The Hobbits - Down To Middle Earth (1967 us, smart sunny folk psych, original Vinyl issue)

Folk-rock outfit the Hobbits was the studio project of Queens, New York-born singer/songwriter Jimmy Curtiss, who ranks as one of the more interesting footnotes in the history of rock & roll -- the rare would-be teen idol who actually wrote his own material (and did so admirably), he later expanded his reach into psychedelia and harmony-laden folk-rock, but while the subject of a small cult following, none of his records ever made a commercial dent. 

Curtiss first surfaced in 1959 as a member of the doo wop combo the Enjays and issued his solo debut, "Without You," on United Artists in 1961 -- the label attempted to position him as a teen crooner in the mold of Bobby Vee or Paul Anka, but he failed to make a commercial impact. After a period working as a songwriter he dropped out of music to pursue a career in advertising before resurfacing in 1967 with the bubblegum cult classic "Psychedelic Situation," a major hit in Germany that attracted little attention at home. 

Curtiss then signed to Decca, collaborating with producers Jerry Vance and Terry Phillips and songwriter Marcia Hillman on the Hobbits -- despite borrowing their name from J.R.R. Tolkien's Lord of the Rings novels and titling their 1967 debut Down to Middle Earth, the Hobbits turned out relatively straightforward sunshine pop, and the album is much sought-after by soft-psych aficionados. The follow-up, Men and Doors: The Hobbits Communicate, appeared in 1968 -- like its predecessor, the record didn't sell, and Decca terminated the contract. 

Curtiss then formed his own label and production company, both dubbed Perception, and helmed an LP and three singles by the psychedelic soul act the Bag, members of which reportedly worked on the Hobbits project as well. Speaking of which, after rechristening the group the New Hobbits, Curtiss released 1969's Back From Middle Earth, essentially a solo effort. According to the liner notes in the second volume of the Soft Sounds for Gentle People series, he eventually ended up in San Francisco, going solely by the initials J.C. -- his current activities and whereabouts are unknown. 

by Jason Ankeny

Tracks
1. Down To Middle Earth (Alan Bernstein, Jerry Vance, Terry Philips) - 2:52
2. I'm Just A Young Man (Jimmy Curtiss) - 2:53
3. Daffodil Days (The Affection Song) (A. Bernstein, J. Vance, T. Philips) - 3:17
4. Break Away (J. Curtiss, L. Zerato) - 2:53
5. Treatsb (J. Vance, T. Philips) - 2:42
6. Hands And Knees  (J. Curtiss, T. Faranda) - 2:48
7. Let Me Run My Fingers Through Your Mind (Buy Me Flowers) (A. Bernstein, J. Vance, T. Philips) - 2:48
8. Out Of My Mind (J. Curtiss) - 2:39
9. Clap Hands Til Daddy Comes Home (J. Curtiss, T. Philips) - 2:28
10.Sunny Day Girl (Jimmy Curtiss) - 2:32

*Jimmy Curtiss - Vocals

Related Act
1969  Jimmy Curtiss - Life

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The Lovin' Spoonful - Do You Believe In Magic(1965 us, wonderful psychedelic popsike blended with folk and rhythm 'n' blues, 2016 Blu Spec bonus tracks edition)

The Lovin' Spoonful. Once dubbed America's answer to the Beatles... "I think that was a fair comment," says bassist Steve Boone. "The Beatles started out as a skiffle band, whereas we were initially a jug band. The styles were very similar. From there, the Beatles became very diverse, as indeed did we. I can see why people put us in the same category as them, and it's ahuge honour."

The New Yorkers very nearly became The Monkees as well... "The producers of the TV show wanted us as their first choice for the role. We even had a presentation made to us about what they were planning. But by this time, the Spoonful had already a hit of our own, and if we'd gone along with the idea, it would have meant a name change to The Monkees.

We weren't prepared to do it, and so the offer was turned down. But I wonder if that was a mistake!" The Lovin' Spoonful, the band whom many now regard as being among the most influential musicians of their time, a band whose first seven singles all hit the Top Ten in the US - remarkable indeed. As is Boone's own story, of how serendipity turned him from his expected career path and into a rock star.

"In 1964 I played in my brother Skip's band out in Long Island; it was nothing grand - merely some fun. I was expecting to go to college to study engineering. I took time out, though, in September of that year to go travel with a friend around Europe, the idea being to get into studying in January 1965.

So, we came to England, got a couple of bikes and hit the road. In the strange way that life happens, we met a couple of Canadian girls just outside of Barcelona, and spent two weeks or so with them. I mention this, because in January 2008, The Lovin' Spoonful toured Canada - and they came along to one of the shows!

It was the first time I'd seen them in 43 years!" By December 1964, Boone was back home - and found I that his brother was now living in Greenwich Village, a thriving musical and creative 'colony' within New York, and it was Skip Boone who encouraged Steve to meet two young men with whom he would change the musical landscape.

"He told me that I should meet these guys John Sebastian and Zal Yanovsky, reckoning they were really cool. So, I went along, took my bass, and we jammed for ages on songs the three of us knew by the likes of Chuck Berry. Now, John and Zal were in the process of starting a band.

They already had a producer (Erik Jacobsen) and management, but were looking for a bassist. They offered me the job. Although I was ready to go back and study, I decided to take a one semester break, and give this a go. I told them, 'OK, I'll give it six months. If we haven't had any success by then, I'm giving it up'."

Boone also brought with him drummer Jan Kotner, an old friend. Now called The Lovin' Spoonful (a name inspired by a line in the song 'Coffee Blues' by Mississippi John Hurt; the idea was suggested to the four by jug band master Fritz Richmond), the band made their live debut in January 1965 at the famed Night Owl Cafe in the village. It was a...disaster!

"I have to admit we were terrible. Joe Merra, the owner, suggested we should go away and rehearse a lot more, and we took that opportunity to make one line-up change. To be honest, Jan never quite fitted what we were doing. He was three or four years older than the rest of us, and I don't think his attitude suited either. My brother recommended this guy with whom he'd been working, which is how Joe Butler joined us in February 1965."

At this juncture, the Spoonful were rehearsing at the Hotel Albert in Greenwich Village, an exotically named establishment that was no more than a skid row flophouse (to use the vernacular). Bands rehearsed and lived there; The Lovin' Spoonful shared space with the Paul Butterfield Blues Band and one or two talents who ended up in the Mamas & The Papas (Yanovsky had previously been in a band called The Mugwumps with Cass Elliot).

"The hotel was just eight blocks from the Night Owl. But we were so poor that, when we played there for the first time with the new line-up, we couldn't afford the cab fare. So we borrowed a barrow and wheeled our equipment down the road." The second debut at the venue was a much bigger success. The band were on their way, and now began to gain a loyal and regular following.

"There were also a lot of music business types who'd come along to check us out, including Phil Spector. Now, we were all big fans of the man, and he was definitely interested in working with us, which was very exciting. But in the end we decided against taking up his offer. The reason? Our management wondered whether Spector's approach would suit us. We loved his famous "Wall Of Sound" production, but we didn't need anything so elaborate. A shoestring of sound suited us better!"

Erik Jacobsen, who had previously been the banjo player in the oddly-named band The Knob Licker Upper 10,000 (they released two albums), was now making a name for himself as a hot producer on the Greenwich Village scene. He already knew Yanovsky from Mugwumps days, and now put the Spoonful into the studio to do a demo, the aim being to get record deal sorted out. But the process was far from painless.

"We cut four songs with Erik, but every label turned us down! The trouble was that at the time radio stations in America were only interested in playing British bands. If you didn't have that sort of accent, then you weren't expected to sell records. So, like the Beatles in their early days, we couldn't get anyone to pick us up."

Eventually, it was one song, 'Do You Believe In Magic' (written by Sebastian), that tipped the balance. Kama Sutra Records, which had only just been launched, took the plunge and signed the band - one of the first artists on their roster.

Inevitably, Jacobsen produced the debut album, 'Do You Believe In Magic', which was to prove something of a watershed release. Not only did it propel the band to significant status commercially - reaching Number 32 in the States, as well as delivering the band's first hit singles - but also gave momentum to a process which altered the very nature of the way everyone perceived albums.."Until then, everyone saw albums no more than two or three singles, plus a lot of covers thrown together," says Boone.

"Not much thought ever went into them, because labels were too busy promoting singles. But then the Beatles put out 'Rubber Soul' and people's attitudes began to shift. Now, everyone saw that album could have a life and credibility of their own. I suppose it was the 'Sgt. Pepper..,' album in 1967 that most see as the real turning point in this respect.

But I'd mark out 'Rubber Soul' two years earlier as the beginnings of the process." The'.. .Magic' record you have here also played its part, because the four refused to be formulaic. The key lies in the diversity of the songs and music. While one can certainly hear the Spoonful's jug band origins, there's an excellent sense of pacing, and the roots of the folk rock stylings they helped to pioneer are definitely in evidence.

"What makes us stand out for me are two important things: firstly there's John's mouth harp playing, which gave the music an extra dimension, and Zal had a really odd, expressive manner on guitar. It was so unusual that, at times, he made it sound like a piano. Put these two together, and it's no wonder we stood apart from so many others."

The Lovin' Spoonful also refused to go along with the usual practices of the day. A lot of artists back then didn't play on their own records, with producers and labels preferring to use the more practised approach of top class session stars, in order to make the records as slick and professional as possible. But that was never going to be the case here.

"It was a very different world back in the '60s," agrees Boone. "Producers were kings, and the record companies were the kingmakers. So a lot of what was recorded then would be about the producer, and the artists were almost irrelevant. We insisted not only on playing on our albums, but also in arranging the songs and having a hands-on input. That did make us stand apart, but also ensured what you heard was what we really sounded like.

"The other thing that made us different was that we never fitted our songs into a pattern. When you had a big hit single, the labels wanted you to repeat, repeat, repeat. It's still the same today, but we refused to do that. So The Lovin' Spoonful were a band who grew all the time."

From a distance of more than four decades, how does Boone think 'Do You Believe In Magic' has weathered? "I still listen to what we did, and marvel at the music. Not in an arrogant fashion, but it brings home the point that we were four musicians who came from such diverse backgrounds in terms of influence, yet we gelled. Each one of us brought our own musical passions into the mix, but we had respect for one another and what we could achieve together.

"I think the album had a big effect on music. Nowadays when we tour (the band split in 1968; their induction into the Rock 'N' Roll Hall Of Fame in 2000 led to a re-union, albeit without Sebastian and Yanovsky - the tatter died in 2002), we come across loads of musicians who say that they were inspired by us in the '60s. Unfortunately, what we've never gotten was critical approval. This band were, and are, not media darlings."

For those who've heard 'Do You Believe In Magic' before, this is a chance to re-visit an old friend, and perhaps discover depths and breadths which have never been obvious before. To those who haven't heard the album yet, you're about to embark on one of the truty great musical journeys of the 1960s - in fact, of all time 

by Malcolm Dome

Tracks
1. Do You Believe In Magic (John Sebastian) - 2:07
2. Blues in the Bottle (Traditional) - 2:12
3. Sportin' Life (Traditional) - 4:04
4. My Gal (Traditional) - 2:38
5. You Baby (Barry Mann, Phil Spector, Cynthia Weil) - 2:56
6. Fishin' Blues (Traditional) - 2:02
7. Did You Ever Have to Make up Your Mind? (Sebastian) - 1:59
8. Wild About My Lovin' (Traditional) - 2:36
9. Other Side of This Life (Fred Neil) - 2:30
10.Younger Girl (Sebastian) - 2:20
11.On the Road Again (Sebastian) - 1:51
12.Night Owl Blues (Steve Boone, Joe Butler, Sebastian, Zal Yanovsky) - 3:05
13.Alley Oop (Dallas Frazier) - 2:17
14.Younger Girl (Sebastian) - 2:39
15.Blues in the Bottle (Traditional) - 3:02
16.Wild About My Lovin' (Traditional) - 2:36
17.Other Side of This Life (Neil) - 2:31

The Lovin' Spoonful
*John Sebastian - Vocals, Guitar, Autoharp
*Steve Boone - Bass, Vocals
*Joe Butler - Drums, Percussion, Vocals
*Zal Yanovsky - Electric and Acoustic Guitar, Vocals

1966  Daydream (2016 Blu Spec Bonus Tracks Edition)
1966  Hums Of The Lovin' Spoonful (2016 Blu Spec Bonus Tracks Edition)
1966 The Lovin' Spoonful - What's Up, Tiger Lily (2008 japan remaster) 
1967-68  You're A Big Boy Now / Everything Playing (2011 edition and 2016 Blu Spec Bonus Tracks Edition)
1969  Revelation: Revolution '69
Related Acts
1969-76  John Sebastian - Faithful Virtue, The Reprise Recordings 
1969 Judy Henske And Jerry Yester - Farewell Aldebaran 

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Three Headed Dog - Hound Of Hades (1972-73 fine basement hard rock with prog drops)

Birmingham, England has long been acknowledged as one of the most fertile breeding grounds for emerging rock bands during the heady boom of the late 60s and early 70s. The likes of The Move, Led Zeppelin, Black Sabbath and Judas Priest, to name but a few, all cut their teeth in the countless clubs and pubs embedded within the industrial sprawl of England's 'second city'.

Yet for every Sabbath or Priest that succeeded to rise above the confines of such taxing 'circuit venues', there was a Necromandus or Flying Hat Band arduously 'slaving away' in the shadows, often getting nowhere fast. There were quite literally thousands of these little known outfits clamouring for the break that might just lead to a prestigious support slot, touring with a 'headlining act', or maybe even a record deal.

As was often the case, neither materialised for the majority of these short-lived groups and Three-Headed Dog are certainly no exception. But this Brum based band appear to be a greater 'unknown quantity' than many other underground hopefuls of the day.

Even luminaries from the era such as midlands promoter Norman Hood, who ran Tramp Entertainments, could shed no light, confessing in a recent interview "They seem to have just sunk without trace." Added Norm, "Priest's original vocalist Al Atkins tells me that he still remembers the name as they were around at the same time he was fronting J.P. but other than that, nothing."

Whilst the group's identity remains shrouded in mystery, what we can tell you for sure is that at least part, if not all, of this mega rare recording was made at The Railway in Birmingham's Curzon Street, circa 1973. And what of the music of Three-Headed Dog? Perhaps it is best summed up by suggesting that what we have here constitutes a rather offbeat, yet contrasting mix of engaging original material and thoughtfully embraced 'covers' which sit quite comfortably alongside each other.

Most of you will undoubtedly spot Dog's obvious influences of the day which effortlessly straddle the elegance and poise of early Wishbone Ash to the meaner overtones of nascent Judas Priest. In fact the riffy 'Slick Solution', a home-grown number, which kicks off this set, can unhesitatingly be compared with the Downing/Halford composition 'Cheater' that appears on the debut Priest platter 'Rocka Rolla', issued in 1974. Clearly Priest were rubbing off on all manner of local groups early on and perhaps this is one of the best examples of that.

Possibly the highlight of the Dog's offerings on this CD is the following track 'Cerberus' with its shifting moods and progressive time changes. This extended opus demonstrates the group's general creativeness and versatility to great effect. I must say that 1 find it both laudable and refreshing to see included in their repertoire a somewhat more offbeat, yet impressive, choice of cover version in the inviting 'Butterfly'. For those who are unaware, this well-crafted song was penned by Glenn Cornick following his departure from Jethro Tull in 1970 and featured as the opener on Wild Turkey's exquisite debut L.P. 'Battle Hymn'. 'Butterfly' was actually written as a tribute to the late, great Jimi Hendrix and the Dog's workout is indeed a fine rendition.

The same can most certainly be said of their interpretation of the famous Chicago song '25 Or 6 To 4' as well. So then, these half dozen untreated tracks appear to be the only tangible evidence that Three-Headed Dog even existed in the first place, such was their patent obscurity

Four rare, previously unreleased tracks recorded during the early 70s have been added to this CD. Firstly, a heavyish, riff-laden demo by Stallion, a band who were quite highly regarded at the time, and who were represented by Birmingham's influential IBA Agency. Guitarist Harry Tonks later teamed up with Al Atkins in fellow Bruin outfit Lion.

The two following numbers were recorded by another IBA signing, namely Khayyam. In fact this prog outfit featured prominently in their roster of acts but remain largely unknown to this day. Their musical approach veered towards that of certain other progressive jazz-rock bands of the day like Colosseum and Back Door yet incorporated an afro/funk feel at the same time (plus the odd bit of Turkish!) thrown in for good measure. Khayyam comprised a nucleus of Chris Jones (guitar/vocals), Rod Joyce (congas), Dave Wicks (bass) and Harry Hepinstall (drums).

The last of the bonus tracks is by an 'unknown' band and was recorded at wellknown Zella Studios in nearby Edgbaston. This doomy, prog-rock offering was, along with another song, cut onto a seven inch acetate and wouldn't have sounded out of place on a Monument or Zior LP.

CD Liner-notes

Tracks
1. Three-Headed Dog - Slick Solution - 4:09
2. Three-Headed Dog - Cerberus - 9:16
3. Three-Headed Dog - Butterfly - 5:19
4. Three-Headed Dog - Gone Blue - 4:20
5. Three-Headed Dog - Just Gotta Play - 4:36
6. Three-Headed Dog - 25 or 6 to 4 - 12:09
7. Stallion - All of the While - 4:47
8. Khayyam - Eternal Prison - 8:21
9. Khayyam - Collusion - 5:14
10.Zella Studios Acetate - Mystery track - 4:10

Three Headed Dog 
*Unknown members

Khayyam
*Chris Jones - Guitar, Vocals
*Rod Joyce - Congas
*Dave Wicks - Bass
*Harry Hepinstall - Drums

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Group 1850 - Paradise Now (1969 holland, ethereal psychedelia with progressive touches)

Recorded, edited and mixed over one long Red Lebanon hash-fueled weekend in October 1969, Group 1850s second album, Paradise Now, remains one of the high-water marks of European psychedelia. 

A wide-eyed, wide-open, synapse-electrifying set of songs, it sounds like the transmissions of a burnt-out satellite spinning through the galaxies of inner space. Group 1850 leader Peter Sjardin skillfully edited the groups free-flowing improvisations into eight cohesive yet distinctly different tracks, part Saucerful Of Secrets, part Electric Ladyland, part Guru Guru, part Can circa Monster Movie. 

Bypassing the established network of record labels, distributors and stores, the album was released on Discofoon, the label owned by the Dutch department store chain V and D, and carried exclusively in their shops nationwide. It has since become a highly sought-after collectors item. 

Tracks
1. Paradise Now (D. Duba, P. Sjardin) - 5:27
2. Friday I'm Free (D. Duba, P. Sjardin) - 2:53
3. Hunger (D. van Bergen, P. Sjardin) - 4:56
4. Circle (D. Duba, P. Sjardin) - 1:08
5. Loneliness (D. Duba, D. van Bergen, P. Sjardin) - 2:17
6. Martin and Peter (M. van Duynhoven, P. Sjardin) - 1:55
7. ? ! (D. Duba, P. Sjardin) - 7:08
8. Purple Sky (D. Duba, D. van Bergen, P. Sjardin) - 10:57

Groep1850
*Peter Sjardin - Vocals, Flute, Organ
*Dani  Van Bergen - Guitars, Piano
*Ruud Van Buuren - Bass
*Beer Klaasse - Drums
*Dave Duba - Guitars

1968  Agemo's Trip To Mother Earth

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Foghat - Foghat (1972 uk, terrific hard blues rock, japan remaster)

In the 1970s Foghat's love of the blues led them to simplify rock at a time when many of their peers were adding synthesizers and complex arrangements. While critics complained that bands like Foghat and Grand Funk Railroad had dumbed down rock, fans raided record bins and flocked to concerts. "By the end of the decade," noted Richard Skelly in Goldmine, "the rock world had caught up to Foghat, and the group was clearing space on the wall for gold and platinum albums with increasing regularity." The group's success continued to build until 1978 when disco and punk pulled the plug on arena rock, leaving Foghat to limp into the early 1980s before calling it quits.

In 1971, singer Dave Peverett, bassist Tony Stevens, and drummer Roger Earl decided to break away from British blues-rock band Savoy Brown. "When we first left Savoy we were looking to rock out a bit more," Peverett told Skelly. They recruited lead guitarist Rod Price, and began to practice at the Country Club in England. The unnamed band generated a great deal of interest, leading Albert Grossman, Bob Dylan's legendary manager, to attend a practice session. 

He liked what he heard and signed the new band to his label, Bearsville Records. After recording the band's first album in Rockford, Wales, the members still hadn't decided what to call themselves. They had considered Brandywine Track or Hootch, but rejected both in favor of the nonsensical name Foghat, which Peverett and his brother had dreamed up during a game of Scrabble.

Their self-titled LP rose to 127 on the American albums chart, and was bolstered when "I Just Want to Make Love to You" received airplay. It was only with their second release the following year that the band seemed to find its musical niche. The album, also called Foghat but referred to as Rock and Roll (thanks to clever cover art featuring a rock and a dinner roll), sported boogie-friendly cuts like "Ride, Ride, Ride" and "Road Fever." "Foghat's second album finds the group working its way towards the fusion of blues and hard rock that would make them an arena rock favorite," 

by Donald A. Guarisco

Tracks
1. I Just Want To Make Love To You (Willie Dixon) - 4:21
2. Trouble Trouble (Dave Peverett) - 3:20
3. Leavin' Again (Again!) (Peverett, Tony Stevens) - 3:36
4. Fool's Hall Of Fame (Peverett) - 2:58
5. Sara Lee (Peverett, Rod Price) - 4:36
6. Highway (Killing Me) (Peverett, Price) - 3:51
7. Maybellene (Chuck Berry) - 3:33
8. A Hole To Hide In (Peverett, Price, Roger Earl) - 4:06
9. Gotta Get To Know You (Deadric Malone, Andre Williams) - 7:44

Foghat
*Dave Peverett - Rhythm Guitar, Vocals
*Rod Price - Lead Guitar, Slide Guitar
*Tony Stevens - Bass
*Roger Earl - Drum
With
*Andy Fairweather Low - Backing Vocals
*Dave Edmunds -  Guitars
*John Ward -  Bass

Related Acts
1967-68  Savoy Brown - Shake Down / Getting To The Point
1969-70  Savoy Brown - Raw Sienna / Looking In

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Mighty Kong - All I Wanna Do Is Rock (1973 aussie, splendid hard funking rock, 2008 Aztec digi pack remaster)

Mighty Kong was the 'supergroup' successor to the legendary Daddy Cool, which broke up in in August 1972. It was also the fifth (and technically the last) in the line of groups that featured Ross "The Boss" Wilson and Ross Hannaford, which began with Pink Finks in 1965. Despite its all-star lineup, culled from three of the top groups of the time, the band was shortlived and never really achieved its considerable potential, effectively relegated to being a footnote in the larger story of Daddy Cool. The main relic of this period was their excellent (and greatly underrated) LP All I Wanna Do Is Rock.

The formative stages of the new group (late '72 - early '73) promised much, and involved several notable players of the day. After Company Caine broke up in October '72, not long after Daddy Cool, singer/lyricist Gulliver Smith linked with the two Rosses. They worked for several months on getting a new band together, but Gulliver moved on to launch his solo career at the end '72, although the Smith/Smith writing partnegsubip left its mark with two fine songs which eventually wound up on the LP.

At the start of 1973 there was another promising connection when Hannaford & Wilson got together with guitarist Tim Gaze (Tamam Shud, Kahvas Jute) and drummer Nigel Macara (Tamam Shud), but after about a month of rehearsals Gaze and Macara left. Gaze's place was taken by Company Caine guitarist Russell Smith, who had been off playing in the touring version of G.Wayne Thomas' studio "supergroup" Duck. For a new drummer, Hannaford & Wilson turned to the multi-talented Ray Arnott, who announced in March that he was leaving his current gig with Spectrum to join the new band (which also reunited him with Russell Smith, his former bandmate from the last days of Cam-Pact and the early Company Caine).

Unfortunately, Arnott's departure triggered the break up of Spectrum -- founder Mike Rudd felt that it wouldn't be possible recruit a new member and maintain Spectrum's special chemistry. Spectrum played their farewell concert in mid-April and Arnott was then freed to join the new group; in a neat piece of symmetry, Gaze and Macara hitched up with the remaining members of Spectrum to form Ariel. With the final addition of bassist Tim Partridge (also ex-Company Caine) the new band was complete and was launched in May 1973 under the name Mighty Kong.

After the breakup of Daddy Cool, Wilson and Hannaford were keen to get away from DC's stylistic restrictions -- the 50s repertoire, the 'zany' stage outfits -- and the media's concentration of the obvious elements of Daddy Cool, which tended to obscure the more serious side of their work. The material that they put together was in a heavier, contemporary rock style, bringing in some of the progressive elements which had featured in their earlier band Sons Of The Vegetal Mother, and which had resurfaced on the second Daddy Cool LP Sex Dope, Rock'n'Roll: Teenage Heaven.

Their only album, All I Wanna Do Is Rock, was recorded at Melbourne's Armstrong's Studios, produced and engineered by John Fischbach. It's a fine record, with strong hints of Wilson's future direction in Mondo Rock, but there is still plenty of humour, as shown by the jokey cover art -- an old novelty photo showing a woman and a gorilla (well, a man in a gorilla suit actually) sitting side by side, with the gorilla's arm around the woman's shoulder . Picking up the cover motif, the pulsating opening track "Jungle In My Blood" features a prowling guitar riff from Hannaford & Smith; it's followed by Wilson's declaration of spritual independence "Got My Beliefs" (which actually dates back to his days in Party Machine, and is not too far removed from songs like the Vegetal's "Love Is The Law)". The highlight of the album is undoubtedly the beautiful "With A Smile Like That (How Could We Refuse?)", a dark, soulful ballad co-written by Gulliver Smith and Russell Smith. Along with Mondo Rock's "State Of The Heart" it is one of Ross Wilson's best vocal performances, with its soaring vocal line showing off his upper range to fine effect. The next three tracks -- "Homesick & Horny" and the ebullient rockers "All Throught The Day" and "Calling All Cats" -- are perhaps the more typical of the Daddy Cool style (with Hannaford & Wilson still seemingly unable to resist a bit of Zappa-style doo-wop parody).

"Some Other New Address" is the other excellent Smith/Smith song, and the only track not sung by Wilson, with vocal credits going to guitarist Russell Smith. "Hard Drugs (Are Bad For You)" is Wilson's cautionary tale of the dangers of heroin. The drug was by then becoming a serious problem in Australia's major cities, largely due to the huge influx of heroin brought in by and for American servicemen visiting Australia on R&R (rest and recreation) leave. By 1973 heroin was cutting a swathe through the Australian music scene with many leading performers becoming addicts. The title track closes the album another goodtime rocker from Wilson.

Regrettably the group never really gelled, and Wilson has commented in recent times that it lacked the chemistry that made Daddy Cool such a successful group. Mighty Kong had already split up by the time the album and its accompanying single, "Callin' All Cats" / "Hard Drugs (Are Bad For You)" were released in December 1973, but without a band to promote them, the records made no impression on the charts.

In early 1973 Wilson and Hannaford bowed to financial pressures -- the split of Daddy Cool had left them with large debts so they reformed DC for what was meant to be a one-off performance at the 1974 Sunbury Festival. It was rapturously received, and prompted a full reformation, with more touring and recording; this incarnation of the band lasted until September 1975. 

Miles-ago

Tracks
1. All Through the Day (And Into the Night We Play) (R. Hannaford, R. Wilson) - 6:02
2. Callin’ All Cats (The Cats Are Callin’) - 4:02
3. Some Other New Address (R. Smith, Gulliver Smith) - 4:04
4. Hard Drugs (Are Bad for You) - 2:57
5. All I Wanna Do Is Rock!! #1 - 4:15
6. Jungle in My Blood - 5:57
7. Got My Beliefs - 4:34
8. With a Smile Like That (How Could We Refuse) (R. Smith, Gulliver Smith) - 7:29
9. Homesick And Horny - 4:17
10.Callin’ All Cats (The Cats Are Callin’) (Single Version) - 3:27
11.All I Wanna Do Is Rock (Previously Unreleased Studio Jam) - 8:42
All songs by Ross Wilson unless as else stated.

Mighty Kong
*Ross Wilson - Vocals, Guitar
*Ross Hannaford - Guitar, Vocals
*Tim Partridge - Bass
*Russell Smith - Guitar, Vocals
*Ray Arnott - Drums, Vocals

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Chelsea - Chelsea (1970 us, magnificent folkish rock melted with various styles , pre Kiss member and John Cale guest, 2011 digipak edition)

Chelsea was a band from New York City, best known for the presence of the drummer Peter Criss before he joined Kiss.  In late 1968 the band managed to secure a 2 record deal on Decca Records, distributed via MCA. When the first album was released it did so poorly that Aridas quit. Michael Benvenga had been in "The Wall" which played the Brooklyn music scene prior to Chelsea, but the other member's pedigree's are unknown. It would not be surprising if Shepley/Brand had not worked together prior to Chelsea.

The opening track, "Rollin' Along" is very representative of the lack of musical direction (or perhaps, "cohesiveness" is more appropriate) on the album. The song is split nearly in half into two distinctive styles: the first acoustic and mellow, and the second electric and somewhat aggressive. 

“ Hard Rock Music” appearing on the album it was the sole track from the band appearing on the MCA "Sound Conspiracy" album. This sampler even saw release in Australia (Decca COP/S 4524) with a slightly altered cover, though nothing could help sell product that just didn't stand out.

The back cover sampler details a brief bio on the band, which states: "Lewis Merenstein, who produces Van Morrison, Bill Rose, and Turley Richards, among others, produced this first album by the New York based group. The LP was recorded in part at the late Jimi Hendrix's Electric Lady Studios. Backing the group on the album is John Cale, formerly of the Velvet Underground and now out on his own

“ Ophelia”  would be promoted as a "calypso" sounding piece. That both pre-Kiss bands that recorded albums, Chelsea and Wicked Lester, included songs with "Ophelia" in their titles is coincidental. As far as Chelsea's song goes, it would be too easy to read Shakespearian "Hamlet" overtones from lyrics which go: "I thought I had you in the palm of my hand" and "how could you leave me I don't understand." In "Hamlet" Ophelia spurns the love of Hamlet at the request of her father. Hamlet then goes mad and Ophelia is asked to reconcile with him in hopes of restoring his sanity. Instead, Hamlet kills Ophelia's father. That brief prιcis of Ophelia's character in "Hamlet" does really not do the work justice....

“ Long River” One of the two tracks to feature ex-Velvet Underground's John Cale on viola. With both the Velvet Underground and Chelsea playing at the legendary Ungano's club, on West 70th in Manhattan, and producer Lewis Merenstein's connections to Velvet, it is likely that this is how the two parties became associated. The track is 6:41 and has more of a Creedence Clearwater Revival style.

“Polly Von”  is a traditional Anglo (with a suggestive Celtic past) folk song about love, pain, murder, and betrayal. It has been recorded by the likes of Frankie Armstrong, Harry Cox, and, most famously, Peter, Paul and Mary, on their third, and landmark, "In The Wind" (Warner Bros. WB-1507) album, which was released in late September 1963. That version of the song had an arrangement attributed to Peter Yarrow, "Noel" Paul Stookey, and Mary Travers - In other words, the group. This is much the same as the credit for the 4:48 arrangement on the Chelsea album: Chelsea's version does not really vary much from the form that was popular on the folk scene of the 1960s: However, the Chelsea arrangement does change the song from third to first person and moves the chorus in parts and also skips a final verse. The Chelsea recording features strings arranged by Larry Fallon.

Differing arrangements have been presented for decades on the basic theme of the piece, and variations of the piece date back centuries, having appeared in print as early as 1772. Other titles for the piece, including variants and alternative titles include "Polly Vaughn," "At the Setting of the Sun," "The Shooting of his Dear," "Young Molly Ban," "Molly Banding," "Molly Bawn," and "Molly Bond" throughout most Anglo-speaking countries.

“ Good Company” the second track that features John Cale on viola, it’s little more than a short jam piece to close out the album. It is essentially the repetition of the same verse several times: "Good company makes me smile / Downright open all the while / Downright country all the time / Good company, yeah / Bound to make me smile".

Kissfaq 

Tracks

1. Rollin' Along - 2:34

2. Let's Call It A Day - 3:05

3. Silver Lining (Chris Aridas, Michael Benvenga) - 2:49

4. All American Boy - 3:55

5. Hard Rock Music - 5:10

6. Ophelia - 2:38

7. Long River - 6:41

8. Grace - 3:17

9. Polly Von (Chris Aridas, Michael Benvenga, Mike Brand, Peter Cris, Peter Shepley) - 5:01

10.Good Company - 1:44

All songs by Peter Shepley, Mike Brand except where stated

Chelsea
*Peter Shepley - Lead Vocals
*Mike Brand - Guitar
*Chris Aridas - Guitar
*Michael Benvenga - Bass, Vocals
*Peter Criss - Drums
With
*John Cale - Viola
*Steve Loeb - Piano

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The Lovin' Spoonful - Daydream (1966 us, magnificent folk, roots 'n' roll, japan bonus tracks edition and 2016 Blu Spec bonus tracks edition)

Paul McCartney said in 1967 that one of his favourite albums was "Daydream" by the Lovin' Spoonful. Without a question "Daydream" is a totaly plunge into sunshine -power psych-pop the wany only The Lovin Spoonful could. Their lead single, Daydream and its trademark whistle, may have been too much heard, even in commercials, it stays nonetheless infectious, John Sebastian perfectly captures the laziness of a warm summer's day! 

The rest of the album reach the same level, one feet in country and blues, clearly influenced by Sun Records, and the other one on the other side of the ocean in (Swingin') London and the British (Beat) Invasion. The best songs on the albums are two samplable beautiful gems, Didn't Want To Have To Do It and You Didn't Have To Be So Nice that will both make a gorilla drop its tear. 

In early 1965 as the "British invasion" dominated the American music scene, two rockers from Long Island, Steve Boone and Joe Butler, teamed up with two folkies from Greenwich Village, John Sebastian and Zal Yanovsky, to form the Lovin' Spoonful and go on to record and perform some of the songs that would dominate the charts and establish them among the greats of the mid-sixties era. 

Combining the best of folk music and rock and roll, with a touch of country thrown in, they gave us such hits as "Do You Believe in Magic," "Daydream," "You Didn't Have to be So Nice," "Nashville Cats" and the anthem for a hot July evening, "Summer in the City." All this in the span of 4 years and 5 albums. In addition to that they also wrote and performed two soundtrack albums for two directors very early in their careers, Woody Allen "Whats Up Tigerlily" and Francis Ford Coppola "You're a Big Boy Now."They toured almost constantly during this period and were one of the first rock bands to perform on college campuses almost as much as for teenage concert goers. 

In 1967 Zal Yanovsky left the band to pursue a solo career and was replaced by Jerry Yester, a member of the Modern Folk Quartet and friend of the band since its earliest days. All of the band's energy was soon focused on recording their fourth album the very ambitious Everything Playing. It was the first attempt for a rock band to record an album on the new Ampex 16 track tape recorder and quite a challenge it was. It was worth the effort however, producing hits like "Darlin' Be Home Soon," "Six O-Clock" and "She's Still A Mystery To Me" on the American charts and "Boredom" and "Money" in the UK and Europe. 

In June 1968 John Sebastian left the band to go solo and Joe, Steve and Jerry went back into the studio to record what would be their last hit single of the 1960's, "Never Goin' Back" with legendary Nashville session player Red Rhodes on pedal steel guitar. As 1969 approached the skies were darkening in Good Time Music land and sensing opportunities in individual endeavors the three remaining members went their separate ways with a promise to not let the spark go out. 

In 1991 a long awaited settlement with their record company inspired Joe and Steve to contact Jerry and start up the Lovin' Spoonful again. After a two month rehearsal in the Berkshire Mts., the group started touring anew, visiting over 150 cities and countries worldwide and reaching out to a whole new audience in addition to those that have enjoyed their music over the years.

by Adamus67 

Tracks
1. Daydream (Sebastian) - 2:21
2. There She Is (Sebastian) - 1:58
3. It's Not Time Now (Sebastian, Zal Yanovsky) - 2:49
4. Warm Baby (Sebastian) - 2:03
5. Day Blues (Joe Butler, Sebastian) - 3:15
6. Let the Boy Rock and Roll (Butler, Sebastian) - 2:34
7. Jug Band Music (Sebastian) - 2:53
8. Didn't Want to Have to Do It (Sebastian) - 2:39
9. You Didn't Have to Be So Nice (Steve Boone, Sebastian) - 2:29
10.Bald Headed Lena (Willy Porryman, Edward Sneed) - 2:25
11.Butchie's Tune (Boone, Sebastian) - 2:37
12.Big Noise from Speonk (Boone, Butler, Sebastian, Yanovsky) - 2:21
13.Fishin' Blues (Traditional) - 2:32
14.Didn't Want to Have to Do It (Sebastian) - 2:49
15.Jug Band Music (Sebastian) - 2:54
16.Daydream (Sebastian) - 3:19
17.Night Owl Blues (Boone, Butler, Sebastian, Yanovsky) - 4:40

The Lovin' Spoonful
*John Sebastian – Vocals, Guitar, Autoharp
*Steve Boone – Bass, Vocals
*Joe Butler – Drums, Percussion, Vocals
*Zal Yanovsky – Electric, Acoustic Guitar, Vocals

1965  Do You Believe In Magic (2016 Blu Spec Bonus Tracks Edition)
1966  Hums Of The Lovin' Spoonful  (2016 Blu Spec Bonus Tracks Edition)
1966 The Lovin' Spoonful - What's Up, Tiger Lily (2008 japan remaster) 
1967-68  You're A Big Boy Now / Everything Playing (2011 edition and 2016 Blu Spec Bonus Tracks Edition)
1969  Revelation: Revolution '69
Related Acts
1969-76  John Sebastian - Faithful Virtue, The Reprise Recordings 
1969  Judy Henske And Jerry Yester - Farewell Aldebaran 

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Steppenwolf - For Ladies Only (1971 canada, one more classic, 2013 SHM remaster)

Steppenwolf became a big-name group on the basis of their driving arrangements and John Kay’s growling vocals. So any attempt by the group to venture into areas beyond “Born to be Wild-Magic Carpet Ride” syndrome would almost inevitably receive a lukewarm reception from the critics.

With the Steppenwolf Seven album, many times the group bordered on being soft, almost pretty. For Ladies Only crosses the line and becomes mellow. With the title cut, the group employs a lengthy piano solo to bridge some fine rock ‘n’ roll. Although the solo’s six minutes may be a bit too long, the cut comes off well in spite of itself.

As if to remind the listener that their style of old is not lost forever, there is the cut “Ride With Me.” Not only does it contain the familiar, “Hop-on-my-bike-and-let’s-ride-into-the-sunset,” theme, but the commercial potential of the tune is staggering. In fact, I’m still miffed at why the single didn’t go anywhere on the charts.

While musically the LP is worthwhile, lyric-wise it just doesn’t say a thing that one couldn’t hear within five minutes worth of top-forty. Although the title suggests Women’s Lib, and several tunes inaudibly discuss it, it uses that “Eric Burdon Three Minute Answer To the Problems of the Earth” technique. Steppenwolf has never concentrated on a central theme for an LP in the past, and in the future, perhaps it would be wise to apply the talent of the group to the arrangements, where they are unique.

The inside photograph is priceless. A spiffy little roadster is parked outside Grauman’s Chinese Theatre. A small crowd is gathered around gaping at the custom-built vehicle made to resemble a male organ. Vein and all. A cop is supposedly writing out some kind of citation. The picture alone is worth the price of the album, to coin a phrase.

For Ladies Only represents, for Steppenwolf, a branching out into new directions, which is a healthy sign for them The LP could be best described as a transitional one in which Steppenwolf wants to retain it’s roots, yet wishes to stay out of a particular mold at the same time.

by Cameron Crowe for San Diego Door, January 13, 1972  – January 27, 1972

Tracks
1. For Ladies Only (J. Edmonton, K. Henry, J. Kay, G. McJohn) – 9:13
2. I'm Asking (Edmonton, McJohn) – 4:25
3. Shackles And Chains (Kay) – 4:57
4. Tenderness (Mars Bonfire) – 4:51
5. The Night Time's For You (Bonfire, Morgan Cavett) – 2:56
6. Jaded Strumpet (Edmonton) – 4:40
7. Sparkle Eyes (G. Biondo, Kay) – 4:29
8. Black Pit (Henry, McJohn) – 3:46
9. Ride With Me (Bonfire) – 3:15
10.In Hopes Of A Garden (Biondo) – 2:01
11.For Madmen Only (Edmonton, McJohn, Biondo) - 8:49
12.For Ladies Only (Single Version) (J. Edmonton, K. Henry, J. Kay, G. McJohn) – 3:31

Steppenwolf
*John Kay - Vocals, Guitar
*Kent Henry - Lead Guitar
*George Biondo - Vocals, Bass Guitar
*Goldy McJohn - Keyboards
*Jerry Edmonton - Drums
 
1968  Steppenwolf (2013 japan SHM bonus tracks and 2014 SACD)
1969  Early Steppenwolf (1967 Live, Japan SHM mini lp)
1969  At Your Birthday Party (Japan SHM 2013 remaster)
1969  Monster (2013 japan SHM issue)
Related Act
1968  John Kay and the Sparrow
1972  John Kay – Forgotten Songs and Unsung Heroes

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The Forum Quorum - The Forum Quorum (1968 us, enjoyable pop psych with some kitsch essence, 2012 Aurora issue)

The Forum Quorum comprises a group of Greek and Italian boys who dispense what manager Hal Davis calls a 'Mediterranean sound'. Lead instruments are electric bouzouki, placed by Sturg Pardalis, and shepherd's flute, played by Roger Galleo. 

Pardalis doubles on electric guitar and Galleo on organ. Co-partner of Pardalis is Sal Palazzolo. Others include Mike Battalia on bass and Brian Albano on drums. The lead singers are Pardalis, Palazzolo and Galleo, who write most of the material for the group.

The age range is 17 to 19. Musical mentor of the combo is Gus Pardalis, director of the music department of a Queens, NV Junior High School and a composer. Ad man Davis has provided promotional and marketing advice, and has already implemented a many sided campaign. This includes a Decca Records contract, a movie. Mission To Mars, with Darrin McGavin and Nick Adams, and publication of a book in two months by Grosset & Dunlap titled How To Form A Rock Group. 

Additionally, they have recorded the Girl Scout theme song, Follow The Piper, planned as a special project through that organization. Backing this up are engagements on the Mike Douglas Show, the Cheetah, teen clubs, commercials for Sattler's department store in Buffalo, a national TV commercial and nightly sessions at the group's home base in Astoria, NJ. Davis keeps the group under strict discipline. "I want them to realize the meter is running," he says. 

He seeks to inculcate them with what is happening on the contemporary scene, and its relation to the past and future. "I want them to be articulate spokesmen of the world of rock," he says, "just as I expect their booh to be a guide to the rock business for young groups"

Billb/rd, February 17th 1968

Tracks
1. Girl Make Up Your Mind (Roger Calleo, Sal Palazzolo, Sturg Pardalis) - 3:01
2. Monologue (Gus Pardalis) - 2:41
3. 51st Though (Sal Palazzolo) - 3:39
4. There's No Runnin' Away (Sturg Pardalis) - 2:58
5. A Summer's Day (Sturg Pardalis) - 2:22
6. Misery (Roger Calleo) - 2:36
7. Your Turn To Cry (Sal Palazzolo) - 2:42
8. No More Tears (From The Sagittarius Production "Mission Mars") (Gus Pardalis) - 2:55
9. (I Wanna) Testify (Darwin Taylor, George Clinton) - 4:49
10. Just The Same (Sturg Pardalis) - 2:40
11. Synopsis (Roger Calleo, Sturg Pardalis) - 3:53

The Forum Quorum
*Sturg Pardalis - Vocals, Electric Guitar, Electric Bouzouki
*Sal Palazzolo - Rhythm Guitar
*Roger Calleo - Organ, Flute
*Brian Albano - Drums
*Bobby Castaldo - Bass

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Caravan - Waterloo Lily (1972 uk, incredible progressive rock, canterbury scene, japan extra tracks remaster)

David Sinclair departed Caravan and Steve Miller arrived. If that was a reason this album ditches a lot of the nice, folksy pop songs of 'In The Land Of...' to replace them with long, jam based tunes - then that was a line-up change to be regretted! The playing remains exemplary, but there are few actual songs here. The opening title track is a case in point. I'm not going to be harsh or anything, because this does still contain melody amid the many instrumental parts and solo parts that are always impressively played - but there is something a little soulless about this. 

The second track just really continues from the first, but is ever more jam based, sounds like it wasn't so much written as made up from hours of improvisation. It doesn't sound like a song, lacks a central theme or melody but does contain lots of great playing. It's not bad, don't get me wrong. It's actually fairly enjoyable but it lacks a certain character and distinctiveness. 'Songs And Signs' is better from a writing point of view. It's less than four minutes long, opens with very quiet, mellow vocals and a fairly bare musical backing. But, an atmosphere is created. It's not song packed with thrills or melody but it does withstand repeated listening, and actually gains from such listening.

'Aristocracy' is a nice little piece of funky playing and in fact, would have made a great album opener! It would have indicated a change of style and/or pace but not alienated fans of the groups previous records. 'The Love In Your Eye' suite is twelve minutes long. It opens with some nice string parts around a very quiet and mellow vocal. The bass comes in, the drums - the song picks up pace whilst remaining nicely mellow. The strings add to the track rather than become an unnecessary embellishment, and this is enjoyable listening. It does descend slightly towards a mindless Jam to close, but never mind that for now. 

'The World Is Yours' wraps up the album, and actually becomes a highlight of the entire record for me. This is a lot simpler in structure than much else of what's contained on the album, has a nice melody and comes across as charming within well played instrumental parts rather than relying on well played instrumental parts to carry the track alone. We need melody in this world, and 'The World Is Yours' has plenty of it! A nice enough album on the whole, this 'Waterloo Lily' - there is nothing really bad here, but equally so few genuine highlights. The quality of the playing earns it an extra half point to bring it above being disposable.

by Adrian Denning

Tracks
1.  Waterloo Lily - 6:47
2.  Nothing At All /It's Coming Soon  (S. Miller)/ Nothing At All - Reprise - 10:25
3.  Songs And Signs (S. Miller) - 3:39
4.  Aristocracy - 3:03
5.  The Love In Your Eye / To Catch Me A Brother / Subsultus / Debouchement / Tilbury Kecks - 12:31
6.  The World Is Yours - 3:41
7.  Pye's June Thing - 2:57
8.  Ferdinand - 2:57
9.  Looking Left, Looking Right /Pye's Loop  - 6:56
All songs by R. Coughlan, P. Hastings, R. Sinclair except where indicated

Caravan
*Richard Coughlan - Drums, Percussion
*Pye Hastings - Vocals, Guitars
*Steve Miller - Keyboards
*Richard Sinclair - Vocals, Bass
Guests
*Mike Cotton - Trumpet
*Lol Coxhill - Soprano Saxophone
*Colin Frechter - String Arrangement
*Jimmy Hastings - Flute, Tenor Saxophone
*Phil Miller - Guitar
*Barry Robinson - Oboe

the journey of Caravan
1968  Caravan (Japan SHM remaster)
1970  If I Could Do It All Over Again, I'd Do It All Over You (Japan SHM remaster)
1971  In The Land Of Grey And Pink (Japan SHM remaster)

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Jim Capaldi - Oh How We Danced (1972 uk, great debut solo album, 2012 extra track edition)

Jim Capaldi began his solo career just as Traffic had reached their peak, releasing his solo debut Oh How We Danced in early 1972, not long after the high-water marks of John Barleycorn Must Die and The Low Spark of High Heeled Boys. 

Oh How We Danced isn't so much a break from Traffic but a detour, one where he's joined by then-current and former bandmates (Steve Winwood and Dave Mason, respectively), assisted by Free's Paul Kossoff, the Move's Trevor Burton, Rick Gresch, Jim Gordon and the Muscle Shoals Horns, among other rock luminaries. 

In feel, this isn't much different than early-'70s Traffic, but the album is quite different in form, relying less on the winding, jazzy improvisations than well-worn, soulful grooves, given heart and by both the Muscle Shoals Horns and Kossoff, who particularly tears it up on a drastic reworking of the Al Jolson-written title track. 

For as much fire there is here and elsewhere ("Love Is All You Can Try" works up a good head of steam), Oh How We Danced is distinguished by its mellow vibe, generated by the genial familiarity of the players, Capaldi's sweet, unassuming voice, and the emphasis on his set of strong songs instead of the virtuosity of his musicians. 

by Stephen Thomas Erlewine

Tracks
1. Eve - 3:43
2. Big Thirst - 5:30
3. Love Is All You Can Try - 3:30
4. Last Day Of Dawn - 4:40
5. Don´t Be A Hero - 6:00
6. Open Your Heart - 4:07
7. How Much Can A Man Really Take? - 5:25
8. Oh How We Danced - 4:30
9. Going Down Slow All The Way - 3:21
All compositions by Jim Capaldi except "Big Thirst" co-written with Dave Mason

Musicians
*Jim Capaldi - Lead Vocals, Piano, Acoustic Guitar
*David Hood - Bass
*Roger Hawkins - Drums
*Barry Beckett - Piano, Organ
*Jimmy Johnson - Electric Guitar
*Paul Kossoff - Electric Guitar
*Dave Mason – Harmonica, Electric Guitar
*Steve Winwood – Organ, Backing Vocal, Guitar
*Chris Wood - Flute, Electric Saxophone
*Ric Grech - Bass
*Jim Gordon - Drums
*Rebop Kwaku Baah - Percussion, Congas
*Trevor Burton - Bass
*Mike Kellie - Drums
*Bob Griffin - Piano On
*Sunny Leslie - Backing Vocal

1973-74  Jim Capaldi - Whale Meat Again (2012 remaster)
Related Acts
1966-68  Deep Feeling - Pretty Colours

1969  Traffic - Last Exit (SHM remaster)

1970  Traffic - John Barleycorn Must Die (Japan SHM and 2011 deluxe double disc edition)

1971  Traffic - Welcome To The Canteen (SHM remaster)
1973  Traffic - On The Road (SHM remaster)

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Roger Rodier - Upon Velveatur (1972 canada, smooth post psych folk rock, 2006 sunbeam reissue)

It can be a bit of a mystery why some artists develop successful careers and other equally talented individuals never make it off the ground, languishing instead in obscurity and penury. Take Roger Rodier, for example. A French-Canadian folk-singer-songwriter who recorded two singles in the late '60s before releasing the album Upon Velveatur in 1972. This LP created the tiniest of ripples and promptly sank without a trace, leaving Rodier little choice but to leave the music business and get on with some other kind of life. 

Yet, on the strength of this album (released now on CD for the first time) he probably could have achieved a great deal more. For the most part, this is a collection of dreamy, introspective folk-rock tunes that sound very much aligned with the British early '70s folk boom. More specifically, the sound is reminiscent of Nick Drake's work circa Bryter Layter : acoustic guitar, melancholy melodies, hushed vocals and lush orchestration combine to create a sense of space and unhurried purpose. 

Take, for example "My Spirit's Calling" and its evocation of the same mournful philosophising as Drakes "River Man", like a sigh and a shrug in the face of insurmountable cosmic sadness.. "While My Castle's Burning" is an angry, despairing cry with aggressive strumming, electric guitar breaks and unhinged, wordless shouts and snorts that almost make up for the unfocussed, impenetrable nature of the theme. It's kind of like a protest song sung to oneself. when no one else was meant to be listening.

To these ears, the most successful tracks are those that move away from the pastoral, tea-on-the-lawn aesthetic and embrace West-Coast American, electric folk-rock. "Am I Supposed to Let It By Again?" has an unmistakeable touch of Crosby Stills and Nash, all big harmonies in the chorus and electric fuzz guitar solos. Meanwhile "Just Fine"'s loping drums and soaring verses bring to mind some of Neil Young's most inspired moments. "Let's See Some Happyness", with it's bluesy riff and voluptuous, gospelised backing vocals, could be an outtake from Stephen Stills' first solo album.

Perhaps the comparisons are unfair. Rodier was clearly a very real talent on his own terms. Who knows - if he'd had the chance to make more records and develop his art, he could have done something really memorable. As it is, this remains an enjoyable and entertaining snapshot of early '70s songwriting and heartfelt attempts at musical expression.

by Daniel Spicer

Tracks
1 Listen to These Chords I Play (Celeste) - 3:11
2 My Spirit's Calling - 5:05
3 Am I Supposed to Let It by Again? (Above the Covers) - 4:07
4 The Key - 4:01
5 While My Castle's Burning - 4:19
6 You Don't Know What It's Like - 4:11
7 Just Fine - 3:59
8 Let's See Some Happyness - 4:55
9 Easy Song - 3:31
10 L' Herbe - 2:40
11 Tu Viendras - 3:06
12 Have You? - 3:13
13 Overseer - 2:46
All songs by Roger Rodier
Bonus Tracks 9-13

Musicians
*Roger Rodier - Guitars Vocals
*Red Mitchell - Electric Guitar
other musicians unknown

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