Tracklist 01- It Was A Bad Scene - 3:33 02- Good Time Joe - 4:01 03- Walkin' Bulldog - 3:06 04- I Got To Ramble - 4:41 05- Backwoods Preacher Man - 4:02 06- Super 88 - 3:25 07- She's That Kind Of Woman - 4:04 08- Step This Way - 3:45 09- We Said I Do - 3:39 10- Rumble - 2:36
Credits Link Wray - Guitar, Primary Artist, Vocals Joe Crane - Guitar, Keyboards, Vocals John Dzerigan - Guitar Boz Scaggs - Guitar, Vocals Mark T. Jordan - Keyboards, Vocals Bernie Krause - Keyboards Andy Narell - Keyboards, Percussion Tom Rutley - Bass Rick Shlosser - Drums Pete Escovedo -Congas Dorothy Morrison - Vocals Greg Adams - Trumpet Emilio Castillo - Saxophone Mic Gillette - Trumpet Stephen "Doc" Kupka - Saxophone Lenny Pickett -Saxophone Bill Combs - Vocals Zeller Hurd - Vocals Skip Drinkwater - Vocals Joe Scott - Vocals Glenn Walters -Vocals Bruce Steinberg- Art Direction, Cover Design, Harmonica, Photography Sy Oliver - Composer Here
There is very little info about this particular album.All i know is it was recorded in the UK and is very hard to find.It's been said it can be found at Ebay for about $4o, I had no luck seeing it there myself.I wish a good record label would re-issue all of Link's 70's & 80's material. I for one think it would be quit profitable.My fav tracks here are funky rocker "Bo Jack" and "Midnight Lover" which could have been a huge FM radio hit had someone actually been paying attention. The guitar solo's in "Midnight"will make many drool especially those of you who dig your 70's classic rock. Until then ...Rock On!
Track Listing 01 DJ Intro / Rumble 02 It Was A Bad Scene 03 Good Time Joe 04 Walkin' Bulldog 05 She's That Kind of Woman 06 Backwoods Preacher Man 07 Unchain My Heart 08 Yo Walk By Even if you don’t know who Link Wray is, you’ve probably heard his music. He played a Gibson SG and was the pioneer of distorted rock guitar, influencing countless musicians. “Rumble” was used for the soundtrack for the movie “Pulp Fiction”. Litterally a four chord song, “Rumble” is a powerhouse of cranked-up sustaining major chords ringing out with full overdrive. All you’ll need to hear is the first three chords : D... D... A... and you’ll recognize this classic instrumental tune. - Sidewindersf Link mentions that John Cipollina is there in the studio during the broadcast.
On the second LP, “Situation Normal”, Pete Solley had taken over much of the control of the band. There is a strong country-rock influence on this album, which makes you either hate or love it. Solley’s keyboard/fiddle playing is wonderful throughout the album. At the same time, Micky Moody was exploring music by the likes of Ry Cooder and getting more and more into playing slide guitar. Harrison’s vocal work is sublime and the rhythm section is both tight and soulful. Surprisingly, it was not as well reviewed as its predecessor. The band toured America as a support act for Emerson Lake and Palmer but wasn’t happy with the results of having to play to a completely different audience. Tracklist 01. No More – 6:19 02. No Bitter Taste – 3:24 03. Brown Eyed Beauty & The Blue Assed Fly – 3:25 04. Lock And Key – 2:49 05. Big Dog Lusty – 3:41 06. Playboy Blues – 8:16 07. Jessie Lee – 4:37 08. Ragtime Roll – 5:05
Credits Bobby Harrison / vocals, congas Micky Moody / guitar, mandolin, harmonica Colin Gibson / bass Terry Popple / drums, washboard Pete Solley / keyboards, fiddle, ARP synthesizer Mel Collins/ Alto & Tenor Saxophones (Track 08) Steve Gregory/ Tenor Saxophone (Track 08) Bud Beadle/ Baritone Saxophone (Track 08) Here
Well, if you found your way to this page you must be a real fan of early 70's heavy psych rock as this one's been out of print (as a standalone) since 1995 but most of the album is available as side 2 of a double album released in 2003 which is still available here Works V.4. I'm surprised this is the first review of this lost classic. No Red Rowan is a hard, heavy, blues-psych acid rock album released in 1971 out of the UK. Supposedly some kind of studio-musician supergroup and boy do they sound super!! Plays well as an album front to back, good stuff! If you are a fan of the early 70's sound, this is a very worthwhile addition to your 'obscure gems' collection. (By Tuco)
There is no reliable information about the history of this band. Apparently this album was recorded in Wakefield between 1970-1971, England, engineered and produced by Mike Levon.
It collects Their Contributions to Astral Navigations, Gagalactyca, Loose Routes I and II. "David J. Smith (formerly of David John and the Mood) co-produced and sang on some tracks of an" ad hoc "group (ie They Were the studio creation) called Thundermother During 1969.
This one band shared with lp Light years Away called "Astral Navigations" (Holyground 1971). Thundermother's Contribution was recorded over one weekend.
Acid guitars, Hard Acid rock, heavy Acid Psych, Heavy Acid Prog, Acid Blues !! Progressive/hard rock featuring a lot of fuzzed guitar!!
Tracks List:
01.Someday 13:41
02.Country Lines 1:05
03.Boogie Music 4:48
04.Woman 3:17
05.Lady (Lay By Me) 3:39
06.The People Show 3:55
07.Come on Home 4:53
08.Woman in My Life 4:17
09.Rock Me Babe 6:03
10.Boogie Music (Coke Version) 4:53
11.Duce Blues 1:14
12.Watch Your Step 3:30
13.You Know Me Babe 1:26
14.Come on Home (Space Version) 7:31
Thundermother:
David John - lead vocals, percussion
Dave "Ginner" Millen - lead vocals, lead guitar, bass
When Paladin folded in 1973 I noted that their keyboard player/violinist Pete Solley had joined Snafu. This was a progressive rock band formed by Bobby Harrison (ex Procol Harum) and Mick Moody (guitarist ex Juicy Lucy - check the latter out too!) which produced 3 albums. A year or two later I picked up a vinyl copy of Snafu's second album "Situation Normal". This was influenced by Pete Solley and was an OK country-rock based album. Having read that this first album had been re-released on CD and was reputed to be better and more rock than country I bought it. It's all round a better album to me, more rock with excellent slide guitar, some mandolin on one track and violin included on a couple of others. The album opens with a rocking "Long Gone", some great vocals by Harrison on the track and nice guitar from Moody. "Said he the Judge" reminds me of a slow rock song in the Lynyrd Skynyrd mold. "Monday morning" features the mandolin and violin and has a country hoe-down theme. The next track, "Drowning in the sea of love" has a soulful/rock feel with backing wah-wah guitar work. "Country nest" is another laidback country-style song which has what sounds like a steel-pedal guitar rather than slide. "Funky friend" is what it says, a funky rocking track with some violin work again. "Goodbye USA" is another slow rock song with synthesiser work by Solley. The final track "That's the song" is back to rock with plenty of guitar and Hammond organ. The CD comes in a cardboard gatefold sleeve which replicates the original vinyl copy. The front cover includes a Roger Dean design and when opened there's a photo of the group and their names/roles on the left side, track listing and other production credits on the right hand side. Enclosed in one sleeve is a pull-out sheet of excellent extensive notes on Snafu and the individual musicians put together by Chris Welch with input from Micky Moody. The latter also gives fairly detailed notes on each track. I liked this CD at the first hearing and the package, whilst only cardboard is far superior because of its original-design finish and the included notes than many bland, noteless plastic-cased CD's. I understand that their last album, "All funked up" is another good funky rock album with no country influence as Solley had left by this time. Must seek that out next. A short-lived act, like Paladin, but one that I never had the opportunity to see live unfortunately. And the name Snafu? From the American TV series, Sergeant Bilko, it was short for "situation normal, all fouled up" but not applicable to the group or this album! (By J. Bodicoat "Digger")
Solley left the band to join Procol Harum. Brian Chatton and Tim Hinkley was recruited to complete the lineup that would record the band’s third album. As the title suggests, the overall sound is very funky rock with an evident blues debt. Micky Moody’s overdriven slide adds a touch of Southern boogie to the mixture. The laidback country-rock groove sustained throughout has held up remarkably well in the quarter-century since its release. Shortly after the release of the album, the general feeling of disillusionment and loss of direction which dominated the established British rock scene in the mid-seventies finally caught up with Snafu as well. During a tour of Germany, Micky Moody was invited to join David Coverdale (for the band which would become Whitesnake) and he accepted. Snafu was no more. Tracklist: 01. Don’t Keep Me Wondering – 5:21 02. Bloodhound – 5:25 03. Lock And Key – 2:56 04. Hard to Handle – 3:22 05. Every Little Bit Hurts – 4:41 06. Turn Around – 4:23 07. Deep Water – 5:27 08. Keep on Running – 3:24 09. Barroom Tan – 3:48 10. Dancing Feet – 5:51 11. Are You Sure (Bonus Track) - 3:43
Line-up: Bobby Harrison - vocals Micky Moody - guitar Colin Gibson - bass Brian Chatton - keyboards Tim Hinkley - piano, organ Terry Popple - drums, percussion Mel Collins - saxophone Liza Strike, Viola Wills - background vocals
Stack Waddy's second and final studio album Bugger Off. Originally released in 1972 John Peel favorites Stack Waddy were a raucous Rock 'N' Roll quartet from Manchester who were signed to the late DJ's Dandelion Records in the early '70s. This release also includes the 'lost' BBC Peel Session of 1972 as bonus tracks. "John doesn't claim to sing, his voice acting more as an instrument than a method of conveying words... Mick produces the most incredible noises out of his old battered machine... Stuart's bass chews its way through a number, while his hair flies as he leaps about like a soul in everlasting torment... Steve provides a form of percussion of an alpine rockfall intensity..."
Tracks 01 Rosalyn 02 Willie the Pimp 03 I'm Your Hoochie-Coochie Man 04 It's All Over Now 05 Several Yards 06 You Really Got Me 07 I'm a Lover Not a Fighter 08 Meat Pies 'Ave Come But Band's Not 'Ere Yet 09 It Ain't Easy 10 Long Tall Shorty (Mainly) 11 Repossession Boogie 12 The Girl from Ipanema 13 Mama Keep Your Big Mouth Shut
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 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's no breaking bottles, for a start), still this is one of those few albums that genuinely requires you to wear protective clothing.
01. Roadrunner (McDaniel) 3:26 02. Bring It to Jerome (Green) 5:18 03. Mothballs (Banham, Knail, Revell, Stott) 3:35 04. Sure Nuff 'N' Yes I Do (Bermann, VanVilet) 2:29 05. Love Story (Anderson) 2:19 06. Suzie Q (Broodwater, Hawkins, Lewis) 2:27 07. Country Line Special (Davies) 3:55 08. Rolling Stone (Waters) 3:25 09. Mystic Eyes (Morrison) 6:05 10. Kentucky (Banham, Knail, Revell, Stott) 2:42 Credits John Knail - Vocals, Harmonica Steve Revell - Drums Mick Stott - Guitar Stuart Banham - Bass Here
This was to be Man's last studio album for two decades, and with its weak sales (it failed to chart) and underpowered material it's easy to see why the band called it quits for the time being. There's some irony, then, in the closing track being "Born with a Future." It's a good final bow, though, as it's well harmonized and ultimately one of the best cuts on the album. Perhaps this releases's most nagging overall problem is the mix-Phil Ryan's keyboards are high up, while Deke Leonard's bracing guitar parts are less evident than usual. Although this isn't always a liability-the lengthy title track lazily wends its way through some pleasant moog solos and electric piano flourishes-the grittiness of the band's sound is largely squandered here. Tracklist 01. "The Ride and the View" Deke Leonard5:01 02. "Out of Your Head" Leonard4:04 03. "Love Can Find a Way" John McKenzie5:13 04. "The Welsh Connection" Phil Ryan, Micky Jones7:18 05. "Something is Happening" Ryan6:21 06. "Car Toon" Leonard, Ryan6:01 07. "Born With a Future" Jones, Leonard, Ryan7:07 08. "(I'm A) Love-Taker" Leonard2:47
Credits Terry Williams – Vocals & Drums Phil Ryan – Vocals & Keyboards John McKenzie – Vocals & Bass Deke Leonard – Vocals & Guitar Micky Jones – Vocals & Guitar Caromay Dixon – Vocal on "Something is Happening" Jeffrey Hooper – Vocal on "Out of Your Head" Anton Matthews – Vocal on "Out of Your Head" Pete Brown – African Talking Drums on "The Welsh Connection" and "Something is Happening"
When The Byrds reunited for Asylum Records there was the hope that the original quintet would recapture the magic they generated with their first couple of albums. It didn't happen. While The Byrds (which is still out of print)suffered from an overabundance of ambition, production and egos, Clark's solo effort for Asylum had all the ambition and production of the previusly mentioned album but with the inspiration necessary to pull it off. This is Clark's most "produced" effort. For that very reason, there are some Byrds and Clark fans that can't stand it. Looking past the ambitious production, the songs are what really matter. At its core, No Other features some of Clark's most sublime material. Many folks have compared it to Van Morrison's Astral Weeks but I'd venture to compare it to Lennon's Imagine. The heartache, pure emotion and powerful performances at the core of the album benefit from the production. Rhino has done a terrific job of remastering the album. While I can't detect a huge sonic difference between this and the fine Collector's Choice edition, it does benefit from the inclusion of alternate versions and a bonus track not available on a legit CD before. Gene Clark was always the most vulnerable of The Byrds. That was reflected in his powerful, emotional songs as much as his emotionally naked vocals. It's about time that this great album got the deluxe treatment it deserves. Certainly if you're a Byrds/Clark fan pick this up. Even if you're not, it's well worth purchasing. Like Neil Young's wounded On the Beach, No Other is a classic album that stands outside of its time but was also made at the wrong time. Perhaps it'll finally get some appreciation.(By Wayne Klein)
Tracklist 01-"Life's Greatest Fool" – 4:44 02-"Silver Raven" – 4:53 03-"No Other" – 5:08 04-"Strength of Strings" – 6:31 06-"From a Silver Phial" – 3:40 07-"Some Misunderstanding" – 8:09 08-"The True One" – 3:58 09-"Lady of the North" – 6:04 Bonus Tracks 10-"Train Leaves Here This Morning" - 4:59 11-"Life's Greatest Fool" (alternate version) - 4:16 12-"Silver Raven" (alternate version) - 3:06 13-"No Other" (alternate version) - 5:35 14-"From A Silver Phial" (alternate version) - 3:42 15-"Some Midunderstanding" (alternate version) - 5:17 16-"Lady Of The North" (alternate version) - 5:54
Credits Gene Clark - Vocals, Guitar Lee Sklar - Bass Butch Trucks - Drums Russ Kunkle - Drums Michael Utley - Keyboards Craig Doerge - Keyboards Joe Lala - Percussions Richard Greene - Violin Chris Hillman - Mandolin Ted Machell - Cello Bill Cuomo - Rheem Organ Jerry McGee - Guitar Danny Kootch - Guitar Jesse Ed Davis - Guitar Steve Bruton - Guitar Buzzy Feiten - Guitar Ronnie Barron - Cindy Bullens - Claudia Lennear - Venetta Fields - Clydie King - Shirley Matthews - Carlena Williams - Tim Schmit - Voices Here
When John Cipollina left Quicksilver Messenger Service in 1971, he formed Copperhead with Jim Murray and Casey Sonoban (two members of the first Quicksilver line-up), his brother Mario (who later found fame with Huey Lewis and The News) and various other musicians. Their frequent rehearsals and gigs didn't allow them to get a recording contract and in 1972 Cipollina assembled a new line-up with Gary Philippet (ex Front Line), Jim McPherson (ex Stained Glass), David Weber and Hutch Hutchinson. A record, Sealed For Your Protection, was ready to be released on Just Sunshine Record but was eventually shelved. Finally Copperhead was issued by CBS in 1973 and is a superb example of San Francisco Sound, with seven original tracks and a new version of Kibitzer, already recorded by McPherson with Stained Glass. A must for fans of Quicksilver and Cipollina's guitar. After Copperhead, Cipollina, Weber, McPherson and Hutchinson joined Terry and The Pirates and played with various local groups. Hutch Hutchinson became a renowned bass session player and is still active in the studios.(Stephane Rebeschini)
Tracklist 01. Roller Derby Star 4:16 02. Kibitzer 3:46 03. A Little Hand 5:01 04. Kamikaze 5:26 05. Spin-Spin 3:18 06. Pawnshop Man 5:30 07. Wing-Dang-Doo 4:06 08. They're Making A Monster 7:36 09. Chameleon 3:40
Credits John Cipollina - Lead & Hawaian Guitars Hutch Hutchinson - Vocals, Bass Jim McPherson - Vocals, Piano, Bass, Percussion Gary Philippet - Vocals, Guitar, Organ David Weber - Drums
Harper considers HQ to be "...probably the best record that I have made to date" HQ finds Roy in 1975 as part of a rock quartet, Trigger. The album opens with The Game, one of Harper's most compelling long songs--it's a rocker with a smart lyric and includes David Gilmour and John Paul Jones. The next 2 tracks are solid rockers, "Spirit" is an anti-religion song, and "Grown ups" is a great 50's style boogie displaying Roy's playful wit. "Referendum" has some sweet guitar from Spedding and switches between acoustic and electric. "Forget Me Not" is the first acoustic song on the album and is a beautiful love song. "Hallucinating Light" is beautiful and finely crafted, and the album is superbly topped off with "Cricketer," an emotional and lovely take on aging and the proud memories of a life. The bonus tracks are good, but not as essential as the original album songs. Throughout, Roy's voice is top-notch. The lyrics are some of his finest, and his band is tight and rocking. I recommend this gem to anyone who likes classic rock, and especially to fans of Pink Floyd, Led Zeppelin, Jethro Tull, and Dylan's folk-rock. HIGHLY RECOMMENDED! (By Elliot Knapp) Tracklist 01 "The Game (Parts 1–5)" – 13:42 02 "The Spirit Lives" – 4:14 03 "Grown ups are Just Silly Children" – 2:55 04 "Referendum (Legend)" – 3:49 05 "Forget Me Not" – 2:24 06 "Hallucinating Light" – 6:24 07 "When An Old Cricketer Leaves The Crease" – 7:13 08 "The Spirit Lives" (Early Mix, 23 March 1975) 09 "When An Old Cricketer Leaves The Crease" (Live in Exeter, 31 October 1977) 10 "Hallucinating Light" (7" Single version)
Credits Roy Harper – vocals, guitar Chris Spedding – guitar Bill Bruford – drums Dave Cochran – bass David Gilmour – guitar on "The Game" John Paul Jones – bass on "The Game" Steve Broughton – drums on "The Game" The Grimethorpe Colliery Band – brass on "When an Old Cricketer Leaves the Crease" Link
An extremely rare and previously unreleased 1969/1970 heavy psychedelic album housed in a superb sleeve. It was recorded in the Cavern Sound Studio, Missouri. The opening cut, End Of The Page, has a lovely guitar intro and the other highlight is the lengthy Let's Go To The Sea, which features some great Hendrix' psychedelic guitar work. The remainder of the album comprises harder edged rock cuts, their own interpretation of Stormy Monday and Hooked, which is the best moment on the album vocally. Worth checking out. The band hailed from the Kansas/Missouri area. A1 End of the Page 4:44 A2 Having a Good Time 4:08 A3 Satan 6:05 A4 Fever Machine Man 6:29 B1 Let's Go to the Sun 8:26 B2 Hooked 4:05 B3 Under the Black Sun 2:55 B4 Stormy Monday 4:48 Heavypsych classic with warm dusty basement sound with HEAVY bass and great acid psych guitarwork of premium quality. "Stormy Monday" and "Let's go to the sea" are amazing.
"1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info."
Yes more great underground Heavy Psych. This time Bulbous Creation - You won't remember dying from 1970 (Rockadelic). This album is another personal favorite. You get great acid lead guitar in class with Garcia or Cipolina and warm heavy, dusty underground sound with a eerie dark edge. Some great gems of this album are opener "End of the page", "Having a good time", the Heavy Psych monsterpiece "Let's go to the sea" and the incredible acid psych version of "Stormy Monday" which has some of the best psychedelic clear tone lead guitar ever recorded. The sheer variation, the musical quality and underground production make this album a true keeper. A desert Island record if there ever was one. Have a quality psychedelic experience with this beloved gem. Please share your views on this album.
Kind of a given here, don't you think? The Farm Band (also operating as Stephen & The Farm Band and the Tennessee Farm Band) was the houseband at The Farm, flagship of all hippie communes. I strongly recommend anyone with an interest in the rural revolution to check out this amazing place more; the book "Voices From The Farm" (Rupert Fike, ed.) is a good start. This massive 2LP set was the Farm Band's first release and also by some miles their finest moment (later LPs are pretty good too, though, and I wouldn't want to let go of any of them). A nine-piece outfit, the standard rock setting is augmented by flute, electric fiddle, and French horn(!); mixed vocals and long, jam-oriented material give this an undeniable late-stage West Coast feel (not much of a surprise, really, as most of the Farm residents originated from San Francisco). The mood is one of joy and spontaneity, where you easily can imagine a few hundred longhaired freaks out in the fields groovin' all night long into the morning sun, as the last jam slowly fades away. This spontaneity also results in performances that are perhaps a tad "loose", shall we say, or even sloppy, with vocal harmonies going all over the place. Songwriting never was the Farm Band's forte either. What they do succeed in is creating a sort of tribal Earth Rock, where the leadguitar of Walter Rabideau cuts through time and space leading the band further and further away into holy man jam land; the rhythmguitarist steps on his wah-wah, the violinist comes sweeping in from the cornfield ready to push things into even higher grounds, and eventually it's a wall of sound-effect that soars high above the watertower, leaving Summertown, TN, as nothing but a tiny dot on the map that stretches out far below. Get the picture? When the jams here really gel it's an amazing power at work, a psychedelic testimony with a groove that appears to be endless. This being a very communal effort it feels contradictory to single out any specific player, but I can't let the opportunity pass to praise Walter Rabideau's guitarplaying. One of rock's unsung guitarheroes, his solos have a rich tone, an amazing flow & if you like me have an inclination towards air guitar-moves, Walter's all you need for a night of good fun. Ok, the last statement may not really be serving his reputation much good, but he really is fantastic, and an Acid Rock Legend in this household. On this album he also benefits from having some hot rhythm guitar to play against, by someone named Joseph (last name unknown to me), who wasn't on any of the subsequent LPs. In all, this is a document of a time where possibilities seemed endless (the heading on the Farm Band's touring bus read "Out To Save The World"), the music being only a fracture of what it was all about. The Farm is still there though, with some 300 members, but the Farm Band called it quits in the late 70s or so. Like any other Farm product the packaging here is awesome; a thick gatefold cover, huge poster and printed inners. A piece of art, a statement and an essential piece of underground head sounds.(http://www.beautifullies.se)
Tracklist
01- OM2:36 02- Loving Your (Phillip Schweitzer) 10:16 03- Lord's Work (Thomas Dotzler) 3:06 04- Keep Your Head Up High (Phillip Schweitzer) 3:17 05- Being Here With You (Thomas Dotzler) 11:51 06- Let It Ride (Phillip Schweitzer) 12:05 07- Prayer (Phillip Schweitzer) 2:51 08- I Believe It (Phillip Schweitzer) 17:12 Credits Acoustic Guitar, Electric Guitar, Vocals – Walter Rabideau Bass – William Drums – David Chalmer Electric Guitar, Harmonica, Twelve-string Guitar, Vocals – Joseph French Horn, Piano – Cynthia Organ, Flute, Vocals, Piano – Thomas Dotzler Vocals – Kay Marie, Louise Vocals, Electric Fiddle, Piano, Acoustic Guitar – Phillip Schweitzer Here
An underrated masterpiece from Love Yes indeed, this is a different band than was behind the beloved Forever Changes, but that's ok, because this is a great record, a truly underrated gem. Sure, this record is all over the dang place with long psychedelic guitar jams, drum solos, short novelty tunes, 3 minute pop songs-sung with much love, soul and passion by Arthur Lee, down and out blues, and acoustic folk songs. But for music nerds who enjoy stuff like that-this is a buried treasure. Yes, maybe it could have been cut down to a single record, but then why not just let this band do their thing and indulge, after all this was 1968! Indeed the sister album to this, "Four Sail", is the superior of the two, but Out Here is really good and kinda Out There...far out man! No kidding, this Love band was a tight, versataile group. Don't compare it to the first 3 Love records and just enjoy it for what it is. Arthur Lee's "White album", ya know -like the Beatles!. A sprawling 2 LP monster full of melodic, half-crazed, blues/rocking/funk/folk, short, medium, long, quiet, loud, funny, serious, sad, happy and big songs. Gary Rowles' lead guitar solo on "Love Is More Than Words..." is amazing, beyond words. Favorites are "Gather 'Round", "Listen To My Song", "I'll Pray For You", "Doggone", "Willow Willow", "Run To The Top", "I Still Wonder", "Stand Out", and the slowed down blues version of "Signed D.C." which has one of the greatest harmonica solos ever put down on vinyl, from Arthur of course. Great stuff. If nothing else, you gotta appreciate how awesome and amazing Arthur Lee's vocals were at this point. The guy had range like no other. Believe that! (By Hoagie Mike) Tracklist 01 I'll Pray For You- 4:16 02 Abalony - 1:46 03 Signed D.C. - 5:15 04 Listen To My Song - 2:24 05 I'm Down - 3:47 06 Stand Out - 3:00 07 Discharged - 1:36 08 Doggone - 12:00 09 I Still Wonder - 3:05 10 Love Is More Than Words Or Better Late Than Never - 11:20 11 Nice To Be - 1:50 12 Car Lights On In The Day Time Blues - 1:10 13 Run To The Top - 3:00 14 Willow Willow - 3:20 15 Instra-Mental - 3:00 16 You Are Something - 2:05 17 Gather Round - 4:50
Credits Arthur Lee - Lead Vocals, Rhythm Guitar Frank Fayad - Bass Guitar George Suranovich - Drums Jay Donnellan - Lead Guitar
Late last year when we wrote about Arthur Lee’s superb soul spin “Everybody’s Gotta Live,” we hadn’t yet heard Vindicator, the track’s 1972 mothership and Lee’s solo debut. Admittedly, we (I) naively assumed that Vindicator would be a record full of similar songs–an exploration of Lee’s R&B range that was largely neglected during his time in Love. We (I) were wrong. It took us 17 tracks and roughly 51 minutes to find out that “Everybody’s Gotta Live” is the exception, not the formula. Vindicator is, at turns, southern rock, blues, folk, psychedelic rock and, yes, R&B. Lyrically, it spans from blues ballad to the utterly (and intentionally) ridiculous. While so many solo records segue with few seams from an artist’s ensemble career, Vindicator proves to be something of a non sequitur. That is, Love ends and Arthur Lee begins. Granted, there are some shades of what Lee would become (or probably always was) on Love’s grittier eponymous debut, shades that would be rubbed out gradually across De Capo and Forever Changes. Lee, famously, was somewhat controlling in Love, or he tried to be. But despite his better efforts, Bryan MacLean hedged Lee’s influence on composition and harmony, and probably to the benefit of Love. That’s not to say that Vindicator falls short, but only that it reveals what Love might not have been if Lee had his druthers. So, Vindicator is as much as album name as it is a statement for Lee, a practice in individuality, an exercise of personal salvation. Here, he does everything he ever wanted to do. Literally, everything. The opening track, “Sad Song,” is a return to his southern roots, where Lee does Skynyrd before Skynyrd did Skynyrd. A moderately paced rock piece formed around a call and response–Lee calling, his guitar responding–“Sad Song” might tempt you to believe this is what the album is about. Until the record skips over to the second song. “You Can Save Up to 50% But You’re Still a Long Ways from Home” is a 17-second a cappella nursery rhyme that, after multiple listens, still struggles to find sense: “I pawned it / a black-white-yellow human / And if you don’t like what I say / Then vote for Harry Truman.” It’s the kind of quirk you’d expect–if you were expecting such a thing–to find snugly fit into the later tracks, not just as you were getting warmed up. But it seems to work as an attention grabber. Bizarre as it may seem, you want to listen to it twice. And it informs that maybe you have no fucking clue what’s about to happen. In fact, it’s the same kind of subtle narcissistic kink as Lee’s notably flamboyant wardrobe. “Look at me,” it says. And to his credit, he does settle down after that. His straightforward blues standard in “He Said She Said” (a likely nod to his Memphis nascency) is also one of the few rhythm and blues approximations found. While it hinges primarily on blues, it’s justifiably, and pleasantly, both. And that’s sort of how it goes: normalcy is met with brief episodes of eccentricity. Because for every blues and rock sanity, we find a “Hamburger Breath Stinkfinger,” the tale of an ill-advised date at McDonald’s, where Lee laments about the woman, “Oh what a dish / She smelled just like a fish.” Throughout the wandering, Vindicator’s common thread would be Lee’s voice and his guitar. Consistent variations aside, both are reminiscent of Hendrix. Vocally, the best document of this is either “Busted Feet” or “You Want Change for Your Re-Run.” The latter is the best effort on the record next to “Everybody,” and arguably the best composed. Driving guitar is joined halfway through by a simple piano underpinning, arriving perfectly out of nowhere. The Hendrix influence isn’t surprising. And not because Hendrix is “influential.” Friend’s in the early-’60s L.A. scene, Hendrix played guitar behind Rosa Lee Brooks when she sang the Lee-written “My Diary.” And Lee was known to frequent Isley Brothers shows, where Hendrix cut his teeth before “Hey Joe” forever wove him into the musical fabric. Lee even claims that it was Love’s version of “Hey Joe,” not Tim Rose’s, that inspired the version we all know. Even Hendrix’s later fashion sense offers a nod to the eccentric Lee, whose frills, tunics, scarves and hats were staples when Hendrix was still sporting a skinny tie as a backup. If that’s not enough, Vindicator is credited, not to Arthur Lee, but Arthur Lee & Band-Aid. On the record, Band-Aid is a mostly anonymous group of musicians. But the name was originally conceived by Hendrix and Lee for a group they intended to form with Steve Winwood. Of course, that would never happen. So instead, we have Vindicator. Not a tribute to Hendrix. Not an evolution of Love. It’s Arthur Lee frantically and impressively trying to fit every ounce of his musical yearning into one record. Someone trying to prove his every potential in one fell swoop. Years of pent-up emotion and style are released, and with great effort. Most other times, such a product would be a disjointed mess. But here, it’s a sincere piece of man. Punctuated with the exclamation, “I’m not Love,” Vindicator succeeds in showing us who Lee is. “Look at me,” it says. And maybe that’s vindication enough. (J. Crosby)
Tracklist 01 "Sad Song" – 2:20 02 "You Can Save Up to 50%, But You're Still a Long Ways from Home" – 0:17 03 "Love Jumped Through My Window" – 2:56 04 "Find Somebody" – 3:47 05 "He Said She Said" – 2:18 06 "Every Time I Look Up I'm Down or White Dog (I Don't Know What That Means!)" – 3:57 07 "Everybody's Gotta Live" – 3:31 08 "You Want Change for Your Re-Run" – 4:17 09 "He Knows a Lot of Good Women (Or Scotty's Song)" – 3:14 10 "Hamburger Breath Stinkfinger" – 2:44 11 "Ol' Morgue Mouth" – 0:53 12 "Busted Feet" – 4:53 Bonus tracks 13 "Everybody's Gotta Live" – 3:37 14 "He Knows a Lot of Good Women" – 3:16 15 "Pencil in Hand" – 2:15 16 "E-Z Rider" – 2:58 17 "Looking Glass Looking at Me" – 4:05 Credits Arthur Lee - guitar, vocals Charlie Karp - guitar Frank Fayad - bass Clarence McDonald - keyboards Don Poncher - drums Craig Tarwater - guitar David Hull - bass
