Dallas-Morning-News-rockasteria

Terry Smith's rare late-'60s LP was an accomplished set that showcased his fluid, modern bop-influenced jazz guitar in both big band and small combo settings. Smith plays much in the style of American guitarists working in similar territory during the period, such as Wes Montgomery and Grant Green. The arrangements and playing by the backing musicians on this album, recorded in London, are a little stiffer than what you'll hear on most U.S. sessions, but they get the job done tastefully enough. 

The vibe gets a little more uninhibited on the two tracks featuring just Smith, organist Bob Stuckley, and drummer Chris Karen. As those two tracks ("Fall Out" and "Early Morning Groove") are the only two Smith originals, one suspects that this is the kind of material that was closest to his heart at the time. Otherwise most of the record is given to interpretations of standards, including "My Man's Gone Now," Cole Porter's "I Love You," and the Bacharach-David compositions "The Look of Love" and "Windows of the World." 

While pop star Scott Walker produced, there's no strong resemblance between this and the music Walker was recording at the time, though Walker did make suggestions regarding the material. 

by Richie Unterberger

America's debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg. Crosby, Stills & Nash are the group's obvious stylistic touchstone here, especially in the vocal harmonies used (compare the thick chordal singing of "Sandman" and "Children" to CS&N's "You Don't Have to Cry" and "Guinevere") and the prominent use of active strummed acoustic guitar arrangements (contrast "Riverside" to CS&N's "Suite: Judy Blue Eyes"). 

America's intricate interplay of acoustic guitar textures is more ambitious than that of their influences, however. Performance quality is usually good, though on occasion sloppily executed or out of tune (especially on the openings to "Donkey Jaw" and "I Never Found the Time"). Lengthy instrumental introductions ("Donkey Jaw"), middle improvisatory interludes ("Here"), and closings ("Clarice") are frequently encountered. Most of these selections boast highly unusual and inventive chord progressions that work well without drawing undue attention to themselves.

 Lyrics are sometimes trite ("I need you/Like the flower needs the rain") or obscure ("He flies the sky/Like an eagle in the eye/Of a hurricane that's abandoned"), but the music more than makes up for any verse problems; only the odd "Pigeon Song" seems an unsalvageable misstep. Sound quality here has a covered, intimate feel that lends a ghostly aura to this release. 

Chart hits from this album include the spectrally loping "A Horse with No Name," the squarishly tuneful "I Need You," and the nervously dour "Sandman." Other highlights include the buoyantly charming "Three Roses," the yearningly lovely "Rainy Day," and the quietly ringing "Clarice." In spite of its flaws, this platter is very highly recommended. 

by David Cleary

The Triangle  came together in El Paso, Texas and fused a good sound. Good enough to take to LA so they brought it with them when they came. They brought it to the Galaxy on the Sunset Stnp.

I was the guitar player/vocalist on the Triangle album and it was a remarkable outing. It got a five star rating in Billboard in June 1969 (Neil Young got four and a half), but was never supported with quantities or promotion.

I spelled my name at the time Carelli for simplicity. The drummer, Ty Grimes went on to play for Ricky Nelson and left the group right before the plane crash that killed all members.

The bass player went on to engineer/produce many hits including "Freebird" by Lynyrd Skynyrd and the Leo Sayer hits. The Triangle album was also co-produced by Chris Huston, an Englishman who produced some Led Zeppelin albums."

by Michael Carelli 

By the late-1960s Buzz Cason was quite a powerhouse in the music industry. He'd been a founding member of Nashville's The Casuals, recorded as a member of The Statues, and enjoyed solo success under the pseudonym 'Garry Miles'.

Together with Bobby Russell he was a prolific writer, ran a publishing company (Russell-Cason Music) and headed a record company (Rising Sons). He also enjoyed success as a back up singer, and as the owner and operator of Creative Workshop recording studios. Against that backdrop Cason further stretched his horizons via 1970's "The Revolt of Emily Young A Rock Novella By Buzz Cason and Pepper Martin."

A concept album co-written by singer/guitarist Pepper Martin, the collection was produced by Cason and credited to the studio band Foxx (consisting of bassist Butch Bourque, former Livin' End drummer Little Joe Martin, singer/rhythm guitarist Martin, and well known studio pro Al Perkins on lead guitar). This is one of those early-197s albums that's been largely lost to audiences. Judging by the number of reviews you'll find, it's even escaped notice from hardcore collectors with the few on-line reviews tending to be brief and somewhat critical.

That's unfortunate since the set was actually quite enjoyable and innovative in its own way.. Yeah, it was clearly a product of a certain timeframe and parts of the set haven't aged all that well (other than wine, few things do), but it's one of those albums that grows on you the more you listen to it. Like many concept pieces, the plotline to this one was a little vague to my ears, but seemed to follow the birth, childhood, and brief life of namesake Emily Young (along with her impact on family and friends). Songs got you from birth through early adulthood where Emily left home in order to hitchhike across the country.

Following Emily's spiritual search ('Opus Epyllion (The Age Of Light)'), downfall ('Flight Termination'), and death ('Just Another Village Incident'). Kind of a bummer ending ... Still, musically the set was quite good. Pepper had one of those chameleon-like voices that was equally at home on country-tinged material ('Into Something Real'), hard rock ('Rock Jock Bobby Sloan'), pop (the Beach Boys-styled harmony rich 'Rebecca's Prayer'), and even sunshine psych flourishes ('Sunshine Children').

Though never a flashy player, Perkins turned in nice leads when required - check out his solo on 'Flight Termination'. All-in-all quite enjoyable and something that sunshine pop fans would certainly clamor to hear. Even better, it's still quite affordable.

Hello, my name is Billy Gene Liska and I was surprised to discover my album on so many web. sites for sale. I played lead guitar and vocals and co wrote the songs. We were not a canadian band, we were from hollywood california and bassist Skip Battin did not play on the album. The album was recorded at “Larabee Studios” in hollywood in the coarse of two weeks. That was our first time in a recording studio,1969. I haven’t been in touch with the other guys in many years. Richard Vanderwoerdt passed away in 1974. Richard and I were renting a house in Long Beach California and one day he was out on his bike and was killed. Richard wrote shortly before his death called “I See Love In Your Eyes”. It can be heard at, search Grey Beard Bandit. 

Cheers, Billy Gene Liska

Originally issued in June 1970,pressing Philips (PHS 600-340) - US, at a time when rock music was beginning to embrace ecological themes,sole album was produced by Kim Fowley. Touching on rock, psychedelia and sunshine pop, it boasts fine vocal harmonies throughout, and makes is (by some estimates ) genuine pearl period of dawn psychedelic rock . The sounds of tracks on the album, reproduced perfectly and clearly bring to mind the best moments of creative collaboration such classics as Curt Boettcher psychedelia ( especially his voice) and Gary Usher . 

Main Earth People's Park , with its symphonic moments of the rhythm , like the heartbeat , a bit like Brian Wilson's performance , as well as some more complex Ride The Universe. Also noteworthy strong and smooth vocals, often even in choral singing , visible in most songs and fundamental intertwining harmonies that not all the performers at the time managed to get so easily . In addition to these songs on the album yet to be noted and This Island Earth, which, together with them is the main theme of full length , one might even say , a certain concept . In general , if someone prefer to enjoy the music of the psychedelic light style 60 - ies of the last century, with hints of early pop music and progressive,that this album should be strongly recommended .

As any good album should do, the opening tracks are winners. "Earth People's Park" takes a little of Brian Wilson's pocket symphony idea to heart with it's multiple sections, as does the somewhat harder rocking "Ride the Universe." Forsaking straight up lead vocals, most of the songs rely on a weave of harmonies that compare favorably with just about anyone else. The first bump in the road is probably with "This Island Earth," where the band unfortunately takes on the opportunity to sing the title in a ludicrously rising chorus. It might just be that images of the wonderfully cheesy movie of the same name are filtering through my head. Things get back on track with the ever-so-slightly morose "Doomsday Afternoon" (I'd expect something a little more hardcore with that title). Highlights later on the disc include the entertaining hippie nightmare, "Mother Earth Is a Beautiful Lover," which spins through both waltz time and a chilled version of a garage rock . Earth Island manages that tinge of melancholy that really takes the music to a higher level.

by Adamus67

Tee and Cara were a boy/girl duo whose light flickered brilliantly for this album before fading altogether. They were innocent of the workings of the music industry and, apparently, greatly disliked the instrumentation that was added to this album without their involvement.

The duo were probably right considering that the string arrangements do intrude too much in places, though the woodwinds add pleasing texture and depth. Despite this, though, Tee & Cara’s own songs emerge triumphantly, building through the album to a very fine four-track culmination in Waiting List, I Don’t Think I Know Her, Just Thinkin’ and Nothing To You.

This 1968 New York recording, then, is truly worthy of the oft-misused “buried treasure” tag, defying exact characterisation other than resting in an early folkish singersongwriter vein. Delicate covers of A Hard Day’s Night and I Got Plenty O’ Nuttin’ add well to the whole absolutely delightful package.

by Kingsley Abbott

There is no way to get at the music without taking the whole context of the music too - there is no separation. We say the MC5 is the solution to the problem of separation, because they are so together. The MC5 is totally committed to the revolution, as the revolution is totally committed to driving people out of their separate shells and into each other's arms.

I'm talking about unity, brothers and sisters, because we have to get it together. We are the solution to the problem, if we will be just that. If we can feel it, LeRoi Jones said, 'feeling predicts intelligence." The MC5 will make you feel it, or leave the room. The MC5 will drive you crazy out of your head into your body. The MC5 is rock and roll. Rock and roll is the music of our bodies, or our whole lives - the resensifier, Rob Tyner calls it. We have to come together people, "Build to a gathering," or else. Or else you are dead, and gone.

The MC5 will bring you back to your senses from wherever you have been taken to hide. They are bad. Their whole lives are totally given to this music. They are a whole thing. They are a working model of the new paleocybernetic culture in action. There is no separation. They love together to work together, they eat together, fuck together, get high together, walk down the street and through the world together. There is no separation. Just as their music will bring you together like that, if you hear it. If you will live it. And we will make sure you hear it; because we know you need it as bad as we do. We have to have it.

The music is the source and effect of our spirit flesh. The MC5 is the source and effect of the music, just as you are. Just as I am. Just to hear the music and have it be our selves, is what we want. What we need. We are a lonely desperate people, pulled apart be the killer forces of capitalism and competition, and we need the music to hold us together. Separation is doom. We are free men, and we demand a free music, a free high energy source that will drive us wild into the streets of America yelling and screaming and tearing down everything that would keep people slaves.

The MC5 is that force. The MC5 is the revolution, in all its applications. There is no separation. Everything is everything. There is no thing to fear. The music will make you strong, as it is strong, and there is no way it can be stopped now. All power to the people! The MC5 is here now for you to hear and see and feel now! Give it up - come together - get down, brothers and sisters, it's time to testify, and what you have here in your hands is a living testimonial to the absolute power and strength of these men. Go wild! The word is yours! Take it now, and be one with it! Kick out the jams, motherfucker!

And stay alive with the MC5!

by John Sinclair, from original album notes, Friday, December 13th 1968.