DENGUE FEVER
Escape From Dragon House (BRG; CD)
     Four Americans (Ethan Holtzman on keys, guitarist Zac Holtzman, saxophonist David Ralicke, Senon Williams on bass and drummer Paul Smith) and Khmer singer Ch'hom Nimol comprise Dengue Fever. Based in Los Angeles, their first, self-titled CD was essentially a tribute album to their idols and mentors Ros Sereysothea, Sin Sissimouth and Pan Ron, all of whom would be familiar to fans of the Cambodian Rocks series (four volumes and so far and counting). This, their second album, is a bunch of eleven originals written and performed in the style of the late '60s/early '70s east-meets-west, circle dance meets acid rock sounds that fit together so well. I have to say I honestly cannot stop playing this album, every number is an absolute knock out. Nimol's voice is a thing of elegant grace and beauty. She comes apparently from a family of professional Khmer singers and she sounds it. Just listen to the way she hits the (what in western parlance might be called blue) notes on 'Tip My Canoe', a song that genuinely brings tears to my eyes, even if I can't understand what's being sung, just because of the 'shape' of the tune and that amazing voice. On a different level what Robbie Robertson did with 'Somewhere Down The Crazy River', Dengue Fever do with 'Sleepwalking Through The Mekong', a fabulously understated and hypnotic number that conveys humidity and early morning heat haze within the first few strums of the guitar. Opener 'We Were Gonna' and then 'Sui Bong' are superb statements of intent, the meld of Khmer melody and western rock blasts let you know this is going to be far more than an ethnic curio. Most songs are sung in Khmer, but 'Made of Steam', another lilting song that builds into a killer hook chorus pop number, is Nimol's first attempt at singing in English as much as the male counterpoint vocal on the stunning  'Tip My Canoe' (believe me, the title does not do the song justice!) is in singing in Khmer. Weather you are a Cambodian Rocks fan, a general world music enthusiast or a softie for the female voice, this is gonna slay ya! Not because it's full of power chords (these are used sparingly and to good effect) or because of its ethnic authenticity, but because it's one hell of a good album with no filler. It's my album of the year whatever comes up, I'm never going to stop playing it! Escape From Dragonhouse is a creation born of pride in and passion for the east-west meld of Khmer music that existed in the Cambodian capital before Pol Pot did his killing fields thing. If Sin Sissimouth, Pan Ron, Ros Serereysothea or any of the other Cambodian musicians are looking down from above, they will just be grinning from ear to ear at what Dengue Fever have achieved here. This is taking the music forward with style and commitment, and then some! You can get it get from Amazon too, so it's not hard to come by.
Paul Martin

DAVE HAMILTON
Detroit City Grooves (BGP; CD)
     A smoky semi-acoustic guitar lick not unlike George Benson's and a Meteoric super hi-hat/snare combination openDetroit City Grooves with the pulsating beat of 'Soul Suite': an approach that regularly crops up throughout this collection of producer Dave Hamilton's foray into soul-jazz/funk cuts recorded throughout the late '60s and early '70s. Embellished with some Wonder-like harmonica on a few slower cinematic jazzy numbers, but not enough to detract from the beats, these studio concoctions push all the right buttons and are rarely anything less than panoramic.
www.acerecords.com
Jon 'Mojo' Mills

LOS NUEVOS SHAINS
Singles 1969-70 (Repsychled; CD)
     Here's a nicely presented digipack CD with all 16 of Peru's Shains later singles. In common with many Latin American groups of this period (think Venezuela's post Ladies WC act Love Depression for instance), most of the tracks are straight covers of main stage psych-rock classics like 'White Room', 'Purple Haze', 'Somebody To Love' and less often covered numbers such as Steve Winwood's 'Sea Of Joy' and even Black Sabbath's 'Wicked World'. Perhaps this all meant something important in cyclical time, maybe it was how you could earn a crust as a musician in Lima; maybe there was even a local demand for it. Retrospectively however (and without the benefit of context, there are no liner notes), it just seems like a dull, generic collection (albeit reasonably presented musically) of internationally known stadium rock numbers of the time. Having said that, there are a smattering of what I take to be originals in the form of 'If', 'Guau Guau A GoGo', The Sky Is Fallin', and 'Good Inspirations'. Most of these take a Santana-esque direction and are pretty worthwhile. It's a pity the padding outweighs the originality however.. In a similar period, same country and rock genre (and indeed on the same reissue label), you would be better off plumping for Gerado Manuel & El Humo's Apocallypsiswhich has a lot more of interest and originality to offer.
www.repsychled.com
Paul Martin

SPIRIT
The Original Potato Land (Evangeline; CD)
The Spirit Of '76 (BGO; 2-CD)
     Perfect timing! I'm on a huge Spirit trip right now, so it was a revelation to discover that Evangeline were righting the wrongs ofThe Potato Land "lost album". Recorded across 1973 by Randy and The Cass,Potatoland… was more of a side project on the back of Randy'sKaptain Kopter album than a Spirit album. In fact, after quitting the initial line-up the previous year Randy didn't even own the name.The Potato Land recordings were a mish -mash of pop, folk-rock and acid delirium that were intended to be issued as a Randy And Cass release entitledBack Together Again… but the madness took over andPotatoland (aWizard Of Oz meets1984 tale) was born. However, as it was considered inaccessible at the time the album didn't see light of day until 1981 when Epic released it in a very abridged form.
     This edition is taken from a 1973 BBC acetate originally aired on the Bob Harris Show which features an as close to damn it full version of the concept, Cheech & Chong stoned-spiel 'n' all. The Twelve Dreams Of Dr Sardonicus it ain't, but it's still a mightily impressive psychedelic rock opera/stoned cartoon that recalls the best of the earlier Spirit sound. Amongst some deliriously silly narration – did I say STONED? – and the odd throwaway thematic piece lurk gems like the spacey psych pop opener '1984' (banned in the States),  the chiming Byrds-like folk rocker 'My Friend' (which the Bevis Frond clearly adores), 'Lonely In Potatoland (Mashed Potato)' which combines a sweet melody with a Hendrixesque acid attack, the unhinged 'Salvation: Matter Of Time: Suite' and the completely demented 'Oil-Slick Million Years Suite', which predates the guitar assault of Sonic Youth by a good 15 years! The newly envisioned version closes with the gentleSardonicus sounding 'It's Time Now', which brings about as much closure as can be expected to this trippy allegory.
     The CD also features a couple of lovely out takes from the proposedBack Together Again session and a few BBC power trio radio sessions from 1973 (which whilst proving California was indeed the rightful heir to Hendrix's pic also show he was far better when he wrote quirky songs). The icing on the cake has to be the Bob Harris interview where a wasted Randy and the Cass talk about thePotatoland album… A well put together package essential for the Spirit fan.
     The Spirit Of '76 was recorded in 1975, not so long after the Potatoland failure. The past two years had seen Randy completely lose his sanity, move to Hawaii and work for a Christian couple as a gardener. Whilst recovering, strange spirituality and cult activity became the hub of Randy's newfound semblance. These ethics and philosophies were central to the Randy and Cass comeback album, recorded mainly by the duo with Randy playing most instruments. Concocting The Byrds and Hendrix throughout it's a simmering album that never quite comes to the boil, with pop, acid rock and general craziness bubbling under. Randy's ethereal take on 'Like A Rolling Stone' has to the most original and satisfying cover of the Dylan evergreen. Throughout multi-layered effects laden electric guitars fluctuate, steady acoustic guitars keep things level and Ed's consistently steady drumming keep a sane backbeat for California's schizophrenic mix of instrumentation. It's a savant work, effectually dreamy and certainly the last decent release attributed to the Spirit name.
www.evangeline.co.uk
www.bgo-records.com
Jon 'Mojo' Mills

VARIOUS
Double Shot Of Soul (Kent; CD)
     We may know and love Alec Palao for his wonderful garage/psych releases, of which all have garnered praise from the SD team, but to receive a perfect compilation of funky late '60s soul, compiled by this venerable cataloguer of cool, was a major kick that unveiled another of his sides. Double Shot… features 26 cuts of LA soul recorded between 1967-'70 for the legendary indie Double Shot – also home to incendiary garage mongrels The Count V. And perhaps dear readers, that's the key. Double Shot soul is tough and punchy, building on a heavy groove with raw vocals, fuzz guitars, tight drumming and big hooks. The Invincibles' 'Nobody' takes the Norman Whitfield psychedelic Temptations and adds some dirt, swept up from the garage floor. The most SD friendly soul comp in aeons. Buy it or regret it!
www.acerecords.com
Jon 'Mojo' Mills

VARIOUS
The Kiwi Folk Scene 1965-71 (EMI New Zealand; CD)
     The magic pixies at NZ EMI have been out to play again. This time they've come up with a corking collection of kiwi folk singles. I say 'folk' in the broadest sense. There are only a few (such as closer William Clausen's 'The Waipu Settlers' or The Hamilton County Bluegrass Bands' 'Good Clean Fun') that are actually straight folk; some sound like they came straight out of Greenwich Village c.1967-'69. I would almost have to alter the title to '…and Soft Pop Scene'. The Convairs' 'A Little Ray Of Sunshine' or the Tunespinners' 'Look What You've Done' are such concoctions and have the feel of a basement recording session about them. Two of my faves though are The Newfolk's 'The Proud One' which may as well have been an LA recording, a great soft pop number as indeed is the next track The Rumour's 'What Have You Done (With That Day God Gave You)'. Then you get the 'Maid Marian' voiced girls like Christine Smith who are solo performers with acoustic guitars in a more conventional singer-songwriter folk tradition, but are still singing about modern times in 'Go-Go Girl' for instance. Val & Clive's 'People Are Waiting' has a lovely Smokey & His Sister feel with a good bouncy backing and The Vision's 'Daddy Sang Bass' from the latter end of the time scale has little if any recognisable folk element to it at all, more like (good) pop country. Lynne Pike turns in two good mid tempo pop numbers in 'I Think I Just Lost Out' and 'Given Time' both of which would not be out of place on RPM's Dream Babes' series. The Yeoman's 'Love Is A Funny Thing' probably best summarises the true folk pop element on the disc, it has a strong whiff of (e.g.) The Springfields about it. Overall another cool collection of undiscovered gems from Kiwi land and a fine and diverse range of music within it. The disc comes with a great 12 page booklet with pics and potted biogs of the groups, many of whom are no doubt as unknown within as outside of modern-day New Zealand.
http://www.emikiwimusic.co.nz/Discography.aspx?artist=1&product=205943
(for full track list )
http://www.amplifier.co.nz/release/16566/the_kiwi_folk_scene_65-67.html
(to buy a copy)
Paul Martin

VARIOUS
Setting The Trends Goes Down Under: The Australia & New Zealand Music Explosion 1964-1969 (Nutshell; CDR)
     This is the third comp in the series (see also Shindig! reviews, January) and the selection is pretty immaculate. Jaded palettes for whom the world of rare '60s mod beat and pop has been pretty well ploughed through the internet and its multitude of virtual networks of like-minded individuals, will be surprised to find a good welter of relatively unknown (and uncomped) 45s herein. It's a full to the brim 30 track disc that keeps the pace fast and melodic right through and as with the first two volumes, these direct to disc vinyl transfers have been recorded loud, like they were meant to be originally, so you really get a blast from them. There's not a duffer on here, but some of those that I'd not come across before included Iguana's 'Mary Go Round', Nineteen 87's 'Engagement Party', The Ram Jam Big Band's 'I Can't Let Go Of This Feelin'', The Town Criers 'Love Me Again', The Vibrants' 'Something About You Baby', Groove's 'You Are The One I Love', Somebody's Image's 'Hide And Seek', Throb's 'Turn My Head', Sound Unlimited's 'Love's Gonna Live Here', Bryan Davies's 'I Don't Like To Be Alone', Glen Ingram with The Hi Five's 'Skye Boat Song' and The Rebels' 'Passing You By'. Even the more familiar names have had unfamiliar songs chosen for this. Even if you know a lot of them, the in-your-face sound and the upbeat sequencing of the records makes this a must. Big, bold and loud and above all really good fun, this one is must have for 60s dancers and beat-pop collectors everywhere.
http://www.nut.shell.homepage.ms
Paul Martin  

VARIOUS
The UK Sue Story! Vol 4 (Kent; CD)
     Once again I'm cast back to The Pure Drop hearing Matt deejay his old Sue 45s, our ownCan't Sit Down Mod Society dos and the all encompassing excitement of discovering old soul and R&B as a teenage boy; impressionable, impassioned and over awed. Why did I sell these records? Regrets aside, I guess the sounds here within will also conjure up the same emotions for many other Brits who succumbed to the Mod way of life in the 1980s. Vital, important and treasured the Sue catalogue was a badge of honour and certificate of one's coolness. These songs still sound fab too, but somehow different: they're older, more blues orientated than I recall, but no less incredible. I guess that's why a disc like 'Rockin' Pneumonia And The Boogie Woogie Flu' (Huey 'Piano' Smith) appeals to the rockin' crowd as much as the mod crowd. Of course, there was also a time when mod meant R&B and blues rather than Swinging London and psychedelia, and when young mods like myself favoured 1963 rather than 1968. Jimmy Reed's 'Odds And Ends', The Naturals' 'Lenny Goofed', not forgetting Hank Jacob's dancefloor filler 'So Far Away', are the records that I'll always associate with being a mod; and it's great to have them back, collected on this fine fourth volume of Kent's Sue series. Treasured memories, wonderful, cool sounds.
www.acrecords.com
Jon 'Mojo' Mills  

WESTON & RABBITT
A Slice of Psychedelia (WA2 Music; CDR)
     W&R were fifty percent of cult British '60s psych act, Fairytale. All four sides of their two Decca 45s have been comped before (e.g. on Rubble, Electric Sugar Cube Flashbacks, The Freakbeat Scene and The Psychedelic Scene). I wish I could say these are superior sounding versions, but in fact they are the poorest sounding versions I've yet heard, like badly transferred MP3s, all sort of washy sounding. Even so, the brilliance of all four sides cannot be diminished and it's good to have them all in one place along with a gathering of other artists who have recorded W&R's songs and one or two by themselves as solo artists, all dating from the late 1960s. Pesky Gee's! 'A Place Of Heartache' appears on their album (long since reissued by Sanctuary) of course, but a couple of elusive diamonds in the form of Mighty Joe Young's 'Why Don't You Follow Me' and 'By My Side' will get you more interested. Curiosity Shoppe's 'Baby I Need You' is a long respected staple of the late 60s reissue scene but more obscure fair is to be found in Spindizzy's 'Midnight Woman', Malcolm Rabbitt's 'Sarah' and 'Why Won't The Sun Shine On Me' and John Weston's 'Learning'. There's just 12 songs and as soon as they ended I just had to put them on again, not one of these songs is even ordinary, they're all absolutely great, (the sound improves considerably after the Fairytale sides) it's just a shame there's not more of them (as I would have thought there would be) for your £12. Any road up, as a net only available project (although Heyday mail order are stocking it soon I believe) with a good few rarities, all of which or more than just worthwhile, you may well want to take a punt on this if you're especially smitten by late '60s British underground sounds as indeed I am. And of course the songwriters get the dosh direct for once!
 www.wa2-music.co.uk
 Paul Martin