The National Gallery - Performing Musical Interpretations Of The Paintings Of Paul Klee (1968 us, beautiful art baroque sunny psych)



This superbly melodic and strange distillation of pop, folk, psych and jazz was inspired by the paintings of Paul Klee, and first appeared in 1968. Despite being credited to a proper band, it was in fact a studio recording overseen by the Cleveland-based team of jazz composer Chuck Mangione and local producer-arranger Roger Karshner, who called the songs ‘electronic paintings’. The album is presented here, complete with two rare bonus tracks from a pre-LP 45 credited to Bhagavad-Gita.

This mysterious album emanated from Cleveland, where producer Roger Karshner (who’d been involved with local hit-makers the Outsiders) and jazz musician Charles ‘Chuck’ Mangione decided to collaborate on a selection of so-called ‘electronic paintings’ based on the work of German-Swiss abstract painter Paul Klee (1879-1940). The first fruits of their labours emerged in 1967 – a single credited to Bhagavad-Gita (the Vedic Bible, translating as ‘song of the most holy’), featuring two takes on Long Hair Soulful, one vocal and one instrumental. Though it was no hit (making the original picture sleeve issues - Philips 40485 - highly sought-after today), they proceeded with an album the following year. 

The Bhagavad-Gita promotional material made the lofty claim that Karshner had ‘reached a completely new plateau in the realm of pop contemporary music by putting the works of Klee to music,’ and the album is indeed highly unusual. Though credited to a band (who are pictured on the back cover), it is thought to have been a studio project overseen by the two men, and was issued with a glossy leaflet including lyrics and reproductions of various Klee pictures. 

It must have been an expensive enterprise, and was not a successful one. Shortly afterwards, four of its tracks also appeared Diana In The Autumn Wind (GRC 9001), an instrumental jazz-pop LP recorded by Mangione’s brother Gap in August 1968, but conducted by him - Diana In The Autumn Wind, Boy With Toys, Pond With Swans and Long Hair Soulful. This fared even less well commercially, condemning the project to underserved obscurity, and putting a premature end to a nascent pop sub-genre. 
CD Liner-notes


Tracks
1. Barbaric, Classical, Solemn - 2:58
2. Diana In The Autumn Wind - 2:38
3. Boy With Toys - 2:30
4. Self Portrait - 2:35
5. Fear Of Becoming Double - 2:40
6. Pond With Swans - 3:08
7. A Child’s Game - 2:15
8. A Little Child Does Not Understand The Snow - 2:26
9. Fear Behind The Curtain - 1:46
10.Long Hair Soulfu - 3:31
11.Long Hair Soulful (non-LP 45a) - 3:33
12.Long Hair Soulful - instrumental (non-LP 45b) - 2:34
All music by Roger Karshner, Chuck Mangione, except track 8 by Roger Karshner, all lyrics by Roger Karshner

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Argent - In Deep (1973 uk, enjoyable soft prog rock, japan remaster)



In Deep, the band's fourth album, was originally released on Epic Records in 1973. While not as strong as its predecessors, it did produce the excellent single (and one of the best tracks on the album), "God Gave Rock and Roll to You," which made the Top 20 in England and charted well in North America. 

The original album contained eight songs, with half written by Ballard and the other half by Argent and White. The eccentric Be Glad and the prog epic Candles On The River redress the balance slightly. 

When the band split in 1976, Argent went on to pursue a solo career. Henrit opened a drum shop in London's West End and played in a band called Phoenix with Rodford, before they both joined the Kinks. 
by Keith Pettipas


Tracks
1. God Gave Rock And Roll To You  (Ballard) - 6:44
2. It's Only Money, Part 1  (Ballard) - 4:03
3. It's Only Money, Part 2  (Ballard) - 5:08
4. Losing Hold  (Argent, White) - 5:30
5. Be Glad  (Argent, White) - 8:38
6. Christmas For The Free  (Argent, White) - 4:15
7. Candles On The River  (Argent, White) - 7:01
8. Rosie  (Ballard) - 3:44

Argent
*Rod Argent - Keyboards, Vocals
*Russ Ballard - Lead Vocals, Guitar
*Bob Henrit - Drums
*Jim Rodford - Bass

1970  Argent - Argent (Japan remaster)
1971  Argent - Ring Of Hands (Japan remaster)
1972  Argent - All Together Now (Japan remaster)

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Tongue And Groove - Tongue And Groove (1969 us, amazing west coast psych blues rock, 2009 remaster)



Tongue and Groove were something of an offshoot of the legendary but little-recorded, early San Francisco hippie group the Charlatans. Singer Lynne Hughes had occasionally sung with the Charlatans on-stage in the mid-'60s (although she was never an official member), and even appears on vocals and guitar on a few cuts they recorded for Kama Sutra in 1966 (eventually seeing release on the CD compilation The Amazing Charlatans). 

Pianist Mike Ferguson, who occasionally sang lead with Tongue and Groove as well, was a bona fide original Charlatan, although he left by the time their one proper '60s album was issued. Richard Olsen, another Charlatan, played bass on Tongue and Groove's one LP; Hughes and Ferguson wrote much of the material, and yet another ex-Charlatan, Dan Hicks, contributed one composition as well. Tongue and Groove's self-titled album, released in the late '60s on Fontana, was produced by Abe "Voco" Kesh, who also worked with several other second-tier '60s Bay Area acts, such as Blue Cheer and Harvey Mandel; top session musicians James Burton (on dobro) and Earl Palmer (on drums) also contributed to the recording. 

As could be expected given their ancestry, the record had much in common with the Charlatans' fusion of old-timey saloon music, vaudevillian blues, and rock. The key differences were that a woman (Hughes) took most of the lead vocals, and that the lysergic tinge of much of the Charlatans' material was virtually absent. The numbers featuring Hughes' saucy vibrato vocals, which mine the territory between Janis Joplin and Mae West, are certainly the highlights of the album, a fitfully engaging footnote to late-'60s San Francisco rock. 
by Richie Unterberger


Tracks
1. Devil (Lynne Hughes) – 4:02
2. Come In My Kitchen (Lynne Hughes) – 3:45
3. Mailman’s Back (Michael Ferguson) – 6:25
4. Cherry Ball (Shake Shake Mama) (M. Lipscomb) – 3:44
5. The Shadow Knows  (Lieber, Stoller) – 2:35
6. Sidetrack (Lynne Hughes) – 6:05
7. Motorhead Baby (J. Watson, M. Delagarde) – 3:10
8. Duncan And Brady (Lynne Hughes) – 2:37
9. Rocks for My Pillow (Livin’ with the Blues) (B. McGhee) – 5:21
10.Fallin’ Apart (Dan Hicks) – 3:24

Tongue And Groove
*Michael Ferguson - Vocals, Keyboards, Percussion
*Lynne Hughes - Vocals
*Randy Lewis - Lead Guitar
With
*Eddie Adams - Bass
*James Burton - Dobro
*Therutius Deeps - Vocals
*Roger Dowd - Drums
*Fast Eddie Hoh - Drums
*Bob Lifton - Bass
*Jay Magliori - Horn
*Richard Olsen - Bass
*Tary Owens - Vocals
*Earl Palmer - Drums

Related Acts
1965-68  The Charlatans - The Amazing Charlatans
1969  The Charlatans - San Francisco
1970  Lynne Hughes - Freeway Gypsy (Vinyl edition)
1971  Stoneground - Stoneground
1971-72  Stoneground - Family Album

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Argent - All Together Now (1972 uk, splendid prog rock, japan remaster)



Since this only a shortie record review, there is no need to pad a basic positive or negative response with a two page synopsis on the band’s history. Thus, for all you know, Rod Argent, keyboardsman and vocalist for Argent, could have walked off the streets and into the studio.

Perhaps you’ve heard “Hold Your Head Up,” their single. If so, then you have an idea of the tremendous class and style the band has.

In England, the song and the album are at the top of the charts. But then, England was onto the Rolling Stones a full year before America was.
by Cameron Crowe,  July 7, 1972 

Thanks to the hit single "Hold Your Head Up," All Together Now was Argent's most successful album, and in many ways, it's also their most consistent. Although it isn't quite as interesting as the debut, the band has perfected an anthemic rock that owes as much to hard rock and progressive rock, and cuts like "Be My Lover, Be My Friend," "I Am the Dance of Ages," and "Keep on Rollin'" will appeal to fans of "Hold Your Head Up," even if they lack the wild spark of Argent. 
by Stephen Thomas Erlewine


Tracks
1. Hold Your Head Up  - 6:18
2. Keep On Rollin'  - 4:28
3. Tragedy (Russ Ballard) - 4:49
4. I Am The Dance Of Ages - 3:45
5. Be My Lover, Be My Friend - 5:20
6. He's A Dynamo (Russ Ballard) - 3:47
7. Pure Love  - 13:06
.I...Fantasia
.II..Prelude
.III.Pure Love
.IV..Finale
All songs by Rod Argent, Chris White except where noted

Argent
*Rod Argent - Organ, Electric Piano, Vocals
*Russ Ballard - Guitar, Piano, Vocals
*Jim Rodford - Bass Guitar, Guitar, Vocals
*Robert Henrit - Drums, Percussion

1970  Argent - Argent (Japan remaster)
1971  Argent - Ring Of Hands (Japan remaster)

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The Artwoods - Art Gallery (1966 uk, superb mod rhythm 'n' beat psych, 2009 remaster and expanded)



In contrast to the commercially-successful but artistically-bankrupt pop sensations of the UK’s 1960s beat era there was a small hardcore of bands in the UK who couldn’t get arrested record-sales-wise but whom other musicians would cross continents to catch playing live. Frequenting the trendy London club scene and playing funky tunes that oozed git-up-and-dance, they usually centred round a deft practitioner of the Hammond organ, and comprised the said keyboard god plus fellow musicians who refused to compromise their musical integrity and their blues and jazz influences. Alongside the likes of Graham Bond’s Organization, Georgie Fame’s Blue Flames and the Peddlers could be found the Artwoods, who despite their undeniable talent would have a brief career and only some of whom would find wider success in later combinations.

Vocalist and leader Arthur “Art” Wood was the elder brother of Ronnie, then guitarist with the Birds and later star sideman to Jeff Beck, Rod Stewart and the Glimmer Twins. Having served his on-stage apprenticeship with Alexis Korner’s Blues Incorporated, Art set about putting together his own band in 1963, finally settling with Derek Griffiths (gtr), Malcolm Pool (bs), Jon Lord (org) and Keef Hartley (drs). (A couple of familiar names there, then, but not till a few years later.) 

Eschewing the straight R’n’B of the Yardbirds, the Stones and the Animals, the Artwoods stuck out for the jazz-inflected soul mix that would soon be in vogue on the Soho club circuit, covering material by Jimmy Smith, Lieber & Stoller, Eddie Floyd, Allen Toussaint, Isaac Hayes and David Porter, and Solomon Burke. For four years they rocked the live club circuit until the trend towards psychedelia began to edge them out; unlike many of their contemporaries they declined to make that shift, electing instead to split in ’67.

The Artwoods did make records; over their four years they issued six singles plus – despite its cheesy title and homespun cover design – this splendid studio album. Predictably, none of these sold worth a damn: perhaps because the band’s oeuvre consisted almost completely of covers, albeit superb ones; perhaps because the recorded product lacked the visceral excitement of their live performances. The singles are indeed a little humdrum, given their attempts to polish their raw sound for commercial purposes, but the album is a gem of ensemble musicianship with flashes of individual brilliance. 

Recorded in a tiny basement studio in London’s Denmark Street under the tutelage of master Decca producer Mike Vernon, it clearly features the live set and gets as close as one could ask to the live vibe, only limited by the need to trim the tracks down to radio-friendly length. There’s a lot of variety available; the standout tracks include Burke’s “Down In The Valley” done in impeccable Stax style, Floyd’s “Things Get Better” as a superb garage soul opus with Merseybeat harmonies and raw-nerve fuzz guitar, and a scintillating cover of the Jimmy Smith instrumental “Walk On The Wild Side” in the middle of which the band lapse into a pure swing jazz groove and Lord produces an orgasmic solo that presages what he’d do with Deep Purple. Apart from a pedestrian reading of “If You Gotta Make A Fool Of Somebody” there’s not a dull moment amongst the twelve original tracks. Art’s rough-as-a-badger’s-arse vocal is a guilty pleasure and Messrs Lord and Hartley shine throughout.

The subsequent careers of Lord and Hartley are well documented, but Art himself enjoyed far less success. He briefly formed a new outfit in ’69 with the musicians who would become the Faces; perhaps predictably for an outfit called Quiet Melon, it sank without trace. Art moved into a new career in graphic design with his other brother Ted and Malcolm Pool, singing only occasionally thereafter as a hobby musician till his premature death from cancer in 2006. His recorded legacy is available on the current 2009 CD from Repertoire which also includes no fewer than fourteen bonus tracks taken from the singles and the mega-rare Europe-only instrumental EP Jazz In Jeans.
by Len Liechti


Tracks
1. Can You Hear Me (Toussaint) - 2:54
2. Down In The Valley (Berns, Burke) - 2:57
3. Things Get Better (Jackson, Floyd, Cropper) - 2:24
4. Walk On The Wild Side (Bernstein, Mack David) - 5:32
5. I Keep Forgettin' (Leiber,Stoller) - 2:26
6. Keep Lookin' (D. Burke, M. Burke, S. Burke) - 3:03
7. One More Heartache (Tarplin, Rogers, White, Robinson, Moore) - 3:09
8. Work, Work, Work (Neville) - 3:30
9. Be My Lady (Jackson, Jones, Dunn, Cropper) - 3:02
10.If You Gotta Make A Fool Of Somebody (Clark) - 2:01
11.Stop And Think It Over (Jones) - 2:57
12.Don't Cry No More (Malone) - 3:52
13.Sweet Mary (Ledbetter) - 2:53
14.If I Ever Get My Hands On You (Carter, Lewis) - 2:01
15.Goodbye Sisters (Lloyd) - 2:53
16.She Knows What To Do (Hill, Rebena) - 2:28
17.I Take What I Want (Hayes, Porter, Hodges) - 2:54
18.I Feel Good (Neville) - 2:42
19.What Shall I Do (Jenkins) - 2:50
20.In The Deep End (Gump) - 3:02
21.These Boots Are Made For Walkin' (Hazelwood) - 2:48
22.A Taste Of Honey (Scott, Marlow) - 3:13
23.Our Man Flint (Goldsmith) - 2:59
24.Routine (Lord) - 3:10
25.The St. Valentine's Day Massacre – Brother Can You Spare A Dime (Harburg, Gorney) - 2:52
26.The St. Valentine's Day Massacre – Al's Party (Martin, Gump) - 2:41
Bonus Tracks 13-26

The Artwoods
*Art Wood - Lead Vocals
*Derek Griffiths - Lead Guitar
*Jon Lord – Organ
*Malcolm Pool – Bass
*Keef Hartley - Drums
*Reg Dunnage - Drums

1964-67  Tha Artwoods - Singles A's & B's
Related Act
Keef Hartley's brands
1968-72  Not Foolish Not Wise
1969  Halfbreed (2008 Esoteric)
1969  The Battle Of North West Six  (2008 Esoteric)
1970  The Time Is Near (2008 Esoteric remaster)
1970  Overdog (2005 Eclectic)
1971  Little Big Band
1972  Seventy Second Brave (2009 Esoteric)
1972  Lancashire Hustler (2008 Esoteric)

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Kath ‎- One (1974 us, brilliant trippy basement psychedelia, 2011 double disc edition)



As with many others of my generation, watching "The Beatles" on the Ed Sullivan Show in early 1964 completely changed my life's desire from pursuing a medical education to playing in a Rock 'n' Roll band. I still remember that sudden dramatic change of ife. At first I tried playing the guitar. While some friends and I were just playing around a girl said that I played guitar like I was playing drums. We needed a drummer so I got my first set and started playing the drums—it was definitely a better fit! We called ourselves The Serfs. Band members were: Jim Bensen (guitar), Frank Moultrie (guitar and voca s), Ronnie Gomez (bass and vocals), and Val Rogolino (drums and vocals). 

What a great feeling it was to hear the sound come together. We played mainly Rock 'n' Roll and Soul music. I still remember the first time we played before a live audience and the sensational feeling I had of realizing that the people were dancing to our music. We played during the era of "Sock Hops" and "Teen Clubs." Later, we became a trio and changed our name to The Group. In 1969, we changed our name again to Badge, with band members: James (Cheese) Sellers (guitar and vocals), Jim O'Dell (bass and vocals) and Val Rogolino (drums and vocals). We started playing in night clubs and writing original songs as Badge. The recording bug hit us. Cheese and I did all the recordings.

In the early to mid 1970's, we made three 45 rpm singles and one EP. The tape recorder we used was a Teac 2340. Through the 70's, the band continued performing, recording, and utilizing different techniques and sounds and enhanced productions. 3RI I wanted to expand the recordings so I decided to make an LP. This LP was not a Badge project. I named the album Kath, and recorded it during the summer of 1974.

Kath had a variety of songs, more complex production and greater overall depth than previous projects. The musicians performing on this project: Cheese Sellers, Brent Buckley, Bruce Lapier, Bob George, and Val Rogolino. Recording began on March 31, 1974 and ended September 5, 1974. Only 60 copies were made. Some of the equipment used in the production: Teac 2340 (4 track tape recorder), a Kustom PA amp (mixing board), two Kustom PA columns (mix down speakers), a Vox Echo Unit, a Vox Jaguar (organ), Ludwig drums, and Shure microphones. Most songs needed 12 to 14 tracks—a lot of over dubbing was necessary. 

Badge still performed through the 70's adding horns, and female vocalists to our live performances. But of course, Disco reared its ugly head. The nightclub gigs dried up and many bands were out or work. The days of teen clubs and the night clubs of my era were a memory— a thing of the past. I'll always remember waiting for the next 45 or LP to be released, listening to live groups, comparing and just communicating with fellow musicians.  Sadly, the sound and feel, and the way we experienced the music were gone. 

As with many others of my generation, in the early 1980's I had to get a "real job", but music and recording remain my first love. The world of music still fills my lire and burns deeply in my heart and soul. "I fell in love with this world of song—laughing—crying as the years go on." When I was contacted by Rockadelic (in May 2005) regarding the Kath LP I revisited a cherished time. I appreciate Rockadelic for caring and taking the time to re-release this album. Many thanks to Rich Haupt, Carl Weiss, and Patrick the Lama. Special thanks to David Haffner, Steve Lorber, and Vincent Tornatore for releasing the CD version of Kath. Wherever this paths leads I'll treasure the entire venture. 

There are those who understand the feeling of playing and performing Rock 'n' Roll—that feeling will never fade away. Dedicated to all my friends and family for their love and support, and many thanks to countless musicians who brought their love to music. A heartfelt remembrance to those who experienced this world of music with me—I simply thank you.
by Val Rogolino

Not many albums can get you in the mood to blow out your speakers quite like Kath, a band that evolved from local Maryland 1960’s band Badge. This is an authentic low-fi DIY effort, recorded in the home of the band’s leader (and, yes, actually dedicated to his pet monkey—and his girlfriend!), originally released in 1974 in a micro edition of 60 hand-made copies, and later reconfigured for a legendary Rockadelic label LP version. 

Truth to tell, the Kath album is full of well written melodic songs with loose, semi-ramshackle, low-fi/no-fi production values. Nothing gets down and dirty quite like 'Say What You Feel,' with its blown out bass, killer guitar and drums, echoed vocals and sound effects; well, actually, ‘Love Me Down' is equally potent. The band also had a fondness for tape experimentation ('Seagulls') and simply screwing around ('Toilet Theme'). As Patrick the Lama said in Acid Archives, “Obscure and impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out, hits the Ampex two-track echo & tinny drum sound dead on....

 At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day. A totally outside garage/psych/private LP that feels as personally projected as those Michael Yonkers sides. Nuts lo-fi recording quality and impossible-to-figure production values gives this a nicely zonked almost real-people vibe. Keyboards, fuzz, heap of amateur avant spirit and a cover of 'Norwegian Wood' that ranks up there as one of the few listenable Beatles covers ever cut by teens with brains." There's also included Badge's excellent 1978 five-track EP as bonus tracks. 
Lion


Tracks
Disc 1 Kath "One" (Original Album)
1. I Want To Love You - 3:16
2. Lonely Again - 2:44
3. Goodbye Sunshine - 3:36
4. Tell Laura I Love Her (Barry, Releigh) - 4:11
5. Seagulls - 1:54
6. Silly Willy - 3:36
7. It Doesn’t Mean - 5:25
8. Candleman - 4:46
9. Norwegian Wood (Lennon, McCartney) - 2:50
10.BLPSVC - 4:12
11.Typical Recording Session (With Breakdown Of Instrumental Version Of Mother Dear) - 3:50
12.Mother Dear - 3:16
13.Say What You Feel - 2:54
14.Toilet Theme (With Part Of Say What You Feel) - 3:58
15.She’s The Girl I Love - 3:32
16.Love Me Down - 2:56
17.I Hear Them Laughing - 3:47
18.As I Looked - 4:02
19.Just Like You - 2:19
20.She - 2:13
Bonus tracks 16-20 from "Badge EP"


Disc 2  Unreleased Material
1. It Doesn’t Mean (EP Version) - 4:29  
2. I’ve Got That Feeling - 3:53
3. Tearfall In The Rain - 5:42
4. Look To Your Window - 3:47
5. The Great Pretender - 6:43
6. Little Miss - 3:31
7. Keep Tryin’ - 2:23
8. Do You Wanna Dance - 3:45
9. I Need You - 2:28
10.Everything I Do - 2:38
11.Sitting All Alone - 2:57
12.When You Walk In The Room - 4:03
13.Just A Little Smile - 4:14
14.I Lie Awake - 5:06
15.Singing Out Thoughts To My Lady - 5:27
16.A Gentle Breeze - 3:57
17.Le Fini - 2:56
18.C - 1:43

Kath
*Cheese Sellers - Rhythm Guitars
*Brent Buckley - Lead Guitar, Organ, Sax
*Bruce Lapier - Bass
*Bob George - Trumpet
*Val Rogolino - Drums, Tambourine, Vocals, Organ

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Focus - Ship of Memories (1976 dutch, elegant prog rock, japan remaster)



Ship of Memories, a collection of rarities from Focus' catalog, is somewhat more diverse than most of the band's other releases. Starting off with "P's March," a track rooted in the style of Focus' debut album In and Out of Focus, Ship of Memories gradually works its way through the band's many phases to the Mother Focus styled "Crackers." 

The album ends on a superb song, the U.S. version of "Hocus Pocus." For Europeans, this addition to Ship of Memories ("Hocus Pocus" U.S. was never on the LP version, but was later added to the CD release) comes as an absolute delight. Not only is the song a verified rarity on the continent, but it is also vastly different from the U.K. recording. Akkermans' guitar work, Van Leer's yodeling, and Pierre Van Der Linden's drumming are all given a new lease of life by the inclusion of this track. Collectors will be well-gratified by Ship of Memories, while casual listeners will find enough enjoyable material
by Ben Davies


Tracks
1. P's March (Thijs Van Leer) – 4:43
2. Can't Believe My Eyes (Jan Akkerman) – 5:17
3. Focus V (T. Van Leer) – 3:02
4. Out Of Vesuvius (J. Akkerman, Bert Ruiter, Pierre Van Der Linden, T. Van Leer) – 5:5
5. Glider (J. Akkerman) – 4:38
6. Red Sky At Night (J. Akkerman, T. Van Leer) – 5:50
7. Spoke The Lord Creator (T. Van Leer) – 2:32
8. Crackers (J. Akkerman) – 2:42
9. Ship Of Memories (P. Van Der Linden) – 1:48
10.Hocus Pocus (US Single Version) (J. Akkerman, T. Van Leer) – 3:24

Focus
*Thijs Van Leer - Keyboards, Flute, Vocals
*Jan Akkerman - Guitar
*Bert Ruiter - Bass Guitar
*Martin Dresden - Bass Guitar
*Pierre Van Der Linden - Drums
*Hans Cleuver - Drums
*David Kemper - Drums

1970  Focus - In And Out Of Focus (Japan remaster)
1971  Focus - Moving Waves (Japan remaster)
1972  Focus III  (Japan mini lp release)
1974  Focus - Hamburger Concerto  (Japan remaster)
1975  Focus - Mother Focus (Japan remaster)
Related Act
1969-70  Brainbox - Brainbox (2011 Esoteric expanded)

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Heavy Cruiser - Heavy Cruiser (1972 canada, powerful heavy psych)



Canadian rock luminary Neil Merryweather took members from Californian blues rock band Mama Lion into the studio and, somewhat accidentally, recorded two great albums as Heavy Cruiser. The band’s Heavy Cruiser and Lucky Dog albums were gatherings of ideas more than albums of firm intent, but the session engineers and the band were impressed with the eight-track demos and improvised tunes (and management got a sniff of success) so the songs were duly bound in jacket covers. 

The band’s eponymous 1972 debut was a heavy, psyched-out guitar and organ duel—with in-studio jams and distortion-soaked covers making up an exuberant and buoyant LP. While contractual obligations caused the band members’ names to go unlisted on both Lucky Dog and Heavy Cruiser, word soon got out about both LPs’ commitment to fuzzing things up, and rolling with the result—and thus, Heavy Cruiser finds itself in the pantheon of obscure collectable rockers.


Tracks
1 C'mon Everybody (E. Cochran, J. Capehart) - 2:14
2 My Little Firefly (Neil Merryweather) - 3:19
3 Don't Stop Now (J. N. Howard, N. Merryweather) - 3:53
4 Wonder Wheel - 1:24
5 Outlaw - 2:34
6 Let Your Rider Run (J. N. Howard, N. Merryweather) - 3:22
7 Louie Louie (Richard Berry) - 3:26
8 As Long as We Believe - 3:17
9 'Lectric Lady (Neil Merryweather) - 2:16
10 Miracles of Pure Device (J. N. Howard. L. Carey, N. Merryweather) - 6:44
All songs by Lynn Carey and Neil Merryweather except where indicated

Heavy Cruiser
*Neil Merryweather - Vocals, Bass, Acoustic Guitar
*James Newton Howard - Organ, Piano
*Coffi Hall - Drums, Percussion
*Rick Gaxoila - Guitar

1973  Heavy Cruiser - Lucky Dog
Related Act
1969  Merryweather
1970  Neil Merryweather, John Richardson And Robin Boers
1971  Neil Merryweather And Lynn Carey - Vaccum Cleaner

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The Artwoods - Singles A's & B's (1964-67 uk, sensational mod rhythm 'n' beat psych)



The Artwoods were formed in 1963, and over the next two years became an extremely popular live attraction, rivaling groups such as the Animals, although, despite releasing a clutch of singles and an album, their record sales never reflected this popularity. Singer Arthur Wood, from whom the band took their name, was the elder brother of The Rolling Stones' Ronnie Wood. He had been a vocalist with Alexis Korner's Blues Incorporated for a short period during 1962, simultaneously fronting his own group, the Art Wood Combo.

When keyboardist Jon Lord and guitarist Derek Griffiths joined from Red Bludd's Bluesicians they re-christened themselves the Artwoods. Keef Hartley, formerly with Rory Storm & The Hurricanes, joined on drums in '64 and the band turned professional, secured a residency at London's 100 Club and gained a recording contract with Decca Records.

The intended debut single, a cover of Muddy Waters' "Hoochie Coochie Man" was shelved in favour of a version of an old Leadbelly song, Sweet Mary". Although it didn't reach the Charts it got sufficient airplay to bring them a lot of live work, including an appearance on the first live edition of 'Ready, Steady, Go!' The second record, "Oh My Love", was another blues cover. Like it's predecessor, and subsequent releases, it failed to chart. 

The Artwoods were dropped by Decca at the end of 1966 and signed a one record deal with Parlophone, but "What Shall I Do" also flopped. Later in 1967 a final "one-off" single appeared on Fontana under the name "St. Valentine's Day Massacre" but by the time of it's release the Artwoods had effectively ceased to exist.

The Artwoods' early records today stand up well against the work of more successful groups such as the Stones, the Yardbirds or ironically, the Birds, who included Art's younger brother Ron. But at the time they came out, despite appearances on programs like Ready, Steady, Go! their singles never seemed to connect with the record-buying public. In live performance, on the other hand, it was a different matter. 

They had a virtuoso lineup, Lord'spiano and organ sound was a great complement to Wood's singing, Griffith's guitar work was tastefully flashy, and Keef Hartley was animated as well as powerful, with a big sound on the drums. Club audiences always knew they were good for a great show and the band loved playing live. Ultimately, in fact, the group's success in touring and their love of playing live may have hurt them. 

The 18 songs on this release, comprising the group's entire single and EP output, are some of the best British-spawned R&B of their time, and can stand alongside the best work of the Animals, Manfred Mann, or the Yardbirds in that vein. The Artwoods were a virtuoso outfit from the get-go, with a natural feel for the music as singers and players, whether they were working in the vein of Sam and Dave or Booker T. and the MG's, or just having fun in the studio as they do on several of the B-sides represented here. 

They were good at improvising in the studio and had a slightly more jazzy feel to their playing than a lot of their rivals -- their records are amazingly busy, between Jon Lord's piano and organ flourishes, Keef Hartley's very flashy drumming, and Malcolm Pool's extremely active bass work; what's more, on their B-sides, it's possible to hear the very beginnings of what became progressive rock in the hands of outfits like the Nice, at a point when the virtuosity was still focused on R&B and soul. Even their cover of "Brother Can You Spare a Dime" works within the context of British R&B. 

The Artwoods treaded a fine line between Manfred Mann and Georgie Fame & the Blue Flames, but they really sounded like no one else. There's not a bad cut here, even the trio of pop-rock covers ("A Taste of Honey," "Our Man Flint," etc.) that they hesitated to release at the time for fear of looking like they were selling out. The mastering is excellent, and if this were an LP, it's the sort of release purchasers would need more than one of because they'd wear out their first copies. 
by Bruce Eder


Tracks
1. Sweet Mary (Ledbetter) - 2:55
2. If I Ever Get My Hands On You (Carter, Lewis) - 2:03
3. Oh My Love (Smith, Fox) - 2:52  
4. Big City (Lord) - 2:09
5. Goodbye Sisters (Lloyd) - 2:53
6. She Knows What To Do (Hill, Rebennack) - 2:30
7. I Take What I Want (Hayes, Porter, Hodges) - 2:54
8. I'm Looking For A Saxophonist Doubling French Horn Wearing Size 37 Boots (Wood, Lord, Hartley, Pool) - 2:48
9. I Feel Good (Neville) - 2:46
10.Molly Anderson's Cookery Book (Lord) - 3:30
11.What Shall I Do (Jenkins) - 2:52
12.In The Deep End (Gump) - 3:07
13.Brother Can You Spare A Dime (Harburg, Gorney) - 2:57
14.Al's Party (Martin, Gump) - 2:44
15.These Boots Are Made For Walking (Hazlewood) - 2:47
16.A Taste Of Honey (Scott, Marlow) - 3:11
17.Our Man Flint (Goldsmith) - 3:00
18.Routine (Lord) - 3:05

The Artwoods
*Art Wood - Lead Vocals
*Derek Griffiths - Lead Guitar
*Jon Lord – Organ
*Malcolm Pool – Bass
*Keef Hartley - Drums

Related Act
Keef Hartley's brands
1968-72  Not Foolish Not Wise
1969  Halfbreed (2008 Esoteric)
1969  The Battle Of North West Six  (2008 Esoteric)
1970  The Time Is Near (2008 Esoteric remaster)
1970  Overdog (2005 Eclectic)
1971  Little Big Band
1972  Seventy Second Brave (2009 Esoteric)
1972  Lancashire Hustler (2008 Esoteric)

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Argent - Ring Of Hands (1971 uk, moody, mysterious and melodic with prog shades, japan remaster)



Argent's back catalog remains in a parlous state 20 years on from the group's peak, with great swathes of the repertoire unavailable on CD, and even some of the band's best-known and loved recordings are still chained up in a vault somewhere. The group's transformation from the logical successors to the Zombies into one of the finest prog bands of the early '70s, almost any song of which would be a shoo-in for some future "best-of" Argent compilation. 

It is true, of course, that Argent was prone to excess on occasion - what is remarkable is just how naturally the band approached that state, as songs build on their own momentum toward peaks that even the best oiled of the group's peers audibly struggled to approach. The combination of Rod Argent's keys and Russ Ballard's words and vocals is, of course, key to this success. 

"Celebration" , “Chained”,  “Pleasure”, all have "classic" stamped across them, even this early into the group's career. And as "Where Are We Going Wrong" brings the CD to a halt, one is left wondering what on earth the bandmembers were talking about...they weren't going wrong anywhere.
by Dave Thompson


Tracks
1. Celebration - 2:55
2. Sweet Mary - 4:07
3. Cast Your Spell Uranus (Russ Ballard) - 4:32
4. Lothlorien - 7:52
5. Chained (Russ Ballard) - 5:20
6. Rejoice - 3:46
7. Pleasure - 4:53
8. Sleep Won't Help Me - 5:11
9. Where Are We Going Wrong (Russ Ballard) - 4:10
All songs written by Rod Argent and Chris White except as noted

Argent
*Rod Argent - Organ, Electric Piano, Vocals
*Russ Ballard - Guitar, Vocals
*Jim Rodford - Bass Guitar, Guitar, Vocals
*Robert Henrit - Drums, Percussion

1970  Argent - Argent (Japan remaster)

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Focus - Mother Focus (1975 dutch, pleasant smooth prog rock, japan remaster)



Focus here featured virtuoso guitarist Jan Akkerman for the last time, not to work with his long-term writing partner Thijs Van Leer for another ten years. Mother Focus also sees Focus' highly skilled bass player Bert Ruiter try his hand in songwriting. The outcome includes the one of the finest funk tracks on the album -- the hilarious "I Need a Bathroom." 

The album begins with quite possibly the finest track on the album -- and maybe the most typical Focus -- the titular "Mother Focus." The funky theme underlying the number sets the mood for the rest of the LP with aplomb. Indeed, Mother Focus is far from the usual instrumental material. For this reason, Mother Focus may not appeal to the usual fans of the Dutch proggers. 
by Ben Davies


Tracks
1. Mother Focus (Jan Akkerman, Bert Ruiter, Thijs Van Leer) - 3:04
2. I Need A Bathroom (Ruiter) - 3:03
3. Bennie Helder (Van Leer) - 3:31
4. Soft Vanilla (Ruiter) - 3:03
5. Hard Vanilla (Ruiter) - 2:34
6. Tropical Bird (Ruiter) - 2:42
7. Focus IV (Van Leer) - 3:56
8. Someone's Crying . . . What? (Akkerman) - 3:18
9. All Together . . . Oh, That! (Akkerman) - 3:41
10.No Hang Ups (Paul Stoppelman) - 2:55
11.My Sweetheart (Akkerman, Van Leer) - 3:36
12.Father Bach (Van Leer) - 1:34

Focus
*Thijs Van Leer - Keyboards, Flute
*Jan Akkerman - Guitar
*Bert Ruiter - Bass Guitar, Vocals On "I Need A Bathroom"
*David Kemper - Drums
*Colin Allen - Drums On "I Need A Bathroom"

1970  Focus - In And Out Of Focus (Japan remaster)
1971  Focus - Moving Waves (Japan remaster)
1972  Focus III  (Japan mini lp release)
1974  Focus - Hamburger Concerto  (Japan remaster)
Related Act
1969-70  Brainbox - Brainbox (2011 Esoteric expanded)

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Focus - Hamburger Concerto (1974 dutch, impressive art prog rock, japan remaster)



While Focus 3 did have some great stuff, I also thought the album got bogged down by excessive guitar and drum solos ("Anonymous II" was the guilty verdict). The band then recorded Live at the Rainbow in 1973, which was recorded at the Rainbow Theatre in London during the peak of their success. They were to record a followup to Focus 3, but the band was starting to have one of their bad times, Jan Akkerman not wanting to talk to anyone and Pierre van der Linden having enough of it and leaving. 

Some of the material for this never-released album ended up on the outtakes album Ship of Memories. Pierre simply teamed up with ex-Exseption keyboardist Rick van der Linden (no relation) and ex-Cuby & the Blizzards bassis Jaap van Eik to form a band called Ace, but since a British band was already calling themselves Ace (the group with a pre-Squeeze/pre-Mike & the Mechanics Paul Carrack, who had that hit with "How Long"), this Dutch supergroup had to call themselves Trace. Focus simply added a new drummer named Colin Allen, who a member of the Scottish group Stone the Crows. He was no match for Pierre van der Linden, so he simply resorted to more conventional rock drumming.

So the new album with this new drummer, Hamburger Concerto ends up being regarded by many as their last truly great album, many go as far as regarding it as one of their best, and that I can agree. It was the rock critics who were less kind to this album. "Delitae Musicae" is a short, medieval piece played on lute by Jan Akkerman. This piece, no doubt, showed Akkerman's love for early and medieval music. "Harem Scarem" is the first cut with full band interaction. You'll notice right away this piece isn't as intense and in your face as "Hocus Pocus". And because Colin Allen isn't Pierre van der Linden, the band focused on a more sophisticated sound, which works just fine. 

You'll still hear that classic Focus sound, with the yodeling, and Akkerman's trademark guitar playing, and organ playing from Thijs van Leer. Thijs also gives us some "yeah, yeah, yeah" voices in this song too. "La Cathedral de Strasbourg" shows a more the more medieval influences of the band, with Akkerman giving some medieval style playing on his electric guitar, but there's also full band interaction, as well. "Birth" has a more Jethro Tull-like feel, especially from Thijs van Leer's flute playing. Then comes the side-length title track. Starts off classical-like, but then there's no mistaking this is simply a great prog rock piece, there are some mellower passages that get me thinking a bit of Pink Floyd. Synthesizers make their first mark on a Focus album, Thijs van Leer started to include an ARP Odyssey with his usual gear of Hammond organ and piano.

This album doesn't feature any drum solo at all, unlike their previous albums, but then Colin Allen had no need for them. This is truly a great album to have, and I highly recommend it! 
by Ben Miler


Tracks
1. Delitiae Musicae (Jan Akkerman) - 1:13
2. Harem Scarem (Thijs Van Leer) - 5:50
3. La Cathedrale De Strasbourg (Thijs Van Leer) - 5:00
4. Birth (Jan Akkerman) - 7:45
5. Hamburger Concerto - 20:18
.I...Starter (Thijs Van Leer)
.II..Rare (Jan Akkerman)
.III.Medium I (Thijs Van Leer)
.Iv..Medium Ii (Jan Akkerman)
.V...Well Done (Thijs Van Leer)
.VI..One For The Road (Jan Akkerman)
6. Early Birth (Jan Akkerman) - 2:54

Focus
*Thijs Van Leer - Organ, Flute, Piano, Harpsichord, Moog, Vocals
*Jan Akkerman - Guitar
*Bert Ruiter - Bass Guitar
*Colin Allen - Drums

1970  Focus - In And Out Of Focus (Japan remaster)
1971  Focus - Moving Waves (Japan remaster)
1972  Focus III  (Japan mini lp release)
Related Act
1969-70  Brainbox - Brainbox (2011 Esoteric expanded)

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Cactus - Cactus (1970 us, superb hard blues rock, debut album, japan SHM remaster)



Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don't mean their eponymous 1970 debut didn't rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band's business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably former Detroit Wheels guitarist Jim McCarty who was the true star in the Cactus galaxy, spraying notes and shredding solos all over album highlights such as "You Can't Judge a Book By the Cover," "Let Me Swim," and, most notably, a manic, turbocharged version of "Parchman Farm." 

The fact that Cactus chose to tackle this classic blues song just a year after it'd been blasted into the fuzz-distortion stratosphere by Blue Cheer betrays -- at best -- a healthy competitive spirit within the early-'70s hard rock milieu, and at worst it suggests something of a mercenary nature to Cactus' motives, but that's an issue for the surviving bandmembers to duke it out over in the retirement home. And we digress -- for the blistering closing duo of "Oleo" and "Feel So Good" (complete with bass and drum solo slots) easily certifies the Cactus LP as one of the best hard rock albums of the then brand-new decade, bar none. Too bad the illustrious members of Cactus would quickly lose interest in this band project and deliver increasingly mediocre efforts in the years that followed. 
by Eduardo Rivadavia


Tracks
1. Parchman Farm (Mose Allison) - 3:06
2. My Lady From South Of Detroit - 4:26
3. Poor Brother Bill - 5:10
4. You Can't Judge A Book (By Lookin' At The Cover) (Willie Dixon) - 6:30
5. Let Me Swim - 3:50
6. No Need To Worry - 6:14
7. Oleo - 4:51
8. It Feels So Good - 6:03
All songs by C. Appice, T. Bogert, R. Day, J. McCarty except as pointed above

Cactus
*Tim Bogert - Bass, Vocals
*Carmine Appice - Drums, Percussion, Vocals
*Jim Mccarty - Guitar
*Rusty Day - Vocals, Harmonica

Cactus
1971  Ultra Sonic Boogie (2010 issue)

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Oliver Klaus - Oliver Klaus (1967-70 canada, fantastic psych rock)



Unless you lived in Quebec during the late 1960s, you more than likely have never been exposed to the sweet psychedelic sounds of Oliver Klaus. Finally enjoying a CD reissue, more than 30 years after its initial pressing of merely 700 copies, Oliver Klaus's 1967-1970 is a priceless artefact from a bygone era.

Comprised of Jerry Cushen on bass and brothers Bryan and Maurice Singfield, on drums and guitar respectively, Oliver Klaus grew out of the ashes of the locally successful Les Mini-Mod, who gained notoriety for performing in mini-skirts. Disillusioned by the public's interest in their costuming rather than their music, the boys in the band decided to concentrate less on gimmickry and more on composition and experimentation.

The result is the excellent 1967-1970, a melange of 60s pop, folk, rock, and psychedelia. Principal songwriter Maurice Singfield sounds uncannily like Stephen Stills circa Buffalo Springfield and the rest of the band, while a little less polished, follows suit with this comparison. Listening closely to the album one is forced to ask the question: Why didn't Oliver Klaus receive national acclaim similar to fellow Canadians The Guess Who?

The answer is simple. Though they had made many contacts through their constant gigging around Quebec, the group decided to retain complete artistic control by releasing the album themselves. Arguably, Oliver Klaus was the first do-it-yourself band in Canadian music history.

Oliver Klaus's 1967-1970 is a treasure for both the casual psychedelic listener as well as the vinyl junkie. This reissue includes the original LP in its completion, covers of tracks by Donovan ("Season of the Witch"), Jefferson Airplane ("3/5 of a Mile in 10 Seconds"), and even Neil Diamond ("Kentucky Woman"), as well as a slew of stellar unreleased live tracks. Hearing Oliver Klaus will make you wonder how many other great Canadian bands from rock `n' roll's golden era have drifted into obscurity.
by Ryan Wugalter


Tracks
1. For The Boys - 3:17
2. Walk In The Night - 2:27
3. Here Comes The Sun - 2:23
4. Sunny Day - 2:49
5. Feeling Groovy - 3:04
6. Traveling Song - 2:07
7. Kentucky Woman (Neil Diamond) - 3:52
8. Show Me The Place (Maurice, Bryan Singfield, Jerry Cushen) - 4:02
9. Love You Baby (Maurice, Bryan Singfield, Jerry Cushen) - 2:53
10.Season Of The Witch (Donovan Leitch) - 8:34
11.Break Song (Maurice, Bryan Singfield, Jerry Cushen) - 3:42
12.3/5 Of A Mile In 10 Seconds (Martin Balin) - 3:42
13.Blackberry Side - 4:11
14.Studio Chatter - 0:45
15.Feeling Groovy (Single version) - 3:20
16.Here Comes The Sun (Single version) - 2:14
17.Great Place For Laughing - 4:51
18.Islands Float In Waterloo - 2:36
19.Going To Leave This Place - 3:33
20.The Fuzz - 6:47
21.Do Love Me Do - 2:18
All songs by Maurice Singfield Jr. except where noted.

Oliver Klaus
*Jerry Cushen - Bass
*Bryan Singfield - Drums, Backing Vocals
*Maurice Singfield Jr. – Guitar, Lead Vocals

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Focus - Moving Waves (1971 dutch, remarkable progressive rock, japan remaster)



In 1971 Focus released the storming Moving Waves (Focus II in the Netherlands), complete with 'novelty' hit single Hocus Pocus, fondly remembered by many for Van Leer's bizarre yodelling. The album features the full six-minute plus version of the track, which belies its 'novelty' status by actually being a great piece of music with some truly stupendous playing from guitarist Jan Akkerman. Second track in, Le Clochard is where the Mellotronic interest kicks in; a gorgeous classical guitar and 'Tron strings instrumental, less than two minutes long, this surely has to be classed as one of the Mellotron Classics. 

After another beautiful (if 'Tron-less) instrumental, Janis and the title track, the album's only real weak point, comes another jazz-inflected instrumental, Focus II (the band have recorded eight of these 'theme' tracks to date), with some more 'Tron strings. I would guess that they were using a Mark II on these sessions, recorded at the same Dutch studio as their debut, but it's hard to tell.

The superb Eruption, is a multi-part piece with all the band's disparate influences thrown into the melting-pot to create a unique piece of music. The Mellotron drifts in and out of the piece, probably only appearing for a minute or two of the track's 22 minutes, but so effectively that it hardly matters. The music is stunning, with common themes coming and going and fiery playing from all quarters. This track demonstrates why I shouldn't copy tracklistings from reissue CDs; the multifarious parts of the track are listed differently on the LP and CD, so the listing above is from the original release.

The album that boosted Focus into at least semi-fame outside of continental Europe, Moving Waves blasts off with their hit single, "Hocus Pocus." Built around a killer guitar hook by Jan Akkerman and a series of solo turns by the band, this instrumental replaced "Wipeout" as a staple of FM radio. The bizarrely hilarious vocal and accordion solos by Thijs van Leer -- one of which absurdly concludes with rousing stadium cheers -- have to be heard to be believed. 

After this over-the-top performance, the other tracks seem comparatively constrained: the gentle "Le Clochard" features some gorgeous classical guitar over Mellotron strings. The album concludes with "Eruption," which while mimicking the multi-suite nomenclature of Yes and King Crimson, is essentially a side-long jam session. Stop-time Emersonian organ solos alternate with languid sections of jazzy guitar redolent of Santana, while still other sections are flat-out electric blues-rock stomps. It's impressive playing, though it comes off as a bit meandering after the tightly structured solos that began the album. 
by Paul Collins


Tracks
1. Hocus Pocus (Jan Akkerman, Thijs Van Leer) - 6:42
2. Le Clochard (Jan Akkerman) - 2:01
3. Janis (Jan Akkerman) - 3:08
4. Moving Waves (Thijs Van Leer) - 2:42
5. Focus II (Thijs van Leer) - 4:03
6. Eruption (Jan Akkerman, Tom Barlage, Thijs Van Leer, E. Nobell, Pierre Van Der Linden) - 23:02
.I...Orfeus/Answer/Orfeus
.II..Answer/Pupilla
.III.Answer
.IV..Euridice
.V...Answer/Orfeus

Focus
*Thijs Van Leer – Vocals, Flute, Organ, Piano, Mellotron,
*Jan Akkerman – Guitars, Bass
*Cyril Havermanns – Bass
*Pierre van der Linden – Drums

1970  Focus - In And Out Of Focus (Japan remaster)
1972  Focus III  (Japan mini lp release)
Related Act
1969-70  Brainbox - Brainbox (2011 Esoteric expanded)

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Rotary Connection - Black Gold, The Best of Rotary Connection (1967-71 us, elegant soul jazzy sunny psychedelia, two disc set)



Rotary Connection released a handful of albums. The one that had the most mainstream success was Christmas-themed. Only one song, "Want You to Know," dipped into the pop chart, rocketing all the way up to number 96. How necessary, then, is a 33-track, two-disc anthology? 100-percent necessary. Until this release, the group had one of the most neglected discographies in all of psychedelic soul, or chamber pop, or acid rock, or Midwest hippie folk. 

Ugly two-fer releases and other vanishing reissues have done their legacy, and no matter how many producers and DJs have sampled and talked about their music, Rotary Connection have always slipped through the cracks, admired mostly in retrospect by a select group of crate diggers and open-minded fans of Minnie Riperton's easier-to-categorize (and almost always misunderstood) solo career. Black Gold: The Best of Rotary Connection aptly scans through the strange and unexpected twists taken by the group from 1967 through 1971, and while their inability to be categorized played a significant part in their obscurity, it was one of their prime strengths. 

The remarkable scope is best exemplified by a three-song stretch on the first disc: a steamy, almost unrecognizable run through Otis Redding's "Respect," the soaring "I Am the Black Gold of the Sun," and the impossibly delicate and moving "A-Muse" (also as gorgeous as anything off Love's Forever Changes). The package covers a lot of ground, including the entirety of the all-covers Songs and most of the highlights from the remainder of the albums. "Hangin' Round the Bee Tree" is the only missing highlight; otherwise, this is as good as it could possibly get, short of obtaining the albums in full. In addition to being a long overdue look at a very underappreciated group, the set also covers major chapters in the careers of Charles Stepney and Minnie Riperton, two of Chicago's greatest gifts to music. 
by Andy Kellman


Tracks
Disc 1
1. Magical World (Sidney Barnes) - 4:24
2. Amen (Marshall Paul, Charles Stepney) - 4:03
3. Rapid Transit (Marshall Paul, Charles Stepney) - 0:38
4. Turn Me On (Sidney Barnes) - 3:07
5. Respect (Otis Redding) - 3:04 
6. Pink Noise (Marshall Paul, Charles Stepney) - 0:22
7. I Am the Black Gold of the Sun (Richard Rudolph, Charles Stephney) - 5:49 
8. A-Muse (John Stocklin) - 4:02 
9. Sunshine of Your Love (Pete Brown, Jack Bruce, Eric Clapton) - 5:07
10.Sursum Mentes (Marshall Paul, Charles Stepney) - 0:44
11.Memory Band (Charles Stepney) - 3:22
12.Didn't Want to Have to Do It (John Sebastian) - 3:14
13.May Our Amens Be True (Sidney Barnes, John Stocklin) - 3:04 
14.Tales of Brave Ulysses (Eric Clapton, Martin Sharp) - 4:32 
15.The Sea And She (Richard Rudolph, Charles Stepney) - 3:31
16.Hey, Love (Richard Rudolph, Charles Stepney) - 4:11
17.Song for Everyman (Terry Callier, Larry Wade) - 5:32
18.Love Is (Richard Rudolph, Charles Stepney) - 5:20


Disc 2
1. The Salt of the Earth (Mick Jagger, Keith Richards) - 4:59
2. Love Has Fallen on Me (Charles Stepney, Lloyd Webber) - 4:19
3. If I Sing My Song (Richard Rudolph, Charles Stepney) - 3:41
4. The Weight (Robbie Robertson) - 3:26
5. The Burning of the Midnight Lamp (Jimi Hendrix) - 4:40
6. Living Alone (John Stocklin) - 2:55
7. Love Me Now (Morris Dollison) - 2:47
8. Want You to Know (John Stocklin) - 3:04
9. I Got My Mojo Working (Preston Foster) - 2:34
10.This Town (Stevie Wonder) - 3:27
11.We're Going Wrong (Jack Bruce) - 3:23
12.Life Could (Bobby Simms) - 4:24
13.Teach Me How to Fly (Sidney Barnes) - 3:19
14.V.I.P. (Bobby Simms) - 3:08
15.Let Them Talk (Bobby Simms) - 4:25

The Rotary Connection
*Bobby Simms - Vocals, Guitar
*Jim Donlinger - Keyboards
*Jim Nyeholt - Bass
*Minnie Riperton - Vocals
*Mitch Aliota - Vocals, Bass
*Sidney Barnes - Vocals
*Tom Donlinger - Drums

1968  Rotary Connection - Peace
Related Act
1969  Aorta - Aorta
1970  Aorta - Aorta 2

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