Listen: How Does It Feel To Feel / The Creation
How

The Creation, undisputed masters of British psychedelia. Eddie Phillips is as stellar a guitarist as he is a songwriter. He wrote, or at least co-wrote, most, if not all of their original material. Plus he was the first to use a violin bow on the instrument, combining his mastery of feedback with scraping, screeching chaos to ultimate effect. Jimmy Page later brought the technique mainstream on ‘Whole Lotta Love’, but fairly, has always credited Eddie Phillips for the idea. It’s also widely documented that indeed he asked him to join Led Zeppelin as second guitarist.

They recorded two versions of ‘How Does It Feel To Feel’ in summer ’67. Oddly, this one specifically for the US market, apparently deeming the violin bowed manic version more suitable to American programmer. Huh? Nonetheless, it’s a super version and top single to own and cherish, which I do.

In ’01, The Creation finally made it to America, playing The Warsaw Theater here in New York. I had injured my leg, it was a very cold November night, none of my friends wanted to attend, so I struggled along alone. The pain vanished when the musty maroon curtain lifted and there were The Creation, looking weirdly not a day older than those pictures from back when, sharp haircuts, great colored shirts and pants, but not dressed too young for their age. Sorta like if today’s Paul Weller would tone his image down a bit. Huge Union Jack backdrop. Sounding so powerful, my jaw dropped. Everyone’s did.

Bob Garner, original bassist and then sometimes singer, now permanantly on lead vocal, executing the red and purple spray paint free form psychedelic graffiti routine during the closing song ‘Painter Man’. Truly worth the 34 year wait.

Afterwards, I did my jukebox tab signing routine, Eddie and Bob both filling one out (see below). Flattered, appreciative, friendly, talkative, great, great guys.

Little Steven brought them back a few years later for his Randall’s Island Festival. Still powerful. Still one of a kind.

Above: Jukebox Tabs signed by The Creation. Eddie Phillips (left), Bob Garner (right)

Listen: Baby Come On Home / Hoagy Lands
Baby Come On Home / Hoagy Lands

Anything associated with Bert Berns gets my radar sky high. A master of New York RnB productions, I grabbed this in a stack somewhere along life’s journey years ago. The not often used black and white, as opposed to red and white, Atlantic promo label giving this obscure single from ’64 even more of an odd one out feel.

There was no way ‘Baby Come Back Home’ was going to disappoint despite the rather un-soulful sound of an artist named Hoagy Lands. Gladly, that first instinct, triggered by the Bert Berns namecheck, was right. The record is a gem.

Through the years I’ve picked up his other titles on Laurie and ABC, yet always found it baffling that, for such an obvious musical fit, ‘Baby Come On Home’, with Cissy Houston, Dee Dee Warwick and Judy Clay on backups, became his only Atlantic release.

Listen: Straight Ahead / Brian Auger’s Oblivion Express
Straight Ahead / Brian Auger's Oblivion Express

Always the ultimate player, Brian Auger seems like he was a pro in the cradle. Go back to his earliest recordings, prior to the big success he had with ‘This Wheel’s On Fire’, billed as Julie Driscoll/Brian Auger & The Trinity. You’ll see his virtuosity was fully formed.

In the early 70′s, after Julie Driscoll went her solo route, he toured the world, initially as Brian Auger & The Trinity, quickly morphing into Brian Auger’s Oblivion Express, gaining US momentum the whole while. Sharing bills with every type of band (Bruce Springsteen, The Allman Brothers Band., Roland Kirk, Santana, Chick Corea, Led Zeppelin, Earth Wind & Fire, Kiss, Herbie Hancock), they provided just the right amount of high brow musicianship to ecstatically turn both jazz and rock audiences on.

Surprisingly, or unsurprisingly, their many records fell pretty short on US airplay, but sold well nonetheless.

Fast forward to the present, Brian Auger’s Oblivion Express is still playing, dare I say better than ever. I sat smack dab in front of him a few years back, when he shared a bill with an equally stunning Savoy Brown at B.B. King’s in New York, and you could hardly see anything but a blur from those hands.

They just don’t make ‘em like Brian Auger anymore. Sorry.

Listen: I’m Your Witch Doctor / John Mayall’s Bluesbreakers
I'm Your Witch Doctor / John Mayall's Bluesbreakers

Back during that second wave of late 60′s blues influenced UK acts like Savoy Brown, Ten Years After and Led Zeppelin, John Mayall’s Bluesbreakers constantly evaded my collection. Those first several albums seemed to appear so quickly, and I always needed something other than their releases. Oddly, no one I knew had any copies either.

By ’66, I was already in a pattern of getting un-needed Rock and RnB singles off a little MOR station near my parent’s house. I turned up there one Friday claiming to be from the local Children’s Hospital and seeking out a donation…of records.

I knew about donations, having spent time in physical therapy rehab, learning to walk again, after jumping off our carport roof as a result of a childhood dare. So technically, I was in rehab at six years old. Spent half a year confined to a wheelchair, then another half doing the aforementioned physical therapy. Even though I was reaping great quantities of records as a result of the station’s donations, never once did a John Mayall’s Bluesbreakers single appear in their weekly handouts. Not until late ’67. And ‘I’m Your Witch Doctor’ was it – taken off that very first ANTHOLOGY OF BRITISH BLUES compilation on Immediate which was everywhere. CBS, Immediate’s US distributor, did the job back then as far as getting LPs into the stores.

Wow. What a single. I pretty quickly prioritized some of the band’s releases for purchase, the CRUSADE album in particular, with that top version of ‘Hideaway’. Little by little, I filled in those early London titles. They were pretty hard to find back then too.

Years later, I signed John to Island. He made a terrific album for us, A SENSE OF PLACE. It deservedly got much critical praise and sold well. Amongst the advantages of working at Island was the label’s credibility. John was considered passe at the time, but signing to Island was hip, and because he delivered such a strong album, it was a relatively smooth path to success.

A nicer man you will not meet. Dependable and honest. Generous too. He gave me a beautiful framed print of a photo he’d done. The subject: three of his handmade guitars, pictured many, many times in live shots and on album covers. No reason, just to say thanks for helping him.