BOND & BROWN
Two Heads Are Better Than One
Esoteric CD
www.cherryred.co.uk/esoteric
As contemporaries and sparring partners on the poetry performance scene of the early ’60s former Cream lyricist Pete Brown and larger than life organist Graham Bond finally made their partnership official by pooling their resources on this one off album project originally released on Chapter One records in 1972 which as fate would have it would be Bond’s last recording before his death in ’74.
Now reissued with the addition of two bonus tracks from the ’72 Lost Tribe EP the head to head meeting of two such larger than life talents yeilds all the sparks expected on a collaboration that touches base with elements of prog, vibey jazz fusion and heavy Afro percussion grooves across the space of its eight tracks. Thanks to Pete Brown’s singular way with words it features some truly spectacular song titles – namely ‘Scunthorpe Crabmeat Tram Sideways Boogie Shuffle Stomp’, ‘CFDT (Colonel Fright’s Dancing Terrapins)’ and, best of all, the Spike Milligan-esque ‘Milk Is Turning Sour In My Shoes’.
Grahame Bent
PETE DELLO AND FRIENDS
Into Your Ears
Repertoire CD
www.repertoirerecords.com
Pete Dello, former main mover in Honeybus, first released the baroque Into Your Ears in 1971 to general indifference. In a familiar story, its reputation subsequently shot up and an original is now out of the grasp of all but the most fanatical, not to mention stinking rich, of us.
It’s reminiscent of late-period Beatles, snuggled somewhere between ‘Octopus’s Garden’ and ‘Carry That Weight’, with a bit of The Piper At The Gates Of Dawn chucked in. However, Dello’s individual pop nous is clear throughout Into Your Ears; he is a very impressive songwriter and a versatile singer, pulling off songs about earwigs one minute and failing marriages the next.
He’s the producer and main arranger as well (it seems those ‘friends’ he credits is ironic) and that gives it a pleasing overall unity too. This reissue comes complete with a detailed interview, mini gatefold sleeve and poster insert.
Jeanette Leech
THE GRATEFUL DEAD
To Terrapin: Hartford ’77
Rhino CD
www.rhino.co.uk
Long-time Deadheads reckon the Spring 1977 tour was their best ever. This three-CD set, capturing the last night of the tour at Hartford Civic Centre, Connecticut, on May 28th certainly presents some strong evidence. The band are on incendiary form, particularly Jerry Garcia, whose unmistakeable tone sounds positively extra-terrestrial on outings like the space-jazz freefall on ‘Playing In The Band’ or the jaw-droppingly intricate middle section of an amazing 15-minute ‘Not Fade Away’ starting with the traditional twin drummer stealth-arrival of ‘Drums’.
The Dead were about to record Terrapin Station, derided at the time in some quarters but now standing as a classic. The first hour of CD three, starting with ‘Estimated Prophet’ and flowing seamlessly towards the ‘Terrapin Station’ suite itself, is possibly the most incandescent Dead-stretch this writer has encountered since diving into Live Dead in the late ’60s. Elsewhere, there are faves like a 21-minute ‘Sugaree’ and ‘Wharf Rat’ which, combined with the accompanying illustrated booklet, make for one huge peak in their mighty catalogue.
Kris Needs
THE GROUNDHOGS
Swedish Radio Masters ’76
Major League Productions CD
mlplive.com
This set in 1976 for Swedish radio contains a good mix of tracks from The Groundhogs back catalogue; one from Crosscut Saw, two from Black Diamond, two from Hogwash and two from Split to be exact; all in extended form. This particular line-up of the band was devilishly tight leaving Tony McPhee ample room for some memorable guitar pyrotechnics.
It’s unlikely the group are going to win any fresh converts with this release but long term fans will lap it up. The 28 minutes of ‘Split Part 2’ and ‘Cherry Red’ that close the album will either have you rejoicing or running to the hills depending on your opinion of the band.
This release has been completely remastered from the original studio tapes and the sound quality is truly superb. To complete the package McPhee has written new liners and, all in all, this is another excellent exercise in archaeology by Major League Productions.
Austin Matthews
BERT JANSCH
L A Turnaround
Santa Barbara Honeymoon
A Rare Conundrum
All Virgin CDs
www.emimusic.co.uk
Jansch recorded this triple-whammy following Pentangle’s demise and they were originally released on Tony Stratton Smith’s Famous Charisma Label.
You can buy 1974’s LA Turnaround for a start, as it opens with the hauntingly sublime ‘Fresh As A Sweet Sunday Morning’ (worth the price of any album alone) and also contains a charming 13 minute home movie shot during its recording at Stratton Smith’s Sussex mansion. Produced by Michael Nesmith, the playing of pedal steel legend Red Rhodes dovetails nicely with Jansch’s songs. I’d say not quite a great album.
Santa Barbara Honeymoon, recorded in America a year later, alas without Nesmith and Rhodes, is a rum old mix. By no means bad, it just suffers from some bizarre arrangements.
A Rare Conundrum, another year on, is more what you’d expect from the folk legend. It lacks a track as beautiful as ‘Sweet Sunday’ but overall is my pick of the three.
All come with bonus tracks in handsome packaging.
Vic Templar
THE LONDON SYMPHONY ORCHESTRA and ENGLISH CHAMBER CHOIR with GUEST SOLOISTS
Tommy
Repertoire CD
www.repertoirerecords.com
Lou Reizner, possibly encouraged by The Assembled Multitude’s ‘Overture,’ paired the LSO with an impressive roster of guests to gamely tackle Townshend’s meandering libretto. This nostalgic, slip-cased chocolate box comes complete with a 36-page booklet reproducing the impressive Beatles Illustrated Lyrics-styled artwork. Marvel once again at Sandy Denny’s angelic birth announcement, ‘It’s A Boy’, Rod Stewart’s rambunctious ‘Pinball Wizard’ (now sadly eclipsed by Sir Elton’s), Ritchie Havens’ magnetic ‘Eyesight To The Blind’, Roger Daltrey’s soulful duet with Stevie Winwood on ‘Christmas’ and his vein-popping ‘Sensation’ and ‘I’m Free.’
The Ox struggles vainly to out-emote his upper crusty surroundings on ‘Cousin Kevin’ and Moonie is conspicuously absent (although Ringo is appropriately smarmy as Uncle Ernie), but Merry Clayton pours her soul (and half a lung) into ‘The Acid Queen’ and mommie dearest Maggie Bell “rises” heavenward, fronting the choir invisible on ‘Tommy, Can You Hear Me?’ and ‘Smash The Mirror.’
It still feels like a charity event, but is worth revisiting for that one-of-a-kind cast!
Jeff Penczak
JACKIE MCAULEY
Jackie McAuley
Esoteric CD
www.cherryred.co.uk/esoteric
Once upon a time organist with Them and one half of Trader Home with former Fairport vocalist Judy Dyble, Jackie McAuley’s folk and roots credentials during the late ’60s and early ’70s speak for themselves. With Trader Home’s cult classic Morning Way safely in the can McAuley started work on his debut solo album but rather than playing if safe McAuley opted to broaden his horizons via his choice of collaborators. Originally released on Dawn in 1971, much of the inventiveness about McAuley’s self titled debut stems from his decision to surround himself with a posse of young British jazz musicians centred on the Henry Lowther Band including Henry himself, Tony Roberts (also an ex-member of Alexis Korner’s Blues Incorportated) and bassist Ray Babbington then playing with Nucleus and Soft Machine. The result of such free thinking and the possibilities opened up by the expanded instrumentation means that traditional dividing lines between folk, blues and jazz are blurred throughout this highly creative debut which now comes reissued with non album single ‘Rocking Shoes’ / ‘One Fine Day’.
Grahame Bent
THE NEW DAWN
There’s A New Dawn
Jackpot CD
I just can’t get enough of this lost classic. It’s magical to hear something this good that, for me anyway, was a totally unknown entity. On its release in 1970 only 500 copies were privately pressed up and, over the years, their legend has grown with prices for rare originals sky-high.
Musically, The New Dawn straddle the fence between what used to be referred to as “local” garage – pure and simple – with elements of the more psychedelic side also within their template. But with its focus on basic chord structures, judicious use of thick fuzztone plus blaring organ and fat bass, it definitely errs more on the side of garage. In fact, if you are familiar with The Summer Sounds – a sensational late ’60s New England garage outfit who also sung of lost love and yearning – then you could easily be forgiven for thinking this beauty was their slightly more mature (yet strictly non-existent of course) second effort. Quite a few parallels can be drawn between the two, in sound technique, lyrical imagery, the introspective nature of much of its contents and overall atmospherics.
‘(There’s A) New Dawn’ is a strong, hope-filled opener, and the absolutely wonderful lamentations of ‘It’s Rainin’’ will capture your heart. It’s this, plus the completely homespun nature of the project, with its warm array of instrumental tones that marks out The New Dawn as something very special indeed. Standouts are many. ‘I See A Day’ and the aforementioned ‘It’s Rainin’’ exude killer minor-key melodies and tough fuzz. ‘Hear Me Cryin’’, the defiant tones of rags-to-(hopefully) riches tale ‘Proudman’ and ‘Life Goes On’ are powerful and compelling too, offering great variety, feel and conviction. Possibly these show best where The New Dawn are coming from.
This Jackpot release comes supplemented with three cool, slightly heavier demos from ’71 (check out ‘Do What You Want To’) and an adequate reading of ‘It’s Rainin’’ from last year’s live reunion; even if no real deadly fuzz guitar can be detected. The group’s story has just been revealed in the latest issue of Ugly Things.
A serious contender for best garage reissue of the year so far.
Lenny Helsing
STEAMHAMMER
Speech
Repertoire CD
www.repertoirerecords.com
By the time Brit bluesers Steamhammer came to record their final album Speech in 1972, they were weirding out very nicely indeed. Massively popular in Germany, where they were obliged to ceaselessly thrash out ‘Junior’s Wailing’ to the appreciative hoisting of steins, it nevertheless became evident in the studio that they couldn’t wait to slip out of those blues straitjackets.
Speech consists of three tracks: the mighty May Blitz tumult of ‘Penumbra’, all 22 and a bit minutes of it, ‘Telegram (Nature’s Mischief)’ and ‘For Against’. Predominantly instrumental, often admirably mental, each track works up an appropriate head of steam whereby Martin Pugh’s feisty, soulful guitar crescendos contrast with proggy, becalmed interludes of tense portent, with Louis Cennamo’s bowed bass summoning forth shark fins from the depths of the mix.
The tragic death from leukaemia of drummer Mick Bradley before the album’s original release spelled the end for Steamhammer, as the heart understandably went out of the band. Speech, however, provides a touchingly spirited epitaph.
Marco Rossi
VARIOUS ARTISTS
Clap Your Hands And Stamp Your Feet: 24 Nederglam Tracks From The Early ’70s
Excelsior CD
www.excelsior-recordings.com
This may well prove to be the Nuggets of Dutch ’70s pop. This is no mere throwaway nostalgia fest, but a superlative package featuring 24 tracks by 23 acts. It’s not a cheap buy at 20 Euros but it really is a beauty.
The disc comes sleeved inside a CD sized hardback digipack cover which also contains a 50 page glossy colour booklet. Each 45 featured has a CD sized page reproduction of the original picture sleeve, accompanied by smaller repros of the different picture sleeves the record was released in, in other countries! Along with potted biographies and an introductory essay, by Jos de Groot and Robin Wills and band photos, this is more akin to an informed souvenir art gallery guide than a standard insert!
Most of these 45s are obscure and the music varies from heavy stompers such as Dump’s ‘Annabelle’, Heart’s ‘Lovemaker’ and Plastic Feet’s ‘Big Blond Baby’ to the more subtle delights of Beatles-obsessed Smyle’s ‘She Means A Lot To Me’ (which would sit well on the Liverpool Echo or Rockin’ Horse LPs), Melody’s ‘Steppin’ Stone’ (no, not that one) and BZN’s ‘Silver Anny’.
Where else are you ever going to hear The Heavy Dwarf’s catchy and driving as hell ‘Moeder Natuur’ that comes on like a Dutch Big Boy Pete? This release envelops both serious attention to detail and serious fun. A labour of love for sure and essential for any ’70s pop and junk shop glam fans.
Paul Martin
PETER WALKER
Long Lost Tapes 1970
Tompkins Square CD
www.tompkinssquare.com
Legendary finger-style guitarist Peter Walker cut his teeth on the Cambridge, Massachusetts and Greenwich Village folk scenes of the ’60s. In addition to being LSD guru Timothy Leary’s “musical director” he also studied with Ravi Shankar and Ali Akbar Khan and recorded two albums for Vanguard Records in an American folk/raga vein. This material, recorded at Levon Helms’ house in Woodstock, New York, follows in the same mode.
Atmospherically accompanied by traps, bells and frame drummer Maruga Booker, clarinetist Perry Robinson, tablas master Badal Roy, bassist Rishi and flautist Mark Whitecage, Walker proves quite transfixing with his drone-dominated, intoxicating arrangements that seamlessly blend Eastern and Western musical traditions. In fact, the six selections, from the contemplative ‘Meditation Blues’ through ‘Camel Ride’, ‘City Pulse’, ‘Missing You’, ‘102nd Psalm’ and the closing ‘Mellowtime’ work nicely as a suite of sorts.
Gary von Tersch
YAHOWA 13
Magnificence In The Memory
Drag City CD
www.dragcity.com
In the late ’60s/early ’70s a California-based mystical guru who went by the name of Father Yod headed up a tribe of enlightened freaks who called themselves The Source Family. They ran a vegetarian restaurant on The Sunset Strip and also spent a whole lot of time recording far-out music, one of the players on some of those sessions being family member Sky Saxon. The myths say that they recorded hundreds of albums and only let a small number of them out into the public.
Magnificence In The Memory is a collection of nine previously unreleased tracks recorded by YaHoWa 13 in ’73/’74. The music is not what you might expect from a group sporting beards and sandals and flowing white robes. There are no credits on the sleevenotes so it’s unclear if Father Yod himself is doing the vocals, but whoever has the mic screams more than he sings. And the band is more experimental rock ’n’ roll than they are new age. There are bits that sound like dub reggae; other parts that are a dissonant noise-fest not dissimilar to no-wave; some moments they sound like fractured rockabilly.
Overall the feel is more like a freeform Can rehearsal circa Tago Mago than it is the relaxation tape you fall asleep to. Wow!
Brian Greene |
