Roger Nichols & The Small Circle of Friends - S/T (2CD) (US 1968)

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260:- (2CD, SHM-CD Limited Remaster Edition. Utgången utgåva med bonusomslag. Mycket svår att hitta nu.)

A true sleeper in the context of California pop. As a songwriter, Roger Nichols wrote with such luminaries as Paul Williams and Tony Asher (fresh from his collaboration with Brian Wilson on Pet Sounds, who co-wrote several of the selections here). The album is a lot of things at once. Soft pop, a smattering of rock, and a heavy dose of easy listening. The group itself has a great vocal blend. Nichols is joined by Murray MacLeod and his sister, Melinda. The three voices combined create a wonderful, soft sheen, equally effective on the ballads (Bacharach's "Don't Go Breakin' My Heart") and uptempo numbers ("Don't Take Your Time"). There is an extremely gorgeous version of the Goffen & King song "Snow Queen," which is a graceful waltz, underpinned by the groups' superb vocals. The credits on the album are a virtual who's who of California pop at the time. 

Among those who helped out on the project on one way or another are Lenny Waronker, Van Dyke Parks, Bruce Botnick, and Randy Newman. Superbly produced by Tommy LaPuma, the album unfortunately didn't do very well at the time of its release, which is an incredible injustice. The music, though, holds up extremely well today, and is an authentic slice of California pop. Delicious.

Born in Missoula, MT, Roger Nichols and his parents moved to Santa Monica, CA, when he was a one-year-old. His household brimmed with music when he was growing up. His dad was a journalism graduate and a professional photographer who played sax in local jazz bands. His mother was a music major and a classical pianist. When Nichols started grade school, he picked up the violin, continuing his violin and classical studies throughout grammar and high school. His attention turned to basketball and Nichols forsook violin for the hoops but played guitar on the side.

Recruited to U.C.L.A. on a basketball scholarship, Nichols played on the team for a year or two. Confronted to make a choice between music or basketball by his coach John Wooden, Nichols chose music. While in college, he majored in music and cinematography while still playing the guitar and adding the piano. After a brief hiatus, he returned to U.C.L.A. and began taking songwriting courses. After he left college, Nichols took a variety of jobs, working in a bank for two years, a liquor store for a year and a half, and serving six months in the navy. On weekends, he worked in clubs with his group, Roger Nichols and a Small Circle of Friends, that performed original songs written by Nichols.

Around 1965, the group was signed to a recording contract by Liberty Records. While at the label, the group briefly had the opportunity to work with Tommy Li Puma. Li Puma thought the group had some potential, but left Liberty shortly thereafter. With the label for eight months without having a record released, Nichols called A&M Records expressing interest in playing some demos for label co-owner Herb Alpert. He was switched to Li Puma who had been hired as the A&R man for the new label. Li Puma was still enamored of the group. Nichols then asked for and received a release from Liberty Records.

Bonus CD med omslag

While Nichols waited for Li Puma to finish producing the Sandpipers and Claudine Longet, he wrote an instrumental for Alpert that he promptly recorded a week after hearing it. Though Roger Nichols and a Small Circle of Friends wasn't a big seller, Alpert urged A&M publishing company head Chuck Kaye to sign Nichols as a songwriter to their company.

During his second year with the company, Kaye introduced Nichols to lyricist Paul Williams. The first song that wrote was recorded by Claudine Longet, "It's Hard to Say Goodbye." The duo wrote together for four years, resulting in lots of album cuts, B-sides, even A-sides, but no hits.

An advertising executive approached a friend of Nichols asking for help with an under-budget commercial project for Crocker Bank. Nichols' friend gave him a copy of the Roger Nichols and a Small Circle of Friends album. The ad exec called A&M and made an appointment with Nichols and Williams to discuss the project. The exec said that he only had 300 dollars to make a demo and the rest of the project had to be done on speculation that the project would pan out and become a successful ad campaign, in which case this would lead to more money. 

Hoping to capture the youth market by softening the bank's image, Nichols and Williams were given the slogan, "You've got a long way to and go and we'd like to help you get there." They had just ten days to create a song, essentially a jingle. Waiting until the last day, after they've completed other projects, Nichols started noodling around on the piano and wrote the basic verse melody in a half hour. Williams joined him later and come up with some lyric lines. On the demo, Nichols overdubbed piano, bass, and guitar while Williams sang. It was approved by the bank who requested that they complete the song, which at that time included two verses and a bridge.

Bonus CD med omslag

Crocker Bank had the advertising rights to the song, but the duo, along with A&M, retained the recording and publishing rights.

Richard Carpenter of the Carpenters heard the jingle on a TV commercial, and although signed to A&M, didn't know who wrote the track. He found out and the Carpenters recorded the song. "We've Only Just Begun" was nominated for a Grammy for Song of the Year, was included on BMI's million performances list, and received an award for selling a million copies of sheet music. Another Nichols-Williams song, "Out in the Country" by Three Dog Night, landed in the Top Ten. Six months later, "Rainy Days and Mondays" was another gold record by the Carpenters and Nichols' third gold record in a single year. Other hits were the Carpenters' "I Won't Last a Day Without You," "Travelin' Boy," and "I Never Had It So Good," covered by Barbara Streisand.

In 1972, the Nichols-Williams team parted ways. Somewhat disgruntled, Nichols returned to his native Montana, bought a house, and relaxed. A few years later, he returned to composing and primarily background scoring. In later years, Nichols' hits were more associated with the TV shows that he scored like "Love Theme From Hart to Hart."


(DISC.1 STEREO)
1. Don't Take Your Time
2. With A Little Help From My Friends
3. Don't Go Breaking My Heart
4. I Can See Only You
5. Snow Queen
6. Love So Fine
7. Kinda Wasted Without You
8. Just Beyond Your Smile
9. I'll Be Back
10. Cocoanut Grove 
11. Didn't Want To Have To Do It
12. Can I Go

(BONUS TRACKS)
13. Let's Ride
14. The Drifter
15. Trust

(DISC.2 MONO + SINGLES)
1. Don't Take Your Time
2. With A Little Help From My Friends
3. Don't Go Breaking My Heart
4. I Can See Only You
5. Snow Queen
6. Love So Fine
7. Kinda Wasted Without You
8. Just Beyond Your Smile
9. I'll Be Back
10. Cocoanut Grove 
11. Didn't Want To Have To Do It
12. Can I Go

(BONUS TRACKS)
13. Don't Go Breaking My Heart (Mono Single Version)
14. Our Day Will Come (Mono Single Version)
15. Love Song, Love Song (Mono Single Version)
16. Snow Queen (Mono Single Version)
17. Just Beyond Your Smile (Mono Single Version)
18. I'll Be Back (Mono Single Version)
19. Let's Ride (Mono Single Version)
20. The Drifter (Mono Single Version)
21. Trust (Mono Single Version)
.

Principal Edwards Magic Theatre - The Asmoto Running Band (UK 1971)

350:- (24-Bit Limited Remaster Edition. Utgången utgåva och är nu mycket svår att finna.)

Principal Edwards Magic Theatre were a collective of musicians, dancers, poets and lighting technicians who were active between 1968 and 1971. This is their second and last LP, released januari 1971 on John Peel's Dandelion label.

Asmoto Running Band, produced by Nick Mason, Pink Floyd's drummer, is some sort of theme album, telling a spaced out tale of the Asmoto Running Band and someone called McAlpine’s. It's very far out and obscure, like a progressive folk Sgt Pepper.

The band would break up shortly after this release. The times they were a’changing (unfortantly), and this sort of theatrical, pretentious hippie-folk music was becoming pretty out of fashion by the early seventies. It's still a fun-loving and joyeous album that brings the listner back to those wild and hazy hippie days so long gone.

The collective was originally formed at the University of Exeter in the late 1960s and then was later based at farmhouse in Kettering, Northamptonshire. The group was signed to John Peel's Dandelion Records and their single, The Ballad of a Big Girl Now, was released in 1969. Following the single was the release (under the same label) of two albums - Soundtrack and The Asmoto Running Band - the second of which was produced by Nick Mason of Pink Floyd.

The sometimes whimsical, sometimes epic (verging on progressive rock) writing style of guitarist Root Cartwright was paired with the eclectic lyrical contributions of David Jones, Gillian Hadley and Monica Nettles, and was performed by vocalist Vivienne McAuliffe. The violin and recorders of Bindy Bourquin were another key element of the group's trademark sound.

Later, with a smaller nucleus (including new bassist Richard Jones from Climax Blues Band) and a name-change to, simply, Principal Edwards, they recorded a few new singles and a third album called Round One for Deram Records. Most of the Deram recordings were also produced by Nick Mason.

By the way, the album cover is designed by Hipgnosis!

01. Mcalpines Dream
02. Mcalpine V The Asmoto
03. The Asmoto Running Band (Houamih)
04. Asmoto Celebration
05. Further Asmoto Celebration (After The Ball)
06. Total Glycerol Esther
07. Freef (R) All
08. Autumn Lady Dancing Song
09. The Kettering Song
10. Weirdsong Of Breaking Through At Last

Melvin Van Pebbles - Sweet Sweetback (Soul/Funk US 1971)

250:- (24-Bit Limited Remaster Edition. Svår att hitta. Bra Funk/Soul från 1971)

Melvin Van Peebles' Sweet Sweetback's Baadasssss Song was an important film that paved the way for black filmmakers in American cinema in general, and in the 1970s blaxploitation genre in particular. Van Peebles hasn't been nearly as well known as a musician as he has a filmmaker, but he did compose the soundtrack, which was performed by Earth, Wind & Fire, who had then just released their first album. Heard on its own, the soundtrack, unlike Superfly or Shaft, is not a significant musical achievement. It's serviceable period funk-soul, both instrumental and vocal, sprinkled with some dialog from the film, although it did make number 13 on the soul album charts. "Hoppin' John" is an obvious James Brown-inspired tune, though sung with considerably less heat than Brown himself would have mustered.

"Come On Feet Do Your Thing" is the cut most like Van Peebles' pre-rap excursions on A&M Records, which is unsurprising, as he had already recorded it on his A&M album Ain't Supposed to Die a Natural Death. Sweet Sweetback's has been reissued as one disc of the two-CD release The Melvin Van Peebles Collection, which also includes the 1972 original cast recording of Don't Play Us Cheap, the Broadway production (originally a film) that Van Peebles staged, and for which he also composed the music.

01. Sweetback Losing His Cherry Van Peebles 2:47
02. Sweetback Getting It Uptightand Preaching It So Hard the ... Van Peebles 4:59
03. Come on Feet VanPeebles 4:16
04. Sweetback's Theme Van Peebles 7:39
05. Hoppin' John/Voices Van Peebles 2:36
06. Mojo Woman/Voices Van Peebles 2:58
07. Sanra Z/Voices Van Peebles 4:13
08. Reggin Hanging on in There as Best They Can (Bye and Bye)/Voices Van Peebles 4:01
09. Won't Bleed Me Van Peebles 2:41
10. The Man Tries Running His Usual Game But Sweetback's Jones Is So Strong He Van Peebles 4:28

Mae McKenna - S/T (Bra Folk UK 1975)

290:- (24-Bit Limited Remaster Edition. Utgången och är svår att hitta.)

Mae McKenna doesn't just sing songs, she inhabits them. Her voice is a powerful and passionate instrument equally at home with Celtic traditional songs as much as original country/bluegrass flavoured compositions. Hers is a voice both ancient and modern, attractive and beguiling yet full of soul and sensuality.

Mae McKenna's roots are strongly Irish and Scottish. She grew up in Coatbridge near Glosgow, the youngest of three children with her brothers Hugh and John. Mae was raised in a house filled with music. Her parents and grandparents played music and songs from the variety theatre and the art songs of John McCormack to the classics of Frank Sinatra. At an early age she was exposed to jazz and classical music. At 14 she joined the Lanarkshire youth orchestra where she played viola. The sounds she heard at home included Art Tatum, Joni Mitchell, James Taylor and the Tamta Motown classics on the radio all embedded in her teenage brain.

Mae joined her first group -- "Day" -- in high shool where she played viola with this gothic folk band. Playing in a local festival, her musical talents were noticed by another young band called Contraband. Some meetings later and a night visit to a friend's house in search of this elusive and talented young woman led to Contraband asking Mae to join them as lead singer. A Scottish folk rock legend was born.

Contraband featured Mae McKenna, George and Billy Jakcon, John Martin, Peter Cairney and Alec Baird. Their music was an exciting mixture of Irish and Scots traditional tunes, dramatic folk rock arrangements of classical ballads and contemporary songs. They attacked their mkusic with youthful vigour end energy. "We loved playing together," Mae recallse, "we alsyways used to play and sing on the way to gigs and coming back from them. Looking back I couldn't have wanted a better band to begin touring with." Life on the road was an adventure and Contraband toured all over Scotland and England.

Contraband signed with Transatlantic Records in 1973. They recorded their debut album Contraband in Chipping Norton studios in Oxfordshire. Released in May 1974, the album caught the young band in the cusp of their useful musical prowess and joi de vivre. Mae sung and played violin, viola and piano and joined with George and Billy's multi-instrumental talents, Peter's country tinged guitars, John's expert traditional fiddling and Alex's solod drumming to create a fresh new Celtic Rock sound. Contraband disbanded in 1975.

Mae McKenna began her solo career in 1975. She recorded three solo albums for Transatlantic Records: Mae McKenna (1975), Everything That Touches Me (1976) and Walk On Water (1977). She also appeared on radio and TV both as a guest and featured performer.

Her debut solo album Mae McKenna focused on dramatic ballads with lavish orchestrations and was a promising if pensive debut. Everything That Touches Me was a tasteful, melodic soft rock album with strong American West Coast country/rock leanings. Mae's exquisite voice wrapped itself round songs by Andrew Gold, Richard Thompson, Jackson Browne and Anne McGarrigle. The single "Crying in the Rain" received extensive radio airplay. Walk On Water continued the Transatlantic soft rock sound with songs by Kim Carnes, David Paich (Tot writer of the 1970s hit "Hold The Line") and the Motown standard "What Becomes Of The Broken Hearted."

01. Dying to Live Winter 3:51
02. Once in the Morning Webb 3:33
03. All in Love Is Fair Wonder 3:47
04. Other Side of Me Greenfield, Sedaka 3:12
05. Song for Simon Rafferty 3:03
06. Together We Get By Brook 3:50
07. Elderberry Wine John, Taupin 3:43
08. How Could We Dare to Be Wrong Blunstone, Dennys 3:45
09. Imagine Lennon 3:24
10. Black-Eyed Susan Brown Traditional 3:58
11. Said the Major Brook 2:54
12. Old Man Newman 4:00

Kiss - Dressed to Kill (US 1975)

240:- (24-Bit Limited Remaster Edition.)

Dressed to Kill is a 1975 album from American hard rock group Kiss. It is the band's third studio album and is unique for having been produced by the president of Casablanca Records, Neil Bogart. "C'mon and Love Me", and "Rock and Roll All Nite" were released as singles. Both failed to rise high on the charts until "Rock and Roll All Nite" was released in its live format as a single later that year off their double live album Alive! and reached number 12 on the singles charts. The album was re-released in 1997 (along with most of Kiss' earlier albums) in a remastered version.

It peaked at number 32 on the charts and was certified Gold on February 28, 1977, when it sold 500,000 copies. While the album cover depicts KISS in business suits, no member of the band actually owned a suit. The suits they wore in the cover were owned by manager Bill Aucoin. While "Rock and Roll All Nite" remains a permanent staple in the band's concerts (often played to close out a show), much of the album is rarely played live.

01. "Room Service"
02. "Two Timer"
03. "Ladies in Waiting"
04. "Getaway"
05. "Rock Bottom"
06. "C'mon and Love Me"
07. "Anything for My Baby"
08. "She"
09. "Love Her All I Can"
10. "Rock and Roll All Nite"

Pink Fairies - Chinese Cowboys (Live UK 1987)

290:- (24-Bit Limited Remaster Edition. Utgången utgåva och svår att hitta. Original tygomslag.)

A limited edition release of 1,000 copies, Chinese Cowboys is an archive, unreleased live CD title that was recorded at two 1987 gigs the band had played in support of their ' 87 comeback album, Kill 'Em and Eat 'Em. These two shows took place at Leeds and at the Long Marston Speedway. Good sound quality. On a ten scale I give it a 9 / 9+. Not perfect but awfully darn nice to listen to as well as fully take in. Glad to see the Fairies decided to play material from their first three albums, like '71's Neverneverland. There's drummer Twink stepping out for a rousing performance of "Do It". Then off ' 72's What A Bunch Of Sweeties there are the band's two drummers, Twink and Russell Hunter totally cutting loose on the ten minute "Walk Don't Run". Also, you get from ' 73's Kings Of Oblivion the stunning instrumental "Raceway", "Street Urchin" and "City Kids".

One lesser known track here that I was surprised to hear was off the Previously Unreleased EP, the rocking "Waiting For The Lightning To Strike". From the afore mentioned Kill 'Em and Eat 'Em album (never thought I'd hear live versions of these tunes) the guys serve up "Takin' LSD", "White Girls On Amphetamine", "Seeing Double" and the jamming "Waiting For The Ice Cream To Melt". Whew! What a trip. My only regret is I wasn't there. Simply a fun CD to listen to. This will stay in my 'current listening stack for quite some time. I also dug "The Snake", with its wicked lyrics, but I wasn't able to find out where this tune originally came from. Not completely sure but I think it might've been a 45 single when it first came out. If you're a Pink Fairies fan you need to get yourself a copy of this CD. Try Bomp Records. I saw in their weekly listings they have it for $13. Revived old school British psychedelia with a punk edge to it. Line-up: Larry Wallis - guitar&vocals, Twink - drums&vocals, Andy Colquhoun - guitar&vocals, Duncan Sanderson - bass&vocals and Russel Hunter - drums. An absolute must-have.

01. Raceway - Instrumental
02. Street Urchin
03. Waiting For The Lightnin' To Strike
04. When's The Fun Begin
05. The Snake
06. Do It
07. Takin' L.S.D.
08. White Girls On Amphetamine
09. Seeing Double
10. As Long As The Price Is Right
11. Waiting For The Ice Cream To Melt
12. Police Car
13. City Kids
14. Walk Don't Run - Instrumental

Stonefield Tramp - Dreaming Again (Privatpressad Folk UK 1974)

260:- (24-Bit Limited Remaster Edition. Legal Koreapress. Mycket fin utgåva.)

In 1974, former member of the band Terry Friend & Rob Van Spyk met Brian Ballister. And as a trio, they released the album ''Follow The Sun'' for the studio label, Acorn. This was swiftly followed by "Dreaming Again", an album issued on their own Tramp label. For this album, the trio were enhanced by additional musicians Chris Sutoris (Bass) and Dave Lloyd (electric guitar). To reflect their new sound, the band adopted a new name and Stonefield Tramp were born. Some tracks show a strong Bob Dylan influence while others lean strongly towards the style we have now come to know as acid folk.

But long before then the real start of it all was a wooden floored school room in a British Army Primary school in Hohne, Germany in the early fifties. I couldn't have been more than seven years old, and during music lessons, we kids would group ourselves around the piano where our very attractive, and rather young lady music teacher, would lead us in Singing folk songs. I loved every minute of it and it was an early introduction for me to a form of song writing that I found fascinating! Songs like 'Clemantine' and 'Camptown Races' I can Recall.

Most of my childhood was spent in Germany, and when the family moved to England in 1961, I felt lost and didn't feel that I belonged. It left me with a burning ambition to leave home at the first available opportunity and go abroad. Being a rather simple fellow I went for the easiest option that I could think of...I joined the army.

And was it fate or fortune that directed me towards my first posting at Tonfanau in North Wales? I ended up in Alamein Platoon, C Company, The All Arms Junior Leaders Regiment. This was where I was to befriend a blonde haired, guitar playing kid called Rob Van Spyk. It was April 1964 and we were both 16 years old. We shared a room for about eighteen months, and then went our seperate ways to our own respective units for the next six years, but did manage to keep in touch by letter and also enjoyed a couple of shared leaves together. But not once did our Regiments ever serve in the same place together, and between us we went to Germany, Malta, Libya, Malaya, Singapore and Northern Ireland.

When I had just turned twenty, and very much to my shock and surprise, I began to write poems or, more accurately, song lyrics! It would be a major turning point in my life. I think Bob Dylan has to share some of the blame for this! For I had latched onto him in a very big way, and played his recordings over and over again at every chance that I could get. My finale two years in uniform were spent in the tropics, in Singapore and Malaya, with 3 Commando Brigade. It was during this period where the lyrics just simply poured out of me. I fully realised that on their own they would be nothing and that they were crying out for tunes! As I didn't play a guitar I contacted Rob, and the Van Spyk-Friend song writing partnership was born. At the end of 1970, and after a tour of active service in Ulster, I left the Army and joined Rob, who by now was also a civilian, in Letchworth and we began to plan our first recording session.

We recorded ten songs at Easter 1971 and pressed four acetates. (which have long since been bootlegged all around the world!) Three fruitless years of rejection by every record label we approached would follow, so we took the decision to record our own albums independantly of the system. In Easter 1974 we recorded our first commercial album 'Follow the Sun' by 'R.J.Van Spyk and Friends.' Joining us in the studio was, our good friend from Tewkesbury, Brian Balster. He and Rob did most of the work, but I did join them to record my first self penned composition 'Come the Day', for I was now teaching myself to play the guitar! This was the acoustic version, of what would in a mere matter of weeks, become the Folk band 'Stonefield Tramp.' Our first album was recorded in only four hours with 'straight takes' and at £4 an hour, cost us a mere £16. Unbelievable by today's standards!

Things developed at a hectic pace and the album sold so well we returned to the studio and recorded another one. This time our sound was enhanced by Dave Lloyd on electric guitar and Chris Sutoris on Bass. It was September 1974 and Stonefield Tramp were now an official band. We also chose this moment to launch our own label 'Tramp Records.' Once again Brian joined us, but this time I took no part in the recording. The album was 'Dreaming Again.'

Very rare Stonefield Tramp album with a beautiful dreamy quality. In 1974, member of the band Terry Friend & Rob Van Spyk met Brian Ballister. And as a trio, they released the album ''Follow The Sun'' for the studio label, Acorn. After they'd failed to interest any major record company in their recordings, the group issued one LP, 'Dreaming Again', on their own label. This was swiftly followed by "Dreaming Again", an album issued on their own Tramp label. For this album, the trio were enhanced by additional musicians Chris Sutoris (Bass) and Dave Lloyd (electric guitar). To reflect their new sound, the band adopted a new name and Stonefield Tramp were born. Some tracks show a strong Bob Dylan influence while others lean strongly towards the style we have now come to know as acid folk. The 1974 album “Dreaming Again” is very eagerly sought after by vinyl record collectors world wide. A must for British folk fans.

01. Dreaming Again
02. Bitter World
03. Oh Mothers Tell Your Children
04. Jaded Jane
05. Social State Blues
06. Factory
07. Theme From Follow The Sun
08. Doing Things Naturally

Roy Orbison - Orbisongs (US 1965)

240:- (24-Bit Limited Remaster Edition.Utgången utgåva sedan länge.)

Orbisongs is the last album recorded by Roy Orbison for the Monument label before he signed with MGM Records. The album was released in 1965.

Roy Kelton Orbison (April 23, 1936 – December 6, 1988) was an American singer-songwriter and musician, well known for his distinctive, powerful voice, complex compositions, and dark emotional ballads. Orbison grew up in Texas and began singing in a rockabilly/country & western band in high school until he was signed by Sun Records in Memphis. His greatest success came with Monument Records in the early to mid 1960s when 22 of his songs placed on the Billboard Top Forty, including "Only the Lonely", "Crying", "In Dreams", and "Oh, Pretty Woman". 

His career stagnated through the 1970s, but several covers of his songs and the use of one in a film by David Lynch revived his career in the 1980s. In 1988, he joined the supergroup Traveling Wilburys with George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne and also released a new solo album. He died of a heart attack in December that year, at the zenith of his resurgence. His life was marred by tragedy, including the death of his first wife and two of his children in separate accidents.

Orbison was a natural baritone, but music scholars have suggested that he had a three- or four-octave range. The combination of Orbison's powerful, impassioned voice and complex musical arrangements led many critics to refer to his music as operatic, giving him the sobriquet "the Caruso of Rock". Performers as disparate as Elvis Presley and Bono stated his voice was, respectively, the greatest and most distinctive they had ever heard. 

While most men in rock and roll in the 1950s and 1960s portrayed a defiant masculinity, many of Orbison's songs instead conveyed a quiet, desperate vulnerability. He was known for performing while standing still and solitary, wearing black clothes and dark sunglasses which lent an air of mystery to his persona.

Orbison was initiated into the second class of the Rock and Roll Hall of Fame in 1987 by longtime admirer Bruce Springsteen. The same year he was inducted into the Nashville Songwriters Hall of Fame. Rolling Stone placed Orbison at number 37 in their list of The Greatest Artists of All Time. In 2002, Billboard magazine listed Orbison at number 74 in the Top 600 recording artists. Rolling Stone rated Orbison number 13 in their list of The 100 Greatest Singers of All Time in 2008.

01."Oh, Pretty Woman" - (Orbison, Bill Dees)
02."Dance" - (Orbison, Joe Melson)
03."(Say) You're My Girl" - (Orbison, Bill Dees)
04."Goodnight" - (Orbison, Bill Dees)
05."Nitelife" - (Orbison, Joe Melson)
06."Let The Good Times Roll" - (Leonard Lee)
07."(I Get So) Sentimental" - (Orbison, Joe Melson)
08."Yo Te Amo Maria" - (Orbison, Bill Dees)
09."Wedding Day" - (Orbison, Joe Melson)
10."Sleepy Hollow" - (Bill Dees)
11."22 Days" - (Gene Pitney)
12."I'd Be A Legend In My Time" - (Don Gibson)
+ 9 Bonus Tracks

These Trails - S/T (Superb (UK) Folkrock Hawaii 1973)

270:- (Korea 24-Bit Limited Remaster Edition. Mycket bra (UK) folkrock från Hawaii.)

"These Trails was an Honolulu, Hawaii group that was privately pressed on Sinergia Records in 1973. Their eponymous debut is an album that skillfully combines a keen sense of melody with otherworldly vocals from the enigmatic, late 'Margaret Morgan' and innovative sonic experimentation that over 30 years later has stood the test of time. What's more, the band furnished each of its tracks with the colours, scents and atmospheres of the botanical treasure of the volcanic Pacific island paradise that birthed them."

These Trails was an acid folk group who released a very rare record in 1973. The lp was released by Sinergia and is probably one of the best Hawaiian lps along with Mu.

Prominent members of the group were Margaret Morgan (vocals, guitar and dulcimer), Patrick Cockett (guitar, slide guitar and vocals) and Dave Choy (arp synthesizer, recorder, arrangements and final mix). Margaret Morgan handles most of the lead vocals with Patrick Cockett occasionally chiming in. Morgan’s vocals are dreamy and ideally suited for this kind of organic music (acid folk). Comparisons that come to mind are Linda Perhacs, though Morgan’s vocals are more innocent and angelic and the music on this lp clearly betrays a Hawaiian influence. Many of the songs are relatively pop friendly; this isn’t difficult, challenging music that has to be listened to closely – ie folk guitar virtuousos spinning off long, complex guitar solos or intricate passages with finely tuned arrangements – it’s not that kind of record. The synthesizers give tracks like Of Broken Links an otherworldly sound, unlike anything you’ve ever heard. El Rey Pescador is graced by some light sitar touches and close harmony singing.

Each track stands out on its own but Psyche I & Share Your Water is a tremendous favorite. This 5 minute track begins with a calm, soothing folk feel highlighted by some fine acoustic guitar work. Eventually it descends into bad trip territory with ghastly vocals and spooky electronics – an outstanding track, very trippy and worth the price of admission alone. Garden Botanum is another strong hightlight that hits like a ray of Hawaiian sunshine, the arrangements are free and green with lots of interesting twists, the vocals are beautifully exotic. This lp is one of the most relaxing listening experiences I’ve ever come across, an album to savour. The songs are full of simple beauty and the power of the performances will never diminish over time.

If you’re looking for something different, These Trails could be the right tonic. It’s one of the hidden gems from the early 70s and has been reissued on cd but is somewhat hard to come by these days.

01.These Trails 1:24
02.Our House In Hanalei 1:51
03.Of Broken Links 1:40
04.El Rey Pescador 3:07
05.Psyche I & Share Your Water 5:22
06.Hello Lou 3:47
07.Rusty's House & Los In Space 5:49
08.Psyche II 2:30
09.Sowed A Seed 2:17
10.Rapt Attention 2:15
11.Waipoo 2:36
12.Garden Botanum 3:31

Mainhorse - Selftitled (Mycket Bra Album UK 1971)

220:- (24-Bit Limited Remaster Edition. Rekommenderas varmt.)

Created in 1968 by Swiss keyboard player Patrick Moraz, the progressive rock quartet Mainhorse, which also featured the talents of guitarist/violinist/vocalist Peter Lockett, drummer Bryson Graham, and bassist/cellist/vocalist Jean Ristori, released their eponymous lone record on Polydor in 1970. The album failed to garner much success outside of the art rock scene and the group split up, with Graham joining Spooky Tooth and Gary Wright, and Moraz landing a job with Yes and eventually starting a successful solo career.

The history of MAINHORSE started in '68 but unfortunately, it's not very well documented. The prime mover was Patrick MORAZ, a very talented, Swiss born keyboardplayer. Other members of MAINHORSE were Peter Lockett (lead guitar, violin and vocals), Jean Ristori (bass, cello and vocals) and Bryson Graham (drums and percussion). In 1970 the band signed a contract with Polydor, a year later their eponymous debut-album was released. It remained unnoticed and when success failed MAINHORSE disbanded soon. Drummer Bryson Graham went to play with GARY WRIGHT and SPOOKY TOOTH. In '74 Patrick MORAZ founded REFUGEE and replaced RICK WAKEMAN in YES and in The Eighties he joined THE MOODY BLUES.

The album "Mainhorse" opens with (how original) the song "Introduction": fluent 'heavy progressive' with floods of Hammond organ and fiery electric guitarplay, the sound has echoes from ATOMIC ROOSTER, THE NICE and early DEEP PURPLE. The following "Passing Years" is a slow, bluesy like song with mellow organ and a bit melancholic vocals. Then again 'heavy prog' with swirling organ and biting electric guitar in "Such a beautiful day", the climate evokes THE NICE and QUATERMASS. In "Pale sky" a wailing violin and howling electric guitar colour a bluesy atmosphere, topped by strong Hammond play and dynamic drums. This song features halfway a jam with violin, guitars, electric piano, experimental sounds and a hypnotizing rhythm-section, to end with a sensitive electric guitarsolo and loads of Hammond. Next is "Basia", an up-tempo and catchy song with strong organ - and electric guitarplay, a pumping bass and cheerful vocals, halfway MAINHORSE surprises with a swinging electric pianosolo. 

The track "More tea vicar" contains subtle changes of rhythm, from soft jazzy to fluent heavy prog with a classical sounding organ (like EKSEPTION), assorted percussion like glockenspiel and fiery electric guitar. The final composition "God" (almost 10 minutes) is the most alternating and dynamic one with many changes of climate with Patrick MORAZ on organ and the 'Klavio-synthesizer' and strong electric guitarwork, it sounds like a blend of THE NICE and ATOMIC ROOSTER. In my opinion this album deserves a second change, it's not very original but sounds powerful and exciting with good compositions. And, most important, this album contains the first impressive steps from Patrick MORAZ as a keyboard-wizard.

01. Introduction
02. Passing Years
03. Such a Beautiful Day
04. Pale Sky
05. Basia
06. More Tea Vicar
07. God

Principal Edwards - Round One (Last Album UK 1974)

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270:- (24-Bit Limited Remaster Edition, utgången utgåva.)

Principal Edwards Magic Theatre was a 14-member communal performance art collective in the United Kingdom made up of musicians, poets, dancers, and sound and lighting technicians.

The collective was originally formed at the University of Exeter in the late 1960s and then was later based at farmhouse in Kettering, Northamptonshire. The group was signed to John Peel's Dandelion Records and their single, The Ballad of a Big Girl Now, was released in 1969. Following the single was the release (under the same label) of two albums - Soundtrack and The Asmoto Running Band - the second of which was produced by Nick Mason of Pink Floyd.

The sometimes whimsical, sometimes epic (verging on progressive rock) writing style of guitarist Root Cartwright was paired with the eclectic lyrical contributions of David Jones, Gillian Hadley and Monica Nettles, and was performed by vocalist Vivienne McAuliffe. The violin and recorders of Bindy Bourquin were another key element of the group's trademark sound.

Later, with a smaller nucleus (including new bassist Richard Jones from Climax Blues Band) and a name-change to, simply, Principal Edwards, they recorded a few new singles and a third album called Round One for Deram Records. Most of the Deram recordings were also produced by Nick Mason.

Since the 1970s, members' fortunes have varied greatly. Singer Martin Stellman directed Denzil Washington in For Queen and Country, David Jones ran a community centre, and Root Cartwright became a gardener and photographic artist. Bindy Bourquin and Richard Jones married and both went into teaching. Jones plays in two bands: The Climax Ceilidh Band and Meridian.

Jeremy Ensor toured (as sound engineer/tour manager) with the likes of Deep Purple, Fleetwood Mac, and Greenslade (co-producing two of their LPs) and then worked as an A&R man for CBS and Phonogram Records. He currently lives in North London and is an IT consultant.

Chris Runciman is still on the road as a tour manager/production manager and sound and lights engineer for Jackson Browne, Steve Earle, and James Taylor. He has recently been working as a technical consultant to Sir George Martin on the island of Montserrat.

Les Adey was the lighting technician for Genesis.

Serious illness and breakdowns have befallen some of the other former members, and dancer John McMahon Hill and the angelic-voiced Vivienne McAuliffe are both deceased.

01. Average Chap
02. Halibut Rock
03. Milk & Honeyland
04. The Whizzmore Kid
05. Juggernaut
06. Dear Mrs. O'Reilly
07. Triplets
08. The Rise Of The Glass White Gangster

Produced by Nick Mason
Recorded De Lane Lea studios Wembley

Dee Clark - You're Looking Good (Superb R&B US 1960)

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320:- (24-Bit Limited Remaster Edition. Superb amerikansk R&B från 1960, utgången utgåva.)

Dee Clark's third album is a fine collection of 11 songs, some strong originals like the infectious "Kangaroo Hop" and "Gloria" interspersed with covers of standards by Jimmy Reed ("Baby What Do You Want Me to Do"), Ray Charles ("What I Say"), etc. The overall sound is a mix of R&B ballads — some of them, such as "I Just Can't Help Myself," displaying '50s doo wop elements — alternating with hard-rocking rhythm numbers, drawn from various sessions and some earlier single releases. As a balladeer, Clark sounded uncannily like a young Clyde McPhatter, while his harder songs probe a distinctly tougher side to that same voice, and both sides work well in the context of this album.

Though largely unknown among contemporary audiences, Dee Clark was one of the most successful R&B singers of the late '50s and early '60s, his resonant, expressive tenor gracing classics like "Raindrops" and "(Hey) Little Girl." Delecta Clark was born in Blytheville, Arkansas on November 7, 1938; from the age of three, he grew up on Chicago's West Side, in 1952 joining with schoolmates Sammy McGrier and Ronnie Strong in the Hambone Kids. A fad that required performers to slap their thighs, chests, and other parts of the body in emulation of what's now known as a Bo Diddley beat, the Hambone Kids were popular long enough for the teenage trio to collaborate with Red Saunders & His Orchestra for a single, also titled "Hambone," issued on Okeh in 1952. The record was a minor hit, but in 1953 Clark moved on, assuming lead duties with the Chicago vocal group the Goldentones — when local DJ Herb "The Kool Gent" Kent took over their management, he rechristened his charges the Kool Gents, landing them a recording deal with Chicago's Vee-Jay label. The group issued its debut single "This Is the Night" in early 1956, followed that summer by "I Just Can't Help Myself." (As the Delegates, they also released "The Convention," a novelty record inspired by that year's presidential election.)

After one final Vee-Jay session yielding 1957's "Mother's Son," the label's general manager Ewart Abner convinced Clark to go solo — his debut "Gloria" was, in fact, a Kool Gents recording, although only Clark's name appeared on the label. He struggled to forge his own style, mimicking Clyde McPhatter on the follow-up "Seven Nights" and aping Little Richard on 1958's "Oh, Little Girl." Neither charted, but when Little Richard himself abruptly quit performing to enter Bible college, his booking agent hired Clark to fulfill his remaining live dates; he ultimately spent five months on the road with Richard's backing band the Upsetters, also enlisting the group for studio dates. Clark officially came into his own with late 1958's "Nobody But You" — a luminous, uptempo love song ideally matched to his deeply affecting vocals, the single reached number 21 on the pop charts and number three on the R&B charts, creating the template for the remainder of his Vee-Jay output. Its 1959 follow-up "Just Keep It Up (And See What Happens)" was an even bigger pop hit, reaching the number 18 spot (although going only as high as number nine on the R&B rankings), and with the Bo Diddley-inspired rocker "(Hey) Little Girl" Clark solidified his popularity, reaching number 20 pop and number two R&B during a 15-week run on the charts.

In 1960 Clark notched three more consecutive pop chart entries: the Top 40 hit "How About That," "(Crazy Little Mama) At My Back Door," and "You're Looking Good." The streak continued in 1961 with "Your Friends," which reached number 34 on the national pop charts and proved an even bigger hit in his hometown Chicago market. Inspired by the inclement weather that plagued a road trip back from New York City, the follow-up "Raindrops" was both Clark's biggest hit and his creative apex — a vividly cinematic virtuoso performance that reached number two on the Billboard pop chart, its sophisticated sound anticipated the R&B genre's coming evolution into soul. But Clark never again recaptured its success either in the studio or on the charts: none of his next three singles — "Don't Walk Away from Me," 1962's "You Are Like the Wind," and "Dance On, Little Girl" — even charted. "I'm Going Back to School" was a renaissance of sorts, cracking the R&B Top 20, but in 1963 Clark again stumbled, and after three successive singles ("I'm a Soldier Boy," "How Is He Treating You?" and "Walking My Dog") failing to chart, he left Vee-Jay, signing with Ewart Abner's new label Constellation for the dance record "Crossfire Time," which squeaked onto the Billboard Hot 100 at number 92 — his final U.S. chart appearance.

Clark's Constellation tenure is a study in frustration — between 1964 and 1966, he released eight singles for the label, none of which charted. (Some were nevertheless excellent, in particular the Bob Gaudio-penned "Come Closer," "Warm Summer Breeze," and "T.C.B.") In the wake of "Old Fashion Love," issued in mid-1966, Constellation folded and Clark spent the remainder of his career hopscotching from label to label, never again releasing more than one single on any given imprint — these efforts include 1967's "In These Very Tender Moments" (Columbia), 1968's "Nobody But You" (Wand), 1970s "24 Hours of Loneliness" (Liberty) and the self-explanatory "Raindrops '73," which appeared on the Warner subsidiary Rocky. Throughout this period he lived in almost as many cities, making a living by headlining local lounges and nightclubs during extended stays in Los Angeles, Atlanta, and Orlando. Although 1975's Chelsea label release "Ride a Wild Horse" enjoyed chart success in the U.K., the single was Clark's last — he continued touring relentlessly during the decade-plus to follow, the grind no doubt contributing greatly to the massive heart attack that ended his life on December 7, 1990 at the age of only 52.

01. You're Looking Good Carter, Oliver 2:08
02. Wondering Clark, Nash 2:37
03. Kangaroo Hop Clark 2:21
04. I Just Can't Help Myself Blackwell 2:27
05. Little Red Riding Hood Clark 2:22
06. Gloria Clark 2:29
07. Come to California Diamond 2:19
08. Baby What You Want Me to Do Reed 2:58
09. 24 Boyfriends Clark, Twigs 2:05
10. Just Like a Fool Clark 2:17
11. What I Say Charles 4:35
+ Bonus Tracks

James Brown & His Famous Flames - Tour the U.S.A. (US 1962)

240:- (24-Bit Limited Remaster Edition, utgången utgåva sedan 2007.)

Killer early work by James Brown -- one of the best pre-funk albums on King, and really stuffed with great obscure numbers! The "tour" part is a bit of a misnomer -- as the album only features studio work, not live tracks -- but it is a great excuse for the record to have a cool cover with James in front of a map of the USA!

Tracks are a mix of instrumentals and hard soul numbers -- all very raw and rootsy, much more in the early style of James' best R&B work. Titles include "Sticky", "Cross Firing", "Choo Choo Locomotion", "Doin The Limbo", "Joggin Along", "I've Got Money", "Like A Baby", and "Three Hearts In A Tangle".

01. Mashed Potatoes U.S.A.
02. Choo-Choo Loco-Motion
03. Three Hearts In A Tangle
04. Doin' The Limbo
05. I Don't Care
06. Joggin' Along
07. I've Got Money
08. Sticky
09. Like A Baby
10. Every Beat Of My Heart
11. In The Wee Wee Hours (Of The Nite)
12. Cross Firing
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