Toad - Toad (1st Album Superb Swiss Hardrock 1972)

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First Toad album, originally issued by Swiss label Halleluja in the 1971. Ex-members of Brainticket investigating the realms of skull crushing heavy rock! Certified savage guitar from Vic Vergeat! Swiss hard rock band formed by members of the original Brainticket, Toad's history is obscure and largely undocumented. Their debut is said to be in the realms of Dies Irae, being heavy, bluesy and experimental. However, despite getting a British release, we've never managed to locate a copy. Their second album, "Tomorrow Blue" was surprisingly straight hard-rock, akin to Sperrmüll, with Hendrix, Status Quo and R&B influences. Their original lead singer Benjamin Jäger went on to Island.(Alexgitlin)

Why does anyone bother with the current crop of "stoner rock" when there's so much better stuff made back in the original stoner age (the '70s) now being reissued?? If you're into the Man's Ruin roster, and prone to buying albums by the latest Swedish Kyuss clone, yet don't have, say, Lucifer's Friend, Flower Travellin' Band, Leafhound, Captain Beyond, or Buffalo reissues in your collection, it's time to get with the program! Not that that's easy, since much of the good old shit is definitely obscure and unheralded. For instance, we hadn't ever heard of this Swiss band Toad until a kindly customer sold back a bootleg cd with an intriguing cover a couple years ago. Now, here's a legit reissue of the same album thanks to the freaks at Second Battle.

This self-titled disc is the first and best of Toad's three LPs, serving up hard-rockin' stoner psych in the best blues-based tradition of early Blue Cheer and Led Zep. The first track "Cotton Wood Hill" will offer a clue about the lineage of this band, as Toad's rhythm section played on the classic LP of that same title by acid-fried Krautrockers Brainticket! Toad boasts an excellent vocalist put to good use on the more melodic parts of their sometimes quite long songs, but a large part of the LP is occupied by heavy (HEAVY) jamming instrumental excursions featuring the killer guitar of one Vic Vergeat. This is genuine heaviness, circa 1971. (Aquarius Records)

01. Cotton Wood Hill - 8.36
02. A Life That Ain't Worth Living - 3.29
03. Tank - 3.28
04. They Say I'm Mad - 6.47
05. Life Goes On - 11.58
06. Pig's Walk - 7.27
07. The One I Mean - 2.35
08. Stay (Bonus)
09. Animal World (Bonus)

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Toad - Tomorrow Blue (2nd Album Outstanding Swiss Hardrock 1972)

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Swiss hard-rock. Their second album was suprisely straight hard rock, akin to Sperrmüll with Hendrix, Status Quo and R&B influences.

First issued in 1972 from this highly talented and respected band featuring guitarist Vic Vearget and former Brainticket drummer Cosimo Lampis. This German CD reissue comes in a fold out digi pak with booklet insert. Hard rock with a blues influence, often compared to Spermull.

Swiss hard rock band formed by members of the original Brainticket, Toad's history is obscure and largely undocumented. Their debut is said to be in the realms of Dies Irae, being heavy, bluesy and experimental. However, despite getting a British release, we've never managed to locate a copy. Their second album, "Tomorrow Blue" was surprisingly straight hard-rock, akin to Sperrmüll, with Hendrix, Status Quo and R&B influences. Their original lead singer Benjamin Jäger went on to Island.

In numerous groups, components come from different nations. One of which is often England. Toad together constituted an absolute mixture of genius with one Brit, one Italian and one Swiss man and was also one of the more international groups, having worked all over Europe.

If we want to classify their country of origin as a group, this would have to be Switzerland, where the three met each other many years ago. All things considered, they all came from diverse groups: Cosimo Lampis, the drummer, had come from Brainticket (he was on the album, "Cottonwoodhill"), guitarist Vic Vergeat worked in England where he was also part of the original formation of Hawkwind, from which he separated himself due to musical differences with the band’s leader, Dave Brock, right after they recorded their first album. Added to that pair was bassist Werner Froehlich - in October 1970, during the course of a jam session, in which they had the opportunity to appreciate each other’s skill. Their first concert was in November, while their first album was recorded in December (the press spoke about them as the new Cream

In January, Toad showcased themselves at the International Jazz Festival in Montreux and were booked for the Pop Festival in Palermo in August where they opened for Colosseum during the second evening. Then they recorded a single, "Stay" b/w "Animal's World", which went on to chart, and the three dedicated themselves to creating the new album, "Tomorrow Blue". To present it to the Italian public, Toad played, for the first time in Italy since Palermo, at the Piper in Rome between 11th and 13th February. As I witnessed those concerts, the conditions were definitely not ideal: they came back onto the scene after a recess, and the carnival-esque crowd that had filled the room was more interested in having fun and creating disorder than paying any attention; yet Toad managed to easily maintain the interest of the entire audience - for the entirety of their performance!

The group knows without a doubt that they are, in the final analysis, "old fashioned"; they have modelled themselves on various acts from years past, having found their niche in the bluesy rock popularised and revolutionised with maximum expression by Jimi Hendrix, who they consider to be the most important musician in rock. "Jimi was great as a singer and as a composer, other than being the best guitarist that ever lived. It does not make sense, after him, to define as "progressive" such groups as Black Sabbath and Uriah Heep, because, in reality, neither they nor others constitute progress when compared to Hendrix", said guitarist Vic, and it is easy to understand his position. All in all, he is not referring to the great loss of the genre overall, but rather that it is now devoid of personality, not to mention that desperate, exasperated distortion, and instead is filled to the brim with useless virtuosity. Werner, who was not always able to make a significant mark on their records, nevertheless has not been precluded from constructing the necessary background as a soloist in his own right, and has done so with a rare capacity and fantasy: it seems that doing the same thing twice for him is a matter of dishonour, as it is so rarely that he does so. Cosimo, a person who is extremely picturesque, is instead one of those drummers who seldom breaks away from the accompaniment, but his solos were probably the best I have ever heard from any Italian musician, rich in ideas, personality and humour. Toad included tracks from both their albums that were much longer, demonstrating how improvisation was for them an essential element.

"We are different from those who prepare the parts for every instrument in anticipation and don't allow any possible variation, or those groups on the German scene who trust the inspiration of the moment totally for the duration of a concert." They further explain, "We know how to improvise, but it is necessary to hold yourself within certain pre-established schemes." All of the live pieces were extremely raw and much more loaded with feeling than those on the records. Other than the obvious scenic presence, I thought that it would depend on a certain, precise availability of the trio, which they’ve confirmed to me. "We believe that the technique is fundamental to an album, so much so that we recorded in London, at the infamous studio, De Lane Lea, with the same engineer as Deep Purple and Donovan, Martin Birch. To the contrary, live, the feeling is essential; if in the studio the two elements contribute 50%, live they can contribute up to 90%."

Vic then explained to me that on the first album, they’ve also included a singer named Benj Jäger, but that the group’s tendency towards long jams while playing live left less and less space for singing. For this, they decided to return to their original trio format. "It is incredible how much a singer can characterize a formation, and this is because the voice is the first thing to hit the listener. Try to switch the singers in Led Zeppelin and Black Sabbath for example. Their music would change totally, while I don't believe that if you swapped lommi for Page you would find the same effect. We don't want to imitate anyone", says Cosimo. "And, regardless, our vocal parts are pretty limited. For this, we immediately returned to a trio." Without a doubt, “Tomorrow Blue" constitutes a tangible progress: abandoned are the scholastic blues lines of "They Say I'm Mad" and the Deep Purple themes like "A Life That Ain't Worth Living", the trio having instead developed an approach more precise and valid, of which the best examples are the opening, "Thoughts", and the long "Change In Time", on which they present often truly epic moments. "No Need", which makes up the b-side of their new single, "Fly", is one of those fast and aggressive tracks with a work that is frenetic in solos, which masters like Led Zeppelin are known for in such number as "Communication Breakdown" and "Living Loving Maid". Amazing, too, is the phrasing of Vic. A lot of space is left for the acoustic guitar, often presented together with the soloist, and obviously completing the sound. Everything was penned by Vergeat and Froehlich, with the exception of the two tracks that move away from the prevalent motif, "Three O'Clock In The Morning" - a brief but conclusive piano solo by the guitarist, and "Blind Chapman's Tale", which calls for a particular note. "I Racconti Del Venditore Cieco" features a guitar-violin dialogue, but not an electric one like Gentle Giant or PFM, to name two other groups that have recently played Rome. Dreamy tones and slightly bitter vocals tint the track vaguely similarly to the sweet’n’sour flavour of Genesis. Toad opens up a prospect that will be very interesting in the future. As always, we talk about the need for the band to bring together various directions undertaken by them thus far and liberate themselves as much as possible from the influences of the more commercial aspects of rock. Contrary to the inferred feeling of the title "Tomorrow Blue", the group actually project a strong hope and trust in their musical genre's future. It seems appropriate to conclude with a quote by a noted English journalist who wrote, having listened to the album, "This music will not die, ever!"

01. Thoughts
02. Tomorrow Blue
03. Blind Chapman's Tales
04. Vampires
05. No Need
07. Three O Clock In The Morning
06. Change In Time
08. Fly (Bonus)
09. I Saw Her Standing There (Bonus)
10. Green Ham (Bonus)

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Trees - On the Shore (Great Folkrock + Rare Bonus Material UK 1970)

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Trees were an English folk rock band that existed between 1969 and 1972. Although they met with little commercial success in their time, the reputation of the band has grown over the years. Like other similar bands at the time, their music were influenced by Fairport Convention, though with a heavier and more psychedelic edge. The group's material was divided between adaptions of traditional songs and original compositions.

They produced two studio albums - both in 1970. The Garden of Jane Delawney and On The Shore. The latter featured cover artwork by the Hipgnosis studio.

The original group broke up after recording the two albums. A second incarnation of the group formed and played until 1973. This band featured Celia Humphris, Barry Clarke, David Costa, Barry Lyons (ex-Mr Fox), Alun Eden (ex-Mr Fox) and Chuck Fleming (ex-JSD Band). Recordings by this line-up can be found on bootleg releases.

In 1970, this British quintet released a couple of albums that made no bones about aping the approach of Fairport Convention (then at their peak). A mixture of traditional folk songs and originals, extended electric-guitar heavy arrangements, and a female singer who took many of the lead vocals — it worked for Fairport. It didn't work as well for the Trees, for several reasons. First of all, Celia Humphris was no Sandy Denny, nor a Jacqui McShee (Pentangle), Maddy Prior (Steeleye Span), or even Judy Dyble (who sang with Fairport before being replaced by Denny).

The Trees' original material (usually penned by Tobias Boshell) was more often than not pedestrian. And their arrangements, prone to plodding lengthy instrumental passages, were often way, way too long. The group broke up after two similar albums for British CBS, although they continued to play for a while in the early '70s with some personnel changes. Boshell, in an unlikely turn of events, joined Kiki Dee's Band, and wrote her biggest hit, "I've Got the Music in Me."

The Trees' second album is so similar to the debut (The Garden of Jane Delawney) that it's difficult to recommend one above the other. If you like one, you'll like the other; if you want only the best stuff in this style, you'll stick to Fairport Convention and maybe Steeleye Span without digging this deep. It's more assertive, harder-rocking, and fuller-sounding than the debut, but the principal flaws of overlong songs and patchy original material remain. The taut and dramatic original "Murdoch" is the highlight, rivaling the first album's "The Garden of Jane Delawney" as their best track. Each Trees reissue on BGO, by the way, contains a lengthy band history. [In 2007, Sony reissued a remastered version of On the Shore with was reissued with a bonus disc of previously unreleased tracks.]

01. "Soldiers Three" *
02. "Murdoch"
03. "Streets of Derry"*
04. "Sally Free and Easy"
05. "Fool"
06. "Adam's Toon"
07. "Geordie"
08. "While the Iron is Hot"
09. "Little Sadie"*
10. "Polly on the Shore"

Bonus Disc:
01. Soldiers Three [Remix]
02. Murdoch [Remix]
03. Streets Of Derry [Remix]
04. Fool [Remix]
05. Geordie [Remix]
06. Little Sadie [Remix]
07. Polly On The Shore [Remix]
08. Forest Fire
09. Little Black Cloud

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Trees - The Garden of Jane Delawney (UK Folkrock 1970)

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Debut album by the Trees, easily in the top three UK folk rock bands of the 70's, if not all time. Dating from 1970 the album blends trippy, twin lead guitar, West Coast acid rock with lilting English folk. The delicate female vocals of Celia Humphries and a haunting production weave a dark magical Celtic spell over misty musical moorlands. Captivating, beautiful and timeless.

The Garden of Jane Delawney is the debut album of British folk rock band Trees. Whilst nearly every song on the album appears to be a traditional folk song, this is actually only the case for about half of them, the others having been penned for the album by front-man Bias Boshell. The title track is a particular good example of his apparent talent for writing songs that sounded like they had existed for hundreds of years as folk songs.

In 1970, this British quintet released a couple of albums that made no bones about aping the approach of Fairport Convention (then at their peak). A mixture of traditional folk songs and originals, extended electric-guitar heavy arrangements, and a female singer who took many of the lead vocals — it worked for Fairport. It didn't work as well for the Trees, for several reasons. First of all, Celia Humphris was no Sandy Denny, nor a Jacqui McShee (Pentangle), Maddy Prior (Steeleye Span), or even Judy Dyble (who sang with Fairport before being replaced by Denny). The Trees' original material (usually penned by Tobias Boshell) was more often than not pedestrian. And their arrangements, prone to plodding lengthy instrumental passages, were often way, way too long. The group broke up after two similar albums for British CBS, although they continued to play for a while in the early '70s with some personnel changes. Boshell, in an unlikely turn of events, joined Kiki Dee's Band, and wrote her biggest hit, "I've Got the Music in Me."

01. Nothing Special
02. Great Silkie
03. Garden of Jane Delawney
04. Lady Margaret
05. Glasgerion
06. She Moves Through the Fair
07. Road
08. Epitaph
09. Snail's Lament

Bonus:
10. She Moved Thro' The Fair (demo/bonus track)
11. Pretty Polly (bonus track)
12. Black Widow (bonus track)
13. Little Black Cloud (suite/bonus track)

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Woody Woodmansey's - U-Boat (Great Rock UK 1977)

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Mick "Woody" Woodmansey was raised (as were several influential musicians of the 70s British rock scene) in the English county of Yorkshire, although somewhat farther north than the thriving music community that centered itself around Hull. His interest in the drums developed at the tender age of five, and by fourteen he had formed his first band: an ensemble named The Mutations. This was followed by three years in The Roadrunners, after which he was brought into the ranks of Hull mainstays The Rats in 1969, as a replacement for the departing John Cambridge (who had been tempted away to London by an offer to join Mick Wayne's new band -- and soon-to-be David Bowie back-up -- Junior's Eyes). This new line-up of The Rats did not continue for much longer, and by March of 1970 Woodmansey was himself moving to London to work once again with Rats guitarist Mick Ronson in the Bowie-fronted superhero quartet The Hype -- replacing for the second time drummer John Cambridge, who had abandoned The Hype to join The Mandrakes.

The Hype continued for a short while without Bowie, changing its name to Ronno before releasing the single The Fourth Hour of My Sleep in 1971 on the Vertigo label. The single was received with an enormous upsurge of disinterest, putting the future of the unit in question; but before a complete dispersal could take place, all three members (Woodmansey, Ronson and producer/musician Tony Visconti) were again roped in by Bowie to act as his backing band for the album The Man Who Sold the World (1971). Woodmandsey continued his association with Bowie for three more albums: Hunky Dory (1971), The Rise And Fall of Ziggy Stardust And The Spiders From Mars (1972), and Aladdin Sane (1973). It was the second of these that ultimately cemented the drummers place in music history, as the Ziggy/Spiders spectacle continues to be the most highly revered period of Bowie's work -- despite the extremely brief span of its existence.

Two years after Bowie dissolved the Spiders, the rhythm section of Woodmansey and bassist Trevor Bolder founded their own Spiders From Mars, replacing Bowie and Ronson with Pete McDonald and Dave Black (respectively), and fleshing out the line-up with keyboardist Mike Garson; an eponymous album released the following year was met with little enthusiasm, and the project was abandoned shortly afterwards. A year later Woodmansey assembled Woody Woodmansey's U-boat, but its sole offering in 1977 did not fare much better. For the next decade the drummer kept a much lower profile, recording with Screen Idols (on their Premiere LP, 1979) and Dexy's Midnight Runners (Don't Stand Me Down, 1985), as well as making occasional live appearances with arists including Art Garfunkel and Paul McCartney.

After Mick Ronson's untimely death in 1993, Woodmansey and Bolder once again assumed The Spider's moniker for a tribute concert held in honor of the guitarist at the Hammersmith Apollo in London; the pair were joined by Def Leppard members Joe Elliott and Phil Collen in a repetoire consisting mostly of early 70s Bowie material, with appearances also being made by Ian Hunter, Bill Nelson and Roger Daltrey. The Spiders staged a second tribute in Hull in 1997 with a different selection of guests, and both shows were eventually released together as a 2 CD set on the Citadel label. That same year, The two Spiders and the two Leppards continued their collaboration in the guise of Cybernauts, touring the UK and issuing one of the shows as a limited-run CD. A second Cybernauts tour was undertaken in Japan during 2001.

01. U Boat
02. Movie Star
03. Slow Down
04. Star Machine
05. I'm In Love
06. Rock Show
07. Let You Be
08. Hope Thay Come Back
09. Oo La La
10. From The Top

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Wind - Morning (Progressive Rock From Germany 1972)

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Musicians Steve Leistner (vocals), Thomas Leidenberger (guitar, vocals), Andreas Bueler (bass), Lucian Bueler (keyboards) and Lucky Schmidt (drums, percussion, mellotron) started their recording career with an album of cover versions as Corporal Gander's Fire Dog Brigade: "On The Rocks" (1970). It was recorded before Leistner joined and they adopted the name Wind. In 1971, they recorded the legendary album, "Seasons" - one of the most sought-after German albums nowadays. This was the second of three releases on the budget-priced Plus label.

This varied album captured Wind in different moods: "Dear Little Friend" was a thundering heavy rocker and "What Do We Do Now" - a vintage progressive rock anthem with fine use of organ and flute. "Romance" is a charming interlude for piano and "Now It's Over" had melancholic, folky vibes like Pink Floyd circa 1969. "Springwind" had haunting vocal lines, and finally came the 15-minute closing track, "Red Morningbird" with its floating, moody folk whispering, interrupted by some outrageously heavy outbursts. This is one of the classics of German progressive rock that will always be remembered for its powerful Hammond organ dueling with electric guitar sound; it should appeal both to fans of progressive heavy rock and those of folk-rock, as performed by the artists on the Pilz label.

The second album, "Morning" had a different, folky and lyrical fairy-tale atmosphere. The opening track "Morning Song" sounded almost like Procol Harum! "The Princess And The Minstrel" (also released as a 33 rpm single with "Schlittenfart" as the B-side!) was a long, partly spoken tale. "Dragon's Maid", "Carnival" and "Tommy's Song" could be compared to the legendary British group Spring, with their soft mellotron textures. This was another very good album, although I'm not sure it would appeal to the same audience as their first album.

After one further 1973 single ("Josephine" coupled with "Puppet Master"), Wind's relationship with CBS ended.

01. Morning Song (3:59)
02. The Princess And The Minstrel (6:39)
03. Dragon's Maid (8:39)
04. Carnival (7:56)
05. Schlittenfahrt (3:08)
06. Puppet Master (3:25)
07. Tommy's Song (5:28)
08. Josephine (3:38)

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Zalman Yanovsky - Alive and Well in Argentina (Rock US 1968)

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Zalman "Zal" Yanovsky (December 19, 1944 – December 13, 2002) was a Canadian rock musician. Born in Toronto, he was the son of political cartoonist Avrom Yanovsky. He played lead guitar and sang for the Lovin' Spoonful, a rock band which he founded with John Sebastian in 1964. According to Sebastian, "He could play like Elmore James, he could play like Floyd Cramer, he could play like Chuck Berry. He could play like all these people, yet he still had his own overpowering personality. Out of this we could, I thought, craft something with real flexibility." He was married to actress Jackie Burroughs, with whom he had one daughter, Zoe.

One of the early rock and roll performers to wear a cowboy hat, and fringed "Davy Crockett" style clothing, Zal helped set the trend followed by such 1960s performers as Sonny Bono, Johnny Rivers and David Crosby.

Mostly self-taught, he began his musical career playing folk music coffee houses in Toronto. He lived on a kibbutz in Israel for a short time and was supposedly asked to leave after having driven a tractor through a building. He returned to Canada and teamed with fellow Canadian Denny Doherty in the Halifax Three. The two joined Cass Elliot in the Mugwumps, a group made famous by Doherty's & Cass's later group the Mamas & the Papas, in the song "Creeque Alley". It was at this time he met John Sebastian and they formed the Lovin' Spoonful with Steve Boone and Joe Butler.

In 1967, he was arrested on a marijuana-related charge. In exchange for not being deported, Yanovsky gave the name of his dealer, and as a consequence was ostracised by the music community.[2] Returning to his native Canada, he recorded a solo album Alive and Well in Argentina (and Loving Every Minute of It). Buddah Records released the album in the U.S. in 1968, along with a single that did not appear on the album, "As Long As You're Here". The single (in which the B-side was the same track without vocals and recorded backwards) just missed the Billboard Hot 100, but fared a little better in Cashbox, peaking at #73. Kama Sutra Records reissued the album in 1971 with a completely different cover and inclusion of "As Long As You're Here".

He also appeared in the Off-Broadway show "National Lampoon's Lemmings" at New York's Village Gate. Although not an original cast member, he contributed a musical number "Nirvana Banana", a Donovan parody.

After leaving the music business, he became a restaurateur, alongside his wife Rose Richardson, establishing Chez Piggy restaurant in 1979 and Pan Chancho Bakery in 1994, both in Kingston, Ontario. The success of Chez Piggy prompted the publication of a companion cookbook (The Chez Piggy Cookbook, Firefly Books, 1998) that was collected by fans. After Zal's death of congestive heart failure in December 2002, and his wife's death in 2005, his daughter Zoe Yanovsky (with actress Jackie Burroughs) took over the ownership of both eateries. She also completed and launched another cookbook that Zal was working on, The Pan Chancho Cookbook (Bookmakers Press, 2006). Wikipedia

After parting ways with the Lovin' Spoonful in 1967, co-founder Zalman Yanovsky — better known to fans and friends simply as "Zally" — surfaced the following year on his lone solo long-player Alive and Well in Argentina (1968). The effort returned the artist back to the early rock as well as country & western roots that had inspired him. Plus, he was able to modernize, if not counter the weepy and introspective direction the Spoonful was continually drifting toward as John Sebastian scored the easier listening "Darling Be Home Soon" and "Younger Generation." Bearing his trademark sense of humor — and help from none other than Jerry Yester — his replacement in the Spoonful — and former bandmate Joe Butler (drums), the platter has the feel of a Lovin' Spoonful side project. The opening rave-up "Raven in a Cage" is preceded by a surreal composite of farmyard audio effects and "Oh, Canada!" — the Canadian National Anthem. The song's heavier execution instantly recalls the Spoonful's "There She Is" and "4 Eyes" with just a hint of Yanovsky's jug band roots and overtones. With electric guitars wailing, the lethargic and definitely sardonic update of one-hit wonder Joe Jones' 1960 "You Talk Too Much" is Yanovsky at his irreverent best. Yet he manages to turn it into a commendable performance before the bottom literally falls out of the groove. Continuing with the trip down memory lane are impressive interpretations of the Floyd Cramer instrumental "Last Date" as well as the Bobby Day-penned "Little Bitty Pretty One" — a hit for Thurston Harris in 1957. Yanovsky's impassioned and slightly out of tune vocal plea inoculates it with a shot of soul, while the thoroughly echoplexed chorus has a gritty lo-fi feel. The banjo-fralin' title track "Alive and Well in Argentina" adopts a rural flavor and melody comparable to Dave Dudley's 18-wheeler ode "Six Days on the Road." The lyrics demonstrate the artist's tweaked funny bone, not to mention a not-so-subtle reply to the question that Spoonful fans and reporters were asking in the wake of Zally's departure. The 1971 reissue of the LP on Kama Sutra added the single "As Long as You're Here" — which was written by the team of Garry Bonner and Alan Gordon who are perhaps best-known for the Turtles' hits "Happy Together," "She's My Girl," and "Cat in the Window." In due time they would also provide the Joe Butler-led incarnation of the Lovin' Spoonful "('Till I) Run with You" and "Amazing Air" on their Revelation Revolution '69 collection. Equaling if not surpassing the earlier covers are Yanovsky's raw reading of George Jones' divorce ode "Brown to Blue" and a honky tonkin' take of Ivory Joe Hunter's "I Almost Lost My Mind." The upbeat poppish spin of John Sebastian's "Priscilla Millionaira" comes on the heels of the Lovin' Spoonful's version from Everything Playing. An attempt at full-blown (or, perhaps more accurately overblown) psychedelia is heard on the pseudo-heavy "Hip Toad." It stands in contrast to the overt mixture of trippy electric guitars and orchestrated jamming titled "Lt. Schtinkckhausen" — ultimately sounding more like Frank Zappa than the Spoonful. The colorful jacket artwork collage is credited to Peter Max, while the dimestore novel-esque liner notes are courtesy of Carl Gottlieb — a writer for the Smothers Brothers TV Show among numerous other credits. AMG

01. Raven in a Cage Yanovsky, Yester, Yester 2:51
02. You Talk Too Much Kamile, Smeck 2:31
03. Last Date Cramer 3:03
04. Little Bitty Pretty One Byrd 2:57
05. Alive and Well in Argentina Rapport-de-bouef, Yanovsky 3:27
06. As Long as You're Here Bonner, Gordon 2:09
07. Brown to Blue Franks, Jones, Mathis 2:27
08. Priscilla Millionaira Sebastian 2:10
09. I Almost Lost My Mind Hunter 3:10
10. Hip Toad Yester 2:05
11. Lt. Schtinkckhausen Yanovsky, Yester 6:11

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It's A Beautiful Day - Pacific High Studios 1971 FM Recording KSAN (Bootleg)

Size: 126 MB
Bitrate: 320
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Found in DC++ World
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It's a Beautiful Day was a band formed in San Francisco, California in 1967, the brainchild of violinist David LaFlamme.

LaFlamme, a former soloist with the Utah Symphony Orchestra, had previously been in the band Orkustra, and unusually, played a five-string violin. The other members were his wife Linda (keyboards), Pattie Santos (vocals), Hal Wagenet (guitar), Mitchell Holman (bass) and Val Fuentes (drums). Although they were one of the earliest and most important San Francisco bands to emerge from the Summer of Love, It’s a Beautiful Day never quite achieved the success of their contemporaries such as The Grateful Dead and Santana, with whom they had connections. It’s A Beautiful Day created a unique blend of rock, jazz, folk, classical and world beat styles during the seven years the band was officially together.

The group's original manager, Matthew Katz, had previously been fired by both Jefferson Airplane and Moby Grape. Much to the surprise of the group, Katz was at first unable to get any paying gigs for It's A Beautiful Day in San Francisco. Their first paying gig was out of town, in Seattle, Washington.

The group's signature song "White Bird" was inspired by the experiences David and Linda LaFlamme had while living in Seattle. For the month of December 1967 the group members lived in the attic of an old house owned by Katz while playing and rehearsing at Seattle's Encore Ballroom. In an ironic twist on the band's name, the song was partly inspired by Seattle's rainy winter weather. In a later interview David LaFlamme said:

Where the 'white bird' thing came from ... We were like caged birds in that attic. We had no money, no transportation, the weather was miserable. We were just barely getting by on a very small food allowance provided to us. It was quite an experience, but it was very creative in a way.

The band's debut album, It's a Beautiful Day, released in 1969, featured the tracks "White Bird", "Hot Summer Day", "Time Is" and "Bombay Calling". The intro of the last was used, at a slower tempo, by Deep Purple as the intro to "Child in Time" on its In Rock album. The vocals and violin playing of David LaFlamme plus Pattie Santos' singing attracted attention including FM radio play, and nationally, "White Bird" bubbled under Billboard's Hot 100 chart, peaking at #118.

By 1970 the original lineup of the band had changed somewhat; the LaFlammes had split up and Linda left the band, replaced by Fred Webb. The following album, Marrying Maiden, released in 1970, included memorable tracks and was also a chart hit. In that year, the group also performed at the Holland Pop Festival at the Kralingse Bos in Rotterdam, Netherlands and at the UK Bath Festival.

The band continued on to record Choice Quality Stuff/Anytime in 1971 and the live album Live At Carnegie Hall in 1972, touring until 1974 when they split up. In 1976, LaFlamme's solo version of "White Bird" finally cracked the Hot 100 Chart, peaking at #89. Pattie Santos was killed in a car crash on December 14, 1989.

It's a Beautiful Day reunited in 1997 under the name "David LaFlamme Band" as well as "It's a Beautiful Day" as Katz briefly let his copyright of the name go un-renewed. The band features founder David LaFlamme and original drummer Val Fuentes. Other band members are LaFlamme's current wife, Linda Baker LaFlamme (vocals), Toby Gray (basses & producer), Gary Thomas (keyboards & producer), Rob Espinosa (guitars), Michael Prichard (percussion) and continue performing today (2009) having toured with Jefferson Starship in 2007, and LaFlamme contributed to Jefferson Starship's 2008 release, Jefferson's Tree of Liberty. This line up is the longest continual band that has ever performed the IABD material.

A version of "White Bird" by violinist Vanessa-Mae was released in 2001 and reached number 66 in the UK Singles Chart. and has also been recorded by Blue Grass virtuoso Sam Bush as well as countless other regional acts over the years.

It's A Beautiful Day
03-20-71
Pacific High Recording Studios
SF, CA
KSAN FM 95.5

01. Tom Donohue Intro
02. Don & Dewey
03. Creed of Love
04. Hot Summer Day
05. Bitter Wine
06. Bye Bye Baby
07. Hoe Down
08. Good Lovin'
09. Let A Woman Flow
10. The Dolphins
11. White Bird

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Warhorse - Red Sea (2nd Album Heavy Progressive UK 1972)

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Reissue of the second album by heavy British prog rock groupformed by Deep Purple bassist Nick Simper. Completing their deal with Vertigo, 'Red Sea' was originally released by the label in 1972. This pressing contains all seven of the original cuts, plus six bonus tracks, 'Ritual' (Live) & demoversions of 'Bad Time', 'She Was My Friend', 'Gypsy Dancer','House Of Dolls' & 'Standing Right Behind You'. 13 tracks total.

Impressive second album by the highly talented if flawed Warhorse, a heavy progressive dynamo that threw together everything from Creedence, Zeppelin, and the Allmans to Tull, Wakeman, and ELP. There is also a Deep Purple connection as bassist Nick Simper was an early Purple bandmember. Much of the singing is not the best and the session would have benefited immensely from a Rod Stewart or even a Joe Cocker, but those vocalists were undoubtedly busy (as was Rick Wakeman evidently, as he failed to appear at Warhorse rehearsals so often he was replaced on keys by Frank Wilson) and this group did, as all struggling musicians do, the best with what they could find.

The title rocks with tough organ from Wilson, Simper and drummer Mac Poole's (later of Gong) firm groove, Peter Parks' sweet guitar harmonies and Ashley Holt's strained moaning. 'Back in Time' follows-up in stride, Holt's primal scream serving well and a reasonable guitar break from Parks culminating in a psych jam. The commercial 'Confident But Wrong' is typical but good Rhythm n' Blues with an organ interlude, but the soggy ballad 'Feeling Better' disappoints and 'Sibila' is classic early stoner rock with more sweet guitars. 'Mouthpiece' redeems them with a fabulous display of each player's abilities.

Why the band failed to take off in the way they might have is debated; bad timing, not enough promotion or record company support... but considering the period [how's this for an interesting perspective from Philip S. Walker's notes; "...Heavy Rock as a style grew out of Progressive Rock sometime in the early 1970s. The trend setters were Deep Purple and Black Sabbath"] 'Red Sea' may just not have been competitive or distinct enough an offering. But a very good prog album is in there somewhere and if you gravitate to this sort of early 70s amalgam of semi-classical organ power and gritty hard rockin', Warhorse were one of the most promising if unfulfilled groups of that era. Five extra demo cuts and a live track are included.

01. Red Sea
02. Back In Time
03. Confident But Wrong
04. Feeling Better
05. Sybilla
06. Mouthpiece
07. I (Who Have Nothing)
08. Ritual (Live)
09. Bad Time (Demo)
10. She Was My Friend (Demo)
11. Gypsy Dancer (Demo)
12. House Of Dolls (Demo)
13. Standing Right Behind You (Demo)

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Warhorse - Selftitled (Heavy Progressive UK 1970 w. Nick Simper)

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Formed in 1970 around ex-Deep Purple bassist Nick Simper, Warhorse were understandably close to early Deep Purple in their blend of keyboard-colored progressive rock and early heavy metal. The group coalesced when Simper left Deep Purple in 1969 to lead soul singer Marsha Hunt's backing band, which included Rick Wakeman on keyboards for a while. The backing band formed the nucleus of Warhorse, which recorded a couple of albums for Vertigo in the early 1970s.

With their early hard rock/metal sounds and a singer (Ashley Holt) who could roll into over-serious, high stentorian vocal phrases, the group have also been compared to early Black Sabbath, although they lacked the hooks necessary to achieve the same level of success as Sabbath or Purple. Echoes of Yes (in the keyboards) and perhaps Uriah Heep can be heard as well. Warhorse broke up in 1973, with drummer Mac Poole joining Gong, and Holt and drummer Barney James (who briefly replaced Poole in Warhorse's final days) going to Rick Wakeman's band.

Warhorse's self-titled debut was a progressive rock-heavy rock meld that was even less humorless than that of Deep Purple, let alone Black Sabbath, the band that they got compared to most frequently. There's a bit of art rock in the Hammond organ, and an operatic earnestness to Ashley Holt's lead vocals. Titles like "Vulture Blood," "Burning," "Ritual," "Solitude" and "Woman of the Devil" are indicative of the group's desire to set a menacing mood, although the songs don't really forcefully hit the mark for which they were probably targeted. A cover of an Easybeats song ("St. Louis"), of all things, is the only non-original. Angel Air's CD reissue adds bonus live versions of four of the album's songs, as well as a demo, "Miss Jane," of a tune that didn't appear on the original LP.

01. Vulture Blood Warhorse 6:13
02. No Chance Warhorse 6:22
03. Burning Warhorse 6:17
04. St. Louis Vanda, Young 3:50
05. Ritual Warhorse 4:54
06. Solitude Warhorse 8:48
07. Woman of the Devil Warhorse 7:16
08. Ritual [live] Warhorse 5:06
09. Miss Jane [demo version] Simper 3:37
10. Solitude [live/*] Warhorse 4:52
11. Woman of the Devil [live] Warhorse 6:45
12. Burning [live] Warhorse 6:09

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The Allman Bros Band - Selftitled (1st Album Bluesrock US 1969)

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The band was formed in Jacksonville, Florida on March 26, 1969, and consisted of Duane Allman (slide guitar and lead guitar), Gregg Allman (vocals, organ), Dickey Betts (lead guitar, rhythm guitar, vocals), Berry Oakley (bass guitar), Butch Trucks (drums) and Jai Johanny "Jaimoe" Johanson (drums).

The Beginning:
The actual Allman brothers, Duane and Gregg, had originally been in a garage band called the Escorts, then the Allman Joys and finally the Hour Glass. The Hour Glass had released two failed albums from Liberty Records. They were all released from the contract except Gregg, who Liberty thought might have some commercial potential. Duane Allman—with a stint as a session guitarist in Muscle Shoals, Alabama on Johnny Jenkins Ton-Ton Macoute album behind him (it was to be Duane's first solo album before the ABB was formed) —started jamming with Dickey Betts, Butch Trucks and Berry Oakley in Jacksonville. Eddie Hinton, with whom Duane Allman had played in Muscle Shoals, was considered to play guitar, but Hinton refused in order to join the Muscle Shoals studio band. Duane brought in Jaimoe, a drummer he had played with in the past. The nucleus of the band was now formed. Gregg was in Los Angeles, fulfilling the Hour Glass contract with Liberty Records. He was summoned back to Jacksonville by Duane to "fill out the band and sing."

The Allman Brothers Band played numerous shows in the south before releasing their debut album, The Allman Brothers Band. Critics loved it, but the blues-rock album found few listeners, attracting only a cult audience. Most of the record had a blues-rock sound, but "Dreams", a spacy number in 12/8 time, would provide the framework for some of their best jams.

Idlewild South (1970), the followup, produced by Tom Dowd, was a massive critical success, and managed to be quite lucrative, as well. The upbeat "Revival" and the moody-but-resolute "Midnight Rider" showed the band getting more adept at shorter, radio-friendly song forms. (It was after the release of Idlewild South that Duane Allman joined in the recording of the classic Layla and Other Assorted Love Songs with Eric Clapton's Derek and the Dominos group.)

1971 saw the release of a live album, At Fillmore East, recorded on Friday and Saturday March 12 and March 13 of that year at the legendary rock venue the Fillmore East. The album was another huge hit. Rolling Stone listed At Fillmore East as one of Rolling Stone’s 500 Greatest Albums of All Time. It showcased the band's unique mixture of jazz, classical music, hard rock, and blues, with arrangements propelled by Duane's and Betts' dual lead guitars, Oakley's long, melodic "third guitar" bass runs, the rhythm section's pervasively percussive yet dynamically flexible foundation, and Gregg Allman's gritty Ray Charles-like vocals and piano/organ play which all completed the band's wall of sound. The rendition of Blind Willie McTell's "Statesboro Blues" was a straight-ahead opener, the powerful "Whipping Post" (with its famous 11/8 bass opening) became the standard for an epic jam that never lost interest, while the ethereal-to-furious "In Memory of Elizabeth Reed" invited comparisons to John Coltrane and Miles Davis and the complex and surpassingly subtle rhythms in the driving "One Way Out" kept beat-counters, as well as all others, at once puzzled and mesmerized.

The Allman Brothers received the honor of being the last act to play the Fillmore East before it closed in June of 1971. The final shows there achieved legendary status, partly due to bands' literally playing all night; in 2005 Gregg Allman would relate how the jamming musicians lost track of time, not realizing it was dawn until the side doors of the Fillmore were opened and the morning light poured in. The band continued to tour; decades later, a special-order recording of one of their final concerts in this lineup, S.U.N.Y. at Stonybrook: Stonybrook, NY 9/19/71, would be released. It reveals that Duane Allman's slide guitar playing on "Dreams" and other songs was touching the farthest reaches of both that instrument and his imagination.

Duane Allman died not long after the Fillmore East album was certified gold, killed in a motorcycle accident on October 29, 1971 in Macon, Georgia (at the corner of Hillcrest and Bartlett) when he lost control avoiding collision with a flatbed truck used to carry heavy pipe. The loss of their leader was hard for the group to bear, but they quickly decided to carry on. The album continued to gain FM radio airplay, with stations even playing 13-minute and 23-minute selections.

The album art of Allman Brothers' 1972 album, Eat a PeachDickey Betts filled Duane's former role in completing the last album he participated in, Eat a Peach. The album was often softer ("Blue Sky", "Little Martha") and wistful in tone ("Melissa", "Ain't Wastin' Time No More"), capped by the 34-minute "Mountain Jam" reverie taken from the Fillmore East concerts. Writer Greil Marcus described parts of Eat a Peach as an "after-the-rain celebration... ageless, seamless... front-porch music stolen from the utopia of shared southern memory."

The group played some concerts as a five-man band, then decided to add Chuck Leavell, a pianist, to gain another lead instrument but without directly replacing Duane. This new configuration debuted on ABC's In Concert late-night television program.

Weeks later, on November 11, 1972, Berry Oakley died in another motorcycle accident, only three blocks from the site of Duane's accident (near Napier Avenue and Inverness Street). However that location does not exist, there is no Inverness Street, in Macon Ga. The common retelling that it was at the exact same site as Duane's death is incorrect, as is the legend that the Eat a Peach album is named for what was being carried by the truck involved in Allman's accident.

Oakley was replaced by Lamar Williams at the end of 1972, in time to finish the next album, Brothers and Sisters (1973).

Dickey Betts was becoming the bandleader. Brothers and Sisters included the group's best known hits, "Ramblin' Man" and "Jessica"; the former reached #2 on the Billboard Hot 100 as a single, while the latter was a seven-minute instrumental hit. The album was accessible with a sense of urgency, no doubt from the deaths of their band-mates, and the new band exploded nationally.

The Allman Brothers Band had become one of the top concert draws in the country. Probably their most celebrated performance of the era took place on July 28, 1973 at the Summer Jam at Watkins Glen outside Watkins Glen, New York, in a joint appearance with The Grateful Dead and The Band. Approximately 600,000 people were estimated to have made it to the racetrack where this massive outdoor festival took place.

In the wake of the Allman Brothers Band's success during this time, many other Southern rock groups rose to prominence, including the Marshall Tucker Band and Lynyrd Skynyrd.

Another peak of the Allmans' success came on New Year's Eve, 1973, when promoter Bill Graham arranged for a nationwide radio broadcast of their concert from San Francisco's Cow Palace. New arrangements of familiar tunes such as "You Don't Love Me" went out over the airwaves, as the show stretched out over three sets, with Boz Scaggs sitting in, along with Grateful Dead members Jerry Garcia and Bill Kreutzmann (The Allmans and Grateful Dead members guested at each others shows multiple times in the early 1970s).

Turmoil and dissolution:
Personality conflicts started to tear the band apart, however. Gregg Allman and Dickey Betts both began solo careers, while Allman married Cher, separated quickly, reconciled, and eventually separated again, all in a storm of publicity; drug abuse took its toll on the entire band. Musically, Betts and Leavell were pulling in opposite directions, with Allman trying to mediate. The tension resulted in the uneven Win, Lose or Draw (1975), with some members not participating on all tracks or doing so only from afar. The few stand-out tracks included a stop-start take on Muddy Waters' "Can't Lose What You Never Had", Betts' instrumental "High Falls", and Allman's Jackson Browne-influenced title song. The band still managed to limp along until 1976, when Gregg Allman was arrested on federal drug charges and agreed to testify against a friend and employee of the band. Leavell, Johanson, and Williams formed Sea Level, while Betts worked on his solo career. All four swore that they would never work with Allman again.

Meanwhile, Capricorn Records released a compilation album, The Road Goes On Forever, and a poorly-received live album, Wipe the Windows, Check the Oil, Dollar Gas; neither sold very well.

The group reformed in 1978 and released the strong Enlightened Rogues (1979). It featured new members Dan Toler (guitar) and David "Rook" Goldflies (bass), who replaced Leavell and Williams, both of whom concentrated on Sea Level instead. "Crazy Love" was a minor hit single, and the instrumental "Pegasus" got some airplay, but overall The Allman Brothers Band was no longer as popular as before, and financial woes plagued both the group and Capricorn Records, which collapsed in 1979. PolyGram took over the catalogue, and the Allman Brothers Band signed to Arista Records. The group released a pair of critically-slammed albums, firing Jaimoe in the process, and then disbanded once again in early 1982.

Allman quickly formed the Gregg Allman Band with the Toler brothers in 1982 and began touring small venues and clubs. Betts, Leavell, Trucks and Goldflies formed the band Betts Hall Leavell Trucks (BHLT). Neither garnered attention from any record labels. BHLT would dissolve two years later.

The Allman Brothers reunited in 1986 for a pair of benefit concerts for promoter Bill Graham in New York and Macon. Allman, Betts, Trucks, Jaimoe, Leavell, and Dan Toler performed together but no subsequent reunion plans for the band were made. The following year, the Gregg Allman Band and the Dickey Betts Band co-headlined a theatre and club tour. After each band played a set of music, Betts, Allman and the Tolers performed a closing set of Allman Brothers music together.

In 1987, Epic Records signed both Allman and Betts to separate solo contracts. The Gregg Allman Band had a surprise FM hit single with the title track to the 1987 album I'm No Angel. Just Before the Bullets Fly quickly followed from Allman in 1988. The Dickey Betts Band was also formed during this time and released the album Pattern Disruptive in 1988. This series of collaboration among bandmembers and interest from a major label during the late 1980s laid the groundwork for next era of Allman Brothers Band activity and success.

01. Don't Want You No More 2:26
02. It's Not My Cross To Bear 5:03
03. Black Hearted Woman 5:10
04. Trouble No More 3:47
05. Every Hungry Woman 4:15
06. Dreams 7:20
07. Whipping Post

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The Allman Bros Band - Idlewild South (2nd US Bluesrock 1970)

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Idlewild South is the second album of The Allman Brothers Band, released in 1970.

Unlike the band's debut album, Idlewild South enjoyed some popular success as well as critical enthusiasm, mostly due to what Rolling Stone magazine called "briefer, tighter, less 'heavy' numbers" which were more radio-friendly. The two most prominent of these were "Midnight Rider" and "Revival", the latter of which, in conjunction with the instrumental "In Memory of Elizabeth Reed" (which would become one of the Allmans' most famed concert numbers), foreshadowed the impact of Dickey Betts' songwriting ability upon the band.

The album was named after a ranch they frequently visited in Georgia, whose name in turn was originally a reference to New York City's Idlewild Airport.

"Midnight Rider" has been featured in soundtracks for The Devil's Rejects and Unbreakable. Gregg Allman also rerecorded the song for his solo album Laid Back.

01. "Revival" (Dickey Betts) – 4:05
02. "Don't Keep Me Wonderin'" (Gregg Allman) – 3:31
03. "Midnight Rider" (Gregg Allman) – 2:59
04. "In Memory of Elizabeth Reed" (Dickey Betts) – 6:56
05. "(I'm Your) Hoochie Coochie Man" (W. Dixon) – 4:57
06. "Please Call Home" (Gregg Allman) – 4:02
07. "Leave My Blues at Home" (Gregg Allman) – 4:17

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