Yes I believe (The Moody Blues) (LP 4461 - 4469)

The Hollies  Russian Roulette (Vinyl, Polydor Records, 1976) ***  

The Moody Blues December  (CD, Universal Records, 2003) *** 

Herb Alpert's Tijuana Brass  Whipped Cream & Other Delights (Vinyl, Festival Records, 1965) *** 

John Sebastian  Cheapo-Cheapo Productions Presents Real Live John Sebastian (Vinyl, Warner Bros. Records, 1971) *** 

Argent  Argent (Vinyl, Epic Records, 1970) **** 

Argent  In Deep (Vinyl, Epic Records, 1973) *** 

Argent  Nexus (Vinyl, Epic Records, 1974) **** 

Brian Auger  The Best of Brian Auger (Vinyl, RCA Records, 1977) ***** 

Jackie DeShannon  Lonely Girl (Vinyl, Sunset Records, 1974) *** 

Genres: Pop, Prog rock, Easy listening, Folk-rock

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Daddy Don't Mind (The Hollies)

Gear costume: Dance in the Smoke (Argent), A Taste of Honey (Herb Alpert), Inner City Blues (Brian Auger)

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: Recently, I had a trip to Auckland for a couple of days which included my usual pilgrimage to Real Groovy Records in the CBD. All of the vinyl in the list above comes from their sale bins, which always reveals some treasures.

Doing this blog a while ago, I was surprised I didn't have a copy of The Hollies 1976 album, Russian Roulette, so I found a copy for $10. It's a pretty spirited affair with some electric guitar-based rock - the title track and Louise are good songs but they are no competition for the final song on side 2 - Daddy Don't Mind. It's superb and if the rest of the album was as good as that one it would have been a five-star effort.

The Moodies Christmas album, December, only has three members appearing on it - Graeme Edge, Justin Hayward and John Lodge. It's also their final studio album. I've been after it for a few years so I was delighted to find a CD copy of it.

It's very typically The Moody Blues - some lovely orchestral backing, Lodge and Hayward's distinctive vocals, and a theme - Christmas! Most of the songs are by Hayward and/or Lodge but there are some telling covers - John and Yoko's Happy Xmas (War is Over) delivers a nice message, while White Christmas and A Winter's Tale are also fab. 

As the AllMusic critic wrote: There is no new age drivel here; its topics and themes are indeed Christian, but weigh on the side of those that are universally held: brotherhood, compassion, hope, goodwill, and generosity. In addition, it's beautifully orchestrated and produced. Its sound is pristine, and Hayward and Lodge with their trademark elegance sound as if they mean every word they write and sing.  

As I've indicated previously here, my parents were big fans of Herb Alpert's Tijuana Brass, but for some strange reason they didn't buy his most popular one, his fourth album - Whipped Cream & Other Delights, so I've bought a copy for them.

I doubt it was because the cover image was a bit racey. Although pretty conservative, my parents weren't prudes. So, they bought three Herb Alpert albums but decided against Whipped Cream.

The live John Sebastian album came quickly after an unauthorised live album was issued and quickly withdrawn in 1970. That one is pretty impossible to find as it's never been re-released and so it's ultra-rare. The Cheapo-Cheapo alternative lives up to its name - just John and a guitarist friend to flesh out the sound, plus a quick succession of songs.

He plays with spirit and a certain level of commitment and while he hasn't got the warmth and humour of Arlo Guthrie or the political focus of Country Joe, it's still an interesting live document. A curio, if you will.

Argent was Rod Argent's creation after exiting The Zombies (they are coming in the countdown). I've already written about their live album and their third album - All Together Now. The new band spent six months workshopping ideas and jelling as an entity - the result was Argent.

The band lineup for their 1970 debut album, Argent, was Russ Ballard – guitar, lead vocals, Rod Argent – organ, piano, vocals, Jim Rodford – bass (later on he played bass in The Kinks), Robert Henrit – drums (also a Kink later on).

It's a strong album with a rockier approach to things than The Zombies more orchestrated pop ways. Rod contributes some excellent organ to the album and Russ Ballard shows his commercial abilities to good effect. For example, Lies is a standout pop song.

In Deep is the band's fourth studio album. It includes their big hit God Gave Rock and Roll to You, another Russ Ballad effort. The rest of the album is a succession of heavier prog songs like It's Only Money. 

The vocals are also more layered on this album. The album liner notes by Rod indicate that it was a focus to improve the vocal sounds and this was job done, I believe. 

Nexus is my third Argent album coming from this visit to Real Groovy. All three were fairly dusty with fingerprint marks but a good clean with some warm water has improved all of them dramatically.

Nexus sounds HUGE. Try Infinite Wanderer and marvel at Rod's keyboards! They are brilliantly to the fore, and the band is wailing behind his lead. It helps if you turn this album up really loud too. Just sayin'.

The Brian Auger compilation is absolutely superb. Every track is a wonderful example of his genius, whether than be on piano (Listen Here) or organ (Inner City Blues). The man is a true master!

Jackie DeShannon (a.k.a. De Shannon) is someone I admire a lot and I continue to buy her albums whenever they cross my path. Lonely Girl is a compilation from 1968. Weirdly it avoids two of her big hits - When You Walk in the Room and What the World Needs Now Is Love.

However, it does include her version of Needles and Pins, and her own terrific songs like Lonely Girl and I Remember the Boy. It also has some of the bombastic pop of the sixties which hasn't aged that well.

Where do they all belong? I'm keen to eventually find the three albums that I'm missing from the Argent catalogue - their second album - Ring of Hands and their two post Russ Ballard albums from 1975 - Circus and Counterpoints.

Dawn of another day (Brian Auger's Oblivion Express) (LP 4113 - 4117)

Brian Auger's Oblivion Express  A Better Land (Vinyl, RCA Records, 1971) ****  

Joan Baez  Speaking of Dreams (CD, Gold Castle Records, 1989) *** 

Donovan  Sutras (CD, American Recordings, 1996) *** 

Jan Hammer Group  Oh Yeah? (Vinyl, Nemperor Records, 1976) **** 

Aldous Harding  Warm Chris (Vinyl, Flying Nun Records, 2022) **** 

Genre: Jazz fusion, folk rock, Nemperor Records

Places I remember: Real Groovy Records (all except Joan Baez - charity shop, Aldous Harding - JB Hi Fi)

Fab, and all the other pimply hyperboles: Magical Dog (Oh Yeah?)

Gear costume: Tick Tock (Warm Chris)

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

Active compensatory factors: Recent acquisition catch up: A Better Land by Brian Auger's Oblivion Express is dominated in a good way by guitarist Jim Mullen. He composes or co-composes most of the songs and his fluid guitar lines create a beautiful sound. I can't think of a bad record associated with Brian Auger - the man is all class!!

So too is Joan Baez. I was delighted to find a copy of Speaking of Dreams at a charity shop for $2. It's on Virgin Vault - their budget line, but there's nothing budget about the music from Joan. She writes a few songs (they are always special - I wish she'd write more) and there are some heavy guests appearing on the album - Paul Simon, Jackson Brown and The Gypsy Kings. 

It's not as good as Gone From Danger but that's a really high bar. She still successfully manages to combine her love of traditional music, a concern for topical political issues and an international flavour.  

I've been after a copy of Donovan's Sutras for ages. I used to own a copy but stupidly sold it off many years ago before I really got into a new appreciation for his art. So I'm thrilled to get a new CD copy from Real Groovy.

Beyond that thrill - it's a long way from being my favourite Donovan album. Producer Rick Rubin brings his austerity/ stripped back aesthetic to play and normally that would suit Donovan but this leans more towards a clinical exercise that removes some of his warmth and humour from the delivery of songs (which are uneven on Sutras).  It's good, but it could have been great!

Same deal with Jan Hammer in terms of being a long-term member of my wants list. It's on Nemperor Records and I collect that label. Sadly, the label on the record is Atlantic but it's still a Nemperor catalogue item - NE 437. Only one more Jan Hammer album on Nemperor to collect - Melodies. Oh - and the music? Good jazz fusion with a funkiness that is appealing.

Final album - Aldous Harding's latest - Warm Chris, was in the sale bins at JB Hi Fi, so a no-brainer. She has a variety of voices and swaps them around to suit the material quite magnificently. I've now heard two of her four albums and I'm intrigued enough to search out the other two.

Where do they all belong? All for now - I did buy an album by The Youngbloods with those above so we'll get to that one eventually.

Can I get a witness (Steampacket) (LP 3948)

Steampacket  Rod Stewart & Steampacket (Vinyl, Pagan Records, 1993) ****  

Genre: Soul revue, jazz, R&B, blues

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Can I Get A Witness

Gear costume: Back at the Chicken Shack 

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

Active compensatory factors: A cheeky bit of packaging promotes this album as Rod Stewart & Steampacket. He's the biggest name that eventually emerged from this sixties' blues band, but it could just as easily have been marketed as Julie Driscoll & Steampacket, or Brian Auger & Steampacket, or Long John Baldry & Steampacket (he has the best claim as he started the band). 

All four were members, along with guitarist Vic Briggs, Richard Brown on bass guitar and Micky Waller on drums.

They never recorded a studio album, nor did they release a live album at the time. So where did these songs come from? The answer is - from some demo tapes they recorded at a rehearsal in the Marquee Club. They've been released in a myriad of titles ever since.

It's soul-jazz-rock music featuring Brian's cool organ sounds. The three vocalists are on form when featured, even though it's a demo, but it's Brian Auger that's the appeal for me. Everything he does has value.

 

Where do they all belong? What happened next is probably more interesting to fans of each member. Rod Stewart left in early 1966 and joined Shotgun Express. Long John Baldry left a few months later, and Steampacket disbanded soon after. Long John Baldry then joined Bluesology (which included a then unknown Elton John). Julie Driscoll, Brian Auger and Vic Briggs formed Trinity.

Watch your step (Brian Auger) (LP 3730 - 3733)

Brian Auger  Auger Incorporated  (Vinyl, Soul Bank Music, 2023) *****  

Laura Cantrell  Just Like a Rose (The Anniversary Sessions) (Vinyl, Propeller Sound Recordings, 2023) ***

Shirley Collins  Archangel Hill  (Vinyl, Domino Records, 2023) ****  

Graham Parker & The Goldtops Last Chance to Learn the Twist (Vinyl, Big Stir Records, 2023) ***

Genre: Jazz, jazz fusion, country, folk, rock

Places I remember: Real Groovy Records (Auger), JB Hi Fi (the rest)

Fab, and all the other pimply hyperboles: The Music of the Devil (GP)

Gear costume: The Bonny Labouring Boy (Archangel Hill)

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

Active compensatory factors: Apart from the Brian Auger compilation (a triple), these albums come from a recent JB Hi Fi 75% off sale. Whaaat? Yes indeed - some real bargains to be had (a few more are in the S and onwards collection so I'll get to them in due course.

Auger Incorporated is special in that it's a chronological collection from his beginnings as a jazz pianist, through his various bands to the 2020's. A remarkable career!

Laura Cantrell has a very pure Americana (with a leaning towards country) sound. She specialises in clear and simple singing without a great deal of artifice. That and the tasteful backing (love that sporadic pedal-steel) make this a welcome introduction to her work.

Shirley Collins has long been a favourite of mine. Archangel Hill is her most recent release and it's like she's your lovely grandmother, in the room with you, giving you a one-on-one performance. The instrumentation is appropriately spare, allowing Shirley's voice to take centre stage.

Graham Parker's latest album is the last on my list. Again from 2023, he is with The Goldtops for this one.

His voice may be a lot more lived in these days, but the whole approach reeks confidence in his abilities. The music is fun to listen to, as it has echoes of all those years in between, even reaching back to his own youth (he was born in 1950). 

You have to hand it to him and Brian and Shirley - still looking to express themselves last in their career, in 2023; still with things to prove; and still enjoying the process enough to put out new records. 

God bless them!

Where do they all belong? I also picked up a couple of The Kinks' back catalogue albums and a David Sylvian album which I'll get to eventually.

Voices of other times (Brian Auger's Oblivion Express) (LP 2140)

Brian Auger's Oblivion Express    Closer To It (Vinyl and CD, RCA Records and Castle Music, 1973) ****  

Genre: rock, jazz rock 

Places I remember: Real Groovy Records (Vinyl); Amoeba Records (CD)

Fab, and all the other pimply hyperboles: Inner City Blues

Gear costume: Voices of other Times

Active compensatory factors: I somehow missed this one in a recent Brian Auger entry. Not surprising as I have gorged on his stuff in the last couple of years.

I first picked up a CD copy while visiting LA last Christmas and then got fooled by the different cover and bought a vinyl copy from Real Groovy during the year.

Musically it has the same seemingly effortless jazz grooves going on but this time Brian handles the vocals to mostly good effect - Inner City Blues especially.

Other highlights are Jack Mills' beautiful guitar lines on Voices Of other Times.

The one slight blemish is the appearance of synths (moog). He's best on piano/organ/mellotron in my opinion.

Where do they all belong? Now up to date with the Brian Auger collection again - but a couple more to find so will be adding to his section in time.

Far horizon (Brian Auger) (LP 2107 - 2109)

Donovan   Sunshine Superman (Vinyl, Epic Records, 1966) ****  

Brian Auger & The Trinity   Definitely What! (Vinyl, Atco Records, 1969) *** 

Brian Auger's Oblivion Express   Live Oblivion Vol. 2 (Vinyl, RCA Records, 1974) **** 

Genre: Pop/ folk-rock; jazz fusion

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: A Day In The Life (Definitely What!)

Gear costume: Sunshine Superman

Active compensatory factors: I got these three albums recently from Real Groovy on-line. I pick up any Brian Auger or Donovan albums whenever I spy them.

Sunshine Superman is a classic from 1966. Donovan's pop stylings and folk rock leanings are all there but now they are often in a band setting and with a creeping psychedelia. It's groovy, maan.

Definitely What! begins with an extraordinary instrumental version of The Fabs best song on Sgt Pepper - A Day In The Life. It's reimagined as a thriller jazz epic (Mission: Impossible style).

The rest of the album is a bit spotty. Brian's not the greatest singer and the attempts at humour have dated a bit since 1969. But the great is also here apart from the Beatles' cover. Red Beans And Rice (the Booker T and MG's song) cooks, (ha ha).

Eddie Offard (sic) is listed in the album credits as the engineer and he does an amazing job recording this album. It leaps out of the speakers and sounds fresh!

Five years later and The Oblivion Express sound is a long way from The Trinity's. We are now solidly in fusion territory and the band is in sparkling form.

I've been after this double album sequel to Live Oblivion Vol 1 for some time - it's far harder to get and was thrilled to pick up a pristine copy.

There is a real sense of band interplay and space in this version of the Oblivion Express and the lead vocal by Alex Ligertwood is much better than Auge's. Smiley face!

Where do they all belong? A couple more to chase from both men's oeuvre.

So much love (Eric Burdon) (LP 2091 - 2095)

Earl Klugh and Bob James  Two Of A Kind (Vinyl, Capitol Records, 1982) *****  

Brian Auger's Oblivion Express  Straight Ahead (Vinyl, RCA Records, 1974) ***  

Eric Burdon  Darkness Darkness (Vinyl, Polydor Records, 1980) **

Eric Burdon  I Used To Be An Animal, But I'm Alright Now (Vinyl, Striped Horse Records, 1988) ****   

Donovan  Love Is Only Feeling (Vinyl, Interfusion Records, 1981) ****  

Genre: Jazz (modern variety); jazz rock; pop/rock; folk rock

Places I remember: These are all from Slow Boat Records - which I visited a few weeks ago.

Fab, and all the other pimply hyperboles: Lady Of The Flowers (Donovan)

Gear costume: Half Moon Bay (Donovan) 

Active compensatory factors: The Bob James/Earl Klugh album is the second of their three collaborations and quite possibly their best, although third effort, Cool, is also great.

They coexist happily as musicians - each one shining throughout, without getting in each other's way.

I was a little disappointed with the Auger album. Given it only has five tracks I was expecting quality wig outs aplenty but on the first couple of listens it hasn't impressed me much. Noodling is great as long it develops eventually into something memorable.

The eighties weren't too kind to rockers like Eric Burdon. He can be hit or miss during that decade. These two are a good example of that. I Used To Be An Animal is much the better of the two with some nice horn work fleshing out the sound, plus a variety of new looks from Eric. 

His vocals are always spirited but after a couple of decades he's entitled to ease up a tad. On Darkness Darkness he sounds pretty done in.

That leaves the latest Donovan album to enter my collection. I really like it! It feels like he's very comfortable in his own skin. 

The musicianship and recording are high class here and he's a good lesson for others in the eighties - basically just keep doing your thing and don't be a slave to the new technologies/ sounds.

Really, this album could have come from the late sixties, seventies or nineties! Go Donovan!

Pity about the cover though. 

Where do they all belong? My other purchases from the Wellington trip have gone into the collection and I'll get to them in time.

Freedom jazz dance (Brian Auger) (LP 2086 - 2088)

Billy Cobham  Total Eclipse (Vinyl, Atlantic Records, 1974) *****  

Brian Auger and The Trinity  Berliner Jazzstage  November 7, 1968 (Vinyl, Rock Beat Records, 2018) ***  

Brian Auger's Oblivion Express  Second Wind (Vinyl, RCA, 1972) ****   

Genre: Jazz fusion  

Places I remember: Melbourne Record Shops - Wax Museum Records; Round and Round Records; Record Paradise

Fab, and all the other pimply hyperboles: Truth (Second Wind)

Gear costume: Bandits, Sea Of Tranquility (Total Eclipse)

Active compensatory factors: I bought quite a few records while in Melbourne recently. These three are all in the jazz fusion category.

I love this genre because it can extend in lots of directions along a jazz rock fusion continuum.

Billy Cobham's Total Eclipse is an intense multi-layered experience. I've highlighted a short intense track (Bandits) and a longer form intense track for your listening pleasure. Even so, the music feels tight - no noodling wig outs from Billy!

While Billy is intense, Brian Auger is cool personified. When he gets into a great groove like on Truth there is no one better on the Hammond B3 organ.

The 1968 live album is recorded well and a great artifact from Driscoll and Auger. Season Of The Witch gets a ridiculously expansive treatment from the pair.

Second Wind from four years later features spirited vocals from Alex Ligertwood, those sinewy and funky organ lines from Auger and some excellent songs.

Where do they all belong? All excellent additions to one of my favourite genres.

In and out (Brian Auger and Julie Driscoll) (LP 1089 - 1091)

Brian Auger, Julie Driscoll and The Trinity Open (Vinyl, Polydor Records, 1967) ****

Brian Auger's Oblivion Express Live Oblivion Vol 1 (Vinyl, Polydor Records, 1974) ****

Brian Auger Search Party (Vinyl, Headfirst Records, 1981) *****

Genre: Jazz fusion

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Isola Natale (Open)

Gear costume: Don't Look Away (Live Oblivion); Planet Earth Calling (Search Party)

Active compensatory factors: Open was the first album uniting Jools and Auge. Kind of. Although Jools gets the front cover (and Brian the back) they each take a side to display their talents. 

Brian's side has a few instrumentals that sound absolutely vital and cooking. It's 1967 remember - the year of Sgt Pepper. In the jazz fusion arena Driscoll, Auger and The Trinity were where it was at maan.

That means experimentation without fear. Driscoll sounds like a veteran and Brian is already a mastermind. Her version of Season of the Witch is definitive!

A remarkable record - it sounds fresh as a daisy!

The Oblivion Express records are all impressive. I particularly like this live one (Vol 2 has eluded me thus far). Alex Ligertwood takes the lead vocals and he's a great fit for this funky jazz fusion outfit.

There is creative space within the arrangements and the band effortlessly lock into a great groove (try Don't Look Away and you'll see what I mean).

Search Party continues the adventure into the eighties in great fashion and more. I think it's a classic. There's only one song with vocals and it's a catchy one. Most of the album then is instrumental, featuring thrusting exploratory progressive jazz rock/fusion at its finest.  

Where do they all belong? I suspect there will be a lot more to come as I've become a completist!

Listen here (Brian Auger and The Trinity) (LP 1003 - 1004)

Brian Auger & The Trinity  Befour (Vinyl, RCA Records, 1970) ****  

Brian Auger & Julie Tippetts  Encore (Vinyl, Warner Bros Records, 1978) ***  

Genre: Jazz fusion/ jazz rock 

Places I remember: Amoeba Records (Los Angeles)

Fab, and all the other pimply hyperboles: Just You Just Me (Befour)

Gear costume: Listen Here (Befour); Don't Let Me Be Misunderstood; Rope Ladder To The Moon (Encore)

Active compensatory factors: I managed to pick up a number of Brian Auger albums on our recent holiday in California. 

I've grouped these two together as both The Trinity and Julie Driscoll (now Julie Tippetts) were part of the early years before Brian's Oblivion Express and his solo years took place.

His discography is weird though - Befour features The Trinity but without input from Driscoll and the Encore album is Julie without any other members of The Trinity appearing. Okey dokey.

Befour is brilliant - a cohesive album, featuring light and shade. Sly Stone's Let Me Take You Higher kicks things off in energetic fashion. The eclectic set also includes songs from Herbie Hancock (Maiden Voyage), Traffic (No Time To Live), and French classical composer Gabriel Faure. And that's just side one!!

My favourite track is Listen Here - an experiment with four drummers. Brilliant!

Encore is a nice opportunity to hear Brian and Julie again. It's at its best for me when approaching the Animals/Jack Bruce songs (featured above). They also have another go at that Traffic song, eight years after it appeared on Befour.

Where do they all belong? A lot more Auger to come!

A word about colour (Driscoll/Auger) (LP 924 - 927)

Julie Driscoll, Brian Auger & The Trinity  Streetnoise (Vinyl, Polydor Records, 1969) *****  

Brian Auger's Oblivion Express  Brian Auger's Oblivion Express (Vinyl, RCA Records, 1971) *****  

Brian Auger's Oblivion Express  Live Oblivion Vol.1 (Vinyl, RCA Records, 1974) ****  

Brian Auger's Oblivion Express  Happiness Heartaches (Vinyl, Warner Bros Records, 1977) **  

Genre: Jazz fusion

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Truth (Live Vol.1)

Gear costume: Bumpin On Sunset (Live Vol.1), Tropic Of Capricorn (Streetnoise)

Active compensatory factors: I am a late comer to Brian Auger. A recent article in Mojo reminded me that I needed to check out some of his albums. So I went to the Real Groovy Records website, did a search and put them all in my cart (all of the above plus a compilation of Brian Auger and The Trinity). They were all reasonably priced too - clearly he's not considered highly in demand by RG staff.

Streetnoise comes from 1969 and is pretty extraordinary. It's like nothing I've ever heard before. Julie Driscoll is a force of nature and the proggy jazz rock fusion from Auger and The Trinity is mighty.

Although there are a lot of cover songs spread over the four sides they sound like alien landings - untethered from the source material. Try, for example, Driscoll's take on The Doors' Light My fire. Wow! This album is a revelation and I've been playing it a lot.

Brian Auger's Oblivion Express took the band deep into jazz fusion territory with thrilling results. There is a real intensity to the playing (just short of Mahavishnu Orchestra style intensity) and again, I've been playing that and Live Oblivion Vol. 1 a lot as I've worked around the house doing some painting. It's been a brilliant soundtrack for that - especially the second side of the live album.

By 1977 Brian was addressing more mainstream rock sounds and Happiness Heartache is a poor album in comparison to the visceral stuff that had come before. 

Where do they all belong? He has certainly been a very prolific artist - his discography is extensive. I'll certainly be buying more whenever I come across it, whether it's first band Steampacket, his albums with Julie Driscoll, Trinity, or his  Oblivion Express.