Marc Brierley - Hello (1969-70 uk, marvelous diverse folk rock, 2014 bonus tracks remaster)

A minor player on the late-'60s British folk-rock scene, guitarist and singer/songwriter Marc Brierley made a couple of albums in the late '60s that were somewhat in line with the folk-pop-rock Donovan was making around the same time, though they were milder and far less distinctive. Brierley made his recording debut in 1966 with a five-song acoustic EP for Transatlantic Records that was similar in nature to the early acoustic recordings of Donovan and Bert Jansch. 

by Richie Unterberger

Hello might be described as a bit more ambitious than the first LP, and certainly more commercial. The arrangements are a lot bigger, with the string section from the London Symphony Orchestra hired to play on a couple of tracks and a lot of well-placed Hammond organ. There's a lot more stylistic variety from one song to the next, the tongue-in-cheek, honky-tonk shuffle of "O Honey" (featuring Dudley Moore, Arthur himself, on the piano!) transitioning into "A Presence (I Am Seeking)" with sparse acoustic guitar, flute, and Eastern hand percussion. The poppier songs on Hello remind me a little bit of some of the stuff on Cat Stevens' first two records, although nothing Brierley wrote is nearly as infectious as "Here Comes My Baby." If anything comes close, its his hugely uplifting final single "Be My Brother," which sounds to me like it should've been a massive hit. The other single, "Stay A Little Longer Merry Ann," is pretty damn good, too, and is notable for its now infamous producer and arranger: a teenage Andrew Lloyd Webber, believe it or not.

Brierley, today a freelance photographer and journalist, wrote the reissue's great liner notes, in which he reminisces about the minutia of his career. He talks about having a terrible cold the week he was in the studio for Welcome To The Citadel and about the tremendous difficulty he had with recording his vocals and guitar parts separately. He also has a word or two to say about his influences and about the ideas behind some of his songs. His thoughtful and charming remarks are merely the icing on the cake of this near-perfect package, a long overdue introduction to a unique and remarkable artist whose music is more than worthy of a prime spot in the folk-rock canon.

by Rob Hatch-Miller

Tracks
1. Sunny Weather - 2:44
2. Lady Of The Light - 2:52
3. Today I Feel Like Leaving You - 2:22
4. O Honey - 3:42
5. A Presence (I Am Seeking) - 6:46
6. The Room - 7:42
7. Byrd Lives - 1:28
8. Hello - 2:48
9. Lookin' Around The Room - 3:23
10.When Martha Comes - 4:33
11.Be My Brother - 3:26
12.If You Took The Bandage Off Your Head You Wouldn't Be So Blind - 3:29
13.The Best Part Of The Night - 3:29
14.In This Hour Of Love - 2:52
15.One Fine Morning (You Will Wake Up) - 3:01
16.Screaming Schizophrenia Blues - 3:02
17.Abide With You - 3:36
18.Brown Ships - 4:45
19.For People Who Are Parted - 4:45
20.Sweet Summer - 2:25
21.Be My Brother - 3:15
Words and Music by Marc Brierley
Original Album Tracks 1-10
CBS Singles Tracks 11-12
Island Records Demos Tracks 13-20
Rehearsal Demo Track 21

Musicians
*Marc Brierley - Acoustic Guitar, Vocals
*Harold McNair - Flute
*Dudley Moore - Piano
*Graham Todd - Organ
*Mox - Mouth Harp
*John Fiddie - Bass
*Tony Carr - Percussion
*Dougie Wright - Drums
*Billy Butler - Guitar, Vocals
*Andy Bown - Piano
*London Symphony Orchestra - Strings

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Cold Blood ‎- Lydia (1974 us, delicate groovy jazzy funk rock, 2004 remaster)

Cold Blood is one of the original R'n'B horn bands from the late 60's/ early 70's that exemplified the "East Bay Grease" melding of funk & rock with blues and jazz elements. Lydia Pense has been compared to Janis Joplin, but is a true original and a pioneer in the women's rock movement. Lydia Pense and Cold Blood packed the San Francisco Ballrooms in their heyday, but that was then and this is now. In the now, Lydia Pense and Cold Blood still fill halls with cheering, dancing, foot-stomping fans. Far from fading over the years, Cold Blood has flourished. 

In 1974 their 5th released simply called "Lydia", legendary Stax guitarist Steve Cropper produced and and played on three cuts. A soulful approach with the band playing a blue-eyed funk crossbred. Lydia Pense is in fine form as always. 

Tracks
1. Ready To Live (Lonnie Hewitt, Paul Edward Smith) - 5:24
2. Simple Love Life (Paul Edward Smith, R. Smith) - 3:18
3. Under Pressure (Fred Gowdy, Larry Wilkins) - 3:30
4. When My Love Hand Comes Down (Gloria Jones, Pam Sawyer) - 4:23
5. When It's Over (A. Wayne) - 2:33
6. Consideration (Steve Cropper) - 3:36
7. I Only Wanted Someone To Hear Me (Allan Rush, Dee Presley) - 3:54
8. You're Free Lovin' Me (Carl Marsh, Steve Cropper) - 3:51
9. Come Back Into My Life Again (B. R. Charles) - 3:40
10.Just Like Sunshine (Paul Edward Smith, Raul Matute) - 4:38

Musicians
*Lydia Pense - Vocals
*Michael Sasaki - Guitar
*Paul Cannon - Guitar
*Steve Cropper - Guitar
*Joe Williams - Drums
*Tommy Cathey - Bass
*Rod Elliott - Bass
*Raul Matute - Keyboards
*David Luell - Alto, Tenor, Baritone Saxophones
*Max Haskett - Trumpet
*Jack Walrath - Trumpet
*Gaylord Birch - Drums
*Danny Kootch - Guitar
*Bobbye Hall - Congas, Percussion
*Chuck Bennett - Trombone
*Paul Hubinon - Trumpet
*Chuck Findley - Trumpet
*Bobby Shew - Trumpet
*Jim Horn - Tenor Saxophone, Flute
*Don Menza - Tenor Saxophone, Flute, Piccolo
*Peter Christlieb - Tenor Saxophone, Flute, Piccolo
*The Memphis Horns

1969-70  Cold Blood - Cold Blood / Sisyphus
1972  Cold Blood - First Taste Of Sin
1973  Cold Blood - Thriller
1973  Cold Blood - Vintage Blood Live

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Various Artists - Riot On Sunset Strip / Rarities: The Standells (1967 us, exciting garage psych beat folk rock, 2009 bonus tracks remaster)

The riots on Los Angeles' Sunset Strip took place in the summer and fall of 1966. As riots go, they were a far cry from those that afflicted the city during either Watts or those inspired by the Rodney King beating in 1991. Hundreds of teenagers began peacefully hanging out on the Strip on weekends, creating a traffic problem (though little else) while waiting for the latest phenomenon of the '60s - the 'Happening'.

The LA police over-reacted, imposing a curfew on under-21 year olds and heavy-handedly breaking up the crowds that continued to gather. These rather one-sided violent affairs were magnified by the popular press of the time into The Riots On Sunset Strip. The Stephen Stills/ Neil Young band Buffalo Springfield documented the affair in the song For What It's Worth, which charted nationally putting the civil rights issues involved once more on view from Coast to Coast. Sam Katzman (the man behind the movie Rock Around The Clock) rushed out a cash-in film Riot On Sunset Strip. 

All the hallmarks of the teenage movie were there - hokey plot, wooden acting and cheap sets - but the film has survived as a firm cult favourite, mainly for the night-club scenes featuring (amongst others) The Standells and The Chocolate Watchband. The original soundtrack album reissued here includes The Chocolate Watchband's Don't Need Your Lovin' and Sitting There Standing, two of their wildest performances and reportedly close to the raw feel the band generated in-person. The Standells' appearance in the movie further fuelled their punk notoriety. As an added bonus for their fans, Rarities contains 11 rare and unissued tracks including the early (1965) recording It's All In Your Mind, recorded at Gold Star Studios in Hollywood. The CD booklet also contains many rare photographs.

Ace Rcds

Artists - Tracks
1. The Standells - Riot On Sunset Strip (Tony Valentino, John Flack) - 2:25
2. The Mugwumps - Sunset Sally (Vincent Malamed) - 2:20
3. The Sidewalk Sounds - The Sunset Theme (Mike Curb) - 2:25
4. Debra Travis - Old Country (Debra Travis) - 2:02
5. The Chocolate Watchband - Don't Need Your Lovin' (David Aguilar) - 2:39
6. The Mom's Boys - Children Of The Night (The Mom's Boys) - 2:29
7. The Sidewalk Sounds - Make The Music Pretty (Guy Hemric, Jerry Styner) - 1:41
8. The Standells - Get Away From Here (Larry Tamblyn) - 2:09
9. Drew - Like My Baby (Mike Curb, Drew Bennett, Davie Allen) - 2:02
10.The Chocolate Watchband - Sitting There Standing (David Aguilar, Gary Andrijasevich, Bill Flores, Mark Loomis, Sean Tolby) - 2:23
11.The Standells - Love Me (Dick Dodd, Tony Valentine) - 2:46
12.The Standells - Batman (Neal Hefti) - 3:06
13.The Standells - Our Candidate (Mike Smith) - 4:12
14.The Standells - The Boy Who Is Lost (Larry Tamblyn) - 2:34
15.The Standells - It's All In Your Mind - 2:42
16.The Standells - School Girl (Graham Gouldman) - 2:17
17.The Standells - I Hate To Leave You (Tony Valentino, Dick Dodd) - 2:33
18.The Standells - Looking At Tomorrow (Barry Mann, Cynthia Well) - 2:18
19.The Standells - Don't, Say Nothing At All (D. Washington) - 2:32
20.The Standells - Try It (Joseph Levine) - 2:50
21.The Standells - Rari (Ed Cobb) - 5:33

Related Acts
1966  The Standells - Dirty Water
1966  The Standells - Why Pick On Me
1966-67  The Standells - Try It
1966-67  The Standells - The Hot Ones (rare out of print issue)
1965-67  The Chocolate Watchband - Melts In Your Brain...Not On Your Wrist / The Complete Recordings
1967  The Chocolate Watch Band - No Way Out
1968  The Chocolate Watch Band - The Inner Mystique
1969  The Chocolate Watchband - One Step Beyond
1966-68  The Chocolate Watchband - Forty Four

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Taste - What's Going On Isle Of Wight Festival (1970 ireland, spectacular classic hard blues rock, 2015 extra tracks remaster)

TASTE - THE ISLE OF WIGHT FESTIVAL, August 28, 1970

The 1970 Isle Of Wight festival is remembered for several reasons: it would prove to be the largest rock festival yet held - attracting, it is estimated, up to 600,000 people and so leading to a ban on music festivals on the IOW for the next 32 years. While a ticketed festival, the huge numbers of people heading to the island meant it quickly became a free festival (with much rhetoric being spouted alongside several stage invasions by self-proclaimed "hippie activists"). Alongside leading rock, soul and |azz musicians the IOW hosted what would turn out to be the final UK performances of both Jimi Hendrix and The Doors. The IOW also featured a particularly ferocious set by Taste.

Taste were formed in the city of Cork. Ireland, by 18-year old Rory Gallagher in 1966. By then Gallagher was a veteran of the showband circuit, had toured much of Europe and played a residency in Hamburg. With Taste he mixed original material with blues covers, the band's raw, dynamic sound quickly establishing them In Belfast then London. Just before Taste signed with Polydor Records the band's management insisted on replacing the Cork rhythm section with drummer John Wilson and bassist Richard McCracken, both veteran Belfast musicians (Wilson had played in Them). Taste's exciting live performances set attendance records at London's Marquee Club and they gained wide European popularity with their eponymous 1969 debut album.

1970 should have been Taste's year: they released their sophomore album 'On The Boards' on January 1st. 1970, to rave reviews across Europe and the US. The band's work effort and inspired live performances had established Taste truly as a "people's" band. Praise for the band - and, especially, Rory Gallagher - came from many noted musicians: John Lennon championed Taste while Jimi Hendrix, when asked how it felt to be the world's greatest guitarist, replied that he had no idea and the question should be redirected to Rory. Yet, internally. Taste were bitterly divided due to differences between Gallagher and the rhythm section over management, money and status.

A break-in to the band's van (only drum pedals were stolen) the night before they headed to IOW brought tensions to a head with Rory emphasising that if management had provided Taste with a superior vehicle (as long requested) the theft wouldn't have occurred. If tensions were simmering in the van the Southampton ferry crossing on Friday morning provided a sense of exhilaration - they could feel the excitement building as thousands of rock fans gathered for the festival. Unfortunately, the huge numbers of people arriving on the IOW (population 100,000) meant Taste struggled to get on site in time for their late afternoon set. Things only got worse once there as they became aware the festival was being filmed: their manager threatened to cancel Taste's performance.

But perform they did: taking the stage in perfect conditions. Taste tore into 'What's Going On'. The huge audience, until then somewhat subdued in response to the afternoon's bands, rose to their feet. The ten thousand hours Kory had put in playing live over the past six years ignited a truly explosive performance. Perhaps the inter-band tension also fuelled Taste as the trio played superbly, giving their absolute all. each member listening and responding so creating music alive with excitement and possibility. Electricity was in the air and the audience screamed for an encore. Taste obliged but the audience refused to let them go. One - two - three - encores! Right then everyone bearing witness agreed: Taste were the most exciting live band in the world.

Backstage Taste were charged with adrenalin and aware they had achieved something special. This is what it's all about - playing rock and roll like your very life depended on it! But the ill feeling remained and. when photographer John Minihan requested that Taste gather for a portrait, the trio were reluctant. Finally, bassist McCracken said, "come on guys, even if it is the last one" and grabbed Gallagher and Wilson for the photo. Photo taken, Rory and his brother Donal then went off to watch Tony Joe White play. Rory was so impressed he would later include White's 'As The Crow Flies' in his live set. Taste might have had the adulation of an adoring public ringing in their ears but their IOW performance did not heal the band's divisions and they would confirm that they were to split a few days later. As Taste were contractually committed to a European tour they continued until a final Belfast concert on New Year's Eve, 1970. In that tumultuous year their Isle Of Wight performance sealed Taste as more a legend than a band.

by Garth Cartwright

Tracks
1. What's Going On - 5:31
2. Sugar Mama (Traditional) - 10:47
3. Morning Sun - 4:37
4. Gambling Blues (Traditional) - 4:52
5. Sinner Boy - 5:41
6. I'll Remember - 8:29
7. I Feel So Good (Big Bill Broonzy) - 10:26
8. Catfish Blues (Traditional) - 14:14
9. Same Old Story - 6:54
10.Blister On The Moon - 7:46
All songs by Rory Gallagher except where stated

The Taste
*Rory Gallagher - Guitars, vocals
*Richard McCracken - Bass
*John Wilson - Drums

1970  On The Boards (Japan SHM edition)
1971  Live Taste
1971  Rory Gallagher (Japan Mini Lp replica)
1971  Deuce (Japan Mini Lp replica)
1972  Live In Europe
1973  Blueprint (Japan Mini Lp replica)
1973  Tattoo (2012 promo copy)
1974  Irish Tour (Japan Mini LP replica)
1975  Against The Grain (Japan Mini LP replica)

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The Unspoken Word - Tuesday April 19th (1968 us, wonderful melodic distillation of folk baroque psych rock, 2007 extra tracks release)

The first album from this Long Island-based ensemble was a tuneful and ambitious collection of psychedelic folk-rock tricked out with polished harmonies and arrangements featuring elaborate horn and string charts. If anything, Tuesday, April 19 often sounds a bit too elaborate for its own good; the arrangements certainly reflect the trippy, philosophic bent of Gene Stashuk's lyrics (which also suggest a Christian undertow), but fairly often they also tend to overpower them, and on these sessions the Unspoken Word sound more like a studio project than an organic group with a personality of its own. 

The irony is this has a great deal to do with the precision with which the Unspoken Word play their music; Angus MacMaster's keyboard work is especially impressive, with a striking dynamic sense, and vocalist Dede Puma would have done any number of Broadway musicals proud with her rich, expertly modulated instrument.

On tunes like "After the Before," the Unspoken Word sound a bit like the Free Design after an acid trip and a couple semesters of philosophy class, and while that might sound like damning the Unspoken Word with faint praise, the truth is few bands embraced the psychedelic philosophy while maintaining a composer's fine control over their music the way the Unspoken Word did on Tuesday, April 19. If the two sides don't always mesh perfectly, fans of oddities of the psychedelic era will doubtless find this to be intriguing stuff. 

by Mark Deming

Tracks
1. Anniversary Of My Mind - 2:37
2. For The World - 1:48
3. Waking Up (Gene Stashuk, B. Barrette, Denise Puma) - 3:22
4. Moving Day - 2:13
5. After The Before (Gene Stashuk, Denise Puma) - 3:45
6. Distant, Oh So Far - 3:04
7. Rossby (Gene Stashuk, Angus MacMaster, Les Singer) - 2:42
8. Flock Of Birds (Gene Stashuk, Angus MacMaster) - 2:28
9. Sunday Suit of Clothes - 2:27
10.We're Growing - 2:58
11.Boy - 2:06
12.Nobody's Nothing - 2:19
13.On A Beautiful Day - 2:31
14.And It's Gone (Gene Stashuk, Denise Puma) - 1:53
All songs by Gene Stashuk except where noted.

The Unspoken Word
*Angus MacMaster - Keyboards
*Denise "Dede" Puma - Vocals
*Gene Stashuk - Lead, Rhythm Guitars, Vocals
*Greg Buis - Bass, Vocals
*Les Singer - Drums

1970  The Unspoken Word

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Holy Mackerel - Holy Mackerel (1972 uk, spectacular guitar rock with some prog traces, 2015 reissue)

Singer Terry Clarke, guitarist Derek Smallcombe and drummer Roger 'Spodge' Siggery had all played in UK psych legends Jason Crest. Following their collapse in 1969, Clark joined short-lived UK rockers Hunter, whose sole LP was released in America only under the band name Orang Utan, while his former bandmates played with High Broom, best-known for releasing a version of Dancing In The Moonlight on Island in 1970.  Smallcombe then played a stint with progressive rockers Samuel Prody, whose sole LP was released in Germany only, before rejoining Clark and Siggery in 1972 to form the quintet Holy Mackerel, along with new recruits Chris Ware (guitar) and Tony Wood (bass). 

Having relocated from their native Kent to rural Lancashire, they devised a set that drew on progressive, pop and country influences before starting to gig. According to their LP's sleevenotes, they 'took the Northern college circuit by storm, experimenting and refining their music until they were ready for their album'. Having come to the attention of producers Roger Easterby and Des Champ (best-known for making hits with pop artists including Vanity Fare, Deep Feeling, Dr Marigold's Prescription and Chicory Tip), they were signed to CBS and entered the studio. A single coupling Rock-A-Bye and New Black Shoes was issued in late October 1972, preceding the appearance of their self-titled LP in November. 

Unfortunately, as 1973 came around the market for such records was fast shrinking, and it sold poorly despite an enthusiastic endorsement from John Peel ('A group to watch and, of course, a good one to listen to as well') and 45 releases in Germany, Turkey and elsewhere. They appeared on Peel's show in November, performing Waterfall, Spanish Attraction, Oh! and Trie Boy & The Mekon, but it made little difference to their success. They did go on to record a follow-up album, entitled Closer To Heaven, but CBS didn't release it and it languished until finally appearing in 1993. 

Having departed CBS, the band remained with Easterby and Champ for three further singles that appeared on the producers' own Santa Ponsa label (a subsidiary of Pye), but none of those charted, so they finally called it quits in mid-1974.

CD Liner-Notes

Tracks
1. Going To The Country (Steve Miller, Ben Sidran) - 3:05
2. Virginia Water (Derek Smallcombe) - 3:49
3. Spanish Attraction (Terry Clark) - 7:38
4. Rock-A-Bye (Barry Ian Green, Ron Roker) - 2:36
5. Oh! (Derek Smallcombe) - 5:19
6. Were You At All (Chris Ware) - 2:59
7. New Black Shoes (Terry Clark, Roger "Spodge" Siggery, Chris Ware, Derek Smallcombe, A. Wood) - 3:49
8. The Boy And The Mekon (Terry Clark) - 5:50

The Holy Mackerel
*Terry 'Nobby' Clark - Vocals
*Derek 'Mort' Smallcombe - Lead Guitar, Acoustic Guitar, Harmonica, Vocals
*Chris Ware - Lead Guitar, Acoustic Guitar
*Tony Wood - Bass
*Roger 'Spodge' Siggery - Drums

Related Acts
1965-71  The Herd - The Complete Herd (2005 remaster, digi pack two disc set)  
1967-68  Jason Crest - The Collected Works 
1971  Samuel Prody - Samuel Prody (2011 Edition)  

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The Pandamonium - The Unreleased Album (1969 uk, outstanding psych folk rock, 2004 release)

Singers/guitarists Martin Curtis and Bob Poton started their professional musical careers in 1963 as members of the beat band The Pandas.  By 1966 they'd expanded their line up to include Kent Mick Glass and drummer Steve Chapman.  They'd also opted for a name change, dropping The Pandas for the hipper Pandamonium.

Produced by Shel Talmy and Hugh Murphy, the collection found the duo supported by members of Fairport Convention/Fotheringay (Jerry Donahue, Gerry Conway and Tim Donaldson) and Heads, Hands and Feet (Albert Lee and Chas Hodges).  Musically the album was quite different from the earlier "Thoughts & Words" release.  Whereas the former sported a distinctive reflective folk feel, material like 'I Know You', the Badfinger-ish 'Sunrise' and 'Sit and Watch the Sunshine' showcased a far more commercial and up-tempo pop feel.  

Showcasing all original material, the pair had a clear knack for crafting the kind of melodies that crawled into your head and wouldn't let go - I dare you to shake 'I Believe In You' out of your memory.  Curiously, as lead singers neither Curtis nor Ponton had great voices, but when they were paired together they somehow managed to turn in some truly stunning harmony work (the country-tinged 'If I Could Be With You').   

Even more interesting were a couple of psych-influenced numbers.  'I Am What I Am' sported another mesmerizing melody, couple with one of the best fuzz and backward guitar solo sections I've ever heard.  Yeah, there were a couple of duds - 'Baby I'll Be Yours' was a forgettable country-influenced number, 'Who Knows What We May Find' was a fey ballad, and 'Waiting for Summer' was a strange Latin-flavored piece that wouldn't have sounded out of place on an Everything But the Girl album.  Still, one of my favorite recent discoveries the big mystery being why Liberty would have shelved an album with so much commercial potential ...

Bad-Cat

Tracks
1. I Know You - 3:18
2. It´s A Long Time - 3:14
3. I Am What I Am - 3:54
4. Sunrise - 4:10
5. If I Could Be With You - 2:15
6. Sit And Watch The Sunshine - 3:11
7. Baby I´ll Be Yours - 3:52
8. Send Out A Smile - 3:04
9. Who Knows What We May Find - 3:15
10.Waiting For The Summer - 2:30
11.I Believe In You - 3:57
All songs by Bob Ponton, Martin Curtis

Personnel
*Bob Ponton - Lead, Acoustic Guitars, Vocals (Tracks 1-11)
*Martin Curtis - Rhythm Guitar (Tracks 1-11)
*Albert Lee - Lead, Rhythm Guitars (Tracks 3-5, 8, 10, 11)
*Pete Gavin - Drums (Tracks 3, 8)
*Chas Hodges - Bass (Tracks 3, 8)
*Clem Cattini - Drums (Tracks 4, 5, 10, 11)
*Gerry Conway - Drums (Tracks 1, 2, 7, 9)
*Jerry Donahue - Lead, Rhythm Guitars, Vocals (Tracks 1, 2, 7, 9)
*Pat Donaldson - Bass (Tracks 1, 2, 7, 9)
*Tom Parker - Piano (Tracks 1, 2, 4. 5, 7, 9-11)
*Val Cope - Baking Vocals (Tracks 1, 2, 4. 5, 7, 9, 11)

1969  Thoughts And Words - Thoughts And Words (2005 reissue)  

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