Twink - Think Pink (1970 uk, essential heavy acid psych rock, 2013 remaster and expanded)

9:49 PM |



“Think Pink” is one trippy, hobbity mindfuck of the highest water. It’s a complex and varied album where no two songs are the same, but seem to be examples of sub-genres entire ALBUMS could be fashioned from. Come to think of it, it’s probably the last high-water mark of old-school psychedelia the moment before it gave up the ghost. And Twink had steadily worked his way through a succession of bands that by the time he was in The Pretty Things, making many musical acquaintances via The Pretties’ management, the Bryan Morrison Agency, who also handled The Deviants and Tyrannosaurus Rex. Soon enough they had performed enough gigs together to force Morrison to circulate a letter to these three bands requesting that they refrain from ever showing up at each other’s gigs ever again. Because if there was havoc to be caused, it WAS caused, and if there was none to be found, it would be located immediately. 

When Twink left The Pretties, he assembled a virtual roll call of London underground musicians: Viv Prince, Wally Waller, John Povey, Victor Unitt, The Deviants, Quiver bassist Honk, John “Junior” Wood (ex-Tomorrow) and Steve “Peregrine” Took. This album owes a grand debt to Paul “Black George” Rudolph for his uncredited arrangements and outstandingly effortless yet complex Stratocaster noise guitar burn-outs (which populate “Think Pink” in sheer and blissful abundance) are huge, soaringly hard and were barely hinted at on the third Deviants album. And the sessions yielded all things loose, crazy and hardened post-psychedelic. There is even a surprisingly manic funk out rare for even white dopers at the time as well as acoustic numbers that don’t sound the least bit obligatory, raga-based chants and group sing-alongs. Along with Rudolph, the other main inspiration for “Think Pink” was undoubtedly Twink’s pretty, blonde and Kohl-eyed girlfriend Silver, who appears on both the back cover and the album with an unforgettable vocal interlude.

The album opens with “The Coming Of The Other One,” a vocal incantation as screeching backwards sitars, further vocal mantras and randomly hit percussion float through the air and clang in a dark, incense-filled basement from “Performance” with Steve Took emitting fear-inducing animal noises in a dark corner. It fades as sitars race back in time, and the air clears and gets brighter with the remake of Twink’s minnow-psych pop A-side for The Aquarian Age, “Ten Thousand Words In A Cardboard Box.” A celebration of “a thousand colourful shadows dancing around my head/Rejoicing to the waking of the dead...” over heavily recorded drums as Rudolph covers the drums and telephonically-phased vocals with underpinning streams of pink cirrus clouds at daybreak noise/guitar. But Rudolph winds up shanghai-ing the piece into a soaringly free-noise hurricane as he peels riff after riff out of his bottomless Strat. 

“Standing Tiptoe On The Highest Hill” is a chilly, overcast autumn morning with swelling mellotron, muted guitar and somber drums, bursting your heart when the grim (yet sung angelically-echoed) lines come in and it dawns on you that this is the acoustic grandfather of Joy Division’s “Decades.” Backward noise/guitar streaks by Rudolph transform the whole piece into a coiled and curling jam out that cuts out to let the song descend quietly back into the sand and it’s seaweed-strewn grave. “Fluid” ends the album side, an instrumental stripped bare of everything but genitals. Slow bass, guitar and drums crack out an undulating and repeating rhythm as Twink and Silver coo to each other, barely touching and letting their vocal vibrations do the work of a thousand fingers. It’s Joy Division again, only a decade earlier and this time it’s “I Remember Nothing.” This is just side one, but side two is just as fantastically charged up and out there, reaching its apex with the Took-damaged, “The Sparrow Is A Sign.” 
by The Seth Man


Tracks
1. The Coming Of The One - 3:42
2. Ten Thousand Words In A Cardboard Box (Twink, John Junior) - 4:28
3. Dawn Of Majic - 1:45
4. Tiptoe On The Highest Hill - 5:18
5. Fluid - 4:05
6. Mexican Grass War - 5:28
7. Rock And Roll The Joint - 2:26
8. Suicide - 4:22
9. Three Little Piggies (Steve Took, Twink) - 3:12
10.The Sparrow Is A Sign (Steve Took, Twink) - 2:23
11. 10,000 Words In A Cardboard Box (Twink, John Junior) - 3:25
12. Good Wizard Meets Naughty Wizard (Twink, John Junior) - 4:40
13. 10,000 Words In A Cardboard Box (Twink, John Junior) - 4:54
14. Dawn Of Magic - 3:24
15. Fluid - 3:40
16. Fluid - 4:19
17. Rock An’ Roll The Joint - 2:15
18. Suicide - 3:10
All titles by Twink except where indicated
Bonus tracks 11-18

Musicians
*Twink – Drums, Tablas, Vocals
*Paul Rudolph – Guitar, Bass, Vocals
*John "Junior" Wood – Bass
*Wally Allen – Piano
*John Povey – Sitar, Mellotron
*Steve Peregrin Took – Guitar, Percussion, Vocals
*Viv Prince – Drums
*Vic Unite - Guitar
*John Lodge - Bass
*Silver Darling - Vocals
*Mick Farren - Spoken Words

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Thomas And Richard Frost - Visualize (1969-70 us, wondrous sunny folk psych)

5:54 AM |



The unreleased album Visualize by Thomas & Richard Frost, taken with its attendant singles "Hello Stranger" and "Open Up Your Heart", is a sparkling and heartwarming gem of late 1960s pop, but the project was merely yet another chapter in the remarkable career of these two brothers, from San Mateo on the San Francisco Peninsula. Rich and Tom Martin had been performing together since the beginning of the decade, with the ensuing litany of bands mirroring all the variegates of American grass roots rock 'n' roll in the 1960s: instrumental surf and greasy R&B in the Impressions; jangly folk-rock with The Newcastle Five; the fuzz-tinged garage rock of The Art Collection. And last but not least, the thundering mod sound of the Martins power trio Powder; whose own LP, recorded while the group was based in Los Angeles and employed as Sonny & Cher's road band, remained frustratingly unissued, and indeed acted as a precursor to the creation of the masterpiece you hold in your hands. 

For after the Powder debacle, the Martins returned to northern California to lick their wounds and demo some more introspective material. Though they were enamored of artists like Donovan and Simon & Garfunkel, the Martins innate - and very much Anglophilic – pop sensibility lingered in new compositions like "Bluey Blues Blue" (later to be recorded as "Where Did Yesterday Go?"), "Would You Laugh" and "She's Got Love". It was to be the latter tune that caught the ear of promo man John Antoon, who signed the Martins to his Tons Of Fun publishing imprint, assumed managerial duties and got the duo signed to Imperial Records under the nom de disque Thomas & Richard Frost. As a single, the simple, catchy "She's Got Love" was to achieve a modicum of success as a turntable hit, reaching only the lower half of the Billboard Hot 100 in late 1969, but with strong regional airplay across the country, upon the back of which the Frosts were able to tour. 

Back in LA, Rich and Tom made the scene with their pals Rodney Bingenheimer and Frank Zinn, enjoying a brief but eye-opening spell as bona fide pop stars. Plans were big for the Frosts, with a full, lavishly orchestrated, album release, but it was all to fall apart as the follow-up singles stiffed and parent label Liberty/UA decided to wind down Imperial. In 1971, Rich and Tom signed a new deal with Uni and finally got an album, eponymously-titled and singer/songwriter-orientated, released the following year. In their press interviews the Frosts did for that Uni album, they disparaged the bubblegum of their Imperial period, but the state-of-the art production pop of Visualize has clearly stood the test of time and sounds better now, than it probably ever has. 

The proceedings are imbued with the Zeitgeist of Los Angeles in its last throes of pop innocence, and the Martins heart-on-their-sleeve Anglophilic sensitivity is less derivative then remarkably refreshing, with superbly recorded arrangements that any late 1960s pop fan will cherish. Listening to tracks like "Open Up Your Heart", "Where Did Yesterday Go?" or "Hello Stranger" recalls the simple joys of commercial pop at the dawn of the 1970s. Uncomplicated, fun, yet eminently memorable. Tony Macauley would be proud.
by Alec Palao, El Cerrito, California


Tracks
1. Prelude/Shes Got Love - 2:55
2. Where Did Yesterday Go - 2:39
3. December Rain April Laughter - 2:54
4. Woodstock - 2:43
5. Gotta Find A New Place To Stay - 2:29
6. With Me My Love - 2:18
7. Where Are We - 2:25
8. Come Clap Your Hands - 2:30
9. The City - 2:33
10.The World Is Love - 2:41
11.On Our Way Home - 2:48
12.If I Cant Be Your Lover (Vic Dana, Ted Glasser) - 5:44
13.Hello Stranger - 2:42
14.Fairy Tale Affair - 2:49
15.Open Up Your Heart (John Worsley) - 2:51
16.Everyday Judy - 4:14
All songs by Thomas and Richard Frost, except where noted.

Musicians
*Richard Martin - Guitar, Vocals
*Tom Martin - Vocals, Guitar, Bass
*Mars Bonfire - Guitar
*Earl Palmer - Drums
*Michael O'Martian - Piano
*Ben Benay - Guitar
*Barney Kessel - Guitar
*David T. Walker - Guitar
*Jim Horn - Saxophone
*Jay Migliori - Flute
*Doug Feiger - Bass
*Tony Sales - Bass
*Max Bennett - Bass
*Red Rhodes - Pedal Seel Guitar
*The Blossoms - Vocals
*Joe Osborne - Bass

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Happy the Man - Crafty Hands (1979 us, smart symphonic progressive rock, japan remaster)

1:20 PM |



Though never a major success story by any means, legendary US progressive rock band Happy the Man have long been one of the most beloved acts in the hearts of true prog fans for many years. Their debut self-titled album in 1977 for Arista Records should have been the start of a great and lengthy career, but the band split in 1979 not long after the release of their second album Crafty Hands.

Crafty Hands, and really any of the output from Happy the Man, is one part progressive rock and one part jazz-fusion. As the band were basically an instrumental outfit, their style was built on soaring melodies, tight but complex rhythms, and dazzling interplay between the instruments. The line-up for this album was Stanley Whitaker (guitars, vocals), Frank Wyatt (keyboards, sax, flute), Kit Watkins (keyboards, recorder), Rick Kennell (bass), and Ron Riddle (drums). Though you can hear the influence of Genesis, Gentle Giant, Yes, and Return to Forever in the music of Happy the Man, they took those influences and created something fresh and unique with them. Tunes like "Service With a Smile" and "Ibby It Is" have bright, breezy melodies that soar over the top of some challenging arrangements, with Watkins & Wyatt really creating some sensational keyboard tapestries. 

Those who love the complex interplay of Gentle Giant will totally get into "Steaming Pipes", and "Morning Sun" is a just a gorgeous slice of keyboard drenched prog rock. "Wind Up Doll Day Wind" would feature the vocals of Whitaker, and though a nice little Genesis styled number, kind of sticks out like a sore thumb here. Much more ambitious are the dramatic "Open Book". complete with some tasty acoustic picking from Whitaker and some lovely flute & recorder from Wyatt & Watkins. "I Forgot to Push It" is an upbeat prog/fusion track filled with intricate guitar/keyboard exchanges, and the album closes with the melodic & atmospheric "The Moon I Sing (Nosurri)", a track just dripping with gorgeous keyboard textures and melodies.

As far as US prog goes, it doesn't get much better than this folks. Crafty Hands is classy stuff all the way, and if by chance you haven't yet stumbled upon either this or Happy the Man's debut previously, then you owe it to yourself to discover them at this very moment.
by Pete Pardo


Tracks
1. Service With A Smile (Ron Riddle, Hawkes) - 2:44
2. Morning Sun (Kit Watkins) - 4:05
3. Ibby It Is (Frank Wyatt) - 7:50
4. Steaming Pipes (Stanley Whitaker) - 5:30
5. Wind Up Doll Day Wind (K. Watkins, S. Whitaker, F. Wyatt) - 7:06
6. Open Book (F. Wyatt) - 4:53
7. I Forgot To Push It (K.Watkins) - 3:08
8. The Moon, I Sing (Nossuri) (K.Watkins) - 6:16

Happy The Man
*Stanley Whitaker - Six And Twelve String Guitars, Vocals
*Frank Wyatt - Pianos, Harpsichord, Saxes, Flute, Words
*Kit Watkins - Pianos, Harpsichord, Moog, Fake Strings, Clavinet, 33, Recorder
*Rick Kennell - Bass
*Ron Riddle - Drums, Percussion

1977  Happy The Man (Japan remaster)

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Jodo - Guts (1971 uk, stunning heavy blues psych rock)

7:12 AM |



Jodo formed from a band called Axe who had a minor hit with a single called "Running Wild" written by Rod Alexander and Bill Kimber.

Jodo were a British band whose sole album was only released in the US at the time. Killer heavy-rock sound with ultra loud fuzzed out guitars and melodic vocals. Engineered by Martin Birch (B. Sabbath, D. Purple, B.O.C.) and produced by Derek Lawrence (D. Purple, Green Bullfrog).


Tracks
1. Nightmare (R. Alexander, W. E. Kimber) - 3:30
2. One Night Stand (J. Taylor , R. Alexander, W. E. Kimber) - 2:49
3. I'm Still Trying (J. Taylor , R. Alexander, W. E. Kimber) - 4:50
4. What's Your Number (E. Jordan, J. Taylor , R. Alexander, W. E. Kimber) - 2:46
5. Rat Race (R. Alexander, W. E. Kimber) - 2:58
6. Seventeen (J. Taylor , R. Alexander, W. E. Kimber) - 5:23
7. Wish You'd Never Been Born (J. Taylor , R. Alexander, W. E. Kimber) - 3:06
8. It's No Good (R. Alexander, W. E. Kimber) - 3:12
9. Pushing (D. James, R. Alexander, W. E. Kimber) - 3:50
10.There's Still Time (J. Taylor , R. Alexander, W. E. Kimber) - 4:36

Jodo
*Earl Jordan - Lead Guitar, Vocals
*Rod Alexander - Bass, Keyboards, Vocals
*Jon Taylor - Guitar
*Bill Kimber - Vocals
*Chico Greenwood - Drums

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Pearls Before Swine - Use Of Ashes / These Things Too (1969-70 us, fabulous acid folk baroque psych, 2011 remaster issue)

7:27 AM |



For their second Reprise Records outing, Pearls Before Swine worked primarily with Nashville-based musicians, including a small orchestra who provide a stately feel to the highly intimate nature of the material. According to Tom Rapp, the songs were written while he and his wife were living in the Netherlands, which Rapp said contributed significantly to the air of romanticism throughout. 

"The Jeweller" opens the album with an exquisite tale that exemplifies Rapp's remarkable abilities to draw upon disparate metaphors such as shining coins and worshiping God, both involving the The Use of Ashes -- hence the title. The rural mood created by the notable Music City USA stalwarts effortlessly fuses with David Briggs' baroque-flavored harpsichord on the delicate "From the Movie of the Same Name," featuring Rapp and spouse Elisabeth on non-verbal vocalizations as they "da-da-da" the melody. Although "Rocket Man" predates the Elton John cut by a couple of years, Bernie Taupin cites it as his inspiration for the lyrics behind John's 1972 Top Ten hit. 

The words are credited as having been influenced by a Ray Bradbury novella that dealt with the universal emotion of loss. Again, Briggs' keyboard runs relate the story with subdued refinement. By contrast, "God Save the Child" is one of the more amplified inclusions, making good use of session heavies Kenneth A. Buttrey (drums) and Charlie McCoy (guitar), especially when placed against the restrained string section. Another sonic texture in the tapestry is the jazzy "Tell Me Why," shimmering with an uncredited vibraphone lead gliding beneath Rapp's whimsical lines. These tracks are offset by the noir "When the War Began," the ethereal love song "Margery," and the mid-tempo retelling of the "Riegal," a ship whose 4,000 inhabitants perished during World War II. 

Rapp's juxtaposition of stark imagery reveals that while Pearls Before Swine might not have continued the bombastic direction set about on their earlier protest works "Uncle John" or "Drop Out," they maintained social and political relevance. 
by Lindsay Planer

Amid all the weird and wonderful music to appear in 1967, Pearls Before Swine still managed to stand out when their startling first album, One Nation Underground, appeared on New York’s underground ESP-Disk label. The following year’s Balaklava refined the other-worldly mystery surrounding the band, led by singer-songwriter Tom Rapp, who (thanks to his manager, who also looked after the Fugs) next appeared on Reprise.

With original band gone, Rapp used session musicians along with wife Elizabeth on his next two albums, gathered here on a twofer which curiously swaps their order of release. 1969’s These Things Too takes a subtler, soft focus approach, veering between the hallucinogenic shimmers of the title track and Man In The Tree, to stoned weirdness of Frog In The Window, plus a heartfelt take on Dylan’s I Shall Be Released.

Though backed by the Area Code 615 musicians, The Use Of Ashes reflected Rapp’s time in Holland, an archaic European feel shrouding The Jeweller, The Old Man and wartime shipwreck tragedy Riegal. When The War Began is chillingly beautiful, with heavenly doo wop strings, while Rocket Man, written on the day of the moon landing, provided Bernie Taupin with a handy title for Elton. Over 40 years on, the atmosphere of these albums still sounds like nothing on this planet.
by Kris Needs


Tracks
1. The Jeweler - 2:45
2. From The Movie Of The Same Name - 2:18
3. Rocket Man - 3:01
4. God Save The Child - 3:04
5. Song About A Rose - 2:18
6. Tell Me Why - 3:42
7. Margery - 2:59
8. The Old Man - 3:13
9. Riegal - 3:09
10.When The War Began - 5:05
11.Footnote - 1:18
12.Sail Away - 3:07
13.Look Into Her Eyes - 4:36
14.I Shall Be Released - 3:04
15.The Frog In The Window (Reprise) - 2:32
16.I'm Going To The City - 2:30
17.Man In The Tree - 3:26
18.If You Don't Want To (I Don't Mind) - 3:14
19.Green And Blue - 0:21
20.Mon Amour - 2:06
21.Wizard Of Is - 3:36
22.The Frog In The Window - :41
23.When I Was A Child - 4:45
24.These Things Too - 3:23
All compositions by Tom Rapp

Musicians
*Tom Rapp - Vocals, Guitar
*Elisabeth - Vocals
*Charlie Mccoy - Dobro, Guitar, Bass, Harmonica
*Norbert Putnam - Bass
*Kenneth Buttrey - Drums
*Buddy Spicher - Violin, Cello, Viola
*Mac Gayden - Guitars
*David Briggs - Piano, Harpsichord
*John Duke - Oboe, Flute
*Hutch Davie - Keyboard
*Bill Pippin - Oboe, Flute
*Wayne Harley - Banjo, Harmony
*Jim Fairs - Guitar, Harmony, Celeste
*Bill Salter - Bass
*Grady Tate - Drums
*Richard Greene - Electric Violin

Pearls Before Swine
1967 One Nation Underground (Japan remaster)
1968  Balaklava (Japan remaster) 
1971  Beautiful Lies You Could Live In
1971  City Of Gold
Tom Rapp
1972  Tom Rapp - Stardancer (2009 Lemon edition)
1973  Sunforest (2009 Lemon edition)

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Happy The Man - Happy The Man (1977 us, spectacular progressive experimental space rock, japan remaster)

2:05 AM |



Though it met with little commercial success, Happy the Man's 1977 debut quickly became a cult sensation with fans of prog rock. It's easy to see why: their sound combines a number of diverse influences in a distinctive manner, and their music is as complex and meticulously arranged as any prog album one cares to mention. 

Unlike some popular prog acts, Happy the Man does not allow one instrument to take center stage or allow relentless soloing to dominate the songs. Instead, the focus is on complex interplay between the group's players: compositions like "Knee Bitten Nymphs In Limbo" and "Stumpy Meets the Firecracker in Stencil Forest" are built on the kind of mathematically complex yet playful instrumental interplay that is normally associated with Frank Zappa's most complex work. Elsewhere, the group slows down the instrumental pyrotechnics to show off a grasp of melody; the best example is "Starborne," which starts off with moody washes of Tangerine Dream-style synthesizer and builds to a dramatic, almost orchestral fanfare. 

The one real downside of the album is the inclusion of two vocal-oriented songs that don't jell with the rest of the album because the group is obviously not comfortable dealing with conventional song structures. These selections also suffer from pretentious lyrics; for example, "On Time as a Helix of Precious Laughs" tries to philosophize about the meaning of life but gets bogged down in artsy, obscure imagery. 

In the end, Happy the Man doesn't quite live up to its legendary reputation but remains a solid prog outing that will find favor with those who enjoy art rock at its most complex and ambitious. Collector's note: One Way Records' 1999 reissue of Happy the Man was remixed for the compact disc format by the group's keyboardist, Kit Watkins. 
by Donald A. Guarisco


Tracks
1. Starborne (Kit Watkins) - 4:22
2. Stumpy Meets The Firecracker In Stencil Forest (Stanley Whitaker) - 4:16
3. Upon The Rainbow (Befrost) (Watkins, Frank Wyatt) - 4:42
4. Mr. Mirror's Reflections On Dreams (Watkins) - 8:54
5. Carousel (Wyatt) - 4:06
6. Knee Bitten Nymphs In Limbo (Whitaker) - 5:22
7. On Time As A Helix Of Precious Laughs (Wyatt) - 5:22
8. Hidden Moods (Watkins) - 3:41
9. New York Dream's Suite (Wyatt) - 8:32

Happy The Man
*Mike Beck - Percussion
*Rick Kennell - Electric Bass
*Stanley Whitaker - Six, Twelve String Guitars, Lead Vocals
*Frank Wyatt - Saxophone, Flute, Piano, Keyboards, Vocals
*Kit Watkins - Mini Moog, Acoustic Piano, Rhodes Piano, Arp String Ensemble, Hammond B3, Hohner Clavinet, Flute, Marimba

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The Squires - Going All The Way With The Squires (1965-66 us, awesome garage psych, Crypt vinyl edition)

3:30 AM |



The Squires hailed from Bristol, Connecticut, which is a small working class city about 25 miles from the state capitol of Hartford. Bristol was once home to the Bristol Red Sox who were the AA affiliate of the Boston Red Sox in the 70's & 80's, playing their home games at ultra cool Muzzy Field (which still stands to this day.) Many of the Red Sox greats of the 70's such as Jim Rice, Fred Lynn and later Bruce Hurst & Dennis "Oil Can" Boyd passed through Bristol. Outside of that the only other notable landmark in Bristol is that it is the home base of "dork factory" ESPN network (a very uncool place!)

All that aside The Squires began life as The Rogues and cut a cool garage 45 called "It's The Same All Over The World" in 1966. A name change to The Squires found the group signed as a "one off" with mega USA label Atco Records. "Going All The Way" is quite simply one of the top 10 USA garage 45's of the era. Musically it comes on as strong as 1966 Byrds blended with the toughness of the early Who. Lyrically it is in the same ballpark as Third Bardo's "I'm 5 Years Ahead Of My Time" & The Who's "I Can See For Miles" in that it is a teenage declaration of intent. Clear the field The Squires are coming through! I should also mention lead singer Mike Bouyea's vicious scream about midway in.

On the flip "Go Ahead" is in a different bag altogether, this one is a chiming folk-rock ballad that brings to mind California folk-rockers The Dovers. The lead vocals on this song remind me of a very young Feargal Sharkey of The Undertones. At one time this 45 was ultra rare but a warehouse find in the mid 80's leaked a few more copies onto the market. I got my copy in a swap with Connecticut radio legend "Fast Eddie" Budds for the first 45 by Squeeze, talk about a steal! That was like the Orioles getting Frank Robinson from Cincinnati for Milt Pappas!

For those unwilling to search out the 45, luckily Crypt Records issued a sensational Squires anthology simply titled "Going All The Way" back in the 80's,  it's a great album with many superb out-takes. Squires lead singer Mike Bouyea later became a radio personality in Canada.
by Dave Furgess


Tracks 
1. Going All The Way - 2:19
2. It's The Same All Over The World (as The Rogues) - 2:38
3. Oh No! (as The Rogues) (Bouyea, Flanigan) - 2:24
4. I Can't Do It - 2:26
5. Gloria (V. Morrison) - 2:34
6. The Original - 2:01
7. Go Ahead - 2:16
8. We Can Try - 2:02
9. Walkin' - 1:56
10.Rink Bash - 2:35
11.It's The Same All Over The World (Unreleased Demo) - 2:26
All songs written by Michael Bouyea, except where noted.

The Squires
*Jim Lynch - Backing Vocals, Rhythm Guitar
*John Folcik - Bass Guitar
*Tom Flanigan - Lead Guitar, Backing Vocals
*Michael Bouyea - Lead Vocals, Drums,  Guitar
*Kurt Robinson - Organ

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