Showing posts with label Warehouse. Show all posts
Showing posts with label Warehouse. Show all posts

Friday, November 1, 2013

The Day After The Sabbath 93: Keep On Burning (hornrock)

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Unzip pass: tdats
Welcome to the second heavy brassrock special! Shown by the narrow date bracket of these tracks (1969-1973) this was a phenomenon of the late 60's/early 70's. This style of rock with a horn section originated in the US after bands like Chicago Transit Authority and Blood Sweat & Tears found success with the formula. It blends rock with elements of soul, Latin, jazz and funk and the wind/brass sections that come with them. Some elements of hard and progressive rock occasionally crept in too; check out the brilliant track from Puzzle which is an unashamed, multi-instrumental prog freak-out. The majority of the bands appearing here played in the up-beat, easily accessible way of Chicago and BS&T, and the vocalists tend to be of the big band-leading crooner type. SOD, Melting Pot and The Gasoline Band are rooted in funk & soul, which have of course always been heavily reliant on brass sections. In true TDATS tradition, these picks are the hardest-rocking examples of their respective styles that I could find...

One thing I like about listening to this music is how it conjures images of old crime movies, perfect for a Dirty Harry or Steve Mcqueen chase scene. And a warning, be prepared to read some very long detailed band line-ups! Along with the usual rock instrumentation you'll see mentioned the likes of Trumpet, Trombone, Tuba, Flugelhorn, Tenor Saxophone, Alto Saxophone, Baritone Saxophone, Flute, Harmonica, Harpsichord, Harp, Congas and Bongos. By the nature of this music and the range of musical skills it requires, there's no room for amateurs here, so those of you preferring tight arrangements are going to dig this. There's some equally great guitar skills on here too, take a listen to Aura, The Gasoline Band, SOD and Jug Session.

I must say thanks to Youtube contact Rocky B for inspiring this comp. I was pretty much done after the first brassrock TDATS (Vol60) until a few knowledgeable comments from Rocky, the self-styled 'King of Hornrock', appeared on my channel. I grilled him for a list and the result is the inclusions (that make up about half of this volume) from 4th Cekcion, SOD, Melting Pot, Loadstone, Puzzle, Gasoline Band and Aura - all super-obscure acts that I may not have come across without his tips. Good man!

Tracks
01. Swallow - Something Started Happening (1972)
       from album 'out of the nest'
02. 4th Cekcion - I Don't Have To Hide My Face Anymore (1970)
       from album '4th cekcion'
03. SOD - Things I Wanna Say (1971)
       from album 'sod'
04. Melting Pot - As I Lay Dying (1971)
       from album 'fire burn, cauldron bubble'
05. Trifle - New Religion (1971)
       from album 'first meeting'
06. Loadstone - Keep on Burning (1969)
       from album 'loadstone'
07. Puzzle - The Grosso (1973)
       from album 'puzzle'
08. Jug Session - Easy Here (1970)
       single
09. The Gasoline Band - Ein Grosses (1972)
       from album 'the gasoline band'
10. Silk - Not A Whole Lot I Can Do (1969)
       from album 'smooth as raw silk'
11. Aura - Truckin' (1971)
       from album 'aura'
12. Warehouse - Na-na-na song (1972)
       from album 'powerhouse'
13. Swegas - Child of Light (1971)
       from album 'child of light'
references
skydog's elesium | allmusic.com | badcat records | cherry red records
giant city music | the original gasoline band | swegas.com | wfmu radio
DJ Matthew Africa

Swallow LP front
Swallow start the comp in an upbeat way (can horn rock be anything else?) with the aptly-titled 'Something Started Happening'. This is a band I came across a while ago on the southern rock blog Skydog's Elesium. They are not a southern rock band but they had a connection to Atlanta Rhythm Section who undoubtedly were (see southern rock Vol65). ARS members Barry Bailey and J.R. Cobb played on the second and final Swallow album, but I have chosen a track from the first album that was called 'Out of the Nest'. Here's what allmusic.com has to say:

"The first album from Swallow was produced by Jean Paul Salvatori, who put together the excellent Bootleg Him! double LP of Alexis Korner material this same year, 1972. Jeff "Skunk" Baxter of Ultimate Spinach, later with Steely Dan and the Doobie Brothers, appears on "Come Home Woman," an original from bassist Vernon Miller Jr., who was part of the band who opened for the Beatles in 1966, the legendary Barry & the Remains. Miller's presence adds collectability to this debut. "Come Home Woman" would have been perfect for Alexis Korner, come to think of it, a bluesy lament which begins with Baxter's wonderful guitar work and picks up steam, letting George Leh open up and battle the horns -- the voice and instruments stir things up so fine. "Aches and Pains" is one of the four Vern Miller Jr./George Leh co-writes, and it is gospel-tinged blues which spills over onto "Common Man." There's real personality here, music perhaps a little too earthy for the Blood, Sweat & Tears crowd, but authentic to the max. Recorded and mixed where Aerosmith cut "Dream On" and where Jonathan Edwards of Orphan tracked "Sunshine," "Out of the Nest" is post-Bosstown serious singing and playing. 


Swallow - band image (2nd LP inside)
Leh's got that Nick Gravenites gravel growl on "Something Started Happening," a tune with charging dynamics, perhaps this band's strong suit. Miller's "Brown Eyed Baby Boy" is a plea for love with a solid hook that would work well for the Remains since that group started recording again in the new millennium. The Staple Singers' composition "Why Am I Treated So Bad," also covered by Cannonball Adderley and the Sweet Inspirations, adds another dimension to the mix, the organ of Bob Camacho getting to have its say. Mick Aranda's creative drumming is also worthy of note. Out of the Nest is an excellent document of early-'70s Boston roots rock/blues music with just a touch of jazz."

Other players not mentioned above were Phil Green (gtr), Kerry Blount (Sax), Gordon Kennedy (trombone), Andy Harp & Jay DeWald on trumpets and Parker Wheeler (harp).
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Released by the small Bellaire, Texas-based Solar Recording Corporation, 4th Cekcion's s/t LP was produced by Fred Carroll and was played by Louie Broussard (drums), Richard Cantu (woodwind), Greg Isaacs (vox, keys), Mike St. Clair (bass) and Stewart Rojo (gtr, brass) and Gary Weldon (brass). According to Badcatrecord's review: "A couple of the members remained active in the Texas music scene, reappearing in 5 Easy Pieces (Louie Broussard) and The Funk Factory (Greg Isaacs, Richard Cantu, Stewart Rojo and Gary Weldon)"

The album is a nice find, featuring a fair number of hard tracks with psychedelic overtones that steer it away from the commercial sheen of Chicago and BS&T etc, which is why I used them previously on Vol66.
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SOD debut LP (1971)
SOD's track starts with a mildly latin, Speghetti Western feel that builds into some big grooves embellished with further latin flavoured percussion and even some flute. Their debut s/t album (1971) is another good example of hornrock with tasteful use of brass and a fair amount of tough riffs. Finding useful information at Badcatrecords, yet again, here's a few interesting facts.

This Los Angeles band share a member with another band that I chose for this volume; drummer Larry Devers who was previously in Loadstone (track 7): "I formed the band [SOD] in Las Vegas, Nevada in the late 1960s.  We cut two albums of which I have zero copies. Before SOD I had a group called Loadstone that cut one album on Barnaby. I don't have a copy of that one either." SOD's second album 'Face The Music' (1972) was produced by David Axelrod,  a new name to me that seems to warrant further investigation as he had an extensive solo career and is regarded as an originator in the fusion of Jazz/R&B with rock and psych.

Jay York
SOD (and other bands) drummer Jay York was also an NWA Wrestler: "Jay York was a musician, and briefly quit wrestling in 1972 to become the percussionist for the rock band Delaney & Bonnie. He replaced their longtime percussionist Sam Clayton when Clayton and bassist Kenny Gradney left that band to join legendary rock band Little Feat (they’re still in that band today)." Wrestling under the name 'The Alaskan'. He also worked as a bouncer at Hollywood's Classic Cat strip club. At only 57, he died of liver disease in October 1995.

Saxophonist Rick Kellis: "..went on to become an in-demand sessions player, supporting virtually everyone imaginable. He's also recorded some jazz-oriented solo material..". Finally, Bassist Cal Arnold: "I was the bass player in SOD on Decca Records - Robert 'California' Arnold...I have also recorded with Clydie King 'Brown Sugar' - RCA/Chelsea 1973; Edgar Winter's White Trash 'Recycled' CBS/Blue Sky 1977; Billy Branch 'The Blues Keep Following Me Around' - Verve Gitanes 1985."

Both SOD LP covers
Here's the Doscogs.com liner notes from the debut LP: "Robert "California" Arnold (bass, tuba, percussion, vocals), Jay "The Alaskan" York (Congas, Bongos, Harmonica, Percussion, Vocals), Larry Devers (Drums, Vocals), Don Phillips (Electric Guitar, Acoustic Guitar, Lead Guitar, Vocals), Joseph "Jojo" Molina (Organ, Piano, Harpsichord, Trumpet, Percussion), Richard "Rick" Kellis (Tenor Saxophone, Alto Saxophone, Baritone Saxophone, Flute, Percussion, Vocals) and Michael Green (Trumpet, Trombone, Flugelhorn, Percussion, Vocals)."


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Melting Pot LP -
'Fire Burn, Cauldron Bubble'
After finding The Melting Pot album on Rocky B's recommendation, I posted the track 'As I Lay Dying' (appearing here) on Youtube. Later some comments from band members appeared on the clip. The band consisted of Dick Gentile (lead vocals, keyboards), Howie McGurley (sax, trumpet), Steve Nichols (trombone), Joe Rudd  (lead guitar), Mickey Smith (RIP 1971 - lead guitar), Jerry Thompson (drums, percussion), Kenny Tibbets (lead vocals, bass, keyboards) and Bill Witherspoon (lead vocals, sax). Ronnie Witherspoon commented: "I am a founding member of the Melting Pot, I left the band after the terrible contract with Phil Waldren and No Exit Music. No other albums were recorded, I do have a CD of the LAST FIVE, a straight ahead progress fusion funk/rock band, from 1972 & 73."

Melting Pot label
Bad Cat records has this to say: "Phil Walden was apparently the money behind the group, helping to arrange for a contract with the small Ampex Records label.  Produced by Johnny Sandlin, 1971's "Fire Burn, Cauldron Bubble" album was also recorded at Walden's Capricorn Studios.  That connection is mildly interesting in that this group's sound is about as far away from Southern rock as you can get." Ronnie Witherspoon: "That [Fire Burn, Cauldron Bubble] was the only album, and it was recorded partially at Cybertechniques in Dayton, and then the project was moved to Capricorn, done over and sold to Ampex." Read more comments on the Youtube page.


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Trifle
The UK's Trifle appears for track 5, 'New Religion'. Along with the Puzzle and Swegas cuts, this is a longer, more progressive and adventurous work than the majority of the comp, with slow-burning intensity and a foreboding atmosphere. The band was George Bean (vocals), Rod Coombes (percussion, drums), Patrick 'Speedy' King (bass), Barry Martin (sax), John Pritchard (trumpets), John Hitchen (guitar), Dick Cuthel (horns) and Brian 'Chico' Greenwood (percussion, drums). This is what the Tapestry of Delights says: "Evolving out of George Bean and The Runners, this group was managed by Robert Stigwood. They also acted as a backing group for other artists. “Dirty Old Town” was a Dubliners track. Bean died in the early seventies, whilst drummer Rod Coombes went on to Juicy Lucy, RoRo, Stealers Wheel and The Strawbs." According to DJ Matthew Africa another track, 'One Way Glass', from Trifle's only album 'First Meeting', was sampled in the Kick-Ass movie trailer. The album has since been re-issued by Cherry Red records.

This is what Allmusic.com says about the band's founder, George Bean: "George Bean was one of the relatively uncommon folk-or-folk/rock artists of mid-'60s England who actually got to record for a major label. He first signed to English Decca in 1963 and released four singles through them over the next two years, of which the most notable was his superb folk-pop version of the Mick Jagger/Keith Richards song "Will You Be My Lover Tonight?" None of these records charted, though his self-penned B-side of 'She Belongs to Me,' 'Why Must They Criticize?' (both released credited to George Bean & the Runners), was later covered by the In Crowd on their way to becoming Tomorrow. Bean moved to British CBS for one single and appeared in the movie Privilege, where he sang "Onward Christian Soldiers." He subsequently formed the group Trifle, which was managed by Robert Stigwood, with future Strawbs member Rod Coombes in the lineup, but he died before they got to record for the Pye Records progressive rock offshoot Dawn Records."
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Loadstone LP front
We reach the half-way point with Loadstone and, maybe also from Las Angeles (more on this soon), as the connection with SOD's Larry Devers would suggest. They have one of the oldest tracks here; 1969. 'Keep on Burning' is this comp's namesake, it's a short, high energy song with a blazing fuzz guitar break at the halfway mark. Horn Rock Heaven refers to the band as 'a group of Las Vegas hired-gun musicians' (John Sterling and Terry Ryan later played on Eric Burden records), and interestingly also states that it was produced by Dave Grusin (this is confirmed at www.grusin.net), who also played piano on the track 'Dayshine'. Grusin was a successful musician, producer, composer, conductor and film/tv score writer. I have liked lots of his work and stuff like the Candy soundtrack certainly showed he had an affinity with psychedelic music.

This is the information found in Fuzz, Acid and Flowers (Vernon Joynson): "This album is of interest for Flowerpot, an [epic, progressive] 15 minute-long psychedelic suite which takes up the whole of Side Two. Complete with sound effects, phasing, screams, echo loops and bird noises, the track was recorded in one take, with the voices overdubbed later.


Loadstone LP rear cover
The group formed in Las Vegas, NV. Devers, Abernathy and Phillips were backing Bobby Darin at the time when he went on his hiatus to find himself, leaving them looking for a gig. Ryan, Douglas, Sterling and Cernuto were freelance musicians in Vegas looking for work. Thanks to a guitar player by the name of Mike Richards, who originally was in the group, they got together and formed a cover band to make some cash. The band worked a club in Vegas called 'The Pussycat A Go Go' where Andy Williams used to hang out. He signed the band to his label, Barnaby Records, because of the big following the band attracted to its live performances. Andy also got Dave Grusin to produce the album as well as play piano on one track, Dayshine. The album was recorded in a two week period in the Summer of 1969 and other than record promotion concerts and a few club gigs in L.A., the band never toured.

The albums lack of sales caused the group to slowly dissolve to working lounge gigs in Vegas. When that was over the band members went on to other groups. Today, all the members are still working as musicians in one capacity or another except for Douglas, who passed on in 1991. The groups energy in live performance could never really be captured on record. The horn sound created by the Trumpet, Trombone and Sax with the funky rhythm section was truly incredible.

Barnaby Records still owns the masters, with a few tracks never released. Dave Grusin is mostly known as a jazzman and soundtrack composer. (Vernon Joynson / Stephane Rebeschini w/thanks to Sam Cernuto) Musicians: Barry Abernathy (bass), Sam Cernuto (trombone), Larry Devers (drums), Steve Douglas (aka HUSCZKA) (trumpet, fluegel horn), John Phillips (tenor sax, flutes, oboe, bassoon), Terry Ryan (keyboards), John Sterling (guitar)."
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Puzzle LP front (1973)
Puzzle were mainly a light and un-interesting (in TDATS terms) BS&T style horn pop band, but one track from their first album warrants inclusion here, 'The Grosso', a big diversion from their normal output and absolutely brilliant in my opinion. It has many parts, and a lot of different instrumentation. Though it passes through a lot of moods, from frantic riffing, to evil, strangulated vocals, to maudlin introspection, it never looses intensity. It seems for this one track they set-aside their derivitive, cheesy inclinations and played something progressive, adventurous and heavy. Maybe it was one of those cases of a band briefly breaking-away from their commercial/label obligations to play something exciting instead? Who knows. So far I have not been able to find much info on Puzzle, but here's a snippet from the WFMU radio blog: "...The band's first album, Puzzle was recorded in Hollywood in 1973 (its followup was released a year later, under the strikingly uninspired name 'The Second Album'). Most tracks were written by drummer/vocalist John LiVigni - though [The Grosso] was co-written by Lawrence Klimas (sax and flutes). [Producer - Bob Cullen] For me, the only 'Puzzle' is what this band was doing on the Motown label...".

Puzzle 1973
Through Discogs.com I found that 'John Valenti' was a member, and here is his Wikipedia entry: "John Valenti (born John LiVigni) is an American singer-songwriter from Chicago, Illinois. He began his career as lead singer and writer for a pop band, Puzzle. Puzzle released two solid albums on Motown Records in 1973 (Puzzle I) and 1974 (Puzzle II). They were one of the rare white groups on Motown. With a sound often reminiscent of the early Chicago Transit Authority. They were a horn pop soul band with John's vocals recalling Stevie Wonder. They owed a lot to Chicago, their inspiration, including back to back self-titled albums. Though they never made the Hot 100 singles or Top 200 albums, they made two very credible albums. John eventually went solo. He released one album in 1976, entitled Anything You Want, on Ariola Records. It peaked at #51 on the U.S. Black Albums chart on the strength of the title track, which had been released as a single and which peaked at #37 on the Billboard Hot 100. As of 2007 Mr. Valenti still performs."
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Jug Session -
Easy Here 45 (1970)
Jug Jession are the only band here to have put out just one single, but it's good, one of the heaviest in this comp maybe! 'Easy Here' is a short but heavy rocker with a hint of Hendrix (as has the b-side 'Runnin' Down' even more so), except for the horns of course. So far I have only found two useful references to them, one on Alex Gitlin's Nederpop Encyclopedia and one on Collector's Frenzy. They state that they were based in Noord-Brabant, a southern province of The Netherlands. The members were Huib van der Broek (guitar), Ben Koot (guitar), Robert Kraak (fender bass), Anton Verhagen (vocals), Emmanuel Cooymans (drums) and Otto Cooymans (organ, piano). A couple of these weren't mentioned on Gitlin's site, but were Anton Verhagen and Otto Cooymans would go on to symphonic rock group 'Otger Dice' and Vitesse (Otto also playing in Fontessa before that) and Emmanuel Cooymans would go on to instrumental group Strato. In this interview, Otto Cooymans briefly mentions Jug Session: "..when I left boarding school at 17, i found myself in a bluesrock band called Jug Session together with Anton Verhagen. We even did a tour in Germany and played in front of a few 1000 people and the people went crazy.." (Thanks to Marc Joseph for the translation).
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Gasoline Band LP front and band photo
The Gasoline Band are up next. Again, a very hard band to seek info on, until I found an old official website that is. It was started in Berlin in 1969 by two Americans - NYC Composer/Pianist Fred Schwartz and Jazz Trumpeter/298th Army Bandsman Larry "Fish" Brown Jr. After gigging and attracting further (mostly american) members they signed a contract with UK label Cube and recorded their only album in London. The record is generally quite a smooth, soulful affair, except for two heavy tracks in the middle; 'Ein Grosses' (featured here) and the more progressive 'Schrapnel'.

Ein Grosses is by far the most guitar-heavy, starting and ending with groovy rolling riffs which sandwich some flashy instrumental spotlights, including some backwards-recorded gat work. Brilliant song! The full band listing for the one and only album, as per Discogs.com is George Thompson Jr. (bass), Joe Ogé (congas), William Goffigan (drums), Brian Bevan (vocals, guitar), Fred Schwartz (keyboards), Major Wilburn Jr. (tenor sax), Charles Bowen Jr. (alto saxophone), Jerome Johnson (trombone), Jim Dvorak & Ronald Phillips (trumpets). Discogs refers separately to two of the American guys; Jim Dvorak (Brooklyn) and William Goffigan (Maryland). There's a clip of Dvorak playing trumpet in london recently, here, and a further list of his involvements at almusic.com here.
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The Silk track at number 10 is fast and insistent with cool vocals. They were not a horn band as such, but had some horn arrangements layed on their only album 'Smooth As Raw Silk' (1969). Here's a great write-up for Silk I found at Bad Cat Records :- "This short-lived Cleveland-based outfit is probably best known for having served as a springboard for singer/guitarist Michael Stanley Gee of future Michael Stanley band fame.

Silk - Smooth As Raw Silk LP
Like half of the teenagers in the United States, by 1965 the combination of girls and money proved irresistible to the teenaged Gee, who started his career playing in a number of local groups including The Scepters.  By 1968 Gee was attending Hiram University and joined a late-inning version of Clevelabd's Beatles-inspired The Tree Stumps showcasing the talents of Gee, guitarist Chris Johns, drummer Courtney Johns, and keyboardist Randy Sabo.  Playing dances and local clubs won the band a cult following and released a couple of singles, but met with little financial reward and by 1969 the Stumps had morphed into Silk.  Silk did little and on the verge of calling it quits, a performance at a Cleveland club attracted the attention of producer Bill Szymczyk who'd been sent on the road by ABC Records to look for talent.  (The same trip saw him sign Joe Walsh and the James Gang to a contract.)

Signed to ABC, the band were teamed with producer Szymczyk (who also co-wrote several tracks).  The group's 1969 debut "Smooth As Raw Silk" served to showcase the band's broad and versatile repertoire.   Gee and Sabo split vocal duties and while both were professional, neither was overwhelming (Sabo actually struck me as the better of the two).  All four members contributed the writing chores (a cover of Tim Rose's 'Long Haired Boy' and the country tune 'Custody' were the lone non-originals), the results found the band touching base on a wide array of genres ranging from country ('Custody'), to sensitive singer/songwriter moves, and even horn rock ('Not a Whole Lot I Can Do').  The results were never less than professional, but the lack of focus left you kind of wondering who these guys really were - at times it almost came off as a demo intended to show they could do it all.  The collection got off to a nice start with the effects laden 'Introduction' (dedicated to airline pilots everywhere) and the psych-rocker 'Foreign Trip'.  From that point on things became very hit or miss. Sporting some nice twin lead guitar work from Johns and guest guitarist Harry Porter 'Skito Blues' was an excellent rocker.  Almost as good was the raucous 'Come On Down Girl'.  At the other end of the spectrum taking on the then-taboo issue of divorce and children the C&W-flavored 'Custody' was easily the strangest song.  Coming in a close second, 'Scottish Thing' somehow managing to meld a trance feel with bagpipes.  The song was also interesting in that it was dedicated to Elektra's Jac Holtzman (even though the band was signed to ABC).   


Smooth As Raw Silk rear (CD)
- Opening up with some tasty Gee bass and some Stax-styled horns, 'Not a Whole Lot I Can Do' found the band switching orientation with a killer slice of blue-eyed soul.  Showcasing how good Gee's voice could be, this track actually rocked out.  rating: **** stars

Ultimately [the LP] was maddeningly inconsistent; almost sounding like a wedding band trying to show they could cover all sorts of musical genres ...  The album actually managed to hit the top-200 charts (peaking at # 191) but with little support from ABC (the company didn't even release a single),  the quartet subsequently called it quits."
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Moving on to Aura, this is another band with scant on-line information, though they made a consistent s/t album of heavy horn rock in 1971. I have chosen the song 'Truckin' from it. This is how Vernon Joynson's Tapestry Of Delights describes them:"A Powerful Horn-Jazz-Rock outfit from Los Angeles. The stand-out cut is Life Is Free on side 2. Chuck Greenberg (flute, sax) and Terry Quaye (congas) also guested on the album."

Aura LP (1971)
Eventually I found a few nuggets on a blog belonging to a guy called Ron Romano. He was not in Aura, but he was in a later-70's band called Giant City. Now, Aura's formative name was Giant City. In tribute to the original band that Ron's Giant City took their name from, he posted up mp3 rips of Aura's 1971 album and some info regarding the band. After a while some members and colleagues/friends/fans of the original Giant City/Aura band came across this and have posted some informative comments there. The rips are still there and you can read the comments at the bottom of this page.  Here's a comment from Andy Foertsch (Aura trombone player) "...Thanks for the good words. [Aura] was a great ride and some of us are still in touch. BTW, most of us hated the name “Aura” but Mercury made us change it [from Giant City] for a real BS reason. Jerry Smith was in The Flock before he was with us. Last I heard, and this is old news, he had something to do with Hohner but I don’t know what. There weren't too many copies of the [Aura] album made, I think only about 10,000, if that many. I have linked my page to your site so that people, where I live now, Florida, can listen. There’s also a web page, “horn rock heaven” that has one of our tunes and 100's from different bands of our era, They’re writing a book and going to do a bit about us. Peace." Andy also commented that Aura played a reunion show at the Chicago Pop Festival in November 2009.

Aside from Andy, the rest of Aura (according to Tapestry Of Delights) were: Sam Alessi (organ, piano, vibes), George Bar (vocals, trumpet), Fred Entesari (sax), Dennis Horan (drums), Al Lathan (vocals, percussion), Jerry Smith (bass, vocals) and Bill Waidner (guitar).

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Warehouse - Powerhouse LP (1972)
The next track is from an album which I found out about for Vol86, and was pleasantly surprised by, as it's a horn rock album with some quite rocking moments, a real rarity to come from Holland. It's by a mysterious band called Warehouse from Friesland, and there is very little information available. I am indebted to Marc Joseph, guitarist in band Vitamin X, for alerting me to this album and finding extra information for me. It was produced by Tim Griek who was previously the drummer in the symphonic prog band Ekseption.


The Crash
The players are listed as Harry Zijlstra (gtr, vox), Quido Hereman (vox, percussion, gtr), Jan De Jong (Bass), Jan De Lang (percussion), Klaas Bootsma (keys), Jaap Van Der Veer (sax) and Andries Zijlstra (trumpet, vox). The album sounds quite commercial but it has some good tracks like 'It's life', and 'The Na-na-na Song' is uplifting fun. Most of Warehouse were in a 60s beat band called The Relays, who later formed The Crash. The Crash made a 7'' called ''Last Week / One Rainy Day'' in 1969 which sold more than a 1000 copies within 3 months of release.

Warehouse
Warehouse developed from The Crash in 1969, partly as a reaction to Dizzy Man's Band (from Volendam) which was a band to also feature a brassy soul-rock vibe. Warehouse made one album called 'Powerhouse'. The record company (Imperial) wanted them to go commercial/professional but they refused and didn't get a contract. Around 1972 John Eskes joined who was previously in Art461/Canyon. In 1974 some members had to commit to their family lives and Warehouse split, but 3 of them (Jan de Lang, Quido Hereman, John Eskes) started Zig Zag Trio, later called Zig Zag Band. John Eskes is still active and the leader of Big Band Leeuwarden 73.


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Swegas 'Child of Light' LP cover
This set ends with Swegas, a UK band that were not very hard hitting but had some great progressive tracks. The one I chose here is the longest cut, the title track from their fist released album 'Child of Light'. Swegas have a website where you can read their bio, and stream both their albums, including an unreleased demo album, a live one and a single, all in their entirety: http://www.swegas.com/. Here's a few  snippets: "...the band rehearsed endlessly....in a room at the London Ambulance Service in Waterloo Road....during the Spring period of 1970 they had a regular spot upstairs at Ronnie Scott's Jazz Club - Swegas one night - Genesis the next! They then embarked on a three month tour of Europe starting in Oslo on May 20th...[during which]...their blue mini bus was breaking down continually and through lack of money spent a number of nights sleeping under the vans. They ended up in the famous Top Ten club sharing the bill with the Boston Show Band (featuring the then unknown Gary Glitter). They liked their drummer Billy Hogan so when Maurice left shortly after Billy was offered the job..."

Thanks for listening......horns up!!
Rich

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Monday, March 25, 2013

The Day After The Sabbath 86: Master of My Fate (roadburn2)

Download from [mf] or [mg]
unzip password:  tdats
TDATS 86 is another collaboration with fellow vintage rock aficionado Walter, organiser of the annual Roadburn festival in Tilburg, Netherlands. Being one of the best events in the world for seeing current bands that are keeping the memory of the good old sounds alive, plus a few of the actual good old bands themselves (The Pretty Things are playing this year), It's really cool for TDATS to be associated with the fest. Take it away Walter!

Walter (arm raised) partying with the
crowds on the Roadburn dance floor
"We at Roadburn Festival are avid followers of The Day After The Sabbath! It's great to relive the heavy 70s through Rich's collections of obscure rock, and we're glad the festival inspires him as much as his comps inspire us in our work. Last year, Rich did the first TDATS Roadburn compilations with his volumes 63 and 64, and we're truly honored that he has come up with another compilation for this year's festival. What Rich has done here is collect a bunch of tracks by contemporary bands that have played at Roadburn, using their covers of 70s songs. On top of that he's added another selection of cool Dutch 60s/70s obscurities. We're currently swamped in the organisational affairs, and 'Master of My Fate' will help us to keep on track, otherwise we'd be losing it!"  -- Walter / Roadburn.

Jan Hollestelle
The comp opens with a single from Jan Hollestelle, who cut his teeth as a bass player in Hilversum's beat combo "The Torero's" with his guitarist brother Hans Hollestelle. The brothers both played on the Dutch production of the musical Hair. They were in a few other groups together, including The Tower, which appears on here later, and fusion band Spin. Jan recorded an instrumental single called 'Creepy' in 1973 and here it is. I have cut it into two parts to use as the intro and outro for the set. From 1971 he became a highly-demanded session musician and also works on classical compositions.


The Atomic Bitchwax (live 2001)
Next up is The Atomic Bitchwax. They are a well-known stoner rock band which originated as a side-project of Monster Magnet lead guitarist Ed Mundell, ex-Godspeed bassist/vocalist Chris Kosnik, and drummer Keith Ackerman. Ed Mundell's place has now been taken by Finn Ryan (ex-Core). They first played on one of the early editions of Roadburn in 2001 with the founding lineup. I found a mini-review here and only 3 bands were on the bill, a number that is slightly smaller than the 60+ that have been billed over the 3 day event in recent years! This track is from that performance, during which they played 'Play The Game', which first appeared on a 1970 Atomic Rooster single.

Track 3 is from Amsterdam's Temple, which was a small project by members of other bands. They only made two singles, the most interesting track by far was the b-side, 'Triple Guitar", from the second one. Aad van de Kreeft was in Blue Planet and the George Cash band, Ron Meyjes was in Livin' Blues and The Knack, Cees Meerman was previously in Bismarc and John "Johnny" Frederiksz was also in Livin' Blues. 'Triple Guitar' is awesome, it has a really metallic feel. A third single was released under the name 'Johnny Fredericks & Temple'.

Josiah
We move on to Josiah, who were an English stoner rock/hard rock band from Leicester that played at Roadburn in 2005 and 2007. They went their separate ways in 2010 and in their ten-year existence they made four albums and three EPs. Originally comprising Mathew Bethancourt (vocals, guitar) now with Cherry Choke, Sie Beasley (bass, vocals) and Keith Beacom (drums), Bill Darlington took to the drums for a single in 2003 which had a b-side cover of Grand Funk Railroad, which is the track I have included here. It was also available on a gig-handout CD called 'Rare Cuts'.  Bill is in two other bands that appear in this volume of TDATS, so he'll be mentioned again soon... Josiah also recorded another wicked cover, of Bufallo's Dead Forever. It was included on their last album, 'Procession'.

Next up is The Hague's Big Wheel, founded by producer Hans van Hemmert, and Peter Vink, who was the bass player in classic Dutch garage group Q65 (see Vol63). They released five singles between 69 and 71, and they had a great, catchy but heavy glam sound like this. I have used a b-side called 'Upside Down' which is pretty simple and short, it's a spontaneous jam with a basic verse, but it has the raw and joyful feeling of a great moment caught in time, never to repeated. They definitely had the skills to make a good album so it's a shame they did not. Hans produced and co-wrote songs for many bands, including others I have used before, like Q65, The Motions and Group 1850. The rest of Big Wheel was Cyril Havermans (vocals), Rob van der Zwan (guitar), Shell Schellekens (drums) and Peter Seilberger. Havermans and Schellekens were both in Brainbox (see Vol20) just after.

Gorilla 2010
Track 6 is from Gorilla, a UK band that made three albums last decade. They have been on recording-hiatus since other bands have been taking up the member's time, but they still play live now and again and they played Roadburn fest in 2006. They are due to get out the heavy equipment again this year for Maximum Festival 2013 in Italy. John 'Johnny Gorilla' Redfern (gtr,vox) and Sarah Jane Russel (bass,vox) have been the constant members since the 90s and at various times Richard Guppy, Malt Jones, Sammy Forway and Bill Darlington have been on drums. John has been rocking since the 80s, including Brighton heavy psych bands The Morticians and Cherokee Mist. I found some Morticians info online here:  "The Redfern Bros. began to play in the mid-80s as The Giant Sunhorse; at the beginning of 1986 they found bassist Ben Jackson and changed name to The Morticians, releasing this delicious sweet at the end of next year ["Freak Out With The Morticians"]. An explosive punk side (those who don't know one original at least, lift up their own hand) and a visionary psych-side made few lucky owners happy... the first pressing of 500 ran out very soon and so did the second one of little more than a thousand, but Ben's leaving caused dissolution. At the end of 1988 a compilation of early recordings (demos and live sets) titled "She's Like Heroin" came out on Distortion Records.

The Morticians LP (1987)
Part of the 80's wave of UK Neo Psych and Garage Punk, The Morticians made one of the best lost UK psych-punk albums of that era. It's a combination of '60s styled garage punk and West Coast/Pink Fairies like acid guitar rock. Heavy distorted fuzzed out guitar solos, swirling keyboards and a really stoned atmosphere pervade this little gem that's long gone on vinyl. Includes uniquely heavy versions of "Action Woman" & "Song Of A Baker", "Blackout Of Gretely" and a totally over the top lysergic version of the Country Joe & The Fish classic "Section 43". Dave Goodman's production is raw , drenched in reverb and somehow (only God knows) he managed to hold this monstrous creation together."

In 2006 Gorilla recorded a nice fuzzed-up cover of Motorhead's 'Limb from Limb' (from 'Overkill' LP, 1979) which is what I have used in this comp. Bill D. played briefly in Josiah (as mentioned earlier), currently he and Johnny are playing in the Admiral Sir Cloudesley Shovell, who appear on this volume later so there's some more Gorilla/Josiah/ASCS info coming up soon...

Hilversum's The Playboys seem to have mainly been a working showband, but they did record two singles. Their song 'Snoopy' was recently used in the movie 'Nick and Norah's Infinite Playlist' and back in it's time it was used as the theme music on radio VARA's 'Sport Show' and 'Hollands Glorie' . The band was Paul Natte (keys,trumpet), Peter van den Meulenn (sax, vox), Frans de Wit (gtr, vox), Reinout Weidema (bass) and Ted de Jong (drums). I have used the b-side of their second single here, "I'm The Looser" is a great little pop song that could have been a hit world-wide. Later, Paul Natte, along with Rein van Den Broek of symphonic prog band Ekseption, made the theme tune for the Dutch coverage of the Tour de France, which was used for years. Peter van der Meulen later became a owner of The Smugglers nightclub in the town of Bussum.

The Tower - 'In Your Life' (1968)
We reach the half-way point with The Tower, who recorded two studio-only singles and have many band members listed on RYM: but I am not sure exactly who or how many of them are playing on the track I am using here: 'Slow Motion Mind'. They included Boudewijn de Groot on guitars and vox, who appears to have had a successful solo career and became a producer of some bands that I have already used before, including Kraayeveld who are coming up. Other names were gutarist Eelco Gelling who was also in Cuby + Blizards (see Vol35) and later Golden Earing, Jan Hollestelle who I mentioned previously, Jay Baar (drums), Herman Deinum (keyboards), John Schuursma (guitar), Willem Schoone (bass), Hans Jansen (Hammond organ, piano) and Kees Kraanenburg (drums). They had a keys-heavy sound that is reminiscent of Procol Harum.

Danava on stage
Danava are from Portland, Oregon. I have used a Slowbone (see Vol40) cover that appears on their 2011 album 'Hemisphere Of Shadows'. They have been around since the early 2000's and they played at Roadburn in 2008 and 2012. There have been three Danava albums to date, reveling in a mix of stoner rock, space rock, glam and all things good about heavy 70s metal. I have seem them twice and can confirm they are the real deal live; a full-on guitar bombast attack band. Tempered with the occasional moog-out, they're as close as you're going to get to going back in time to the days of the best stuff. Their current line-up is Gregory Meleney (voxs, guitar, synth), Zachariah Dellorto Blackwell (bass), Matt Oliver (drums) and Andrew Forgash (guitar).

Here's a few questions I fired at Gregory, founder of the band, for this comp:

Q1. Hi Greg. Can you give us a brief account of the early formation of Danava, and which member(s) lead the way at the beginning?

Gregory
"The original core of the group relocated from various parts of Illinois to Portland in 2002 in hopes to begin playing together, which we did by way of a Goblin cover group for a Devil's Night party. Enter Rosy Cross the Portland addition. From there we did the usual thing and it became Danava. And as a concept, musically, I'm afraid I'm the one to blame."

Q2. Where does the name Danava come from? It's sounds familiar yet original at the same time.

"Danava for brevity's sake is a demon. A race of demons to be exact in ancient Hindu mythology. Rosy Cross named us and I'm really grateful he gave us this name because of it's absolutely fantastic nature within vs the all to quick, unfamiliar and easily overlooked quality it has. Donovan? no Danava! Haha! it immediately goes in one ear and out the other. Everyone looks to Christianity for names of an evil nature. I think it ran it's course long ago and I'm glad we got the chance to embrace something far more ancient and magical, in my opinion, than your typical archetypes of the dark side. Danavas were fascinating beings. We actually don't deserve the name but I'm proud of how it's led us about for these last ten years."

Q3. You merge a more diverse range of styles than most bands. Do you treat this as a priority when you write? Or is it just what happens to come from the band's chemistry when playing together?

"Honestly a little of both. I write the music with a sense of where I come from, under the influence of what I grew up listening to. All those great fucking bands man. The real turning point is whether or not it has our own imprint within. Our voice is firmly intact. That and the fact that we love so many different musics I suppose."

Q4. Regarding the last question, are there any band members who are particularly responsible for encouraging particular elements in your sound? If so who and how?

"Yeah, like I said before it's me. I'm the instigator and I put it all together with the help of my brothers."

Q5. I have visited Portland myself, it seems to have a strong scene with a lot of great like-minded bands. What unique influence do you think Portland has had on Danava, compared to say if you had got together in Seattle instead?

"That's a tough question. Honestly Portland absolutely didn't play any role in our sound beyond just living here. If anything, the small town nature of Portland allowed time and space to keep doing what we do. Seattle would have killed us. Not our kind of town. No offense of course."

Q6. Have any other Portland bands, old or current, had a strong influence on Danava? Could you recommend some to check out?

"Oh sure one name comes to mind and that's Fred Cole (of Zipper, see Vol44). That man deserves so much more, yet I love him right where he is. I don't have the space to tell you how I feel about that guy really. Absolutely inspiring fella that one. Beyond Fred there's Stepson, XINR....the underdogs. We carry this torch for the underdogs."

Q7 & 8. Clearly you guys appreciate the lesser-known bands, having performed two covers of great bands I have used in TDATS comps so far, namely Stray and Slowbone. Could you also tell us why you chose Stray and Slowbone and if it's just a coincidence that they are both British? Can you name 3 more similarly unknown bands that you dig and why, maybe ones you would also like to cover?

"Now that's an undertaking. We've covered lots of shit live over the years. We've done The Deviants, Broughton, T2, Aeroblus, Pink Fairies and classics like Sabbath, etc. There are, as you obviously know, way too many great songs from the underground over the years. I know, for me personally, I've always wanted to do No Witch At All or Mr Longevity by Hard Stuff, Irving by Three Man Army and Just A Game by Dirk Steffens but not sure if it'll ever happen. Ah there's just too many man.

Our shining moment was performing Bullets by Zipper with Fred singing and Greg Shadoan on bass. It's on youtube, THAT was fucking incredible for me. We chose Slowbone and Stray for the fact that it's great, underground and fits our style. Another lesser known reason would a man called Steve Harris."

Q9. What does the foreseeable future hold for Danava?

"New record and more touring as usual. Never stops but we definitely like to slow down and allow the space to get our head around the music rather than keep up with the business of it all."

Thanks Gregory!
------------------------------
Warehouse - Powerhouse LP (1972)
The next track is from an album which I have only just found out about, and was pleasantly surprised by, as it's a horn rock album with some quite rocking moments, a real rarity to come from Holland. It's by a mysterious band called Warehouse from Friesland, and there is very little information available. I am indebted to Marc Joseph, guitarist in band Vitamin X, for alerting me to this album and finding extra information for me. It was produced by Tim Griek who was previously the drummer in the symphonic prog band Ekseption.


The Crash
The players are listed as Harry Zijlstra (gtr, vox), Quido Hereman (vox, percussion, gtr), Jan De Jong (Bass), Jan De Lang (percussion), Klaas Bootsma (keys), Jaap Van Der Veer (sax) and Andries Zijlstra (trumpet, vox). The album sounds quite commercial but it has some good tracks like 'It's life', and 'Wild one' sounds like a baby Deep Purple with the addition of spritely brass. Most of Warehouse were in a 60s beat band called The Relays, who later formed The Crash. The Crash made a 7'' called ''Last Week / One Rainy Day'' in 1969 which sold more than a 1000 copies within 3 months of release.

Warehouse
Warehouse developed from The Crash in 1969, partly as a reaction to Dizzy Man's Band (from Volendam) which was a band to also feature a brassy soul-rock vibe. Warehouse made one album, from which I have used the track 'Wild One'. The record company (Imperial) wanted them to go commercial/professional but they refused and didn't get a contract. Around 1972 John Eskes joined who was previously in Art461/Canyon. In 1974 some members had to commit to their family lives and Warehouse split, but 3 of them (Jan de Lang, Quido Hereman, John Eskes) started Zig Zag Trio, later called Zig Zag Band. John Eskes is still active and the leader of Big Band Leeuwarden 73.

       Louis             Johnny          Bill
The Admiral Sir Cloudesley Shovell played at Roadburn last year (2012). They are a favourite live act of mine to watch here in London and I wrote an intro for them already on another site so I will use that here as it describes them as well as I think I am able to; "All right, Tinkerbell. You're nicked!”. Welcome back to a time when Jack Regan had the scum on the run, and gaggles of disgruntled half-naked clothing assistants had Benny Hill on the run. Luckily for us running isn’t so easy in flares and platform shoes, and sideburns cause even more drag, so this debauched admiral of the fleet will not be escaping the crowds hungry for groovin’ power-trio rock perfection.


Don't Hear It...Fear It LP (2012)
Hastings’ own Admiral Sir Cloudlesley Shovell (try saying that after 9 pints of Double Diamond) have been belting out their honest, no-nonsense swagger-filled rock ‘n‘ roll for a few years now and the world is taking notice. They played a storming set at Roadburn last year, which this devout scribe was more than happy to suffer ‘Sleep’ deprivation to experience, and their debut album “Don't Hear it... Fear it!!” is just out on Rise Above Records. ASCS are Louis Comfort -Wiggett, Bill Darlington and Johnny Gorilla. Many of you will know Bill and Johnny’s other band Gorilla, who have been pumping out their Blue Cheerful vibes since the late nineties.

If 70’s proto-metal is your thing; Sir Lord Baltimore, Budgie and Buffalo get you all hot under your giant pointy collar, and you can handle a big psychedelic dose of garage punk into the bargain, then make sure you dig the Shovell!"

For the comp I have used a brilliant Buffalo cover which is the final track on Cloudesley Shovell's recent debut album "Don't Hear It...Fear It" (Rise Above Records). I have taken this opportunity to ask Bill Darlington a few exclusive questions, as he has drummed for all three of the UK bands I have used in this volume, it seemed a good idea:

Q1. Hi Bill. Could you tell us how, why and where you got into being a rock musician?

Bill
"I started playing the drums when I was 18 and from the off I was in a psych band called 'Vibraphone' with Louis (now in Admiral Sir Cloudesley Shovell) funnily enough! I like all styles of music but rock was where I wanted to be. I always wanted to be a drummer so I would get inspiration from the rock greats such as...Bonham, Moon, [Mitch] Mitchell."

Q2. Why did you choose drums? Have you played other instruments?

"Drums are my main instrument although, I do play a bit of guitar and bass. Like I said, I always wanted to be a drummer from an early age. I can remember at school I was pissed off that the music teacher chose a popular kid in my class to play the drums in a school play instead of me. I left home at 17 and lived with my then girlfriend in London. I've always been a tapper and she used to get so fucked off with it she threatened to get me a drum kit which she did for my 18th birthday. My neighbors hated me!"

Q3. What bands were you learning from back then?

"When I picked up the sicks for the first time I was trying to play along with The Who and Sabbath. I would have to say that Bill Ward's drumming was a massive help to me as it was easier to play along with than Moonie, as Bill is more direct and not all over the place. Two very different drummers but equally as cool!"

Q4. What UK bands were you watching live early on that influenced you?

"I have two older brothers that are musicians. My oldest brother Jay plays keyboards and my other brother Spud plays the bass. From about the age of 13 I used to go watch them rehearse or play live in London. They both played in a 60s garage band called Tilt-a-Whirl. That band was another influence on me to play the drums. When I started to play I was older and living in London and seeing a lot of bands that were actually very shit so it was hard to be influenced by anything live. 

One band that had a big impact on my drumming was The Morticians (both John and Louis from The Shovell). They were super heavy and loud!! John's brother Simon played a double kit and he produced a huge sound that reminded me an engine with the throttle jammed on!"

Q5. For each one, could you tell us a little about how you came to play with these three bands:

a) Josiah
"I played with Josiah first out of all three bands but only for a short while as they were based in Leicester and I am all the way down in Hastings and that's a long walk! I guess it came about as they needed a drummer at short-notice so they contacted me. I did a bunch of gigs with them and recorded a single."

b) Gorilla

"I ended up in Gorilla as they were having trouble with drummers at the time (exploding incidents, alien abduction, bizarre gardening accidents, pre opp, post opp etc...) and I had been friends with both John and Sarah for a while. It just seemed like the done thing as we all had the same musical interests and I loved Gorilla's sound. Heavy, loud and dirty!"

c) Admiral Sir Cloudesly Shovell

"ASCS came about by Louis, John and myself having a few beers one night and talking about putting a band together for something to do other than drinking beer and talking about putting a band together so that's what we did!! We started off playing a few covers like The James Gang - Walk Away and Mountain - Mississippi Queen. It sounded good and right so we decided to write our own and here we are."

Q6. What do you see as some of the notable musical differences between those three?

Bill & Tony McPhee
 of Groundhogs
"Josiah and Gorilla were tarred with the term "Stoner Rock" but I think that's a shit way of explaining this type of music as it's a bit lose. The term should probably be "Sabbath Rock" as that's what people are really referring to me thinks?!!

Josiah and Gorilla were similar in their direction but were quite different in sound as Josiah reminded me of Sabbath but Gorilla reminded me of Sabbath with the higher octane feel of The Who or The MC5. Gorilla are more Sabbath Rock - on speed!! I used to think that playing in Gorilla was like running a marathon and having to carry your drum kit home after!! Fuckin' knackering.

ASCS to me are like no other band I've been in. We are more into the likes of Sir Lord Baltimore, Dust, Bang etc than just Sabbath or MC5. It has a mixture of everything I have done in the past with the other two bands, but tighter. It has the thick riffs of Sabbath and the messy rawk n roll of The Stooges, MC5 with a huge dollop of the craziness of Sir Lord Baltimore. I guess I learnt a lot with the other two bands, but with ASCS I can put it all (and then some!) into practice."

Q7. The Shovell have made one excellent album so far, and had a lot of great support slots with the likes  of The Groundhogs, Orange Goblin and Uncle Acid & the Deadbeats. What's the plan for ASCS from here?

"Yeah, it's been a great couple of years with The Shovell! We've had a single and LP out that has had a lot of thumbs up from people across the globe, made us proud! We've also had the pleasure of some ace shows supporting some top bands. We never set out to do all of this wonderful shit but I'm mighty glad we have!

We're currently rehearsing new material for our 2nd LP which we hope to have out in the Autumn. It's sounding meaty as hell and I can't wait to get it down while it's still fresh. We have a few shows in Spain coming up next month and some locally. Also, we're playing at The Desert Fest (I'm going as Spotted Dick and Custard!!) Checkout our Facebook for more gig info."

Thanks Bill!
------------------------------
Kraayeveld were a spin-off from a long-running band called The Bintangs who sounded a little like The Netherlands' answer to The Rolling Stones. After initial success with some singles, founding members Frank Kraaijeveld (bass, vocals) and Arti Kraaijeveld (guitar, vocals) left Bintangs to form their own band Kraayeveld, and the track I have used here is a live studio recording of them jamming a Bintangs track 'Hound is on the Run'. I think this version is far superior to the Bintangs one, it's rawer and heavier, which is also how the main difference between Bintags and Kraayeveld in general is usually described. Later, Kraayeveld changed it's name back to The Bintangs, to confuse matters, and now-days the only original member left in The Bintangs is Frank Kraaijeveld. Apologies for the not so great sound quality. I had to use the youtube audio, I have asked the contributer for the file but no luck as yet... but thanks to him anyway, and thanks to Walter himself for showing me this wicked track.

Smok Smoczkiewicz -  Bill Steer - Ludwig Witt
Firebird (final album lineup)
Track 13 is another cover, this time from the UK's Firebird. The band was masterminded by Bill Steer in 1999, who's career started out whilst a teenager in the 80s, in the extremely influential metal bands Napalm Death and Carcass. He remained the only constant member of Firebird, which has had a rotating lineup of musicians from similarly-minded bands like Cathedral, The Quill, Spiritual Beggars and Blind Dog. Carcass still plays and is recording new material right now, but Bill's time in recent years has been equally taken up in classic/retro bands like Firebird, Gentleman's Pistols and a recently re-formed Angel Witch. Firebird split in 2011 but during their 10 years plus they played Roadburn thrice, in 2003, 2009 and 2010. For this comp I have chosen a storming cover of a Humble Pie classic, Four Day Creep, which was on Firebird's fifth album, 'Grand Union' (2009). The term 'Four day creep' derives from the phrase 'fore day creep, which was a line in the blues standard 'Outside Woman Blues' originally recorded by Blind Joe Reynolds in 1929. 'fore day meaning at night (before day), and the creep being an untrustworthy lover up to no good, creeping around at night. 'Outside Woman Blues' was covered by Cream on their second album Disraeli Gears.

For the final track, which gives this comp it's title, I have used something I heard on a fantastic compilation of rare Dutch psych 45s called 'Fantasio Daze', which I totally recommend. Opus made this cover of The American Breed (link) in 1969. It was released on Vinyl in 2000 and has since had a CD edition too. I have adapted the liner notes from the LP/CD and found a little more info via RYM: "Opus, not to be confused with the Nijmegan group of the same name, spent the years '66 to '69 on the verge of breaking through nationally, along with another Maastricht band called The Sharons with which they shared members Pierre Beckers, Jo Robeers and Frans Theunisz. Much of the Opus appeal was due to the composing and singing talent of [Englishman] Tom Winters and successful singles included 'Gotta Get High' and 'Baby, Come On'. Other members included Chrit Mandigers (keys), Rob Schaade (bass) and Frans Theunisz (drums). Following the departure of Winter, the band unfortunately did not succeed any longer. Members of both The Sharons and Opus re-appeared soon after as 'Windmill' and released a few singles on the Limburg-based Killroy label. In the late 70s Tom Winters made some solo singles, and another band appeared with Pierre Beckers and Erwin Musper of Windmill, called Partner".

'Master of My Fate' is a great song, with a lot of Beatles-ish pop sensibility and it has great guitar lines I think would sound awesome in a heavier cover, if anybody is up for it...

Thanks for listening, Rich.

Tracklist:

01. Jan Hollestelle - Creepy [Intro] (1973)
       single
02. The Atomic Bitchwax - Play The Game [live Atomic Rooster cover] (2001)
       live at roadburn festival 2001
03. Temple - Triple Guitar (1971)
       single
04. Josiah - Got This Thing On The Move [Grand Funk Railroad cover] (2005)
       single, and fan album 'rare cuts'
05. Big Wheel - Upside Down (1970)
       single
06. Gorilla - Limb From Limb [Motörhead cover] (2006)
       compilation 'wild sound from the past dimension'
07. The Playboys - I'm The Looser (1970)
       single
08. The Tower - Slow Motion Mind (1968)
       single
09. Danava - The Last Goodbye [Slowbone cover] (2011)
       album 'hemisphere of shadows'
10. Warehouse - Wild one (1972)
       album 'powerhouse'
11. Admiral Sir Cloudesley Shovell - Bean Stew [Buffalo cover] (2012)
       album 'don't hear it...fear it'
12. Kraaijeveld - Hound is on the Run (1971)
       studio jam
13. Firebird - Four Day Creep [Humble Pie cover] (2009)
       album 'grand union'
14. Opus - Master of My Fate (1969)
       single
15. Jan Hollestelle - Creepy [outro] (1973)
       single
references
Alex Gitlin's Nederpop Encyclopedia  |  Muziek Encyclopedie  |  Musiek Base
Gooischpoparchief   |   www.nederbiet.nl   |   Dutch Progressive Rock

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