Jan 27, 2010
CAROL GRIMES & DELIVERY - FOOLS MEETING (B&C 1970) Korean limited original cover art digipack reissue
Founded in 1966 as Bruno's Blues Band by guitarist Phil Miller, his elder brother, pianist Steve Miller, drummer Pip Pyle and bassist Jack Monck, the band gigged around London for a few years. In 1968, saxophonist Lol Coxhill joined them, and the band's name was changed to Steve Miller's Delivery. In 1969, the band teamed up with blues singer Carol Grimes and bassist Roy Babbington replaced Monck. The resulting line-up recorded and released one album: Fools Meeting. Although Grimes wanted to appear as a band member, the record company released the album under "Carol Grimes and Delivery". In 1971, Pyle left the band to join Gong and was replaced by Laurie Allan (who also later joined Gong). Soon after that, the band broke up.[wiki]
Delivery was formed during the British blues boom of the late '60s. However, its sound is jazzier and more progressive than most of the music that emanated from that era. Rhythm & blues serves as a springboard for forward-looking tracks like "Blind to Your Light" and "Harry Lucky." Singer Carol Grimes is frequently compared to Janis Joplin. While Grimes has a powerful voice, she does not reach the level of histrionics that were a showcase of Joplin's. It should come as no surprise that Delivery members joined Canterbury related bands upon Delivery's demise. The reissue CD of Fools Meeting features several live bonus tracks, as well as a post-breakup demo recording featuring Caravan bassist Richard Sinclair. That demo session, one of the highlights of the collection, spurred the musicians to form Hatfield and the North. Fools Meeting is an essential part of any Canterbury collection, and should also appeal to progressive jazz fans. Jim Powers [All Music]
Though this rare LP isn't notable, it's a nice enough slice of period folk-rock with some country influence; the material on the cusp between the folk-rock and singer/songwriter era. Some cuts, like "Never in My Life," have an understated pop-folk-rock touch with an appealing sense of longing, somewhat haunting melodies, and harmonic blends putting Cruz's clear, high voice against Dunn's slightly contrasting, earthier tones. Cruz scats along in a medieval manner like an American Jacqui McShee at points in "Order to Things." In a different mood, songs like "You Don't Smile Much" burble along with a country hoedown swing, complete with fiddle; "Loving You" has an almost bossa nova sway; "Yellow Cab" has a mid-'60s bluesy New York folk-rock feel, as if it dates from somewhat earlier than the rest of the album; and "So Much Loving" comes closest to a folk-rock-rooted California country-rock sound. The highlight is "Tip of My Mind," in which the harmonies really attain a rich, melancholy pungency. As such folk-rock collectibles go, it's certainly more musically diverse than most, and thus slightly above average within its niche.[allmusic]
Jan 15, 2010
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.[allmusic]
Jan 11, 2010
Writer Jeff Tamarkin says "ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin'." That The Electric Flag do so well -- they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival. A Long Time Comin' is the "new soul" described appropriately enough by the late critic Lillian Roxon, and tunes like "She Should Have Just" and "Over-Lovin' You" lean more towards the soul side than the pop so many radio listeners were attuned to back then. Nick Gravenites was too much of a purist to ride his blues on the Top 40 the way Felix Cavaliere gave us "Groovin'," so Janis Joplin's eventual replacement in Big Brother & the Holding Company, Gravenites, and this crew pour out "Groovin' Is Easy" on this disc. It's a classy production, intellectual ideas with lots of musical changes, a subdued version of what Joplin herself would give us on I Got Dem Ole Kozmic Blues Again, Mama two years later, with some of that album written by vocalist Gravenites. Though launched after Al Kooper's the Blues Project, A Long Time Comin' itself influenced bands who would go on to sell more records. In the traditional "Wine," it is proclaimed "you know Janis Joplin, she'll tell you all about that wine, baby." As good as the album is, though, the material is pretty much composed by Mike Bloomfield and Barry Goldberg, when they're not covering Howlin' Wolf's "Killing Floor" and adding spoken-word news broadcasts to the mix."Sittin' in Circles" opens like the Doors' "Riders on the Storm," the keyboards as well as the sound effects, and a hook of "hey little girl" which would resurface as the title of a Nick Gravenites tune on the aforementioned follow-up disc, where Gravenites and Miles did pick up the songwriting slack, Bloomfield having wandered off to Super Session with the Blues Project's Al Kooper. Amazing stuff all in all, which could eventually comprise a boxed set of experimental blues rock from the mid- to late sixties.[allmusic]
These guys may or may not have gotten together in a cynical attempt to create a roots music supergroup, but their sole album is in fact a lot better than its lack of commercial success might suggest. Each member has a signature specialty--Hammond's in country blues, Bloomfield's at the more modern Chicago variety, with Dr. John the epitome of New Orleans second-line R&B piano--and the material is split accordingly. Hammond, however, is the designated frontman and he's up to the task, although Dr. John's evocatively gruff vocals are missed. Among the highpoints are a sensitive reading of the blues classic "It Hurts Me Too," with terrific horn charts and strong soloing by Bloomfield, and a spooky version of John Lee Hooker's "Groundhog Blues," which has the distinction of being the one song here where all three styles are convincingly meshed.[net]
Jan 7, 2010
I recently received an e-mail from Mr. John Compton member of the great late sixties "APPALOOSA" band, for the promotion of his music -- "Appaloosa" & his personal "To Luna 1972" album -- here in my blog. (see archives)
There are some great news from this legendary band but I guess it's better to read the e-mail below:
I am writing to thank you for creating a post for my 'To Luna' LP
on your Small Town Pleasures Blog.
My band Appaloosa has reformed and is presently recording our follow-up record.
I have suggested to Raven Records (Australia) that they consider reissuing our Compton & Batteau 'In California'
LP. (Collector's Choice Music recently passed on the reissue suggestion)
Feel free to ask some people to send emails to Raven Records saying "Please reissue Compton & Batteau"
Here are the names and emails to people at Raven Records:
In closing, please find below rough mixes of two tracks form Appaloosa's forthcoming yet untitled CD:
Bill Elliott who played keyboards on 'Compton & Batteau' and 'To Luna' will be adding his amazing piano parts.
Daivd Reiser will also be adding his great bass playing.
December Rain MP3
I Forgot To Ask Your Name MP3
Thanks again for helping to promote our music.
Keep up the good work!
John Parker Compton aka Appaloosa
I received an e-mail from these guys to listen to their album...
I can say it's a pretty good album & if I can describe it I could say something between early Velvets & Stooges or something like that...I'm sure you 'll like it!
Here is the e-mail:
"We like your blog.
We are a new band.
We want you to listen to our music."
You can download our debut album for free here:
Or you can listen on myspace:
If you like it tell a friend.
Thank you for your time.
Band name: Woozy Viper
Genre: Rock & Roll
Band members: Luke Meseke, Mitch Meseke
Location: New York City
From: Junction City, Kansas
Album name: Woozy Viper
Release date: 11/30/2009
Album length: 36:29
1. Look Out!
3. Come Over
4. One Of These Days
5. Whoa Baby
6. Dirty Rat
7. Speaking In Tongues
9. King Kong
10. Love Scented Candles
11. The Switchblade Swing
12. It's All Over