The Riot Squad - I Take It That We’re Through – Anthology 1965-1967

The Riot Squad was formed by singer/guitarist Ron Ryan in December 1964.  The band was together for five years and released seven singles, but over that time they went through a multitude of lineups with saxophonist and flautist Robert Evan Horton (Bob Evans) being the only member to participate in all of their recording sessions (he had also left the band before it came to an end in the Summer of 1969).  A couple of the band’s most notable members were David Bowie, who was in the band for about three months in 1967, and original drummer Mitch Mitchell who went on to play with Georgie Fame and the Blue Flames and then was a member of The Jimi Hendrix Experience.  Now with the release of their new three disc box set I Take It That We’re Through – Anthology 1965-1967, the a and b sides of those singles have been joined by forty cuts from Joe Meek’s Tea Chest Tape Sessions, sessions recorded for It’s A Riot, an album with Glenda Collins that was never finished due to Meek’s death, two tracks from a newly discovered acetate and an unreleased song featuring female vocalist Flip (Vivienne Chering) produced by Joe Meek).  There are also four demos recorded with Bowie and the 1967 acetate album Making Up For Lost Time (both of these were released on vinyl in 2013, but are on CD here for the first time). All the tracks have been newly mastered, and forty-one of the eight-three are previously unreleased with fourteen more never on CD.

The box set kicks off with the fourteen tracks that comprised their seven singles.  The first three were mostly jazzy soul and r&b, often upbeat and bouncy, that are reminiscent of what Georgie Fame was also doing at that time.  When single number four came around they had an almost completely new lineup and started working with Joe Meek as producer, so “Cry Cry Cry” and “How It Is Done” had traces of that earlier sound but were more in the beat pop vein.  With its fuzz guitar, the next single “I Take It That We’re Through” is a great song that dips into freakbeat with the psychedelic garage rock of “Working Man” on the flipside.  “It’s Never Too Late” was the sixth single and moved in more of a pop direction with a driving beat, while “Try To Realise” was a great R&B track with some Beach Boys-like harmonies and even a little flute and keys.  Their final single was “Gotta Be A First Time” backed with “Bitter Sweet Love” (catchy enough to be an a-side) a couple of bouncy pop-tinged garage rock tracks. Next up is an acetate that was recorded in 1965 and has never been issued before.  The two cuts are “Monkey Man," a 1963 hit for Major Lance that was written by Curtis Mayfield and "Monkeying Around," originally written and recorded by William Bell in 1963.  Both of these songs were also on Georgie Fame's 1964 album Fame At Last, and these versions sound quite similar to his.  The remainder of disc one and all of disc two consist of a variety of tracks (many with multiple takes) from the Tea Chest Tapes, many of them previously unreleased.  Along with several songs that were never released by the band including a ragged R&B cover of Arthur Conley’s “Who’s Fooling Who,” three takes of “Walking On Ice,” most likely once considered for a single, “Wanna Lover,” written by Miki Dallon and at times strangely reminiscent of “Barbara Ann” from The Beach Boys, and instrumental covers of Herbie Mann’s flute driven jazz track “Comin’ Home Baby” and Booker T. and The M.G.’s organ led “Outrage.”  There are also newly discovered songs including “That’s Tough” and “If I Didn’t Love Her So,” a folk version of “It’s Never Too Late” and a flute version of “Try To Realise.”  Meek also used the band to back other artists.  These include “I Think I’m Falling In Love” and “Hush-A-Bye” with vocalist Flip (usually recorded with The Dateliners) and “I Beg To Heaven” with John Drysdale.

Disc three opens with twelve tracks that were for an album Meek was recording with The Riot Squad and Glenda Collins.  The tape boxes for these songs were listed as Glenda, Nero and The Riots and the album title was going to be It’s A Riot.  Nero (Keith Gladman) was The Riot Squad vocalist during the Joe Meek years of the band and sang lead on five tracks, all covers and primarily soul and R&B.  Collins also handled vocals on five tracks, but with more diversity than Nero.  These include “Magic Star” (a vocal version of the instrumental song “Telstar” that was written by Meek and a hit for the Tornados), an interesting version of “You’re Nobody Until Somebody Loves You” (most famously by Dean Martin) that takes it in more of a mod direction, “Lover Come Back To Me” (composed for the Broadway show The New Moon), a powerful, dramatic “I (Who Have Nothing)” and “Can I Get A Witness” (originally recorded by Marvin Gaye).  The final two tracks are Nero and Collins duets of “Dancing In The Street” and “Mockingbird.”  In March of 1967 David Bowie joined The Riot Squad for what ended up being just under two months.  He wasn’t interested in making it permanent, so they agreed that he would use them as his backing band and they would take advantage of his name.  They played several shows together and on April 5, about two months before his debut album would be released, they went in the studio and recorded four songs, which are a fascinating glimpse into his early days.  The Velvet Underground was an obvious influence on him with a cover of “I’m Waiting For My Man” and the Bowie original “Toy Soldier” which has alot of similarities to their song “Venus In Furs” (interestingly their debut album had just been released a month before these were recorded).  The other two tracks are the whimsical “Silver Tree Top School For Boys” (while never officially released by him this was actually covered by both The Slender Plenty and The Beatstalkers) and a stripped down take of “Silly Boy Blue,” which would appear on his debut album in a fuller, more produced version.  In October of 1967 the band recorded two sessions with producer Lee Magid.  These recordings were thought to be lost until Bob Evans licensed an acetate of the album and it was given an extremely limited (500 copies) vinyl release in 2013.  Now, with their inclusion here, they are available on CD for the first time.  They are a well selected and diverse collection of covers along with one original (possibly two since the writer of one is unknown) and it’s a real shame that they never saw the light of day when they were recorded, because it shows this late in the game version of band had a lot of potential.  First up is an energetic cover of Marvin Gaye and Tammi Terrell’s “Ain’t No Mountain High Enough” followed by a psychedelic take on Denny Laine’s “Say You Don’t Mind” with a touch of funk and horns.  “Hours and Hours” is the uncredited track and is a solid mod/freakbeat track.  The next two songs, “The Vicar’s Daughter” (written by John Carter and Ken Lewis for their band Stamford Bridge) and the Bob Evans original “Old Black Car” are fun, theatrical and sound effects-laden, psychedelia-tinged pop.  Willie Mitchell’s “Everything Is Gonna Be Alright” is an funky soul cover with some freakbeat and garage rock elements (check out the guitar and organ), while The Creation’s “Making Time” sticks close to its freakbeat roots.  Their take on Bonnie Dopson’s folk tune “Morning Dew” is a really strong interpretation giving it more of a dramatic, upbeat rock edge. The versions of Bowie’s “Little Toy Soldier” (this time without him) and Dylan’s “Like A Rolling Stone” are fairly close to the originals, although the latter has a horn accompaniment, and closing instrumental “Freaking Out” is a renamed, bluesy, acid rock cover of Memphis Slim’s “Steppin’ Out.”  The box set also contains a very informative twenty-eight page booklet and is highly recommended for fans and uninitiated alike.  

(Strawberry)

Public Disco Porch - Agriculture

Public Disco Porch was formed about ten years ago by York, Pennsylvania's Spencer McCreary when he lived in Chicago.  Initially a collaborative project that at times showed glimmers of what the band sounds like today, it has evolved into a stellar four-piece band (guitarist David Portelles, bassist Caleb Miller and drummer Robby Everly), and that sound has become more defined as evidenced by their latest album Agriculture. The release shows great depth both lyrically and musically and meshes power with textured layers as they create a mesmerizing soundscape on every song that is rootsy, atmospheric and at times heavy (think Black Sabbath and Radiohead having a campfire recording session with the late Chris Whitley).  The lyrics are very intelligent and often delve into the rural life, working the land and the history and culture of Pennsylvania.  Opening track “Agronomy” is hypnotic at first with thick, heavy fuzz guitars, driving percussion and McCreary’s deep, raw and rugged vocals, but as the song progresses it builds with intensity and shifting tempos that will keep you on your toes.  The beautiful “Rogation” is a haunting, stripped down, dark goth folk cut with a powerful, emotional vocal from McCreary, and while “Tobacco + Deer” still has folk elements, it is a little lighter and easygoing with a lazy, gently swirling psychedelic groove.  “Sickle” starts off as very sparse and quiet acoustic track, but with an underlying tension that builds before exploding into a dark and heavy bluesy stoner metal climax.  The epic “Horse Skull” clocks in at almost seven minutes and is atmospheric, slow burning and heavy.  It has a raw ambient intro that leads into a folk-tinged metal wall of sound that is dark and dirty with thick, distorted guitar riffs and a throbbing bass that later in the song is fleshed out with stabbing violin, before shifting towards a lighter, more upbeat finish.  The album ends with the warmer, cinematic “The Veteran.”  The lyrics here are very reflective and McCready’s vocals are not as raw, while the guitars still have a little dirt, but are cleaner and shinier, accompanied by washes of synths and violin.  It makes for a perfect ending to an outstanding album (and band) that is quickly becoming my latest musical obsession.  

(Public Disco Porch / Bandcamp)

Tokyo Blade - Hoist The Colours High

Tokyo Blade formed in 1982 and were considered part of the original NWOBHM movement.  Over the years they have gone through numerous lineup changes and even disbanded twice, but their latest release Hoist The Colours High features original members Alan Marsh on vocals and Andy Boulton on guitars.  This latest chapter in the band’s history has seen them consistently releasing solid albums and this is no exception.  “Screaming Evil” is a strong opener that sets the tone for the album with classic old school metal, but with modern day production.  With a killer vocal performance from Marsh “Too Wired To Sleep” is a hard charging NWOBHM flavored track.  On “Get Me Outa This” the band does a great job of channeling Thin Lizzy, which is especially notable in the vocals and guitars, while the title track is a big sounding, six minute plus Iron Maiden-like epic.  Powerhouse “I’m Gonna Rise” is a slower track with thick, heavy guitars and a more 2026 metal edge, that is quite possibly the standout track here.  “Sweet Desolation” is straight-up melodic rock that really hearkens back to the band’s early days.  Following the revving car engines in the intro, “When The Hammer Falls” is a gritty, straight-ahead, high energy rocker.  Full of sweeping guitars, “Last Man Standing” is an anthemic NWOBHM track that also has a bit of a rawer, less polished edge to it.  After slowing things down on the darker, midtempo “This Time” they show a bit of attitude and swagger, but with a more technical metal side on “Mr. Nobody” (another favorite of mine).  Up next is “Don’t Need No Enemies,” a plain old, good, no frills, hard driving classic metal track.  The Iron Maiden influence is back on the high octane “Devil In The Red Dress” with its galloping beat and twin guitars, while “She Was A Soldier” does a great job of meshing classic metal with storytelling lyrics about determination and resilience dealing with things like abuse and trauma.  They close the album perfectly with the softer, reflective, atmospheric “Wasting My Time.”  While so many bands from the early eighties are long gone or showing they are way beyond their glory days, Hoist The Colours High shows that Tokyo Blade are still going strong  

(Dissonance Productions)

Sheetcake - Sheetcake EP

The four-piece Sheetcake got their start after meeting at an open mic night at Dickinson College in Carlisle, PA, and have now released their the eponymous six-cut EP.  This debut is an outstanding collection of indie pop and rock twith lush, textured instrumentation and catchy melodies.  “Butterflies” kicks the EP off and after a summery sounding intro with acoustic guitar and the sounds of birds, it shifts into a breezy indie pop gem with slight jazzy flourishes.  More of an indie pop tune, but with an underlying sense of tension, “Hands Tied” has a strong vocal performance from Kate Villiger and some great harmonies from her and Ryan Crothers.  With a swaying groove and some nice back and forth vocals, “I Don’t Mind” is a catchy, more laid-back track followed by the upbeat indie rock of “Before It’s Better,” which has some really nice textures in the guitar work and reflective lyrics.  “Mean It” is somewhat of a midtempo song but has more intensity and a guitar heavy rock edge.  Closing the EP is “Thinking Twice,” a beautiful, stripped down and introspective cut that also makes nice use of strings.  A very promising start from a band I hope to hear a lot more from.  

(Sheetcake - Instagram)

Atomic Rooster - Friday The 13th – The BBC Sessions 1970-1981

Atomic Rooster was formed in 1969 by former Crazy World Of Arthur Brown members Vincent Crane and Carl Palmer, along with Nick Graham.  That lineup was short lived with Graham being replaced by John Cann (later known as John Du Cann only a few weeks after their debut album was released. Over the ensuing years there were numerous other lineup changes with Paul Hammond, Pete French, Steve Bolton, Ric Parnell, John Goodsall, Shug Millidge and Chris Farlowe among the members.  The two CD collection Friday The 13th - The BBC Sessions 1970-1981 collects all the surviving BBC sessions the band recorded between 1970 and 1981, including two complete BBC radio in concert performances (5 tracks are previously unreleased).  First up are a blistering prog-tinged, proto-metal takes on “Friday The 13th” and “Seven Lonely Streets” (a track that would show up a few months later on their sophomore album Death Walks Behind You), which are from a May 1970 session for BBC Radio 1 DJ Mike Harding’s show and are among the few live recordings of the original lineup as Palmer left the band a few weeks later.  All three members are on fire here and the tightness of the band and their musicianship is stellar.  Again, recorded for Harding’s show, the next three tracks are from a March 1971 session, with Hammond now on drums.  This new lineup doesn’t miss a beat and shows their diversity tearing through the intricate instrumental “Before Tomorrow” before shifting back to the moodier prog of “Death Walks By You” and the heavier, classic rock of “Tomorrow Night.”  With the exception of Crane, the lineup on the next session (June 1972 for a Johnny Walker session) was all new with the addition of Farlowe, Bolton and Parnell.  While the band didn’t completely abandon the more organ heavy sound of their earlier work, this edition of the band and the one on the next session (December 1972 for another Johnny Walker session), with Goodsall replacing Bolton on guitar, shifted in a more soulful and funk direction that suited Farlowe’s vocals (“Save Me” is a renamed reworking of “Friday The 13th” off their debut and shows this perfectly).  After taking a five-year break, the band regrouped in 1980, and the final session on disc one was recorded in October 1981 for the Friday Rock show.  Crane was once again the only returning member from the previous lineup, along with Cann (now Du Cann) who rejoined after being gone from the band for nine years, Hammond and Millidge.  At this point they shifted back towards their original sound, with the darker, heavier “In the Shadows” and the galloping “Death Walks Behind You” (a track from their sophomore album in 1970) as perfect examples.  

The second disc is split between two radio concerts (both recorded at Paris Theatre in London) and starts with a previously unreleased John Peel Sunday Concert from January 1971, featuring the Crane, Du Cann, Hammond lineup.  Highlights include the organ driven instrumental “V.U.G.,” which shows some interesting jazz flourishes mixed in with their heavier sound and the frantic performance of “Friday the Thirteenth.”  The second concert was recorded in July 1972 for BBC Radio 1 In Concert and is the Farlowe, Crane, Bolton, Parnell lineup.  It’s another solid performance and seems to utilize the organ a little more than the other set from this version of the band.  Even though the lineups represented here almost seem like a revolving door, all the performances here sound like a band at the top of their game and really makes for a fun listen.  

(Esoteric Recordings)

Cumberland Honey - Sweet Talk 

Cumberland Honey was initially formed as a duo in 2017 by Steph Landis and Virginia Masland. Over the years the band has expanded their lineup and Masland left the band in 2024.  With the current lineup consisting of Landis, Grace Mahar, Gena Lanette and Llewyn Malick, they have recently released their full-length debut Sweet Talk.  Featuring seven songs written by Landis and two from Mahar, it is an outstanding collection drawing from Bluegrass, country and Appalachian folk.  Throughout the nine tracks their use of upright bass, resonator guitar, slide guitar, pedal steel, Irish bouzouki, mandolin, and harmonica, create a beautiful, atmospheric sound, that is then coupled with their outstanding vocal harmonies.  The classic, old school country of “Mornin’ Light” gets the album going with some great harmonica and pedal steel.  “No Good For Me” is one of the album’s standout tracks, and is a gorgeous folk tune with a delicate, atmospheric feel, while “Long Time Coming” is an easygoing bluegrass song driven by a loping beat.  “River” starts with incredible gospel-tinged vocal harmonies, followed by some great harmonica and acoustic guitar that reminds me of Springsteen’s Nebraska, then turns into a gospel flavored roots track.  Following the swaying country waltz of “Soul To Call Home” is the six minute “The Sea,” an epic, six-minute track with a hauntingly beautiful intro that starts with a resonator guitar solo followed by pedal steel and then harmonica leading to captivating vocals from Maher and siren-like harmonies.  ”Easy Love” and “Hurt This Much” are a couple of gentle, laid-back mountain songs, the latter of which has some great back and forth lead vocals and a really nice hook, and closing the album out is “Goodbye To You,” a lazy, bluesy country track that really showcases their musicianship.  Sweet Talk shows once again that the music scene in South Central PA is one to pay attention to.

(Guernsey Beat Records)

Jah Wobble & Tian Qiyi - Mystic Liverpool - The Beatles' Psychedelic Psongbook

Since making his recording debut as bassist for Public Image in 1978, Jah Wobble has dabbled in a multitude of different genres through both his solo work and collaborations.  Now with Mystic Liverpool - The Beatles' Psychedelic Psongbook he has collaborated with his two sons John T and Charlie Wardle, who perform at Tian Qiyi, on a release containing their own unique renditions of ten songs from The Beatles.  Along with Wobble’s notable bass-work the use of Chinese instruments like yangqin, erhu, morin khuur and guzheng, the last of which is courtesy his wife and their mother Zi Lan Liao, give the album and fun and unique twist on the songs.  Opener "Tomorrow Never Knows" is arguably The Beatles’ most psychedelic song, and their take  maintains the core of the song but gives it their own spin with Wobble's thick droning bass and the use of the Chinese instruments erhu and yangqin among the highlights.  With Zi Lan Liao’s previously mentioned contribution on guzheng, “Strawberry Fields Forever” has an interesting start with the use of yangqin and then shifts into a beautiful, extremely psychedelic, version with the Chinese instrumentation giving it a fresh sound.  Although it sticks pretty close to the original, “Within You Without You” has more of an Indian feel, while “I Am The Walrus” is slowed down giving it a haunting, somewhat disorienting feel along with a low, pulsing bass.   Also slightly slower and somewhat stripped down with a bass that is more in the dub direction, “Norwegian Wood” replaces the sitar with erhu giving it a distinctive sound.  One of the albums weaker tracks is “Blue Jay Way,” which has more of a modern-day feel and a bit of a droning sound that seems to go on too long causing it to lose the quirky charm of the original.  Originally released as the non-album B-side to “Lady Madonna,” "The Inner Light,” was a very Indian influenced track with minimal instrumentation and is most likely the least know track here.  Their version uses Chinese instrumentation to make it their own and with hypnotic instrumental sections they take the two minute and thirty-six second track and stretch it to six minutes and forty-two seconds.  While “Love You To” was the first Beatles song to completely embrace Indian music, their version is more percussive, which really gives it a new direction.  The short instrumental “Flying” was originally on Magical Mystery Tour and here is turned into a slow, swirling track with a heavy dub reggae beat giving it almost no resemblance to the original.  The album closes with a cover of “Rain,” which, although well-known, was actually the b-side to “Paperback Writer."  Theirs is a fairly faithful version, but with a slightly offbeat, disorienting sound similar to “I Am The Walrus” a few tracks earlier.  Even though they are quite likely the most covered band out there, Jah Wobble and his sons still manage to take these song and give us something new and fun to listen to.  

(30 Hertz Records)