MAGGIE BELL - SUICIDE SAL (POLYDOR 1975) Jap mastering cardboard sleeve + 2 bonus

Although critically feted in the U.K., Bell, both solo and with her former band Stone the Crows, never quite achieved the commercial breakthrough everyone had so expected. Always a bridesmaid, never a bride, Bell's recording career was punctuated by a sole Stone the Crows charting album. With that band's demise in 1973, the soul singer went solo, releasing the (again) critically acclaimed Queen of the Night album, with 1975's Suicide Sal following. A tougher, more energized set than its predecessor, Sal's electrifying live feel reflects the incendiary stage shows Bell and her new backing band had been playing in the intervening time between recordings. The two bonus tracks, recorded at a gig later that year, capture their live ferocity. Intriguingly, the funky, fiery title track, an homage to Bell's Aunt, a music hall star, is one of only two originals on this set. The second, the lavishly bluesy "If You Don't Know" was penned by band keyboardist Pete Wingfield, and boasts a guesting Jimmy Page on guitar. The storming "Coming on Strong" also has a Bell connection, being co-penned by ex-Crow Colin Allen and Zoot Money. The rest of the album comprises astutely chosen covers drawn from an eclectic selection of artists. One of the standouts is "It's Been So Long," a powerful gospel number written by the Pretty Things' Phil May, who not only rewrote some of the lyrics for Bell, but added his backing vocals to the song. Free's classic "Wishing Well" gets a sensational workout, while that band's offshoot Kossoff, Kirke, Tetsu & Rabbit's "Hold On" is taken to new emotive heights. From barrelling Beatles pop to the Sutherland Brothers poignant Gaelic ode, from ballads to hefty rock & roll, Bell struts across this set with style and such assurance, that even Aunt Sal must have been impressed. One of Britain's greatest soul singers, showcased at her best, this magnificent album also includes an excellent, expansive biography of this crucial artist.[allmusic]
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MONUMENT - THE FIRST MONUMENT (BEACON 1971) Jap mastering cardboard sleeve

More than an independent band, MONUMENT are an offshoot of British hard rock band ZIOR, who released two albums in the early Seventies. Their only album, "The First Monument", is the result of an all-night, drunken jam session involving the four members of ZIOR. The album features a heavy, distorted, Hammond-drenched sound, and ZIOR's trademark occult lyrical themes.[progarchives]
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By 1971, when this album was first released, it had become somewhat trendy amongst the underground fraternity to actively participate in practises such as ritual magic, occult arts and various other esoteric customs. With music very much to the fore of this scene, a twilight culture unfurled linking mysticism to it in the form of groups inspired by their own self interest and beliefs.
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While special imagery and gimmicks were an all important part of such groups presentation there were those, like Monument, whose fascination for the occult drove them away from seeking to glamourise their image. Vocalist and keyboards man Steven Lowe was a founder member of a witches coven in Essex and this keen interest in the ancient craft served to shape much of the lyrical content of their sole album, which is steeped in sorcery and mysticism. Monument were short-lived, unlike some of the more commercial outfits with similar leanings striving for recognition...
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LITTER - $ 100 FINE (HEXAGON/WARICK 1968) Jap mastering cardboard sleeve + 19 bonus

Not all of the garage punk spirit was gone from the Litter by the time of their second album, when they were moving in a more hard rock and psychedelic direction. It's not on the level of the debut, however, because the material, about half original and half covers, is often unmemorable, and boring at times. "Mindbreaker" moves along in a pretty crunching garage-pop style with guitar that would have fit in with Distortions, and "Morning Sun" is fair California-type psychedelia with those meltdown sustain guitar riffs. Trendy guitar phasing is all over "Kaleidoscope," and things take a downturn with the blues-rock stomp "Blues One" and a nine-minute cover of "She's Not There."[allmusic]
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LITTER - DISTORTIONS (WARICK 1967) Jap mastering cardboard sleeve + 9 bonus

One of Minneapolis' most popular '60s bands, the Litter are most well-known for their classic 1967 garage rock single "Action Woman." With its demonic fuzz/feedback guitar riffs and cocky, snarling lead vocal, it was an archetype of the tough '60s garage rock favored by fans of the Pebbles reissue series. In fact, the single, which got some airplay in Minnesota in early 1967 and then was largely forgotten, didn't reach an international audience until it became cut one, Side One on Volume One of Pebbles in the late '70s. It now has a place of honor on the Nuggets box set. The Litter were a little more successful and long-lived than the average regional garage band, recording a few albums, the last one for a major label, and evolving into a more progressive hard rock outfit before disbanding around the end of the '60s.
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The Litter was formed by members of two Minneapolis area mid-'60s groups, the Victors and the Tabs. (A few songs recorded by the Victors in late 1965 can be heard on the compilation The Scotty Story.) Heavily influenced by the fiercest British Invasion bands such as the Yardbirds and the Who, they recorded their debut single, "Action Woman"/"A Legal Matter," with local producer Warren Kendrick in late 1966. "Action Woman," in fact, was not a Litter original, but a Kendrick composition. Bill Strandlof, who had played the searing guitar lead on "Action Woman," was replaced by Tom "Zippy" Caplan in the spring of 1967, just before they recorded most of the tracks that comprised their debut album. Leaning heavily on covers of songs by British bands like the Yardbirds, the Who, and Small Faces, Distortions was nevertheless a prime example of '60s garage rock at its most powerful. With the garage rock revival, this local release became a coveted collector's item, and has since been reissued several times...................
Like many bands in the late '60s, the Litter subsequently went into a more psychedelic/hard rock direction. Their second album, 0 Fine, put more weight on original material, although their sound was growing more generic. Around this time, the Litter missed out on some potentially big opportunities, turning down offers from both Elektra and Columbia. They appear in a 1968 Chicago psychedelic nightclub scene in political filmmaker Haskell Wexler's classic movie Medium Cool, but only super-briefly; although they're shown playing on-stage, the soundtrack includes none of their music, with the Mothers of Invention's "Flower Punk" overdubbed onto the scene. By the time they did get onto a major label for the 1969 album Emerge (on ABC), Caplan and original lead singer Denny Waite had been replaced, and their hard rock sound had become less distinguished. The Litter have reunited and sometimes continued to play and record, with different lineups, into the '90s.[allmusic]
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JOHNNY TILLOTSON - BEST [His First Album] (CADENCE 1962) JVC K2 HD mastering cardboard sleeve + 12 bonus

Tillotson was born April 20, 1939, in Jacksonville, FL, the son of Jack Tillotson, a country music disc jockey, and Doris Tillotson. When Tillotson was nine, he moved 40 miles to the smaller Florida town of Palatka. He got his first exposure as a singer on his father's radio station while he was still a child. His primary interest was country music, although he was inspired when he saw Elvis Presley perform in Jacksonville on May 13, 1955, just after he had turned 14. Meanwhile, his radio work led to a stint on a local TV show and even his own program. But he maintained his studies, and he was attending the University of Florida as a journalism and composition major in 1957 when he entered a national talent contest sponsored by Pet Milk. He was chosen as one of six finalists, resulting in a trip to Nashville, TN, for the final judging. He did not win the contest, but while in Nashville he came to the attention of a song publisher who was impressed by songs he had written and got a tape of them to Archie Bleyer, owner of the independent Cadence Records label, home to the Everly Brothers and Andy Williams. Bleyer signed Tillotson to a three-year contract and, in September 1958, issued his first single, combining two of the singer's own compositions, the ballad "Dreamy Eyes" and the up-tempo "Well I'm Your Man," both of which bore similarities to the sound of Buddy Holly. "Well I'm Your Man" charted first, peaking at number 87 in the Hot 100 in October, but "Dreamy Eyes" followed, topping out at number 63 in January 1959. (The simultaneously released "I'm Never Gonna Kiss You," a duet with Genevieve, a singer on the Jack Parr TV show, did not chart.)
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The relative failure of "Dreamy Eyes" sent Tillotson back to college, where he received his B.A. in 1959; that August 1959 Cadence released his next single, "True True Happiness," a song in the currently popular teen pop style, complete with recitations of romantic devotion; it petered out at number 54 in September. "Why Do I Love You So," which followed in December, suggested that Tillotson had been listening closely to Ricky Nelson's 1958 hit "Poor Little Fool"; it reached number 42 in February 1960. Next, Bleyer tried having Tillotson cover a couple of old R&B hits, combining the Penguins' "Earth Angel" and Johnny Ace's "Pledging My Love." Disc jockeys couldn't seem to decide which side of the single to play, and both peaked in the bottom half of the Hot 100 in May.
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Tillotson broke through to success with his sixth single, the bouncy pop/rock tune "Poetry in Motion," released in September 1960. He and Bleyer had finally found an appropriate forum for his clear tenor voice, recording with a Nashville studio full of country music session stars like saxophonist Boots Randolph and pianist Floyd Cramer. "Poetry in Motion" peaked at number two in November 1960; in the U.K., it hit number one in January 1961. Instead of immediately turning to extensive personal appearances, however, on Bleyer's advice Tillotson focused primarily on his recording career, though he appeared on television and began to be featured in teen magazines. "Jimmy's Girl," his next single, responded to this teen idol image, but it stopped at number 25 in February 1961. Singing another of his own compositions, Tillotson produced "Without You," a dramatic, string-filled production in the manner of Roy Orbison; it reached number seven in September 1961. Cadence then re-released Tillotson's first single, "Dreamy Eyes," and it got to number 35 in January 1962.[allmusic]
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JOHNNY TILLOTSON - IT KEEPS RIGHT ON A-HURTIN' (CADENCE 1962) JVC K2 HD mastering cardboard sleeve + 9 bonus

Tillotson recorded his most successful self-written song, "It Keeps Right on a-Hurtin'," inspired by the terminal illness of his father. The song was given an overtly country arrangement, although Tillotson, as usual, sang it with his unaccented enunciation, without a hint of a country twang. Nevertheless, it became his first country chart hit, peaking at number four, while getting to number three in the pop chart (and even making number six in the R&B chart). And it earned him his first Grammy nomination, for Best Country & Western Recording. It also went on to become a much-covered country-pop standard, recorded by Elvis Presley and by Billy Joe Royal, whose version was a Top 20 country hit in 1988, as well as, by Tillotson's count, over 100 others, among them Bobby Darin, Sonny James, Hank Locklin, Dean Martin, Boots Randolph, Conway Twitty, Slim Whitman, and the Wilburn Brothers. By the time it was peaking in the charts in the spring of 1962, Tillotson was serving a six-month stint of active duty in the Army, having enlisted in the National Guard to satisfy his military obligation. But he was given weekend furloughs to allow him to continue to record, and he used them to cut his first LP of new recordings (following the 1961 hits collection Johnny Tillotson's Best), also called It Keeps Right on a-Hurtin'. Released in June 1962, the disc, a Top Ten hit, found Tillotson covering a series of country standards, and Cadence proceeded to dole many of them out as singles over the rest of the year: a cover of Hank Locklin's "Send Me the Pillow You Dream On" made the pop and country Top 20 and the Top Ten of the easy listening chart, and a cover of Hank Williams' "I Can't Help It (If I'm Still in Love with You)" (backed by another Williams standard, "I'm So Lonesome I Could Cry") made the pop Top 40 and the easy listening Top Ten.
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When Tillotson returned to recording in early 1963, his new self-written single, "Out of My Mind," was another country-style ballad, although it did not reach the country charts and peaked at number 24 on the Hot 100 in April. "You Can Never Stop Me Loving You," which followed July, was more of a pop song, and it returned Tillotson to the Top 20. (Its B-side, "Judy, Judy, Judy," which Tillotson co-wrote with Doc Pomus and Mort Shuman, was featured in the singer's film debut, the B-picture Just for Fun, which opened in June.)
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Although he had renewed his contract with Cadence for an additional three years in April 1961, Tillotson was released from his obligation as the label wound down in 1963; it went out of business in 1964...[allmusic]
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RICK PRICE - TALKING TO THE FLOWERS (GEMINI 1971) Jap mastering cardboard sleeve + 12 bonus

Rick Price is probably the least famous member of the Move (with whom he had a stint in the late '60s and early '70s), and it comes as a surprise even to some major Move fans to learn that he recorded a solo album shortly after leaving the group. If the equally obscure LP he'd done with Mike Sheridan in 1970 (This Is to Certify That...) sometimes sounded, in a good way, like Move-lite, Talking to the Flowers was yet milder, though not at all bad. Traces of the poppiest sides of the Move and late Beatles are highly audible on this likable if low-key set, sometimes with slight country and orchestral pop tinges to the arrangements. Price doesn't have the greatest voice in the world -- you can hear why he wasn't going to displace Roy Wood, Carl Wayne, or Jeff Lynne as a primary vocalist in the Move, for instance -- but it has an acceptably pleasant tone that's not far afield from those singers' styles. His songs (some written with Mike Sheridan) are nice slices of non-saccharine, occasionally Paul McCartney-esque early-'70s British pop/rock, too, mixed with less impressive but acceptable covers of songs by Tim Hardin and Neil Diamond, as well as a version of an obscure Everly Brothers song in the title track. It all adds up to something worth hearing for Move fans.
The bonus here is an unreleased solo album Price recorded shortly after Talking to the Flowers that's similar, but less impressive and developed; and some other non-LP material from the era.
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THE MAGIC SOUND OF THE "IDLE RACE","MOVE", & "E.L.O." FAMILY.
LISTEN...
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RICK PRICE & MIKE SHERIDAN - THIS IS TO CERTIFY THAT... (GEMINI 1970) Jap mastering cardboard sleeve + 3 bonus

Rick Price is probably the least-known member of the Move, if only because he never really established a well-defined musical (or personal) identity of his own, as the other members did. In the latter regard, Ace Kefford can be pigeonholed (fairly or not) as a drug/acid casualty, Roy Wood as a genius, Jeff Lynne as a pop genius, Trevor Burton as a frustrated rock & roller, the late Carl Wayne as a pop/rock crooner, and Bev Bevan as one of the two or three best drummers ever to come out of Birmingham. But who, apart from some really inquisitive Move fans, really knows anything about Rick Price? His most visible work from the most widely covered part of his career, the Rick Price & Mike Sheridan collaboration referred to as This Is to Certify: Gemini Anthology, released at the start of the 1970s, seems hardly to have sold at all in its own time. And since then, he's had to stand in the shadow of the similarly named Australian vocalist.
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An astonishingly good collection of the post-Move recordings of Rick Price, both solo and in his collaboration with Birmingham rock singer Mike Sheridan, originally cut for Gemini Records and released circa 1970. The music is an often appealing mix of psychedelia, pop/rock, and art rock, rather McCartney-esque at times but in the best possible way -- think of the production on "Martha My Dear" and "Your Mother Should Know," and the texture of the Move's "Beautiful Daughter" from the Shazam album and you've got the idea...is a vital addendum to the Move's history, and at least as essential listening as the first ELO album.[allmusic]
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THE MAGIC SOUND OF THE "IDLE RACE","MOVE" & "E.L.O." FAMILY.
LISTEN...
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BRUCE COCKBURN - BRUCE COCKBURN (TRUE NORTH 1969) Jap mastering cardboard sleeve

Immensely popular in his native Canada, singer/songwriter Bruce Cockburn has found only cult success south of the border, in spite of a rich, varied body of work and considerable critical nods. He has won numerous Juno Awards and has kept the quality control on most of his albums at a high level. Cockburn's first decade of work (1970-1979) is largely literate, singer/songwriter folk-rock, often with a strong Christian tone and mystical, devotional lyrics. In 1979, Cockburn had his only major U.S. single, "Wondering Where the Lions Are," which peaked at number 21. The accompanying album, Dancing in the Dragon's Jaw, saw him augmenting his music with worldbeat rhythms, an approach he would continue over his next few albums
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Bruce Cockburn's self-titled debut's blend of diversity, enthusiasm, and innocence never quite resurfaced again in his work, especially in his more clinical, politically inclined tracts of later decades. The opening number, "Going to the Country," still evokes that hippie-esque, back-to-the-earth movement as well as any song ever recorded, complete with a sly wink that keeps it fresh to this day. And since this was 1970, the album also comes equipped with some of those quaint excesses of the period; try the nasal tone poem gracing "The Bicycle Trip." "Musical Friends" remains a lively, happy-go-lucky classic with piano signature lifted from Paul McCartney's playbook; it's difficult to picture the dour Cockburn of more recent years ever having this much fun. In contrast, "Thoughts on a Rainy Afternoon" offers a trance-like, introspective atmosphere reminiscent of British folkie legend Nick Drake.[allmusic]
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PENTANGLE - BASKET OF LIGHT (TRANSATLANTIC 1969) Jap mastering cardboard sleeve + 4 bonus

One of the most significant bands of the late 1960's Pentangle along with Steeleye Span and Fairport Convention defined the whole of the folk rock movement and helped to influence a whole generation of musicians and guitarists. Bert Jansch, John Renbourne and Danny Thompson had few equals and Jaquie McShee's achingly pure vocals were the perfect counterpoint to their sensational ensemble playing. "Basket of Light" was by far their most commercially successful release and still sounds as fresh and bold as it did four decades ago.
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Although Sweet Child is usually cited as the group's high-water mark, Basket of Light finds them at their most progressive and exciting. Highlights of this album -- which actually reached the Top Five in the U.K. -- include the buzzing jazz dynamics of "Light Flight," their moving rendition of the traditional folk song "Once I Had a Sweetheart," their reinvention of the girl group smash "Sally Go Round the Roses," and "Springtime Promises," one of their finest original tunes...
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KENNY RANKIN - MIND-DUSTERS (MERCURY 1967) JVC K2 mastering cardboard sleeve

A pop and standards singer during his long career, Kenny Rankin debuted in 1967 with his first album, Mind Dusters, which featured the soft rock hit "Peaceful." Over the course of the early '70s, Rankin slowly built up a following with a steady stream of records and performances that balanced originals, new songs, and standards. As the decade drew to a close, he began to return to his singer/songwriter roots, particularly on After the Roses, his 1980 debut for Atlantic Records. He continued to perform during the '80s, but he only recorded sporadically. In 1991, he recorded a pair of albums, Hiding in Myself and Because of You, for two separate labels. Three years later, he signed with Private Music and released Professional Dreamer, an album that found him concentrating on standards.
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An ideal representation of the acoustic and ethereal side of the early, winsome singer/songwriter sound, this promising debut only hints at Rankin's traditional pop and world music vision. The Tin Pan Alley and ethnic roots of the music he grew up with in New York City are obscured by his alignment with the sounds of some of the artists he covers on the record, including Bob Dylan ("Mr. Tambourine Man"), Gordon Lightfoot ("Song for a Winter's Night"), and, most successfully, Fred Neil ("Dolphin"). "Cotton Candy Sandman" perfectly captures the gauzy, warm glow of mellow love that permeated the musical mood of 1967. The highlight of the album is Rankin's own composition, the inviting "Peaceful," which foreshadows his later work. While the long-out-of-print album only shows glimpses of his full abilities, it has a quaint, antiquated '60s charm and even includes liner notes from none other than Johnny Carson.[allmusic]
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HATFIELD & THE NORTH - HATFIELD & THE NORTH (VIRGIN 1974) Jap mastering cardboard sleeve + 3 bonus

Hatfield and the North were the supergroup of England's Canterbury progressive rock scene, with bassist and vocalist Richard Sinclair from Caravan, guitarist Phil Miller from Matching Mole, keyboardist Dave Stewart from Egg, and drummer Pip Pyle from Gong and Delivery. This brilliant and inventive debut album is a cross between sophisticated, precisely executed jazz-rock and dry-humored, often surreal pop. The album consists of short pieces blended into a Zappa-like collage, providing a thematic work that bests even the most eccentric jazz-rock by bands like Soft Machine.[allmusic]
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HATFIELD & THE NORTH - THE ROTTERS' CLUB (VIRGIN 1975) Jap mastering cardboard sleeve + 3 bonus

Hatfield and the North's second LP stands as a high watermark for the prog rock associated with England's Canterbury scene and, while filled with stunning musicianship, demonstrates both the strengths and some of the weaknesses of the Hatfield style. Dave Stewart on keyboards, Phil Miller on guitar, Richard Sinclair on bass and vocals, and Pip Pyle on drums (supplemented by a few guest instrumentalists and the ever-ethereal Northettes with their "la la" backing vocals) generally show an admirable sense of restraint and, like their Canterbury peers, are careful to avoid the pomposity and bombast of better-known prog rockers of the era, such as Emerson, Lake & Palmer and Yes. But the Hatfields might actually have been light to a fault, particularly whenever a segue from one of their convoluted instrumental passages into a Richard Sinclair vocal vehicle occurred. Sinclair shares a bit of Robert Wyatt's singing approach, or at least Wyatt's more whimsical side, but his polite and mellow croon, while pleasant, is less idiosyncratic and ultimately rather bland. And, don' t look for much importance from the songs' nearly empty lyrical content; perhaps this was another conscious attempt to steer clear of the pretentiousness of the typically overbearing prog rock song style, but the words leave precious little to sink the listener's teeth into. Things actually get off to a relatively strong start with "Share It," a catchy little number with Sinclair expressing some idealistic and hard-to-criticize Brit hippie sentiments. At the several other places where vocals crop up, however, it's all a bit empty-headed and self-referential. Thankfully, these songs are few and far between, but they're still rather hard to avoid; the Hatfields were masters of the segue and the most masterly demonstrations of instrumental technique wind up bleeding into some pretty dumb stuff from Sinclair's pipes. (In fairness, he isn't credited with writing all the words he wound up singing.) Nevertheless, Stewart, Miller, and Pyle all make some wonderful statements, as does Sinclair on bass for that matter. Particularly noteworthy are Miller's two short jazzy instrumentals, "Lounging There Trying" and "Underdub," which, with their sparkling electric piano work from Stewart, have a light and airy improvisational feel despite rather thorough scoring; Pyle's propulsive "Yes No Interlude" with its furious melding of Stewart's keyboards and the sax of guest Jimmy Hastings; and Stewart's 20-minute opus "Mumps." The latter is particularly impressive, with everything anyone would want from an extended-form Canterbury-style workout. The piece ebbs and flows through nimbly executed thematic passages and variations, featuring one of Stewart's most compelling themes and also one of the best fuzz organ solos that he (or Mike Ratledge or David Sinclair for that matter) ever recorded. Then, smack dab in the middle of it all, here comes Sinclair with a throwaway tune using letters of the alphabet as words; it really interrupts the flow. Everything is retrieved with a dramatic instrumental coda, though, melding spacy effects, more great organ playing from Stewart, and spectacularly executed unison lines from Miller and Hastings in crescendo before the final fade...[allmusic]
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BO HANSSON - THE LORD OF THE RINGS (CHARISMA 1972) Jap mastering cardboard sleeve + 1 bonus

The best of Bo Hansson's albums, and one of the few progressive rock instrumental recordings that still holds up on repeated listening. J.R.R. Tolkien's Lord of the Rings trilogy provide the inspiration for a series of strange, other-worldly tracks that transcend their source material. Hansson's keyboard playing is quite unlike the work of such rivals as Keith Emerson or Rick Wakeman, less heavy and "gothic" and more oriented toward jazz. His guitar work as is flashy and aggressive as his keyboards ("The Black Riders/Flight to the Ford" is a great showcase for both), and the backing by sax, flute, and drums creates an overall rich sonic palette.[allmusic]
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HORSLIPS - THE TAIN (OATS 1973) Jap mastering cardboard sleeve

The most ambitious and successful of their early albums, Horslips' most progressive creation, and maybe the most successful rock concept album ever done. The Tain is rock put into the service of epic storytelling (or is it the other way around?), based on the Irish saga Tain Bo Cuailgne ("The Cattle Raid of Cooley"), part of the Ulster Cycle of Heroic Tales. It tells of war and carnage brought about over the possession of a white bull, inspired by events estimated to have taken place around 500 B.C. This is a long way from Chuck Berry or Little Richard, but it does rock hard, and unlike a lot of progressive rock, The Tain displays considerable tension and momentum. Some listeners will detect modest similarities to Jethro Tull's work (especially on "Charolais"), but there's a lot less meandering here than there is on any Tull album, the flute playing is better, and the material moves forward in a fairly nimble fashion. It would be easy to praise John Fean's guitar, but Jim Lockhart's flute is just as impressive, Charles O'Connor's violin playing is gorgeous, and Eamonn Carr's drumming is dazzling. And the vocals are quite good too, sweet but earthy and honest, and not self-consciously profound -- these boys had ambition, but they weren't full of themselves or too given to pretensions.[allmusic]
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