Wednesday, September 24, 2008

Spooky Tooth - The Last Puff (1970)
Spooky Tooth was undergoing a transition when the band recorded ‘The Last Puff’, a fine album first released on the Island label in 1970 and produced by Chris Blackwell. One of the earliest ‘heavy’ bands famed for their soulful gospel sound and solid beat, they had leapt to fame with the release of their first two critically acclaimed albums. After two years of heavy touring they underwent some personnel changes. Keyboard player Gary Wright and bassist Greg Ridley left, and this set was recorded by the remaining members with help from members of The Grease Band. Some critics want to slag this off as a "contractual obligation album" or "a Mike Harrison solo album", and actually topping Spooky Two would have been almost impossible - but this is actually a very good effort from Spooky Tooth. Among the seven tracks are stirring versions of the Beatles’ classic ‘I Am the Walrus’ and Elton John’s ‘Son Of Your Father’. Four bonus tracks are added to the original album, and feature a selection of single versions.

1. I Am the Walrus
2. Wrong Time
3. Something to Say
4. Nobody There at All
5. Down River
6. Son of Your Father
7. Last Puff
8. Son of Your Father (Mono Single Version)
9. I've Got Enough Heartache (Mono Single Version)
10. I Am the Walrus (Mono Single Version)
11. Hangman Hang My Shell on a Tree (Mono Single Version)

Mike Harrison - Vocals, Keyboards
Mike Kellie - Drums
Henry McCullough - Guitar
Alan Spenner - Bass, Guitar
Chris Stainton - Guitar, Bass, Keyboards


Part 1__Part 2__Part 3__Part 4


Monday, September 08, 2008

Steeleye Span - Ten Man Mop or Mr. Reservoir Butler Rides Again (1971)
Ten Man Mop or Mr. Reservoir Butler Rides Again is the third album by Steeleye Span, recorded in 1971. Of all their albums, it is the most acoustic and it also has considerable Irish influence, second only to Horkstow Grange. Tracks like "Four Nights Drunk", "Marrowbones", and "Wee Weaver" are essentially pure folk. It was the last album to feature founding member Ashley Hutchings, who left the band in part because he felt that the album had moved too far toward Irish music and away from English music. The band was also considering touring America, and Hutchings was reluctant to make the trip.

The album begins with an adaptation of the Christmas carol "Gower Wassail". "When I was on Horseback" is one of the few folk songs to have an alternative existence as a blues song, sometimes known as "Six White Horses". It is also an Irish variant of a tune that inspired "Streets of Laredo" and "St James Infirmary". The last song, "Skewball" is one of the album's highlights, employing an effective counterpoint between a banjo and an electric guitar.

The album was notable for having a textured "gatefold" sleeve and inner pages on its original release. This was paid for by the band but cost more to print than the album generated in profits, meaning the band lost money on each album sold. None of the re-releases have included the original number of pages of liner notes.

The album's curious title and subtitle require some explanation. A 'mop' or 'mop-fair' is a late medieval term for a job fair, where laborers come looking for work. (The song "Copshawholme Fair", from the band's first album, is about such a fair.) The conceit was that the band was out of work and job-hunting. A 'ten man mop' would be a very poor show, since there would be few potential employees to choose from. The even more curious subtitle is a reference to Reservoir Butler, who had originally performed one of the songs covered on the album. The band was so struck by his unusual name that they decided it needed to be saved from obscurity.

When Castle Music re-released Ten Man Mop..., they added a substantial number of bonus tracks. On the first disc, the bonus tracks included "General Taylor" and three versions of the Buddy Holly song "Rave On". A second disc was included that contained a recording from "Radio One in Concert with John Peel", dated 26/9/71 (following British dating conventions). The quality of the recording was quite variable, but the bonus tracks include a number of pieces not released on any album. (wikipedia)

Disc One:
1. Gower Wassail
2. Jigs: Paddy Clancey's Jig/Willie Clancy's Fancy
3. Four Nights Drunk
4. When I Was On Horseback
5. Marrowbones
6. Captain Coulston
7. Reels: Dowd's Favourite/10 Float/ Morning Dew
8. Wee Weaver
9. Skewball
10. General Taylor (Studio Outtake)
11. Rave On (Single)
12. Rave On (Alternate Version)
13. Rave On (Alternate Version II)

Disc Two BBC Radio One In Concert 9-26-71:
1. False Night On The Road
2. Lark In The Morning
3. Rave On
4. Three Reels (Dowd's Favourite/10 Float/Musical Priest)
5. Captain Coulston
6. Handsome Polly-O
7. Two Sea Shanties (Bring 'Em Down/Haul On The Bowline)
8. Four Nights Drunk
9. When I Was On Horseback
10. I Live Not Where I Love
11. Three Reels (Wind That Shakes The Barley/Pigeon On The Gate/Jenny's Chickens)
12. Female Drummer
13. General Taylor
14. Four Reels (College Grove/Silver Spear/Ballymurphy Rake/Maid Behind The Bar)

Maddy Prior - vocals, spoons, tabor
Tim Hart - vocals, dulcimer, guitars, organ, 5-string banjo, mandolin
Peter Knight - fiddle, tenor banjo, mandolin, vocals, timpani
Ashley Hutchings - bass
Martin Carthy - vocals, guitar, organ


Part 1__Part 2__Part 3__Part 4__Part 5__Part 6


Monday, September 01, 2008

Stoneground - Stoneground (1971)
"The self-titled debut from the East Bay groovers Stoneground is a solid effort blending accomplished straight-ahead rock & roll with a distinct bluesy vibe similar to many of the group's San Fran contemporaries. The band's revolving-door personnel centered on a Concord, CA, trio featuring Luther Bildt (guitar), Tim Barnes (guitar), and Mike Mau (drums). Through Bay Area music mogul Tom Donohue, the trio hooked up with former Beau Brummels leader Sal Valentino (vocals). In turn, John Blakely (guitar/bass) arrived via Donohue, and by the time that both Valentino and Blakely had settled in, Stoneground was also sporting a quartet of female vocalists. While Annie Sampson, Lydia Phillips, and Deirdre LaPorte were virtually unknown, Lynne Hughes had been in a seminal version of Dan Hicks' Hot Licks as well as in the short-lived Tongue and Groove. The band continued to expand when it toured England in the Medicine Ball Caravan (1970) tour, picking up future Jefferson Starship and Hot Tuna member Pete Sears (keyboards) in the process. With occasional help from former Mystery Trend member Ron Nagle (keyboards/percussion/inspiration), the sprawling combo that would contribute to Stoneground (1971) was intact. Part of the band's quaintly indefinable sound can be attributed to the inclusion of more than half a dozen different lead vocalists on the album's ten tracks. While Valentino supplied a majority of the originals, the disc is highlighted by some truly exemplary cover tunes as well. These include a gospel-rock reading of Rev. Gary Davis' "Great Change Since I Have Been Born" and the refined East Bay funk rendition of the Kinks' "Rainy Day in June," as well as the slide guitar blues of John D. Loudermilk's "Bad News." Arguably, best of all is the rousing "Don't Waste My Time," which shows off the full force of Stoneground's cohesiveness. The power ballad "Brand New Start" is masterfully driven by the gospel inflections of Sampson. The Valentino compositions -- "Looking for You," the quirky "Added Attraction (Come and See Me)," and "Stroke Stand" (which is notable for an ensemble vocal) -- bear repeated listens and hint at this group's truly great potential." (Lindsay Planer, All Music Guide)


"As the 1960s turned into the 1970s, old groups broke up, new ones formed, and alliances became as loose as musical chairs, with fluid lineups forming and morphing around young veterans. Of all the ensembles to arise from the new order, few were as large and fluid as Stoneground, the ten-strong band who featured several stalwarts of the initial '60s San Francisco rock explosion in their ranks. On their self-titled debut album, they embraced a scope of styles reflecting their diverse membership, blending San Francisco rock with blues, soul, and gospel. Their size and eclecticism might have worked against them commercially, however. But then again, Stoneground's origins in the hippie counterculture were almost uncommercial by definition.

Stoneground grew out of a much smaller power trio from the East Bay San Francisco suburb of Concord, featuring guitarist Tim Barnes, drummer Michael Mau, and guitarist Luther Bildt. Barnes had known San Francisco rock impresario Tom Donahue since high school; Donahue, a pioneer of FM radio in the Bay Area in the late 1960s, had been a big part of the local scene since the beginning of the decade, when he was a DJ on the popular Top Forty AM station KYA. He was also co-founder of the first significant San Francisco rock label, Autumn Records, which had a couple of hits in the mid-'60s with the Beau Brummels. At the end of the 1960s, the Beau Brummels, now on Warner Brothers, were breaking up, and lead singer Sal Valentino was in need of a new project.

Warners, Valentino told me in a 1999 interview, "were going to do some sort of a project with me. And it got started, but I didn't stay long enough. Tom came down [to Los Angeles] and brought me back north." Valentino, as well as rhythm and bass guitarist John Blakeley, started to work with the Stoneground trio, which took on no less than four woman singers. Only one of them, Lynne Hughes, had significant recording experience, as the lead singer for the Bay Area band Tongue and Groove (which recorded for Fontana in the late 1960s) and an auxiliary member of sorts of the Charlatans. Annie Sampson had known Valentino as a neighbor of both him and another of the new recruits, Deirdre LaPorte. Both Sampson and Lydia Phillips, the fourth female vocalist, had been in the San Francisco production of Hair. As Sampson remembers, Sal "was like the leader, 'cause Tom had built the band around Sal. Tom was deeply involved with Warners as well."

Warners in turn was deeply involved with financing a documentary of a traveling rock festival of sorts, which eventually ended up as the film Medicine Ball Caravan. Originally the Grateful Dead (also on Warner Brothers) were supposed to be part of the Caravan. But according to Sampson's recollection, Stoneground ended up going instead, and were something of the house band of the project, as the only band to play every concert of the enterprise in America and Europe. Signed to Warners, they recorded an unreleased attempt at a debut album in London with George Harrison in attendance at some of the sessions. "It was a great album," according to Sampson. "But somehow Warners didn't quite like it; they didn't think it was quite what they wanted, or something." In England they did pick up a new member in bassist/keyboardist Pete Sears (who played on Rod Stewart's early-'70s albums), and did the LP released in 1971 as Stoneground at Sunwest Studios in Los Angeles, reprising some of the material from the London sessions. Non-member Ron Nagle, who'd been in one of the very first psychedelic San Francisco bands in the mid-1960s, the Mystery Trend, contributed keyboard, percussion, and (according to the sleeve credits) "inspiration."

If there was any dominant force on Stoneground, it was Valentino. He wrote five of the six original numbers and was the only member to sing lead on more than one track (taking the lead on four cuts altogether, and featuring as a sparring partner on a couple others). Yet those expecting a continuation or expansion of the Beau Brummels' moody folk-rock, in which Valentino occasionally wrote material but usually interpreted the songs of Brummels guitarist Ron Elliott, would come up empty. "Stoneground's stuff is like, it's a different guy," Valentino told me. "It's different songs, different styles. Some people don't think much of it at all, especially people that like my singing at the beginning."

Indeed the record featured no less than seven lead vocalists, with Sampson, Hughes, LaPorte, Phillips, Barnes, and Bildt each taking a turn at the front mike. "Sal was gracious in doing that," praises Sampson. "He would let everybody sing. He wasn't selfish. He spotlighted us all." In keeping with an album that presented so many different voices, the choice of covers was quite eclectic, including the Kinks' "Rainy Day in June," Reverend Gary Davis's "Great Change, Since I've Been Born," John D. Loudermilk's "Bad News" (previously recorded by Johnny Cash), and John Mayall's "Don't Waste My Time." The closing gospel-soul-rock ballad, the Sampson-sung "Brand New Start," was penned by Blakeley and Donahue; Donahue also pitched in by co-producing the record with Valentino.

The result couldn't wholly capture their live persona, which as Sampson puts it was like "a happening on stage," with much dancing and audience participation. And inevitably for a band featuring seven singers, the record encompassed only a portion of the material that Stoneground performed live. Their next release, the double-LP Family Album, caught up on some of the omissions, yet by that time the lineup was already changing. By 1973 only Barnes and Sampson remained from the original group, and Stoneground kept going until 1984, Barnes and Sampson on board all the while. Pete Sears found the most fame of any of the original Stonegrounders as a member of Jefferson Starship. While many of the others faded from the music business, Barnes remains active in Northern California as a guitarist in Mick Martin and the Blues Rockers, as does Sampson, who plays live often and releases solo recordings on her own label. " (Richie Unterberger, liner notes)

1. Looking For You
2. Great Change Since I've Been Born
3. Rainy Day In June
4. Added Attraction (Come and See Me)
5. Dreaming Man
6. Stroke Stand
7. Bad News
8. Don't Waste My Time
9. Colonel Chicken Fry
10. Brand New Start

Sal Valentino - Guitar, Vocals, Tambourine
Tim Barnes - Guitar, Vocals
John Blakeley - Guitar, Bass
Pete Sears - Bass, Keyboards
Michael Mau - Drums
Luther Bildt - Guitar, Vocals
Lynne Hughes - Vocals
Deirdre LaPorte - Vocals
Annie Sampson - Vocals
Lydia Phillips - Vocals
Ron Nagle - Keyboards, Percussion


Part 1__Part 2__Part 3