THE RISING STORM

I can’t even remember what made me pick this one out of the vinyl bargain bin in 1973 or thereabouts: maybe just the title. Ostensibly it was just another of those one-off albums from some itinerant musos who fall in together on their way from their previous bands to their next combos. John Ford and Richard Hudson had been the bassist and drummer for Elmer Gantry’s Velvet Opera, a third-division R’n’B-into-psych-lite outfit that released a handful of singles and one unsuccessful album in 1968/69. Guitarist Paul Brett had been a latterday member of now-legendary psychedelic outfit Tintern Abbey, though not until after their sole Deram single. And the other guitarist Johnny Joyce had a background in acoustic blues and sixties folk, having worked with the likes of Davey Graham and Bert Jansch. For no obvious reason, they decided to retain the name Velvet Opera. After the commercial failure of Ride A Hustler’s Dream, Hudson and Ford became the long-serving rhythm section of the Strawbs, while both Brett and Joyce developed into maestros of the twelve-string guitar, Brett also becoming a noted guitar historian and Joyce a fine luthier. All four are still active in the music business.

This seemingly inauspicious album turned out to be a finely crafted work showcasing so many musical styles that it’s almost impossible to categorise. Readers of my other reviews will recognise that I admire eclectic albums by versatile acts, even though such works almost invariably fail commercially precisely because the industry can’t pigeonhole them. They don’t come much more eclectic than this one. While it sits chronologically more or less between late psych and early prog, it offers straight-ahead pop-rock, trad blues, electric folk, acoustic country rock, a psychedelically-treated gospellish ballad, a cod-oriental raga and a six-minute instrumental suite based on the Beatles standard “Eleanor Rigby”, all but two tracks being originals and all played by a bunch of talented multi-instrumentalists. And the whole album is pervaded with a wry, playful sense of humour. These guys clearly enjoyed making this record.

There are just too many fine tracks to list, but the highlights for me are the 57-second title track which sparkles with acoustic guitar harmonics, the outwardly sloppy yet wonderfully authentic take on Willie McTell’s “Statesboro Blues”, the superb, intense ballad “Raise The Light” and the almost-parody of The Band’s old-time country style, “Depression”. Only the tongue-in-cheek “Raga (And Lime)” comes across as a shade too corny, although Richard Hudson’s sitar and tabla playing on it are the real deal.

An interesting historical footnote: the Akarma CD reissue includes two bonus tracks, both fairly unremarkable pop-rock songs. The writer credit for both these is to David Cuell MacTavish, who had been the lead vocalist with . . . Tintern Abbey. The reissue rather unforgivably contains no new sleeve notes, and how these two songs came into the Opera’s oeuvre is unexplained: presumably via Paul Brett. These days Tintern Abbey arouse a lot of excitement among psych fans, though little is documented on them. For the best writeup I’ve found on them, read on here.

“Raise the Light”

Vinyl | 1969 | CBS | ebay ]
MP3 Album | download ]

This may be John Stewart’s finest achievement although some fans might argue in favor of the great Willard from 1970.  California Bloodlines was John Stewart’s first true solo disc.  Recorded and released in 1969, Stewart used many of the same musicians as Dylan did for Nashville Skyline.  As expected this disc is much more rustic and country influenced than his work with either Buffy Ford or the Kingston Trio.  Regardless, this is a “must own” for fans of authentic American music.

It took me several spins and a few hours in deep thought to finally come to terms with this classic. John Stewart’s quivering, thin Johnny Cash-like vocals threw me off at first but now I see why many rate California Bloodlines as one of the premier Americana albums.  It’s stacked from top to bottom with great songs and intelligent songwriting.  The opener is one of Stewart’s classics, and while the studio side is excellent in it’s own way,  I prefer the full, live arrangement from October of 69 (Chris Darrow plays fiddle/mandolin on the live version).  Stewart’s songwriting is best heard on gems “Lonesome Picker,” “Missouri Birds,” and “The Pirates of Stone Country Road.”   These cuts are loaded with images of people and places from a bygone era.  He occasionally takes the historical viewpoint a la Robbie Robertson but his songwriting is certainly one of the album’s strengths.  If you’re a fan of Gene Clark or Mickey Newbury I’m sure you’ll be able to appreciate the awesome “Lonesome Picker.”  This track is a spellbinding masterpiece with haunting imagery and lyrics that still cut deep today. My favorite song from the album, “Never Goin’ Back,”  is another standout track that features plenty of buzzing fuzz guitar similar to the Burritos’ classic “Devil In Disguise.”  The rest of California Bloodlines is fleshed out with accomplished country-rockers and pretty country-folk ballads that have great melodies and tight arrangements.

If you can get a hold of an original or the BGO twofer (with Willard) by all means do so!

“Lonesome Picker”

2fer w/ Willard | 2001 | BGO | at amzn ]
Orig Vinyl | 1969 | Capitol | at ebay ]

At the time of its release an air of mystery pervaded the third studio album proper from Fleetwood Mac. The new, sombre product displayed a seemingly inexplicable change of direction from the preceding high-octane blues-fuelled style. The previously irrepressible Jeremy Spencer is totally absent from the recordings apart from one or two alleged (and inaudible) background piano noodlings, though he appears smiling broadly in the band’s back cover picture. The diminution of Peter Green’s dominance, already clear from the second album, is evinced even further here. Shouldering the new responsibilities is unknown wunderkind guitarist Danny Kirwan, given an unprecedented five (originally seven, but two deleted to allow retrospective inclusion of Green’s double-sided single “Oh Well”) of the individual songwriting credits.

After the rollicking ebullience of the earlier records, the music of Then Play On is often spare and bleak, largely instrumental and, in the case of Green’s compositions, world-wearily sad, both musically and lyrically; the seeds of his later disillusionment, depression and eventual schizophrenia can be clearly heard here. His songs retain a blues flavour, but it’s more oblique, almost incidental. Kirwan’s compositions are more harmonically complex and somewhat more upbeat, but still wistful enough to gracefully complement Green’s songs. What’s most remarkable is the empathy between the two guitarists, who intertwine seamlessly, stylistically and melodically, with just Kirwan’s sharper tone, more pronounced vibrato and generally higher-register playing the difference. Green probably never found a more empathic performance partner, Kirwan a more accommodating mentor. Mick Fleetwood’s drumming is inventive and varied throughout whilst never being overbearing; John McVie’s bass work metronomically understated as ever. For me the highlights are Green’s multifaceted nine-minute masterpiece “Oh Well”, the energetic guitar jam “Searching For Madge” / “Fighting For Madge” which benefits from some fine, mildly lysergic studio editing, Kirwan’s delightful instrumental “My Dream” and Green’s almost unbearably downbeat closer “Before The Beginning”.

Retrospectively this can be seen to be one of the great transitional albums, marking the departure of one of rock’s guitar legends and the start of the first and longest of several turbulent periods for what would become one of rock’s institutions. The absence of the unpredictable Spencer is now thought to be due to a lack of enthusiasm for Green’s downer songs, a theory supported by his making a solo album at the same time . . . to which the other Mac members all contributed. Kirwan’s sudden prominence in the band might have been due at least in part to a romantic attraction on the part of Green, who nicknamed him “young eyes”. And Green’s now universally known psychiatric problems explain his reducing control and ensuing exit. The historical context isn’t necessary to appreciate this haunting, introspective album, but it helps.

“My Dream”

Original Vinyl | 1969 | Reprise | search ebay ]

An unlikely classic if you judge by the sleeve, “Christian of the World” is a sweet slab of gospel rock from the one and only Tommy James. Tommy James and the Shondells are an obsession-worthy group, with a slew of memorable hits to their name. I beg you to listen closer next time “Hanky Panky” comes up on oldies radio – it’s one of the nastier garage beats I’ve heard, though it still hit number one, such a killer track. A string of succeeding uptempo hits marred the group with a “bubblegum” label that Tommy hated, urging him to infuse psychedelic sounds into classics like “Crimson and Clover.” His first two solo records continue seamlessly in the marvelous vintage sound of the Shondells.

Apart from Tommy’s brilliant vocals, it’s the production that draws me in on these records. “Adrienne,” the bass is right in your face, with clacky guitars and percussion beefing up the background. This was recorded in 1971 but still has the magic ‘oldies’ sound. Uplifting rhythm and blues grooves like “Sing, Sing, Sing” and “Church Street Soul Revival” will appeal on the first listen. The classic driving Shondells beat that made “I Think We’re Alone Now” a hit takes hold on “Sail A Happy Ship.”  But “Dragging The Line” would become Tommy’s biggest solo hit, for obvious reasons.

I’m not bothered by the religious bent. God is one of the main reasons for song. It’s devotion, sorrow, fear, faith, and madness all wrapped up in one topic. Tommy James is the master craftsman of pop. I’m off on a Shondells bender.

“Adrienne”

2fer | autographed by Tommy James | @tommyjames.com ]

Released in 1969, The House of Blue Lights was Don Covay’s bold, adventurous attempt to reach the underground audience.  Here Covay is backed by the white-hot Jefferson Lemon Blues Band, credited on the album jacket.  Prior to this LP Don Covay released two of the finest soul/pop albums of the 60’s, Mercy! and See-Saw.

The House of Blue Lights is much different than what came before.  Most of the record is grounded in electrified country-blues; a deep Southern, swampy aura dominates the proceedings.  No soul man of the time tried any blues like this before: raw, anguished and lived-in with lots of twangy guitar solos for good measure.   A few of the numbers, namely the title cut parts 1 & 2, maintain a moody organ-led soul sound that’s highlighted by light sitar flourishes.  These lengthy tracks are clear standouts but other cuts still have the power to stun and amaze.   In the beginning “Mad Dog Blues” hit me like a ton of bricks.  This tune begins with Covay (and band) barking like dogs in heat.  It also features a fantastic flute solo and stinging lead guitar work; play this one LOUD for best results.  “Four Women” is more of the same, Covay’s smooth, soulful vocals complimented by crunching electric guitars and a rocking beat.  Most of the album’s tracks are originals but a few covers are worth mentioning.  Consider the old country-blues standard “Key To The Highway,” Covay manages to breathe new life into this classic warhorse by adding muffled vocals and electric back-porch-blues guitar.

Although blues sounds dominate this set list, The House of Blue Lights is a varied listening experience that’s well paced.  Some tracks are accoustic country-blues (“Steady Roller”)  while others like “Shut Your Mouth” feature greasy blues harp, piano, pounding drum fills and complex song arrangements.   When listening to the great down-and-out ”But I Forgive You” I can’t help but think of a young, bluesy Rolling Stones.  Bruce Eder summed it up best in his review of The House of Blue Lights on allmusic.com; ”This album is not only a great record on its own terms, but it’s sort of a black parallel/precursor to a few blues-rock LPs by white artists that sold a hell of a lot more copies around the same time. Much of the album sounds like the sonic and spiritual blueprint for Let It Bleed and Exile on Main Street and parts of Layla & Other Assorted Love Songs.”

If a bit offbeat, The House of Blue Lights is one of Covay’s best albums.  I’ve seen other reviews refer to the LP as “odd” but I think it’s a wonderful, individual recording that’s seldom been equalled in the world of soul music.   The overall vibe of The House of Blue Lights is that of a great artist and tight band, blasting thru a powerful set of swampy blues rock on one of those hot, humid southern nights.   A true American classic.  SepiaTone reissued this album in 2002 but since then it’s been hard to come by.

“Key To The Highway”

CD Reissue | 2002 | SepiaTone | at amzn ]
Original Vinyl | 1969 | Atlantic | search ebay ]
MP3 Album | download ]

The sudden arrival of British psychedelia threw up some odd stories, but surely none odder or more notorious than that of Dantalian’s Chariot. Like other established acts – the Beatles, the Stones, Donovan, the Pretty Things, even the homely Hollies – these experienced Beat-era musicians drastically changed tack to embrace the new counterculture, yet no others did it so publicly, nor with such apparent commitment, nor did they fail so spectacularly in spite of critical acclaim and huge hype.

Keyboardist/vocalist George “Zoot” Money had helmed his Big Roll Band since 1961, playing fiery R’n’B to enthusiastic Soho Mod club dancers whilst selling precious few records. Seeing the psychedelic scene suddenly burgeon around them, Money, guitarist Andy Somers and drummer Colin Allen threw themselves bodily on to the bandwagon, announcing abruptly in July 1967 that the Big Roll Band no longer existed and that henceforth they would be Dantalian’s Chariot – Dantalian being a Duke of Hell, referred to in The Key Of Solomon. To emphasise the point they kitted themselves out completely in white – kaftans, guitars, amps, even a white Hammond – and put together a light show so sophisticated that the Pink Floyd hired it on occasions. From their first self-penned recording sessions EMI released a single, “Madman Running Through The Fields”. Despite critical approval it stiffed chartwise, and a subsequent attempt to release an album, appropriately titled Transition, on CBS subsidiary Direction also stalled when the label insisted that its psychedelic elements be diluted with more familiar Money fare and the release credited to the Big Roll Band. This too sank without trace, and a miffed Money finally junked the Chariot in April 1968. Retrospectively, “Madman” became THE essential Brit psych track, much sought after by aficionados as it appeared only rarely on anthologies. The other tracks from the initial sessions attained legendary “lost” status for almost thirty years, until compilers at tiny label Tenth Planet decided to assemble them as the “true” Dantalian’s Chariot album, this finally appearing on vinyl in 1995 with an extended CD release the following year.

After the hype and the wait, the music itself turns out to be rather different from the anticipated unrelenting heavy-psych trip: indeed, it’s an eclectic mix that reminds me more of the Strawberry Alarm Clock’s ambiguous psych credentials. The brilliant “Madman” offers scything backwards cymbals, floating flutes and rippling guitar figures as well as suitably lysergic lyrics, but underneath all this is a tautly constructed pop song, not one of your rambling improvs a la “Interstellar Overdrive”. Some songs follow the distinctively British whimsical personal-narrative psych groove: “Fourpenny Bus Ride” and “Four Firemen” could have come from the Kinks or S.F. Sorrow-era Pretty Things. Others seem purely ersatz psychedelia; the instrumental “This Island” resembles a Morricone spaghetti-western outtake lugubriously decorated with Somers’s electric sitar, and “High Flying Bird” sounds almost like a music industry parody of the San Fran hippie scene, like the Flowerpot Men’s infamously insincere “Let’s Go To San Francisco”. “Sun Came Bursting Through My Cloud” is a winsome acoustic pop song penned, along with two other tracks, by the staff writing team of Tony Colton and Roy Smith. Only the thunderous “World War Three” really approaches “Madman” as a heavy psych tour-de-force. And although the musicianship is excellent throughout, Zoot’s brassy, bluesy vocals simply don’t fit the psych template.

An interesting and enjoyable period piece, then, but not the anticipated Holy Grail of psychedelia, despite its enduring reputation. And what became of the musicians who had thrown themselves so wilfully into the psych stewpot? Money went on to work with Eric Burdon’s LA-based Animals and various third-division British prog acts. Bassist Pat Donaldson fell into folk-rock, helping found Sandy Denny’s short-lived Fotheringay and touring with Richard Thompson. Colin Allen drummed on John Mayall’s Blues From Laurel Canyon and subsequently joined Stone The Crows. And after a brief dalliance with Soft Machine, Andy Somers eventually changed his surname to Summers and became one-third of the Police, no less. Listen to his textural backings on “Madman” and hear unmistakeably the genesis of his unique Police guitar style.

“Madman Running Through the Fields”

1996 | Wooden Hill | search ebay ]

Opinions on this, the band’s second album, are so polarised that I did seriously think of suggesting it for a uReview, but I guess it’s not well enough known to make that a starter. Nonetheless, the only thing more polarised than its reviews is the nature of the opus itself. The first three tracks are some of the most wigged-out psychedelic songs ever recorded; these almost universally garner critical praise. By contrast the remainder of the album sees the genesis of Keith Emerson’s bombastic “pomp-rock” style, via cod-classical and bebop jazz; this element of his output has been popularly ridiculed for years. Not that this ever worried him: the Nice always existed on the edge, offering compromises to nobody, even in the band’s name – a “nice” is hippie argot for a person who’s high and happy on marijuana. And, being far and away the most prodigiously talented rock keyboardist ever, arrogance and excess came early and easily to Emerson; the only difference between the Nice and ELP is that the earlier band didn’t sell squillions of albums. The title of this one translates loosely as “life is short but art endures” – perhaps indicative of Keith’s elevated opinion of his own product.

The excellent psych confections “Daddy, Where Did I Come From?”, “Little Arabella” and “Happy Freuds” fall somewhere between Syd Barrett and early Zappa, offering a variety of sophisticated musical backings with ludicrous Alice-in-Wonderland lyrics in which bassist Lee Jackson’s vocal limitations actually contribute to the effect (with the help of a little vari-speed and echo). These lead into what is probably Emerson’s best-ever classical reinterpretation – at nine minutes a little too long to sample here – in which the somber, gorgeous melody of Sibelius’s “Intermezzo” from the Karelia Suite becomes a furious military march overlaid by brilliant Hammond harmonisation and a contrapuntal, partly bowed bass line. The title track, somewhat ingenuously subtitled “Symphony For Group And Orchestra”, actually consists of four very disparate segued pieces, linked only by brief Copland-esque orchestrations in the Prelude, the Coda and between the second and third “movements”; elsewhere, the orchestra is used only sparingly. “Awakening” is the vehicle (this being 1968) for a somewhat underwhelming Brian Davison drumkit solo, while “Realisation” starts with some pretentious poetry from Jackson before dissolving into a clattering bebop-style piano tour-de-force. The orchestra features more strongly in the lilting “Acceptance” a.k.a. “Brandenburger”, in which J S Bach’s delightful theme from the third Brandenburg Concerto is further enlivened by some gloriously bluesy Hammond soloing; it’d be nice to think that old Johann Sebastian would have appreciated this joyous updating of his work. Finally, “Denial” provides a noisy proto-prog instrumental workout for all three musicians before the orchestra reappears for the short coda. The CD reissue’s bonus tracks include the band’s infamous reworking of Bernstein’s “America”, which the composer reportedly did NOT find amusing.

Note that the whole of this album can be found on The Immediate Anthology200, which is a bargain compilation excellent in most respects but substitutes a mono-only version of “Arabella” (in this case definitely inferior!) and an earlier demo version of “Daddy” (likewise). The pukka item also offers a good retrospective booklet.

“Daddy, Where Did I Come From?”

The Immediate Collection | 2000 | Castle Music UK | at amazon ]
Original Vinyl | 1968 | Immediate | search ebay ]

I love mining the cracks and depths of the rock era, hunting down lost or obscure gems, but I’m not about to put some rare junk or novelty crap on my Christmas mix. The holidays are a time for family entertainment and this jock aims to please the crowd. Mostly, I’m looking for classic tracks with the elusive “christmas sound,” that special magic that separates rushed covers of holiday standards from the true “christmas canon.”

Year after year, Booker T.’s In The Christmas Spirit is where it’s at. Famous as the legendary house band at Stax, the MG’s defined the sound of southern soul backing records for the likes of Sam & Dave, Wilson Pickett, and Otis Redding. Even likely the men behind some of the artists on Atlantic’s classic Soul Christmas, cutting classic grooves like Otis’s “Merry Christmas Baby.”

This collection of souled-up instrumentals hits the pocket for me, and it’s versatile as a party record or lite background music. Easily essential this time of year.

Other perfect holiday records to recommend include Phil Spector’s A Christmas Gift For You, The Beach Boys Christmas Album, the original Soul Christmas, and Vince Guaraldi’s A Charlie Brown Christmas.

“Jingle Bells”

Vinyl Reissue | 2009 | Sundazed | buy at sundazed ]

Q. What records are on your Christmas mix?

The Blo experience is best heard on RPM’s Chapters and Phases (2009).   This reissue includes both the Chapter One (1973) and Phase II LPs in their entirety.

Blo (based out of Lagos) grew out of the Clusters, a popular late 60s group who made ends meet by covering Beatles and Stones tunes.  Before long people began refering to the Clusters as the “Nigerian Beatles” but the group also soaked up the sounds of Jimi Hendrix, James Brown, and local hero Fela Kuti.  To make a long story short things did not work out for the Clusters who included future Blo members Akintobi and guitarist/songwriter Berkley Jones.  In 1972 Blo made their Christmas debut at Lagos City Stadium and by all accounts blew supporting act Osibisa off stage.   Lagos City Stadium housed 10,000 vistors strong, all who were chanting “we want Blo” that day - a trio they had never seen before!

Press reports began describing Blo as Africa’s first real rock band. Following the explosive live performance at Lagos City EMI issued Chapter One in the summer of 73.  At the time nothing sounded quite like it.   The album is an extraordinary mixture of funky James Brown beats and spacey psychedelic guitar jams (check out the superb instrumental ”Miss Sagitt”).    Album opener “Preacherman” combines both these styles into something really far out and classic.  The spiraling acid guitar solos and shuffling drum work really stand out on this cut. Brilliant.  Every song is worth listening to multiple times but I’ll single out all 6 minutes of “Don’t” for it’s hazy, hypnotic vibe that’s similiar to early Can.

Sadly, Blo never really broke out of Nigeria despite having the look, superior chops, and an excellent batch of songs.

“Preacherman”

Complete Recordings | 2009 | RPM Retro | buy at amzn ]

As good as Kaleidoscope’s debut was (1967’s Side Trips), A Beacon From Mars expanded on the group’s sound greatly, as it includes two excellent “long” tracks: the Eastern instrumental jam “Taxim” and the ghostly blues-rocking title cut, which is full of feedback and excellent harp work.  These two tracks were cut live in the studio with no overdubs or studio interference.  Chris Darrow explains, “We needed an album that really sounded like us live, not a stacked, layered sound that was so prevalent. We decided to record the way only jazz musicians were recording, live” (taken from the Edsel reissue liner notes). Needless to say, this conscious effort to capture the group in true form is a success, as both cuts are amazing, showing off Kaleidoscope’s legendary eclecticism and peerless musicianship. ”Taxim” is an astonishing Eastern folk instrumental that builds into an exciting crescendo unlike anything you’ve heard before. Incredible stuff.

Kaleidoscope were some of the most accomplished musicians of their day – up there with the best San Fran had to offer (ie. The Grateful Dead, Quicksilver, Moby Grape and so on).  Chris Darrow, principal songwriter, is one of LA’s most underrated musicians, he penned fine 3 minute pop songs while David Lindley and Solomon Feldthouse mastered a variety of strange, stringed instruments.  Remaining cuts like ”I Found Out,” “Greenwood Sidee” and “Life Will Pass You By” are exciting roots excursions that mix folk, country and psychedelia into something that’s genuine and authentic.   Other than being a standout acid folk-rocker, “I Found Out” is also notable for a cool dobro solo and what sounds like primitive synthesizer.  Another great track is the excellent Smokestack Lightning rewrite “You Don’t Love Me.”  This track features incredible graffiti-like lead guitar (with lots of bluesy fuzz) while the aforementioned “Life Will Pass You By” is a beautiful Byrds-like folk-rocker with accomplished finger picking (think Byrds crossed with early Nitty Gritty Dirt Band).  The only misstep here is a rather lame attempt at good time/jugband music titled ”Baldheaded End Of A Broom.”  My pick of the bunch is “Greenwood Sidee.”  This track is actually an Irish murder ballad, a tremendous one at that, with stoneface vocals and an eerie acidic vibe -no doubt aided by effective fiddle work.   This is one of my favorite lps.

This would be Chris Darrow’s last LP with Kaleidoscope.  After Beacon he would join the Nitty Gritty Dirt Band and also release a few solo discs.  David Lindley and co. soldiered on releasing the fine Incredible! from 1969 and the disappointing Bernice.  Edsel reissues are pretty hard to come by these days but the recent box set Pulsating Dream is highly recommended as it features all their classic albums and rare non-lp singles.

“Life Will Pass You By”

CD Reissue | Box Set | 2004 | Acadia | at amazon ]
Vinyl Reissue | 2008 | Sundazed | buy at sundazed ]

It’s been a great year for re-releases. All thanks to labels dedicated to top notch sound, quality packaging, expanded content, and 180 gram vinyl. With no further ado here’s an unranked list of the top 25 reissues we found this year. Hit up the poll below and help us determine which was this year’s very best.

	13th Floor Elevators “Sign of the 3 Eyed Men” International Artists 10 CD Box Set The band’s three landmark albums including rare mono versions, outtakes and alternate versions. Two lost albums featuring previously unreleased material. Rare and previously unreleased live recordings with a 72 page hardback book. Enhanced with posters, ephemera, discographies and many rare and previously unseen photos.
	“Thee Complete Midniters – Songs of Love, Rhythm & Psychedelia” Micro Werks 4CD Box Set Chicano rock n roll pioneers released these four LPs between 1965 and 1969; each disc has bonus alternate takes, alternate-language versions, instrumental mixes, live cuts and sought-after single sides.
	Moby Grape “The Place and the Time” Sundazed 2LP Outtakes Comp Rare tracks cut during the band’s 1967–1968 heyday. Encompassing audition recordings, album outtakes, alternate versions, live material and more. read our review…
	The JuJus “You Treat Me Bad” Cicadelic CD - Complete Singles The classic singles, a good 1965 Ray Hummel Fenton 45 (backed by the JuJus) and a slew of quality outtakes. There are no lame covers and the sound quality is excellent. Mandatory listening for anyone interested in pure rock n roll. read our review…
	The Rationals “Think Rational/Fan Club LP” Big Beat 2CD All the group’s early singles and outtakes on a double disc anthology. First time legit reissue of the group’s early years. A great package, evenly divided between the group’s garage and soul eras. read our review…
	Big Star “Keep an Eye on the Sky” Rhino 4CD Box Set 1968 to 1975 unreleased demos, unused mixes, alternate versions, and a 1973 Memphis concert recording. Extensive liner notes, rare  photos, and essays about the cult of Big Star and the band’s history.
	Alexander “Skip” Spence “Unreleased Demos” Sundazed Limited 10″ Vinyl Single Demos recorded in New York in 1968 during the run-up to the Grape’s second album,”Wow.” Limited edition 10” vinyl single packaged in a numbered sleeve with liner notes by Rolling Stone’s David Fricke, an artist bio, and rare photo inserts.
	Louie and the Lovers “The Complete Recordings” Bear Family CD Anthology Definitive collection of this Doug Sahm produced Salinas group, harnessing the sounds of SDQ, CCR, conjunto, and rock and roll; includes the legendary lost 2nd album and extensive liners. read our review…
	Clarence White “White Lightning” Sierra Records CD & DVD Rare and largely unreleased studio and live recordings available for the first time on CD, focusing on Clarence’s electric work with some of his fine bluegrass acoustic chops on display.
	Emmit Rhodes Recordings (1969-1973) Hip-O Select 2CD Remastered 48 song collection features the four albums Emitt Rhodes released between 1970 and 1973 – the three ABC/Dunhill albums Emitt Rhodes, Mirror and Farewell To Paradise, and his one A&M album, American Dream, along with the non-LP single “Tame The Lion.”
	Beatles Mono Box Set EMI 13CD Remastered Mono Mixes The first ten albums in re-mastered mono (the final 3 albums made their debuts in stereo only), and a double album of singles and EPs, called “Mono Masters”. Each disc is presented as if it were a miniature “33″, replete with plastic anti-scratch sleeve, inner paper sleeve, original album cover, inserts and all original text.
	2131 South Michigan Avenue Sundazed 2LP USA & Destination Records Comp 60’s Garage & Psychedelia from USA and Destination Records. Chicago ’66 garage at its finest; album artwork stuffed with rare photos, band bios, and an interview with the legendary Jim Golden.
	Blossom Toes “Love Bomb 1967-1969″ Sunbeam Deluxe 2CD Previously unreleased vintage British psychedelia including a detailed booklet with rare photos and an introduction from the band’s leader, Brian Godding and Guest appearance from Frank Zappa.
	Monks “Black Monk Time” “The Early Years 1964-1965″ Light in the Attic CD, LP Monks’ recorded legacy through two reissues.  Numerous unseen photographs and two-part essay by Canadian music journalist Kevin Howes accompany both releases and tell the Monks story like it has never been told. Bonus material dating back to pre-Monks Torquays and up to post Black Monk Time 7″s are also included.
	Death “For the Whole World to See” Drag City CD/LP/MP3 1974 demo album released for the first time and maybe one of the first punk albums.  Bobby Hackney’s sons, members of Rough Francis, are responsible for digging up the old demo tapes for this blisteringly hot buried treasure. read our review…
	John Drendall, B.A. Thrower and Friends “Papa Never Let Me Sing The Blues” Riverman CD Deacon Productions released 100 copies of Papa in 1971/1972. This is its first re-release. Very fine Americana, a true undiscovered gem that needs to be heard by more music fans. read our review…
	Morning “Morning” Wounded Bird CD One of the mandatory lost  LPs in the rural-rock/American roots/country-rock field. First time on CD since its Vault 1970 release. read our review…
	Off The Wall Volumes 1& 2 Past & Present 2CD Originally issued by the UK imprint Past & Present in the late 80s, this is one of the original 60s garage rock and psychedelia compilations.
	Kaleidoscope “White Faced Lady” Repertoire Records CD Long-lost concept album from the British psychedelic group, remastered and presented in a definitive collectors’ package. It has the original descriptive texts for the music, plus a new interview with founding member Peter Daltrey. read our review…
	Betty Davis “Is it Love or Desire” Light in the Attic CD/Sundazed Vinyl Recorded in the summer of ‘76, and never issued until now. Betty was Miles Davis’ ex-wife and often credited with influencing the Bitches Brew era. Super hot funk must have.
	The Lemon Drops “Sunshine Flower Power” Cicadelic 2CD Rare psychedelic rock from the suburban Chicago scene. Features the “Sometime Ago” LP and plenty of rarities, including previously unreleased versions.
	Pisces “A Lovely Sight” Numero Group CD/LP/MP3 Never issued LP of unknown, modern-sounding psych done up by the wonderful Numero label. 1969 curio from Rockford, Illinois.
	The Master’s Apprentices “The Master’s Apprentices” 101 Distribution 2CD Remastered and expanded two CD edition of of this Australian 1967 garage/psych classic including 27 bonus tracks.  Deluxe eight panel digipak with 28 page booklet with many previously unpublished photos and recent interviews.
	King Crimson “Red” Discipline 2CD/DVD Remastered and expanded two disc (CD/DVD) edition of the Prog Rock band’s classic 1974 album, released to coincide with King Crimson’s 40th anniversary. Presented as digipak in a slipcase with new sleeve notes by Robert Fripp and King Crimson biographer Sid Smith along with rare photos and archive material.
	Neil Young Archives Vol. 1 1963-1972 Reprise Records 8CD Box Set Comprehensive, chronological survey of Neil Young’s entire body of work. 8 discs, each in its own custom sleeve and featuring over 40 previously unreleased songs, versions, mixes, or rare tracks.

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Q. Which reissues, from any list, knocked you out in 2009?