The Charles Ford Band - The Charles Ford Band (1972 us, excellent classic blues with young Robben Ford)

When I recorded blues harmonica ace Charlie Musselwhite early in 1971  he had a tight little band which included two brothers, Pat and Robben Ford. Pat impressed me as a solid drummer and Robben was obviously a very gifted lead guitar player, doing many of the vocals, and then switching to saxophone for some haunting duets with Charlie's harmonica. They made great music together. 

When the brothers eventually left Charlie, they formed The Charles Ford Band, (named in honor of their father), and became quite popular in the Bay Area by introducing interesting modern changes into their otherwise fairly traditional urban blues repertoire. Their dynamic stage presence, original tunes, and fascinating interpretations of modern jazz classics, led several record companies to make attractive offers. However, as time went on the young band members sought different directions for their respective talents. When the Charles Ford Band finally broke up in late 1971 they wanted to preserve their music on record.

The Ford brothers weren't born into a blues environment - far from it! Their father was a country musician who had led a band in Wyoming called Rocky Ford and the Tennesseeans. Pat (2/19/1949) and Robben (12/16/1951) were born in Woodlake, Calif. and Mark (10/21/1953) came along after the family had moved to Ukiah, Ca., where all three brothers grew up. Ukiah is about 120 miles north of San Francisco and the musical offerings of the local radio stations were limited to Top 40 pop music along with some Country & Western.

There was none of the musical variety typically available to people in or near major cities who might hear, via the radio, Blues, Gospel, Jazz, Country & Western, Mexican, Classical, Jewish, Scandinavian, and many other types of ethnic music along with pop material. The Ford brothers didn't find music that really grabbed them until Robben, by chance, happened to hear a record by The Paul Butterfield Blues Band around 1965 at the local record shop. This led the brothers to records by B. B. King, John Lee Hooker, James Cotton and other blues greats and soon all their energy was devoted to playing this new-found music.

Prior to discovering the Blues, Pat and Robben had often joined their musically active parents in family jam sessions. By 1968 Pat and Robben had formed their first full-fledged blues band, a trio called The Ford Blues Band. Meanwhile Mark was working on his harmonica and soon joined the trio. The band became quite popular around Ukiah and worked steadily until Robben finished high school. Pat and Robben then went to San Jose and in 1970 formed the Charles Ford Band with harp player Gary Smith and Stan Poplin on bass. It was this band which Charlie Musselwhite encountered when he persuaded Pat and Robben to join him.

Since these recordings were made Robben has become something of a guitar legend and a much sought after sideman in blues, rock and jazz circles. For a time he toured with Miles Davis and Warner Brothers released his blues-oriented solo album Talk to Your Daughter in the late 1980s. For several years during the 1980s Mark Ford fronted his own popular Bay Area blues group, The Mark Ford Band. Patrick Ford recently formed his own record label Blue Rocket and continues to perform with the Ford Blues Band.

by Chris Strachwitz,  1972, 1991

I hink what made the The Charles Ford Band unique was that we were four young white boys, (I was the oldest at 21 and Mark was the youngest at only 16), from a small town in Northern California, who just didn't know any better. 

We came at this newly found blues music with an unbridled zeal and enthusiasm that was not affected by the usual restraints of what a blues band "should" be or should sound like.

The Charles Ford Band actually existed for less than a year and about four months after the band had broken up, Chris Strachwitz set up the sessions. I was back on the road with Charlie Musselwhite, Robben and Stan were working together, and Mark had dropped out of the scene. However, we all agreed that it would be a good idea to record something of the band.

With no rehearsal, and with both time and budgetary constraints, we went into a funky 8-track studio in San Francisco and cut the tracks in two quick sessions. Most were recorded in one take, "live," with no touchups. The Promise was recorded at In Your Ear in Palo Alto, Ca. on a home two-track machine and reveals a bit of the energy and enthusiasm that was the Charles Ford Band.

by Patrick Ford,  1991

Tracks
1. Blue And Lonesome (Walter Jacobs) - 8:23
2. Gibson Creek Shuffle (Robben Ford) - 3:43
3. My Time After Awhile (Geddins, Badger) - 3:40
4. Rest My Mind On Jesus (Robben Ford) - 1:30
5. Reconsider Baby (Lowell Fulson) - 5:23
6. Black Night (Jesse Mae Robinson) - 8:29
7. Wild Woman (Albert King) - 4:08
8. I Know What You're Putting Down (Jordan, Allen) - 4:03
9. Live The Life I Love - 5:53
10.Tell Him I Was Flyin' - 3:27
11.The Promise (John Coltrane) - 9:31

The Charles Ford Band
*Robben Ford - Guitar, Vocals, Piano
*Mark Ford - Harmonica
*Patrick Ford - Drums
*Stanley Poplin - Bass
*Michael Osborn - Rhythm Guitar (Track #3 Only)

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Huckle - Upon A Once Time (1974 canada, remarkable folk rock, 2012 korean remaster)

The singer-songwriter known as Huckle (ne Kelly Cavanagh) was raised in Montreal and Toronto, but by 1973 the self-described freak ("...we didn't call ourselves hippies then - we were freaks") had shifted west to B.C.'s Gabriola Island, helping to organize two western tours by Perth County Conspiracy and performing as the warm-up act for some of the shows. The 19-year-old Huckle took to B.C. granola culture immediately. "I arrived in Nanaimo on bathtub weekend. They were pretty excited about my hair. We lived at the stump farm on Gabriola, a little log cabin way out in the woods - no electricity, running water, or car."

In the spring of 1974 on the first of the Perth County tours, a live recording was made of eleven Huckle originals with Gary McKeehan engineering. After the soundcheck for a gig at Vancouver's Pender Auditorium in March, Huckle recorded nine songs live with a backing band (which included three Perth County members). Those tracks, as well as a couple more taped the following night at Gabriola Hall, would become the insanely obscure roots/folk debut Upon a Once Time.

The record's home-spun quality is evident even in the primitive hand-written paste-on cover ("I did it with Tommy (Agostino) and Kjell, the photographer"). And with only 500 copies pressed up and hawked at shows for three bucks a pop, Upon a Once Time was destined to become a bit of a holy grail for Canadian folkies. Several tours and a second equally obscure LP followed, 1976's Wild Blue Yonder, as well as a spot on the national CBC radio show Touch the Earth with Sylvia Tyson and Bill Garrett. Huckle finally settled on nearby Salt Spring Island, where he lives as "a lapsed hippie", performing sporadically as KC Kelly over in Victoria, B.C. 

by Robert Williston

Tracks
1. April - 2:11
2. Flowers - 3:09
3. Get Down - 4:12
4. Beyonder (The Hymn) - 4:25
5. Sunshine Shuffle - 3:32
6. Hello Sunshine - 2:27
7. Good Morning - 2:54
8. Lady Goldberry - 2:31
9. Gabriola Day - 5:24
10.The Minstrel Song - 3:26
11.Ocean - 3:43
All songs written by Huckle

Personnel
*Huckle - Vocals, Guitar, Mandolin
*Richard Keelan - Guitar
*Michael Butler - Bass
*George Koumantaros - Congas
*Paul Gellman - Vocals, Fiddle, Guitar
*Wende Sinclair - Vocals, Bamboo Flute

1976  Huckle - Wild Blue Yonder (2012 Korean remaster)

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Morgen - Morgen (1969 us, superb heavy fuzz psych, 2013 remaster and expanded)

Morgen was a hard rock/psych band that hailed from Long Island, NY.  They were fronted by guitarist/vocalist/wild man Steve Morgen but also included drummer Bob Maiman and guitarists Barry Stock and Rennie Genossa.  In 1969, record label Probe (ABC) released the group’s sole offering.

The album’s best known track is the classic “Welcome To The Void.”  40+ years later this cut’s over the top acid guitar work and pounding drums still shred the best of speakers.  Certainly a unique mixture of acid garage and hard rock, “Welcome To The Void” is essential listening.  There are other great cuts to be found on Morgen, like the stealth rocker “Purple” and the freaky fuzz corker ”Of Dreams.”  “Eternity In Between,” probably influenced by the Who, is another excellent track that begins with ringing guitars and crashing drums.  This 5 minute song is nearly ruined by a two and a half minute drum solo.

Steve Morgen’s sexually charged lyrics and over the top vocals will irritate some listeners but that’s really a minor complaint as most of Morgen is full of great fuzz guitar solos and solid songs.  No beads or flowers for these guys, Morgen is straight up brooding hard rock psych.  A mini gem of a record that will reward patient listeners.
by Jason Nardelli

Tracks
1. Welcome To The Void - 4:46
2. Of Dreams - 5:37
3. Begging Your Pardon (Miss Joan) - 4:47
4. Eternity In Between - 5:06
5. Purple - 4:11
6. She’s The Nitetime - 3:29
7. Love - 10:53
8. Of Dreams (45 Version) - 3:24
9. She’s The Nitetime (45 Version) - 3:27
10.Street Walker - 3:39
11.Lady - 4:06
12.Too Many Americas - 5:47
13.Don’t You Tell Me - 5:52
14.Maryjane - 2:59
15.Alpha Omega - 5:01
All songs by Steve Morgen

Morgen
*Steve Morgen - Vocals, Guitar
*Rennie Genossa - Bass
*Bob Maiman - Drums
*Barry Stock - Rhythm Guitar 

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Headband - The Headband Collection (1971-75 new zealand, outstanding blues 'n' rock, jazz, roots 'n' roll)

In the early sixties, singer Tommy Adderley enjoyed a  couple of minor hits and became a popular television performer. He then spent two years in Australia, returning home a seasoned cabaret performer. With a genuine love of the blues, he had always dreamed of forming a group similar to John Mayall and the Bluesbreakers, and in 1971, it all came to fruition when Headband debuted at Hatchett's nightclub in Auckland. 

The lineup was Alan Quinnell and Ronnie Craig on guitars, Jack Stradwick on bass (later replaced by Billy Kristian) Dick Hopp on electric violin and flute and ofcourse Adderley on vocals and harmonica.

Tommy initially didn't want a drummer but during rehearsals, it became obvious that the group wouldn't work without one so Jimmy Hill was added to the lineup. Mid year they became the resident band at the new Granny's club, and later in the year recorded an album for EMI. The album and three singles from it, The Ballad Of Jacques Le Mere, Love Is Bigger Than The Whole Wide World and Good Morning Mr. Rock and Roll were all successful, but unfortunately, apart from a universities tour as part of the Rock Circus, in 1972, Headband rarely performed outside of Auckland and disbanded in 1973.

They reformed briefly in 1975 for a tour organized by the Student Arts Council and recorded a new album, Rock Garden. A selection of tracks from both their albums are featured on this release.

CD Liner-notes

Tracks
1. (a) Mood One (Hopp) - 7:11
    (b) Time To Kill (Robertson)
2. Lisa, Listen To Me (Clayton Thomas) - 2:41
3. Dip Tank (Hopp) - 3:10
4. The Ballad Of Jacques La Mere (Edwards) - 3:44
5. Headband Grooving (Kristian) - 4:12
6. Good Morning Mr. Rock and Roll (T. and P Adderley) - 2:47
7. Love Is Bigger Than The Whole Wide World (Hill) - 4:00
8. (a) Mood Two (Hopp) - 15:14
    (b) The Laws Must Change (Mayall)
9. Hey Little School Girl (Adderley, Hill) - 4:02
10.Ungrateful Madonna (Hill) - 5:01
11.Good Time Feeling (Hill) - 3:34
12.Blueberry Pie (Edwards) - 4:52
13.I Get High (On Music) (Adderley, Hill, Nix) - 4:05
14.Raving Richard (Hill) - 4:10
Tracks 1 to 8 are from  “Happen Out”
Tracks 9 to 14 are from “Rock Garden”

The Headband
*Tommy Adderley - Harmonica,  Vocals
*Alan Quinnell - Guitar
*Ronnie Craig - Guitar
*Jack Stradwick - Bass
*Dick Hopp - Electric Violin, Flute
*Jimmy Hill - Drums
*Billy Kristian - Bass
*Neil Edwards - Bass
*Len Whittle - Keyboards

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Left End - Spoiled Rotten (1974 us, jagged hard glam rock)

The rain continued to fall on a September Friday evening in downtown Youngstown, Ohio. The thick air made the last chords of the last song ring on beyond their normal cry. It was over. The young rock group Cherry Paup had finished their last gig. Guitarist Tom Figinsky, keyboardist Fred Dolovy, bassist Rod Buckio and drummer Pat Palombo had come to the end of their four years together. They were billed as The New Teen Sensations from 1964 through 1969…from high school freshmen to now graduating high school seniors. Now, it was a time of passage…from boys to men, from the dreams of rock & roll to the challenges of the real world… from high school heroes to regular faces in the crowd.

It was during a break at the Apartment Nightclub on Youngstown’s south side in the summer of 1972 that an articulate, brash, boastful and at times vulgar gentleman walked into the group’s dressing room.  He announced himself as Steve Friedman and confidently told the group he wanted to manage them.  At first, the guys took Mr. Friedman as just another hawker that was not to be taken seriously.  But Friedman’s obvious knowledge of the music business and his arrogance were appealing to the group.  After a couple of meetings, LEFT END had a management/production contract with Steven Friedman.

The group recorded more demos and Steve began meeting with record company executives in New York City.  By October of 1972, Friedman landed the group a recording contract with Polydor Records.  The contract gave the group a lucrative recording budget that included a minimum of two singles and one album a year for five years.  LEFT END could choose any studio at which to record.  The group unanimously selected Cleveland Recording in Cleveland, Ohio.  Why?  Because that is where Grand Funk recorded its early albums with the great engineer Ken Hamann.  The group finished its winter engagements while writing and testing new material for an album.  Polydor released “Bad Talkin Lady” on its label and the single began to sell nationally.

In the late spring of 1973 LEFT END began recording their first album.  The group continued to perform during this period.  The group recorded on Monday through Thursday.   One night with a few guests on hand, someone noted the total chaos and mess at the large hotel dining table that had been created by sliding several tables together.  There were beer bottles and mixed drink glasses lying on their side surrounded by stacks of china and half-eaten desserts.  The guest said, “Boy, you guys are really spoiled rotten.”  That was it…the perfect name for LEFT END’s first album…Spoiled Rotten.  To fit the image, Dennis changed his name to Dennis T. Menass.

The Spoiled Rotten LP was released by Polydor Records in the late fall of 1973.  It went to #1 on “Album Pix” charts in the tri-state area of Ohio, Pennsylvania and West Virginia over night.

The album picked up momentum and began to sell throughout the Midwest.  LEFT END’S live performances also picked up dramatically and they began playing concert venues to “standing room only” crowds.  Steve Friedman strongly supported the group’s spoiled rotten image by equipping the group with dead frogs to throw into the crowd, ping pong ball firing canons and suckers with wrappers that boldly read “YOU SUCK!”  Below in smaller print it read LEFT END.  The group did a mock slow ballad called, “Your Mine” or “The Pimple Song” in which a large weather balloon filled with water, whipped cream, and mustard was wheeled onstage in a small red wagon.  At the end of the song Dennis T. Menass would burst the balloon and those against the front of the stage got the worst of the exploding pimple.

Battles on stage with giant gorillas and “staged” attacking fans that Dennis T. would subdue with beer bottles, whips and clubs became a standard.  The press labeled them “Big Time Wrestling Meets Heavy Rock.”  The group wore lavish “glam rock” costumes of bright silver, gold, black and red.  When in New York City, the group would head to Greenwich Village and SoHo to find the most outlandish boots, belts, and leather outfits.  Dennis T. would change outfits several times during a concert set.  Certain songs commanded a special look.  Of course, the group continued closing their shows with flash pots and pyrotechnics.  LEFT END was known for their introduction tapes that were played prior to the group appearing on stage.  These were comical thematic collections of live and taped recordings compiled by Thomas John and Jerry Starr of what was then WSRD FM Radio (The Wizard).  These intros became very popular with LEFT END fans.  The Cleveland press dubbed them, “The Monster That Ate Cleveland.”

Soon after the Spoiled Rotten album was released, Polydor released the single “Loser” from the album.  The group began performing in large concert venues with the likes of the Eagles, the J. Geils Band, Brownsville Station, the New York Dolls, Trapeze, George Clinton and the Funkadelic Parliament, and dozens of others.  LEFT END appeared in Rolling Stone, Cash Box, Billboard, Cavalier and other national magazines.  They were frequently featured in local periodicals in the tri-state area.

Polydor held a big reception for LEFT END after the group performed in concert at Cobo Arena in Detroit.   The concert was a great success.  LEFT END finished the set with the usual flash pots on stage and added a full blown fireworks display.  The crowd went crazy and literally attacked the group.  Later, at the reception for the group, Polydor executives, still buzzing from the concert, began to lay out plans for the group.  LEFT END had captured the Midwest and there was great interest from east and west coast cities.  Their plan was to take the group to Europe where it was felt that they would be an instant success and then bring them back here as “The Monster That Ate Europe.”

Group members were floating on clouds anticipating their rise to greater stardom…until communication with Polydor Records suddenly came to a halt.

Leftend-band

Tracks
1. Loser (Figinsky, Menass) - 3:38
2. Bad Talkin' Lady (Guerrieri, Menass, Palombo) - 2:28
3. Spoiled Rotten (Figinsky, Menass, Palombo) - 4:15
4. Take It In Stride (Figinsky, Guerrieri, Menass, Palombo) - 5:04
5. Sweet Lovin' (Figinsky, Guerrieri, Menass, Palombo) - 2:59
6. Every Little Thing (Lennon, McCartney) - 3:06
7. Mary-Jo (Figinsky, Menass) - 3:59
8. Takin' Time (Figinsky, Menass, Puhalla) - 3:24
9. Whiskey And Rye (Figinsky, Guerrieri, Menass, Palombo) - 3:55
10.It's Over (Left End) - 4:08

Left End
*Dennis T. Menass - Vocals
*Patsy Palombo - Drums, Percussion
*Tom Figinsky - Lead Guitar
*Jim Puhalla - Rhythm Guitar
*Roy Guerrieri - Bass

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The Leaves - All The Good That's Happening (1966-67 us, splendid folk psych garage beat, 2011 remaster)

From south to east and west to west, then back again. So the cyclone went in the early sixties. It carried blues and rhythm to New York, spun across the sea, casting rare vinyl nuggets on the shore of Liverpool and, in a mop-topped whirly gig ripped back across the ocean and through the heart of LA.

By the time it reached the pacific edge there was blues, rhythm, folk, pop and star-spangled freedom strewn in its wake. The universe-bound youth seized the tidal yo-yo, sought residencies at the Go-Go and forged some of the mind-melting foundations of American psychedelia. For The Byrds, The Doors and Love this was their time, a time they made timeless. But, in the wake of any cyclone there is debris and, Sunset stripped, The Leaves withered and fell, just a year after tasting the chart-tipped rays of success.

The band started as a rhythm and blues party band but hit the big time in April 1966 with a fuzz-wigged version of Hey Joe. Hip and tripped on this high, with a Whiskey residency and faithful hearts in the city of angels, they recorded All The Good That’s Happening. It A-bombed as fingers hovered and, when founding member Jim Pons left to get happy together with The Turtles, the band died.

However, All The Good That’s Happening is, in part, a fantastic testament to all the musical good that was happening from 1965 to 1967. Opening track Twilight Sanctuary reflects the close-knit harmonies and country-folk-tinged airs that gave wing to The Byrds. While One In The Middle is a R‘n’B standards work out…and great fun.

 This isn’t a testament, however, to why The Leaves fell. Third track in, On The Plane, has the haunting progressions and chilling lyrical tones that powered Love’s Forever Changes. Like Arthur Lee and his charges, it’s documented that The Leaves dabbled with nature’s resin. The influence of which can be felt with giddy-slept ears on side two of All The Good That’s Happening.

With None Shoes chops and jangles with litho-cut intent, while Codine is musically as clear at the rising sun but wrapped in the midnight claws of self-abuse and lament. The album closes with Lemmon Princess and its sinister opening command, “Play.” Wonderfully confused, ambiguous and sonically fried, the track is close to the Mad Hatter’s tea party edge of British psychedelia . It hints at what may have been had the LA waves not been carrying the portents of political unrest by the time The Leaves released their sophomore album.

by Stephen Coole

Tracks
1. Twilight Sanctuary (Bob Arlin, W. James Pons) - 2:37
2. One In The Middle (Paul Jones) - 2:33
3. On The Plane (Bob Arlin, W. James Pons) - 2:35
4. Officer Shane (Robert K. Arlin, John Beck) - 2:52
5. Let's Get Together (Jimmy Reed) - 2:51
6. Introduction To A Cartoon Show (Robert K. Arlin, John Beck) - 0:37
7. With None Shoes (Robert K. Arlin, John Beck) - 2:21
8. To Try For The Sun (Donovan) - 3:00
9. Codine (Buffy St. Marie) - 3:56
10.Flashback (The Rhythm Thing) (Arlin, Pons, Beck, Ray) - 4:16
11.The Quieting Of Oliver Tweak (The Stone Freak) (Michael Whalen) - 2:23
12.Lemmon Princess (W. James Pons, Robert M. Harris) - 2:05
13.Twilight Sanctuary (Mono) (Bob Arlin, W. James Pons) - 2:30
14.Lemmon Princess (Mono) (W. James Pons, Robert M. Harris) - 2:11

The Leaves
*Robert (Peppermint) Arlin - Lead Guitar, Vocals
*Tom Ambrose Ray - Tambourine, Drums
*Jim Pons - Vocals, Bass
*John Beck - Vocals, Rhythm Guitar, Sitar, Tambourine

1965-66  The Leaves...Are Happening! Best Of

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Reggie King - Looking For A Dream (1968-71 uk, fabulous power guitar pop rock, 2012 release)

The story of The Action and its players is an ever evolving wonder. There seems to be no point at which to say: "We've heard it all and know it all now". Every once in a while there is a fresh surprise as another part of the tale is revealed. The latest twist is this full unveiling of a collection of Reggie King demos which the great singer recorded, with former colleagues from The Action just as they were on the brink of becoming Mighty Baby. For many Looking For A Dream will seem a gloriously apt title for this record as it provides an opportunity to hear Reggie sing in a setting hitherto often fantasised about There is, of course, an unbearable poignancy to this collection appearing now. In 2010 we lost Reggie and we lost Mike Evans, the steadfast, secret hero and heartbeat of The Action/Mighty Baby story. 

Their passing was desperately sad, but their deaths made many of us more resolute in affirming the parts Reggie and Mike played in creating some of the most beautiful and inspiring music ever. When The Action's recording of "Since I Lost My Baby" was played at Reggie's funeral, it was the first time the presiding minister had heard him sing, but he was nevertheless visibly moved. The clergyman was also canny enough to improvise and pay tribute to the way such a remarkable singer will have touched many people's lives. It's still a shock to realise there are people who have not had the pleasure of hearing Reggie sing. And it's always dangerous to succumb to the temptation of playing "could've, should've, would've". But who knows what might have been different if these remarkable demos were widely heard 40 years before now?

Those of us whose introduction to The Action's music came via the infamous Edsel compilation now have a far better understanding of the pivotal role its members later played, collectively as Mighty Baby or individually, in the making of many of the visionary records of the British folk rock heyday, by the likes of Shelagh McDonald, Shirley Collins. Sandy Denny, John Martyn, Gary Farr, Keith Christmas, Andy Roberts, Robin Scott, and so on. Mighty Baby's own LP A Jug of Love, is now revealed as something of extraordinary beauty and spiritual warmth, up there with the best of Gene Clark or The Band Discovering that particular record has been one of those great revelations contained within the unfolding story of The Action.

There is a case to be made for the best British recordings of the folk rock era being made by those conning from a rhythm 'n' blues background: Mighty Baby, of course: Stevie Winwood and Traffic roamm' thro' the gloamin': the Faces be they small or otherwise drawing strength from Tim Hardin: even Fami . and the Kinks. It's quite fascinating how well it works, often in sharp contrast to those approaching from a solo traditional folk perspective. It's probably got something to do with all the jamming with acoustic guitars in the backs of vans driving to and from gigs, the sitting around in damp communal bedsits practising intricate harmonies, and the edge provided by being steeped in the blues and black music.

The ensemble playing on these Reggie King demos is ridiculously good and feels warmly intuitive. It exudes a sense of trust and knowing who you're playing with. The harmonies are exguisite, but you'd expect that. The instrumentation is predominantly acoustic, but it doesn't come across in a gettingit- together in the country pastoral retreat kind of way. The prevailing picture is distinctly urban: with more of a neglected and chilly church hall vibe: a huddled around a Calor Gas stove with buses rumbling past mood, rather than an idyllic camp fire at twilight with accompanying birdsong kind of thing.

The individual performances are wonderful. That remarkable rhythm section of Mike Evans and Roger Powell provides the perfect bedrock for melodic invention. As ever their playing is unobtrusive but they achieve that odd balance between solidity and fluidity which added a definite depth to many recording sessions. It's also easy to envisage Martin Stone hunched ove' an acoustic guitar, intently strumming himself into a trance, while Ian Whiteman with his seemingly care-worn piano, and his occasional jazzy flute and organ embellishments, pretty much steals the show.

In contrast to these demos, the one official Reg King solo LP can seem cluttered. There are some incredible tracks on that 1971 set which wring the emotion out of the listener. But sometimes it seems Reggie is struggling, which just might be symbolic when you stop and think about it. A self-destructive or self-erasing urge, perhaps, as if to say: "You don't want to listen to me? Fine, I'll make sure I'm not heard." On these demos though, his singing is much more relaxed and the ease with which he sings is evident. The space on these demos perfectly suits him.

Temporally and spiritually these demos lie perfectly in between the official Reg King LP and the earlier elegant, sundrenched Rolled Gold demos by The Action which have become so much a part of our lives. There is plenty here for aficionados of the gloriously baroque, brocade and paisley pop that later incarnation of The Action excelled at. There is also a lot for those of us who adore what Reggie did with Gary Farr on the Take Something With You LP. 

There are even moments to compare with the astonishing heartbreaking beauty of that record's "I Don't Know Why You Bother, Child". There are songs too that you could just imagine being given the full-on gospel revue/soul rave-up treatment by a Doris Troy or a Rosetta Hightower. It is the strength of the songs that is striking. It's easy to dwell on the majesty of Reggie the singer, but he was a truly talented songwriter too. The songs here are mostly gloriously uplifting and infectious. They feel instantly familiar, but it is difficult to pin down close comparisons. The songs are deceptively simple. There's an art in making things seem simple. And in contrast to the more mystical, abstract, cosmic concerns of the time this set of songs seems strangely down-to-earth. None of these songs resurfaced in later years. No other act seized an opportunity to cover such patently superior material. 

There is something spectacularly arrogant about the way such a great set of compositions seems to have been casually cast aside after having been so painstakingly put together. More care seems to have been put into these intricate demos than most groups of the time put into their huge hits. That bewildering and appealing mix of nonchalance and perfectionism seems to sum up Reggie and The Action. Everyone who gets to hear this collection will have their own highlights. But there will be a general consensus that devotees of Reggie's haunted balladry are well-served by songs like "In And Out" which has him drifting in and out of daydreams, trying to find a way to say more, trying to be heard. Even here where the mood is more wistful and melancholy, with Ian Whiteman's flute sounding particularly beautiful, the sound is still sinewy and there is a sense of barely concealed rage and a soulful solar plexus punch.

The most hard-hitting track, however, is "They Must Be Talking 'Bout Me" about which it's impossible not to use the word harrowing. Reggie baldly introduces the track as being about a mental hospital. There are no histrionics. There is no sentiment or sermonising. And it is this matter-of-fact portrayal of paranoia and the way mental illness was treated that makes the song more chilling. The stark, pounded piano accompaniment fits perfectly. 

Even when resisting the temptation to read too much into the theme, the song is a sharp slap of cold reality at the end of the '60s dream. That dream... it may be long gone, but the part The Action and its players performed in providing its unique soundtrack continues to inspire and to illuminate the present. And all those involved in creating this collection will live forever through the extraordinary music which so many of us will love forever.

by Kevin Pearce, April 2011

Tracks
1. Get Up, Get Away (Reg King, Kevin Westlake) - 2:44
2. Let Me See Some Love In Your Eyes - 2:48
3. You Gotta Believe Me - 3:05
4. All Up To Heaven - 2:30
5. So Full Of Love - 4:15
6. Merry Go Round - 3:27
7. Suddenly (Reg King, Kevin Westlake) - 2:55
8. Picking Up Nancy's Grin - 3:22
9. In And Out - 3:13
10.Put Something Together - 5:38
11.Live Forever - 3:00
12.Magenta - 5:56
13.Thinkin' 'Bout Getting Out - 3:12
14.They Must Be Talking'bout Me - 5:10
15.You'll Be Around - 3:51
All songs by Reggie King except where stated

Personnel
*Reg King - Vocals, Acoustic Rhythm Guitar
*Ian Whiteman - Hammond, Piano, Saxophone, Flute, Vocals
*Martin Stone – Acoustic, Lead Guitar
*Mike Evans - Bass
*Roger Powell - Drums
*Nick Jones - Congas
*Kevin Westlake- Piano, Guitar, Percussion

1971  Reg King
1964-1990  The Action - The Ultimate Action

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