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JOHN KAY &
STEPPENWOLF
I am the Steppenwolf who I often call myself; the beast astray who find neither home nor joy nor nourishment in a world that is strange and incomprehensible to him.� —(quote from the novel)
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
In 1967 Steppenwolf catapulted music that pioneered hard rock a success withThunder: songs such as “Born Be Wild, ” “Magic Carpet Ride Heavy Metal The Origins OftoHeavy Metal Excerpts Published on March 27, 2020 | UDISCOVERMUSIC. COM By Richard Havers
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
and The heavy metal, John Kay’s had international origins of heavy metal Steppenwolf are often disputed… We attempt e,” “Monster, ” “Thethe Pusher, ” and “Rock to track down history of the term Me. and”answer the question, Where does heavy metal come from? Heavy metal was born in 1839. It’s a chemistry term describing a loosely connected set of metals defined as frequently being toxic to humans – these include lead, iron, mercury and lithium. Over a century later the term Heavy Metal found its way into literature
STEPPENWOLF
“I like smoke and ligh
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
In William S. Burroughs 1961 novel, The Soft Machine, in reference to one of its characters, Uranian Willy: The Heavy Metal Kid, Burroughs told The Paris Review: “I felt that heavy metal was sort of the ultimate expression of addiction, that there’s something actually metallic in addiction, that the final stage reached is not so much vegetable as mineral.” Six years later it crossed-over into music, through a classic rock song. Steppenwolf’s ‘Born to be Wild’, recorded in 1967 and released in 1968 on their first long-playing record, Steppenwolf, containing the famous lyric, “I like smoke and lightnin’, heavy metal thunder.” It was in later 1970 that the first use of “Heavy Metal” appeared when describing music, it occurred in a review of Humble Pie’s ‘As Safe As Yesterday Is’ in Rolling Stone magazine by ‘Metal Mike Saunders.’
htnin,’ heavy metal thunder.”
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
Vision Problems Appear “When I was in my pram (cradle), if the sun was directly in my eyes I would cry; when she put a little sheet over the canopy to keep the sun out, I would stop crying” — John Kay from his autobiography, Magic Carpet Ride
“I was raised in the ruins, mama.” “Born To Be Wild” almost never happened. “Born To Be Wild” was the third single off our first album and the record company argued about which of the tunes that remained from the album, that had not been released to date, should be the next single. So management and band were on one side and the label on the other side had this tug of war and finally the compromise was to put “Born To Be Wild” on one side, put the other song that the record company preferred on the opposite side, send it to radio, and let them fight it out. Well, within a relatively short period of time (early summer of 1968) 9 out of 10 played “Born To Be Wild.” — John Kay Read full article
< Watch THE PUSHER Steppenwolf - Live NYC 1971
STEPPENWOLF was a Canad
California. Formed in 1967, the group originally con Kay, lead guitarist Michael Monarch, bassist Rushton ist Goldy McJohn. The bandâ&#x20AC;&#x2122;s final lineup featured Ka ist Gary Link (from 1982 to 1984, and since 2009), dr Danny Johnson (since 1996). Steppenwolf performing live in 1970
ABC / Dunhill Records
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
dian-American hard rock band from Los Angeles, nsisted of lead vocalist and rhythm guitarist John n Moreve, drummer Jerry Edmonton and keyboarday, keyboardist Michael Wilk (since 1982), bassrummer Ron Hurst (since 1984) and lead guitarist
s - Billboard, page 28, 12 September 1970
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
STEPPENWOLF 1970
Heavy Metal Thunder: The Origins Of Heavy Metal uDiscover Music | Mar 27, 2019 Excerpt By Richard Havers
Some magazines were there to document it. Some still document it because of how powerful the era was. Heavy Metal was born in 1839. It’s a chemistry term describing a loosely connected set of metals defined as frequently being toxic to humans – these include lead, iron, mercury and lithium. Over a century later the term Heavy Metal found its way into literature when it appeared in William S. Burroughs 1961 novel, The Soft Machine, in reference to one of its characters, Uranian Willy: The Heavy Metal Kid. Burroughs told The Paris Review: “I felt that heavy metal was sort of the ultimate expression of addiction, that there’s something actually metallic in addiction, that the final stage reached is not so much vegetable as mineral.” Six years later it crossed-over into music, through a classic rock song. Steppenwolf’s ‘Born to be Wild,’ recorded in 1967 and released in 1968 on their first long-playing record, Steppenwolf, containing the famous lyric, “I like smoke and lightnin,’ heavy metal thunder.” It was in later 1970 that the first use of “Heavy Metal” appeared when describing music, it occurred in a review of Humble Pie’s ‘As Safe As Yesterday Is’ in Rolling Stone magazine by ‘Metal Mike Saunders.’ Read Full Article
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
Origin Los Angeles, California, United States Genres Psychedelic rock, blues rock, acid, rock, hard rock, heavy metal Years active 1967–1972 Past Members Steve Palmer John Kay Danny Ironstone 1974–1976 Jerry Edmonton Kurtis Teel 1980–2018 Goldy McJohn Chad Peery Labels Michael Monarch Brett Tuggle ABC Dunhill Rushton Moreve Welton Gite Nick St. Nicholas Rocket Ritchotte Mums Larry Byrom Les Dudek Epic George Biondo Steve Fister MCA Kent Henry Michael Wilk Associated acts Bobby Cochran Gary Link Andy Chapin Ron Hurst The Mynah Birds Wayne Cook Danny Johnson The Sparrows Michael Palmer T.I.M.E. World Classic Rockers Facebook https://www.facebook.com/steppenwolf/ Website steppenwolf.com
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
LISTEN
Crow - White Eyes 1969 David Wagner – vocals Dick Wiegand – guitar Larry Wiegand – bass Dave Middlemist – organ, piano Denny Craswell – drums + Skeet Bushor – horn + Bob Schiff - horn
CROW AKA: SOUTH 40
Crow was a Minneapolis based blues rock band, that was first active from 1967 to 1972. They are best known for the song “Evil Woman (Don’t Play Your Games With Me),” which was notably covered by Black Sabbath and Ike & Tina Turner. Crow was formed in 1967 by singer David Wagner, guitarist Dick Wiegand, bassist Larry Wiegand, keyboardist Kink Middlemist, and drummer Harry Nehls under the name South 40, which was used until the group went national. Nehls was replaced by Denny Craswell at that time. Columbia Records brought them in to record a demo in 1969; they passed, and Crow was signed to Amaret. In 1969, Crow’s debut album Crow Music was recorded. The single “Evil Woman (Don’t Play Your Games With Me)” made the Top 20 of the Billboard Hot 100 that fall, peaking at #19 the following January.
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
CROW AKA: SOUTH 40
Crow was a Minneapolis-based blues rock band, that was first active from 1967 to 1972. They are best known for the song “Evil Woman (Don’t Play Your Games With Me),” which was notably covered by Black Sabbath and Ike & Tina Turner.
CROW ON FACEBOOK https://www.facebook.com/crowtheband/
LISTEN
South 40 - “Fire” (1968) Pre Crow
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
1969 YESTERDAY’S CHILDREN (( LISTEN ))
She’s Easy
(especially from: 3:45)
Yesterday’s Children were an American psychedelic rock band formed in Cheshire-Prospect, Connecticut, outside of New Haven, in 1966. The group’s earliest release was the psychedelic rock-influenced single “To Be or Not to Be.” Though, at first, Yesterday’s Children were a standard garage band, they transitioned into a psychedelic proto-heavy metal outfit that released one cult classic album in 1970 before disbanding.
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
YESTERDAY’S CHILDREN Excerpt By Beverly Paterson | psychedelicbabymag.com From The Vault: Yesterday’s Children – “Yesterday’s Children” (1970) October 26, 2017
Some of the best music is never heard by the mass public, and that includes this album, which holds firm as one of the greatest hard rocking efforts in history. Formed in 1966, Yesterday’s Children released a superb single, “To Be Or Not To Be,” a year later that remains a favorite among the psychedelic garage rock community. By the time the Connecticut based band got around to recording what would sadly be their only album, they had developed into an even mightier machine, flaunting a ferocious flair for the loud, loose and leering underground sounds of the day. Boiling with tension-filled excitement, “Yesterday’s Children” explodes front, back and center to a primitive production of unsettling glory. The band is literally on fire, bashing and thrashing their gear into submission. The shrill vocals, which stage an amazing job hitting notes as high as the Empire State Building, are equally charged with force and fury. Reference: https://www.psychedelicbabymag.com/2017/10/ from-vault-yesterdays-children.html Origin Cheshire-Prospect, Connecticut, United States Genres Psychedelic rockhard rockacid rockproto-metalgarage rock Years Active 1966-1970 Labels Parrot Associated Acts The North Atlantic Invasion Force Past members Denis Croce Richard Croce Reggie Wright Ralph Muscatelli Chuck Maher
(( LISTEN )) Sad Born Loser
An early heavy metal masterpiece, “Yesterday’s Children” is strongly recommended for fans of acts like Blue Cheer, Stack and Budgie.
Yesterday’s Children Yesterday’s Children
AllMusic Review by Dean McFarlane This elegant CD reissues the sole album by this obscure Connecticut group who recorded this one LP and a classic psychedelic garage punk single which appears on the Psychedelic Unknowns compilation. While the debut single was classic beat garage of the period 1966, by the 1969 album the group expanded into more hard rock and progressive styles -- and this album is drenched in the lead guitar blitz of Reggie Wright. The group was led by brothers Denis Croce on guitar and Richard Croce on vocals, and Chuck Maher and Ralph Muscatelli on bass and drums. The group is not to be confused with a Chicago-area group of the same name and era who appeared on the Pebbles box set. The reissue on Italian obscure specialist label Akarma is a stunning object to behold and an audiophile remaster of this underground classic. Last.fm Biography Years Active 1966 – present (54 years) Founded In Rockville Centre, Nassau County, New York, United States A sort of obscure Connecticut group who recorded one eponymous LP and a classic psychedelic garage punk single (To Be Or Not To Be, which can be found on the “Psychedelic Unknowns” compilation). While the debut single was more like the garage rock of the mid-sixties, by the album (in 1969) the group had expanded into more hard rock and psych; this album is full of psychedelia and loud, sizzling lead guitar playing. It sounds a bit like Blue Cheer and fans of that band will like this. The group was led by brothers Denis Croce on guitar and Richard Croce on vocals, and Chuck Maher and Ralph Muscatelli on bass and drums. The lead guitarist was little known Reggie Wright. The reissue on Italian obscure specialist label Akarma 179 is a nice remaster of the original.
Bad Cat Records
Review of Yesterday’s Children I found this one at a community sale, but until
I started seeing some outrageous asking prices on dealer lists and on eBay, it had never advanced past my ‘to listen to’ pile. Shame on me since “Yesterday’s Children” offers up an above average slice of early-1970s hard rock.
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
lodic edge to tracks like ‘Sailing’ and the
band’s surprisingly light cover of Wilkinson Tricycle’s ‘What of I’. Interestingly Map City picked the two non-originals as a single: the previously mentioned ‘What Of I’ b/w a cover of Spooky Tooth’s ‘Evil Woman’ (Map City catalog number 304). (Elsewhere, Michael Kanarek was credited with the cool cover art.) Yesterday’s Children Album for sale at Bad Cat Records Price: $200.00 http://badcatrecords.com/BadCat/YESTERDAYSchildren.htm
I’d love to know more about these guys. Fronted by brothers Dennis (vocals) and Richard (guitar) Croce, they were apparently from Connecticut and even though their album was released in 1969, cut their first sides back in 1966. Signed and released by London’s Parrot subsidiary, they debuted with a pair of garage rockers that are supposedly quite good - To Be or Not To Be’ b/w ‘Baby I Want You’ (Parrot catalog number 314).
“Yesterday’s Children” track listing: (side 1)
First a word of warning - if you’re looking for musical sophistication and complexity, this ain’t the place to start ...
3.) What of I (Richard Porter) - 3:55
Three years later the band reappeared on the New York-based Map City label. Co-produce by Warren Schatz and Stephen Schlaks, I’ve seen “Yesterday’s Children” touted as being a psych masterpiece, but the truth of the matter is that original material like ‘Paranoia’, ‘She’s Easy’ and ‘Providence Bummer’ are better described as straight ahead hard rock. Certainly quality early-1970s hard rock, but nevertheless hard rock. Dennis Croce’s screeching voice certainly packed a wallop and at least to my ears on tracks like ‘Sad Born Loser’ he occasionally recalled AC/DC’s Bon Scott - particularly when he went for the throat tearing high notes. The hard rock comparison was also underscored by the twin lead guitars (courtesy of Richard Croce and Reggie Wright). The pair added a nifty me-
1.) Paranoia (Dennis Croce - Richard Croce - Chuck Maher - Reggie Wright - Ralph Muscatelli) - 4:34 2.) Sad Born Loser (Dennis Croce - Richard Croce - Chuck Maher - Reggie Wright - Ralph Muscatelli) - 4:22
4.) She’s Easy (Dennis Croce - Richard Croce - Chuck Maher - Reggie Wright - Ralph Muscatelli) - 6:36 (side 2) 1.) Sailing (Dennis Croce - Richard Croce - Chuck Maher - Reggie Wright - Ralph Muscatelli) - 7:30 2.) Providence Bummer (Dennis Croce - Richard Croce - Chuck Maher - Reggie Wright - Ralph Muscatelli) - 4:03 3.) Evil Woman (Larry Weiss) - 3:10 4.) Hunter’s Moon (Dennis Croce - Richard Croce - Chuck Maher - Reggie Wright - Ralph Muscatelli) - 6:10
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
1968 ‘Vincebus Eruptum’: Blue Cheer Ring Out Across The States The formidable Blue Cheer could lay claim to being the prototype metal band and one of the greatest power trios. By Paul Sexton Udiscovermusic.com DICKIE PETERSON LEIGH STEPHENS PAUL WHALEY
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
BLUE CHEER GOLDEN YEARS (1967–1969) Blue Cheer came together in 1967. The band was put together by Dickie Peterson who lived at 369 Haight Street in San Francisco, where the sixties music scene was starting to hit the high note. Peterson had previously been with the Davis-based band Andrew Staples & The Oxford Circle, as well as future Blue Cheer members Paul Whaley and Gary Lee Yoder. The original Blue Cheer personnel were singer/bassist Peterson, guitarist Leigh Stephens and Eric Albronda as drummer. Albronda was later replaced by Whaley, who was joined by Peterson’s brother Jerre (guitar), Vale Hamanaka (keyboards), and Jere Whiting (vocals, harmonica). Albronda continued his association with Blue Cheer as a member of Blue Cheer management, as well as being the producer or co-producer of five Blue Cheer albums. The band was managed by an inactive member of the Hells Angels named Allen “Gut” Terk. Early on, it was decided that the lineup should be trimmed down. It was said that Blue Cheer decided to adopt a power trio configuration after seeing Jimi Hendrix perform at the Monterey Pop Festival, Blue Cheer is often credited as one of the very earliest but was later proven to be false. pioneers of heavy metal and their version of Hamanaka and Whiting were “Summertime Blues” has been cited as the first asked to leave. Jerre Peterson heavy metal song. According to Tim Hills in his book, The didn’t want to remain in the group Many Lives of the Crystal Ballroom, “Blue Cheer was the without them, so he departed as epitome of San Francisco psychedelia.” Jim Morrison of The well, leaving Dickie, Leigh and Doors characterized the group as “the single most powerPaul as a trio. Their first hit was a ful band I’ve ever seen” and Eric Clapton defined them as cover version of Eddie Cochran’s “probably the originators of heavy metal”. Blue Cheer influ“Summertime Blues” from their enced such late 1970s bands as East-European psychedeldebut album Vincebus Eruptum ic hardcore band Galloping Coroners. (1968). The single peaked at No. 14 on the Billboard Hot 100 chart, their only such hit, and the album peaked at No. 11 on the Billboard 200 chart. In Canada, the song peaked at No. 3 on the RPM Magazine charts. The “Summertime Blues” single was backed with Dickie Peterson’s original song “Out Of Focus”. Peterson also contributed to the album the eight-minute “Doctor Please” and “Second Time Around”, which features Paul Whaley’s frantic drum solo. Filling out the record, the band cranked out blues covers “Rock Me Baby” (by B.B. King) and “Parchman Farm” (Mose Allison, but retitled “Parchment Farm”). The group underwent several personnel changes, the first occurring after the 1968 release of Outsideinside after Leigh Stephens left the band due to musical differences or, as some report, deafness. He was replaced by Randy Holden, formerly of Los Angeles garage rock band The Other Half. On 1969’s New! Improved! there were different guitarists on side 1 and side 2 (Randy Holden and Bruce
Dickie Peterson’s Blue Cheer House (R), 369 Haight Street in San Francisco (Google 2019) Stephens) due to Holden’s unanticipated departure from the band. Following Holden’s departure the band’s lineup initially consisted of Dickie Peterson (bass), Tom Weisser (guitar), and Mitch Mitchell (drums), before Whaley returned and Bruce Stephens joined the band. Later, Ralph Burns Kellogg also joined the band on keyboards. Blue Cheer’s style now changed to a more commercial hard rock sound à la Steppenwolf or Iron Butterfly. By the fourth album Blue Cheer Paul Whaley had left the band and had been replaced by Norman Mayell, and following the release of the fourth album Bruce Stephens also left the band and was succeeded by Gary Lee Yoder who helped complete the album. According to Dickie Peterson the group’s lifestyle during this period caused problems with the music industry and press. Peterson said the group was outraged by the Vietnam War and society in general. Referemce: https://en.wikipedia.org/wiki/Blue_Cheer
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
Photo September 29, 1967 Straight Theater, SAN Francisco By Jim Marshall)
Reference and Full Article
October 3, 1967 The Grateful Dead house at 710 Ashbury and The Blue Cheer House at 369 Haight Street are busted. It is suggested this was revenge for the Dead playing the Dance Class at the Straight to by-pass the ruling that forbade the Straight from holding dances.
The Straight Theater had a 40-foot-high screen with full projection and sound booths, with a capacity of 1,400. In its first three weeks of life, it hosted a poetry reading, a play, and a Grateful Dead concert. The group had plans to convert the building next door, a former Masonic hall, into a dance and drama school, photo studio, and arts and crafts studio.
In August 1967, the Straight Theater applied for a permit to hold dances, but was denied by the SFPD. At a two-hour permit hearing at the Hall of Justice, representatives of The Straight Theater argued that the dances would bring in money that could fund other cultural programs. But local residents protested a potential influx The Haight Theater remained vacant for a of people into an area already filled with hipcouple of years, until a group of five young pies. As the police noted, there was “a high local artists took ownership of the space and reopened it in August 1967. In a riff on the pri- incidence of crime when folk-rock concerts were held in other areas of the city.” Despite or controversy, they renamed it the Straight the denial of their permit, the Straight Theater Theater. (The marquee announced that “The found a loophole. An October 2, 1967 article Haight Is Straight!”). The group spent 18 months renovating the building’s 4,200-square- described crowds forming to sign up for the dance school, with the Grateful Dead setting foot parquet floor, which had been flooded by up their equipment to play for the dance “classtwo feet of water.
(above) Blue Cheer with Grateful Dead, Poster for Straight Theater. (right top) Straight Theater, formerly the Haight Theater, reincarnated for the Summer of Love in July 1967. (photo: private collector) (right middle) Interior of Straight Theater. (right bottom) The Straight Theater in 1967. (Photo: SFPL History Center)
es.” When it wasn’t holding clandestine shows, the Straight Theater still played movies; it was the first Bay Area theater to show the Beatles’ Magical Mystery Tour. It also hosted weddings, including that of one of the owners. From 1969 to 1973, the Straight Theater sat abandoned. Photos from the time show posters lining its exterior, in the manner of a construction site, but no building was actually going on. In April 1973, 30 artists, dancers, and musicians staged a press conference to encourage the city to abandon the proposed $18 million performing arts center downtown and focus on neighborhood community centers instead. They argued that renovating the Straight Theater would cost the city a mere $250,000, “equal to 58 parking spaces in the proposed downtown performing arts center.” July 22, 1967 Straight Theater, San Francisco, CA (Straight Theater Opening Weekend. Country Joe and The Fish, Charlatans, Blue Cheer, Freedom Highway, The Dossier (Live Theater – Straight Theater Company), Lights by Reginald) October 6-7, 1967 Straight Theater, San Francisco, CA (Unknown. Likely date for a cancelled Blue Cheer show) February 6-8, 1968 Straight Theater, San Francisco, CA (Blue Cheer, (film) “Cosmic Man”).
Demolished 1979. A Goodwill stores is there now.
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
The Haight-Ashbury district is noted for its role as a center of the 1960s hippie movement. Melrose Records in the Haight-Ashbury neighborhood, San Francisco. Source: Mashable
The Fillmore West was a historic rock and roll music venue in San Francisco, California, which became famous under the direction of concert promoter Bill Graham from 1968 to 1971. Named after The Fillmore at the intersection of Fillmore Street and Geary Boulevard (which served as Graham’s principal venue from 1966 to 1968).
The Fillmore West in 1970 Beginning in 1968, it was briefly operated by a collective formed by the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service and Big Brother and the Holding Company as a social/musical “laboratory experiment.” According to critic Joel Selvin, the “six-month run may well have corresponded with the height of the whole ‘60s Haight-Ashbury/San Francisco thing.”
Pink Floyd, Blue Cheer, Jeff Beck, Shrine Concert Ad 1968
Grateful Dead Byrds Newport 1968 Concert Newspaper Ad Poster Original
BLUE CHEER 1967 Art Print Poster
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
VINCEBUS ERUPTUM (Latin for Blue Cheer)
Youtube Comments: robin7771 5 years ago “This is some of the heaviest riffage ever. Rock doesn’t get any better than this!” Daniel Hayes 2 years ago This should’ve been the version on “Vincibus Eruptum.” Vincebus Eruptum is the debut album of American rock band Blue Cheer. Released on January 16, 1968, the album features a heavy-thunderous blues sound, which would later be known as heavy metal. A commercial and critical success, Vincebus Eruptum peaked at number 11 on the Billboard 200 albums chart and spawned the top-20 hit cover of Eddie Cochran’s “Summertime Blues”. Being an example of hard rock, it is also lauded as one of the first heavy metal albums. The hard rock of the late 1960s was a scene containing elements of the later psychedelic era, at the very dawn of what became heavy metal. The links between the two are often celebrated in the work of bands like Iron Butterfly and Steppenwolf, but today we turn our attention to a formidable outfit who can also lay claim to being the prototype metal band, and one of the key power trios: Blue Cheer, who released their debut album Vincebus Eruptum on 16 January 1968. Vincebus Eruptum was the result, and when it emerged early in 1968, it showcased both the original band compositions (‘Doctor Please, ‘Out Of Focus’ and ‘Second Time Around’), blues favourites, and a retooled rock ‘n’ roller as a first course. This was Eddie Cochran’s ‘Summertime Blues,’ a cover that emerged as The Who were also championing the song, notably in their Monterey Pop Festival performance in June 1967. Read More < (( Listen )) to ‘Doctor Please
Blue Cheer was an American rock band that initially performed and recorded in the late 1960s and early 1970s and was sporadically active until 2009. Based in San Francisco, Blue Cheer played in a psychedelic blues rock or acid rock style, and are also credited as being some of the earliest pioneers of heavy metal, with their cover of â&#x20AC;&#x153;Summertime Bluesâ&#x20AC;? sometimes cited as the first in the genre. They have also been noted as influential in the development of genres as disparate as punk rock, stoner rock, doom metal, experimental rock, and grunge.
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
“Blue Cheer” was the name of a variety of LSD made by chemist and Grateful Dead patron Owsley Stanley and the band was probably named after that, although the name existed earlier, as the name of a laundry detergent after which the LSD variety itself was named.as well as being the producer or co-producer of five Blue Cheer albums.
(( Wat
BLUE C LIVE ON DICK CLA
Very rare footage from TV Programm
tch ))
CHEER ARKâ&#x20AC;&#x2122;S BANDSTAND
me, American Bandstand, 2.10.1968.
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
Dickie Peterson
LISTEN
Rare: Blue Cheer 1967 DEMO Doctor Please
Vocalist/bassist Dickie Peterson with guitarist Leigh Stephens and drummer Paul Whaley, Blue Cheer, later became part of the expanding San Francisco music scene.
ROCK LEGEND NEWS SEPTEMBER 2020 | LEGENDS
Dickie Peterson
BLUE CHEER
Miami Pop Festival, Gulfstream Race Track, Hallandale FL May 1968 Photo by Ken Davidoff
On October 12, 2009, Peterson died in Germany after the development and spread of prostate cancer. After Peterson’s death, longtime Blue Cheer guitarist Andrew MacDonald wrote on the group’s website that “Blue Cheer is done. Out of respect for Dickie, Blue Cheer (will) never become a viable touring band again.” Under ten years later, in January 2019, drummer Paul Whaley died of heart failure. Blue Cheer is often credited as one of the very earliest pioneers of heavy metal and their version of “Summertime Blues” has been cited as the first heavy metal song. According to Tim Hills in his book, The Many Lives of the Crystal Ballroom, “Blue Cheer was the epitome of San Francisco psychedelia.” Jim Morrison of The Doors characterized the group as “the single most powerful band I’ve ever seen” and Eric Clapton defined them as “probably the originators of heavy metal.” Blue Cheer influenced such late 1970s bands as East-European psychedelic hardcore band Galloping Coroners. ‘Guitar God’ Randy Holden: ‘They tell me I’m famous,’ lives in Dana Point, Ca. Read Article with him: https://www.latimes.com/ socal/daily-pilot/tn-wknd-et-0320-randyholden-20160318-story.html
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Blue Cheer In Color 1968 Unreleased Jam Video from a show called UPBEAT. Audio from a gig at The Family Dog in Denver; both 1968, featuring the great Leigh Stephens, American guitarist and songwriter best known for being former lead guitarist of the San Francisco psychedelic rock group Blue Cheer.
YouTube Comment by video poster zen babaloo 10 months ago “I bought a 20 minute video boot of the band at a swap meet and this clip was on it. No sound. The rest of the video was the usual stuff, various clips of Summertime Blues.” (( WATCH VIDEO ))
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LEIGH
STEPHENS Leigh Stephens was the original Blue Cheer guitarist on Blue Cheer’s first two albums, Vincebus Eruptum and Outsideinside. Leigh was recently acknowledged by Rolling Stone magazine (RS931-Top 100 guitarists of all time) and Guitar World magazine (3/4/2004 -100 All Time Greatest Metal Guitarists), also Leigh’s version of “Summertime Blues” (Blue Cheer first album), making the Rolling Stone Magazine’s Top 100 All Time Guitar Songs.
Leigh Stephens in the late 1960s
https://leighstephens.net/
In late 1968, Stephens, who later described himself as the only member of Blue Cheer not to be “chemically challenged” (i.e., using drugs), was asked to leave the group after criticizing the behavior of his bandmates. In his other life as a special effects technician and artist, Leigh fabricated and painted a variety of creatures, animals, automobiles and insects for the motion picture industry. Films include: Dances With Wolves, Honey I Shrunk the Kids, The Abyss, License to Kill, Gross Anatomy and Tremors to name a few. Leigh is also an accomplished artist and is currently working on a series of fine art paintings. “In 1968, there was no one heavier in music than Jimi Hendrix. No one heavier, that is, except Blue Cheer. I’m not saying they were better, but in the wake of Hendrix’s first two albums, they created a sound that laid the blueprint for Heavy Metal.” —Blue Cheer’s Paul Whaley’s Last Thunderous Beat, by John Diliberto 1/31/2019 ALLMUSIC BIO
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PAUL WHALEY
Paul Whaley was a drummer best known for his multiple tenures with Blue Cheer, being in the band longer than anyone (and playing on seven of the band’s eleven studio albums) besides founding member Dickie Peterson throughout the band’s 42 years of existence. Whaley’s musical beginnings date back to the early 1960s, as he would found The Oxford Circle in 1964, a psychedelic/garage band with elements of proto-punk. A popular band in the Davis, California area and regulars at the Avalon Ballroom, The Oxford Circle performed with the likes of The Grateful Dead, Quicksilver Messenger Service and Big Brother and The Holding Company. Paul Gene Whaley (January 14, 1947 – January 28, 2019) was an American drummer best known as the drummer for rock band Blue Cheer. He was the son of country music singer Paul Edward Whaley. He grew up in the towns of Vallejo and Winters, California. He played drums with a Davis, California band called the Oxford Circle. Whaley is credited on the Oxford Circle album Live at the Avalon 1966. When he left the Oxford Circle to join Blue Cheer in 1967, the former band dissolved. He was the longest-standing member in Blue Cheer following Peterson’s death at age 63. Whaley died in Regensburg, Germany of heart failure in 2019 at the age of 72. Dickie Peterson & Paul Whaley
Blue Cheer - Summertime Blues
2,014,282 views
“Summertime Blues” is originally a 1958 song recorded by Eddie Cochran. Blue Cheer recorded it for their debut album “Vincebus Eruptum” in 1968.
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YouTube: Brigham Gardner 5 years ago “Their drummer played so hard that he had to nail his kit down to the stage with railroad spikes.” Blue Cheer has been considered a pioneering band in many genres. Peterson did not consider that the band belonged to any particular genre: “People keep trying to say that we’re heavy metal or grunge or punk, or we’re this or that. The reality is, we’re just a power trio, and we play ultra blues, and it’s rock ‘n roll. It’s really simple what we do.”
Neil Peart, the drummer for Rush, said in tribute to Dickie Peterson:
“Dickie Peterson (Richard Allan Peterson September 12, 1946 – October 12, 2009), was present at the creation — stood at the roaring heart of the creation, a primal scream through wild hair, bass hung low, in an aural apocalypse of defiant energy. His music left deafening echoes in a thousand other bands in the following decades, thrilling some, angering others, and disturbing everything — like art is supposed to do.”
PHOTOS FACEBOOK
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BLUE CHEER ‘The Hunter’ Live 1968 “Blue Cheer” was the name of a variety of LSD made by chemist and Grateful Dead patron Owsley Stanley and the band was probably named after that, although the name existed earlier, as the name of a laundry detergent after which the LSD variety itself was named. Reference: https://en.wikipedia.org/ wiki/Blue_Cheer
BLUE CHEER
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“We’ve been renegades our whole lives.” —Dickie Peterson
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BLUE CHEER 1969
I got the chance to talk with Dickie and the boys after the show and got a little insight into their world. I have never meet a band who was so chill, engaging and unpretentious. I expressed to the guys my appreciation for them basically inventing heavy psychedelic rock and never giving in and becoming commercial corporate bitches or watering-down their powerful music. Dickie’s response was, “We’ve been renegades our whole lives.” Dickie told me how they’ve always played what they wanted to play without worrying about who would like it or not. He said people HATED them in the beginning and still do, but the fans that have developed over the years are the best fans in the world. Photos and Read Full Article: https://alibi.com/story/22251/scn/rocksquawk/Blue-Cheer.html
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BLUE CHEER
Paul Whaley, Leigh Stephens, Dickie Peterson
Blue Cheer Open Tour Phoenix Coliseum 1969 Paul Whaley: Drums, Randy Holden: Guitar, Vocals Dickie Peterson: Bass, Vocals (Left to right)
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Randy - Paul - Jerry - Dickie - Dougly - Phoenix Coliseum 1969
Cult Heroes: Blue Cheer - The Band Who Invented Heavy Metal Excerpt By Ken McIntyre (Classic Rock) November 04, 2016
They were the bellowing Gods Of Fuck. There were no big ugly noises in rock’n’roll before Blue Cheer. They created sonic brutality, coiling their teenage angst into an angry fist of sludge and feedback and hurling it at stunned, stoned hippies like a wave of mutilation. Everything about them was badass. They had a Hell’s Angel for a manager, they were despised by the other bands in their scene, and they played so loud that people ran from them in fear. Proto-punk, pro-to-metal and proto-rehab, Blue Cheer took acid, wore tight pants, cranked their walls of Marshall stacks and proved, once and for all, that when it came to all things rock, excess was always best. Read full article at: https://www.loudersound.com/features/cult-heroes-blue-cheer-theband-who-invented-heavy-metal
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(Left photo:) 1968 Discoscene magazine article about Blue Cheer recording “Just a little bit” at Pier 57! (Below photo): Dickie Peterson, Randy Holden, and Paul Whaley 1968 Algemeen Nederlands.
(top & right) Blue Cheer Band and Management contact Promotional poster. Artwork by â&#x20AC;&#x153;Gutâ&#x20AC;? who was also their manager at the time! Circa 1967. This poster appeared in the April 1967 issue of World Countdown Music Newspaper - photos by Jim Marshall, arranged by Gut. From Professor Poster A 1967 Phillips Record promo! Facebook >
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Dickey lays on top of the amp stacks while touring in the cramped van, and considering these guys are all now in their 60s, it astonishes me that they are still touring. —WebMonkey, Alibi.com “I always only wanted to play music, and that’s all I still want to do.” —Dickie Peterson
Blue Cheer Live at Rockpalast April 11th 2008 The Only Full HD Concert of Blue Cheer
Dickie Peterson, Age 63, Died in Erkelenz, Germany October 12, 2009 ROCKPALAST LINEUP Dickie Peterson - Bass and Vocals Andrew “Duck” MacDonald - Guitar (Blue Cheer, Shakin’ Street, The Rods, Apollo Ra, Thrasher, Slider, Savoy Brown) Paul Whaley - Drums
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also.... WATCH: “Out Of Focus” Dickie Peterson Live in NYC 2007
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RANDY HOLDEN Guitarist, known for passionate virtuoso guitar styles held several bands including “Fender IV”, “Sons of Adam”, “Other Half”, “Blue Cheer”, (its third LP New Improved! (1969), “Randy Holden Population II”, “Randy Holden - Guitar God”, and “Randy Holden - Guitar God 2001”, and latest release 2008 “Randy Holden - Raptor” (the first of the next generation of new releases to come). Randy Holden has been called Rock music’s long lost guitar great of the 60’s and 70’s era, but the path to fame never quite materialized in the form of the proverbial hit record, the medium to launch international acclaim in those times. Read more at http://www. randyholden.com/Biography. html
Randy Holden (born July 2, 1945) is an American guitaris acid rock group Blue Cheer on their third album, New! Imp nicknamed, “Guitar God.” His album Population II from 1 doom metal. Website http://www.randyholden.com/
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st best known for his involvement with the West Coast proved! (1969). Additionally, he is a painter. And he is 1970 is considered to be one of the earliest examples of
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RANDY HOLDEN Back Stage Phoenix Coliseum 1969 More >
Paul Kossoff
Back Street Crawler 1973 Paul Kossoff was ranked 51st in Rolling Stone magazine’s list of the 100 Greatest Guitarists of All Time. Paul Francis Kossoff (14 September 1950 –19 March 1976) was an English blues rock guitarist. He was most notably a member of the band Free. In December 1965 he saw Eric Clapton with John Mayall’s Bluesbreakers at The Refectory, Golders Green, North West London. This encounter inspired him to purchase a Gibson Les Paul Custom guitar. During 1966 Kossoff worked as a junior salesman at Selmer’s Music Shop in Charing Cross Road. He received lessons from session guitarist Colin Falconer who worked in the guitar department at Selmer’s. In 1966 Kossoff joined the Chicago-style blues band Black Cat Bones. The band played with touring blues piano player Champion Jack Dupree, often supporting Fleetwood Mac and other gigs with Fleetwood Mac co-founder Peter Green. Kossoff’s bandmate in Black Cat Bones was drummer Simon Kirke, and the two went on to play on
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Free with Paul Kossoff Champion Jack Dupreeâ&#x20AC;&#x2122;s April 1968 album, When You Feel the Feeling You Was Feeling. In April 1968, Kossoff and Kirke teamed up with Paul Rodgers (vocals) and Andy Fraser (bass) to form Free. They toured for two years, during which they recorded two albums: Tons of Sobs (1968) and Free (1969). Both albums showcased the bandâ&#x20AC;&#x2122;s blues-and soul-influenced sound, a style that was in contrast to some of their progressive and heavier counterparts at the time. Free, Tons of Sobs is the debut album by English blues rock band Free, released in the UK on 14 March 1969. While the album failed to chart in the UK, it did reach #197 in the US. Free are cited as one of the definitive bands of the British blues boom of the late 1960s even though this is the only album of their canon that can strictly be called blues rock. According to bass player Andy Fraser, the title effectively summed up the album.
Reference: https://en.wikipedia.org/wiki/Paul_Kossoff
Free Paul Kossoff & Paul Rodgers
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Free were a new band when they recorded Tons of Sobs, and they were extremely young; none of them were yet twenty and the youngest, Andy Fraser, was just sixteen years old. They had achieved a following through constant touring, and their debut album consisted for the most part of their live set-list. The majority of the album was recorded over the course of a few days in October 1968.
Listen to Sweet Tooth Listen to Child From the album â&#x20AC;&#x2DC;Free at Lastâ&#x20AC;&#x2122; - 1972
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TEAR GAS
Scottish Hard Rock/Heavy Psych A Glasgow, Scotland progressive rock band formed in the late 60s, Tear Gas initially comprised Eddie Campbell (keyboards), Zal Cleminson (guitar), Chris Glen (bass, vocals), Gilson Lavis (drums) and Andi Mulvey (vocals). Mulvey had previously sung with local beat group The Poets. Later in 1970 Hugh McKenna replaced Batchelor while his cousin Ted McKenna (ex-Dream Police) took over from Monro on drums. A second album was recorded for release on Regal Zonophone Records but again met with a lacklustre response from the critics. Despite regular touring in an effort to establish themselves, it was not until they teamed up with Alex Harvey in August 1972 to become The Sensational Alex Harvey Band that they saw any real success. Davey Batchelor - Vocals, Guitar • Zal Cleminson - Lead Guitar • Chris Glen - Bass, Vocals • Ted McKenna - Drums • Guest Musicians • Hugh McKenna - Keyboards • Alex Harvey - Vocals
Read full article
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TEAR GAS “Selftitled (One of The Best Hardrock Ever, UK 1971).” — http://dariuschrisgoes. blogspot.com/
< Amazing Blues Rock! TEAR GAS “Where Is My Answer”
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TEAR GAS Photo by John Young in the dressing room of the Electric Garden in Sauchiehall St, Glasgow. June 1969. More at http://www.rockingscots.co.uk/tgas.htm
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FUSE
Mystery Ship Amazon Review
5.0 out of 5 stars Classic Hard-rock - pre-dating & rivaling British peers Reviewed in the United States on January 15, 2011 Classic hard-rock of the 70s - an exceptional keyboards-driven music, with roaring fuzzy guitars and manic drumming. One of the very few U.S. acts which should be placed as equals next to their more renown British peers*. "Fuse" (released in 1969) is in many aspects is pre-dating true Deep Purple (In Rock: 25th Anniversary (UK)) and Uriah Heep, and one can easily hear even the ideas which later inspired "Baby I'am gonna leave you". The composing is outstanding, with a strong tendency towards acid-influenced progressive rock, each piece is endlessly evolving into new melodies - like a mini-symphony; there is no lack of creativity. Rick Nielsen (of the future Cheap Trick fame) in his interview to Ira Robbins (very unjust towards his ex-bandmates) said: "We were big fans of the British bands; we always thought British bands were the coolest," - to my opinion, "Fuse" outshines many of them. In this aspect "Fuse" comes rather close to "Rare Bird" (As Your Mind Flies By), "Beggar's Opera" (Act One or "King Crimson" (In the Court of the Crimson King (Deluxe). The vocals of Joe Sundberg are not high-register falsetto - powerful manly voice, without any efforts handling the most challenging parts. At the same time "Fuse", which was ahead of time and far superior to its more successful contemporaries, remains one of the most underestimated and misjudged bands - in Wikipedia it is labeled as "pretty ordinary hard rock with a couple of interesting progressive influences", while Irwin Stambler in his "Encyclopedia of Pop, Rock and Soul", when writing about Cheap Trick, mentioned the LP "Fuse" adding "about which the less said the better" - only a totally unqualified person with strong prejudice could have written that (or someone who never listened to the album). "Fuse" released only one album regretfully, and became another victim of brainless record industry executives. The founding members - Rick Nielsen and Tom Peterson - finally got rich and famous with "Cheap Trick". Nielsen in "Los Angeles Times" - "we have made certain concessions to commeciality" - well indeed. Whatever "Fuse" was, it was never cheap. Sure, it's a matter of taste, but "Cheap Trick" next to it sounds too "decaffeinated" and groomed for family consumption. *It is widely accepted that the British bands set up the standards for progressive rock, and defined the genre. It would be useful (from that point of view) to listen to some U.S. acts "Touch" (Touch) and "Ford Theatre" (Trilogy for the Masses).
< (( Listen )) Mystery Ship By Fuse
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BAND MEMBERS Rick Nielsen - guitar, keyboards, Tom Petersson - bass, Joe Sundberg - vocals, Chip Greenman - drums, Craig Myers - guitar Reference: https://www.decibelgeek.com/the-last-day-at-ricks-picks/
(( LISTEN )) Edgar Broughton Band-Death Of An Electric Citizen (1969)
The Edgar Broughton Band
The band started their career as a blues group under the name of The Edgar Broughton Blues Band, playing to a small following in the region around their hometown of Warwick. However, when the band began to lean towards the emerging psychedelic movement, dropping the â&#x20AC;&#x2DC;Bluesâ&#x20AC;&#x2122; from their name as well as their music, Victor Unitt left. Founded in 1968 in Warwick, England, was an English psychedelic rock group. Also known as The Edgar Broughton Blues
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Band. The Broughtons entered into an attempt to capture their live sound on record by organising a performance at Abbey Road on 9 December 1969. Only one track was released at the time: a rendition of “Out Demons Out”, an adaptation of The Fugs’ song “Exorcising the Demons Out Of the Pentagon”, which had become the band’s set-closer and anthem. The rest of the recording was lost until its rediscovery and release in a remixed form in 2004 as Keep Them Freaks a Rollin’: Live at Abbey Road 1969. In 1971, the band decided that existence as a power trio was limiting, and asked Victor Unitt, who had been playing meanwhile in The Pretty Things, to rejoin the band. In May, with the new lineup, they released their eponymous third album, which contained “Evening Over Rooftops” (again with strings by David Bedford). Edgar Broughton Band contained heavy blues and even country influences. Past Members Edgar Broughton Origin Warwick, England Steve Broughton Genres Psychedelic rock, acid rock, Arthur Grant blues rock, hard rock Victor Unitt Years active 1968-1976, 1978-1982, John Thomas 1989, 2006-2010 Terry Cottam Labels Harvest, NEMS Facebook Group https://www.facebook. Tom Nordon Richard De Bastion com/groups/3394964548/ Pete Tolson Duncan Bridgeman Dennis Haines Luke Broughton
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Stray Past Members: Steve Gadd, Del Bromham, Gary Giles, Steve Crutchley, Pete Dyer, Richie Cole
In 2003, Stray were the support band to Iron Maiden on several of their European dates on the Dance of Death World Tour 2003-2004. These included dates in Spain, Portugal, Poland and France. There are two other Iron Maiden connections to Stray. ‘All in Your Mind,’ from Stray’s 1970 debut album was covered by Iron Maiden and was included on the 1995 reissue of ‘No Prayer for the Dying,’ and Maiden bassist Steve
Harris’s daughter Lauren has covered ‘Come On Over.’ From late 2006 until early 2007, the band’s back catalogue of eight studio albums issued originally during the 1970s, were re-released by the UK based Sanctuary Records in compact disc format. The new releases were remastered and had bonus tracks culled from single B-sides, studio outtakes and BBC broadcast sessions.
Listen to: Stray - “After The Storm” (quality Rock Music 1971) Stray is an English hard rock band formed in 1966. Vocalist Steve Gadd (born Stephen Gadd, 27 April 1952, Shepherd’s Bush, West London), guitarist Del Bromham (born Derek Roy Bromham, 25 November 1951, Acton, West London), bass player Gary Giles (born Gary Stephen Giles, 23 February 1952, North Kensington, West London) and drummer Steve Crutchley (born 1952) formed the band whilst all were attending the Christopher Wren School in London. Richard “Ritchie” Cole (born 10 November 1951, Shepherd’s Bush, West London) replaced Crutchley in 1968. They signed to Transatlantic Records in January 1970. Read more
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Origin London, England Genres Hard rockpsychedelic rockprogressive rockblues rock Years active 1966–1977, 1980–1987, 1993, 1995–1997 Labels Sanctuary, Transatlantic, Pye Facebook https://www.facebook.com/straytheband Website www.stray-the-band.co.uk
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Stray â&#x20AC;&#x201C; The Early Years STRAY made their mark in the late 60s by owning lighting rigs, pyrotechnics and transport in a time when most bands were content to just get up onstage and play. STRAY dated back to 1966 when teenagers vocalist Steve Gadd, guitarist Del Bromham, bass player Gary Giles and drummer Steve Crutchley formed the band whilst all were attending the local Christopher Wren School in London.
At this point the average age of STRAY members was 14. Steve Crutchley quit to pursue traditional Jazz and was duly replaced by Richie Cole as STRAY became regulars on the London club circuit, performing at such venues as Shepherds Bush Goldhawk Club and Covent Garden’s Middle Earth. In May 1969 STRAY supported THE GROUNDHOGS at Southall Farx Club and signed to Transatlantic Records in January 1970. STRAY appeared at their first Reading Festival in 1971, alongside such acts as RORY GALLAGHER, MEDICINE HEAD and VAN DER GRAAF GENERATOR. Later that year the group also made their debut TV appearance on the show ‘Disco 2’, although a gig the same year at the Weeley Festival found STRAY in bother with the coastguard when stage flares were mistaken for a distress call by the local lifeboat! READ MORE: http:// www.straytheband.co.uk/ stray-the-early-years/ Garry Sharpe-Young © 2001-2003 Musicdetector Websites
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AAAAAAAAAAAAAAAAAAA
Melody Maker January 15, 1972 London England, Advert Page with, UFO, Stray, Hawkwind, Keef Hartley, Curtis Mayfield & more... STRAY
High Wycombe Town Hall Friday, January 14.
KEEF HARTLEY
The Boathouse Wednesday, January 1.
HAWKWIND
Slough Community Center, January 14.
UFO
Moggy - Vocals, Mick Bolton - Lead Guitar, Peter Way Bass Guitar, Andy Parker - Drums A group has come along with the kind of show destined for mass viewing at peak hours. UFO will be big in 1972, and nothing anybody can say will stop them. From their performance at Londonâ&#x20AC;&#x2122;s Marquee last week, it is obvious that by August their first album will be number one in the chart. This will be the signal for a sell-out concert at the Royal Albert Hall (or Rainbow, if banned), universally condemned by all thinking critics and greeted with acclaim by the audience. -- Chris Welch, Melody Maker, January 8, 1972
AAAAAAAAAAAAAAAAAAA
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UFO 1
Released October 1970 UFO 1 is the debut album by British rock band UFO. It was first released in the UK by Beacon Records in October 1970. The first US release was on Rare Earth Records in April 1971. Neither of these releases charted; however, the album did become a success in Germany and Japan. Recorded July 1970 Studio Jackson Studios, Rickmansworth, Herts, England Genre Space rock, hard rock Band Members Phil Mogg - vocals Mick Bolton - guitar Pete Way - bass Andy Parker - drums Label Beacon (UK)Decca (Germany)Rare Earth (United States) Stateside (Japan) Producer Guy Fletcher, Doug Flett, Milton Samuel
UFO Founder, Pete Way 1970
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UFO 2 FLYING One Hour Space Rock Flying (sometimes simply UFO 2 or Flying; also subtitled One Hour Space Rock) is the second album by UFO released in 1971 (see 1971 in music) on the Beacon label; it was issued on CD in 1999 on Repertoire Records. This album is distinctive for its title track, which was among the longest tracks recorded in rock music up to that point and easily the longest song the band ever recorded. The track finishes with a backmasked reading from Rudyard Kipling’s Gunga Din: “Tho’ I’ve belted you an’ flayed you, By the livin’ God that made you, You’re a better man than I am, Gunga Din!” and a slowed phrase “Yes we know, it’s all been done before before before”. The album was reissued on the Flying, The Early Years compilation, along with all of the band’s other pre-Schenker work. UFO BAND MEMBERS Phil Mogg - vocals Mick Bolton - guitar Pete Way - bass Andy Parker - drums
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Pete Way, Andy Parker, Phil Mogg & Michael Schenker
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PERFORMED 2019
WAY & JASON POOLE PETEWAY.CO.UK
“KISMET WAY OF THE SWORD” A Rock And Roll Divine Comedy Created By Londa R. Marks
TAROCCHI KIT
Inspired By Bass Legend Pete Way & Florence, Italy’s Dante Alighieri’s Divine Comedy Complete Tarot Kit Includes 80 Tarot Cards & 5 Booklets Available at worldoftarot.com
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An artful depiction of the tarot card designer in her studio and the artisan printer, her son, making World Of Tarot cards. PUBLISHED BY ALCHEMIST PUBLISHING LLC ISBN: 1-935615-70-X 978-1-935615-70-5
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SHORT CROSS Arising
Grizly Records - S-16-013 Format: Vinyl , LP, Album, Stereo Country: US Year:1972 Kind: US Heavy Blues Rock Style: Blues Rock, Hard Rock, Psychedelic Rock
Recorded At - Alpha Audio - December 24 & 25, 1971 Bass - Steve Hicks (3) (tracks: 9 to 11) Bass, Vocals - Dudley Bird Sharp (tracks: 1 to 8, 12, 13) Cello - Gisela Depkat (tracks: 5) Drums, Percussion, Vocals - Gray McCalley (tracks: 1 to 8, 12, 13) Engineer - Dave Moyssiadis (tracks: 9 to 11), Joe Sheets (tracks: 1 to 8, 12, 13), Nick Colleran (tracks: 1 to 8, 12, 13) Horns [Arrangement] - Nick Colleran (tracks: 5) Lead Guitar, Rhythm Guitar, Acoustic Guitar, Guitar [Bottle-Neck], Lead Vocals, Remastered By, Written By, Liner Notes - Velpo Robertson Organ - Butch Owens (tracks: 13) Organ, Piano, Synthesizer, Vocals - Butch Owens Piano - Velpo Robertson (tracks: 13) Producer - Dave Herren (tracks: 1 to 8, 12, 13), Marty Stone (tracks: 9 to 11), Nick Colleran (tracks: 9 to 11) Remix - Nick Colleran (tracks: 1 to 8) Strings [Arrangement, Conductor] - Paul Andrè (tracks: 5) Tenor Saxophone - Buzz Muntsinger * (tracks: 5) Tenor Saxophone, Horns [Arrangement] - Tommy Clarke (2) (tracks: 1) Trombone - Tommy Anderson (5) (tracks: 1) Trumpet - Howard Awad (tracks: 5), Skeeter Glenn (tracks: 1, 5), Thom Maxwell (tracks: 5), Tommy Mitchell (tracks: 1) Viola - Yong Sam Kim (tracks: 5) Violin - Coralie Zaret (tracks: 5), Peter Zaret (tracks: 5) Written-By - Gray McCalley (tracks: 2) < Listen To Short Cross - Suicide Blues [Arising] 1972
Bad Cat Records SHORT CROSS Review
Living in Northern Virginia it’s probably only natural that I’d have a penchant for obscure 1960s/’70s mid-Atlantic bands (The Barracudas, Mason, Sweet Toothe, etc.). Well, here’s another impressive and little known addition to the catalog. I haven’t been able to dig up much about Short Cross, though I know they were based in Sandston, Virginia (a suburb of Richmond). Originally known as The Hustlers, by the late-1960s drummer Gray McCalley, keyboard player Butch Owens, singer/guitarist Velpo Robertson and bassist Bird Sharp had metamorphosed into Short Cross. The band made their debut with a little known single on Nick Colleran’s small Colpar label “On My Own” b/w “Marching Off To War” (Colpar catalog 54-1005). The following year they got an opportunity to record an album. Recorded over a four day period in Richmond’s Alpha Audio and released by the small local Grizly label, 1971’s “Arising” teamed the group with producers Dave Herren and Rhett Riddle. Judging by the limited liner notes, Richardson was the band’s mainstay. In addition to serving as lead singer and lead guitarist, he was responsible for penning all eight tracks (drummer McCalley co-
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
wrote one track). So what about the music? Well, over the years I’ve seen this one listed on several high priced psych/progressive sales lists. If you’re looking for those genres, don’t bother reading the rest of this. The majority of “Uprising” offered up a surprisingly accomplished set of mainstream guitar-rock. Overlooking the occasionally irritating horn arrangements (“Nothing But a Woman”), material such as the organ-propelled “Till We Reach the Sun” (sporting a nice Santana-styled Latin vibe), the bluesy “Suicide Blues” and “On My Own” was tuneful and rocked, fitting in well with conventional early-1970s rock. Sporting a modest Allman Brothers feel and a great rhythm pattern, “Wastin Time” was one of my personal favorites. While you won’t find anything particularly original or earth shattering here, Richardson had an enticing voice (I kept wondering how a teenager could sound so old) and he was a first-rate guitarist (check out his solo on “Just Don’t Care”). Some of you may not take this as a compliment (it’s meant to be), but I play this LP far more often than anything from Grand Funk Railroad ... - The first time I heard ‘Nothin’ But a Woman’ I wondered if I’d put on a Lighthouse album by mistake - the punchy horns were quite a surprise. Up-tempo and surprisingly commercial, this one was actually quite good, with Butch Owens showing some Uriah Heep-styled keyboard moves while Sharp added some nice slap bass. Would have been better without the horns (the band apparently disliked the horn arrangement as well). rating: *** stars - The lone collaboration between McCalley and Roberson, ‘Wastin Time’ was one of the album highlights. Kicked along by some classic Robertson wah wah guitar and a killer fuzz lead guitar solo, the song showcased some first-rate blues rock moves. Hard to get that wah wah figure out of your head once you’ve heard it. Moreover, how can a kid still in his teens sound like such an old geezer ??? rating: **** stars - Normally a standard blues number does absolutely nothing for me - one of the rare exceptions was Robertson’s ‘Suicide Blues’. Mind you, the song wasn’t particularly original, but the performance was dazzling with another vocal that left you wondering how did he do that. Anyone know what the weird synthesizer was ? Early Moog perhaps ? Very dated and very cool. rating: **** stars
Read more: http://badcatrecords.com/BadCat/Shortcross.htm
FAT (( Listen )): House On The Corner
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
Legendary Western Massachusetts Band, FAT In 1975 the group formed the valley’s first Indie label, Dream Merchant Records, and went on to record and self produce their second LP “FOOTLOOSE”. FAT constantly refined their music doing live shows, writing, recording and touring, and was courted then signed by concert promoters/ managers Jim Koplick and Shelley Finkel. After working with producers Mick Ronson (David Bowie, Bob Dylan) and Murray Krugman (Blue Oyster Cult) the band recorded their final album with producer Felix Pappalardi (Cream, Mountain) at Criteria Studios in Miami and was personally signed to Atlantic Records by Ahmet Ertegun. The album was never released and went unheard until the early 90’s when DeVito digitized the old tapes and released the CD “ FAT / PAST DUE”. https://www.facebook. com/MArockbandfat/
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
Legendary Western Massachusetts Band, FAT March 15, 2017 David Barsalou | Full Article: https://www.notsomoderndrummer.com/
One fateful day in 1968, vocalist Peter J. Newland met with guitarists Michael Benson and Jim (K) Kaminski at Holyoke (Mass.) Community College. Together with bassist Guy DeVito, and drummer William (Benji) Benjamin…They formed what is now the legendary Western Massachusetts rock group: FAT. Most groups at the time were playing what was available on AM/FM radio. Although there was a wide spectrum of musical styles to choose from, FAT decided to write their own originals. In 1969 they were signed to RCA Victor records releasing their debut album in 1970 and touring with, and opening for numerous well known groups at the time including The Allman Brothers, and The Paul Butterfield Blues Band, while playing such storied venues as Madison Square Garden, Fillmore East, and the Strawberry Fields Festival of 1970.
FAT: The Band - 1970 Line up 1 (1969-74)
• William Benjamin drums, percussion, backing vocals • Michael Benson lead guitar • Guy DeVito bass, backing vocals • James Kaminski lead guitar, backing vocals • Peter Newland vocals, harp, keyboards, flute
LISTEN House On The Corner
(Editor’s note; There have been many infamous local bands that should have been famous. I was in several that should have had hits on the radio but just didn’t see the stars align. To get these bands together fifty years later for a reunion is quite an undertaking. Here is the story of one of them, whose members separately and together went on to greater heights in the music business, including playing in Steppenwolf.)
William (Benji) Benjamin With some serious chops…It’s really difficult to fathom that drummer Bill Benjamin is largely self-taught. Obviously, a great listener and dedicated student of the drums; having learned such a wide variety of styles all on his own. In the early 1960’s Benji carried an old wood cabinet stereo console into his basement…This is where it all began - His life-long pursuit of the drums. Listening and playing along with The Ventures, The Beatles, The Rolling Stones, Jimi Hendrix, and many others throughout the decade… Benji eventually mastered it all. Bassist Guy DeVito lived nearby and after hearing Benji’s drumming asked him about playing in a band. This soon led to the formation of FAT and their pursuit of a recording contract. Benji always considered himself to be an ensemble drummer, always paying attention to the music and playing only what was absolutely necessary. Stylistically, he played whatever fit properly, whether it be a slow blues jam, a latin groove, or hard straight ahead rock. Many FAT originals employed time and feel changes within the individual songs like ‘Over The Hill’ -‘Shape I’m In’ –‘Duck Sweat’, ‘Black Sunday’, ‘Country Girl’, and ‘House On the Corner’. Benji might be articulating softly with brushes, and then exploding loudly with sticks on the very next tune. Playing within the inter-weaving of the guitars, thunderous bass, and soaring vocals. After seven years with FAT –Bill Benjamin wanted to move on and explore different opportunities. Relocating to Boston, Mass. he began playing with the funk band ‘Groove Bus’. This became another rhythmic challenge… Playing in yet another divergent style.
Guy DeVito Bassist Guy DeVito is also a record producer who has performed with a myriad of artists, including Felix Pappalardi, John Kay and Steppenwolf, Matt ‘Guitar’ Murphy, Stevie Wonder, Steve Cropper, Jeff Pevar, The Shaboo All-Stars and Little Jimmy and the Bad Boys. Guy was musical director at The Agouti Nightclub on the Caribbean island of Montserrat, Guy and guitarist Christopher Newland formed the Agouti Bros Band which melded American Rock and Roll with Calypso and Soca. DeVito’s eclectic record production credits include the worldwide hit “Hot, Hot, Hot.” Salamander Crossing’s debut Bluegrass album and Robert Emmett Fitzgerald’s collection of Celtic songs called ‘The Minstrelsy’, as well as Joel Zoss’ Reggae feeling ‘Bob Marley International’ and represent a wide scope of his musical influences and interests.
Peter J. Newland Lead vocalist Peter J. Newland has performed with FAT since 1969, and its various incarnations ever since. FAT released albums on RCA and their own Dream Merchant label and were signed to Atlantic Records by Ahmet Ertegun in 1980. Peter wrote all of the FAT songs, collaborating on some with guitar players Jim Kaminski, Michael Benson and Christopher Newland. In 1985 Peter moved to Nashville, Tennesee and worked as a staff writer for Paul Overstreet and Fitzgerald/Hartley. He had songs cut by Hank Williams Junior, Colin Raye, Tracey Lawrence and others. He moved back to the Springfield, Mass. area in 2002. Peter performs regularly with his band RadioXile, featuring FAT guitarist Mark Pappas. Peter and Mark have also been playing together as a duo for over twenty years. Jim (K) Kaminski
Guitarist, songwriter, vocalist and founding member of FAT - James Jim (K) Kaminski is a blues-rock veteran with a lifetime of experience. He has made the rounds with Stevie Wonder and Gregg Allman…Sharing stages with Jimmie Vaughn and The Fabulous Thunderbirds, touring with Muddy Waters, and working with John Kay and Steppenwolf. Jim K says: “Music is about feeling something - My goal is to move people, to stir up some kind of emotional response”. “Produced by Eddie Jason, 1970’s “Fat” is a fantastic and completely overlooked near-classic. At least to my ears this Massachusetts-based quintet seemed to have everything required for major stardom - a great singer in Peter Newland, killer chops including a pair of impressive lead guitarists in Michael Benson and James Kaminski, and a rock steady rhythm section in drummer William Benjamin and bassist Guy DeVito. That line up coupled with more than their share of first-rate material that was simultaneously tuneful and lyrically interesting made for a great LP”. FAT RCA Victor LSP-4368 FAT single ‘Shape I’m In’ b/w ‘Over the Hill’ (RCA catalog number 47-9913). FAT single Still Water’ b/w ‘Jump Town Girl RCA Victor catalog number 74-0408). FAT Dream Merchant Records OU-812 FAT: Past Due Produced by Felix Pappalardi THE ELEVATORS ARISTA 202 122 - LP - 1980 Jim K & Co. No Holding Back Meltdown Records B001DM3JNY Peter J. Newland Nomad Dream Merchant Records https://www.facebook.com/MArockbandfat/posts/122026174798438 http://www.guydevito.com ~ Many thanks to Steppenwolf drummer Ron Hurst for the great quote
FAT 1969
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
https://www.facebook.com/MArockbandfat/
http://fat-band.com/
Euclid
Music Publish
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
– Heavy Equipment (1970)
Gimme Some Lovin’ · Euclid Heavy Equipment ©1970 Ace Records Composer: Muff Winwood Composer: Spencer Davis Composer: Steve winwood her: Unniversal/ Island Music Ltd, Kobalt Music Publishing Ltd
Euclid – Heavy Equipment (1970) Posted on October 23, 2019 https://allerlei2013riffmaster.wordpress.com/2019/10/23/
Euclid’s “Heavy Equipment”(“Flying Dutchman Amsterdam” AMS12005) is perhaps the best example of the merging of the 60’s Psychedelic with Hard-Rock. “The Euclid” ‘s musicians themselves were of an excellent caliber and very experienced; “Ralph Mazzota” who plays guitar com-
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
ing from “Lazy Smoke” and the other members, “Gary Leavitt” (rhythm guitar, lead vocals), “Jay Leavitt” (drums, vocals) coming from “The Cobras” and “Maris Neibergers” (bass guitar). BAND MEMBERS Jay Leavitt (drums, vocals) Gary Leavitt (guitar, vocals) Ralph Mazzota (vocals, guitar) Maris Neibergers (bass)
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
Andromeda Return To Sanity
Founded in London, UK in 1966 - Disbanded in 1970 ANDROMEDA was a blend of psychedelic, progressive, jazz and hard rock power trio which lasted only enough to release one album. They were formed back in ‘68, by John Du Cann, later of ATOMIC ROOSTER, after the break of his previous band, THE ATTACK. Du Cann (guitar), along with Mick Hawksworth (bass) and Jack Collins (drums), recorded a psychedelic rock project named THE FIVE DAY WEEK STRAW PEOPLE, being a concept album much praised by collectors nowadays. After recording this project, the three decided to form a band, who was called ANDROMEDA. The band started to gig, record demos, live material, etc, but without and recording contract. In ‘69, they were helped by John Peel, after recording sessions in Top Gear programme. It was arranged for them to record a single, by RCA, in Peel’s label Dandelion; later they signed a contract to record an album, self titled. The band had some disagreements with Peel by the time Collins left, being substituted by Ian McLane, and they broke the contract.
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
Andromeda - Return To Sanity - A Collection Of Rare Tracks 1968-1970 • A1-A5 recorded in London for BBC ‘Top Gear’ show on 27th October 1968. • A6-A7 & B4-B6 recorded at Graham Clark Studios, Walton On Thames, UK in 1968. • B1-B2 are ‘Andromeda’ LP outtakes recorded at Advision Studios, London in June 1969. • B3 recorded in 1969, B7 recorded in 1970. Limited edition of 500 copies. Reference: https://www.discogs.com/Andromeda-Return-To-Sanity-A-Collection-Of-Rare-Tracks-1968-1970/release/9376497
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
Founded in London, UK in 1966 - Disbanded in 1970 ANDROMEDA was a blend of psychedelic, progressive, jazz and hard rock power trio which lasted only enough to release one album. They were formed back in '68, by John Du Cann, later of ATOMIC
Though the band toured with BLACK SABBATH, recorded several live radio performances and even Pete Townshend from THE WHO showed his interest to produce their album, nothing turned out as expected, but they could hold a contract with RCA, were they released their only, self- titled album in ‘69. The album was acclaimed by critics, but had no great success among the public, so they never released another material again. Du Cann left in late 69’ going to form Atomic Rooster, along with Vincent Crane and Carl Palmer from ARTHUR BROWN BAND. The other members tried to continue with new guitarists, but the band soon split. Their work was forgotten during the years, and only in the 90’s ANDROMEDA had its material released, including extras, live material, BBC sessions, and re-releases of the first album. All their material can be found in a collection released under the name ‘The Definitive Collection’. Their eponymous album was re-released remastered with bonus tracks; there are many variations of it and other albums comprising some of the material of ‘The Definitive Collection’. Fernando Raffani (Akin) - February 2007 Why this artist must be listed in www. progarchives.com : ANDROMEDA’s work is essential because it is an early example of hard progressive rock, similar to what bands like ATOMIC ROOSTER would do in the following years. Reference: http://www.progarchives. com/artist.asp?id=2865
ROCK LEGEND NEWS AUGUST 2020 | LEGENDS
In September 2017, a copy of their first album sold for over $1,000 on Discogs.
Andromeda were an English psychedelic rock group, that formed in 1966. However, soon after formation, the band changed lineup, and led by John Du Cann a new line-up recorded their eponymous album in 1969 with backing vocals by Eddie Dyche. The group split upon Du Cannâ&#x20AC;&#x2122;s departure to join Atomic Rooster in 1970. Du Cann, Hawksworth, and Collins also comprised the one-off studio band The Five Day Week Straw People. Hawksworth later briefly joined Killing Floor. Reference: https://en.wikipedia.org/ wiki/Andromeda_(English_band)
ROCK LEGEND NEWS AUGUST 2020 | TECHNOLOGY | CRYPTOCURRENCIES
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Follow PlanB on Twitter for Bitcoin updates & info. Time well spent studying PlanB. PlanB Twitter: https://twitter.com/100trillionUSD PlanB Website With Great Videos/Podcasts: https://100trillionusd.github.io
ROCK LEGEND NEWS NOVEMBER 2020 | TECHNOLOGY | CRYPTOCURRENCIES
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DAVID BOWIE AHEAD OF HIS TME Published on Twitter by Adam Townsend @adamscrabble David Bowie. Watch this clip pls, from a BBC interview in 1999, he predicted the internet was going to have “unimaginable” effects on society and “change the state of content” forever.
Watch David Bowie with Adam Townsend.
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