After Tea - "Jointhouse Blues" L.P. 1970

Third full length by this Dutch band, and a personal favorite. Lotta cool moments from long live blues jams, to songs reminiscent of Bad Company at times, to straight up proto-metal like the opening track. The L.P. was released in 1970, making it their latest and final album. The band lasted only 5 more years after it's release. Hard to imagine this being released in 1970! The album at first was self-titled, and later on named "Jointhouse Blue." I imagine the addition of the title was to differentiate it from their second album, which is also self titled. The first half of the record are some killer songs, and the latter half is one long live bluesy jam session. Consistently awesome.

After Tea - "Not Just a Flower in Your Hair", "We Will Be There After Tea", & "A Little Bit Today" b/w "Blues Ride"1966-1969

Dutch band founded in 1967 by members of The Tea Set, the group produced three moderate hits in 1967-68, "Not Just a Flower in Your Hair", "We Will Be There After Tea", and "Snowflakes On Amsterdam." All in a psychedelic pop style. After the recording of the first L.P. "National Disaster", guitarist Ray Fenwick had to return to England due to an expired work visa. There he went on to form The Spenser Davis Group. The band went through numerous lineup changes throughout the late sixties. After scoring a top 10 hit "Dont You Leave" from the album "Emotion, the band changed their name to After Tea. The band switched up their style to an R&B type, and 1968 was full of continuous lineup changes and in 1969 the band scored another hit "Ma Belle Anie." (#5 in the Billboard Hot 100 in 1970). But then another lineup change ensued, (the band was like a revolving door of musicians!) By the time the group scored a Dutch #1 hit "She Likes Weeds", which was banned in the U.S. due to drug connotations, (of course) , but the band denied this allegation, claiming that the first two lines of the chorus were literally taken from the film "The Ipcress File,  the lineup had stayed fairly stable for a few years. Subsequent sales began to sell less and less at this point, and in 1975 the band decided to call it a day. A plethora of lineups in the 1980's began touring again, mainly on the oldies circuit.

Buffalo - "Dead Forever" 1972 'Volcanic Rock" 1973 & "Only Want You For Your Body" 1974

An Australian rock band formed in August, 1971 by founding mainstay Dave Tice (ex-Head) on lead vocal. Fellow founders also from Head were Paul Bazbi on drums, John Baxter on guitars, and Peter Wells on bass guitar, and Alex Millano on lead vocals (only for 1972's Dead Forever). Balby was replaced on drums by Jimmy Economou. Their next two albums Volcanic Rock, (July, 1973), and Only Want You For Your Money (June 1974), were also issued by Vertigo Records. After 1975, lineup changes resulted in a more commercialized sound and the band broke up in 1977.

Australian musicologist Ian McFarlane noted: "there was nothing subtle about Buffalo's primal heavyweight sound, but it was delivered with a great deal of conviction ...combining dense, occult riffing ... with the progressive blues chops ....the band certainly captured the arrogant disposition of the times with a thunderous fasion." Along with billy Thorpe and the Aztecs, and Blackfeather, Buffalo pioneered Australia's heavy metal, pub rock, and psychedelic rock movements. Peter Wells died on 27,  March, 2006. Aged 58.

Dead Forever is Buffalo's debut album of pure Australian proto-metal  Recorded and released in 1972. It is considered the first Australian Heavy Metal album, displaying not only the bands pension for hard rock jam's, but their more psychedelic traits as well. Significantly, this was the first release of a non-European band on the legendary Vertigo label. The album was re-mastered and reissued on Australian label Aztec in 2006 with additional bonus tracks including an A side and B side from the pre-Buffalo band "Head. "It's just as good as their follow up, only mixing more psych into the fold.

Volcanic Rock is the second album in Buffalo's catalog recorded and originally released in 1973 on the Vertigo Label. The album, is stylistically harder, heavier, and much more raw than their first.-- marking a turning away from the bands progressive style of their sound. Volcanic Rock had successfully been recorded in a "live in the studio" fashion, with only the vocal and guitar overdubs added later in the sessions.
The album courted controversy when it was released. Illustrated by J. Phillip Thomas, the artwork was designed as a vertically opened gatefold cover, with the the top half of the cover (i.e. The front cover) depicting an androgynous human standing atop of a volcano holding a very phallic rock, with the lower half of the cover (i.e. the back of the cover) as the lower half of a female torso (from the rear) menstruating molten lava. Inevitably, it led to accusations of misogyny towards the band and stores either refusing to stock it, or display it on their shelves as a result. Despite this, the album is regarded by critics and fans as the bands most musically accomplished  effort, and as a result is a very sought after item in the collectors market. The album was remastered and re-issued by Australia's Aztec Records on CD with additional tracks. (It also happens to be my personal favorite of the catalog)

I Only Want You For Your Body is Buffalo's third album. Again released on Vertigo. It's much harder and heavier than their second L.P. "Volcanic Rock." By this album, Buffalo had all but abandoned the psych and progressive aspects of their music and delivered a more modern heavy metal style. On the aspects of this album, Buffalo took heavy metal away from it's blues rock beginnings, with some passing similarities to future bands, including those of the NWOBHM. For the second time, Buffalo courted controversy with their album art, featuring a partially nude obese woman tied to a torture rack. Though this was hardly new territory for Buffalo having been through controversy over the artwork featured on "Volcanic Rock." Adding further fuel to the accusations of misogyny, and a lyrical shift such as "I'm a Skirt Lifter, Not a Shirt Raiser." a formula that would later be adopted by other Aussie bands AC/DC, The Angels, and Rose Tattoo.
As with the above entry, the album was remastered and reissued on Aztec in 2005.

Polyphony - "Without Introduction" 1971

This is the only album from this Virginia band. A collectors item before being re-issued on CD, this is yet another one of those one album wonders from the early 70's where you wish there was a follow up. So much great music happening at that time that this one fell through the cracks. This is great prog from 1971 just as good as anything coming out of England at the time.
The music can be described as equal parts symphonic prog, and hard space rock. Not very derivitive, but the organ work is somewhat Emersonian. This is your basic guitar/synth/bass lineup with drums added. The added percussion only makes what was already good, great. The album features two epic as well as to shorter tracks. Al members aside the drummer do vocal work. Lovely organ playing and vocals join the rhythm section and are mixed with a menacing guitar. "40 second thing in 39 seconds" is a minute long. The song is literally an  afterthought or "filler that works."Great compositions, great playing and great production for 1971. More people need to hear this album, it truly is a masterpiece of prog.

Fruupp - Future Legends 1973

Fruupp originated in Northern Ireland but developed a strong following in Britain. From 1071 to 1976 they released a number of albums including Future Legends, (1973), Seven Secrets (1974), The Prince of Heavens Eyes (1974), and Modern Masquerades, (1975). They were very popular among the student scene and as a Support group. ( they supported Genesis and Queen on their U.K. tour in 1974. Most of the artwork on their album covers was created by bassist/singer Peter Farelly. The band broke up in December 1976.

Goldenrod - s/t 1969

L.A. acid-psych band Goldenrod was made up of some of the top session players of the time, who backed bands such as Elvis Presley, The 5th Dimension, The Ventures, and the Doors to name a few. This album is the band letting loose and carrying about in their own fashion. Made up of 4 extra long tracks, Decent of the Cyclopedeans, Karamic Dream Sequence, The Gator Society, Standing Ovalua-tion. The album has an intense emotional sound with stellar guitar work done by Ben Benay. Apparently, the group met each other while backing the 5th Dimention and later, after becoming seasoned studio players formed Goldenrod. Totally awesome musicianship. But then, what else would you expect from a group of top session players?

Bitch - "Wild Cat" / "Good Time Coming'" 45's 1972-73

New Zealand's best kept secret. Bitch started out The Clevedonairs, and then known only as The Cleves, their name no doubt taken from their home town of Clevedon. The band recorded from 1966 to 1973 and was constantly evolving (thus the name changes) and from 1966 to 1968 recorded four singles for the Impact label. They spent a lot of time touring and in 1968 were sent to Vietnam to entertain troops. However, the Viet Kong launched their Tet Offensive and soon put a stop to that with only days left until they were to leave. With all their gear packed and no bookings, they headed off to Australia where they shortened their name to The Cleves and became popular on the already congested Aussie psych scene. 1971 saw the release of their highly acclaimed self titled L.P. Soon afterwards, they decided to try to get in on the booming U.K. rock scene were they changed their name to the more confrontational Bitch. The band was nearly broke, and on a chance gamble, booked a one night appearance at the legendary Speakeasy club in London, where they invited guests from all the major record companies. Surprisingly, they ALL turned up, and by the end of the night Bitch found themselves with a 10,000 pound contract with WEA. A full length album was recorded, but never released (why?) They did however, release two singles for WEA and with the 2015 released of the compilation CD, are available once again including input from The Cleveladaires and the cleaves, along with the other songs recorded by Bitch for their unreleased L.P.

Ray Owens' Moon - "Moon" 1971

Ray Owens was the original singer for British band Juicy Lucy appearing only on there eponymous debut in 1969. Released on Polydor, ranked #735 of best albums of 1971 it's got some pretty cool riff laden space/psych/hard rock, "Moon" is the bands only album and is rare and quite collectable. Besides all that, it's got some really great tracks including a killer version of Hendrix's Voodoo Child (which Owens would re-do in the 90's in the reformed Juicy Lucy). His career after this album is a mystery as he can't be found on any other album released until the 90's.

Primevil - "Smokin' Bats at Campton's" 1974

Primevil were a short lived American hard rock group of the 70's. Their lone release, "Smokin' Bats at Campton's" has been described as "a bona fide stoner rock touchstone." It was later re-released in 2006 and in 2007, the band was mentioned in an article in Classic Rock titled "The Lost Pioneers of Heavy Metal." One can almost hear some Fly By Night era Rush, or even Sir Lord Baltimore within' this collection of songs. It's eight cuts run a wide gamut featuring impressive songcraft and musicianship with it's acustic passages, start-stop riffs, and the hard driving "progress" of it's dual guitars, funky bass, and wailing harp. A relic well worth excavating for any stoner rock/metal enthusiast.

Host - "Pa Sterke Vinger" 1974

Host (Norway) released two albums in the mid 70's before calling it quits. Their sound combined 70's hard rock/metal with prog and Norwegian folk. Many sections are reminiscent of early Iron Maiden or Judas Priest (Sad Wings of Destiny era) with twin guitars throughout, and "Harris-like" bass riffs. They also mix a few timesinature changes in spicing it up a bit. Their music is a little more complex and less heavy than Maiden, but the similarities are surprising. Host also liked to mix Norwegian vocals, melodies, and rhythms into their hard prog sound making it very unique. Over all, this is an excellent album that would be a hit with metal collectors or heavy prog fans.

Tractor - s/t 1972 L.P.

Tractor was formed in Rochdale, Lancashire, England by guitarist Jim Milne and drummer Steve Clayton in 1971. Both had been members of a beat group The Way We Live since 1966. They are notable for their appreciation by John Peel and Julian Cope, but also for their longevity because as of 2007 they are still performing. They sent a demo tape to Elektra records and soon CBS U.K. operations manager Clive Sellwood got hold of it and liked what he heard. He and DJ Johh Peel signed them to their Dandelion records label. The group was booked into Spot studios in London and finished their session in two days, and in 1971 the bands debut album A Candle For Judith was released, credited to The Way We Live. The release earned immediate critical acclaim. Peel bought the band recording equipment and a PA system. He also talked the band into changing their name. Looking out his window in Suffolk, he spied a tractor in an adjacent field and recommended it as a name to them. Tractor's first release after the name change was a maxi 7" single - "Stoney Beau on his "Creation" album (1971). The duo's first follow up full length was released in 1972, and by 1973the album was getting positive reviews from the likes of Melody Maker, Anne Nightingale  on BBC 1, and Kid Jenson on radio Luxenburg. The album climbed to number 18 on Radio Luxenburg and to 30 on the Virgin best sellers list. They opened their own recording studio, "Tractor Sound Studios" ans was also partially funded by John Peel. The studio was featured in a film about Rochdale and John Peel in 2006. The band recorded a partial third album in 1973, but was never released until 1990 as Worst Enemies. Tractor left the Dandelion label as it ceased to operate for about 17 years in 1973.

Glory"/"Marie"/"As you say" for Dandelion. They also backed another Dandelion act
They released more singles throughout the 70's and are still recording and performing today.

Bone 1972 Fairview Studios Sessions

Bone originated from Gilberdyke in the East Riding section of Yorkshire. They recorded several original songs at Fairview studi with Keit Herd in 1972/73. In 1973, Bone became Zhain. The band operated out of Leeds playing locally in the Leeds/Bradford area in the North of England. Some members went on to join a band call Qyl, who recorded three tracks that were released via a small indy label on a compilation L.P. In 1976, Bone regrouped and performed in 1977.
Some members went on to form the influential punk band Dead Fingers Talk, whose L.P. was produced by Mick Ronson (Spiders From Mars). Bones drummer, Martin Atkins, went on to form PIL (Public Image Ltd.) with John Lydon (Rotten).

Bone playlist

Shiver - "San Francisco's Shiver" 1972

Recorded on an old two track, yet effective machine, "San Francisco's Shiver" is significantly heavier than anything popular of the time. A Hell's Angels party band, the often shared bills with the likes of Big Brother and the Holding Co. and Blue Cheer. And it was fitting considering their brand of heavy psych made The Seeds and Steppenwolf sound like Barbara Streisand. Shiver's work is that rare stuff you've heard about but never actually come across. This CD reissue of the recordings is a prime example of the chaos and energy that the band delivered live. Apower trio that puts most other power trios to shame. Including Grand Funk! Another two thumbs up on this one! Fucking brilliant!

Jukin' Bone - "Whiskey Woman" L.P 1972 & "Way Down East" L.P. 1973

Formed in 1970 in Syracuse, N.Y., Jukin' Bone (formerly under the name Free Will) entered Jimi Hendrix's Electric Ladyland studios to record their debut album for RCA Victor entitled "Whiskey Woman." After a lineup change, and with two drummers, Their second album "Way Down East" was released along with two singles: "Whiskey Woman" and "Carol Lynn" (both from the debut L.P.) The band toured the mid-west extensively, but failed to garner any followers (outside of Syracuse) due to poor promotion and publicity. In the fall of 1973 Jukin' Bone "Syracuse's Biggest Band" disbanded.

For a more extensive history and further insight: History of Syracuse Music, or the great article from Rather Rare Records.

And check out Mark Doyal.com for info on albums released after their breakup. Including the entire Electric Ladyland sessions and the highly praised "Lost Third Album." A MAJOR Two Thumbs Up on this one!!!

Leaf Hound Live @ Roadburn 4/14/12

Fair to so-so video & audio.