Quiver – Same (1971)

FrontCover1.jpgQuiver was a melodic UK progressive rock band, Quiver occasionally followed a country rock path but achieved more success following their merger with the Sutherland Brothers. The line-up comprised Tim Renwick (b. 7 August 1949, Cambridge, England; guitar, vocals, flute) and Cal Batchelor (guitar, vocals, keyboards). Renwick had formerly been with Junior’s Eyes, and he and Batchelor recruited Cochise drummer John ‘Willie’ Wilson (b. 8 July 1947, Cambridge, England). Subsequently, the line-up of Wilson, Renwick, Batchelor, and ex-Village bass player Bruce Thomas (b. 14 August 1948, Middlesbrough, Cleveland, England; bass/vocals), recorded the self-produced Quiver. For the recording, they were augmented by Dick Parry (saxophone). The same line-up recorded Gone In The Morning, but due to lack of commercial success the band was subsequently dropped by Warner Brothers Records. The members were not coming up with new songs, and so they decided to join the Sutherland Brothers, the two line-ups merging in late 1972 with the addition of Pete Wood (b. Middlesex, England, d. 1994, New York, USA; keyboards).


Shortly afterwards they were signed to Island Records, and with a number of personnel changes, achieved a degree of chart success. Renwick went on to form 747 and Kicks and is now an in-demand session guitar player, touring with bands such as Pink Floyd and Mike And The Mechanics. Wilson plays with the Coyotes, and Thomas with Elvis Costello’s backing band the Attractions. Quiver’s greatest claim, however, is being the first ever band to play the legendary Rainbow Theatre in London. (by allmusic)
I give this release 4 stars because the playing is just so good.Where it falls down slightly is due to the lack of really memorable tunes.When they palled up with Iain and Gavin Sutherland the Sutherlands got a red hot band to replace the workmanlike but dull band on their debut album and Quiver got some tunes and what tunes they were.Tim Renwick is one of my favourite guitar slingers,his work on Al Stewarts “Modern Times” album is ace. (woody123)

One of my all-time favorite albums but I can see that is not the case with most reviewers. It’s kinda mellow country rock with a couple toe tappers. The guitar player is masterful and the bass player is excellent.

I guess it takes a few listens and some mental adjustments but I think this is an outstanding recording. It just pushes all the right buttons for me and I seem to be alone in that regard.

Killer Man is a killer track and Tim Renwick is a killer guitarist. From the best year for music ever … 1971. (rod45)

Surprising progressive folk band. Its progressiveness derives of the fact that Quiver plays a folk rock in a low pace with elaborated arrangements and excellent execution of instruments. An special comment deserve the bass player (Bruce Thomas). Voices are relaxed and the band do harmonies, according to the general ambient: relaxed and beautifully executed.
Some songs are normal folk songs, But some songs like “Cool Evening” are extra reflective songs including flutes to create the ambience.
t’s hard to understand why the low rate as this band deserve more. IMHO people who likes folk with an special touch can’t miss this first attempt of Quiver band. (DaremoS)

USFront+BackCoverUS front + back cover

Cal Batchelor (guitar, keyboards, vocals)
Tim Renwick (guitar, flute, vocals)
Bruce Thomas (bass, vocals)
Willie Wilson (drums, percussion, vocals)
Dick Parry (saxophone)


01. Glad I Came Around (Batchelor) 5.05
02. Down Your Way (Batchelor) 3.47
03. Killer Man (Renwick) 7.54
04. Take A Train (Batchelor) 5.08
05. Cool Evening (Batchelor) 4.16
06. Barnes County (Renwick/Batchelor/Thomas/Wilson) 4.27
07. Back On The Road (Thomas) 3.28
08. Just Loving You (Batchelor) 2.00
09. Reason For Staying (Batchelor/Renwick) 7.02



Cal Batchelor.jpgCal Batchelor has been a long time fixture in the music scene both here (Canada) and in the UK.
Born Calvin Batchelor, he was a fantastic Canadian guitarist (also a skilled keyboardist).
Cal went to England in 1969, and he helped form Quiver. They were the first group to play at Rainbow Theatre in London (supporting The Who). After leaving Quiver, Cal formed a band called 747. He then joined Long John Baldry for a while (as supporters for Faces). There, he met Ronnie Lane, joining his band later.
In February 1977, Cal formed another notable band called Kicks. In the 80s, Cal returned to Canada. He fronted his own Cal Batchelor Band for a number of years in Vancouver.

Cal’s beloved wife Yvonne passed away in recent weeks from cancer, and Cal certainly missed her in his life. Cal passed away on Sunday December 20, 2015. (rcmusicproject.com)

Levon Helm – Levon Helm & The RCO All-Stars (1977)

FrontCover1.JPGLevon Helm and the RCO All-Stars is a 1977 album by the short-lived musical group of the same name. It was Levon Helm’s first studio album independent of the Band

Levon Helm was an American singer, musician and actor, best known for his role as drummer for The Band.

Levon Helm was born in rural Arkansas in 1940, and grew up surrounded by blues, country and R&B music. He made the decision to become a musician after seeing bluegrass pioneer Bill Monrow perform, and subsequently took up both guitar and drums – he was playing in local bars and clubs by the time he was 17 years old. After graduating high school he became the drummer for The Hawks, the backing group of rockabilly artist Ronnie Hawkins. With Hawkins he made the move to Toronto, Canada, where southern rockabilly acts were very popular at the time. He stayed with Hawkins for many years, as his mentor recruited a number of young Canadian musicians into the band, which eventually led to the line-up of Helm, guitarist Robbie Robertson, bassist Rick Danko, pianist Richard Manuel and organist Garth Hudson.
In 1963 the group parted ways with Hawkins, and toured across both the USA and Canada. In 1965 they became the unlikely backing band of Bob Dylan following his move into electric rock music, and they embarked on a world tour with him. However before long Helm had left, disheartened by the negative reaction Dylan’s new music was getting. He returned to Arkansas for a couple of years, but eventually reunited with his bandmates in Woodstock in 1967, where they began to hone a unique new fusion of American roots music styles. Reinvented as The Band, they were signed to Capitol Records, and their debut album Music From Big Pink was a huge hit with the critics. The Band released seven studio albums between 1968 and 1977, with Helm’s distinctive southern vocals a vital ingredient in their sound. Though Danko and Manuel were gifted vocalists as well, Helm got to sing lead on their best-known songs – “The Weight”, “The Night They Drove Old Dixie Down” and “Up On Cripple Creek”. His unique drumming style was another key ingredient, and it earned him much praise. He also contributed mandolin and guitar.

The Band broke up in 1976, and Helm started work on a solo album. It saw release the next year as Levon Helm & The RCO All-Stars, and featured appearances from Paul Butterfield, Dr John, Booker T & The MGs and Fred Carter Jr. Robertson and Hudson also guested on one song. It was certainly nothing ground-breaking or a new, but it was a good album, in a bluesy roots-rock style with definite echoes of The Band (indeed the one song to feature both Robertson and Hudson practically was The Band). The songs were mostly covers, and included numbers by Dr John, Earl King and Chuck Berry.


Ex-Band drummer/vocalist Levon Helm could not have surrounded himself with a more talented group of musicians for his first solo outing — Booker T. and the MGs and Dr. John anchor the RCO All-Stars. But while there is no question that the band can really cook, Levon’s homey Arkansas twang gets a little lost in the mix. In general, though, the songs are buoyed by Paul Butterfield’s blues harp and the crack horn section, especially on the soulful “Rain Down Tears.” (by by J.P. Ollio)

What a line-up !

RCO All Stars.jpg

Paul Butterfield (harmonica, background vocals)
Fred Carter, Jr. (guitar)
Steve Cropper (guitar)
Donald Dunn (bass)
Levon Helm (vocals, drums)
Howard Johnson (saxophone, tuba)
Booker T. Jones (keyboards, percussion)
Tom Malone (trombone)
Lou Marini (saxophone)
Mac “Dr. John” Rebennack (keyboards, background vocals, guitar, percussion)
Alan Rubin (trumpet)
background vocals:
Jeannette Baker – John Flamingo – Emmaretta Marks
additional musicians on 05.:
Jesse Ehrlich (strings)
Garth Hudson (accordion)
Louis Kievman (strings)
William Kurasch (strings)
Charles Miller (saxophone)
Robbie Robertson (guitar)
Sid Sharp (strings)

01. Washer Woman (Rebennack) 3.15
02. The Tie That Binds (Rebennack/Guidry) 4.35
03. You Got Me (Jones) 4.16
04. Blues So Bad (Glover/Helm) 4.16
05. Sing, Sing, Sing (Let’s Make A Better World) (King) 3.51
06. Milk Cow Boogie (Arnold/Traditional) 3.11
07. Rain Down Tears (Glover/Toombs) 5.21
08. A Mood I Was In (Carter) 3.42
09. Havana Moon (Berry) 4.28
10. That’s My Home (Traditional) 3.23



Levon Helm

Mark Lavon “Levon” Helm (May 26, 1940 – April 19, 2012)

Jethro Tull – Heavy Horses (1978)

FrontCover1.jpgHeavy Horses is the eleventh studio album by British progressive rock band Jethro Tull, released on 10 April 1978. It is considered the second album in a trilogy of folk-rock albums by Jethro Tull, although folk music’s influence is evident on a great number of Jethro Tull releases. The album abandons much of the folk lyrical content typical of the previous studio album, Songs from the Wood (1977), in exchange for a more realist perspective on the changing world – the album is dedicated to the “indigenous working ponies and horses of Great Britain”. Likewise, the band sound is harder and tighter. The third album in the folk-rock trilogy is Stormwatch (1979).

Produced by Ian Anderson and recorded and engineered by Robin Black in London, Heavy Horses marks the last Jethro Tull studio album with full participation of bass player John Glascock. Anderson stated that the recording of the album came at a time when other artists were moving towards the new trends in music, and the band decided they did not want “to appear as if we were trying to slip into the post-punk coattails that were worn by The Stranglers or The Police […] They were bands that were seen as being part of the punk world, but they weren’t”.


Heavy Horses bares more earthly and prosaic themes compared to its predecessor. Songs about the conformist view of daily life (“Journeyman”), or dedicated to Anderson’s dog (“Rover”) and cat (“…And the Mouse Police Never Sleeps”), or even another one for his new son, James (“No Lullaby”). However, an element already present in Songs from The Wood, Heavy Horses served as a discourse on transience and disappearing worlds. The title track – one of two complex suites on the record – is compared by Anderson to an “equestrian Aqualung “.


Other tracks, such as “Acres Wild” and “Weathercock”, works as a plea for better days ahead. But, alongside the changes on themes, the music went much harder, too. The mini-epic of the title track flowing from a piano ballad to a fiddle-fest (of Curved Air’s Darryl Way) to full gallop, is a great example of the album’s style as a whole. “No Lullaby” rushes from a crushing Martin Barre riff as “Weathercock” starts full folk, to add progressive rock flavours. Barre declared that ” Songs From The Wood and Heavy Horses are two of the best albums from my time in Jethro Tull”.

Rolling Stone’s contemporary review was positive, calling the instrumental arrangements lavish and stating that Heavy Horses and the folk genre, as a follow up to Songs From the Wood, suited Jethro Tull perfectly.

The album reached No. 19 on the Billboard 200 album chart, and peaked at No. 20 on the UK Albums Chart.


Ian Anderson (vocals, flute, guitar, mandolin)
Barriemore Barlow (drums, percussion)
Martin Barre (guitar)
John Evan (keyboards)
John Glascock (bass, background vocals)
Dee Palmer (keyboards, portative pipe organ)
Darryl Way – violin (on “Acres Wild” and “Heavy Horses”)

in 2.jpg
01. …And the Mouse Police Never Sleeps 3.14
02. Acres Wild 3.25
03. Heavy Horses 8.59
04. Journeyman 3.58
05. Moths 3.27
06. No Lullaby 7.55
07. One Brown Mouse 3.23
08. Rover 4.16
09. Weathercock 4.03

All tracks written by Ian Anderson with additional material by Martin Barre and David Palmer.




Emmylou Harris – Wrecking Ball (1995)

FrontCover1.jpgWrecking Ball is the eighteenth studio album by American country artist Emmylou Harris, released on September 26, 1995 through Elektra Records. Moving away from her traditional acoustic sound , Harris collaborated with producer Daniel Lanois (best known for his production work with U2) and engineer Mark Howard. The album has been noted for atmospheric feel, and featured guest performances by Steve Earle, Larry Mullen, Jr., Kate & Anna McGarrigle, Lucinda Williams and Neil Young, who wrote the title song.

Though her choice of songs had always been eclectic, the album was regarded as a departure. Harris, the age of 48, had become something of an elder stateswoman in country music. The album received almost universally positive reviews, making many critics’ year-end “best of” lists, and pointed Harris’ career in a somewhat different direction, where she would incorporate a harder edge. As a career-redefining album, Wrecking Ball was compared to Marianne Faithfull’s 1979 Broken English album and Johnny Cash’s American Recordings. Wrecking Ball won the 1996 Grammy Award for Best Contemporary Folk Recording.

Harris covered Neil Young’s song “Wrecking Ball”, and the track includes harmonies by Young. Although the song was released by Harris as a 2-track CD single with Lucinda Williams’ “Sweet Old World”, reviewers did not consider the title track the high point on the album. (by wikipedia)


Wrecking Ball is a leftfield masterpiece, the most wide-ranging, innovative, and daring record in a career built on such notions. Rich in atmosphere and haunting in its dark complexity, much of the due credit belongs to producer Daniel Lanois; best known for his work with pop superstars like U2 and Peter Gabriel, on Wrecking Ball Lanois taps into the very essence of what makes Harris tick — the gossamer vocals, the flawless phrasing — while also opening up innumerable new avenues for her talents to explore. The songs shimmer and swirl, given life through Lanois’ trademark ringing guitar textures and the almost primal drumming of U2’s Larry Mullen, Jr. The fixed point remains Harris’ voice, which leaps into each and every one of these diverse compositions — culled from the pens of Neil Young, Bob Dylan, Jimi Hendrix, Steve Earle, and others — with utter fearlessness, as if this were the album she’d been waiting her entire life to make. Maybe it is. (by Jason Ankeny)


Malcolm Burn (keyboards, vibraphone, tambourine synthesizer, slid-guitar on 08. + 12., bass on 11., drums on 11., background vocals)
Emmylou Harris (vocals, guitar)
Daniel Lanois (mandolin, guitar, bass on 01. + 03., dulcimer on 10,  vocals on 01. + 09., percussion on 04., bass pedals on 08.)
Larry Mullen, Jr. (drums, percusion)
Tony Hall (bass, percussion, stick drum on 10.)
Daryl Johnson (background vocals, percussion)
Richard Bennett (guitar on 08.)
Brian Blade (drums on 01, Indian hand drum on 05.)
Steve Earle (guitar on 02., 07. + 08.)
Kufaru Mouton (percussion on 05.)
Sam O’Sullivan (roto wheel on 04.)
Lucinda Williams (guitar on 08.)
Neil Young (harmonica on 08, background vocals on 04. + 08.)
background vocals on 12.:
Anna McGarrigle – Kate McGarrigle


01. Where Will I Be? (Lanois) 4.16
02. Goodbye (Earle) 4.53
03. All My Tears (Miller) 3.42
04. Wrecking Ball (Young) 4.50
05. Goin’ Back To Harlan (A.McGarrigle) 4.51
06. Deeper Well (Olney/Lanois/Harris) 4.19
07. Every Grain Of Sand (Dylan) 3.56
08. Sweet Old World (Williams) 5.06
09. May This Be Love (Hendrix) 4:45
10. Orphan Girl (Welch) 3.15
11. Blackhawk (Lanois) 4.28
12. Waltz Across Texas Tonight (Crowell/Harris) 4.47




Eagles – On The Border (1974)

LPFrontCover1On the Border is the third studio album by American rock group the Eagles, released in 1974. Apart from two songs produced by Glyn Johns, it was produced by Bill Szymczyk because the group wanted a more rock‑oriented sound instead of the country-rock feel of the first two albums It is the first Eagles album to feature guitarist Don Felder. On the Border reached number 17 on the Billboard album chart and has sold two million copies.

Three singles were released from the album: “Already Gone”, “James Dean” and “Best of My Love”. The singles peaked at numbers 32, 77 and 1 respectively. “Best of My Love” became the band’s first of five chart toppers. The album also includes “My Man”, Bernie Leadon’s tribute to his deceased friend Gram Parsons. Leadon and Parsons had played together in the pioneer country rock band Flying Burrito Brothers, before Leadon joined the Eagles.

This is the first album by the Eagles to be released in Quadraphonic surround sound. It was released on Quadraphonic 8-track tape and CD-4 LP. A hidden message carved into the run out groove of some vinyl LPs reads: “He who hesitates is lunch”.

The album was initially produced by Glyn Johns and recorded at Olympic Studios in London, but during the making of the album, disagreement arose between the Eagles and their producer. As the band tried to lean towards a more hard rock sound, they felt that producer Glyn Johns was overemphasizing their country-influenced rock sound. Johns however felt that the Eagles were not capable of that the band wanted and told the band: “You are not a rock-and-roll band, The Who is a rock-and-roll band, and you’re not that.” The band—Glenn Frey in particular, but not Don Henley—were also unhappy with the no-drug policy of Johns during the recording; furthermore they did not feel at home recording in London. The band was concerned about the lack of success of the previous album Desperado, and were more assertive in wanting more input into the album, which Johns was unwilling to allow. The Eagles spent six weeks recording in London, with both the band and the producer becoming frustrated with each other and frequent arguments between Johns and Frey. The band then took a break, decided to find a new producer and discarded all the recordings except for two usable tracks, “Best of My Love” and “You Never Cry Like a Lover”.


The band relocated back to California and hired Bill Szymczyk, who had produced The Smoker You Drink, the Player You Get by Joe Walsh—who was also managed by their manager Irving Azoff and who would go on to join the Eagles in late 1975—that interested the band. The band recorded the rest of the album at the Record Plant Studios in Los Angeles. They were allowed more input in how the album was made and enjoyed more freedom with Szymczyk in the making of the album. Szymczyk suggested they bring in a harder-edged guitarist to add slide guitar to the song “Good Day in Hell”. Bernie Leadon suggested his old friend Don Felder, whom they had met and jammed with on a few occasions. The band was so impressed that they invited Felder to become the fifth Eagle. The only other track on this album on which he appeared was “Already Gone”. They credited him as a late arrival on the album’s liner notes.


On the difference in sound between Johns’ and Szymczyk’s productions, Henley said: “There’s a lot less echo with Bill, for one thing. There’s more of a raw and funky presence. Glyn had a stamp he put on his records which is a deep echo that is really smooth like ice cream”. He thought that the production on the two songs that Johns produced was good and necessary. Frey, however, found that L.A. country-rock records were “all too smooth and glassy”, and wanted a “tougher sound”. Their friend and collaborator J. D. Souther ascribed the change of producer to “Eagles’ desire to get more of a live, thin sound on the albums”.

The first two singles released were more rock-oriented; Frey was reluctant to release the Johns-produced “Best of My Love” as a single, and held off its release for some months. However, when it was finally released, the label had truncated the song–without the band’s knowledge or approval–so that it would be more radio-friendly.[13] “Best of My Love” would become their biggest hit thus far, and their first No. 1 on the charts.


“Already Gone”, “James Dean”, and “Best of My Love” were released as singles from the album.

In an early review, Janet Maslin of Rolling Stone found the album “competent and commercial”, but was disappointed that it did not live up to the potential for bigger things shown in Desperado. She also thought that with three guitarists in the band, there were “just too many intrusive guitar parts here, too many solos that smack of gratuitous heaviness. Many of the arrangements seem to lose touch with the material somewhere in mid-song.” Overall, she judged the album “a tight and likable collection, with nine potential singles working in its favor and only one dud (“Midnight Flyer”) to weigh it down,” and that it’s “good enough to make up in high spirits what it lacks in purposefulness.”


The album became the band’s most successful album of the three released thus far. It debuted at number 50 on the US Billboard 200 chart in its first week of its release,[22] peaking at number 17 in its sixth week on the chart.[23] On March 20, 2001, the album was certified double platinum by the Recording Industry Association of America (RIAA) for shipments of 2 million copies.


The Eagles began recording their third album in England with producer Glyn Johns, as they had their first two albums, but abandoned the sessions after completing two acceptable tracks. Johns, it is said, tended to emphasize the group’s country elements and its harmonies, while the band, in particular Glenn Frey and Don Henley, wanted to take more of a hard rock direction. They reconvened with a new producer, Bill Szymczyk, who had produced artists like B.B. King and, more significantly, Joe Walsh. But the resulting album is not an outright rock effort by any means. Certainly, Frey and Henley got what they wanted with “Already Gone,” the lead-off track, which introduces new bandmember Don Felder as one part of the twin guitar solo that recalls the Allman Brothers Band; “James Dean,” a rock & roll song on the order of “Your Mama Don’t Dance,” and “Good Day in Hell,” which is strongly reminiscent of Joe Walsh songs like “Rocky Mountain Way.”


But the album also features the usual mixture of styles typical of an Eagles album. For example, “Midnight Flyer,” sung by Randy Meisner, is modern bluegrass; “My Man” is Bernie Leadon’s country-rock tribute to the recently deceased Gram Parsons; and “Ol’ 55” is one of the group’s well-done covers of a tune by a singer/songwriter labelmate, in this case Tom Waits. The title track, meanwhile, points the band in a new R&B direction that was later pursued more fully. Like most successful groups, the Eagles combined many different elements, and their third album, which looked back to their earlier work and anticipated their later work, was a transitional effort that combined even more styles than most of their records did. (by William Ruhlmann)


Glenn Frey (vocals, guitar, guitars, piano)
Don Henley (drums, vocals)
Bernie Leadon (vocals, guitar, banjo, pedal steel-guitar)
Randy Meisner (bass, vocals)
Don Felder ( guitar;slide guitar on 01., + 09. – credited as “late arrival”)
Al Perkins (pedal steel guitar on 07.)


01. Already Gone (Tempchin/Strandlund) 4.15
02. You Never Cry Like A Lover (Henley/Souther) 4.01
03. Midnight Flyer (Craft/Meisner) 3.58
04. My Man (Leadon) 3.31
05. On The Border (Henley/Leadon/Frey) 4.26
06. James Dean (Henley/Frey/Souther/Browne) 3.39
07. Ol’ ’55 (Waits/Frey/Henley) 4.22
08. Is It True? (Meisner) 3.14
09. Good Day In Hell (Frey) 4.24
10. Best Of My Love (Henley/Frey/Souther) 4.31




Magna Carta – The Fields Of Eden (2015)

FrontCover1.jpgFinally after so many years it is really going to happen. Magna Carta have recorded the long awaited album, “The Fields of Eden”. And what better time to release it than on the actual date of the signing of the Magna Carta 800 years later. June 15th.

Fields of Eden has already been classed as a masterpiece and by many has surpassed the band’s legendary Lord of the Ages which went Gold after its release back in 1973. A mixture of vibrant new songs highlighted by the epic 16 minute title track The Fields of Eden.

This simply has to be Chris Simpsons best release ever!

Chris and the gang do it again!! A wonderful new release chock full of some of the best evocative music and lyrics Mr Simpson has come up with. The album moves through an eclectic set of styles, is refreshing and above all sincere. Magna Carta in all it’s various guises has always been known for creating that warm feeling you get when you listen to music that is from the heart and comforting. No “Doom and Gloom”, just from the heart!! I have been an avid follower of the band all the years they have been performing and I have to say this album ranks among the very best they have done. Good on you Chris, keep on rockin’. (by GuitarTony)

Indeed: Another hightlight in the long career of Magna Carta and Chris Simpson !


Will Jackson (piano, guitar)
Chris Simpson (vocals, guitar, harmonica)
Matt Barhoorn (violin)
Andrew Jackson (spoken word)
Laurens Joensen (guitar, slide-guitar,, mandolin, dobro, banjo)
Doug Morter (guitar, background vocals)
Derek Nash (saxophone)
Kate Peters (background vocals)
Elliott Randall (guitar)
Wendy Ross (violin)
John Shepard (drums, percussion)
Cathy Simpson (piano)
Alan Thomson (bass, slide guitar)


01. Anemos / Child Of The Light 1.25
02. Long Rime Running 5.20
03. Walk Away From Heaven 5.02
04. Fields Of Eden 16.14 :
04.1. Overture
04.2.The Tumbling River
04.4. Stonebeck
04.5. The Fields Of Eden
04.6. Epilogue – Middlesmoor
05. The Same Rain 5.20
06. Greenhow Hill 4.34
07. This Time Around 4.34
08. European Union Blues 3.28
09. Nidderdale / Backroads 5.45
10. The Wild Geese (The Spirit Of The Wide Northland) 4.21
11. Life In The Old Dog 3.09

All songs written by Chris Simpson


  • (comin soon)


Barry McGuire – This Precious Time (1966)

FrontCover1.jpgFollowing the success of the “Eve Of Destruction” single, Barry McGuire began working on another album for Dunhill Records with producer Lou Adler. Whilst he was recording he was reunited with some old friends from his folk days, as the newly-formed The Mamas & The Papas came to California. He invited them to sing backing vocals for him. The result of these sessions was This Precious Time, which took his music forward with a more sophisticated folk-rock-pop sound. It included one song written by John and Michelle Phillips of The Mamas & The Papas – “California Dreamin'” was first recorded here with the four of them singing backing vocals for McGuire’s lead. Other songs on the album included more P.F. Sloan compositions, The Lovin’ Spoonful’s “Do You Believe In Magic”, Bob Dylan’s “Just Like Tom Thumb’s Blues”, The McCoy’s “Hang On Sloopy” and two Beatles songs (“Yesterday” and “You’ve Got To Hide Your Love Away”).
The album, though a strong one, was not a chart success – perhaps the media backlash “Eve Of Destruction” caused had permanently tarrred McGuire’s name. “California Dreamin'” had all the makings of another obvious hit single, and he was going to release it, until John Phillips asked if maybe The Mamas & The Papas could release it instead. Impressed by what he saw, Lou Adler had signed them to Dunhill. They replaced McGuire’s vocal track and added a flute solo, but otherwise used the same recording. Released as a single, this version gave them a massive hit and launched their careers. (by stuckinthepast08.blogspot.com)


A real lost artifact, Barry McGuire’s second album actually has quite a bit of historical significance. After his mega-hit, “Eve of Destruction,” McGuire was set to do a follow-up album, complete with some excellent P.F. Sloan songs. During the early sessions, the Mamas & the Papas had just come into town. Being old friends of McGuire’s from the folkie days (Barry was the lead voice on “Green, Green,” by the New Christy Minstrels), he invited the group to audition for producer Lou Adler. The rest is history, and this record is essentially the Mamas audition, as they sing backgrounds on virtually all of the record. It’s magnificent, too. Hits such as “Do You Believe in Magic,” “Yesterday,” and others work perfectly with McGuire’s gravely lead voice and the Mamas & Papas sweet harmonies. McGuire even cut “California Dreamin’,” and it’s the exact same track as the famous Mamas version, sans Denny Doherty’s lead vocal and Bud Shank’s flute solo. If you’re looking to find the real roots of the Mamas & the Papas, here it is. Unfortunately, Dunhill apparently wanted little to do with Barry McGuire after the backlash of “Eve of Destruction,” and his career and this record presided in ignominy. Too bad, because there is a lot of excellent music here. (by Matthew Greenwald)

A real great albumm including an exciting version of the McCoys Hit “Hang On Sloopy” !

In the studio1.jpg

Steve Barri (percussion)
Hal Blaine (drums)
Barry McGuire (vocals)
Joe Osborn (bass)
John Phillips (guitar)
P.F. Sloan (leadguitar)
background vocals:
The Mamas & The Papas


01. This Precious Time (Sloan/Barri) 2.51
02. California Dreamin’ (Phillips) 2.42
03. Let Me Be (Sloan) 2.38
04. Do You Believe In Magic (Sebastian) 2.16
05. Yesterday (Lennon/McCartney) 2.52
06. Hang On Sloopy (Russell/Farrell) 4.06
07. Just Like Tom Thumb’s Blues (Dylan) 4.03
08. Upon A Painted Ocean (Sloan) 3.00
09. Hide Your Love Away (Lennon/McCartney) 2.51
10. I’d Have To Be Outa My Mind (Sloan/Barri) 3.46
11. Child Of Our Times (Sloan) 3.27
12. Don’t You Wonder Where It’s At (McGuire/Sloan) 2.57




Still alive and well: Barry McGuire