1 Better and Better
2 Going Back Down Again
3. Can’t Live With You / Can’t Live Without You Blues
4. Lucille
5. Young Stuff
6. Down In The Alley
7. From Four Till Late
8. Call For The Doctor
9. Stranded On A Dead End Street
10. Late Night Lover
11. Yes, No, Maybe So
12. Nasty Ways

The locals would say the Pearl Handle Band legend emerged at a barn party in Illinois corn country, on Halloween, under a brilliant, harvest-style full moon. The year was 1974. The auspicious debut brought three communities together. George Millspaugh, lead singer and guitarist, was raised just a couple miles away in the farm town of Waterman. Guitarist Dan Hurc and bassist Mickey Gentile were products of the northwest side of Chicago. And drummer Dean Aliotta hailed from suburban Berwyn.
Millspaugh had come to the band schooled in Chicago blues with an appreciation for country rockers Marshall Tucker and Charlie Daniels. He delivered piercing, glass shattering, vibrato-soaked vocals backed by fierce and fast licks on his red Gibson SG guitar. He would brag he had been the speediest typist in high school. Millspaugh, who also had a large physical presence, would often thrill crowds with a head high karate kick or a big swig of Jack Daniels, as he cried out for “ammunition.”
Hurc previously played bass, influenced by a father who favored the button accordion, but had committed to guitar. While not yet fluent on his instrument his musical instincts held sway. With a long-held love of rock music but a yearning desire for the blues, he was both the perfect sponge to absorb Millspaugh’s knowledge and the creative driver of the band’s chunky chord structures that grounded the band’s originals. Hurc’s instrumental riffs provided the members full license to contribute lyrical content.
Gentile had returned home after a college stint at SIU Carbondale and used his new-found freedom to stretch out with the band. He consistently delivered a compact, solid, low-end bass that underpinned the quickly developing twin guitar work of Millspaugh and Hurc. As aficionados of double guitar threats like Thin Lizzy, The Allman Brothers and Wishbone Ash, Gentile and Hurc pushed Pearl Handle into new territory. With a sense of business and fashion, Gentile set a standard of professionalism for the band.
Aliotta was the youngest of three brothers, the eldest having made his mark as bassist in the Rotary Connection. Both Aliotta and Hurc had done a turn with Aliotta’s middle brother in the band Hoona. A rocker at heart, but loving outlaw country, Aliotta’s signature smile exposed a laid-back sensibility, his drumming not so much a heartbeat but the rumbling approach of a freight train or a herd of cattle, his double kicks accenting a flood of sound that put feet on the dance floor and kept them there.
Making their bones on the college circuit and sorting their way through their various influences, the Pearl Handle Band found themselves in demand, opening for Journey and Van Halen and appearing at rousing summer concerts. As the only band to book in for three appearances in a single year at Chicagofest, two on the rock stage and one on the country stage, the band was genre crossing long before the 80’s rock sound became the mainstay of modern country decades later.
Six years after the barn dance in the cornfields of Illinois the band found themselves in Nashville recording with producer Nelson Larkin and famed engineer Ron “Snake” Reynolds. Armed with their originals and a couple tunes offered by their producer the boys discovered the powers that be were not quite equipped for the sound they were delivering. Not pop country and not quite ZZ Top, they were adrift among the marketing silos, with untamed amounts of whiskey, women and Marshall amplifiers.
The album got finished, for the most part, but then the label folded leaving Pearl Handle Band with a choice. A soft implosion followed. Millspaugh worn down by the road, decided to take a sabbatical. Over time bootlegged versions of the studio sessions made their way to cassette tapes distributed through interstate truck stops. In that way the band and the sound lived on. But here and now, in celebration of the 50th anniversary of a magical night which birthed the Pearl Handle Band, they finally get their due.

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Original pressings of this private press biker rock GRAIL have sold for as much as $2000! Only 13 very lucky people have this record in their collection and nearly 300 have it in their wantlist on Discogs. Tough luck for most, considering only 200 copies were pressed back in 1971!

Track List –
1. Boogie With You
2. Blind With Shame
3. Just for Fun
4. High Rollin On The Freeway
5. River Bummin
6. Handful (Of Love)
7. Thank You
8. Learn How To Boogie
9. Harley Perdoo
10. Lights Gonna Shine

BETTY Handful 1971

“Thank you for being what you really are”… key words from this impossibly rare 1971 private pressing LP. BETTY lays down who they really are straight upon “Handful” like a breathing snapshot in time. The performances and mix sound like they were done on the fly, which in the private pressing tradition means the artists are captured unfiltered with diamond-in-the-rough vitality. Their influences are seamlessly integrated into a personality filled biker rock roadhouse attack with discreet echoes of Canned Heat, Steppenwolf, the Doors, even throwing an early ’60s UK beat rock curveball at one point. They are pro at communicating but not slick enough to compromise their own reality by aping their influences. The musical elements here will be familiar but the band’s audacious attitude fire this baby up with undiluted excitement. The music feels like real life captured out in the wild rather than created in the studio.

BETTY was a working band out of LA gigging primarily around Pasadena at the time. An early biker rock vibe dominates, post ’60s west coast moves moderate the more typical hard-drinking-woman-trouble-raising-hell scenarios the genre usually exemplifies. Most of the songs are about women… though they may be a “handful” to deal with mentally, the eye-popping “handful” pictured n the LP sleeve is the ultimate bottom line. Treat ’em right, get down all night. There’s a genuine sense of appreciation for the ladies here, little in the way of macho posturing. The guitars keep it tough and the singer’s preposterously ragged confidence hits the bullseye from left field continually. Anthon Davis may be a bit over the top but it really works. Character to spare.

BETTY were main songwriter Anthon Davis on guitar and lead vocals on tracks #1 – #9, Mike McMahon on guitar and backing vocals, Kerry Kanbara on bass and backing vocals, Al Rodriguez on drums and backing vocals. Tom Jordan guests on keyboards and Lee Marks guests on backing vocals. McMahon and Marks also helped with the writing on several tracks.

Only 200 copies of “Handful” were custom pressed by Thin Man Records in 1971 made to sell at live shows. BETTY unleashed an uncompromising serendipitously emergent killer here where these real guys get in your head as they really are… or were, ripping it up at dive bar remnants of Wild West saloons before hitting the highway. A perfect triple bill would have been these guys, Bear Mountain Band and the Estes Brothers!

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Track List
1. Last Hour
2. Blood Offerings
3. A Sinner’s Past
4. Walperguise
5. Unhinged Spirit
6. The Apparition
7. Hell’s Odyssey
8. Soul Sorcery

Early Moods – A Sinner’s Past

Early Moods’ sophomore album A Sinner’s Past is the ultimate dosage of classic early 70s proto-metal, 90s grunge riffing and timeless songwriting delivered with an explosive youthful energy.

The Los Angeles area quartet burst onto the scene fully formed with a sound that somehow simultaneously merged gritty underground Street Doom with slick “big box” Heavy Metal melodies on their self-titled RidingEasy debut album in 2022. And it’s the band’s highly skilled musicianship paired with exquisite aesthetic taste — in addition to their killer live show — that has made them an immediate popular favorite.

A Sinner’s Past takes those elements several steps higher with a nod to Soundgarden’s huge sonic depth, the low-mid fuzz drenched tones of Sabotage and classic 70s melodies and structures of Ulli Roth-era Scorpions. The latter in particular inspiring the album’s intricate tonal shifts and shimmering twin leads.

“I’m very proud of these songs,” says guitarist Eddie Andrade. “We did a lot of different things, took a lot of chances and show a lot of growth, and I think people will pick up on it. I was trying to use more open chords, not the typical styles. We came off touring with Candlemass and Pentagram, sharing those shows with our heroes really pumped us up. We went into the studio just hungry to record.”

The album was recorded near the band’s home base in Pico Rivera, CA by Allen Falcon of Birdcage Studios, who also mixed their debut album. “He’s a good friend of the band and we wanted to be more comfortable, in a relaxed environment for this,” Andrade says. “He had a lot of input and his ideas made a lot of impact on this recording.” The band started recording in May 2023, then worked on the album on and off for 3 months between tours, which also lends to its very refined sound.

Early Moods was founded in 2015 by Andrade and vocalist/keyboardist Alberto Alcaraz after a few years of playing in thrash and death metal projects before the two realized that the classic doom that they’d grown up with was what they really wanted to explore. Going through a few lineup changes while delving deeper into the diverging influences that were calling, Early Moods arrived at the sound and lineup that grew their fanbase locally. The band released their debut EP Spellbound in 2020 on German label Dying Victim Productions, followed by their self-titled debut full length on RidingEasy Records in 2023. Early Moods is Oscar Hernandez on lead guitar, Chris Flores on drums, Elix Felciano on bass, Alcaraz on vocals/synth and Andrade on guitar.

Record out world wide March 8, 2024

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Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Ted Nugent back in the day and unleashed the amazing “Songs Of The Dead” in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, ‘is this heaven or hell’ type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert ‘Ace’ Williams on bass, Paul Cockrum on guitar, and Mike Dulany on drums (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name!

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SLAM WHITMAN – 4 DEAD IN OHIO (1985)

1. Woke Up
2. State of Nature
3. Crime Against Humanity
4. Ronnie
5. Covert
6. Hiroshima
7. Fashion
8. Hollywood Preacher
9. Euthenasia
10. Urban Death Song
11. Daze
12. Billy
13. Warfare
14. Ohio

Slam Whitman was a hardcore punk band that was active at Ohio University in the southeastern town of Athens, from 1983-1987. The band was comprised of Jeff Burnett on vocals, Matt Gruber on guitar, Tom Schwarm on bass and Greg Johnston on drums. The band was born from the ashes of a group from Read Hall East Green called Hooch Newklear. In this group Matt and Tom as freshmen would jam, make up songs and drink. One day Matt discovered that there was a campus radio station called ACRN. Greg and Jeff were hosting a radio program there that featured alternative music of the day. Jeff was the music director of the station with one of the biggest record collections known to man (over 3 thousand records that ranged from original copies of every punk/post punk, hardcore band to OG Jazz to the avant-garde stylings of Throbbing Gristle and everything in between). Greg was the more straight up punk barrowing every LP Jeff had and getting a first-class musical education. When Matt found out Greg was a drummer, the discussions began of forming a band. Greg drafted Jeff, Matt drafted Tom and Slam Whitman was born.

In the early 80’s punk was still a young and growing medium. The late 70’s bands of The Clash, Sex Pistols, and Ramones had inspired thousands of bands to jump into the fray. The first decision to be made was what the new band would sound like. Matt was a metalhead, Tom was into Neil Young, Jeff was alt and Greg was punk. Could 4 guys with really different backgrounds gel? Greg provided Matt with a basic library of influences including Minor Threat, Black Flag, Suicidal Tendencies, Replacements, Circle Jerks, and Husker Du. The first few Slam songs, “Daze”, “Warfare” and “Billy” made it clear that whatever this was going to be, it certainly was going to be fast, loud and aggressive. The typical song creating scenario was- Greg would start a beat, Matt would come up with the music, Jeff and Greg individually or often together would write the lyrics…and Tommy was in charge of the most important job of all…bringing beer to practice! We jammed in the basement at Jeff’s house ready to unleash our punk rock powers. The campus of Ohio U was primed for the aggressive racket that Slam was providing with local bands like Nuclear Theatre, Blue, and One Man’s Head (featuring future Columbus alt pioneer Marcy Mays who would form Scrawl).

In the winter of 1986, on break from school, Slam would play their only tour. The highlight was a set at the legendary CBGB’s in New York City opening for School of Violence. Other dates on the tour included the Infamous Electric Banana in Pittsburgh, and DC Space in Washington.

Slam Whitman’s recorded output was only available on cassette until now! The tape “Four Dead in Ohio” was released in 1985 and was only available at School Kids Records and Haffa’s Used Books in Athens…along with a few that Greg gave to the famous Bleeker Bob’s in NYC on consignment. In true DIY fashion, we hand pasted the covers and dubbed each copy one at a time on a cassette-to-cassette machine Greg owned. The title came from the inclusion of the CSNY song “Ohio”, done by Jeff in mock Neil Young voice, which exploded into a speedy rant about nuclear war and Ronald Reagan. Matt and Greg were Radio and Television majors and used the university’s sterile recording facility and outdated gear to record for free, with these recordings kicking the ass out of the college studio! The recording was done in the RTV building studio and 14 songs were recorded in a straight 2 hour shot. There were no overdubs. Engineering and Mixing on the first recordings were handled by O.U. student Charles Dye who would go on to fame for engineering the smash hit “Livin’ La Vida Loca” for Ricky Martin!

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CATCH THE BAND ON TOUR – https://linktr.ee/earlymoods

Early Moods
A Sinner’s Past

Early Moods’ sophomore album A Sinner’s Past is the ultimate dosage of classic early 70s proto-metal, 90s grunge riffing and timeless songwriting delivered with an explosive youthful energy.

The Los Angeles area quintet burst onto the scene fully formed with a sound that somehow simultaneously merged gritty underground Street Doom with slick “big box” Heavy Metal melodies on their self-titled RidingEasy debut album in 2022. And it’s the band’s highly skilled musicianship paired with exquisite aesthetic taste — in addition to their killer live show — that has made them an immediate popular favorite.

A Sinner’s Past takes those elements several steps higher with a nod to Soundgarden’s huge sonic depth, the low-mid fuzz drenched tones of Sabotage and classic 70s melodies and structures of Ulli Roth-era Scorpions. The latter in particular inspiring the album’s intricate tonal shifts and shimmering twin leads.

“I’m very proud of these songs,” says guitarist Eddie Andrade. “We did a lot of different things, took a lot of chances and show a lot of growth, and I think people will pick up on it. I was trying to use more open chords, not the typical styles. We came off touring with Candlemass and Pentagram, sharing those shows with our heroes really pumped us up. We went into the studio just hungry to record.”

The album was recorded near the band’s home base in Pico Rivera, CA by Allen Falcon of Birdcage Studios, who also mixed their debut album. “He’s a good friend of the band and we wanted to be more comfortable, in a relaxed environment for this,” Andrade says. “He had a lot of input and his ideas made a lot of impact on this recording.” The band started recording in May 2023, then worked on the album on and off for 3 months between tours, which also lends to its very refined sound.

Early Moods was founded in 2015 by Andrade and vocalist/keyboardist Alberto Alcaraz after a few years of playing in thrash and death metal projects before the two realized that the classic doom that they’d grown up with was what they really wanted to explore. Going through a few lineup changes while delving deeper into the diverging influences that were calling, Early Moods arrived at the sound and lineup that grew their fanbase locally. The band released their debut EP Spellbound in 2020 on German label Dying Victim Productions, followed by their self-titled debut full length on RidingEasy Records in 2023. Early Moods is Oscar Hernandez on lead guitar, Chris Flores on drums, Elix Felciano on bass, Alcaraz on vocals/synth and Andrade on guitar.

A Sinner’s Past will be available on LP, CD and download on March 8th, 2024 via RidingEasy Records.

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Stream on all platforms buy digital here – https://ridingeasy.ffm.to/bodysnatchers.OYD

1. I Want That Girl
2. I’m Gonna Love Her Anyway
3. Battle Of The Bands
4. Are You Into Destruction
5. Obsession Depression

The Bodysnatchers
Enter Austin’s Punk Band: The Bodysnatchers, composed of a coterie of musicians from Abilene,Del Rio, and Idyllwild, who’d all migrated to Austin in the early 70’s. Singer Larry James, guitarist Tom McMahon,”tenor” bassist Kyle Brock, (also in Eric Johnson’s Electromagnets), second bassist Jimmy Pettit, and brothers Chris Bailey on guitar and Ian Bailey on drums. The Bodysnatchers was a band that was ultimately unsustainable due to its force and volume. Their live show experience left band and audiences alike, energized, yet completely drained. Only about seven shows were performed over a period of months. Although at the dawn of punk rock, their sound had an early metal ethic, and a wall of sound production. Too much was never enough, and true to their distorted indulgence of stupidity and carelessness – It’s live!

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1. Prelude
2. Neon Warriors
3. Sector 387
4. Maybe I’m A Fool
5. The Prophet Song
6. Leaving Tonight On Vacation
7. Blue Moon
8. Oriental Doctors

White Boy and the Average Rat Band was formed in the unlikely small mountain town of Richlands, Virginia in late 1979 by guitarist and songwriter Michael Matney. Fresh out of high school in 1979, Matney would venture over the mountain to neighboring Tennessee to try his luck in the music Mecca of Nashville. There Matney would join Kriss Famous’ longtime established local act “Tabu”, replacing Ron Keel as lead guitarist. It was in this arrangement that Matney would be christened with the name “White Boy”.
His time with “Tabu” and in Nashville would be brief before returning back to Virginia. Once back home, Matney would take a job with a local record store and recording studio owner who would grant him recording time in exchange for employment. There Matney would helm his own project deemed White Boy and the Average Rat Band; writing, composing and producing the self-titled debut. On the project, Matney played all the instruments, in exception to the two separate drummers used to complete the album. Musicians were then assembled in order to represent a band on the album and in live performances.

The Album & Its Reputation
In 1980 the White Boy and the Average Rat Band self-titled debut album would be released in a limited number of 300 copies, of which 50 would be lost. They would see very limited distribution, which only added to the curiosity the album would become. The band in the early 1980’s would have a short lifespan that would well be surpassed by their reputation on into the next couple of decades.
Matney would then go on to other projects, such as a live guitarist sitting in with Dr. Hook and as a touring guitarist with David Allen Coe. During which time, unannounced to Matney, White Boy and the Average Rat Band’s name was gaining somewhat of a cult status amongst record collectors around the globe seeking private press releases and on-the-fringes type rock bands. As the records continued to circulate through the hands of these collectors, the album began to become more and more difficult to find, as well as fetching prices in the high hundreds of dollars.
In 2010 a bootleg pressing of the band’s album would begin to circulate. This unofficial release would be a response to the high demand of people seeking the record. Although it was unknown to the band at the time and obviously done without permission, the bootleg only helped to grow the band’s cult status even greater.

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1. Rio
2. Bertha Ryan
3. Catfishin’
4. Can’t Make It Alone
5. On The Missouri
6. Move To The Country
7. El Danzante (The Dancer)
8. Smilin’ Again
9. Take It Or Leave It

MACKS CREEK BAND 1980

MACKS CREEK BAND out of Missouri are a working band still ripping it up decades after this rare private press LP was unleashed. This is primarily a live band, the scorching dual guitar action and propulsive rhythms captured here leave zero doubt they can jam your mind right out of your body at a show. Laid down at Parallax Recording Studios in Willow Springs, Missouri in 1980, the LP contains all original material loaded with riverboats, reefer, catfish, nasty ladies dressed to kill, characters like Diamond Jim and Bertha Bryan… southern rock potent enough to up the ante for the Allmans and other southern rockers they shared the stage with back in the day. They primarily worked the St. Louis / Southern Illinois area and are a reminder that some regional bands who made their bread and butter killing it live with cover versions of classic southern rock made the smart move to do all original material when it came time to make their own record. Don’t confuse them with the lighter country rock band out of Chicago who use the exact same name, or of course, that other Max Creek out of Connecticut who worked the Grateful Dead angle… this is a deep fried dose of Americana with wide open dual guitar spaces where smokin’ beer soaked roadhouses or lazy day fishin’ holes both can set you free!
Terry Midkiff and Ron Roskowske simply kill it with their guitar moves, every track loaded with screaming leads flying all over the fretboard, confidence and precision. No mindless wanking, their vivid power is focused and deadly, especially when they pull together into classic southern rock twin guitar harmonic interplay. Lead singer Paul Cockrum is the primary writer, his hard edged style blends with simultaneously tight but loose background vocals filled with feeling. Tom Denman shines on keyboards, delicious gushy flow organ action effortlessly integrated into the rhythm section… Steve Hughes on bass and Bob Klaeger on drums. The guitars here dominate but are all the more effective riding the solid but on the move foundation these dudes provide. Proof there was way more talent out there than room on the radio back when the ’70s southern rock sound was going global. Macks Creek Band bring it to life on this LP in a way only people who live it for real can. Fate may have kept them out of your ears until now, but it’s time to get down!

words by Paul Major

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Albatross was a hard southern rock band with extremely solid guitars. It’s confident, driving, and often metallic in the way that Blackfoot could be. A consistent album that is an absolute must for those looking into the far reaches of southern rock obscurities, and the heavier side of Southern Rock in general.

Private press out of Virginia. Killer guitar leads, and tons of rad songs about partying. Very strong album, with one awesome jam after another.

1. Out Of Control
2. After The Fire
3. Share A Dime
4. About Losing
5. Back Street Lover
6. Same Old Song
7. No Reason To Cry
8. On The Run
9. Yankee Jam
10. Both Sides Now
11. Other Side Of Town
12. Mean Woman Blues

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