Issue #33 Extra!: Archives & Reissues
Asher, Meira – “Dissected”
Barclay James Harvest –”XII“
Chapin, Harry – “Legends of the Lost and Found”
Coven - "Witchcraft (Destroys Minds & Reaps Souls)"
Cream –”Disraeli Gears (Deluxe Edition)“
Fish - "Fellini Days"
Fish - “Fellini Nights”
Fish - "Sashmi"
Fish - "Suits”
Homestead & Wolfe “Our Times”
Hartley Band, Keef – “The Time is Near”
Hartley Band, Keef – “Overdog”
PFM – “Live www.pfm.it (il Best)”
Saturnalia – “Magical Love”
Shrimp Boat – “Speckly”
Homestead & Wolfe “Our Times”
(Anopholes Records 008, 1973/2004, CD)
Homestead & Wolfe represents an obscure bit of early ‘70s Bay Area music history. The name refers to the location of the church in Cupertino, California, where this group formed out of a youth music ensemble under the guidance of Ernie Bringas, himself once half of The Ripcords who enjoyed several hits in the early '60s. Parlaying his industry connections, Bringas arranged for H&W to record with the aid of some of L.A.’s then top session players, including drummer Hal Blaine. From a songwriting standpoint the material here is typical for the times, ranging from the gentle folk of “Love Comes Through My Door” to the peppy “Roll On, Tumbleweed” to the quasi-protest folk rock of “Your Freedom’s In Question.” Several songs take on a country vibe with the aid of Jaydee Maness’ pedal slide work, while others echo Mamas and Papas-style pop that had yet to go out of style even in 1973. The listener will have to suffer through a few clunkers, such as the Native American paean “See the Children Die” and the amateurish “Beat of the Drum” that are the kind of thing you’d expect from the Brady Bunch. These low points are offset by fine vocal performances throughout. JoAnne Avery and Janice Gundy share most lead vocal duties, Avery possessing an amazing soprano in the mold of Joan Baez while Gundy’s alto immediately recalls Karen Carpenter’s rich delivery. It may not have aged well, though this album still captures some musical magic from a turbulent time. Paul Hightower
[availability: Jade Hubertz – barbarousrelics@sbcglobal.net]
Saturnalia – “Magical Love”
(Akarma AK-267, 1969/2003, CD)
This particular obscurity in Akarma’s campaign to rescue lost or legendary albums is an odd beast. The overall impression is much like the first incarnation of Renaissance with less appealing vocals and weaker songwriting. The presence of Keith Relf as producer strengthens the connection, as does the rather odd mention in the credits of the fact that their road staff used to work for Renaissance, as if they knew their own music was not enough to attract listeners. Lead vocal duties are shared by Adrian Hawkins and Aletta, and unfortunately neither is a strong singer, though they’re obviously trying. Hawkins has a bluesy tinge to his voice, but struggles so much to hit notes that the strain is apparent; Aletta tries for the powerful rock goddess sound, but has neither the pitch nor the style to pull it off. But the two are credited as writer or co-writer on all the tracks, so I suppose they weren’t expendable. The other co-writer is guitarist Rod Roach, and his playing is the album’s saving grace, lending a strong and distinctive tone to the instrumental passages. The overall style comes off as post-psych and proto-prog, with some sophistication to the arrangements. The packaging is lovely, however, with a colorful gatefold and a 28-page booklet full of elaborate astrological lore, making this worthwhile for collectors at least, if not listeners. – Jon Davis
[www.akarmarecords.com]
Harry Chapin – “Legends of the Lost and Found”
(Chapin Productions CPL2-5529, 1979, 2CD)
The late Harry Chapin was without a doubt the supreme storyteller of the 1970s; his lyrics written second and third-person were down-to-earth, acutely engaging and socially conscious, with clever twists in every plot and a moral to every story. Best known for his hits “Taxi”, “W.O.L.D.” and “Cat’s in the Cradle”, Legends was the second of two live albums he released, and unlike the earlier Greatest Stories Live which contained only hits and material released previously in studio form, the bulk of the songs on Legends had never been heard in any form prior to its release, with a half dozen or so cuts culled from previous studio releases. It’s also worth mentioning that this was his all-time worst selling album – unjustifiably so, as this one is a real gem. Take “Copper” for example, a moving story about the anger of a crooked cop directed at a store owner who pays his ‘protection money’ while his son is with him; it’s one of the many new songs featured herein. Throughout, Chapin is supported by an excellent five-piece backing band, bringing his stories to life with power and sensitivity, just enough to not overwhelm the lyrics with music. Also included are versions of “Corey’s Coming”, “Tangled Up Puppet”, “Poor Damned Fool”, and “Flowers Are Red” – while none of these were hits, they are nonetheless indisputable classics worthy of hearing again in a live setting. – Peter Thelen
[http://harrychapinmusic.com]
Keef Hartley Band – “The Time is Near”
(Eclectic ECLCD 1027, 1970/2005, CD)
Keef Hartley Band – “Overdog”
(Eclectic ECLCD 1028, 1970/2005, CD)
Upon his split from his high profile job with John Mayall, drummer Keef Hartley had his sights set on making his own group in the English blues rock boom. Both of these recordings are from 1970 with The Time is Near being the slight better of the two but both CD reissues present many well played and crafted songs. A gimmicky backward loop opens a confident track from guitarist Miller Anderson, “Morning Rain” that sports the adept brass section of Henry Lowther and Dave Caswell who took over as the band fragmented. “From the Window” could be easily found on the first few Chicago records as Caswell’s trumpet playing adds the right accompaniment to Anderson’s soulful delivery. The band explored 60’s grooves as heard on “Premonition” which Caswell wrote and the entire band shines in the solo spotlight (especially Anderson’s lead guitar and Lyle Jenkins tenor sax). The acoustic ballad, “Another Time, Another Change” is also a highpoint of the disc comparable to other singer/songwriters of the day.
Overdog also finds the band in good form with “You Can Choose’ pushing a steady pace behind Hartley’s drumming with Gary Thain’s pulsing bass (Uriah Heep). “Plain Talkin’” is an up tempo groove that reminds me of the Doobie Brothers or Grand Funk and should have easily found a home on early 70’s AM radio. Easily the best conceived piece is the “Theme Song” medley where Anderson’s sensitive ballad is backed by Johnny Almond’s low range flute that really works. “Roundabout” is represented in original and single mix format and you can see why the label chose this as a representative single. The track oozes gritty R&B seasoned with great organ and it captures a style later linked to Marshall Tucker in the US. One of the band leader’s own compositions is a true about face with Mick Weaver’s (Strawbs, Bee Gees) electric piano laying out a good set of chords for the late night jamming. Overall these two recordings together help establish a peak time in the blues boom where brass arrangements were a regular staple of modern song structure and popular radio hits. - Jeff Melton
Coven - "Witchcraft (Destroys Minds & Reaps Souls)"
(Hard Rock Yankees HRY-0001, 1969, CD)
This is one of the freakiest things I've ever heard - a psychedelic rock recording from the late 60s entirely based on a kind of horror-movie Satanism, including more than thirteen minutes devoted to a Black Mass in which a female supplicant pledges her eternal service to the dark lord, all presented without music (unless you count a bit of chanting). The rest of the recording features nine songs of fairly ordinary rock of its period. There are a few twists, of course, most prominently the lyrics, all of which deal with witches, hell, and the devil. The majority of the lead vocals are by a female singer a little reminiscent of Grace Slick, though less folky. Frequently the backing vocals attempt a kind of Carmina Burana power or break into chanting. It is by turns silly and creepy, and I suppose a superstitious person might have trouble with the subject matter. Mostly I just find myself amazed at the bizarre spectacle, surely one of the oddest things recorded. Or maybe there's a whole underground recording industry catering to Satanic cultists, and this album is their rock talisman. I don't know if all the later devil-obsessed heavy metal bands can really be traced back to this - certainly it predates them, but it may be obscure enough to have been unknown to them. - Jon Davis
Cream –”Disraeli Gears (Deluxe Edition)“
(Polydor B0003331, 1967/2004 2 CD)
What comes to mind when you think of psychedelic blues rock? For me, it’s Cream. They were the most important UK rock band out of the sixties besides the Beatles and the Stones. Eric Clapton, Jack Bruce and Ginger Baker became household names during the summer of love with their international hit “Sunshine of Your Love”. Psychedelic tracks such as “Swlabr” and “Tales of Brave Ulysses” are less well known from the era with Clapton’s sinister wah wah guitar prominently out front that completely supersedes their nostalgic appeal. Odd pieces such as “Blue Condition” display an old timey traditional feel while “Mother’s Lament” captures a drunken bar room mood. Both stereo and mono mixes of the complete track list are included for completists but it’s the bonus tracks that expand on the trio’s distinct prowess and telepathic interaction. “Lawdy Mama” versions one and two are included for the first time. The first take is at the request of Atlantic records head honcho Ahmet Ertegun and the performance spills over with raw passion. Three rejected Jack Bruce pieces are also presented that really work for the band especially “Hey Now Princess” that show the band had an abundance of good material to choose from. Engineer Tom Dowd (whom would later engineer most of Clapton’s 70s rock classics) was behind the boards and he considered these sessions among the best he engineered in the 60s. The BBC Tracks from 67 and 68: “Strange Brew”, “Born under a Bad Sign” and “Politician” cement the live persona of the hard working edgy act. “Outside Woman Blues” also is pretty blistering in this form as well. Now with the band back in the reunion headlines this past year it seems appropriate to revisit this nugget from a bygone era. - Jeff Melton
Barclay James Harvest –”XII“
(Polydor 065 571.2, 1978/2003 CD)
Keyboardist Wooly Wolstenholme’s last studio recording with BJH was a mixed bag of ideas that showed how he had reached a cross roads with the group he helped form in 1968. Songwriting style changes were a key element to fragmenting the ten year old act as pop songs became more important as the group wanted to consolidate its European audience (primarily in Germany) where the band had a sales stronghold. The likely deal breakers were Les Holroyd’s songs including the ode to the people of “Berlin”, a sincere piano based ballad that was counterbalanced by his simpler rock pieces: “Turning in Circles”, “Giving It Up” and the ill fitting “Sip of My Wine”. Wolstenholme’s own compositions “Harbour” and the epic “In Search of England” however are among his best and most consistent songs. Guitarist John Lees’ song craft is also at a high level with his folkish piece, “Fact: The Closed Shop” featuring precious recorder parts. “A Tale of Two Sixties” is a word play which includes various song title references including those by David Bowie and Arthur Lee’s Love. Five bonus tracks have been appended to the disc including three original mixes. Of these the instrumental version of “Nova Lepidoptera” is notable as it emphasizes the sad watery piano and clever backwards acoustic guitar effects. Overall it’s still a balanced recording that ended the original line-up on not necessarily an up note. - Jeff Melton
Shrimp Boat – “Speckly”
(AUM Fidelity AUM033, 1989/2005, CD)
Chicago’s Shrimp Boat personified a regional low-fi approach which was championed by late 80s bands such as Camper Van Beethoven, REM and the Replacements. Where many alternative rock acts appeared on the surface to be light on technical proficiency they made up for it admirably in a friendly hodgepodge of ideas that varied basic song structures informed by an amused slacker demeanor. This is the first time the band’s first LP has been reissued on CD as part of Steven Jeorge’s archival series (which also resulted in the fine 4 CD boxed set Something Grand). Oddly enough the initial band line-up also included the band’s engineer as full member probably due to the basic live mix which captured them in a starkly honest light. Tracks such as “Seven Crows” corners much of the same type of zany fun CVB exuded on classic pieces such as “Take the Skinheads Bowling”, while others like “Melon Song” predate the minimalist Seattle grunge sound in a jangly fashion (with some choice backwards guitar loops in the backing track). Other more goofy songs such as “Lemmings Leap” veer toward similar instrumental ventures to Fred Frith’s pop exercises of the time. The quintet could serve up a slightly twisted folk ballad (“An Orchid is not a Rose”) or a country swing attempt (“Hyatt Ridge Circle Dance”) giving each equal priority and whimsy. Overall the band obviously had fun making the disc in the studio and it should be apparent to the indie crowd who flock to recordings such as this. - Jeff Melton
Meira Asher – “Dissected”
(Crammed 094CD, 1995/97, CD)
Saying Israeli composer and vocalist Meira Asher is a vanguard comes as a bit of an understatement. Her work has been acclaimed worldwide as she meshes and scrutinizes world culture to fit her compositional and emotive lyrical imagery. Dissected was her first record and each piece of the eight included on her self-performed solo record provides ample clues as to her songwriting passion and ability. The opening track is a melee of incendiary conga drum playing and vocalization setting a forceful tone for the entire disc. ‘Fair and Ruddy” is underpinned with digeridoo while the singer imparts a story of torture and abuse. “Give Peace” is perhaps the most compelling song in the collection due in part to the harp accompaniment offset by French lyrical delivery and a mournful vocal backdrop. Asher’s incorporation of tabla for ‘Psalms 19” works especially well putting the end results much in the terrain of the inspired works of Nusrat Fateh Ali Khan. The ballad “Daddy Came” is perhaps melodically the most memorable on the disc with minimal accordion accompaniment and a sad personalized lyric. Asher’s vocal prowess is consistently the most entrancing element of each of her pieces whether exploring extreme topics as disturbing as the horrors of aids or physical torture. Closing out the collection of eight pieces is another tradition piece emphasizing percussion and exotic vocalese. Overall Asher’s initial recording stands as a beacon in the Israeli music scene, establishing her as an artist to keep track of as her best work has just begun. - Jeff Melton
PFM – “Live www.pfm.it (il Best)”
(Columbia/Canyon International PCCY-01633, 1998, CD)
PFM’s long return to the international stage was built up over several years of new recordings and prestigious live performances. With four essential members consistently in the line-up it also meant that much of the band’s older material would be revisited, somewhat re-worked and presented to fans who had never heard the material live let alone dream to see the primo Italian legacy act on the stage. Due to the fact that this live recording across two concerts is in front of an appreciate homeland audience, the band’s performance level is heightened and comfortable. Best group acoustic performances include the short introduction to “Il Bancheto” as well as “Dove… Quando” and “Dolcissima Maria”. The first piece is a light folkish vocal track which the band takes to heart easily. The last track is the Italian version of “Just Look Away” where Phil Drummy’s rendering of the trademark flute part shines through like a clear beacon. Best individual performances include guitarist Franco Mussida’s emotive solo acoustic guitar introduction to “Out of the Roundabout” (one of the highlights of the Chocolate Kings era). The main piece itself sports some wood flute accompaniment in the introduction with drummer Franz di Cioccio crooning the English vocal lines effectively. The hefty paced tempo change in the midsection is also handled well with violinist Stefano Tavernese and additional sax lines adding good melodic counterpart. Mussida’s lead guitar rave up on “Alta Loma 5 til 9/Altaloma 98” is also especially poignant as each stage incarnation of the song retains much of seasoned player’s on target expressive lead lines that have matured decisively over the years. Disc two is characterized by more recent material including a strong take on the title track to Ulisse and "QT8”. Longtime bassist Patrick Djivas gets a well deserved solo spot in the former song that allows for audience participation. “Il Cavallo de Legno” is a newer contrasting song that displays an almost Celtic flavor due to Drummy’s bansouri accompaniment. Since I was finally able to see the band at the Progressive Legends Showcase in 2005 doing much of this material, I am glad that the band is still playing with the same intensity it did seven years prior. - Jeff Melton
Fish - "Fellini Days"
(Chocolate Frog CFVP007CD, 2001, CD)
Fish - "Sashmi"
(Chocolate Frog CFVP008CD, 2001, 2 CD)
Fish - "Suits”
(Chocolate Frog CFVP011CD, 1994/2002, CD)
Fish - “Fellini Nights”
(Chocolate Frog CFVP014, 2002, 2 CD)
Fellini Days is the ex-Marillion singer’s tribute to famed director Italian Federico Fellini best known for his avant-garde films such as “La Dolce Vita” and “Satyricon”. The director himself was a vanguard in the film world (highly unpredictable and misunderstood) making him prime subject matter for Derek Dick to loosely base a conceptual album around. Co-writers for this album include keyboardist Foss Patterson (who filled in for Camel’s Coming of Age tour) and long time collaborator guitarist John Wesley. Best tracks include the disc opener “3D” partly due to smooth mood imparted to begin the disc but also due to hard rock mid-section that works well to establish healthy tension. “Tiki 4” samples the director’s narrative about his film making approach to drive home one of Fish’ best narrative vocal lines about a California party house while “Obligatory Ballad” doesn’t transcend its obvious self-statement. The disc does close out on an upswing with “Clock Moves Sideway” with an ominous mood established by the ensemble and Dave Stewart’s drumming especially notable for restraint.
Sashimi is a two disk live document largely drawn from the Raingods with Zippos support tour. It’s the companion live set to Sushi both of which were previously on his short-lived Dick Bros. label. The set list is heavily slanted too much to that material. The overall vibe is electrical if only for the choice of venue helped to be constructed from the Polish branch of the man’s international fan club “The Company”. Tour personnel include a unique set of performers including Ghana native Elisabeth Troy Antwi who adds an appropriate vocal foil to Fish that works especially well on classic Marillion tracks: “Hotel Hobbies”, “Warm Wet Circles” and “That Time of the Night”. “Sunsets on Empire” is also well represented with several tracks that benefit from a live band performance. John Wesley gets a good opening in the guitar break from “Just Good Friends” to frazzle the fret board so to speak. “Brother 52” always seems to work well in a live setting with its groove based organ riff and pounding rhythmic structure.
Suits was the big man’s delayed fourth studio album first issued in 1993 and perhaps lyrically his most worldly project to date with ten tracks on the original (augmented by two bonus tracks for this reissue). Highpoints of the album are the album’s opening cut, “Mr. 1470” which relates to an old skull artifact the artist had found while exploring Africa. Co-writers this time out include co-producer James Cassidy and guitarist Robin Boult shouldering five and eight of the overall tracks. Veteran session bassist David Paton (whom appeared on Camel’s A Single Factor album) anchors the sessions along with drummer Kevin Wilkinson. Keyboardist Foss Patterson co-wrote one of the two bonus tracks which was stranded on a singles boxed set in the UK that most likely didn’t find its target audience while “Out of My Life” was lifted from the Outpatients tribute CD to close out the disc. Perhaps the most ripping attack at Fish’s recent altercations with unsupporting record labels is summed up on “Raw Meat”.
Fellini Nights is the two disc live document for supporting the Fellini Days CD and it’s a hot one. While the studio record had a few strong points but came off a bit weak, the live presentation was something altogether more vital and high energy. This could be due to the fact the backing band had swapped in a new drummer and keyboardist who added more passion to the live performances than their studio incarnations. The best tracks which represent the improvement from the live stage on disc 1 are the opening piece, “3D” where the song takes on a wilder persona. “Long Cold Day” also stands out as Wesley’s lead guitar playing is vital and tortured. Disc two sports a well conceived medley of early solo songs that mesh together well. Overall it’s Fish’ detailed narrative liner notes that breathe new life into each one of the reissues and make the reinvestigation process one of discovery and appreciation. – Jeff Melton