A glimpse of heaven (Strawbs) (LP 4286 - 4287)

Jackie DeShannon   Songs  (Vinyl, Capitol Records, 1971) ***  

Strawbs   From the Witchwood  (Vinyl, A&M Records, 1971) ****  

Genre: Pop, folk rock, prog rock 

Places I remember: Slow Boat Records

Fab, and all the other pimply hyperboles: Witchwood (Strawbs)

Gear costume: Lay Lady Lay (Jackie DeShannon)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: A recent visit to Wellington meant a few purchases from Slow Boat Records*. Nineteen seventy-one is one of my favourite years for music - here are two more from that stellar year.

Jackie DeShannon has featured from time to time in the collection's rundown (Jackie and For You). I'm not sure why I'm drawn to her brand of pop music, but I am. Songs is an unheralded album of hers, Jackie gets much more attention, but it's a good pop album with a variety of looks - pop, folk, gospel even. Her version of Lay Lady Lay is interesting and a highlight of this album.

From the Witchwood has been on my radar for a while. It's the second and final Strawbs' album with Rick Wakeman as a full member (Dragonfly has already appeared - he appears on one track, Just a Collection of Antiques and Curios). 

It is a game of two halves in some regards - a folk-rock side one and a prog rock side two. I enjoy both sides in equal measure. Dave Cousins has an appropriate vocal style for each and Rick Wakeman's keyboards can adapt to all sorts of styles.

Where do they all belong? *I also picked up Bob Weir's second solo album. I'll get to it eventually.

Spirit (The Doobie Brothers) (LP 4282 - 4285)

The Doobie Brothers  The Captain and Me (CD, Warner Bros. Records, 1973) **** 

The Doobie Brothers  What Were Once Vices Are Now Habits (CD, Warner Bros. Records, 1974) **** 

The Doobie Brothers  Minute By Minute (CD, Warner Bros. Records, 1978) **** 

The Doobie Brothers  Live at the Wolf Trap (CD and DVD, Sanctuary Records, 2004) **** 

Genre: Rock, pop 

Places I remember: Fopp, HMV

Fab, and all the other pimply hyperboles: Another Park, Another Sunday (What Were Vices... and Live at the Wolf Trap)

Gear costume: Jesus Is Just Alright (Listen to the Music)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I am not a huge fan of The Doobie Brothers but I do like many of their big hit songs. In the seventies it was impossible to ignore them. That helps explain my spotty collection. The albums I own came from the sale racks at Fopp many years after they were released.

The Captain and Me was their third album and at this time the band included Tom Johnston and Patrick Simmons (both -vocals, guitars), Tiran Porter (bass), John Hartman and Michael Hossack (drums).

It contains a couple of their biggest hits - Long Train Runnin' and China Grove. This one also has South City Midnight Lady on it. The album as a whole is a very successful combination of seventies guitar driven hard rock (China Grove), and country rock (Clear as the Driven Snow), with wonderful harmony vocals done in a now signature Doobie Brothers style.

There's more of this on offer in their next album - What Were Once Vices Are Now Habits. Another Park, Another Sunday is just a gorgeous song. The melody gets to me every time. The overall album is great too. The Doobie Brothers sound which is a combination of The Byrds, The Eagles, Creedence Clearwater Revival, with CSN like harmonies is fully realised on these early albums.

I was never a great fan of the Michael McDonald led version of the band - a bit too slick and commercial for my money back in the seventies which is a pretty dumb attitude now that I come to think of it. Minute by Minute is my only album from this era and it's fantastic - funky as all get out! I do miss the guitars but McDonald's warm honey vocals are superb as well as his distinctive keyboard style. The big hits on the album were What a Fool Believes and the title track.  

Live at the Wolf Trap is a fantastic party record, with hit after hit after hit by the returned Tom Johnston version of the band. Ignore the naysayers - this is how the band should be remembered.

  
Where do they all belong? A compilation like the 19 track  Listen to the Music: The Very Best of The Doobie Brothers is probably your best introduction.

Paid in full (The Desotos) (LP 4280 - 4281)

The Desotos  Your Highway for Tonight (CD, Ode Records, 2011) *** 

Paul Gurney with The Desotos  Shadow of Love (CD, Tailgator Music, 2017) ***  

Genre: NZ Music, Americana, country rock

Places I remember: Roger Marbeck, JB Hi Fi

Fab, and all the other pimply hyperboles: Paid in Full (Y0ur Highway for Tonight)

Gear costume: Neon Light (Your Highway for Tonight)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: The DeSotos are Paul Gurney (vocals, guitar),
Stuart McIntyre (bass, vocals), Ron Stevens (Hammond organ, keyboards, guitar, vocals), Michael Burrows (drums, vocals). They lean on Paul Gurney's country blues guitar and his laid-back vocals.

Thanks to Roger Marbeck, I did have their debut album in my collection as well (Cross Your Heart), but I seem to have mislaid it somewhere. So, it's on to their second album - Your Highway for Tonight.

It's a lovely album full of cool JJ Cale inspired laid back Americana. Nothing gets too rushed in the country! That's probably my niggly thought too - it's all pretty much the same pace and I find myself hankering for some variety.

The Shadow of Love album isn't as good in my opinion. Too laid back and mellow for my taste.

Where do they all belong? A nice Americana corner of NZ music.

Shadow looms large (The Datsuns) (LP 4273 - 4279)

The Datsuns  The Datsuns (CD, Shock Records, 2002) *****  

The Datsuns  Outta Sight/ Outta Mind (CD, Hellsquad Records, 2004) **** 

The Datsuns  Smoke & Mirrors (CD, V2 Records, 2006) *** 

The Datsuns  Headstunts (CD, Hellsquad Records, 2008) *** 

The Datsuns  Death Rattle Boogie (CD, HellsquadRecords, 2012) **** 

The Datsuns  Deep Sleep (CD, Hellsquad Records, 2014) ** 

The Datsuns  Eye to Eye (Vinyl, Hellsquad Records, 2021) *** 

Genre: NZ Music, hard rock 

Places I remember: JB Hi Fi, Real Groovy Records

Fab, and all the other pimply hyperboles: MF from Hell (The Datsuns)

Gear costume: Blacken My Thumb (Outta Sight...)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I love hard rock. It gets the blood thumping, my head bopping and my feet moving. I'm especially proud of The Datsuns. Part of my teaching career took in Cambridge High School where these guys got together. My eldest son was good friends with Dolf's younger brother.

The mainstay band members are Rudolf "Dolf" de Borst on vocals and bass guitar, Christian Livingstone and Phil Somervell, both on guitar. Their early seventies influences (Led Zeppelin, Deep Purple, Thin Lizzy) are obvious but so what. They do what they do so well!

They have contributed some superb hard rock in the 2000s, beginning with their amazing debut album in 2002. Every song hits home but the highlights are MF from Hell, Fink for the Man, Sitting Pretty, Freeze Sucker, Lady...actually every song is brilliant!

I was a little disappointed with their second album at the time and I can't think why now - the production by Led Zeppelin's John Paul Jones is great and the riffs and melodies are there as well. Ignore the critics and embrace Nu Zild's finest rock band (yes - better than Shihad).

Album number 3 - Smoke & Mirrors continued the prototype Datsuns brand of seventies inspired rock music. Blood Red is a highlight - displaying their customary energy, commitment, and melodic riffs. It's not as consistently brilliant as those first two albums though.

Headstunts was next in 2008. At this point the band was producing one new album every two years. Nothing much new on Headstunts, apart from new drummer - Ben Cole. For most of the songs, the sound collage feels a little more claustrophobic this time out. 

Kudos to the band for trying something new and expanding into more prog rock shapes on two tracks - Eye of the Needle and Somebody Better. Both stretch out and show the band are more than just a seventies fixated hard rocking boogie band. Overall - although it's got some good rockin', it's not an album I play much.

Death Rattle Boogie feels much more like it. Dolf's singing is back to its powerful best this time out as they embrace their true rock out selves again. The riffs are more potent again as they return to the form that led to those first two albums. There's more prog leanings to this one as well - with even a hint of Muse like prog metal.

Deep Sleep is their sixth album, released in 2014. It speeds by in just over 30 minutes but it doesn't sound as inspired as Death Rattle Boogie.

It's still very recognisably The Datsuns with it's retro rock sounds and Dolf's very distinctive vocals, but not a place to start if you are new to the band. That honour would go to their debut, Outta Sight/ Outta Mind or Death Rattle Boogie. The Sabbath influence is most pronounced on Deep Sleep - especially 500 Eyes.

An unusual seven-year gap came before their latest album - 2021's Eye To Eye. This is a much better effort than Deep Sleep as the boys (no longer boys) have a spring back in their steps with some almost punkish energy (Buzzcocks style). 

It's uneven, for sure, but the good bits make this a return to form. Highlights are the opening track - Dehumanise, Brain to Brain and Bite My Tongue.

Where do they all belong? You certainly know what you're getting with The Datsuns. After seven albums, they are now masters of their brand of rock'n'roll.

the holy hour (The Cure) (LP 4268 - 4272)

The Cure  Seventeen Seconds (CD, Fiction Records, 1980) ****  

The Cure  faith (Vinyl, Stunn Records, 1981) **** 

The Cure  Concert. The Cure Live (CD, Fiction Records, 1984) **** 

The Cure  Standing on a Beach. The Singles (CD, Fiction Records, 1986) ***** 

The Cure  Galore: The Singles 1987 - 1997 (CD, Fiction Records, 1997) *** 

Genre: Gothic, Alt rock

Places I remember: Fives, Margie's brother, King's Recording (Abu Dhabi)

Fab, and all the other pimply hyperboles: Just Like Heaven (Galore)

Gear costume: A Forest (Standing on a Beach)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I would describe myself as a casual follower of The Cure. They have never got their hooks into me fully. 

I would own their 1979 debut album, Three Imaginery Boys, except Roger Marbeck played it a lot in the shop and the tap's drip drip drip annoyed me. Now I don't mind it because it reminds of working at Marbecks - which I absolutely loved.

So my first Cure album is their second one - Seventeen Seconds. This is the one with A Forest on it which is an amazing song. It certainly inspired many a Flying Nun band down in Dunedin.

The rest of the album is of a piece - as in the sound is consistent and the chilly vibe extended over the whole set of songs. It's great for early evenings, I've found.

Faith is similar in sound and tone. The grey cover and the (lower case) song titles provide clues: all cats are grey, the funeral party, doubt, the drowning man. 

The slow atmosphere pervades for most of the songs (primary was the single and it's noisier in a punkish way). I don't find this, or Seventeen Seconds, depressing though. It's ambient approach is quite soothing.

The live album - Concert, was recorded in 1984 at the Hammersmith Odeon in London and in Oxford during The Top tour. The Cure live doesn't sound anything like Faith/ Seventeen Seconds. Instead they sound punkish and raw - which is a good thing!

Standing on a Beach. The Singles compiles singles from their first decade - 1976 to 1986 and it's invaluable. The CD version especially so as it has some extra tracks added that weren't singles, but they flesh out the picture.

Galore completes the next decade from 1987 to 1997. Although I prefer the Standing on a Beach era, Galore still presents The Cure as an ever-adventurous alt rock band. 

Where do they all belong? If you're new to the band I recommend Standing on a Beach. The Singles and Galore as a good starting point.

Friends again (John Sebastian) (LP 4267)

John Sebastian  Tarzana Kid (Vinyl, Reprise Records, 1974) *****  

Genre: Americana

Places I remember: Electric City Music

Fab, and all the other pimply hyperboles: Sitting in Limbo

Gear costume: Stories We Could Tell

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: I have a soft spot for Reprise Records and for John Sebastian, so when I visited the excellent Electric City Music recently (shout out to Dean Marden!!) and saw a copy of Tarzana Kid, I couldn't resist.

It's a superb collection of low-key lovely songs. If Americana was a genre back in 1974 this would have been huge!

The musicianship on it is fantastic, thanks to Sebastian and guests like Emmylou Harris, Lowell George, Milt Holland, The Pointer Sisters, Jim Gordon, David Grisman, David Lindlay, Ry Cooder, and Phil Everly.

This is a really under-appreciated album. I played it over and over again when I got it home. It just got better and better. Thanks again to Dean!   

Where do they all belong? Joins my other post The Lovin' Spoonful John Sebastian albums in my collection (John B Sebastian, The Four of Us).

Getting into that sunny sunny feelin' again (The Cowsills) (LP 4257 - 4266)

The Cowsills  The Cowsills (Vinyl, MGM Records, 1967) *** 

The Cowsills  The Cowsills Plus the Lincoln Park Zoo (Vinyl, Fontana Records, 1968) ** 

The Cowsills  We Can Fly (Vinyl, MGM Records, 1968) *** 

The Cowsills  Captain Sad and His Ship of Fools (Vinyl, MGM Records, 1968) *** 

The Cowsills  The Cowsills in Concert (Vinyl, MGM Records, 1969) *** 

The Cowsills  II x II (Vinyl, MGM Records, 1970) *** 

The Cowsills  Global (Vinyl, Omnivore Records, 1998) *** 

The Cowsills  Rhythm of the World (Vinyl, Omnivore Records, 2023) **** 

The Cowsills  The Cowsills All Time Hits (Vinyl, MGM Records, 1971) **** 

The Cowsills  The Best of The Cowsills (Vinyl, MGM Records, 1969) **** 

Genre: Harmony pop, Sunshine pop 

Places I remember: Real Groovy Records, Amoeba Music, Denver music shop

Fab, and all the other pimply hyperboles: The Rain, The Park & Other Things (The Cowsills)

Gear costume: Goodbye's Not Forever (Rhythm of the World)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: One of my first records was The Cowsills All Time Hits compilation in 1971. I fell for it big time. Over time the collection of their records has become an obsession.

Although the band began in 1965 (around guitarists Bill and Bob Cowsill), by the time they recorded their debut in 1967 they'd been joined by their mother Barbara and brothers Barry (bass), and John (drums). 

Artie Kornfield does a great job as producer, and writer - their very first track is his The Rain, The Park & Other Things. Clearly The Beatles, The Mamas & The Papas and The Monkees are reference points for their sound throughout their debut.

Their second album is a weird one - it includes two songs tacked onto the end of side 2 by another group called The Lincoln Park Zoo. 

Only four brothers are on the cover and the liner notes say that 'this recording features the original Cowsills performing their first big hits'. Sure enough, this attempt by Fontana to cash in on the early success of The Rain, The Park & Other Things features some singles (they weren't hits) released in 1966 prior to their debut 'plus a collection of other distinctive Cowsill songs'. Cynical.

So, We Can Fly is really their second studio album and it builds on the debut well. This was Susan Cowsill's debut. Her youthful energy complements her mom and brothers' sound superbly.

The sunshine pop is at its most lush on this album - all those sweeping string arrangements anchor it in the sixties all round entertainment category. Although their clean-cut image was out of step with the times, the title track is a brilliant lead off song and the rest is impressive pop music despite the strings. Yesterday's Girl is another highlight - it features some superb group harmonies.

Captain Sad and His Ship of Fools (the one with Indian Lake on it) continued the cover theme of the family enjoying each other's company and mouths wide open were clearly instructions from the MGM art department.

The band is expanded with Paul Cowsill added to the core of Bill, Bob, Susan, John, Barry and mom (Barbara). Phew - you can certainly see where The Partridge Family got their idea from (that band is coming up in the collection too - just warning you).

The live album which has a permanent sicker on it saying 'All songs recorded live' (except for the smash hit Hair that is) is a bit of a smorgasbord. All the Cowsills get a turn which is fine and it doubles as a cover song album - Cream, The Beatles, The Mamas & The Papas, The Beach Boys, The Four Tops and others get The Cowsills treatment.

II x II (i.e. 2x2) came out in 1970 and goes for a rockier sound (aside from a cover of Silver Threads and Golden Needles). It's a signal that they had moved on from their signature sunshine pop sound. Only problem is the songs aren't that memorable.

I don't have their final effort of the seventies before they split (On My Side) and put the band in cold storage. So, my next album is their return in the late nineties.

Global was recorded in the early nineties and released in 1998. It's good but not great - the music is fab but the songs are not quite. The Cowsills at this point were Bob, John, Paul, Susan (and Robby Scharf on bass). The highlight for me is Susan's vocals - they are superb! She has matured into a very distinctive singer. Her warmth is conveyed with real depth.

Rhythm of the World is great! The songs are terrific and the performances are amazing. I love this record. The Cowsills are now essentially a trio - Paul, Bob and Susan. The next generation of Cowsills are also part of this album: Brendan and Ryan Cowsill are part of the band.

That's it, apart for two compilations: the aforementioned All Time Hits (a budget album - this is the one I bought in 1971) and an earlier compilation from 1969 - The Best of The Cowsills (the NZ version has 12 tracks and a wrong listing of the songs on the back cover).

Of course, The Best of The Cowsills and All Time Hits share a few songs: The Rain, The Park & Other Things; We Can Fly; Indian Lake; In Need of a Friend; Poor Baby. But amazingly Hair is only on All Time Hits. 

That was the song that froze me in my seat in 1971, so I'm glad I got this compilation. It also has their TV theme for Love-American Style and The Candy Kid (apparently used for some film or TV show that I can't trace on the interweb called The Mission on the Bowery).

Where do they all belong? My search continues for two missing albums - 1971's On My Side, and Cocaine Drain - recorded around 1978 and released 2008. It's been re-released recently so I'm hopeful of finding a copy.