Volume 77 is a mix of the best in US fuzz, psych, heavy blues and hard rock from between the heavenly years of 1969 and 1973. They are all new to TDATS, I love'em all and it's another blast so let's go...
01. Jamul - All You Have Left Is Me (1970)
from album 'jamul'
02. Mariani - Re-Birth Day (1970)
from album 'perpetuum mobile'
03. Jump - Love Wit Chu Mama (1971)
from album "jump"
04. Landslide - Happy (1972)
from album 'two sided fantasy'
05. Summerhill - Bring Me Around (1969)
from album 'summerhill'
06. The Third Power - Gettin' Together (1970)
from album 'believe'
07. Charisma - Bizwambi, Ritual Dance Of The Reptiles (1970)
from album 'beast and friends'
08. Atlee Yeager - Will If You Will (1973)
from album 'plant me now and dig me later'
09. Lost Nation - Tall Ivory Castle (1970)
from album 'paradise lost'
10. 4th Cekcion - Find Yourself Another Way (1970)
from album '4th cekcion'
11. Five By Five - Good Connection (1970)
12. The Cryan' Shames - Greenburg, Glickstein, Charles, David Smith & Jones (1968)
from album 'synthesis'
13. Mason - Tell Me (1971)
from album 'harbour'
14. Owen-B - Thank You For Listening (1970)
from album 'owen-b'
here. "Jamul's album, though being issued on the small Lizard label, may be not so obscure, but the band surely is. Named after a small town somewhere out in the back country near San Diego, there is almost no information available on this outfit. They are: Steve Williams, Bob Desnoyers, Ron Armstrong and John Fergus. Their music is mostly heavy blues rock with extremely powerful vocals. Best songs are "Tobacco Road" with a strong guitar solo and thundering blues harp, "Ramblin Man" (not the Allman Brothers' song) and the apocalyptic "Valley Thunder". Their cover of the Rolling Stones' "Jumpin' Jack Flash' is a bit lame, although it has a good progressive Guitar solo. There are 2 or 3 other songs, that seem to be mere fillers. But still - this is better than some of the 100-dollar-records you see for sale. - Originally came with a set of stamps depicting the musicians. The band were involved with Steppenwolf's management and the sound is similar to the early years of that band."
A trio called Mariani originally recorded Perpetuum Mobile in 1970. In 2001 Akarma Records resurrected this sought after collectable. A young 16-year-old guitarist was making some noise then, his name was Eric Johnson. Many music lovers found out about Johnson through his breakthrough album Ah Via Musicom in 1990. After The Ventures had initiated me and opened my ears to instrumental rock, I heard Johnson's song "Trademark," which was enjoying a steady rotation on FM radio. Enamored by the new sound, I consequently started my search for all the instrumental guitar music that I could get my hands on.
This reissued classic rock-blues album comes packaged in gatefold sleeve with the original stunning artwork and lengthy and informative liner notes that fill up both sides of the inner sleeves. I really did not know what to expect when I put this platter on my turntable. I thought it might have been one of those castaway recordings that you hear 30 years after the fact. This however was not the case. Johnson, Vince Mariani (drums, vocals), and Jay Podolick (bass, vocals) were a powerful trio. Johnson was only a 16-year-old kid but he sounded years beyond capabilities as a lead guitar player."
This progressive pop-rock quartet was led by lead guitarist / vocalist Dennis Tracy, along with lead vocalist / organist Scott Thurston, bassist Mark Spiwak and drummer Don Gorman. They met on Sunset Strip in Los Angeles one night, and quickly found management in the shape of The Doors right-hand man Bill Siddons (who had time on his hands while The Doors were on hiatus following the recording of LA Woman.)
After a week’s rehearsals, they signed the Janus (asubsidiary of Chess) at the Beach House in Santa Monica, California, and Flew to San Francisco to cut an album at the legendary Wally Heider’s Studios before they’d so much as played a gig. Overseen by Fred Catero – famed for his work with Bob Dylan, Santana and others – the Sessions took three weeks (and were filmed by UCLA film Student Reed Hutchinson, though it has yet to resurface).
Their first gig was in front of 5000 people at the San Bernardino’s Civic Aufitorium. Following the album’s release on the Janis label in the summer of 1971, they undertook two nationwide tours, including a performance at the massive week-long Celebration of Life festival in Macrea Louisiana that June. Despite a strong commercial sound (and a German release for the LP on Bellaphon), the split later the year over musical direction (Thurston and Spiwak favored a more traditional rock/blues sound, while Tracy was more interested in classic songwriting). After the split, Tracy embarked on a solo career, including a 1974 album on which he was backed by Thurston and Spiwak, meanwhile, became a leading Session Musician and long-time member of Iggy Pop and Tom Petty’s bands."
RDTEN1: "It's interesting to note that in the early and mid-1970s Capitol Records had some fantastic acts signed to recording contracts. Unfortunately, the label's focus was on boogie bands such as Grand Funk Railroad, relegating even more deserving outfits like Food and Long Island's Landslide to instant oblivion.
In terms of bibliographical information, there doesn't seem to be a great deal of stuff readily available on this New York quartet. What little I've found comes from the liner notes on their LP. The line up consisted of drummer Tommy Caglioti, Joseph Caglioti, singer Ed Cass, bassist Bobby Sallustio and lead guitarist Billy Savoca. Prior to forming Landslide, Joseph and Tommy Caglioti and Sallusito had played in the blues band Trax. Following it's break up, Sallustio dropped out of music to attend college, but within a short period, decided to form a new band with his former partners. The three promptly recruited vocalist Cass and guitarist Savoca (who had been playing in the band Gullotos). The five piece began playing local clubs as Hot Waks before metamorphosing into Landslide.
Released in 1972, their sole album "Two Sided Fantasy" was apparently a self-produced effort (credited to Proud Productions, Inc.). With four of the five members contributing material the album offered up an enjoyable mix of blues-rock ('Everybody Knows (Slippin')'), Manassas-styled Latin-flavored rock ('Doin' What I Want') and conventional hard rock ('Happy'). Exemplified by tracks such as the leadoff rocker 'Doin' What I Want' ' the album offered up strong melodies, taunt vocals and Savoca's always tasty guitar. While the entire album is good, highlights include 'Dream Traveler' (be sure to check out Savoca's lead guitar) and the closer 'Happy'."
Summerhill's only and underrated album possibly failed to find an audience because it never settles on any particular style, plus I assume that Tetragrammaton Records were pretty underground, despite having Deep Purple's 'The Book Of Taliesyn' on their catalogue. The set certainly sported a late-1960s West Coast vibe, bouncing all over the musical spectrum, including Hendrix-Rock style (Bring Me Around), Sunshine Pop (Soft Voice), Curt Boettcher-influenced Psychedelic Folk-Rock (Follow Us), a touch of Jazz (What Can I Say), and brushes with more experimental moves (check out the aural meltdown on side two's The Bird).
Elsewhere Summerhill's album was interesting for showing the band as an early exponent of Country-Rock. Alan Parker's pretty Country-flavored ballad The Last Day was every bit as good as anything being released by The Byrds, The Buffalo Springfield, or Poco (who's Rusty Young provided pedal steel guitar. Alan Parker's Fuzz guitar propelled My Way (Hard for You) would have sounded right at home on one of Byrds' Preflyte album. 'Friday Morning's Paper', which is a magically psychedelic concoction of staggering drums, veiled vocals, drugged strings and Raga guitars belonging on any compilation of this sort.
Even better was the Fuzz guitar and feedback drenched in the killer guitar Pop song 'It's Gonna Rain'. A great slice of harmony rich, lysergic soaked Rock. Tetragrammaton also tapped the album for a single in the form of The Last Day" b/w Soft Voice."
here. "The Third Power formed in 1967 near Detroit in Farmington Hills, MI by Drew Abbot (Guitar, Vocals), Jim Craig - (Drums, Vocals) and Jem Targal - (Bass guitar, Vocals) after playing around for several years in various bands. They Quickly emerged as a favourite on the local club circuit thanks to their bone-rattling sound. Third Power arrived with one of the most descriptive epithets a Power Rock Trio ever possessed.
Their heavy attack fast made them favourites at the Grande Ballroom, Eastown Theater and just about every other concert venue in the area. In 1970 The 3rd Power recorded the album 'Believe' was recorded for the Vanguard Records. But 'The 3rd Power - Believe' was deemed too heavy for the label's direction and lacked the support that could have made it more of a hit. This decision by Vanguard Records to drop The Third Power from their roster almost immediately after Believe's release made it an instant collectable.
Despite production and support by the legendary Sam Charters, Vanguard's utter lack of comprehension of the work (they didn't really know what to do with the band and dropped them after hearing the recording), poor distribution and non-existent promotion erased any chance the record had to stand on its considerable merit. Vanguard Records executives thought the album was too heavy, never gave it any promotional support and dropped the band literally days after the album was released. Believe (Vanguard Records VSD-6554) is purely studio; way too produced and laden with overdubs impossible to duplicate live, at least with the technology available then and it was not strong enough to capture the all important top 40 FM market and most importantly, did not sell well outside of Detroit and related environs.
Jem Targal had the vocal chords for serious Rock singing and Drew Abbot's supercharged guitar work ranked with the best in the city. In the early '70s Drew Abbot performed as an opener with various Motown Records session bands. Having been managed by Punch Andrews, Drew Abbot knew Bob Seger; in fact, Third Power had often opened for Bob Seger. In 1972 when Seger decided he wanted to give up guitar playing responsibilities, Drew Abbot was asked to join Bob Seger's band.
When "Punch Andrews" and "Bob Seger" decided to create a new image for "Bob Seger" by starting the "Silver Bullet Band" in 1974, "Drew Abbot" was the only member asked to stay on."
blog: "Charisma came about from diverging roots emanating from 3 directions. The core of Charisma was Rich Tortorigi (drummer) and George Tyrell (bass player). Both were members of a New Britain, Connecticut soul band called The Mantiques. The Mantiques had been one of the three main horn-based bands in New Britain in the mid to late 60’s, along with Detroit Soul and The Paramounts. Paramounts drummer, Tyrone Lampkin went on to play with Gutbucket and the Parliament Funkadelics.
In 1968, Rich Tortorigi recruited Tom Majesky to play guitar with The Mantiques, following their breakup. Tom enlisted Bernie Kornowicz, former bassist of The Last Five, to share guitar and organ duties. The final addition to the group was folk singer Mike DeLisa to sing lead. Tom and Bernie brought the rock and roll element to the Mantiques and Mike brought the band an element of folkiness."
Damon also played in the group. Two members who would join the group Highway Robbery, Don Francisco and Mike Stevens, were involved with the band during the release of the album. Still working with Michael Stevens, Atlee Yeager would go on to issue another album on Chelsea in 1973 called Plant Me Now And Dig Me Later. 'Will If You Will' is taken from that album.
Don't let the cover of this obscure Detroit album put you off - it depicts the band behind a balustrade on whose lower wall is graffiti on a predominantly ecological theme, but this is no hippie-rock, or back-to-nature concept album. This is serious progressive rock, soundwise somewhere between Uriah Heep and Rare Bird - busy keyboards, strong vocals, neoclassical movements, and some excellent heavy guitar. Not strictly within the main thrust of this book, this quintet merit an entry for including Ron Stults, formerly of revered heavy garage kings The Unrelated Segments. Craig Webb also had a spell in Frijid Pink."(info taken from Orexisofdeath)
Tymeshifter's review from RYM: "The Cryan shames career seems to have followed a similar ark to that of their contemporaries The Critters. But the latter's early pop albums were not their best, and they seemed more suited for the harder stuff they put out on their final LP. The Cryan Shames, on the other hand, produced some of the best pop oriented albums of their time, and those first two are excellent examples of the genre.
But here on this final release, they seem to want to break out of that mold, and find themselves in an area to which they were not as comfortably suited. Though still containing ample amounts of light pop, it is punctuated with harder, much more progressive flavored rock, as well as overtly evident psych effects. Oddly, though apparently their sole release geared towards the underground set, this is the one of their albums not to escape the typical horn and orchestrated production techniques their earlier, more commercially oriented albums did."
rockasteria.blogspot.co.uk: "The years 1968-1974 brought about the awakening and evolution of the Tidewater-Chesapeake Bay music scene The ocean front and tidal inlets with their military influences of Norfolk and the commercialism of Virginia Beach tourism brought the money to support a thriving hot bed of live music. British infusion brought Cream, Hendnx, Traffic, Mountain, and Blind Faith influences and began an evolution from the beach music of the R&B roots. Mason was formed to combine these roots and resulted in a trio of multi talented musicians playing the stages of Peabody's Warehouse and The Dome to Alex Cooley's in Atlanta's Electric Ballroom Especially memorable was the Fan district of Richmond where on any given weekend night.
Mason would be playing across the street from other clubs that were featuring bands headed up by Bruce Hornsby. Bruce Springsteen (Steel Mill), and Lynyrd Skynyrd. However. Mason was the only band at this time (1971) to actually have recorded and released an LP. Morgan Hampton played both piano and sang; but his impeccable beat and drive on drums set Mason apart from most of the R&B drummers of this time. Steve Arcese had the vocal uniqueness which drew from his deep roots in classic R&B His virtuosity on the B3 Hammond organ drove walls of sound up and down the East coast.
As Mason's music expanded. Steve branched out to guitar and bass, setting the group apart as a multi faceted presentation of music styles James Galyon's musically diverse skills accented Morgan's and Steve's virtuosities James played flute, saxophone, Lyricon, bass, keyboards, and acoustic and electric guitar. The combined sounds initially drew five to six hundred listeners each performance in 1969, but by 1973 Mason was performing in concerts to audiences of over 15,000."
RDTEN1 over at RYM come's up trumps again with a great history of super-obscure outfit Owen-B: "Owen-B (named after the band's black and orange 1954 Mercury), has an interesting, if rather convoluted background. Born and raised in Mansfield, Ohio singer/guitarist Terry Van Auker and multi-instrumentalist Tom Zinser got their starts playing in a number of local bands, including Tommy Z and The Sleepers. By 1967 the two were playing in an outfit known as Wildlife. Popular on the local club scene, an audition for Columbia went well, but the company's interest was contingent on the group agreeing to dump then lead singer Lou Basso. Reluctantly the rest of the band agreed to the personnel change, subsequently recording a number of demos for the label. The partnership was brief, resulting in the release of one instantly obscure single: 'Time Will Tell' b/w 'Hard Hard Year'. Back on the club circuit, 1969 saw another personnel change with former Crazy Elephant/Music Explosion drummer Bob Tousignant (aka Bob Avery) signing on. Another name change followed, with Owen-B emerging.
Unable to interest another major label in their material, the group elected to go the self-issued route. Consequently 1970's cleverly-titled "Owen-B" was released on their own Ohio-based Mus-i-col label. Self-produced, anyone expecting to hear another set of mid-1960s blue-eyed soul/garage was probably somewhat disappointed by the album. Similarly anyone buying into dealer hype claiming this was a set of mind melting psych was gonna be disappointed. Those comments aren't meant to be taken as criticisms since the collection's quite commercial and somewhat of a lost classic. Featuring ten band-penned originals, musically the set bounced all over the spectrum, including stabs at stoner acoustic folk ('All We Are Asking'), pop ('My Friends'), country-rock ('Weekend'), and conventional hard rock ('Share'). Normally something as diverse wouldn't hold up particularly well, but when packaged with killer melodies, great harmony vocals, some first-rate guitar (courtesy of Terry Van Auker ) and a real sense of fun and enjoyment you ended up with one of the rare exceptions to the rule. Personal favorites include 'Leavin' It All Up To You' and 'Out On My Own' (which add a bit of progressive complexity to the mix) and ''. Easy to see why folks hype the album, even if it isn't for the right reasons. Shame they didn't record a follow up set."
Thank You For Listening! Rich.