Bobby Harrison - Funkist (1975 uk, fantastic heavy funky blues rock)

Singer/songwriter and drummer Bobby Harrison’s history can be traced back to the late fifties and the legendary Brentwood group The Rockefellas. Subsequently, during the early part of the sixties, he was in Golden Apples Of The Sun, who signed to Andrew Loog Oldham’s Immediate label and released one single, Monkey Time, in 1965. Following that, Harrison formed the CBS-signed Powerpack, who put out two singles in 1966 and 1967. Backed by famous jazzer Ronnie Scott, Bobby also released his first record in his own name for CBS in the mid-sixties, a version of the song Sonny.

Harrison then became one of the original members of Procol Harum during the spring of 1967, when the group recorded their famous No 1 single, A Whiter Shade Of Pale. However, at the same time as the record was at the top of the charts all over the world, Harrison and the band’s guitarist left the group to form their own outfit, Freedom.

Considered to be the "missing link" in Bobby Harrison’s career between the two legendary bands Freedom and Snafu, the solo album Funkist has previously only been available on vinyl in the US. With this Angel Air release the rest of the world can now finally catch up with not just Bobby Harrison in top shape, but also a bunch of top notch British rock legends.

The material had basically been written for Freedom, but at that time Bobby started to go in a different direction. He wanted to get away from straight R’n’B and more into mixing the R'n'B with funk. Funk was happening then with The Average White Band, War, Redbone and Little Feet.

In the early eighties, after Snafu had folded, Bobby decided to move to Iceland. There he got involved with many musical activities and also teamed up with local supergroup Mezzoforte. With this group he recorded the wonderful Solid Silver album, a collection of R&B classics displaying his excellent abilities as a singer.

by Claes Johansen

Tracks
1. Cleopatra Jones (Joe Simon) - 3:37
2. Whiskey Head (Harrison, Monaghan) - 4:32
3. Thinkin' 'Bout You (Harrison, Monaghan) - 2:35
4. King Of The Night (Harrison, Sargeant) - 7:09
5. Little Linda Lovejoy (Harrison, Sargeant) - 4:21
6. Spotlight (Goffin, Goldberg) - 3:05
7. Long Gone (Harrison, Moody) - 5:01
8. Looking For A Friend (Harrison, Sargeant) - 4:22

Musicians
*Bobby Harrison – Voice, Drums
*Ian Paice - Drums
*Micky Moody - Guitar
*Matthew Fisher - Keyboards
*Chris Stewart - Bass
*Walt Monogham - Bass
*Clem Cattini - Drums
*Herbie Flowers - Bass
*Bob Sargent - Keyboards
*Tony Iommi - Guitar
*Henry Mcculloch - Drums
*Ray Owen - Voice

Bob's Pieces in time
1969  Freedom - Nero Su Bianco / Black On White
1969  Freedom - Freedom At Last (2004 remaster)
1970  Freedom - Freedom

1971  Freedom - Through The Years (2004 remaster)
1972  Freedom - Is More Than A Word
1973-74  Snafu - Snafu / Situation Normal

1978  Nobody's Business - Nobody's Business (2007 bonus tracks remaster)
1987  Bobby Harrison - Solid Silver

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Great Speckled Bird - Great Speckled Bird (1970 canada / us, awesome country folk rock, 2007 japan bonus track remaster)

The Great Speckled Bird was lead by Ian and Sylvia Tyson. The above album was recorded and released in 1970. The record company pulled the album from store shelves within months, making this album rare and thus sought after. It’s not uncommon for a copy of the Great Speckled Bird to exchange hands for hundreds of dollars, if not more!

The album itself was a great mixture of early country-rock and folk. At the time it was a bold move for the Tysons to break free from their folk straight jackets. The Great Speckled Bird was supposed to signal the beginning of something new for this famous folk-rock duo. The band was very tight from live gigging, containing some good musicians such as the Remains’ N.D. Smart. Amos Garrett (lead guitar) and Buddy Cage (steel guitar) play with an added venom, incorporating different tones and textures to their guitar playing that work just brilliantly.

The concept of the Great Speckled Bird was to change the direction of folk as well as add electricity and rock n roll power to contemporary country music. The songs speak for themselves, just listen to the power in Ian Tyson’s Calgary. Both he and Sylvia are in great voice, adding a compelling and courageous element to this landmark album. Some of the songs such as Love What You’re Doing Child have that funky rural vibe while others (Rio Grande) recall their folk past. Flies in the Bottle is a beautiful country song and one cannot help but think how this album predates the Gram Parsons and Emmylou Harris collaborations. At times this album rocks hard too, as heard on Bloodshot Beholder.

by Jason Nardelli

Tracks
1. Love What You're Doing Child (Ian Tyson) – 3:39
2. Calgary (Ian Tyson, Sylvia Fricker Tyson) – 3:03
3. Trucker's Cafe (Ian Tyson) – 3:22
4. Long Long Time To Get Old (Ian Tyson) – 3:07
5. Flies In The Bottle (Ian Tyson) – 3:47
6. Bloodshot Beholder (Ian Tyson) – 2:58
7. Crazy Arms (Chuck Seals, Ralph Mooney) – 2:54
8. This Dream (Ian Tyson) – 3:40
9. Smiling Wine (Sylvia Fricker Tyson) – 3:11
10.Rio Grande (Ian Tyson, Amos Garrett) – 3:51
11.Disappearing Woman (Sylvia Fricker Tyson) – 2:10
12.We Sail (Sylvia Fricker Tyson) – 4:37
13.New Truckers Cafe (Live) (Sylvia Fricker Tyson) - 3:09

Personnel
*Ian Tyson - Guitar, Vocals
*Sylvia Fricker Tyson - Vocals
*Buddy Cage - Pedal Steel Guitar
*Amos Garrett - Guitar, Vocals
*N.D. Smart - Drums
*David Briggs - Piano
*Norbert Putnam - Bass Guitar
*Todd Rundgren - Producer

1967-68  Ian And Sylvia - Lovin' Sound / Full Circle 

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The Superfine Dandelion - The Superfine Dandelion (1967 us, magnificent garage beat folk psych)

This Superfine Dandelion reissue is one of the more compelling installments, if only for Dixon's liner notes. Imagine a Valley music scene where bands are allowed to play 'til three in the morning like normal cities. And how's this for lost innocence? The Doors share a bill with the Superfine's earlier incarnation, The Mile Ends, in 1966. After the Fifth Estate gig, Jim Morrison and company wind up at rhythm guitarist Richard Mickel's house for a keg party. The most mischief the Lizard King got up to there? Pulling blues records out of Mickel's sister's room!

The first four cuts on the Superfine Dandelion CD make up the entire recorded output of the Mile Ends (also issued as a separate Sundazed vinyl EP). Said to be one of the best live bands in Phoenix, the Mile Ends started out in that transitional pop year of 1966 as British R&B wanna-bes playing American covers. Here was a teen group with enough smarts to rock up Them's jazzy "Bring 'Em On In" and enough dumb luck to piss off Double Shot Records by changing one word in Roy Orbison's "Candy Man" (singer Mike McFadden decided to croon "let me grasp you by the hand" instead of "take." The nerve!).

The EP leaves off at the point where the Mile Ends morphed into the Superfine Dandelion for the mystical "Ferris Wheel." Hearing this sitar simmering single, one is reminded about how Ravi Shankar sheepishly giggled when asked what he thought about the playing on "Norwegian Wood." Mickel's sitar playing is no more laughable than Beatle George's; thankfully the Dandelion chose not to incorporate any barely digested Eastern philosophy into its lyrics.

The Dandelion's only long-player, issued on Mainstream Records in late 1967, found the group moving toward a hybrid of Byrds/Youngbloods country rock and the good-time jug-band music of Lovin' Spoonful and Sopwith Camel (dig the dueling stereo kazoos on "It's Raining"). Lyrics, however, weren't the Dandelion's strong point. Take "Shameful Lady," a rewrite of the Byrds' "Girl With No Name" with Chris Hillman's same lame "name/game" rhyme, while "Janie's Tomb" pits the identical declining bass line of the Kinks' "Sunny Afternoon" to a morbid vaudeville number about a psycho who kills his girlfriend and then marries her.

The Superfine Dandelion's best moments come when it steers clear of the psychedelic dissonance of "The Other Sidewalk" and keeps things simple. The band's twang and jangle leanings seem to anticipate the "desert rock" sound of the Gin Blossoms, particularly on "Don't Try to Call Me," the kind of song that could coax a free beer from any Long Wong's patron even today.

The most recent track is a 1968 demo which finds the band mastering acid rock and ready to change direction again. "Mr. and Mrs. Potato Head" is a heavy anti-establishment rant that's as funny as Zappa's best work with Mothers ("Mr. and Mrs. Potato Head/Sleepin' in a box at the foot of my bed/Waiting all morning, waiting to rise/Waiting for someone to stick in their eyes"). Yet just one year after the Summer of Love, the Dandelion scattered into a few more short-lived bands. Most notably, Rick Anderson helped start the Tubes (of which he's still a member), while the late Ed Black did high-profile session and road work with Linda Ronstadt and Karla Bonoff. 

by Serene Dominic

Tracks
1. Candy Man (Fred Neil, Beverly "Ruby" Ross) - 2:51
2. Bottle Up and Go  (Michael McFadden) - 2:16
3. I Can Never Say (P. May, D. Arthur, D. Taylor) - 3:07
4. Bring 'Em on In (Van Morrison) - 3:03
5. Ferris Wheel (Michael McFadden) - 2:43
6. People in the Street (M. McFadden, Mike Collins, Ed Black, C. Carver, Jim Musil) - 3:32
7. Crazy Town (Move on Little Children) (Mike Collins, Jim Musil) - 3:07
8. My Place (Michael McFadden, Jim Musil) - 2:14
9. Day and Night (Michael McFadden, Jim Musil) - 2:49
10.Shameful Lady (Michael McFadden, Jim Musil) - 2:43
11.Janie's Tomb (Michael McFadden, Jim Musil) - 2:55
12.It's Raining (Mike Collins, Jim Musil) - 3:05
13.Don't Try to Call Me (Michael McFadden, Jim Musil) - 2:56
14.The Other Sidewalk (Mike Collins, Jim Musil) - 3:05
15.What's the Hurry? (Michael McFadden, Jim Musil) - 2:50
16.Mr. and Mrs. Potato Head (Mike Collins, Jim Musil) - 2:46
17.Ferris Wheel (Michael McFadden) - 2:38
18.The Other Sidewalk (Mike Collins, Jim Musil) - 6:39
Tracks 1-4 as The Mile Ends

The Mile Ends
*Steve "Wally' Fresener - Bass
*George Alexander - Guitar
*Michael McFadden - Guitar, Vocals
*Richard Mickel - Guitar
*Danny Pacheco - Drums

The Superfine Dandelion
*Rick Anderson - Bass, Rhythm Guitar
*Michael McFadden - Guitar, Harmonica, Vocals
*Ed Black - Lead Guitar, Piano, Vocals
*Mike Collins - Drums, Vocals

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The Victors - Victorious (1964-65 us, fabulous garage beat, pre-Litter, 2006 release)

“Before there was the Litter, there were the Victors. Including two future members (bassist Jim Kane and vocalist Denny Waite) of that fab Minneapolis combo, the Victors didn’t have the psycho-destructo stage show, fiery sound, and psychedelicized pyrotechnics of their successors. But their repertoire of British Invasion covers laid the groundwork for the Litter, and they had the teen garage sound that propelled them to battle of the bands victories and into the hearts of garage fans when five unreleased recordings were first unearthed by Arf! Arf! on The Scotty Story (now out of print) in 1993.

Victorious expands the Victors’ legacy with not only those five, but also 21 previously unreleased tracks, including eight relics from their beginnings as a surf-styled band, a stunning seven-song demo tape, five spirited covers from a 1966 rehearsal, and a raw romp through “Gloria” (or “G-L-O-O-R-A,” as they erroneously spelled it!) straight off an acetate. It also includes the now legendary 1965 Scotty single, “Beer Bust Blues” b/w “Scotch Mist,” in which four-fifths of the band (billed as the Scotsmen) romped as their friend Pete Lokken did his best “Surfin’ Bird”/“The Crusher” vomit-tone into the mike.

Victorious traces the evolution of the Excelsior, Minn. miscreants from a ’64 surfy combo (named after a Dick Dale song, “The Victor”) following in the footsteps of the Trashmen and fellow Minnetonka high school pals the Ready Men and the Yetti Men to a British Invasion-styled combo covering Them and the Yardbirds in 1965—before it was cool.

It was all over for the Victors by 1966, but their legacy lived on when Kane and Waite joined former members of the Tabs to form the Litter, a band that grew from garage Yardbirds roots into one of the most innovative hard rock bands on the scene by the late ’60s—and that has been documented on four Arf! Arf! CDs. Victoriousadds to that legacy with 31 stompin’ tracks and an extensive 20-page book featuring tons of archival photos and graphics, a band history by Doug Sheppard of Ugly Things magazine, and recollections from their producer, Warren Kendrick, the man who wrote and produced the Litter’s definitive version of “Action Woman.”

ArfArf-Recs

Tracks
1. Little Girl - 2:36
2. Midnight Hour - 3:37
3. I Ain't Gonna Eat Out My Heart Anymore - 2:47
4. One More Time - 2:28
5. You're A Better Man Than I - 3:39
6. Gloria - 2:45
7. Love Me - 2:04
8. She Gives Me Lovin' - 1:48
9. Walking The Dog - 2:53
10.Louie Louie - 3:51
11.I Don't Know - 2:34
12.Baby What You Want Me To Do - 2:40
13.Low Down Trick - 2:31
14.Beer Bust Blues - 3:04
15.Scotch Mist - 2:04
16.Froggy - 3:35
17.I Go Crazy - 2:38
18.I Ain't Gonna Eat  Out My Heart Anymore - 3:03
19.Good Lovin' - 2:46
20.Kicks - 2:29
21.All I Really Want To Do - 1:55
22.Steel Pier - 1:56
23.Mr - Peppermint Man - 1:57
24.I've Had It - 2:22
25.Death Of A Gremmie - 2:59
26.Shake 'N' Stomp - 2:39
27.Good Golly Miss Molly - 2:24
28.Long Tall Sally - 1:23
29.Arabic - 2:13
30.Scotch Mist II - 2:42
31.Beer Bust Blues (Excerpt) - 0:26

The Victors
*Jim Crill - Guitar, Vocals
*Ron Daily - Guitar, Vocals
*Jim Kane - Bass, Vocals
*Warren Kendrick - Guitar, Vocals
*Terry Knutson - Keyboards, Vocals
*Gary Leech - Drums
*Pete Lokken - Vocals
*Denny Waite - Vocals

1968  The Litter - One Hundred Dollar Fine (extra tracks issue)

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The Psychedelic Aliens - Psycho African Beat (1969-71 ghana, awesome funky groovy acid psych, 2010 issue)

The Psychedelic Aliens described their music as "Psycho-African Beat," and if "Psycho" isn't as important as the other two parts of the equation, that's not to say that their music doesn't sound trippy and adventurous by the standards of the time it was recorded (1969 to 1971), or even the present day. The Psychedelic Aliens were a band from Ghana that fused funky R&B grooves with rock-influenced guitars (Jimi Hendrix was clearly a touchstone for guitarist Carl Ricky Telfer, though he reaches for his feel more than his flash), and African rhythmic and melodic textures, and while their music was leaner and less kinetic than many of the pioneering Afro-beat acts that would follow, it generated a powerful sense of groove suggesting a meeting between James Brown and Fela. 

The Psychedelic Aliens cut a four-song EP and two singles for Polydor's African branch, and all eight songs are included on this reissue from Academy LPs. While the recording is frustratingly flat sounding and the short length of the songs (the longest track here is just 3:11) prevents the grooves from growing into something truly epochal, none of it dampens the genuine excitement the Psychedelic Aliens could generate when they played, and the interplay between guitarists Telfer and Reyad Couri, the loping basslines of Lash Laryea, the fierce but jazzy organ breaks from Malek Caryem, and the percussive skills of Smart "Pozo" Thompson (trap drums) and Patrick (congas) coheres into something that was truly unique, a fusion of rock and funk with a truly African viewpoint. 

Running a bit less than 24 minutes, the biggest disappointment of this disc is that there isn't more music, but what's here is unique, exciting, and joyous; if ever there was an obscure band that screamed out for proper rediscovery, The Psychedelic Aliens are it, and Academy deserves kudos for making this music available outside Africa for the first time. 

by Mark Deming

Tracks
1. Blofonyobi Wo Atale - 2:58
2. Hijacking - 2:58
3. We're Laughing - 3:06
4. Extraordinary Woman - 3:11
5. Gbe Keke Wo Taoo - 2:32
6. Gbomei Adesai - 3:11
7. Homowo - 2:55
8. Okponmo Ni Tsitsi Emo Le - 2:56

The Psychedelic Aliens
*Reyad Couri - Rhythm Guitar, Vocals
*Malek Crayem - Organ, Vocals
*Lash Laryea - Bass, Vocals
*Carl Ricky Telfer - Guitar, Vocals
*Smart "Pozo" Thompson - Drums, Vocals

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Stefan Grossman - Bottleneck Serenade (1975 us, elegant instrumental bluesy folk with prog touches)

For Bottleneck Serenade, this 1975 recording from Stefan Grossman, the guitarist brought his instrumental music into a 16-track professional studio. Far from being an exercise in indulgence, however, multi-tracking and studio effects are kept to a tasteful minimum. In fact, the recordings seem to benefit from the crisp fidelity afforded by modern technology. 

Working with an array of microphones and recording techniques, Grossman captures the many subtle shades of his numerous acoustic guitars. Typically, the guitarist's love of early American country blues and folk idioms is on full display, yet the compositions (the bulk of which are originals) also bear the mark of Grossman's own developing voice. He only loses sight of what roots his material on "Tomorrow, Pt. 1-3." Beginning in fine form, Grossman slows the music down to a crawl, showcasing its characteristic syncopation. 

The song loses potency, however, with a misplaced guitar figure soaked in distortion and wah-wah. He then makes his way into a rather dull and unnecessary solo on acoustic guitar. At best, Grossman's perfectly distilled melodies seem built into the compositions. The overdubs on "Tomorrow" feel superfluous. The biting bottleneck showcases "Concrete Parachute" and "Delta Slide of 1928" are thrilling highlights. Choppy rhythms are comprised of abrupt, stinging steel lines, wrung from the instrument. On the spacious title track, he lets the long, shivering slide notes ring. 

What brings the album to life is the sure presence of the instrument -- the intimate sound of the slide rattling against the guitar strings. Bottleneck Serenade is a fine introduction to the breadth of Grossman's work, ranging from the graceful fingerpicking of "Working on the New Railroad" and the gritty bottleneck blur of "Birdnest Two-Step" to complex original material like "Tightrope."

by Nathan Bush

Of all the instrumental albums I have worked on, this has been the most exciting to put together. At times ! felt like a painter. Instead of using a canvas, palette, and colors my tools were a wide assortment of guitars, sophisticated microphones, and the ambience of a studio; The tunes vary from guitar solos to collages of guitar sounds.  

By using a 16-track lope machine I was able to overdub various guitar parts arid experiment to hear which sounds and textures complemented others.  The combination of the acoustic guitar and the advanced recording studio intrigues me and m these recordings I have tried lo combine both worlds. 

Bottleneck Serenade was recorded over a three-month period while I was living in Rome/Italy and London, England.  I am very thankful to my friends who allowed me to use their studio facilities as well as the engineers who contributed many ideas.

by Stefan Grossman

Tracks
1. Tightrope - 4:05
2. Lullaby For Anna - 3:16
3. Bottleneck Serenade - 3:58
4. The First Time Ever I Saw Your Face - (Ewan MacColl) - 2:58
5. Birdnest Two-Step - 1:48
6. Dance Of The Blind Minotaur - 3:55
7. Tomorrow (Parts 1,2 and 3) - 4:56
8. Working On The New Railroad (Traditional) - 2:33
9. Concrete Parachute - 2:21
10.For Elvie (And Then Some) - 2 :34
11.Delta Slide Of 1928 - 4:50
12.Friends Forever - 2:11
All selections written by Stefan Grossman except where indicated

Musicians
*Stefan Grossman - Acoustic, Guitar (Electric On 7 Only)
*Mike Cooper - Bottleneck Guitar (3,5,11 Only)

1969  Danny Kalb And Stefan Grossman - Crosscurrents (2005 Collectable's reissue)

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A Euphonious Wail - A Euphonious Wail (1972 us, marvelous west coast psych, limited edition)

Heavily influenced by San Francisco bands (Big Brother and the Holding Company and The Jefferson Airplane quickly come to mind), the Santa Rosa, California-based A Euphonious Wail was roughly five years behind creative and popular tastes.

Not that it seemed to matter given a financially struggling Kapp Records went ahead and signed the quintet to a recording contract.

Built around the talents of drummer Doug Huffman, keyboardist Bart Libby, singer Suzanne Rey, singer/guitarist Steve Tracy and bassist Gary Violetti, the band's self-titled 1973 debut teamed them with producer Brian Ingoldsby (Lowell Levinger of Youngbloods fame reportedly also helped out).

They went to L.A. to record with Richard Podolor producing but those sessions were scrapped and they re-recorded the whole thing over again with a different producer.

After the album was finished they did a few showcase gigs that didn't go well and the band quickly fell apart.

They probably made a mistake by not playing local gigs all along and placing all their hopes on this album. Doug Huffman was a great drummer who went on to play with Boston on the road. 

Tracks
1. Pony (John Brandenburg Jr.) - 04:36
2. We've Got the Chance (Bart Libby, Suzanne Ray) - 04:09
3. Did You Ever (Steve Tracy) - 03:41
4. When I Start To Live (Steve Tracy) - 04:50
5. F# (Steve Tracy) - 03:36
6. Chicken (Gary Violetti, Bart Libby) - 04:32
7. Night Out (Gary Violetti, Suzanne Rey) - 02:49
8. Love My Brother (Gary Violetti, Suzanne Rey) - 04:40
9. I Want To Be a Star (Bart Libby) - 05:29

A Euphonious Wail
*Bart Libby - Organ, Piano
*Steve Tracy - Guitar, Vocals
*Gary Violetti - Bass, Vocals
*Suzanne Rey - Percussion, Vocals
*Doug Huffman - Drums, Vocals

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Potliquor - Levee Blues (1972 us, great hard southern boogie rock, 2010 issue)

Potliquor’s sophomore effort, Levee Blues was released in December 1971 and is considered as their best album by many. Levee Blues" is widely considered their artistic peak. With an ensemble of female background vocalists in tow, the album bears a certain gospel charm that some of their other efforts were missing. This is a passionate and visceral collection of songs and any lover of the aforementioned genres would be well served to check them out. 

Despite the Molly Hatchet type heavy boogie and horn section that occasionally reminds you of Atlanta Rhythm Section, Pot Liquor never raised to a level they deserved and stayed as a regionally touring band.

Tracks
1. Cheer (George Ratzlaff) - 4:55
2. The Train (George Ratzlaff) - 3:30
3. Levee Blues (George Ratzlaff, Les Wallace) - 4:04
4. Rooster Blues (Willie Dixon) - 6:38
5. Chattanooga (George Ratzlaff) - 3:07
6. You're No Good (Clint Ballard Jr. ) - 4:05
7. Lady Madonna (Lennon-McCartney) - 4:00
8. When God Dips His Love In My Heart (W.S. Stevenson) - 0:58
9. Beyond The River Jordan (George Ratzlaff) - 3:57

Potliquor
*Les Wallace - Guitar, Vocals
*Jerry Amoroso - Vocals, Drums, Percussions
*George Ratzlaff - Keyboards, Guitar, Vocals
*Guy Schaeffer - Bass, Vocals
Guest Musicians
*Leon Medica - Bass Guitar
*Bobby Thomas - Maracas
*Paul Harrison - 12 String Guitar

1970  Potliquor - First Taste (2010 edition)

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Potliquor - First Taste (1970 us, stunning heavy blues southern rock, 2010 edition)

Potliquor had its beginning in 1969 in Baton Rouge, Louisiana and played an intriguing mix of  country, blues- and southern rock. They released three excellent albums between 1970 and 1973 and on more in 1979 before finally breaking up. Yet these godfathers of southern rock never got the recognition they deserved.

Potliquor was formed in the late 60´s by George Ratzlaff (keyboards, rhythm guitar, vocals), Les Wallace (guitar, vocals), Guy Schaeffer (bass, vocals) and Jerry Amoroso (drums, percussion, vocals) and soon after that signed a deal with small Janus Records label. Their debut album, First Taste came out in 1970.

Produced by band manager Jim Brown, is probably best described as early Southern boogie, tracks like 'The Raven' and a sludged-up Vanilla Fudge-styled cover of 'You're No Good' offer up a nice blend of boogie and heavy rock while simultaneously being quite commercial.  Weirdest track honors go to the Santana-styled percussion packed instrumental 'Toballby'. 

Tracks
1. Down The River Boogie (George Ratzlaff) - 2:50
2. Ol' Man River (Jerome Kern, Oscar Hammerstein Jr.) - 4:37
3. Riverboat (D. Craig) - 3:14
4. Toballby (Instrumental) (George Ratzlaff, Les Wallace, Guy Schaeffer, Jerry Amoroso) - 7:22
5. The Raven (George Ratzlaff, Edgar Allan Poe) - 5:03
6. You're No Good (Clint Ballard Jr.) - 4:57
7. Price 20c A Copy (George Ratzlaff) - 3:08
8. Driftin' (G. Efronetee) - 8:20

The Potliquor
*Jerry Amoroso - Drums, Tambourine, Congas, Vocals
*George Ratzlaff - Keyboards, Rhythm Guitar, Harp, Percussion, Vocals
*Guy Schaeffer -  Bass, Vocals
*Les Wallace - Guitar, Vocals

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Dirty Blues Band - Dirty Blues Band / Stone Dirt (1967-68 us, astonishing blues psych rock, 2007 remaster)

The Dirty Blues Band was a white blues outfit best known as the stamping grounds, for a time, for Rod Piazza and Glenn Ross Campbell. The group was spawned in Riverside, CA, from a convergence of members of a handful of notable local outfits -- their rhythm section, John Millikan (drums) and Les Morrison (bass), were high school classmates who'd previously played in the L-J's, whence also came keyboard player Pat Moloney. The L-J's had started out playing jazz in 1964, but by the end of 1965 had evolved into the Mystics, a much more blues-focused outfit, whose ranks included Bob Sandell on rhythm guitar and Rod Piazza on lead vocals and harp. Their main influences were such British Invasion bands as Them (whose "Mystic Eyes" had provided their name), the Animals, the Yardbirds, and the Rolling Stones -- although nominally a blues band, their sound was really more an amalgam of blues and R&B as done by those groups

That all changed when Piazza and a couple of his bandmates went to a performance by the Byrds at The Trip in Los Angeles, where the opening act was the still mostly unknown Paul Butterfield Blues Band. What they saw and heard that night convinced the Mystics, especially Piazza, that they had to switch over to playing a purer form of blues. They ceased being the Mystics, taking on the name House of DBS (meaning Dirty Blues Sound) in 1966. There followed a lot of gigs in and around Los Angeles, where they honed their new sound and also lost their original lead guitarist, Jeff Ray -- in his place, Piazza recruited a friend of his from a band he'd once hung out with, the Misunderstood, named Glenn Ross Campbell. the Misunderstood had broken up and he was available and willing, and once he joined, the group's sound fairly blossomed, as Campbell became known for stretching out on his solos and improvisations for long minutes at their shows.

By the summer of 1967, with the beginnings of a serious rock music press, the House of DBS was getting proper coverage, and by the end of that season, they had a management and production deal with Lee Magid, who was best known in the business at that time as the manager of singer Della Reese. Magid produced their debut album and sold it to ABC Records, also facilitating a name-change to The Dirty Blues Band. Their self-titled debut album appeared in early 1968 on the ABC imprint Bluesway, and although the members weren't entirely happy with the results of the two days of rushed recording, they seemed to have a promising future ahead of them. 

The military draft then reared its ugly head, and suddenly Millikan, Morrison, and Sandell -- the group's whole rhythm section -- were called up. Campbell exited by choice a little while later, seeing no future for the group. Ironically, they did carry on, however, with Rick Lunetta (guitar), Greg Anderson (bass), and Dave Miter (drums). That group, augmented by trumpet man Freddie Hill and saxmen Jimmy Forrest and Willie Green, got a second album together, entitled Stone Dirt. But by the end of 1968, even that second lineup had collapsed, and all concerned were pursuing solo and new group projects. Piazza and Campbell were the most visible alumni and, indeed, their presence in the band accounts for a significant part of the interest in their work, on the part of people who never did get to hear the original albums. 

by Bruce Eder

Tracks
Dirty Blues Band 1967
1. Don't Start Me Talkin' (Sonny Boy Williamson) - 2:56
2. What Is Soul, Babe ? (John Milliken, Rod Piazza) - 3:57
3. Hound Dog (Jerry Leiber, Mike Stoller) - 2:24
4. New Orleans Woman (Roy Brown) - 1:53
5. I'll Do Anything Babe (Rod Piazza) - 4:21  
6. Checkin' Up On My Baby (Sonny Boy Williamson) - 3:40
7. Shake It Baby (Robert Sandell, Rod Piazza) - 2:58
8. Worry, Worry Blues (Rod Piazza) - 3:45  
9. Born Under A Bad Sign (Booker T Jones, William Bell) - 2:48  
10.Spoonful (Willie Dixon) - 3:52
11.Chicken Shack (Ike Turner) - 4:03  
Stone Dirt 1968 
12.Bring It On Home (Willie Dixon) - 2:54
13.It's My Own Fault Baby (John Lee Hooker) - 5:12
14.I Can't Quit You Baby (Willie Dixon) - 5:39
15.Tell Me  (Rod Piazza) - 4:19  
16.She's The One (Rod Piazza) - 2:45  
17.My Baby (Willie Dixon) - 4:35  
18.Sittin' Down Wonderin' (Rod Piazza) - 5:38  
19.Six Sides (Rod Piazza) - 2:56  
20.You've Got To Love Her With A Feeling (Freddie King, Sonny Thompson) - 4:33  
21.Gone Too Long (Rod Piazza) - 3:10

The Dirty Blues Band
*Pat Malone - Organ, Piano
*Rod "Gingerman" Piazza - Vocals, Harmonica
*John Milliken - Drums (Tracks 1-11)
*Les Morrison - Bass (Tracks 1-11)
*Robert Sandell - Guitar (Tracks 1-11)
*Glenn Ross Campbell - Guitar (Tracks 1-11)
*Gregg Anderson - Bass (Tracks 12-21)
*Rick Lunetta - Guitar (Tracks 12-21)
*Dave Miter - Drums Tracks 12-21)
*Jimmy Forrest - Tenor Saxophone (Tracks 12-21)
*Willie Green - Baritone Saxophone (Tracks 12-21)
*Freddie Hill - Trumpet (Tracks 12-21)

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