Show the world (Chapta) (LP 4684 - 4689)

Chapta  Open Door (Vinyl, HMV Records, 1972) ***  

Rob Grant  Lost at Sea (Vinyl, Decca Records, 2023) ***  

Grin  All Out (Vinyl, CBS Records, 1972) ***  

Michael Nesmith  Pretty Much your Standard Ranch Stash (Vinyl, RCA Records, 1973) *****  

The Beatles Live on Air (8CD, Bootleg, 2023) *  

The Partridge Family  Crossword Puzzle (Vinyl, Bell Records, 1973) ***  

Genre: NZ music, pop, rock, ambient piano, country rock, Beatle pop, bubblegum pop.

Places I remember: Music fair in Waipukarau (Chapta and Nesmith); JB Hi Fi (Grant), Tron Records (Grin and The Partridge Family)

Fab, and all the other pimply hyperboles: Some of Shelly's Blues (Nesmith)

Gear costume: One Day at a Time (The Partridge Family)

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: These albums come from a recent visit to Hamilton and a record fair which had returned to my local Central Hawke's Bay town. I was pleased to grab a couple of records for under $50, which is pretty reasonable these days.

South Island's Chapta were a presence in the early seventies in NZ. Say A Prayer was the high point from the Loxene Golden Disc of 1971. 

Peter Dawkins produces their second album - Open Door, which was untroubled by hits (unfortunately). The album is very much of its time in NZ with an eye for various markets. The band collapsed after the album with Dave Kennedy (guitar, vocals, drums) going on to form Link.

Highlights on the album are the Procol Harum sounding I Can See You/Open Door, thanks to the organ by Ledlie Cleland and the soft rock You and I.

Rob Grant is Lana Del Rey's dad and so I took a punt after reading the Pitchfork review while browsing in JB. It only cost $10 so I'm happy I shelled out. The two tracks featuring Lana's vocals are the obvious highlights, but Rob's ambient languid style on the piano instrumentals are good moody pieces. Not bad for an old salt.

That's two down, both with crappy covers. Make that three with Grin's All Out. What's that about? Don't these people want to sell records?

Grin's All Out was the band's third album. The band was centred around Nils Lofgren on guitar, plus he composed all the songs. I always had Grin down as a hard rock band but in fact Nils' predilection is more for melodic pop/rock. That said, the Crazy Horse sound is also a marker at times (Don't You Belong is a good example), and Kathi McDonald's bluesy and at times soulful vocals are a highlight on She Ain't Right. 

Michael Nesmith (no longer Mike of The Monkees) breaks the run of poor covers with this iconic portrait and the message beside the twice shy wink, 'Buy this record'. Red Rhodes is again onboard for a stellar set of songs. These include an old Monkees' obscurity - Some of Shelly's Blues. The rest of the songs are in the same brilliant league as that, with the Nez' warm country flavoured vocals making this a classic album.

The Beatles Live on Air is not to be confused with the BBC sets and is for hard core collectors only. It's a bootleg (unauthorised) collection of mostly Let It Be sessions that have appeared on various bootlegs over the years. The 8 CD set also includes snippets of Beatle interviews, the Esher demos for The Beatles (a.k.a. The White Album) which are better heard on the box set reissue of that album, and a badly recorded Fabs' live show (top heavy on the bass).

Although there are duplications throughout the CDs, the good news, yes there is some, is that the LIB sessions sound good and they can replace the Beatles' bootlegs I lost in a house move a few years ago.

The Partridge Family's seventh album, Crossword Puzzle, is another classy affair that utilises the cream of LA's session musicians such as Hal Blaine (drums), Larry Carlton (guitar), Joe Osborne (bass), and Larry Knechtel (keyboards).  Those guys are great with David Cassidy's warm and smooth vocals on top. Apparently Shirley Jones is also on the album but I'm blowed if I can hear her.

There's no doubt the record company's desire to make hay while the sun shone led to an oversaturated market and some filler on the records, but Partridge Family records remain on my wants list.

Where do they all belong? Back to the T's with Tool next up.

Love is the way (Tole Puddle) (LP 4683)

Tole Puddle  In Search of a Breath of Fresh Air (Vinyl, Interfusion Records, 1976) ***  

Genre: Folk rock, NZ Music

Places I remember: Vinyl Countdown

Fab, and all the other pimply hyperboles: Diggy Liggy Lo (sadly, not on Spotify or YouTube)

Gear costume: Too Late to Cry and Trilogy are on YouTube.

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 very fond and vivid memories of Tole Puddle performing a lunchtime concert at Mt. Albert Grammar School around this time - 1976 was my last year at MAGS. I wonder why that is - this wasn't what I was listening to in 1976. I mean, at all. But I sat on the grass in front of the sports pavilion as they did their lively set.

The band on this album (recorded in Aussie) was set up like a NZ version of Steeleye Span, with Diane Halsey and the boys (Dave and Graham Marett, Greg Bartlett)  giving the band that lovely male/female vocal harmony. Diane's husband (or brother?) John was also a Tole Puddler on guitar and harmonica.

The music is flavoursome folk rock with the key strengths being the band connectedness and those vocal harmonies.

Where do they all belong? Their only album and something of a collector's item these days.

Country high (Ticket) (LP 4681 - 4682)

Ticket  Awake (CD, Aztec music, 1971, 2010 reissue) ****  

Ticket  Let Sleeping Dogs Lie (CD, Famous Down Under Records, 1972, ) ****  

Genre: Rock, NZ music

Places I remember: Electric City Music

Fab, and all the other pimply hyperboles: Country High (Awake)

Gear costume: Gypsy Rover (Let Sleeping Dogs Lie)

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: Ticket was a NZ rock band that loved bands like Traffic and The Jimi Hendrix Experience (a big influence on Eddie Hansen, guitar hero of Ticket).

These two albums are brilliant examples of NZ bands being influenced by rock gods and then channeling their influences into a uniquely NZ hybrid.

Apart from Hansen, the band included future Hello Sailor drummer Ricky Ball, and Paul Woolright on bass, and the distinctive vocals belonged to Trevor Tombleson.

Throughout both albums, Eddie plays some inspired guitar and Woolright has a great jazzy bass sound going. Country High was the big hit and is typical of their Hendrixian subject matter and spacey acid drenched music. Very much of its time! 

Where do they all belong? Eddie went on to join up with Harvey Mann in Living Force for more of the same. I don't have their album because copies change hands for silly money.

Play the harp (John Mayall) (LP 4679 - 4680)

John Mayall  Lots of People (Vinyl, ABC Records, 1977) ***  

John Mayall  No More Interviews (Vinyl, DJM Records, 1979) ****  

Genre: Blues rock 

Places I remember: The Little Red Bookshop

Fab, and all the other pimply hyperboles: Room to Move (Lots of People)

Gear costume: Play the Harp (Lots of People)

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: These two albums come from a recent visit to The Little Red Bookshop in Hastings.

Lots of People is a live album, recorded at the Roxy in Los Angeles in 1977. Mayall employs a big horn contingent for this one. The highlight is still Room to Move with a new arrangement to accommodate those horns.

No More Interviews is a studio album from 1979 (in between the underwhelming Bottom Line and Road Show Blues - also on DJM Records). It's a spirited affair with Mayall trying out some new sounds that come with a commercial bent. It's a fine album to end the seventies - pity that it's not on Spotify.

Where do they all belong? I'm sure these won't be my last John Mayall albums - the man was certainly prolific.

Do the best you can (Billy Thorpe) (LP 4672 - 4678)

Billy Thorpe  Million Dollar Bill  (Vinyl, Infinity Records, 1975) ***  

Billy Thorpe  Pick Me Up and Play Me Loud  (Vinyl, Infinity Records, 1976) ***  

Billy Thorpe  Children of the Sun  (Vinyl, Capricorn Records, 1979) ***  

Billy Thorpe  21st Century Man   (Vinyl, Mushroom Records, 1981) ** 

Billy Thorpe  Stimulation  (Vinyl, Mushroom Records, 1981) *** 

Billy Thorpe  East of Eden's Gate  (Vinyl, Pasha Records, 1982) ***

Billy Thorpe  Solo - The Last Recordings  (CD, Liberation Records, 2007) ****

Genre: Rock

Places I remember: Record shop in Melbourne, Slow Boat Records, Real Groovy Records.

Fab, and all the other pimply hyperboles: Girls of Summer (Solo),  I Really Miss You on YouTube (Million Dollar Bill)

Gear costume: It's Almost Summer (Million Dollar Bill), I Can't Stand It on YouTube (East of Eden's Gate), Since You Been Gone (Solo - on YouTube)

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: Billy's solo debut, Million Dollar Bill, was a new look in some ways with horns, strings as well as the usual pop smart hooks getting a look in. It was also the old Aztecs in disguise - with Gil Matthews, Warren Morgan, and Billy Kristian all appearing. The album under his own name was a statement of intent, Billy was back and doing it his way.

It's a bit inconsistent as Billy tries out a variety of styles, which generally sound sharp and in the pocket thanks to the production by Peter Dawkins (NZ's finest). Billy also includes a Beatles' cover (Drive My Car) and tries out a theme song (Theme from Million Dollar Billy). So, although commercially successful, it's a transitional album in some ways as Billy looks for a way forward as a solo artist via some funk/ rock music.

Pick Me Up and Play Me Loud came next in 1976, with the same lineup as Million Dollar Billy. It's a Billy Thorpe album, even if it's confusingly got 'Billy Thorpe and The Aztecs' on the cover!

It's similar to Million Dollar Billy in that he goes for a funk rock approach and even re-records Most People I Know (not sure why). The highlights are Bassballs and Long Live Rock'n'Roll.

The third album, Children of the Sun saw a few massive changes as Billy settled in America and used a few American session vets on the album (Leland Sklar on bass and Alvin Taylor on drums). The first side was a set of basic rock songs while side 2 features a full-blown nutso concept piece about the massive transportation of humans to a new world in outer space somewhere. Okaaaay.

Billy had indulged in lengthy tracks in The Aztecs years, fueled by acid trips, but I'm not sure whether Children of the Sun was similarly inspired. Whatever the case it's quite good as it happens, at least musically speaking. As with many concept albums the storyline makes my eyes glaze over.

The eighties dealt to many a seventies rocker and Billy is no exception. His first album of that synth led decade was 21st Century Man. Gil Matthews returns on drums, Leland Sklar on bass and Billy the rest. It's pretty meh but okay if you'd never heard him at Sunbury. 

Stimulation was a second album from 1981. On side one he moves away from the proggy psych rock of the previous two albums and returns to a more stripped back rock sound, which suits him a lot more. Gil provides the solid base and the drums at least sound like he's playing them again, while Billy rediscovers his guitar prowess at long last.

Side two is largely back to eighties synths/beats and it doesn't work as well to my ears. Not terrible, but I prefer side one.

The same dualism works for East of Eden's Gate. Some songs have the more synth driven approach, while others feature Billy showing again why he matters as a guitarist. If all of the tracks were as strong as I Can't Stand It this album would have been a monster.

The final album in my collection is Solo: The Last Recordings (although he was working on a studio album when he died called Tangier - which I'd love a copy of at some stage).

Solo is just Billy on guitar and voice - doing it his way, as he lived his life. The liner notes mention that he lived a thousand lifetimes in one, and that sums it up nicely, as does this double CD. It's superb and Billy's stories are a hoot! 

Where do they all belong? That's it for Billy Thorpe for the moment. He's a crucial guy in Aussie rock and his early death was a cruel blow for this larger-than-life rocker. His two autobiographies are awesome as well and work checking out.

Rock me baby (Billy Thorpe & The Aztecs) (LP 4669 - 4671)

Billy Thorpe & The Aztecs  Great Hits (Vinyl, Calendar Records, 1972) ***  

Billy Thorpe  Time Traveller (Vinyl, Blue Goose Music, 1980) *****

Billy Thorpe & The Aztecs  It's All Happening: 23 Original Hits (CD, Sony Music, 1997) ***

Genre: Pop, rock 

Places I remember: Slow Boat Records, Spellbound Wax Company, Vinyl Countdown

Fab, and all the other pimply hyperboles: Most People I Know (Think That I'm Crazy)

Gear costume: Captain Straightman

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: Billy Thorpe is a stone cold, fair dinkum Aussie legend who lived the dream, and some.

He started out a star and stayed one until his death in 2007 from a massive heart attack. He was only 60 in Earth years, but he seemed to live five lifetimes in those 60 years.

These three compilations provide the overview, before we tackle his solo albums (Aztecs Live! at Sunbury has already been covered in this blog).

Great Hits from 1972 is a non chronological smorgasbord of the first three versions of the band which started in 1963 and hit it big with one of their first singles - a cover of Poison Ivy in 1964. 

That song and a smattering of early efforts are on all three albums - most notably on 23 Original Hits which, like Time Traveller, takes a more chronological approach.

The band went through many members in these early days (1964 to 68) with Billy the only constant. In 1969 guitar hero Lobby Lloyd joined Billy and a heavier sound evolved. When Lobby left, Billy emerged as the new axe hero - he was a talented guy! 

Of the three compilations the double album Time Traveller is easily the best. Great hits has an endearing el cheapo knock off aspect to it but it's all over the shop, while 23 Original Hits doesn't represent the heavy side of the band at all. It does include the big 1972 hit Most People I know (Think That I'm Crazy) and the bucolic Almost Summer right at the end, but it's mostly centred on those early years.

Time Traveller documents seven versions of the band, so it is much more comprehensive, even though it only has Billy Thorpe in its title and on the cover.

Where do they all belong? Fittingly, the Billy Thorpe solo albums are next.

Captain Marvel (Stan Getz) (LP 4665 - 4668)

Fleetwood Mac  The Original Fleetwood Mac (Vinyl, CBS Records, 1971) ****  

Stan Getz  Captain Marvel (Vinyl, CBS Records, 1975) ***** 

Nils Lofgren  Nils Lofgren (Vinyl, A&M Records, 1975) **** 

Renaissance  Renaissance (Vinyl, Elektra Records, 1969) **** 

Genre: Blues rock, jazz, rock, prog rock

Places I remember: Little Red Bookshop

Fab, and all the other pimply hyperboles: I Don't Want To Know (Nils Lofgren)

Gear costume: Captain Marvel (Stan Getz), Back It Up (Nils Lofgren)

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 The Little Red Bookshop in Hastings resulted in these purchases. Four different genres from jazz and blues to prog rock are represented which is typical of me and my eclectic musical interests. All up - probably the best haul from TLRB that I've had to date. All are 4 or 5 star albums, and I even left a few albums behind!

The Fleetwood Mac album is interesting more than essential, as it compiles various outtakes from the early version of the band, from 1967 to 1968. 

Their chief composer, guitarist and vocalist, Peter Green, is the obvious leader of the band at this stage in their long career, being joined by John McVie (bass), Mick Fleetwood (drums), and Jeremy Spencer (guitar, vocals). 

The album is a nice companion for the other early Fleetwood Mac albums in my collection like Fleetwood Mac (1968) and Fleetwood Mac in Chicago (1969) and the cool compilation - The Pious Bird of Good Omen (1969).

Stan Getz' album from 1972, Captain Marvel, is something of a revelation. I didn't know about the album until I searched it up while in the store. 

Wowsers!! What a stellar line up! Stan leads a quintet made up of jazz superstars: Chick Corea on electric piano, bassist Stanley Clarke, Brazilian percussionist Airto Moreira and drummer Tony Williams. All virtuosos on their instruments. The thing is that while they play brilliantly together, this remains very much a Stan Getz album. He is sublime!

I've always hankered after this Nils Lofgren album and its iconic cover. The album turns out to be a delightfully laid-back mix of judicious rock guitar moves and catchy songs. The AllMusic review sums it up well:  Lofgren has made harder rocking and flashier albums since his debut, but he rarely hit the pocket with the same élan as he did on Nils Lofgren, and it remains the most satisfying studio album of his career.

Renaissance was the band that two former Yardbirds (Keith Relf and Jim McCarty) formed to explore different musical genres. The band is fleshed out by Jane Relf (Keith's wife), John Hawken on keyboards and Louis Gennano on bass.  

The eponymously named Renaissance was their debut in 1969 (produced by another former Yardbirder - Paul Samwell-Smith). It includes progressive rock songs heavily rooted in folk, but also with classical and jazz influences. This is music right up my musical alley!

The album has five tracks - allowing the band to expand their thinking on those styles in true prog fashion. I am a big fan of the quirky mash-up approach used by Renaissance on this album. 

Where do they all belong? I'll need to backtrack to Nils' work in Grin at some point.