Brian Hopper With Beggars Farm - Brian Hopper With Beggars Farm (1970)
At the start (and at the heart) of the so-called Canterbury Music scene was The Wilde Flowers, a band which was an outlet for the rock ambitions of several musicians who grew-up together, among them Robert Wyatt, Mike Ratledge and the Hopper brothers - Brian and Hugh. Jazz improvisation and many other musical forms preceded this venture in their early playing careers, but the 'lure' of the sixties revolution tempted them to look in a more 'commercial' direction (or that is what they imagined in those far-off, heady days !).
Brian Hopper: "My own part in those early years and beyond into the Wilde Flowers period was, besides being a playing and writing member of the group, somewhat unusual in that being slightly older and the only one with a 'regular' job, I was able to afford transport of sorts. I was able to provide a certain stability and direction to the group and in a more practical sense move it around for rehearsals and gigs".
The Wilde Flowers, as with many bands, underwent a series of personnel changes whilst building up a small but dedicated local following with their self-penned material and made a few demo records along the way (since released on Voiceprint VP123CD). Brian on guitar and saxes and Hugh on bass (and later, saxophone) were the only constant factor through their three-year life, with Robert Wyatt, Richard Sinclair, Kevin Ayers and Graham Flight moving on to pastures new and others including Pye Hastings, Richard Coughlan, Dave Lawrence and Dave Sinclair joining at various stages.
Another band Brian Hopper was involved in at the time was Beggars Farm, consisting of ex-Earl Gutheridge Explosion members John Lawrence (guitar) and Dave Smith (drums), and ex-Crimson Lace Blues members John Tilley (lead vocals and flute) and Dave Holman (bass). Recordings of original compositions (most of them by Lawrence) made in late 1969/early 1970 were converted to a limited vinyl LP run, and several record companies approached, unfortunately to little interest. As part of Brian's subsequent Canterbury archive series of projects, the tracks were released on Voiceprint in 1997 under the title Brian Hopper with Beggars Farm. Beggars Farm split up in May 1970 following the tragic death of John Tilley in a road accident as the band was returning from a gig at Toft's, Folkestone.
Beggars Farm (John Tilley, John Lawrence, Dave Holman, Dave Smith and Brian Hopper) was one side branch on the Canturbury scene's family tree. Who knows what might have blossomed if this group of musicians had been able to follow the promising line of original writing and performing that shines through on this album.
1. Long Time 3:19
2. Story 3:10
3. Tomorrow Won't Be Long 3:15
4. Astral Plane 3:57
5. Sea 5:04
6. You're Not My Girl At All 2:26
7. Living In The Building 2:24
8. Looking Back 3:14
9. Thinking Of Me 2:58
10. Your Lovin' Man 5:51
11. You Forever 8:00
Sunday, September 2, 2012
Brian Auger & The Trinity With Julie Driscoll - Open (1968)
Brian Auger & The Trinity With Julie Driscoll - Open (1968)
From the outgrowth of Steampacket, a band that included not only Brian Auger and Julie Driscoll, but also a young Rod Stewart, came Auger and Driscoll's collective effort that produced two albums. When Driscoll left in 1969 to pursue a solo career, Auger, drummer Clive Thacker, and bassist Dave Ambrose continued as Brian Auger & the Trinity. Open has been unfairly characterized as a kind of groove jazz rip, one that combines Wes Montgomery, Jimmy McGriff, and the rock sensibilities of the psychedelic era. Whatever. There are many tracks here, from deep grooved funky jazz to lilting ballads and greasy blues numbers and the skronky exotica number "Goodbye Jungle Telegraph." Auger may not have been as gifted an organist as Alan Price technically, but he could more than hold his own on the Hammond B-3 (as evidenced by the first two tracks here which are instrumentals, "In And Out" and "Isola Nate"). He was also able to pull more sounds out of the instrument than any of his peers. Auger wasn't much of a vocalist, but he could dig deep and get the emotion out of a song — especially in a funky number like "Black Cat," which featured a killer though uncredited studio horn section. Driscoll's contributions are all on the second half of the album, beginning with the shuffling choogle of Lowell Fulsom's "Tramp," continuing through a moving reading of Pops Staples' "Why (Am I Treated So Bad)," two Auger originals, and concluding in a reading of Donovan's "Season of the Witch" that single-handedly established her reputation as a vocalist of great interpretative ability and emotional dexterity. Almost eight minutes in length, it is the perfect interplay for the quartet with its dark, smoky swirling energy and extant soul groove, and capos the album on a high note, making it a delightful precursor to the classic Streetnoise which was to follow.
1. In And Out 3:22
2. Isola Natale 5:17
3. Black Cat 3:25
4. Lament For Miss Baker 2:41
5. Goodbye Jungle Telegraph 6:19
6. Tramp 4:15
7. Why (Am I Treated So Bad) 3:37
8. A Kind Of Love 2:36
9. Break It Up 3:04
10. Season Of The Witch 8:00
11. Ive Gotta Go Now 4:12
12. Save Me 4:03
13. This Wheels On Fire 5:19
14. Road To Cairo 3:30
From the outgrowth of Steampacket, a band that included not only Brian Auger and Julie Driscoll, but also a young Rod Stewart, came Auger and Driscoll's collective effort that produced two albums. When Driscoll left in 1969 to pursue a solo career, Auger, drummer Clive Thacker, and bassist Dave Ambrose continued as Brian Auger & the Trinity. Open has been unfairly characterized as a kind of groove jazz rip, one that combines Wes Montgomery, Jimmy McGriff, and the rock sensibilities of the psychedelic era. Whatever. There are many tracks here, from deep grooved funky jazz to lilting ballads and greasy blues numbers and the skronky exotica number "Goodbye Jungle Telegraph." Auger may not have been as gifted an organist as Alan Price technically, but he could more than hold his own on the Hammond B-3 (as evidenced by the first two tracks here which are instrumentals, "In And Out" and "Isola Nate"). He was also able to pull more sounds out of the instrument than any of his peers. Auger wasn't much of a vocalist, but he could dig deep and get the emotion out of a song — especially in a funky number like "Black Cat," which featured a killer though uncredited studio horn section. Driscoll's contributions are all on the second half of the album, beginning with the shuffling choogle of Lowell Fulsom's "Tramp," continuing through a moving reading of Pops Staples' "Why (Am I Treated So Bad)," two Auger originals, and concluding in a reading of Donovan's "Season of the Witch" that single-handedly established her reputation as a vocalist of great interpretative ability and emotional dexterity. Almost eight minutes in length, it is the perfect interplay for the quartet with its dark, smoky swirling energy and extant soul groove, and capos the album on a high note, making it a delightful precursor to the classic Streetnoise which was to follow.
1. In And Out 3:22
2. Isola Natale 5:17
3. Black Cat 3:25
4. Lament For Miss Baker 2:41
5. Goodbye Jungle Telegraph 6:19
6. Tramp 4:15
7. Why (Am I Treated So Bad) 3:37
8. A Kind Of Love 2:36
9. Break It Up 3:04
10. Season Of The Witch 8:00
11. Ive Gotta Go Now 4:12
12. Save Me 4:03
13. This Wheels On Fire 5:19
14. Road To Cairo 3:30
Brainchild - Healing Of The Lunatic Owl (1970)
Brainchild - Healing Of The Lunatic Owl (1970)
Lennie Wright from Web and Samurai produced Brainchild's first and only album, so it's no surprise that "Healing of the Lunatic Owl" is in a similar style to both "I Spider" and Samurai's self-titled album. That means early 70's progressive rock dominated by horns and organ. The opener "Autobiography" starts as a straightforward rocker, but turns in the middle into a complex instrumental section that lasts for the rest of the song. Although it's one of the shortest tracks on the album, it sums up nearly every side of the band's music very well. The swinging title-track is one of the highlights, and the structure is really not that far away from "Autobiography", but the track returns to the main part at the end again. The slow and bluesy beat of "Hide From the Dawn" is a bit more basic, but the long instrumental passages and complex arrangements make it well worth listening to. "She's Learning" is the catchiest song on the album, and has almost hit-potential. However, the longest tune is "A Time A Place", featuring dramatic vocal parts mixed with more intricate instrumental parts. "Two Bad Days" is for me the least good song, but the ballad "Sadness of a Moment" is really beautiful, consisting of nothing else than flute, guitar and vocals. And the album finally closes with the excellent instrumental "To "B"". I'm not sure if I would rate this album as high as "I Spider" or "Samurai", but it's still a very good LP worth finding if you enjoy the two mentioned bands or progressive rock with horns in general.
- Brainchild - She's Learning, from "Healing of the Lunatic Owl", in 1970, their sole album. The origins of this very competent brass/rock septet are a bit hazy. They appear to come from the UK, but we're not sure of this. That minor detail aside, if you enjoy If and The Alan Bown, you'll really like Brainchild, from the chunky fretless bass to the biting brasss ection. Their album came out on A & M Records, but original copies are harder to find than owls with human hands for feet! It is available on CD, however, and is certainly worth checking out.
- For those who love the music of "Samurai" or "The Web" will likely go crazy for Brainchild. This album juxtaposes trumpets, trombone, saxes and flutes over an organ fertilized field with great drum, guitar and bass pollination. Vocals are quite good and shared between Harvey Coles (Bass) and Bill Edwards (Guitars). Musically The Healing Of The Lunatic Owl combines 60's psych, blues, lounge, jazz and prog elements into their songs creating a highly original form of rock. Bass drum develop some very cool rhythm sections while the guitar and brass instruments convincingly carry the lead.
1. Autobiography 3:47
2. Healing Of The Lunatic Owl 5:21
3. Hide From The Dawn 7:12
4. She's Learning 4:24
5. A Time A Place 9:16
6. Two Bad Days 4:07
7. Sadness Of A Moment 4:18
8. To B 4:05
Lennie Wright from Web and Samurai produced Brainchild's first and only album, so it's no surprise that "Healing of the Lunatic Owl" is in a similar style to both "I Spider" and Samurai's self-titled album. That means early 70's progressive rock dominated by horns and organ. The opener "Autobiography" starts as a straightforward rocker, but turns in the middle into a complex instrumental section that lasts for the rest of the song. Although it's one of the shortest tracks on the album, it sums up nearly every side of the band's music very well. The swinging title-track is one of the highlights, and the structure is really not that far away from "Autobiography", but the track returns to the main part at the end again. The slow and bluesy beat of "Hide From the Dawn" is a bit more basic, but the long instrumental passages and complex arrangements make it well worth listening to. "She's Learning" is the catchiest song on the album, and has almost hit-potential. However, the longest tune is "A Time A Place", featuring dramatic vocal parts mixed with more intricate instrumental parts. "Two Bad Days" is for me the least good song, but the ballad "Sadness of a Moment" is really beautiful, consisting of nothing else than flute, guitar and vocals. And the album finally closes with the excellent instrumental "To "B"". I'm not sure if I would rate this album as high as "I Spider" or "Samurai", but it's still a very good LP worth finding if you enjoy the two mentioned bands or progressive rock with horns in general.
- Brainchild - She's Learning, from "Healing of the Lunatic Owl", in 1970, their sole album. The origins of this very competent brass/rock septet are a bit hazy. They appear to come from the UK, but we're not sure of this. That minor detail aside, if you enjoy If and The Alan Bown, you'll really like Brainchild, from the chunky fretless bass to the biting brasss ection. Their album came out on A & M Records, but original copies are harder to find than owls with human hands for feet! It is available on CD, however, and is certainly worth checking out.
- For those who love the music of "Samurai" or "The Web" will likely go crazy for Brainchild. This album juxtaposes trumpets, trombone, saxes and flutes over an organ fertilized field with great drum, guitar and bass pollination. Vocals are quite good and shared between Harvey Coles (Bass) and Bill Edwards (Guitars). Musically The Healing Of The Lunatic Owl combines 60's psych, blues, lounge, jazz and prog elements into their songs creating a highly original form of rock. Bass drum develop some very cool rhythm sections while the guitar and brass instruments convincingly carry the lead.
1. Autobiography 3:47
2. Healing Of The Lunatic Owl 5:21
3. Hide From The Dawn 7:12
4. She's Learning 4:24
5. A Time A Place 9:16
6. Two Bad Days 4:07
7. Sadness Of A Moment 4:18
8. To B 4:05
Boffalongo - Boffalongo (1969)
Boffalongo - Boffalongo (1969)
Personnel:
KEITH GINSBERG gtr A
LARRY HOPPEN bs, gtr, vcls A B
BASIL MATYCHAK keyb'ds, vcls A B
RITCHIE drms A B
DOC ROBINSON bs, vcls B
WELLS KELLY drms B
ALBUMS:
1(A) BOFFALONGO (United Artists UAS 6726) 1969
2(B) BEYOND YOUR HEAD (United Artists UAS 6770) 1970
NB: (2) also released in the U.K. (United Artists UAG 29130) in 1970.
45s:
1 Mr. Go Away/Tomorrow Not Today (United Artists 50607) 1969
2 Please Stay/Mr. Go Away (United Artists 50656) 1970
3 Dancing In The Moonlight/Endless Question (United Artists 50699) 1970
From the New York area. Their first album is essentially progressive rock and features some pretty good guitar work and keyboards. Their second album, however, is not as good. Both were produced by Steve and Eric Nathanson, who also worked with Omnibus and Music Asylum.
When the group disbanded, several members went on to form King Harvest and later Orleans. Keith Ginsberg played with the Blues Brothers in 1980.
Tracklist:
1. The Sea's Gettin' Rough 2:19
2. Marble Clown 3:25
3. Nightmare 2:15
4. Alladin's Lamp 3:39
5. Please Stay 2:42
6. Wides Home 2:26
7. Tomorrow Not Today 2:46
8. B.N.I. 5:30
9. I Know The Feeling 4:29
10. The Band Of Fools 3:29
11. Rest Awhile 3:26
12. Mr. Go Away 2:40
Personnel:
KEITH GINSBERG gtr A
LARRY HOPPEN bs, gtr, vcls A B
BASIL MATYCHAK keyb'ds, vcls A B
RITCHIE drms A B
DOC ROBINSON bs, vcls B
WELLS KELLY drms B
ALBUMS:
1(A) BOFFALONGO (United Artists UAS 6726) 1969
2(B) BEYOND YOUR HEAD (United Artists UAS 6770) 1970
NB: (2) also released in the U.K. (United Artists UAG 29130) in 1970.
45s:
1 Mr. Go Away/Tomorrow Not Today (United Artists 50607) 1969
2 Please Stay/Mr. Go Away (United Artists 50656) 1970
3 Dancing In The Moonlight/Endless Question (United Artists 50699) 1970
From the New York area. Their first album is essentially progressive rock and features some pretty good guitar work and keyboards. Their second album, however, is not as good. Both were produced by Steve and Eric Nathanson, who also worked with Omnibus and Music Asylum.
When the group disbanded, several members went on to form King Harvest and later Orleans. Keith Ginsberg played with the Blues Brothers in 1980.
Tracklist:
1. The Sea's Gettin' Rough 2:19
2. Marble Clown 3:25
3. Nightmare 2:15
4. Alladin's Lamp 3:39
5. Please Stay 2:42
6. Wides Home 2:26
7. Tomorrow Not Today 2:46
8. B.N.I. 5:30
9. I Know The Feeling 4:29
10. The Band Of Fools 3:29
11. Rest Awhile 3:26
12. Mr. Go Away 2:40
Bodast - Spectral Nether Street (2000)
Bodast - Spectral Nether Street (2000)
Much of this material has been around before in other packages, but this is the most comprehensive roundup of Bodast- and Bodast-related tracks likely to be done. Ten of the 16 songs comprise all of the masters recorded by Bodast for MGM in 1969. These have been previously reissued by Cherry Red and See for Miles, but the versions on these CDs are the original mixes by Keith West, whereas on other releases the mixes were done by Steve Howe in 1981. In addition, there are four previously unreleased 1968 songs by Canto, who were comprised of the trio of Steve Howe, Bobby Clarke, and Dave Curtiss, and evolved into Bodast around the time Clive Maldoon rejoined. And, finally, there are previously unreleased alternate takes of the Bodast cuts "Beyond Winter" and "Do You Remember." The music is a link between British flower-power psychedelia and progressive rock, full of intricate song structures and harmonies, yet also lacking the arresting melodies and direction of Howe's previous and subsequent bands (Tomorrow and early Yes), though it's closer to Tomorrow than Yes. It's more historically interesting than musically significant, but its historical value is considerably enhanced by Jon Newey's lengthy liner notes. The highlights remain the occasional times at which they recall early David Bowie, particularly "1,000 Years." ~ Richie Unterberger, All Music Guide
1. Power Of Music 4:43
2. The Spanish Song 2:25
3. Come Over Stranger 3:04
4. Nether Street (Instrumental Demo) 2:59
5. Nether Street 2:59
6. Mr Jones 3:01
7. Tired Towers 3:08
8. Do You Remember 3:30
9. Beyond Winter 2:42
10. Once In A Lifetime 3:25
11. Black Leather Gloves 3:23
12. I Want You 3:18
13. 1000 Years 2:37
14. Nothing To Cry For 4:06
15. Beyond Winter 3:12
16. Do You Remember 3:35
Much of this material has been around before in other packages, but this is the most comprehensive roundup of Bodast- and Bodast-related tracks likely to be done. Ten of the 16 songs comprise all of the masters recorded by Bodast for MGM in 1969. These have been previously reissued by Cherry Red and See for Miles, but the versions on these CDs are the original mixes by Keith West, whereas on other releases the mixes were done by Steve Howe in 1981. In addition, there are four previously unreleased 1968 songs by Canto, who were comprised of the trio of Steve Howe, Bobby Clarke, and Dave Curtiss, and evolved into Bodast around the time Clive Maldoon rejoined. And, finally, there are previously unreleased alternate takes of the Bodast cuts "Beyond Winter" and "Do You Remember." The music is a link between British flower-power psychedelia and progressive rock, full of intricate song structures and harmonies, yet also lacking the arresting melodies and direction of Howe's previous and subsequent bands (Tomorrow and early Yes), though it's closer to Tomorrow than Yes. It's more historically interesting than musically significant, but its historical value is considerably enhanced by Jon Newey's lengthy liner notes. The highlights remain the occasional times at which they recall early David Bowie, particularly "1,000 Years." ~ Richie Unterberger, All Music Guide
1. Power Of Music 4:43
2. The Spanish Song 2:25
3. Come Over Stranger 3:04
4. Nether Street (Instrumental Demo) 2:59
5. Nether Street 2:59
6. Mr Jones 3:01
7. Tired Towers 3:08
8. Do You Remember 3:30
9. Beyond Winter 2:42
10. Once In A Lifetime 3:25
11. Black Leather Gloves 3:23
12. I Want You 3:18
13. 1000 Years 2:37
14. Nothing To Cry For 4:06
15. Beyond Winter 3:12
16. Do You Remember 3:35
Subscribe to:
Posts (Atom)