Freedom's album 'Freedom' original released on vinyl in 1970. This is the follow up album to 'At Last' and is the 2nd album from the power trio of Bobby Harrison, Roger Saunders and Walter Monagham and has been a long sought after item by collectors. Roger Saunders struggle with cancer in early 2000 came to a sad end and the British Rock scene lost an excellent and underrated guitarist.
'Freedom' shows a more mature, rehearsed group where a lot of emphasis was put on vocal harmonies. "We all sang" Harrison said. "We were all lead vocalists so though we were a three piece band we had a pretty big sound". If anyone should find a certain USA West Coast Influence on this Freedom album, Harrison would agree. "That was what we were aiming at I suppose. We were touring a lot in US at that time, supporting Jethro Tull and then we returned to the UK touring with Black Sabbath and Curved Air". Freedom disbanded in 1972 with Bobby forming Snafu.
Tracks
1. Nobody (Bobby Harrison, Roger Saunders) - 3:57
2. In Search Of Something (Bobby Harrison, Roger Saunders) - 6:23
3. Dusty Track (Roger Saunders, Walt Monaghan) - 7:55
4. Man Made Laws (Bobby Harrison, Roger Saunders) - 3:25
5. Ain't No Chance To Score (Bobby Harrison, Roger Saunders) - 5:41
6. Pretty Woman (Paul Williams) - 5:39
7. Freedom (Bobby Harrison, Walt Monaghan, Roger Saunders) - 5:12
8. Frustrated Woman (Bobby Harrison, Walt Monaghan, Roger Saunders) - 4:59
Truth is one of the more obscure twigs on the amazingly vast tree that grew out of a 1964 Belfast hoodlum r'n'b act first (and last) known as Them. You've heard the great Van-era recordings, the even greater Belfast Gypsies recordings, the inconsistent but occasionally brilliant Texas-era recordings -- but prior to this CD you're unlikely to have heard this Chicago-based franchise, featuring guitarist Jim Armstrong and vocalist Kenny McDowell from the Belfast/Texas incarnations of the band, lured back to the US by a music biz impresario circa 1969. The ex-Themers teamed up with two local musicians and Truth was born, rehearsing like crazy and playing local Windy City gigs with some success. I'll refer to John Berg's very detailed liner notes for the full story and move on to the music.
The bulk of the 14 songs contained on the CD are 1969 recordings made for a movie titled "College For Fun And Profit" in which the band can actually be spotted in one scene. The remaining tunes come from a 3-track acetate recorded for a prospective Epic LP that never happened. According to Jim Armstrong "Truth was the best band I ever played in. There was no pulling in different directions". It's not hard to believe him, because that's what Truth sounds like -- skillful musicians delivering music that radiates warmth, harmony and synchronization.
If this sounds a bit like vintage Grateful Dead then all the better, because there is a distinct similarity between the Dead of, say, "China cat sunflower", and the airy, good-natured guitarpsych of Truth. Not much is said about the band's influences in the liner notes but if I were to define them in terms of a pin placed on a wall-map of the USA, the spot would be Highway 1 halfway between LA and the Bay Area. There is already a pin there, marked Stalk-Forrest Group, and apart from the Dead that's one band that Truth remind me of.
Impressive credentials for sure, but Truth needn't be embarrassed in this company, because their music is faultless and at its best outright stunning. So very few bands manage to play music that allows space for the members full range of versatility without degrading into prog or fusion; Truth manage to do so and still deliver melodic, open-ended music. The opening "Music is life" is a program declaration as good as any; complex rhythms and bold chord shifts, yet as inviting as a Byrds 45 with McDowell's joyful vocals setting the tone for all that follows. "6 O'Clock Alarm" is your standard white-collar grind lament except with a 5-minute Garcia/Lesh-style jam in the middle, before the vocals pull you back to planet Earth.
I have to refrain myself from describing every track in detail but all of it progresses along the superb '69 Dead/Stalk-Forrest axis described above; an exquisite sitar track adds a foreign flavor, while the 10-minute revisit to the Texan Them's "Square room" shows just how good raga rock can be if done with serious intentions -- like a sequel to "East-West" by the Butterfields 3 years earlier.
There is another great track called simply "HIGH!" which is how you feel when hearing it, and a take on "Circle round the sun" that suits the band very well. The CD closes with the 3 tracks off the aforementioned acetate, and they're just as swell, bringing in organ and flute and a slight British influence (think Traffic) to produce one of the very best tracks on the entire CD, the powerful "Castles in the sand" that is likely to blow anyone's head off. There is some very minor surface noise on the acetate tracks while the earlier recordings are crystal clear and can be played loud as fuck!
Most of the unreleased 1960s-70s stuff that appears is disappointing and shows mainly why it wasn't released in the first place, but this Truth CD is the perfect antithesis of that cynicism -- just like Stalk-Forrest Group it's better than almost anything that WAS released at the time.
by Patrick The Lama
Tracks
1. Music Is Life - 4:13
2. 6 O:Clock Alarm - 9:14
3. Mysterios - 1:21
4. Music From Big Puce - 4:27
5. Country Funk - 0:39
6. Blackboard Words - 2:47
7. Sonic Sitar - 3:18
8. High! - 6:35
9. Archimed:s Pad - Square Room - 11:4
10.Getting Better - 5:27
11.Circle 'Round The Sun - 5:19
12.Ride The Wind - 6:37
13.Castles In The Sand - 7:18
14.October ΄68 - The Tears That You Cry - 5:23
All songs written by The Truth, except 11.Circle 'Round The Sun, which is Traditional.
Truth
*Jimmy Armstrong - Guitars, Piano, Sitar
*Curtis Bachman - Bass, Vocals
*Ray Elliot - Flute, Piano (tracks 12-14)
*Kenny McDowell - Lead Vocals, Harmonica
*Reno Smith - Drums
Julie Felix isn't too well-known in her native United States, but since 1964 she's been a major British folk music star and has been compared over there with Joan Baez. Felix was born in California, of mixed Mexican and Native American ancestry.
A natural singer by inclination, she was drawn to folk music at an early age but was unable to get a career started in America, even amid the folk revival of the early '60s. In 1964, she decided to go hitchhiking across Europe, and instead of heading home at the end of her travels she made England her destination. She arrived there just in time to catch a fresh wave of enthusiasm for American folk music, fostered by Bob Dylan's emergence internationally as a singer and songwriter.
American folk musicians had always found a welcome among England's folk enthusiasts, but just then, thanks to Dylan, the sheer number of folk listeners had ballooned to massive proportions. Felix also found a natural audience for her work -- she had an engaging voice and manner, a distinctive Mexican guitar (a gift from her father), and her combined Mexican and Native American backgrounds, which made her stand out from other of her compatriots, who were white and male. And suddenly, Felix had a major career -- the same year that she arrived in England, she became the first solo folk performer signed to a major British label when she got a contract from English Decca.
Felix debuted with a self-titled album and a single of Ian Tyson's, "Someday Soon," and she also scored a hit on television, on The Eammon Andrews Show. By 1965, she was a headlining performer, referred to in The London Times as Britain's First Lady of Folk. She cut two more LPs for Decca over the next two years, including an album of Bob Dylan and Woody Guthrie songs, and was also one of the biggest exponents of the work of Leonard Cohen before he'd established himself beyond a small cult of listeners in England. She also began getting recognized for her commitment to charitable causes, and not only raised money for hunger relief but visited several of the more troubled countries in the Third World.
By the end of 1965, she'd filled Royal Albert Hall for one of her concerts, reportedly the first folksinger based in England to accomplish that feat. In 1966, she moved to the Fontana label, for which she cut three albums -- her 1966 album, Changes, is regarded as one of her best, mixing traditional and contemporary material and utilizing the support of Martin Carthy and Dave Swarbrick; meanwhile, on-stage, she came under the wing of Brian Epstein, who booked her and Georgie Fame together at the Saville Theatre, with a then-unknown Cat Stevens appearing as the opening act.
By 1967, she was well enough established to be a featured weekly guest on David Frost's television series, and by 1968 had earned her own television variety series, with guests that included Dusty Springfield, Leonard Cohen, Donovan, and Richard Harris. Her late-'60s recordings included Going to the Zoo, a delightful collection of children's songs on Fontana, and in 1969 she was one of the artists featured at the Isle of Wight Festival. Finally, in 1970, Felix had her first pop hit when she reached the British Top 20 with her version of "El Condor Pasa," recorded under the auspices of producer Mickie Most -- indeed, Felix was the first artist on Most's newly formed RAK label to have a hit record, and she later recorded the album Clotho's Web (1972) for RAK.
She also made her long-delayed debut on American television, courtesy of her longtime friend David Frost, who booked her on his Metromedia-produced talk show. Felix scored a second hit for Most with her cover of "Heaven Is Here" before moving to EMI in 1974.
The mid-'70s marked a period of extreme change for Felix, who was an unapologetic 1960s liberal with a strong commitment to social issues. She became disillusioned with the direction of the world as the '70s wore on, with their more hedonistic orientation. Finding northern Europe a more agreeable place to live and work, she moved to Norway and subsequently enjoyed hit records both there and in Sweden.
Felix returned to California late in the decade and used the time to recharge her social conscience -- by the early '80s, she was heavily involved in the human rights campaign in Latin America. She returned to England and resumed her career, writing songs for the first time and directing her activities toward new age philosophy and interests, in addition to political issues. In the mid-'90s, Felix released her first new album in a decade, Bright Shadows, on her own label, Remarkable Records.
At the outset of the 21st century, she continues to enjoy a full schedule of performances in England and attention from old listeners who remember her from the 1960s and newer audiences who know Felix for her 1990s music. Her new music has received mixed critical and popular reception, but her 1960s repertory still elicits serious enthusiasm from her audience.
by Bruce Eder
In one of her first public appearances JULIE FELIX played the part of a witch in a college production of 'Macbeth'. To give her a suitably horrific profile, she was supplied with a putty extension to her nose, with the whole effect being heightened by green make-up and hair dressed in such a fashion that she resembled an irate porcupine.
Today, Julie still deals in witchcraft, but of a more beguiling kind, as she casts a spell on her adoring fans with her devastating combination of visual and vocal appeal. Her unusual ancestral background - Mexican father and American mother of Welsh descent accounts for her delicate, olive- skinned beauty and also for her love of folk music, which she sings with the warmth and passion of a person so strongly influenced by the racial characteristics of peoples of such outstandingly emotional temperament.
By nature, something of a wanderer, she has, at least for the time being, put down roots in Britain. She arrived completely unknown in 1964, after haphazardly drifting around Europe for two years and has progressed through records, television and concerts to become the country's First Lady of Folk, appealing not to a small select crowd of admirers, but to a widely spread audience of all age groups.
Born in Santa Barbara, California, on 14 June 1941, Julie recalls that her upbringing was in something of an artistic atmosphere, for her school- teacher mother is a poetry-lover and is interested in the cultural heritage of America, while her father, who taught her to play the guitar, was a musician before he turned to engineering.
The first songs she picked up came from Burl Ives LPs in her mother's collection but her repertoire was augmented by Mexican songs learned from her father. As a child, and in fact not until many years later, Julie took no great interest in singing. Her first great ambition was to become expert at sword-fencing, a desire sparked off by seeing a film about a pirate and his daughter. "My mother told me that the basis of all fencing was the dance and persuaded me to study ballet. After a few lessons I forgot completely about fencing", she says.
Original "Live In Concert" LP Liner Notes
Tracks
1. The Flower Lady (Phil Ochs) - 4:31
2. Mexico (Sand And Foam) (Donovan Leitch) - 2:08
3. Dialogue (I Want To Be Alone) (Jackson C. Frank) - 3:13
4. Soldat (Wolf Bierman) - 1:50
5. Somewhere There S Gotta Be Me (Clint Ballard Jr) - 2:09
6. The Gates Of Eden (Bob Dylan) - 5:06
7. San Francisco (Sure To Wear Some Flowers In Your Hair) (John Phillips) - 3:01
8. The Great Brain Robbery (Joey Mellon, Julie Felix) - 1:45
9. Saturday Night (Donovan Leitch) - 2:31
10.Don T Make Promises (Tim Hardin) - 2:05
11.Berlin (Julie Felix) - 2:44
12.Chimes Of Freedom (Bob Dylan) - 6:03
13.Lost Children (Gordon Lightfoot) - 2:38
14.Daily News (Tom Paxton) - 2:35
15.Love Minus Zero • No Limit (Bob Dylan) - 2:58
16.The First Time I Saw Your Face (Ewan MacColl) - 2:24
17.But Sixteen (Tom Paxton) - 2:39
18.Le Malaguena (Traditional) - 3:42
19.Coni Coni Cononita (Traditional) - 2:41
20.Adios Amigos (Woody Guthrie, Martin Hoffman) - 6:08
21.Sugar Jack (John G. Williams) - 4:15
22.The Union Maid (Woody Guthrie) - 5:09
23.Sad Eyed Lady Of The Lowlands (Bob Dylan) - 3:36
24.One Man's Hands (Alex Comfort, Bob Gibson) - 3:18
Songs 1-12 from "Flowers" LP 1967
Songs 13-24 from "Live In Concert" recorded at the Fairfield Halls, Croydon, Surrey, England on 23rd November 1966 and released the same year
Formed in California in 1967, Children of the Mushroom were the quintessential garage-psych band. As the times evolved, the band hardened their sound, shortening their name to Mushroom.
By 1970, Mushroom became Lady, incorporating prog-rock influences and instruments like flute to their hard-pych organ/guitar dominated sound, drawing inspiration from bands like Jethro Tull, Steamhammer, Gypsy or Bloodrock.
In 1971 the band recorded a few studio demos at Village Recorders in Los Angeles, which are presented here in top sound quality along with a couple of raw, lo-fi but killer live tracks from the same year. Long tracks, heavy fuzz guitar, Hammond organ, flute, powerful vocals…
guerssen
Tracks
1. Behind Their Eyes (Jerry McMillen, Jim Rolfe, Tom Galella, Al Pisciotta, Larry Wiseman) - 4:49
2. Easy Chair (“Lady In The Moon”) (Jerry McMillen, Jim Rolfe, Tom Galella, Al Pisciotta, Larry Wiseman) - 5:22
3. This Is My Friend (Jim Rolfe, Jerry McMillen, Tom Galella, Al Pisciotta, Larry Wiseman, Nisahna Shephard) - 3:52
4. Will I Be Saved (Jim Rolfe, Jerry McMillen, Tom Galella, Al Pisciotta, Larry Wiseman) - 3:06
5. I’ve Lost You (Jerry McMillen, Jim Rolfe, Tom Galella, Al Pisciotta, Larry Wiseman) - 7:19
6. Evasella (Wally Stoltz, Dave Fontana) - 4:14
7. Hour Of Our Lives (“Insurrection”) (Pat Van Auken) - 5:41
8. Behind Their Eyes (Jerry McMillen, Jim Rolfe, Tom Galella, Al Pisciotta, Larry Wiseman) - 6:06
9. I Will Listen (Jerry McMillen) - 7:32
10.Lady Jam (Tom Galella, Mike Gattenby, Wally Stoltz, Jim Rolfe, Pat Van Auken, Jerry McMillen) - 8:30
Songs 1-5 Demo tracks recorded at "The Village" in 1971
Songs 6-11 live recordings from 1971 concert in Simi Valley, California
Zzebra in its original encarnation was an amalgamation of two brilliant bands. Terry Smith and Dave Quincey from (IF and Lasissi doughty) Amao from OSIBISA. Liam Genockey and John McCoy were brought in on drums and bass, and Gus Yeadon on keyboards and vocals. Ken Burgess produced and Tony Taverner engineered.
Gus Yeadon was not happy in the band and when Ken's old friend and partner, Tommy Eyre, returned from recording in the USA with Mark-Almond he was invited to see them play at London's Marquee club with a view to joining. Eyre recalls: 'The band was absolutelly electric. The combination of jazz, serious heavy rock and Nigerian folk music was incredible. The highlight of the evening though was an unaccompanied guitar section in the middle of Hungry Horse.
Terry Smith attempted and incredibly speedy rising line that ended up in a mis-fretting. He grunted and tried again. Still missed the last couple of notes. As hot as the Marquee club was, Terry was wearing a thick heavy woolen overcoat. He took a huge slug from it, layed it on the ground and then played the line perfectly and at double the speed! .
That's when I knew I wanted to play with that band!". Zzebra was a hard-working road band and it's improvisitational natural couple with the sheer power of the rhythm section allowed it to constantly experiment without losing the audience. Many new songs were composed this way and within s short time they had enough new material to record, "Panic".
Love Affair was one of the great, all-too-unheralded pop bands of the late '60s in Britain, not a million miles in approach from the Small Faces -- and in Steve Ellis they had a soulful belter who was close to the genius of Steve Marriott. "Everlasting Love" was the big hit, a wonderful slice of music that crossed and recrossed the line between soul and pop, and which still stands proudly after all these years. But it's far from being the only excellent work here. The covers of "Hush," "Tobacco Road," "Handbags and Gladrags," and "The First Cut Is the Deepest" positively steam, while "Rainbow Valley," although a formulaic retread of the big hit, still has plenty going for it. Perhaps the big problem for the band was that they were tagged simply as a pop band, so when they attempted to break that mold, they weren't taken seriously.
That's a shame, as "The Tree," which veers into both psychedelia and prog rock (close neighbors in those days) is an excellent piece of work, and "Once Upon a Season" offers a few echoes of Traffic. That's not to say everything is wonderful: "Could I Be Dreaming?" and "The Tale of Two Bitters" are readily dispensable, and a couple of other tracks are simply nondescript. But the ratio of good to bad is extremely high, and Steve Ellis is convincing throughout.
by Chris Nickson
Tracks
1. Everlasting Love (Buzz Cason, Mac Gayden) - 3:00
2. Hush (Joe South) - 3:38
3. 60 Minutes (Of Your Love) (David Porter, Isaac Hayes) - 3:36
4. Could I Be Dreaming (Steve Ellis, Morgan Fisher) - 3:17
5. First Cut Is The Deepest (Cat Stevens) - 3:21
6. So Sorry (D. Gerard) - 3:09
7. Once Upon A Season (Mick Jackson) - 3:59
8. Rainbow Valley (Buzz Cason, Mac Gayden) - 3:48
9. A Day Without Love (Phillip Goodhand Tait) - 3:11
10.Tobacco Road (J. D. Loudermilk) - 3:52
11.The Tree (Steve Ellis, Morgan Fisher) - 2:45
12.Handbags And Gladrags (Mike d'Abo) - 3:49
13.Build On Love (Phillip Goodhand Tait) - 2:27
14.Please Stay (Bob Hilliard, Burt F. Bacharach) - 4:13
15.Tale Of Two Bitters (Steve Ellis, Morgan Fisher, John Cokell, Mike Smith) - 2:33
16.Gone Are The Songs Of Yesterday (Phillip Goodhand Tait) - 2:54
17.Some Like Me (Steve Ellis, Maurice Bacon, Rex Brayley, Mick Jackson, Lynton Guest) - 3:21
18.I'm Happy (Love Affair) - 2:16
19.One Road (Phillip Goodhand Tait) - 3:08
20.Let Me Know (Love Affair) - 2:29
21.Bringing On Back The Good Times (Phillip Goodhand Tait, John Cokell) - 3:22
22.Another Day (Rex Brayley) - 4:11
23.Un Giorno Senza Amore (Italian Version From 'A Day Without Love') (Phillip Goodhand Tait, Mogol) - 3:11
Richard Supa, the New York-born singer-songwriter/guitarist known as the composer of ‘Chip Away the Stone’, recorded by Aerosmith and Humble Pie. Following last year's first album under the name Supa's Jamboree, his second album, Homespun (1972), has now been released on CD.
As a boy, Richard Supa (real name Richard Goodman) vaguely dreamed of becoming a songwriter whose name would appear in small print on the hit records of Elvis Presley and Chuck Berry. His career began in the mid-1960s with the Long Island band Dennis Belline & The Rich Kids. Following the Northern soul single "It Happens That Way/ Little Lonely Girl‘ (RCA Victor) in August 1965, followed by the album ’Dennis Belline & The Rich Kids" (RCA Victor) the following year. The album featured danceable covers of songs ranging from The Beatles (‘Rain’, ‘The Night Before’) to The Young Rustics (‘Do You Feel It?’), Motown (‘Mickey Monkey’ ‘Mustang Sally’) and Burt Bacharach numbers (‘Any Day Now’), all danceable covers. The label marketed this early incarnation, fronted by Berrini's blue-eyed soul-style vocals, as rivals to the Young Rascals. The following year saw the release of the studio recording ‘Money Isn't Everything/Summer Girl’ (June 1966/RCA Victor), followed by Dennis Belline's solo release ‘Grey City Day/Outside the City’ (December 1966/RCA Victor).
Around 1968, the Rich Kids became the house band at The Barge club in East Quogue, New York, and were active on the East Coast live scene, based on the college/coffee house circuit. They changed their name to MAN in 1969. Bob Johnston and Nee, who were also part of the production team for Bob Dylan's Columbia release that same year, “Nashville Skyline”, served as producer and engineer.
Welcoming Le Wilburn, they released their sole album, Man (Columbia). The quintet comprised Spa (g, vo), Dennis Belline (g, p, vo), Richie Cardenas (b, vo), Gilbert Slavin (key, harpsichord, f), and Anthony Krzinski (ds, perc, harmonica). The highlight is “Sister Salvation” (Krzinski/Sara & Dennis Belline), featuring a gospel-like intro and a catchy melody. Moving beyond 60s-style blues rock and psychedelic rock, their style hinted at the later radio-oriented mainstream rock trend. In that sense, it was perhaps an album ahead of its time.
After the group disbanded, Dennis Belline released the solo single ‘Living Without You / Forget About Me’ (March 1970 / Columbia / A-side a Randy Newman cover). Meanwhile, Supa also released his first album, Supa's Jamboree, on the Paramount label in 1971. This featured a regular band comprising Liberty David (ds, perc), Ivan Elias (b), Jonathan Hipps (key, p) were joined by members of the Atlanta Rhythm Section: Dean Daughtry(key, org), J.R. Cobb (acoustic g), Barry Bailey (electric g), Robert Nicks (ds), Paul Goddard (b) and others as guest musicians. The arrangement credits are listed as ‘Richard Supa & Jamboree’, while the label side credits read ‘Supa's Jamboree / Supa’. According to the original LP liner notes, ‘Supa's Jamboree’ appears to be Richard Supa's new group comprising David, Hips, and Elias.
The Atlanta Rhythm Section, who participated on two tracks, formed in 1970 from former members of two Southern bands active in the 60s: the Classics IV and the Candymen. Their first gold disc was their sixth album from 1977, 'Rock “n” Roll Soul' (Polydor) in 1977. Compared to other Macon/Capricorn acts, they were late bloomers as a Southern rock band, but thanks to Rodney Mills (engineer) and Buddy Buie (later ARS's manager), they established themselves locally in Atlanta in 1970.
As the house band at Studio One, they gained experience through various recording sessions. Supa's debut album thus became one of the very first releases from Studio One/ARS (the studio closed in 1989). Whereas the previous album featured them only on select tracks, this second album, “Homespun” (1972/Paramount/Jacket notation: Supa, Label notation: Richard Supa), saw the Atlanta Rhythm Section members—Robert Nicks (ds), Barry Bailey (g), Paul Goddard (b), J.R. Cobb (key), Rodney Justo (vo) — provided full backing (with Dobro player Howard Emerson and keyboardist Jonathan Hipps continuing their participation). Alongside originals, it included a re-recording of Smokey Robinson & The Miracles' '6 and a re-recording of a song by Mann, who had once been a member. His blues/R&B/country-based rock “n” roll/swamp rock possessed an East Coast sophistication amidst its grit, hinting at his later connection with Steven Tyler (Aerosmith).
Naturally, his strengths lay not only in songwriting but also in his distinctive, understated vocals, particularly on mellow ballad numbers. He subsequently released two albums under the name “Richard Supa”: “Life Line” (1976 / Epic) and “Tall Tales” (1978 / Polydor). However, the most notable aspect of his subsequent career remains his long-standing partnership with Steven Tyler. Following “Chip Away the Stone” (the author's version featured on “Tall Tales”), which was also covered by Humble Pie, he provided Aerosmith with songs such as “Lightning Strike” (1982), 'Amazing' (1993 / co-written with Tyler), and “Pink” (1997 / co-written with Tyler). When Joe Perry left in 1979, he even stepped in as a support guitarist until a replacement was found. Following the unexpectedly huge response to “Amazing”, based on his own experience of recovering from over twenty years of drug addiction, Supa now works at the Recovery Unplugged Treatment Centre in Fort Lauderdale, Florida, a rehabilitation facility for drug and alcohol sufferers.
by Masaru Konishi, October 2016
Tracks
1. Motorcycle Man - 4:54
2. Tractor To His Trade - 4:03
3. Goshen Road - 3:58
4. Heap-a-Trouble - 3:32
5. Sister Salvation (Denny Belline, Jerry Leiber, Mike Stoller, Sandra Belline, Tony Krasinski) - 2:49
6. Tracks Of My Tears (Marvin Tarplin, Smokey Robinson, Warren Moore) - 3:55
7. Ride The Wild House - 3:14
8. Rainbows Colored Right - 4:18
9. Monkey Joe - 4:31
All songs by Richard Supa except where noted
Personnel
*Richard Supa - Acoustic Guitar, Electric Guitar, Vocals
Index were formed in early 1966 in Grosse Point, Michigan. In ‘66 drummer Jim Valice (17 years old) met Gary Francis. Jim played in a garage band, and Gary played another band. One day they had a jam session with one more cool guitarist John B. Ford. Their first jam was exciting, the sound was full and powerful with John’s technical guitar playing.
In early ’67 the band played “Johnny B. Good” and “Mustang Sally”. At the time Gary didn’t have his own bass. Jim and John bought a violin shaped bass for Gary as present. They became a party band, playing at a pool,and in the living room, in the summer. They covered Chuck Berry, Animals, and played their original songs. At the time the band was called “Chicken Every Sunday”. One afternoon after a session, they decided to change the name. John went over to a book shelf, and said taking a book” "Let’s make the name from what ever page falls open!"”. He tossed the book to the floor. The band changed their name to the Index. best of hideout
The Underdogs, The Rationals, unique girl band Pleasure Seekers(including Hideout clerk girl, Suzi Quatro) Fugitives(SRC) and more garage bands played at teenage nightclubs like Hideout and The Undercroft.
In the summer of ’67 Index was attracked to a new record, with unique, innovative sound, it was The Jimi Hendrex Experience. Hearing it they tried to make their own “psychedelic” sound. John wrote “Fire Eyes”, ”Shock Wave” and “Feedback”.
In the fall Jim got into The University of Detroit, John went to Yale in Connecticut. He came Detroit every other weekend to play with the band. Index was playing around Detroit area. During the Christmas holidays in ’67, Index opened for The Rationals.
Next morning the band tried their own recording. The basement became recording studio. Throughout December they had gigs in evening and rehearsed for first album during the day. After 3 days recording, they spent a couple of days mixing and adding sound effects to make feedback.
The album cover was basic black and white. On the cover was a picture of “Orpheus and Bacus” founders of a singing club John had joined at Yale. On the back was their picture. The record pressing company in Detroit needed a label and logo to press on the record, they selected DC from their friend Dwight Conger (aka. DC) for his great help with the band.
In mid ’68 John made the sound a more acoustic, mellow style. He began to listen The Buffalo Springfield, The Byrds, and Bee Gees. Gary switched to rhythm guitar.They found new bass player, Tom Ballow who was only 16 years old. He played soul music like James Brown, Wilson Pickett in his former band Joe’s Soul Repair.
By the summer of ‘68, John met young girl called Jan and fell in love with her. She hated the feedback sound and encouraged John to play mellow and tone down his music. This is one of the reasons why many people mixed up their first and second album.
The band’s sound changed. He wrote “Rainy Starless Nights” and “I Love You”. In the summer they made one more album called The Red Album which included John’s love songs along with wild “Breakout”, cover of Bee Gees “New York Mining Disaster”, Birds’ “Eight Miles High”. It was finished in the end of August, But the album was not pressed for a month because they didn’t have recent photo. John was busy on the East Coast. Gary went to college in upstate Michigan and lost interest with the band.
After the recording they had their own house party at John’s home. His parents were traveling. It was early September. Detroit “punks” gathered there, The Underdogs, Scott Richard Case (SRC), Alice Cooper. Suzie Quatro arrived very late along with the drummer Nancy. About 10AM the next morning the house was trashed inside and out.
At the time John’s parent came back! Beer bottles had leaked a trail across the hall rug and now onto Mr. Ford’s foot. Everyone was immediately expelled from the house.
To release red album, Jim sketched silhouettes of the band members for the sleeve using the photo for theback cover of Black album. A local radio station WABX played the cuts from Black and the Red albums. But it was too late. Gary left the band in January ’69.Tom quit too. It was the end of their history. In December ’69 Jim and John joined again , they recorded some songs to make one more album . It was released as JUST US, only 150 copies were pressed.
In ’84 Voxx reissued the Red Album, the echo fuzz sound enchanted the listener. In late of ‘80s unknown Sears label released the Black Album. (it seems bootleg) And at last, in ’95 Jim Valis released the CD called Index Anthology on his own label, Top Jimmy Productions. It includes 5 cuts from Black Album, 7 cuts from Red album and 9 bonus songs of ’69 recording. In ’97, as a 30 year anniversary Anthology II was released as 2 CD which including ’69 live recording, rest of Black album and the last recording as Just Us. Here we have a 35 tracks double disc edition from 2010.
Sixties Punk
Tracks
1. Eight Miles High (Roger McGuinn, David Crosby, Gene Clark) - 3:33
2. Israeli Blues (John B. Ford) - 4:05
3. John Riley (Bob Gibson, Ricky Neff) - 4:00
4. Turquoise Feline (John B. Ford, Jim Valice) - 3:30
5. Rainy, Starless Nights (John B. Ford) - 2:25
6. Fire Eyes (John B. Ford, Jim Valice) - 4:08
7. Shock Wave (John B. Ford, Jim Valice) - 3:20
8. You Keep Me Hanging On (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:00
9. Feedback (John B. Ford) - 4:50
10.Turquoise Feline (John B. Ford, Jim Valice, Tom Ballew) - 3:50
11.I Can't See Nobody (Robin Gibb, Barry Gibb) - 3:00
12.Spoonful (Willie Dixon) - 4:50
13.Eight Miles High (Roger McGuinn, David Crosby, Gene Clark) - 3:33
14.New York Mining Disaster (Robin Gibb, Barry Gibb) - 3:20
15.Paradise Beach (John B. Ford, Jim Valice) - 3:30
16.Break Out (John B. Ford, Jim Valice, Tom Ballew) - 2:45
17.I Love You (John B. Ford) - 3.40
18.Rainy, Starless Nights (John B. Ford) - 3:10
Songs 1-9 from "The Black Album" 1967
Songs 10-18 from "The Red Album" 1968
Disc 2
Yesterday and Today
1. Jill (John B. Ford, Jim Valice) - 4:37
2. Long Tall Shorty (Don Covay, Herb Abramson) 3:38
3. Mustang Sally (Sir Mack Rice) - 2:42
4. You Like Me Too Much (George Harrison) - 2:10
5. Yesterday and Today (John B. Ford, Jim Valice) - 2:19
6. It's All In Your Mind (John B. Ford, Jim Valice) - 2:08
7. I Got You (I Feel Good) (James Brown) - 2.39
8. Dear Friend (Paul McCartney) - 3:03
9. Yesterday and Today (John B. Ford, Jim Valice) - 4:09
10.I Met a Man (David Crosby) - 3:04
11.Morning Dew (Bonnie Dobson) - 3:14
12.I Used to Be a King (Graham Nash) - 2.53
13.431 Lakeshore Drive (John B. Ford, Jim Valice) - 2:47
14.Don't You Know (John B. Ford, Jim Valice) - 4:43
15.Sunny Skies (James Taylor) - 4:14
16.Kick It Out (John B. Ford, Jim Valice) - 2:58
17.Helplessly Hoping (Stephen Stills) 2:38
Index
*Jim Valice - Drums, Backing Vocals
*Gary Francis - Guitars. Bass, 12-String Guitar
*John B. Ford - Lead Guitar, Lead Vocals
*Tom Ballew - Bass (only on the "Red" album)
Taking their name from the Stratford, Ontario region of the same name, Perty County Conspiracy was centred around British immigrant Cedric Smith and American draft dodger Richard Keelan (ex of Spikedrivers). They gigged up and down the Toronto strip in the late '60s and released their debut album, Mushroom Music on the independent label, Rumour Records in '69.
A healthy dose of trippy acid/folk rock was served up, and thanks to the CBC, it was followed in the spring of 1970 with a self-titled promotional only album. By now guitarist Terry Jones, bassist Michael Butler, and George Taros on piano were added. Only 250 copies were pressed, and although mostly experimental folk with the occasional mandolin or ukelele and bongo drums, it also contained covers of Donovan's "Hurdy Gurdy Man" and Dylan's "I Shall Be Released," and a folksy cover of Smokey Robinson's "If You Can Wait." But the music wasn't very audibly accessible, and the record was soon forgotten about by the radio station programmers.
Still, it fuelled them on to continue playing, and they eventually caught the attention of reps at Columbia. They were a hit with the live crowds and Perth County Conspiracy Does Not Exist was on the store shelves before the end of the year.
Nothing from the first two albums was re-recorded, and instead 40 minutes of new acoustic melodies with the occasional vocal harmonies made up the bulk of the John Williams produced album. "You've Got To Know" b/w "Listen To The Kids" was released as a single, but never really caught on. A few years later, the b-side did however make it to the Maple Music compilation series. The album also featured sampling from Shakespeare's "As You Like It," and a couple of endeavors that contained multiple segments, including the single "Fantasia" b/w "Listen To The Kids." Met with little fanfare, it was followed by "You've Got To Know" b/w "Keep of the Keys," and also featured an interpretation of English poet Christopher Logue's "Come To The Edge."
Recorded in the Bathhurst Street United Church in Toronto, their next outing was 1971's double album, Alive, with Williams returning as producer. Oddly, it was all new material, and Jones contributed to the writing this time. An edited cover of Dylan's "You Ain't Got Nothing" was put out as a single. But as usual, it didn't light the radio waves on fire. Other noteable cuts included the b-side "Uncle Jed," "Broken Wing," and the reflective "Stratford People."
Columbia dropped them by '72 but undaunted, the band carried on and eventually Bob Burchill came in on guitars to replace the departed Terry Jones. Now back on Rumour Records, they released another live album, What School Bus Tour? in the summer of '73. The band wasn't known for extensive engagements, but the record was a culmination of performances in Ottawa, Sudbury, and Winnipeg earlier that year. It again featured all new material, and Burchill's presence was immediately seen in the credits writing three cuts. It also featured a rendition of Arlo Guthrie's "Pastures of Plenty," and a pair of tracks written by Milton Acorn.
Following the stand alone single, "Black Creek" in '74, their next album wasn't until a year later. Breakout To Berlin again featured all new material, and a German pressing with a different cover and under the title of Kanada was released.
Following the band's demise, Burchill released the ill-fated Cabin Fever on Rumour Records in late '75, then became a session player. Smith carried along on the Toronto scene for awhile, and hooked up with Terry Jones again for the album, Ten Lost Years And Then Some in '77, then made it on to a CBC compilation in '81 called Touch The Earth before turning to acting. Along with regular roles in the series Road To Avonlea and Anne of Green Gables, he also landed a spot in the X-Men franchise.
What School Bus Tour and Ten Lost Years were both released individually in 2008, but neither contained any bonus material. In the early '90s, band members started reuniting annually a coffee house in Stratford in support of the homeless. In 2011, the band's name was resurrected again when CBC Radio profiled them during its "Inside The Music" series.
by Michelle Dionne, Dawn Edwards, Jaimie Vernon
A true legend of the psych-folk rock genre, the very first album by Canadian band Perth County Conspiracy was conceived, recorded and designed to look and sound like the product of a commercial record label. But with only 250 copies produced the record quickly reached mythic status as the band went on to begin a commercial career with Columbia Records.
A huge influence on later generations of Canadian artists, original copies are incredibly rare and change hands for hundreds of dollars. Defining the zeitgeist as the 60s became the 70s, the band sound has touches of Nick Drake, Donovan and Terry Reid as well as more acid folk influences. Standout tracks include a version of Donovan’s ‘Hurdy Gurdy Man’, the trippy ‘Take Your Time’ and the smokey flute-led ‘So Many Things’.
Tracks
1. Welcome Surprise (Richard Keelan) - 3:13
2. Take Your Time (Richard Keelan, Cedric Smith) - 3:23
3. If You Can Want (Smokey Robinson) - 4:31
4. Woman For All Seasons (Cedric Smith) - 4:15
5. Hurdy-Gurdy Man (Donovan Leitch) - 4:37
6. Mr Truthful Licks (Richard Keelan) - 2:49
7. So Many Things (Cedric Smith) - 2:53
8. Hindsight (Richard Keelan) - 3:41
9. Lace And Cobwebs (Cedric Smith) - 2:43
10.I Shall Be Released (Bob Dylan) - 6:35
Producer, songwriter, scenester, svengali, unrepentant opportunist and spectre at the feast: if Kim Fowley’s name is attached to a project, you can’t help perking up – either in eager anticipation or amused dread.
Wildfire compiles the three albums Fowley gifted to the Imperial label in the late 60s. The first, Born To Be Wild: The Exciting Organ Of Kim Fowley, is a likeably makeweight instrumental set intended as an unthreatening entrée into the “now sound” for middle-aged rocking daddies. With its accessible, meekly groovy organ-led covers including Pictures Of Matchstick Men, Hello, I Love You and Soul Limbo, it’s fun if not fundamental, and is wisely relegated herein to the back-end of both CDs.
The real meat is provided by 1969’s Outrageous, a bestial, largely improvised, straight-society-baiter on which Fowley’s hoarse shamanic yelling, hyperventilating, “method” commitment and primordial regressions (Nightrider, Inner Space Discovery) suggest Iggy at the end of his not-inconsiderable tether, or Lorenzo St Dubois (LSD) from The Producers.
The same year’s Good Clean Fun melds Zappaesque comedic duologues (Motorcycle, Ode To Sweet Sixteen) with queasy country-rock (Baby Rocked Her Dolly) and distressingly horrible musique concrète (Energy, Lights The Blind And Lame Can See). Somehow, Fowley emerges as the freak-flag-waving sexual predator it’s ok to love.
by Oregano Rathbone
Tracks
Disc 1
1. Animal Man (Kim Fowley, Marty Cerf) - 2:46
2. Wildlife - 4:10
3. Hide And Seek - 2:10
4. Chinese Water Torture - 0:46
5. Nightrider - 2:24
6. Bubble Gum (Kim Fowley, Marty Cerf) - 2:30
7. Inner Space Discovery - 4:03
8. Barefoot Country Boy - 2:03
9. Up - 4:05
10.Caught In The Middle - 5:40
11.Down - 4:47
12.California Hayride - 1:22
13.Born To Be Wild (Mars Bonfire) - 2:46
14.I Can't Stop Dancing (Gamble Huff) - 2:07
15.Shake A Lady (Ray Bryant) - 2:05
16.Hello I Love You (John Densmore, Ray Manzarek, Robby Krieger, Jim Morrison) - 2:06
17.Soul Limbo (Al Jackson Jr., Booker T. Jones, Donald "Duck" Dunn, Steve Cropper) - 2:39
18.Space Odyssey - 2:48
All songs by Kim Fowley except where stated
Tracks 1-12 from "Outrageous" LP 1968
Tracks 13-18 from "Born To Be Wild" LP 1968
Disc 2
1. One Man Band (Michael Lloyd) - 2:13
2. Ode To Sweet Sixteen (Harlowe) - 1:26
3. Good Clean Fun (Michael Lloyd) - 2:18
4. Search For A Teenage Woman (Rodney Bingenheimer) - 2:17
5. Energy (Kim Fowley) - 2:04
6. Baby Rocked Her Dolly (Merle Kilgore) - 2:21
7. Motorcycle (Jerry Landis) - 2:22
8. Kangaroo (Warren Zevon) - 3:55
9. Light The Blind And Lame Can See (Kim Fowley) - 1:55
10.Good To Be Around (Michael Lloyd) - 2:15
11.The Great Telephone Robbery (Kim Fowley) - 6:30
12.I'm Not Young Anymore (Warren Zevon) - 4:29
13.Wild Weekend (Phillip Todaro, Thomas Shannon) - 2:30
14.Pictures Of Matchstick Men (Francis Michael Rosi) - 3:04
15.Savage In The Sun (Mars Bonfire) - 2:44
16.Sunshine Of Your Love (Eric Clapton, Jack Bruce, Peter Brown) - 2:30
