DICK CAMPBELL
Blue Winds Only Know (Sonic Past; CD)
     This is a set of 20 songs recorded in the early '70s, mostly with Gary Usher. The majority of them are light acoustically or lightly instrumented numbers. It's not as immediately compelling as the earlier Dick Campbell Sings Where It's At for instance, but that was a different time frame. By the time these recordings were made, the introspective singer-songwriter style was much in vogue. Usher's influence is clear on the backing vocals and arrangements. Some of the most attractive numbers from the Blue Winds album such as 'Don't Give Up On Me' and 'If I Didn't See You', combine a wistful vocal style with an understated rhythmic undertow. Others like 'Seagull' are purely acoustic folk-pop numbers, weightless and airy as a cumulous cloud and pretty on the ear. In addition to the actual album proper, which was co-written entirely with Usher, are four bonus tracks that have appeared before in the same vein, plus four new bonus tracks. 'Anonymous But Revered' is a fuller sounding piece of barouche pop whilst 'Better Days Ahead' recalls some thing of the impetus of Sings Where It's At. 'Permission' is a sprightly piece of light pop and 'Rock 'n' Roll Fan' is a typical of the time retrospective longing for r'n'r oldies. Overall, a pleasant and tuneful disc that is useful to relax to or just let it whisk you off to a daydream.
www.sonicpastmusic.com
A superior version is also available on Rev-Ola, see review:
http://www.shindig-magazine.com/reviews-nov2003-1.html
Paul Martin

PETULA CLARK
Feelin' Groovy: 28 Swinging Sixties Sounds (Sanctuary; CD)
     Spanning the period 1962 –'71, this anthology seeks to situate Pet Clark in a hipper mode than she is usually associated with. Certainly kick off track, a reworking of 'Black Coffee' has a certain Bobby Gentryness to it which works pretty well. But then there's a female take on 'The Boy From Ipanema' which puts her back in night club mode. 'The Ad' is a nice chamber pop piece that lyrically might be heard as a follow up to The Beatles 'She's Leaving Home'. Some of these songs suffer from Clark's mannered voice (when singing in English) as it doesn't always work that well outside of the more supper club or slower ballad oriented material she sounds most comfortable with. She actually comes across better in French. Nonetheless, she puts up a pretty good show, though quite often the instrumentation is too light (in a way that say Dusty Spingfield's for instance wouldn't be). If you're a 60s diva fan and haven't yet plunged into Pet Clark's back catalogue, this is probably not a bad place to dip your toe into.
www.sanctuaryrecords.co.uk
Paul Martin

THE FOOL
The Fool (Revola; CD)
     I have tried. Oh how I have. But with this, the third version I have owned of this album, the previous two were promptly sold, I'm still not swayed to change my opinion. Dutch designers The Fool (famed for that shop and albums for The Move etc) really should have stuck with the day job. Even with Graham Nash producing, a bag full of strong grass and a shed load of exotic instruments the end results are never more than Incredible String Band lite.… but yes in the current era of Devendra Banhart, Circulus and the acid folk revival this is ripe to sell. In a way The Fool album does provide a modicum of delicately trippy medieval vibes. And that's about it.
www.revolarecords.co.uk
Jon 'Mojo' Mills

THE GRODJECK WHIPPERJENNY
The Grodjeck Whipperjenny (Radioactive; CD/LP)
     This baby has it all: funk, fuzz, powerful female vocals, harmonies, stoned hippy musings, clever changes, ornate orchestration, a psychedelic approach to progressivism and a bloody good name to boot. The Grodjeck Whipperjenny's sole album was released on James Brown's People records and produced by the Godfather's fave arranger and conductor Dave Mathews. Combining Mathew's musical flair with Cincinnati's most tripped out dudes off hand, sexually charged invention, passion and grit and you end up with one of the psychedelic era's most imaginative albums. This self-titled obscuro bridges American white academic bohemia, think perhaps of Chrysalis or The United States Of America's jazzy, stoned melodies, with the erectile, acid fried, finger to the oppressors stance of Funkadelic and Sly And The Family Stone. The albums has had me in fits for month and months…and as a result I've been recommending it to all and sundry, always hearing a "Wow!" in response to my "So wotcha think?" Put plain and simply: this is a good hard brain fuck! Absolutely positively unique. Order now… and of course you may thank me.
www.radioactiverecords.com
Jon 'Mojo' Mills

THE INCREDIBLE STRINGBAND
Be Glad For The Song Has No Ending / Liquid Acrobat As Regards The Air (BGO; 2- CD)
      For many the turning of the decade ended the ISB's golden era. The advent of their use of electric instruments marked a major shift and if not quite on par with the "Judas" cry Dylan received after picking up a Strat, the ISB's move to electric has often been scorned. If the accompanying album to the Be So Glad The Song Has No Ending movie seems to have one foot in both camps, follow up Liquid Acrobat As Regards The Air sees the band ebb gently towards the commercial angle of Earthspan. The instrumentation is rich with harphsichord, electric guitars and bass and the less schizo approach to playing ushering in a new era for the band. The excellent 'Dear Old Battlefield' is a standard rock song with friend Gerry Conway adding some solid drumming, which was another first for the band. Likewise 'Painted Chariot' pushes the envelope further… were the ISB intent on becoming a rock band and gracing the charts? Whatever their reason of this change of direction it worked and for me is amongst their best work. Heron's beautiful 'Red Hair' is an astonishing love song that easily rivals anything McCartney wrote during this period. The poetic lyric and song structure, steered by a lilting violin converging between sadness and happiness, is a joy to behold
     I'll stick my neck out here, Liquid Acrobat… may not be the band's most imaginative album, but it's their best. If you've been shooed off by there at times indulgence this early '70s folk-rock album has enough quirkiness to prevent it from being boring, but it won't cause mind wear either. A neglected gem!
www.bgo-records.com
Jon 'Mojo' Mills

THE MARSHMALLOW OVERCOAT
26 Ghosts: The best of 1986-2005 (Dionysus; 2-CD)
     In the second half of the '80s The Marshmallow Overcoat figured prominently in the garage band scene. This 26 song retrospective is good value, as a DVD is included, containing 16 songs from video and concert footage. I particularly like the band's early home made video for 'The Mummy', which shows that you don't need a huge budget or a cast of thousands to make a decent pop video – hell, you don't even need colour! 'A history of the band in 2 minutes' is also neat and to the point.
     The audio disc also includes a band history, dozens of photos, a discography and press, including an interview from way back when Shindig was Gravedigger! All in all, this package has been put together with love and care.
     I have enjoyed parts of the band's numerous releases over the years. The Marshmallow Overcoat have always described themselves as part '60s garage, part psyche, part trash, and I have liked some of their excursions into all these realms. Chief Overcoat Tim Gassen deserves a lot of credit for his adventurous and imaginative approach. Unlike many other modern garage bands, The Overoat had many strings to their bow (sleeves to their coat?) Personally I greatly prefer their forays into psychedelia, folk-rock and ambitious arrangements to their less inspired fuzz'n'farfisa stuff such as 'Knights of Fuzz' or 'Bitter Heart'.
     Most of the songs featured have interesting instrumental passages that are often the work of long time keyboardist Debra Dickey. Similarly there are many good, restrained and tasteful guitar passages, such as 'Something About The Sun' and the jangly 'Suddenly Sunday'.
     However, some of the interesting instrumental passages need to be anchored to more memorable tunes. Several of the songs here lack a decent hook or melody.
     It's hard to write about the Overcoat without mentioning Tim's voice. Sometimes he over-enunciates the words and the end result is very gloomy and doomy, so much so that you could almost be listening to a Goth band. Sometimes his voice really fits the material, but at other times the song is crying out for a different style. (For example, the baroque keyboards of 'Come Today' would be more suited to a Bryan Maclean folk-pop type voice). I notice that all the band's recordings were produced by Tim, probably on the grounds of cost. It would have been interesting to see if an outside producer would have softened or enhanced Tim's vocals.
www.dionysusrecords.com
www.purple-cactus.tv
Phil Suggitt

NEW RIDERS OF THE PURPLE SAGE
Home Home On The Road / Brujo (BGO; CD)
     If these country rockers live '74 album goes a bit overboard with the "yee hah" hollering the Byrdsy 'Sunday Susie' and 'Sutters Mill' and a pleasing take on the Stones' 'Dead Flowers' save it from mediocrity. From the same year, studio album Brujo almost rejects the bar room dalliances and focuses on the band's brand of pop/country rock with Dylan cover 'You Angel You' shining through in particular. The acid country rock of the first two albums may have passed, but Brujo still has some fine moments.
www.bgo-records.com
Jon 'Mojo' Mills

P-NUT BUTTER vs. THE VIBRATOS
The VIP Club Battle of the Bands (Mascot; CD)
     This release collects all the known recordings by the two bands that dominated the mid-'60s teen scene in Phoenix, Arizona. Oddly, each band is featured alternately, although they never actually shared the same stage, as The Vibratos had split before P-Nut Butter took up their crown as the area's most popular band. As this is a "complete works" it would have made more sense to have separated the work of the two bands, and presented their songs in chronological order.
     The main link between them was their connection with local music entrepreneur Jack Curtis. The other link is that both bands were competent musicians who sang well. They weren't raw garage bands, but smart clean cut pop acts capable of reproducing the Top 40 for the local kids, thus ensuring their success as big fish in a very small pond. Like a hundred similar teen combos, The Vibratos filled the gap in the market created by the fact that The Beatles didn't live in Phoenix. Tellingly their first and only single was a cover of the fab four's 'I'll Be Back.' The half dozen bonus live cuts from summer '64 show they had dutifully learnt the other Beatles hits, such as 'Hard Days Night.' The Vibratos only ever released one single, but all their other recordings are included here. In a Mersey beat style are the pleasant 'My Girl' and 'I'm Glad I Knew You', which isn't the "lost classic" suggested by the liner notes, although it is a solid period piece of pseudo-Mersey beat. Elsewhere the band cover some jaunty rock'n'roll numbers, just as the early Beatles would have done. 'Dizzy Miss Lizzy' and 'Somethin' Else' are typical, (although three versions of the latter are excessive!) A nice folk-rock version of 'Baby Blue' also appears.
     P-Nut Butter were also wholesome pop kids, taking stick from their local contemporaries The Spiders, who were seen as more rebellious punks. (The Spiders later evolved into the Alice Cooper band). The liner notes are spot on when they describe P-Nut Butter as "essentially a cover band with a knack for finding overlooked numbers with potential". Their first single was another stab at the Merseybeat song The Vibratos had done, 'I'm Glad I knew You', but many of their other covers display good taste and a knack for picking songs that suited their folky-pop sound, such as The Brummels' 'Still In Love With You baby', Goffin/Kings' 'Girl From Chelsea', two P.F. Sloan songs and one by The Cyrkle. They didn't really want to do Procul Harum's 'Conquistador' , but they do a good pop version, (not a "garage band work over", as the liners claim).
     This CD will interest locals who remember the bands and fans of '60s local scenes, but the chart cover band nature of the two bands limits its wider appeal and the lack of original songs denies either a band a distinctive individual identity.
http://radiofreephoenix.com/cds.html
Phil Suggitt

THE PURPLE MERKINS
Merkinmania! (Dionysus; CD)
     The Merkins were a 1990s offshoot of The Marshmallow Overcoat, (a Marshmallow wind cheater?) whose 26 Ghosts retrospective is also reviewed this month. In essence, the two bands were almost identical, but when The Overcoat became more ambitious and imaginative in their approach, The Purple Merkins became a "rock'n'roll antidote", as they stuck to the simply recorded, sloppy garage-punk that had inspired the band to pick up their instruments in the first place.
     Of the 19 songs, twelve are covers. There are some definite highs and lows; sometimes The Merkins hit the target, as on the enthusiastic versions of 'Cock A hoop' and Love's 'My Flash on You'. When they miss, they miss by some distance, as on the flat and wooden versions of 'Ain't It Hard', 'Dark Side' and 'You Burn Me Up And Down'. There are two reasons for this. Firstly, Tim Gassen's vocals just aren't right for the songs. Secondly, most of the best '60s garage punk had neat backing vocals, which are almost entirely absent. The exception is 'Cock A Hoop', where they are used to good effect.
     Regarding the band's own songs, 'Just A Man' is sensitive and tuneful, but most of the others sound fun to play but don't stay long in the memory. In summary, this is a good album to play when you want to stomp, shout and work it on out, but it just makes me want to go back and play the superior originals.
www.dionysusrecords.com
www.purple-cactus.tv
Phil Suggitt

BARRY RYAN
Singing The Songs Of Paul Ryan 1968-69 (Rev-Ola; CD)
     I advise reading the liners before playing this splendid album. Words of wisdom contextualise pin-up Ryan's transcendence into eccentric orch-pop, and exactly how a certain contingent of British pop had become overtly serious, bombastic and wonderfully pretentious overnight. This wonderfully brief era of quirkiness, as the liners state, was also over in no less than a year… with hard rock, prog and introverted singer-songwriters sounding the death knell. When Pet Sounds changed the face of pop, Scott Walker made torch songs hip, David Bowie wanted to be Anthony Newley and the faint whiff of the Beatles', Macca's in particular, psychedelic kitchen sink balladry were inspirational anything was possible.
     Barry Ryan's grandiose 'Eloise' became the surprise hit of '68. The record was stranger than anything the psychedelic bands had mustered. 'Pictures of Matchstick Men' suddenly seemed not only dated, but childish. 'Eloise' was new and sinister. Closer to Arthur Brown's 'Fire' than anything by Scott Walker. Ryan had an inoffensive pop voice, very much of the time, but those shrieks and that passion. Where did that come from? His coffered, messed up hair and sleek black clothes may help explain the eccentricity of the performances. Ryan had been dramatically reinvented. A devil-boy! A predator! Oh how, I pity the Eloise he serenades. And if aware of the superb David Essex film Stardust I suggest considering Barry Ryan as role model for the film's final scenes. Dig?
     Collected on this CD are the two Ryan albums representative of this era (and his only proper solo albums). The greatest is undoubtedly the rousing 1968 offering Barry Ryan Sings Paul Ryan. Featuring hit single 'Eloise' the accompanying material is all as spectacularly OTT with Ryan fluctuating between Swingin' London pop singer and a psychosis suffering banshee. It's a lost classic and a fine example of the excesses of UK orch pop. Flawless! The follow up Barry Ryan is nearly as good, offering productions of a similar ilk… but the impact of the debut isn't quite reached.
     I know what the majority of you readers like and heartily urge you to order this today. How can your life be complete without it?
www.revola.co.uk
Jon 'Mojo' Mills

THE SHIRELLES
Anthology : Will You Still Love Me Tomorrow? (Castle; 2-CD)
     Starting in 1957, The Poquellos had by 1959 become The Shirelles. Their first recordings in 1959 (The Five Royales 'Dedicated To the One I Love' / 'Look-A-Here Baby') has them sounding like a female Frankie Lymon & The Teenagers. However, as the liners assert, The Shirelles are the starting point for pop divas of the 60s and onwards. Indeed, Shirelle, Shirley Owens co-wrote 'Will You Love Me Tomorrow' one of the most oft covered girl group songs in 1960. They were also influencial on The Beatles ('Boys' for instance) amongst many other stellar names. They recorded for Florence Greenberg's Sceptre label and after a faltering start in which their singles failed to sell, after an initial success, producer Luther Dixon was brought on board and co-penned many of their early numbers (e.g. 'Boys', 'Mama Said', I Don't Wanna Cry' 'Solidier Boy', 'Love Is a Swingin' Thing'). Their fortunes then began to take off and the litany of hit 45s is recounted in the liners. Throughout much of the '60s, Shirelles records were ubiquitous on the radio and in the charts. Here you get the lion's share on a double CDs worth of sixty sides that takes you through their golden years (1959-'67). They could be a cool early soul act as with 1962's 'Putty In Your Hands' or a hip crew of balladeers as on 'Shades of Blue' from 1966 whilst the last recordings on Disc 2 are in a Motown vogue. To do the group justice would take more room than is provided here, but suffice to say that if you've ever considered getting a Shirelles collection, this is as good as, and probably better than (m)any.
 www.sanctuaryrecordsgroup.co.uk
Paul Martin

SUM PEAR
Sum Pear (Radioactive; CD/LP)
     As an album this collaboration between songwriter Doug Miller and Sonny Hahn has its finger splayed across the buttons, but doesn't ever quite find the right one. The liquid light over the faces of the performers depicted on the cover indicates where it's coming from. And indeed, everything you'd expect to hear from a 1971 American hippy album is here, but it doesn't ever really register. Sum Pear is another one of those rarities worth more money than it is actually "worthy". A few good songs but you won't be coming back for second helpings.
www.radioactiverecords.com
Jon 'Mojo' Mills

VARIOUS ARTISTS
Alphabeat: Pop, Psych and Prog Rock 1967-1970 (Top Sounds; LP / CD)
     This is a long 'un for an LP, nearly 50 minutes, (and with good sound) it's not an unreasonable length for a CD comp as well. Compiled, researched and annotated by Record Collector contributor, Nigel Lees, this is the first release on his Top Sounds label and an obvious labour of love. The first thing you notice is the packaging. I have the LP edition and like fellow indie label Circle Records, there is great attention to detail and quality. A laminated flip back sleeve with a great groovy pic of a late '60s glamour girl on the front and a faux promotional blurb and Top Rank style logo on the back. Even after 50 minutes, I had still not managed to complete reading the dense and detailed liners (12 pp in the LP, 24pp in the CD edition) which very informatively chart the origins and demise of each group and the sources of the acetates. There are some great colour pictures in there as well which can't have been published before. This is a very welcome collection indeed, and a grade A piece of detective work and archiving. Even on first play, it has a definite affinity with the Incredible Sound Show Story series and the 10th Planet / Wooden Hill History of Oak Records comp. Both Graded Grains 'Animal Magic' (which is also a different take from the Chocolate Soup comp version) and The Pathfinders 'Pumpkin Lantern' are from very clean sounding acetates so they upgrade your ISSS Vol.10 and Chocolate Soup Vol.1 copies of those songs considerably. All four Graded Grains tracks are in the same light, lo-fi whimsical vein as 'Animal Magic' and 'Lucifer Sam' (from Choc Soup) and are very nice to hear, especially 'Harry The Hermit' which is very much of its time. It's amazing to learn that Graded Grains were still playing as a band in the west country at the time the first volume of Chocolate Soup was originally released at the turn of the 1980s! The Pathfinders also turn in a very respectable and breezy paced version of the Gibbs' 'To Love Somebody' as well (which apparently they weren't keen on) and actually turns the number into a club dance number.
     Other than these, there's the infectious, lightweight chugging pop-rock of Mississippi's (and their label Fox's) lone 45, 'Mr Union Railway Man' and my favourite, Black Cat Bones 'Warmth Of The Day' with it's pumping wah-wah guitar and gritty vocal. This number was originally included on a promotional album for the QEII ocean liner and the song stands in stark contrast to the clipped, received English tones of the intro and outro of the song by Richard Baker (a British news reader of the time) talking up the perks of the coffee bar that doubles as a disco at night! If you wanna hear someone 'do Toad' ask the Barrier, who close side two with a very respectable version of it. I like also their take on 'Foxy Lady', especially the first half of the extended guitar solo which is in an eastern model scale. Breakthru's 'Here Comes The End' is a diamond in the rough as well, in total contrast to their UK Mercury label 'Ice Cream Tree' / 'Julius Ceaser' 45. The LP is pressed on good, thick vinyl as well! A great package featuring some very worthwhile music which for the most part has not been heard since it was recorded. I sure as hell hope Nigel Lees has some more like these in his archive as I for one, would love to see this turn into a series. Full marks on all counts and buy that man a drink for me will ya!
     Order from Heyday, Wolfgang or Delerium – take yer pick.
Paul Martin

VARIOUS ARTISTS
Andergraun Vibrations! Spanish Hard Psych And Beyond! 1970-75 (Hundergrum Records; LP)
     As Franco neared his final demise, Spanish popular music continued to flourish. Here is the proof. Eleven longish tracks by a variety of Spanish underground acts, who despite the lo-fi facilities available to record in for both midget indie and minor subsidiaries of larger commercial and vanity labels. Expression's (from Cordoba)'La Luz Del Fin Del Mundo' from 1974 kicks off proceedings and does so in a very tasty way. Speaker shredding fuzztone guitar and a super rumbly bass make this heavy psychster sound like the offspring of the Spanish mid-60s garage style. It concludes in a maelstrom of screams and fuzz-out! Madera De Cipres's 'Lejos de Aqui' from '72 has some nice wah-wah and another chuggy bass line pushing it along. This being a band that apparently the Spanish cognoscente doubted had even existed until this lone copy of their single turned up. Some great heavy harmonies and an almost Arabic styled lead vocal characterise Galaxia's 'La Noticia' from '72 along with some nice Hendrixy guitar moves. Xetxu's (in reality 23 year-old Jose Maria Hermida) 'Xohana' is sung in Gallego, a language from the north of Spain and again has some great wah-wah going on behind it throughout. In fact, this comp would sit nicely alongside such collections as the Dutch Fantazio Days set of Dutch progressive and psych singles. On Side two the rhythms get somewhat funkier, but the vibe is just as heavy man! The Matches 'EO Santana' and Unidades 'Much More' have a lighter pop melody, almost commercial in fact, but the fuzztone is still there! The comp comes with an LP sized page of liner notes (in both Spanish and English) that give the lo-down on the bands. A great collection of otherwise unknown and obscure 45s that I for one am very pleased to have heard. I hope there's a Volume 2 in the works.
hundergrum@mixmail.com
Paul Martin

VARIOUS ARTISTS
California Love In Vols. 1 & 2 (U-Spaces; CDRs)
     Here we have two beauties in a collaboration between the the 'strictly not for sale' U-Spaces & West Coast Psychedelia & Acid Rock groups. Whilst the Soft Sounds For Gentle People series is documenting the California soft pop sound, California Love In is doing the same for uncompiled acid rock and popsike singles. These two volumes are labours of love (and I'm told there is enough for a third volume too!). Volume one sports 26, and Volume 2, 29 tracks, all of which have been lovingly remastered from vinyl for a good, full sound. Certainly some of those on Volume Onecould sit comfortably on a Pet Records comp (Family Tree's 'He Spins Around', The Hobbits 'Jolly Good Fellow' and Ariel's 'I Feel Like Crying' for instance). The general accent though is more on a acid rock vibe. Now's 'I Want' we learn is a rare 45 (on Embassy from 1968) by an outfit who would become Tripsichord Music Box (and it's a beauty of an organ, harmony vocal number pointing to where THB would soon be). Towaway Zone's version of 'Searchin' is a blue eyed soul vocal over an insistent soul-rock backing that breaks into a acid rock guitar solo in the middle eight. Stained Glass's 'A Scene In Between' will be well known to all popsike fans, from numerous compilation appearances with its anglocentric sound. It's flip side however 'Mediocre Me' will probably not be, but here it is now in it's full whimsical glory. In general, a fabulous collection of rare west coast sounds that you need to hear.
     Volume 2 continues in similar vein. Two cool tracks The Travel Agency 'What's A Man' (an excellent anti-war number) and its flip 'She Understands' are both alternative versions or takes from the equally great versions on their Verve album. Gale Garnet & The Gentle Reign offer up the delightful sitar laden 'Breaking Through'. Both sides of the obscure Californians single 'Nausea Beat' and 'Glass Disguise' (on the equally obscure Crazy Horse label) are also some of the key winners on this volume. These are both superb west coast popsikers and great to have in the wider public domain at last. Another jewel is the nine-minute long 'Rough Rider' by Mount Rushmore from an unreleased 1967 demo. The New Christy Minstrels' Randy Sparks offers up 'Haight Ashbury Blues', one of those wry observational comments on the 'in crowd' by one who may be outside of it and you can never quite tell if they mean it or not (think Doug McClure's 'Children of Mud'). The volume ends with Crystal Fountain's 'Sensations' which features Wendy & Bonnie in a more hard psych vein than you will have heard them before (a track omitted from their Sundazed Genesis CD reissue as the artists thought it too 'satanic'!).
     Overall, these two discs are prizes we can all be proud of. Along with Pet Records softer sounds projects, California is being well served by devotees of its '60s musical output for which the compilers deserve medals for services to cool sounds! Looking at the U-Spaces project alone, there are upwards of nine people involved in these volumes from both U-Spaces and the West Coast Psych & Acid Rock group. The results are a glowing testament to what can be achieved through collaborative efforts by those with a passion for the music. You can get the California Love In volumes as with all U-Spaces projects through trading only. You won't be sorry!
http://launch.groups.yahoo.com/group/U-SPACES
http://uk.groups.yahoo.com/group/westcoastpsychedeliaandacidrock
Paul Martin

VARIOUS ARTISTS
Get Your Lie Straight: A Galaxy Of Funky Soul (BGP; CD)
     All I can is Gawd Bless Ya Alec Palao! In capturing the cream of the Galaxy subsidiary of Fantasy records, the musical compilation architect and dusty fingered archaeologist has struck gold. Not only are the recordings on the label from this period deliriously good but Alec's sequencing and choices are unbelievable. This mutha grooves from the first to last second. How good is the music? Who's on the CD? That's for you to find out when you buy it buster. 'tis bloody amazing!!! If you like hard driving late '60s and early '70s funky soul this cannot me missed. At any cost!
www.acerecords.co.uk
Jon 'Mojo' Mills

VARIOUS ARTISTS
Voyages Into Pop-Psych
Voyages Into Folk-Rock
Voyages Into Garage (all Voyages; CDs)
     I always get far more excited about CDR comps made by collectors. These are the people that know what's comped, aren't out for financial gain and love the music. Always coming up with interesting finds there's always something new, and great, to hear. However hard the legit labels try they just can't match the scope and quality of the man at home and his CD recorder. So okay, sure there's no licensing issues to deal with and the legality of such projects of course can always be questioned; but think about it logically, will 100 or so home duped CDs really bring the music industry down or rob writers of too many royalties? Of course not. Wotcha think punters?
     The newly established Voyages records is an off shoot of Ben from Uspaces CD trading. He is charging a minimal amount for duplication and printing… but other that that, it's business as usual. And if like me, you enjoy the efforts of said group's CD trades you'll love these too. Sure, the art could be better and pictures would be nice. However the music and notes are near faultless. Each CD contains 30 tracks of mainly uncomped material, and even if the genre boundaries are a little bit tenuous, the music itself is full of surprises and winners.
     The Pop-Psych volume opens with the ridiculously titled 'Soap And Turkey' by the great Stained Glass (who also turn in the Beatles-like 'Lady In Lace' later on). The Cinnamon and Jon head towards bubblegum with the incessant 'Oh Elaina…' and 'Just Like Mary'. The Joyride and The Comfortable Chair get introspective with 'His Blues' which has a touch of Simon & Garfunkel meet the Airplane about it and the twirly girly looking into the smoke vibe of contempo hippy pop 'Now'. Five By Five (known for tackling Hendrix) opt for a mod-psych sound with 'Fruitstand Man', as do Ellie Pop on their 'Seven North Frederick'. On t'other hand, Bentley Road's 'Kill The Cobra' is completely mental with a pop twist. Wonderful! Donovan cop Joe Deihl's '(My Love Is Like A) Red, Red Rose' proves how much of an influence the Don was at the end of the decade… and the similarly inclined The Smubbs close the CD with 'White Paper Sail'.
     The Unknowns, who were in fact Mark Lindsay and pals slacking off during down time from the Where The Action Is TV show, contribute a rather fine folk rocked up version of Revolution's 'Tighter' that kicks off the Folk-Rock volume. The pop of The Messenger's 'Window Shopping', the tough, jangle of Larry & The Paper Prophets, Giant Sunflower's gleeful take on 'February Sunshine', sublime male/female folk-rock from These Vizitors' 'Happy Man', The Rooney's cool popper 'Walter Right', The Gas Co's punk Sonny & Cher-alike 'Your Times Up' and Vern Clark & The Raney Rivers cool country tinged 'Playing In The Sun' follow. 'Someone I've Got My Eyes Upon', a fave from Pebbles #12 by Peter & The Rabbits makes a welcome appearance (which reminds me how much I appreciate Greg Shaw) and an entrant originally released on the other Greg's Incredible Sound Show Stories series Ist Century's 'Dancing Girl' also show up.
     For those with more upbeat tastes the Garage volume firmly sticks to the ethics with such snarly wonders as The Reactors' 'Do That Thing', Shannon Cannon's 'Right Back', the R&B mover 'Loadin' Coal' by The Five Sounds, Neal Ford & The Fanatics' arrogant chugger 'Brand New Girl', and This Side's Up brilliant 'Lose Yourself'.
     I'd rather have had three mixed volumes as each CD crosses into the other without any major differences and a few mixed tempos would have been preferable, but that's only a small gripe. These are well researched and mastered comps destined to please all Shindig! readers.
http://members.aol.com/voyagescd/voyages.html
voyagescd@aol.com
Jon 'Mojo' Mills

VARIOUS ARTISTS
Who Would Have Thought (Past & Present; 3-CD set)
     It's a good enough idea. Find a bunch of household names who you readily associate with a specific genre of music, then look for all the one-off oddball records they made when times changed and they had to run to keep up. It would probably have been better to have made a single considered volume rather than a scattergun triple set. A good number of these tracks have been well reissued in the recent past already and so are overly familiar (Tremeloes' 'Suddenly Winter', Paul Jones' 'The Dog Presides', Mindbenders' 'My New Day And Age', Troggs' 'Maybe The Madman' etc). The inattention to detail somewhere along the line is also exemplified by the repetition of several tracks on disc 3 that appear on disc 2. However, on the plus side you do get to hear some interesting moves as well. Mae West's take on 'Shakin' All Over' taken from the 1967 Tower LP Mae West & Somebody's Chyldren - Way Out West, (though there are no liners included to tell you that) is a welcome inclusion as is Pat Boone doing 'Song To The Siren' and Dion's 'Purple Haze' (twice!). In essence it's a good idea that's been overstretched and too randomly and carelessly compiled. Though if you're looking for a novelty gift for a music friend or just want a wigged out lounge party, this may well suit.
http://www.radioactiverecords.com/acatalog/Past_and_Present_CDs.html
Paul Martin