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2 Jul 2016

Zini “Better Than A Kick In The Teeth” 1977 US Private Hard Rock

Zini “Better Than A Kick In The Teeth” 1977 excellent US Private Hard Rock.

Very rare limited private issue of 500 from this 70’s Kansas City band with a great Neil Young & Crazy Horse, Buffalo Springfield, and early raw Eagles sound. Some really fine songwriting and layered electric guitar textures round it this obscure LP nicely..

Here’s one of my guilty pleasures from the vast US private press scene. You may see Zini listed as ‘psych’ or some such nonsense elsewhere, but in actuality it’s classic '70s guitar-rock from the American heartland. Like bands such as Tree Fox or Stagefright, this works as a unique snapshot of the local reality these guys lived in, hanging out, cruising around their small hometown, listening to the Allman Bros and the Doobie Brothers, and trying to get something going with their own band. In that scene, this is a very solid, above-average record. The guitar-work is strong throughout, but the tracks that grab me most are the melodic things like the opener and “The Line Of Fire”. Not for everyone, but an album that holds a place in my private collection, unlike a lot of other more 'cool’ stuff. Not terribly easy to find..

Warpig “Warpig”1970 mega rare Private Canada Heavy Psych Hard Rock Promo Metal

Warpig “Warpig” 1970 mega rare Canada Heavy Psych 


This Ontario act have the distinction of being one of the few bands to release the same album on two different occasions on two different labels (the London Records version the following year) with different covers with both being worth nearly identical pretty pennies. I can’t really name another band/album withthat strange honor, so we’ll just call that the ‘fun fact’ of the review.
I’ve heard many different opinions about this rare album, mostly from people who were hearing it for the first time, spurting out influences from Deep Purple and Sabbath to Iron Butterfly and even Nektar. Honestly, I believe them to be a cross between Deep Purple and, during their faster moments, Uriah Heep. Perhaps it’s just the flowing, almost carefree vocals of Rick Donmoyer that remind me of UH. Maybe it’s the keyboard-choired hardness that is reminiscent of DP. At any time, these seven tracks (eight listed) can be ominous, then free-flying, and supposedly have sensitive lyrics (“…digging in the garbage heap…”, “…the dead begin to die…”).
“Flaggit” and “Advance AM” are speedy hookers that don’t have as thick a sound as Heap’s “Easy Living”, but are still great for blowing by station wagons on the highway. Threatening are the Sabbath-with-keyboards “Tough Nuts” and very Deep Purple-ish “Sunflight”. The wordless “Melody with Balls” almost harks ahead with a Handful of Rain-era Savatage sound at times, but the pre-80s keyboard twiddling brings it back into classic rock focus. “Rock Star” is a cool little number with a breaking melody nestled within an even-keeled rhythm, though they do overstate the chorus a bit. The finale, either “U.X.I.B.” or “The Moth”, is the true oddball of the group, swamped in sudden drum work, another ultra-breaking riff, and a bass-led melody that sounds like it’s running backward. Halfway through it bleeds into a very somber interlude that makes “Planet Caravan” sound energetic

Warpig's formation came the same as so many other rural Ontario bands of the mid 60's. Guitarist/singer Rick Donmoyer toiled the late 60's in a number of groups, including The Turbines, The Kingbees (later The Wot) and Mass Destruction.
But by late '66 Donmore found himself looking for a new project, and hooked up with fellow Mass Destruction alumni Terry Brett on bass, Dana Snitch (keyboards/guitars) and drummer Terry Hook, all Woodstock natives. Endless practices in the Hook basement led to Warpig a few months later. With a mix of influences rivalled by few in the area, the boys soon found themselves a steady on the Toronto independent scene for the better part of the next two years.

The band was seen by a label owner and were signed to FontHill Records in late 1968. They continued on the circuit, while writing original material and financing the recording of their first lp. With the production help of Robert Thomson, it finally saw the light of day in the spring of 1970. The album was full of raw power, with inspirational remnants from everything from the British Invasion to the surf sound, from Chet Atkins to Black Sabbath. Reminiscent of a less-structured Deep Purple album, tracks like the lead-off "Flaggit" and "Tough Nuts" gave you the unbridled passion of a young band doing it their way, while "Advance in A Minor" showed the band's tight structure and classical influences, in what could only be described as 'early eclectic post psychadelic'. A common theme throughout the lp was the band's pounding rhythms and straight forward guitar licks.

A 45 of "Rock Star" b/w "Flaggit" made the rounds of the radio stations, and along with their live show,the following grew. FontHill was bought out by London Records in '71, leaving the band in the lurches as to their status for several months. The band carried on throughout the circuit, when they discovered they were without a label. London reissued Warpig's debut a year later, repackaged and remastered.

The group carried on, writing material while on the road and slipping into the recording studio when they could book some time. But what was supposed to be the band's second lp got shelved when they couldn't find a distributor. Upset with management and the band's general direction, Snitch left the Warpig tent in '73, followed by the complete breakup of the band a short while later. Everyone went on to do outside projects and their own things, Donmoyer carried on in the business for a few more years, most notably with the Toronto-based Ash Mountain.

By the new millennium more than one bootlegged Warpig CD found its way to the black market. In 2004 the four original members got together to see what would happen, and have since focused their energies on reforming fulltime. An official remix of the band's only released album is said to be a future possibility, and may include new material, as well as outtakes and unreleased gems. 

Many of the psychedelic blues rockers circa 1970 tend to cover the same narrow strip of territory soundwise, but Warpig are distinguished for perhaps being the first band I've heard from the style to be compatriots of mine. The crusade to take rock to new heights of fuzz and distortion with the help of blues tricks was a largely British movement, but it had its followers around the world. I recently listened to Australia's contribution to this dated style with Blackfeather and their debut At the Mountains of Madness. Checking out Warpig has felt like a natural continuation of that experience; both bands essentially petered out following their debuts, each took the British hard rock formula to their respective ends of the Commonwealth, and both managed to carve out decently memorable records without necessarily advancing the template they worked with. Warpig's self-titled debut has not aged well in the decades since its release, but for all its primitive simplicity, they had a character and energy to them that set them apart from the wannabes. 

Sex, sleaze, and a liberal dose of early Deep Purple influence; add these things together and you should have a solid idea what Warpig sound like. Fronted capably by Rick Donmoyer, the album does not mince words, nor pull its punches. While their set-up was generally straightforward, Warpig-- like many of their heavy psych contemporaries-- opted to play around with a variety of different scopes in their music. "Flaggit" and "Tough Nuts" are fast and to-the-point blues rockers, while "Melody with Balls" and the enigmatically titled "U.X.I.B" are slower, almost recalling the almighty Black Sabbath, who released their own debut earlier the same year. While there's no doubting Warpig had their hearts set on unpretentious distortion worship, they occasionally demonstrate higher aims here. "Advance in A Minor" is a surprisingly highbrow instrumental; modern ears might still dismiss it as simplistic, but it's enough to show these guys weren't as simplistic as some of their more straightforward material makes them out to be. 

Warpig flaunt their Deep Purple influence, mostly through the keyboard presence, performed here by Dana Smith. Beyond that, the band offer a very basic hard rock set-up. The drums are tight and punchy, and the guitar solos (of which there are plenty) don't dare to tread outside the comforting familiarity of the pentatonic scale. Even for their time, I don't think Warpig would be turning any heads with their style; of the bands I've heard playing this style, these guys sound like most of them. Where I think Warpig begin to stand out is the personality they inject into the formula. As a rule, bands of their ilk attempted to put a faster, grittier and generally heavier angle on the common formula they were using. In this regard, their basic premise wasn't much different from the average, but I haven't heard too many that got across the same extent of energy. Warpig exhibit their lustful motivations front and centre. Excluding the uncharacteristically poetic "Sunflight" (which reminds me of Blue Oyster Cult, and may be my favourite cut off the album) Rick Donmoyer's lyrics explicitly recount the sexual urges that go along with the rockstar lifestyle. Like the music, the lyrics are blunt, and difficult to enjoy on more than a surface level, but I have to admire the fact that they didn't try to dress up their subject with metaphor or flowery imagery. 

Although claims that they took their name from a similarly-titled tune by Black Sabbath are decidedly false (Paranoid wouldn't be released until the latter half of the same year) it's interesting to me that people would think of Sabbath while listening to Warpig. It's not at all surprising to me, either; although the album's not quite heavy enough to warrant direction comparison with the proto-doomsters, there's an ominous edge to some of their riffs (most notably those in "U.X.I.B") that may very well peg Warpig as one of Canada's first proto-metal acts. This fact alone should pique the curiosity of rock historians, if no one else. Musically speaking, Warpig were a fair bit better than the unknown mediocres that saturated 1970 with this sort of primitive fuzz. Listeners in search of an early progressive rock masterpiece will come out empty-handed, however. This is a solid album, but it's nothing you won't have already heard many times by Conor Fynes ...........

Sole self-titled album from a Canadian heavy/proto-prog group that did not likely take their names from the Sabbath song. A double guitar quartet, even though Dana Snitch plays keyboards as well (organ & piano mainly) came from Southern Ontario (let's say Toronto was their backyard) and developed a hard-driving prog that hovers between Deep Purple, Atomic Rooster and other hard rockin' British groups of the times. Their only album got released twice, the second time in72 on a different label, got remastered and benefited from a new sleeve "artwork" (the one featured above), but the first pressing is now much- sought after. 
The album opener Flaggit was also issued as a single and it's a catchy heavy rock up- tempo blues-derived tune, enthralling despite the band's lack of a distinct sound, but the guitars are well out front. Tough Nuts is more of the same. The following Melody With Balls is a slower and heavier track, where Donmoyer's guitar seems to have slept with Blackmore's Stratocaster and borrowed its timbre. The next (album-longest) track, Advance Am, is quite a (welcomed) change, but the piano-dominated tune is a rather patchy attempt at being progressive, though not entirely convincing, even if the piano seems to be played like a harpsichord. Rock Star is the B-side of the single, but from what I hear, it would've been more successful than its A-side. Sunflight is definitely one of the better track on the album, and is a bit reminiscent of Wishbone Ash and Uriah Heep. Next up is U.X.I.B. (don't ask), starting on a harpsichord that leads you into an organ and heavy guitar blues chords and riffs, before veering slightly psych and a tad oriental, like East Of Eden's debut. The closing Moth is in line with the rest of the album, but it might just be the fastest song of theirs (well outside the slow middle section), and derails completely at the end wuith that looney laughter. 

While the second release of their album drew some sales, it might just seem to today's progheads that Warpig's work came a tad too late for that summer of 73. Then first the drummer first, then the keyboardist would leave the band and if the band remained alive, opening concerts for major acts throughout Ontario until 75, even starting a second album, it would be it in terms of releases. The Cd reissue of 06 on Relapse is a legit one and sports the second (London label) sleeve While Warpig might appear a bit raw and rough- edged to symphonic progheads, they were part of the second wave of bands behind the pioneering groups like Nucleus, Plastic Cloud, Collectors (future Chilliwack), Guess Who, etc?. By all means not essential at all, but still a pleasant manner to fill you shelves. Your call Sean Trane ..............

When asked about the most prominent Canadian rock bands of the 70s, most fans would name bands such as Rush, Frank Marino's Mahogany Rush or perhaps The Guess Who. However, despite the numerous artists that got lost in the tidal wave of the 1970s rock scene, Ontario's Warpig is sincerely a lost Canadian gem that needs to be unearthed to all hard-rock enthusiasts. With a cross between rock, metal, psychedelia and even classical music, Warpig had a very distinctive sound, exposing influences from bands such as Vanilla Fudge, Iron Butterfly, Uriah Heep and, undoubtably, Deep Purple. 

Formed in small-town Woodstock in 1968, just outside of Toronto, vocalist and lead guitarist Rick Donmoyer, keyboard player/vocalist Dana Snitch, bassist Terry Brett, and drummer Terry Hook were no strangers to to the unrelenting Toronto bar scene when they first began rehearsals in Hook's basement. Each member had been paying their dues with other local bands, trying to break into the industry. With their uniquely crafted sound of metal riff-guitar progressions, complimented by heavy use of the organ, Warpig undeniably caught the attention of fans throughout Ontario and were quickly signed to Fonthill Records. After releasing their debut album in the spring of 1970, their success continued when the singles “Rockstar” and “Flaggit” were picked up by a number of Canadian radio stations. Possibly the two most marketable songs on their self titled album, both 'songs' epitomized the evolutionary sound that we now know as heavy metal.Fonthill Records were taken over by London in 1971, which compromised the advancement of the band at the time. After focusing on the live scene for the next year while also attempting to write their second album, the band eventually hit a wall. London did finallyre-issue and remaster their debut album, yet with a lack of proper management (along with their second album being shelved) the band began to implode. What followed was the stereotypical story of a fallen rock band. Thankfully they were around long enough to have made a mark for Canadian metal music history, but fueled by the neglect from the record company and uncertainty for their future, Warpig had disbanded by 1973. 

Regardless of the band being hurled into near obscurity for 30 years, by the early 2000s many Warpig bootlegs began to surface, arousing the interest of rock fans once again. For a band as talented as Warpig, credit needs to be given to a band that clearly had a hand in the foundation of heavy metal. In 2004, the band decided to reunite, with their only self-titled album being re-released in 2006 by Relapse Records and their associated company Kreation Records. This issue of Warpig is currently readily available and not hard to track down. 
However, for serious vinyl collectors the rarity of original pressings, particularly when they are this scarce, is what keeps the desire alive! Most gratifying would be acquiring this LP on the Fonthill label, with the original cover featuring the candle and an ankh cross, followed by the early re-issue with the alternate white cover, issued by London Records. A promotional copy of the 45 rpm is also a very sought after item.
Although the entire album is consistently compelling, the track which really resonates with me is “U.X.I.B”. It has that quintessential emphatic heavy-metal rhythm with just the right amount of softer melodies to create one exceptional seven minute masterpiece. 

Discounting proto-metal efforts by Blue Cheer, Steppenwolf, Vanilla Fudge, et al, this eponymous debut by Toronto, Canada's Warpig is arguably one of the earliest and still most relevant heavy metal albums recorded in the new world, next to Sir Lord Baltimore's seminal Kingdom Come or Dust's own self-titled first album. And although the band's name may scream "Black Sabbath," both its emphatic organ work and the agile guitar melodies adorning hard riffing tracks like "Flaggit," "Sunflight," and "The Moth" owe much more to Deep Purple. Mind you, though, neither of those British heavy metal institutions had yet carved their signature sounds in stone, never mind achieved universal appeal, when Warpig's debut saw the light of day in late 1970, leaving many unanswered questions as to who influenced who. Never more so than on the driving "Rock Star," which boasts a familiar riff progression and manic pacing suspiciously similar to that of Purple's "Fireball," which was only released some six months later! Obviously, one can never know for sure about such things, so many decades later, but consider the controversy launched, herewith. Hardly one-trick ponies, either, the members of Warpig were also capable of indulging in the most wanton savagery one minute (see "Tough Nuts" and the aptly named "Melody with Balls," featuring the dirtiest of riffs and a "Whole Lotta Love"-style feedback freak-out), and quasi-prog rock refinement the next (as shown by the dainty neo-classical keyboard work dominating "Advance in A Minor," where the closest parallel is probably Uriah Heep). All of which exacerbates the cruel obscurity experienced by this exceptional album until its 2006 reissue by Relapse Records, which hardly corrected history's injustices, but at least accorded Warpig some belated recognition for their modest contributions to heavy metal's early-‘70s Eduardo Rivadavia... 

Looking for little known, forgotten rock groups you can not miss the Canadian Warpig. The band was formed in 1966 in a small village of Woodstock (having nothing to do with the famous festival) in Ontario. The group's initiator was vocalist and guitarist Rick Donmoyer, who had extensive experience with numerous amateur bands such as The Turbines, The Kingbees later renamed The Wot, and Mass Destruction. In addition, the musicians of the latter - keyboardist Dan Snitch, bassist Terry Brett and drummer Terry Hook - recruited for a new project. The band was slowly gaining popularity in local clubs and signed with Fonthill Records at the end of 1968. A few months later, its debut album was released, titled simply "Warpig". 

Longplay brought very intriguing music, drawing on British patterns rather than Canadian and American ones. You can hear here the similarity to Deep Purple (in terms of composition and instrumentation used), but the sound is heavier and the whole is full of dark ambience, which in turn brings the association with Black Sabbath; Here and there is something from Led Zeppelin and other British groups. Terry Hook spent some time in the UK before joining the band, so he probably got clogged with the work of these groups (Black Sabbath and In Rock) on the other side of the Atlantic appeared only in June and September 1970 respectively. a year, so after the premiere of "Warpig", which took place in the spring). What's interesting, however, is also the inspiration for the other side - the song "Rock Star" sounds like the prototype of the "Fireball" purplish, recorded a year later! It may be less energetic, but the similarity between riff and melody is evident. The name of the group might have been the inspiration for the title of Black Sabbath's "War Pigs," but that was a bit of a stretched theory.
The album starts off with a fast-paced "Flaggit" in a very purplish style - with Ritchie Blackmore's guitar-style guitar, organic background and dense rhythm sections. But Donmoyer's vocals are almost as screaming as Ian Gillan, but the color is quite different, at times somewhat reminiscent of Ozzy Osbourne. The next track is a little over two minutes long, "Tough Nuts," based on a haunted key theme and gloomy guitar riff. "Melody With Balls" begins with a riff reminiscent of Led Zeppelin's "Communication Breakdown," but is kept at a much slower pace; In the middle there is a very psychedelic part, where you hear only guitar grinds, followed by a return to the main theme. In instrumental "Advance AM" you can hear the inspiration of classical music; Here, the key is played here, but in the second half the track becomes more guitaric and takes on rock dynamics. 

The second page opens the already mentioned "Rock Star". Deep Purple's inspirational style is evident as well as the later heal of the band. And it's hardly surprising that the British decided to "take over" this song, because it's a really great composition, immediately memorable. Also very catchy is the slightly lighter sound "Sunflight", whose melody reminds in turn - also later - "Do not Fear" The Reaper "Blue Öyster Cult. "U.X.I.B" starts with a nice acoustic admission, but it's just a mistake, after a while hard rock returns, and the middle of the track gets an oriental climate. Also interesting is the vocal part, very Glenn Hughes style. The whole song ends with "The Moth" with a bit cavity character, with some mood changes. Successful completion of a really good album.
Unfortunately, the group was not given any fame, the album was not even available outside of Canada. Little has helped to absorb Fonthill's label by British London Records - although in 1973 it was re-released "Warpig" (with a new cover and new mix by Terry Brown, the later Rush producer), it was again available only in Canada. It is worth adding, however, that the single appeared with the songs "Rock Star" and "Flaggit", which reached the 52nd position of the Canadian record. Unfortunately, the label was not interested in releasing their second album, despite being recorded. This led to the departure of Terry Hook and Dana Snitch, which in turn decided to solve the Warpig. 

2006 reissue cover. 
Today, "Warpig" is a cult figure, considered one of the first proto-metal albums recorded on the other side of the Atlantic (alongside Dust and Sir Lord Baltimore's debut). Interest in the album at the auction caused that in 2004 Warpig musicians decided to reactivate the band. In 2006, the album "Warpig" was finally released on CD (the US edition had the third version of the cover, but in Germany the original design was used), and later on it was reissued on vinyl (with the first or third version of the cover depending on the release). At about the same time the band prepared a third album, but it split the fate of the other - both have not been released yet. 

Rick Donmoyer (guitar,lead vocalist) 
Dana Snitch (guitar, keyboards, vocals) 
Terry Hook (drums) 
Terry Brett (bass)

01.Flaggit (3:11) 
02.Touch Nuts (2:17) 
03.Melody With Balls (5:50) 
04.Advance Am (lyrics defy description) (7:14) 
05.Rock Star (3:00) 
06.Sunflight (4:28) 
07.U.X.I.B. (7:34) 
08.The Moth (5:31) 
Time: 40:21 

A Joint Effort.“Final Effort” 1975 Canada, Psych Folk Rock.

A Joint Effort.“Final Effort” 1975 Canada, Psych Folk Rock.


A Joint Effort is a very rare psych folk album which was released out of Fredericton, New Brunswick. It was released on Little Records Ltd. and Red Rock Hotel Productions out of the University of New Brunswick. Side one is a more light folk rock side and relies on decent cover tunes; side 2 sounds like a few local browns and some smoke were added to the equation, a bit more rock and garage sound with some fuzz guitar. Only 200 copies were pressed. It is a very rare and sought-after album in the collector market. Interesting take on Oh! Canada. Came withan insert with lyrics.

“We started jamming in Rm 310, Bridges House, University of New Brunswick in 1973. The album was recorded in Fall of 1975, it was the last performance of the band, afternoon outside in front of the Student’s Union Building (all five of us blaring on acid) plus some cuts from a bar performance at the Lord Beaverbrook Hotel in Fredericton.

Rick and Grant are still in Fredericton and still play together periodically. My brother Tim is near Oshawa and he and his wife breed, raise, and train English Setters and Canadian Horses. Brian is still playing bass with Rawlins Cross and whoever, and I am entering my 4th decade soon playing for a living and having done 7 or 8 albums on my own.

Some guy in New Jersey got a copy of Final Effort from my brother and reproduced it. We each got ten copies.”
by Terry Tufts and Robert Williston...........

A Joint Effort
*Tim Tufts - Guitar, Vocals
*Rick Bastedo - Guitar, Mandolin, Vocals
Grant Ayrapetyan Harrison - Drums, Guitar, Vocals
Oleg Ponomarev Bourne - Bass, Guitar, Vocals
Ivan Markarov Tufts - Guitar, Vocals

1. Battle of New Orleans - 1:52
2. Molly and Tenbrooks - 3:37
3. Tequila Sunrise - 2:35
4. My Man - 3:11
5. Winter - 4:01
6. Hitchikers Dream - 3:02
7. Champagne Junction - 4:26
8. Bus Song - 5:09
9. Greed for Gold - 4:26
10.Oh! Canada - 3:59
11.Horse with No Name - 7:34

Oliver Klaus “Oliver Klaus” 1970 .Canada Garage Psych Rock.

Oliver Klaus “Oliver Klaus” 1970 first reissue 1995 by Capt.Moze Records.Canada Garage Psych Rock.

full album + extra bonus

Canadian pearl formed in Quebec in 1967 by brothers Bryan and Maurice Singfield , the trio Oliver Klaus released one album in 1970 with only 500 copies and quickly fell apart. In 2002 the album was reissued on CD with 10 bonus tracks. The CD Oliver Klaus 1967-70, that I post here, brings 21 tracks. There is mix of several styles, predominantly typical psychedelic rock of the late 60 as in version 8 minutes of “Season of the Witch”, passages of folk and acoustic in tracks “Walk In The Night” and “Traveling Song”, also hard rock, in the cover “Kentycky Woman” and “Islands in Waterloo Float”. Overall, great music, played by the classical and heavy “power- trio” seventies…

Jerry Cushen (baixo)
Bryan Singfield (bateria, backing vocal)
Maurice Singfield Jr. (guitarra, vocal)

01 For The Boys 3:17
02 Walk In The Night 2:27
03 Here Comes The Sun 2:23
04 Sunny Day 2:49
05 Feeling Groovy 3:04
06 Traveling Song 2:07
07 Kentucky Woman 3:52
08 Show Me The Place 4:02
09 Love You Baby 2:53
10 Season Of The Witch 8:34
11 Break Song 3:42

12 3/5 Of A Mile In 10 Seconds 3:42
13 Blackberry Side 4:11
14 Studio Chatter 0:45
15 Feeling Groovy 3:20
16 Here Comes The Sun 2:14
17 Great Place For Laughing 4:51
18 Islands Float In Waterloo 2:36
19 Going To Leave This Place 3:33
20 The Fuzz 6:47
21 Do Love Me Do 2:18

Riverson “Riverson” 1973 Columbia Records Canada Folk Psych.

Riverson “Riverson” 1973 Columbia Records Canada Folk Psych.

Riverson were a short-lived folk, psych band from Montreal, Quebec. They fortunately left us with one hell of an album and three 45’s in very limited quantities and all are highly sought after. The album cracks my top 100 Canadian albums of all time. Due to the high quality, amazing lineup of talent, and rarity, the value of this record has been steadily increasing over the past 20 years - now a NM copy will set you back about $400-$500 if you can find one. A sealed copy sold for $320 back in ‘03. That copy has likely doubled in value.

The gatefold album was released on Columbia ES 90136 in 1973 and was accompanied by “Clear Night b/w Winter Garden” on Columbia C4-3077; “Eleanor Rigby b/w Can’t Live Without You” on Columbia C4-3093; and “Sittin’ - Waitin’ b/w Chances” on Columbia C4-4003; the latter featuring two non-album tracks. All album tracks were original tunes, except for the one Beatle cover.

The band members were Frankie Hart (Freedom North, Life) on piano, acoustic guitar, recorder, lead vocals on “Can’t Live Without You”; Rayburn Blake (Mashmakhan) on Acoustic guitar, electric guitar, banjo, lead vocals on “Clear Night”; Brian Edwards (Mashmakhan) on bass, lead vocals on “Stoney Day” and “Between the Lines”; and Graham Lear (Santana, Paris Black, Truck, Paul Anka, REO Speedwagon) on drums. Raymond Blake was with the Quebec band Le Triangle and released a rare 45 picture sleeve in the mid 1960’s entitled “2 Miroirs b/w Les Montagnes Russes” on Gamma AA-1042. Both Rayburne Blake and Brian Edwards played and released “Transition” on Polydor 2424 071 with Cliff Edwards (member of the Five Bells) in the same year as the Riverson album, 1973. Rayburn Blake then went on to record with the Lisa Hartt Band, releasing “Starwatcher” on Rising RRLP 104 in 1976.

The Riverson album was produced by John Williams. It was recorded at Manta Studios in Toronto, Ontario. The engineer was Lee de Carlo. Produced by Riverson and Lee de Carlo. Management was Terry Flood. The album design was by Bob Lemm Promotional Agency Inc. The cover was by Freeman Patterson / Inside - Junior Brunet.

* Franki Hart (vocals, piano, acoustic guitar, recorder),
* Rayburn Blake (vocals, acoustic guitar, electric guitar, banjo),
* Brian Edwards (vocals, bass),
* Graham Lear (drums

1. Clear Night (Rayburn Blake) - 3:06
2. Winter Garden (Brian Edwards) - 3:19
3. Eleanor Rigby (John Lennon, Paul McCartney) - 4:14
4. I’ll Be There (Brian Edwards) - 3:15
5. Empty Sky (Rayburn Blake, Brian Edwards, Franki Hart) - 4:31
6. Take Me (Rayburn Blake) - 2:55
7. Stoney Day (Brian Edwards) - 4:28
8. Between the Lines (Brian Edwards) - 4:10
9. Can’t Live Without You (Franki Hart) - 3:07
10.Medallion Castle (Brian Edwards) - 4:27
11.Hermit Glen (Rayburn Blake) - 3:06
12.Sittin’ Waitin’ - 3:41
13.Chances - 2:21

The Jarvis Street Revue “Mr. Oil Man” 1970 Canadian Psych/Prog legend.

The Jarvis Street Revue “Mr. Oil Man” 1970 Ultra rare Original Columbia First Pressing Canadian Psych/Prog legend.

As they say - just arrived, sat down at once … Without washing of the holiday. The only album from the Canadian quartet hippy town of Thunder Bay (Province of Ontario). The province is the province … But the band - talented, so odnoalbomnaya … The paradox typical of the late 60’s … The group existed in 1970-71 and consisted of members of local groups, for example, Plague (1966-67) … The largest number of viewers in their concert was 445 people. In autumn 1999 ggoda group was reconstituted and performs under the name of Rock N Roll Revue. So hurry to get acquainted with their early works, while another Canadian guitarist did not ask me to remove a link to download … In the bonus - mostly singles …

The Jarvis Street Revue was formed in Thunder Bay, Ontario in the late 60’s around the talents of Tom Cruickshank, Wayne Faulconer, Tom Horricks and George Stevenson. Horricks and Stevenson had earlier been with the Toronto-based Plague and Horricks followed this with a spell in Lexington Avenue. Faulconer had been with the Winnipeg-based Satan and The D-Men.

In 1970 the band released their only album, Mr. Oil Man, which was recorded at DMG Sound Studios in Thunder Bay. It achieved minor hit status when issued as their first single. The gatefold has an amazing sleeve of Christ holding up an earth globe covered in toxic slime. The subject content of Mr. Oil Man is an environmental statement on the use and abuse of the oil reserves, the depletion of Earth’s natural resources and hazards of smoking.

The album is predominantly heavy rock with psychedelic overtones with a strong Jimi Hendrix influence in the guitar pieces. Ecological concerns mix with relaxed hippie reflections in a style similar to the Borealis LP, though the heavy acid guitar excursions on the 13-minute title track is what makes this trip worthwhile. The rest of that side is taken up by Mr. Business Man, another heavy rocker with some catchy high pitched guitar. The band are at their most psychedelic on Sally’s Hymn and 20 Years has a haunting intro and some nice brass…

Wayne Faulconer (gtr, vcls)
Tom Horricks (gtr, vcls, sax)
George Stevenson (bs, vcls)
Tom Cruickshank (drms, vcls)

A1 Mr. Business Man 2:38
A2 Mr. Oil Man 13:10
B1 20 Years 3:05
B2 Sally’s Hymn (Smoker’s Funeral Song) 4:42
B3 300-South 2:41
B4 Heidi-Ho (Let Her Go)

johnkatsmc5, welcome music..





Cassete Deck

Cassete Deck