England's Climax Blues Band saw their first taste of mainstream acceptance with 1975's Stamp Album, a solid mix of blues rock, funk, and jazzy pop that paved the way for their eventual platinum success with Gold Plated a year later. Led by the stellar guitar work & vocals of Pete Haycock, the band was completed by Colin Cooper (sax, clarinet, flute, keyboards), Derek Holt (bass, vocals), Richard Jones (keyboards, bass, guitar, vocals), and John Cuffley (drums, vocals), in what is considered one of the strongest line-ups the band had.
Haycock's stinging guitar licks & Cooper's melodic sax drive the catchy, upbeat blues rocker "Using the Power", a great opener to Stamp Album that sets the stage for the rest of the record. "Mr. Goodtime" is a smoldering slice of bluesy, jazzy funk, littered with Jones' clavinet and Haycock's biting lead guitar, and the hook laden, rootsy "I Am Constant" was the albums hit single, a catchy rock number that will appeal to any fan of Little Feat or the Doobie Brothers. "Running Out of Time" is a pulsating funk rocker with a great vocal from Cooper and more delicious clavinet & guitar.
The band dives into melodic pop on the engaging "Sky High", a song I'm surprised the band didn't release as a hit single, and burst through with scorching Lynyrd Skynyrd styled southern rock on the nasty slide guitar attack of "Rusty Nail/The Devil Knows". Haycock really nails it with some searing slide on this gritty bluesy hard rock song, and the tune also features some wild Jethro Tull inspired flute from Cooper and Jones' great piano lines. Jones and his honky tonk piano & Cooper's soaring sax are all over "Loosen Up", and the closing instrumental "Cobra" sees the band combining rock, blues, and jazz-fusion styles for an exciting, yet brief ride.
As with most of Esoteric's CBB reissues, there are a wealth of bonus tracks here on Stamp Album. The BBC Radio One John Peel session tracks are especially enjoyable, and include songs from this album as well as the previous Sense of Direction release. "Before You Reach the Grave" is especially funky, and "Reaching Out" is given smoldering treatment, with Haycock & Cooper reaching deep with some ripping guitar & sax. The remaster treatment on the original album is crisp and clear, and the booklet contains a wealth of information about the sessions and plenty of photos. A splendid reissue of a great band from the always dependable folks at Cherry Red.
by Pete Pardo
Tracks
1. Using The Power - 4:29
2. Mr. Goodtime - 5:16
3. I Am Constant - 3:10
4. Running Out Of Time - 5:23
5. Sky High - 5:07
6. Rusty Nail The Devil Knows - 4:15
7. Loosen Up - 4:56
8. Spirit Returning - 2:54
9. Cobra - 2:18
10.Before You Reach The Grave (BBC Radio One John Peel Session) - 4:36
11.Reaching Out (BBC Radio One John Peel Session) - 4:53
12.Spirit Returning (First Version) - 4:20
13.Rusty Nail The Devil Knows (First Mix) - 4:28
14.I Am Constant (BBC Radio One John Peel Session) - 3:11
15.Running Out Of Time (BBC Radio One John Peel Session) - 4:51
All songs by Climax Blues Band
Bonus Tracks 10-15
The Climax Blues Band
*Colin Cooper – Vocals, Soprano, Alto, Tenor Saxes, Clarinet, Flute
*Peter Haycock – Vocals, Lead, Slide, Acoustic Guitars
*Derek Holt – Vocals, Bass, Vibes
*Richard Jones – Vocals, Keyboards, Bass, Acoustic Guitars
*John Cuffley – Drums, Percussion
The Dutch band Solution was formed back in 1966, and in a career that lasted until 1983 they explored quite a few different types of music prior to calling it a day. Their most interesting productions from a progressive rock point of view have generally been subscribed to their self-titled debut from 1971 and the following year’s production "Divergence". Both albums have been unavailable for a number of years now, until the UK label Esoteric Recordings decided to reissue them on CD in the fall of 2012 – as usual from this fine label, complete with a nice and good quality digital remastering.
The 70's in general and the start of that decade in particular is by many regarded as a golden age of progressive rock music. This fascination for days gone by isn't totally without reason, and the debut album by Solution documents quite nicely some of the reasons for it. It is a fairly eclectic production, of the kind that you can't really pinpoint into a narrowly defined specific style, and fairly innovative to boot. Fine musicians given more or less free reigns, creating their music without bothering too much about a target audience as such, I suspect. Kicking off in a fine manner with jubilant brass fanfares in a song that from then on flirts with majestic symphonic art rock, traditional 70's jazz rock, a careful and fragile version of the same sporting a nervously resonating piano motif as well as a gentler variety of symphonic art rock again with flute and careful keyboards as main features.
While piano and flute are used fairly often on this production, it is the organ that dominates these proceedings. Employed alongside the saxophone for the aforementioned jubilant opening piece Koan, these two instruments also take the lead when Solution hits the traditional jazz rock territories. The organ returns for the brief interlude Preview, alongside the piano, and the following construction Phases also features the organ in the initial part, now combined with flute and backing vocals to explore a fragile cosmic inspired theme.
With bombastic organ driven passages explored later on, in a manner similar to early Van Der Graaf Generator, a revisit of the careful, Pink Floyd-evoking territories and in the only sequences sporting lead vocals on this disc we're treated to themes that sound like a direct continuation of Jethro Tull's classic tune ‘My God’, albeit featuring organ instead of the traditional flute that could have been employed. Trane Steps and Circus Circumstances aren't quite as eclectic and broad in scope, but again we're treated to a band that effortlessly and gleefully wanders back and forth in stylistic expressions also on these two compositions, now mostly staying put within a dual jazz rock and symphonic art rock universe.
Both of the pieces are a treat to experience, and on these efforts, as well as on the album as a whole, the bass and drums of Van Der Sande and Waterman respectively add striking and intricate details to the proceedings. It's easy to loose oneself in the keyboard displays of Ennes and the flute and sax of Barlage when describing this production, but the rhythm section is just as much of an essential feature as the more striking parts of the instrumentation here. Impeccable and skilled performances are needed to pull off such an adventurous mix of music, and this foursome is all equally capable in that department.
As far as debut albums go, "Solution" is a very interesting one. Innovative, adventurous and broad in musical scope, I'm slightly mystified as to why this album isn't high on the list of classic albums progressive rock fans should sample. The very eclectic nature of this disc will not be to everybody's taste admittedly, but for those with a broad range in musical tastes and a keen interest in early 70's progressive rock Solution's debut warrants a keen inspection.
by Olav M Bjornsen
Tracks
1. Koan (Tom Barlage, Willem Ennes, Hans Waterman) - 7:52
2. Preview (Tom Barlage) - 0:59
3. Phases (Tom Barlage, Willem Ennes, Hans Waterman, Peter V. D. Sande) - 12:19
4. Trane Steps (Tom Barlage, Willem Ennes, Hans Waterman) - 10:21
5. Circus Circumstances (Jacques Ibert, Emmerson, Tom Barlage, Willem Ennes, Hans Waterman) - 7:05
The Solution
*Tom Barlage - Flute, Alto, Soprano Sax
*Willem Ennes - Piano, Electric Piano, Organ
*Peter V. D. Sande - Bass, Vocals
*Hans Waterman - Drums
*Steve Boston - Congas, Cowbell On "Phases"
Ayers Rock was the leading Australian 'jazz-rock' group of the 70s, fusing rock with influences from soul, R&B, jazz and Latin music. The band was built on world-class standards of playing and complex arrangements, and inspired by overseas groups such as Traffic, Santana and Weather Report. The original members were all seasoned players, widely regarded as among the best musos in the country, and their musical connections were woven through a series of major bands of the 60s and early 70s.
Mark Kennedy was and is still widely regarded as one of Australia's best drummers. He rose to prominence as the original drummer in Spectrum. He left that band in late 1970, just after recording their first LP, and he became an in-demand session player, as well as working in a series of loosely connected groups including King Harvest (where he first teamed up with McGuire and Doyle) and Friends with Leo De Castro.
Duncan McGuire was a true rock veteran (and one of the unsung heroes of Aussie music). His first band was The Phantoms way back in 1959. He was a member of The Epics (1962-64), who backed Little Pattie live and on her early Singles and first album, as well as playing with Reg Lindsay, Johnny Ashcroft, Brian Davies, Jay Justin and Johnny O'Keefe. From 1966-68 he was a member of The Questions (Doug Parkinson's first major band) which also included Ray Burton and Doug Lavery (who later joined The Valentines and Axiom). McGuire stayed with Parkinson through In Focus and Fanny Adams before shifting to Melbourne and playing with King Harvest and Friends.
Jimmy Doyle had been a member of the backing bands for The Delltones and Dig Richards, and during the early Sixties he also worked as the musical director for renowned honky-tonk pianist Winifred Atwell.
Ray Burton had been the rhythm guitarist in the Dave Bridge Quartet in the early Sixties, and then a member of the Delltones' backing band, after which he joined the first lineup of successful Sydney harmony-pop group The Executives. He worked variously with Doyle, McGuire and Kennedy in King Harvest, Doug Parkinson In Focus and Friends. He relocated to the USA in the early 70s, where he worked Helen Reddy and co-wrote her 1972 international mega-hit "I Am Woman".
In 1973 the above-named four took the logical step and formed their own band, McGuire Kennedy Burton. Later in the year, they added another player, multi-intrumentalist Col Loughnan. Col had actually started his career as lead singer with Sydney vocal group The Crescents. In 1962 Col was recruited to replace Noel Widerberg, lead singer with The Delltones, who had been tragically killed in a car accident earlier in the year. Col performed with The Delltones for five years (1962-67). In the late Sixties Col returned to his first love, jazz, and his prowess on a wide range of instruments (alto, tenor and baritione saxophones, flute, keyboards and percussion) gave the Ayers Rock sound a distinctive edge.
With Loughnan on board, the new band changed their name to the more marketable (and patriotic) Ayers Rock. They were one of the first groups signed to Michael Gudinski's newly established Mushroom label, and their debut single, "Rock'n'Roll Fight", was issued at the end of 1973.
They performed at Sunbury '74 and one track from their set, Ray Burton's "Morning Magic", was included on the Highlights of Sunbury 1974 LP, which has recently been re-released in the 2-CD set Highlights of Sunbury 1973 and 1974 on Michael Gudinski's Liberation Blue label. These tracks are the only extant Ayers Rock recordings to feature Burton, who left the band during 1974. Col Loughnan's official website features a superb colour clip of the group performing live at Sunbury, with excellent sound.
He was replaced by singer-guitarist Chris Brown, whose previous credits included a stint in Little Sammy & The In People, the noted '60s Sydney club outfit led by singer Sam "Little Sammy" Gaha (father of TV's Eden and Danielle Gaha); although not commercially successful, this notable band variously included Brown, Harry Brus, Michael Carlos, Barrie McAskill, Col Nolan and Janice Slater.
Ayers Rock's debut album Big Red Rock was taped live before an invited audience at Armstrong's Studios in Melbourne over two nights in September 1974. The live-in-the-studio approach worked extremely well for Ayers Rock, and the album clearly demonstrated why their awesome live 'chops' had made them such a popular concert attraction. But it also was something of a necessity for the cash-strapped label -- they took the same approach with andnother early signing, Mackenzie Theory. The Ayers Rock LP reportedly cost Mushroom a mere $5000 to record.
Big Red Rock was an early critical and commerical success for Mushroom, showcasing the band's considerable prowess and the material was a good balance between the more commercial song-based material of McGuire and Brown and the more adventurous instrumentals. The LP features three songs by McGuire, including their memorable second single, the Latin-flavoured "Lady Montego", a song that dated back to McGuire's stint in Friends; an earlier, slower version appears (in a live recording) on the Garrison: The Final Blow LP.
Big Red Rock also features two excellent pieces by Loughnan, two songs by Chris Brown, and a dazzling cover of Joe Zawinul's "Boogie Woogie Waltz", originally recorded by Weather Report (who were at that time virtually unknown in Australia). Loughnan's power-jam "Crazy Boys" is also worth hearing for its hilarious intro; dedicated to an unnamed Sydney hamburger joint, it includes a sly reference to a "Gudinski burger" and very funny joke about "Dr Hopontopovus, the Greek gynaecologist".
As Vernon Joyson has noted, Ayers Rock's recordings suggest that there was some dilemma about whether they should pursue a more expansive instrumental-based approach or opt for a more song-based commercial sound. From the evidence of Big Red Rock, its arguable that its the instrumental tracks -- "Crazy Boys", "Big Red Rock" and the brilliant cover of "Boogie Woogie Waltz -- that stand up best today, but the demands of radio airplay and gigging meant that this dilemma was never satifactorily resolved, and the group's relatively short lifespan and small catalogue meant that they never really got the chance to reach their full potential.
In the late 1975 Ayers Rock performed at the final gigs at Melbourne's fabled Reefer Cabaret. Live versions of the Stones' "Gimme Shelter" and "Boogie Woogie Waltz" were included on the double-album A-Reefer-Derci, culled from performances from the last two nights on 30 and 31 December 1975, and released by Mushroom in 1976. Like Mushroom's earlier Garrison: The Final Blow set, it commemorated the closure of the venue and was a means of thanking the Reefer Cabaret for supporting Mushroom's artists during 1974-75.
During '75-76, Kennedy began working with Marcia Hines and they later became engaged, which led to him leaving Ayers Rock in 1976. He was replaced for a time by Russell Dunlop, who, like Kennedy, was a seasoned veteran, and a respected session player and producer, but his permanent replacement was hotshot young drummer Hamish Stuart, who has since become a mainstay of the Sydney music scene and one of the most respected drummers in the country. At this point the group also added a permanent keyboard player, Andy Cowan (ex Madder Lake).
Ayers Rock's second LP Beyond was not quite as successful sales-wise, but no less impressiv musically. By this time the emphasis had shifted to longer works that allowed the band to showcase its considerable improvisational skills, and the LP consists of just six tracks, three each by Col Loughnan and Chris Brown. One of Brown's songs, "Little Kings", was lifted to become their third single.
Recorded in Los Angeles, the album was vastly more expensive to record than its predecessor, reportedly costing Mushroom a whacking $60,000, but by this time Mushroom's coffers had been swelled by the massive success of Skyhooks. The LP was also released in the USA, with different cover art. Their fourth and final single for Mushroom, "Song For Darwin" (May 1976) was inspired by the Cyclone Tracy disaster that had devastated the city on Christmas Day 1975.
After parting with Mushroom, the band broke up for about three years, but it was reformed by Brown, Doyle, Stuart and Cowan in 1979 and they established their own label, Red Rock. A new single, "On The Avenue" was released at the end of 1979, followed by "Lies" in early 1980, both issued through Polydor. The singles were both included on their third and final LP Hotspell, distributed by RCA. Unfortunately, the album was not successful and the band broke up in 1981.
Founding members Jimmy Doyle and Duncan McGuire have, sadly, both since passed away; Duncan died in 1986 from a brain tumour and Jimmy died in May 2006 from liver cancer.
Recorded in one, live-in-the-studio session in September 1974, Big Red Rock was one of the first albums issued on the mighty Mushroom label. Despite the brief nature of the recording, the band was well prepared and the album stands as a fine example of musical skill and technique combined with song writing brilliance. This is where jazzy pop and blues rock textures meet jazz rock explorations and trippy soundscapes, where the band’s sound coalesced into a cogent whole.
Ayers Rock could move from one style to the next with consummate ease. From the silky, jazzy pop of ‘Lady Montego’ (issued as a single), into the tough blues rock of ‘Nostalgic Blues’ which glides into the Frank Zappa Hot Rats styled jazz rock of ‘Crazy Boys’ and onto the jazz fusion magnificence of their version of Weather Report’s ‘Boogie Woogie Waltz’. The band also explored trippy soundscapes in the evocative title track where treated sax solos and wah-wah guitar emulated the didgeridoo, calling to mind the vast, forbidding landscape of the Red Centre.
The group went on to make a mark on the vast USA touring circuit, playing to massive crowds and paving the way for Little River Band, AC/DC, Air Supply, Men at Work and INXS.
Presented in a Deluxe Digi-Pak, Aztec’s expanded CD edition of Big Red Rock adds the rare 1973 single ‘Rock ’n’ Roll Fight (Going On)’ – featuring the band’s original guitarist Ray Burton – plus other live material from Sunbury 1974 (‘Morning Magic’) and Reefer Cabaret (‘Gimme Shelter’). Remastered sound by Gil Matthews, colour booklet with rare photos by Philip Morris and liner notes by Ian McFarlane.
Tracks
1. Lady Montego (Duncan McGuire) - 2:51
2. Talkin' 'Bout You (Duncan McGuire) - 3:58
3. Goin' Home (Duncan McGuire) - 3:04
4. Crazy Boys - The Hamburger Song (Col Loughnan, Stephen Ian) - 9:11
5. Nostalgic Blues (Chris Brown) - 4:37
6. Big Red Rock (Col Loughnan) - 8:29
7. Boogie Woogie Waltz (Joe Zawinul) - 10:11
8. Get Out To The Country (Chris Brown) - 4:39
9. Rock 'n' Roll Fight (Going On) (Raymond Doughty) - 3:11
10.Sorrowful Eyes (Raymond Doughty) - 4:54
11.Morning Magic (Raymond Doughty) - 5:47
12.Boogie Woogie Waltz (Joe Zawinul) - 11:04
13.Gimme Shelter (Mick Jagger, Keith Richards) - 7:29
Tracks 9-10 Single release 1973
Track 11 Live at Sunbury January 1974
Tracks 12-13 Live at Reefer Cabaret December 1975
The Ayers Rock
*James Doyle - Electric, Acoustic Guitars
*Col Loughnan - Tenor, bariton Saxophone, Flute, Percussion, Vocals
*Duncan McGuire - Bass, Percussion
*Mark Kennedy - Drums, Percussion
*Ray Burton - Guitar, Lead Vocals (Tracks 9-11)
*Chris Brown - Lead Vocals, Electric, Acoustic, 12 String Guitars, Parcussion (Tracks 1-8, 12.13)
Alan Eastwood was well known as a great drummer but his talents extended to singing and also songwriting at which he was prolific. Alan Eastwood joined The Brumbeats - formerly The Plazents who were signed to a Decca recording contract in 1964. The band also recorded under the name 'The Merseyboys' and had a now rare album of Beatles songs released on the famous Vee-Jay label in the U.S.A. As a member of The Brumbeats, Alan first tasted fame when the band played support for and appeared on the same bill as The Beatles when they performed in Birmingham.
Alan went on to form his own blues-based trio called The Exception with former Brumbeats guitarist Roger Hill and bassist Dave Pegg - later to join Fairport Convention. The Exception was very much Alan's band as he wrote their original material and sang the lead vocals as well as playing harmonica - not the easiest job on stage as he also played drums at the same time! The group had an album and several good singles released on the President Records label including 'The Eagle Flies On Friday', 'Rub It Down', and 'Tailor Made Babe'. Alan also had his own solo single 'Blackbird Charlie' issued on President in 1968 as well as a now super-rare solo album titled 'Seeds... Alan James Eastwood'.
Alan Eastwood continued to work in the music business and spent his later years in London where he lived until his death from heart failure. He never really got the recognition he deserved but was a talented musician who was well respected in the local music community. Louise Lane who's uncle was Alan Eastwood has some fond memories of him; "Uncle Alan was not just a talented musician - he was also a good listener, giving advice, guidance and support to AA members and helping out with various charities within his community, including helping the homeless in the soup kitchen. From my own memories of Alan, I recall his upbeat energy and sense of humour and of course he just loved to sing and play his guitar to the family. He was an entertainer as well as a kind hearted man".
This is Alan James ‘Bugsy’ Eastwood's first solo effort, moved with the changing times of the decade’s end, and melds Eastwood’s impressive rock sensibilities with a folk thread – to superb effect.
His arresting voice is the album’s primary weapon, its wistful soulfulness papering over, in places, some rather passé lyrics. Yet it’s hard to see why, across great down-the-line singer-songwriter fare such Evenin’ Rain or Virgin Morn, Seeds is so often tagged as an acid-folk record. It isn’t. Flashes of Nick Drake’s percussive jazziness do rear up from time to time but, actually, this deserves to stand as a great 70s singer-songwriter record that sets its own tone and meter.
by Jan Zarebski
Tracks
1. She's Getting Married In August - 2:23
2. Evenin' Rain - 2:40
3. Les Paillions - 1:52
4. Zeena - 1:48
5. Virgin Morn - 3:26
6. Seeds - 3:10
7. Crystal Blue - 3:44
8. Lady Carole - 3:39
9. Lotus Child - 3:25
10.Last Prayer - 4:08
11.Hymn For Today - 4:25
Lyrics and Music by Alan James Eastwood
In the beginning, there were 'The Brumbeats' of whom drummer Alan "Bugsy" Eastwood and guitarist Roger Hill were part of the line-up. The group recorded for Decca Records in 1964 which included an album of Beatles covers under the name 'The Merseyboys'. Alan and Roger later teamed up in 'The Hooties' who with the addition of bass guitarist Dave Pegg, became 'The Exceptions' after signing to Eddie Kassner's President Records label.
The Exception was to have no less than seven innovative singles issued on the CBS and President Records labels respectively which in itself is an "exception" considering the "Three strikes and you're out" rule seemed to prevail at most record companies in those days. Unfortunately, none of the Exceptions' records impacted the charts although the band had plenty of 'live' work including a number of German tours where in that country they seemed to gather the most support.
No less than 26 tracks are included on this wonderfully produced CD comprising all the band's singles (A and B sides), their 1969 album, plus an additional five previously unreleased recordings issued here for the first time. The CD packaging is attractively designed by Andy Morten and packaged in its own jewel case. This also holds a 16 page book full of rare photos, recording details, and project co-ordinator John Reed's definitive story of the band including quotes from surviving members.
Thanks to sound engineers Simon Murphy and Mark Stratford, the re-mastered audio quality is excellent - especially on the album tracks. The first 14 recordings on this CD consist of the A and B sides of the band's seven singles issued between 1967 and 1969. Possibly the best known of these is their first titled 'The Eagle Flies On Friday' (issued at the time as 'The Exceptions').
This drums and vibes-driven track was inspired by an American expression relating to the eagle on their dollar bill with lyrics about an employee's weekend escape from his oppressive boss after getting his pay on Friday. Alan Eastwood's lead vocal is certainly very American influenced in this respect, although for this one, the song may have more in common with Eddie Cochrane's 'Summertime Blues'. In addition, Roger Hill contributes a cutting guitar solo while future Led Zeppelin star Robert Plant (who hitched a ride down to London with the band), plays tambourine!
The band's first single for President Records (with new bass guitarist John Rowlands) is a bizzare song titled 'Rub It Down' that could easily be taken for a comedy/novelty number. The song is recorded in a highly-danceable ska/reggae arrangement complete with Bugsy's lead vocal imitation of a West Indian accent! While another Brum band Locomotive led by Norman Haines recorded successful ska impersonations such as 'Rudi's In Love', who knows what direction The Exception may have followed had Rub It Down been a hit!
New band members; bass guitarist Malcolm Garner and saxophonist/pianist Steve Yetson, were on board for The Exception's next A-side which is the Chicago style blues-driven 'Tailor Made Babe' featuring a great piano introduction. This one obviously suited the band's style and probably sounded great when performed live. There's a good guitar solo in there too. You'd have a tougher time dancing to the barely two-minute long B-side titled 'Turn Over The Soil' with it's blasts of harmonica and raunchy lead vocal.
The CD includes five previously-unreleased recordings by The Exception. 'When Your Luck Is Down' is a characteristic blues-pounding walkabout that would have fitted well in their stage show. 'When You Have A Good Gal' with its sparse instrumentation and heart-felt lyrics would not have seemed out of place on Bugsy's solo album. 'These Women Funny' is a driving rocker sounding more like a live recording than a studio production. The group vocal backing and rather vintage-sounding guitar gives it a real mid-1960s vibe.
'Bach Theme' is a jazzy instrumental workout featuring expertly-played saxophone and trumpet presumably by Steve Yetson. Blending along with Roger Hill's lead, it's not difficult to see why the latter would later choose a career as a jazz guitarist. The final unreleased recording (also an instrumental) titled 'Abdel Do Do' sounds like it was recorded live and mostly improvised (which it probably was). Again, saxophone features prominently with everyone getting a chance to take the lead and do their bit. There's a great climactic ending too which makes it a good choice for the last track on this CD.
While studying these recordings by The Exception, it becomes more clear to me that they were certainly no 'pop group' but a hard-working blues-based band in which their major strength was in live performance. I'm sure those lucky enough to have experienced them on-stage would agree. Had they continued, recognition may have eventually came their way but with the absence of a hit single taking them to the next level it was unfortunately not to be.
Tracks
1. The Eagle Flies On Friday - 2:43
2. Girl Trouble - 2:19
3. Gaberdine Saturday Night Street Walker - 2:37
4. Sunday Night At The Prince Rupert (Roger Hill, Dave Pegg) - 2:57
5. Rub It Down - 2:10
6. It's Snowing In The Desert - 2:33
7. Helicopter - 2:22
8. Back Room - 2:14
9. Tailor Made Babe - 2:37
10.Turn Over The Soil - 2:07
11.Jack Rabbit - 1:57
12.Keep The Motor Running - 2:03
13.Pendulum - 3:11
14.Don't Torture Your Mind (Roger Hill) - 2:50
15.Hong Kong Blues (Hoagy Carmichael) - 3:39
16.Rock Bottom Cinder - 2:35
17.Woman Of The Green Lantern - 2:52
18.Karen Train Blues - 2:06
19.Too Much In Love With A Bad Thing - 3:42
20.Mrs. Cocaine - 5:05
21.Bum's Puzzle - 2:43
22.When Your Luck Is Down - 2:42
23.When You Have A Good Gal - 2:26
24.These Women Funny - 2:38
25.Bach Theme - 2:47
26.Abdel Do Do - 3:56
All songs written by Alan Eastwood unless otherwise stated
The Exception
*Alan "Bugsy" Eastwood - Lead Vocal, Drums, Percussion, Vibes, Harmonica, Guitar
*Roger Hill - Lead Guitar, Vocal
*Dave Pegg - Bass
*Malcolm Garner - Bass, Vocal
*Steve Yetson - Saxophone, Keyboards
*John Rowlands - Bass
Essentially, Redwing, Glad, and the New Breed are all the same band...sort of. As the band evolved and their styles changed, so did their name.
Actually, the story begins in Sacramento, CA in 1962 when Timothy (B.) Schmit, Ron Floegel, and Tom Phillips played together in a folk trio, appropriately named Tim Tom & Ron. In 1963, as high school sophomores at Encina High, the band added drummer George Hullin and switched to surf music. With this new change in direction and new member, Tim Tom & Ron became The Contenders.
Around 1968, the band signed on with a new label, Equinox, under producer Terry Melcher, who had the group change their name to Glad. In Los Angeles, Glad recorded one album, Feelin' Glad. The album, again, is very Beatlesque, but it is a highly produced effort, more so like the post-'65 Beatles. Apparently, the band was unhappy with the album due to the fact that they had very little control over it. Certain parts of the record were overdubbed with strings, horns, and fancy production against the band's wishes. Furthermore, its been stated that Tim Schmit is the only Glad member that appeared on the LP's track, "Shape of Things to Come," and this was apparently a sore spot for the group. Regardless, the album, which is mostly Glad originals, is a solid album filled with great cuts and great singing and harmonies.
Unfortunately, Feelin' Glad did not sell particularly well, and in 1969, Tim Schmit, aka, Timothy B. Schmit was offered the position of bassist for Poco . He accepted it and went onto record some of the most under appreciated music ever with the band. He became the replacement for Randy Meisner, who, ironically, he would replace again in the Eagles in 1977. With Poco, Tim released 11 albums. Glad, again, changed their name. This time, they became Redwing.
Tracks
1. A New Tomorrow - 2:49
2. Say What You Mean - 2:14
3. Bedtime Story - 2:22
4. Pickin’ Up The Pieces - 2:53
5. Shape Of Things To Come (Barry Mann, Cynthia Weil) - 2:46
6. Love Needs The World (Erik W. Wangberg) - 3:32
7. Sweet Melinda (Ron Floegel, Tom Phillips, Timothy B. Schmit) - 2:31
8. Let’s Play Make Believe (Ron Floegel, Tom Phillips) - 2:25
9. No Ma It Can’t Be - 3:28
10.Two Worlds - 2:53
11.Johnny Silver’s Ride - 3:38
12.Silly Girl - 4:14
All songs by Ron Floegel except where stated
Aubrey Small formed in 1969 with a line-up that featured 5 part harmonies, twin guitars & flute which was quite pioneering for those times! Very soon they were attracting considerable interest in heady musical circles. Ronnie Scott’s Jazz Club took the band under their management followed by numerous regular sessions on BBC Radio 1’s “Sounds of the Seventies” for Bob Harris & John Peel. The band were soon performing at landmark venues such as London’s Marquee, Flamingo, Samantha’s, Thatched Barn at Chalk Farm & the Roundhouse with Ronnie Scott’s becoming their “second home”. Tour gigs with major names including Status Quo, Supertramp, Edgar Broughton, Colosseum, Hawkwind, Pink Fairies, Robin Trower and many others were a growing part of the band’s new world.
Record companies were fast becoming aware of the band’s growing reputation and within a short time a recording contract was signed as well as a publishing contract with Radio Luxembourg MD Alan Keen of Louvigny Marquee, for their songs. An album was released in 1971 followed by a single some months later.
Although the band were together only four short years, they created a legacy of interest with the people their music reached, which has lasted until the present day. Recently unearthed long lost recorded material was returned to the band, prompting them to tell their short but colourful story.
They performed for the first time on Valentine’s Day 1970 at South Parade Pier, Southsea however within a few weeks, guitarist Marc Tuddenham had decided to leave. As the band was generating much interest they embarked on an immediate search for a replacement and by the end of March Peter Pinckney joined fresh from winning an NME national band contest. The song-writing became instantly prolific with members writing individually & collectively.
Another bizarre gig came along on 6th November when the band played the Flamingo in Wardour Street. It was an “all-nighter” with Hawkwind and Pink Fairies and they were due to play at about 3 am. When they arrived at the venue they had to wait around for several hours and then eventually were told that due to the venue being packed to capacity they had to pass the equipment over the heads of the crowded audience to the stage, set up and play! No sound check, no frills but a terrific gig!
The recording experience at Trident became intoxicating and at times even became somewhat surreal. For one number “Smoker Will Blow” John Anthony had the idea of putting orchestration on the track as it was too simple. Within a matter of days arranger Richard Hewson appeared together with a huge assembly of the finest jazz and orchestral musicians available. Here was another highly respected musician who had a list of high profile credits to his name including the Beatles, Bee Gees, Diana Ross, Art Garfunkel, Fleetwood Mac, Supertramp, Chris Rea among others – another who’s who! The band watched from the control room with amazement as an extraordinary and complex soundscape unfolded on their song. Ray Jackson of Lindisfarne was also invited to play harmonica on one track and Mike Vickers of Manfred Mann brought his giant Moog synthesiser in for another couple of tracks.
After the album was completed in September 1971, John Anthony went on to produce “Orange” for Al Stewart and as often happens with working relationships being fresh in mind he invited David (Bass) & Graham (Drums) to do the session work. The rest of the band were “most put out” as they hadn’t been asked to play until it was discovered that Rick Wakeman and Tim Renwick were chosen to play keyboards and guitar – no contest! Peter Pinckney and Rod Taylor were eventually invited to do some backing vocals together with Lesley Duncan who they had also met at Trident when she was working with Elton John with whom she had a long-standing connection.
Tracks
1. Country Road (Peter Pinckney) - 4:21
2. Gardenia (Alan Christmas) - 2:49
3. Trying To Find My Way (Peter Pinckney, Rod Taylor) - 2:13
4. For My Lady (Graham Hunt) - 3:25
5. It's Morning (Peter Pinckney) - 4:00
6. Why? (Graham Hunt) - 2:23
7. Love On (Peter Pinckney) - 4:19
8. Born To Be (Peter Pinckney, Rod Taylor) - 3:23
9. If I Were You (Graham Hunt) - 3:18
10.Oh! What A Day It's Been (Graham Hunt) - 3:02
11.Smoker Will Blow (Graham Hunt) - 3:08
12.Wonderful (Alan Christmas) - 1:37
13.The Loser (Peter Pinckney) - 4:29
14.Maybe Tomorrow (Alan Christmas) - 5:05
Bonus Tracks 13-14
The Aubrey Small
*Alan Christmas - Guitar
*Graham Hunt - Drums, Guitar, Vocals
*Peter Pinckney - Lead Guitar, Vocals
*Rod Taylor - Keyboards, Vocals
*David Yearley - Bass
