THE CRYAN SHAMES
Sugar & Spice
A Scratch In The Sky
Synthesis (all Sundazed; CDs)
     The Shadows Of Knight may have been the tough punks of Chicago, but The Cryan' Shames (along with The New Colony Six) were the cities prime pop band. Their three albums recorded between '66 and '69 represent the changing face of '60s pop, and after a slow start (the debut is average plagiaristic garage pop that mirrors such luminaries as The Byrds, Searchers, Motown, Animals and the Brit Invasion and is only really saved by their punky take of 'Hey Joe' and the band original psych-punk fest 'Ben Franklins' Almanac') they developed personality. On their second album if not capable original songwriters, the band show how they had managed to copy their heroes (now narrowed down to The Byrds, Association and Beatles) most admirably. A Scratch In The Sky is a run of well sung, played and produced pop outings that surely had the local teens screaming. Yet underneath the bubblegum exterior was a psychedelic edge that deserves credit. 'The Sailing Ship' is a Revolver-esque gem (which features BAGPIPES), 'In The Café' is up there with Emitt Rhodes impressions of Macca pop and 'Mr Unreliable' and 'Sunshine Psalm' respectively shamelessly lift riffs and melodies from Gene Clark's 'Elevator Operator' and The Byrds' 'I See You'. But it's all so good! Sure, it's a rip. But a bloody accomplished one. By '69 the guys had sussed their audience: the hipper end of the young teen-market, and with that, like The Monkees and Raiders, got about as far-out as a pop band could without becoming completely weird. And it is on this, Synthesis, their final album, where they shone most. Opener 'Greenburg, Glickstein, Charles, David, Smith And Jones' throws in a big string section, catchy bubblegum-punk-psych vocals, and some fuzz creating a psych-pop extravangza - the synthesis of the title implied the moulding of pop and classical music. Elsewhere, the album bandies around goodtime ('It's Alright'); contemplative introspection ('Baltimore Oriole', 'Your Love', 'Masters Fool', 'Symphony Of The Wind'); Association-lite Sunshine pop ('First Train To California'); psych-pop ('The Painter') and an oft recorded, but decent hippy anthem ('Let's Get Together').
      All are good, and the last two albums are nothing short of essential.
Jon 'Mojo' Mill

FANNY
First Time In A Long Time (Rhino Handmade 4xcd box set, limited edition of 5000)
     In an age of riot girrrrl and female indie thrash and '60s revivalist bands it is sobering to think that not all that long ago an all female rock 'n' roll band was regarded as a novelty act. One that could actually get an album deal and national, nay international exposure was the rarest of them all. So rare in fact that Fanny were regarded as a one-off rather than indicative of the latent and/or deliberately derided talent of women with guitars, drum kits and keyboards. Fanny, as a number of women testify in the copious liner notes, were not just 'a' but 'the' glimmer of hope and inspiration for aspirant women rock musicians in the no(wo)mansland of the first half of the 1970s. As Jill Sobule recounts: "I was the only girl 'rock' guitar player in my grade school. I had a Gibson SG and a Marshall amp (that was my older brothers). I would pretend for hours in front of the stereo that I was Hendrix, Harrison, or Clapton. Imagine how I felt when I first saw the cover of a Fanny record. Finally, I could pretend I was someone of my own gender." Magnify that across the known musical world and for that if nothing else Fanny should be sanctified. These four discs take in their complete Reprise album output in the shape of Fanny, Charity Ball, Fanny Hill and Mother's Pride. Additionally there are studio out takes, unreleased material and two live sets. In the fascinating interview with members of Fanny contained in the booklet guitarist June Millington relates how her amp would always get turned down on records. Listening to the live sets (Cleveland '72 and Philadelphia '73) her guitar comes across with a lot more 'ummph' than on the studio recordings. Nonetheless, the first anonymously titled album especially, is feisty and ballsy and musically excellent. On the other albums there are great tracks, 'Charity Ball', 'Place In The Country', Nowhere To Run' for instance on Charity Ball, 'Ain't That Peculiar', a great rendition of 'Hey Bulldog' on Fanny Hill, but the overall impression is of a far more restrained and artful sound which never again on record at least quite recaptured the joyous rocking abandon of their debut album. Nonetheless there is something of merit on each disc in this set and as a historical aural document it stands as an accusation against the chauvinism of the music industry of the time and to the fact that only now has any of their fine music been reissued in the digital age. Check 'Conversation With A Cop' on Fanny for instance or other songs about being a single mother etc. June Millington later went into the women's movement music scene to develop these themes further. As commercial fair in the early 70s such topics were pushing the envelope. I would love to see these albums reissued as stand alones more widely and Fanny's importance recognised accordingly. Until then, this crammed box (70+ minutes each disc) stands as a wonderful testament to them.
Paul Martin

GUILLBEAU & PARSONS
Louisiana Rain (Big Beat; CD)
     If The Dillards' Wheatstraw Suite and Copperfields (reviewed in last months reviews) took bluegrass influences towards a rock format Guillbeau & Parsons did likewise with Cajun, and in their earliest years helped pave the way for the country-rock boom. Needless to say then that Alec Paolo's selection of singles, demos and the unreleased '68 album that the pioneers recorded will be of major interest to fans of the genre. The central musicians here were, of course, main players in the late '60s move from folk-rock to country. Parsons worked with Wayne Moore, Clarence White and Guilbeau in The Reasons (later Wayne Moore's Nashville West), and then in '68 both White and Parsons left for The Byrds to begin work on Dr. Byrds & Mr. Hyde. In the mid-'70s Parsons would once again work with Guilbeau in a later formation of The Flying Burrito Brothers. There are more diversions along the way too, but you get the picture; these guys were integral to the rise of country-rock.
     Louisiana Rain features music raised in honky tonks by pre-long haired young men more au fait with country music than rock, but the subtle pop styling they introduced to a once singular music gave rise to a harder beat, electric instrumentation and a younger audience that was then revolutionary. The rest is history! The '68 single 'Your Gentle Way' (recorded by the duo) was taken to The Byrds by Parsons in '68 and is practically a benchmark for the kind of pop/country that McGuinn would work with until The Byrds demise, in a similar mode are a plethora of less honky tonk unreleased songs that Guillbeau most probably demo'd with Byrd members at Darrell Cotton's Lon studio. If not all of the material is the type of late '60s country rock we know and love 'Louisiana Woman' saves the day, and offers everything you could want from the genre.
Jon 'Mojo' Mills

LEE HAZLEWOOD
These Boots Are Made For Walkin: The Complete MGM Recordings (Ace)
     One hardly needs to listen to this album to write a review. These songs are the work of a genius; everyone's heard them, and Shindig readers (being people of refined taste) will probably own at least one of them already. 'My Autumn's Done Come', 'I Move Around' and 'After Six' alone should make it an obligatory purchase, and that's without the other 32 tracks on the double CD, including a previously unreleased instrumental called 'Batman' (not the Neal Hefti theme, though I'd love to have heard LH tackle that). The compilation covers the period from 1966 to 1968 when Hazlewood was producing some of his finest songs and working with both Nancy Sinatra and girlfriend Suzi Jane Hokum. This era still constitutes the rump of his live set, as anyone lucky enough to have attended any of the shows on this year's tour will know. Superbly arranged and performed, great tunes, memorable lyrics: this is songwriting at its finest from one of the most enigmatic and fascinating people in music. Buy.
Jane Farrell

HEARTS & FLOWERS
Now Is The Time For... (Rev-ola; CD)
     Spooky, haunting and strange! The pair of albums (Now Is the Time for Hearts and Flowers and Of Horses, Kids and Forgotten Women) this mysterious California unit released in '67 and '68 are two of the lost treasures from the State's most intriguing period. The first album follows a similar instrumentally eclectic approach to folk music as early Kaleidoscope and the ten cuts (that include a Kaleidoscope cover) are mesmerising takes on folk staples from Donovan to Tim Hardin ('A Reason To Believe' is a delicacy). The second album, released by Capitol in July '68 is a far stronger set of well-produced folk rock that veers towards psychedelia. The shimmering '10,000 Sunsets' and 'Ode To A Tin Angel' are superb drifting, trippy efforts that equal the finest recordings of the era.
     This is a welcome release, and an easy way to get hold of this unique bands albums. Buy without a second thought.
     http://www.revola.co.uk/ (as are all following Revola reviews)
Jon 'Mojo' Mills

LOVE
Four Sail (Elektra/Rhino CD)
     At last, Love's often overlooked fourth long player gets its first ever official re-release. For those of us with worn out original copies (or Thunderbolt's dubious Lo-Fi 80's issue), this is a breath of fresh air and complete confirmation that the second of Arthur Lee's many incarnations of Love is as worthy as the universally championed one, which preceded it.
     Ravaged by hard drugs and clashes over money, Lee effectively sacked the original line-up not long after they'd crafted the landmark Forever Changes in late 1967. He quickly recruited a new band and adopted a new approach. When guitarist Jay Donellan, a confirmed fan of Forever Changes, showed up for his first rehearsal clutching an acoustic guitar, Lee informed him "We don't play that stuff no more".
     And he was right. Four Sail is still informed by Lee's dominating presence and unique lyrical worldview but the songs are less tightly structured, allowing his new charges to stretch out with some fiery jamming. This is perfectly exemplified in the album's opener 'August', an acid-fuelled roller coaster ride of tricky time changes and brutal instrumental passages, while the closing 'Always See Your Face' is a bruised, soulful hymn from a different planet altogether. Other highlights in a set which contains no real duds include 'Robert Montgomery', the irresistible 'I'm With You' and 'Singing Cowboy' with Lee's rousing mantra-like whoops of "you-hoo!" at it's climax.
     With three alternate versions tagged on the end of the album and comprehensive liner notes, this is a must for Love fans and curious onlookers alike.
Andy Morten

CHRIS LUCEY
Songs Of Protest And Anti-Protest (Rev-ola; CD)
     It's hard, actually impossible, to match Arthur Lee. Yet, the mysterious Hollywood boy-about-town Bobbie Jameson nee Chris Lucey (who's sole album features a profile shot of Brian Jones rather than the performer!) manages to get about as close to Love / Da Capo as is heavenly possible. The tough, sloppy folk-rock of Lee's debut is prevalent on the bass driven 'I Got The Blues', and Lucey/Jameson captures the quavery Johnny Mathis-like Lee vocals to a tee (admittedly the vocal coda that takes the song into the chorus is uncannily similar to that of 'You'll Be Following). So it'd not be hard to be fooled into believing this is a lost Love cut! The same Boss Nova route Love infused through Da Capo, notably heard on 'Orange Skies', is present on 'Don't Come Looking' and 'That's The Way The World Has Got To Be (Pt 1 )', whilst (Pt2) of the latter song and 'I'll Remember Them' are moody laments ala 'Signed DC'. However, 'With Pity, But It's Too Late' is pop fluff and the jazzy 'You Came, You Saw, But You Didn't Conquer' is a departure that features scat singing ala Billy Stewart's 'Summertime', proving that when not imitating Lee Lucey/Jameson was uncertain as to where he stood!
     Although uneven, and the songs not reaching the heights of Lee, this is nothing short of a decent folk-rock effort. A must have for Love and '60s folk-rock collectors.
Jon 'Mojo' Mills

LEE MALLORY
That's The Way It's Gonna Be (Rev-Ola; CD)
     Just when we thought the archives were empty, another branch on the ever-expanding Curt Boettcher family tree appears for our delight. Mallory's credentials outshine those of most of his accomplices in the great LA sunshine 'n' shadows brigade. He'd worked with Boettcher in the fledgling Summer's Children, been a touring member of the short-lived yet seminal Ballroom, released a clutch of Boettcher-produced solo singles and written for The Association's debut album before joining the colossus that was The Millennium.
      All those hours of intense sessions during studio downtime resulted in scores of recordings, many of which have only recently seen the light of day due to the belated hero worship heaped on Boettcher, Sandy Salisbury, Joey Stec and Mallory himself.
     That's The Way It's Gonna Be (named after Mallory's Phil Ochs-penned 1966 debut) is a companion piece to the Sandy Salisbury collection Falling To Pieces (see review in the September 2002 review section), mixing those Valiant single sides with demos and works-in-progress cut before, during and after the mould-breaking Millennium sessions. Almost every tune is written by Mallory (some with Joey Stec) showcasing a broad stylistic swipe through the sublime ('Magic Island'), the tough-edged ('Talk About'), the blatantly commercial ('Smile At Me') and the familiar ('I'm With You'). All carried by a voice able to switch effortlessly from candy-coated sweetness to menacing growl and a backing band comprised largely of the guys responsible for the Millennium and Sagittarius albums.
     Need to know any more?
Andy Morten

THE MOON
Without Earth And The Moon (Rev-ola; CD)
     The Moon cut two albums in '68 and '69; the first, Without Earth sounds uncannily like The Bee Gees and is full of Anglo-centric psych-pop adorned with studio effects, sitars, strings and that typically English everything-but-the-kitchen-sink production! Although clearly a cash in on the current trend for Beatles-esque music Mathew Moore got together with ex-Beach Boy David Marks on guitar and Davie Allen & The Arrows bassist Drew Bennett and created some music that practically equals, rather than parodies their British heroes. Without Earth is the lost classic Brit-psych album that was not recorded at Abbey Road, or even in England!!!! A splendid record that doesn't let up!
     On second album, The Moon (on which ex-Heart & Flowers member Dave Jackson took over on bass) much of the overtly '67 psych styling is discarded in favour of the type of progressive pop that The Beatles epitomised with The White Album. A soulful US edge akin to Steven Stills Buffalo Springfield efforts is also present, whilst on the heavily orchestrated tracks cues were also drawn from such singer songrwriters as Eric Anderson and the grand sweeping epics of The Moody Blues and Bee Gees. Again, all is done impeccably well on this collection of instant songs!
Jon 'Mojo' Mills

THE NAZZ
Open Our Eyes: The Anthology (Sanctuary 2-CD)
     You could argue that the Nazz were ahead of their time but by the same token it's almost impossible to pinpoint exactly when the eclectic pop jewels they crafted during 1968 and 1969 could have found favour among record buyers and gig goers alike. Using aggressive British invasion bands like The Who and The Yardbirds as their template, they cranked up the volume a la Hendrix and Cream, added rich Beach Boys harmonies and infused the whole delicious recipe with a healthy dose of their native Philly soul. The resulting three albums remain cherished items for those who dared investigate beyond the floppy-haired psychedelic rock of their debut 'Open My Eyes' and it's velvety smooth coupling 'Hello It's Me'.
     These two cuts all but became the blueprint for what followed. For every fret-bashing hard rock workout like 'Back Of Your Mind', 'Rain Rider' or 'Under The Ice', there's a delicate sensitive ballad like 'If That's The Way You Feel', 'Gonna Cry Today' or 'Resolution'. 'She's Goin' Down', which closes their eponymous 1968 debut album, is a five-minute tour de force incorporating more riffs than a Grand Funk album and a drum solo that would have sticksman Thom Mooney's British counterparts running for cover. Todd Rungdren may have been a blues and soul man at heart but his mastery of melodies and arrangements (he wrote and produced almost every Nazz cut while barely out of his teens) pitched him only a few rungs beneath world devouring popsmiths like Wilson and McCartney. His solo showcase 'You Are My Window' still sounds as stunning as it did the first time I heard it, fifteen years ago.
     Sanctuary's two disc anthology is, alarmingly, the first Nazz collection since Rhino's rather shoddy vinyl 'best of' in the 80's and the first ever to bring together all 34 cuts released in their all-too-short lifespan. Actually, 13 of these, the ones that make up Nazz III were released posthumously in late 1970, by which time Rungdren's solo debut was making waves and the Nazz were a memory in the minds of a lucky few.
     Sadly, the albums' original running orders have been jettisoned, at Rungdren's behest, in favour of stylistic similarity i.e. you get a bunch of ballads, a bunch of rockers, a bunch of soul-poppers, then another bunch of ballads. Fortunately the chronology remains intact though the only unreleased cut is the ramshackle version of 'Train Kept A Rollin'' which first appeared on the aforementioned Rhino comp. The sound is crystal clear throughout and the liner notes are informative but with only Rungdren interviewed (and coming across as rather cold and
disconnected) they don't shed much light on the nitty gritty of the band's adventures together.
     But hey, it's the Nazz. Just buy it.
Andy Morten

THE OUTSIDERS
Strange Things Are Happening: The Complete Singles 1965-1969 (RPM; CD)
     One of Holland's finest acts - ever - The Outsiders have come in for a bit of comp fest. The RPM single CD features all 24 cuts of their singles for the first time, in one place. And it is about time! Truly eerie musical moments include 'Sun's Going Down', the flip of their debut 45 and 'You Remind Me', the flip of one of their last. The haunting backing vocals and plaintive minor key phrasing is almost disturbing, hairs raise on the back of my neck! Throughout, fave after fave just keeps coming. 'Lying All The Time', 'Touch', 'Do You Feel All Right', they're all here side by side with lesser known (and lesser comped) titles like 'Ballad Of John B' and 'Monkey On Your Back'. Whilst a few of the later tracks don't connect as awesomely as others, there is not a superfluous cut on the disc, a neat and tidy way to get your Outsiders fix without changing discs and skipping tracks on comps. The liners are informative and include interview material with Wally Tax (who came across to me with a distinct air of indifference towards his bandmates). Good pics as well in the usual RPM foldout format tray insert. There is also a Double Dutch (ho ho) CD set just out also comprising the Outsiders complete As & Bs and which adds some Wally Tax solo material for good measure, but I've not heard this yet. Either way, you're going to have a fine set of songs.
Paul Martin

SANDY POSEY
Single Girl : The Very Best Of The RPM Recordings
THE SHANGRI-LA'S
Myrmidons Of Melodrama (Both CDs; RPM)
     Sandy Posey is probably best known in the UK for her ultra pop hit 'Sunglasses', included here. This fine RPM collection Single Girl collects the cream Of Posey's MGM output from 1966-'68. It's great commercial country, with bits of teen pop, sassy girl group, tragic ballads, and blue eyed soul thrown in. And it's a treat. Emerging in the mid sixties as an in-demand session singer across Nashville, Memphis & Muscle Shoals, Posey appeared to massive success with 'Born A Woman' in the summer of 1966. A glorious breed of pop & country, with Posey's melancholic voice way out in front, Posey berates the lot of the woman "born to be treated like dirt", but one who decides to settle that with her man in the knowledge that "no price is too hard to pay" and she's "glad it's that way". It's superb, but its sentiments are deeply dated even in 1966. This success clearly set the tone for what would come next, casting Posey as the eternal 'Single Girl', in need of a sweet loving man to lean on. A string of of great dramatic ballads follows: the lushly stringed 'Arms Full Of Sin' ("No, don't go in" she warns), the heartbreaking ultra echoing 'Shattered' and the high point of the album, the Oldham/Spooner penned 'Hey Mister' in which Posey, against a sparse rhythm track, tells the tale of a girl used, abused and stranded in the windy city, pleading for money to call her mother. It's heartbreaking, touching and genuine. As she tells of the man who promised to show her the bright city lights, we get a little churchy organ and choir in the background. It shouldn't work, but its deftness of touch renders it a lost tragic pop classic. With 1967's 'I Take It Back' we get into decidedly spunkier girl group territory, as our heroine stands on the borders of her own independence. "Here he comes now...I've got to tell him somehow", the chug-a-chug keep-on-running rhythm section thunders along, as she decides to finally leave her man for some future happiness on her own terms. "Today is the day," she declares. But everytime she gets there she does not have the heart. "Don't look at me that way", she pleads, "don't cry", concluding, "it is better to be loved than to love". It's like the Shangri-las meeting Tammy Wynette in the middle, and you're left frustrated as its uptempo self-assuredness dissolves into lachrymose strings. "I take it back" she pleads "I didn't mean it!". Get yourself together! Pack your bags! Elsewhere we get a few standards ('Satin Pillows', 'Just Out Of Reach'), great takes on 'Will You Love Me Tomorrow', and 'I'm Your Puppet' and one real downhome Southern chugger in 'One Man Woman', the most upbeat and '68 down and dirty the album gets. Great songs. Great singer. Great production. Great band. Well recommended.
     It's difficult to imagine the Shangri-la's ever being so downtrodden In fact it's unlikely anyone would have dared. What can be said? The sassiest, wittiest, most stylish, most tongue-in-cheek rebel sister to all girl groups, their legacy remains unchallenged. The original bad girls, all the classics are here, and it's good to see them so stylishly and thoughtfully well-packaged (complete with b-sides, radio spots, great photos and excellently annotated by Mick Patrick). With George 'Shadow' Morton's timeless production, the sheer quality and attitude of the songs shine through in a way that leave Phil Spector's work sounding dated and twee. 'Give Him A Great Big Kiss', 'Remember (Walking In The Sand)','Leader Of The Pack' and 'I Can Never Go Home Anymore' are here in fab stereo, 'Sophisticated Boom Boom' sounds as audacious, witty and damned funky as ever, and 'Out In The Streets' and 'The Train From Kansas City' will just leave you in shreds (has there ever been a greater line in pop than "I'll be back in the time it takes to break a heart"?).And we haven't even mentioned 'He Cried' or 'Past Present & Future' yet. This is pop that reminds you why you love it so. Pop that leaves you with goosepimples, and an indescribable feeling of love.
     This is unspeakably essential.
     When I Say I'm In Love, You Best Believe I'm In Love L.U.V.
Slav Tabernacle

DUFFY POWER
Leapers & Sleepers (RPM; 2-CD)
     This 34 track '62-'67 Power collection from RPM is a contender for the most worthy re-release of 2002. And the gifted Brit R&B singer has been relegated to the second division, placed under such worthy talents as Long John Baldry and Chris Farlowe, for far too long; yet the scope and quality of his Parlophone singles, the pumping R&B sessions that he recorded with The Graham Bond Organisation, and his stellar mod-jazz version of The Beatles 'I Saw Her Standing There' are impeccable. There really is no doubt that Leapers & Sleepers will re-instate Power's '60s recordings to the top of the pile. 1962 debut b-side 'If I Get Some Lucky Some Day' is one of the earliest recordings that heralds the huge impact mod culture had on London and coveys the spirit far more than the supposed anthem 'My Generation'. This was pre-media-over-exposure mod, raised in smoky clubs on pills and rum 'n' coke, and the vibe continues throughout the set depicting Power as the mod god. Whether dabbling in blues, jazz, soul or jazz-folk the cat was more than able. In a word, superb!
Jon 'Mojo' Mills

THE PREACHERS
Moanin' (Bacchus Archives; CD/LP)
     Although playing the LA clubs and appearing on a number of TV shows throughout their career, The Preachers only managed to release three singles, and as John English And The Lemondrops one further record before disbanding. Garage fans will know them for their rousing version of 'Who Do You Love', which was a huge favourite from the first Pebbles compilation many moons ago. Nothing else they recorded reached that fevered wildness, although 'Stay Out Of My World' spices up the snot-nosed Dylan format admirably and 'Don't You Complain' maintains a typically disenfranchised philosophy. And when it comes to the moodier, softer style the band shine on 'Pain And Sorrow'.
     If more recordings were made The Preachers could be contenders for the LA garage crown, as it stands these eight songs are a fitting testament to what could have been.
Jon 'Mojo' Mills

THE RASPBERRIES
Overnight Sensation: The Very Best Of... (Cherry Red; CD)
     If anyone reading this isn't aware of the brilliance of Cleveland's finest, The Raspberries, then I should tell you to get yourself musically educated pronto. These guys along with Badfinger and Big Star are the 'bees knees' when it comes to early '70s power pop. They cut four fine albums, and you should own 'em all. However, if you don't know of these guys (and I really can't believe you're reading SD if you don't) and you want an introduction, buy this CD now! If you like The Beatles, Small Faces, Who, Left Banke and Beach Boys... say no more.
Jon 'Mojo' Mills

THE SCRUFFS
Wanna Meet The Scruffs? (Rev-Ola CD)
     The Scruffs' 1977 debut has long been ripe for re-issue and now, thanks to those wonderful chaps at Rev-Ola (fast on their way to cornering the market in excavating lost treasures from the 60's and 70's), the wait is over.
     Often over-shadowed by fellow Memphis rock 'n' roll legends Big Star, The Scruffs' take on 60's anglophilia and 70's power chords does bear some resemblance, particularly on 'You're No Fun' which recalls both the tonsils and the icy Stratocaster licks of Alex Chilton's work on Radio City.
     But there's a stubborn originality here that sets them apart from their routinely deified cousins. Stephen Burns' vocals bring to mind that other great 70's man-out-of-time, Eric Carmen. Indeed, on 'Revenge', 'She Say Yea' and especially 'Frozen Girls', the band stray into the legs akimbo axe work and barroom piano stylings of The Raspberries circa Side Three. The frantic 'This Thursday' with it's "what are we gonna do tonight?" hook is closer in spirit to the burgeoning punk scene of the time while the restrained 'Bedtime Stories' is the nearest thing to a ballad on the LP. 'My Mind' is probably the best known tune here due to it's inclusion on a number of power pop comps in recent years and sums up The Scruffs' agenda perfectly: left-field pop songs, kicked into shape with baseball-booted feet and delivered with energy and assurance.
     Recommended.
Andy Morten

VARIOUS ARTISTS
The Electric Lemonade Acid Test #3: The Spark Label (10th Planet; LP)
     This latest volume in 10th Planet's ongoing series investigating late 60s UK independent labels signals a return to form. Much more of a phyting phit pop-psych set as was Vol.1 (President) than the lightweight acid-folk material of Vol.2 (Transatlantic), it presents us with a pallet comprising of the well known and the obscure. Spark was a 'child' of the Southern Music publishing company and lasted until the late 70s; although it had virtually no success in the late '60s, which is the focus here. The previously comped and reissued tracks comprise of firstly, Elmer Gantry's Velvet Opera who sport two tracks. One, the Graduate-esque 'Reactions of a Young Man', is a lovely period piece lifted from their debut album (available on Repertoire CD) whilst the other (which kicks off side 1), 'To Be With You' (a great tune) is a sonically upgraded acetate from 1967 which was previously compiled on one of the Purple Heart Surgery LPs and attributed to 'unknown'. The delicious Fruit Machine's previously comped three singles are also featured; 'The Wall' (We Can Fly Vol.1); 'I'm Alone Today' (Circus Days series Voiceprint CDs); and 'Cuddly Toy' (on the Sweet Floral Albion CD comp). Rubble favourites (Vol.19 LP; Best of Vol.2 Voiceprint CD) Icarus, too make an appearance with the perennial 'The Devil Rides Out'. Of the (to my knowledge anyway) unheard before tracks, the two by The New Generation stand out. 'Sadie & Her Magic Mr Galahad' is a ballsy harmony pop nugget whilst 'Digger' is a splendid off-kilter jazzy pop-psycher. As you might expect being Southern Music, Carter, Alquist & Co are all over this set with three of their own numbers in the period harmony vocal and slightly queasy off balance studio effects. The Baby's only single 'Heartbreaker', is a good pop-rocker and in almost a similar vein, is the Eggy's 'Hooky' (B side to their 'You're Still Mine' 45 featured on Circus Days). Simon De Lacey turns in a good period pop mover and Eartha Kitt's take on Donvan's 'Hurdy Gurdy Man' has to be heard to be believed! Are those The Ladybirds backing her on the chorus? David Wells tells us that this is to be the first of three volumes focusing on the Spark label. So we now know what's coming on Vols. 4 & 5. The usual attention to detail in the liner notes insert is present, making this a rounded highly enjoyable period comp that delivers exactly what you would expect: a good balance of vocal dexterity and instrumental colour all with a well motivated pop edge.
Paul Martin

VARIOUS ARTISTS
Eiderdown Mindfrog: Rubble 19
Thrice Upon A Time: Rubble 20 (Both Past & Present Records; Audiophile Vinyl)
     The series that seriously got the '60s UK Psych ball rolling way back in the sterile '80s has now come to a close. Bad points aside - the tracks are available elsewhere and the, at times, poor, heavily compressed sound is a letdown - the pacing and choice of material sticks to the Rubble ethos. And as fans of the series may know, these two volumes were not released the first time around. As with #18, #19 only made it to the white label test-pressing stage, whilst #20 didn't get any further than a rough track listing on paper.
     The most obscure offerings on either disc are The Beautiful's 'Walter's Dream' which has the free-from craziness of The Pink Floyd and added an Entwistle-ian throaty twist (this was in fact The Soft Machine masquerading behind a different name for a US release). Even more exciting is The Beatstalkers' reading of David Bowie's psych-pop obscurity 'Silver Tree Top School For Boys', which even features some fine backing vocals from the great one! So okay, two previously neglected inclusions are not enough to lead to cries of joy, and the need for Rubble has lessened greatly with the advent of quality CD compilations, but with tracks as great as The Lions Of Judah's 'Katja', The Moving Finger's 'Pain Of My Misfortune', The Soft Machine's 'Love Makes Sweet Music' and Chapter Four's 'In My Life,' there's little to complain about regarding psychedelic quality.
     An argument may be made, however, as to whether there is a need for such lavish and expensive compilations consisting of mainly previously compiled material. Still, for those wanting closure to the series (and it does end on a nice rounded even number), these are worth acquiring.
Jon 'Mojo' Mills

VARIOUS ARTISTS
Femmes De Paris Vol.2 (CD)
     I'm a succur for these groovy Gallic 60s gals! Here we have the elegantly digi-packaged Vol.2 in Anthologies series of said Yeah Yeah songstresses. A pot -pourie of sixteen bouncy and swinging tunes and one bonus track that doesn't really add anything to the mix at all! Some of the names will be familiar to Yeah Yeah fans, Jacqueline Taieb for instance, but I had not heard either her 'La Premiere a Gauche' or 'La Fac de Lettres' before (and I have all six of the Ultra Chicks CDs) both included here. Christine Delaroche, Arlette Zola, Patricia and others all make great swingin' contributions, even Petulia Clark in excellent French with a mid paced (mid 60s) beat ballad. A few will be overly familiar Liz Brady's 'Hey O Daddyo' or Christie Laume's 'Agathe ou Christie' tend to turn up a rather too often, but there's plenty of interest to make this a worthwhile puchase for ardent yeah yeah fans. Oh by the way, don't even bother playing track 17! Some ghastly stage show effort 'Ici Paris' which rather lets the side down, otherwise get frugging!
Paul Martin

VARIOUS ARTISTS
Fuzz, Flaykes, & Shakes Vol. 6: Come On In To My World
Fuzz, Flaykes, & Shakes Vol. 7: You Make Me Lose My Mind (Both Bacchus Archives; CD/LP)
     Garage/psych fiend Tony The Tyger is back with another two volumes of his hailed series. Volume 6 is the stronger of the two and features a wealth of rarities and a few classics (the oft compiled 'Feathered Fish' by the Randy Holden led The Sons of Adam has never sounded better). Focusing on a wide variety of psychedelic-styled garage the palette ranges from gorgeous sunshine pop flavours through to zealous bubblegum-punk, feisty folk-rock, Fudge and Harum inspired dirges and, of course, a few fuzzers. 'Within A World Of You' cut in the spring of '69 by Cleveland group, A Group Called Eve, was the first release on Chess' 'futuristic imprint' and is a dynamic piece of competent harmony pop/folk-rock. A UK Mod sound is captured by The Tasmanians, whose 'I Can't Explain This Feeling' is a wonderfully youthful slice of spliff inspired power pop, whilst Chapter VI display a brooding American edge on the haunting 'Fear', which is akin to The Music Machine. 'The Children Have Your Tongue' is my personal favourite, though for garage hounds the Jefferson Airplane/Shocking Blue female vocals and floating ethereal psych of The Generation may be too much. Nevertheless, it's a corker!
     Volume 7 is an altogether more mixed bag. The Spirit of Blue Lightning's 'Love Muscle' is a snarly attempt at soul, with horns, tough vocals and a magnificently short guitar break, whilst, still on the soul side, The Gass Co.'s version of The Contours' 'First I Look At The Purse' is turned into a wild teen-frat stomp. Far more melodic is The Pictorial Shuffles Beatle-y classic 'In A While', that proves that when American kids put their mind to it they really could sound as good as their heroes.
Jon 'Mojo' Mills

VARIOUS ARTISTS
Here Lies Ebeneezer Goode. British Psychedelia: The Sounds That Time Forgot. (Queen Victoria' Records LP, 400 only)
     David Wells once astutely noted in reviewing the two CD Dawn Anthology set some time ago, that it was strange how the [underground] music on it from the early 70s sounded so much further away than the decade that preceded it. Well here we have an attempt to re-present more such music from the same time frame as extended psychedelia and thus moving said music closer to us by positioning it within the context of a time even further away from us - figure that one out after six pints of Fullers! Dig The Fuzz (for it is they behind this set) are, depending on how you look at it, either setting the agenda for the new cutting edge in 60s record collecting, or simply trying to make a silk purse out of a sow's ear. Are they being brave or brazen? For my part, I should state up front, whilst I don't hear in this set (for the most part) what presumably DTF want me to, I applaud them for having the bottle to put this comp forward with the agenda that they have and for inviting us to see and listen with new insight into a still shadowy and shunned era for 'underground' music, the early 70s. To be fair, most of this stuff dates from 1970-72, with only a few dating from later (Leatherhead's 'Epitath' from '74 and The Peddlers 'It's So Easy' from '73). See For Miles put out a CD some years ago entitled Progressive Pop Inside The Seventies and that is more or less what we have here. There are a sprinkling of delightful tracks that do make me think psych and those that work best (for me) in delivering paydirt on the invitation are Chris Hodge's sci-fi flight of fantasy 'We're On Our Way' that opens Side 2. Although we're told it dates from '72, this guy was clearly five years behind his time, this is a stone-cold classic pop psycher par excellence and is almost worth the price of admission alone. Cat's Eyes 'The Wizard' (the only track I recognised in advance from this set having previously appeared on Collecting Peppermint Clouds Vol.3 as well), Misty's 'Hot Cinnamon' and Skin Alley's 'Tell Me' and Humbug's 'Ebeneezer' all hit the spot, but all date from '70 which is no surprise. Rare Bird's 'Hammerhead' may be somewhat more tuneful than their 'God of War' (on the Darkening Violets CD) but still deals with the same theme and wants badly to lapse into the prog mire by the end. Many of these 45s to be fair are borderline where prog began to eclipse psych-rock tendencies (think Eyes of Blue's Crossroads Of Time LP or Cresida's first album for instance) and are not of themselves necessarily any the worse for it, but for my ears at least they make occasionally curious rather than compulsive listening.
     Perhaps they herald a new wave in record collecting which we might call 'cusp-pych', those records that are clearly departing psych based rock and moving irrevocably toward the inertia of mid 70s prog but have not yet done so and which still have a great deal to offer as an insight into the nature of this change. The seemingly unknown Parsons-Smith slow piano ballad take on 'When It Rains cannot muster much by way of enthusiasm, although their / his (?) take on The Box Tops standard 'The Letter' is a good deal better. Much of this material outstays its welcome and does not know where or indeed when to end. This of course was par for the time and naturally most of these 45s were underground tasters for albums or were issued for reasons other than to achieve chart positions. Hence unfamiliarity with or lack of willingness to conform to a 45 format leads some of these records to sound aimless where in the context of an album they may make more sense or better listening. Oh yes it is (psych), oh no it's not, I can see the war of attrition being fought on home PCs across the globe right now, but in the end who cares.
     Ultimately it comes down to the ears of the beholder versus the art of persuasion. I find enough of interest on this set to be open to further persuasion, but not enough to be convinced outright. The very length of this review demonstrates that there is something worth talking about and listening to anew here, but if your psych predilections take distinctly pop-psych path, forget this set pronto (although get someone to burn or MP3 the Chris Hodge cut, it's magic). If you have a higher tolerance or even love of nascent prog or just a very wide musical taste, then you will enjoy this album and find it fascinating to revisit often to replay the case 'for' and 'against' its worth within the context that it is being presented in, quite apart from the music itself. So, enjoy (or not!)
Paul Martin

VARIOUS ARTISTS
Incredible Sound Show Stories Vol.17 - Clap Hands Daddy Come Home Part 2 (Dig The Fuzz LP, 500 only)
     I am well impressed by this comp. For the most part a freakbeat festival of delights. A few have appeared before: The Snappers 'She's a Lover' (Syde Tryps 7); Rainy Daze 'What Do You Think' and The Renegades 'Can't You See' (Electric Losers Vol.1 CD), but that apart, this set rocks! (in the hippest possible sense of that term!). Ian & The Zodiacs are long overdue a proper reappraisal as every track chosen (quite a few over the last few years) for comps like this seems to be a winner, not least their entry here with 'Na Na Na Na Na'. John Smith & The Crew's tuff-enough R&B contribution 'Just A Loser' also punches above its weight, having definite shades of pre-Spooky Tooth unit The VIPs about it. This is also a different track (not mentioned in the liners) to their similarly titled ' Don't Back The Loser' on the recent Hide & Seek Vol.3 comp, possibly a follow up?? The Hi-Fi's 'Grade A Girl', a hammond led ode to a high-class secretary has strong mod-psych overtones which has surprisingly evaded compilers until now. Tonie Ritchie's fuzz monster 'Comin' On Strong', certainly does exactly that and also features as the title track of one of Tony Sanchez's CD-Rs (see review elsewhere). John Deen & The Trakk polish off side one with a 'Louie Louie' riff based number 'Friends' (but is better than that). Casey Jones & The Governors open side two with a merseybeat on uppers type number 'All You Wanna Do'. The Swedish based Dee Jays turn in absolute scorcher of a snarly freakbeater with 'Whatcha Tryin' To Do' and Arthur Brown's 'Don't Tell Me', one of two tracks recorded for the Roger Vadim film La Curee, is also a wild night out on its own! The Top Ten All-Stars turn in a ditty that sounding like 'Peter Gun' turning into a Kalashnikov (fuzztone to the fore). Jimmy & The Rackets 'I Want To Tell You' is too irresistible not to let them do so whilst Dave Anthony's 'Moods Fading Away' comes on like Simon Dupree & The Big Sound, a smoking soul-pop burner. Last up The otherwise anonymous Same D. ask 'How Do You Break A Broken Heart' with the intensity that Micky Dallon so often did. Overall a belter of a comp. Congrats to the overground return of Dig The Fuzz with a comeback comp which will be hard to top, full marks and then some!
Paul Martin

VARIOUS ARTISTS
Mindrocker: The Complete Series: Volumes 1-13 (Past & Present Records; 13-CD Box)
     With the passing of time a proportion of the cuts that were featured on the original Mindrocker series have been compiled again and again on the hundreds of specialist albums that document the youth movement of the mid-'60s to early '70s -- and in recent years in far superior sound quality too. The audible digital distortion on a number of inclusions is a major flaw, as is the '80s-ish acid house styled squiggly computer art that accounts for the cover design, and lack of photographs in the 100 page booklet (which only features the liner notes from the original vinyl series). Hugely disappointing. And why use 13 CDs when two volumes could have easily fitted on one CD? The size and cost of the box could have been halved. With more effort this could have been a far more desirable set. Moaning aside though, the original albums are now hard to find, and in my opinion the German compilers who put these together were far more adventurous than their American counterparts who only ever really tackled the '64-'67 fuzz-punk, snotty garage market. Mindrocker was, and is, a great series. Over the course of the 196 tracks garage, psych-pop and rock, folk-rock, proto-country rock and sublime pop are covered, and many of the tracks have not appeared since.
     So is this worth your hard-earned cash? If you have the vinyl series, no. But if a mixed bag of styles that veers towards pop and psych more than the trashier side of garage sounds appealing, and occasionally appalling sound isn't a major turn off, this is a decent set of classics and rarities.
Jon 'Mojo' Mills

VARIOUS ARTISTS
Pop-In - Volume One: - Choice Cuts From The Other Side Of Mainstream UK Pop 1966-'70 (CD)
     Last month I raved about a quality Mark Wirtz CD-R comp, and just in time for this update an anonymous CD-R drops through my letterbox that shows once again that people at home can do things better than labels. This set will sit wonderfully with the plethora of more pop-angled comps that have been hitting the cats and getting the thumbs up from Super Floral Albion web-zine. Not only does this come sleeved in a coolly designed cover with brief-and- to-the-point notes but the music is a treat too. As the title hints at this set of b-sides, ambitious top-sides and album tracks features big name stars and major label new comers who crafted their tunes for the Age of Aquarius. The Mindbenders go toy town on Gouldman's fabulous 'Uncle Joe The Ice Cream Man', The Herd turn in the goods with mod-rocker 'Miss Jones', under the wrath of writer producer Woody The Casuals (obviously) come off sounding just like The Move on 'Caroline', Dave Dee and crew produce some Bee Gee-esque vocals and suitably placed sustained fuzz on 'Still Life', and cheeky scouse-git Gerry Marsden ditches the Merseysound for some post-Eleanor wholesome psych-pop on 'Gilbert Green', as does Wayne Fontana on his Lonnie Donegan-David McWilliams hybrid 'The Words Of Bartholomew'.
     Twenty-five gems that would be hard to license but easy to run off to CD-R!
     Email: elevatorpop@yahoo.co.uk
Jon 'Mojo' Mills

VARIOUS ARTISTS
Psychededelic States: New York In The 60s Vol.2 (Gear Fab; CD)
     Much is previously compiled, but the variety and selection here, however, is an all-encompassing trek through the Big Apple and it's environs as trashy teen punk sides from the mid-60s collide with well-produced psych. You get well over an hours worth too. The US Stamps' 'Pull The Wool' is superb, combing soulful vocals with harmonies, fuzztone riff and a psych interlude, The Rogues' 'Secondary Man' is yet another of the garage eras finest Beatles pastiches and some exponents of the 'they don't have names like this anymore' turn in a few interesting additions: Subterranean Edible Fungus' raw folk-rocker is a blast, The Thrashing Butterflys Of Devine Happiness epitomise the Long Island sound and Strawberry Pie Lounge's 'Soundpeace' is a funky, good vibed groove. Finally The Yo Yo's 'Crack In My Wall' is included in pristine sound, and is worth its weight in gold. It's a moody classic! Not every track is decent, but with 29 who's to complain? New York: Vol. 2 is yet another worthy addition to Gear Fab's conclusive series.
Jon 'Mojo' Mills

VARIOUS ARTISTS
Roll Over Beatles (32 beat 45s)
Fly Me To The Earth (25 psych 45s)
Comin' On Strong (30 60s soulful r'n'b beat 45s) (All Tony the Tyger CD-Rs)
     A round of applause for Tony Sanchez if you please... As if the Fuzz, Flaykes & Shakes series wasn't enough, he is developing a very healthy catalogue of CD-R comps from his prestigious DJ set of which these are the latest three additions. Roll Over Beatles features perhaps the catchiest 1.42 I have ever heard in the form of Sweden's The Lollipops 'Lies' (self penned I'm guessing); from the UK, The Odyssey's 'How Long Is Time' is a stone cold pop-psych classic whilst Germany's Tielman Brothers and France's Nino Ferer turn what sound like supper club standards into right royal rave ups! UK expat (in West Germany) Tony Hendrick tears the place up with 'Work All Day' and Spain's Los Zooms argue persuasively with their psych plea 'Give Us More' (the flip of their already comped 'Algo Mas' on a ISSS comp). Fly Me To The Earth has a great UK act in Shades Of Morley Brown's 'Pretty Blue Bird'. Other standouts here include Belgium's Wallace Collection singing the CD-Rs title track, Marty Wilde going pop psych with 'Shelley', French group Serpentine's 'Round And Round' and from the US, Noel Odom & The Group's 'I Can't See Nobody'. Comin' On Strong presents us with a fine selection of 30 international movers and shakers taking in soul, mod and freakbeat - dig the Caretakers cut of 'East Side Story' and the rare Vipps, US only released 'That's My Woman' - the raw, straight from vinyl, unmastered sound makes the fuzztone bite with a vengeance! Spain's Albert Band go really ape with 'Ella Con La Pella Roja' and the UK's Maze's 'Unchain Your Heart' is Marriot in all but name! These discs all come with colour inserts picturing labels and pic sleeves and are great full to the brim comps, lovely stuff!
      Check 'em out at http://www.tonythetyger.com/.
Paul Martin

THE ZOMBIES
The Decca Stereo Anthology (Big Beat; 2-CD)
     What can we say about The Zombies? They were fantastic and hardly recorded a sub-standard effort, were the coolest bunch of geeks on the block, had an alluring moody sound that inspired a million introspective garage bands and ended their career with one of the decades finest albums, Odssey & Oracle. 'nuff said?
     This double-CD anthologises the stereo versions of the Decca singles, which like many recordings of the mid-60s are in actual fact pretty different than the usually compiled mono releases. On top of that a number of cuts are available in stereo for the first time, having only been re-mixed last year. Drummer Hugh Grundy even added a few drum overdubs in order for the perfect balance! If you own the superb Zombie Heaven boxset you won't be in for many surprises, but those who don't will be dumbfounded by the inclusion of 'Walking In The Sun', 'If It Don't Work Out', 'I Know She Will' and 'Don't Cry For Me', all previously only available on said box.
     There's a mono/stereo argument for sure, and some folks who just want the music won't be bothered by the subtle differences that this 48-track set has to offer. But music this fine in any form is sublime come what may.
Jon 'Mojo' Mills