Fish On Friday - 8MM

Three years after their last release, the international group, Fish For Friday is back with their sixth album, 8MM.  The album was largely written and recorded in the midst of lockdown and is a stellar addition to their discography.  The band consists of founding member and producer Frank Van Bogaert (vocals, keyboards, guitars), Nick Beggs (bass, Chapman Stick, backing vocals, production), Marty Townsend (guitars) and Marcus Weymaere (drums, percussion) and has been in this incarnation since Beggs joined for album three in 2014.  Musically, they do a fantastic job of straddling the line between prog rock and art pop with other elements like folk rock and jazz popping through, while the lyrics this time around often deal a lot with nostalgia.  The perfect example of that is the title track, which opens the album.  It’s a powerful, yet beautiful and melancholy track with outstanding vocal harmonies and hints of Pink Floyd with lyrics about pulling out old home movies and thinking back on life and past relationships (make sure to check out the video for the perfect visual accompaniment).  “Collateral Damage” is a solid art pop tune with lyrics that are unfortunately very pertinent today.  Next up is “Overture To Flame” / “Flame”, a cover from Metro’s self-titled 1977 album, and the only cover Fish On Friday has ever recorded.  It sticks close to the original but gives it a modern edge.  It’s a gorgeous, very dynamic, track with an instrumental opening that leads into a funky section with some great bass work from Beggs and then shifts into sweeping, prog tinged pop where Townsend really shines on the acoustic guitar, before picking up with a climactic finish.  Traces of Pink Floyd show up again with the guitar and keys at the beginning of “Jump This Wall”, an upbeat pop-tinged tune enhanced with flute and sax that has a bit of an Alan Parsons feel and strangely a chorus that's reminiscent of Prefab Sprout.  “Don’t Lose Your Spirit” opens with a two-and-a-half-minute prog instrumental before the vocals come in and kick it up a notch with a very art pop sound before slowing down for a captivating ending.  Clocking in at almost eight minutes, “Funerals” shifts around in tempo, starting and ending slow and introspective, but picking up in the middle with an upbeat section highlighted by organ and some great acoustic guitar.  Featuring outstanding lead vocals from bassist Nick Beggs’ daughter Lulu, “Silently Raging” is a dreamy, extremely infectious track with a nice, very easygoing groove.  Beggs' bass work really stands out on “Instillers” a really strong catchy, midtempo rocker.  Following the laid-back “A New Home” they close the disc with the gorgeous “Life Is Like The Weather”, a light, hypnotic acoustic folk tune that takes a reflective, sometimes somber, look back at childhood love.  While the band name is one was familiar with, for some reason Fish On Friday has never been on my radar, but after listening to 8MM I can assure you that is something that is about the change.    

(Esoteric- Antenna)

 

High Tide - The Complete Liberty Recordings 

After forming in California in 1965, The Misunderstood moved to England on the advice of legendary DJ John Peel, who had seen them on a trip to the States and suggested they come back with him.  Once in England they recruited guitarist Tony Hill, signed with Fontana Records and recorded a handful of heavy psychedelic rockers, but just as they were getting some success and influencing the likes of Pink Floyd and The Move, the American members of the band were deported.  Remaining in England, Hill moved on to doing some session work, spent six months as part of Turquoise, a trio with David Bowie and Hermione Farthingdale, and then formed High Tide in 1969.  Along with Hill on guitar, vocals and keys, the rest of High Tide consisted of Simon House on violin, viola and keyboards, Peter Pavli on bass and Roger Hadden on drums and organ.  Even though their career was extremely short-lived, the band released two incredible, very unique sounding, albums on Liberty Records before calling it a day in late 1970.  This new three CD box set, The Complete Liberty Recordings, contains newly remastered versions of both releases along with a third disc containing demos and studio out-takes.   

Sea Shanties, their debut album, kicks off disc one with the down-tuned, distortion drenched guitars of “Futilist’s Lament”.  It’s a super heavy, bluesy, proto-rocker with some absolutely incredible guitar work, a pummeling rhythm section and vocals that are reminiscent of Jim Morrison.  From the moment it hits your speakers it’s obvious this isn’t your everyday run of the mill release.  At over nine minutes long, “Death Warmed Up” is a powerhouse instrumental full of heavy guitar solos going toe to toe with House’s violin.  “Pushed, But Not Forgotten” starts off slow and hypnotic and it appears like we may be in for a change of pace, but about a minute in it explodes into a heavy psychedelic tune, shifting tempos back and forth throughout the rest of the song.  "Walking Down Their Outlook" is an incredible track that melds The Doors at their most psychedelic with the prog of King Crimson and fuzzed out heavy guitars.  The epic, almost ten minute, “Missing Out” is a very expansive psychedelic tune that’s heavy, but not as aggressive with strong dynamics that give it a hint of prog with outstanding interplay between the guitar and violin.  “Nowhere” closes the album and while again not quite as aggressive, it is a bit of a noisy chaotic track that even throws in some elements of jazz.  It's a mystery why this album isn't mentioned alongside the likes of Black Sabbath and Hawkwind.  

For their self-titled sophomore release, Hill’s heavy guitar work was largely gone, and they moved in a more expansive direction.  “Blankman Cries Again” opens the album and is eight and a half minutes of hypnotic psychedelia and folk with the shifting tempos of prog and long jam-like instrumental passages.  “The Joke” finds them moving further in a prog direction with great guitar work that is often a bit more noodly.  The tempos shift a lot throughout the song and the keys are more present than on any other track. The third and final song is the four-part, fifteen minute “Saneonymous”, which starts with a long instrumental jam with guitar and violin going side by side and the steady, driving percussion section and then shifts back and forth between that and more folk-rock passages with Hill’s vocals and perfectly placed piano.  Definitely a bit of a shift from the debut, but arguably almost as good. 

Rounding out the box set are nine bonus tracks consisting of songs that were left of the two albums, and demos of album cuts.  When the band signed a publishing deal with Apple in early 1969 they went into the studio in March of that year and recorded their first three demos.  Included here, these consisted of “Pushed, But Not Forgotten”, a faster version of “Death Warmed Up” that’s still heavy, but a little less dirgy and “Dilemma”, a really strong cut that shifts between heavier prog passages with fuzzed out guitar and violin, and folkier sections (it’s a real shame this one never made it to an album).  “The Great Universal Protection Racket” and “Time Gauges” were also recorded for the debut but were both left off due to time constraints.  The former of these, a live favorite, is an epic instrumental that is very heavy and psychedelic, full of complex tempo shifts and clocking in at over eleven minutes (a much longer version was also recorded for the second album, but again didn’t make the cut), while the latter was an instrumental that mixed their heavier side with elements of jazz and even some classical touches.  A couple of demos for the second album are up next with “Blankman Cries Again” and a shortened version of “The Joke”, followed by a demo of “Ice Age”, which was recorded after the album’s release and is a mellower track with a strong Middle Eastern vibe.  

It should be noted that later in 1970 the band was recording a third album when Hadden had a mental breakdown and was hospitalized. The band decided not to continue without him and split up.  Hill and House did record another release as High Tide in the late seventies that wasn't released until 1986 and Hill had several more releases with a completely different band in the eighties and nineties under that name, but these are really the definitive High Tide releases, and this great box set shows just how vital a band they were.   

(Esoteric Recordings) 

Interview with Maya Blue

The Burlington, Ontario three-piece Maya Blue recently released an outstanding debut full-length release (following an earlier EP) entitled Trouble In Mind.  I recently talked to the band about the album and it's more rock sound, recording at the legendary Catherine North Studios and more.  

Can you give me a little bit of history on the band? 

The three of us decided to start playing together in late 2019. We immediately gelled, wanting to find a more indie take on all of the classic rock records that we love. From there we got to work on our first EP which we released in 2021. From there we began playing shows throughout the Toronto Area, continuing to write, looking to refine our sound. We landed on creating a more rock-oriented album, which has brought us to our new record Trouble in Mind. We are continuing to play shows in the Toronto area and are now trying to branch out to different areas of Ontario to further promote our music and grow as a band.

You recorded the album at Catherine North Studios, which has seen a pretty impressive list of artists record there.  How was that?

Recording at Catherine North was a dream come true. It is an honour to be able to record in a space that has housed many artists we look up to. The space itself is magical. Being an old church, it has an amazing live room that delivers a tremendous sound. Above all, we also got to work with our childhood friend Aidan Robson, who produced, mixed and engineered the record. Having such a great history and comradery with staff translated into a genuine feeling of home for us during our recording experience.

How does your songwriting process tend to work?

Like many artists our process varies. That being said, I think the most frequent process is that one of us will come with a simple idea for either a chorus or verse. If the gang is on board, we take that and work it until we have something we are content with. Very seldom does one band member come with a song that is complete. This allows us to each have our own personal stamp on each song we put create, which makes it versatile and engaging as a collective.

I’ve read that your goal in making this album was to make a “rock record” and I would have to say that you have really succeeded, but I also hear a rootsy side to a lot of the songs.  Would you agree with that?

Being a three-piece band, there is a lot of room for various elements to come through. Not only as musicians but genuine lovers of music.  We each have our own influences. Nick, our guitar player has more influence stemming from blues, folk and country- tones that come through in songs like "Tokyo". Additionally, it was important for us to create an album that flowed as a story, carefully curating our tracklist to translate seamlessly to vinyl (Side A and Side B).

The album opens with “Hey”, which is bluesy, but still has a heavy rock edge.  I also love how it has a crisp sound, but at the same time sounds kind of dirty. Was that something you were looking for with that song?

Absolutely. I think the attitude for the entire record was to have an older sound put through a modern lens. We recorded the tracks live off the floor so we could maintain a classic feel. Thanks to Aidan, we were able to have the crispness that we feel is on par to a lot of modern records.

“Juliet and the Lonely Boy” is a great rocker, but to me it stands apart a little from the rest with the keys and then the almost pop “ooh ooh oohs”.  What can you tell me about that song? 

Giving a nod to one of our favourite bands, Thin Lizzy, we could tell it had the potential to be a single from the get-go. As a result, we decided to take a poppier approach throughout the writing process.

I love the song “Rain”.  It shifts back and forth between being laid-back and atmospheric to sounding like an arena rocker.  There is also a bit of a jazz element at times too.  Can you tell me a little about that one?

We feel that "Rain" is a song that carries a lot of our indie influence. The unique transitions and element changes are no exception in our attempt at keeping with the theme of a traditional rock record. These musical changes allowed us to create two different lyrical themes. An introspective look on yourself wanting to make changes in your life through the verses, while the chorus explores how old habits can affect loved ones in your life.

If you had to pick one, which track would each of you say is your favorite to play live and why?

Nick’s favourite song is "Rain" - there’s a lot of sentimental value for him behind the writing of the song. It took him about a year to complete the lyrics, so it’s incredibly rewarding to see it turn into a tangibly completed song after all this time.

Ty and Derek both love to play "Juliet and the Lonely Boy" live because of the high energy that we maintain throughout the song. Crowds are also more engaged throughout the song, so we get to see people singing along to it while we play, which is a very cool feeling.

I listened to your earlier EP, and the new album definitely has a better production, but you also sound like you have really matured as a band since then.  The album is also overall a lot heavier with much more of a rock edge. Was that a conscious decision or just a natural evolution?

A healthy combination of both. I think there’s a natural evolution in terms of the quality of our song writing and cohesiveness as a band. However, we definitely made a conscious decision to go in a heavier direction.

Do you still play any of those earlier songs live and if so, have they changed?

"Dance" is probably the one we play most off of our first EP and it is a crowd pleaser.  We also frequently incorporate "Maya Blues" into our set, as it’s one of our favourites to play live.  Elements have certainly been refined and tightened over time but overall, they have stayed tried and true to their original versions.

What made you decide on Maya Blue for the band name?

Wish we had a wild story behind that one. Like any good band name, we just like the sound of it.

Did the pandemic have much of an impact on the band?

Since we became a band right before the pandemic unfolded, that time became the catalyst for really understanding what kind of band we wanted to be and what our sound would be like. When live music became a thing again, we were super eager to jump in with both feet and introduce ourselves to the scene.

Do you have physical copies of the album available, and if so, how can people get a copy?

Not at the moment, but we are hoping we grow enough following and demand to realistically start pressing vinyl in the new year.

Now that the album has been out there for a few weeks what’s on the agenda?

With all the hard work that went into creating the record, our main goal at this time is to get the album out there through developing a broader fan base, touring and reaching new audiences.

Is there anything else you would like to share with readers?

Thanks for giving us your time.  If any of this piques your interest, we’d love your support on Instagram, Twitter, TikTok - all that fun stuff. But most importantly, stream our new album on your platform of choice or keep an eye out for us for a live show in the Toronto area.

(Maya Blue - Facebook)

Sandy Posey - Born A Woman : Complete MGM Recordings 1966-1968

After initially releasing a few unsuccessful singles under various pseudonyms starting with “Kiss Me Goodnight”/”First Boy” as Sandy Carmel, and followed with others under names like Betty York, Sherry York and Betty Richards, Sandy Posey got her big break when song publisher Gary Walker (later her manager) was looking for someone to cut some demos and American Sound Studio owner and producer Chips Moman suggested Sandy.  Moman ended up so impressed by her demo of Martha Sharp’s song “Born A Woman” that they rerecorded it in 1966 and leased it to MGM who signed her.  It ended up hitting twelve on the US charts and sold over a million copies.  The new double CD Born A Woman - The Complete MGM Recordings, contains all four of these albums plus seven non-LP single tracks and Italian versions of the hit songs “Born A Woman” and “Single Girl”.  While she was influenced in her youth by forties and fifties country like Hank Williams, she was equally influenced by pop artists of the era like The Shirelles, The Shangri-Las and Nancy Sinatra (she did a great cover of “These Boots Are Made For Walking” as Betty Richards), as well as rhythm and blues, and as you make your way through this collection you can hear what a great job she does bringing these elements and so much more together.  Her songs are well-crafted and arranged, often accompanied by strings and great vocal harmonies, with the absolutely gorgeous “Patterns” a perfect example.  Her first album for the label was Born A Woman which had highlights like the title track (number 12 on the US singles charts), the upbeat “You Got To Have Love To Be Happy” and the almost dreamy pop of “If Tears Had Color In Them”.  In addition to the aforementioned “Patterns”, her next album, Single Girl contained her second hit single (again the title track) and also had great renditions of “A Place In The Sun” (originally recorded by Stevie Wonder) and “I’m Your Puppet”, “Hey Mister” which is stripped down with her captivating vocals accompanied by a simple organ and drumbeat, and “Shattered”, a blues tinged track with a deeply emotional vocal.  Album three, Sandy Posey Featuring “I Take It Back” kicks off with the song “I Take It Back”, an absolute killer track that bounces between upbeat pop with a hint of country and a little Duane Eddy twang, and a slow country waltz.  Other standouts on this album include “Standing In The Rain” with its lazy groove and great arrangement, the classic sixties pop tune “Sunglasses” and her incredibly heartfelt take on the classic “Love Of The Common People”.  You can hear Posey’s work get stronger as you make the way through each release, and she definitely reaches the pinnacle on the fourth one.  Looking At You opens with a couple of gorgeous gems with “Deep In Kentucky”, which is superbly arranged and produced, with gentle acoustic guitar, strings and horns that sound a lot like something Jimmy Webb would have done, and “The Meadow Of My Love”, a laid-back tune with an almost psychedelic country feel.  “One Man Woman” and “Just You, Just Me (And Love For Company)” are upbeat soulful tracks, the latter of which also has some psychedelic undertones and great thumping bass.  There’s also a nice take on “Shades Of Gray”, originally recorded by the Will-O-Bees, but made famous by The Monkees, and “Out Of Tune”, a super catchy, jaunty pop tune.  Another track of note is “All Hung Up In Your Green Eyes”, a darker track that’s a little reminiscent of Scott Walker.  It was written by Posey and was the b-side to her final MGM single.  These are just some of the many highlights on these two discs as you would be hard pressed to find a misstep among the fifty-five tracks here.  Once she was done with her contract with MGM Posey stepped away from touring and recording for awhile and got married and had a daughter.  In the early seventies she released some more traditional country and gospel albums, and over the years sang backup for a variety of artists including “Suspicious Minds” and “In The Ghetto” with Elvis, “When A Man Loves A Woman” with Percy Sledge, and songs with Tommy Roe, Bobby Goldsboro and Joe Tex.  She was also considered an inspiration to the young Dolly Parton, Morrissey included her song “I Take It Back” in his 1989 list of “Singles To Be Cremated With” and The Primitives covered “Single Girl”.  There is also a fantastic CD booklet with extensive essay on her career and the albums included here.  This is a fantastic highly recommended collection.

(Strawberry)

Jaguero - New Love 

Following last year’s debut EP Worst Weekend Ever, Italy’s Jaguero (featuring members of Regarde, Slander and La Fortuna) is back with their follow-up EP New Love.  Throughout the five cuts here they mash together elements of emo, pop punk and grunge along with tons of strong melodies and hooks, and the results are outstanding.  While tunes like opener “You”, “All I Think About” and “Pressure” all show this infectious and melodic side, they also have their noisier moments, whereas the title track is loud and aggressive, full of feedback and definitely has hints of Nirvana.  At just short of twelve minutes this is one EP that will have you hitting repeat quite frequently.    (both EP's are also available together on one vinyl LP through Epidemic) 

(Jaguero - Facebook / Epidemic Records)

The Monks - No Shame : The Complete Recordings

In 1979, as punk and new wave were making their mark, the song “Nice Legs, Shame About Her Face” by The Monks flew up the charts in the UK, topping out at number nineteen.  The song was in fact a four-track demo released by a French record label after the band that it was actually recorded for had rejected it.  Due to the unexpected hit, they hurriedly recorded their debut album Bad Habits, but when it was revealed that they were actually Richard “Hud” Hudson and John Ford, who had been members of the bluesy psychedelic rock band Elmer Gantry’s Velvet Opera before joining Strawbs for three years and four albums and then releasing three albums as Hudson-Ford, along with their friend singer Terry Cassidy, their punk credibility was gone.   While their next two singles failed to do anything in the UK, the tune “Drugs In My Pocket” became a hit in Canada hitting number 20 (number 4 in Toronto) and the album went double platinum there three years after its release.  Due to that success in Canada, they went back into the studio and with the addition of drummer Clive Pearse, lead guitarist Brian Willoughby (a sometimes member of Strawbs) and Chris Parren on keys, released Suspended Animation, which ended up going gold in Canada.  Following a Canadian tour, the band started work on album number three, which unfortunately was never finished. Now, thanks to Cherry Red Records, both albums along with six tracks from that unreleased third album, b-sides, demos and a handful of previously unreleased cuts have been compiled in the new two disc set No Shame - The Complete Recordings.  

Disc one gets thing started with their debut album Bad Habits.  The album is full of clever, extremely hook-filled, well performed songs that were more of a clever parody of punk and new wave, and while they never intended to be a serious punk band (something that should’ve been obvious from the get go with a song titled “Nice Legs, Shame About Her Face”) they were talented musicians as displayed by the diversity of the songs.  While opening cut “Johnny B Rotten” is a poppier take on the Sex Pistols and “Nice Legs…” is raw, stripped down pub rock, “Love In Stereo” has an early Joe Jackson vibe and “Dear Jerry, Don’t Try To Kill Me With Your Love, Norman” is very reminiscent of The Police.  Other highlights include the angular “Bad Habits”, and the bouncy new wave sounds of “Drugs In My Pocket”, “Inner-City Kitty” and “Ain’t Getting’ Any”.  Another track of note is “Skylab (Theme From Monks)”, which closes the album and is a spaced-out surf tune that’s largely all instrumental and sounds like it may be an homage to Joe Meek’s legendary “Telstar”.   Disc one also includes eight bonus tracks including three previously unreleased cuts (“Beat About The Bush”, “Stop & We Go” and “Heap Of Junk”) that are all very electronic influenced and sound like they were channeling Devo.  Others include an alternate version of “Drugs In My Pocket”, a demo of “No Shame” and “You’ll Be The Death Of Me” (b-side of “Nice Legs…), which sounds a little like fifties country-tinged doo-wop.

While Suspended Animation, their sophomore effort, is a more polished release and expands their sound even further, many of the songs were way more politically incorrect.  Some of the cuts this time included lyrics about religion, bondage, child molesting flashers, well-endowed porn actors and there’s even one where they made fun of the music industry using a fake Indian accent.  As for the expanded diversity, tracks like the upbeat “Don’t Want No Reds” and “King Dong” find them tackling ska, “James Bondage” is funky new wave, “Cool Way To Live” is Elvis Costello/Marshall Crenshaw flavored pop and the title track opens with swirling psychedelia and some great guitar that’s reminiscent of The Cult’s Dreamtime and Love era and then shifts back and forth between that and poppy punk.  Some of the other highlights are the quirky punch of “Don’t Bother Me”, “Go”, which actually at times brings to mind Nik Kershaw’s “Wouldn’t It Be Good”, and the Buzzcocks flavored punky pop of “Grown Ups”.  Like the closer on the debut this time around the final cut, “Space Fruit” is a dreamy, spaced-out surf guitar tune.   Rounding out disc two are eight more bonus tracks starting off with six that were recorded for the aborted third album Cybernetic Sister.  Most of these songs were in more of a new wave direction showing the influence of bands like XTC (“Gold And Silver”), Oingo Boingo (“Slimy Gash” and “Ann Orexia”) and The Fixx (the haunting ballad “Lost In Romance”).  Lastly are a couple more previously unreleased Joe Meek like soundscapes, “Space Noises” and “Electric Shivers”.  Also included is a booklet with a band history and highlights from both Cassidy and Hudson.  

(Cherry Red Records)

Crabby Appleton - Go Back, The Crabby Appleton Anthology

In late 1969, following the demise of the band Millennium and a short stint in the quartet Big Shots that resulted in nothing more than some demos, guitarist and vocalist Michael Fennelly teamed up with the LA band Stonehenge and they became Crabby Appleton.  In addition to Fennelly on guitar and vocals, the remainder of the band was Hank Marvin on bass, Casey Foutz on keyboards, Felix “Flaco” Falcon on percussion and Phil Jones on drums.  In April of 1970 they released their debut single, “Go Back”, which hit thirty-six on the Billboard Hot 100, and was followed a few months later with their self-titled album.  A second album was released in late 1971 and by mid-1972 they had broken up.  Go Back, The Crabby Apple Anthology is a great new two-CD collection that includes both albums, single cuts and a couple of mini tracks that were only originally on eight-track.  

Opening up their first album is the aforementioned hit single “Go Back”, an extremely catchy pop-tinged rock tune with a bit of psychedelia, especially in the guitar work.  Following the more laid-back “The Other Side” is “Catherine”, a gorgeous, well-crafted tune, more in the English folk vein, highlighted by some great organ, really nice guitar work and Fennelly’s strong vocals (it’s a shame this song wasn’t released as a single).  “Peace By Peace” is a really loose rocker with a bit of a prog vibe, especially with the keys, and the upbeat pop of “To All My Friends” brings to mind Badfinger.  Following “Last Night In Your Sleep, John”, a silly little nineteen second ditty that initially marked the halfway point on the eight-track, are the upbeat “Try” and the midtempo pop rocker “Can’t Live My Life”, a couple of tracks with an infectious Latin flavor, thanks to Falcon’s percussion.  “Some Madness” is a nice, laid-back pop rock tune with an easygoing mellow groove.  The seven minute “Hunger For Love” is a rocker that comes across like the band was just hanging out and improvising and really lets them stretch out, with some especially great organ and percussion.  The ballad “How Long Will It Take” closes the album out nicely (excepting the second little ditty “Last Night In Your Sleep, Fred”) and has some really great interplay with organ, percussion and acoustic guitar.  Disc one also includes six tracks that were originally released on three different singles including alternate versions of album tracks in mono.  The other two cuts are the strong fuzz guitar driven hard rocker “My Little Lucy”, an alternative mono version of the song “Lucy” that would appear on their sophomore album, and “Grab On”, another heavier track with driving percussion and a hint of prog.  The album was very successful critically, but only made it to 175 on the Billboard Album Charts and didn’t have the success of their single.  

Despite its lack of success, the label decided to move on with a second album, Rotten To The Core.  Right out the gate it’s apparent that this album was a bit of a departure from their debut.  Opener “Smokin’ In The Morning” is a great bluesy cut with a shuffling honky tonk groove, driven by barrelhouse piano and some slide guitar towards the end.  Next up are “Tomorrow's A New Day” and “It’s So Hard”, a couple of solid rockers, followed by the slower, soulful and bluesy ballad “Makes No Difference”, which also has a bit of a gospel vibe thanks to the choral backing vocals from the female vocal trio The Blackberries.  Driven by some honky tonk piano and slide guitar, “You Make Me Hot” is a bouncy, upbeat rocker.  Influenced by LA bands like The Byrds and Buffalo Springfield and featuring Dillards and Rolling Stones sideman Byron Berline on fiddle, “One More Time” is the first of several tunes on the album that finds them moving in a more country rock direction with its use of twelve string guitar, slide guitar and handclaps.  The aforementioned “Lucy” is a powerhouse hard rocker with powerful vocals, organ and some really good guitar solos.  “Paper To Write On” is a massively infectious country rock tune that’s reminiscent of The Flying Burrito Brothers and features the legendary Dave Grisman on mandolin.  They stay in the country rock genre on the next couple of tracks with “Lookin’ For Love” an upbeat tune with some very prominent slide guitar and impressive organ solos, and “Love Can Change Everything”, a really pretty, laid-back and easygoing tune.  Closing the album out is “Gonna Save You (From That)”, a six-minute track that shifts tempos throughout and has an extended section that has a bit of a Latin feel reminiscent of Santana.   Disc two also contains a couple more bonus tracks with the mono single versions of “Tomorrow’s A New Day” and “It’s So Hard”.  Also included is a very comprehensive booklet with an essay on the band and some pictures.  

(Grapefruit)

Reg King - Reg King, Deluxe 3CD Edition

After getting his start in 1963 with The Boys, who eventually became the now legendary mod group The Action, Reg King released what would end up being his only solo release in 1971. Although the album didn’t chart when it was released, over the years it has become appreciated as the masterpiece that it is with original copies selling for hundreds of dollars.  Now, thanks to Cherry Red Records, it has been remastered and released in a three CD box set that also includes early demos recorded between the demise of The Action and the solo album, along with other demos and outtakes.

The musicians King had play on the album were quite impressive.  They included his former bandmates in The Action, Roger Powell, Ian Whiteman, Mick (Mike) Evans, Alan King and Martin Stone (the first four also of Mighty Baby), Brian Godding, Brian Belshaw and Kevin Westlake (Blossom Toes and B.B. Blunder), Danny McCulloch (Eric Burdon and the Animals), Brian Auger, Mick Taylor and Steve Winwood (listed in the liner notes as Mystery Man).  The album kicks off with “Must Be Something Else Around”, which is funk and blues rocker with some great organ running through it that’s somewhat reminiscent of Humble Pie.  It has a loose jam vibe that really sets the tone perfectly for what’s to come.  Album standout “You Go Have Yourself A Good Time” is worth the price of admission all by itself.  It’s a gorgeous, laid-back, soulful track highlighted by Whiteman’s swirling organ, King’s emotional vocals and backing vocals from Doris Troy (best know for her hit “Just One Look”).  The soulful seven minute “That Ain’t Living” ebbs and flows perfectly between slower, more laid-back passages to more upbeat rock.  Next up are a couple of leftover 1967 demos from The Action, both featuring some stellar guitar work from Godding.  After starting off more like a folk tune “In My Dreams” explodes into a dynamic psychedelia, while “Little Boy” is a powerful R&B flavored rocker.  Godding shines once again on “10,000 Miles”, which is a bit ragged and noisier, and finds him channeling a bit of Neil Young.  The powerful, slow and bluesy eight minute long “Down The Drain” is highlighted by Winwood on piano along with a brass section.  Featuring some outstanding keyboards and guitar from Auger and Taylor respectively, “Savannah” is a raw, hard charging bluesy rocker that has a great live jam feel to it.  The gorgeous, melancholy “Gone Away” closes the album perfectly.  Disc one also includes a couple of tracks that were intended to be the second single from the album, but were never released.  “Nobody Knows Where We Are” is a heavy blues rocker with some hints of psychedelia, while a alternate version of “You Go Have Yourself A Good Time” features the members of B.B. Blunder backing him instead of Mighty Baby.  It’s an interesting take that is reminiscent of the album version, but is a little mellower and the organ isn’t in the forefront as much.  

Disc two is a collection of demos King recorded in 1969 backed primarily by his former The Action bandmates.   While a lot of the tracks are more reminiscent of his work with The Action, others definitely show him shifting towards the sound found on his solo album.  Songs like “Let Me See Some Love In Your Eyes”, with its great harmonies, “You Gotta Believe In Me”, “All Up In Heaven” and the gorgeous “Picking Up Nancy’s Grin” are all extremely catchy tunes that are more on the pop side of things.  Then there are cuts that show his evolving sound, like “In And Out”, which is enhanced with a flute and has a bit of an English folk sound, “Thinkin’ Bout Getting You Out”, a powerful, somewhat soulful rocker driven by some great organ, and “Magenta”, a seven-minute track with an expansive folk feel, a bit of psychedelia and even a hint of prog.  Other highlights include “Merry Go Round”, “So Full Of Love”, an interesting song that pulls in some folk and Middle Eastern influences, and the powerhouse ballad “You’ll Be Around”, that is primarily piano, organ and a little guitar accompanying some great vocals from King.  My biggest complaint with these songs is the fact that they never got beyond the demos.  Most of them still sound really great, but it would have been incredible to hear them fully formed.

The final disc is devoted to demos and outtakes from the album and starts with four that were recorded with The Action during the same sessions as the songs on disc two.  Other than the fact that they are a little more stripped down, due to being demos, the early versions of “Must Be Something Else Around” and “You Go Have Yourself A Good Time” don’t really differ that much from the album.  On the other hand, the guitar on “10,000 Miles” is more subdued and the song is almost jubilant and definitely not as dark (ironically there is also a version here with Mighty Baby as the band, which is even noisier and more explosive than the album version).  “Down The Drain” is more upbeat and jazzier as opposed to bluesy.  Following the guide vocal and rough mix versions of “Must Be Something Else Around” is another version of “You Go Have Yourself A Good Time”.  This longer take is also more upbeat and allows the players to stretch out a little more.  After another demo version of “Down The Drain” is the long version of “Savannah”, which really allows Taylor and Auger to show their stuff.  Closing the disc out is a rough mix of “Gone Away”, the long version of “Nobody Knows Where We Are” and an unnamed instrumental that basically sounds like the band trying some things out. Rounded out with an extremely informative booklet that includes new interviews with Brian Godding and Roger Powell this is an extremely impressive collection that is well worth checking out.  

(Cherry Red Records)

SLIP~ons - Heavy Machinery

I first came across Brock Pytel through his work as the drummer on the first couple of albums from Canada’s Doughboys in the late eighties, as well as his 2000 solo album Second Choice. Shifting over to guitar and vocals, he has teamed up with bassist Brian Minato, from Sarah McLachlan’s band, guitarist Rob “Shockk” Matharu of The Spitfires and drummer Shane Wilson to form the SLIP~ons.  Finally, after eleven years together, they have released their debut EP Heavy Machinery. Their bio states that they strive “to sound like Minneapolis in the 90’s”, which absolutely hits the nail on the head. The title track kicks the album off with raw, ragged guitars and hooks galore that will have you thinking The Replacements and early Soul Asylum with a just a slight hint of Uncle Tupelo’s rootsiness. The taut, more aggressive, “Soldier, Don’t Say Goodbye” and “Mosquito” lean more in the direction of Husker Du and both have some great guitar work. There is a ebb and flow to “Nothing Is Good Enough” shifting between faster to somewhat slower, more atmospheric sections, and closer “Undivided” throws you a little at first, opening with a quick blast of low end doom before shifting into a more melodic, yet hard-driving power pop tune.  SLIP~ons have definitely achieved what they set out to do with this EP and hopefully won't make us wait so long for more.   

(SLIP~ons)

Headstone - Bad Habits / Headstone

Headstone were formed in 1974 by Mark Ashton, drummer with Rare Bird, and Steve "Boltz" Bolton, who had spent the previous eighteen months as guitarist for Atomic Rooster.  When they met at a show where they were both playing, Ashton had stepped out from behind the drums and was working on some stuff as more of a singer/songwriter.  Ashton told Bolton he had a deal with EMI and had a bunch of songs already written, so he turned in his notice to Atomic Rooster and Headstone was born.  The band was only in existence for two short years, but they did release two solid albums that have now been remastered from the original tapes and released in a new two CD set from Esoteric Recordings.

For their debut Bad Habits the band consisted of just Ashton and Bolton along with a session rhythm section of Phil Chen on bass and Daryl “Chili” Charles on percussion.  The album opens strongly with the multi-dimensional “Don’t Turn Your Back”, which has a bit of a Bad Company classic rock vibe, but with a lot of tempo shifts that give it a funky groove at times and even a glimmer of Ringo Starr’s “It Don’t Come Easy” during the chorus.  The slow and easygoing “Take Me Down” has a moody prog vibe that’s largely built around acoustic guitar, swirling synths and violin.  “High On You” is a very hook-heavy cut that is on the poppier side of things, complete with handclaps, while “Love You Too” is gentle and laid-back acoustic song that sounds like something you would hear at the beach on a lazy afternoon.  After starting off as a slinky cut driven by a funk-tinged bass and rapid-fire cymbals, “3 O B”, one of the album’s standout tracks, shifts into a heavier rocker with some great fuzzed out guitar and driving percussion.  The twenty-nine second long “Open Your Eyes” is a jaunty little acoustic guitar and vocal track that I wish they would have recorded as a full-fledged three-minute song.  The upbeat “Live For Each Other” has an infectious Caribbean flavored beat along with a bit of a rock edge and some great guitar work.  “You’ve Heard It All Before” is a beautiful acoustic guitar driven track with a tasty bluesy electric guitar solo.  The title track is a laid-back cut touching on a rootsier rock sound and is fleshed out with some great piano work from Rare Bird’s Dave Kaffinetti, while "Take A Plane” is a classic rocker with a bluesy party feel featuring guest harmony vocals from Carl Douglas of “Kung Fu Fighting” fame, Juanita Franklin and Rare Bird’s Steve Gould (they also contribute vocals to “Don’t Turn Your Back).  Closing the disc is “D M T”, a rocker that’s kind of a loose jam and has more great guitar work.  

Following the release of the debut, they needed new musicians for touring and to record the follow-up, so replacing Chen and Charles were drummer Peter Van Hooke, bassist Jerome Rimson and violinist Joe O’Donnell.  Unlike the debut, which with the exception of one song, was all written by Ashton, for their self-titled sophomore release the band contributed more, with Bolton writing three and Rimson also contributing a track.  The album opens with a couple of laid-back rockers in “Eastern Wind”, with its extremely catchy beat and some great Joe Walsh like guitar, and “Warm Sunny Days”, which has some very prominent bass work giving it a hint of funk along with some nice violin work.  “Turn Your Head” is a midtempo track with more thumping bass and nice guitar work that is a little reminiscent of yacht rock but with a bit more of an edge.  The mellow “Gyrosame” features Bolton on vocals and has a strong country rock feel and great interplay between the guitar and violin.  With guest appearances from Ian Dury and The Blockheads’ Chas Jankel on rhythm guitar and Max Middleton on piano, “Karma” is a bouncy, more upbeat rocker with a soulful funk groove.  They kick thing up a little on “Hard Road”, a powerful bluesy, hard rocker with some great feedback and reverb laden guitar along with some screaming violin.  “Large Weather We’re Having, Lucy” is a funky track driven by some great bass work and wah-wah guitar.  Bolton is back on vocals on “Searching Light” a laid-back bluesy track with strong vocal harmonies and a Mexican influence in the guitar work and the sound of castanets (make sure to listen for the strange Porky Pig like backing vocals towards the end).  “Get Through To You” is an everchanging track that starts off in a very pop vein before shifting into a dirty, blues-tinged rocker and then some funk.  The acoustic ballad “All I Ask” has a nice country rock vibe to it and features some great vocals from Juanita Franklin.  The disc closes out perfectly with “Someone’s Gotta Give”, a catchy, straight-ahead rocker that does a great job of showcasing everyone’s musicianship.  Following the album's release, the band did some touring in the UK supporting John Cale, Rory Gallagher and Roy Harper, but then broke up a short time later.  Despite getting good reviews, Headstone unfortunately never had much commercial success, but thankfully Esoteric is giving them a chance to be heard again.  The release is rounded out with a very informative CD booklet featuring an exclusive interview with Bolton.

(Esoteric Recordings)

Crossed Wires - Ellipsis EP

Seven years after the release of their second EP, Halifax trio Crossed Wires are finally back with Ellipsis, a six-cut EP that often brings to mind Veruca Salt and Hole. I went back and listened to those earlier EP’s and while they are good, this time around they really have all the pieces in place.  The production on those EP's was lo fi and is much more polished here, which really works better for their sound.  There is also a stronger sense of melody and the songs are just extremely catchier.  Having said that they don’t lack in power and intensity.  While “Looped” kicks thing off with some screaming guitars and evolves into the tautest cut on the EP, tracks like “Rain”, “Smile” and “Safe and Sound” are complete earworms overflowing with fuzz guitars and tons of hooks.  “Good Guy” follows a similar path, but is a little more angsty with some great, tightly wound guitar work, and “Lumbar” has a heavier rock edge.  Ellipsis is an outstanding fifteen-and-a-half-minute blast of taut, high energy, hook filled, fuzzed out rock.   

(Noyes Records)

 

Interview with Glacerate

Hailing from Helsinki, Finland, Glacerate has just released their debut EP Hyper, an outstanding amalgamation of punk, thrash, death, pop, desert rock, ethereal soundscapes and more.  I recently talked to guitarist and main composer Arttu about the band, their EP, their sound and more.

Hey there, I'm Arttu, the guitarist and the main composer of Glacerate!

Can you give me a little background on the band?

Me, Aapo and Onni used to have a hardcore band back in the days, and we toured a lot with a band that Mikko and Juha was playing at the time. Around four years after our old bands went on hiatus or threw in the towel, Juha and Mikko moved closer to Helsinki, and that's when we began talking about a new musical venture. We made some demos during '21 and '22 and we were just trying to figure out our style. Those early demos took influence from bands like Converge and Black Breath, featuring lightning-fast songs, loads of d-beat, and a dash of chaos. But at some point, we realized we'd been treading that path for years and decided it was time for something entirely fresh. I began experimenting with loads of different guitar effects, sketching out the rough outlines of what would become our debut EP.

Your sound is refreshing, and I love the contrast of among other things the heavier punk, thrash and death metal with elements of fuzzed out desert rock and even some very melodic pop tendencies.  There are also the heavier vocals and the lighter, almost ethereal, vocals.  Can you tell me a little about what went into meshing all that together?

When I first envisioned Glacerate's sound, I wanted the rhythm guitars to be disgustingly fuzzy and the lead parts to carry an ethereal, reverb-soaked vibe. That was the foundation to it all.  Furthermore, we knew from the get-go that Onni's extraordinary vocal range had to be a centerpiece. At the time, I was immersed in shoegaze, dream pop, and similar genres, which inspired me to blend those dreamy soundscapes with heavier elements. The result? Well, it turned out pretty good, I'd say!

How does the songwriting tend to work?

For our debut EP, I've taken care of the music, and Onni writes all the lyrics.  Funny enough, we didn't plan it this way, but both of us ended up crafting deeply personal songs. What I mean is, during that period, I was dealing with some personal turmoil, and those emotions found their way into the music. The same thing happened with Onni. So, these lyrics aren't your run-of-the-mill metal or pop texts; they're a raw and real survival story from our personal perspectives.

To me the opening and closing cuts “Used” and “Free” are probably the best examples on the EP of “almost all” the various styles coming together into one song.  Would you agree with that?

I agree! "Used" and "Free" are easily our favourite songs! The opener, "Used" was actually the first Glacerate song ever written, and it defined a lot of the rest of the EP.

Q: I really love “Binge”.  It does a great job of being extremely catchy, but still very heavy.  It also has constantly changing tempo shifts and then there’s the throbbing bass that at times gives it a bit of an underlying funk groove.  Can you tell me a little about putting that song together?

It all began with that infectious bass riff, and things evolved from there. I started jamming around it, and the verses, with their almost bluesy vibe, emerged naturally. There's also a nod to old-school doom/stoner in those verse hooks. The song structure isn't your typical one, introducing a whole new section only in the last minute or so, but those faster-paced riffs with catchy group vocals really brought out some great vibes, making "Binge" the killer track it is.

“Abyss” is a short blast of brutal metal, but has a really cool soundscape kind of floating around over it.  Can you tell me a little about that?

"Abyss" was crafted as a homage to our previous musical endeavors. It serves as a reminder that we've still got that heavy spirit deep within us, and you can expect more of it in our future releases. On shorter releases like EPs, balancing the heavier and easier songs can be a challenge, but this quick two-minute burst will undoubtedly leave listeners thinking, "What just happened?"

“Ultra” is a really cool, more ethereal, instrumental, but still has its heavier side.  It sounds like it could be the intro to “Violet”, which is the track that follows it. It also sounds like there are some horns in “Ultra” and I’m not sure, but possibly in “Violet” too.  Were they ever intended to be one song and is that horns I’m hearing?

You're absolutely correct! "Ultra" and "Violet" were written as one song, and we decided to make the split because the song felt a bit too long after recording the vocals. And yes! Both of the songs include saxophone, performed by our good friend who has played sax parts for our previous bands too. Saxophone just makes everything more beautiful, doesn't it?

Have you been able to play any live shows? If so, there is so much going on in your songs, how hard has it been to get that across live?

Our live debut is just around the corner, happening next month, and we're currently putting in tons of rehearsal time. We have some professional tour techs working with us to make our debut show a night to remember!

You have a double video out for “Binge” and “Abyss”.  Can you tell me a little about those and why you decided to release them together as one video?

"Binge" and "Abyss" are lyrically connected, and that gave us the idea to make a double video for them. The songs are about the stuff you go through in your head, when you're very, very addicted to something, in this case, alcohol.

What are your plans now that the EP is out?

As said, we're rehearsing for our debut show at the moment, but after that, more and more shows. We've also started toying with some new song ideas, but touring is our primary focus for the time being.

I know most (or all) of you have been in other bands prior to Glacerate.  Are any of you currently in any other bands?

Me and Aapo are currently playing in hardcore/metal band called Mørket, Juha also drums for Negatiiviset Nuoret, a well-known punk band in the Finnish scene, and Onni handles vocal duties for the well-established symphonic deathcore band Assemble The Chariots.

Is there anything else you would like to share with readers?

Stay cool, listen to Glacerate, and hope to see you at gigs!

(Glacerate / Glacerate - Facebook)

Andrew Gold - The Fraternal Order of the All – Greetings from Planet Love

Andrew Gold was a multi-instrumentalist, singer/songwriter and producer who was best known for his hit songs "Lonely Boy", "Thank You For Being a Friend" and in the UK "Never Let Her Slip Away".  He was also the arranger and multi-instrumentalist for Linda Ronstadt on three of her albums, and along with 10cc bassist and guitarist Graham Gouldman, was half of the duo Wax (Wax UK in the US), who released four albums in the eighties and nineties.  In 1997 he decided to record an album that was a tribute to sixties psychedelic rock and released Greeting From Planet Love under the fictitious band name The Fraternal Order of the All.  Now, thanks to Esoteric Records, this out-of-print gem has been reissued on CD and limited edition 10" splatter vinyl.  With the exception of a few guest appearances on a couple of tracks, Gold played and sang everything and also wrote or co-wrote all but one song and produced all but two.  Throughout the twenty songs, which includes several short instrumentals and musical interludes, Gold presents an outstanding collection of tunes that do a fantastic job of re-creating the sounds and styles of that era.  Following the short, tripped out, largely instrumental title track that introduces the album, he heads into Beatles territory for the first time with the Sergeant Peppers era psychedelia of “Rainbow People”.  He also closes the album with another Beatles influenced track, “Tomorrow Drop Dead”, which is full of backwards guitar and brings to mind “Paperback Writer” meshed with “Tomorrow Never Knows”.  The psychedelic “Love Tonight” is very reminiscent of The Beach Boys along with “Time Is Standing Still”, a gorgeously produced Brian Wilson like track with layers of beautiful vocal harmonies, a chorus and other bells and whistles.  Amazingly, “Ride The Snake” is a dead ringer for The Doors, complete with organ and very Morrison-like vocals, and if you didn’t know any better you would think “Space and Time” really was The Byrds, with its incredible “Eight Mile High” like guitar work.  A couple of songs are an interesting meshing of styles and influences like “Mr Plastic Business Man”, a combination of psychedelic era Beatles with Dylan like vocals and lyrics, and “Wink of the Third Eye”, mixing the quirkier sounds of The Beatles with The Beach Boys.  Some of the other highlights include “Tuba Rye and Will’s Son / Balloon In The Sky”, a complex track that channels both The Beach Boys and some ELO with more strong vocal harmonies and carousel organ, and “Freelove Baby”, a funky freakbeat tune with great guitar along with some sitar and horns.  Ironically, quite possibly the best track here is “King Of Showbiz” (co-written with Gouldman), an extremely catchy song that brings to mind the best of mid-seventies power pop and therefore is a step away from the sixties psychedelia of the rest of the album.  Several of the aforementioned shorter interludes are also worthy of a mention including the swirling psychedelic “Swirl”, “It Has No Eyes But Sight” and “Groovy Party at Jimmy’s Magic Pad”, an instrumental with funk-tinged psychedelic guitar and sound effects that just like the title says, sounds like what you would hear in the background of a sixties era movie party scene.  Greetings From Planet Love is like a compilation album of some of the greatest hits of the sixties that you've never heard. 

(Esoteric Recordings)

Heinz - The White Tornado - The Holloway Road Sessions 1963-1966

The White Tornado – The Holloway Road Sessions 1963-1966, the new five CD box set devoted to the work of Heinz, is the first collection that is a deep dive into Joe Meek’s infamous Tea Chest Tapes.  Following a stint in the late fifties in his first band, The Falcons, in October of 1961 Heinz saw an ad from Joe Meek looking for two new guitarists for the band The Outlaws.  The Falcons made the trip to his studio at 304 Holloway Rd and while he wasn't really impressed with them, he was impressed by Heinz (rumored to be more for his looks than his musical ability).  Meek offered him the bass guitarist job in The Outlaws, as their previous bassist Chas Hodges was going to move to lead guitar, but when Hodges heard Heinz's lack of ability on the bass, he changed his mind and retained that job.  At this point Meek formed a new band for Heinz, The Tornados, and then in the mid-sixties he had a solo career that over a three-year period saw him releasing eleven singles, a couple EP’s and in 1964 the album Tribute To Eddie. Even though his output wasn't huge, due to the fact that Meek was taken with Heinz, they spent alot of time in the studio and as a result there were alot of his recordings found amongst Meek’s Tea Chest Tapes.  Due to this massive number of recordings, this box set contains 130 music tracks (over 100 previously unreleased), and not only contains his one album, but also single tracks, session recordings, instrumentals, backing tracks, alternate versions, demos, a live rehearsal and an interview.  It should also be noted that when they compiled the box set, they made the decision to only include material found in the Tea Chest Tapes.

Discs one and two are devoted to covering his solo album and starts with the version that was released in 1964.  Tribute to Eddie was largely just that, a tribute to Eddie Cochran.  Along with five cuts originally recorded by Cochran are the bouncy Meek penned title track, which has a bit of a Buddy Holly vibe (more on that later) and the UK number five single “Just Like Eddie”, an extremely catchy sixties pop tune with a strong dance beat and some great guitar from Ritchie Blackmore.  Blackmore had at one point been a member of The Outlaws and was also a session musician for Meek.  He may be on other tracks here, but Meek wasn’t very good at documenting who played what.  Although the version of “Summertime Blues” here is not too far removed from Cochran’s version, Meek’s experimental production is quite evident on the other four.  “Three Steps To Heaven” and the ballad “I Remember” are similar to the originals, but are more fleshed out, while “Cut Across Shorty” has a really cool galloping beat and a lot of effects and “Twenty Flight Rock” is a little slower with a really good beat and some great guitar.  The album contains a couple more covers with “(Sorry) I Ran All The Way Home”, which is much faster and more upbeat than originally recorded by The Impalas and is an infectious meshing of doo wop and rockabilly, while “Look For A Star”, is fairly close to Gary Miles’ version, but with more Meek tweaks and some great twangy guitar.  The remaining tracks include “Hush-A-Bye Baby”, with its edgy R&B groove and really tasty guitar, “Don’t Keep Picking On Me”, an upbeat Meek original with really cool backing vocals, “Come On And Dance”, some great early sixties rock and roll with a solid dance beat, and the hooky pop tune “My Dreams”.  This leaves “Rumble In The Night”, which is driven by a sixties garage rock organ.  It is completely different than the rest of the album and to me is the high point.  The remaining thirty-six tracks on the first two discs contain a fascinating array of original speed versions of many of the album tracks, which to me sound better than the released versions (Meek often sped up recordings to make singers sound younger), false starts, alternate takes, backing tracks and guide vocals.  There are also occasional snippets of studio chatter like Heinz stating, “One day I’ll get a compliment, I’m sure” before a take on “I Ran All The Way Home,” and a clip of Ritchie Blackmore practicing his guitar part before a run through of “Just Like Eddie”.  The original demos of “Tribute To Eddie”, with Meek on vocals, “Don’t Keep Picking On Me”, with Dave Adams and “Just Like Eddie”, with songwriter Geoff Goddard are other nice additions.  Back to the previously mentioned Buddy Holly feel to the title track, there is a demo of Meek’s “Bring Me Buddy Holly” (with him on vocals), which eventually evolved into “Tribute To Eddie”.   

Disc three and four are devoted to the singles and after starting off with a short interview, runs through various versions including rough mixes, sped up masters, original speed versions and various other takes.  Even though they aren’t the final released versions and there are a few weaker tracks, you can still hear just how many good songs he released on his singles and it’s fascinating to peak behind the curtain and hear them in their various stages of development.  “Dreams Do Come True” is a super infectious tune with a fast paced, galloping beat, and the bouncy “Talkin’ Like A Man” is driven by some great organ, although vocal take 2 is also included here and was before the organ was added.  The twangy “That Lucky Old Sun” has a great, thumping bass driven R&B country groove, and the laid-back shuffling “Lonely River” and “You Were There”, with its Merseybeat vibe, are a couple of solid ballads.  “Country Boy” is very reminiscent of Buddy Holly, while “Digging My Potatoes”, with its swinging, honky tonk piano, has an early Stones R&B groove.  “For Loving Me This Way”, with its organ and rapid-fire percussion, along with “She Ain’t Coming Back” and “Heart Full Of Sorrow” are three extremely earwormy pop tracks.  His take on Dylan’s “Don’t Think Twice, It’s Alright” (a song that has been covered numerous times over the years and was a hit for Peter, Paul and Mary) is a great rendition that sticks to the folk sound but has a bit of a ragtime feel thanks to the piano.  Meek really showcases his experimental production touches on “Long Tall Jack” and “Big Fat Spider”, a couple of fun and quirky cuts that are also here in basic backing vocal versions.  While “I Get Up In the Morning”, an earlier single is more of a rock track, as he got to the later singles in his career you can hear things getting a little edgier and the guitar work (I’m assuming mostly Blackmore) getting more adventurous.  “Questions I Can’t Answer” borders on garage rock with a grittier vocal, while the guitar on “The Beating Of My Heart and all out rockers “Movin’ On” and “I’m Not A Bad Guy” find him doing a little shredding (there is also a rehearsal version of “The Beating Of My Heart” that’s a little more restrained).  One other track of note that really shows the intrigue of the Tea Chest Tapes is “Don’t Worry Baby”.  The original speed version here is a really catchy rock track, but then there is the writing session version, where you can hear them in action as they try to work the song out and at one point were considering it to be a ballad. 

Rounding out the box set is a disc devoted to demos, some unreleased tracks and some backing tracks that were recorded for Heinz, but never finished.  First up are the demos with Meek handling vocals on about a half dozen along with Geoff Goddard and Dave Adams on others.  Meek’s vocals are definitely all over the place and better at some times than others, but it’s interesting to hear these early versions of these tracks, often with incomplete lyrics, as they are being developed in their early stages.   The second half of the disc kicks off with a vocal take on Richie Valens’ “Come On Let’s Go” that is edgier than the original with some killer guitar work and Heinz going the gruffer vocal route, but it isn’t quite there.  “Forget Me Not” is a bouncy pop tune that sounds a little on the cheesy side and is way too busy with Meek’s use of effects.  The doo-wop tinged pop of “Easy To Dream” sounds ready to go, while his take on the ballad “Johnny My Johnny”, a song that was released by Johnny Leyton, sounds like it had potential, but the version here is not fully realized.  “Little Ship” is a really interesting track that has an infectious military drumbeat and some cool back and forth between the horns and guitar that should definitely have been given a chance.  The same can be said for his loose, high energy take on Ray Charles’ “I Got A Woman”, which is just an absolutely fun listen.  There's also his version of Jack Scott’s “Oh Little One”, which isn't too far removed from the original. The box closes out with a couple more could’ve been hits with “Tell Me” and the dreamy, easygoing “Voices In The Wind.”  As if the music wasn’t enough, the booklet is extremely informative with notes from the late Rob Bradford (editor of the Joe Meek Society’s Thunderbolt magazine) and curator Richard Anderson along with photographs and memorabilia.  This is a fantastic collection and a great start to this project, that has me looking forward to hearing what is still to come from the Joe Meek Tea Chest Tapes.  

(Cherry Red Records)