KIM FOWLEY - Visions Of The Future (Capitol, 1978)

On one of Southern California's coldest nights in 1973, I wrote and recorded "Hollywood Confidential." I didn't realize at the time that this and other cuts on "Visions Of The Future" would remain unreleased until 1978. Capitol Records merely waited until the time was right and for this I am grateful. The title of this LP no should be self-explanatory. As an artist I have always been stranded at the bottom of the barrel, out of my mind in warm beds, tormented by an excess of part time lovers. I must have been crazy to create these instant slime classics. Much more fulfilling however than to watch the world go by on a 2-inch screen. 

"Shine Like A Radio" was once performed on stage at the Whisky a Go Go by the Hollywood Stars for the amusement of Angela Bowie. Ms. Bowie screamed, "Hit.!". An epic inspired by devil juice, it sure beats shooting pool. "Visions Of The Future," this LP's title track is "The cry of a psychopathic dog, indeed the  barking fever of a frustrated animal." The above quote belongs to the combined verbal forces of that particular Kim Fowley band which featured Peter Lion, ex-Hudson Brothers,  Mars Bonfire, ex-Steppenwolf; Jim Moon, one of the last Byrds drummers,Carlos Bernal, an ex-Byrds roadie and guest multi-instrumentalist Chris Darrow, founder member of Kaleidoscope. These selections were recorded for the infamous unreleased "Automatic" LP. "California Gypsy Man" was written in Vaxholm, Sweden. Surely one of the great undiscovered treasures of this century. 

"It's Great To Be Alive" was created by myself and Rodney Bingenheimer. A slice of summer smiles, this work of mid-south  dada along with "California Gypsy Man" appeared on the sex rockers favorite LP of 1972 "I'm Bad." Band at the time included Mars Bonfire, Tornado Turner, who took James Williamson's place in the Stooges at a post-"Raw Power"Chicago gig. Iggy used to sing "She Creatures Of The Hollywood Hills," plus "It Will Stand" during these tarnished days. The drummer was Dreshan Theaker, ex-Crazy World of ArthurBrown, and Warren Zevon. Piano and bass were Peter Sears, ex-Rod Stewart and current Jefferson Starship.  

"E.S.P. Reader," composed in Topanga Canyon, deals with romantic lies on a leather and shades level. "World Wide Love" hardly a statement of pan american boogie or teenage cruises rather points out my view of the global village from a pinball millionaire position. These last two sides were from my "International Heroes" LP, recorded in London and North Africa with various U.K. players including Tony Mac, Charlie McCracken, ex- Taste; a tall, multi-genius' named Peter; a mystery keyboard pounder; Ron Charles, a phantom Harmonicat, Kerry Scott and Glen Turner who should have been the Stevie Winwood of the 70's. 

"Forbidden Love" a song to blue-eyed tigers; written on the road to hell, that I crawled upon at that time, from "I'm Bad." "Something New," night burning predictions from yours truly from his interchangeable House of Wax. From "Heroes" LP in '73. "International Heroes," hot trax from LP of same name. Recorded this year by the British Lions. 

"Save Your Love For A Rainy Day" was my black orchid statement sung with the Queen of Hearts, Becky Hobbs, the only lady to ever jam with the Duane Allman - led Allman Brothers Band at the '72 New Orleans Pop Festival. "Film Maker" from "Automatic" proves among my skin and bones thrust, is a tribute to the director of "EI Topo:" "Mom And Dad" from "Automatic" proves I am one of the world's oldest children. "Red China" a bit of lipstick advertising from" I' m Bad" should put me way up in the politico waaaah. 

Selections from "I'm Bad" and "Heroes" were produced by Jeff Cheen. I produced the cuts from "Automatic." I arranged everything. The engineers and mixer were Dave Hassinger, Paul Grupp and Mike Ross. Photography by Norman Seef. 

I made this record because I am unique and special. I also produced tapes around the same time by Gene Vincent, Blue Cheer, and the Modern Lovers. I am the missing link between Orson Welles and Chuck Berry.Kim Fowley (Notas interiores)

GARY - O´ Gary O´ (Capitol, 1981)

Gary O´Connor, un canadiense con experiencia previa en bandas de segunda B como Cat, Revolver o Aerial, debutó en solitario con este elepé que al igual que otros muchos discos de esa época, se mueve por la delgada línea que separa el AOR más convencional y el power pop más o menos académico. En este caso lo que predomina es lo primero pero a pesar de todo hay por lo menos tres temas que están bastante bien, la versión de los Hollies de "Pay You Back With Interest", campanitas incluídas "Been a Long Time" y "The Way You Look Tonight" con todo el espíritu del Eric Carmen más afectado. Las otras seis sólo para atrevidos.

FRESH - Feelin´ Fresh (Prodigal, 1978)

Influenced by Sly & the Family Stone and Rare Earth, Fresh was an obscure, little-known 1970s band that combined soul and funk with rock. The interracial outfit, which shouldn't be confused with either the 1990s hip-hop engineer or other bands that have called themselves Fresh, didn't get very far commercially, its three LPs were too funky for rock stations and too rock-influenced for R&B stations. Fresh was formed in 1975, when its original six-person lineup consisted of lead singer Bill Pratt, lead guitarist Paul Marshall, rhythm guitarist Elaine Mayo, keyboardist David Kaffinetti, bassist Milo Martin, and drummer Fred Allen. In 1976, the band signed with MCA, which released its debut album, "Get Fresh", the following year. It was also in 1977 that Fresh was an opening act for Rufus & Chaka Khan; Fresh received generally favorable responses from Rufus fans, but regrettably, that didn't translate into record sales. "Get Fresh" bombed commercially, and the band parted company with MCA. In 1978, Fresh resurfaced on Motown's Prodigal label with its sophomore effort, "Feelin' Fresh", and unveiled a new seven-person lineup. Most of the original members were still on board, although a saxophonist, George Englund, had been added -- and Kaffinetti had been replaced by keyboardist Frank Savino. After "Feelin' Fresh", Mayo left the band. Neither Feelin' Fresh nor Fresh's third album, "Omniverse" (which Prodigal/Motown released in late 1978) received much attention and in 1979, the band broke up. Alex Henderson (Allmusic)

PURPLE VELVET - Tribute To Creedence Clearwater (Avenue Recordings, 1972)

Towards the end of the nineteen-sixties, the focus of attention in the field of international pop music swung to the West Coast of America where a new and vital spirit had sprung up amongst the horde of young musicians who had gathered there. It was a period which was to see the emergence of a number of outstanding musical aggregations and individual talents, all reaching out for fame and fortune in the rich and relaxed atmosphere that pervaded the cities of San Francisco and Los Angeles. As the decade moved to a close and the gentle and wistful sounds which had heralded the appearance of flower-power and incense lost favour, the music took on new vitality and drive.

Out of this creative maelstrom came Creedence Clearwater Revival, four young, talented men whose distinctive powerhouse sound was to set a new pattern for American pop music. The group's gutty, raw material, penned mainly by their leader John Fogerty, was based securely in the blues of the deep South, and their dynamic interpretations quickly swept Creedence into the upper reaches of the best-selling record charts, not only in America but also across the international music scene. 

On this album, Purple Velvet recreate and capture the full vitality and force of Creedence's magni­ficent sound in a selection of their twelve best-known performances. A fitting tribute to one of the most exciting groups to appear in recent times and a superb L.P. for your collection. 

FRESH AIR - For What It's Worth / Baby Lady (Exit, 1970)

Sen dúbida miña adaptación favorita do tema dos Buffalo Springfield é esta macarrada feita polos californianos Fresh Air e que ía incluída no seu único Lp "A Breath Of Fresh Air", un disco bastante normaliño aínda que hai xente que ve máis do que hai.

ATOMIC SWING - Stone Me Into The Groove - Feedin' Frenzy (Sonet, 1992)

As gafas do melenas da foto e a publicidade cos termos mindblowing, groovie, freak molaban, así que algo interesante podería aparecer neste sinxelo dos suecos Atomic Swing e así foi, a cara B é un instro caralludo. O outro tema, "Stone Me into the Groove" tamén está bastante ben.

JENNIFER´S FRIENDS - Land Of Make Believe / Visions (Buddah Records 1968)

A única aparición discográfica de Jennifer´s Friends, conxunto de New Haven (Connecticut) que traballou entre 1967 e 1970, foi este sinxelo que na cara A levaba "Land Of Make Believe", orixinal dos Easybeats, e polo outro lado esta moi agradable sorpresa de ambientación sicodélica titulada "Visions". Como non había demasiada información sobre o grupo na rede, decidín escribir a un mail que atopei, ó do guitarrista Matt Lawton, que me enviou o documento que se pode ver máis abaixo e tamén un par de fotos promo cortesía de Buddah Records aínda que castigadas polo tempo. Isto é un resumo.  

The band was formed by Matt Lawton (lead and rhythm guitar), Ben Mochan (bass, rhythm and 12-string guitar, autoharp), Mark Lipson (organ, electric piano), and Kevin Weaver (drums). Matt and Ben, friends for several years and fraternity brothers at college, were playing music together, primary folk music. Ben had met Kevin and Mark somewhere in southern CT where we all lived. Mark was a high school student at that time. Kevin taught math in Clinton, CT. Ben knew John Carney, a graduate student at Yale.

The original name was Zyme. The name Jennifer’s Friends came about while working with John to record "Downtown Tomorrow" and "I Must Go". Jennifer was one of the young women sitting around with the band during practice. We needed a name for our upcoming recording session in New York, and someone suggested Jennifer’s Friends. The stuff of history…

The band, with Barry Buxbaum joined as lead singer, took home-made tapes of original music to New York City, and attracted the attention of a management group, Schwade Merenstein, consisting of Bob Schwade and Lou Merenstein. Schwade Merenstein was managing Miriam Makeba at that time. Lou was connected to Buddah Records. The band recorded a variety of singles under the name Jennifer’s Friends, with only one release, "Land of Make Believe", hitting the top 40 on Billboard. During this time period there were several notable milestones and “near-misses” for the band, as described below.

Matt Lawton quit the band for personal reasons around 1970. Mark and Ben talked Lou Merenstein into producing an album of original music ultimately released by Avco/Embassy under the band name Smokey John Bull. Barry sang on these recordings, which included a number of new band members and singers. Matt formed a local band in southern CT, Giant Yellow. The band played clubs and bars up and down the CT coast, and developed a solid local following. 

Jennifer’s Friends had a few close encounters with making it big in the music industry. The band opened for several big name bands, including Neil Young and Crazy Horse in May,1969; T.K. Rich (TK the son of Buddy Rich, well-known big band drummer), and The Rich Kids; and Strawberry Alarm Clock. Immediately prior to the recording of "Land of Make Believe", the band was given the option of recording a song titled "The Worst That Could Happen", a song ultimately recorded by a group called The Brooklyn Bridge. The song went to Number 1 on Billboard. The band played it live all over CT and was the headliner band at the Ohio State Fair in 1968, where the song was Top 5. Imagine those nice Midwestern folk watching lead singer Barry “shot” and bleeding and sliding down his microphone stand while Matt tore into a psychedelic lick and fires shot up on the amps! Shook up those Ohio folks some….

In 1969 the band recorded a song titled "Lay Lady Lay". The song was released 1 week earlier than our version by Bob Dylan, and went on to be a big hit for him. The band’s version was shelved. Finally, the band had the opportunity in 1969 through Schwade Merenstein to write and record an original movie score for an early Michael Douglas movie titled "Hail Hero". The music and lyrics were cranked out in about 1 week, including recording in New York City. The movie score ended up being recorded by Gordon Lightfoot. More close encounters with the big time……….

Certainly a strong characteristic of Jennifer’s Friends was their song writing, and full and at at times complex harmonies. Much of that came from Matt and Ben’s writing, and Mark’s musical acumen regarding arrangements and harmonies. Barry’s raspy mid-range brought it all together for a wide variety of distinctive sounds. 

Matt Lawton and Barry Buxbaum. February 2014

ARTIGO COMPLETO

FOREST GREEN - Forest Green (Capitol, 1973)

Supoño que estes rapaces debían un favor a alguén porque a portada é fea de carallo, algo que non sucede co contido que é máis que aceptable e entretido, un pouco de pop, outro pouco de rock e certos toques progres para estar á moda, todo envolto cunha boa sección de vento. As que máis me gustaron son as tres que firma o guitarrista. Estas son as notas da contaportada.

Since its formation In the Spring of 1970. Forest Green has devoted itself to a full-time. eminently professional exploration of its roots. influences. and the techniques at Its command. Combining sensibilities that stem and range from classical to the self­widening channels of Improvisational Jazz. Forest Green puts together a sound that is at once logical. tight. and satisfying. Most Importantly, what emerges from the sophisticated mix -with its splendid Incorporation of elements as diverse as a Big Band Sound or a Latin Pulse- is an exuberant lyrical innocence; a sense of wonder at all the wit and emotion that music may convey 

True then to the City of Philadelphia whose sound Forest Green has helped to further define, and to all others now interested in their music, Forest Green delivers a message of Youth and life aspiring to newer, more procressive horizons.  

Matt Damsker, Associate Editor of 'The Drummer

VOUS DANSEZ? LE JERK (Music For Pleasure, 1972)

Que leva a un a pillar discos como este? A resposta é sinxela: a selección das versións e o prezo. Dos grupos e solistas participantes, os únicos relativamente coñecidos son o roqueiro Dick Rivers e os Cuff Links que fan unha gran adaptación dun tema de Ringo Starr. O resto das bandas son probablemente só nomes para o momento. A destacar os tres temas da Motown interpretados por Carême.

POOR BOYS - Ain't Nothin' In Our Pocket But Love (Rare Earth, 1970)

"I say this without qualification: This is the the best bubblegum album I've heard in a while, and it didn't originate from the Kasenetz-Katz factory. Full of short, catchy songs, cheesy organ, fuzzy guitar, and occasionally trashy lyrics with falsetto backing vocals, The Poor Boys have it all. Who are these guys, how did they end up on a Motown subsidiary, and where did they promptly disappear to afterward? Well, a trio is pictured on the cover, and several songs are written by an unfamiliar threesome of "R. Fazio, T. Corio, E. Corlis," who I'm guessing must be the group. A bit of Google searching turns up some first names of Robert, Thomas and Edwin, respectively -- but that's about it. In the production chair is the always-reliable Michael Valvano, a familiar name on Motown and other Detroit area productions. And that's about all I can tell you about it. Billboard notations indicate this came out toward the end of 1970, a couple years late for the bubblegum genre, which could be part of why this is so obscure; I wonder if it's another album/band that the label essentially sat on for a time, as with Milwaukee's Messengers?"  Bob Koch

BARBARA MAURITZ - Music Box (Columbia, 1972)

"Say That You Love Me"

Una petición de Liliána Nagny que quiere escuchar este disco y además nos informa de la muerte de la cantante. El siguiente texto está extraído de la hoja de promo que acompañaba al Lp.

Barbara Mauritz is all too familiar with the dangers of stereotyping. Like Janis Joplin, she migrated from Texas to San Francisco at the height of the Bay area rock boom; as a result, she has been inaccurately cast in a Joplinesque bag by a number of cliche-bound observers. In her original San Francisco band, Lamb, she was constdntly experimenting with voried musical styles, but a sizeable portion of the Bay area musical audience always thought of Lamb in its original incarnation as a classicaIly-oriented folk group. 

With the release of this, her first Columbia album, which was recorded in New York, San Francisco and Los Angeles,Barbara has proved that she is not one to be confined to a particular musical category. Or as she explains, "The important thmg is to record the best possible music, regardless of style."

The accompanying musicians are well equipped to handle this diversity of musical styles. Her producer, Tommy Kaye, has produced artists as disparate as Loudon Wainwright and The Shirelles, and has several gold records to his credit. Her arranger, musical leader, and keyboard man, Tom Salisbury, has played in country-westetrn, swing, and jazz bands, and has often worked with Van Morrison. 

"The "Music Box" theme is more than just a title, because this album has something for everyone. In the opening song, "Sit Yourself Down", Barbara's vocal control is immediately noticeable, as she brings new life to a great song. Also worth attention is Chris Michie's soaring guitar riff. "Drop Down Daddy" comes out as it implies-dropped down and funky. Dr. John's "He Knows What To Do For Me" is presented with a big band/bar type aura. The thing to listen for here, other than Barbara's soothing vocal, is Richard Davis' sliding, standup bass. "All The Love Of My Life is a Lnk Wray tune that highlights Barbara's country background. The interesting thing about "I'm Bound To Be", other than the fact that Barbara co-wrote it is that it was done live in the studio with virtually no overdubbing. 

Side two opens with Van Morrison's "I Will Be There", which is another big band number. Curiously enough, Tom Salisbury arranged both Barbara's and Van's versions. "Around And Around" is handled every bit as tough as a Chuck Berry classic should be. "Winter In The Valley" was written by Barbara in the winter of 71-72 and it features a very intricate 5-part string arrangement, that  was done by just two players. Next, upon the advice of Tommy Kaye, Barbara does one of the first and finest lnterpretations of Loudon Wainwright's "Say That You Love Me". The most lavishly produced track is "The Whale", which features approximately 30 people recorded live in our San Francisco studio. This wlll probably remain an unheard of feat for quite some time. "Music Box", the last tune on the album, is another Mauritz original. It's a beautifully simplistic tune that not only changes the musical mood, but also ties the entire concept of the package together.

While you're getting into the album, Barbara is taking care of a few otber projects. For instance, she and Earl Scruggs are doing the soundtrack for the Robert Radnitz/Mattel (the people who did "Sounder") production of "Where The' Lilies Bloom". She and her band are also preparing to tour; hopefully, at which point, you'll get to see her work-out in person. By the way, Barbara is a full-time mother, which should give you a clue as to how Joshua got his picture on the insert.  

WHITE CHOCOLATE - Getting Ready To Rock & Roll - Let´s Get Funked (RCA, 1974)

WHITE CHOCOLATE está compuesto por tres jóvenes, cuyas raíces musicales nacen del rock de los años 60. En 1967, cuando aún eran unos adolescentes, comenzaron a tocar juntos. Conforme fueron creciendo, tomaron diversos caminos, para reunirse de nuevo, hace dos años, con su actual nombre musical. Integran el trío, Charlie Karp (primera guitarra y cantante), David Hull (bajo) y Jimmy Maher (batería). Todos ellos tienen, pese a su juventud una larga experiencia, e incluso han llegado a tocar junto al gigante Buddy Miles. Componen sus canciones y crean su propio sonido, con el que se han ganado sitio preferente en las listas norteamericanas. Los dos temas que este single recoge, dan la medida de su calidad y su valía.

HOMESTEAD - Every Living Thing Has A Place In God´s Heart...(Nimbus 9, 1972)

"St. Mark's Place"

Malia que pola portada e polo título podería parecer un disco de orientación relixiosa, non ten moito que ver con esa corrente e si máis co típico produto de segunda fila de primeiros setentas con algún momento interesante. Neste caso gustáronme un par de instrumentais "St Mark´s Place" e  "Suite" ademáis dunha macarrada titulada "Woman", o resto, do máis normaliño, probablemente nunha semana nin me lembre. Por certo, Homestead eran un dúo canadiano formado polo vocalista John Finley, que xa tivera o seu momento de gloria cos Rhinoceros, e o teclista Bill King que tamén era o compositor de tódolos temas. O disco publicouse en España vía Belter un par de anos despois.

THE CALIFORNIA POPPY PICKERS - ¡Guateque! (Yupi, 1969)

Unha selección persoal das miñas favoritas dos catro discos editados polos California Poppy Pickers no ano 1969. Evidententemente case tódolos temas son puro expolio de éxitos do momento pero os poucos orixinais, case sempre asinados por Gary Paxton, non están nada mal.

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The California Poppy Pickers were one of several relatively anonymous studio projects assembled by Alshire label head Al Sherman to record budget-priced copycat LPs of '60's pop hits. Virtually all of the groups in question -- Fats and the Chessmen, Los Norte Americanos, and the Bakersfield Five, among them -- were helmed by producer and songwriter Gary Paxton, best-known for composing the novelty smash "The Monster Mash." In 1965, Paxton founded his own Hollywood recording studio, assembling a session crew that variously included guitarist Clarence White, bassist Jerry Scheff, and guitarist/fiddler Gib Guilbeau -- he also discovered brothers Rex and Vern Gosdin, releasing their country hit "Hangin' On" on his Bakersfield International label. By the late 1960s, Paxton was regularly licensing material to Alshire, and at Sherman's request, he put together The California Poppy Pickers to capitalize on the growing country-rock trend. Comprised of singers/multi-instrumentalists Ken Johnson and Dennis Payne, along with pedal steel guitarist Leo LeBlanc, the group released three 1969 LPs -- Sounds of '69, Hair/Aquarius, and Today's Chart Busters -- comprised primarily of covers and thinly-veiled rewrites. For reasons unknown, the fourth and final California Poppy Pickers album, Honky Tonk Women, was recorded without Paxton's involvement, and featured an entirely different lineup -- singer/guitarist Mike Messer, singer/bassist Don Larson, guitarist Randy Wilcox, and drummer Tom Slipp were, in reality, a Christian rock band called the Wilson McKinley, and they used the proceeds from their lone Alshire date to fund a self-released 1970 date titled Jesus People's Army: On Stage. Jason Ankeny

THE STUDIO GROUP - Los Éxitos Del Espacio (Nevada, 1978)

Xa estou de volta e o disco escollido é este subproduto de 66 céntimos cunha bonita portada e un contido moito mellor do agardado. As tres versións de Bowie están ben, a de Deodato mola e a de Klaatu sorprende. Hai incluso un par de temas que non están nada mal asinados polos enigmáticos North e Dailly, probablemente membros do grupo de sesioneiros encargados de dar forma a este tipo de expolios baratos dos éxitos do momento. Este mesmo disco apareceu publicado en Italia con bonita portada tamén como "Space Concept" por The Atoms e en Francia  como "Spatial Disco 2005" por 2005 Stars Group.

SAVOY BROWN - A Hard Way To Go / Waiting In The Bamboo Grove (Decca, 1970)

O blues rock e derivados abúrrenme un pouco pero hei de recoñecer que esta peza de Savoy Brown orixinalmente aparecida no seu Lp "A Step Further" ten o seu aquel.

TOMBSTONES - Mujeres (CD EP, 1992)

"Don´t Look Back"

Seguimos con adaptacións de clásicos do garaxe feitas por aquí. Hoxe recuperamos aos Tombstones, unha banda de Santiago que despois das consabidas maquetas en casete, chegou a editar un cd para o selo vigués MAN Records. No seu momento escoitei o disco e a verdade non me deixou pegada. Como promo editaron este cd con tres temas no que incluían o "Don´t Look Back" dos Remains. Non lembro se o tema ía tamén no disco ou era só un bonus deste cd.

FAMILIA CAAMAGNO - Se Magnan Chove (2012)

Levo uns días na cabeza con esta caralluda adaptación ao galego do tema dos Standells "There's A Storm Coming" polos santiagueses Familia Caamagno. Podedes descargar de balde o disco desde o seu bandcamp.

BARRABAS - Woman / Cheer Up (RCA, 1972)

"Cheer Up"

Xa que falabamos de Barrabás hoxe recuperamos "Cheer Up", a única peza lenta do do seu primeiro disco que ademáis é unha das que máis aprezo de todo o seu repertorio.

SOUNDATION - Tricky Dicky / Chu Chu (Bocaccio Records, 1971)

"Tricky Dicky"

O máis interesante deste sinxelo dos alemáns Soundation está na súa cara A  "Tricky Dicky", que ben podería ter asinada Fernando Arbex no seu paso por Barrabás. "Chu Chu" é chicle do que se pon duro e perde o sabor aos cinco minutos.