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Mendocino was the third album by country rock group The Sir Douglas Quintet, released in April 1969 on Smash Records. The release of the album was expedited as the result of the top 40 success of the title song. The album also contains their best-known song, "She's About a Mover". It reached number eighty-one on the Billboard Pop Albums Chart. Neon Records re-released the album in 2001 and 2008.
Chart success for the title song led to a hurried release for this band's second album, although perhaps the most famous song, "She's About a Mover, originated a few years prior with another version. Listeners will probably be more familiar with the version heard here, the one with the freaky feedback guitar solo and fake fadeout that oldies disc jockeys like to yabber over. This and "Mendocino" are only two of the many nearly perfect tracks on this record, some of which give off the illusion (perhaps an accurate one) that they were simply tossed off without a whole lot of preperation.
"Texas Me" is genius on triple levels: there is the poetry of the lyrics, the soulful delivery from the singer, and finally the haunting recording fat with echoey, multitracked vocal and fiddle. When the listener reaches the end, "Baby It Just Don't Matter" it is as if one has strolled through an old neighborhood searching for a lost sound in the air, only to find a good, friendly rock band is jamming in a garage right down the block. The players are the classic Sir Douglas Quintet line-up including Augie Meyer.
01."Mendocino" – 2:40
02."I Don't Want" – 3:45
03."I Wanna Be Your Mama Again" – 3:10
04."At the Crossroads" – 4:30
05."If You Really Want Me to I'll Go" (McClinton) – 2:35
06."And It Didn't Even Bring Me Down" (Fierro, Morin, Sahm) – 2:30
07."Lawd, I'm Just a Country Boy in This Great Big City" – 2:45
08."She's About a Mover" – 3:20
09."Texas Me" (Meyers, Morin, Perez, Sahm) – 2:35
10."Oh, Baby, It Just Don't Matter" – 3:15
+ Bonus Tracks
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Born Roger Kynard Erickson, Roky sang for the 13th Floor Elevators before going solo. Don't Slander Me should come as a revelation to those only familiar with the Elevators. Recorded during the new wave era, Slander is a rock and roll album, and quite a good one, but it was out of step with the era and found little commercial success. Fortunately, interest in Roky has grown since then and the time is ripe for a reassessment--of his music, not his mental state (notoriously precarious at the time). Roky's interest in blues and garage-rock are part of the equation, there's also some boogie-woogie here, a little surf music there. Although the Elevators never sounded particularly "Texan," the Lone Star State is stamped all over Don't Slander Me, particularly the hard-rocking title track and Buddy Holly-influenced "You Drive Me Crazy." This reissue includes three alternate takes from the original sessions.
Don't Slander Me contains everything that makes Roky the amazingly unique musician he is. From the fiery title track to the last song, this album kicks ass. Roky expresses his tender side on rock ballads such as Nothing In Return and Starry Eyes, but the high point of the album is without a doubt Burn The Flames (from the Return Of The Living Dead soundtrack), a venture into horror as only Roky could tell it. Features Jack Casady on bass.
Roky (pronounced rock-eeh) Erickson was founding member and lead singer of the pioneering psychedelic group, Thirteenth Floor Elevators. Erickson explored the far reaches of musical and personal extremes. Young musicians like Jerry Garcia, Grace Slick, and Janis Joplin jammed with the influential group. Following a nightmarish '70s mental-hospital stint that had a devastating long-term effect on his mental health, Erickson's subsequent solo work with his group The Aliens revealed a brilliant songwriter and performer whose talent was no less impressive for the fact that he was singing about zombies, vampires and aliens. The demons that abound in Roky's songs are all-too-real reflections of his own troubled psyche. The combination of the artist's oddly poetic lyrical constructions and his bracing banshee wail makes it clear that he's not kidding! Don't Slander Me and Gremlins Have Pictures, recorded late '70’s - early '80’s,document Roky’s genius.
01. Don't Slander Me
02. Haunt
03. Crazy Crazy Mama
04. Nothing in Return
05. Burn the Flames
06. Bermuda
07. You Drive Me Crazy
08. Can't Be Brought Down
09. Starry Eyes
10. Damn Thing
11. Hasn't Anyone Told You [Outtake]
12. Realize You're Mine [Outtake]
13. Haunt [Alternate Take]
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Like Syd Barrett and Robyn Hitchcock, Roky Erickson is one of rock & roll's genuine crazies, and this album does nothing to dispel that image. As the song titles accurately suggest, the lyrics here all draw their subject matter from satanic and horror-movie subjects. Musically, the album is quite appealing. If the ghouls in the 1960s song "Monster Mash" were really hip, they'd be partying down to "Don't Shake Me Lucifer," a rollicking 1950s-inspired number with clear nods to Little Richard, and they'd be slow-dancing to "I Walked With a Zombie," a demented early-'60s ballad update. A number of other songs here suggest a drier, mid-tempo version of the garage psychedelia of Erickson's legendary 1960s band 13th Floor Elevators, especially "I Think of Demons," "Cold Night for Alligators," and the feedback-laden anthem "Two-Headed Dog." "Night of the Vampire" and "Stand for the Fire Demon" are ominously effective slow-tempo production numbers. The sound quality on this album is a bit trebly, but not bad. In general, this is an excellently listenable album. Note that this release's title as it appears on the disc label and jacket spine is five runic symbols unreproducible with a standard typewriter keyboard; other review sources give the eponymous title which has been listed above.
01. Two-Headed Dog (Red Temple Prayer)
02. I Think of Demons
03. I Walked With a Zombie
04. Don't Shake Me Lucifer
05. Night of the Vampire
06. Bloody Hammer
07. White Faces
08. Cold Night for Alligators
09. Creature With the Atom Brain
10. Mine Mine Mind
11. Stand for the Fire Demon
12. Wind and More
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Chris Lockheed of Kak helped ex-Blue Cheer guitarist Randy Holden on the above album, which is an extension of the proto-metal direction he explored on Side Two of the third Blue Cheer album, New! Improved!. Probably because Holden plays all the music himself, the album sounds rather one-dimensional and sparse. It certainly isn't the best record that he's played on, but it's by far the rarest, and is still highly sought-after. The stories which have circulated for years, about it being withdrawn from the market immediately after release, are probably accurate. It is still held in high regard by collectors of primitive heavy rock, and copies were changing hands for hundreds of dollars over twenty years ago.
Holden had earlier played with The Fender IV, Sons Of Adam, The Other Half and Blue Cheer. His early works have been compiled on the CD, Randy Holden Early Works '64-'66: The Fender IV, Sons Of Adam (Captain Trip Records) 1997. It includes both of The Sons Of Adams' 45s for Decca plus three previously unreleased cuts, Without Love, I Told You Once Before and You Make Me Feel Good. It also includes the two 45s for Imperial by The Fender IV plus two previously unreleased tracks, Highway Surfer and Little Ollie.
One year after his departure from Blue Cheer, Randy Holden released this solo album accompanied only by ex-Kak drummer, Chris Lockheed on drums. And until the original master tapes surface and “Population II” gets reissued for real, one must be content with a recording level a little less coherent than “Metallic K.O.” But despite its total lack of fidelity, one thing it still has going strong in the mix is Holden’s lead guitar blasting out relentlessly from the curtain of his Sunn amplifier cabinets, as pictured on the back cover. I count 16 in this photo, but there were probably more. I mean, Holden had to rent an opera house in order to just rehearse, as each speaker could handle 200 watts. However many were fit into the confines of Amigo Studios, the very same studio Blue Cheer had recorded “New! Improved!” with Holden in tow (well, for half an album’s worth, anyway*) is anybody’s guess. But there were enough to make it…
LOUD.
Very LOUD
Louder than Blue Cheer, who were louder than god.
But Population II were gods one louder: a Power Duo with their amplifiers set at eleven.
What we hear is a little under a half an hour’s worth of Holden’s super-slowed and heavy guitar riffing/wailing/soaring. The pure sludge of it will cause cracks in your ceiling, all the windows of your room, the sky itself and possibly even your brain. It’s almost as though Holden is trying to make his drummer sense his purpose is futile and bolt the studio door to leave him alone to continue his deafening work as it dwarfs everything in its path as guitar solo upon guitar solo reduce Lockheed’s drumming to function more as punched pillows in the background. And Holden’s volcanic eruptions continue as slow as molasses and fiery as lava, spewing forth a barrage to drown out even the caterwauling-ness of his own vocals…not to mention his rhythm and bass guitar tracks.
It’s a telling sign that the album’s opener is entitled “Guitar Song”, for this is a man truly in love with his guitar. He loves it so much, it rivals his own vocal lyrics as more a voice-over (or rather, ‘voice-under’ as it’s buried by a couple hundred decibels of guitar) that scream (although by comparison to the lead guitar, is a microscopic whisper in comparison): “I pierce the air with pain -- AND LOVE!!!” as the guitar lines crawl and wriggle while roaring out at top volume simultaneously. At points, the drums cut out so Holden can play and speak/sing his lyrics and you BARELY notice it.
“Fruit & Iceburgs” (sic) is one of the three tracks Holden wrote and played on for Blue Cheer’s “New! Improved!” album*. It’s far bettered here -- far more unrestrained, and much darker and with a psychotic introductory solo that is all vibrato, sustaino and a thousand dead souls howling in the wind akin to the death lament sustain Iommi shakes out at the very end of “Children of The Grave”. A brief track called “Between Time” divides “Fruit & Iceburgs” into two parts and sees the drums getting a bit more audible. It’s also the only place where the tempo swings up by half a notch in tempo, with plenty of vocal punctuation from Holden who coaxing his guitar into a bitching bump and grind as though to give Daddy more sugar as he soars off on the (probably all too) tangible wings of volume. “Fruit & Iceburgs (Conclusion)” fades back in and although it is really just the coda, it takes them little over a minute to end it with drum fills and shrieking sustain of infinity (Playing at a volume as high and long as Population II did must have altered their biochemistry to some degree, and the deliberate volume abuse must have caused their perception of time to slow).
The second side offers more of Holden roaring out at top volume and minimum speed with guitar lines that seem more a barometer of his soul than mere riffs, flowing together like trains of thought constantly converging and splitting apart. “Blue My Mind” has a feel like a far more damaged “Had To Cry Today” by Blind Faith played far heavier, doomier and slower. A wordless chorus almost tries to hurry up the pace of the main theme, but no way -- this is Holden’s experimental journey, and getting there is more important than the destination. “Keeper of The Flame” starts off with a tom-tom pattern from Lockheed that gets practically wiped out by Holden’s sudden departure from Population II’s speed limit: He’s now really kicking up speed and letting loose, with slurred accenting up and down the neck. He then starts wah-wahing and soloing with expertly felt tone and sustain. One short break and feedback flourish sets the stage for the emergence of the ultimate “Population II” riff: one whose tail AND scrotum dragging-ness is of the s-l-o-w-e-s-t order. It’s so slow it’s on the verge of heading back in time. And it’s so heavy it’s off on a forced march to Armageddon with attached lead weights. [Review Unknown]
Who's louder than Blue Cheer?
I don't know!!! Huh!! Whaddya mean, stop screaming!!!
Holden’s ability on guitar was well in place years before the making of this album -- from surf to electric folk rock to acid rock to proto-metal to…whatever term can be used to describe this stripped down, sonic whirlwind. He had a vision, felt the music -- and played it at a volume considered excruciatingly high for any age.
Track Titles
01. Guitar Song
02. Fruit & Iceburgs
03. Between Time
04. Fruit & Iceburgs (Conclusion)
05. Blue My Mind
06. Keeper Of The Flame
Bonus (From Guitar God Album 1996)
07. Dark Eyes
08. Wild Fire
09. Scarlet Rose
10.Pain in My Heart
11.Hell And High Water
12.No Trace
13.Got Love
14.Blue My Mind
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Battered Ornaments were an ambitious rock band put together by lyricist Pete Brown, known for writing many of Cream's songs with Jack Bruce, after that group broke up. Organized in 1969, Battered Ornaments featured Brown on vocals and trumpet, Graham Layden (vocals), Chris Spedding (guitar), Charlie Hart (organ, violin), George Khan (sax), Butch Potter (bass), Rob Tait (drums), and Pete Bailey (percussion).
Layden was an early casualty. The group released an initial LP, A Meal You Can Shake Hands With in the Dark, credited to Pete Brown and His Battered Ornaments, and completed a second, Mantelpiece, before Brown left in a dispute with Spedding. Brown's vocals were then wiped off Mantelpiece and replaced. The group continued until Spedding's departure for a solo career.
01. Sunshades
02. Late Into the Night
03. Then I Must Go
04. Crosswords and the Safety Pins
05. Straggered
06. Twisted Track
07. Smoke Rings
08. Take Me Now
09. My Love's Gone Far Away
10. Week Looked Good on Paper (Bonus)
11. Living Life Backwards (Bonus)
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After the relatively lightweight 'Things May Come And Things May Go But The Art School Dance Goes On Forever' Pete Brown and Piblokto! produced this much heavier rocker in 1971. 'Aeroplane Head Woman', with its heavy guitar riff, could have come from Deep Purple and the title song, 'Thousands On A Raft', with mock-serious lyrics and a very catchy chorus wouldn't have been out of place on Jack Bruce's Songs For A Tailor. The musicianship is excellent, particularly from the fine young guitarist Jim Mullen and respected percussionist Rob Tait.
Brown's songwriting is, as always, lyrically amusing, clever, and just plain weird. Melodically it is as strong as Brown's previous two efforts, but just let down a bit by the overlong jamming on 'Highland Song'. Overall it is an excellent example of eccentric British rock music from the early 70's and I will love it forever!
01. Aeroplae Head Woman
02. Station Song Platform Two
03. Highland Song
04. If They Could Only See Me Now - Parts One And Two
05. Got A Letter From A Computer
06. Thousands On A Raft
07. Cant Get Off The Planet (Bonus)
08. Broken Magic (Bonus)
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Pete Brown & Piblokto! were a British progressive rock band, active between 1969 and
1971, and formed by the former Cream lyricist Pete Brown, after he had been thrown out of his own
band, Pete Brown and his Battered Ornaments, the day before they were due to
support The Rolling Stones at Hyde Park. The original Piblokto! members were; Brown on vocals, Laurie Allan on drums, Jim Mullen on guitar, Roger Bunn on bass and Dave
Thompson on organ.
Allen left to join The Battered Ornaments and was replaced by their drummer
Rob Tait.
They released their first single "Living Life Backwards" / "High Flying
Electric Bird", (The A-side later covered by Jeff Beck), followed by the album Things May Come
and Things May Go but the Art School Dance Goes on Forever (1969).
Bunn was replaced by Steve Glover for their second single, "Can't Get Off The
Planet" / "Broken Magic" and the LP, Thousands On A Raft (1970).
Mullen, Thompson and Tait left, so Brown and Glover were joined by Phil Ryan on
keyboards, John 'Pugwash'
Weathers on drums (both formerly from The Eyes of Blue) and Brian Breeze on
guitar. This line-up only recorded one single, "Flying Hero Sandwich"/"My Last
Band". Weathers and Breeze both departed, to be replaced by guitarist Taff
Williams (also formerly in The Eyes of Blue) and drummer Ed Spevock, before
finally disbanding in Autumn 1971.
Pete Brown went on to work with Graham Bond.
Peter Ronald Brown (25 December 1940) is an English performance poet and lyricist.
Best known for his collaborations with Jack Bruce, Brown also
worked with The Battered Ornaments, formed his own group Pete
Brown & Piblokto!, and worked with Graham Bond and Phil Ryan. Brown also writes film scores
and formed a film production company. Comedian and actor Marty Feldman was Brown's
cousin.
Brown formed Pete Brown and His Battered Ornaments in 1968, and in 1969
the band recorded two albums; A Meal You Can Shake Hands With In The Dark
and Mantlepiece, with a line-up including Pete Bailey (percussion),
Charlie Hart (keyboards), Dick Heckstall Smith (sax), George Kahn (sax), Roger
Potter (bass), Chris
Spedding (guitar) and Rob Tait (drums). Brown then suffered the ignominy of
being thrown out of his own band, the day before they were due to support The Rolling
Stones at Hyde
Park. His vocals were
then removed from Mantlepiece and re-recorded by Chris Spedding, and the
band was renamed The Battered Ornaments.
01. Dark Lady
02. Old Man
03. Station Song
04. Politican
05. Rainy Taxi Girl
06. Morning Call
07. Sandcastle
08. Travelling Blues
09. High sorrow
10. Raining Pins &
Needles
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The album starts with three of the five songs that came from their March ’73 recording sesh and gives the album its real coherence. However, the album hits its peak later on, so give it time if this stuff don’t smoke thy pole immediately. ‘Forever My Queen’ opens up just like Bang doing Sabbath in that remedial Bleib Alien-meets-‘Future Shock’-style, a grunge-a-holic trawl through the lowest grade of Iommi riffs. Vincent McAllister solos wildly and inappropriately all through and then it just… fades and fucks off in my favourite kind of AM radio fade – 3 secs max. Then, off into the next under 3-minutes bliss of ‘When the Screams Come’, complete with Bill Wardian bibles-at-the-sofa drum fills and Sabbalong time changes. Man, these guys are screaming out for an LP of their own but there’s not even bones for these dogs! And slowly out of the mists comes the sub-Joy Division/E Pluribus Sabbalong of ‘Walk in the Blue Light’ in which Vincent McAllister exposes his bassist-turned-guitar hero provenance with another Bleib Alien riff you always thought Ace Frehley woulda been knocking out before his Kiss days (not true, I’m sure). In fact, that whole Roky Erikson/Bobby Liebling thing that the Swedish band Witchcraft had going really manifests here in the atmosphere of ‘Walk in the Blue Light’, enjoying a real soaring clarity and openness that Sabbath obviously never approached because of their ubermetal groovelessness.
Greg Mayne RICKENBACKER BASSThen, ‘Starlady’ kicks in from three years later and weez talking about a totally different, blazing, auspicious rock experience that sounds like a band that’s huge. Gone is the autistic, post-adolescent in-yer-boots vibe to be replaced with a Horned God confidence that screams and struts. Also, here we gotta nutha extra guitarist called Marty Iverson, who adds considerable weight to the sound and pushes the whole Pentagram trip into a Dust-as-played-by-Montrose experience even something like the Australian UGLY THINGS period of MC5/Yardbirds influenced groups. I know I keep punishing the Dust metaphors but Leibling’s voice is uncannily like Richie Wise’s at times.
Track 5 is that classic ‘Lazylady’ 7” they recorded a year before as Macabre, and comes on with another ‘Walk in the Blue Light’ morons-on-the-frontier riff (play ‘em back to back – they’ze virtually the same fucking riff: excellent) over an Ace Frehley’s ‘Shock Me’/’Dark Light’-style throw away vocal that meets dirty Frank Zappa around the time of OVERNIGHT SENSATION (though this sucker is a year before that Mothers’ LP) – extremely charming and funny too. This is the toon in which Liebling disses his chick and kicks her out so she buys up the whole apartment block he lives in and has him kicked out, too. Nice.
‘Review your Choices’ is the fourth track from that same session that spawned the first three tracks on this disc. Again, we’re deep in Sabbath territory both lyrically and in its per-riffery. Sounds like Liebling never leaves the first four frets for his songwriting and Vincent McAllsiter is a committed ex-bass player when it comes to copping then staying true to the Liebling lick. He also exceeds at soloing like a flayling moron between each vocal delivery. Satan’s coming round the bend in this one, and there’s a man with a pitchfork, and.. oh whatever, I obviously suck this dung into every orifice with more gusto than most, or you wouldn’t be getting it served up as Album of the Month. Two months after that main sesh came the same Boffo Socko alias 7” ‘Hurricane’ that appears on GUITAR EXPLOSION 2, and is just Hendrix-filtered through Iommi’s week old socks. Deeply excellent, relentless, by numbers and irksome that it ain’t internationally known. A quick 2.05 classic, fade and outtahere.
Then it’s time for two of the three best tracks on the whole record, and both recorded in their rehearsal with sometime extra guitarist Randy Palmer. ‘Living in a Ram’s Head’ (excellent fucking title, Herr Liebling) has a steaming incessant freight train quality you wanna keep playing over and over and over. Man, if they got more of this rehearsal room stuff in the can, clue me druids, I gots to know! The following track is ‘Earth Flight’ which coulda be spunked out in the late 1960s and appeared on PEBBLES VOLUME 5, or UGLY THINGS, or any classic hard rock LP of the time. Monstrous and full of demons, and worthy of ripping off forever. ’20 Buck Spin’ is the final one of the five track session from March 1973, and man does it smoke my unyielding pole. Vincent McAllister is as good here as he is rock in that photo of him you can see in the review. And that SG is more burning here that Iommi’s ever was (honest!) AND this guy never has to resort to soloing OVER his solos as Iommi did countless times (whaddya mean, I cain’t diss Iommi? Only after 20 years did Iommi’s solos become classic through sheer overplaying and I’ll challenge any non-motherfucker to disprove my unhasty assertion!) Someone should release these five tracks as 7” 33RPM European-style pic sleeve maxi single just so we can judge Pentagram on a contemporary 1973 level and understand the songs in context. This band will surely be revisited again and again in the next few years and will, like lost greats such as the Blue Things and the Swamp Rats, become an accepted part of Rock’s great canon like the little glitch that held that first LP up weren’t fucking owt at all.
Geof O'Keefe DRUMS‘Be Forewarned’ is up next. What do I say? I been listening to this on heavy rotation for 21 years and it is demented and suffused with the kind of incandescant glow that marks it out as the work of the great. Batman-meets-Lucifer Sam-as-played-by-Heavy period Love is not exactly obvious, kiddies, and I think we see here the reason that Fleetwood Mac’s ‘The Green Manalishi’ influenced everyone (except its own writer): it has that LOVE IT TO DEATH interweaving minor key dervish quality that we all try to cop, but rarely even glimpse.
Then, we conclude with Pentagram’s finest hour by about ten bazzillion miles. ‘Last Daze Here’ is a beautiful, gleaming jewel of a death trip, with Bobby singing like he’s staring out of some spectacular ice palace and ain’t never coming back to the real world. He’s Mithra trapped in the mountain, he’s Loki with the poison reigning down on him,, but there ain’t nobody there to wipe it away in this particklier scenario. This song is imbued with a sense of tragedy you rarely hear in heavy rock. For those who don’t quite get it… whatever. But if you ever approached that post-everything vacuum, that empty cathedral in your head, that hollow, unspeaking, unblinking, unhuman emotionless inertia that even Iggy could only hint at in the flatness of ‘Sick of you’ then you truly NEED NEED NEED this song in your life. If Pentagram had only done this one song and been killed in a plane crash thereafter, we’d still be celebrating it 50 years from now. And when Bobby takes it down from his dazed almost whispered tenor to flat shark-eyed semi-spoken baritone and states: ‘Said it’s bin a little bit too long’, you feel the ice melt, then re-freeze instantly, and you know in that moment how tragic human life is, how intolerably short human life is, how the moments of adolescence that resurface in adult life must be celebrated and further celebrated, then howled about, shrieked out, screamed out… man, we are dead and in the fucking ground for so long… No No No No No No No… Gimme Life and gimme the six minutes of this toon on endless rotation.
01. Forever My Queen (1973)
02. When the Screams Come (1973)003. Walk in the Blue Light (1973)
04. Starlady (1976
05. Lazylady (1972)
06. Review Your Choices (1973)
07. Hurricane (1973)
08. Livin’ in a Ram’s Head (1974)
09. Earth Flight (1974)
10. 20 Buck Spin (1973)
11. Be Forewarned (1972)
12. Last Days Here (1974)
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The songwriter of STEPPENWOLF´s - "The Magic Carpet". In the same year that Elektra broke down barriers by releasing Love’s DA CAPO, The Butterfield Blues Band’s EAST/WEST and Tim Buckley’s debut, they, with less ceremony, thrust Pat Kilroy’s one and only album onto an unsuspecting world. Kilroy edges out David Stoughton as most uncommercial “folk” or “rock” act on the label. On the front cover of LIGHT OF DAY, he looks a bit like a cowboy, but a look at the back will inform potential buyers that we’re not in Hank Williams territory. The album begins with a song called “Magic Carpet,” ends with one called “Star Dance” and also includes the titles “The Pipes Of Pan” and “Vibrations.” The liner notes reference Hebrides’ Islanders’ chants, “Moods of Spanish gypsies,” “the magnetic pulsations of African hypnotic drums,” music of India, dances of the Middle East, the writings of Hesse, Huxley, George Gurdjieff, and, most importantly, the Sufi Message. In the year before the summer of love, he ends the notes with the single word “peace.”
It’s no surprise, then, that the music tests previously uncharted waters, and as with an equally unique 1966 album, THE PSYCHEDELIC MOODS OF THE DEEP, it goes places where no one would go again. The Deep’s album invented psychedelic music without any noticeable influences, but went unnoticed when the genre exploded via well-known artists. Kilroy invented acid folk, though, unlike the Deep, he didn’t do so intentionally. The difference is a significant one because there’s no artifice or sense of exploitation in Kilroy’s music. (This isn’t a knock on the Deep’s album, which I think is even better than this, even if it’s not 100% “genuine”). Regardless, nobody heard this album either, and the wave of psychedelic folk-rock and singer-songwriter types who followed would come from completely different mindsets.
The most likely reason Kilroy hasn’t yet been discovered by a tongue-wagging gaggle of collectors (as have, for instance, Jake Holmes and Chris Lucey), is that, admittedly, LIGHT OF DAY is more experimental than it is “good.” Kilroy’s songwriting is rudimentary here, fragmented there. The rhythms are awkward, his blues excursions unkempt. His singing is not pretty. As original as several of these songs are, the others seem like less inspired rewrites of the better ones. The lasting impression of this record is that it’s headed somewhere really interesting but only makes it about halfway there. Of course, half of “really interesting” still makes a more satisfying and memorable listen than 90% of the stuff that has been reissued. Some of the album’s more inspired moments: Kilroy sings about “the sea of the unknown” (the album is full of water and air/space imagery), the “road of sorrow,” and “the crossroads of tomorrow and yesterday,” and often dispenses with actual words in favor of chants, moans and other seemingly random sounds. His freaked out falsetto on “Roberta’s Blues” mixes with blues harp and tabla (there are no rock drums on this record) to turn a pedestrian blues song into an elsewhere unheard mix of genres. This is the kind of thing that would be an instant “what the hell is that” type of standout on a label sampler. On “The Pipes of Pan,” Kilroy uses a Jew’s Harp as if it’s a true blues instrument. Some of the flutes on the album do, indeed, sound like the pipes of Pan. The acoustic guitar on “Cancereal” explores some of the same ground Perry Leopold would perfect four years later on EXPERIMENTS IN METAPHYSICS, the album that coined the term “acid folk.” Kilroy’s tuneless yodeling and arrhythmic strumming on this song tread a fine line between genuine innovation and just fucking around.
Every third time I listen to it I think it’s a work of genius. Mood music, you might call it. While it’s easy to look at this and wonder what might have been if he were a better songwriter or a more focused performer, a more realistic assessment is that LIGHT OF DAY is every bit as good, inspired and unique a work as you could possibly expect from a man of limited vocal, instrumental and creative talents. In other words, a treasure. It gets 7 out of 10 from me, but I won’t be surprised if maybe 5% of you will put it on your desert island list.(review by Aaron Milenski)
01. Magic Carpet
02. Roberta's Blues
03. Cancereal
04. Day at the Beach
05. Pipes of Pan
06. Mississippi Blues
07. Vibrations
08. Light of Day
09. Fortune Teller
10. Canned Heat
11. River
12. Star Dance
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Super rare US psych garage from 1970 that's eerie, dreamy and atmospheric. Pounding bass and fuzz guitar back up softly melodic vocals whilst the bands songs are filled with a sense of dreamy despair. There's also the odd strange sound effect.
Originally released by Hoot in 1970. Psychedelic rock band hailing from Salem, Oregon. The album is full of fuzz guitars & 'acid' organ sounds but with a few nice soft rock ballads. Original artwork.
Salem, Oregon was home turf for this soft rock quintet whose rare album has been reissued. The opening cut New Dawn begins with an unusual spoken intro but is essentially a soft rock ballad; I See A Day has some good fuzz guitar and Its Rainin' couples this with sound effects; there's some upfront organ on Hear Me Cryin' and Side One closes with Dark Thoughts, a more uptempo song with lots of fuzz guitar.
Track Listings
01. (Theres A) New Dawn
02. I See A Day
03. Its Time
04. Its Rainin
05. Hear Me Cryin
06. Dark Thoughts
07. Proud Man
08. Billy Come Lately
09. Well Fall In Love
10. You
11. Last Morning
12. Life Goes On
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This outfit came from Topeka, Kansas. Their Roulette album is well worth obtaining particularly for the superb opening cut Crusader's Smile although many of the other cuts like Cherry Street feature good guitar work. Their 45s were made prior to the album and are much more punkish. Go Away has a good catchy guitar riff.
They had a good live reputation and performed great cover versions of many of the punk classics of the era, which were full of fuzz and feedback.
In 1963, Mal Robinson formed an instrumental group called The Impax. The band would only last for six months. Robinson then formed in quick succession, The Runaways and The Durations (an Anglo rhythm and blues band with horns). In February of 1966, Mal formed a folk-rock band, The Toads. The members of this group were Mal Robinson (12-String guitar and lead vocals)and Don Shuford (Bass guitar). No recordings were ever made by any of the aforementioned bands. brother of Sligar at Washburn University in Topeka was added to the group to play rhythm guitar. The Morning Dew began playing at high school dances, fraternity parties, and rehearsing in Sligar’s garage to hone their skills. Musical influences for The Morning Dew were groups such as The Lovin’ Spoonful, The Critters and The Cyrkle. In August of 1966, The Morning Dew traveled the thirty miles from Topeka to Lawrence to record a four-song demo at Audio House.
Audio House was the same studio where local legends The Blue Things did many of their recordings. The Morning Dew recorded two cover songs and two original songs. “This Sportin’ Life” was a follow up hit by Ian Whitcomb to his smash hit, “You Turn Me On”, which became a staple of The Morning Dew’s live shows and they would re-record this song again two years later during the Fairyland Recording sessions of July-August, 1968. The other cover song done at Audio House was the b-side to The Monkees’ second hit “I’m A Believer”, “I’m Not Your Steppin’ Stone”, but pre-dates that single by four months. The Morning Dew based their version of “Steppin’ Stone” on Paul Revere and The Raiders performance off their “Midnight Ride” album. “Winter Dreams” and “Touch Of Magic” were written by Robinson and displayed a growing sophistication in the band’s sound compared to just a few months earlier, when they had a softer edge to their songs. While, none of Audio House songs would ever see a release during The Morning Dew’s career, they helped garner attention from booking agents and record promoters.
Towards the end of 1966, The Morning Dew attracted the attention of an agent for Fairyland Productions (a booking agency and production company in Columbia, Missouri) Larry Knouft. Knouft let Lou Rennau know about the talent of The Morning Dew. Rennau was a former member of a Columbia band called Goldilocks And The 3 Bears. Rennau heard the demo tape, liked what he heard and signed the band to his fledging Fairyland Productions. The Fairyland recording studio was at Corn’s Lake in Columbia. In April of 1967, The Morning Dew entered Fairyland studios to record their first single, which would also become Fairyland Records’ first release. Robinson who didn’t read music worked out the melody and lyrics for both songs. It took ten hours to record the tracks at Fairyland Productions, spread out over two days, and ten takes before “No More” and “Look At Me” were perfected. The cost to the band was $200, the fee for renting Fairylands’ studio and sound equipment. The Dew then sent the record to Memphis where a record production company mixed it. The band paid $400 for two thousand copies to be pressed. Five hundred copies were distributed to Topeka merchants.
In a Topeka newspaper article dated July 14, 1967, Robinson stated that “the record has sold well in Topeka, but we don’t know exactly how many have sold.” Sligar stated, “It’s gone from 40 to 9 to 15 to 20 on the Kewi radio station. The secret is in the distribution. We have distributed it in three states and its being played on nine radio stations. What we need is one breakthrough”. Shuford said “Most records linger locally for three months before they come to national attention-if they ever do, we’ll just let it ride-see if it sells or if it doesn’t”. The “No More” single was responsible for The Morning Dew’s growing regional success. The band received bookings in Nebraska, Missouri, Arkansas, Oklahoma, and Kansas. In St. Joseph, Missouri, over 1,400 persons showed up for a Morning Dew performance and 500 in Seneca. By now, The Morning Dew’s show was a frantic four to five hour opus that included original numbers and cover songs. Three psychedelic songs were performed in which strobe lights casted multicolored lights on the band as they played. Robinson would stand his red Gibson-E335 on the stage and run around it while it was emitting feedback and also throw it in the air and catch it just before it hit the floor. Unfortunately, on a few nights he missed and didn't catch it so the body was cracked and beat up needing tape to keep it together. The band also developed a harder edge to its sound and was neck and neck with the local Topeka competition, like The Thingies, The Jerms, and The Burlington Express. They also began to dress in the mod psychedelic clothes of the era, with an op-art look. Some of The Dew’s influences on their ever-progressing sound were bands such as The Yardbirds, The Cream, The Buffalo Springfield, The Beatles, and The Rolling Stones. Robinson would sum up the Dew’s attitude succinctly by saying “we want to go all the way and always wanted to. When we first started, we would watch other bands and we’d think that maybe someday we’d be on stage performing with all the crowds and the screaming”. Fan mail started to pour in for the band. One enamored fan wrote “I am the little girl that was in front of you when you were at Mound City Saturday night. I haven’t washed my hand because you all gave me your names on it”. Another fan wrote, “I think you are all really groovy. I especially like the one with kind of blondish hair”. The Morning Dew was drawing between $200 and $350 for one-night stands and Fairyland Productions took 20 percent as agent's fees.
On July 16, 1967, The Morning Dew opened a month long stand at a nightclub near Bagnell Dam in the Missouri Ozarks, playing four nights a week till August 11. And to tie in with their performances KEWI radio (the number one AM rock radio station in Topeka) broadcast live on the air daily interviews by phone with The Morning Dew. The accelerated pace of the bands popularity rendered them ready to enter Fairyland studios for their second single, “Be A Friend” b/w “Go Away” after their month long Ozark stint. Tommy Smith from Goldilocks And The 3 Bears played lead guitar on “”Go Away”. Ken Tebow, leader of Plato &The Philosophers, helped with background vocals on “Be A Friend”. Another connection between The Morning Dew and Plato & The Philosophers was by accident. Plato and The Philosophers released a single for Fairyland Records, titled “Thirteen O’clock Flight To Psychedelphia” and an error in the pressing of the single resulted with The Morning Dew’s song “No More” being on some of the copies that were initially pressed! At any rate, The Morning Dew’s second single charted in the top 30, but sales were nowhere near their first single. Many people affiliated with The Morning Dew thought they should have released “Go Away” as the a-side, as it was more consistent with the “No More” style, the band wanted to show their versatility with a folk-rock sound in “Be A Friend”.
The Morning Dew’s popularity as a live band did not suffer from the second single’s failure to hit the top ten on the radio. They opened for The Drifters in Wichita, Kansas at the Red Dog Inn and for Gary Puckett and The Union Gap at the Topeka Municipal Auditorium. They shared a billing with the Strawberry Alarm Clock at the Experimental Light Farm in Manhattan Kansas. Another concert was when The Turtles were in Emporia Kansas at the Municipal Auditorium and The Morning Dew opened the show. The Turtles were upset with The Morning Dew for using strobe lights and a smoke machine because they thought it was screwing up the stage for their subsequent performance but more than likely because the Dew psyched them out. While a live set list does not exist from 1967, a mid-1968 set list does and the songs that The Morning Dew were playing live are listed in their original order as follows:
First Set-Wake Me Shake Me, Dancin’ In The Street, Gimme Some Lovin’, Come On Up, The Other Side Of This Life, Don’t Let The Sun Catch You Crying, Keep On Running, Mr. Blues, Sweets For My Sweet, Hey Joe, Respectable, This Sportin’ Life, Heat Wave, Hip Hug Her. Second Set- Sunshine Of Your Love, Mr. Soul, Purple Haze, You Don’t Know Like I Know, Midnight Hour>Respect, Words (The Bee Gees Song), Gloria, Murder In My Heart For The Judge, No More, Even The Bad Times Are Good, Hip Hug Her. Third Set-Ride My See Saw, Knock On Wood, All Over The World, To Love Somebody, I’m A Man, Get Out Of My Life Woman, The Train Kept A Rollin’, Born To Be Wild.
The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968. Ten songs were recorded, eight of them penned by Robinson. He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this". Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”. The influence of The Beatles’ “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator. Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”. “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions). “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music. Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.
The ten-song demo tape was circulated around to record labels and A & R men. Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”. A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records. This occurred in the fall of 1968. A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording). Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days. Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”. Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries. Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception. The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.
Prior to the release of the Roulette album The Morning Dew drove down to Audio House for one last time in the summer of 1970. They embarked on a marathon recording session that resulted in a seven song master tape. Mal Robinson wrote all of the songs. The band now included Ferdy Baumgart instead of Don Shuford and Dave Howell on keyboards and guitar. The Audio-House tape revealed a harder rocking band than they were when the Roulette album was recorded. Ironically the Roulette album had laid on the shelf for over a year and came out a month after the band’s Audio House session! The 1970 Audio House recording was done for producer Fred Munao of Roulette. The Morning Dew’s contract called for a second album and this was original material the band wanted for the album. For various reasons, Roulette never honored the second album in their contract with the band. The lack of success with the Roulette album and growing disenchantment with the music business caused The Morning Dew to disband in May of 1971. The irony of these words by Mal Robinson in the July 14, 1967 Topeka newspaper article would ring ever so incandescent-“If we really hit it big, I don’t know, if the money was good enough we’d probably take off for a year and risk the draft. We don’t even think about failing, we just think about success.” While the Morning Dew never garnered national attention and success, the recordings on this CD amply prove that they were one of the finest late 60’s bands to emerge from Kansas.
01. Crusader's Smile
02. Upon Leaving
03. Young Man
04. Then Came The Light
05. Cherry Street
06. Gypsy
07. Something You Say
08. Country Boy
09. Save Me
10. Epic: The Mann/Death Is A Dream
Bonus:
11. No More
12. Flying Above Myself
13. Someday
14. Look At Me Now
15. Sing Out
16. Then Came The Light
17. Then Came The Light
18. Then Came The Light
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From Michigan produced an excellent psych-rock album, which comes in an amazing sleeve and is as rare as hell.Finally from the master tapes! Be blown away by the mind bending power of "Supernatural Mind" in a previously unheard clarity.
Tripped out fluid guitar and rippling keyboards envelop mystical acid lyrics. Perfection! This legendary US '60s psych monster that under the right influences will destroy your head!
01. Keeper Of The Keys - 4.29
02. And When You Go - 4.56
03. Eyes Have Seen Me - 3.30
04. Come On Closer - 3.29
05. Sunshine Is Too Long - 3.19
06. Spinning A Spell - 3.31
07. Supernatural Mind - 4.21
08. Find Out Why - 5.48
09. Magic Luv - 3.30
10. Touch The Sky - 3.57
11. In A Room - 5.31
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Viva! Roxy Music was the first live Roxy Music album. It was released in August 1976 and was recorded at three venues over a period of three years (1973-1975). The recordings were from the band's shows at the Apollo in Glasgow in November 1973, City Hall at Newcastle in November 1974 and the Wembley Arena in October 1975.
As Roxy Music took an extended hiatus, the live album Viva! was released. Comprised of material recorded on tours from 1973, 1974, and 1975, Viva! is a tough, powerful document of Roxy at the peak of their live powers, featuring a fine cross-section of their best work.
Evolving from the late-'60s art-rock movement, Roxy Music had a fascination with fashion, glamour, cinema, pop art, and the avant-garde, which separated the band from their contemporaries. Dressed in bizarre, stylish costumes, the group played a defiantly experimental variation of art rock which vacillated between avant-rock and sleek pop hooks. During the early '70s, the group was driven by the creative tension between Bryan Ferry and Brian Eno, who each pulled the band in separate directions: Ferry had a fondness for American soul and Beatlesque art-pop, while Eno was intrigued by deconstructing rock with amateurish experimentalism inspired by the Velvet Underground. This incarnation of Roxy Music may have only recorded two albums, but it inspired a legion of imitators -- not only the glam-rockers of the early '70s, but art-rockers and new wave pop groups of the late '70s. Following Eno's departure, Roxy Music continued with its arty inclinations for a few albums before gradually working in elements of disco and soul. Within a few years, the group had developed a sophisticated, seductive soul-pop that relied on Ferry's stylish crooning. By the early '80s, the group had developed into a vehicle for Ferry, so it was no surprise that he disbanded the group at the height of its commercial success in the early '80s to pursue a solo career.
The son of a coal miner, Bryan Ferry (vocals, keyboards) had studied art with Richard Hamilton at the University of Newcastle before forming Roxy Music in 1971. While at university, he sang in rock bands, joining the R&B group the Gas Board, which also featured bassist Graham Simpson. Ferry and Simpson decided to form their own band toward the end of 1970, eventually recruiting Andy Mackay (saxophone), who had previously played oboe with the London Symphony Orchestra. Through Mackay, Brian Eno joined the band. By the summer of 1971, the group -- had originally been called "Roxy" but a name change was necessary after the discovery of an American band called Roxy -- had recruited classical percussionist Dexter Lloyd and guitarist Roger Bunn through an ad in Melody Maker; both musicians left within a month, but they did record the group's initial demos. Another ad was placed in Melody Maker, and this time the group landed drummer Paul Thompson and guitarist Davy O'List, who had previously played with the Nice. O'List left by the beginning of 1972 and was replaced by Phil Manzanera, a former member of Quiet Sun. Prior to recording their first album, Simpson left the band. Roxy Music never replaced him permanently; instead, they hired new bassists for each record and tour, beginning with Rik Kenton, who appeared on their eponymous debut for Island Records.
Produced by Peter Sinfield of King Crimson, Roxy Music climbed into the British Top Ten in the summer of 1972; shortly afterward, the non-LP single "Virginia Plain" rocketed into the British Top Ten, followed by the non-LP "Pyjamarama" in early 1973. While Roxy Music had become a sensation in England and Europe due to their clever amalgamation of high and kitsch culture, they had trouble getting a foothold in the United States. Both Roxy Music and the group's second album, 1973's For Your Pleasure, which was recorded with bassist John Porter, were greeted with enthusiasm in the U.K., but virtually ignored in the U.S. Frustrated with Ferry's refusal to record his compositions, Eno left the band after the completion of For Your Pleasure. Before recording the third Roxy Music album, Ferry released a solo album, These Foolish Things, which was comprised of pop/rock covers.
Released in December of 1973, Stranded became the band's first number one album in the U.K. Stranded was recorded with new Roxy member Eddie Jobson, a multi-instrumentalist who previously played with Curved Air; it was also the first record to feature writing credits for Manzanera and Mackay. The album received a warmer reception in the U.S. than its two predecessors, setting the stage for the breakthrough of Country Life in late 1974. Sporting a controversial cover of two models dressed in see-through lingerie -- the cover was banned in several stores, and it was eventually replaced with a photo of a forest in the U.S. -- Country Life was the first Roxy album to break the U.S. Top 40 and became their fourth British Top Ten album. Following a tour with bassist John Wetton, the group recorded Siren. Featuring their first American Top 40 hit, the disco-flavored "Love Is the Drug," Siren was another British Top Ten hit; in the U.S., it was moderate hit, peaking at number 50. Following the tour for Siren, the band members began working on solo projects -- Manzanera formed the prog-rock group 801, and Mackay and Ferry both began recording solo albums -- and announced in the summer of 1976 that they were temporarily breaking up. The live album Viva Roxy Music! was released shortly after the announcement of the group's hiatus.
Roxy Music regrouped in the fall of 1978 after spending 18 months on solo projects. Ferry, Manzanera, Mackay and Thompson added former Ace keyboardist Paul Carrack to the band's lineup and hired Gary Tibbs, formerly of the Vibrators, and ex-Kokomo Alan Spenner as studio bassists; Jobson and Wetton, who were not asked to rejoin the band, formed UK. Roxy Music's comeback effort, Manifesto, was released in the spring of 1979, and it boasted a sleek, disco-influenced soul-pop sound that was markedly different from and more accessible than their earlier records. Manifesto confirmed their British popularity, reaching the Top Ten, and became their highest-charting U.S. record, peaking at number 23 on the strength of the single "Dance Away." Roxy Music supported the album with an international tour that featured Carrack and Tibbs; prior to the tour's start, Thompson left the band after breaking his thumb in a motorcycle accident. Flesh + Blood, the follow-up to Manifesto, was recorded just by Ferry, Manzanera and Mackay, and a host of studio musicians. Released in the summer of 1980, Flesh + Blood became Roxy's second British number one album on the strength of the Top Ten single "Over You"; in America, the album reached the American Top 40. In the spring of 1981, the band's non-LP cover of John Lennon's "Jealous Guy," recorded as a tribute to the slain singer, became the group's only British number one single.
Nearly two years after the release of Flesh + Blood, Roxy Music returned in the summer of 1982 with Avalon. Marking a new level in the group's production and musical sophistication, Avalon became their biggest album, spending three weeks at the top of the British charts and 27 on the U.S. charts, generating the British hits "More Than This" and "Take a Chance With Me." It became the group's only American gold album, and over the years, it worked its way to platinum status. Following a successful supporting tour for Avalon, the group released the live EP Musique/The High Road in the spring of 1983. The Avalon tour turned out to be Roxy Music's final activity as a group. Ferry began to concentrate on his solo career, beginning with 1985's Boys and Girls. Manzanera and Mackay formed a band called the Explorers in 1985; the pair would record under a variety of guises, as well as pursue solo careers, over the next 15 years. The compilation Street Life: 20 Great Hits, which also featured Ferry's solo hits, was released in 1989. A year later, Heart Still Beating, a live album documenting a 1982 concert, was released.
01."Out of the Blue" (Ferry, Phil Manzanera) – 4:44
02."Pyjamarama" – 3:36
03."The Bogus Man" – 7:05
04."Chance Meeting" – 2:58
05."Both Ends Burning" – 4:46
06."If There Is Something" – 10:37
07."In Every Dream Home a Heartache" – 8:23
08."Do the Strand" – 4:00
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One of THE all-time indie funk classics of the 70s, the standout LP by Bobby Williams, an obscure James Brown-styled vocalist with a really great sound! The style here cops plenty from JB at his funkiest, but that's A-OK with me, because Bobby gets that sound so completely right, and the raw production of the album make the record sound a good deal grittier than most of The Godfather's more mainstream records from the time. There's a hard-jamming quality to most of the numbers, with lots of tight horns, fast-romping rhythms, and calls from Bobby out to the band, who are more than happy to respond to his groove!
01.Funky Superfly (Part 1)
02.Funky Superfly (Part 2)
03.Morning Of Love
04.Let's Jam
05.Teach Me
06.Soul Brother Party (Part 1)
07.Soul Brother Party (Part 2)
08.Get Into It
09.Make Yourself Funky
10.Fair Trade
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Blues Creation (later known as Creation) was a Japanese heavy psych band from the late 60s, 70s, and early 80s.
Blues Creation was the brainchild of guitarist/singer Kazuo Takeda. They were known as Blues Creation from 1969–1972 and after a three year hiatus returned as just Creation in 1975, not to be confused with the mid-60's British blues pop band known as The Creation.
In 1969 Blues Creation made a self-titled album of American blues covers, featuring songs written by Sonny Boy Williamson, Memphis Slim, Chester Burnett, J. Mayall-E. Clapton, Blind Willie Johnson, Willie Dixon and Otis Rush. In August 1971 they released their original debut Demon & Eleven Children, and also released Carmen Maki & Blues Creation, which had the band fronted by female vocalist Carmen Maki. Each Blues Creation album other than their debut features songs written by Takeda and consists of a constantly shifting lineup. In late 1971 Blues Creation released their final album, Blues Creation Live.
Next was the 1975 self-titled Creation, featuring a new stable lineup and a cover photo of a dozen nude boys full-frontal peeing. Creation toured Japan with American hard rock band Mountain. Mountain broke up soon after their Japanese tour, and partly due to hearing loss from playing so loud, bassist Felix Pappalardi focused on producing other bands.
Pappalardi decided to help Creation work on their next album and invited the band to his Nantucket, Massachusetts home for two months of rehearsals. Over that time the project transformed into a musical collaboration with songs being written mostly by Pappalardi, his wife Gail Collins Pappalardi and Takeda. The album recorded at New York’s Bearsville Studios was released in April 1976 as Creation with Felix Pappalardi. Creation released a final live album Pure Electric Soul in 1977, once again featuring a cover with nude boys at the front of a bus.
Kazuo Takeda has released more than 20 solo albums including 1978's Super Rock in the Highest Voltage. He now works as a session guitarist in Los Angeles. Takeda attributes his further musical development to his friendship with Pappalardi who encouraged him to branch out into Jazz and other styles. He occasionally still plays live in Asia with former Creation drummer Masayuki Higuchi, and most recently produced Hong Kong's premier bluesman Tommy Chung's album Play My Blues (2006).
01. Understand
Lyrics By, Music By – Lydia J. Miller 5:01
02. And You
Lyrics By, Music By – 2:59
03. Lord, I Can't Be Going No More
Lyrics By, Music By – 3:34
04. Empty Heart
Lyrics By, Music By – 8:32
05. Motherless Child
Lyrics By, Music By – Traditional 6:57
06. I Can't Live For Today
Lyrics By, Music By – 4:37
07. Mean Old Boogie
Lyrics By, Music By – 5:02
08. St. James Infirmary
Lyrics By, Music By – J. Primrose 6:45
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