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Saturday, 7 October 2017

Mortimer “On Our Way Home” recorded in 1969 US Psych Pop Rock,Soft Rock unreleased second album by Cherry Red Records


Mortimer “On Our Way Home” recorded in 1969 US Psych Pop Rock,Soft Rock unreleased second album by Cherry Red Records…recommended..
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Mortimer were a harmony-laden soft rock trio from New York State who were signed by George Harrison to Apple Records in 1968. 
They recorded a second album, On Our Way Home, in 1969 – named after the song given to them by Paul McCartney, which The Beatles later recorded as ‘Two Of Us’ – but it was unreleased. Until now! Perfect for any unusual Beatles cover-related needs…….

Digitally remastered and expanded archive release. Mortimer, the harmony soft rock trio from New York State who signed with Apple Records in 1968 on the strength of George Harrison’s say so. The second LP of their career was due for release in the summer of 1969 but was pulled at the last minute due to changes at Apple. The tapes have sat in the vaults ever since. Now RPM is pleased to present for the first time the LP that should have been the release straight after The Iveys LP in the Apple Records catalog. Mastered from the original tapes, the recordings were originally produced by Peter Asher with additional arrangements by Richard Hewson. This release also includes the songs recorded during the sessions but which were not slated for the original LP, including album versions of ‘Christine Tildsley’ and 'Ingenue’s Theme. ’…..

The long-overdue second album from Mortimer – a US trio who were signed to Apple Records during the late 60s, but never fully got their due, thanks to all the famous difficulties of that Beatles-owned label! The group are in a nicely acoustic setting here – one that’s neither folksy, or too rootsy – and which instead gets some nice sweetening from later arrangements by Richard Hewson, used to color in their sound with these gentle currents that really buoy up the spirit of the trio! There’s a touch of harmonies on the vocals, and this sing-songy approach that almost recalls Alzo & Udine at times – a match that we’d definitely make in terms of the album’s sophistication and subtle sense of darkness. The album was never issued by Apple back in the day, and would have become a sought-after classic if it was…………………..

I can remember seeing a while back an old reprint of advertisement for the Beatles Apple label, showing a one man band who in the ad copy signed to the Fabs label and subsequently made enough to run a Bentley. Looking back now, it seems very much the only people who actually struck gold via Apple were the lawyers. New Yorker trio Mortimer certainly didn’t. They did however manage to get their eponymous debut released on Phillips in 1968, but despite the personal intervention of George Harrison to get the band on board at Apple, the follow up recorded for the label was left to languish unloved for nearly 50 years until its release now. Originally intended to be released after the Iveys album (the future Badfinger got stiffed in the same way too) in the summer of 1969, this record was produced by Peter Asher (Macca’s the girlfriend Jane’s brother), but for reasons we will go into later never managed to reach the pressing plant. 

Mortimer had their roots in Garage quintet the Teddy Boys, who cut four well-received singles for Cameo Parkway in 1966. On the back of that they offered the chance to record an album which was duly completed, but Cameo were taken over by Abkco (the company of one Allen Klein, who will loom large in the Mortimer story unfortunately) and the record was junked. The Teddy Boys were aghast at this setback after their hard work, but slimming down to a three piece they threw themselves into work on the New York Folk circuit (even though they were hardly a folk band at all). This got them noticed by manager Danny Secunda (brother of The Move’s handler Tony), who after organising their debut album with Phillips, decided that they would be able to make more impact in the UK. 

Details are sketchy but as to why “On Our Way Home” was not released at the time, but a key element seems to have been the arrival of Allen Klein (lightning did strike twice for Mortimer unfortunately) at Apple replacing their fervent backer Ron Kass. One might have thought Klein was nurturing some sort of grudge against the Mortimer boys and drummer Guy Masson was unceremoniously escorted out of Apple by Klein’s “business associates” when he tried to find out if that was the case. Whatever the reasons, in the can the LP remained ever since. 

Which is a great shame, because the majority of the LP is jolly good, in fact a bit of a masterclass in late 60s Soft Pop Sike. Mortimer came on like an acoustic Beach Boys/Bee Gees mix up, lots of tight harmony singing with fans of the Lovin’ Spoonful finding much to enjoy here I would think too. Though Mortimer specialised in lazy, hazy sunny day Pop occasionally they did produce the odd tougher offering – “You Do Too” is faster, harder hitting and there is some stinging fuzz guitar, perhaps as a look back to their Teddy Boys days. Singer Tom Smith’s voice is a little reminiscent at times of Mickey Dolenz, no bad thing of course and this song does recall one of the Monkees’ more “out-there” efforts. “Don’t Want To See You Anymore” is a sparsely accompanied beauty and “I Don’t Know” seems in a mad rush to cover as many Pop modes as possible, with orchestral strings jostling with MOR/Easy Listening and Beat to dazzling effect. 

Of the bonus tracks “Christine Tildsley” is a very pretty Harmony Pop character portrait, “Last Of The H” starts with an atypical chant/bongo combination and “Ingenue’s Theme” is a lovely piece of John Sebastian/Paul Simon-style slowly drifting Folk Rock. The title track here was given to them by Paul McCartney (later cut by the Fabs as “Two Of Us”)”, but otherwise the entire record was all self-penned by the three band members, showing such a sure talent for composition that Macca’s effort doesn’t over-shadow the other writing here at all. 

Sadly the set-back from Apple HQ was the final straw for the band as Mortimer split and though Smith and bass player Tony Van Benschoten stayed in the UK (mindful of possibly being drafted to ‘Nam on their return home), Guy Masson did go back to the Big Apple to play on the Van Morrison LP “Moondance”. It’s a real shame as that was the last time any of the trio recorded, as they were clearly a talented bunch, thwarted by business concerns rather than any fault on their part. “On Our Way Home” stands up in 2017 as a gentle but alluring 60s Pop album of no small charm and merit. ………..by Ian Canty………….

The New York trio Mortimer’s self-titled first album from 1968 staked out very interesting territory for the times. Stripping their sound down to acoustic guitars and conga drums, they sang lovely pop-psych tunes in beautiful harmony. It was a gimmick that almost but not quite caught on, which led the band to seek greener pastures in London. Through a series of lucky breaks, they ended up signed to Apple Records by an enthusiastic George Harrison, and set up in London to record demos and rehearse while the producer assigned to them, Peter Asher, finished making another album elsewhere. When he returned, the trio had amassed a startling number of new songs, of which ten were chosen. Asher decided to put the full resources of Apple behind the band and called in vocal choirs, string sections, and horns, while handing the boys electric guitars and a full drum kit. Many of the songs still have the basic acoustic underpinnings of Mortimer, but a large chunk of them sounds like a completely different band. The nice melody of “You Don’t Say You Love Me” is punctuated by horn blasts and sawing strings; “You Do Too” is given a jolt by a fuzz guitar running through it like stray current; “No Business Being Here” is one steel guitar lick away from sounding like a Jerry Reed track cut in Las Vegas. Even the tenderest ballad, “Dolly,” is writ large and given an extra boost from a giant-sounding 12-member vocal choir. Mortimer finished the record, and while playing it for Apple execs they were told that Paul McCartney had a song for them. They added “On Our Way Home” (which became “The Two of Us” when the Beatles later cut it) at the last minute, and somewhat ironically gave it the most stripped-down production of all. The resulting album isn’t exactly bad; many of the tracks are first-rate late-'60s pop and the group’s vocals are very pretty throughout. The problem is that it lacks the immediate charm of their debut, as well as a few standout tracks like “Singing in the Sunshine” and “Would You Believe.” The soulful, Association-like “I Didn’t Know” is probably the best song here, and the fact that it sounds like another band rather than Mortimer sums up the album’s problems. But none of it mattered at the time, since Apple decided at the last minute – thanks to a budget crunch – that they were canceling the album’s release. It sat in the archives for almost 50 years before RPM Records finally issued it in 2017. With the full story behind the record in the liner notes and several tracks added on, On Our Way Home is an interesting curio from a lost age, if not quite a fitting follow-up to Mortimer, one of the true lost classics of the '60s………….by Tim Sendra ……………….

An acoustic trio from Hyde Park, New York, who evolved out of a group called the Teddy Boys, Mortimer were little more than a footnote to the history of the Beatles and Apple Records for most listeners. The trio had cut singles for Cameo-Parkway under their original name and, as Mortimer – the name under which they played various New York City venues – they’d done one album for Philips. That record, though never big seller, made its way from John Lennon to the hands of Peter Asher after the founding of Apple Records, Alas, amid the turmoil that enveloped the label, their recording career with the company was still-born, their second album buried. Until now, that is – and I can say that it holds up beautifully as a prime example of acoustic sunshine pop, not all that different from, say, the UK group Prelude or, say, midway between the psychedelic sounds on the Hollies’ Evolution and Butterfly albums and the work of Crosby, Stills & Nash. Its got a lot of great harmony singing and excellent guitar, without a lot of obtrusive production, and it’s going to get a lot of listens here….By Bruce Eder……………

Fabled in Beatles refence books for many decades, American band Mortimer’s 1969 album, On Our Way Home, shelved after the demise of both The Beatles and subsequently their label, Apple Records, finally gets a release on RPM Records 
Headlined by Lennon & McCartney’s On Our Way Home (AKA Two of Us) the album features much in the way of sunny acoustic pop and thought provoking lyrics. Stand out tracks include People Who Are Different and No Business Being Here. 
A precursor of material harmony groups such as Crosby, Stills and Nash and Stealers Wheel would produce only a few years after this album was made, On Our Way Home is the musical equivalent of buried treasure. 
Now is the time for people to finally hear this lost classic………



Mortimer 
*Guy Masson - Vocals, Drums, Percussion 
*Tom Smith - Vocals, Guitar 
*Tony Van Benschoten - Vocals, Bass, Guitar 
With 
Richard Hewson - Piano, Arrangements

Tracks 
1. On Our Way Home (John Lennon, Paul McCartney) - 3:06 
2. I Didn’t Know - 3:38 
3. You Do Too - 3:12 
4. Dolly - 4:43 
5. People Who Are Different - 5:41 
6. You Don’t Say You Love Me - 3:03 
7. Miles Apart - 3:12 
8. Don’t Want to See You Anymore - 3:58 
9. No Business Being Here - 3:06 
10.In Memory Of Her - 3:15 
11.Pick Up Your Heart - 4:50 
12.Christine Tildsley - 3:39 
13.Last Of The “H” - 4:22 
14.Laugh Children Laugh - 2:46 
15.Ingenue’s Theme - 2:24 

Scott Finch & Gypsy “Haze Of Mother Nature” 2000 CD Compilation US Psych Blues Rock


Scott Finch & Gypsy  “Haze Of Mother Nature” 2000 CD Compilation US Psych Blues Rock
full vk part 1…
https://vk.com/wall312142499_7362

vk part 2

https://vk.com/wall312142499_7363

full spotify….

https://open.spotify.com/album/7Ems1dIGqAiZK6ZTw9tQ3M



130 minutes of blues and bluesrock, a mixture of self-composition and foreign material, Power Trio: Scott Finch and his band with Peter Alt (lead vocals, bass and harmonica) and Dave Braun (drums and vocals). And all this live! 
Compact, there is a Jimi Hendrix passage at the end of the first CD. Ok, “All Along The Watchtower” is written by Dylan, but Hendrix has also often strung the strings for this song. 
Finch makes it clear that in his youth he did not just follow the Jimi, but the tracks, “Voodoo Chile”, at the end of the second CD, have also been transferred to the stage of their own interpretation. 
In addition to the foreign composers, especially with the second CD, we are in a kind of time machine of the Blues / Bluesrock. 
Not necessarily in the blues is “Tomorrow Never Comes” of the Beatles and Neil Young’s “Down By The River”. A fancy for the Fab Four seems to have Finch, because on his first record, a single from 1969 (!!!), he has presented “Let It Be”. 
Scott Finch can look back on a longer career. The first band Finch played was Bamboozle. It was followed by White Lie and Gypsy (1986 to 1989). 
In 1993 he played under his own name “Pipe Dreams”. A real solo project. Finch played all the instruments (drums, bass, guitar, keyboards) himself. 
With some intermediate stations in 2000, Gypsy was re-launched under the name of Scott Finch & Gypsy. 
The song opens with a track that Finch released in 1978 on a single with the band White Lie: “Scott’s Boogie”. A fine guitar introduction, drums and bass set flashy accents and then the boogie is in full swing. 
Bass player Peter Alt has a good blues voice. Even higher pitches are no problem for him. In the middle part improvised and Dave Braun gets a short drum solo. 
Like Coen Wolters, Finch loves the Wah Wah pedal, which is used for the first time in “The Velvet Groove”. The title of the track is self-talking … 
Almost romantically dreamy it is in “Changer”, an instrumental too. The classic rock pattern of the 1970s is “Close To You”. Memories of Cream come up. 
Finch’s interpretation of “Memory Pain” reaches the class of a Johnny Winter on “Second Winter” or by Savoy Brown on “Hellbound Train Live: 1969-1972”. 
“Dragnet” gives the impression of being completely improvised. 
“The Velvet Groove” was a great treat for Scott Finch in “Groove King” before “Jeff’s Boogie”, “Pie In The Sky”, “Guitar Solo” and “Voodoo Chile” Final of “Live Groove!” comes. 
Also the packaging of the CDs: The Digi-Pack is a small book. It contains a detailed 16-page booklet with many photos. 
This double decker was my entrance into the music of Scott Finch. Is not it like this: If you like a CD, there is a short or long one of the musician in the cabinet. I was with Scott Finch so!








Tracklist: 
01. Gypsy - Flowers In The Jungle 
02. Gypsy - Gypsy Waltz 
03. Gypsy - Dream Of The Dove 
04. Gypsy - People From The Darkside 
05. Gypsy - Little Bird 
06. Gypsy - The Goddess 
07. Gypsy - The Race 
08. Gypsy - Can’t Live Without It 
09. Scott Finch - Dragnet 
10. Scott Finch - Godora 
11. Gypsy - Acid Joe 
12. Gypsy - Time Keeps Rolling On 
13. Scott Finch - Pipe Dream 
14. Gypsy - Haze Of Mother Nature 
15. Bluehand - I Don’t Live Today 
16. Waltzing Tunas - Love Or Confusion 
17. Waltzing Tunas - If 6 Was 9 
18. Bluehand - Little Wing 
19. Scott Finch - Bend The Stone 

ELF (with Ronnie James Dio) “Carolina County Ball” 1974 UK Hard Rock Blues Rock


ELF (with Ronnie James Dio)  “Carolina County Ball” 1974 UK Hard Rock Blues Rock
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For some reason, the second Elf record, 1974’s Carolina County Ball, was released under the title L.A./59 in the United States and Japan, while the more widely accepted title was used in the U.K. and Europe. The Ronnie James Dio-led outfit was becoming increasingly entwined with Deep Purple – Roger Glover was producing the band, they appeared on the Deep Purple-owned Purple record label in the U.K., and the group was working frequently with Ritchie Blackmore – and their music began taking on a more powerful, more complex, more Deep Purple-like sound because of it. The more or less straight-up boogie rock of the Elf debut was not entirely abandoned for this follow-up, but tracks like “Annie New Orleans” and “Carolina County Ball” have a depth that goes beyond the accomplishments of the group’s previous, self-titled offering. Difficult to obtain, this long out-of-print release is a true find for fans of Rainbow, Black Sabbath, and Ronnie James Dio’s best solo efforts of the ‘80s…. by Jason Anderson…………….

Second album of the Deep Purple proteges Elf, including the explosive vocals of a Ronald Padavona, who soon would be known as Ronnie James Dio in Ritchie Blackmore’s Rainbow. 
Produced by Deep Purple’s bassist Roger Glover, this 1974’s “L.A./59 ” is a fun little album, imbibed with infectious rock & roll and a 70s’ hard rock taste, including also several highlights like “L.A. 59”, “Happy”, “Annie New Orleans”, the emotional “Rocking chair / Rock 'n’ roll blues”, “Rainbow” and the naïve outro “Blanche”, actually most of the album is quite solid and recommendable……..
Two years after the release of their eponymous debut, Elf went back into the studio to record their second album. In this time, some changes had taken place with regards to the band’s lineup. David ‘Rock’ Feinstein was replaced as the group’s axeman by Steve Edwards and Craig Gruber was brought in to handle bass guitar duties. This freed up singer Ronald James Padavona (A.K.A. Ronnie James Dio) to concentrate fully on his vocals and lyrics for the next album. Along with the newcomers and fellow veterans Mickey Lee Soule on the keys and Gary Driscoll battering the skins, Ronnie set about making an album superior to their groundbreaking but hardly successful debut, in his bid to forge a name for himself and his band. 
Despite being a brilliantly conceived and expertly executed record, not to mention falling very much in line with the 1970s rock music zeitgeist, Elf did not see much commercial success. Even touring in support of rock giants Deep Purple did not seem to be gaining the band much in the way of recognition. However, producer and Deep Purple bassist Roger Glover continued to believe in them and kept them on his Purple label, financing two more albums for the band. They also caught the attentions of guitar legend Ritchie Blackmore, who left Deep Purple in 1974. The Deep Purple influence is even more evident in Carolina County Ball than the debut, resulting in a much more complex effort that brought together elements of hard rock, funk, jazz, blues, southern rock and a dose of boogie-woogie to boot. Those who would only come to know Dio through his work with Black Sabbath and his own eponymous band may find this sound shocking, even comical, but it was with this sound that Dio made his name, and things were about to get a lot more interesting. 

The first point of interest is new guitarist Steve Edwards. Edwards had pretty big boots to fill, replacing Dio’s own cousin on the six– string. Feinstein’s axework was integral to the raw rocking sound of the group’s debut. Thankfully, Edwards’ skill is on par with Feinstein’s, dishing out those licks and riffs in a style so similar to Feinstein that his addition to the band’s ranks was to no detriment whatsoever. Edwards shines on tracks such as the hard-rocking L.A. 59- the track after which the album was named in the United States and Japan for some reason- and the ridiculously catchy Annie New Orleans. He could certainly solo like the best of his contemporaries, which included the likes of Joe Perry of Aerosmith and Jimmy Page of Led Zeppelin. New bassist Gruber shows off his chops brilliantly here as well, showing himself to be a much more capable bassist than Dio. Joined by the underrated Driscoll, their simple but crucial driving rhythms keep the album afloat. Gruber’s work also adds funky elements more prominently than on the debut, with songs such as the bouncy title track and the surreal closer Blanche being of a deeper and more complex nature than much of the tracks on the debut. 

Mickey Lee Soule, however, absolutely tears it up on the piano throughout the record. Rock and roll has produced some fine musicians over the years, but Soule is certainly amongst the most underrated of all time. He practically does the work of a second bassist and a second guitarist simultaneously, with plenty of lead breaks on the keys and even a few full blown piano solos here and there, such as in the mid-paced rocker Rocking Chair Rock N Roll Blues and the especially piano-centric Rainbow. The piano and guitar intertwine most effectively on the super slow Happy, the closest thing the album has to a ballad. As a whole, the album is much more complex instrument-wise, with each member demonstrating a wide range of influences that shine through to make each of the songs more distinguishable from one another, something that their first album was somewhat lacking. 

Of course, there’s no way to draw attention from the main man himself, and Dio’s distinctive, raspy wails are abundant on this album, as one would expect. Much like the last effort, Dio uses more aspects of his voice here than he would on future releases. Of course, this is because his versatility as a vocalist allowed him to adapt to whatever style of music he sang over, and in this case he was left to fly free as much as possible. This works, as one would expect, very much to the record’s advantage. If you want slow, Dio could pull off a haunting, doomy performance. If you wanted upbeat and perky, Dio was also the man for the job. He truly puts his heart and soul into his performance this time around, and it really shows as each distinctive song has its own distinctive layer of vocals to add to their already complex nature. The lyrics are quirky, even by Dio’s standards, but rather than singing of wizards and dragons, we get gems like hey doo-oo, on a boogie-woogie Friday night and crazy little woman go down, go down, go down, go down, down to where the honey is sweet. If the Elf albums didn’t exist, never in a million years would anyone imagine the voice of metal himself to come out with such material! 

In their attempts to make a better record than its predecessor, Elf had great success with Carolina County Ball. The songs here are much more complex and intellectually arousing yet retain their upbeat and catchy feel that made the debut so enjoyable. Elf’s sophomore release is without a doubt their crowning achievement, blending a vast array of influences correctly and cohesively with outstanding performances from all members involved. Though they would release one more album under the Elf moniker, Carolina County Ball is the one they should have been most proud of. It was by all means a spectacular achievement, cramming so much in there and still having an album chock full of tasty cuts that makes it so irresistibly infectious that the listener is bound to tap their feet along to the nine hard-rocking, funky tunes. …….. by Conor 


 Ronnie James Dio – lead vocals 
– Mickey Lee Soule – keyboards, vocals 
– Steve Edwards – guitar 
– Craig Gruber – bass 
– Gary Driscoll – drums, percussion 

– Roger Glover – string arrangements, producer 
– Mountain Fjord – strings 
– Ray Swinfield – clarinet 
– Chris Pyne – trombone 
– Henty Lowther – trumpet 
– Helen Chappell, Liza Strike, Barry St.John – backing vocals 
– Manor Chorus – choir (09)





Tracklist  
A1 Carolina County Ball 4:45 
A2 L.A. 59 4:22 
A3 Ain’t It All Amusing 5:00 
A4 Happy 5:28 
B1 Annie New Orleans 2:59 
B2 Rocking Chair Rock 'N’ Roll Blues 5:37 
B3 Rainbow 4:00 
B4 Do The Same Thing
B5 Blanche 
Choir – Manor Chorus* 
5:41 

John T. Leach Band “Good Life” 1976 US Private Southern Rock


John T. Leach Band “Good Life” 1976 US Private Southern Rock
full vk
1976 private press southern rocker with a bit of jazz and other stuff mixed in. Out of Georgia on the Classic label. All original cuts. Reminds me a bit of J. Teal Band, Allman Bros or something along those lines. (m-/vg+, cover has some ringwear and some seam splitting on the top right and bottom right)……..

Excellent 1976 private press, probably custom pressed by the artist Pretty good hard rock LP with some early proto-metal touches, some southern rock, should appeal to Allman Brothers/Robin Trower fans. ………….

01 - Good Life [00:02:59]
02 - Sugar Babe [00:02:52]
03 - Hattie Mae [00:04:10]
04 - Average Long Song [00:07:21]
05 - Ruff And Ready [00:03:06]
06 - Lies [00:03:41]
07 - Sweetie Lady [00:03:41]
08 - Desert Lady [00:06:41] 

Funky Junction (with Phil Lynott) “Play A Tribute To Deep Purple” 1973 Irish Heavy Rock Hard Rock. Damont label


Funky Junction (with Phil Lynott) “Play A Tribute To Deep Purple” 1973 Irish Heavy Rock Hard Rock. Damont label
full
https://vk.com/wall312142499_7353

watch by irish rock….

https://www.irishrock.org/irodb/bands/funkyjunction.html


Funky Junction were an Irish rock band formed in 1972 specifically to record a single album of songs made famous by British band Deep Purple, which was released as Funky Junction Play a Tribute to Deep Purple in January 1973. 

The project was brought about by a German businessman named Leo Muller, who contacted Irish group Thin Lizzy to record the album. The group were not enthusiastic, as they were trying to forge their own style and identity, but they needed the money. Thin Lizzy’s vocalist, Phil Lynott, decided that he was unable to sing like Deep Purple vocalist Ian Gillan, so restricted himself to playing bass guitar and singing back-up. The band brought in Benny White, singer with the Dublin group Elmer Fudd, because they generally performed Deep Purple covers during gigs. Thin Lizzy did not have a keyboard player in their lineup, so Elmer Fudd’s keyboardist Dave “Mojo” Lennox, later in Blodwyn Pig, was also asked to participate. Thin Lizzy guitarist Eric Bell stated that White and Lennox were each paid “around £60” to travel to De Lane Lea Studios in London to record the album. 

The makeshift band rehearsed for “two or three hours”, according to Downey, before recording the whole album in one day. Nine tracks were recorded, with five being Deep Purple covers. Three others were loosely improvised instrumentals; “Dan” - a version of “Londonderry Air” or “Danny Boy” by Bell in a Jimi Hendrix style; “Rising Sun” - a cover of “The House of the Rising Sun” made popular by The Animals; and the original composition “Palamatoon”. The last track on the album was “Corina”, credited to Leo Muller, as were the other non-Deep Purple songs. 

The album was released in the UK and the USA on the Stereo Gold Award label, and on the Sonic Records label in Germany. For the German release, the band’s name was changed to “The Rock Machine” with the album title being changed to “The Rock Machine Play the Best of Deep Purple”. 

Thin Lizzy were paid £1000 for the recording, but their name was entirely omitted from the album, and a photo of a different band was featured on the cover - UK’S kickass power trio, Hard Stuff, who were signed to Deep Purple’s own label….By specimen unknown…


Even though it is Phil Lynott, Eric Bell & Brian Downey , this is for completeists only ! Phil Lynott DOES NOT SING and the keyboards are a standout ANTILIZZY ! the music aint bad , but the lack of good vocals 
(they got some other irish dude to sing) just didn’ do it for me 
a VERY confirmed THIN LIZZY / PHIL fan - Hodge…..By Kevin Hodgins…


I think there is a very salient point being missed by some reviewers.This was not intended for release as an album by a new group on a major label.It was aimed at the market which bought Pickwick records Top Of The Pops compilations and MFP’s Hot Hits comps.That market was British schoolkids who didn’t have the cash to go out and buy all the albums and singles by all their favourite artists,so this type of LP was hugely popular Of course it’s cover versions done as closely as possible to the original-that’s the point.These weren’t bought by fans wanting to hear a ten minute improvised guitar/keyboard duel around the basis of Fireball.They wanted something that sounds as close to Fireball as possible for 50 pence from the local Woolworth’s as opposed to shelling out £2.50 for Deep purple’s album.If you only have £2.50 pocket money you have a dilemma.I remember spending hours in my local record store with the heavy choice to make -does it go on Yes’s Close To The Edge,The Ash’s Argus,the latest Purple,Heep,Cat Stevens,Tull,Camel,Ad Infinitum. 
You couldn’t have ‘em all-just one.That’s why these LPs flourished in the early 70s in the Uk. 
Luminaries such as Elton John,David Byron of Heep and others loaned there talents to TOTP and Hot Hits LPs.Some tracks turned out passably good. many were laughably bad.In the case of Downey and Bell on Funky Junction’s Lp the band does a decent job(There is doubt as to whether Lynott actually appears on the recordings.Some say yeah others nay…..by….woody123 


Thin Lizzy were so broke during their Decca years that they actually were asked to record an album of Deep Purple songs for release by their label Decca, and due to their desperation they actually did so. I am not sure who is actually singing on this album, but it sure as hell was a weird request to ask any band to recreate the music of another in an anonymous fashion, and maybe A Tribute To Deep Purple might just be the first rock tribute album? In a world now flooded with such! Funny how Phil Lynott was associated with this as around the same time Ritchie Blackmore was interested in having Lynott front his Rainbow excursion. Weird shit. Only real intersting aspect of this is from a historical one from the point of view of the Thin Lizzy fan……by…………jonnydeluxe 


Phil Lynott – bass guitar 
Brian Downey – drums 
Eric Bell – guitar 
Benny White – vocals 
Dave Lennox – keyboards



Tracks

“Fireball” (Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, Ian Paice) 
“Dan” (Leo Muller) 
“Black Night” (Blackmore, Gillan, Glover, Lord, Paice) 
“Palamatoon” (Muller) 
“Strange Kind of Woman” (Blackmore, Gillan, Glover, Lord, Paice) 
“Hush” (Joe South) 
“Rising Sun” (Muller) 
“Speed King” (Blackmore, Gillan, Glover, Lord, Paice) 
“Corina” (Muller) 

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