Johnny Cougar - American Dream: The Mainman Recordings 1976-1977

In 1976, three years before he first hit the singles charts with "I Need A Lover," John Mellencamp released his debut album Chestnut Street Incident under the name Johnny Cougar.  He had been trying to get his music career going for several years and went to New York looking for a deal, where he ended up working with Tony Defries, whose company MainMan had been David Bowie’s manager and represented other artists including Lou Reed, Iggy Pop and Mott The Hoople. He went back and forth between New York and his home in Indiana, recording the album with musicians that included the likes of Mick Ronson (guitarist for Bowie’s Spiders From Mars), composer and arranger Michael Kamen, David Mansfield on steel guitar, violin and mandolin (played with Dylan and composed numerous films), Hilly Michaels (drummer with Sparks) and guitarist Mike Wanchic, who still plays with Mellencamp today.  Unfortunately, the album didn’t sell very well, and due to that and changes in personnel at the label, the songs he had recorded for a follow-up were shelved and he was dropped.  Around this same time, Indiana record label Gulcher released an EP of songs that were recorded before his debut called US Male (included here on CD for the first time). Following this he moved to London and signed to Riva, releasing the album A Biography, which contained the aforementioned first hit single. Ironically the song hit number five in Australia, but the album wasn’t released in the US, but then became a US hit when it was released the following year on his John Cougar album, hitting number twenty-eight.  His next album was American Fool, and this is when his career really took off reaching number one in the US and containing the hit songs “Hurts So Good,” “Jack and Diane” and “Hand To Hold Onto.”  Due to that success, nine months after that album was released, Defries decided to release that shelved second album The Kid Inside.  All of this brings us to the new double CD American Dream – The Mainman Recordings 1976-1977, which collects those first two albums, the US Male EP, ten tracks from Skin It Up (demos and lost tracks from The Kid Inside sessions) and ten previously unreleased demos, early mixes and alternate versions.  

His debut album, Chestnut Street Incident, starts things off and while far from a great album, I have always felt that Mellencamp himself, along with many of the critics, never gave it a fair shake.  There are signs of the direction he would head later in his career, but it’s definitely a work in progress. The album opens strongly with “American Dream,” a gritty, heartland rocker that is quite catchy and reminiscent of Bob Seger.  One of two songs on the album co-written with George M Green, a childhood friend who would go on to write many more songs with him and others, “Dream Killing Town” has lyrics about living in a small town that Mellencamp would become known for and is a rootsy rocker with piano and sax giving it a Springsteen vibe.  The album’s strongest cut is “Chestnut Street,” a beautiful, atmospheric ballad featuring some outstanding piano from Kamen along with Mansfield’s fiddle and mandolin (the actual title track shows up later in the album and is more electric rock version of the song).  “Good Girls” is a big, classic rock tune with twin guitars, and closer “Sad Lady” is the other Green co-write and another sweeping ballad with more of Kamen’s piano.  The remainder of the album consists of covers, a couple of which work way better than the others.  While “Oh Pretty Woman” and “Jailhouse Rock” have already been covered way too many times and these versions don’t anything to the original, his take on The Lovin’ Spoonful’s “Do You Believe In Magic?” gives it a bit of swagger and really works, as does The Doors’ “Twentieth Century Fox,” which is reinvented with more of a garage rock sound.  The final cover “Supergirl” isn’t usually mentioned as a cover, and is credited to Aldo Legui and Bob Marcus, but is actually a version of “Superlungs My Supergirl” which was written by Donovan, who recorded a psychedelic rock version (Terry Reid also did a bluesier version).  The Mellencamp version is poppier and while not bad, loses some of the edge of their versions.  Although it was released after his debut, the US Male EP was recorded before it, and is now available here for the first time on CD.  It starts with “2000 AD,” a simple tune of just Mellencamp singing and playing acoustic guitar, but lyrically it foreshadows his future work in things like Farm Aid detailing the abuse of the environment.  “Lou-ser” is a really strange and interesting track that has a bit of a Springsteen feel, but with elements of new wave, jazz and even a bit of Scott Joplin’s “The Entertainer.”  While “Hot Man” has a glimmer of his rootsier side, it’s more of a straight-ahead hard rock tune and probably EP’s weakest cut. The closing cut is a really good cover, this time Paul Revere and The Raiders’ “Kicks,” which Mellencamp gives a good kick in the pants.  This EP is a great addition to this set giving a listen to the earliest days of his career.  

Although it was initially shelved after it was recorded, and not released until American Fool became a success, The Kid Inside is another solid collection that really hasn’t gotten its fair due and continued to show Mellencamp getting his footing.  This is shown perfectly right from the start with the title track, a solid, gritty rocker that also has a touch of a Stones vibe.  While “Take What You Want” is extremely catchy, it moves a little too far into pop territory as does the rootsy “R Gang” a few tracks later.  Rocker “Cheap Shot,” which has some Stones-ish guitars, ballad “Sidewalks And Streetlight,” and the seven minute plus epic “Too Young To Live,” all show that Springsteen influence.  “American Son” is a ballsy, hard rocker driven with twin guitars.  A couple of the album’s high points are up next with “Gearhead,” a sweeping, largely acoustic track that has a great arrangement, and “Young Genocides,” a piano driven ballad with a very emotional vocal along with some really nice piano from Tom Wince.  The album ends impressively with “Survive,” a bit of a mini suite about the perils of growing up that includes some really interesting piano and even a little flute along with the sax.  

As for the bonus tracks, the first set of ten was actually released in 2000 as Skin It Back and were supposedly recorded during the sessions for Chestnut Street Incident.  There are two versions of the song “Skin It Back” here, which are interesting for a couple of reasons.  One is labeled “acoustic version,” which is actually not acoustic and according to what I found after scouring the internet isn’t Mellencamp singing, but is actually Dave Parman, who among other things played bass and guitar on those early albums.  This version is a work in progress where you can hear them working out the chords on the fly and has unfinished lyrics.  As for the song, it’s a very dramatic tune with some great piano and one that I would love to have heard finished (the other version is a full band, electric instrumental take).  “Last Of The Big Time Spenders” is another demo with someone else on vocals (this time it’s sax player Wayne Hall) and is a decent Mellencamp flavored blue collar rocker.  Other originals include “Little Heroes,” a bouncy pop tune that comes across a bit cheesy and “The Whore,” an acoustic guitar and vocal track that show some promise but isn’t quite there.  On the other hand, “When I Was Young” has a haunting, late sixties west coast psychedelic rock sound that really shows a different side to him in these early days.  There are a few more covers here as well, and ironically most of them are much stronger than the ones that were included on the album.  His take on Bowie’s “The Man Who Sold The World” has an arrangement that is similar to the one Lulu released a few years earlier, but with some more rock-oriented psychedelic flourishes.  The Stooges’ “I Need Somebody” was an interesting choice compared to the others, and he does a good job with it by sticking close to the dark and slinky sound of the original but giving it more of his rock edge.  While “Hit The Road Jack” is another one of those songs that have been overdone, he delivers it with that Mellencamp swagger that really makes it fun.  Unfortunately, the version of “Kicks” here is a more straightforward take that loses all the punch of the one on the Gulcher single.  The remaining ten bonus tracks are all previously unreleased.  The only new song among them is “I Just Wanna Be Black,” a bizarre funk tune with very Seventies synths that is absolutely unlike anything else from him (there is also a stripped down demo version). The remainder of the tracks are demos, alternate versions and early versions.  Some of the notable ones include a couple takes of “Chestnut Street” and one of “Sad Lady” where you can hear them experiment with the arrangements and instrumentation.  There is also an alternate electric version of “Gearhead” that turns it into a gritty rocker that is just as good as the album version.  American Dream makes for a fun listen back to those early, early days of Johnny Cougar and is a great addition to the collection of anyone that considers themselves a John Mellencamp fan.  

(Lemon Recordings)

Blodwyn Pig - The Recordings 1969-1974

Blodwyn Pig was founded by Mick Abrahams in 1968, following his departure from Jethro Tull when Ian Anderson decided he wanted to move away from their bluesier side after the release of their debut album This Was.  The band was rounded out by Jack Lancaster, Andy Pyle and Ron Berg, and released two albums between 1968 and 1970 (both were top ten releases in the UK).  Abrahams left the band following the release of the second album due to his fear of flying, hindering their upcoming US Tour.  For the tour they did replace him with two guitarists, Peter Banks (formerly of Yes) and Barry Reynolds, but the band still fell apart shortly after that.  This new three CD box set The Recordings 1969-1974 compiles those two releases, along with non-album single tracks and numerous radio sessions, including several recorded by a reunited version of the band in 1974 with Clive Bunker replacing Berg. 

They show what they are striving for right out the gate with “It’s Only Love,” the opening track off their debut album, Ahead Rings Out.  It’s a rollicking bluesy rocker fleshed out with big band horns.  Featured in Almost Famous, “Dear Jill” is a gorgeous, lazy and laid-back blues track highlighted by Abrahams' slide guitar and Lancaster’s clarinet.  The upbeat blues rock of “Sing Me A Song That I Know” also has a jazz and funk undertone and sounds a little like The Doors at times.  Written by Lancaster, “The Modern Alchemist” is a full-blown jazz rock track that does a great job of showcasing the musicianship of every member, while “Up And Coming” is slow and smoldering blues reminiscent of Cream.  The bouncy, old school cabaret jazz sounding instrumental “Leave It With Me” is the one track here that brings to mind Tull, which is made even more notable by Lancaster’s flute.  “The Changes Song” is a stunning acoustic blues track with Abrahams once again displaying his slide guitar prowess, accompanied by Lancaster’s violin.  Following the lilting fifty-two second interlude “Back Wash” comes the noisy closing track “Ain’t Ya Coming Home, Babe?,” a six minute plus track of bluesy hard rock with some jazz elements and squeaking sax.  It’s very loose and often sounds like a jam session.  The bonus tracks on disc one start with recordings of “The Change Song” and “It’s Only Love” from 1969 BBC Sessions.  “Sweet Caroline” and “Summer Day” are a couple of upbeat bluesy rockers that were single b-sides, while the single only a-side “Walk On Water” is a solid rock track with elements of jazz and psychedelia (also included here in an alternate version).  Any or all of them would have been welcome additions to the albums.  The last bonus track on this disc is “McGregor Muckabout,” which was recorded during the sessions for the album and is a bizarre 10 minutes plus cut of almost incoherent rambling and noise that really should have been left on the cutting room floor.  

A little less than nine months after they released their debut, Blodwyn Pig was back with album number two Getting To This.  The album gets off to a strong start with “Drive Me,” which after a heavier, Cream-like blues intro, evolves into a swinging, jazzy blues track with Lancaster once again shining on the horns.  “Variations On Nainos” is highlighted by Abrahams guitar work and Lancaster’s flute, giving this laid-back, jazzy, funk rock track some Jethro Tull vibes (the song title, an anagram of “Son Ian,” is a poke at Ian Anderson).  The more straight-ahead, hard-driving rock of “See My Way” is up next and is again set apart by the horns.  At just over a minute, “Long Bomb Blues” is a nice little solo acoustic blues track with just Abrahams on guitar and vocals, followed by “The Squirreling Must Go On” a hard rock instrumental showcasing more of his blistering guitar.  The most ambitious cut the band released on either album is the four part, eight minute “San Francisco Sketches.”  After starting with a wistful, gently strummed guitar accompanied by flute, it shifts to jazzy, blues rock (again with lots of horns), followed by a section with Beach Boys like vocal harmonies, before shifting back to a jazzy free for all to close it out.  Although not among their best, “Worry” is a solid, straight-on rocker, followed by “Toys,” a laid-back tune with lyrics looking back reflectively on his youth.  This brings us to what many consider the biggest misstep of their recorded output, “To Rassman.”  This reggae wannabe novelty song sounds like an experiment gone wrong that should’ve been left behind.  The album’s final song “Send Your Son To Die” is a very Blodwyn Pig sounding track of horn driven rock with jazz influences.  Four more bonus cuts round out disc two, starting off with the super infectious rocker “Same Old Story,” which was a single only track along with a high energy cover of Larry Williams’ "Slow Down" on the flipside.  Lastly are a couple of tracks recorded during the Getting To This sessions.  “Meanie Mornay” is a bluesy track with some great slide guitar that actually has a bit of a country influence and would have been a great addition to the album, while “One Thing Leads To Another” has a somewhat lazy, laid-back groove.

The final disc here is titled Blodwyn Pig at the BBC 1969-1974 and consists of recordings from five different BBC Sessions.  First up are three songs from Top Gear on March 24, 1969, consisting of a couple of tracks from their debut album, including a great version of “The Modern Alchemist” that really shows off their musicianship.  There is also a variation of “Up and Coming” called “Mr Green’s Blues,” which Is a tribute Peter Green, made even more interesting with Abrahams' “spoken word rapping” in the middle, followed by versions of a couple of songs from Getting To This recorded March 4, 1970 for Sounds Of The 70’s.  The next two tracks were also from Sound of the 70’s, but were recorded a few months later on September 23, and are notable because at that point Abrahams had been replaced by Peter Banks and Barry Reynolds. “Moon’s Gone” is a catchy, very horn-driven song that shifts in more of a soulful rock direction, somewhat reminiscent of Van Morrison and “The Lady Of Liberty” (written by Banks) is a dreamy, acoustic track.  The final nine tracks were recorded in 1974, with the band back to the original lineup with the exception of Clive Bunker now on drums.  First up are four from a June 17, 1974 session for Sound Of The 70’s starting off with a take on the album track “See My Way.”  The other three are “Baby Girl,” a ragged, bluesy rocker fleshed out with some honky tonk piano, the easygoing, midtempo “Leaving Song” and “Blues Of A Dunstable Truck Driving Man,” a really fun acoustic folk blues tune that Abrahams says is about his time driving a truck.  Lastly are five cuts from In Concert that were recorded on August 15, 1974 starting once again with another great version of “See my Way,” this time a seven minute plus version with the band really letting loose.  Next up are a couple of new songs, the gospel-tinged rock of “I Know” and the funky “Cosmografication.”  Closing the set are a great cover of “Six Days On The Road” and a rocking version the debut album’s “It’s Only Love.”  Following the 1974 reunion that was documented in these live performances, various incarnations of the band got back together off and on in the nineties, and even released a couple more albums.  Abrahams sadly passed away in December 2025.

(Esoteric Recordings)

Wild Horses - Standing Our Ground - Complete Recordings 1978-1981

When guitarist Brian Robertson left Thin Lizzy in 1978, he teamed up with his flatmate bassist Jimmy Bain (formerly of Rainbow) and they formed Wild Horses.  Bain handled the bulk of the lead vocals with Robertson singing on a couple and the initial incarnation of the band was rounded out by Neil Carter on guitars and keyboards, and Clive Edwards (formerly of Pat Travers and Uli Jon Roth’s Electric Sun) on drums.  Unfortunately, the band was fairly short-lived and ended up going through some lineup changes and releasing only two albums before imploding in 1981.  Now, with the release of the six CD box set Standing Our Ground - Complete Recordings 1978 - 1981, those two albums, along with live cuts, demos, b-sides, alternate takes, 2025 remixes of album cuts and more are all compiled into one collection.  

The band released their debut album, The First Album, in April 1980 and actually hit number thirty-eight on the UK charts.  The original mix of the album opens disc one and starts strongly with “Reservation,” a solid rocker with some stellar Robertson guitar work.  The Thin Lizzy influence shows itself from time to time, most notably on “Face Down” and “Blackmail.”  The album also contains a couple co-writes with his former Lizzy bandmates with Phil Lynott on the poppy power ballad “Flyaway” and Scott Gorham on “Dealer,” which has a fun boogie woogie groove.  Other highlights include “No Strings Attached,” a solid rocker that beautifully adds some acoustic guitar to the mix, “Nights On The Town,” which has a bit of a funk and at times sounds like Bad Company, and closer “Woman,” with its slinky groove. There are a couple of missteps here, most notably “Street Girl,” which shows the influence of producer Trevor Rabin, especially with the vocal effects that sound like his later work with Yes.  Unfortunately, the album didn’t do as good as expected, which was partially blamed to the label not printing enough copies making in unavailable for potential buyers.  As for the bonus tracks on disc one, first up are excellent 2025 remixes from Per Olsson of eight of the album’s ten tracks (multitracks could not be found for all the songs).  According to the liner notes, they were remixed to Robertson’s specifications and have a much fuller, meatier sound.  Having said that, both the original versions and remixes have their own charm, so it’s nice to have both available here.  There is also an alternate take on “Street Girl” and the b-side “The Rapist,” another great Thin Lizzy-like rocker that is one of the stronger songs here, in spite of its title and subject matter.  

Carter left the band in August 1980 to join UFO and was replaced by John Lockton.  This lineup recorded their second and final album, Stand Your Ground, which was released in May 1981.  Arguably stronger than anything on the debut, “I’ll Give You Love” is a galloping, hard charging rocker that opens the album and shows the band means business.  The slightly more midtempo “In The City” has a really cool, somewhat bluesy groove.  The Thin Lizzy influence is strong again here showing itself in the easygoing, laid-back groove of “Another Lover,” “Miami Heat” and the gritty rocker “Stake Out” that closes the album.  Other highlights are “Back In The USA,” a solid, midtempo rocker with an infectious chorus, the driving title track, the darker, more intense “The Axe” and the fun, upbeat “New York CIty,” with its boogie woogie beat.  The bonus cuts on disc two include 2025 remixes of five album cuts, that once again really fill out the sound making them sound fuller.  There are also a couple of demos that are quite different from anything that was on the album, with “Because I Care,” which strangely reminds me of the soulful yacht rock of Boz Scaggs and “The Stash,” which has a slight reggae beat.  A week after the album's release, following a show in London, Robertson left the band and Edwards was right behind him.  They did try to move forward with Reuben and Laurence Archer, but that was unsuccessful, and shortly later the band was done.      

While the band only released two albums this box set has a treasure trove of bonus cuts with four more discs.  Disc three and four contain a variety of bonus tracks with each disc covering one of the albums.  The disc devoted to the debut contains several really interesting cuts including an early acoustic demo of “Flyaway” with Phil Lynott on vocals and another take with Gary Moore on lead guitar (this song was initially among some that were being considered for either Thin Lizzy’s Black Rose album or Phil’s Solo In Soho album), along with a demo of “Dealer” with Neil Carter doing a great job handling lead vocals.  Other notable tracks include demos of unreleased classic rock track “Retribution,” which has some great guitar work and really should have made the album, a cover of Ron Wood’s “Breathe On Me,” which definitely has a bit of that Stones sound in the guitar work, and a beautiful acoustic version of “No Strings Attached.”  There are also demo and alternate versions of “Top Mod,” which is an early version of “Face Down” with different lyrics and a somewhat different arrangement, and demos and rough mixes of several album tracks.  The Stand Your Ground bonus tracks starts off with three b-sides taken from the “I’ll Give You Love” single consisting of “The Kid,” a solid, straight-ahead rocker with more great guitar work and live versions of Joe Walsh’s “Rocky Mountain Way” and Eddie Floyd’s “Saturday Night” (co-written by Steve Cropper), along with the complete left turn, standalone cover of the soul pop tune “Everlasting Love” (most successfully recorded by Love Affair).  The remaining tracks on this disc are demos, starting off with five album tracks with Robertson and Bain playing all the instruments (Robertson handles the drums).  The last three are demos of Thin Lizzy’s “Are You Ready,” album track “Back In The USA” and b-side “The Kid” that were recorded with Clive Edwards on drums and Neil Carter playing everything else including vocals.  These demos are all great additions to this collection and while a little raw, are well recorded and sound great.  

The final two discs consist of two live recordings.  The first is from a set at The Marquee in 1980 and while a little rough it’s far from bootleg quality.  The performance is loose and makes for a really enjoyable listen.  The final disc is also from 1980, this time in Tokyo, and while it’s a much longer set and the band still sounds great, it definitely sounds like a bootleg and probably isn’t something you would listen to repeatedly.  Wild Horses is one of those bands that on the surface had all the right things going for them and honestly really should be a name that is more familiar to music fans today, but thanks to HNE they are getting another chance to have their music heard. 

(HNE Recordings)

Smash Palace - 87

In 1980, brothers Stephen and Brian Butler released an album as members of the band Quincy, which was followed in 1983 with an EP under the band name Lulu Temple, a change necessitated by a lawsuit from Quincy Jones.  Shortly after the EP’s release that band broke up and the brothers then went on to form Smash Palace, releasing their debut album in 1985.  When their A&R man moved to a new label he asked them to come with him, but after leaving their label the deal with the new label didn’t come through.  Due to this, the demos they had recorded for their second album were never released.  Over the ensuing years they did other things including being staff songwriters and Stephen working with the band Mary Lee’s Corvette.  In 1999 the brothers reformed and released the first of thirteen Smash Palace releases working with various band members over the years.  Now, thirty-eight years after they started working on that sophomore album, these lost songs are getting their day with the new album 87, which contains five tracks rerecorded by the original lineup and five demos from 1987.  The album opens with the five new tracks starting strongly with “Bitter Blue,” a solid power pop tune with a rock edge that comes across a bit like a jangle rock version of the Psychedelic Furs.  Up next are “I’ll Be There,” a gritty alt rocker with a hint of a rootsy side, and the straight-ahead rock of “Poor Man’s Paradise,” both of which have a Petty vibe.  “Top Of The World” is a midtempo track with a really nice groove and “Everything Under the Sun” has a darker alt rock sound.  The influence of the eighties can definitely be heard on the five demo tracks.  “Along For The Ride” has a very radio friendly alt pop sound that is often reminiscent of Simple Minds.  Relying heavily on the synths, “Centipede” has more of a New Wave bounce, while “Stranger Than Strange” is a moodier, midtempo track. “First Time For Everything” is a more laid-back tune but is a bit plodding and probably the weakest song here.  The album closes with “Imaginary Lines,” which is their attempt at a bigger epic rock track and does a good job at presenting that, but is set back a little by the thinner production, which plagues several of the older tracks.  87 is a very enjoyable release that bridges the early days of the band with today, and hopefully is just the first of more from this newly reunited lineup.  

(Think Like A Key Music)

The Exploited - Punk's Not Dead (45th Anniversary Vinyl Edition) 

Forty-five years after it was originally released, Punk’s Not Dead, the classic full-length debut from Scottish punk band The Exploited, has been reissued on a limited-edition black vinyl with a red splatter.  The album’s title was in response to critics saying punk was on its way out with the rise in popularity of new wave and post-punk, and the band was quick to prove them wrong with the opening title track, a chant-along punk anthem with throbbing bass and chainsaw guitars.  Their anthemic cover of Puncture’s “Mucky Pup” is up next and manages to mix a hint of melody into the aggression.  “Cop Cars” is a bouncy, fast paced track with a fun side highlighted by the “mee maw mee maw” lines with vocalist Wattie Buchan impersonating a siren.  Thanks to Gary McCormack’s prominent bass, “Free Flight” is a gritty track that is on the heavier side but still manages to be a little hooky.  Shifting back to the pure, straight ahead punk, “Army Life (Part 2) and “Blown To Bits” show their more political side lyrically, respectively dealing with Wattie’s pre-Exploited stint in the army as a seventeen-year-old and the results of IRA bomb explosions.  Side One’s closing track “Sex & Violence” shifts musically throughout its five plus minutes, but the lyrics are just the title repeated over and over which gets kind of annoying and is a bit of a novelty that wears thin quickly.  Side two opens with another blast of punk with “SPG,” which criticizes the “Special Patrol Group” that was created in London to fight serious public disorder and crime.  They change things up a bit with “Royalty,” which still has punk energy but mixes in a bit of new wave, and with its propulsive drumbeat “Dole Q” has more of a darker intensity that goes with the lyrics about the woes of being on the dole.  “Exploited Barmy Army” is up next and is an anthemic battle cry for the band.  Darker and heavier both musically and lyrically, “Ripper” is a bit out of place, dealing with serial killer Peter Sutcliffe.  The taut, aggressive rapid-fire punk of “Out Of Control” and “Son Of A Copper” bring you to closing track “I Believe In Anarchy,” another punk anthem that is the perfect bookend to the title track that opened the album.  Whether you missed out on it before now or just need to replace that worn out copy, it's the perfect time to grab this newly reissued version.

(Captain Oi!)

Jon and Roy - I Can Dream

For their most recent EP I Can Dream, Canada’s Jon and Roy decided to steer away from the digital technology that has taken over the music industry and instead recorded on tape, resulting in a collection of tunes that are warm and more intimate sounding.  Opener “Maywell” was inspired by what has now become an annual winter hike to a rustic cabin in the mountains that was built by a man with that same name. It’s a captivating track of briskly paced folk rock with Jon Middleton’s fragile vocals and during the second half of the song the wonderful addition of horns.  “Waves Of Pleasure” is a jaunty folk rock track with a bounce that will have you swaying along, while “More Than I Can Dream” is a beautiful love song that’s slow and stripped down with a powerful, emotional vocal performance.  Bookended by two instrumentals, the easygoing, rootsy reggae-beat driven “Part One” and the slow, hypnotic closing track “Part Two,” is the lazy surf rock track “Make This Darkness Bright, which is enhanced brilliantly with horns and is reminiscent of Jack Johnson.  Unfortunately, at just over twenty-three minutes, the EP ends too quickly, but thankfully it is one that will have you hitting repeat over and over.  

(Blue Heron Music)

Moonrider - Moonrider (50th Anniversary Edition)

Moonrider was formed in 1974 after vocalist Keith West (formerly of Tomorrow) worked with guitarist Jason Weider (previously in Family and The Animals) on West's solo album Wherever My Love Goes.  Along with bassist Bruce Thomas, who would go on to play with Elvis Costello, and drummer Chico Greenwood, they released one album, made a couple TV appearances and opened for a few other artists before calling it a day.  Now, fifty years after its release, that album has been remastered and reissued with 9 bonus tracks.  While the music of their prior bands tended to be in more of the psychedelic and prog rock genres, Moonrider’s music drew more from pub rock and the country rock of the West Coast.   After starting off sounding like a dance tune, the album’s opener “Angel Of Mercy” becomes a nice, laid-back pub rock track with a bit of a soulful side, and is followed by the gentle, country rock of “Having Someone” with its Eagles like harmonies.  “Our Day’s Gonna Come” shifts gears a bit, sounding like more of an easy listening, yacht rock ballad, and is one of the weaker tracks here.  Featuring Weider’s only lead vocal on the album, “Good Things” is a nice midtempo country rock track with a laid-back, galloping beat and some really solid guitar.  The upbeat “Livin’ On Main Street” adds a little boogie to the beat and has some bluesy guitar from Weider.  With a bit of a funk groove, “Too Early In The Morning” is another change of pace that’s reminiscent of Steely Dan (Steely Dan producer Gary Katz was initially supposed to produce the album but never showed up to the studio).  The next two tracks, “Golddigger” and “Danger In The Night,” are to me the best on the album and both show their rock side with the latter having a darker, Neil Young vibe.  “Ridin’ For A Fall” is another country-tinged pub rocker with an extremely catchy chorus, which brings us to the album closer, “As Long As It Takes,” a somewhat generic country rock ballad that is a little too soft rock.  As for the bonus cuts, first up is the non-album single “I Found Love,” which is on the poppier side and sounds like they are trying a little too hard for a hit.  The remaining bonus tracks are a previously unreleased six song set that was recorded for the BBC In Concert radio session and two cuts from their appearance on the BBC’s Old Grey Whistle Test.  Both performances sound great and make excellent additions to the CD.  Following the album's release, they toured with John Mayall, Ace and even Chaka Khan, but between label financial woes and conflicts between the members, the band was short lived.  While its not without its flaws and weaker cuts, Moonrider is an album that is definitely worth checking out.  

(Think Like A Key Music)