Tuesday, May 2, 2017

The Eclectic Mouse - 1969 - Everything I Got

The Eclectic Mouse
1969 
Everything I Got



01. 1st Movement: Everything I've Got Belongs To You 8:55
02. 2nd Movement: Where Do The Hounds Go? 3:17
03. 3rd Movement: Trialogue I, II, III 7:25
04. 4th Movement: Discovery 4:10
05. 5th Movement: Pre-Dawn Retrospective Chant 6:40
06. 6th Movement: Spirit Singing 3:55

Bass – Jerry Manfredi
Drums – Tim Downs
Flute – Joe N. Corral
French Horn – John Smart
Guitar – Dennis Lynde
Piano, Organ – Kristen Engstram
Saxophone [Alto] – Ernie Santos
Saxophone [Tenor] – John Renner
Trombone – Ben Harvey
Trumpet – Barry Downs, Billy Gonzales
Tuba – Rick Felix
Vocals – Harry Anglum, Jack Wilkerson
Written By, Arranged By, Conductor, Percussion – Steve Forman

Everything I've Got: Suite for Voice, Wind Ensemble, Percussion and Electric instruments by Steve Forman - "The Eclectic Mouse"




 "The Eclectic Mouse Was The Nickname Of Master Percussionist Steve Forman, Who Released One LP And A Supporting 45 On Capitol Records In 1969 Under That Moniker. The Album, Titled 'Everything I've Got' (Subtitled 'Suite For Voice, Wind Ensemble, Percussion And Electric Instruments'), Is A Very Interesting One To Say The Least, With Highly Original "Movements" That Feature Numerous Wind And Percussion Instruments And Were All Written, Arranged And Conducted By Forman Himself. The Stand Out Track On The Record Is The Amazing 'Where Do The Hounds Go?', Which Can Be Best Described As A Highly Energetic Fusion Of Paranoid "Jazz From Hell" And Rock.

Another relatively unknown early American progressive rock gem you won't find on the other prog web sites, The Eclectic Mouse was the vehicle for one Steve Forman; a Phoenix, Arizona conductor who is still in the music business apparently, but never got around to recording a follow-up. How this album and The Eclectic Mouse came together is unknown as precious little information is available anywhere, but it was released on Capitol who had enough confidence to back it with a single release. Never on CD, copies in the original thick cardboard gatefold sleeve are hard to find and very expensive these days as its reputation continues to grow.
Everything I've Got' is a product of it's time-when classical, pop and jazz styles fused as one. A blip on the continuum when Mason Williams' 'Classical Gas' reached the American Top 40 all the way to number two, The Nice unleashed Leonard Bernstein's 'America' while burning the American flag and psychedelia was very much in the air. This is classical rock at its best as The Eclectic Mouse plugged into the fuzzy, colour splashed spirit of the new age. Now I have to say Steve Forman's blurb on the inside cover is a lot of esoteric nonsense and as an example the quote -'We Must Feel, We Must Think, We Must Change' reads like another absolutely clueless Obama rant forty years after the fact, but I digress. The concept here is pretty much the story of a guy trying to find himself in the world and as tired as that well-worn tale sounds, musical it's a fun listen. It's not just classical, but jazz that provides the albums musical colours and the vocalists are good, no complaints there as the songs all written by Foreman are uniformly interesting. The albums single which was edited for the masses sounds like Jethro Tull mixed with Blood Sweat & Tears. Nicely done, and come to think of it that's a pretty good synopsis of the album as a whole. While it's still a little confusing trying to figure out over several listens why this record never took off, 'Everything I've Got' is a fascinating ride and one I take often
In Summary 1969 was a fantastic year for music and The Eclectic Mouse is one of the better albums you'll come across from this magical time. If you find a copy, buy and prepare to be impressed!

Yesterday's Children - 1970 - Yesterday's Children

Yesterday's Children 
1970 
Yesterday's Children


01. Paranoia      
02. Sad Born Loser      
03. What of I      
04. She's Easy      
05. Sailing      
06. Providence Bummer      
07. Evil Woman      
08. Hunter's Moon

Bass – Chuck Maher
Guitar – Richard Croce
Lead Guitar – Reggie Wright
Percussion – Ralph Muscatelli
Vocals – Dennis Croce




Reissue of the Connecticut hard rock groups only LP, originally released in 1969. Not to be confused with the Chicago area punk group of the same name who appear on the Pebbles box set. From the Cheshire and Prospect areas of Connecticut, these guys started out playing classic garage fuzz-punk as demonstrated by To Be Or Not To Be .

They'd progress to a hard rock style, of which the LP is a good example and worth searching out. HIGHLY RECOMMENDED FOR HARDROCK FANS of late 60's fuzzed rock.

Writing On The Wall - 2015 - Rockfield Sessions

Writing On The Wall 
2015
Rockfield Sessions




01. Boys In The Band 3:35
02. Burghley Road 2:58
03. Tripsy Lady 4:01
04. My Baby She Said 2:21
05. You Got The Soul 4:02
06. Tripsy Lady, Pt. 2 5:30
07. Bellyful Of Rock 7:20

Bass – Jake Scott, Jimmy Hush (tracks: B2)
Drums, Percussion, Piano – Jimmy Hush
Guitar – Willy Finlayson
Tenor Saxophone, Soprano Saxophone, Flute – Alby Greenhalgh
Vocals – Jimmy Hush, Willy Finlayson

Recorded at Rockfield Studios, Wales, UK 1973



“Writing on the Wall” were a Scottish psychedelic/progressive rock band from 1967 until 1973. Continually on the road for six years- everything from radio, TV, British & European tours, recording and of course Brazil. One of the very few bands to have held two residencies at the famous Marquee Club in London. The band issued but one official studio album, the 1969 release ‘The Power of the Picts’. Like many evolving groups caught in the midst of rapid musical evolution in the late sixties, WRITING ON THE WALL retained much of the blues influence of the music they came of age with by mixing heavy and sometimes uneven blend of psych, blues with idealistic and often abstract lyrics to form a distinctly late sixties sound reminiscent of groups like BLUES IMAGE, CACTUS, and BABE RUTH. Writing’s music tended toward a more somber tone than most of their peers, and the band further distinguished themselves by relocating to England to make somewhat of an impression on the British scene of that day. The band recorded for DJ John Peel in late 1968, and released their sole album on Brian Waldman’s fledgling Middle Earth label. Waldman also served as the band’s manager, and secured them gigs in his club, also named Middle Earth. “The Rockfield Session” where recorded in 1973 with a new guitarist/singer and saxophone player. Jimmy Hush, the original WOTW drummer, located a few years ago the master tapes and mixed them for the first time. So here we have a complete unreleased studio album. Great, great music of cause!

Writing On The Wall - 1996 - Burghley Road

Writing On The Wall 
1996 
Burghley Road 




01. Times Were Rough 04:13
02. Fishers Of Men 06:29
03. Rocky Island 02:58
04. Dream Yourself A Hero 07:12
05. Diane's Bid Daddy 05:33
06. Live And Learn 05:00
07. Down Home People 03:51
08. Burghley Road 04:03


Jimmy Hush - percussion, basking vocals
Bill Scott - keyboards, accordian
Jake Scott - bass
Willie Finlayson - lead vocals, guitars

Recorded around 1972


The album title refers to the Victorian house where four Scots took refuge during his exile in London becoming the mansion into a genuine commune dedicated to music, art and God knows what else in the early 70s. A pleasant surprise, it is true that there were thousands of bands like this at the time but Writing on the Wall is at hand now.

Besides his official album, "Power of the Picts", the seal was circulated Tenth Planet, love of another similar product, the album that here and now we claim. WRITING ON THE WALL ''Burghley Road'' LP (UK, Tenth Planet, Catalogue #TP018) Brand new/unplayed copy of limited Tenth Planet label LP edition (edition of 1000 copies only) of previously unreleased 1972 recordings of Scottish hard/heavy rock band Writing On The Wall.

Previously unreleased 1972 sessions for their aborted second album, Burghley Road captures the legendary Scottish hard rockers in full flight as they combine Deep Purple-style heavy rock aggression with a more introspective approach reminiscent of the Band. Had this unique album been issued at the time it may well have catapulted Writing on the Wall into the big time, but legal problems prevented its release. Full-colour sleeve with song-notes by bassist and chief songwriter Jake Scott, Burghley Road is a vinyl-only release of 1000 numbered copies.

"Writing On The Wall present themselves here as a typical Pub Rock band who mix Prog Rock/Blues Rock with elements handed down via tradition. It's no coincidence that guitarist Willie Finlayson later cropped up in Bees Make Honey, bringing with him the title tune of this album.

Writing On The Wall , however, pull it off best when they head for a more sophisticated and psychedelic approach, with the organ and guitar given room to expand as on "Dream Yourself A Hero or "Live And Learn' (which could have stemmed from Jody Grind's debut). Using their basement to rehearse, the band capture their own performance of new songs on a reel-to-reel tape recorder in an effort to review their progress. These basement tapes capture the band's rampant musical schizophrenia as they move effortlessly from anthemic heavy rock onslaughts to Band-style rural introspection.' LP, we may think that blues and hard rock primary began to play a greater role in the band's sound as his career progressed, "Diane's Big Daddy," as if the echoes of the debut of BLACK SABBATH, the beginning of "Live and Learn"can compare to "Child In Time" DEEP PURPLE, "Henry Dawson', sailing a middle course between Rory Gallagher and Colosseum."

Writing On The Wall - 1995 - Cracks In The Illusion Of Life

Writing On The Wall 
1995 
Cracks In The Illusion Of Life 



01. Quords And Music 02:18
02. Peter Gunn 02:51
03. Felicity Jane 03:17
04. Flight Of The Mind 03:35
05. Katie's Been Gone 02:39
06. Fishers Of Men 06:27
07. Buffalo 06:54
08. Nobody Knows 04:00
09. Bellyful Of Rock 05:39
10. Man Of Reknown 03:28
11. Tripsy Lady 04:01

Track:
1-2 recorded 1967
3-5 recorded 1968
6-8 recorded 1972
9-11 recorded 1973

Linnie Patterson – vocals
Willy Finlayson – guitars
Jake Scott – bass
Bill Scott – keyboards
Jimmy Hush – drums


Rare unreleased psychedelic material by this great Scottish band who were regulars at Middle Earth etc in the '60s. Subtitled 'A History Of Writing On The Wall', this 1995 release is a great retrospective compilation covering the career of this late 60's to early 70's band from Edinburgh who released a true prog classic with 1969's 'The Power Of The Picts'. Stoned psychedelic rock with a twisted dark side.

Released on a beautiful gatefold sleeve TENTH PLANET RECORDS (UK TP017) in 1995 and is strictly limited to 1000 handnumbered copies,as well as is available Re-issue CD 2002 Progressive Line 24 BIT Digitally Remastered.

This excellent collection is a history of the band 11 tracks of acid may hem collected from the period 1967-1973 contains some previously unreleased recordings. Of their retrospective albums, Cracks In The Illusion Of Life contains both sides of a 1967 45, 'Words And Music' / 'Peter Gunn', issued originally as The Jury. Also featured are two promising pop-psych tracks from 1968; 'Felicity Jane' and 'Flight Of The Mind' plus the more mainstream 'Katie's Been Gone'. From 1972 there's the keyboard-orientated' Fishers Of Men'.

Writing On The Wall - 1994 - Rarities From The Middle Earth

Writing On The Wall 
1994 
Rarities From The Middle Earth



01. Flight Of Mind (3:35)
02. Felicity Jane (3:15)
03. Child On A Crossing (3:32)
04. Lucifer Corpus (5:50)
05. Tasker's Successor (2:50)
06. Shadow Of Man (3:52)
07. Profile On A Door (3:12)
08. Felicity Jane (3:07)

Recorded in 1969.

Side A: Studio Sessions
Side B: Live Sessions


-Willy Finlayson / guitar, vocals
- Alby Greenhalg / wind instruments
- Jimmy Hush / drums
- Billy T. Scott / keyboards
- Jake Scott / bass, vocals
- Linnie Patterson / vocals


Begins with a pair of previously unreleased tracks of a Moody Blues soul-psych flavor, then both sides of their incredible '69 hard rock single, then side 2 consisting of about 13 minutes of more keyboard-soul-psych material live from, presumably, London's famous Middle Earth club. Dodgy sound quality throughout. Nice enough for fans of the band, but don't let this be your first taste.

Writing On The Wall - 1969 - Power Of The Picts

Writing On The Wall 
1969 
Power Of The Picts




01. It Came on a Sunday (4:18)
02. Mrs. Cooper's Pie (3:21)
03. Ladybird (3:47)
04. Aries (8:09)
05. Bogeyman (3:44)
06. Shadow of a Man (3:52)
07. Tasker's Successor (3:43)
08. Hill of Dreams (3:06)
09. Virginia Waters (5:57)
10. Child on a Crossing (3:32)
11. Lucier Corpus (5:47)

- Willy Finlayson / guitar, vocals
- Alby Greenhalg / wind instruments
- Jimmy Hush / drums
- Billy T. Scott / keyboards
- Jake Scott / bass, vocals
- Linnie Patterson / vocals



The band that became WRITING ON THE WALL began as Scottish soul band the JURY in the mid-sixties, but transforming themselves like so many of their contemporaries into a psychedelic-tinged group along with their renaming in 1968. The band issued but one official studio album, the 1969 release 'The Power of the Picts'. Like many evolving groups caught in the midst of rapid musical evolution in the late sixties, WRITING ON THE WALL retained much of the blues influence of the music they came of age with by mixing heavy and sometimes uneven blend of psych, blues with idealistic and often abstract lyrics to form a distinctly late sixties sound reminiscent of groups like BLUES IMAGE, CACTUS, and BABE RUTH. Writing's music tended toward a more somber tone than most of their peers, and the band further distinguished themselves by relocating to England to make somewhat of an impression on the British scene of that day. The band recorded for DJ John Peel in late1968, and released their sole album on Brian Waldman's fledging Middle Earth label. Waldman also served as the band's manager, and secured them gigs in his club, also named Middle Earth.

While Writing failed to launch with their studio release, the band's live shows attracted them some attention (mostly in England), and the band managed to hold together until 1973 while touring and recording occasionally, including a second album in 1972 and the beginning of a third before waning interest and the theft of their equipment caused the groups to dissolve in 1973. Neither of the band's other albums was released at the time, although numerous compilations and "reissues" of dubious legitimacy have been made available since. The band's debut was reissued in 2007 on Orc Records with bonus material including much of the previous unreleased studio work. Guitarist Willy Finlayson went on to stints with the bands MEAL TICKET, BEES MAKE HONEY and his own group the HURTERS, as well as an appearance on MANFRED MANN's 'Earthband' release. Singer the late Linnie Paterson joined BEGGAR'S OPERA, Robert 'Smiggy' Smith joined the aptly-named BLUE, Alby Greenhalgh joined the rockabilly outfit the FLYING SAUCERS, and bassist Jake Scott formed the obscure jazz group XU-XU PLESA.

 Sole album from this Edinburgh quintet (formerly known as The Jury) relocated in London. Their Hammond-based proto-prog was also proto-hard-rock if you like that sort of pigeonholing: but in either case, WotW was amongst the pioneers of the genre, since thir album was released in 69. Indeed, Bill Scott's dominating organ gives the band a solid sound that can make you think of Atomic Rooster or during their wilder moments of Arthur Brown's Crazy World. The band had a raw sound with Patterson's vocals and anarchy-loving lyrics (the opening track of It Came On Sunday), but Finlayson's sizzling fuzzling guitar gives it the extra oomph to go overboard. Of course, the band's choices of artwork and album title (the Pict tribes not reminding the English many merry souvenirs) were somewhat questionable, and it probably didn't help them break out of the local club circuit, though they did manage to find the Middle Earth club and record label.
The album consists mostly of relatively short songs, though calling their format commercial would very misleading. While some are fairly straightforward (Sunday, Ladybird, etc..), others are more elaborate (Mrs Cooper's Pie, Shadow Of Man, Hills Of Dreams) with some of their proggier moments bearing shades of Deep Purple (mkI). Of course, the main selling point of this album to progheads will be the lengthy (8-mins) Aries piece, which goes east, north, west, south and centre, but remaining focused ll the way through. Other excellent stand-outs are the slightly longer Shadow of Man and Viginia Waters. The album's only real flaw of the album is the (thankfully short) dumb folk ditty Bogeyman piece, which should've never seen the album, or even the light of day (for its own sake). An accordion piece, but you'll also find that yucky instrument on Hill Of Dreams.

The Repertoire label CD reissue features the non-album single tracks of the same year and both of them are well in line with the album's overall sound. The band would apparently record a US-release live album (not sure it was legit either) and a further single in 73, before falling apart; with their ex-members migrating to other projects, but never making it "big". While you may have trouble with the album's production standard, the open-minded proghead won't have problems adapting and enjoying, because it is definitely a very interesting brand of proto-hard-prog, and the album will gracefully and rightfully sit in your shelves not too far away from the bands mentioned above.

Terry Knight & The Pack - 1967 - Reflections

Terry Knight & The Pack
1967
Reflections



01. One Monkey Don´t Stop No Show 2:32
02. Love, Love, Love, Love, Love 2:40
03. Come With Me 2:35
04. Got To Find My Baby 2:45
05. This Precious Time 2:30
06. Anybody's Appletree 2:30
07. The Train 2:05
08. Dimestore Debutant 4:15
09. Love Godess Of The Sunset Strip 3:33
10. Forever And A Day 2:58
11. (I Can´t Get No) Satisfaction 3:50

Bass – Mark Farner
Drums – Don Brewer
Guitar – Curt Johnson
Organ – Bob Caldwell
Vocals – Terry Knight


Clear evidence that Grand Funk Railroad was more musical than the critics of the day would have one believe is found in the grooves of Reflections, a dozen songs released on Cameo/Parkway as a follow-up to Terry Knight & the Pack's self-titled debut on the Cameo/Parkway-distributed Lucky Eleven label. Terry Knight still can't sing, but he does a better job than Lord Sutch the second time around. Engineered by the brilliant Joe Tarsia, with orchestration arranged and conducted by Richard Rome, the worst thing about this album, as with the band's debut, is the voice of Knight. Interesting Spanish guitar flavors canvas the ballad "Dirty Lady," while tired '60s "yeah yeah's" resonate throughout "Love Goddess of the Sunset Strip." Terry Knight's absolute lack of talent really helps one appreciate his contemporaries, Sky Saxon, Rudy Martinez, Alex Chilton, and especially Don Brewer and Mark Farner. Listen to the legit bootleg Monumental Funk to really hear how tremendous this band is without the producer and alleged singer. Side one is not nearly as embarrassing as what follows; "Forever & a Day," for example, is a dreadful quasi-nursery rhyme. Knight may be more on key here than on the previous disc, but his insincerity comes through loud and clear. The label has a copyright of 1963; however, with the presence of 1965's "I Can't Get No Satisfaction," it's safer to say this is late 1966, early 1967. The version of the Rolling Stones' classic actually hints at what Grand Funk would become, especially during their Survival period. A strange amalgam of the Mysterians meets Vanilla Fudge by way of a subdued Blue Cheer makes for a unique rendition of what was considered sacred territory. Again, the worst aspect of this rather interesting piece is the presence of Terry Knight. When one listens to Monumental Funk and hears the potential of the group without their leader, and the Flint album from 1978, which is the band without Mark Farner and way past the influence of Terry Knight, Farner emerges as the true talent that Knight was able to market more successfully than his other groups: Bloodrock and Mom's Apple Pie. "One Monkey Don't Stop No Show" is a far cry from the Honey Cone's 1971 hit of the same name, and "Love, Love, Love, Love, Love" is just downright ridiculous, despite the smart playing of the band behind this attempt at being the Animals. David Bowie did it better years later when he turned this same riff into Jean Genie. But give the devil his due -- Terry Knight created good-sounding records and this was the foundation of Grand Funk Railroad. "Come With Me" is a combination of the Rolling Stones' "Play With Fire" and a song covered on the debut LP by the Pack, "Lady Jane." The version of Sloan/Barri's "This Precious Time" is interesting, and "Anybody's Apple Tree" would be passable if not for the hokey ending. A historical document which can't exactly be called a fun listening experience, but it does hint at the talent that was soon to emerge.

Terry Knight & The Pack - 1966 - Terry Knight & The Pack

Terry Knight & The Pack 
1966 
Terry Knight & The Pack


01. Numbers
02. What's On Your Mind
03. Where Do You Go
04. You're A Better Man Than I
05. Lovin' Kind
06. The Shut In
07. Got Love
08. A Change On The Way
09. Lady Jane
10. Sleep Talkin'
11. I've Been Told
12. I (Who Have Nothing)


Bass – Herm Jackson, Mark Farner
Bells – Bob Caldwell
Drums – Don Brewer
Drums [Batteries] – Ralph
Guitar – Curt Johnson
Organ – Bob Caldwell
Piano, Harmonica, Harpsichord – Terry Knight
Vocals – Bob Caldwell, Curt Johnson, Don Brewer, Mark Farner, Terry Knight



Although he did not make enduring music, Terry Knight holds an important place in the history of 1960s and early-'70s Michigan rock as both a performer and an entrepreneur. In the mid-to-late '60s, often recording with the Pack, he had several big hits in Michigan (and smaller ones nationwide), which were usually covers of songs by major and more significant performers, or blatant attempts to ape such performers with derivative original material. Prior to trying his hand at singing and recording, he was also a popular disc jockey on several Michigan-area stations. He is most known, however, for assembling Grand Funk Railroad, which included two members of the Pack, bassist Mark Farner and drummer Don Brewer. In the late '60s and early '70s, Knight served as Grand Funk's producer and manager, although those relationships were severed in 1972.

Knight entered the music industry as a radio DJ while still a teenager in the early '60s, doing stints at Flint's WTAC and then building a big following at CKLW (based in Windsor, Ontario, though actually for the most part serving the Detroit audience). At CKLW he managed to get away with playing the Rolling Stones' "Little Red Rooster" over and over for an hour, in the days when you could still do such things on AM radio. During the early '60s he also began to play guitar, sing, and write music; then at the end of 1964, he quit his CKLW gig to concentrate on music. One account has it that he gave his reason for leaving as planning to move to England to become the sixth Rolling Stone. That didn't happen, and he struggled to build a career in Flint, teaming up with a local band, the Jazz Masters. The Jazz Masters -- with Farner, Brewer, and three other musicians -- became the Pack, who backed Knight on his debut 1965 single, "Tears Come Rollin'." Terry Knight and the Pack didn't ring up big local sales, however, until putting out a faithful cover of the Yardbirds' "Mr. You're a Better Than I."

Over the next year or two Terry Knight and the Pack had several big regional hits on the Lucky Eleven and Cameo-Parkway labels, making number 46 nationally with their biggest single, a cover of Ben E. King's "I (Who Have Nothing)"; there were also a couple of albums. Although Knight did write some of his own songs, these were such transparent rewrites of tunes and approaches used by Bob Dylan, Donovan, P.F. Sloan, the Yardbirds, the Count Five, the Rolling Stones, the Lovin' Spoonful, and others as to be laughable. Perhaps his experience as a radio announcer, which must have required him to cull through dozens of singles on a weekly basis, influenced him in this regard by making him a quick study of current trends. The best of the lot was the corny but moving folk-rock tune "A Change on the Way," another successful regional release.

Further problems that likely hindered a national breakout were Knight's own severe limitations as a vocalist. The anonymous liner notes to the bootleg '60s Michigan rock compilation Michigan Brand Nuggets put it best: "Knight spent the better part of his recording career trying to sound like other artists, having little personality of his own, at least not on record." The problem became especially acute when Knight affected a tough talking-blues or melodramatic narrative spoken delivery (as he did often). The stiff results sounded like nothing so much as a stage manager suddenly pressed into service as a sub for a missing leading man during rehearsal. As for his actual singing, in a similar vein, it sounded like a guide vocal laid down by a colorless producer or manager before the actual singer came in to do his bit.

It therefore made sense then that Knight's biggest success would actually come as a producer and manager. The Pack split from Knight around 1967 or 1968 to play as the Fabulous Pack, with Knight continuing to work for a while as a solo act. He told the Detroit Free Press that he went to London to talk to Paul McCartney about joining Apple Records, which didn't work out. Knight had, however, gained a lot of experience in the studio and also in other dimensions of the business as a songwriter and producer at Cameo-Parkway. In 1968, he put the Pack's Mark Farner and Don Brewer together with bassist Mel Schacher, who had been in ? & the Mysterians. With Farner taking guitar and vocals, Grand Funk Railroad were born.

Knight produced and managed Grand Funk with success until early 1972, when Grand Funk broke off with him. Knight sent the band $60 million worth of lawsuits, and eventually Grand Funk bought him out. Knight also had lesser success during this period as the producer of hard rock-horn band Bloodrock.

"I (Who Have Nothing)" was a regional hit for Terry Knight & the Pack, and there's good reason for Ben E. King, Tom Jones, and even Sylvester to have seen more chart action from the Lieber/Stoller/Donida/Mogol composition -- Terry Knight was not a very good singer. Outside of the minor hit, which is more efficiently produced than the other 11 tunes, this album boasts a wonderfully precise '60s sound. Had Mark Farner sang these tunes, this album and Reflections by Terry Knight & the Pack would be much sought-after collectors items. The worst of the disc is "What's on Your Mind," one of eight originals by Terry Knight which plays like a poor man's Small Faces, but the cover of Sonny Bono's "Where Do You Go" and the Pack's rendition of "You're a Better Man Than I" at least show some kind of taste in song selection. "I've Been Told" sounds like Knight rewrote the Rolling Stones' "Play With Fire," while the cover of "Lady Jane" is evidence enough why Mick Jagger was the star and Terry Knight a man better suited to creating the hard rock phenomenon known as Grand Funk Railroad in a management/production/PR role. With Bobby Caldwell on drums, who would later join Captain Beyond, Johnny Winter, Rick Derringer, and others, along with Don Brewer and Mark Farner of Grand Funk, this album and other material by the Pack indeed do become unique historical documents of the evolution of one of America's most important hard rock outfits.

Stack Waddy - 2012 - The Lost Dandelion Jams

Stack Waddy
2012 
The Lost Dandelion Jams




01. What's The Guinness Like, Gary Moore Asked Me
02. Put A Top On That
03. I Dried My Sticks On A Washing Line
04. Missing Jaguar From Timperley
05. Graham Gouldman Asked, 'What's Them Chords?'
06. He Broke A Chair To Make Drumsticks
07. US Army Deserter
08. No! We Won't Mix That, Said John Peel
09. I Got Ozzy By The Throat
10. Phone Call At Salford's Black Lion Pub
11. Selwood Ran Off And Hid From Us
12. Mike Sweeney Was Never In Stack Waddy
13. Collyhurst Or Timperley

Bass – Stuart Banham
Guitar – Mick Stott
Harp, Vocals – John Knail
Percussion – Steve Revell



Admired the world over by Beefheart and Zappa fans, John Peel listeners and fans of punk, heavy rock and blues. Manchester's Stack Waddy's previous two albums set the benchmark for being punks before the word even existed and yet they were hippy long haired rockers who on the one hand promoters and John Peel loved but on the other hand also struck fear into them at the mention of their name. Stack Waddy were a legendary Manchester long haired four piece who were active intermittently for only a few years in the last forty years.The members were Mick Stott, Stuart Banham, John Knail and Steve Revell, Steve Revell was later replaced by John Groom.

Taking their name from a character in MAD magazine, Stack Waddy came together at the end of the summer of 1969. They often performed Beefheart and Zappa numbers live and their own material song titles in the studio were just often made up on the spot. John Peel " I have always had a love of bands from the Manchester area, in the early 70s I signed up two great bands StackWaddy from Timperley and Tractor/The Way We Live from Rochdale. Then of course later in the 70’s the Rochdale studios above Tractor’s music shop would record tracks by my other favourite Manchester rebels The Fall. Back to Stack Waddy, their attitude was apalling but wonderful at the same time, they gave me a certain amount of grief but I have to say I really liked them. Their antics make even the most outrageous punk bands that came later seem so tame. They just played the same in the studio as they did live, hard loud and alcohol infused" On the 13 tracks on the "Lost Dandelion Jams " Stack Waddy were in the studio and recording in their usual raucous style the same style as when they were playing live.

Is there anyone out there with a digital copy of their Record Store Day release of a couple of years ago, willing to share it with us mere mortals? Thanks in advance!!!

Stack Waddy - 1972 - Bugger Off

Stack Waddy 
1972 
Bugger Off


01. Rosalyn 2:31
02. Willie The Pimp 4:03
03. I'm Your Hoochie-Coochie Man 4:19
04. It's All Over Now 3:13
05. Several Yards 5:58
06. You Really Got Me 2:43
07. I'm A Lover Not A Fighter 2:05
08. Meat Pies'ave Come But Band's Not 'Ere Yet 5:19
09. It Ain't Easy 3:50
10. Long Tall Shorty (Mainly) 3:26
11. Repossession Boogie 5:32
12. The Girl From Ipanema 1:27

BBC Peel Session (18/2/72)
13. Mama Keep Your Big Mouth Shut
14. Repossession Boogie
15. Lawdy Miss Clawdy...Meets Sooty 'N Sweep
16. Jack & Jill Meet Blind Pugh On The Spot
Dandelion Records Sampler: There Is Some Fun Going Forward
17. Mama Keep Your Big Mouth Shut

Bass – Stuart Banham
Guitar – Mick Stott
Harp, Vocals – John Knail
Percussion – Steve Revell


If you thought Stack Waddy's debut album was a brute, then their follow-up is positively antisocial. Titled with such a glaring eye for controversy that many U.K. record stores simply refused to stock it (but would the band countenance a name change? Would they hell!), Bugger Off! picked up where its predecessor left off, and rampaged on from there. Covers of Zappa's "Willy the Pimp" and the Kinks' "You Really Got Me" might have seemed a little obvious, but both are battered down with such a glorious lack of finesse that it's impossible to object -- anybody familiar with, respectively, Juicy Lucy and the Hammersmith Gorillas' versions of the same songs will come in with at least a vague idea of what to expect, but that's about it. "Hoochie Coochie Man" is even more disheveled, and when John Peel's liner notes reminisce on the group's insistence on recording live, you can tell he's not necessarily looking back with any fondness. On one occasion, he suggested they do a little overdubbing. The band's response to his words would become the album's title.

Stack Waddy - 1971 - Stack Waddy

Stack Waddy
1971 
Stack Waddy



01. Road Runner
02. Bring It To Jerome
03. Mothballs
04. Sure 'Nuff 'N' Yes I Do
05. Love Story
06. Susie Q
07. Country Line Special
08. Rolling Stone
09. Mystic Eyes
10. Kentucky

Bonus:
11. With One Leap Dan Was By Her Side, 'Muriel' He Breathed 4:19
12. Ginny Jo 2:48
13. Hunt The Stag 2:45
14. Mystic Eyes (Alternative Version) 3:52
15. (Almost) Milk Cow Booze 4:11
16. Leavin' Here 2:58
17. I'm A Lover Not A Fighter 2:37
18. Here Comes The Glimmer Man 5:14
19. Nadine 3:53

Bass – Stuart Banham
Guitar – Mick Stott
Harp, Vocals – John Knail
Percussion – Steve Revell

Producer – John Peel



Although forming in Manchester, England, in 1965 under the banner of New Religion, Stackwaddy first came to attention at the 1969 Progressive Blues Festival in Buxton with their boisterous brand of British '60s-styled R&B.

Signing with John Peel's Dandelion label, they released the single "Roadrunner" in 1970, followed by their self-titled debut album in 1971. Led by singer John Knail, they developed a reputation as an excellent live act, despite Knail's habit of throwing bottles or assaulting crowds who were not appreciative of their efforts. Another single, "You Really Got Me," followed in 1972, as did their second album, Bugger Off, a title which saw it banned by several shops. Dwindling success led to the band's demise although Barnham did revive the group with a new lineup of Mike Sweeny (vocals), Wayne Jackson (bass), and Kevin Wilkinson (drums) from 1973-1976.

Stack Waddy's debut album is one of the "must hear" discs of the early 1970s, an uncompromising roar that might cavort through that shell-shocked no man's land that sprawls between Captain Beefheart and the Edgar Broughton Band, but which winds up defiantly beholden to absolutely nothing else you've ever heard -- one reason, perhaps, why the group vanished with so little trace. Recorded live in the studio (or thereabouts), Stack Waddy is a blurring blend of brutal band originals and deliciously mauled covers. Beefheart's "Sure Nuff N' Yes I Do" is an unblinking highlight, while raw takes on "Suzie Q" and "Road Runner" remind us of the group's mid-'60s genesis on the Manchester R&B scene. There's also a version of Jethro Tull's "Love Story" that comes close to topping the Sensational Alex Harvey Band in terms of lascivious power and ferocity. Certainly John Knail takes no prisoners as he howls his way through and, while Stack Waddy holds back from completely recreating the live band experience (there are no breaking bottles, for a start), still this is one of those few albums that genuinely requires you to wear protective clothing.

Jody Grind - 1970 - Far Canal

Jody Grind 
1970 
Far Canal


01. We've Had It (5:07)
02. Bath Sister (3:28)
03. Jump Bed Jed 7:14)
04. Paradiso (7:31)
05. Plastic Shit (7:18)
06. Vegetable Oblivion (2:09)
07. Red Worms & Lice (7:23)
08. Ballad For Bridget (3:42)

Tim Hinkley / Keyboards, Vocals
Pete Gavin / Drums
Bernie Holland / Guitar


Jody Grind's personnel changed substantially between the recording of their first album, 1969's One Step On, and their second and final one, 1970s Far Canal. Tim Hinkley was still on keyboards, but there was a new guitarist, Bernie Holland (who also did some singing), as well as a new drummer to complete the trio, Pete Gavin. As expected, the sound of the group, while still in the early British serious progressive rock bag, changed as well -- sometimes for the good, sometimes for the worse. The jazzy inclinations of the debut were mostly gone, save the atypically tasteful instrumental "Ballad for Bridget." On "We've Had It" and parts of "Vegetable Oblivion," there was a classical melodic influence that was more accessible than anything on the first album, as well as somewhat more in line with what groups such as Yes were doing, though Jody Grind were far less cheerful. "Bath Sister," however, could have been the work of an entirely different band, sounding as if they were trying to imitate Cream with an organ-guitar-drums lineup -- and not doing so very well. And so it went for the rest of this very erratic record, where the quite accomplished chops of the players were totally overwhelmed by the mediocrity of the material, as well as their willingness to spin off into overlong instrumental sections with tedious riffs. They really didn't have enough in the way of songs to justify an LP, but that didn't keep them from filling up space with heavy, somber organ-guitar interplay. And while the presence of three consecutive tracks titled "Plastic Shit," "Vegetable Oblivion," and "Red Worms and Lice" might lead you to expect something Frank Zappaesque, in fact these in the main are pretty boring, insubstantial period progressive hard rock pieces, "Plastic Shit" descending into some shameless (deliberately ironic, one can only hope?) sub-Robert Plant vocalizing.

JD's second album is a fairly different affair compared with their debut: gone are the heavy brass arrangements, leaving the group with a much sober (less jam-oriented) songwriting and a harder sound. The group will suffer two major line-up changes and by late 69, only Hinkley was left from the original group. Holland and Gavin were asked to join up.
Surprisingly enough, the opening We've Had It starts on a classical guitar, but soon veers towards a more realistic form of proto- prog. Bath Sister starts on a blues-rock guitar riff, and while foraying a little, it remains close to the starting motif. Much more enthralling is the 7-min Jumb Bed Jed where past the hard-riffing guitar intro; the track veers very elegantly towards a demonstration of superb interplay and soloing. However the side closer Paradiso is marred by a lengthy drum solo taking up half the track, and it is too bad, because the other half is quite pleasant.

The flipside starts with the live-recorded Plastic Shit, which is understandably rougher and rawer than the rest of the album. Vegetable Oblivion is bit of a short instrumental interlude, very pleasant with the guitar gently dominating but has an overall feel of one of those power ballads of the 80's, but much better. Red Worm And Lice is clearly the album's highlight is JD's best track, with its seven minutes of excellent instrumental interplay where Holland's doubled guitars soars like an eagle in the sky. The closing Ballad For Bridget is a short jazz-inflicted ballad that doesn't find its place easily in this album.

Both albums differing enough, it is difficult to find one superior to the other (most opt for FC over OSO, but this writer prefers the debut because it communicates its enthusiasm better. While both albums are anything but essential to progheads, they are both worth the occasional spin and will certainly add depth to their shelves.

Jody Grind - 1969 - One Step On

Jody Grind 
1969
One Step On




01. One Step On / In My Mind / Nothing At All / Interaction
02. Paint It Black
03. Little Message
04. Night Today
05. U.S.A.
06. Rock 'N' Roll Man

- Tim Hinkley / organ
- Ivan Zagni / guitar
- Barry Wilson / drums
- Louis Cenammo / bass (1d, 2 & 5)


British progressive rock band Jody Grind issued two obscure albums combining hard rock, jazz, blues, and classical influences with lineups emphasizing Hammond organ, guitar, and drums. Prone to long instrumental riffing and rather ponderous, stern original material, they were similar to other very early organ-oriented U.K. progressive rock acts. But they did not possess the originality, or songwriting or vocal talent, to match well-known exponents of the style such as the various groups in which organists Keith Emerson, Vincent Crane, and Brian Auger played.

The mainstay of Jody Grind was Hammond organist Tim Hinkley, who'd played in the Bo Street Runners (who for a time also included drummer Mick Fleetwood) and the Chicago Line Blues Band. Hinkley then formed a band to back British singer Elkie Brooks, but though they never ended up backing the vocalist, he and the two other musicians, guitarist Ivan Zagni and drummer Martin Harriman, decided to form a group of their own at the end of 1968. Initially called Nova, they changed their name to Jody Grind (after a song by jazzman Horace Silver). By the time they signed to Transatlantic in April 1969, Barry Wilson had replaced Harriman on drums. Renaissance bassist Louis Cennamo (previously in the Chicago Line Blues Band and later in Armageddon) was not a member, but helped out on their 1969 debut album, One Step On, which also included brass arrangements.

Shortly after its release, the band's personnel overturned with the departure of Zagni and Wilson. Hinkley kept the band going with new guitarist/singer Bernie Holland and drummer Pete Gavin, opting for a somewhat more eclectic and hard rock-oriented (and less jazz-influenced) approach on 1970's Far Canal. Neither album made a commercial impact, however, and they broke up around the time Far Canal was released. Hinkley later played in Vinegar Joe (who also included Elkie Brooks and Robert Palmer) before becoming a session musician.

Jody Grind's debut album was early progressive rock with a somewhat jazzier orientation than most such bands, though the playing was a good sight more impressive than the singing and songwriting. There's a fairly grim tone to the original material, all (save a cover of the Rolling Stones' "Paint It Black") written by Tim Hinkley and Ivan Zagni, who wrench extended heavy blues and jazzy solos out of their organ and guitar, respectively. The showcase is an 18-minute, four-part suite, "One Step On," that -- like many long rock tracks of the time -- goes on for way too long, incorporating horn fanfares, lurching tempos, and operatic vocals (and, yes, a drum solo). Shown to best advantage on "Little Message" and the most appealing song on the album, "Night Today," Hinkley's skilled Hammond organ work stands up well to the keyboards of well-known early prog rockers like Keith Emerson, Vincent Crane (of the Crazy World of Arthur Brown), and Brian Auger. But he didn't have material or singers on the same level as any of those more celebrated musicians did, nor did he establish as strikingly identifiable an instrumental style.

It can be a real enigma sometimes how some groups make it and others do not. For no apparent reason, a band who have originality, energy and some fine musicians manage to completely bypass any form of recognition or success. Jody Grind are a classic example. Formed in late 1968 by band leader and keyboard player Tim Hinkley, they released two classic albums which immediately sank without trace. Fortunately, today they are belatedly beginning to receive the recognition they deserve.

The music of Jody Grind is a sort of melting pot of Deep Purple, Chicago, Uriah Heep, Vanilla Fudge, The Nice and many others. It should be remembered though that Jody Grind are more leaders than followers, their albums predating many of the best known releases of those great bands.

The album opens with a stunning 18 minute suite bearing the album's title. This four part epic includes a wonderful cover of the Rolling Stones Paint it black, the other three sections being self composed. The driving brass and superb guitar work remind me a little of Uriah Heep's great Salisbury suite. The track oozes energy and originality, especially when you remember it dates from 1969. The brass sections were actually added after completion of the recording of the album, being arranged by David Palmer (later of Jethro Tull). My only minor gripe is the inclusion of a drum solo, but thankfully it is kept brief.

The following Little message continues the magic, the track once again focusing on the instrumental prowess of the band. Night today finally sees the band taking a breather, the song being a softer piece featuring more in the way of vocals. While it is a pleasant listen, it lacks the dynamics of those which precede it, and is very much of its time. Anyone who enjoys the obscure one album band Aquila will also enjoy this and the following track USA. The latter is a straight blues rock number featuring some good guitar work.

The album closes with a Chuck Berry tribute Rock'n'roll man, a thinly disguised cover of Johnny B. Goode. Once again some good if predictable guitar work, but the track is by and large the definition of filler.

In all, a tremendously exciting album which loses its way slightly in the latter part. The first 20+ minutes though are as good as anything you will hear from the period.

Incidentally, the band's name does not reflect that of any of their members, simply being the name of a jazz number by Horace Silver