Fuzz Acid & Flowers:
Although this band was based in San Francisco some members originated from Florida. Sly Stone had left the band (to form Sly and The Family Stone) by the time the band signed to Reprise and achieved some success with Steve Still's Sit Down I Think I Love You. Their diminuitive female vocalist Jan Errico had earlier achieved much popularity on the West Coast as drummer and lead vocalist for The Vejtables.
In late 1967 the band became known as Mojo because Jan Errico got tired of being known as a Mojo Man. They also changed labels to GRT so that they could record an album. Released in 1968 it was produced by Dave Hassinger. It contained their second single New York City, which sumered from sounding too much like The Mamas and Papas, and overall contained a number of mildly psychedelic, post-Seargant Pepper pop rock songs. The band finally split in 1969 when they realised their era had ended.
There remains a lot of unissued material from both eras of The Mojo Men. From their time with Autumn fifteen tracks remained unissued although some of these later appeared on Eva's Dance With Me compilation and the superior Sundazed retrospective Why Ain't Supposed To Be. A further nineteen tracks were recorded but not released during their spell with Reprise. These include the long and experimental What King Of Man, which was reputed to be a letter-day venture into psychedelia by the band.~ (Vernon Joynson / Max Waller / Stephane Rebeschini)
allmusic: Original Recordings was Dan Hicks' initial solo effort as well as the debut of his "Hot Licks." Unlike the overamplified electric jug band music that the Charlatans had been creating during Hicks' stint as their drummer and occasional vocalist, this new band performed a refreshing blend of jazz swing with country & western. Their understated performance style stood in stark contrast to the burgeoning heavy metal and acid rock that were en vogue as the '60s became the '70s. Featured on this album is a seminal version of the "Hot Licks" that were only together briefly. Included are John Weber (guitar) and Terry Wilson (drums) as well as vocalists Tina Viola Gancher and Sherry Snow. Both Sid Page (violin/vocals) and Jaime Leopold (acoustic bass) would remain with Hicks (guitar/vocals/spoken word) as core members of the band. Of the 11 original compositions on this disc, "How Can I Miss You When You Won't Go Away" followed Hicks from the Charlatans, while "Canned Music," "I Scare Myself," and "Shorty Falls in Love" would be slightly reworked for their inclusion on the upcoming long-players Where's the Money? and Striking It Rich, respectively. Perhaps because of Hicks' background as a drummer, his sense of timing is a key element to his deceptively complex melodies. Likewise, this has a great deal to do with the success of the call-and-response vocals between Hicks and the female background vocalists he would dub "the Lickettes." Within these pastoral melodies and slightly askew lyrics is the somewhat out-of-sync and acid-tinged "It's Bad Grammar, Baby." In retrospect, the prominently distorted acoustic guitar lead overwhelms the track -- which would have otherwise fit nicely within the context of the remainder of the album. This might have had something to do with it being conspicuously left off the 2001 Sony/Legacy reissue Canned Music: The Most of Dan Hicks & His Hot Licks. Those who can locate a copy of these Original Recordings are urged to do so. For Hicks-ophiles or Dan-ophites, it is a vital entry into his canon. ~ Lindsay Planner
fuzz acid & flowers:
Fankhauser formed this band after the demise of Fapardokly. Cotton and Willey had earlier played with Fankhauser in The Exiles. Mu initially lived on a half acre estate in Canoga Park, California and were heavily into meditation and vegetarianism. Their debut album, recorded on a small Beverly Hills label, was both inventive and imaginative.
After Willey's departure the remaining trio moved to the island of Maui in Hawaii in 1974, where they recorded two singles for their own Mu label and, with the additional of Mary Lee, a second album, which was shelved when they split up. In 1981 Fankhauser remixed it, added two singles, and it was released in Italy.
Many other tapes of Mu exist and Children Of The Rainbow is an excellent album of material recorded live on Maui in 1974. It's full of well-structured, often mystical songs and also includes some tasty laid back guitar work from Fankhauser and Jeff Cotton (who later played with Captain Beefheart). It also features a brief interview of the band by Lew Irwin.
Fankhauser, one of the West Coast's most interesting musicians, went on to make three solo albums, including one in 1976 (Maui M 101) and Mary Lee continued to play in his band. Parker remained in Hawaii, where he purchased an orchid plantation and Wimer became a youth counsellor in Los Angeles.
Like all of Fankhauser's bands, Mu were interesting and worth investigation. ~ (Vernon Joynson/Chris Williams)
Emerged out of two other bands, and indeed this was a fortunate companionship. This album has such good music, full of sax, organ and guitar riffing all the way with very memorable melodies. Its a loose groove of jazzy rock mixed with more late 60's musical tendencies and feelings. The vocals are handled by either a female vocalist, a male vocalist or more often just a blend of voices.
This album seems to be sadly unknown which is sad since this music is so joyous and full of good vibes. Off the 9 tracks, 2 are over 5 minutes, but they all have a very high standard throughout the entire album. MR. ALBERT SHOW has been compared to the English band Colosseum, and I also hear resemblances to bands like Affinity (UK), the charming early 70's rock of Gravy Train or the spacey sound of italian/german band ANALOGY.
"Looking On" (Wood) – 7:48
"Turkish Tram Conductor Blues" (Wood, credited to Bevan ) – 4:38
"What?" (Lynne) – 6:42
"When Alice Comes Back to the Farm" (Wood) – 3:40
"Open Up Said the World at the Door" (Lynne) – 7:10
"Brontosaurus" (Wood) – 4:25
"Feel Too Good" (Wood) – 9:30
Bonus tracks: 8. "Lightnin' Never Strikes Twice" (Price/Tyler)
9. "Looking On Part 1" (take 3; rough mix) (Wood)
10. "Looking On Part 2" (take 12; rough mix) (Wood)
11. "Turkish Tram Conductor Blues" (take 5; rough mix) (Wood)
12. "Open Up Said the World at the Door" (take 4; rough mix) (Lynne)
13. "Feel Too Good" (take 11 extract; rough mix) (Wood)
14. "The Duke of Edinburgh's Lettuce" (take 2; rough mix) (Wood/Lynne)
Roy Wood - vocals, oboe, sitar, slide guitar, cello, guitar, bass & saxes
Jeff Lynne - vocals, piano, guitar, percussion, drums ('Feel Too Good')
Bev Bevan - drums and percussion
Rick Price - bass
P.P. Arnold and Doris Troy — backing vocals on 'Feel Too Good'
quality: lossless (flac, cue, log, book covers, size: 373 mb)
Fuzz Acid & Flowers:
This Chicago-based outfit were sued by Mountain for stealing the name. In actual fact they had the name first but never really recovered from the law suit which required them to state on their album cover that they were in no way connected with Mountain. If you like The Grateful Dead you should like this album because it's very similar in style. The title cut, in particular, includes some beautiful ringing guitar work but almost all the tracks are good and the album, which is now rare, is recommended listening.
Ed Mooney recalls that "Our plan, when we recorded, was to have a seamless transition between the last three songs - I Know You Rider - Apache Canyon - Hexahedron. That idea never made it on to the LP but we often did this for live shows, with the three songs often ending up being 45 minutes to an hour long, depending on the quality & quantity of substances we ingested!" Incidentally, the new Gear Fab CD features these final three tracks, run together as originally intended.
quality: lossless (flac, cue, log, book covers, size: 318 mb)
Wikipedia: Mad Shadows was the second album by Mott the Hoople. It was recorded in 1970 and released in the UK on Island Records in September 1970 (catalogue number ILPS 9119) and in the US by Atlantic Records (cat. no. SD 8272). It was subsequently re-released by Angel Air in 2003 (SJPCD158).
As with their debut album it was produced by Guy Stevens. The album title "Mad Shadows" was originally planned for Steve Winwood's solo project that evolved into Traffic's John Barleycorn Must Die. Mott The Hoople's original title, Sticky Fingers, was dropped when The Rolling Stones used it for their own record. Indeed, Mick Jagger sang backing vocals on the song "Walkin' With A Mountain". The album was notable for its darker, heavier sound, and oppressive cover artwork. The final track of the original album, "When My Mind's Gone", was allegedly performed by Hunter under producer Stevens' hypnotic influence. Although the album received mixed reviews and sold poorly, "Walkin' With A Mountain" remained a live favorite until the band folded.