Marian Henderson - Cameo (1964-70 australia, divine folk jazzy silk rock, 2016 double disc edition)

Marian Henderson was the queen of the Australian folk revival during the 1960s. With her distinctive, pure alto voice, beautiful face and long hair, she was the epitome of the new folk style. She gave life to old songs such as the convict ballad Van Diemen's Land, and The Streets of Forbes, about bushranger Ben Hall, which she recorded for the Australian cultural history series The Restless Years in 1967.

Alongside jazz and folk club gigs, she toured extensively. Red Cross tours took her island-hopping in light planes around remote New Guinea and Fiji, and to the Cork festival where she "cajoled old Irish tunes into the present". She later featured on ABC television in Jazz Meets Folk, and hosted the music show Sit Yourself Down.

Henderson's looks and talent attracted much attention from promoters, who invariably wanted to change her music and image but she was always her own woman, and turned down an offer from Harry M. Miller to take over her career: she had no desire to become a pop princess. Integrity to herself and to the music was everything: anything else is degrading to the songwriter and the audience, she said.

Largely self-taught, Henderson would speak lyrics to pull out the drama of a song, and then give it her musical interpretation. Her enunciation was always precise: she hated sloppy lyrics, from be-bop to opera.

Marian Grossman was born in Melbourne on April 16, 1937, the only child of Flight Lieutenant Ernest Grossman and his wife, Amelia (nee Martin). Amelia was a country girl from Porepunkah near Bright, and Ernest also had a rural background. He grew up on a farm at Bowser, near Wangaratta. He learnt the piano and cornet, and often played accompaniment for silent pictures at theatres in the town.

Like many entertainers, Marian had a peripatetic childhood as the air force moved Ernest from place to place. She went to 13 schools, from city to country and back again, before finishing her education at Essendon High School. Tall and athletic, she excelled at running, high jump, swimming and tennis. Then, in her early teens, Henderson found music – or perhaps music found her. Ernest played cornet in the military band, and she would accompany him at home on the piano, playing by ear as she never learnt to read music. Throughout her subsequent career most of the arrangements she made were committed to memory and rarely written down, unless by someone else.

Essendon High was significant for another reason: fellow student Don Henderson, whom Marian would later marry. At first she "couldn't stand him" but they became an item after a school dance, where he was the only boy who asked her to dance who was taller than her. "So I said yes." Like many girls at that time, Marian left school at 15 to learn shorthand, typing and "how to be elegant no matter what the situation" at business college.

Although her parents did not particularly approve of boyfriend Don, Ernest did make him a present of an Hawaiian guitar, which he adapted for rock 'n' roll. Don and Marian formed a band, The Thunderbirds, but Marian soon lost interest and turned to jazz. She was playing piano with a band, and one evening the vocalist failed to appear. Marian stepped up to the microphone, and at 18 her career as a singer began. She was hired as a rock 'n' roll singer for big bands playing dances at suburban town halls, but would persuade them to also incorporate jazz standards, sung her way.

The '60s was a fertile time for musicians of many styles, and Henderson soon came across some folkies. Although she had never heard of folk music, she quickly learnt five-string banjo, adapted some to guitar and began singing the style for which she was best known.

She and Don had a white wedding "under sufferance" when she was 21 and, gathering their courage, moved to Sydney to escape her parents, whom she described as tyrannical. Don encouraged Marian, writing her poetry and songs, however they divorced, regretfully but amicably, in 1962.

Some time before, Marian and Don had met Tom Baker on Glebe Bridge. Driving across it one day they saw a Bugatti, which was a rare sight, so they turned around and chased it and met its owner. They all became very good friends; after the divorce she and Baker were married, but Marian kept the surname Henderson for performing as she was already known by it. Their only child, Ben, was born in 1967. However, in 1970 Baker fell ill and died, and Marian's life changed.

She told fellow musician and historian Alex Hood, in recordings he made in 2002, now archived at the NLA, "working as a single mother to put shoes on my son, pay off mortgage, [I] put up with a lot." Sexual discrimination, and advancement via the casting couch, were rife in the industry (Now, she told Hood, "I could sue the bastards.")

But Henderson was a fighter, determined to carry on, and do things her way. For the next decade she worked in television, made recordings, including the Cameo album (which disappointed her – it was in at lunchtime and out by dinner, she remembered, with no time for revision) and many hundreds of live performances.

The second act of Henderson's life began in the late 1970s, with a move away from Sydney to laid-back Lismore. Her son was nine, and she effectively retired from music. Her final big tour was for the (then) Arts Council, driving the length and breadth of NSW by herself in her Ford Escort.

Mother and son settled into a quieter way of life, but Henderson was deeply artistic and soon was studying visual arts, costume design, and then teaching painting and music. After eight years she moved to Nimbin, to have more space. The little town's art scene was an attraction, and she knew many people there.

Henderson remained a modest and very private person, with some inherent contradictions. According to Ben she didn't really enjoy the company of large numbers of people at the same time … but she came alive on stage: "If she could have got away with just being a recording star she may have done that, although I also know she enjoyed revving up a crowd."

In her later years Henderson lived independently, and had a great circle of friends. She loved camping, the beach, and her gardens were renowned. Music remained her passion, and she would "try out" all types of contemporary music, even if it was not to her taste.

Three years before she died, Marian Henderson was diagnosed with cancer. She declined surgery, in order to live the best life she could for as long as possible. In her final six months she lived with Ben and his wife Madonna at Mt Mee, inland from Caboolture.

After her death, a large group of friends gathered at her beloved Brunswick Heads, to celebrate her life and music, and to scatter her ashes onto the sea.

by Rosalie Higson

Tracks
Disc 1
1. Antique Annies Magic Lantern Show (Jimmy Stewart, Doug Ashdown) - 3:32
2. Miss Otis Regrets (Cole Porter) - 2:48
3. Stranger Song (Leonard Cohen) - 5:38
4. Lady Of Carlisle - 3:23
5. Fotheringay - 2:24
6. Streets Of Forbes - 2:52
7. First Boy I Loved (Robin Williamson) - 6:52
8. Country Girl - 5:03
9. Guess Who I Saw Today (Murray Grand, Elisse Boyd) - 2:40
10.Bald Mountain - 3:48
11.Convict Maid - 2:03
12.Sprig Of Thyme - 3:00

Disc 2
1. Streets of Forbes - 2:42
2. Look Out Below - 3:52
3. Moreton Bay - 3:21
4. Old Black Alice - 1:16
5. I Know Where I'm Going - 1:58
6. Black Is the Colour of My True Love's Hair - 4:26
7. Kum Bay Ya - 3:41
8. Swing Low Sweet Chariot - 3:05
9. Waltzing Matilda - 2:51
10.Jim Jones of Botnay Bay - 3:42
11.Euabalong Ball - 3:06
12.Van Dieman's Land - 3:30
13.Botany Bay - 3:15
14.Springtime It Brings on the Shearing - 3:04
15.The Old Bark Hut - 2:34
16.Peter Clarke - 4:19

Musicians
*Marian Henderson - Vocals, Guitar
*Doug Ashdown - Guitars
*John Jackson - Guitars
*Ed Gaston - Bass
*Don Burrows - Clarinet, Flute
*Lyn Christie - Bass

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Mick Softley - Any Mother Doesn't Grumble (1972 uk, magnificent folk jazzy prog rock, 2016 reissue)

After many years lurking in a musical hinterland, Mick Softley's quite wonderful 'Any Mother Doesn't Grumble' has been released into the wild once again and it is quite clearly the work of an untamed and erratic free spirit who refused to conform to any record company's desire to crank out another Bob Dylan clone. On this album, Softley mixed a heady brew of folk, jazz, blues, country and rock together and sprinkled his idiosyncratic lyrics throughout the creation to craft the most powerful work of a three-album deal with CBS Records between 1970-73. It is a masterclass from a time when creative freedom in the studio was often not only accepted but encouraged however the road to its release was tempestuous and twisting.

From an early age it was apparent the Michael 'Mick' Softley was not going to accept the stifling grip of post-war conformity. Born to Irish parents in 1941, he was raised in South Woodford close to Epping Forest. Although he received a religious education at a Jesuit College in North London the priesthood was not a calling and, at the age of eighteen, Mick had already kissed his factor)' job goodbye and embarked on a motorcycle trip to Spain followed by a period of hitch-hiking in France, While residing above a bookshop in Paris, Mick was living the beatnik dream in the presence of writers such as William Burroughs and Gregory Corso but it was the ex-pat music community that really drew his attention and where he heard music from the likes of Sandy Denny and Ramblin' Jack Elliott first hand. It was on the streets of France's capital city that Mick served his musical apprenticeship busking with Raymond 'Wizz' Jones and Clive Palmer (Incredible String Band / C.O.B.).

On returning to England in the early 1960s as a fully-fledged and well travelled bohemian, Mick started a folk club in the tiny basement of The Spinning Wheel restaurant in Old Town, Hemel Hempstead. It was a rowdy but creative space (Mick coaxed a youthful but very shy Maddy Prior into action here, long before her days in Steeleye Span) but also a health and safety nightmare with no fire escape and the police eventually closed it down.

Mick began playing at The Cock in St Albans, a legendary hangout for beatniks, hippies and musicians looking for a break from the big smoke. It was here that he began teaching cross-picking guitar techniques to a youthful Donovan Leitch before the Glaswegian singer / songwriter was snapped up by Pye Records. Donovan would later cover Mick's songs 'The War Drags On' and 'Goldwatch Blues' and it was through his connections that led Mick to the release of his first single with Immediate Records, 'I'm So Confused / She's My Girl' (1965), and then his debut alburn 'Songs For Swingin' Survivors' (1965) for Columbia Records. Neither seemed to bring Mick much joy and his first dealings with the record 'biz' were bruising' encounters that left him fighting an uphill battle to regain the copyright to many of his songs.

Mick then shot off in a more Psychedelic Rock direction as Mick Softley and the Summer Suns, a group who produced one single for CBS Records, 'Am I The Red One / That's Not My Kind Of Love' (1966). Soon he was back on the road without a record deal and once again indulging in a nomadic lifestyle. In between travelling Mick formed a band called Soft Cloud Loud Earth with Donovan sidekick Keith 'Mac' Macleod. The band soon disintegrated into simply Mick and Mac as the duo Soft Cloud and as the 1970s appeared on the horizon Mick was off on a solo trip once again thanks to a new record deal with CBS.

The first fruits of this deal were the albums 'Sunrise' (1970) followed by 'Street Singer' (1971). On both albums Mick moved well away from the straightforward folk delivery that he had employed on his debut album and gleefully threw everything into the mix. The Eastern influence of tabla and sitar nestled alongside evangelical choruses, tantric chants, acid-tinged folk and more mainstream singer-songwriter compositions. Both albums were widely diverse and this theme was to continue across Mick's third album for CBS.

The recording of 'Any Mother Doesn't Grumble' took place at Richard Branson's residential studio The Manor in Oxfordshire and at Sound Techniques - a recording facility built within an old dairy in Chelsea and a popular creative hub for folk royalty such as Steeleye Span, Pentangle and John Martyn. In the studio once again with Mick was a hugely talented line-up. American guitarist Jerry Donahue was one of the key players who put the rock in 'folk rock' and he had already worked with Fotheringay and just become a recent addition to Fairport Convention. Alongside Jerry were his Fotheringay bandmates Gerry Conway on drums and bassist Pat Donaldson. Added to this exotic mix was percussionist Barry De Souza (Curved Air) and Lyn Dobson (Manfred Mann / Soft Machine) on saxophone, flute and harmonica.

In the producer's chair and tasked with blending together this experienced and eclectic bunch was Tony Cox, a talented keyboard player who had played with Sandy Denny and Mike Heron and produced albums for Caravan and cult acid-folkies Trees. Cox had also lent his talents to Softley's previous two CBS albums so they were almost three years into a solid working partnership.

Right from the start it is apparent that Any Mother Doesn't Grumble' will be a wild ride as the first track, the gentle ballad 'The Song That I Sing,' blends seamlessly into a hypnotic crescendo of sleazy sax and wailing guitar before drawing to a gentle close. The windswept acoustic theme continues on 'Hello Little Flower' but there are a number of different avenues that the album wanders down - wrong-footing musical travellers who think they know what to expect next. 'I'm So Confused' is a protest anthem throwback to Mick's early days, 'From The Land of the Crab' has a rootsy, country feel and each new track offers something different and original. It's hard to say whether CBS execs of the time would have been settling back with a warm, satisfied glow at being part of the creation of this rich tapestry or were tearing their hair out wondering how to market an album of such musical diversity.

The whole package places the artist centre stage and all of the songs were Softley originals. His lyrics even got unusual prominence on both the front and back of the album cover which also featured illustrations from Ian Beck - the talented artist who created the artwork for Elton John's 'Goodbye Yellow Brick Road' album. This decision to feature lyrics so prominently was an unusual one and particularly bold considering the words to 'Magdalene's Song' deal fairly heavily with drug abuse, whores and factory 'hell holes'.

CBS played on Mick's travelling roots with press ads that stated "20,000 miles of tyres and a lot of bootwear went into this album" and they gave the album a final push into the public arena. By the time of the album's release Mick had already appeared on two CBS sampler albums, 'Together' (1971) and 'Rock Buster' (1972), and a promo single featuring two tracks from the album, 'Lady Willow' / 'From The Land Of The Crab', was also released. Despite gigs, festivals and TV appearances across Europe, including support slots on tours with Steve Miller and Mott The Hoople, 'Any Mother Doesn't Grumble' failed to capture a mainstream audience and Softley drifted off into the roving lifestyle once again. At one point he was living in a van purchased with his CBS advance money and the vehicle even featured on the front cover artwork of his 'Sunrise' album.

While drifting across Europe he released two further LPs on the' Zurich-based independent label Doll Records, 'Capital' (1976) and 'Mensa' (1978), and his final creation was a cassette only album 'War Memorials' (1985). Back in the UK in the early 1980s, Mick fell victim to new laws targeting 'New Age' travellers and he settled in Northern Ireland in 1984 where he continued to make sporadic appearances at the Belfast Folk Festival. Now living in Enniskillen it would be wonderful if this album could provide a retrospective resurge in interest for an artist who has wilfully worn his own trail through the British musical landscape. Way back in 1972, Disc and Music Echo Magazine probably captured the essence of this unique recording most succinctly when they reviewed the album and stated: "Listening to it, one almost feels an intruder into the man's soul".

by Craig Brackenridge, 2016

Tracks
1. The Song That I Sing - 4:49
2. Hello Little Flower - 2:05
3. Sing While You Can - 3:18
4. The Minstrel Song - 2:32
5. Magdalene's Song - 1:40
6. Traveller's Song - 2:33
7. From The Land Of The Crab - 3:15
8. Lady Willow - 3:22
9. Great Wall Of Cathay - 2:59
10.If Wishes Were Horses - 4:21
11.Have You Ever Really Seen The Stars - 7:17
12.I'm So Confused - 3:07
All songs by Mick Softley

Personnel
*Mick Softley - Vocals, Guitar
*Jerry Donahue - Guitar
*Pat Donaldson - Bass
*Gerry Conway - Drums, Percussion
*Barry de Souza - Percussion
*Lyn Dobson - Tenor, Soprano Saxophones, Flute, Harmonica
*Tony Cox - Keyboards

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The Ides Of March - Last Band Standing The Definitive 50 Year Anniversary Collection (1965-2015 us, amazing colorful blend of music, 2015 four discs box set)

“Beware the ides of March,” goes the famous admonition.  Thankfully, Jim Peterik, Larry Millas, Bob Bergland and Mike Borch didn’t heed the warning.  Formed in Berwyn, Illinois in 1965 as the Shon-Dels, The Ides of March are still going strong 50 years later with their brassy blend of good-time rock and roll, R&B, pop and soul epitomized on the 1970 hit single “Vehicle.”  These rock and roll survivors and local legends around the Chicago scene have recently assembled a definitive box set tracing their career from the spring of 1965 to the present day.  The aptly-titled Last Band Standing, released on the group’s own Ides of March Records label, features four CDs and one DVD in a numbered, 500-unit limited edition slipcase signed by the band members.  This set packs a powerful punch, and should let everybody else in on the secret that Chicago’s known for years: that The Ides of March is one hell of a great band!

From their early days playing sock hops and clubs around Chicago, Peterik (lead vocals/lead guitar), Millas (keyboards/guitar/bass/vocals), Borch (drums/percussion/vocals) and Bergland (bass/saxophone/vocals) developed the Ides’ sound from roots in Hollies and Kinks-inspired white R&B.  During the crucial years leading to the group’s major-label signing with Warner Bros., Peterik was finding his own voice as a songwriter, too, honed from years of performing covers of songs by James Brown, The Beatles, Sam the Sham and the Pharaohs, and later, Traffic and the Buffalo Springfield.

After kicking off with three high-octane new songs in tasty retro-modern arrangements (including the title track, featuring guitar from guest Steve Cropper), the first disc of Last Band Standing jets back to the mid-sixties with all of the Ides’ singles for Epitome (their own label), Parrot and Kapp Records.  Even more excitingly, the disc presents eight previously unreleased tracks from this formative period before the group adopted its horn section.  Including the strong ballad “I Put It Out of My Head” (with Larry Millas on lead vocal) and covers of Bob Crewe and Bob Gaudio’s “The Sun Ain’t Gonna Shine Anymore” and Johnny Cash’s “Train of Love,” these varied songs are remarkably polished – and filled with youthful energy, tight and jangly arrangements, vivid harmonies, catchy melodies, and a sure grasp on the various styles on pop radio circa 1966-1967.  Not only are the unreleased tracks as strong as the released singles, but it’s nearly impossible to believe that they’ve been on the shelf for nearly 50 years!  There are also assorted other rarities, like a new stereo mix of the bright Monkees-esque B-side “Girls Don’t Grow on Trees.”

With the addition of Ray Herr (guitar/bass/vocals), John Larson (trumpet/flugelhorn) and Chuck Soumar (trumpet/vocals) to the line-up, the band began to clearly define its muscular signature sound rooted in melodic rock.  The Ides entered Chicago’s Columbia Studios to record an album of both originals and time-tested covers that had worked well onstage and fit into the “heavier” sound the band was cultivating. “One Woman Man” was released prior to Vehicle, the album, and was the Ides of March’s first single. It remains a mystery why the band didn’t catch fire with such a strong melody. Melding the rich harmonies of The Association with the Ides’ developing horn sound (and a memorable trumpet riff), it closes the first disc of Last Band Standing along with its soaring B-side “High on a Hillside.”

The second disc features selections from the Vehicle album (recently reissued on CD by Real Gone Music), its follow-up, 1971’s Common Bond, and related Warner Bros. singles.  The song destined to become the Ides of March’s calling card, “Vehicle” itself gets two airings – once in its album version and once in its mono single mix.  With crack support from Millas’ organ, Borch’s drums, and the three horns, Peterik channeled Blood, Sweat and Tears’ David Clayton-Thomas on “Vehicle,” tearing into its over-the-top, erotically-charged lyrics and earning the Ides a No. 2 smash on the pop chart. In addition to album cuts like the beautiful, Neil Diamond-meets-The-Righteous-Brothers ballad “Home” and the psychedelic jam “Symphony for Eleanor (Eleanor Rigby),” this disc is peppered with other rare tracks including the band’s reverent, harmony-filled rendition of “The Star-Spangled Banner,” a Pepsi commercial set to “Vehicle,” and the previously unreleased “Reunion,” a hard-driving rock track sans brass that pointed the way for the next phase of the band’s stylistic evolution.

At RCA, The Ides of March largely stripped down their sound, abandoning their horns in the process.  Bob Bergland hung up his sax.  Chuck Soumar remained on vocals and percussion, and John Larson departed.  (Ray Herr had already left the group between Vehicle and Common Bond.)  The third disc of Last Band Standing samples the never-on-CD albums World Woven (1972) and Midnight Oil (1973), featuring six tracks from the former and four from the latter.  On World Woven, the band tried on blue-eyed soul, country and even bubblegum rock; if the last term there seems an oxymoron, just listen to the catchy sing-along choruses of “Mother America” and “All Join Hands.”  (Peterik’s knack for crafting anthems would serve him well when he founded Survivor!)  The shifting, shimmering “Children” recalled the group’s funky, extended jams, and “Flipside” allowed Soumar a triumphant moment back on the trumpet.  Midnight Oil featured further changes.  Rather than adding flourishes on the organ, Larry Millas contributed guitar, bass, and flute.  Dave Arellano, who also played on World Woven, handled keyboards.  Rusty Young of Poco dropped in to add pedal steel and dobro to Oil, the Ides’ most countrified album.  On both the ballads (“Lay Back,” “Roadie Ode”) and the uptempo tracks (the southern rock-inflected “Hot Water,” “Quicksilver”), the Ides hardly sound like the band of “Vehicle” and “One Woman Man.”

Live tracks spanning 1972 to 2008 round out this disc.  This lengthy period spans both the original group’s breakup (in November 1973) and their reunion (in 1990).  Highlights include a ten-minute take on The Lovin’ Spoonful’s “Summer in the City” recalling the likes of ‘Symphony for Eleanor,” as well as the buoyant, brash “Gotta Share This Feeling” from a 1972 date at Michigan Tech which recalls the best of early Chicago.  (How was this hit single-in-the-making not recorded in the studio?) This disc also has one of the Ides’ career highlights with “Finally Next Year,” the song released in summer 1999 to commemorate the Chicago Cubs’ season and included on a Cubs CD sold at the ballpark.

The fourth and final CD in the set brings the Ides of March’s story up to date, with tracks recorded between 1997 and 2010 and primarily released on the band’s own, independent label.  1991’s “Spirit of Chicago,” like the other tracks from 1991’s Ideology, bridges the sonic gap between The Ides of March and Survivor.  The anthemic power ballad even features Peterik’s Survivor collaborator and sparring partner, Frankie Sullivan, as well as Cheap Trick’s Rick Nielsen.  The cheeky “One Hit Wonder,” from 2000, taps into the Ides’ own history with “Vehicle” and pays tribute to the band’s one-hit wonder brethren, wrapping the fun, nostalgic trip in an “Oh, Pretty Woman” riff.  There’s more musical autobiography on the 2010 track “Still Nineteen.”  Peterik and Millas even play Lennon and McCartney as they return to the Beatles songbook with a 2010 recording of “A Day in the Life.”  A DVD wraps the Ides’ story up (for now!) with a live concert recorded at Chicago’s House of Blues on May 31, 2014.  This program includes the Ides’ rendition of Peterik’s Survivor hits “Eye of the Tiger” and “The Search is Over” and “Caught Up in You” and “Hold On Loosely,” both of which he wrote for 38 Special.  Bonus features include a music video for “Last Band Standing,” a From the Vaults segment with archival footage dating back to the band’s early days, and a performance of “Vehicle” with Buddy Guy.

Last Band Standing is accompanied by a booklet featuring notes from the current Ides lineup of Peterik, Millas, Borch, Bergland, Scott May, Dave Stahlberg, Tim Bales and Steve Eisen.  Photographs, credits and a discography are also provided.  Larry Millas has remastered each track on these four CDs which are housed in jewel cases within the autographed slipcase.  In addition, the booklet notes that a portion of the proceeds from the set will go to the Ides of March Scholarship Fund.

For a longtime fan of the Ides of March (or Survivor, for that matter!) or an Ides newbie, Last Band Standing is a vibrant, nostalgic and captivating audiovisual journey with a band that’s far more than just “Vehicle.”  It makes a perfect companion, too, to Jim Peterik’s new album Risk Everything, a collaboration with Marc Scherer.  As for his partnership with Larry Millas, it’s alive and well, too.  The pair co-wrote “Sail Away” on Brian Wilson’s new No Pier Pressure.  One of that album’s standout tracks, it features both Al Jardine and Blondie Chaplin.  The Ides of March may be the last band standing, but it sure looks like they’ll be standing and rocking with their positive and upbeat brand of rock and roll for more years to come.

by Joe Marchese

Tracks
Disc 1
1. Last Band Standing (Jim Peterik, Mike Borch) - 5:42
2. Who I Am - 3:35
3. Too Far To Turn Around - 4:18
4. Like It Or Lump It (Jim Peterik, Larry Millas, Mike Borch) - 3:28
5. No Two Ways About It (Jim Peterik, Larry Millas, Mike Borch) - 2:16
6. You Wouldn't Listen (Jim Peterik, Larry Millas, Mike Borch) - 2:32
7. I'll Keep Searching (Jim Peterik, Larry Millas, Mike Borch) - 2:24
8. I'll Take You Back - 2:05
9. Please Don't Tell Me Lies - 2:39
10.Train Of Love (Johnny Cash) - 2:48
11.Don't Cry To Me - 2:45
12.You Tell Me Why (Ronald Elliot) - 3:28
13.I Put It Out Of My Head - 3:07
14.The Sun Ain't Gonna Shine Anymore (Bob Crewe, Bob Gaudio) - 2:13
15.Roller Coaster - 2:32
16.Things Aren't Always What They Seem - 2:28
17.My Foolish Pride - 2:18
18.Give Your Mind Wings (Jeff Mine) - 2:55
19.Hole In My Soul - 2:53
20.Girls Don't Grow On Trees - 2:56
21.I'm Gonna Say My Prayers - 3:00
22.You Need Love - 2:47
23.Sha La La La Lee (Mort Shuman, Kenny Lynch) - 2:57
24.Nobody Loves Me - 2:40
25.Strawberry Sunday - 2:52
26.One Woman Man - 3:16
27.High On A Hillside - 2:52

Disc 2
1. Vehicle (Mono Hit Single Mix) - 2:56
2. Lead Me Home Gently - 2:58
3. Aire Of Good Feeling - 3:14
4. Symphony For Eleanor-Eleanor Rigby (John Lennon, Paul McCartney, Jim Peterik) - 9:44
5. Bald Medusa (Jim Peterik, Mike Borch) - 3:02
6. Home - 3:37
7. Wooden Ships (Dharma For One) (Stephen Stills, Paul Kantner, Ian Anderson, Clive Bunker) - 7:15
8. Superman (Stereo Album Mix) - 3:00
9. L.A. Goodbye - 2:52
10.Hymn For Her - 4:03
11.Tie Dye Princess - 11:39
12.We Are Pillows (Prelude To Freedom) - 3:42
13.Freedom Sweet - 3:30
14.Giddy Up Ride Me - 2:59
15.Melody - 2:48
16.Reunion (Jim Peterik, Mike Borch) - 3:47
17.Pepsi (Vehicle Commercial) - 1:02
18.Vehicle (Stereo Album Mix) - 2:55
19.The Star Spangled Banner (Francis Scott Key) - 1:39

Disc 3
1. Mother America - 3:50
2. All Join Hands - 3:13
3. Colorado Morrow - 2:54
4. Diamond Fire - 4:38
5. Flipside - 3:45
6. Children - 6:58
7. Hot Water (Jim Peterik, Mike Borch, Dave Arrellano) - 4:07
8. Lay Back - 4:09
9. Quicksilver - 3:33
10.Roadie Ode - 4:23
11.Gotta Share This Feeling - 4:15
12.American Express - 5:08
13.Rag For A Vagabond Lady - 4:58
14.Love's Got The Power (Jim Peterik, Anthony Gomes) - 6:25
15.Summer In The City (John Sebastian, Steve Boone, Mark Sebastian) - 9:50
16.Don't Fight The Feeling - 3:48
17.Finally Next Year (Jim Peterik, Scott May) - 3:24

Disc 4
1. Friendly Stranger (Vehicle Overture) - 4:29
2. Spirit Of Chicago (Jim Peterik, Dick Eastman) - 4:44
3. I'd Love Her Anyway - 4:17
4. Love Don't Choose - 5:18
5. Age Before Beauty - 3:37
6. Moon Out Of Phase - 3:58
7. One Hit Wonder - 4:52
8. Come Dancing - 4:22
9. A Day In The Life (John Lennon, Paul McCartney) - 7:28
10.The Forgotten Oldie - 3:58
11.Pepperhead - 2:45
12.Secrets Of A Woman - 4:15
13.Soul To Soul (Jim Peterik, Bob Bergland) - 4:57
14.For One Moment - 4:01
15.Still 19 - 6:45
16.Live Life - 4:39
17.Keep Rocking - 5:07
All songs written by Jim Peterik except where indicated

The Ides Of March
*Jim Peterik - Lead Guitar, Lead Vocal
*Larry Millas - Rhythm Guitar, Bass, Keyboards, Backing Vocal
*Bob Bergland - Bass, Saxophone, Backing Vocals
*Ray Herr - Bass, Backing Vocals
*Michael Borch - Drums, Percussion
*John Larson - Trumpet, Flugelhorn
*Jim Larson - Trumpet, Backing Vocal
*Chuck Soumar - Trumpet, Vocals, Odds, Ends
*Scott May - Vocals, B3 Organ, Keyboards
*David Stahlberg - Trombone
*Tim Bales - Trumpet
*Steve Eisen - Sax, All Reeds, Percusion
*Dave Arellano - Keyboards
*Steve Daniels - Trumpet
*Conrad Prybe - Trombone
*Dave Southern - Trombone

1965-68  The Ides Of March - Ideology (sundazed remaster edition)
1970  The Ides Of March - Vehicle (2014 remaster and expanded)
1971  The Ides Of March - Common Bond (extra tracks issue)

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Carp - Carp (1970 us, heavenly psych folk country rock with spiritual references, 2017 korean remaster)

Carp is known not so much for its music as it is for being the launching pad for the career of fledgling actor Gary Busey. Singer/drummer Busey formed the group in the spring of 1966 with fellow Oklahoma State University students Ron Getman on guitar, John Crowder on bass, and Glen Mitchell on piano. After relocating to Los Angeles, Carp signed with Epic to record a self-titled 1969 album rooted equally in rock, blues, and country -- two singles () - "Save the Delta Queen" and "Page 258" were released to little commercial notice, and the band soon dissolved. 

While Getman, Crowder, and Mitchell continued collaborating as session musicians behind Loudon Wainwright III and Janis Ian, Busey pursued a career as an actor, although he continued playing drums under the alias Teddy Jack Eddy, backing artists including Kris Kristofferson and Leon Russell. In 1975, he also contributed his original song "Since You've Gone Away" to Robert Altman's film masterpiece Nashville.

Busey's music career was, ultimately, the determining factor in landing the role that made him famous: As the ill-fated title character in 1978's The Buddy Holly Story, he performed his own renditions of the rock & roll legend's biggest hits, and earned an Academy Award nomination for his efforts. 

by Jason Ankeny

Tracks
1. Drink To The Queen Of The May (Gary Busey, Ron Getman) - 2:33
2. Circuit Preacher Brown (Gary Busey, Ron Getman) - 2:40
3. He's Comin' Back To Check On What You've Done (Gary Busey, Glen Mitchell, Ron Getman) - 2:36
4. Pine Creek Bridge (Gary Busey, John Crowder, Ron Getman) - 3:46
5. Rosabelle Bovine (Gary Busey, Glen Mitchell, Ron Getman) - 2:17
6. Page 258 (Gary Busey, Ron Getman) - 2:37
7. Jotham Clay, Mississippi (Gary Busey, Ron Getman) - 2:49
8. The Great Kansas Hymn (Michael McGinnis) - 5:25
9. Mammoth Mountain Blues (Gary Busey, John Crowder, Glen Mitchell, Ron Getman) - 2:46
10.There Goes The Band (Gary Busey, John Crowder, Ron Getman) - 3:00
11.Jesus Is The Mountain (Gary Busey, Ron Getman) - 3:48
12.The Firehouse Dog (Gary Busey) - 1:04

The Carp
*Gary Busey - Drums, Vocals
*John Crowder - Bass, Vocals
*Ron Getman - Guitar, Vocals
*Glen Mitchell - Keyboards, Vocals
With
*Sneaky Pete - Steel Guitar
*Bouncin'Bobby Bruce - Fiddle

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Leon Russell And Marc Benno - Asylum Choir II (1971 us, outstanding psych protest bluesy rock with experimental mood, japan SHM 2016 remaster)

1971's "Asylum Choir II" was originally intended as a follow-up to 1968's "Looking Inside the Asylum Choir".  Unfortunately Smash Records executives shelved the set where it sat for the next three years.  The collection was ultimately rescued in 1971 when Leon Russell (enjoying stardom as a solo act), bought the tapes and released the collection on his newly formed Shelter imprint. Ironically, by the time the sophomore album saw the light of day, Russell and singer/multi-instrumentalist Marc Benno had dissolved their musical partnership. 

Musically the set wasn't a major change from the debut, though there were a couple of marked differences.  While the debut was very much a collaboration, this time around the focus was clearly on Russell.  That may have something to do with the fact Russell was responsible for the collection's release.  As on the debut, Benno was credited with co-writing most of the material (there were three tracks credited to Russell alone), but Benno's other contributions were far and few between.  He handled backing vocals on a couple of tracks, but elsewhere was largely absent.

While full of engaging melodies, lyrically the album was a topical timepiece - though I've always found it an engaging reflection of the times.  There were a couple of nifty anti-war tracks ('Down On the Base' and 'Ballad for a Soldier') and some dated social/political commentary ('Sweet Home Chicago' with it's not-to-subtle commentary on 1968's Democratic National Convention and 'Straight Brother'). 

Speaking of dated, amazing how time impacts language ...  "when you're bass player's flat and your drummer drags, don't you wish you had a fag"  Anyone under 30 probably doesn't realize he was talking about cigarettes, not lifestyles.  Bottom line is that it was a good effort, though largely a Russell solo effort and simply not on a par with the debut.

Bad-Cat

Tracks
1. Sweet Home Chicago - 3:22
2. Down On The Base - 2:17)
3. Hello Little Friend (Leon Russell) - 2:52
4. Salty Candy - 2:27
5. Tryin' To Stay 'Live - 2:50
6. ...Intro To Rita... - 2:07
7. Straight Brother - 3:07
8. Learn How To Boogie - 2:45
9. Ballad For A Soldier (Leon Russell) - 4:25
10.When You Wish Upon A Fag (Leon Russell) - 4:09
11.Lady In Waiting (Leon Russell) - 3:38
All songs by Leon Russell, Marc Benno except where stated.

Musicians
*Marc Benno - Guitars, Vocals
*Leon Russell - Bass, Guitar, Keyboards, Piano, Vocals
*Jesse Ed Davis - Guitars
*Chuck Blackwell - Drums
*Carl Radle - Bass
*"Donald Duck" Dunn - Bass

1968  The Asylum Choir - Look Inside (2007 remaster)
1972  Leon Russell - Carney
1970  Marc Benno - Marc Benno (2012 korean remaster)
1973  Marc Benno And The Nightcrawlers - Crawlin (with young Stevie Ray Vaughan, 2006 release) 

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Christopher Kearney - Pemmican Stash (1973 canada, wonderful folk country classic rock, 2014 korean remaster)

Toronto-born Christopher Kearney moved to the cottage area of Lindsay, Ontario at age 4. He became serious about music in the mid-60's after relocating to the US West coast where he met Gordon Lightfoot who put up the money for his first demo recordings.

In 1970, Apex Records released Kearney's first single "Theme For Jody". He returned to Toronto in 1971 and used his Lightfoot connection to land a publishing deal with Early Morning Music and an album deal with Sun Dog Productions who signed him to Capitol Records.

His first self-titled album was released in 1972 and spawned the single "Loosen Up". His career became a whirlwind of touring throughout the US in folk clubs and festivals with opening slots next to the likes of Anne Murray. Kearney went to Brazil in 1972 with The Stampeders to represent Canada at the Seventh Rio International Song Festival held in Rio de Janeiro.

A follow-up LP, 'Pemmican Stash', was released in 1973 and Kearney's career slowly faded shortly after 1975's 'Sweetwater'.

In the early ‘80s Kearney joined China with fellow Canadians Bill King and Danny McBride for one album on CBS Records.

Kearney returned to the spotlight briefly in 1993 when he wrote "A Letter From Sarajevo" with Scott Lane and Neil Dobson that accompanied a star-studded public service video about the plight of children in the war-torn city of Sarajevo in Bosnia.

Kearney is currently living in San Diego, California and released a new album in 2008 called "Just A Step Away". 

Tracks
1. The Hobo's Creed - 4:00
2. Jubal's Dream - 3:18
3. Sarah's Stopover (Jim Laramie) - 3:52
4. Youngbird (Christopher Kearney, Josh Onderisin) - 3:08
5. One Helluva Rock 'N' Roll Band (Christopher Kearney, Josh Onderisin) - 4:48
6. Shot Down - 3:09
7. Remember Me My Brother - 4:00
8. The Ballad Of William Bent - 6:48
9. A Taste Of Snow - 4:22
Music and Lyrics by Christopher Kearney except where noted

Personnel
*Christopher Kearney - Vocals, Acoustic, Electric Guitars
*Josh Onderisin - Acoustic, Electric Lead Guitars
*Jim Laramie - Bass
*Gord Neave - Drums
*D'Arcy Wickham - Background Vocals
*Gord Noore - Background Vocals
*Duane Ford - Keyboards
*Ralph Cole - Slide Guitar
*Larry Good - Banjo
*Ollie Strong - Steel Guitar
*Jerry Cingolani - Cordovox
*Bruce Good - Autoharp

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Bobby Whitlock - One Of A Kind (1975 us, wonderful blend of classic rock southern tastes and blues, 2016 japan SHM remaster)

The Memphis-born/Austin resident with a soulful voice soaked in gospel, R&B, and blues continues to represent the true South, the legacy he began when he was the first white artist to be signed to the Stax label at the tender age of sixteen. 

1975 marked the release of “One of a Kind”, it's a vast improvement very close to his prior best efforts. Bobby plays piano and organ and these are the intruments that subity dominate the album.

His singing is a mix of original blue eyed soul and southern rock a music he helped pioneer.

Tracks
1. Movin’ On - 5:09
2. You Still On My Mind - 3:12
3. Rocky Mountain Blues - 2:58
4. Be Honest With Yourself - 4:06
5. Goin’ To California - 3:50
6. Free And Easy (Way Of Lovin’ You) - 4:33
7. The Right Road Back Home - 4:36
8. You Don’t Have To Be Alone - 5:49
9. Have You Ever Felt Like Leavin’ - 3:27
10.We Made It To The Moon - 3:36
All songs by Bobby Whitlock except Track #6 co-written with Dru Lombar

Musicians
*Bobby Whitlock - Vocals, Organ, Piano, Leslie, Acoustic Guitar, Chimes, Percussion
*T.J. Tindall - Lead Guitar, Banjo
*Kenny Tibbetts - Bass
*Rick Eckstein - Drums
*Richard Betts - Slide Guitar
*Chuck Leavell - Piano
*Dru Lombar - Slide Guitar
*Jaimoe (A.K.A Jai Johanny Johanson) - Congas
*Johnny Sandlin - Tambourine
*Sid Sharp And His Magic Violins - Strings

1972  Bobby Whitlock - Where There's a Will There's a Way (2013 remaster)
1970  Derek And The Dominos - Layla (2013 platinum SHM edition)

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