Ted Neeley came to the public's attention when he played and sang the title role in Tim Rice and Andrew Lloyd Webber's Jesus Christ Superstar, both on-stage and onscreen, and then followed it up with a role in the original theatrical production of the Who's Tommy. A singer, drummer, actor, composer, vocal arranger, and record producer, Neeley was born September 20, 1943 in Ranger, Texas. He signed his first record deal in 1965, at age 22, with Capitol Records, releasing an album, the self-titled Teddy Neeley, on the imprint with his group the Teddy Neeley Five.
Possessing a baritone singing voice that could rise octaves into a controlled, on-pitch rock-era scream when necessary, Neeley began taking musical theater roles in Los Angeles, which in turn led him to audition for the Broadway staging of Jesus Christ Superstar, and he was selected as the understudy for the title role, which he claimed for the L.A. stage version that had a run at the Universal Amphitheatre, then reprised for the 1973 movie. Neeley released a solo album, 1974 A.D., in, when else, 1974, then took the role of Billy Shears in Sgt. Pepper's Lonely Hearts Club Band on the Road.
He continued doing musical theater, acting as well in various television dramas during the 1970s and 1980s, including Starsky and Hutch, and appeared as Curly in the NBC television movie production of John Steinbeck's Of Mice and Men. Meanwhile, he performed live shows with his band Pacific Coast Highway. Neeley reprised his most famous role in the updated touring company of Jesus Christ Superstar in the 1990s, and did it again for a stripped-down version of the musical that toured from 2006 to 2010.
He released a five-track EP, Rock Opera, in 2013, which included a version of the Who's "See Me, Feel Me," a duet with fellow Jesus Christ Superstar alum Yvonne Elliman on "Up Where We Belong," a take on the Bryan Adams hit "Do I Have to Say the Words?," a rendition of the Christmas classic "O Holy Night," and, thanks to some modern engineering tricks, a duet with the late Carl Anderson on "God's Gift to the World."
by Steve Leggett
Tracks
1. Rock And Roll Spirit (Bob Strauss) - 3:20
2. Another’s Lifetime (Wayne Berry) - 3:43
3. Spin Away (Alan O’Day) - 3:12
4. The Adventures Of A Boy Child Wonder (Phil Cody; Neil Sedaka) - 2:44
5. Rainbow (John C Allen) - 3:52
6. You Put Something Better Inside Of Me (Gerry Rafferty; Joe Egan) - 2:55
7. Look At You, Look At Me (Dave Mason; Jim Capaldi) - 3:47
8. It’s Not The Spotlight (Barry Goldberg; Gerry Goffin) - 3:36
Sweet Lighting was a supergroup of very talented musicians who went on noteworthy careers. The members of Sweet Lightning were singer/guitarist Pete Hewlett, guitarist Sid MGinnis, drummer Ron Foster, bassist Harry Turner and keyboard wiz Fred Delu. Formed in 1969 they performed at Mancini's in the Rocks and the Staircase in downtown Pittsburgh. In 1972 they signed with RCA to release the self titled album 'Sweet Ligntin'". Their cover of the classic tune “Dancing In the Streets was a hit single of Pittsburgh radio. The group disbanded in 1975.
Before forming in 1969 several members of Sweet Ligthning had already released singles on two major labels..Pete Hewlett at age 16 was the lead singer and guitarist of "Peter's Pipers" who released three Brit Pop singles on the Philips label in 1968. Ron Foster and Fred Delu as members of the Igniters / Jimmy Mack and the Music Factory released the single "Baby I Love You" on Atlantic Records in 1968. Ron, Fred, and Harry Turner worked together in the psychedelic band the Marshmallow Steam Shovel before joining Sweet Lightning.
Sweet Lighting recorded the album “Sweet Lightnin' ” at Fox Studios in East Liberty. The music ranged from the jazz rock tune “Reo Deo” written by Harry Tuner, to the spirited rocker “Sometimes All Do”, to the Bryds/Buffalo Springfield influenced tunes “In the Morning” and “Remember Me” penned by Pete Hewlett. Pete shines on vocals, McGinnis shows his skill in solos, and Fred Delu lays down cool Fender Rhodes and Hammon B3 jams. Their cover of the classic tune “Dancing In the Streets”, was arranged by Norman Nardini and backed with the hot horns of the Rhythm Kings. Sweet Lightning broke up in 1975.
Guitarist Sid McGinnis moved to New York City in 1974 where he began a career as a session player and touring sideman. In the late 1970's and early 80's he recorded and toured with Dire Straits, Carly Simon, Peter Gabriel, Robert Fripp, Cher, Clarence Clemons, Melissa Manchester, John Mayhall, Ashford and Simson, and Barry Manilow. In 1984 Sid was invited for a one night stand as guest guitarist on the David Letterman Show. He's been on the show ever since.
Byrd Foster became known on the national blues scene in the 1970’s touring and recording with legendary blues guitar master Roy Buchanan. He recorded five albums with Roy Buchanan as a vocalist, drummer, and song writer: Leaving Buchanan's band Foster formed the Silencers who released two albums on (CBS/Precision). In 1980 their single "Shiver and Shake" reached number 81 on the Billboard Hot 100 chart. Early pioneers in music videos they were featured on the very first broadcast of MTV in 1981. Foster recorded an album with the Iron City Houserockers in 1983. During the 1990’s and into the 2000’s Foster recorded with bluesmen Billy C, Wirtz, Sonny Rhodes, Ace Moreland, Eric Culberson, Smokehouse, and many others working at Kingsnake Studio. Foster recorded on over 36 releases. He was a much in demand session player and live performer who energized every band with his strong steady beat.
Pete Hewlett released a solo album "Sky High”on RCA in in 1975. He then recorded with Eric Carmen and the Euclid Beach Band of Cleveland International records. Sid McGinnis recommended Pete to Carly Simon. Pete moved to New York City in 1979 to join Carly Simon’s band. After touring with Simon he band a sought after vocalist touring and/or recording with with Billy Joel, Elton John, Joe Jackson, Amy Grant, Julian Lennon, Andrew Lloyd Weber, the Psyhedelic Furs, Beeb Birtles of the Little River Band, and more. As a recording artist his discography includes over forty recordings. Hewlett was a founding member of the CBS Recording act Novo Combo. Hewlett won an Emmy Award for his work as host of the WQED TV show “Live From Studio A”.
Fred with the help of Ron Foster went on tour with Roy Buchanon for two years. Returning to Pittsburgh he has performed with the popular bands the Rhythm Kings, Pure Gold, Gary Belloma and the Blues Bombers, Chizmo Charles, the Billy Price Band, No Bad JuJu, and Jill West and the Blues Attack.
Harry Turner, who had been the leader and founder of the Marshmallow Steam Shovel band, owned two music stores. He ran "Sunshine Music" in downtown Pittsburgh and "Turner Music" on Oakland Avenue in Oakland.
Lobby Loyde was born John Baslington Lyde on 18 May 1941 in Longreach, Central Queensland, Australia. He passes away from lung cancer with his favourite black Gibson guitar by his side on 21 April 2007 at Box Hill Hospital in Melbourne, Victoria, Australia.
Her mother was a classically trained pianist, and his father was a jazz trumpeter as a teenager he joined them in country town performances in outback Queensland. He attended Moorooka State School with young Billy Thorpe and both were, bullied in the Queensland state school system. Down the path, they would meet again through music and friendship.
Mick Hadley and Bob Dames both originally came from England and both decided to migrate to Australia in 1963. They both formed a rhythm and blues band The Impacts in Brisbane, Queensland with Scottish-born Fred Pickard including local musicians Barry Lyde from Stilettos and Adrian Redmond in 1964.
Lobby Loyde’s second solo album, Obsecration was released in May 1976 with Rainbird. One thing is certain his beautiful, at times heavy yet always unique psych-rock guitar work is the main feature throughout. With a solo single, Do You Believe in Magic? / Love Lost on Dream Tides in December 1975. Digitally remastered Obsecration is packaged in a 6-panel digipak and has 6-bonus tracks and many rare photos with liner notes. Re-issued on 28 August 2006 with Aztec Records.
Featuring an incredibly eclectic and diverse assortment of music, all up a magnificent album of guitar explorations and textures, a thematic collection of riffs, runs, rhythms and timing shifts taking the listener through a wide range of moods and styles. If anything, it lacked a commercial focus but as we’ve seen Loyde was well and truly beyond working within commercial considerations at the time. One thing is certain: his beautiful, at times heavy yet always unique psych-rock guitar work is the main feature throughout.
Tracks
1. Obsecration Parts A to D - 17:30
.a.Play My Guitar
.b.Obligato
.c.Continuation
.d.Legato
2. A Rumble With Seven Parts And Lap Dissolve - 5:12
3. Rock And Roll Sunset - 1:58
4. Lobby LoydeDreamtide - 14:42
.a.Statement
.b.Refrain
5. Goin’ To Louisianna - 7:46
6. Congratulateonies - 0:47
7. Do You Believe In Magic - 3:58
8. Love Lost On Dream-Tides - 4:25
9. Gypsy In My Soul - 5:47
10.Too Poor To Die - 4:30
11.Desperate For A Quid - 2:21
12.Fist Of Is - 9:55
.a.At The Colosseum
.b.The Fist Falls
All compositions by Lobby Loyde
Tracks 1-6 from "Obsecration" LP 1976
Tracks 7-8 from 45' Single, 1975
Tracks 9-12 from Previously Unreleased from " Too Poor To Die" EP
Great influence from Fred Neil, Milton Chesley Carroll is a minor folk/swamp rock singer-songwriter from Waxahachie, Texas. This debut work was recorded in New York after the single "Hippie From Mississippi" under the Name Chesley Carroll became a big hit on local radio stations.
His funky, bluesy songs include covers of Elton John's "Country Comfort," Jesse Winchester's "Yankee Lady," and "Love Of The Common People," written by John Hurley and Ronnie Wilkinsas well as originals that are as good as these.
A soulful country blues masterpiece sung with husky vocals. ``Sweet Country Music'' written by Tony Lordi, who was a staff writer at RCA at the time, is also interesting. Eric Weissberg on dobro and steel guitar, which determined the swamp flavor of this album, guitarist Jerry Friedman who also wrote "Don't Cry My Lady", Pat Rebiliot on keyboards, Tony Levin on bass, Steve Gadd on drums, etc. A lot of people are participating in the session.
Tracks
1. It'll All Come Down In Time (Cowboy Toni Lordi, Milton Carroll) - 3:55
2. Love Of The Common People (John Hurley, Ronnie Wilkins) - 3:46
3. Highway Song (Jorma Kaukonen) - 3:59
4. A Thousand Shades Of Grey (Milton Chesley Carroll) - 3:27
5. Country Comfort (Elton John, Bernie Taupin) - 3:20
Walter Seyffer founded the group Nine Days' Wonder as early as 1966. Four years later the line-up was: Walter Seyffer (lead vocals, drums, percussion), John Earle (sax, flute, guitar, vocals, from Ireland), Rolf Henning (guitar, piano), Karl Mutschlechner (bass, from Austria!) and Martin Roscoe (drums, from the UK). They recorded their first album NINE DAYS• WONDER in the Dierks Studio, January 1971 with the Hauke & Dierks team.
This was a fine example of more bizarre German progressive rock, clearly inspired by King Crimson, Frank Zappa, Soft Machine, Traffic, Family and Deep Purple. They presented long, complex suites of heavy progressive riffing, jazz fusion, large amounts of free improvisation, neck-breaking shifts of tempo and general insanity on tracks like, "Morning Spirit" and "Stomach's Choise" A fine achievement, if a little difficult to get into.
The original German issue of the album came in a green foam-rubber cover designed by Walter Seyffer. lt surely qualifies for the top ten list of the craziest sleeve designs ever made! John Earle's talented sax and flute work was particularly notable. When the original Nine Days' Wonder disbanded in 1972, he went to England and joined Gnidrolog (you can hear him on the classic album Lody Lake). Martin Roscoe drummed for a while in 2066 & Then. Seyffer joined Michael Bundt's band Medusa. In December 1972 this band suddenly turned out to be the new Nine Days' Wonder: Seyffer (vocals, percussion), Bundt (bass), Hans Frauenschuh (guitar), Freddie Münster (sax, keyboards) and Karl-Heinz Weiler (drums).
In July 1973 they recorded WE NEVER LOST CONTROL, which, understandably, was totally different to the 1971 album: a ,straighter' progressive rock album comparable to other Hauke productions like Epsilon, Nektar or Message. In 1974, Nine Days' Wonder went through further changes, ended up as a quartet at last, consisting of Seyffer, Bundt, Rolf Henning (guitar, bass) and Sidhatta Gautama (drums). They recorded ONLY THE DANCERS in September 1974 in England with the guests Dave Jackson (sax, flute, from Van den Graaf Generator) and Steve Robinson (keyboards, ex-2066 & Then). This was much more a straight rock song oriented album, with tuneful and sophisticated compositions.
krautrock-musikzirkus
Tracks
1. Fermillion (Walter Seyffer, John Earle, Rolf Henning, Karl Mutschlechner, Martin Roscoe) - 15:48
2. Moss Had Come (Walter Seyffer, John Earle, Rolf Henning, Karl Mutschlechner, Martin Roscoe) - 3:27
3. Apple Tree (Walter Seyffer, John Earle, Rolf Henning, Karl Mutschlechner, Martin Roscoe) - 6:45
4. Drag Dilemma (Walter Seyffer, John Earle, Rolf Henning, Karl Mutschlechner, Martin Roscoe) - 12:47
5. Long Distance Line (Walter Seyffer) - 5:21
6. Only The Dancers (Walter Seyffer) - 3:01
7. It's Not My Fault (Rolf Henning, Walter Seyffer) - 4:34
8. Frustration (Walter Seyffer) - 2:52
9. Hovercraft Queen (Michael Bundt, Walter Seyffer) - 3:40
The band that could not decide on a name. Or a favorite beer. The 1973 long player created by founding members, Greg Shuss, Chris Breetveld, Rob Rothschild, Rich Larsen, Bil DiMartino and contributing quests Mike Rothkopf, Mick Parmenter and Shotzie the wonder hound, is today considered highly collectable. That is, in fact, an understatement. In fact Phone Calls have been received inquiring on the whereabouts of desired copies of "The Album-Rhubarb's Revenge or Confessions Of A Big Lanky Dope (Pink Grass Records LPS827).
Released in fall of 1973, this record is an eclectic mixture of bizarre originals and classy covers of The Move, Kinks, Zombies and Byrds, all recorded at Chris Breetveld's home Pink Grass Studios in Kendall Park, New Jersey USA One hundred copies were pressed. Another hundred copies were rumored to have been chopped up, rolled up, and smoked by the members of the band. Recorded mainly on Sony 2 track reel to reel decks and bounced tracks between these machines to stack up (meaning: make even worse) the performances. This was a year before their beloved Teac 4 track came into being. Thereafter it was holy hell on music as we knew vit With an impreciseness never before allowed out of a house, a musical sensibility that can only be described as flaccid, and a complete ineptitude for playing even basic musical parts these friends would gather almost every evening, after Shuss and Rothschild finished their second shift jobs, at studio du Pink Grass Passing by Breetveld's parents watching the 11:00 news, dad Jim would invariably greet the lads with "Happy New Year, boys!" each1, as handfuls of beer were carried into the addition room at the far end of the house from the other bedrooms-allowing the boys to experiment and howl late into the night.
Secluded back in Pink Grass, the tape deck would be fired up and the "c'mon lads, pick up something and let's make some noise!" could be heard faintly through the Kendal Park evening stiffness with only the rare, occasional interrupting knock on the door at 3AM and the "you've got to be fucking kidding!" speech from Mom or Dad Breetveld in ps So anyway, after months of recording all kinds of stuff, Mr. Breetveld St. announces that the family was going to INDIA for a five year stint related to his UNICEF position. (See Peter Ustinov or Danny Kaye bios). "Well, geee thought the group. how can we all have copies of at this marvelous shit we been recording since Chris is taking the tape deck and all the tapes with him? Hmmmm. Let's see how much it will cost to have 5 or10 copies pressed onto vinyl for all to enjoy." It turned out to cost the same to press 100 as it would for 10, So, What The Heck? Thusly, a classic, limited edition was born, although several songs had to be trimmed to fit the time limitations of LP Happily, mor most of these deleted pieces are back, included on this re-issue as bonus tracks. The first music biz person to turn down the band was a chap in Denmark St, London who was the publisher for Marc Bolan and T-Rex and other notable acts at the time. It was Chris' first stop on the way to India to spend a week in London, last week of August 1973. Following the lyrics of the Kink's song. "Denmark Street (terally), he first found Tottingham Court Row (just 'round the comer from old Soho..") and very excitedly shopped" the test pressing he brought with him. The next morning said chap handed the acetate back with sweat pouring down his face, simply saying "I don't think this is exactly what we're looking for Thank you very much and good luck. And then ran into the bathroom (the WC) In New Delhi, where the first actual band with Breetveld performed under the name "Porky Roadapple, the Indians were similarly perplexed with this new American music.
Back in the States, the Road Apples continued experimenting with new beers and ways to avoid both employment and the draft. Success abounded, except for Rich Larsen who teamed up with an exchange student (Saddam somebody) and joined the Navy Returning to the US of A eleven months later, the Breet re-teamed with Shuss, Rothschild and the "Italian Scallion Dino D. Martino for some 'serious' recording. The breathtaking Send Money resulted from the new recordings. This time it was all original compositions with only one or two covers. Lucky for the covers Copies of "The Album" continued their individual journeys around the world and back to this day. Record collectors began calling Breetveld and Shuss who were very busy with their latest scam, The Breetles, the over-the-fab-four power-pop sensation. Offers started coming in for original copies of "Rhubarb's Revenge from all over. Explaining that they were "scattered to the wind" or "doing time in Folsom" was not enough to satisfy the need for this jaw breaking record. Finally, a deal was made with Gear Fab to bring this twenty six year old regional classic back to life.
Here, you have it and don't come crying because it didn't include the Big Lanky Dope beer can opener, popular in the seventies before pop-tops Other Road Apples classics include (besides the progressive rock out-there absurdity, "Send Money 1974), the pop & whack of "Pet Waint (1976), and Chris' rock opera/musical/ last ditch bid for attention, "The Panchilla Gorilla (1979) the story of two guys (Seed & Chillum) search for the perfect "high". That album was recorded on a Teac 4-track at home and in a "real" 8 track studio. Can You tell the difference? Go To: www.interactive.net/s/breetles.html to check out The Breetles and for more on Rhubarb's Revenge, Road Apples and all Pink Grass related stuff.
Whilst it could never lay claim to being a front-runner of the British psychedelic movement, President Records was nonetheless quick to respond to changing musical tastes when it was launched into the heady midst of swinging London in 1966. In keeping with other independents at the time, President's autonomy allowed it to experiment freely with new artists and saw the label expand into areas which nowadays might be termed Psych Pop. And whilst it's true that President's major successes both at home and abroad were with artists like the Equals, Dorothy Squires and the Symbols, many of its more left-field releases are now beginning to enjoy the recognition which eluded them first time around.
Currently enjoying something of a revival on the collectors' circuit, UK Psych Pop has never been more popular. Eagerly awaited by fans of the genre, Sometimes I Wonder has been carefully compiled with collectors in mind and draws together the cream of President's Psych Pop recordings, most of which have never been released on CD up until now. Comprising both single cuts and rare album tracks Sometimes I Wonder takes the listener on a magical mystery tour through the President vaults, via its offshoots Jayboy and Gemini. Here then are 27 gems by the likes of the Explosion, Rhubarb Rhubarb, Chords Five, Pure Gold, Barbara Ruskin, the Exception, Rick Price & Mike Sheridan, all ranging in eccentricity from the melodic day-tripper pop of the Symbols' Again to the all-out psychotic reaction that is the She Trinity's Climb That Tree.
Expertly compiled by David Wells and bursting with rare memorabilia and photographs, Sometimes I Wonder is essential listening for all Psych Pop devotees.
Marmalade Skies
Artists - Title - Composer
1. Hat And Tie - Finding It Rough (Chris Thomas, Patrick Campbell-Lyons) - 2:50
Lost and found studio recordings (1971-79) by US singer-songwriter Sid Bradley including some of the sought-after 45 sides released with his band Erik in the early '70s plus fabulous previously unreleased tracks. Pro-sounding sound, ranging from fuzzed-out psychedelic hard-rock to psych-pop and proto-power pop.
A phenomenal and versatile songwriter (he has written hundreds of songs) Sid Bradley started to play in garage bands like The Cavaliers in the '60s and by the early '70s he was part of Erik, a group responsible for a couple of self-produced 45s, Child Of The Sea/Nothing Is Easy and Sometime In Your Life/Rebel Woman. These 45s were usually used for promo purposes and it was typical of Sid to load a few record boxes into his car and travel hundreds of miles, visiting all the radio stations, trying to pitch his music to the DJs. This one-man marketing operation actually worked fine, as Sid's music was played in radio stations across the eastern US, Canada, England, and even Germany. And some of his songs were reviewed in Billboard, Record World or Rolling Stone.
You may be familiar with the hard-psych sounding "Child Of The Sea" as it has been included on several psych comps and it was also part of the Lodge 49 soundtrack. The flip, "Nothing Is Easy" wouldn't sound out of place on any Rubbles volume. "Rebel Woman" is now considered a proto-metal cult classic and it was recently included on the Brown Acid series. After the demise of Erik, Sid continued recording his songs using different musicians.
Most of these tracks remained unreleased until a few years ago, when Sid, encouraged by the interest on his old Erik 45s, decided to remaster them and put them available on several digital only albums that caught the attention of mags like Shindig! Guerssen Records now present a selection of those tracks. Master tape sound and insert with liner notes by Sid Bradley and Paul Osborne (Shindig!); also includes download code."... a gifted singer-songwriter with a love for late '60s songcraft and the more muscular powerpop of '70s contemporaries like The Raspberries"
Bassically, this is Mountain with layers of Cream in between. When Mountain crumbled, Jack Bruce replaced his former Cream associate Felix Pappalardi in the middle of Leslie West and Corky Laing. West, of course, was one of rock’s best guitarslingers and a solid blues vocalist to boot, but a strange sight to behold. The best that can be said of Laing is that he’s a better singer than Ginger Baker and a better drummer than Peter Criss. Add to that one eccentric English heroin addict, and you’d think that Why Dontcha would be ripe for disaster. Instead, the album continued Mountain’s winnings ways, entering the US Top 40 and generating enough interest for a followup and a live album.
Now, my interest in the trio really begins and ends with Bruce. West clearly has a boatload of talent, but the only song of his that connects with me on a deep level is “Love Is Worth The Blues.” The songs from Jack Bruce, on the other hand, are never less than interesting. I thought Harmony Row was brilliant if a bit strange, and the same genius is evident on “Out Into The Fields” and “Pollution Woman.” Bruce’s bass playing continues to be completely over the top–a holdover from the days of wine and Cream. He comes off the hinges at the end of “Third Degree,” and you don’t know whether to be amazed or appalled.
Honestly, without the Pappalardi connection, Bruce probably wouldn’t have set foot on this mountain. But he did, and gained a great guitarist in the bargain. Or, from another perspective, Mountain gained an erratic but entertaining star to pin on their power trio pedigree. Either way you look at it, West, Bruce & Laing is too interesting a combination to ignore. The end result is sort of CCR meets Cream without an obvious hit in sight, but with enough energy to make up for it.
by Dave Connolly, September 7, 2018
Tracks
1. Why Dontcha - 3:04
2. Out Into The Fields (Pete Brown, Leslie West, Jack Bruce, Corky Laing) - 4:41
3. The Doctor (Leslie West, Jack Bruce, Corky Laing, Sue Palmer) - 4:29
Managerial problems – Dr John has had a few. One adviser encouraged him to spend time in a mental hospital to get out of a drug conviction – the part-finished Remedies comes from this insane period. Contains the 17-minute prison reform polemic, “Angola Anthem”.
“My managers put me in a psych ward. These guys were very bad people – I had gotten busted on a deal, and they got me bonded out of jail, and so when they did I could have got a parole violation. All of this stuff was so unconnected to music that it’s hard to relate it. A friend of mine had just come out of doing 40-something years in Angola [the infamous Louisiana State Penitentiary], he was just someone special in my heart – called Tangleye. And Tangleye says, ‘I’m gonna sell you this song. Got it in Angola, but ain’t nobody ever cut this song…’ Even now guys I know getting out of Angola know this song. It’s still a horrible place to be. They feed people every 10 days or whatever.
“And that’s why I cut this song: I got a friend doing 300 years in one of these satellite penitentiaries, he got high blood pressure, cirrhosis of the liver, he don’t get no medication. People have no idea what it’s like in a cell when it’s just you, and they feed you whenever they feel like it. One of these guys told me, ‘You can taste the food before you eat it.’ And they stretch it too with the rats and whatever other critters these guys have as pets.”
