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Saturday, 27 August 2016

Life “Life” Canada 1970 Montreal Psych Rock









Life “Life” Canada 1970 Montreal Psych Rock 

http://www.dailymotion.com/video/x4qml0l_life-lovin-time-1970-canada-psych-rock_music 

http://www.dailymotion.com/video/x4qmphy_life-ain-t-i-told-you-before-1970-montreal-psych-rock_music 

http://www.dailymotion.com/video/x4qmwyl_life-hands-of-the-clock-1970-montreal-psych-rock_music

http://www.dailymotion.com/video/x4qof1q_life-needing-you-1970-montreal-psych-rock_music 

full

https://vk.com/wall-26524364_60991

Few people took notice when Montreal band, Life’s lone eponymous album slipped out on Polydor Records at the tail end of 1969. Arguably one of the era’s most obscure releases, it has taken over 40 years for listeners to finally discover this criminally overlooked record. 
Take the incredibly crisp production, which is head and shoulders above the quality of most of the Canadian albums recorded at that time (not to mention many of those by the band’s American and British contemporaries). Then, there is the exceptionally strong and highly original material, brilliantly arranged and executed with aplomb. 
Packed full of inventive ideas, not to mention dazzling sound effects, Life is a superlative record that fuses together jazz, funk, soul, psychedelia and rock effortlessly. 
Life (the album) was the brainchild of Montreal native Neil Ship (aka Neil Sheppard), an incredibly talented singer/song-writer (and part of the Brill Building stable), who was looking to get his songs recorded with a group. 
In 1960, at the precocious age of 14, he’d scored a deal with Columbia Records in New York and recorded a long lost gem “Beyond The Shadow of a Doubt”. 
After years working in the Big Apple, where he amassed a wealth of experience in production, arrangement and song-writing, Sheppard landed a deal with Polydor Records Canada and started to put together a band to record his songs.  
Sheppard had several musicians in mind for the Life project. First on the list was one of his brothers, keyboard player and singer Michael Ship, who was working in Montreal band, The Scene alongside bass player Danny Zimmerman, drummer Marty Simon and two long forgotten guitarists. The quintet had been around on “the scene” for a number of years and had evolved out of earlier bands, The Humdingers and (before that) Marty Simon and The Capris. 
During his time in New York, Sheppard had met Hank Medress and The Tokens, owners of the Bt (Bright Tunes) Puppy label, and had done some studio work for them. In late 1967, he helped his brother by landing a one-off single deal for The Scene, which resulted in the psychedelic pop outing “Scenes (From Another World)” c/w “You’re In a Bad Way”. 
While the single didn’t really do much chart wise, Sheppard was excited by the band’s potential and felt an album was an obvious progression. In late 1968, he linked Scene members - Michael Ship, Marty Simon and Danny Zimmerman with lead guitarist Barry Albert, a veteran of Bartholomew Plus Three. 
Formed by Albert with another of Sheppard’s brothers, keyboard player and singer Gary Ship (aka Gary Gardos), Bartholomew Plus Three also comprised bass player George Gardos and drummer Corky Laing. 
Albert’s band had released two singles for the Toronto-based Quality Records label in 1965-1966 before switching to Can-Am for two further releases. 
Thanks to Sheppard’s efforts in New York, Bartholomew Plus Three got the opportunity to record some material for Atlantic Records with Cream’s producer Felix Pappalardi at the helm. A single coupling “When I Fall In Love” with “I Can’t Go Back” came out in November 1967 and even became a minor Canadian hit, peaking at #80. 
Two years later, Laing would land the prestigious drum spot in Pappalardi’s new group Mountain as a direct result of these sessions and would compose that band’s hit “Mississippi Queen”. 
Born in London, England, Albert had moved to Canada at an early age and met Sheppard during his teenage years. According to the guitarist, the concept for the songs behind the Life project stemmed from conversations they had had in early 1969. 
“Neil and I were musical buddies from the time we were 16 and planned every move,” he says. “I picked the tunes from what he wrote and then we changed the name of the band to Life. We were trying to accomplish what we had done with Bartholomew Plus Three, except this time we used a studio in Montreal instead of New York.” 
According to Marty Simon the band used a small rehearsal room in the basement of a building on Pine and St Laurent Boulevard to perfect the material. Once the songs were ready to cut in the studio, recordings took place at Stereo Sound Studios, a state of the art recording complex owned by RCA on Cote des Neiges. 
In an interesting side note, the studio also housed a rehearsal room in the basement, which in April 1968, was the scene of an informal jam with Jimi Hendrix. 
“My manager/agent for Bartholomew Plus Three had booked Jimi into one of the Montreal arenas and after the show got him to our studio,” says Albert. “Word got out and there was a line-up around the block - we had a stage there and room for approximately 35 people. Marty, Danny and Michael were our friends and The Scene was there.” 
While the album would take several months to record and perfect, the basic tracks were recorded very quickly over a matter of days, says Simon. 
“It was after that when Neil would work with Michael on vocals and ask me to contribute bongos, vocals and even a melody line in the middle solo for ‘Ain’t I Told You Before’. I believe that Neil played the piano on ‘Needing You’, the last track we recorded.” 
The first song recorded for the Life project, and the opening cut on the album was Sheppard’s brilliant “Hands of The Clock”, a powerful rock ballad that the composer had conceived one night at the Winston Churchill pub in Montreal. 
“Every night the place closed at about two or three in the morning and I remember I used to come in and sit down at the organ and start writing,” says Sheppard. “One night I just sat down and that love song popped up.” 
“‘Hands of The Clock’ was a project started by Neil and myself,” adds Albert. “I told Neil it would take six months after I picked the song but he was in a hurry so we did it in three months even though I wasn’t happy about the tightness or the vocals.” 
Sheppard did most of the production on “Hands of The Clock” and Albert helped out with the arrangement. The incisive and stunning guitar work that punctuates the song was not planned according to the guitarist. “I fluked a pretty good guitar lead, which was created in the studio like a jam session,” says Albert. 
Released as the band’s debut single in June 1969 (although the catalogue lists it as the second release), “Hands of The Clock” became a modest hit, reaching #19 on the national RPM chart two months later. 
In the aftermath of the single’s release and its rise up the charts, Life played its biggest concert of its short-lived career - the First Montreal Bi-Cultural Pop Festival, held at the Montreal Forum alongside Triangle, Robert Charlebois and headliners Steppenwolf. 
“It was the first time a local act had been billed in the 20,000 seat hockey arena,” says Simon. “[We were] hometown boys making good.” 
With “Hands of The Clock” in the can, Albert insists that he only remained long enough to lay down a guitar part to the bed track of one other song - the dazzling horn-driven jazz rocker, “Ain’t I Told You Before”. 
“Marty had exceptional feel - one of the best drummers I ever worked with,” says Albert looking back. “[However] I only remember doing those two cuts.” 
Dissatisfied with the way the recordings were progressing (and the arrival of second guitarist Jean Pierre Lauzon), Albert made his excuses and left to join label mates Tapestry, another promising band fronted by singers Jack Winters, Judy Harmon and Heather Woodburn. 
Albert’s recollections of recording these two tracks chime with Simon, although the drummer is sure that the guitarist did provide bed tracks to several other songs before leaving. Indeed, several of the songs, most notably the brilliantly funky “Sweet Lovin’” - to this listener one of the album’s highlights - definitely features the work of two guitar players beautifully trading off each other. 
“I don’t think I ever did a session with JP [Lauzon] but I think I did other tracks and he dubbed at another time,” says Albert. 
In an interesting turn of events, Lauzon had succeeded Albert in Bartholomew Plus Three when the guitarist had left to become a member of Life. Lauzon had previously worked with a number of notable Montreal bands, including Our Generation, J B and The Playboys, The Jaybees and The Carnival Connection. 
Another addition to two of the album’s songs was Zimmerman’s wife Lorraine Nidgelski (aka Neid), who had been working with Montreal band, The Munks. As Simon recalls, Neid sang the chorus on “Ain’t I Told You Before” and contributed joint lead vocals on the band’s cover of The Beatles’ “Strawberry Fields Forever”. 
Life’s interpretation of this Beatles’ classic is a real revelation. Imbued with a strong jazz feel, the track is notable for Lauzon’s exquisite flamenco guitar solo. “I heard JP playing a particularly jazzy guitar chord and I heard a full arrangement in my head and immediately started telling people where to jump in and play some music,” says Simon, who arranged the basic form and style of the cover. “After we had a progression of sorts, I revealed what my idea was - they would have laughed if I had mentioned the track beforehand - when I began to sing ‘Strawberry Fields’ and we knew we had something there!” 
With a beautiful horn arrangement by Sheppard, and graced by a superb guitar lead from Lauzon, the track was released in an edited form as the band’s second single (but incidentally with a catalogue number that predates “Hands of The Clock”). With hit record written over it, “Strawberry Fields Forever” should have been the international breakthrough for Life but remarkably didn’t even trouble the Canadian charts. Even so, that didn’t stop Polydor releasing the single in several European countries, including Germany where the 45’s picture sleeve features Lorraine Neid on the cover. By this point, Zimmerman’s wife had become a fully-fledged member and would tour with the band throughout the latter months of 1969. 
As strong as the album is, however, not all of Life stands up so well after all these years. In particular, Sheppard’s “Desire”, with its rather jarring “Kiss Me” refrain, and “Come To Me” are not in the same league as the song-writer’s “Hands of The Clock”, “Sweet Lovin’” and “Needing You”, not to mention the band’s covers of “Strawberry Fields Forever” and “Lovin Time”, a Terry Reid song performed by Simon’s pre-Life band, The Scene. 
“‘Lovin’ Time’ was a cover of an original version that Danny Zimmerman and I discovered on a Terry Reid album,” explains Simon. “Life performed this song so well with its rhythm changes that we decided it would be great to record it on the record.” 
Also worth checking out are the two instrumentals that bookend and kick off sides one and two - “Lifetime 1″ and “Lifetime 2″; both have a sonic charm and feature some impressive backwards guitar, courtesy of J P Lauzon. 
Equally impressive is the closing number, Sheppard’s “Needing You”, featuring the composer on keys. A haunting ballad with sumptuous piano work and aching strings, it is a fitting ending to a largely brilliant album. 
With the basic tracks recorded at Stereo Sound Studio, additional work was done over the next few months to enhance Sheppard’s superlative production work. 
“Those tracks were transferred to a home studio owned by Andre Perry, a Montreal studio wizard who had the first eight track recorder in Canada,” says Simon. “Neil was meticulous in getting the large colours of Life’s rock band core instruments, vocals, cellos and other overdubs to hold together and the eight track recording helped provide the space and mix.” 
Perry, who would soon after record John Lennon and Yoko Ono’s “Give Peace A Chance” at their “bed in” at the Queen Elizabeth Hotel in Montreal, played a significant role in taking Sheppard’s brilliant production to the next level. 
It also didn’t hurt that Polydor had been generous enough to give Sheppard a sizeable budget to cut the album. “I think we had a $7,000 budget,” he says. “It was like a million dollars today.” 


While completing the final overdubs for the album, Sheppard received a visit from former Influence drummer Frank LoRusso (affectionately known as Yum Yum), who brought with him Englishman Malcolm Tomlinson. 
Since arriving in Canada in January 1969, Tomlinson had been a member of Anglo-Canadian band Milkwood and added a wonderful flute solo to “Lovin’ Time”. 
“He [Tomlinson] was hanging around the studio and had worked on something recently” says Sheppard. “He asked if he could stay for the session. We developed a flute part and I asked him if he wanted to come out and do it. It was a last minute thing.” 
With the album readied for release, Life, joined by a second guitarist - Bill Hill, a friend of Lauzon’s from his days with The Playboys, The Jaybees and Carnival Connection, hit the road but soon after its release the band imploded when Simon left for New York. 
“I did not see a future in Montreal or, without a manager that could take the group forward,” says Simon who quit joining gospel-rocker Mylon LeFevre with JP Lauzon. 
“Corky [Laing] called me when Mountain’s management was putting together a band for Mylon in Atlanta. By 1970, Corky had a huge hit and Mountain was headlining and I was drumming in Mylon’s band, Holy Smoke, in the studio with Jerry Wexler, Tom Dowd and opening a cross country tour with The Who. Talk about your dream coming true.” 
Then in 1972, Simon moved to London and played in Sharks with Andy Fraser from Free and guitarist Chris Spedding. While there he played on Brian Eno’s debut solo album and also worked with Mick Jagger and Jimmy Page, among others. 

Back in Canada, Simon recorded with April Wine, co-wrote and played on Wilson Pickett’s 1980 album I Want You, and co-wrote Celine Dion’s French language hit, “Des Mots qui Sonnett” before later gaining success as a composer for feature films and TV shows. 

The founding director of MRD-Music Revenue Data Inc, Simon administers publishing catalogues worldwide for hundreds of Film and TV programmes, including Capote, Being Julia and Ryan, the 2005 Academy Award winner for Best Short Film. He also serves on SOCAN’s board as a film and TV music publisher. 

Like Simon, Neil Sheppard also spent time in the UK during the early 1970s where he began work on a solo album for RCA Victor with Barry Albert. The solo set, which was subsequently scrapped, featured contributions from noted session bass player Herbie Flowers, Sheppard’s friend John Entwistle from The Who and guitarist Peter Frampton. 
Undeterred by the setback, Sheppard began working with American singer/songwriter Tim Hardin and contributed the song “Till We Meet Again” to Tim Hardin’s 1974 album Painted Head (Ed: he also added piano and harmonium and did the production). 

Back in New York by the mid-1970s, Sheppard wrote the hit single “Let’s Call It A Day Girl” for The Razors Edge, which was also recorded by Bobby Vee and The Four Preps. Not only that but he’s seen his songs covered by everyone from The Everly Brothers to Gene Pitney, Long John Baldy and Herbie Mann, to name just a few. 
As innovative as ever, he also scored an underground disco hit in the late 1970s when The Love Symphony Orchestra recorded “Let Me Be Your Fantasy”. Like Simon, he also extended his talents into TV work and wrote the documentaries The World of Horses and Do Blonds Have More Fun. 
As successful as they have both been, Life remains a cherished experience for Sheppard and Simon. This author is currently working with Canadian re-issue label Pacemaker to license the tapes from Universal and release it on CD for the first time. 
Looking back, Sheppard has this to say: “I can only remember trying to make a great album at the time, doing whatever I could to make my concept come alive, yet remain as natural and unsynthetic as possible. It wasn’t a worldwide hit record but it was an honest attempt at creating an impression of the period that I am still quite proud of.” 

Huge thanks to Neil Sheppard, Marty Simon and Barry Albert. 

Nick Warburton is a UK-based freelance writer, who has written for Shindig, Record Collector, the Garage Hangover website, Vernon Joynson’s book series and Richard Morton Jack’s new book, Endless Trip 

thanks museum of Canädian Music for informations

Tracklist 
A1 Hands Of The Clock 3:17 
A2 Desire 2:55 
A3 Come Into Me 2:40 
A4 Lovin' Time 4:37 
A5 Lifetime 1 (Inst.) 0:60 
B1 Lifetime 2 (Inst.) 0:60 
B2 Sweet Lovin' 4:10 
B3 Strawberry Fields 4:03 
B4 Ain't I Told You Before 2:37 
B5 Needing You 3:18 

Mashmakhan "Mashmakhan" 1970 + "The Family" 1971 Canada Psych Prog

Mashmakhan "Mashmakhan" 1970 Canada Prog  First album
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https://goo.gl/photos/kfMVokgQxUabLHD67

Mashmakhan"The Family"1971 Canada Prog Rock second album
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Mashmakhan in Festival Express 

Biography
Pierre Senecal, Rayburn Blake and Jerry Mercer formed their first band in 1960. They played the Montreal dance circuit for a number of years under various names such as The Phantoms, The Dominoes and Ray Blake's Combo. In 1965, under the name "The Triangle," they were signed on for a tour with gospel/soul singer Trevor Payne. After four years of small club gigs and relative inactivity, a record producer by the name of Bob Hahn offered them a deal after seeing one of their praised live performances. After a name change to Mashmakhan, a rare drug being pedaled by the local dealer, the group was signed to Columbia. The year was 1969. Mashmakhan, their debut album, was released the following year. The lead off single, "As The Years Go By," reached #31 in the US and #1 in their home turf of Canada. The track was unique because it was a rock song with no guitars. Followup singles "Gladwyn" and "Days When We Are Free" did well in Canada but failed to make waves down south. In 1971, Mashmakhan was asked to contribute a track to the independent Canadian film "Epilogue:Fieve." The track, "Children Of The Sun," was also released as their new single. Both the song and film stiffed. Their sophomore album, "The Family" was released later that year. The second single, "Start All Over," fared no better then the first. After an extensive tour, the band finally took a break to fulfill personal desires. Jerry Mercer drifted off and joined April Wine. Rayburn Blake became involved with various local groups, as well as a solo career. In order to fill to the gap made by the two departures, Pierre signed on Brian Greenway and Steve Laing, both of which would later join April Wine, and drummer Lornhe Neihring. After a number of failed Non-LP singles, Mashmakhan disbanded, with Brian Edwards joining April Wine...~
















Named after a type of hashish, the origins of Mashmakhan began in 1960, when singer/keyboardist Pierre Senecal first hooked up with guitarist Rayburn Blake. After adding Jerrry Mercer (ex of D'Arcy) on drums they played the Montreal B circuit for the next five years under several names, including The Phantoms, The Dominoes and Ray Blake's Combo.
By '65 they'd settled on the name The Triangle and had landed the backup role to r&b singer Trevor Payne, a Barbados native who'd go on to moderate success as a gospel/soul singer. They continued doing the local circuit for the next four years when record producer Bob Hahn approached them about a possible deal after catching one of their live shows. Not interested, Payne declined the offer but Senecal, Blake and Mercer packed their bags and moved to Toronto, signing with Columbia Records in 1970. Needing a bass player, they called on Brian Edwards, who'd played with them for a short time in the early days to rejoin the band.
Senecal either wrote or co-wrote all 10 tracks on the self-titled debut, released that summer. Their first single would actually be their biggest. "As The Years Go By" was certified platinum in Canada (100,000 units) in record time. It also hit big in the States, where it sold 500,000 copies and cracked Billboard's Top 40 on both sides of the border. But their biggest impact was in Japan, where the single sold a million copies, prompting them to travel to the Land of The Rising Sun, where they were met with crowds largely unprecedented since the landing of The Beatles. They returned home to finish work on their debut record. Recorded at New York's Columbia B Studios, the self-titled effort was released that fall.
Produced by Billy Jackson, the album was moody, psychadelic and ground-breaking, full of innovative for the time woodwinds and harmonies. Their second single, "Gladwin" hit the stores before year's end. Again it was met with rave reviews in Canada and Japan, but failed to meet the label's expectations Stateside. "Days When We Are Free" became the third single, released in early '71, again cracking the Top 40 in Canada and Japan, but again faltering in the US. Tapping in on the tail end of the 'free love generation', it also contained the tracks "Nature's Love Song", "I Know I've Been Wrong", the tribal underbeats of "Letter from Zambia" and "Nature's Love Song", the b-side to "Gladwin".
While working on the next lp, the band was asked to contribute to the National Film Board of Canada documentary 'Epilogue/Fieve' directed by William Pettigrew, "Children Of The Sun". The song was made the first Lorne Nehring, Brian Greenway, Allan Nicholls, Pierre Senecalsingle from THE FAMILY, released shortly after in the summer of '71. Next up was "Start All Over". Rooted deep in the members' soulful rhythm & blues influences with a psychadelic twist, it also contained the title track, "Come Again", the dreamlike 10 minute epic "The Tree", and "The Prince" - inspired by Antoine De Saint-Exupιry's book 'Le Petit Prince'. Though it was a hit with the band's already 'cult following' and they were selling out the concerts, it wasn't being as well-received in the stores.
Following another extensive North American tour, the band took some time off to re-evaluate the whole situation. The members drifted off to other interests, including Mercer joining Roy Buchanan and then The Wackers before going on to serve as the backbeat for April Wine.
Senecal kept Mashmakhan going and by mid 1972 had added Brian Greenway and Steve Laing, who both would later also join April Wine and drummer Lorne Nehring. Shortly after Allan Nicholls, who wrote Johnny Winters' single "Let The Music Play" and starred on Broadway in 'Hair' the year before, left his West Coast gig with 'Jesus Christ Superstar' to round out the new lineup.
Landing a deal with Canada's Aquarius Records - April Wine's label, they released the song "Ride Johnny Ride" but was met with mixed reactions. They got back to their roots, doing the Montreal scene again with a variety of other local groups, including Riverson, a group coincidentally featuring Blake and Edwards. Blake would then go on to play in the Lisa Hartt Band, then a moderately successful solo career. The reformed Mash meanwhile carried on through the spring of '73, releasing another track "Dance A Little Step" as a single. But sales were below what were hoped and lacklustre interest from the radio stations caused the end of the band later that year.
by Dave Buerster, Brian Greenway and Paul Leask .....




Mashmakhan 
*Pierre Senecal - Vocals, Keyboards, Sax, Woodwinds 
*Brian Edwards - Bass, Vocals 
*Rayburn Blake - Guitar 
*Jerry Mercer - Drums 


Mashmakhan "Mashmakhan" 1970 

Tracks 

A1 Days When We Are Free 
Written-By – B. Jackson*, B. Edwards*, G. Mercer*, R. Blake* 
6:12 
A2 I Know I've Been Wrong 4:56 
A3 As The Years Go By 3:06 
A4 Shades Of Loneliness 4:56 
A5 Afraid Of Losing You 4:12 
B1 Gladwin 
Written-By – R. Blake* 
4:24 
B2 If I Tried 4:34 
B3 Happy You Should Be 3:57 
B4 Nature's Love Song 3:50 
B5 Letter From Zambia 6:19 




Mashmakhan"The Family"1971 

11.Children Of The Sun - 3:29 
12.The Family - 5:10 
13.The Prince - 5:13 
14.Come Again - 4:36 
15.Children Laughing - 3:34 
16.Couldn't Find the Sun - 2:41 
17.Start All Over - 3:43 





Buzz Linhart “Buzzy” 1968 US freakbeat Psych Rock






Buzz Linhart “Buzzy” 1968 US freakbeat Psych Rock 

full 

https://www.youtube.com/watch?v=eoZUsib4kvM 

A veteran of the New York coffee house circuit who went on to record with Jimi Hendrix, Buzz Linhart recorded this classic debut in London in 1968. Featuring backing from Welsh psychedelic favourites the Eyes Of Blue, it’s a superb collection of acid-influenced folk and pop, including the epic, sitar-tinged raga Sing Joy, and is sure to appeal to all fans of hippie singer-songwriting. 

“Buzz Linhart came out of the legendary Greenwich Village coffee-house period of the early to middle 60s, when Tim Hardin, Fred Neil and John Sebastian (amongst many others) were finding themselves, influencing others, and being influenced (as often as not by each other). It was a period of hanging out, of song-writing, of soaking in everything from folk to blues to rock. 

Like Fred Neil, who taught him a lot, Linhart has a strong, gritty, emotional voice. Like Hardin, his life has been racked with almost insurmountable personal problems, and his voice and lyrics reflect it. In 1968, after a long absence and with many of the personal problems apparently solved, he made some brief appearances in New York, where critical reaction was consistently favourable. He’s also much sought after as a sidesman on vibes” - Lillian Roxon’s Rock Encyclopedia, 1969 

Buzzy Linhart was born to musical parents in Pittsburgh, Pennsylvania on March 3rd 1943. He was already a multi-instrumentalist by the time he left high school, and after an unproductive stint in the US Navy, he gravitated towards Florida in 1962 (where he hooked up with Fred Neil), and then to New York. In Greenwich Village he roomed with John Sebastian and played in the same clubs as future luminaries such as Bob Dylan, Tim Hardin and David Crosby. 

As well as playing folk, however, Linhart also developed an interest in Indian music well before it entered the mainstream, honing his raga skills in late-night jam sessions at legendary venues including the Night Owl and the Cafe Wha? After a quartet he’d formed, the Seventh Sons, didn’t work out (though they recorded a superb, visionary LP for ESP), he impressed hitmaker Mitch Ryder sufficiently to be invited to travel to Europe as his opening act. In London he hooked up with producer Lou Reizner (for whom he’d recorded some demos in New York, and who was now Mercury’s UK A&R chief) and soon arranged to cut his debut LP. 

Buzzy was recorded in October 1968, with backing from Welsh psych-rockers the Eyes of Blue. As 16 magazine put it that November: ‘It’s finally beginning to happen for super-talented singer-composer Buzz Linhart. By the time you read this, he will have played (along with Mitch Ryder) the Royal Palace in Portugal, have done a tour of England, and starred for two weeks at Revolution, the Beatles’ new disco in London.’ 

Nonetheless, the album – a classy mixture of acid-tinged singer-songwriter fare and raga - did not fare well on its February 1969 release, prompting Linhart to return to the US. There he released a string of further LPs, as well as contributing to recordings by Jimi Hendrix, Carly Simon, Barry Manilow, Bette Midler and others, and is still playing as much as ever today…… 

From Cleveland, the singer and songwriter Buzzy Linhart was a veteran of the East Coast coffee house scene and formed the Seventh Sons in 1967. Between 1968 and 1974, he also released several interesting solo albums. 
His first album Buzzy was recorded in England in October 1968. On the first side he is backed by the Welsh group Eyes of Blue and performs his own songs (Willie Jean, Step Into My Wildest Dreams) and a fast cover of Tim Hardin’s Yellow Cab. The second side features Sing Joy, a long (18'45") raga with only Big Jim Sullivan on sitar and Keshav Sathe on tabla. A really interesting album, it deserves to be heard. 
The only album ever cut by Buzzy Linhart – and a really compelling mix of styles that should have hit bigger at the time! Buzzy had his roots in the New York folk scene of the 60s, but he’s recording here in London with a very unusual sound – fuzzy and rocking at some moments, droning and folksy at others – and often with some heavily jamming instrumentation that’s nearly as appealing as Buzzy’s confidently-sung vocals. Backing is by the Welsh group Eyes Of Blue, with Raymond Williams on guitar and Phil Ryan on organ and mellotron – but one especially great track on the album is an extended Indian-styled number, with Big Jim Sullivan on sitar and Keshav Sathe on tabla – working in a stretched-out groove that runs for nearly 20 minutes in length! Titles include “Sing Joy”, “End Song”, “Step Into My Wildest Dreams”, “Yellow Cab”, and “Willie Jean”. 
Linhart ’s debut album is a strange, unfocused affair, the kind of thing that would have only been issued by a major label in the late ‘60s. The singer varies between relatively short songs and way-extended workouts that mix folk with rock , Indian music ( Big Jim Sullivan plays sitar), and even some mellotron. Linhart uses drawn-out blues-folk phrasing that owes quite a bit to Village folk-rockers like Tim Hardin and Fred Neil , and in fact a five-and-a-half-minute workout on Hardin ’s blues , 'Yellow Cab,’ opens the LP. The ten-minute 'Willie Jean’ is next, and actually Phil Ryan ’s mellotron here gives the song an unusual lift that helps to differentiate what would otherwise be an OK but unremarkable anguished folk ballad . The 18-minute 'Sing Joy’ takes up most of side two, and its Indian-oriented improvisation gets tedious after a promising opening burst of ominous orchestral drone. When he milks that drone for an entire, albeit three-minute, song (the closing 'End Song,’ overlaid with mellotron), the result is more interesting, recalling Fred Neil at his most despondent, but with freakier production. It’s no mystery as to why Linhart favored these elastic, spontaneous-sounding folk / jazz / blues / Indian / rock fusions; he had no doubt played that kind of music when one of his bands, the Seventh Sons , backed Fred Neil live in the mid-'60s. Still, his singing, songwriting, and editing capabilities were not quite up to the point where he could shine on an album all his own. ~ Richie Unterberger, All Music Guide … 

Musicians 
*Buzz Linhart - Rhythm Guitar, Vocals 
*‘Big’ Jim Sullivan - Sitar 
*Keshav Sathe - Tabla 
*Raymond ‘Taff’ Williams - Lead Guitar 
*Ritchie Francis - Bass 
*Phil Ryan - Organ, Mellotron 
*John Weathers - Drums, Timpani 

Tracks 
1. Yellow Cab (Tim Hardin) - 4:33 
2. Willie Jean (Buzz Linhart) - 9:49 
3. Step Into My Wildest Dreams (Buzz Linhart) - 5:44 
4. Wish I Could Find (Buzz Linhart) - 3:23 
5. Sing Joy (Dona Calles / Buzz Linhart) - 19:00 
6. End Song (Buzz Linhart) - 3:10 

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