Mel & Tim - Starting All Over Again (Rare Soul US 1972)

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Mel & Tim were an American soul music duo active in the 1960s and early 1970s, and best known for the hit, "Backfield in Motion" (1969). They are also well known for: "Hope, Life's Goal" and "Starting All Over Again" (1972).

Mel Hardin and Tim McPherson were cousins from Holly Springs, Mississippi, who traveled to Chicago where they were discovered by Gene Chandler. Hardin's mother and McPherson's aunt, Yolanda Hardin, helped the duo with their publicity, as she was once a singer herself. She signed them to a recording contract with her Bamboo Records record label, and they recorded their own song, "Backfield in Motion". It was immediately successful, reaching #3 on the U.S. Billboard R&B chart and #10 in the pop equivalent in 1969. It sold over one million copies, and was awarded a gold disc. Their follow-up song was "Good Guys Only Win in the Movies", which was also the name of their first album.

Hardin and McPherson subsequently moved to the Stax label, where they recorded a second Top 5 R&B hit with the ballad "Starting All Over Again". Released in the U.S. in June 1972, this also climbed to #16 on the Hot 100, and stayed in that chart for 22 weeks. It was their second million seller, taking five months to shift that number of gramophone records. This was also the title track of their second album in 1972, recorded in Muscle Shoals and produced by Phillip Mitchell. They performed at the Wattstax charity concert that year, but later recordings could not repeat their earlier successes.

Mel & Tim were a classic Chicago soul vocal duo, recording in Muscle Shoals in the deep South for Stax and making records that fit comfortably next to those made in Philadelphia. It may sound incongruous, but their 1972 album, Starting All Over Again -- released on CD with four bonus tracks -- is a wonderful record that blends the sweet production of Philly with tight southern rhythms and Windy City harmony. And that's not even mentioning an impeccable set of songs; many written or co-written by Phillip Mitchell, along with sharp covers of soul classics like "Wrap It Up" and "I'm Your Puppet." The title track is a stone masterpiece -- an epic tale of a couple trying to repair their love -- but the rest of the album isn't far behind. In fact, it ranks as one of the finest soul albums of the early '70s.

01. Don't Mess With My Money, MyHoney or My Woman Mitchell 3:38
02. Starting All over Again Mitchell 4:05
03. I May Not Be What You Want Mitchell, Shelby 3:07
04. Carry Me Mitchell, Shelby 3:43
05. Free for All Shorter 2:38
06. Heaven Knows Banks, Hampton, Jackson 3:52
07. Wrap It Up Hayes, Lennox, Porter, Stewart 2:21
08. What's Your Name? Johnson, Johnson 2:52
09. I'm Your Puppet Oldham, Penn 2:58
10. Too Much Wheelin' and Dealin' Banks, Jackson 2:48
11. Forever in a Day Clements, Mitchell 4:33
12. It's Those Little Things That Count Mitchell 3:02
13. The Same Folk Mitchell 3:20
14. Yes We Can Can Toussaint 4:12

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Not to be missed (again...) Bert Keely - Take Me Home (Psychedelic Folk US 1979)

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Totally unknown and quite great west coast private press. self recorded in various bedrooms in palo alto, california. essentially a solo endeavor with one friend adding excellent drums to a few tracks. floating, introspective loner folkrock with psychedelic flashes.

filled with beautiful layered guitar tapestries enhanced by understated but persistent use of phasing, backwards effects, echo, fuzz, reverb, etc. really magical post-hippy west coast guitar action for sure. the vocals are warm & deep and float through the music perfectly.

primitive by nature for sure, but the home production job is top notch. solid all through, and 2/3rds of the tracks are truly amazing. serious grower qualities upon repeated listening, with many sweet subtleties. the stark b&w cover art captures the urban loner mood perfectly. recommended.

01. Mari's Song
02. Old Friend
03. Take Me Home
04. For Mica
05. Melissa
06. Gathering
07. Give And Take
08. Love Me Tonight
09. Queen Of My Dreams
10. Ocean
11. Counting The Stars (Bonus Track)

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Gryphon - Red Queen to Gryphon Three (Folkrock UK 1974)

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GRYPHON was founded in 1973 by Richard HARVEY (recorder, keys) and Brian GULLAND (bassoon, krumhorn) after a stint at the Royal Acadamy of Music. They shared a vision of blending traditional English folk, Baroque instrumentation and Renaissance music in a modern format. The compositions resemble those of Gentle Giant but give greater emphasis to the authentic textures and sounds of the Renaissance period.

Harvey and Gulland were joined in 1973 by Graeme TAYLOR on guitar and singer/percussionist David OBERLE for their all-acoustic first album 'Gryphon'. Bassist Philip NESTOR was added to the line up in 1974 for their second effort 'Midnight Mushrumps', which featured an increased number of original compositions and leanings in a rock direction. Later that year their classic 'Red Queen to Gryphon Three' was released and has become a prog rock staple with its longer, somewhat more symphonic arrangements and courtly instrumental rock. The mid-1970s brought big changes to the band with new bass player Malcom BENNET taking over for Nestor. In 1977, guitarist Graeme Taylor left to be replaced by Bob FOSTER, bassist Jonathan DAVIE replaced Bennett, and Oberle switched to lead voice with Alex BAIRED taking over on drums. Tim SEBASTIAN was also brought in as a lyricist to complete the ever-growing unit. 'Raindance' was released in 1975 and 'Treason' in '77, establishing GRYPHON as a top-notch prog rock act.

There is only one Gryphon, and although I don't need this kind of music very often, I certainly appreciate the creativity, musicianship, and energy that went into creating this unique piece. I'm not quite ready to grant this masterpiece status, because it often plays as a collection of melodies that sometimes seem to be rather haphazardly thrown together. There's no doubt that it sounds cool and is ALWAYS interesting, but a cohesiveness is sacrificed that I need for a true 5 star album.

Opening Move. Gryphon certainly draws the listener in, with a bouncy melody that leads to some truly incredible piano flourishes absolutely refreshing instrumentation. After changing melodies repeatedly for the first five minutes, they settle into a simple krummhorn tune that starts innocently and ends absolutely chaotically five minutes later. There really is no predicting these guys! Brilliant stuff!

Second Spasm. The craziness is maintained, but unfortunately the quality of the melodies is not. Here the music becomes so playful in places that it becomes a bit goofy to my ears (especially in the middle--the intro and outtro tunes are very good).

Lament. Gryphon wisely decide to include a thoughtful, poignant song, and they really pull it off well. The first five minutes are absolutely haunting and powerful mellow tunes, and the opening melody is revisited for a majestic finale. This is great songwriting and some welcome restraint from Gryphon.

Checkmate. Again the quality dips after preceeding greatness. Most of the song is too mellow and/or simplistically playful for my taste (though it's by no means bad). They attempt a classic Gryphon freakout for the finale, but they have done better elsewhere (on Opening Move and Heldenleben on the next album). It's just too anti-climactic for me.

I'm glad Gryphon put this out, and I'm proud to own it--I just don't think this has the substance throughout to be considered a masterpiece, though it definitely should be part of your prog collection. [progarchives.com]

01. Opening Move (9:42)
02. Second Spasm (8:15)
03. Lament (10:45)
04. Checkmate (9:50)

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Blue Goose - Selftitled (Good Bluesy Hardrock US 1976)

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"Inspired, firstly by Eric Clapton, then later by Jimi Hendrix, Eddie Clarke (Later with Motorhead, Fastway) began a guitar-playing career around his hometown of Twickenham in Middlesex. By the time he was 15, Eddie had been through many local bands, one of whom went under the name of The Bitter End.

Eddie continued gigging around locally until 1973, when he turned professional by joining Curtis Knight’s band, Zeus, as lead guitarist. This was an incredible turn of coincidence for Eddie, as most rock fans will probably know that Jimi Hendrix played with Curtis Knight’s band, The Squires, during his pre-Experience days, so for Eddie, this was a particularly poignant step to take. Other personnel in the Zeus line-up at the time were Chris Perry (drums), Nicky Hogarth (keyboards) and John Weir (bass).

During his 18-month stint with Curtis Knight and Zeus, Eddie and the band recorded an album titled The Second Coming at Olympic Studios during March 1974. The Clarke guitar style is indelibly stamped within the songs on this album, and Eddie also wrote the music to Curtis’ lyrics on the track titled The Confession. Eddie also appeared on the single, Devil Made Me Do It, which had an album track, Oh Rainbow, as the flip side. A further album titled Sea Of Time was also recorded and released, but only in Europe where the band was very popular.

Whilst still with Zeus, a guitarist friend, Allan Callan, invited keyboard player, Nicky Hogarth, and drummer, Chris Perry, to a jam session at Command Studios in Piccadilly. Four tracks came out of this session, three of which were complete except for the addition of bass and vocals. In fact, the tracks were that good that the quartet managed to secure a deal with Anchor Records, and called the band Blue Goose.

With the Anchor contract in their pocket, Eddie, Nicky and Chris left Zeus to concentrate on their own project with Allan Callan. Curtis Knight was outraged at this mutiny, so much so that he put the word around that if he ever met up with them again he would beat them up for leaving him in the lurch.

Allan Callan had no amps of his own, so Eddie allowed him to share his during rehearsals. This later flared into an argument as Eddie found it impossible to hear his solos as Callan was drowning him out. The upshot of this ended in Eddie being sacked. However, within a few days, the band had asked him to re-join them, but he refused as he felt that they, as a band, were doing Anchor an injustice in that they had been paid an advance for the recording of an album, but at the time they had made no moves towards doing so.

The self titled Blue Goose album was released by Anchor in 1974. The only reminder of Eddie’s time with the band was an instrumental track titled Over The Top, credited to Clarke-Hogarth-Perry, and is nothing like the Motorhead track sharing the same title.

Almost immediately after the high noon with Blue Goose, Eddie formed another band with Be Bop Deluxe bassist, Charlie Tumalhi, Ann McCluskie on vocals and Jim Thompson on drums, under the name of Continuous Performance. This liaison lasted through to early 1975 when their demo tracks failed to secure a suitable record deal. The band, as such, then folded, but Eddie enlisted Nicky Hogarth from Blue Goose to try again with Tony Cussons (bass) and Terry Slater (drums). Sadly, the line-up suffered the same fate that led to Continuous Performance disbanding and Eddie giving up the music business for a short while." (taken from: http://crotchbat.blogspot.com )

Musicians:
Alan Cullan: synthesizer, guitar, vocals
Nick Hogarth: keyboards
Alexis Korner: vocals
Sean Locke: drums
Steve Marriott: vocals
Joey Molland: vocals
Chris Perry: drums
Nick South: bass
Mike Todman: guitar

01. Stuttin´Stuff
02. The Chorus
03. Call On Me
04. Loretta
05. Snowman
06. Over The Top
07. Let Me Know
08. Inside Youself

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One more: Picture of the day

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Picture of the day

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Not to be missed: Vernon Garrett - Going to My Baby's Place (Rare Soul US 1975)

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Born: Jan. 18, 1933
Place of birth: Omaha, Nebraska, U.S.A. When he was 15 he sang with local gospel groups like the Southern Wonders. Claude Jeter of the Swan Silvertones heard him when he opened for them and the Soul Stirrers. For a short time he was with the Swan Silvertones. He then went into the service aboard the USS Sarsfield EDD 837 in the Korean war. "After I got out of the service and joined a vocal group called The Mixers".

Vernon soon starting performing as a solo artist and as a duo with his then wife jewel. "The f irst song we recorded was "You're Going To Be Paid for the Way You Treated Me"

Vernon and Jewel released several singles for Kent throughout the 60s until Jewel died and Vernon returned as a solo artist. After Kent folded Vernon released various 45s for various labels like Modern ("I'm Guilty"), Open G ("I Had A Dream"), Venture ("Love Has Caught Me"), R & B ("Born To Love Me"), Soul Clock ("Just Ain't My Day"), Glow Hill ("Merry Christmas Baby)", APT as "Biggie Ratt" ("Escape", "We Don't Need No Music"), Kapp ("You Blew My Mind"), Grenade ("Going To My Baby's Place"), Watts ("I Learned My Lesson"), Gator ("Jody Can Ease The Pain" and others. His first LP, "Going To My Baby's Place", came out in 1975 but his first national chart hit was "I'm At The Crossroads" for ICU in 1977

01. Going To My Baby's Place
02. I Learned My Lesson
03. One Man's Loss
04. Something Went Wrong
05. Love Junkie
06. Satisfied Woman, Satisfied Man
07. Keep On Forgiving You
08. I Made My Own World
09. To Be A Part Of You
10. Don't Do What I Do

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Jody Grind - Far Canal (2nd Album Hardrock UK 1970)

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This second album, Far Canal, for Jody Grind was originally released in July 1970, on Transatlantic Records. Jody Grind is a group that you absolutely must know, one of the best English psych prog rock bands from the early ?70?s, thanks to their rare originality and notable solos on keyboards and guitar. Really a splendid album that's often overlooked I think.

If you'd go all the way to have a complete view over Jody Grind, you'd doubtlessly have to get both of their full works, not just the more important and significant 1969 debut - and perhaps the definitive compilation could go in the basket as well, despite not being truly special. Far Canal is, optimistically, not even a quarter worse than the previous effort, showing the group was plugged to their moody yet also tasty approach of rock till the end - and the pleasure of listening to their leisure expression would surprisingly make it a winner! True, on the other hand, how Far Canal is different from its precedent, not only in the new musicians Tim Hinkley collaborates with, but also in the substantial taste of their style. It's a lightweight album compared to One Step On, but it recovers this essential quality with quite exceptional bits of pieces and with an interesting, at least, music about which to talk about, long after the play is over. And, coming back to the main idea from the first sentences or so, it's nothing else than simply Jody Grind's second work. Not weaker, not less Jody Grind-esque. Simply the second of the batch - and you should definitely choose both for your collection.

The change of musicians is significant (eye-popping, let's say), but Hinkley also kept the concept of Jody Grind well on his shoulders. So what did truly One Step On had that now it's missing well enough from Far Canal, constituting a major difference in style? Par-psychedelic, par-heavy, check; London groove, myeah; jam atmosphere, hazes and creativity, check; brass full sound, double-check. Far Canal, from this point of view, sticks to the late `60s feels (in fact, it sinks often back into it, by its mellow or characteristic songs), and never gets back to the sound of brass-rock that impressed so apart from much of the rest. Otherwise, psychedelics, heavy streams (guitars), a bit of jam here and there, all checked yet again!

Even more #1: if you enjoyed Jody Grind's mix of artistic, eclectic, funky and jammy feelings, here on Far Canal everything is of the same passion. Of course, their music isn't the best to name out of everything from that period, but the certain vintage sound and groove will please enough ears, especially when the band does play, on certain tracks, by the accurate style of those days' Brit psych, pop `n` rock.

Even more #2: if One Step On can be considered proto-progressive, Far Canal surprises with some moments - sadly, only some - that are full-blown progressive - and, generally, the sound will make you think it this way. Apart from this, if it was intentionally or incidentally that the band adapted similar progressive structures as other big bands, in those particular moments, it's by itself a discussion for another full review...

Far Canal is made out of nine pieces, four reaching the top length of over 7 minutes - and, incidentally, 2 out of the 4 are candidates for the best piece of this record. Regarding this, the lack of an epic, similar to the one on the debut, is another thing that creates the difference between the albums. Yet it shouldn't demoralize fans, because, as it's structured, Far Canal is powerful, durable and diverse enough. The first thing to notice is how one of these pieces is a live recording - and the quality of the recording is overall very nice. The album starts with Rock 'n' Roll, which I think it's close or even the same with Rock 'n' Roll Man from One Step On. It anyway copies its quality: that of an unimpressive, unrepresentative cover from this band. Past We've had it, who's only special thing is also unusual: classic guitars (instead, a beautiful vocals song), and past the jammy Bath Sister, that combines nonetheless organ rhythms in the vein of Focus with heavier guitar kicks, Jump Bed Jed is much in Jody Grind's style, the vocal part having interesting lyrics but tad negligent choruses, while the improvisation in the middle part is more worth listening to. Paradiso is a success, with its psychedelic organ consuming sound, with the usual dynamic and powerful guitar improvisations, all on a cycling rhythm that at one point turns into a very repetitive, but cool percussion intermezzo. The live song, Plastic Sh*t goes even back more in time, being blues with melodies a la Hendrix. Squeezed between this and another 7 minutes track, Vegetable Oblivion is a rock filler, but has its soft progressiveness. Red Worms And Lice is yet another fine and complex moment, the organ-guitar/rock-psych combination standing again inside the beat of such a nice piece. Far Canal's - and with that, Jody Grind's - last word is a jazzy, relaxed, lifted on a piano melody Ballad For Bridget. The sensible, vanishing ending of this and the album itself is unusual yet good.

In the end, I'd confess I'm sometimes more pleased with Far Canal than with One Step On (over there, side B is a bit shallow, while a shallow piece here means an easy one or a filler), though it's unadvised to disconsider the debut's epic and brass-rock in comparison with anything from here. Not essential, but good and enjoyable is how it all sounds. [Progarchives]

01. We've Had It (5:07)
02. Bath Sister (3:28)
03. Jump Bed Jed 7:14)
04. Paradiso (7:31)
05. Plastic Shit (7:18)
06. Vegetable Oblivion (2:09)
07. Red Worms & Lice (7:23)
08. Ballad For Bridget (3:42)

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Clear Blue Sky - S/T (Heavy Progressive UK 1970)

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John Simms, Ken White and Mark Sheather were long term friends, all originating from Acton, West London. Their common denominator and binding factor was their passion for music. They were richly influenced by early blues, soul and rhythm and blues artists, such as Bo Diddley, Alexis Korner, Yardbirds, B.B.King and so forth. Still attending school, funds were severely limited, so they had to improvise regarding musical instruments. Ken used books as substitute drums, and forks as sticks! John had an old acoustic guitar.

They took menial, part-time jobs - anything - just to get some money rolling in to finance the cost of musical instruments. The music scene in West London was thriving and they longed to perform live!

They were still far too young to drive. Consequently, they did not have a vehicle to transport the equipment to rehearsal studios, so they compromised and solved the problem by loading the gear onto push bikes and old prams. It must have been a sight for sore eyes, but at least they became very fit as a result, and frankly, nothing could dampen their enthusiasm!

The Original Line-Up
Having worked hard to achieve a musical ability they felt confident with, they literally got their act together and formed a rhythm and blues band called 'JUG BLUES'.

They swiftly boarded the club circuit, performing to all and sundry, gaining experience playing cover songs. An extensive tour of Germany resulted from this effort. They were fired with inspiration having been well received by audiences everywhere. >From this point on, they decided to commence writing their own material.

Their primary original set evolved. They took it to listening ears everywhere, performing under various band names such as ' X ' and 'MATUSE', covering the entire UK club circuit, and Germany once more. They entered the the famous Marquee club talent contest in London, and won outright. Having just come off stage, they were approached by Donovan's manager, Ashley Kozak, and worked with him for some time.

Bigger status was achieved. The band played on the same bill as Janis Joplin/Big Brother & the Holding company, Rory Gallagher/Taste, Country Joe and the Fish, Free, Edgar Broughton, Gentle Giant etc, etc...

Their unique style had now fully emerged along with a constant procession of new material - raw, exciting, experimental and heavy. They were wowing audiences, although still in their teens! They soon collected a large loyal following of fans. The vitality and originality of the music together their musical ability soon attracted the attention of the record companies.

One of the foremost producers of that era, namely Patrick Campbell-Lyons, formerly of 60's chart success band ' NIRVANA ', came to to see them perform, and instantly decided the band had enormous potential. A partnership was formed, and the band came under his guidance and sharp business skills.

Another era was beginning for these three youngsters from West London... ...Come inside... ...it's a warm, 1970 springtime. Live music filled every club and pub. The energy of heavy rock, changing folk, psychedelia and just about every other style of music was being mixed to heady proportions. Its volume filled the skies and its message spoke the language of countless personalities.

Entwined within this swirling experience was the nucleus of this three piece band. They came wrapped in crushed velvet and with a sincere approach. They were young, fresh, innovative, fun and compelling. That ever growing guitar style embroidering the luxurious threads of basic rhythm. The band took the name 'CLEAR BLUE SKY'.

The First Album On Vertigo
Within that spring of 1970, Patrick Campbell-Lyons signed the band to the celebrated VERTIGO record label - home of many original new sounds that were emerging at that time. Barely eighteen, that summer they went into the studios to make their very first album, which was self - titled, and featured one of the very first cover designs by artist Roger Dean. It was released into the cold atmosphere of January 1971, and certainly warmed the ears of many a progressive music lover.

It was apparent, not for just that year, nor even for a few years to come. As we bring it up to date, the first Clear Blue Sky album continues to sell well deep into the late 1990's and beyond, having been reproduced and licensed by such companies as Repertoire, Si-Wan among others. Many bootleg versions have been seen too!! The original vinyl is now very much a collectors item.

Later that same year, Clear Blue Sky were featured on a compilation album issued by Vertigo entitled ' Heads Together/Round One '. Still another compilation was later released, namely, ' The Vertigo Trip ' which featured their track ' Birdcatcher '.

The band toured constantly, working the four corners of the rock circuit, and also spent time in the studio recording. Days and weeks on the road were exhausting.

John decided a change was as good as a rest, and in 1975, he left Clear Blue Sky and joined 'Tangerine Peel'. He took the place of Michael Chapman of Chinnichap fame, and toured and recorded with them for a while. Unreleased material remains in the archives........ The time that John spent with ' Tangerine Peel ' was very rewarding. It was interesting working in a more commercial field.

However, after a while John felt the need to get back the heavier, more experimental style. So he left ' Tangerine Peel ' and formed another band with Clear Blue Sky drummer Ken White. Bass player Mark Sheather had by this time married, and completely dropped off the scene. So they recruited Smith Campbell for the role, whose band ' Hokus Poke ' had also appeared on the Vertigo label. They had a gritty, powerful, to-the-point sound, and consequently called themselves ' The Needle '.

Once again the club circuit was toured extensively, and they were spotted by John Entwistle (The Who). He helped them out in many ways, and occasionally turned up unannounced at their gigs, and jammed with them, much to the astonished amazement of the audience!!

The next musical venture took a different approach altogether. This time, John got together with gifted drummer Paul Gibbs (who later joined 'The Wild Angels'), and master-of-the-bass, Ian McDonald (of 'Furniture' and Claus Bohling's 'Elektrum'). Their individual influences and backgrounds combined into a most unique style. Dynamic and fresh, it resulted in a recipe that boasted a combination of jazz, funk, rock, fusion and progressive, as it's main ingredients. The name 'Separate Energy' seemed a perfect description of the music they performed, and so they adopted that name.

This band was a force to be reckoned with, and in no time at all they were touring with acts such as Bernie Torme (ex-guitarist with Ian Gillan). Within its primary formation, the band achieved third form top billing at the Stonehenge festival. Hawkwind topped the roster for that particular year. The whole thing was televised and is available out there somewhere. 'Separate Energy' continued gigging. Amongst their audience one evening was Ginger Baker's manager, who appeared to be talent spotting for members of Ginger's forthcoming new band, and subsequent international tours. He considered John and Ian to be the ideal partners for Ginger's imminent project.

Signed, sealed and delivered to the destination of their first tour, namely Austria, John and Ian warmly anticipated a meeting and rehearsal with this infamous drummer.

To their horror, the rehearsal never materialised at all! Ginger simply gave them a verbal list of songs very shortly before they were due to perform them!

"'E're" said Ginger, "do you know 'Toad'?"

"Sure!" replied Ian and John, beaming confidently. After just a quick practice, they could deliver the goods - no problem.

"Great" said Ginger, smirking. "We'll do that one… and… and…"

THAT was the rehearsal! So they faced a huge stadium filled with thousands of people, with no rehearsal - and completely pulled the whole thing off brilliantly!!

Ginger was ecstatic and booked Ian and John for numerous other tours, all of which were an enormous success.

Ginger had a son, Kofi, who also played drums. A rapport was instantly established and they agreed to have a jam together.

Kofi Baker's band Karisma
John was stunned to discover that not only did Kofi display every inch of talent that his father possessed, but that he also very much had his own style, and an incredible never ending thirst for new techniques.

A fire began to blaze, and to this day, it has never gone out since those early jams. Inspiration flowed, and a torrent of songs flooded out. The music was a diverse blend of progressive rock with rich jazz overtones. Since the music revolved around Kofi's highly technical drum style, the band took the name 'Kofi Baker's Karisma'. On bass was the accomplished and eccentric Kraznet Montpelier, and Max Marten added to the vocal input and songwriting. They recorded extensively - about two to three albums worth of stuff, which will be available soon on CD.

The Album 'Destiny' (vinyl)
By the start of 1990, there had been a revival of interest from the public in bands from the '70's and this renewed the interest in Clear Blue Sky. Recordings made by the band in the '70's were exhumed, and were constructed into an album entitled ' Destiny ' , after one of its featured tracks. Many of the songs were recorded live at various venues, so it tends to have a much rawer sound. It was released by Saturn Records in August 1990. It was originally pressed as a limited edition on vinyl and cassette format.

Barry 'Vertigo' Winton with John
The band were asked to play the 20th Anniversary Isle of Wight Festival in the summer of 1990. So, John decided to reform Clear Blue Sky. They performed a superb set of their '70's material which was the highlight of the festival

In October 1990, Vertigo Records released a compilation album, namely 'Vertigo Classics & Rarities, Vol.1.' This featured many of great bands and artists of the '70's, and on which Clear Blue Sky feature with the track ' Rocket Ride ' from their first album.
They continued gigging, and it was not long before record companies showed interest in new material for a third album.

The Vertigo Compilation
Finally, they signed to Aftermath, who requested a new album and promptly issued 'Destiny' on CD with new artwork by Phil Schmee. Many Clear Blue Sky fans wrote asking for news of the band and availability of new material and live performances. Indeed, letters continue to come in from all over the world.

Greatly encouraged by this, they took the threads of their original style and wove new songs. The result was a totally new album entitled 'Cosmic Crusader'.

Like the first, this one was a concept album entitled 'Cosmic Crusader ', depicting a story within the music, based on a science fiction theme. This time, they added the magical keyboards of Adam Lewis and a female backing vocalist, and the result is typically Clear Blue Sky, with its melodious, flying -in-the-clouds style, conversely married to the distinct stamp of the heavyweights, together with the inimitable acid/prog/rock outstanding guitar works of La Simms. The artwork was provided by Ginger Baker's (ex) wife Elizabeth Finch.

The album was warmly received world wide, attracting warm reviews, much radio airplay and invitations for interviews. Like it's predecessor, it is sure to endure the tides of time.

'Still Dizzy' Compilation
In the autumn of 1998, from Polygram yet another compilation of all the Vertigo greats, a luscious double CD collection with the wonderful title 'Still Dizzy after All These Years'. This time Clear Blue Sky's featured track was 'My Heaven', and graciously, the sleeve note ( penned by the one and only Barry 'Mr Vertigo' Winton, the foremost knowledge of progressive rock) also made mention of the recent album 'Cosmic Crusader'.

2001 marked the 30th anniversary of Clear Blue Sky's recording career. To celebrate the occasion, Hi-Note Music issued two new releases on the Aftermath label.

'Out Of The Blue' album
These embrace the band's entire career. The first release, entitled 'Out of the Blue/live & unreleased features the first recordings made by the band way back in 1969, preceeding their Vertigo debut album by two years, and making the average age of the band just 16 years old! Other previously unreleased tracks are included together with live versions of songs from the first album.

The Latest Album
The second release, namely 'Mirror of the Stars', brings us right up to date with the band's best offering yet. Their record company, Hi-Note Music, had this to say: "A stunning and electrifying new album, their heavyweight rock style now multi-layered with facets of psych, blues-space and garage, projecting bounddaries ever further."

Clear Blue Sky have selected the best songs from their 30 year career, and have fused them into an explosive live set.

Indeed, they have never sounded better!

Track listing:
Journey To The Inside Of The Sun
(A) Sweet Leaf (9.30)
(B) The Rocket Ride (5.57)
(C) I'm Comin' Home (3.05)
You Mystify (7.45)
Tool Of My Trade (4.50)
My Heaven (5.00)
Birdcatcher (4.10)

1. https://rapidshare.com/files/381335888/Clear_Blue_Sky.rar
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Slade - Play it Loud (2nd Album UK 1970)

Size: 88.2 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Incuded
Source: Japan 24-Bit Remaster

This album demonstrates Slade's image evolving, along with their sounds; four rather respectable lads are on the vintage cover photo, reversed to negative for the back side, delivering a more refined hard rock than portrayed by future titles like "Gudbuy T'Jane" and "Mama Weer All Crazee Now." Chas Chandler's production beefs up the bottom with noticeably more bass and piano than on Ballzy by Ambrose Slade. Also there is less cover music here. What sounds like the opening to the Yardbirds version of Graham Gouldman's "For Your Love" emerges as Barry Mann and Cynthia Weil's "The Shape of Things to Come." Things to come is exactly what this album is, from the Ten Years After inspired original "Raven" to the more ominous "See Us Here," which is Noddy Holder sounding as sinister as Ozzie.

Slade has gone from redoing classics of the genre to copping riffs and writing their own rock essays. "See Us Here" is subtle Black Sabbath, when the Sabs are on their best behavior. One of the album's most outstanding tracks is "Dapple Rose," a take-off of the Move when Jimmy Miller gave that band their number one British hit, "Blackberry Way." The violin adds to the majesty of the big vocals and pretty guitar, delivering a commercial performance very unlike the stuff that would make them famous. J. Griffin/R.Royer's "Could I" sounds like heavy Chinn/Chapman with a sludgy solid hook that gives birth to an elegant chorus and fade. Very sophisticated, which is where the first album was heading. "Know Who You Are" is a wonderful study here; the band is more proper dipping into that Yardbirds bag again on this original.

By the time it was re-released on Slade Alive, only two years later, the song would become part of their glam success. But here, Neville "Noddy" Holder is kept on key by Chas Chandler, and that restraint makes for an intelligent album of rock which draws from all of the aforementioned sources, Ten Years After, Sabbath, "The Move," Yardbirds, as well as the Beatles, Steppenwolf, and Kaleidoscope U.K. Surprisingly, there's no Animals or Hendrix that can be seen on the surface, an original like "Pouk Hill" leaning more toward the rock side of things than the blues embraced by Jimi and Eric Burdon. Nick Innes' "Angelina," however, takes that early pop/blues sound Z.Z.Top gave to their early-'70s single "Francene" and shows what that style sounds like when performed by Englishmen as opposed to Americans. "Dirty Joker" seems almost anti-gay, a paradox for a band that would be so essential to the glam blitz which Bowie, T. Rex, and Mott the Hoople were all part of.

There should be more similarities to Mott, but there are not, the final track, "Sweet Box," taking a Beatles riff from "She Said" and mutating it beyond recognition, experimenting with rock & roll in an inspiring way. Although the latter-day Slade were fun, it is the music of Ballzy and Play It Loud which was more serious and which demands repeated listenings. Wonder what would have happened if Slade had dismissed the humor and kept on this more serious course? They certainly had the chops for it, and this is, on the whole, a good record apart from what they became famous for. ~ Joe Viglione

01. Raven
02. See Us Here
03. Dapple Rose
04. Could I
05. One Way Hotel
06. Shape of Things to Come
07. Know Who You Are
08. I Remember
09. Pouk Hill
10. Angelina
11. Dirty Joker
12. Sweet Box
13. Get Down And Get With It [Bonus]
14. Coz I Luv You [Bonus]
15. Look Wot You Done [Bonus]

1. https://rapidshare.com/files/3663080668/Slade.rar
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2. http://uploadmirrors.com/download/0TYNJRHR/Slade.rar
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Gravy Train - Ballad of a Peaceful Man (Great 2nd Album, Hardrock UK 1971)

Size: 80.6 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Released in late 1971, (A Ballad of) A Peaceful Man was Gravy Train's second - and probably their most praised - album. Unlike their heavier debut, this album sports some lovely string arrangements, provided by Nick Harrison.

A unique feature of the album is that it splits the heavy tracks from the lighter tracks: all the ballads are on side 1, while all the rockers are on side 2.

Among the lesser-feted jewels released by the Vertigo label during its swirly-logo purple patch, Gravy Train's restful hybrid of jazz-tinged virtuosity, folky pastorals, and heartfelt vocalizing peaks on this, their second album, and that despite A Ballad of a Peaceful Man doing little more than treading water when compared to the experimental peaks of its predecessor. Part of the album's appeal lies in the then-novel concept of splitting its contents neatly in half, the hard rockers on one side, the softer material on the other. On the whole, the ballads have dated a lot better than the monsters, particularly "Alone in Georgia," which clashes sweet soul with (of all things!) Southern rock and, for some reason, sounds a lot like the Heavy Metal Kids.

But that is not to denounce the sheer power of the band in full flood. The title track postulates an unholy collision of Uriah Heep and Atomic Rooster, and shows off Norman Barrett's vocals to maximum effect, while "Won't Talk About It" is almost stubbornly likable, and that despite prophesying every yowling power ballad of the '80s and beyond. Best of all, though, is the spookily atmospheric "Home Again," all throbbing percussion, primal flute, and timeless melancholy. On an album that flirts across a variety of moods, the moodiest track of all makes for a breathtaking finale.

Personnel:
Norman Barrett – Guitar, Vocals
Barry Davenport – Drums
J.D. Hughes – Keyboards, Vocals, Wind
Lester Williams – Bass, Vocals

01. "Alone in Georgia" – 4:35
02. "(A Ballad Of) A Peaceful Man" – 7:06
03. "Julie's Delight" – 6:58
04. "Messenger" – 5:58
05. "Can Anybody Hear Me" – 2:59
06. "Old Tin Box" – 4:45
07. "Won't Talk about It" – 3:00
08. "Home Again" – 3:25

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Pluto - Pluto (Great Hardrock UK 1971)

Size: 87.2 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Collectable 1972 UK Hardrock with some nice heavy touches and tight vocal harmonies. Some nice guitar work and a definite late '60's vibe adds to the appeal of this fine UK rock album, reminiscent in places of The Apple.This reissue also contains bonus tracks.

01. Crossfire
02. And My Old Rocking Horse
03. Down And Out
04. Shes Innocent
05. Road To Glory
06. Stealing My Thunder
07. Beauty Queen
08. Mistere Westwood
09. Rag A Bone Joe
10. Bare Lady
+ 3 bonustracks

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Not to be missed: Jerusalem - Jerusalem (Superb Hardrock UK 1972)

Size: 84 Mb
Bitrade: 256
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Ripped By: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Produced by Deep Purple's Ian Gillan,this UK outfits (ex Pussy) 1972 album is an excellent display of early 70's UK heavy rock recorded at Ian's own Kingsway Studio.Lengthy tracks (typical of the era) like "Hooded Eagle" follow the Leafhound/May Blitz school of UK progressive while "I See the Light" is a shorter heavy 3 minute romp.This was easily the heaviest album to appear on Deram label.Jerusalem was a raunchy early '70s British heavy rock five-piece outfit. The band released one self-titled album worldwide in 1972 on Deram (UK cat. no. SLD6), produced by Ian Gillan of Deep Purple. Jerusalem's only other release was a 45 rpm 7' single, the non-album 'Kamikaze Moth' backed with 'Frustration' from the LP.

The band's unpolished and brutal rock was way ahead of its time and, therefore, the band never made it in a true commercial sense at the time. They were very much a live band and whilst many other rock bands were into getting their audiences to sit down and listen, Jerusalem were all about making their audiences stand up, move and join in. They gigged throughout Europe and shared the same stage as Black Sabbath, Deep Purple, Uriah Heep and Status Quo. They also played at some of the major festivals in Europe to audiences of 50,000+ and usually went down a storm because they were different, raw and uninhibited. It has often been stated within the music business that Jerusalem were a substantial influence on many of the second generation metal and punk bands of the 80s. Founders Paul Dean and Ray Sparrow eventually split the band and formed a three-piece with Bob Cooke called Pussy, who released a single on Deram, 'Feline Woman' (there is also an unreleased album), also produced and managed by Ian Gillan. In recent years Jerusalem's only album has been reissued by Universal as a Japanese CD (2004) and has also become available through many rock music websites. It would appear that Jerusalem is still continuing to grow as a cult band throughout the world.

This is the first album by Jerusalem, a band which excites me very much; they are rough, raw and doomy with their own strong identity. As they are young and a bit green, they don't follow many rules, so their material is almost crude - but still immensely powerful in content.

I believe that, whenever possible, the work of writers and players in their formative stages should be recorded; before inhibition and self-consciousness set in, before fire and aggression die down, and while they are still absorbing influences and doing things which others might consider 'uncool'. Most important though, before they might develop that self-imposed rigidity which afflicts so many. I hope none of these things happen to Jerusalem, we'll have to wait and see, this album is just in case.

I hope you like it as much as I do.

Ian Gillan (producer of this album)

01. Frustration - 5.17
02. Hooded Eagle - 4.49
03. I See The Light - 3.53
04. Murderer´s Lament - 3.39
05. When The Wolf Sits - 4.49
06. Midnight Steamer - 4.42
07. Primitive Man - 5.44
08. Beyond The Grave - 6.07
09. She Came Like A Bat From Hell - 5.33

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