Classic Rock, Hard Rock, Heavy Blues Rock, Heavy Progressive Rock, U.K. 1970s (Tracks) Wishbone Ash – “Phoenix”

Wishbone Ash – “Phoenix” Track’s Video on “YouTube”

Category/Music Genres :

Classic Rock, Hard Rock, Heavy Blues Rock, Heavy Progressive Rock, U.K. 1970s (Tracks) 

Band :

Wishbone Ash (Torquay, Devon, U.K.)

Wishbone Ash Band’s photo, 1970

Members :

Andy Powell (guitar, vocals), Steve Upton (drums, 1969-90), Martin Turner (vocals, bass, 1969-80, 1987-91, 1995-96), Ted Turner (guitar, vocals, 1969-74, 1987-94), Laurie Wisefield (guitar, vocals, 1974-85), John Wetton (bass, vocals, 1980-81), Trevor Bolder (bass, vocals, 1981-83), Claire Hamill(vocals, 1981-82), Mervyn “Spam” Spence [aka O’Ryan] (bass, vocals, 1983-86), Jamie Crompton(guitar, vocals, 1985), Phil Palmer (guitar, vocals, 1985-87), Andy Pyle (bass, vocals, 1986-87, 1991-94), Robbie France (drums, 1990-91), Ray Weston (drums, 1991-94, 1997-2007), Mike Sturgis (drums, 1994-97), Roger Filgate (guitar, vocals, 1994-97), Tony Kishman (vocals, bass, 1994-95, 1996-97), Bob Skeat (bass, vocals, 1997-present), Mark Birch (guitar, vocals, 1997-2001), Ben Granfelt (guitar, vocals, 2001-04), Muddy Manninen (guitar, vocals, 2004-17), Joe Crabtree (drums, 2007-present), Mark Abrahams (guitar, 2017-present)

Related Artists :

Asia, Blast Room, Blue Meanies, Diamond Head, The Empty Vessels, Gringos Locos, Mistakes, Phenomena, Uriah Heep

Track :

“Phoenix” (written by Wishbone Ash) B2 track (closing track) included on the album “Wishbone Ash”

Album :

“Wishbone Ash” released on MCA Records ( MKPS 2014) on 4th December 1970 (recorded in September 1970, De Lane Lea Studios, London)

Wishbone Ash is the first studio album by Wishbone Ash. It peaked at No. 29 in the UK Albums Chart in January 1971.

Line-up/Credits :

Andy Powell – lead guitar, vocals

Ted Turner – lead guitar, vocals

Martin Turner – bass, vocals

Steve Upton – drums

Art Direction, Design – John C. LePrevost

Engineer – Martin Birch

Executive-Producer [Executive Production For The U.S.A.] – Don Shain

Photography By – Gene Brownell

Producer – Derek Lawrence

Written-By – Powell, Turner, Upton, Turner

Companies :

Published By – Miles Music (2)

Recorded At – De Lane Lea Studios

Copyright (c) – MCA Records International

Licensed From – MCA Records International

Manufactured By – The Decca Record Company Limited

Printed By – Moore & Matthes Ltd.

This version comes in a gatefold sleeve and has pink and red labels.

Track-list :

1. Blind Eye (3:42)
2. Lady Whiskey (6:11)
3. Error Of My Ways (6:56)
4. Queen Of Torture (3:21)
5. Handy (11:36)
6 Phoenix (10:27)

Total Time: 42:23

Lyrics :

Bird rise high from the cinders
Leave it all far behind
All the ruins and the fire

Bird raise your head from the ashes
Many men lay dead
You can see them like I

Phoenix rise
Raise your head to the sky

Information related to the album/track :

“All Music”

For a band that quickly evolved into a radio-friendly prog-leaning outfit, it’s a wonder that Wishbone Ashstarted out as the boogie and blues-based group that this debut reveals. If the term “jam band” existed in 1970, Wishbone Ash surely would have been a major player in that genre. As it was, this album stacked up nicely when compared with other British hard rock releases that year. Not as complex or calculated as Led Zeppelin’s Led Zeppelin III but definitely more focused than Mott the Hoople’s Mad Shadows, Wishbone Ash more closely resembled Benefit by Jethro Tull, a group that hadn’t yet adopted its own progressive elements. The dual lead guitar attack of Andy Powell and Ted Turner was a component that none of the above bands possessed, but unfortunately their (shared) lead vocals lacked the punch and authority necessary for hard rock bands to be taken seriously. So while they could rock as loudly and convincingly as virtually anyone, their lead singers, perhaps, held them back from being the force they should have been. The follow-up, Pilgrimage, took steps to rectify Wishbone Ash’s odd position, but this album nevertheless opened eyes and ears and revealed to the rock & roll community a band with incredible potential and talent.

Information related to the band :

“Progarchives”

Founded in Torquay, UK in 1969 – Still active as of 2017

The history of WISHBONE ASH goes back to 1966, when drummer Steve Upton of the ‘Scimitars’ joined bassist Martin Turner and Martin’s brother Glen in the band ‘The Empty Vessels’. The trio named themselves ‘Tanglewood’ and moved to London. Glen Turner quit soon and was replaced by Ted Turner of Birmingham band ‘King Biscuit’. The line-up was finalised by guitarist Andy Powell (Ex-‘Sugarband’). The two guitarists developed a melodic twin guitar lead style that would become the trademark of ‘Wishbone Ash’.

In 1970 WISHBONE ASH released their self titled first record, establishing a mixture of Blues-Rock, Jazz and English Folk, that the band would elaborate on in their following records. The production work by Martin Birch was excellent and the record contains the masterpiece ‘Phoenix’, that would become a ‘Wishbone Ash’ live classic and give way to elaborate improvisations on stage. At the same time the band would start to use lyrics and imagery drawn from mythology and fantasy. like ‘The King will come’, ‘Throw down the sword’, ‘Persephone’ & ‘Argus’.

In 1971 ‘Wishbone Ash’ released ‘Pilgrimage’ and a year later ‘Argus’, both records bringing the WISHBONE ASH sound to perfection by introducing elaborate vocal arrangements and sophisticated instrumental passages. Both records are masterpieces. In 1973 the band released their fourth LP, ‘Wishbone Four’, and toured Europe, documented by their live release ‘Live Dates’ (1973) and followed by an extended America Tour. In 1974 Ted Turner left and was replaced by Laurie Wisefield (Ex-Home) who added steel guitar and banjo to the ‘Wishbone Ash’ sound on their 1974 release ‘There’s The Rub’. During the rest of the seventies the new line-up recorded a series of good but less interesting records.

In 1987 the original line-up re-united for a series of records, including the all instrumental ‘Nouveau Calls’ (1988), before going again though a series of line-up changes. At the end of the 90’s the band found a new stability with founding guitarist Andy Powell, bass player Bob Skeat and drummer Ray Weston, joined in 2004 by Finnish guitarist Muddy Manninen.

‘Pilgrimage’ and ‘Argus’ are highly recommended.

“All Music”

During the early and mid-’70s, Wishbone Ash were among England’s most popular hard rock acts. The group’s roots dated to the summer of 1966, when drummer Steve Upton formed a band called Empty Vessels with bassist/vocalist Martin Turner and guitarist Glen Turner. Empty Vessels soon changed their name to Tanglewood and moved to London; during a gig at the Country Club in Hampstead, they were seen by would-be rock manager Miles Copeland, who was impressed with the jazz and progressive rock influences within the band and offered to be their manager.

Glen Turner left the band at that point, and an advertisement for a guitarist resulted in the addition of both David Alan “Ted” Turner and Andy Powell, who provided the basis for the sound of the new lineup with intertwining riffs and phrases drawn from both soul and blues, coupled with Martin Turner’s melodic bass sound and Upton’s jazz-influenced drumming. A new name was called for, and after several suggestions by Copeland that proved unacceptable, “Wishbone Ash” was chosen from two lists of words. The group rehearsed for weeks at Copeland’s home, working out an entirely new repertoire, and played their first gig opening for the Aynsley Dunbar Retaliation. It wasn’t too long before they were opening for Deep Purple, where a soundcheck jam between Powell and Ritchie Blackmore led to a recording contract with the American Decca label.

Their self-titled first album appeared in 1970; Pilgrimage and Argus followed over the next two years, and each showed a major advance in the band’s sound. The release of 1973’s Wishbone Four reflected a greater maturity to the group, and was their first fully developed album, with songwriting that didn’t hide behind a progressive pose but luxuriated in the members’ folk music inclinations, without compromising the harder edge of their music. The album also saw the departure of Ted Turner, who was replaced by Laurie Wisefield.

Locked In and New England followed; Martin Turner departed after 1979’s Just Testing, to be replaced by ex-King Crimson bassist/singer John Wetton. Wishbone Ash soldiered on through the ’80s, and in 1986 even got back with Copeland, by then a major player in the recording industry by virtue of his management of the Police and his founding of I.R.S. Records. Wishbone Ash’s history came full circle with the reunion of Powell, Upton, Ted Turner, and Martin Turner, who recorded three albums for I.R.S. They remained a working band into the ’90s, led by Andy Powell and Ted Turner and touring and recording regularly, though Upton quit the band.

Martin Turner was replaced in 1993 after the band recorded The Ash Live in Chicago. He was replaced by returnee Andy Pyle, who remained only until 1994. Powell, the lone original member of the band, enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis for a European tour in 1995. When Kishman, weary from touring with Ash while working with other musicians in the United States, took a breather, Martin Turner finished the tour for him. Kishman returned to resume vocal duties on Wishbone Ash’s 1996 studio effort Illuminations. In the aftermath, everyone but Powell quit again. He utilized a revolving-door approach to musicians and took the unusual step — at the end of the first wave of rave culture — of releasing two electronic dance albums on Invisible Hands Music that grafted synthetic beats onto Wishbone Ash guitar riffs. Trance Visionary was first, spawning a four-mix 12″ that was a dancefloor smash and reached 38 on the U.K. dance chart, followed by the less successful yet critically acclaimed Psychic Terrorism.

In 2000, for the band’s 30th anniversary, the acoustic collection Bare Bones was issued just before they hit the road to celebrate. While the personnel continued to shift and change, it didn’t prevent Powell and company from recording Bona Fide, a back-to-basics studio date issued in 2002 before the band toured America with Savoy Brown. In 2004, Finnish guitarist Muddy Manninen joined the band, replacing guitarist Ben Granfelt who had been a member since 2001. In 2006, the band issued Clan Destiny before the departure of longtime drummer Ray Weston. He was replaced by Joe Crabtree, who made his recorded debut with the group on 2007’s Power of Eternity. Other than touring, the band was inactive until 2011 when they issued their 23rd album, Elegant Stealth, with the same lineup. Since 2004, Turner has taken to touring with a band called Martin Turner’s Wishbone Ash. Powell sued and won the sole right to the name in 2013. When the acclaimed Blue Horizon appeared in 2014, it marked the third straight studio recording to feature the same lineup — the longest-standing roster in Wishbone Ash’s history. Manninen left after the tour and was replaced by guitarist Mark Abrahams. In 2018, the band’s 12th album, Twin Barrels Burning, was remastered and reissued by Cherry Red.

Photos related to the album/track :

Wishbone Ash – “Wishbone Ash” Album’s cover photo (front)

WISHBONE ASH 1970

Wishbone Ash – “Wishbone Ash” Album’s photo (A’ Side)

Wishbone Ash – “Wishbone Ash” Album’s photo (B’ Side)

Wishbone Ash – “Wishbone Ash” Album’s Artwork photo

Photos related to the band :

Image result for wishbone ash 1970

Image result for wishbone ash 1970

 

Image result for wishbone ash bass player

Image result for olde english bulldogge

Image result for wishbone ash 73 tour

Image result for wishbone ash the essential collection

Image result for wishbone ash 1970

Image result for wishbone ash live 1970

Image result for wishbone ash wishbone four

Links related to the album/track :

Wishbone Ash – “Wishbone Ash” Full Album Video Playlist on “YouTube”

Wishbone Ash – “Phoenix” Track’s Video on “YouTube”

Wishbone Ash – “Wishbone Ash” Full Album Audio Playlist on “Spotify”

Wishbone Ash _ “Wishbone Ash” Full Album Audio Playlist on “Google Play”

Links related to the band :

Wishbone Ash Website related to the band

Wishbone Ash Band’s Homepage

Wishbone Ash “Martin Turner’s Homepage”

Wishbone Ash Band’s Page on “Facebook”

Wishbone Ash Band’s Homepage on “Twitter”

Wishbone Ash Band’s Page on “Discogs”

Wishbone Ash Band’s Page on “Rate Your Music”

Wishbone Ash Band’s Page on “Songfacts”

Wishbone Ash Band’s Page on “Spotify”

Wishbone Ash – Band’s Page on “Bandcamp”

Wishbone Ash Band’s Page on “Apple Music”

Wishbonen Ash Band’s Page on “Google Play”

Wishbone Ash Band’s Page on “Deezer”

Wishbone Ash Band’s Page on “Setlist Fm”

Progressive, Psychedelic, Space Rock U.S.A. 1970s (Tracks) Sweet Smoke – “Baby Night”

Sweet Smoke – “Baby Night” Video on YouTube

Category/Music Genres :

Progressive, Psychedelic, Space Rock U.S.A. 1970s (Tracks)

Band :

Sweet Smoke (Brooklyn, New York, U.S.A.)

Sweet Smoke Band’s Photo

Image result for sweet SMOKE BAND

Sweet Smoke were a psychedelic jazz-rock band formed in Brooklyn, New York in 1967. The group moved to Europe in 1969, living in Germany, and performing in Germany, Holland and France until 1974 when the band split up. Initially, some members stayed in Europe, some went to India, but most of the band returned to the United States. Although originating in the U.S., Sweet Smoke is often referred to as a Krautrock band. Noted for their buoyant rhythms, inventive improvisations and complex musical structures, in interviews, the group says their music was influenced by Eric Clapton, Jimi Hendrix, Frank Zappa, John Coltrane and The Beatles.

Track :

“Baby Night” (written by Sweet Smoke), (closing track) included on the album “Just A Poke”

Album :

“Just A Poke” released on Columbia Records (1 C 062-28 886) in 1970

Sweet Smoke – “Just A Poke” Album cover photo (front)

Image result for sweet smoke just a poke

Sweet Smoke – “Just A Poke” Full Album Video on YouTube

Just a Poke is the first album by the band Sweet Smoke, released in 1970, engineered by Conny Plank. The song Baby Night displays the band’s progressive jazz fusion style at the time. The song can be divided into three main sections, the highlights being the instrumental sections.

Line-up/Credits :

Marvin Kaminowitz / lead guitar, vocals
Steve Rosenstein / rhythm guitar, vocals
Michael Paris (Fontana) / tenor saxophone, alto recorder, vocals, percussion
Andrew Dershin / bass
Jay Dorfman / drums, percussion

Made By – Pathé Marconi

Printed By – I.D.N.

Record Company – Les Industries Musicales Et Electriques Pathé Marconi

Pressed By – Pathé Marconi, Chatou – 278923

Pressed By – Pathé Marconi, Chatou – 278924

Producer – Rosie Schmitz, Winfried Ebert

Recorded By – Conrad Plank,  Klaus Löhmer

Painting [Cover] – Jan Fijnheer

Track-list :

1. Baby night (16:24)
2. Silly Sally (16:22)

Total Time: 32:46

Sweet Smoke – “Just A Poke” Album Artwork Photo/Track-list

Information related to the album/band/track :

“Wikipedia”

After their first performances in the U.S. and the Caribbean, the group moved to Germany and formed a commune in a farm house in the village of Hüthum, outside the city of Emmerich, about a kilometer (0.62 miles) from the border with Holland. The group became well known in the region on and off the stage for their mixture of spirited musical performances combined with their interests in Eastern and Psychedelic philosophies. The original members when they arrived in Germany were Andy Dershin (bass guitar), Michael Fontana (tenor saxophone, alto recorder, vocals, percussion), Jay Dorfman (drums, percussion), Marvin Kaminowitz (lead guitar, vocals) and Victor Sacco (guitar). Victor would soon be replaced by Steve Rosenstein (rhythm guitar, vocals). In 1970 the group was approached by EMI, and they recorded their first LP, Just a Poke with German record producer Konrad “Conny” Plank.

After recording Just a Poke, Sweet Smoke took a year off to travel. Most of the group drove the band’s Ford Transit van overland to India for a spiritual journey in connection with the socio-spiritual group Ananda Marga. The group first learned of the success of Just a Poke, after meeting German tourists in Nepal. They returned to Europe, signed a new recording contract with EMI, and added Jeffrey Dershin (piano, percussion, vocals) as a full-time member. The group recorded their second LP Darkness to Light at EMI studios in Holland in 1973. Later in 1973, Jeffery Dershin returned home to assume his role as a father, Michael Fontana left the group to return to India, and Steve Rosenstein was replaced by Rick Greenberg, aka Rick Rasa (rhythm guitar, sitar, vocals).

Near the end of 1974, the group broke up for the final time. They played their last performance in the concert hall of the music conservatory Hochschule für Musik in Berlin. The concert was recorded by EMI and became the group’s last LP, Sweet Smoke Live.

“Sweet Smoke” Band’s Homepage

The Sweet Smoke Story

Beginnings

SWEET SMOKE WAS BORN IN BROOKLYN SOMETIME IN THE MID 60’S WHEN MUSICIANS from three different popular local groups got together. Jay and Marvin were playing with The Madabouts, Andy was playing with The Chasers, and later The Raves, and Mike was playing with The Sunday Funnies. The name, originally Sweet Smoke of the Happy Plant Pipeful, was coined by drummer Jay and was later  shortened by general usage to Sweet Smoke – a name clearly emblematic of the times.

Greenwich Village

Sometime in 1968, shortly after the formation of Sweet Smoke, the band secured an audition at a popular Manhattan nightclub called Club 54. The audition, a complete disaster, turned out to be the most significant event in Sweet Smoke’s early development. It was a Monday night. The band had its instruments and amplifiers loaded in their van with no place to go. Andy had an idea. In his previous groups, he had a regular Monday night gig at the Cafe Wha in Greenwich Village. It wasn’t a gig in the real sense. It was something the management called “audition night”, a way to get local bands to play for free in exchange for the prestige that came with playing in a club in New York’s trendy Greenwich Village. So the band sent their equipment off to the club in the van while the group jumped on the subway downtown.

The Islands

At the time, the manager of the Cafe Wha? also owned, or managed – it’s not clear which – two clubs in the Caribbean, one in old San Juan, Puerto Rico and the other in St. Thomas, U.S. Virgin Islands. The band recalls the manager offering them a gig in the islands if their set went well that evening at the Wha?. The band brought the house down and were indeed offered the gig of a lifetime. There was a small problem. It was March, 1968 and three of the members, Mike, Marvin and Jay, were in college. Taking the gig would mean quitting school. They quit school. What followed was three months of playing six hours a night, six nights a week. Somewhere in paradise, Sweet Smoke became a band.

Europe

Spending carefree days on some of the world’s most beautiful beaches, the band pondered its future. After the whirlwind events of the past several months, going home to Brooklyn to live with their parents was not an option. Mike began talking about going to Europe. Mike was very persuasive. The warm Caribbean breezes and gentle waves were intoxicating. It was 1968 and anything seemed possible. By the end of that year, Mike, along with Andy and old dear friend Marty had purchased one way tickets to South Hampton, England and off they went. Jay and Marvin followed later and by late 1969 the entire band, their plan to settle in Amsterdam having failed, found themselves, with invaluable help from unforgettable people, firmly planted in Germany.

Jay, the band’s drummer recalls:

“By the dawn of the 70’s the band had acquired a sizable following and had moved to Europe where they spent the next years in a van driving though France, Holland, Germany delivering to audiences of  quickly expanding sizes a typically 60’s form of rave like musical be-in.  The party was only beginning. They began to open for large European pop bands like Focus and Golden Earring.  They were quickly signed to Electrola Records for a 3 Record deal in West Germany and recorded their first hallucinogenic stream of musical consciousness,  the quintessential 60’s jam fest Just A Poke.

The fans and the critics were all over it, , a mix of jazz, rock, improv, avant garde, inspired just as much by John Coltrane as it was by The Doors. The cover of the record was a brazen shout out to inner consciousness and a  simple downright salute to the fact that the boys had gone cosmic, global and had tuned out, turned on and dropped whatever they could find. The band kept rolling for years, attracting new players, losing original members, recording with the highest rung of European free jazz musicians and generally having the time of their lives.”

India – Chapter II and Beyond

In many ways Sweet Smoke’s European story had two distinct chapters: pre and post India. Like the Beatles, The Beach Boys and many bands before them, the boys became spiritually restless. Their interest in yoga, meditation and self-realization grew stronger with time and at some point in 1972 the band took a break from their rock star lives to embark on a life altering journey traveling over land to India. In what seems an utterly reckless, if not altogether impossible undertaking, they motored from Europe to India, driving in the process through Iraq, Iran, Afghanistan and Pakistan before arriving in India. What followed was a year long stay in an Ashram where they practiced chanting and meditation and travelled extensively through one of the world’s most enchanting countries. The experience had a dramatic and lasting impact. Mike, the band’s saxophone player and front man ultimately married an Indian woman and today lives in India. The seductive sights and sounds he encountered there still inform much of Jay’s current work. It should be noted that not all the band members were equally seduced by the lure of the East. While most of the members packed the truck and took off to India, Marvin, the band’s lead guitarist and vocalist returned to the States, married his girlfriend and prepared for what would be the next chapter in Sweet Smoke’s story. In 1973 the band reunited in Germany, this time in Bavaria, and resumed their touring and recording career.

Postscript

Bands break up. The one’s that don’t are the exceptions (think Beatles). By 1974 the band members had become disenchanted and began to think about life after Sweet Smoke. Mike had already left the band and was ably replaced by Rick Greenberg. Marvin, who was mostly self-taught was yearning to study music in a more formal setting. The luster had worn off and in 1974, after recording its final album, Sweet Smoke Live in Berlin,  the band broke up for good.

The original members still remain friends and over the years have gotten together several times to play and reminisce but mostly to laugh.

“Moof Magazine”

Founded in Brooklyn in 1967, the U.S. based psychedelic jazz-rock band Sweet Smoke (originallySweet Smoke of the Happy Plant Pipeful) were creative from 1969-1974 in Germany; there they set up a commune with the support of sculptor Waldemar Kuhn, first in Emmerich am Rhein, then in Sulzfeld. They had planned to settle in the Netherlands, with Amsterdam being the ‘place to be’ at the time, and in 1972, they visited India for the obligatory stay in an Ashram. Mainly, Sweet Smoke toured across Europe (Germany, France and the Netherlands), playing at festivals or as opener for pop groups such as Focus and Golden Earring. Even before their time in Germany, Sweet Smoke had regularly played long-enduring gigs at a club in the Caribbean, where the guys had worked on their playing and improvising skills, a style similar to many late 1960’s U.S. West Coast bands. In 1974, shortly after the release of their third album, Sweet Smoke Live (1974), they broke up and split into different directions, mostly back to the U.S. to study and find other work.

Their debut studio album, Just a Poke, was released on EMI Columbia, in Germany, in 1970. It was also released in Italy, the Netherlands and France, but not in the U.K. Taken together with their presence on stage, Sweet Smoke were popular in those parts of Europe, yet quite unknown in the U.K. For a long time, the band were a mystery. Thanks to the internet, media and other networks, you can find information on their website, and for sure, this album now has its deserving place in the international psychedelic scene. Sweet Smoke released three albums of which the last two have an extended or different line-up. Still, among Just a Poke (1970), Darkness to Light (1973) and the live album, Sweet Smoke Live (1974), Just a Poke ranks the highest.

The album features four founding members, Andy Dershin on bass, Jay Dorfman on percussion and drums, Marvin Kaminowitz on solo guitar and vocals, Michael Paris on alto recorder/tenor sax/vocals/percussion, along with Steve Rosenstein on rhythm guitar and vocals. Just a Poke was produced by Rosie Schmitz and Winfried Ebert, along with engineers, Conrad Plank and Klaus Löhmer. Applying innovative studio technologies, Plank could easily be called the German pioneer of the electronic sound. In the early and mid 1970’s, he worked with progressive Krautrock and jazz-rock bands, Ash Ra TempelKraan, and Guru Guru, but from 1978 onward he drifted into the new-wave and synth-pop dimension, getting involved with Brian Eno. Unfortunately, Jan Fijnheer, who designed the beautiful exotic album cover, is not mentioned. Credited is just the photographer, Joachim Hassenburs.

With a total running time of 32:46 minutes, the record carries a total of just two tracks. Although there isn’t a long list of tracks, there is some confusion. The titles of the tracks got mixed up either on the sleeve or on the label of the record, so that even the experts slightly disagree. Lets take the best solution and rely on what the label tells. The tune on the A-side is called “Baby Night” and the other one on the B-side is “Silly Sally”. Proof is given by some text passages of the B-side, where it goes “Well, now, Sally-Sally-Sally, hey be with me tonight”, and the ones of the A-side with, “If you hear sounds of bitter weeping, to be sure the God of Night is sleeping, no time for mirth, much death and birth…”Anyway, in addition to a coherent session-like structure on a smooth jamming ground, the first tune features a delightful recorder melody, while the second one offers a stunning minute-long drum solo. Lyrics are not that important. The text passages rather provide a theme on which the band exuberantly jams and improvises.

“Baby Night” starts in a meditative folk manner, which is introduced by the lovely melody of Michael Paris’ alto recorder and only supported by the guitars. The gentle innocent voice of Marvin Kaminowitz is supported by dreamy flute sounds. One could assume that the first section refers to “In the World of Glass Teardrops” by Jeremy & the Satyrs from 1968, although it is not mentioned in the liner notes. Then there comes a recorder solo upon a swinging part which turns into easy jamming. Paris’ playing could be compared to the style of Jethro Tull’s Ian Anderson, with ‘airy attacks’ and the additional use of his voice. Unfortunately, the flute sound overlaps with the surroundings and gets opaque at times. Those blurred sounds can either be strange or elevating, depending on your preference. Then, the guitar clings on for a solo without fuzz. More jamming with stronger repetitive riffs follows. After a while, the vocals eventually come, throwing you back in a meditative mood, framed by conga sounds. This section’s theme is a text-reduced version of The Doors’, “The Soft Parade.” Another swinging interlude follows before going back to the theme at the beginning, now in a steady rhythm and more experimental way.

With “Silly Sally”, the accent now is more on audio effects. Michael Paris enters with a groovy melody on tenor sax, sometimes with reverb. Then, the vocals take over with seductive lyrics. Marvin Kaminowitz does a great job in using his voice as an instrument and jams with the rhythmic pulse afterwards. This is followed by the guitars’ wah-wah solo on the right and left channels, which releases into the bass solo. Now, turn your speakers louder, the album has reached it’s phenomenal climax – the drum solo! Jay Dorfman starts with Afro tribal drumming, soon, the sounds begin rotating around your head and develop into a thunder-like rolling or a tube-like rattling within three minutes. Mind the gap! This is hardcore! Such a handling of stereo effects, the ping-pong effect and phasing, similar to the drum solo in “In-a-gadda-da-vida” by Iron Butterfly’s Ron Bushy on their 1968 album from. After this awesome hallucinogenic trip, the track proceeds with a long Latin percussion interlude, and turns back to the groovy sax theme.

Integrative rhythmic and stylistic variations are in constant flow, with interchanging solo and single rhythm group parts. After the beautiful glass teardrops-intro, this record keeps you dancing the whole time. With its focus on studio effects and magical sounds, Just a Poke offers you a medium for the experience of extraterrestrial dimensions. For some people, several sections may simply take too long, and could run the risk of getting boring. Occasionally, you get the impression that the band simply didn’t want to come to an end. Nevertheless, it is a psychedelic masterpiece which should be part of your collection.

Copies are available on Discogs and Amazon. Alternatively, you can listen to it on Youtube or on Sweet Smoke’s MySpace website. As well as this, EMI Electrola released a remastered version on CD in 2000, which combines Just a Poke and Darkness to Light all in one.

Photos related to the album/track :

Sweet Smoke – “Just A Poke” Album cover photo (front)

SWEET SMOKE JUST A POKE 2 (2)

Sweet Smoke – “Just A Poke” Album photo (A’ Side)

Sweet Smoke – “Just A Poke” Album photo (B’ Side)

Photos related to the band :

Untitled

Sweet Smoke in Southern Germany, 1974.
Photo supplied by Rick Rasa, September 2000

SWEET SMOKE BAND 3

Sweet Smoke in 1974 with their Ford Transit van (from left to right: John, Rick, Andy, Enid, Marvin, Marty, Howie, Diane)

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Promotional Postcard of Jazz-Rock Band Sweet Smoke, 1970 top row: Jay, Jeffery, Mike, Andy, Rochus – bottom row: Steve, Marvin, Nico

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Links related to the album/track :

Sweet Smoke – “Baby Night” Video on YouTube

Sweet Smoke – “Just A Poke” Full Album Video on YouTube

Sweet Smoke – “Just A Poke” Album’s Review on Rock Times

Sweet Smoke – “Just A Poke” Full Album Download Link on Culture For All Blog

Sweet Smoke – “Just A Poke” Full Album Download Link on Urban Aspirines Blog

Sweet Smoke – “Just A Poke” Full Album Download Link on Plain and Fancy Blog

Sweet Smoke – “Just A Poke” Full Album Download Link on Willie Said

Sweet Smoke – “Just A Poke” Full Album Download Link on Music Bazaar

Links related to the band :

Sweet Smoke Band’s Page on Spotify

Sweet Smoke Band’s Page on Mixcloud

Sweet Smoke Band’s Page on ProgArchives

Sweet Smoke Band’s Homepage

Sweet Smoke Band’s Page on Facebook

Sweet Smoke Band’s Interview on It’s A Psychedelic Baby Magazine

Sweet Smoke Interview with Michael Paris Fontana on Ritvik

Sweet Smoke Band’s Page on Google Play

Sweet Smoke Band’s Page on Apple Music

Sweet Smoke Band’s Page on Tidal

 

 

Hard Rock, Heavy Blues Rock, Heavy Psychedelic Rock U.K. 1970s (Tracks) Bedlam – “Set Me Free”

Bedlam – “Set Me Free” Video on YouTube

Category/Music Genres :

Hard Rock, Heavy Blues Rock, Heavy Psychedelic Rock U.K. 1970s

Band :

Bedlam (Birmingham, U.K.)

Members :

Cozy Powell (drums), Dave Ball (guitar), Denny Ball (bass), Frank Aiello (vocals)
Related Artists :
Big Bertha, Ideal Milk, The Ace Kefford Stand, Cozy Powell’s Hammer
Also known as :
The Beast

Track :

‘Set Me Free” (written by Bedlam) B5 track (closing track) included on the album “Bedlam”

Album :

“Bedlam” released on Chrysalis Records ( CHR 1048) in 1973

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Bedlam – “Bedlam” Full Album Video on YouTube

Line-up/Credits :

Line-up :

Vocals – Francesco Aiello

Bass – Dennis Ball

Guitar – Dave Ball (2)

Drums – Cozy Powell

Keyboards – Felix Pappalardi (tracks: A1 to A3, A5, B1 to B5), Max Middleton (tracks: A4)

Credits :

Cover [Concept] – Dave Ball (2)

Engineer – Bob D’Orleans

Engineer [Assistant] – Daniel Jackson Turbeville

Lacquer Cut By – Ray Staff

Photography By [Cover], Design – Rowland Sherman

Producer – Felix Pappalardi

Produced For – Chrysalis Records

Phonographic Copyright (p) – Chrysalis Records Ltd.

Published By – Chrysalis Music Ltd.

Published By – Island Music Ltd.

Recorded At – Olympic Studios

Remixed At – Record Plant, N.Y.C.

Printed By – MacNeill Press Ltd.

Track-list :

01.Believe In You 3:58
02.Hot Lips 4:33
03.Sarah 3:44
04.Sweet Sister Mary 2:48
05.Seven Long Years 3:43
06.The Beast 5:27
07.Whiskey And Wine 2:31
08.Looking Through Love’s Eyes 2:53
09.Putting On The Flesh 3:52
10.Set Me Free 4:18

Information about the album/band/track :

“All Music”

Bedlam (originally known as Beast when it formed in 1972) was a British hard rock band featuring singer Frank Aiello (from Truth), guitarist Dave Ball (from Procol Harum), bassist Dennis Ball (formerly with Long John Baldry), and drummer Cozy Powell (formerly with Jeff Beck). They made one self-titled album produced by Felix Pappalardi (producer of Cream, member of Mountain) in 1973, before breaking up in 1974.

“Solid Boy Music Blog”

This band should have been as big as Led Zeppelin. The signs were all there, moody and magnificent blues guitarist of the highest caliber in the form of Dave Ball (from Procol Harum) a firm rock, thunderous bass – Dennis Ball (formerly with Long John Baldry) – the voice of a banshee cockney Frank Aiello (from Truth) and Mr Cozy Powell on drums. Bedlam were signed to Chrysalis Records and released their self-titled debut in 1973 remains a classic,a true gem of hard rock, Powell broke up the band in 1974 to pursue other projects.
The self-titled studio album is a very solid slice of bluesy, funky hard rock, produced by Felix Pappalardi (Mountain), that surprisingly didn’t garner more attention than it did. Not too far removed from what was coming out of the Deep Purple, Black Sabbath, Cactus, Mountain, Budgie, Free, or Nazareth camps at the time, Bedlam showed a penchant for memorable, heavy rocking songs that featured the stellar musical interplay of Powell and the Ball brothers, plus the powerful vocals of Aiello. Though many tunes have a blues background, Ball’s riffs are heavy, especially on tracks like “Believe in You”, “Hot Lips”, and “Seven Long Years”, but there’s also a funkiness at times that reminds of what Deep Purple where soon to jump into on the Burn and Stormbringer albums. For those who crave those heavy rockin’, blues & boogie sounds of bands like Cactus and Mountain, check out the monstrous “Whiskey and Wine” and the hard driving “Putting On the Flesh” for some distorted riffs and crashing drum fills. “Set Me Free” is a bruising heavy rock track, with Aiello sounding a bit like Jack Bruce and the rest of the band really getting down and dirty for some fine proto-metal. It’s songs like this that makes it mind boggling that this band didn’t get more attention.
Considered one of England’s best drummers and a lot of demand for rock and pop Cozy Powell was almost legendary for a heavy hit style that could be done to work with many types of rock music, whether for the thundering pop productions helmed by Mickie Most Black Sabbath Emerson Lake & Powell or even his own solo work (notably “Dance with the Devil” which was a major English hit in 1973)
Powell began his professional music career in 1965 with sorcerers eventually decommissioning work with Jeff Beck after Beck left the Yardbirds in 1971, Powell formed Bedlam, but eventually abandoned this project to produce singles such as “Dance with the Devil” He later imageas Cozy Powell’s Hammer, which broke up in 1975 after a brief sabbatical, he joined Rainbow helps to give the band a section thunderous rhythm before exiting after four years and four albums in 1980, always in demand for the drum seat, he alternated between session work and working in different bands, including the Michael Schenker Group, Whitesnake and Black Sabbath never staying in one band for very long
In 1996, he worked with former Fleetwood Mac guitarist Peter Green on his long-awaited comeback tour at the time of his death on April 5, 1998 he was recovering from a foot injury which had sidelined him from touring work with guitarist Yngvie Malmsteen He was driving on the M4 towards Bristol when he apparently lost control of his car (due toto bad weather) slamming into the center divider of the highway, he died some hours later in hospital. Thanks to adamus67 for this review.
“What Frank Is Listening To”
The first thing that hits you in the face about this LP is the sleeve that could be a Black Sabbath sleeve but unfortunately Bedlam steer away from the hard rock that Black Sabbath espoused (rock bordering on metal) and cover the familiar hard rock, blues based, music so popular on both sides of the Atlantic between about 1968 – 1974.
Think Mott the Hoople, Mountain, Blind Faith, Bad Company, Deep Purple, Led Zeppelin, Blue Cheer, Cactus, Humble Pie, Rainbow, Free, Groundhogs, Bloodrock.
If you don’t like any of those bands then stop reading now.
Frown you might at this music but it’s not that far from Bedlam to The Cult or The Darkness. And thelatter are acceptable to the musical intelligentsia. No?
Anyway, like most of their compadres on the hard rock blues scene Bedlam have a pedigree that is impeccable even though they are a second tier “super group” of sorts …
Allmusic: “Bedlam (originally known as Beast when it formed in 1972) was a British hard rock band featuring singer Frank Aiello (from Truth), guitarist Dave Ball (from Procol Harum), bassist Dennis Ball (formerly with Long John Baldry), and drummer Cozy Powell (formerly with Jeff Beck). They made one self-titled album produced by Felix Pappalardi (producer of Cream, member of Mountain) in 1973, before breaking up in 1974″.
Bedlam are never less than proficient. Unfortunately they never struck gold unlike most of the aforesaid mentioned acts and rarely do they add anything new to the genre. This, their one album, is what you would expect and they hit all the genre milestones: blues hard rock, blues power ballads, blues rock with supernatural thematic overtones, blues country boogie, funky blues.
Unfortunately all they needed was one hit …

Photos related to the album/band/track :

Bedlam – “Bedlam” Album cover photo (front)

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Bedlam – “Bedlam” Album  photo (B’ Side)

Bedlam – “Bedlam” Album  photo (B’ Side)

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Bedlam – “Bedlam” Album cover photo (back)

Bedlam Band’s Photos

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BEDLAM 1 (2)

Cozy Powell of rock group Bedlam (the band was then known as The Beast) performing in Copenhagen, Denmark, March 1973. (Photo by Jan Persson/Getty Images)

Bedlam : News Photo

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Bedlam, Marquee, London, 1973

Links related to the album/band/track :

Bedlam – “Set Me Free” Video on YouTube

Bedlam – “Bedlam” Full Album Video on YouTube

Bedlam Band’s Page on Spotify

Bedlam – “Live In London 1973” Full Album on Spotify

Bedlam Band’s Page on Discogs

Bedlam Band’s Page on Rate Your Music

Bedlam – “Live In London” Full Album on Apple Music

Cozy Powell – “The Bedlam Years” Full Album Download Link on Rockasteria Blog

Bedlam Band’s Interview on It’s A Psychedelic Baby Magazine Blog

 

Ambient, Electronic, Fusion, Jazz Rock, Krautrock, Minimal, New Age, World Music, Multinational, 1970s (Tracks) Between – “Samum”

Between – “Samum” Video on YouTube

Category/Music Genres :

Ambient/Electronic/Fusion/Jazz Rock/Krautrock/Minimal/New Age/World Music Multinational 1970s (Tracks) 

Band :

Between (Multinational, Argentina, Germany, U.S.A.) based in München, Bayern, Germany

Also known as :

Between the Chairs, Gruppe Between

Track :

“Samum” (written by Roberto Détrée, Peter Michael Hamer) B3 track (closing track) included on the album “And The Waters Opened” 

Album :

“And The Waters Opened”  released on Vertigo Records ( 6360 612) in 1973

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Between – “And The Waters Opened”  Full Album Audio Playlist on Spotify

Between – “And The Waters Opened”  Full Album Video on YouTube

Line-up/Credits :

Roberto Détrée / guitar, cello, harp
Peter Michael Hamel / keyboards, vocals
Robert Eliscu / oboe, oboe d’Amore
Cottrell Black / percussion

With:
Duru Omson / bamboo flute, percussion & voice (1,5,6)
Walter Bachauer (“Fabian Arkas”) / electronics (3)

Cover [Cover Design] – Guntram Holdgrün

Producer, Engineer – Ulrich Kraus

Track-List :

1. And The Waters Opened (10:51)
2. Uroboros (5:33)
3. Syn (5:52)
4. Devotion (3:43)
5. Happy Stage (11:14)
6. Samum (5:36)

Total Time: 42:49

Bonus tracks on 2006 remaster:
1. Journey To The Ixtland (4:30)

8. Kalenda Maya (3:01)
9. Former Times (2:20)

Tracks 1, 8 & 9 are previously unreleased bonus tracks, recorded April 4 1976
Eine Produktion des Bayerischen Rundfunks

Information about the album/band/track :

Founded in Munich, Germany in 1970 (as Between The Chairs) – Ceased activity around 1980

Peter Michael Hamel founded Between, an international band specialised in improvisational / « ethnic » rock music. The name Between comes from the fact that Hamel’s music is originaly “in-between”, always making a combination between “popular music” and “serious music”. The classical musician Robert Eliscu (born American), responsible of oboe parts in POPOL VUH can be considered as the major member of the musical tribe next to Peter Michael Hamel. With a small community of six members, BETWEEN recorded its first album “Einstieg” in 1971. It directly announces the musical orientation to come, timeless ethnic rock compositions, mixing together several acoustic instruments (bongo, flute.) to folk and jazz. “And the waters openened” recorded in 1973 carries on improvisations and acoustic exploration, played in a rather “spacey” rock atmosphere, sometimes closed to krautrock, weird flavour. “Dharana” (1974) is seen as a classic album and marks a new step in the launch of “world” music. It contains long epic, acoustic pieces with a few minimalist, oriental accents. “Hesse Between Music” (1975) is a concept album, always improvised, featuring Indian scales and recitation. During and after BETWEEN’s career, the front man Peter Michael Hamel has developed the possibilities of spiritual effects of music on mind thanks to a great variety of solo albums in search of East meets West.

Between was named Between because the music they made was sitting between the chairs back then and was reaching far beyond genre borders or the traditional segregation of E- and U-Musik (E for “ernst” / serious, U für “unterhaltende” / entertaining). This difference may be still alive in some highbrow dinosaur’s brain and was (sometimes still is) made to separate the so called popular (i.e. proletarian) from the bourgeois culture. Alas, today’s situation is more comfortable (and difficult to a certain extend). But, this is a review for a record not a sociology seminar talking Bourdieu’s “Distinction: A Social Critique of the Judgement of Taste” or something like that. (But, well, while I’m at it: go read it, it’s worth it!)

So, Between was Peter Michael Hamel’s brainchild who is a German composer and music theorist (whose records are all great!). Born out of friendship with a few international friends who had a background either in classical or pop music (to stress that distinction again). “And The Waters Opened” was their second record, released in 1973 and it’s heavily influenced by the music of Carl Orff. (Listen to Robert Eliscu’s oboe – which can also be heard on a lot of Popol Vuh records –and if you’re familiar with some of Orff’s music you’ll be reminded instantly). Another reference to how Between sounds may be found in Bobby Beausoleil’s Orkustra which also can be seen as sort of a synthesis between a symphonic orchestra and a psychedelic band.

But even though Between is about overcoming musical (and also social borders) the music is far from freak-out jams. Between is not about provoking utter chaos – Between is about reaching out for a universal harmony in the act of making music. It is – to a certain extend – a sonic utopia.

There are parts of the music that are improvised but most of it was written down before and is executed with modest but nonetheless masterful musicianship. The compositions take cues from the aforementioned Carl Orff, but also from Indian Classical Music, from the Spiritual Jazz and some of the Minimal Music that was around at that time and of course there’s a good portion of Psychedelia thrown in. Every second recorded sounds organic and you can bet that a lot of thought was put into it. And it is in fact a certain compositional rigour that prevents the music from becoming world-music-kitsch or pointless fusion-music: The music you hear is not just about the intended harmony – the music IS the realization of that harmony.

So, you don’t trust me, you think I’m exaggerating here? No problem, get some Between and trust your ears! Be it the wonderful title track or the following “Uroboros” or be it one of the other compositions: this is joyful and refreshing music. The instrumentation’s colourful and the general vibe is uplifting and –well, yeah – it’s just great to have some music around that is full of positive energy without being besmirched with esoteric blurb. It makes you feel good without having to leave your mind at home! A great achievement, if you ask me.

Photos about the album/band/track ;

Between – “And The Waters Opened” Album cover photo (front)

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Between – “And The Waters Opened” Album  photo

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Links about the album/band/track :

Between Band’s Page on Discogs

Between Band’s Page on Rate Your Music

Between Band’s Page on Spotify

Between – “And The Waters Opened” Full Album Download Link on Juno Download

 

 

 

Ambient/Canterbury Scene, Electronic Music, Progressive Rock, Psychedelic Rock, Space Rock U.K. 1970s (Tracks) Steve Hillage – “The Glorious Om Riff”

Steve Hillage Photo

Steve Hillage – “The Glorious Om Riff” Video on YouTube

Category/Music Genres :

Ambient/Canterbury Scene/Electronic Music/Progressive/Psychedelic/Space Rock U.K. 1970s (Tracks)

Artist :

Steve Hillage (London, U.K.)

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Artist’s full name : Stephen Simpson Hillage

Also known as :

Simeon Sasparella, Steve Hillfish, The Steve Hillage Band

Member of :

Arzachel, Gong, Khan, Mirror System, Paragong, System 7

Track :

“The Glorious Om Riff” (written by Compagnie d’ Opera Invisible de Thibet, aka Gong)  B6 (closing track) included on the album “Green” 

“The Glorious OM Riff” is a remake of the song “Master Builder” from the Gong album You (1974), which Hillage had a hand in composing with the other members of Gong. The song is “a cacophonous blast, with masses of ear-splitting solos,” and it has been noted that “the seeds of [Hillage’s] future direction were sown here.

Album :

“Green” released on Virgin Records ( V 2098) in April 1978

Steve Hillage - Green (1978) Issue 1990 and Extended Remastered reissue 2007

Green vinyl, packaged with embossed cover, printed insert sheet and poster included.

Printed in England by ROBOR LIMITED.

“A Celebration Of Time-Space Travel Through Nature”

Basic tracks recorded December 1977 at Ridge Farm, Dorking, Surrey.
Overdubs recorded January 1978 at Matrix Studio, London.
Overdubs and mixing February 1978 at Brittania Row Studio, London.

℗ 1978 Virgin Records Ltd.

Line-up/Credits :

Steve Hillage – Guitar, Synthesizer [Moog, Guitar], Vocals, Producer, Arranged By

With:

Miquette Giraudy / ARP & EMS synthesizers, vocoder, vocals

Curtis Robertson / bass

Joe Blocker / drums, percussion

Andy Anderson / drums (2,11,13)

Nick Mason / drums (7), co-producer

Dave Stewart / guitars (11,13)

Paul Francis / bass (11,13)

Christian Boule / guitars (12)

Phil Hodge / keyboards (12)

Basil Brooks / synthesizer (12)

Colin Bass / bass (12)

Clive Bunker / drums(12)

ArtWork: John Michell

Engineer – John Wood

Engineer [Assistant] – Andy Llewelyn, Malcolm Heeley

Producer – Nick Mason

Written-By – Bynum (tracks: B2), C.O.I.T. (tracks: B6), Robertson (tracks: B1, B2), Blocker (tracks: B2), Giraudy (tracks: A1 to B5), Hillage

Recorded At – Ridge Farm Studios

Overdubbed At – Matrix Studios

Overdubbed At – Britannia Row Studios

Mixed At – Britannia Row Studios

Printed By – Robor Ltd.

Phonographic Copyright (p) – Virgin Records Ltd.

Copyright (c) – Virgin Music (Publishers) Ltd.

Track-List :

1. Sea-nature (6:43)
2. Ether Ships (5:02)
3. Musick Of The Trees (4:53)
4. Palm Trees (Love Guitar) (5:19)
5. Unidentified (Flying Being) (4:30)
6. U.F.O. Over Paris (3:11)
7. Leylines To Glassdom (4:06)
8. Crystal City (3:36)
9. Activation Meditation (1:03)
10. The Glorious Om Riff (7:46)

Total Time: 46:13

Bonus Tracks on 2007 Virgin Remaster:
11. Unidentified (Flying Being) (Live) (4:52)
12. Not Fade Away (Glid Forever) (Live)  (7:25)
13. Octave Doctors (Live *) (3:38)
14. Meditation Of The Snake (Alternative Mix) (3:16)

* Recorded at Glastonbury 1979
$ Recorded at The Rainbow Theatre 1977

Information about the album/artist/track :

Green is the fourth studio album by British progressive rock musician Steve Hillage. Written in spring 1977 at the same time as his previous album, the funk-inflicted Motivation Radio (1977), Green was originally going to be released as The Green Album as a companion to The Red Album (the originally intended name for Motivation Radio). However, this plan was dropped and after a US tour in late 1977, Green was recorded alone, primarily in Dorking, Surrey, and in London.

Produced and engineered by Pink Floyd drummer Nick Mason, Green features science fiction themes and explores electronic music, especially of a dance music bent, continuing the dance themes of Motivation Radio. Most of the guitar and some of the keyboard parts on Green were played by Hillage with a Roland GR 500–an early guitar synthesizer. Hillage enjoyed “the hybrid sounds” he achieved on the album with the instrument, but would retire the instrument as it was too problematic to use.

The album was released in 1978 by Virgin Records, originally as a limited edition translucent green vinyl before the standard version replaced it shortly afterwards. The album cover features a distinctive “pyramid fish” design by English writer John Michell. Green peaked at number 30 on the UK Albums Chart and was a critical success. Hillage pursued a more electronic direction after its release. Green was remastered for CD release in both 1990 and 2007.

On Steve Hillage’s 1978 release Green, the underground prog rock fan favorite issues more of his trademark thinking-man’s music. Fans of mid- to late-’70s Pink Floyd will want to check this album out, since it possesses many of the same musical qualities, due to the fact that it was produced by Floyd drummer Nick Mason, along with Hillage. Although not as consistent as some of his other albums, it certainly has its moments. Hillage’s recurring sci-fi influence is still felt in his music, especially on such tracks as “Sea Nature,” “UFO Over Paris,” and “Unidentified (Flying Being).” Hillage uses the same band that appeared on his Motivation Radio album, which helps make Hillage’s twisted songs even better (like his other albums, the musicianship is top-notch). Besides comparisons to Floyd, the album’s music is also similar to David Bowie‘s late-’70s experimental electronic phase (check out the track “Crystal City,” with vocals almost identical to Bowie). Hillage fans will definitely not be disappointed with Green.

Photos related to the album/artist/track :

Steve Hillage – “Green” Album photo 

STEVE HILLAGE GREEN 1 (2)

Steve Hillage – “Green” Album cover photo (front)

Steve Hillage – “Green” Album cover photo (back)

STEVE HILLAGE GREEN 2 (2).jpg

Steve Hillage – “Green” Album photo (A’ Side)

Steve Hillage – “Green” Album photo (B’ Side)

 

Steve Hillage – “Green” Album photo (A’ Side)

Steve Hillage – “Green” Album photo (B’ Side)

Steve Hillage -“Green” Album Artwork

Steve Hillage - Green (1978) Issue 1990 and Extended Remastered reissue 2007

Steve Hillage -“Green” Album Artwork

Steve Hillage - Green (1978) Issue 1990 and Extended Remastered reissue 2007

Steve Hillage Photo

STEVE HILLAGE 2 (2).jpg

Links related to the album/artist/track :

Steve Hillage – “The Glorious Om Riff” Video file link on YouTube

Steve Hillage – “The Glorious Om Riff” Full Album Video Playlist on YouTube

Steve Hillage Artist’s Page on Spotify

Steve Hillage Artist’s Page on Google Play

Steve Hillage Artist’s Page/Full Albums/Download Links on Muro Do Classic Rock Blog

Steve Hillage – “Green” Full Album Download Link on Opium Hum Blog

Steve Hillage Artist’s Page on Discogs

Steve Hillage Artist’s Page on Rate Your Music

Steve Hillage Artist’s Homepage

Steve Hillage Artist’s Page on Progarchives

Steve Hillage Band/Gong Band’s Homepage

Steve Hillage Artist’s Page on Twitter

Steve Hillage Artist’s Interview on Rocktologist Website

Steve Hillage Artist’s Interview on Inner Views Website

Steve Hillage Band Band’s Page on Bandcamp

Steve Hillage Artist’s Page on IMDb

Steve Hillage Artist’s Page on Apple Music

Steve Hillage Artist’s related shows on Mixcloud

Steve Hillage Artist’s Page on Setlist Fm

\Steve Hillage Artist’s Page on Instagram

Steve Hillage Artist’s Page on eBay

 

 

 

 

 

 

Garage/Psychedelic Rock U.S.A. 1960s (Tracks) Clear Light – “Night Sounds Loud”

Garage/Psychedelic Rock U.S.A. 1960s (Tracks)

Clear Light ( Los Angeles, California, U.S.A.)

“Night Sounds Loud” (written by Lubahn) B5 track (closing track) included on the album “Clear Light” 

Released on Electra Records (EKL-4011), on a gold/tan Elektra label, with a special inner sleeve showing a picture of the band in black and white. This Mono version of the release was housed in the Stereo version sleeve (sometimes with a sticker indicating mono). Therefore the back cover still shows the stereo cat.nr.: ”EKS-74011”.  

Year of Release : 1967

It was also an A Side single (B’ Side single “How Many Days Have Passed?”), released on Elektra Records (EKSN 45027) in 1968

The Doors had just released their debut album, to no immediate acclaim, in January 1967 when their label, Elektra, signed another Los Angeles band, the Brain Train, with a mounting local buzz and a unique strength in the engine room: two drummers. It was, ironically, the beginning of the end. The group, soon renamed Clear Light, became an obsession for the Doors’ producer, Paul Rothchild; he became the new group’s producer and its fiercely controlling manager as well, to the point of bringing in a new singer for Clear Light’s Elektra debut and alienating pretty much everyone else. By September 1968, what was left of Clear Light went dark; a second LP was never finished.

But Clear Light, issued in October 1967, is an Elektra golden-era classic. It was nearly a hit, too. The band’s thoroughly gothic extension of folk singer Tom Paxton’s jaunty take on government surveillance, “Mr. Blue,” went into high rotation on free-form-FM radio, driven by the parallel, rolling doom of drummers Michael Ney and Dallas Taylor (also of Crosby, Stills & Nash). Clear Light also excelled at tighter dramas like “Black Roses” and “With All in Mind,” combining the demented-circus flair of L.A. psychedelia with the dirty-blues force of garage rock. This reissue of Clear Light is an expanded celebration with the single the band recorded as the Brain Train – the tracks that landed them the Elektra deal – and strong outtakes including the bracing fuzz-and-reverb B side “She’s Ready to Be Free,” featured in the 1967 film The President’s Analyst (an absurdist romp starring James Coburn as an acid-fried White House shrink that is worth seeing – and not just for Clear Light’s cameo performance).

Rothchild all but admitted on the back cover of Clear Light that he never truly captured what I imagine was the massive, live force of those two drummers: “To fully appreciate the spectacular sound of double drumming on Clear Light, play this record at high volume.” Turning it up helps a lot. You also hear everything else that made Clear Light special – for too short a time.

Clear Light was a folk-rock/psych-rock group from LA that released one LP off Elektra in 1967, famously known for including two drummers, one of them being Dallas Taylor of CSNY and Manassas fame. Paul Rothchild produced the LP, which explains why the recording sessions were fraught with tension and negativity. The group was masterminded by guitarist/vocalist Bob Seal, bass player Doug Lubahn, and lead vocalist Cliff De Young. Prior to Clear Light the band had been known as the Brain Train. Seal felt a name change was appropriate to coincide with the release of a newly recorded debut single, “Black Roses.” Seal decided on Clear Light, a concept he had come across in his readings of Eastern philosophy, a name also shared by a potent brand of LSD.

“Black Roses,” written by Wolfgang Dios, was released in September of 1967. It was a great hard charging folk-rock single with an acid tinged guitar solo that deserved to sell much better than it did. Black Roses appeared on the group’s only full length platter, released in late 1967. Many psych fans are divided when it comes to the Clear Light LP but I think it’s a good one. Maybe not a true classic on par with Love’s Forever Changes or Moby Grape’s debut but still a very good LP without any weak tracks. The band tries nearly everything within a 2 to 3 minute pop song context, loading the songs with good quirky ideas and great guitar solos (check out “Think Again”). Some tracks like “They Who Have Nothing” and the baroque “Ballad of Freddie & Larry” bear a strong Doors and Love influence, but this makes sense considering these were all Elektra groups. Other songs like the outstanding fuzz guitar psychedelia of “Sand” and the trippy “Night Sounds Loud” are more original and hinted at a strong future for the group. The former track features some great organ and spiraling acid guitar interplay. The album’s most famous track, a cover of Tom Paxton‘s “Mr. Blue,” sounds dated today with its spoken word dialogue, although, even this song is oddly appealing in its own way and definitely still considered a highlight.

Rothchild’s iron fist policy coupled with the lack of commercial success led to Clear Light’s demise, shortly after the release of this solid album. Not everyone will like this record because of its eccentric nature but it really is a crime that Clear Light was unable to release a followup to this debut. A very worthy release from a talented, accomplished California group.

 1966, The Brain Train formed and was managed by Sunset Strip hipster Bud Mathis. They recorded one single – “Black Roses”, written by Wolfe Dios – before changing their name to Clear Light and signing to Elektra Records. Guitarist Bob Seal felt the name should be changed to coincide with the single. Clear Light shared its name with a potent form of LSD, although Seal states the name came from his studies of Eastern philosophy. The Doors’ producer Paul A. Rothchild took over management of the band.

The core members of Clear Light were Bob Seal, lead guitarist and vocals, Robbie “The Werewolf” Robison, rhythm guitar and vocals, Doug Lubahn bass and vocals, Dallas Taylor drums, and Michael Ney on an atypical second set of drums. The original line-up was featured in the 1967 motion picture The President’s Analyst, with Barry McGuire cast as their leader and vocalist. They soon added Cliff De Young on lead vocals and this is the version of the band seen on their only album cover. However, sometime during the recording process, often described as “brutal”, Paul Rothchild was not happy with Robison’s guitar playing skills and pressured the group to remove him – he was replaced by keyboard player Ralph Schuckett.

In what has been called the band’s finest hour, drunken customers in a Park Avenue club heckled them so brutally that Ralph Schuckett, the usually gentle organist, hurled a few choice words back at them. The band walked off the stage, retired to the Albert Hotel, and woke up in the morning to find that they had become underground heroes …

Paul Rothchild then pressured the other members of the band to fire Bob Seal”. Seal was replaced by ex-Fug Danny “Kootch” Kortchmar; Cliff De Young was soon to follow, and after having started work on a second album the group disbanded in 1968.

Side One

  • Black Roses – (Clear Light, Wolfgang Dios) – this has most of the psychedelic motifs: urgent vocals, trippy guitars, change of pace interludes and it is very catchy.
  • Sand – (Douglas Lubahn) – this is in the style i associate with English pschedelica. A thumping back beat , dark obscure lyrics, jazzy organ, a strident vocal, and an overall sense of doom. Bob Seal does lead vocal here.
  • A Child’s Smile – (Clear Light, Michael Ney) –  a gentle psych lullaby.
  • Street Singer – (Greg Copeland, Steve Noonan) – released by singer songwriter Greg Noonan on his self-titled album for Elektra (1968). “Street Singer” here it sounds like proto slow grind metal ( a little like early Black Sabbath). Certainly it is a heavy psych track. The doom is heavy (and obvious): “The old organ grinder has just gone insane and his monkey lies dead, choked to death on its chain”)
  • The Ballad of Freddie and Larry – (Cliff De Young, Ralph Schuckett) – another heavy one.
  • With All in Mind – (Bob Seal) – a bit more optimistic in tone and quite catchy though still heavy handed, musically and lyrically. Bob Seal does lead vocal here.

Side Two

  • Mr. Blue – (Tom Paxton) – Originally (?) released by folk singer songwriter Tom Paxton on his fourth album “Morning Again”  from 1968. A theatrical piece which isn’t great but is certainly memorable.
  • Think Again – (Clear Light, Douglas Lubahn) – light sunshine psych (though still quite dark by those standards)
  • They Who Have Nothing – (Bob Seal) – more gentle psych with guitar breaks, harmonised vocals and many asides. A little like contemporaries the Nazz.
  • How Many Days Have Passed – (Bob Seal) – folkie psych. The questioning (and accusatory) lyrics are perfect for the time.
  • Night Sounds Loud – (Douglas Lubahn) – another great example of a psych number with typically obscure lyrics and oxymoronic words … “night sounds loud”.
  • Personnel: Bass Guitar – Douglas Lubahn / Drums – Dallas Taylor  / Drums, Percussion – Michael Ney / Guitar – Bob Seal / Lead Vocals – Cliff De Young / Organ, Piano, Celesta – Ralph Schuckett / Producer – Paul A. Rothchild
  • Cliff de Young left the band to do acting. He was in the Broadway productions of “Hair” (1972) and (starred in) “Sticks and Bones”. He starred in the made for television movies, “The Night That Panicked America”(1975), “The Lindbergh Kidnapping Case”(1976),”The 3,000 Mile Chase “(1977) and the unsuccessful TV series “Sunshine” (1975) as well as doing leads, “Shock Treatment” (1981) and supports in feature films including “Blue Collar”(1978), “The Hunger”(1983), “Reckless” (1984), “Protocol” (1984),  “Flight of the Navigator”(1986), “F/X” (1986), “Glory”(1989), “The Craft” (1996) and “Road to Nowhere” (2010). He released a self-titled solo album on MCA in 1973.

Tracks :

1. Black Roses (Clear Light, Dios) – 2:09
2. Sand (Douglas Lubahn) – 2:38
3. A Child’s Smile (Clear Light, Michael Ney) – 1:37
4. Street Singer (Greg Copeland, Steve Noonan) – 3:17
5. The Ballad Of Freddie And Larry (Cliff De Young, Ralph Schuckett) – 1:56
6. She’s Ready To Be Free (Clear Light) – 1:58
7. With All In Mind (Bob Seal) – 2:58
8. Mr. Blue (Tom Paxton) – 6:25
9. Think Again (Clear Light, Douglas Lubahn) – 1:37
10.They Who Have Nothing (Bob Seal) – 2:34
11.How Many Days Have Passed (Bob Seal) – 2:24
12.Night Sounds Loud (Douglas Lubahn) – 2:26

Clear Light :

Cliff De Young – Vocals
Bob Seal – Guitar, Vocals
Douglas Lubahn – Bass
Ralph Schuckett – Keyboards
Dallas Taylor – Drums
Michael Ney – Drums

Lyrics :

As I stand here in this wonderland
I see you flying
Fleeing from the burning rain

From a silver cloud shimmering… the echoing world of unreality
Creeps into my racing mind… and the cloud fluctuates
Evenly

My voice explodes into distant rumbling thunder… splashed in among the colors of thought
The illusive light of knowledge ever closer
And the cloud fluctuates evenly

Now slowly fading my cities in the sky
Until once again that cloud… floats by… by

Clear Light – “Clear Light” Album cover photo (front)

CLEAR LIGHT 1 (2)

Clear Light – “Night Sounds Loud” Single photo (A’ Side)

CLEAR LIGHT NIGHT SOUNDS LOUD SINGLE 1

Clear Light – “Night Sounds Loud” Video file link on YouTube

Clear Light Band’s Page on Spotify

Clear Light – Band’s Page on Apple Music

Clear Light – “Clear Light” Full Album Playlist on YouTube

Clear Light Band’s Page on Discogs

Clear Light Band’s Page on Rate Your Music

Clear Light Band’s Page/Full Album Download Link on Rockasteria Blog

Clear Light Band’s Interview on It’s A Psychedelic Baby Magazine Blog

Clear Light – “Clear Light” Full Album Download Link on Old Rock News Blog

 

 

 

 

Psychedelic Rock U.S.A. 1960s (Tracks) Jungle – ” Slave Ship”

Psychedelic Rock U.S.A. 1960s (Tracks)

Jungle (Los Angeles, California, U.S.A.)

“Slave Ship” B3 (closing track) included on the album (demo) “House Of Rooms” recorded in New York at Allegro Sound studio, in 1969, while the band was living in a farm in Vermont, released on Jungle Music Corporation (CO-3027). This only LP by them was originally just a demo album. It was limited to 50 copies and nowadays those original copies are incredibly valuable. So the record wasn’t officially released until the 90’s reissue was made. It’s really a shame because this S/T Jungle album has some nice West Coast psychedelia to offer for the genre fans. This album should have been officially released back in 1969.

Reissued on Eight Little Indians Records (CO 3027)  in 1997 as “Jungle”, Very limited edition on multi coloured vinyl. Thick cardboard sleeve embossed in blue velvet and engraved with silver artwork.

Latest reissue on Red Lounge Records ( RLR 096) in 2011

Reissued by Martin “Dixigas” Christoph

Line-up/Credits :

Virgil “Butch” Daniels – Guitars

Jay Mierly – Vocals

John Dawson – Bass

James Ryan Clark – Lead Guitar

Delbert Lang – Drums

Tracks Listing :

1. House Of Rooms – 7:09
2. Somewhere Sweet Memories – 4:35
3. Gray Picnic – 8:05
4. Changes I’m Going Through – 3:40
5. Early Morning Rising – 9:13
6. Slave Ship – 8:11

Jungle – “House Of Rooms” Demo album cover photo (front)

JUNGLE 1969

Jungle – “Jungle” Reissue Edition (Eight Little Indians) Album cover  photo (front)

JUNGLE 1969 2.jpg

Jungle – “Jungle” Reissue Edition on Red Lounge Records Album cover photo (front)

JUNGLE 1969 3

Jungle – “Slave Ship” Video file link on YouTube

Jungle – “Jungle”/”House Of Hours” Full Album Video file link on YouTube

Jungle Band’s Page on Discogs

Jungle Band’s Page on Rate Your Music

Jungle – “Jungle” Full Album Download Link on Rockasteria Blog

Jungle – “Jungle” Full Album Audio file link on Spotify

Jungle – “Jungle” Full Album on Apple Music

Jungle – “Jungle” Full Album Download link on Ezhevika Fields Blog

Jungle – “Jungle” Reissue Edition Album on Red Lounge Records