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13 Dec 2017

Warlock “Warlock” 1972 Detroit Psych Soul Rock

Warlock “Warlock” 1972 Detroit Psych Soul Rock
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1972 release on the Buddah offshoot label Music Merchant that mixes rock, psych and soul with varying degress of success. Second song on side two is 14 plus minutes for those keeping track….~

Popular name for bands so there’s a lot of confusion and misinformation on this particular outfit. So I’ve looked and look for information on this obscure album, let alone some sort of review … absolutely no luck. What I can tell you is that this Warlock was masterminded by Detroit studio musician Jack Burningtree. 

Apparently released by the Buddah associated Music Merchant label without the band members knowledge or cooperation, 1972’s self-produced “Warlock” showcased a largely original set of music that tried to blur the line between conventional soul, hard rock, and psych influences. The liner notes didn’t provide much in the way of credits or performance information, but nine of the ten tracks were penned by Burningtree, former Seminoles lead singer Joey Finazzo, and Mike Mujadin. If you liked hard-edged soul-rock outfits like Maximillian, The Next Morning, and Purple Image this was probably going to hold some interest for you. That said, there were some real issues with this set. Burningtree and Finazzo split vocal duties. Finazzo had a commercial, if somewhat anonymous voice that was well suited to the album’s slower numbers (‘Love Girl’). In contrast Burningtree’s voice was an acquired taste - particularly when he tried to stretch out on the rock numbers. To my ears he sounded a but like a drowning David Clayton-Thomas. Which serves as a nice lead-in to another issue; the horns. Virtually all of these songs featured busy horn arrangements. A real negative to my ears, though perhaps some folks won’t hear it that way. 

- Opening up with the gentle sounds of a music box, 'Music Box: Struggling Man’ abruptly shifted into a strange soul-meets-hard-rock hybrid. Imagine early David Clayton Thomas having totally blown his limited voice (Burningtree literally sounded like he’d been gargling with steel wool). Just when you were starting to get acclimate to his voice the track shifted into a female sung cocktail jazz section (no idea who the lady was), before heading out the door with a nice fuzz guitar solo section and a return to the initial hard rock orientation. Certainly one weird way to start an album. rating: ** stars 
- The jazzy-tinged ballad 'So Can Woman’ featured a pair of lead singers. One of them sounded like Burningtree, but I’m guessing the other was Joey Finazzo (formally lead singer for The Seminoles) and one of the song co-writers. Not sure why, but this one’s always reminded me of early BS&T. rating: ** stars 
- While it was a pretty ballad, 'Putting Life Together’ sounded strained and uncomfortable with the arrangement and accompanying sax solo giving the track a distinctive jazz-flavor. rating: ** stars 
- Just when you thought you’d figured this outfit out, along comes 'You’ve Been My Rock’. It fact this one was so different, you were left to wonder if this was even the same group … The lone non-original (credited to Holland - Dozier), the result was easily the album’s standout performance. Complete with uncredited backing vocals from the group Honey Comb, this one sounded like a long lost Chairman of the Board release. rating: **** stars 
- 'Thrills of Love’ of ended side one with a return to a hard rock edge. The song was kicked along by a nice fuzz guitar figure and a cool melody, but like most of side one the busy horn arrangements detracted from the overall effect. rating: ** stars 
- Opening up with martial drumming and some Spanish-flavored sax moves, 'Love Girl’ suddenly decided to pursue a flute-propelled jazz vibe and a bland, Finazzo lead MOR ballad. rating: ** stars 
- Clocking in at over 14 minutes, 'As You Die: Music Box’ opened up with some keyboard and sax jazz riffing. About a minute in the track morphed into a mid-tempo ballad saw Finazzo turning in one of his better vocals as well as a tasty fuzz lead guitar solo, and Burningtree showcased some impressive bass moves. Unfortunately from that point on the rest of the song descended into and extended jazz vamp. The end of song 'nobody gets out alive’ shout was kind of funny. And then back to the music box … rating: ** stars 
Music Merchant tapped the album for an instantly obscure single:….~

I just want this thing out of my house. I mean, Tipper Gore and the PMRC can say what they want about Black Sabbath and Led Zeppelin, but anyone whose seen Ozzy or Jimmy Page lately knows that if they did indeed sell their soul to Satan, then it must’ve been in exchange for a lifetime supply of cheeseburgers. And what did the Prince of Darkness get in exchange? Ozzfest and the soundtrack album to Death Wish II? Not much of a deal after all, is it? Now, on the other side of the Axis of Evil, take a look at the cover of this album from 1972 by Warlock. A big ol’ winged demon, half-goat, half-man…er, half woman I guess by the looks of those satanic meat balloons…boldly soaring over a Technicolor backdrop that looks like the pavement if you dropped all four Teletubbies off the Sears Tower (and don’t think I’ve tried). If you don’t think that’s pure unadulterated evil, boys and girls, then maybe you need to go back to your cute little Saw movies. For those expecting sword-and-sorcery type Valhalla-I-am-coming bombastic prog rock inside, think again. You may have thought Led Zep and Sabbath were the s*&t of heavy demon rock back in the early 70’s – heck, I did too until I turned twelve – but anyone really worth their Necronomicon knows that real Devil Rock is soul and funk. ‘Cuz that’s sex music, and the Devil’s all about sex. Let’s face it, if the Devil were really more interested in drawing barbarians and dragons on the paper bag bookcovers of his grade school Social Studies textbooks, then he’d be into Rush and Sabbath too. But no one ever got laid listening to 2112 and Satan knows that – he wants the hot chicks and knows the only way to get ‘em is to make ‘em dance. And sweat. And grind. And then his goat half takes over. Since this is real Devil music, the Warlock kids take the soul/funk route, natch, and let loose with forty minutes of heavy grooves, like Rare Earth or early 70’s Love, or Curtis Knight when he was down in the village. Leave the epic tales of Snow Dogs and Valhalla to the little boys with the ZoSo T-shirts – when the Warlock men sing, it’s about the “Thrills of Love” and chances are it’s a frenzy of white-hot psychedelic funk that gets your wife more worked up than an all-night Encore Channel Richard Gere marathon. Then they turn around and pack some black-hearted sweaty sex-fueled saxophone soul into a seemingly well-meaning housewife-friendly title like “Love Girl.” All the better to lure doe-eyed female fans of David Gates into Warlock’s little inner circle of sex funk and sin. I tell ya, these boys are ruthless. Even when they get psychedelic, it’s still dark – the menacingly-titled 13-minute “As You Die” falls somewhere between the moody acid rock of Mandrake Memorial and the extended jazzy jam sessions of Santana. And if that doesn’t sound demonic enough for ya, just remember that the young Anton LaVey was often heard cruising through his neighborhood in his beat-up ’68 Nova blasting “Oye Como Va.” On 8-track. Now that’s evil. Look, I’ll be honest, I don’t know how much longer I can resist this sheep-headed Succubus and her black-hearted grooves of temptation, so please, someone with a stronger conviction than me, kindly take this album off my hands. I like sexy covers as much as any red-blooded American male, but this Baywatch Baphomet – this Bovine Derek – she just gives me the creeps. Sure, she’s topless (and most likely enhanced with some Stygian silicone), but when I said I wanted a girlfriend just like Kelly Monaco, I didn’t say you could graft the head of an Angora Sheep on her body. I’m sure there are a few farmhands out in Nebraska who’ve had a few wet dreams that look like this album cover, but not me. To me, it’s just pure, unfiltered, demonic evil. I won’t even think about playing this one backwards….~

A1 Music Box: Struggling Man 4:43 
A2 So Can Woman 3:30 
A3 Putting Life Together 5:16 
A4 You’ve Been My Rock 2:54 
A5 Thrills Of Love 3:16 
B1 Love Girl 5:52 
B2 As You Die: Music Box 14:35 

Salvation "This City" 1979 US Private Psych Rural Rock

Salvation  "This City" 1979  US Private Psych Rural Rock
Line Up: 
Michael Bennett bass Oead Guitar  (by Coyote Band)
Scott Wiliams drums
Betty Harmon  vocals
Jody Tanzer  keyboards
John Oxford  -Vocals Rhythm Guitar,Harmonica Lead Guitar
A1 Either Way 
A2 Hear The Sound 
A3 This City 
A4 Closer To The End 
B1 Once Again, Darkness 
B2 Horizon 
B3 Without You 
B4 Some People 
B5 Friendly Advice

George Brigman & Split ‎ “Silent Bones” 1985 EP US Private Hard Rock

George Brigman & Split ‎ “Silent Bones” 1985  EP US Private Hard Rock 

watch interview by psychedelic baby

George Brigman has been well known in the underground garage/heavy psych community since his debut release, Jungle Rot in 1975 ,an instant collector’s item called “the Holy Grail” by David Fricke of Rolling Stone magazine. Following Jungle Rot, George gigged live and recorded with his bands Hogwash and Split, whose names were derived from album titles by his favorite band Groundhogs. His publishing company S'one Songs, his Solid record label and the song “T.S.” were all references to Groundhogs as well. 
Under the name George Brigman and Split, he released a cassette (300 copies) in 1982 called I Can Hear the Ants Dancin’ which showcased the band’s instrumental prowess and featured his extended wah wah laden guitar solos. Ants was re-issued on vinyl by OR Records in 1996 and on CD by Bona Fide in 2005. 
Also of interest is a 1985 EP on Bona Fide entitled Silent Bones and a 1986 Dutch compilation on Resonance called Human Scrawl Vagabond, which collected material from Ants, Silent Bones and added six new songs. Human Scrawl appeared in Chuck Eddy’s book “Stariway To Hell: The 500 Greatest Heavy Metal Albums”. 
Selections from Silent Bones and Human Scrawl, can be heard as bonus tracks on the CD version of Ants.

A1 Mistress Of Desire 2:30 
A2 Iran In Japan 2:06 
A3 Grunts 2:41 
B1 Pull Your Pants Down 3:48 
B2 Cambodian Bossa Nova 2:39

Bass – Mitchell Myers 
Drums – Dave Wilson (20) 
Guitar – George Brigman 
Vocals – Wayne Hastings (tracks: A1, B1)

George Brigman Discography 


Jungle Rot (Solid 1975) 
–(Anopheles 2005, remastered clear vinyl exact repro) 

I Can Hear The Ants Dancin’ (Solid, 1982) 300 copy cassette 
—(Or, 1995) 1225 vinyl LPs 

Human Scrawl Vagabond (Resonance, Netherlands, 1986) 

Compilation track: 

My Cherie on The Train to Disaster LP (Bona Fide, 1983) 


Blowin Smoke/Drifting (Solid, 1977)–as Split 
Silent Bones 5 song EP (Bona Fide, 1985) 
Blowin’ Smoke/Drifting w/PS (Solid/Bona Fide, 2007) 500 copy numbered and signed 30th anniversary sleeve with 77 pressing 


Rags in Skull (Bona Fide 2007) 
I Can Hear the Ants Dancin’ (Bona Fide, 2005) 
–an expanded ants that includes 10 more tracks from 77-82 
Jungle Rot (Bona Fide, 2005) 
–includes 3 extra tracks from the pre-Split band Hogwash 
Cherrystones Word (Poptones, UK, 2006) 
–compilation which includes George’s song Blowin Smoke 

Noel Redding Band ‎ “Clonakilty Cowboys"1975 + "Blowin’ "1976 Ireland Classic Rock

Noel Redding Band ‎ “Clonakilty Cowboys"1975 + "Blowin’ "1976 Ireland Classic Rock 
Noel Redding Band ‎ "Clonakilty Cowboys” 1975 
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Noel Redding Band ‎ “Blowin’ ” 1976 
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full spotify

watch   Noel Redding Band ‎band to band

watch Noel Redding interview…

The Noel Redding Band (also known as The Clonakilty Cowboys, after the title of their debut album) were an English-Irish folk rock supergroup that formed in Clonakilty, County Cork in 1974. Comprising bassist, rhythm guitarist and vocalist Noel Redding (formerly of The Jimi Hendrix Experience, Fat Mattress and Road), vocalist and keyboardist Dave Clarke, lead guitarist Eric Bell (formerly of Thin Lizzy and Them) and drummer Les Sampson (formerly of Road), the band released two albums – Clonakilty Cowboys (1975) and Blowin’ (1976) – before disbanding in 1978. 

After his group Fat Mattress split up in 1970, Redding joined the Los Angeles-based group Road, which released a self-titled album before disbanding in 1972. Following this, Redding decided to form an eponymous band, working again with Road drummer Les Sampson. Redding also hired vocalist and keyboardist Dave Clarke and, later, former Thin Lizzy guitarist Eric Bell, who at first expressed doubts about the quality of Redding’s written material.

During a hiatus following the release of their second album in 1976, Les Sampson departed and was replaced by Dave Donovan (ex-Roy Wood). This incarnation of the band toured Holland and disbanded in late 1978. 

The band, like others formed by Redding, was relatively short-lived, releasing two albums in 1975 and 1976 before splitting up in 1978. Tracks recorded for a third, unreleased album were later released as The Missing Album  on Mouse Records  

Redding once suggested in an interview that The Clonakilty Cowboys was the band which gave him “the most pleasure.”….~

The two apparently hit it off and decided to form a band, eventually settling on the cleverly-named Noel Redding Band. After going through extended tryouts which included the likes of Mickey Gee, Peter Kircher (who had played with Redding in the Loving Kind), and Mick Taylor, the line-up settled around Clarke, Redding, former Thin Lizzy guitarist Eric Bell and Stray Dog/former Road band mate Les Sampson on drums. Certainly helped by Redding’s name recognition, 1975 found the band signed by RCA which teamed them with producer Muff Winwood. In spite of the band name and the strange title (I guess if was a reflection of the Irish county the band lived in), 1975’s Cloankilty Cowboys" was a true collaboration with Clarke and Redding sharing writing duties, as well as lead vocals (Clarke was the better singer of the two). It probably didn’t help sales, but musically the was about as far from Hendrix-styled rock as you could get. Tracks like ‘There’s a Light’ and 'Roller Coaster Buoys’ offered up a commercial pop sound, while material like 'Eight Nights a Week’ and 'Snowstorms’ featured a more conventional mid-'70s rock sound. Mind you, it was also well played and professional, but with the possible exceptions ot the opener 'There’s a Light’ and the title track, nothing here made a lasting impression…..Bad Cat….~

Noel Redding Band ‎ “Clonakilty Cowboys” 1975
The group was formed in the Irish town of Clonakilty (Cork County), where the musician settled permanently in 1972. Its founding father was Noel Redding, a former member of the Jimi Hendrix Experience, Fat Mattress and Road. In the composition were invited Dave Clarke, Eric Bell (ex- “Thin Lizzy” and “Them”), Les Sampson (“Road”). After the band “Fat Mattress” split in 1970, Redding joined the Los Angeles supergroup “Road”, which, in turn, disbanded in 1972, releasing a single album. Then Redding decided to create his own team “Noel Redding Band”. Despite the fact that she was called by his name, Redding himself was only an ideological inspirer, and not the main character. The existence of the “Noel Redding Band”, like all previous Redding teams, was short-lived. The band released two albums: “Clonakilty Cowboys” in 1975 and “Blowin ’” in 1976, performed four major American tours, and then broke up. The first album sounded a bit softer, the second was a little bit more rigid, but both releases did not bring the team any noticeable success. Also, the tracks that were included in the unreleased third album were recorded. Subsequently, they saw the light in 1995 on “Mouse Records” in the release of “The Missing Album”…~

Former Jimi Hendrix Experience bassist Noel Redding’s second attempt to lead a group (following Fat Mattress), the Noel Redding Band were more of a cooperative effort than their name would suggest. Redding may have been the organizing principal behind the unit, but David Clarke wrote or co-wrote almost all the material as well as singing lead vocals, while Eric Bell played lead guitar. Whoever dominated the band, however, their debut LP, Clonakilty Cowboys, was very much a British rock album of its time. There were hints here of the Faces and there of Mott the Hoople in a mainstream rock sound that seemed utterly familiar in the mid-'70s, but didn’t much remind you of Redding’s work with Hendrix. When Bell took off on his solo, for example, at the end of “Eight Nights a Week” (a paean to being a rock & roll star), his high-pitched work was out of Rock Guitar 101, but it had none of Hendrix’s inventiveness. Maybe it’s not fair to make such a comparison, but one falls into comparisons in discussing the music because it had little distinctive character of its own. As singers, neither Clarke nor Redding made it out of the rusty-voiced ranks of generic rock vocalists. Clonakilty Cowboys didn’t make any noise on the charts and it didn’t deserve to. Redding and company had made a fairly typical album for their time, but hadn’t done anything that distinguished them from the pack….by William Ruhlmann…allmusic….~

Noel Redding – bass, rhythm guitar, acoustic guitar, lead vocals 
Dave Clarke – lead vocals, piano, electric piano, organ, clavinet, backing vocals 
Eric Bell – lead guitar 
Les Sampson – drums, percussion

There’s A Light 2:59 
Throw Me A Buoy 2:52 
After All 4:36 
Roller Coaster Kids 3:18 
Eight Nights A Week 3:37 
Clonakilty Cowboys 2:55 
Snowstorm 3:01 
Born To His Name 2:50 
If I Had 3:40 
Got To Move Away 3:44

Noel Redding Band ‎ “Blowin’ ” 1976
Noel Redding emphasized his primacy in the band named after him on their second album, Blowin’, putting close-up photographs of himself alone on the front and back covers, albeit with humorous intention. (He was pictured on the front blowing up a big bubblegum bubble and on the back with the burst bubble stuck to his nose.) He also took over production duties on the record and wrote a couple of songs on his own. But this was still a group effort on which lead singer and primary songwriter David Clarke took a prominent, if not dominant, role. The album rocked harder than its predecessor, Clonakilty Cowboys, and, recorded largely in the U.S., seemed to have more of an American, on-the-road feel, beginning with its opening track, “Back on the Road Again.” But the Noel Redding Band were still a faceless, nearly generic rock group with a rusty-voiced singer mouthing rock & roll clichés and a standard-issue guitarist. Blowin’ didn’t sell any better than Clonakilty Cowboys had, and that was about the end of the Noel Redding Band….by….by William Ruhlmann….~

Back On The Road Again 3:15 
California 3:24 
Yes It’s Alright 3:15 
I’d Rather Go Blind 3:20 
You Make Me Feel So Good 4:45 
Take It Easy 3:35 
Love And War 3:29 
Before The Photograph 2:45 
I’m Just A Sinner 3:45 
Hold On 4:30 

Band members 
Noel Redding – bass, rhythm guitar, lead vocals 
Dave Clarke – lead vocals, keyboards, piano, organ, clavinet 
Eric Bell – lead guitar, backing vocals 
Les Sampson – drums, percussion 
Dave Donovan – drums, percussion

Clonakilty Cowboys (1975) 
Blowin’ (1976) 
The Missing Album (1995) 


johnkatsmc5, welcome music..







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