AGAMENON
Todos Rien De Mi (Guerssen; CD/LP)
     Not many bands were recording psychedelic/folk-rock/sunshine pop in Madrid in 1975 and male/female group Agamenon were the exception. Selling very few copies on its release their album sunk without trace and as is so often the case it's become highly sought after in collector's circles 35 years on. And yes, it really is a good album. Honestly. Stylistically veering from Summer Of Love West Coast harmony pop to the 70s UK folk rock of the Fairports, Strawbs or Steeleye Span definition to plaintive pop/rock that flits somewhere between Abba and Buffalo Springfield with heavy guitars and Wah Wah it's nothing less than daring! And why bloody not?! Wonderful!
www.guerssen.com
Jon 'Mojo' Mills

BERMUDA TRIANGLE
Bermuda Triangle (Radioactive; CD)
     This one is something of a stunner. Recorded in 1977, its sound could date from anytime from the eight preceding years. Think what classic early 70s era Hawkwind might have sounded like if they'd gone acid folk and Stacia sang in a 'maid Marion' voice as well as danced! Then again, there's a good dollop of Yester & Henske's Farewell Alderbaran in here as well. None of this however, is apparent on the first track, a pointless cover version of 'Nights In White Satin'. Maybe there was a reason for this but here it simply serves to fill you with foreboding about the rest. These anxieties are quickly swept away however when the second track 'Right Track' kicks in. For this is more definitive of the album as a whole, full of auto harp and wah-wah guitar!! The group seem to have comprised of a male and female duo who share vocals. 'Dream On' shows the autoharp off very well; think Jan and Lorraine or Chimera only with one of each gender, beautiful stuff. 'Lark In The Morning' is a folkie reel of a traditional style except the old autoharp is in there again giving it a glissando that lifts it somewhat above this. 'Louisiana' is a fiddle led folk pop number you could imagine a duo like Goode And Plenty or a group like Shiva's Headband bashing out. 'Standing Together' is a more serious acid folk number with the auto harp to the fore again and with an attacking rhythm. No-one seems to know who the two singers / musicians were on this private press album which was recorded on the Winter Solstice label, other than that they came from Long Island New York. Whoever they were, they must have been living in splendid isolation, blissfully unaware of the punk revolution all around them. And we can only be but grateful for it in this case as the resultant album is a joy and any acid folk / rural roots fans should grab it with both hands.
www.radioactiverecords.com
Paul Martin

GEORGE BRIGMAN
Jungle Rot (Radioactive; CD)
     Young Bostonian and Captain Beefheart fan George Brigman, cut this album in the mid 1970s. The cool psych opening track is a winner with its chopping phased guitar chords. Much of the rest is what you might expect a Beefheart inspired album to sound like. It's all electric guitar, bass and drums full of white rocked up slide and fuzz guitar blues licks that if played by black men comes out like RL Burnside. Here, the heavier numbers like the aforementioned opener and 'I Feel Alright' have a good groove to them and almost (I say almost) a Michael Yonkers Band vibe in there as well, but it makes you want to hear them properly recorded. There are lighter and slower moments as in 'Worrying' which sounds like it's being deliberately sung off key in parts. Overall, I found myself hitting the skip button a few times, not least because I find the flat line non production sound hard to embrace at times, but there is enough of substance to warrant any acid blues or Beefheart fan to enquire further.
www.radioactiverecords.com
Paul Martin

THE COWSILLS
Painting The Day (El; CD)
     This compilation may begin with the wholesome sunshine pop of 'The Rain, The Park & Other Things' and a run of commercial psych pop cuts selected from the groups four 1967-1969 albums, but by track 13 things start to take off seriously with the inclusion of their entire 1970 opus II x II. By the time of the album's release wee innocent kid Bill had been caught smoking pot and was fired by his father and thereafter the sweety, tooth and smiles band took on a more serious hue. The remaining members (who by the sound of their ensuing recordings smoked pot too) recorded this delicate, ambitious album and clearly took note of the sound emitting from the LA canyon. If this wasn't a Cowsills record it would be viewed as an all time classic. Absolutely compelling, intelligent wigged out late '60s sounds. Heck, even their version of 'Hair' is wicked.
www.elrecords.com
Jon 'Mojo' Mills

SONNY CURTIS
Beatle Hits Flamenco Guitar Style (El Records/Cherry Red; CD)
     The Sixties were a time of endless possibility and eternal optimism unbounded by any sense of limits. A bold statement perhaps but one borne out by the existence of this record – a compilation of Beatle numbers played in the flamenco style. It was inevitable that Beatlemania would spawn a sprawling Beatlexploitation movement that would take every (and any) opportunity to cash in on the Fab Four phenomenon. In many ways these two industries had hysteria in common although in the former it manifested itself as screaming teenage girls whereas in the latter it was cigar chomping record execs that were losing their heads. In both cases, the legacy is a vast library of music that ranges from the sublime to the ridiculous and all points in between. This record, somewhat surprisingly, situates itself towards the sublime end of the spectrum. Perhaps it is Sonny Curtis' pedigree as the guitarist for Buddy Holly's Crickets who were hugely influential on the young Lennon and McCartney. Perhaps it is the restrained arrangements propped up by a light bongo beat. Perhaps it is the inevitable "guitar-resting-on-a-poncho-with-Latin-looking-lettering" LP cover. Perhaps the Beatles were secretly Spanish. Perhaps there is no reason why this record should be so good. Perhaps that's why it is.
www.elrecords.co.uk
www.cherryred.co.uk
Arthur Cravan

EGGS OVER EASY
Eggs Over Easy (Hux; CD)
     Pleasingly restrained mellow US country rock/soul/R&B roots crossover act that wowed the London pub circuit, steering Brinsley Schwarz to change direction from Quicksilver acid twiddlers to whisky fuelled rural rockers. The vivaciousness of The Band may be missing, but the group's mellow sound, which is not unlike The Ozark Mountain daredevils caught in a headlock with the Roy Loney era Flamin' Groovies, takes rock and roll's rawest ingredients and fries 'em up good and proper. In bringing something "so old that it seemed new" to the dank, sweaty pubs of London Eggs Over Easy allowed the ailing Capital's beer fuelled crowds to appreciate the kind of stripped down music that Marshall stacks and moogs were eradicating.
     As the band tumbled apart and became a byline in the history of more renowned bands, it's nice to see this minor classic get its overdue reissue.
www.huxrecords.com
Jon 'Mojo' Mills

THE FIFTY FOOT HOSE
Cauldron (Radioactive; CD)
     The San Franciscan experimental psych act Fifty Foot Hose were resigned to cut out bins soon after the release of their lysergic soaked album. Over the past twenty years however the record has achieved cult status and is now viewed as somewhat of a classic. Cauldron is a truly psychedelic piece that utilised the same nascent electronica as the United States Of America and Silver Apples; although admittedly, Fifty Foot Hose stayed closer to the more conventional guitar led psych-rock and folk-rock format. Nevertheless, it's an album that trips, twists and turns, offering many surprises. The 10 min recreation of the ups and downs of an acid trip 'Fantasy' is a superb instrumental that juggles fear and bliss in equal measure – impressive as anything by the early Floyd or Country Joe And The Fish in its handling of the LSD experience.
www.radioactiverecords.com
Jon 'Mojo' Mills

THE FIREBIRDS
Light My Fire (Radioactive; CD)
     Yes, this is a conundrum. Basically because nothing is known about this band there's not much that can be said contextually. However, to my ears, this sounds more like sound library music (i.e. it had an artistic purpose) – as in The Lemon Dips or Electric Banana - rather than a straight forward psych cash in / exploitation project. The singer (there's a mix of songs and instrumentals) is no way good enough to have been a session guy, so this smacks more to me of a US equivalent of say a British Saga label job; some group being given a chance to make a record on the cheap (or as a payback for a favour done by their manager etc.). Anyway, 'No More Tomorrows' for instance is a brain crushing heavy acid rock number, whilst the electric guitar instrumental take of 'Light My Fire' is (only) just too busy on the fret board to be dismissed as elevator music, like an overly frisky version of Hank B Marvin perhaps! There's a pointless blues rock bash but then there's also 'Free Bass' which is another skull crusher, with yes, you guessed it, a bass guitar solo! This sounds better after a few plays. Well worth your ear time if you're into obscure heavy ended acid rock, or wannabe proto metalists. Interesting and enjoyable but ultimately leaves you quizzically scratching your head!
www.radioactiverecords.com
Paul Martin

FOLLY'S POOL
Folly's Pool (Radioactive; CD)
     This is something of a find for fans of vocal harmony and progressive melodic music in general. It's one of those late '70s recordings (1977) that sounds four to seven years earlier (think Relatively Clean Rivers for instance). Singer and songwriter Steve Ono and band put this out as a private pressing on Century Records and unlike many similar ventures, it sounds very professionally made. The musicianship is excellent as is the production. It has a later west coast feel in the main but it would be deceptive to be lulled by that alone. There are prog folk things going on here such as 'Jig In A' which starts in a conventional electrified folky style but morphs into something more rock based as it goes along. Flutes get a look in on 'Before The Gates of Elessaar' and 'Just A Memory' is a nice acoustic prancer of a song. Yes, there are stong elements of The Eagles or even CSN in places, but I wouldn't say it suffers as a result. Overall, it's a very pleasant listen, although the last two tracks do tail off rather. Nonetheless, in the round, a good score for fans of rural rock and later west coast vibes as well as enlightened progsters and even folkies.
www.radioactiverecords.co.uk
Paul Martin

BILLY FURY
Live at the BBC (Decca; 2-CD)
     A new double disc set of Britain's best rocker live at the BBC from 1959 to 1970 in pristine sound. The excellent notes by Spencer Leigh (the author of a superb biography of Billy) tell how his poor health led to him missing various sessions which usually resulted in a six month ban which accounts why he did not have more sessions over this period of time.
     However Billy used his radio sessions, usually for Saturday Club, to represent the songs he sang in his stage act rather than the romantic ballads that were his singles, so there are some 15 songs that are new to CD. The first disc is basically rock 'n' roll and rockabilly opening with Eddie Cochran's 'C'mon Everybody' and ending with Eddie Fontaine's 'Nothin'Shakin' The second disc is interesting for including live versions of his Parlophone recordings, and it has to be said that a lot of the tracks are invested with a lot more energy than the recorded versions. So to sum up: an invaluable addition to the Fury catalogue and a must for all his fans.
www.universal.co.uk
Pat Curran

THEE HEADCOATS SECT
Deerstalking Men (Damaged Goods; CD)
     What happens when you take a legendary underground beat band from the mid-sixties and cross them with a legendary underground garage punk band from the late 20^th century? You guessed it: Thee Headcoats Sect, a fiendish concoction containing 2 parts vintage Downliner's Sect and 3 parts lightly matured Thee Headcoats diabolically fused together by a love of Sherlock Holmes and savage R&B. So let's quickly review the facts. The Sect were a revved up R&B band that rampaged around London from '64-'66 clad in deerstalkers and houndstooth offending sensibilities with their raw, irreverent take on beat music. Similarly Thee Headcoats were a stripped down garage band who tore around London from '89-'00 clad in deerstalkers and houndstooth offending sensibilities with their raw, irreverent take on beat music. Applying the powers of observation to these facts, you should be able to easily find the key that unlocks the curious case of the Headcoats Sect. After all, it's elementary my dear Watsons.
www.damagedgoods.co.uk
Arthur Cravan

JUSTEN O'BRIEN AND JAKE
Time Will Tell (Radioactive; CD)
     This is one very nice melodic album. Radioactive suggest the vocalist (O'Brien) has an Arthur Lee sounding voice. To my ears it sounds more like a solo Scott Walker in his upper register. The opening track is a real winner, restless, breezy ultra melodic, a real pearl of its genre. Others sport a slightly funkier groove and shuffle along in a lightweight sort of way. The guitar work is good and there's also a slow burning soul number that crosses into Righteous Brothers territory, again, restless and melodic. Nearly all the songs mention "time" as a key component of the lyrical content. In any event, this is a very nice album, which should appeal to soft pop fans as much as anyone who appreciates a good vocal over breezy, sometimes brooding and introspective melodies. A very Autumnal sounding album.
www.radioactiverecords.com
Paul Martin

RITA LEE
Build Up (El Records/Cherry Red; CD)
     Rita Lee, as faithful readers will recall from last month, was one third of legendary Brazilian pop sensations Os Mutantes. With her eclectic vocal range, her outlandish outfits and her pixie-like good looks she soon became a focal point for the group. Indeed it was precisely her natural marketability that has led her to become one of the major establishment figures in contemporary Brazilian culture – somewhat ironic for a woman who was once rumored to have planned to fill the Sao Paulo water supply with LSD as a protest against the government's repressive policy towards freedom of expression in general and Tropicalia in particular. "Build Up" harks back to those heady, subversive days of her youth and is equally radical in its musical intent. Backed by the rest of the Mutantes and their George Martinesque producer Rogerio Duprat, this band of merry pranksters delivers their (un)usual kaleidoscopic blend of musical styles with ease as they veer from a show tune styled stomp opener to a full fuzz drenched anthem to close with time for a version of 'And I Love Her' that provides a master class in psyche funk. This record can be viewed as the first step in Rita Lee's inevitable rise or the fourth installment in the consolidation of the Mutantes' legend. Either way it is essential.
www.elrecords.co.uk
www.cherryred.co.uk
Arthur Cravan

LUTHA
Stop! The Music Is Over: The HM V Recordings (EMI New Zealand; CD)
     Lutha were a band from Dunedin, New Zealand. Probably few people outside of that country ever knew they existed and probably a lot of Kiwis of the present generation don't either, given that their label HMV, seem only to have pressed 1000 copies of each of their two albums at the time (in 1972-'73 – and which is why the originals go for hundreds of dollars presumably). I've had both these albums on a CDR for a couple of years now dubbed from the LPs and I am delighted to find that finally they have been reissued from the masters. Lutha (the liners don't say why that name was chosen beyond noting it was the idea of drummer Peter Edmunds) were (and hopefully still "are" as they seem to have reformed recently) one of the best Kiwi groups of the 1970s. They had a wealth of talent. All but bassist Peter Fraser sung and they had two very different lead vocalists in Graham Wardrop and Garry McAlpine. Wardop has a mid range and melodic voice that sits well on gentler and acoustic songs whilst McAlpine has a strong soulful voice that mid 60s mod bands would die for to have as a lead vocalist. Transposed to the early '70s, it's rugged but not as over the top throaty as say Joe Cocker! The two share lead vocals (Wardrop was also the guitarist) across both albums whilst the rest pitch in with harmonised backing vocals. Comparisons have been made with CSN on the Wardrop led numbers (add a little James Taylor I think as well), whilst the tougher numbers led by McAlpine have a more solid and attacking structure. There are interesting songs like 'Then I Saw Her Face' in which both lead vocalists take turns on the verses. Part of the aforementioned song has more than a little of 'Marrakech Express' about it, whilst McAlpine's parts get heavy on the Hammond backing and take it somewhere else and is a very nice listen. Their first eponymously titled album appeared in 1972 and displays everything that was best about them. 'Sun Song (Anaximander Rambling)' is a beauty that wonderfully blends both McAlpine's and Wardrop's approaches into a delicious prog pop number. On 'Mountain Side', the groove builds from a gentle flowing rhythm into a harder rock tempo as the song progresses with McAlpine's tough vocal astride it all. 'My Turn To Cry' is a sublime, melodic mid tempo rock ballad that has a strong rhythmic grounding and a gliding vocal by Wardrop. 'Stop! The Music Is Over' (also a 45 top side to which 'My Turn To Cry' was the flip) is perhaps their single strongest moment. A McAlpine led vocal rides a funky rock rhythm with an irresistibly catchy chorus. The song is also reprised as a cool live version at the end of the disc. Overall, Lutha is a fine testament to the musicality of the band and the attractive meld of their differing but complimentary styles.
     The second album Earth was issued in 1973 as an ecological statement and is sometimes considered the better of the two albums. To my ears, whilst there are some good tracks such as 'Here And Now', 'Policeman', 'Question' and the almost popsike 'Dandelion', the the album lacks the fine balance and cohesion of styles and sounds that made Lutha such a winner. Predominantly, the songs are Wardrop led gentler pieces with a largely acoustic base. With the addition of three live tracks 'Student Demonstration Time' (an R'n'R / blues rocker), 'Adrianna' and 'Stop! The Music Is Over', all of Lutha's officially released material is in one place at last (the four singles that were released and their B sides were all taken from the albums). Gordon Spittle's (who also co-wrote some of the songs) liner notes are informative but are rattled off staccato like and leave you wanting the spaces filled. Nonetheless, this is as much as we will ever find of the group in one place and for that we should be grateful. As always with these New Zealand EMI releases, they don't get international distribution, but both Wolfgang Voelkel and Heyday mail orders will soon be carrying it. If you are a fan of early '70s melodic rock and erudite troubadour tunes, I suggest you grab this disc pronto, you may find yourself very pleasantly surprised, and who knows how long it will be around for.
Paul Martin

THE MASCOTS
Ellpee (Radioactive; CD)
     As we know, these young Swedes were a major pop act in their home country and their Beatles/Hollies/Who emulations wowed the Scandinavian youngsters, on top of that, everything they recorded is pretty decent. But for me, second album Ellpee, which was released in 1967, is the best. Sure, it's heavy on Fabs influences, but some tough pop-art and psychedelic touches show some originality, and the lads performances are faultless. A Euro-Beat classic.
http://www.radioactiverecords.com/
Jon 'Mojo' Mills

MAXWELL DAVIS
Batman And Other Themes (BGP; CD)
     This is an everyday story of a seasoned and well respected jazz and R&B musician and arranger being utilised for a TV cash in project. Maxwell Davis so we're told was a talented musician, firstly on sax (which he gave up at the age of 40 to concentrate on his production career) and piano amongst other things. He joined the much respected Fletcher Henderson band in 1937 toured with Louie Jordan in 1948 when Jordan was at the very top of his game, then signed a staff arrangers contract with Alladin records. He was behind hundreds of hits for LA R&B mainstays like Charles Brown and Amos Milburn. He also worked for Art Rupe's Specialty Records, working on hits for the likes of Percy Mayfield. Davis though invisible (his picture doesn't even appear in the CD booklet, even his very name on reproduced LP art is in the smallest of print fonts) had his wares made most audible to thousands of ears. The material herein was worked up and produced by Davis in 1966 for the Modern label's Crown subsidiary (and also released in the UK on budget label Ember Records). It's based entirely on the Batman TV series fever of the time as Neil Hefti's original score and the accompanying graphics were hard to avoid (indeed, playing Batman and Robin was a staple playground game of myself and my infant school cohorts in that venerable year). The other titles are arranged in similar Batman-esque fashion. 'Lawyer Fraud' for instance is a barely concealed reworking of the Batman Theme as is, improbably, 'The Green Hornet' (no not the Al Hibbler version, this is just a cop of the title) whilst 'Super Chase' and 'Harry Danger' are from spy films never made. If this was a white concoction it would quite easily sound plain silly, but given Davis's ability and experience, it is cut with a knowing and subtle R&B flavour that lifts it way beyond cornball. Instro Hipsters and lounge fans generally will love this, as indeed should vintage R&B fans in the main. It's a bunch of fun vibes, so altogether now, say 'Cheeeese'.
www.acerecords.co.uk
Paul Martin

MAYPOLE
Maypole (Radioactive; CD)
     This amazing young Baltimore band released one album on the small local Colossus label in 1970 tackling the usual psychedelic, Hendrix, prog themes in a far more interesting manner than most. Youthful and confident the band come across with a similarly untamed feral innocence as the SRC, Morgan and even Powder--due to their clear, anglophile mod vocals. Essential.
www.radioactiverecords.com
Jon 'Mojo' Mills

THE MINISTRY OF SOUND
Men From The Ministry (RPM; 2-CD)
     Our man John Carter was a major behind-the-scenes player in Brit pop, writing hundreds of tunes throughout the 1960s and 1970s. 'Lets Go To San Francisco' and 'Beach Baby' were his radio smashes, but plenty more quality music was recorded across the period – all of it now anthologised by RPM and Rev-Ola. However, The Ministry Of Sound's Men From The Ministry / Midsummer Nights Dreaming is another story altogether, and too convoluted to go into here. But let's just say that the 34 tracks by writer/sometime performer/producer Carter, and associates Robin Shaw and Mickey Keen, are a pretty inspirational selection of mid-late 1960s beat/psych-pop. Although never a band as such, The Ministry Of Sound did issue one single in 1966: 'White Collar Worker'/'Back Seat Driver' (Decca). Further releases by this collective were also issued under the John Carter & Russ Alquist title – but really, everything penned across this era has a similar feel and atmosphere, hence this collection of two imagined albums. The 1966 inclusions are all in a pop-beat mould including an early version of the Shaw/Keen penned Nashville Teens' hit I'm Coming Home. Motown is also a clear influence. The cream of the set however are the 1968 recordings, which offer a few exceptional pop-psych compositions, such as 'Midsummer Dreaming', which has a Kaleidoscope and Bee Gees feel.
www.rpmrecords.com
Jon 'Mojo' Mills

THE MOODY BLUES
Days Of Future Passed
In Search Of The Lost Chord
On The Threshold Of A Dream
To Our Children's Children
A Question Of Balance (Decca/Universal; all expanded CDs and 2-CDs)
     This isn't going to be an extended essay, or even a thorough review. Lets just call it an enforced opinion. The Moody Blues were an amazing, creative and melotron infused psychedelic band; but I have often discovered that not everyone shares my feelings. But why? Their five albums recorded between 1967 and 1969 are filled with acid tinged whimsy, enjoyably pompous poetic pretension (bless Graeme Edge) and damn good tunes. Sure, love it or hate 'Nights In White Satin' is what they will eternally be remember for, but underneath the eiderdown they really were daring – and a shining light in the UK psychedelic scene. Wasn't Days Of Future Passed more daring than Pepper? I hear their influence everywhere too, but they never get their just deserts. (The Golden Earring's Miracle Mirror is practically a Moodys homage God damn it) and I think if it wasn't for that certain melodramatic record far more psych fans would adore them and utter their name alongside the greats.
     If you're uncertain pick up these heavily expanded CDs and see for your self. I assure you, you won't be disappointed.. These are brilliant albums that will blow freakbeat, psych-pop and psychedelic lovers away. Believe me.
     File alongside Procol Harum in the "sadly neglected" section
Jon 'Mojo' Mills

LARRY MURRAY
Sweet Country Suite (Fallout; CD)
     It's great to see this kind of album released on CD, the rare solo album by Larry Murray erstwhile leader of the wonderful Hearts and Flowers which he recorded for Verve Folkways in 1971 following the sad demise of that group. Featuring a stellar cast of J D Souther, Buddy Emmons on pedal steel, Gib Guilbeau and his band Swampwater and members of The Nitty Gritty Dirt band, this album mixes originals with well chosen covers like Elton John's 'Country Comfort' and Gib Guibeau's 'Big Bayou'. This is a great album that lets us see that Larry Murray can easily take his place alongside his peers like Gene Clark and Gram Parsons in the pantheon of country rock.
Pat Curran

MUSIC BOOK
Songs Of Sunshine (Radioactive; CD)
     Originally issued on the obscure Westwood label, Songs of Sunshine dates from the early 1970s as so many home-made off-kilter folky albums did (see the Acme label's reissue roster for instance). It's a sort of cross between Piccadilly Line's The Huge World of Emily Small and Forest. As Radioactive's blurb accurately has it, the music is comprised: '…predominantly [of] acoustic music. Flutes, chimes, and gentle organ sounds. It spins tales of faraway lands, sand, sea, castles, kings, queens and even Peter Pan'. It's gentle, very English in sound and most certainly whimsical. With titles like 'The Magic Cloak', 'The Happy King' (one of the best tracks) and 'Harmonium Joe' you get a fair impression of what to expect. There are fuller numbers however such as 'Seaside Sunshine' which provide a thicker rhythm. Acoustic and early 70s singer-songwriter fans will enjoy it. Some of the tunes are as twee as the lyrics and can be a bit off putting initially, but with repeated play, as a whole, the album has a charm which ultimately over-rides this.
www.radioactiverecrds.com
Paul Martin

NAZ NOMAD AND THE NIGHTMARES
Music From 'Give Daddy The Knife' (Dionysus; CD)
     As is well known, this is Dave Vanian and The Damned doing for '60s punk what XTC did for psych via The Dukes of Stratosphere. It was all a bit of faddish giggle in the mid '80s. Anyway, Big Beat reissued this in the UK some years ago, here Dionysus are reissuing it for the US market presumably. There are a couple of originals on here ('(Do You Know) I Know' and 'Just Call Me Sky'), but they are otherwise covers. They're not bad either. Rinky dink keyboard to the fore on most tracks (a la '96 Tears'), the 'Mares' as perhaps they might have been colloquially called, rip manfully through a set that includes 'Nobody But Me', 'Action Woman', 'She Lied' and 'I Had Too Much To Dream (Last Night)'. The best of the bunch for me is The Seeds' 'The Wind Blows Your Hair', a very moody number which suits The Damned well as does the more rumbumptious 'She Lied'. A good party record if you go to those sort of parties.
www.dionysusrecords.com
Paul Martin

THE NOVELLS
That Did It (Radioactive; CD)
     There is, an as yet unreissued, self-titled album by a US band called The Messengers on Rare Earth from the late '60s. It's a mixture of originals and covers but with the covers done so vibrantly that you think they're originals! The Novells That Did It is a similar record and sounds like a second half of the Messengers album if it were a double. Originally issued on the Mothers Records label in 1968, That Did It is 34 minutes long and comprises 11 tracks. These include covers of 'Sitting On The Dock Of The Bay' which is a great pop version and 'Sunshine of Your Love' which is admittedly rather thin. Everything else is great guitar and harmonised vocal driven pop-rock. 'Almost There' was a single, and is a good punchy track with tempo changes. 'Pink Wallpaper', 'Age of Innocence', 'Only You' (not The Platters song!) and 'Glass House' all stand out as well constructed and delivered songs by what sounds like a pretty youthful group. They have a delightful period naivety to their sound and a lot of it sounds like it could be used as sound library hire-out material for insertion into US TV series of the day. Overall, it's a very good and undiscovered pop album with enough guitar attack and melodic hooks to make this a very worthwhile addition to your collection.
www.radioactiverecords.com
Paul Martin
Ed: Hart and Boyce were behind these young pretty boys, clearly hoping for another Monkees. If you want Monkees-esque US pop, with a hint of garage and psych. Go for it!

OCTOPUS
Restless Night: the complete pop-psych sessions 1967-71 (Rev-Ola; CD)
     Something of an old friend, yet even now a relative obscurity. Octopus's lone 1971 album Restless Night has been reissued on both vinyl (by Essex / Acme in an exact replica of its original garish gatefold sleeve) and on CD by See For miles. Both editions have long been out of print. Rev-Ola have done well to get this delightful album back into the public domain. Not only that, but they have also extended it with two tracks originally excised by Larry Page on the Penny Farthing original (which only ever shifted 500 copies hence it's rarity value today). Additionally, all the other related and non- album (and two live) tracks are grouped together in one place making this probably the final word on the band. Beginning as The Cortinas, the group issued a 45 in 1966 'Phoebe's Flower Shop' / 'Too Much In Love' for Polydor. The top side especially, is a gentle piece of British pop whimsy. They had also previously recorded two other worthwhile songs 'In The Park' / 'Sagittarius' but had no takers for the masters, they are included here for the first time. Once turning pro and changing their name they got signed by Larry Page for his Penny Farthing label. A first 45 'Girlfriend' / 'Laugh At The Poor Man', the flip being a a good piece of Brit popsike, failed to sell. Page, to his credit, risked an album on them knowing that the new market was based on this rather than singles. Unfortunately, the group seemed not to have had much say in the final production as the sleeve was presented to them as a finished product with which they were dismayed – the octopus / glamour girl hybrid picture did not go down well. Also, two good tracks, 'I Was So Young' and especially the very popsike friendly 'Orchard Bloom' were dropped from the album.
     Personally, the only duffer on the album in either version I think is the awful 'John's Rock', a ghastly knees-up sort of number about the desires of a roadie for getting groupies in his van. This is odd as the author (and rather dodgy singer by the sound of it on this particular track) is keyboardist John Cook, who was also responsible for the beautifully sensitive 'Council Plans' on the album. This anomaly aside, the album, now completed by its two missing tracks, is a thing of beauty and excellence. Delicious tunes abound. 'The River' of course is a Rubble staple, the fast excited rumbling plectrum strummed bass of 'The Thief'', and the languid delicacies of 'Rainchild' and 'Tide' amongst others make for an album that deserved commercial success. Singer / guitarist Paul Griggs and his brother Nigel, who was also the bassist and a prolific songwriter, with their bandmates make an album that has in the past often been unfathomably written off. The rather terse dismissal of it in Tapestry of Delights might have been responsible for this originally, amongst those who never heard it (or didn't listen closely), but hopefully all that will now be righted by this excellent new edition.
     There're even two live cuts consisting of a very robust 'I Am The Walrus', which must have been a fave as The Fabs were never gonna play it live, and an impressive rock treatment of Greig's 'Peer Gynt Suite', which is about the best version of 'In The Hall of the Mountain King' you're likely to hear in a non-classical setting! Oh, by the way, the 1973 45 'Hey Nah-Nah' / 'Future Feelings' listed in Tapestry of Delights is by a different Octopus entirely, of Belgian / Dutch origin hence its omission on this set. Overall, this is a great piece of musical public history and a joy to listen to. The liners give the full story of the band's rise and fall as related to Stefan Grenados by Paul Griggs and there's plenty of period pics as well. This is definitive statement on the band and most definitely worth the upgrade if you have any of the earlier editions. If you don't, then just get it anyway!
www.rev-ola.co.uk
Paul Martin

VIITH TEMPLE
Under The Burning Sun (Radioactive; CD)
     Not exactly over taxing in duration. Its three tracks clock in at just 18 minutes, there are longer 'remix' CD singles than this nowadays. Maybe it was side one of an unfinished album, or a 12" single?. Just 15 copies of this 1978 album were supposedly made. That doesn't sound likely as I doubt that you'd find a vinyl press who would have taken such a small order. They may therefore have all been acetate copies. Anyway, the 18 minutes is split between three tracks 'Under The Burning Sun', 'See The Light' and 'The Sky My Friend' (the best track in my opinion). As with most private pressings, this one is entirely at odds with the prevailing musical ethos of the day which is probably why it had to be a private press! Post punk new wave, power pop et al were dominant musical forms at this time, but here we have a prog unit (albeit a very enjoyable one) continuing as if none of this had happened. Indeed, continental Europe kept the prog faith a lot more solidly than the Brits or anyone else for that matter in these years, so maybe they had work there. Anyway, this is not overblown pomp, but rather laconic sounding in the title track and 'The Sky My Friend' whilst 'See The Light' is all sunny moog lines and vaguely jazz inflected rhythms. All three tracks are of moderate tempo and are competently executed. These are songs rather than improvisations and they are a pleasant listen even if you favour psych more than prog. Collectors of, and specialists in 70s musical arcania will enjoy springing this one on unwitting friends during underground music trivia quizzes.
www.radioactiverecords.com
Paul Martin

THE SHAGGS
Wink (Radioactive; CD)
     Not a lot to say about this one really. It was recorded in 1967 at Chicago's International Recording Studio as a one-off album by this group of Notre Dame University students. The Radioactive blurb calls the sound "preppy" which it very much is. It does indeed sound like a 1965 recording and all the tunes are covers. 'I Call Your Name' indeed sounds like a Barber Shop quartet put to a beat backing! They clearly had a vocal talent and harmonise well. I assume this has been reissued for the benefit of those garage collectors who favour the naive and basic pop end of that particular spectrum as well as private press fans. I'm afraid I can't really get into anything that is entirely comprised of cover versions unless something radical is done with them, which it isn't here. However, to be fair, if you like bright eyed and bushy tailed covers of songs like 'Sugar And Spice', 'Let's Spend The Night Together' and 'My Generation', this is a very well executed collection. I'm guessing this is an album made by a bunch of friends as a kind of collective souvenir of their time together at Uni, which is sweet, but I'm not convinced of its reissue value.
www.radioactiverecords.com
Paul Martin

SHIVA'S HEADBAND
Take Me To The Mountains (Radioactive; CD)
     Texas ex-pats Shiva's Headband, transported themselves to San Francisco for a record deal with Capitol that resulted in Take Me To The Mountains. Retrospectively acclaimed, not least for the fiddle playing of the classically trained Spencer Perskin, it didn't do much at the time. The band didn't like San Francisco but their psychedelic credentials apparently meant they needed to be there. It's a nice enough album, the violin playing is assured and dominant a lot of the time. The music itself is a blend of rural country (as in the first four tracks) and blues ( e.g. 'Ebeneezer' and 'Come With Me'). I don't actually here anything I could designate as psychedelic, but then that term has been so misappropriated over the years, that the novelty of what some years later might more accurately be termed progressive folk or roots music has been lost. We sometimes forget the role played by hairy white jug band revivalists, roots and country purists and Marin County cowboys of various types caught up in the zeitgeist of the times. 'Kaleidoscopic' perhaps comes nearest to escaping the pattern of the album and hints at something more exotic. Anyway, if you like the sound of a skilled fiddle player, good male / female vocals with a solid roots and blues backing then this one should suit you just fine.
www.radioactive.com
Paul Martin

SLADE
Beginnings / Play It Loud
Slade Alive (2-CD)
Slayed
Old New Borrowed And Blue (all Union Square / Salvo; CD)
     You've just got to love Slade. I was only 2-3 when they reigned supreme; who in their right mind (toddler or adult) could forget Dave Hill's silver clobber and razored fringe or Noddy's mirrored top hat? Slade made really great records too, and I mean memorable. Isn't 'Merry Xmas Everybody' one of the true seasonal classics? Ahhhh. c'mon ya schuck....And however formulaic the terrace stompers may have been they sure packed a punch in an era plagued by three day weeks and power cuts. And of course, all along, from day one to the mid-'70s, they issued the odd gem, some truly fantastic singles, surprising b-sides and album tracks; more than enough for them to deemed a bloody fab band! Now seems as good a time as any to lovingly re-issue their venerable back catalogue... so here we go. Best of all, Slade In Flame (both the DVD of what critic Mark Kermode calls "the Citizen Kane of rock movies" and its impeccable soundtrack on CD) will be available early next year, but until then.... for starters are four CDs (and a box set, not reviewed). Debut by (Ambrose) Slade Beginnings (1969) is doubled up with the fabulous follow-up Play It Again (1970) whilst Slayed  (1972) and Old New Borrowed And Blue (1974) are heavily expanded with b sides etc and last, but not least, the magnamonious Slade Alive (1972) is bolstered (and hindered) with the additions of Slade Alive Vol. Two (1978), Slade On Stage (1982) and Slade At Reading (1980).
     Certainly the cleverly structured foot stompers (always carefully sealed with pop choruses) are what Slade are known for--and 'Cum On Feel The Noize' and 'Mama Weer All Crazee Now' are brilliant urban shout-alongs--but the early post-'Nbetweens (Ambrose) Slade and (pretend-skinhead) Slade were in fact quite a different kettle of fish that owed more to The Beatles, Who and US psych than rock and roll and glitter. One too many covers and a confused sense of direction may have prevented them from becoming huge, but their musical ability and attack (Kim Fowley claimed them to be the best live band he'd heard) separate them from the crowd. The first album in particular has some very Who-ish power pop moments and includes a superb version of 'Born To Be Wild' (which is more Lil Chef than Easy Rider) whilst the adventurous 'Pity The Mother' mixes some haunting gypsy fiddle with psychedelia. For the follow-up star-making manager Chas Chandler somehow persuaded the band to become skinheads (well, almost) in order to drum up some media attention, and it did. However, other than brushing up on their songwriting chops, the band were still essentially the same. But man oh man, what an almighty album Play It Loud is. The production is heavier and opener 'Raven' promises a lot, which indeed they follow up. Slade honed in on the post-mod/pre-heavy market and had it sewn. Jim Lea's bass runs on 'See Us Here' are right up there with the Ox and the overall song structure adds some dirt to the increasingly powerful pop sound that was crossing over. 'Dapple Rose' slows things right down and is a deliciously gentle Beatles-styled ballad--dedicated to a horse of all things--and is perhaps my favourite Slade song. Hiding under the caterwauling vocals were a fabulous pop band.
     Hot on Play It Loud's heels came the breakthrough 45 'Get Down And Get With It' (1971), which sealed Slade's popularity and new found rebel rousing rock and roll direction. The hits followed but without enough material for a new studio album a live album seemed like a good option. In 1972 the fantastic Slade Alive was released, and for me it's up there with The Who's Live At Leeds. Having pounded the club scene since the mid-'60s Slade were veterans who could work up a crowd and play tight and dynamic rock and roll. If you think Slade are a silly glam band you'll change your mind after one play of this rockin' album. (The new CD is doubled up with the coolish 1978 live follow-up, where the band plough through the hits in a suitably high-octane manner, and two lesser albums caught in their '80s downfall, where they try and adapt to the NWOBHM). Still, this is essential for the first disc and the packaging is lavish.
     The first album of new Slade material was released slightly later in the year by which time Slade were rock 'n' roll stars. Slayed mixes tough rockers with finely crafted pop/rock moments; and yes, they deserved a lot more than their feral teenybopper audience, even if their skoolroom spelling may have indicated otherwise. 'Gudbuy Gudbuy' is almost genius, Dave Hill delivers some tremendous angry dirty guitar riffs and Noddy's angsty vocal shows a different side from their chart topping 45s! Slayed is pure Slade all the way, and it sold millions, climbing to #1! This nifty CD re-issue is bolstered with single b-sides that came out around the time of the album--and for me these shit over the album. All four are great, but the heavy mod power pop of 'Candidate' (the flip of 'Look Wot You Dun') and the Badfinger-like 'Wonderin' Y' show Slade at their most creative, and doing, perhaps, what they, rather than their fans, wanted them to do.
     In the interim between Slayed (1972) and Old New Borrowed And Blue (1974) drummer Don Powell was involved in a fatal crash that killed his girlfriend and left him in limbo--he survived, but it was a tough convalescence and with Slade at the height of their game the timing could not have been worse. Old New… was completed in 1973 and saw the band embracing the more heartfelt material that they had tested on their previous effort. 'When The Lights Out' is heavenly pop with a marked Beatles influence, as is the jaunty piano led 'My Friend Stan'. 'Miles Out To Sea' has a similar tempo and mood, which Oasis clearly took note of, whilst single 'Everyday' is a haunting piano led ballad (quite exceptional) and a song that distanced the everyday Slade fan (this was also evident on the lovely b-side 'She Did It To Me'). Still, this newfound direction would be developed on Slade... In Flame... and the best was still to come.
www.unionsquaremusic.co.uk
Jon 'Mojo' Mills

DUSTY SPRINGFIELD
Complete A and B Sides 1963-1970 (Eclipse; CD)
     A double disc set , one of A sides and the other of B sides compiled by Bob Stanley and Pete Wiggs of St Etienne which only adds to Dusty's legacy by showing that a lot of her B sides were the equal of her hit sides. Norma Tanega herself no slouch in the singing stakes was responsible for three of these as well as such luminaries as Goffin and King, Burt Bacharach and Dusty herself. While personally I would have preferred to have had each A side followed by its B side this is a useful addition to Dusty's catalogue and a promising beginning to a new reissue label which if it is as good as the compilers recent 'The Trip' compilation will be something to look forward to.
www.mercury.co.uk
Pat Curran

SUGAR BEAR
Sugar Bear (Radioactive; CD)
     Rural rock is a fair enough thumb nail description of about half of what you'll find on this album, especially in the short and vocally attractive closing track 'Hip Hip Horay For Today!' and others such as 'Sweetest One Around', 'Play Me A Song' and 'Let It Roll'. This is a private pressing from 1970's Florida and does actually cover a wider variety of styles that that. Opener, 'Playing Music' is bar band boogie, whilst 'Honey Love' is a slow burning, harmonica led 'Stormy Monday Blues' type number and 'Seasons of Love' is very nice acoustic based song. The most interesting number is 'Moccasin Mona' which has a nice wah-wah guitar going through it and with a professional production job would have been a great psych track (although it's pretty good as it stands). Limited edition, self-produced albums of this sort can vary wildly in sound quality. This one I feel is rather flat in production terms, but musically enjoyable at least in parts. If you dig a lot of the World In Sound label's output for instance, then this one will probably also appeal.
www.radioactiverecords.com
Paul Martin

SWAMPGAS
Swampgas (Radioactive; CD)
     The AMG is dismissive of this album which I think is wrong. True, by the time Buddah put it out in 1972, the album was a year old and the band had long since split. However, this is not just basic, boring heavy blues rock as the AMG overview implies. It has a blues rock element for sure, but it's much more interesting than that. An eight track album that blends shorter 3+ minute numbers ('Potato Strut', 'Eulogy) with some longer 6-7 minute ones ('Egg Shell, 'The Waiting E Train' and 'Trapped In The City), it has a much broader pallet than some similar albums of its time. There's good tempo changes, a lot of light and shade in mood and some very nice late psychedelic guitar work in places (e.g. on the second half of 'Trapped In The City). 'Polo' is a mid paced guitar led number which sports a lightly phased guitar rhythm which works well both to support and sufficiently differentiate it from more standard fair. The 7.10 long 'Eggshell by contrast is a slow building acoustic number that almost effortlessly lilts into an understated sitar and tablas piece that brings to mind some of the more adventurous numbers on the first Poppy Family album. Swampgas is an album which would certainly have appeal to southern rock fans for instance but would also appeal to those with an appetite for a wider guitar led soundscape. It's an album that certainly deserves its re-release.
www.radioactiverecords.com
Paul Martin

VALHALLA
Valhalla (Radioactive; CD)
     Led by organist Mark Mangold, Valhalla recorded their lone album for United Artists at the end of the 1960s. It's a rather mixed (in a good way) bag of both organ and guitar led prog/ psych. Kick off track 'Hard Times' encapsulates the album's sound well with a hard rockin' but tempered attack. I can imagine them on the same bill as say T2, though their songs are not as long! 'Conceit' is slightly slower but has the same full sound, which is both progressive and melodic. 'JBT' is a slower still progressive ballad with nice organ work whilst 'Ladies In Waiting' is in similar vein but I think with a better melody. 'I'm Not Askin' is guitar driven and has a great west coast acid blues sound and 'Roof Top Man' has pretty good stab at the same idiom. 'Deacon' by contrast is an almost wistful number decorated by strings and woodwind in part and saunters along with a jaunty piano rhythm. The band really show their chops when they get into some extended instrumental passages such as on 'Head Are Free'. Overall, this is a good, competent album that should certainly appeal to fans of both early progressive and later west coast acid blues.
www.radioactiverecords.com
Paul Martin

VARIOUS
For Connoisseurs Only Vol. 2 (Kent; CD)
     The brothers Jules, Saul, Joe and Lester Bihari's Modern label is best known for its vast catalogue of R&B material of the 1950s. Like Cincinnati blues label King however, it developed as times changed, a substantial roster of soul artists. It may have been short of hits (Ike & Tina Turner being one act that provided some useful exposure) but in historical terms, it has a legacy second to none. The Kent label was more of a budget label, but taken as a whole, they produced a wealth of great sides such as the 25 presented on this collection. Most of these tracks are upbeat and forceful dancers. Some, like Trini Lopez's 'Sinner Not A Saint' have that great hybrid R&B into soul crossover feel to them, whilst others like the previously unissued Arthur Adam's 'I Need You' are the kind of belters that show how gospel sounds when secularised and how blues shouters could easily transpose their vocal talent to a gritty soul style. No wonder Screamin' Jay Hawkins would often assert that he was singing soul (in the 1950s) before anyone called it that. As with the Kent CD compilations in general the standard of content is consistently high throughout. Ady Croasdell is a great compiler and this is no exception. Beauties such as Mary Love's 'Dance Children, Dance' or Terry & The Tyrants 'Say It Baby' or Brenda George's 'I Can't Stand It' and Johnny Copeland's 'Wizard of Art' are tuff, up front movers that should fire up anyone's ears and hips. A joy from beginning to end, this is another winning comp from the Kent / Ace stable.
www.acerecords.co.uk
Paul Martin

VARIOUS ARTISTS
Forever Changing: The Golden Age Of Elektra 1963-1973 (Rhino; 5-CD Set [Special Edition with book])
     Man alive, SD friends Stuart Batsford, Mick Houghton and Phil Smee have set a new benchmark. This in-depth 5-CD super box set is perhaps the finest chronological document of a label I have ever seen and heard! And it really does look incredible. For those who can afford to shell out £150, the ultra version special edition includes a huge book and prints. It's more of an heirloom than a mere CD set.
     Forever Changing isn't really a musical journey; it's a Darwinian cultural evolution. Starting with Judy Collins version of 'Turn Turn Turn' and ending with Queen's 'Keep Yourself Alive' it's almost impossible to comprehend how the label and the music it was cataloguing changed over a brief 10 year period. Everything included is practically faultless. From early '60s coffee house folkies and bluegrass peddlers through the folk rock and psychedelic revolution onto honed singer songwriters and long haired rock. Tom Paxton meets The Stooges via Tim Buckley, The Doors and Love. This is music that made a cultural impression!
     The fifth disc is an odds and ends companion piece, but still essential and a rather wonderful bookend to the four CD chronology, and it ties the package up like a bow!
     Including choice cuts by Clear Light, Crabby Appleton, Steve Noonan and something that I am very happy about, the pre Blue Oyster Cult psychedelic rockers The Stalk-Forrest Group and UK psych rockers Leviathan, just goes to show that this collection is far from a cursory best of. Forever Changing is the perfect label anthology. The track selection is impeccable, the music astounding and the liners and packaging set new levels of quality.
     A brilliant label brilliantly served. Write to Santa now.
www.rhino.com
Jon 'Mojo' Mills

VARIOUS
Kent's Cellar of Soul Vol. 2 (Kent; CD)
     This is the second volume in a series initiated by the late Dave Godin. The focus is the way that obscure American soul 45s were licensed and released on British labels in the 1960s. I'm sucker for label shots and there's plenty of them in the booklet supplied by Tony Rounce and Trevor Churchill; Beacon, Soul Power, Okeh, Action and even Polydor and RCA shots illustrate the detailed liners provided by Ady Croasdell. It's an interesting overview and if ever the study of soul music could be said to be a form of historical practice, then Godin and his worthy inheritors here, have nailed it. It's fascinating for instance to think that The Showstoppers' 'Aint Nothin' But A House Party' was just a local fave in Philhedelphia, but scored a No.11 hit in Britain when put out on the Beacon label. The majority of these sides are mid paced and have a certain pathos about them, though exceptions like The Olympics' 'Mine Exclusively' (on Mirwood) step up the pace. Standouts include Bobbi Lyn's 'Earthquake' Billy Butler and The Chanters' 'I Can't Work No Longer', The Vibrations' 'Love In Them There Hills' and Tommy G & The Charms' 'I Want You So Bad' amongst others. Recommended for soul fans generally and the historically minded in particular.
www.acerecords.co.uk
Paul Martin

VARIOUS
The Mirwood Soul Story (Kent: CD)
     Mention the name Mirwood to most people and it will elicit no more than a blank stare. Mention it to a northern soul fan and you might as well be talking about EMI or Universal. For the small LA based Mirwood label is as big and all embracing in such circles as the mega corporations are globally. Mirwood you see, was the west coast equivalent of Chicago's O-Keh label in the mid '60s; shrines and alters at which northern soul fans worship. Judging by the quality of the titles on this comp you can see why. Fast, uptempo numbers with good hooks are the sacred stuff of baggy trousered break dancers everywhere. Names and titles that would be as instantly recognisable to the faithful as the Taj Mohall or Empire State building are to anyone else abound. The Olympics' 'Baby Do The Philly Dog', 'The Same Old Thing' and 'I'll Do A Little Bit More' are anthemic. Killer femmes like the Mirettes' 'You're Kind Ain't No Good' and 'Now That I Found You Baby' or The Darlettes' 'Lost' or The Belles' 'Don't Pretend' are just pure musical addiction to the ears. Most date from 1966-'67 and there's not a duffer amongst the 24 selections here. Between them, label owner Randy Wood (not the Dot label maestro) and arranger / producer Fred Smith pushed out monster dancers one after another. You can read the whole story of the label and artists in the 23 page booklet that as is usual with Kent /Ace CDs, packed full of information and pictures. Dig those groovy 'Action' label shots. If you're a Northern Soul fan this is a great way to get so many fine Mirwood sides all in one place, but if you're a casual '60s Motown fan for instance, get this comp and see how to go further with that same classic sound of this period sound.
www.acerecords.co.uk
Paul Martin

VARIOUS
The Old Town And Barry Soul Survey (Kent; CD)
     Yes indeed, another fine collection of 60s soul sides, this time culled from the vaults of Hy Weiss's New York based Barry and Old Town labels. Starting in 1953, the label built a respectable body of R&B recordings. In the '60s, along with other New York labels like the Wand/Sceptre imprint, it documented the evolution of what is known by collectors as 'big city soul' or sometimes 'uptown soul' styles of the early part of that decade. This was a sophisticated style that backed singers with professional orchestras that gave the recordings a panache and solid finish. The style is represented here in the c.1964 recordings of Freddie Houston's 'If I Had Known', Rosco and Barbara's 'Could This Be Love' or the previously unissued Charlie Thomas number 'No-One To Come Home To'. They also recorded the soul styles nearer to pop and R&B like The Sparkles' 'Try Love (One More Time)' and Lester Young's 'Let Your Love Shine'. There's even a late recording by Buddy & Ella Johnson form 1964 ('Keep On Loving You') who had been R&B orchestral giants in the 1940s and '50s. These sides are tuff, up-front dancers but you notice how the orchestral work (and drum production sound especially) gives so many of them that special imprint associated with New York soul recordings of the mid 1960s. Fabulous and feisty, and with the usual in depth liner booklet by Ady Croasdell, this is another winning set of soul sides rescued from oblivion for which we should all be thankful.
www.acerecords.co.uk
Paul Martin

VARIOUS ARTISTS
That's My Story: Words & Music By Tim Rice & Friends (Sunbeam; CD)
     Yes Tim Rice may have produced some quality sides for The Shell (1966), excellent early Murray Head singles (1967), psych bands the Tales Of Justine wonderful 'Monday Morning' (1967) and DJ Mike Reid's 'Don't Open Your Mind' (1969)… but he also left his mark on the mundane pop of Sacha Distell and all manner of lower division performers. This does little to elevate the musical man's status and make him hip.
www.sunbeamrecords.com
Jon 'Mojo' Mills

THE VELVERT TURNER GROUP
The Velvert Turner Group (Radioactive; CD)
     New York born axeman Velvert Turner took guitar lessons (and most likely a few substances with Jimi Hendrix) when the legend was in New York. His self-titled debut was released as two different versions ("rock" and "soul") in 1972 on the small Family Production label. This is the guitar heavy version where the Hendrix lookalike and soundalike Turner was allowed to add all of his acid fried overdubs. Sure, it's more of a Hendrix homage than an original work, but it's a bloody good one at that which no Hendrix scholar should be without.
www.radioactiverecords.com
Jon 'Mojo' Mills

VULCAN'S HAMMER
True Hearts And Sound Bottoms (Radioactive; CD)
     This sort of thing just bypasses me altogether, so I am not the best to comment on it. However, if you are a traditional English folk fan, this privately pressed (just 250 copies), 1973 album would most surely attract your attention. It's full of fiddle reels, one-hand-cupped-over-the-left-ear type singing, 6 and 12 string acoustic guitars and a female vocal that plays foil to the two male vocalists. Odd why such a sparsely instrumented group should choose a name like a heavy metal group! I have to admit though there are some rather nice tunes on this and it does engage and entrance after a while. It's an acoustic affair, with no real progressive tendencies at all. Folkies of various shades will be easily able to make their own comparisons and associations with better known groups of a similar ilk I'm sure. The sort of thing for Winter nights round an open fire in a country pub, but I'm too urban for all that!.
www.radioactiverecords.com
Paul Martin

WHISTLER, CHAUCER, DETROIT AND GREENHILL
The Unwritten works of Geoffrey, Etc. (Fallout; CD)
     Now I must admit to never hearing of these guys until I was browsing through The Mojo Collection-The Greatest Albums of All Time and there it was surrounded by other albums I had heard of and liked so I made a mental note to get it if I ever saw it, which I doubted would ever be the case but here it is on CD.
     Eddie Lively and Scott Fraser, had played in local Fort Worth band, The Mods before teaming up with David Bullock in 1967. Later with John Carrick and Phil White they recorded this album produced by 'T-Bone' Burnett which crept out on the UNI label in 1968.
     The album is a beguiling mix of country, acid folk and mild psychedelia which is great to listen to and fully deserves its place in the aforementioned book. The band lacked a permanent drummer which hampered their chances of building a live reputation so when they found one (Brett Wilson) in Austin in 1968 they changed their name to Space Opera and brought out a self titled album on Epic in 1972.
Pat Curran

THE ZOO
The Zoo Presents Chocolate Moose (Radioactive; CD)
     The Zoo's sole album was released by Bell in 1968 and features an array of styles that cover all bases from garage and psych through to blue eyed soul and R&B. Whereas the heavy bubblegum blues soul tracks may recall a lesser late period Standells the psych orientated songs, particularly 'Try Me' and 'From A Camel's Hump' or the softer paisley moment 'Love Machine' are defining.
www.radioactiverecords.com
Jon 'Mojo' Mills