A New York outfit. Their name, chosen by lead singer Jeffrey Moon and extracted from the 'The Tibetan Book of the Dead', reters to a "return to reality". The inclusion of I'm Five Years Ahead Of My Time on Pebbles, Vol. 3 has made it something of a classic among collectors of psychedelic punk. Deservedly so in view of its haunting intro. and fine fuzztone guitar work. Subsequently it has resurfaced on other compilations:- Born Bad (The Songs The Cramps Taught Us), Songs We Taught The Cramps and Get Primitive (The Best Of Pebbles). Rusty Evans of The Deep/Freak Scene wrote the 45 for The Third Bardo along with songwriter Victoria Pike, who was married to The Third Bardo's producer Teddy Randazzo (of Roulette Records) at the time. The excellent flip side of the 45 can also be heard on Vile Vinyl, Vol. 2 and Magic Carpet Ride whilst another version of it appears on Freak Scene's Psychedelic Psoul LP. If that wasn't enough, David Walters (author of the excellent "Children of Nuggets" book) has pointed out that the version of My Rainbow Life on Glimpses Vol. 4 is an acetate version, 20 seconds shorter than the final single and with a different mix! Both sides of the 45 can also be now heard on Psychedelic Microdots, Vol. 3 (CD).
In the early seventies, their lead singer Neufeld released an album under another pseudonym, Chris Moon. In the 1980s The Nomads did a fine cover version of I'm Five Years Ahead Of My Time and Kenne Highland's Majestic Gizmos reworked it into He's Five Beers Ahead Of Your Time (!) on the LP of that name.
In 1999, Rusty Evans has helped re-record I'm Five Years Ahead Of My Time, My Rainbow Life and a number of other tracks with his son's band Kaos. Although currently unreleased, the new recordings are great, capturing the spirit of the originals. Rusty may also be writing some new material for The Third Bardo themselves, who played live again on May 16th 1999 with a line-up of Jeff Moon aka Neufeld, Damian Kelly and Ricky GoldClang from the original band. As for former drummer Bruce Ginsburg his whereabouts are unknown - somewhere in California, whilst Richie Seslowe sadly died of a drug overdose in the eighties.
1 Livin' On 3:23 (S. Sutherland, T. Hall)
2 Barnyard Blues 2:52 (S. Sutherland)
3 Till Then 3:18 (S. Sutherland, T. Hall)
4 Never Another 2:27 (S. Sutherland, T. Hall)
5 Rose And The Thorn 3:37 (S. Sutherland)
6 Down By The River 1:50 (S. Sutherland)
7 Scarlet And Gold 5:00 (S. Sutherland)
8 Street Song 4:57 (S. Sutherland)
9 Doctor Doom 3:13 (T. Hall)
10 With You 2:11 (Leatherman)
11 May The Circle Remain Unbroken 2:42 (R. Erickson)
bonus: 12. Livin' On (A-side IA 130, mono 45 rpm mix) 3:25
13. Scarlet and Gold (B-side IA 130, mono 45 rpm mix) 4:59
14. May the Circle Remain Unbroken (B-side IA 126, mono 45 rpm mix) 2:42
15. Livin' On (Alternate Horn Arrangement) 3:24
16. Bull of the Woods (West Coast Radio Spot) 1:03
ROKY ERICKSON - vcls
TOMMY HALL - jug, vcls
STACEY SUTHERLAND - ld gtr, vcls
DAN GALINDO - bs
DANNY THOMAS - drms
This sextet began their recording career as Thrice Mice. As such, they made one album for Phillips in 1971 and were also included on the Festival samplers Love & Peace (1970) and Pop & Blues Festival '70. Some years later they renamed themselves Altona, now expanded to a septet. Altona was the name of a suburb of Hamburg (perhaps this was the place where they came from?). A typical Altona song lasted for 5-7 minutes, had lots of sax and guitars and was largely based on blues and jazz rock. The first album had a funny cover of ugly tourists wearing Hawaiian-shirts wandering around in Hamburg. Their albums were produced by one Klaus Bohlmann. Altona were among the better jazz-rockers of the mid-seventies, although they never really excelled. Check them out if progressive jazz-rock appeal to you. Their albums can still be acquired cheaply.
Side one "Summertime Blues" (Jerry Capehart, Eddie Cochran) – 3:47
"Rock Me Baby" (Josea/B.B. King) – 4:22
"Doctor Please" (Dickie Peterson) – 7:53
Side two "Out of Focus" (Peterson) – 3:58
"Parchment Farm" (Mose Allison) – 5:49
"Second Time Around" (Peterson) – 6:17
Bonus Track (Akarma CD version 2003) "All Night Long" (Ralph Burns Kellogg) – 2:02
One of the bands mentioned here that had no records released during their lifespan, Buon Vecchio Charlie had an album ready, but it was only recently unearthed, first on CD then on LP, and it's a very good one, well worth buying, even because of its availability at low prices!
The band was formed in Rome in 1970 with a five-piece line-up featuring, along with Calabrò, Centofanti and Sangiorgio, bass player Walter Bernardi and percussionist Carlo Visca.
After some first demos they could record with the new six-piece line-up the tracks for an album in Suono label's (of Opus Avantra fame) recording studio near Venice in 1972, with the help of Venetian Power guitarist Claes Cornelius, also an important session man at the time.
Despite the good quality, and the interest shown for the band by many producers, the album never saw the light and was shelved until its first CD release in 1990 in a limited pressing.
The LP is very well made, and with a better production it could have been a classic in its style. Dominated by the flute, with strong classical influences, like in the opening Venite giù al fiume it's still an original work, with very interesting moments.
The band split after the recording, probably disillusioned by the lack of chances connected to their album release.
Almost all the musicians kept playing: guitarist Benson released some solo albums and is still active and popular in the Rome area, keyboardist Centofanti followed his career with singer-songwriter Claudio Baglioni and in Libra, while three of the others, Calabrò, Sangiorgio and Damiani, formed with two other musicians a jazz-rock group called Bauhaus.
This group, that received the Best Italian Band prize at the Rome Villa Pamphili festival in 1974, was strongly influenced by Miles Davis' jazz-rock fusion experiments, and only produced a 7-track recording that has been recently issued by Akarma on CD for the very first time. With a very good quality the instrumental-only group has much in common with Perigeo and similar Italian bands, but very little traces left of their progressive rock past.
This release marked the start of Curt Cress' long and impressive career. He was then only 17 years old, and still studying the art of percussion, when the Orange Peel album was recorded late in 1969 at the Dierks studio (actually one of the first Dierks productions I know about!). The result was a vintage blend of progressive music, comparable to Tomorrow's Gift (1st album) or Nosferatu. The four mainly instrumental tracks sounded somewhat unfinished. Orange Peel disbanded in 1970. Bassist Helm Mohn replaced Michael Ertl in Epsilon in time for their second album Move On (1971), while Curt Cress went on to Emergency, Passport, Atlantis and several other bands. Gradually he built up his reputation as one of Germany's finest session drummers.
01. You Can't Change Them All 18:15
02. Faces That I Used to Know 3:11
03. Tobacco Road 7:17
04. We Still Try to Change 10:03
Curt Cress / drums, percussion
Peter Bischof / percussion, vocals
Leslie Link / guitar
Heinrich Mohn / bass
Ralph Wiltheiß / organ
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