THE 23rd TURNOFF
The Dream Of Michaelangelo (Bam Caruso; CD)
The 23rd Turnoff's lone Deram 45 'Michel Angelo' (sic) is an acknowledged cornerstone of UK psychedelia. It's a brooding minor-key masterpiece, blending spectral melodies, lyrical introversion and 1967 studio trickery to stunning effect. It's primary creator, Jimmy
Campbell, had already served a ten year apprenticeship in various Liverpool bands and would go on to record three increasingly stark solo albums and a latter day beat group classic as Rockin' Horse in the early 70s. His reputation is already assured.
So to be confronted with RPM's CD, which has had an incredibly convoluted gestation and has taken on a Frankenstein's monster-like life of it's own, is something of a monumental revelation. It contains around 15 previously unreleased demos, some rare-as-hell Finland-only single sides and the miniscule official output (two singles) of The Kirkbys and The 23rd Turnoff between 1965 and 1967. Campbell wrote or co-wrote everything here and while his early efforts are often little more than generic Merseybeat cops, it's immediately evident that there's an individuality underpinned by a strain of melancholy running through his work that goes against the prevailing mood of the time.
By the time The Kirkbys have cut their third single, the fuzz-tinged stomper 'It's A Crime' and it's excellent Beatles/Hollies-influenced flipside 'I've Never Been So Much In Love', Campbell has become the sole composer and proceeds to lead his band through the eleven demo recordings that form the backbone of this fascinating collection. Ramshackle early attempts at 'Mother's Boy', '(Not) A Penny In My Pocket' and 'Another Vincent Van Gogh', all later to reappear on Campbell's 1969 solo debut Son Of Anastasia, vie with the Lovin' Spoonful-esque whimsy of 'Dreaming', the atonal mantra of 'You Sing Your Own Song' and two vastly different works-in-progress takes of 'Michealangelo'. Although the band stress their supposed ignorance of psychedelia and it's influence, one cannot deny that the likes of 'Flowers Are Flowering', 'I'll Be Round' and 'I'll Be With You' bear the unmistakable hallmarks of lysergic intervention, coming across as the bastard offspring of 'See My Friends' and 'My White Bicycle' as played by a bunch of particularly lethargic scousers who'd rather be down the pub than having us try and convince them of their psychedelic prescience.
While the audio quality is a touch ear-shredding in places, The Dream Of Michaelangelo is a fascinating document of the archetypal alternative British 60s band and an essential addition to the collection of any self respecting psych and beat fan.
www.rpmrecords.co.uk
Andy Morten
THE ANIMALS
The Decca Years: Don't Bring Me Down (Castle; CD)
The Animals may have been the best white Brit R&B hopefuls of '63-'64, possessing a more authentic voice and repertoire than the Stones, Pretties or Yardbirds. For me however, it wasn't until a little later in their career that they really made an impact. On leaving Columbia to go to Decca, The Animals first released their propulsive arrangement
of folk/blues tune 'Rosie' (re-titled
'Inside Looking Out') as a 45 in February 1966. In the process, Burdon, Chandler and co invented a rather special soul-punk hybrid, influential on a new spectrum of US garage bands. And it can't be beaten! Burdon sings with unbridled passion, Hilton Valentine lays down the coolest guitar lines and Chas Chandler holds it together with a thud! Phewie!!! Flipside 'Outcast' trades on the same combo of soul and sneer and is very nearly as memorable. My, what a single, man! 'Don't Bring Me Down' (May '66) indicates the brown ale had been replaced with hash and emits a
psychedelic vibrato effect via Valentine's guitar whilst Alan Price's recent replacement Dave Rowberry adds shimmering organ passages that would pave the way for the psych keyboards of The Iron Butterfly and Strawberry Alarm Clock! Again, the flipside 'Cheating' (a similarly inclined song) gave the plug side ample competition. In two singles the band had progressed infinitely. The week after 'Don't Bring Me Down' was released the Decca debut album Animalisms arrived. Produced by Tony Wilson (who gave Dylan's 'Like A Rolling Stone' its requisite edge) and trading on a number of R&B covers while completely missing out on the experimentation of the recent singles, the album has a
charm that recalls their earlier recordings – with added oomph. But the October 45 'Help Me Girl' was further indication of The Animals departure from R&B (although the flipside was actually a decent garagey take on 'See See Rider'). Trading on baroque keyboards, horns and a soul edge carried by Burden's demanding vocal, 'Help Me Girl' was another amazing single. In fact a solo Burden recording. (As a bonus, four '63 recordings by early carnation The Alan Price Rhythm & Blues Combo add further credence to the band's fledgling years!)
Yes, The Animals were great, but their '66 singles are so, so good that if they hadn't released anything else they would still be fondly remembered – well, by yours truly at least.
www.sanctuaryrecordsgroup.co.uk
Jon 'Mojo' Mills
MADELINE BELL
Doin' Things (RPM; CD)
Hot on the heels of RPM's recent reissue of Maddy's 1967 solo debut Bells' A Poppin' (see September reviews) comes this, her '68 follow up. With the front cover depicting a distinctly more hip and happening Miss Bell, complete with psychedelic dress and afro,
you'd be forgiven for assuming this was a full-on soul/funk outing. While there are certainly more concessions to 'serious' soul sounds here than on its predecessor, Doin' Things is still essentially a pop album, albeit a big, bold, brassy and beautiful one.
The opening salvo of 'Help Yourself', 'After All Is Said And Done', 'Doin' Things Together With You' and 'It's Up To You' are as strong a quartet of songs as I've heard for some time - any one of them could have been huge hits during that summer of Brit bubble-soul smashes like 'Rainbow Valley', 'Lovin' Things' and 'Yesterday Has Gone'. Decent renditions of recent hits 'To Sir With Love' and 'Step Inside Love' lend a familiar tone while a clutch of titles composed by Bell and band leader John Paul Jones, topped by the folky 'Gotta Get Away From Here', demonstrate a moody, more organic alternative to the big band arrangements around them.
Throw in half a dozen bonus tracks and informative notes from Alec Palao and you've got the perfect package for Christmas.
www.rpmrecords.co.uk
Andy Morten
THE COLLECTORS
Grass And Wild Strawberries (Collectors Choice; CD)
When one thinks of rock operas, Tommy is the first one which comes to mind, and the recent proliferation of reissues of S.F. Sorrow has imprinted that album in rock opera history, but Grass And Wild Strawberries, by the Vancouver band The Collectors can
certainly be added to the list. Grass And Wild Strawberries, the band's second album, weds their patented fusion of hippie rock, jazz and classical influences to the lyrics of Vancouver playwright George Ryga and even though several bands were experimenting in this way in 1969, this album stands out as one of the most powerful examples of the genre.
Though there are many elements to The Collectors' sound, the two that most stand out are the rich, deep tones of lead vocalist Howie Vickers and the playful flute of Claire Lawrence. Although Vickers is sometimes the victim of overindulgence (think Soft Parade Morrison or many of Jim Steinman's '70s/ early '80s productions), his is a powerful instrument, capable of restraint when necessary. The band shows tremendous versatility on this album, featuring tracks like the Gregorian 'Things I Remember', 'Don't Turn Away From Me', the Zappa-esque 'Teletype Click', the metaphysical 'Seventeenth Summer', 'My Love Delights Me' sung by the band's other excellent vocalist, Bill Henderson (and which would be the perfect campfire song) and 'Rainbow Of Fire', which builds to an amazing crescendo of voices. Perhaps the most striking thing about Grass And Wild Strawberries is Ryga's lyrics, which take the obtuse hippie idiom to new heights (the lyrics are included for your scrutiny - dive in if you dare!).
Not long after the album was released, Howie Vickers left the band and they were renamed Chilliwack. Bill Henderson became the exclusive lead vocalist, and within a few years Chilliwack morphed into a melodic hard rock band and had several Canadian chart hits.
www.collectorschoicemusic.com
David Bash
COLOSSEUM
Those Who Are About To Die Salute You
Valentyne Suite
Daughter Of Time
Colosseum Live (all Castle Expanded Edition CDs)
On the forthcoming Shindig! compilation you'll see that we've included 'The Kettle' but
as I state in the liners, we're really not fans. 'The Kettle' rocks! It has a sexual passion and a groove that we adore. Colosseum normally divulged in serious musicality with a blues, jazz-rock edge and 'The Kettle' was certainly a one off anomaly that they knocked out with little thought. And aren't those moments always the best, eh? Debut Those Who Are About To Die Salute You takes off from where the Bluesbreakers and Alexis Korner left off but there's just too much farting around, Valentyne Suite (the '69 follow-up),
despite opening with 'The Kettle', doesn't come close to that song's energy. It has its moments, like the funky psych groove 'The Machine Demands A Sacrifice'. Again, there's just too much goddamn faffing around in the jazz idiom. Jazz is good. Rock is good. The two being married together, on the whole, was a mistake. Moving towards more traditional progressive rock was a step in the right direction, and actually resulted in their best album Daughter Of Time (which featured new singer Chris Farlowe). The showing off still goes on, and way too much, but when they hit their stride this is a confident, assured album that is helped no end by Farlowe's ominous vocal presence. Colosseum Live ('71) was also recorded with Farlowe and displays the band's ability with a rockin' raw edge - even if a great deal of it does sound like our own Little Bare Big Bear jamming on a riff after six cans of lager!!!
Colosseum were in general completely representative of the post-Cream era, but if wanting more than straight post-psychedelic rock they do have a lot to offer. Too much.
www.sanctuaryrecordsgroup.co.uk
Jon 'Mojo' Mills
WAYNE FONTANA
Wayne One + Bonus Tracks (BGO; 2-CD)
The artist formally known as Glyn Ellis has long deserved a decent reissue to lift him above the myriad cheapo comps and 'And The Mindbenders' category of his earliest recordings. This in fact, is it. Although the set slates the singles disc as the 'bonus tracks'
disc, I would have switched it round and called the Wayne One LP the bonus disc. The singles disc (which compiles all his UK A&B sides from 1965-70) is choc-a-bloc full of corking, big sounding, soulfully sung orchestrated pop with the emphasis on the upbeat. There are 22 cuts on this disc and only one or two fail the test to my ears, the hokum of Randy Newman's 'Dayton Ohio 1903' being the chief blooper. Amongst the shining soul-beat and pop jewels here are two classy Graham Gouldman numbers in 'Pamela, Pamela' and 'The Impossible Years', but Fontana's own writing is superb; 'We All Love The Human Race', 'I Need To Love You', 'We're Building A Love' and 'Charlie Cass' (a piece of period pop whimsy par excellence) among them. The real killer to my ear is 'Waiting For A Break In The Clouds', a barnstorming northern soul belter. Your faves from various comps are also present from the masters the cover of The Rokes' 'The Words of Bartholomew' and 'In My World'. This disc is a big, fast paced box of sound.
As for the Wayne One LP proper, it's a game of two halves. There's Fontana's wannabe cabaret entertainer side all too painfully displayed. Mistaken or at best perfunctory readings of old standards like Gershwin's 'Fascinating Rhythm' and 'Please Stop The Wedding' and the old chestnut 'Perfidia' have not worn at all well and sound extremely at odds with his better (i.e the majority of his) work. The LP indeed seems to have been a platform for Fontana to project his supper club persona to an older and more urbane clientele. However, there are some real winners here as well. A brilliant reading of Peter Cowap's 'Star of Eastern Street' and more Ellis/Fontana originals in 'My Friend And I' and 'My Eyes Break Out In Tears'. Others such as 'Internal Circle', 'Come On Home' and 'You Made Me What I Am Today' are sublime and much in the same vein of his singles.
Overall, 34 tracks with only a few duffers and a great big sound all round. You need to own this set pronto!
www.bgo-records.com
Paul Martin
DAVY GRAHAM & HOLLY
Godington Boundry (President; CD)
By the close of the 60s, Davy Graham had earned himself a reputation as the quintessential British folk-blues guitarist, with only the likes of Bert Jansch and John Renbourne able to hold to a candle to his inventive playing. It's interesting then that he
began the following decade by releasing not only one of his most eclectic collections but also his last studio album for six years, 1970's Godington Boundry. The fact that it so closely followed his Decca swan song of the same year (and the first to be co-credited to his wife Holly), The Holly Kaleidoscope, is an indication that Davy was in prolific mood, turning out many short, tightly constructed pieces ('On Green Dolphin Street', the light-hearted 'Joe, Joe The Cannibal Kid') as well as the usual long, rambling semi-improvisations ('Work Song', a vamped 'All Of Me') with occasional backing from a live studio group.
The twosome rather wisely eschews vocals in favour of an instrumental approach for about half the album. It's not that Graham's a bad singer per se, but you'd certainly rather hear him playing guitar. Holly's voice is pleasant if unremarkable and doesn't add a great deal to the loose duets, The Beatles' 'Mother Nature's Son' and The Incredible String Band's 'Everything's Fine Right Now' among them. Kehsav Sathe's tabla adds some welcome colour on his own composition 'Afta' and the closing
'Nadu Silma'. Whether he's in cheeky electric jazz mode on 'The Preacher' or in an unswerving raga trance on 'Afta', Graham's guitar playing is as warm and fluid as honey throughout and that's reason enough to investigate this release further.
www.president-records.co.uk
Andy Morten
JONATHAN & CHARLES
Another Week To Go (Gear Fab; CD)
An obscure gospel based duo from Roanoke, Virginia serve up a delightful confection over 28 minutes. Think Peter & Gordon (on a good day a la their Hot, Cold & Custard
album), think Chad & Jeremy, think early Simon & Garfunkel - all these only with evangelical Christian lyrics, find an essence in Jonathan and Charles. Originally issued in 1967, this is the latest reissue to recognise that just because the message is religious, it doesn't hurt the medium delivering it. Topped and (almost) tailed by the two stand out tracks 'Mrs Chisholm's Weekend' and 'Wake Up One Morning', the eleven short songs are a delightful blend of folk flavoured soft poppers. The two above mentioned songs are even stronger than this and are almost pop-sike while the voices are a soft and melodious blend that compliment each other well without sounding mannered. You can easily ignore (if you want) the Christian message in the lyrics and listen to the voices as you might a foreign language and appreciate the sound on its own terms. Even the sternest pop ashiest would melt to some of these tunes. If you have a soft-pop of folk pop liking, you'll love this.
www.swiftsite.com/gearfab/
Paul Martin
NEW JUGGLER SOUND
Trouble Childs (Munster/Electro-Harmonix; 10” LP)
Considering we're great fans of the two We All Together albums here at SD Towers, I embraced this collection of the group's earliest carnation with great expectations.
Although the lofty heights of said expectations were not quite fully met, Trouble Childs is nevertheless a thorough chronological collection. If the “very psyched and fuzzed” sub-title may be a huge exaggeration these 10 recordings are (generally) far rougher and tougher than We All Together's refined Badfinger/Wings styling. Beginning with the melodic beat-pop phase and then moving towards the more psych-orientated material (of which 'The Sand Man' is a definite predecessor of the We All Together Sound, owing much to Todd Rundgren's melodic compositions of the era) the remaining material veers from Yardbirds-meets-West Coast guitar dominated pieces to blue eyed soul and closes with two tracks by the slightly heavier pre-We All Together band, Laghonia. Over the course of three singles the band changed greatly and seemed hugely aware of the changing musical zeitgeist in both the UK and US. And it seems clear that a solid identity wasn't really agreed on and finalised until the We All Together moniker was used. Nevertheless the genre hopping of these less honed '60s singles are still a good representation of a talented set of young musicians stuck in the outer peripheries of the rock 'n' roll world trying to find their feet.
www.munster-records.com
Jon 'Mojo' Mills
STEVE TOOK'S HORNS
The All New Adventures of Steve Took's Horns (Cherry Red; CD)
Are people who spend vast quantities of time trying to convince a sceptical public that certain deceased musicians were, despite much evidence to the contrary, actually musical geniuses admirably dedicated or just dense? The Brian Jones apologists have yet to come
up with any original songs to back up their argument. But the Steve Peregrine Took brigade has a much stronger case. This CD contains three tracks from 1977 to add to a growing pile that includes some early 1970s demos and the Shagrat period with Larry Wallis. They're pretty good; loose rock 'n' roll that clearly aspires to the Stones, but actually comes over more like Ian Hunter in one of his less louche moods. For reasons that are probably to do with the dwindling CD single market, the core trio of songs have been padded out with a series of remixes of the same tracks, two recreations of unrecorded Took songs by members of his band, and a previously released Inner City Unit song dedicated to his memory. Having kicked off with the originals in the form Took approved, these others feel like unnecessary dilutions and deviations. One exception: 'Yeeooww', a revamp of 'Average Man', which succeeds because the original is so strong as to be un-cock-upable. But it didn't need all this effort to persuade us that Steve Took was clearly more than merely a Marc Bolan sideman.
www.cherryred.co.uk
Jane Farrell
VARIOUS ARTISTS
Beat Parade Volumes 1 & 2 (Strasse Beat; LPs)
Who said the Germans had no sense of humour? Not me, guv. These two anonymous looking white label comps are dedicated to purveyors of German language 60s beat and pop, principally German covers of British songs. They seem to have been compiled with
the same self-parodying that characterises some of the Prae-Kraut Pandemonium series and indeed these would sit well next that series on your shelf. Volume 1 offers such delights as Lionel & The Trieds 'Bei Uns Zu Haus' and Lionel sounds like he's been smoking 50 Capstan full strength a day since he was old enough to ask for a light - to describe his voice as 'guttural' would be an understatement! There's the Gloomy Moon Singers who turn in a short and sweet 'Zieht Euch Warm An', The Germans (no, really?) 'Oh La La' and perhaps best of all Cindy & Bert (I kid you not) and the Jay Five's kicking take on The Sabbs' 'Paranoid', here rendered as 'Der Hund von Baskerville' for some reason. The Jay Five were a group of jobbing musos who played jazz from preference and beat for money. Here they make an excellent job of it too as do Cindy & Bert surprisingly!. With groups that have names like Lucky Tucky & The Screen Wipers you might not expect anything more than sub-Freddie & The Dreamers material, but their ' You're Making The Mistake Of Your Live' (as Dann Irrst Du Dicht My Dear) is actually pretty tough sounding.
Volume 2 follows in pretty much the same way with one Joe Ki und die P.T.S.G's 'Karthago Is Grun' and yes, it's another 50-a-day geezer at the mic. There's more familiar names with Nino Ferrer's German version of 'Das Telfon', Keith West & Mark Wirtz Germanised 'Shy Boy' (or the more interesting sounding 'Sky Boy' as the title on the original pic sleeve has it) and The Sorrows German 'Take A Heart'. Other rib ticklers include Gerd Bottcher's German take on 'It's Not Unusual' (and pales beside the original's lung crushing rendition of course) Ronny Twen's take on Dion's 'Hats Off To Larry and Marco Polo's 'Indian Reservation'. Winners here are the aforementioned Joe Ki along with two goodies by the Telstars. The novelty falsetto take on Balla Balla by Beat Oma at the end is a scream as well. Basically designed for the German market as a kind of nostalgia-cum-retro beat-giggle fest, these two lovelies would get anyone's party off to a flying start whatever language you (don't) speak, have fun!
www.forcedexposure.com/labels/strasse.beat.records.germany.html
Paul Martin
VARIOUS ARTISTS
It's A Go-Go World (Psychodelic; LP, 600 only)
The subtitle says it all: 'A sixties garage, frat, hotrod, rock'n'roll tribute'. Eighteen great bouncy US tracks, all with a go-go theme or go-go in the title and, oooh, it's on green vinyl so it gets my vote! Mucho obscuro for the most part, it does boast Jett Power's 'Go, Girl, Go'. Who he? Why, none other than P.J. Proby! But here it's 1958 and this is a raucous rockabilly rave-up. Interestingly there's a world of difference between a r'n'r exultation to “go,girl,go” and a 60s go-go girl, but lets not be pedantic, it's a great record. All the rest are solid 60s, hair flailing, white-booted girl go-getters. I was intrigued by the kick-off tracks from both sides of this long player which concern themselves with the delights of topless go-go girl dancing. Both Captain Derby & The Buccaneers' 'Who Do They Watch' and The Rockets' Combo 'Topless A Go-Go' surprised me in that I never knew 45s were made (albeit in the former case at least privately) that actually mentioned topless go-go girls. Is it because I'm a British prude or should I just get out more? Anyway, they're delightful as are the hot rod numbers such as The Scramblers' 'Go, Gilera, Go' and The Spats' 'Go Go Yamaha'. Standouts however are 4 Score's rough and ready 'Mini-Skirt', the unexpectedly (from the title) groovy 'Kiddie's A Go-Go' by The Males (rumoured to have included one Ted Nugent on guitar), Don Snyder's decidedly snarly 'Tiger A Go-Go' and the fab Colleen Lovett's 'Go-Go Girl'.
A real cool party record and as much fun as you can have without taking your top off!
www.w-voelkel.de/leftcol/sparten/Display1.htm
Paul Martin
VARIOUS ARTISTS
Thai Beat A Go-Go Volume 1 (Subliminal Sounds; CD)
Yes, the exoticisation of 60s far east sounds has been gaining momentum ever since the first Cambodian Rocks collection came out in the late 90s. There are strange and groovy 60s albums waiting in the wings that deserve a reissue still such as Indonesia's all-girl garage band Dara
Pasputa's two albums or Singapore's 'Sakura Goes Boom-Boom' album - a curious mix of beaty garage rock and cowboy yodel songs!! However, what we have here is a 20 track selection of Thai take outs of standard western fair mixed in with a goodly smattering of self-penned tunes. It's a collection that will have instant appeal to exotica fans and the sort of people who buy the German Shaddocks label compilations. It's a real mix of stuff and the first third at least is characterised by stinging guitar breaks on r'n'r and beat numbers. An interesting version of the 'James Bond Theme' by The Son of PM manages to totally Thai-ify it whilst retaining its essential Europeanness. A version of 'Day Tripper' by The Starlights incorporates a bouncy guitar break absent in the original and the intriguing instrumentals by Johny's Guitar manage to blend a dramatic eastern ethnic vibe with a more contemporary western sound. Payom Moogda's 'Loomsiah' is actually Little Richard's 'Lucille' and their 'Tami Dern Sae' is actually 'What'd I Say' but translates as 'Why Do You Walk Like A Drunkard'! All of this and more are rendered in a suitably amateurishly recorded manner and have an endearing charm which makes you want to keep listening - up until track 20 that is. Jiraphand Ong-Ard's 'Muay-Thai' is a traditional tune played on something akin to a monophonic bagpipe! It grates like hell so avoid it! It's actually a traditional piece that is played as the preliminary to a Thai kick boxing contest (Muay-Thai) in which the contestants move around the ring in a dance like mode with their own special moves. Having done a bit of Muay-Thai myself in the past, I understand its significance, but listened to outside of that context, forget it! Overall a fun, funny and often engaging collection of bastardised west meets east pop and roll and well worth a listen to up for it ears.
www.subliminalsounds.se
Paul Martin
VARIOUS ARTISTS
Thai Beat A Go-Go Volume 2 (Subliminal Sounds; CD)
Volume 2 pretty much continues in the same way as Volume 1. The first third is a great set of jumping beat and r'n'r sounds. Viparat Piengsuwan's 'Yok Yok' and Surapon's version of 'Ding-Dong'
are good starter tracks whilst Waipot Petsuwan's Mia Chaa has an almost prehistoric The Orb vibe about it, weird! The Reason's take on Shimmy, Shimmy Koko Pop may at first sound stilted, but on a second play it is its own rhythm that makes it sound less fluid than the western versions, it's a good version too. There's some Elvis impersonator singing 'All Shook Up' in Thai but much better is Jackatchan's 'Soo Kwarm Rak' a competent beat number with a good guitar break. There's a weird version of 'Je Taime Moi Non Plus' where the words are changed to give a warning about man's environmental threat to the planet instead of the 'kidney love' lyrics of Serge's original! There's even a Thai take on 'Funky Broadway' in here too! In general a cooky collection of covers you don't know if are meant to be serious or not and some very fine originals if you'd open your ears to them. If you want to try one of these discs, I'd suggest starting with Vol.2, not least because it doesn't have another monophonic bagpipe drone track on it! Both discs come with alluring colour booklets that give a thumb nail sketch of the artists and have some nice cheesy period pics!
www.subliminalsounds.se
Paul Martin
LOS YOUNG BEATS
The Exciting Sound of Los Young Beats (Break-A-Way; LP)
Los Young Beats were a Colombian band whose sole long-player dates from 1966. It's one of those Latin beat albums that has a dedicated clientele. It's general recorded sound is something akin to the
Bachs 'Out Of The Bachs', slightly distant and as much due to their youthful level of playing as the elementary nature of Colombian sixties recording facilities (bassist Miguel Suarez had his instrument built from the remnants of an old phone box!). What you get is the original eleven track LP in improved quality plus four songs that once comprised an EP by later unit Time Machine. All fifteen songs are cover versions, a young bands adoration of their fave artists, pursued in preference over the radio friendly dross they were originally contracted to record. So for avid collectors of versions of 'Gloria', 'Baby Please Don't Go', 'Heart Of Stone', 'Not Fade Away' or 'Money', there are new additions here.
Time Machine's covers comprise of 'Train Kept A Rollin', 'Just Like A Woman', Hendrix's 'Fire' and the Butterfield Blues Band's 'Your Love Is Driftin'. By this time the guitarists had changed and the sound had become more confident. Although lacking in originality, it is apparently a much sought after album from south America. Anyway, how many Colombian sixties bands can you name? (they're listed in the detailed LP sized liner notes insert actually). This LP (on heavy vinyl, it should be noted) will definitely be a winner for fans of the Brazilian 'Hearts of Stone' LP comp series or Misty Lane's Basement Brazil collection. Very nicely packaged as well.
www.break-a-way.de
Paul Martin
