group Free, with it’s great, heavy guitar riffs, gritty vocals and sound fx explosion mid way thru the track. This song sounds like a lost classic rock radio hit and had considerable pop appeal, it’s definitely a good one! The lead off track, There Is A River reveals a strong gospel influence and has George Harrison style guitar playing and Beatlesque harmonies. Another reflective number, Debt To Pay is a really good acoustic song with sweet, sugary harmonies and a personal favorite. 

This is a solid set from an unknown band who can balance soft reflective tunes with druggy, stoned hard rockers. Vinyl orginals are somewhat cheap although the album saw a cd reissue in 2006 off the Mr. Nobody record label.

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

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

REPOST : Heavy Metal Kids - Heavy Metal Kids (2009 Remastered Cherry Red Records) 1974 (REQUEST)

Biography : The Heavy Metal Kids never became stars, never won any readers polls, never had a hit record. But, if you could roll back time to that moment in 1974 when the very first needle hit the very first pressing of their eponymous debut album, it would be impossible to predict that sordid fate. Quite frankly, Heavy Metal Kids rises so far above the rest of the period pack that -- Sparks and Cockney Rebel notwithstanding -- there was no more exciting proposition to be found on the new-release shelves. Part unrepentant boogie band, part pub rock leviathan, and part good-time distillation of the best of Slade and the Faces, fronted by the utterly irresistible cackle of singer Gary Holton, the Kids' flash, slash, and sashay assault had a cosmic energy that could transform even the ballads ("It's the Same," "Nature of My Game") into fists-in-the-air anthems. A decade later, the band could have so rewritten the notion of the power ballad that suffering through the 1980s might never have been necessary; a decade earlier, the British Invasion could have been the new prog. Imagine Jim Steinman producing Them, and you're close to the majesty of Heavy Metal Kids. As it is, the only people who seem to have truly noted what the Kids were doing were the Rolling Stones -- the laconic reggae of "Run Around Eyes" is a dry run for the Stones' later romp through "Cherry Oh Baby." Heavy Metal Kids hits so many peaks -- "Ain't It Hard," "Always Plenty of Women," "Hangin' On" -- that the end of the album comes so quickly that even they seemed to be taken by surprise. The closing "Rock n' Roll Man," heralded by one of the most triumphant roars in rock history, is followed not by the sound of needle scraping label, but by a violent reprise for what remains the Kids' finest hour: the stomping, storming "We Gotta Go." And that is not only a juxtaposition that will have you talking Cockney for the rest of the day, it also tells you everything you need to know about the Heavy Metal Kids. Nothing can be taken for granted -- and nothing was. Including the fame and glory that this album still demands. Review by Dave Thompson

Tracklist

01.Hangin' On 3:11

02.Ain't It Hard 3:00

03.It's The Same 5:49

04.Run Around Eyes 2:59

05.We Gotta Go 4:51

06.Always Plenty Of Women 3:27

07.Nature Of My Game 3:37

08.Kind Woman 4:26

09.Rock N Roll Man 7:37

10.We Gotta Go (Reprise) 1:30

Bonus Track

11.It's The Same (Live) 3:42

Line-up

Micky Waller - guitars

Ronnie Thomas - bass & vocals

Gary Holton - lead vocals

Danny Peyronel - keyboards & vocals

Keith Boyce - drums & percussion

Marcus Hook Roll Band - Tales of Old Grand-Daddy (2014 Parlophone Records) 1973

Biography : Marcus Hook Roll Band wasn't a long-lived band, nor did they get much attention when they were active between the years of 1972 and 1974. Nevertheless, the studio-based group occupies an important place in Australian rock & roll history because this creation of famed producers Harry Vanda and George Young also featured George's brothers Malcolm and Angus Young, who would go on to form AC/DC after the dissolution of Marcus Hook Roll Band. Musically, MHRB didn't sound much like AC/DC at all. There were echoes of the Easybeats, Vanda/Young's big '60s success, but they were closer to the fizzy bubblegum of the Sweet, only with heavier guitars. That was all evident on their lone album, Tales of Old Grand Daddy, which appeared in Australia in 1973 and was succeeded by several singles. None of the recordings were a hit and soon the project came to an end, with Vanda/Young pursuing a very successful production career highlighted by the early AC/DC records. Tales of Old Grand Daddy got its first wide international release in an expanded edition in 2014 via a CD that also contained the non-LP singles. 

CD Review : A midpoint for the collaboration of Harry Vanda and George Young and the missing early chapter in AC/DC's career, the Marcus Hook Roll Band was an Australian studio creation of the early '70s. Despite the heavy connection to AC/DC -- it features Malcolm and Angus Young on guitars while some of the songs contain musical elements that would later resurface on AC/DC albums -- it sounds very little like that sleazy heavy rock band and, despite boasting a song called "Goodbye Jane," it doesn't even sound as nasty as the big-booted Slade. Instead, this is very much in the vein of the Sweet, tempered with a little bit of the garage rock of the Easybeats and a lot of slicked-up, radio-ready studio sheen. Tales of Old Grand-Daddy shows bits of album rock indulgence -- "Silver Shoes" marches like the second side of Abbey Road -- but it's best when it's all about trashy riffs, big beats, and singalong vocals. Strictly speaking, it's not glam -- compared to all the glitter emanating from the U.K., it's not as sexy or cheap; it's polished and assured -- but it's a kindred spirit and a whole lot of fun. Review by Stephen Thomas Erlewine

Tracklist

01.Can't Stand the Heat 3:11

02.Goodbye Jane 3:34

03.Quick Reaction 3:03

04.Silver Shoes & Strawberry Wine 5:48

05.Watch Her Do It Now 3:40

06.People and the Power 4:52

07.Red Revolution 3:10

08.Shot in the Head 3:26

09.Ape Man 2:51

10.Cry for Me 3:55

11.One of These Days (Previously Unreleased) 4:38

12.Natural Man (1972 A-Side of Regal Zonophone RZ 3061) 3:48

13.Moonshine Blues (1974 B-Side of Can't Stand The Heat BASF 06 19196-0) 3:14

14.Louisiana Lady (1973 A-Side of Regal Zonophone RZ 3072) 3:04

15.Ride Baby Ride (Previously Unreleased) 3:09

Line-up

Harry Vanda (The Easybeats, Flash And The Pan) - Vocal, Guitar

George Young (The Easybeats, Flash And The Pan) - Vocal, Guitar, Piano, Bass)

Angus Young (AC/DC) - Guitar

Malcolm Young (AC/DC) - Guitar

Ian Campbell - Bass

Howie Casey - Sax

John Proud - Drums

Freddie Smith - Drums

Alex Young - Sax

Boomerang - Boomerang (2001 Black Rose Records) 1971

Biography : Boomerang's eponymous 1971 debut also proved to be their last (though a shelved second album remains stashed away somewhere), and its surprisingly stripped-down and unfettered blues-rock approach will probably surprise those familiar with vocalist/organist Mark Stein's earlier work with psychedelic overlords Vanilla Fudge. Clearly inspired by the white-knuckled intensity of Led Zeppelin's first two albums, economic hard rockers like "Juke It," "Cynthia Fever," and "The Peddler" attempted to deliver the same thrilling brand of sheer power masking barely reigned-in virtuosity. Like every other six-stringer of the day, guitar wunderkind Ricky Ramirez (press clippings claimed he was 15 at the time of this recording) was thrust into the role of guitar hero whether he liked it or not; and, despite falling well short of achieving headline status (witness his nonexistent post-Boomerang career), he handled himself convincingly enough throughout, even contributing a nifty backward solo to "Hard Times." As for the band's true frontman and centerpiece, Mark Stein, tunes like the bluesy ballad "Fisherman" and the aforementioned "Juke It" reveal just how much future Deep Purple singer David Coverdale borrowed from his bluesy style. Not to beat a dead horse, but, also like Purple's Coverdale-fronted Mark III lineup, Boomerang offered frequent vocal sparing matches between Stein and bassist Jo Casmir. The duo trades vocal licks with particularly successful results on the extremely funky "Mockingbird," and the entire group's ability to mesh with lush string arrangements on the almost Allman Brothers-like "Brother's Comin' Home" serves as a final reminder of Boomerang's restrained versatility and unfulfilled promise. That fact notwithstanding, all of the above help make this self-titled release an obscure delight for enthusiasts of early-'70s hard rock. allmusic.com

Tracklist

01.Juke It 4:55

02.Fisherman 3:35

03.Hard Times 4:10

04.Mockingbird 4:02

05.Cynthia Fever 3:45

06.Brother's Comin' Home 4:44

07.The Peddler 5:18

Line-up

Mark Stein - Organ, Piano & Vocals

James Galluzi - Drums & Percussion

Richard Rameriz - Electric & Acoustic Guitars

Joe Casmir - Bass Guitar & Vocals

Boxer - Below The Belt (2012 Esoteric Recordings) 1975

Biography : Below the Belt was the debut album by Boxer, released on the Virgin label in January 1976. The album attracted less attention for its music than for its cover art. Photographed by Alex Henderson with graphics by Richard Evans, the cover featured model Stephanie Marrian spreadeagled and naked but for a pair of shoes, with a man's arm reaching up between her legs and his boxing-gloved hand hiding her genitalia. The back cover at first showed Stephanie in complete full-frontal nudity, but later pressings covered her up with the band's belt-styled logo. The cover was completely re-designed for the US market using the band photo from the inside of the UK gatefold cover. The lineup on this album is a live show quartet with keyboardist Chris Stainton brought in during the recording sessions. Wiki

Approximately two years after the breakup of Patto, Mike Patto and Ollie Halsall reunited in 1975 to form Boxer along with Keith Ellis on bass (Van Der Graaf Generator, Juicy Lucy, Spooky Tooth, et al.) and Tony Newman on drums (Sounds Inc., Jeff Beck Group, Kevin Ayers, et al.). Keith and Mike were in Spooky Tooth together.  Mike left that band after a year and began working as a promotions man for Good Ear Records, owned by Mike's manager, Nigel Thomas.  Nigel would also become Boxer's manager and give them their name.  Ollie and Tony were playing together touring with Kevin Ayers, and when the touring stopped they got Mike to quit the record biz and form a new band.

This time the music Mike and Ollie brought to the table was straight-ahead rock that reflected little of their Patto past, except for possibly some of the songs on the unreleased Monkey's Bum album. The band released it's first album, "Below The Belt", in 1975.  "All The Time In The World" was released as a single with a great non-LP B-side titled "Don't Wait".  They recorded a great second album called "Bloodletting" that would for some reason not be released until 1979. Very little of the Boxer story seems to be documented, especially about the breakup of the original lineup.  Sometime in late 1976, Halsall is said to have quit the band.  But somehow Boxer's management ended up in possession of the band's equipment, including Ollie's guitars (as late as 1981, Ollie still didn't own an electric guitar of his own).  This is just hearsay, but the story is that the band was very deep in debt with Nigel Thomas, and he held on to all their equipment.  Then Nigel's company was liquidated, and Ollie's guitars were likely auctioned off by the official receivers.  Where is Ollie's white Gibson Custom SG now? Mike put together a new lineup of the band to record one more Boxer album in 1977 called "Absolutely".  The new lineup band consisted of Mike, Chris Stainton on keyboards, Tim Bogert on bass/vocals, Adrian Fisher on guitar, and Eddie Tuduri on drums.  The album is not as raw and rocking as the first albums, but there are some fine moments of musicianship and songwriting on this album.  The Randy Newman-esque song "Everybody's A Star" was released as a single.  This album would be Mike's final release before passing away in 1979 with lymphatic leukemia (cancer of lymph glands). They did some BBC sessions, and their tours, at least for the original lineup, were critically acclaimed.  Their first LP cover did get them some attention through controversy.  Many seem to remember their first album cover, even if they never did heard the contents.  But, as is typical of the Patto story, Boxer did not achieve a great deal of attention or success. pattofan.com

Tracklist

01.Shooting Star 3:59

02.All The Time In The World 4:27

03.California Calling 4:45

04.Hip Kiss 2:58

05.More Than Meets The Eye 5:25

06.Waiting For A Miracle 5:06

07.Loony Ali 3:58

08.Save Me 3:36

09.Gonna Work Out Fin 5:57

10.Town Drunk 5:17

Bonus Track

11.Don't Wait (Single B-Side) 3:14

Line-up

Keith Ellis - Bass

Ollie Halsall - Guitar and Keyboards

Tony Newman - Drums

Mike Patto - Keyboards and Vocals

Chris Stainton - Keyboard

REPOST : Bullet - The Entrance To Hell (2010 Angel Air Records) 1970 (REQUEST)

Biography : The Entrance to Hell is one of those legendary exhumations at which the Angel Air label has become so adept, delving into archives that even their owners have seemingly forgotten, and emerging with treasures whose very reputations are the stuff of mythology. The jewel this time is the debut album by Bullet, the band formed by John Du Cann and Paul Hammond immediately after departing Atomic Rooster, but whose lifespan was cut short by the emergence of another, better-known American band of the same name. Bullet U.K. changed their name to Hard Stuff, and promptly re-recorded their already complete debut album, renaming it Bulletproof, and leaving the original tracks in the vault. Arguably, they made the correct decision Bulletproof, as it eventually emerged, is very much a classic of its ilk, a hard-hitting metal rocker that compensates in sheer bludgeoning power for what it lacks in finesse or musicality. The Entrance to Hell retains those same qualities but somehow seems to lack the same glue that held its successor together; not quite an album's worth of demos (although that would be a joy), it is instead a rough sketch of what was to come, an excellent collection that would soon be even better. allmusic.com

After being unceremoniously dismissed by Vincent Crane from Atomic Rooster...John Du Cann guitarist / vocalist , together with drummer Paul Hammond, and bassist John Gustafson (Quatermass, Roxy Music and later Ian Gillan), quickly picked up the pieces and formed a power trio of their own called Bullet in 1970. The band which released a couple of albums under the moniker of Hard Stuff (due to the fact that another band in the United States was already using the name Bullet) sadly never really got off the ground as a near fatal car accident ended things rather abruptly in 1973. Fast forward to the present and Angel Air Records has managed to snag the original master recordings from Du Cann's personal archives which are now available as The Entrance To Hell.

Without Crane's organ to contend with Du Cann assembled himself a real gritty sounding, blues based power trio built around his unlimited arsenal of crunchy guitar riffs and scorching solos. Together with Gustafson's meaty bass playing and Hammond's rock solid attack behind the kit Bullet certainly had all the ingredients in place for a shot at commercial rock success. Du Cann and Gustafson pretty much split the lion's share of the songwriting duties down the middle and their different writing styles definitely add to the bands overall dynamic. For example Gustafson's funkier, hook laden approach and soaring lead vocals can be hard on tracks like "Taken Alive" and "Sinister Minister", while Du Cann's darker themes also yield some equally as stunning results on "Time Gambler", "Fortunes Told" and "The Soul That I Had". There are also some fabulous, loose sounding jams, as the title track, "Jam (The Rock)" and "Jam ( The Taker)" not only captures the electric and spontaneous energy conjured up when these guys got together and jammed, but they also act as vehicles for all three musicians to demonstrate their versatility as players. Du Cann in particular turns in some extended, blistering, bluesy solos that you hope will never end.

The Entrance To Hell contains just over an hour of kick ass sounding jams and songs that are crammed to the hilt with memorable sounding riffs and melodies. If you're a fan of John Du Cann's previous work in The Attack, Andromeda and Atomic Rooster, or you just appreciate good old fashioned, vintage sounding classic / hard rock from the 70's, then these newly issued recordings from Bullet should definitely be able to give you what you're looking for.

Thanks to adamus67 for the great information.

Tracklist
01.Door Open
02.Millionaire
03.No Witch At All
04.Taken Alive-Amyl Nitrate
05.The Soul That I Had
06.Entrance To Hell
07.The Orchestrator
08.Hell, Demonic Possession
09.Fortunes Told
10.Sinister Minister
11.Jam (The Rock)
12.Time Gambler
13.Monster In Paradise
14.Jay Time
15.Mr Longevity
16.Door Closes
17.Jam (The Provider)

Line-up
John Du Cann - Guitar, Vocals
John Gustafson - Bass
Paul Hammond - Drums

Attila - Attila (2009 South Side Digipack) 1970

Biography : Many critics, fans, and college students have spent hours debating the serious question of what the worst album in the history of rock actually is. One listen to Attila would provide them with a definitive answer. Attila undoubtedly is the worst album released in the history of rock & roll -- hell, the history of recorded music itself. There have been many bad ideas in rock, but none match the colossal stupidity of Attila. There's a reason why they're the only heavy rock organ-and-drums duo in the history of rock & roll -- it's an atrocious combination. Organ and drum combos work well in jazz, because the musicians know how to balance the dynamics of the two instruments, but in this group of Huns, it becomes an unbearable, unholy noise. Billy Joel decided that the only way a keyboardist could compete with the guitarists popping up in Hendrix's wake was to rig his organ with piles of effects pedals, Leslie organs, distortion, and wah-wah -- and use them all at once while he yells, not sings, and Jon Small flails away haplessly at his drums. It's impossible to make out the riffs, since the organ just sounds like a wall of white noise, and there are no melodies, only shouting. Everything is turned to 11 -- because it's one louder than ten, innit? -- and even when the group tries out a different, slower style, it still sounds the same, because the instrumentation, attack, and effects never change. By the end of the album, it feels as if a drill has punctured the center of your skull -- it's that piercing, painful, and monotonous. Joel has gone on record describing the results as "psychedelic bullsh*t." Remove the word "psychedelic" and you have an accurate description of the album. [By the way, Joel and Small are dressed as Huns on the cover. For some reason, they're standing in a meat locker. It's as if the duo unconsciously knew they were creating the most ridiculous album package in rock & roll history.] Review by Stephen Thomas Erlewine

Tracklist:
01.Wonder Woman 3:38
02.California Flash 3:32
03.Revenge Is Sweet 4:00
04.Amplifier Fire 7:39
a) Godzilla
b) March Of The Huns
05.Rollin' Home 4:52
06.Tear This Castle Down 5:49
07.Holy Moses 4:30
08.Brain Invasion 5:41

Line-up:
Billy Joel - vocals, keyboard player, arranger-composer, Taurus
Jon Small - composer-arranger, drums, Capricorn
Glenn Evans - Road Manager and creator of the direct input of a Hammond organ to Marshall Amps.

Bon Scott & Fraternity - Complete Sessions (2CD Raven) 1971 - 1972

Biography : Complete Sessions 1971-72 gathers together all of Fraternity's recordings, most of which feature Bon Scott, who would later gain fame as the lead singer of AC/DC. Fans of that hard-rocking group will be disappointed if looking to find kindred spirits here though, as Fraternity was a hippie band inspired by rock of the prog, country, and boogie variety. And while Scott's vocal is unmistakable, there is a vibrato present that was ultimately shaved off for the stripped-down AC/DC. Oftentimes Fraternity sounds like a group unable to decide if they wanted to be the next Procol Harum or Australia's version of the Band, resulting in an unusual hybrid of prog rock and country-rock. They would also delve into the blues on occasion, which is when the closest comparisons to AC/DC can be made. This double-disc collection also includes Fraternity's first single (recorded before Scott joined), previously unreleased tracks, and two excerpts from Bon Scott radio interviews conducted during the late '70s. Review by Bart Bealmear

CD1:
01.Seasons Of Change (Single Version) 3:37
02.Livestock 3:40
03.Summerville 4:22
04.Raglan's Folly 6:02
05.Cool Spot 4:54
06.Grand Canyon Spot 4:54
07.Jupiter's Landscape 2:47
08.You Have A God 2:26
09.It 8:23
10.The Race (Part 1) 2:57
11.The Race (Part 2) 4:13
12.Why Did It Have To Be Me 2:39
13.Question 3:38

CD2:
01.The Shape I'm In 3:39
02.If You Got It (Single Version) 3:53
03.Welfare Boogie 3:42
04.Annabelle 3:58
05.Seasons Of Change 3:54
06.You Have A God 3:10
07.Hemming's Farm 3:47
08.Raglan's Folly 4:41
09.Getting Off 3:25
10.Sommerville R.I.P. 3:53
11.Canyon Suite 7:20
12.If You Got It 4:06
13.'Battle Of The Sounds' Sequence (includes Seasons of Change and If You Got It) 4:39
14.Bon Scott Talks With David Day Of 5KA, Adelaide, 1977 2:30
15.Bon Scott Talks With Sheila Renay Of KSJO, San Jose, 1978 1:53

Fraternity:
Bon Scott - Lead Vocals
Mick Jurd - Lead Guitars
John Freeman - Drums
John Bisset - Keyboards, Vocals
Bruce Howe - Bass, Vocals
"Uncle" John Eyers - Harmonica
Sam See - Slide Guitar, Piano
Tony Buettel - Drums

Heavy Metal Kids - Heavy Metal Kids (2009 Remastered) 1974

Biography: The Heavy Metal Kids never became stars, never won any readers polls, never had a hit record. But, if you could roll back time to that moment in 1974 when the very first needle hit the very first pressing of their eponymous debut album, it would be impossible to predict that sordid fate. Quite frankly, Heavy Metal Kids rises so far above the rest of the period pack that Sparks and Cockney Rebel notwithstanding there was no more exciting proposition to be found on the new-release shelves. Part unrepentant boogie band, part pub rock leviathan, and part good-time distillation of the best of Slade and the Faces, fronted by the utterly irresistible cackle of singer Gary Holton, the Kids' flash, slash, and sashay assault had a cosmic energy that could transform even the ballads ("It's the Same," "Nature of My Game") into fists-in-the-air anthems. A decade later, the band could have so rewritten the notion of the power ballad that suffering through the 1980s might never have been necessary; a decade earlier, the British Invasion could have been the new prog. Imagine Jim Steinman producing Them, and you're close to the majesty of Heavy Metal Kids. As it is, the only people who seem to have truly noted what the Kids were doing were the Rolling Stones the laconic reggae of "Run Around Eyes" is a dry run for the Stones' later romp through "Cherry Oh Baby." Heavy Metal Kids hits so many peaks "Ain't It Hard," "Always Plenty of Women," "Hangin' On" that the end of the album comes so quickly that even they seemed to be taken by surprise. The closing "Rock n' Roll Man," heralded by one of the most triumphant roars in rock history, is followed not by the sound of needle scraping label, but by a violent reprise for what remains the Kids' finest hour: the stomping, storming "We Gotta Go." And that is not only a juxtaposition that will have you talking Cockney for the rest of the day, it also tells you everything you need to know about The Heavy Metal Kids. Nothing can be taken for granted and nothing was. Including the fame and glory that this album still demands. allmusic.com

Tracklist:
01.Hangin' On 3:11
02.Ain't It Hard 3:00
03.It's The Same 5:49
04.Run Around Eyes 2:59
05.We Gotta Go 4:51
06.Always Plenty Of Women 3:27
07.Nature Of My Game 3:37
08.Kind Woman 4:26
09.Rock N Roll Man 7:37
10.We Gotta Go (Reprise) 1:30
Bonus Track:
11.It's The Same (Live) 3:42

Heavy Metal Kids:
Micky Waller - guitars
Ronnie Thomas - bass & vocals
Gary Holton - lead vocals
Danny Peyronel - keyboards & vocals
Keith Boyce - drums & percussion

Blue Öyster Cult - Blue Öyster Cult (2001 Legacy Edition) 1972

Two years before Kiss roared out of Long Island with its self-titled debut, Blue Öyster Cult, the latest incarnation of a band assembled by guitarist Donald "Buck Dharma" Roeser and drummer Albert Bouchard in 1967, issued its dark, eponymously-titled heavy rock monolith. Managed and produced by the astronomically minded and conspiratorially haunted Sandy Pearlman, BÖC rode the hot, hellbound rails of blistering hard rock as pioneered by Steppenwolf, fierce mutated biker blues, and a kind of dark psychedelia that could have only come out New York. The band's debut relied heavily on the lyrics of Pearlman and rock critic Richard Meltzer, as well as Pearlman's pioneering production that layered guitars in staggered sheets of sound over a muddy mix that kept Eric Bloom's delivery in the middle of the mix and made it tough to decipher. This was on purpose to draw the listener into the songs cryptically and ambiguously. From the opener, "Transmaniacon MC," the listener knew something very different was afoot. This is dark, amphetamine-fueled occult music that relied on not one, but three guitars Bloom and keyboardist Allen Lanier added their own parts to Roeser's incessant riffing: a barely audible upright piano keeping the changes rooted in early rock and the blues, and a rhythm attack by Bouchard and his brother Joe on bass that was barely contained inside the tune's time signature. From the next track on "I'm on the Lamb But I Ain't No Sheep," elliptical lyrics talked about "the red and the black," while darkening themselves with stunning riffs and crescendos that were as theatrical as they were musical, and insured the Cult notice among the other acts bursting out of the seams of post-'60's rock. Other standouts include the cosmic "Stairway to the Stars," the boogie rave-up "Before the Kiss, a Redcap," that sounded like a mutant Savoy Brown meeting Canned Heat at Altamont. But it is on "Cities on Flame With Rock & Roll," that the Cult's sinister plan for world domination is best displayed. From its knotty, overdriven riff to its rhythm guitar vamp, Vox organ shimmer, its crash cymbal ride and plodding bass and drum slog through the changes not to mention its title it is the ultimate in early metal anthems. Add to this the swirling quizzicality of "Workshop of the Telescopes" that lent the band some of its image cred. [The 2001 remastered edition by Legacy gives punters four bonus tracks in the form of demos recorded by the band's first incarnation as Soft White Underbelly. These are not merely throwaways: it is readily apparent that by 1969, BÖC was well on their way to creating something new and menacingly different. The only questionable item is the last track: a cover version of Bobby Freeman's "Betty Lou's Got a New Pair of Shoes," that is utterly devoid of interest.] allmusic.com

Tracklist:
01.Transmaniacon MC
02.I'm On the Lamb But I Ain't no Sheep
03.Then Came the Last Days of May
04.Stairway to the Stars
05.Before the Kiss, a Redcap
06.Screams
07.She's as Beautiful as a Foot
08.Cities On Flame with Rock and Roll
09.Workshop of the Telescopes
10.Redeemed
11.Donovan's Monkey (Demo)
12.What Is Quicksand? (Demo)
13.A Fact About Sneakers (Demo)
14.Betty Lou's Got a New Pair of Shoes (Demo)

Blue Öyster Cult:
Eric Bloom - lead vocals, stun guitar, keyboards
Albert Bouchard - drums, lead vocals (track 8)
Joe Bouchard - bass, lead vocals (track 6)
Allen Lanier - rhythm guitar, keyboards
Donald "Buck Dharma" Roeser - lead guitar, lead vocals (tracks 3 and 5)

Bedlam - Bedlam 1973

Bedlam (originally known as Beast when it formed in 1972) was a British hard rock band featuring singer Frank Aiello (from Truth), guitarist Dave Ball (from Procol Harum), bassist Dennis Ball (formerly with Long John Baldry), and drummer Cozy Powell (formerly with Jeff Beck). They made one self-titled album produced by Felix Pappalardi (producer of Cream, member of Mountain) in 1973, before breaking up in 1974. allmusic.com

This band should have been as big as Led Zeppelin. The signs were all there, moody and magnificent blues guitarist of the highest caliber in the form of Dave Ball (from Procol Harum) a firm rock, thunderous bass - Dennis Ball (formerly with Long John Baldry) - the voice of a banshee cockney Frank Aiello (from Truth) and Mr Cozy Powell on drums. Bedlam were signed to Chrysalis Records and released their self-titled debut in 1973 remains a classic,a true gem of hard rock, Powell broke up the band in 1974 to pursue other projects.

The self-titled studio album is a very solid slice of bluesy, funky hard rock, produced by Felix Pappalardi (Mountain), that surprisingly didn't garner more attention than it did. Not too far removed from what was coming out of the Deep Purple, Black Sabbath, Cactus, Mountain, Budgie, Free, or Nazareth camps at the time, Bedlam showed a penchant for memorable, heavy rocking songs that featured the stellar musical interplay of Powell and the Ball brothers, plus the powerful vocals of Aiello. Though many tunes have a blues background, Ball's riffs are heavy, especially on tracks like "Believe in You", "Hot Lips", and "Seven Long Years", but there's also a funkiness at times that reminds of what Deep Purple where soon to jump into on the Burn and Stormbringer albums. For those who crave those heavy rockin', blues & boogie sounds of bands like Cactus and Mountain, check out the monstrous "Whiskey and Wine" and the hard driving "Putting On the Flesh" for some distorted riffs and crashing drum fills. "Set Me Free" is a bruising heavy rock track, with Aiello sounding a bit like Jack Bruce and the rest of the band really getting down and dirty for some fine proto-metal. It's songs like this that makes it mind boggling that this band didn't get more attention.

Considered one of England's best drummers and a lot of demand for rock and pop Cozy Powell was almost legendary for a heavy hit style that could be done to work with many types of rock music, whether for the thundering pop productions helmed by Mickie Most Black Sabbath Emerson Lake & Powell or even his own solo work (notably "Dance with the Devil" which was a major English hit in 1973)

Powell began his professional music career in 1965 with sorcerers eventually decommissioning work with Jeff Beck after Beck left the Yardbirds in 1971, Powell formed Bedlam, but eventually abandoned this project to produce singles such as "Dance with the Devil" He later imageas Cozy Powell's Hammer, which broke up in 1975 after a brief sabbatical, he joined Rainbow helps to give the band a section thunderous rhythm before exiting after four years and four albums in 1980, always in demand for the drum seat, he alternated between session work and working in different bands, including the Michael Schenker Group, Whitesnake and Black Sabbath never staying in one band for very long

In 1996, he worked with former Fleetwood Mac guitarist Peter Green on his long-awaited comeback tour at the time of his death on April 5, 1998 he was recovering from a foot injury which had sidelined him from touring work with guitarist Yngvie Malmsteen He was driving on the M4 towards Bristol when he apparently lost control of his car (due toto bad weather) slamming into the center divider of the highway, he died some hours later in hospital. Thanks to adamus67 for this review

Tracklist:
01.Believe In You 3:58
02.Hot Lips 4:33
03.Sarah 3:44
04.Sweet Sister Mary 2:48
05.Seven Long Years 3:43
06.The Beast 5:27
07.Whiskey And Wine 2:31
08.Looking Through Love's Eyes 2:53
09.Putting On The Flesh 3:52
10.Set Me Free 4:18

Bedlam:
Francesco (Frank) Aiello - vocals
Dave Ball - guitar
Dennis Ball - bass
Cozy Powell (Colin Flooks) - drums
and:
Max Middleton - keyboards
Felix Pappalardi - keyboards, producer

Bloodrock - Bloodrock 3 1971

On their third album, Bloodrock makes a full return to the ominous hard-rocking sound that made their debut album such a solid release. For proof, look no further than "Whiskey Vengeance": This gutsy rocker starts with a creepy wordless vocal intro, then breaks into a galloping riff that provides a blood-pumping backdrop for its tale of heartless revenge. Bloodrock 3 also plays up the progressive edge to the group's sound that was only hinted at on previous songs like "Melvin Laid an Egg" and "D.O.A." For instance, the album opener, "Jessica," boasts some instrumental breaks that throw out surprisingly intricate riffs at breakneck speed. "Breach of Lease" is another prog-ish cut that runs for nine minutes, but manages to avoid wearing out its welcome through a carefully crafted arrangement that alternates eerie, quiet organ-led verses with a pulse-pounding chorus. Bloodrock also continues their Grand Funk-like attempts at social commentary with "Song for a Brother" and "America, America": The lyrics are a bit simplistic but are straightforward enough to get the point across and further benefit from being backed by energetic, well-arranged music. The group still has trouble with its ballads, though: "A Certain Kind" has a pretty piano-led melody but suffers from generic, mawkish love lyrics and a strained high-range vocal from Jim Rutledge. Despite occasional lapses like this, Bloodrock 3 is an effective hard rock album that boasts tight arrangements and a spirited performance by the band. It's not for the casual listener, but anyone who enjoyed "D.O.A." will probably enjoy this album. allmusic.com

Tracklist:
01.Jessica 4:40
02.Whiskey 4:12
03.Song for a Brother 5:15
04.You Gotta Roll 5:05
05.Breach of Lease 9:05
06.Kool-Aid Kids 6:12
07.A Certain Kind 4:12
08.America, America 1:20

Bloodrock:
Rick Cobb - Drums, Percussion
Eddie Grundy - Bass, Vocals
Steve Hill - Keyboards, Vocals
Lee Pickens - Guitar, Vocals
Jim Rutledge - Vocals
Nick Taylor - Guitar, Vocals
 

Bloodrock - Bloodrock 2 1971

On their second outing, Bloodrock became a hitmaking proposition thanks to the success of "D.O.A." Despite the morbid nature of this hit, the album is not another spooky epic like their debut. This time out, the group keeps the music fairly heavy but goes for a lighter feel in the songwriting. For instance, "Cheater" is not the revenge tale one might expect: instead, it's the surprisingly earnest promise of a lover vowing to remain faithful. Unfortunately, "peace and love" themes do not suit Bloodrock as well as the darker themes that characterized their first release. The attempts at creating heartfelt love songs feel embarrassingly sappy ("Sable and Pearl" is the biggest culprit in this department), and these types of lyrics do not mix comfortably with the group's hard-rocking sound. Bloodrock also take a stab at social commentary on songs like "Children's Heritage" and "Dier Not a Lover," but their message lyrics come off as muddled and amateurish. The best moments on Bloodrock 2 are those that go for the spooky feel of the first album: "Fallin'" uses crashing drums and descending riffs to bring the lyric's mood of depression to life, and "D.O.A.," which graphically recounts the last thoughts of a plane-crash victim, became a surprise pop chart hit thanks to its powerfully spooky arrangement. Ultimately, Bloodrock 2 offers enough solid tracks to appeal to the group's devotees, but casual fans who just want to hear "D.O.A." would be better off hunting that song down on a compilation. allmusic.com

Tracklist:
01.Lucky in the Morning 5:48
02.Cheater 6:52
03.Sable and Pearl 4:58
04.Fallin' 4:06
05.Children's Heritage 3:34
06.Dier Not a Lover 4:10
07.D.O.A.8:30
08.Fancy Space Odyssey 5:11

Bloodrock:
Rick Cobb - Drums, Percussion
Eddie Grundy - Bass, Vocals
Steve Hill - Keyboards, Vocals
Lee Pickens - Guitar, Vocals
Jim Rutledge - Vocals
Nick Taylor - Guitar, Vocals

Nitzinger - One Foot In History (Akarma Digipack) 1972

Aside from jettisoning some increasingly archaic psychedelic tendencies (and welcoming second guitarist Bugs Henderson to the fold), Nitzinger's rather arrogantly named sophomore outing, One Foot in History, pretty much picked up right where the Texan band's critically lauded first album had left off. Which is to say that it too boasted an eclectic batch of songs whose only common denominator was orbiting Planet Southern Rock in some capacity, at a time when the genre was approaching its summer solstice, thanks to the tenacity of its star-crossed founding fathers, the Allman Brothers Band, and their fast-rising heirs apparent, Lynyrd Skynyrd. Among Nitzinger's novel stylistic diversions on One Foot in History were the mellifluous saxophone and orchestrated string backdrops added to the title track and the imperial, Cream-like "Uncle John"; the full-blown jazz breakdown anchoring the Allmans-esque "Motherload"; and, on a negative note, the misplaced, easy listening schmaltz of "Driftwood." Yet heavy Southern rockers were also available in droves, with clear standouts including the barroom brawler "The Cripple Gnat Bounce" (whatever that means!); the driving "Let the Living Grow" (clearly inspired by Humble Pie's barnburning cover of "I Don't Need No Doctor"); and the all-time classic "Earth Eater," which contrasted a pummeling main riff against an amazing melodic hook, the likes of which seems to have cropped up in many an Aerosmith song over the ensuing years. In fact, were it not for the aforementioned "Driftwood" and a pair of rather average rockers in "Take a Picture" and "God Bless the Pervert" (hmmm...funny, but no "Louisiana Cockfight," that one), One Foot in History might have turned out as impressive and enduring as its predecessor. In the end, it was close enough to give no indication of the troubles that lay ahead, as bandleader John Nitzinger became embroiled with too many distractions and made fans wait almost four years for another Nitzinger LP. [New millennium reissues of One Foot in History were enhanced with a pair of bonus tracks: the funky album outtake "Power Glide" and a hair-raising, nine-minute live jam on "Texas Blues, Jelly Roll."]  allmusic.com

Tracklist:
01.Take A Picture
02.Motherlode
03.Good Bless The Pervert
04.Earth Eater
05.Driftwood
06.Let The Living Grow
07.Cripple Gnat Bounce
08.One Foot In History
09.Uncle John
10.Texas Blues/Jelly Roll (Bonus track)

Nitzinger:
John Nitzinger - vocals, guitar
Bugs Henderson - guitar
Curly Benton - vocals
Linda Waring - vocals, percussion

Nitzinger - Nitzinger (Akarma Digipack) 1971

Not a Krautrock band, as the name and release date might suggest, Nitzinger's self-titled debut album from 1971 was in fact the work of a budding Texan guitar cult legend -- the one and only John Nitzinger -- and his namesake power trio, whose music consisted of eclectic but still blues-drenched Southern hard rock and post-psych. The results include ZZ Top-style boogie and blues-rock ("Boogie Queen"), pre-Ted Nugent Gonzo guitar heroisms ("Witness to the Truth"), both of these at once ("Tickelick"), or neither, when it comes to the anthemic Southern rock of "My Last Goodbye," and semi-hit single "Louisiana Cock Fight." In addition, several cuts ("No Sun," "The Nature of Your Taste," etc.) see the trio augmented by soulful backup singers for a Mad Dogs & Englishmen sort of vibe, while others still see the versatile trio flirting with country-rock ("L.A. Texas Boy ") and plaintive balladry (the piano-enhanced "Enigma"). Yet the album's most intriguing/unique quality may be how the deceptively simple, universal, off the cuff material described above features obvious, if nuanced, sophistication, and is offset by lyrically weighty, post-flower power fare as seen in the aforementioned "No Sun" and "Hero of the War." And the fact that even these would-be progressive tendencies are kept to concise song lengths is what probably spared this album from utterly fatal dating; by extension, further separating Nitzinger's raised-on-the-jukebox-singles wheat, from the era's dominant music-conservatory-on-mushrooms chaff. Originally presented in a deluxe gatefold sleeve, it's not surprising that the Nitzinger LP has long been coveted by '70s rock collectors for the band's one-of-a-kind mixture of earthy grit and fearless (possibly naïve) flights of fancy. allmusic.com

Tracklist:
01.L.A. Texas Boy
02.Ticklelick
03.No Sun
04.Louisiana Cock Fight
05.Boogie Queen
06.Witness To The Truth
07.Nature Of Your Taste
08.My Last Goodbye
09.Enigma
10.Hero Of The War

Bonus tracks 1974:
11. King's X
12. Pretty Boy Shuffle

Nitzinger:
John Nitzinger - lead guitar, lead vocals
Curly Benton - bass, vocals
Bugs Henderson - lead guitar
Linda Waring - percussion section, vocals

Bullet - The Entrance To Hell 1970

The Entrance to Hell is one of those legendary exhumations at which the Angel Air label has become so adept, delving into archives that even their owners have seemingly forgotten, and emerging with treasures whose very reputations are the stuff of mythology. The jewel this time is the debut album by Bullet, the band formed by John Du Cann and Paul Hammond immediately after departing Atomic Rooster, but whose lifespan was cut short by the emergence of another, better-known American band of the same name. Bullet U.K. changed their name to Hard Stuff, and promptly re-recorded their already complete debut album, renaming it Bulletproof, and leaving the original tracks in the vault. Arguably, they made the correct decision Bulletproof, as it eventually emerged, is very much a classic of its ilk, a hard-hitting metal rocker that compensates in sheer bludgeoning power for what it lacks in finesse or musicality. The Entrance to Hell retains those same qualities but somehow seems to lack the same glue that held its successor together; not quite an album's worth of demos (although that would be a joy), it is instead a rough sketch of what was to come, an excellent collection that would soon be even better. allmusic.com

After being unceremoniously dismissed by Vincent Crane from Atomic Rooster...John Du Cann guitarist / vocalist , together with drummer Paul Hammond, and bassist John Gustafson (Quatermass, Roxy Music and later Ian Gillan), quickly picked up the pieces and formed a power trio of their own called Bullet in 1970. The band which released a couple of albums under the moniker of Hard Stuff (due to the fact that another band in the United States was already using the name Bullet) sadly never really got off the ground as a near fatal car accident ended things rather abruptly in 1973. Fast forward to the present and Angel Air Records has managed to snag the original master recordings from Du Cann's personal archives which are now available as The Entrance To Hell.

Without Crane's organ to contend with Du Cann assembled himself a real gritty sounding, blues based power trio built around his unlimited arsenal of crunchy guitar riffs and scorching solos. Together with Gustafson's meaty bass playing and Hammond's rock solid attack behind the kit Bullet certainly had all the ingredients in place for a shot at commercial rock success. Du Cann and Gustafson pretty much split the lion's share of the songwriting duties down the middle and their different writing styles definitely add to the bands overall dynamic. For example Gustafson's funkier, hook laden approach and soaring lead vocals can be hard on tracks like "Taken Alive" and "Sinister Minister", while Du Cann's darker themes also yield some equally as stunning results on "Time Gambler", "Fortunes Told" and "The Soul That I Had". There are also some fabulous, loose sounding jams, as the title track, "Jam (The Rock)" and "Jam ( The Taker)" not only captures the electric and spontaneous energy conjured up when these guys got together and jammed, but they also act as vehicles for all three musicians to demonstrate their versatility as players. Du Cann in particular turns in some extended, blistering, bluesy solos that you hope will never end.

The Entrance To Hell contains just over an hour of kick ass sounding jams and songs that are crammed to the hilt with memorable sounding riffs and melodies. If you're a fan of John Du Cann's previous work in The Attack, Andromeda and Atomic Rooster, or you just appreciate good old fashioned, vintage sounding classic / hard rock from the 70's, then these newly issued recordings from Bullet should definitely be able to give you what you're looking for. Thanks to adamus67 for the great information.

Tracklist:
01.Door Opens
02.Millionaire
03.No Witch At All
04.Taken Alive
05.The Soul That I Had
06.Entrance To Hell
07.The Orchestrator
08.Hell, Demonic Possession
09.Fortunes Told
10.Sinister Minister
11.Jam (The Rock)
12.Time Gambler
13.Monster In Paradise
14.Jay Time
15.Mr Longevity
16.Door Slams
17.Jam (The Taker)

Bullet:
John Du Cann - Guitar, Vocals
John Gustafson - Bass
Paul Hammond - Drums