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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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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Track List
1. I Ain’t Living Long Like This
2. Connie
3. No Rockin’ Tonight
4. Jack’s Blues
5. Still In The Saddle
6. Cry Your Blues Away
7. Even If I Tried
8. I Know You Riders
9. Tarna’s Song
10. Crawdad Song

HAYWIRE (KS) Still In The Saddle 1980

From southern Kansas comes this great southern rock outfit built around the Olive Brothers. This LP is a southern rock fan’s dream, singing about cowboys, drinking, and especially getting arrested for DWI on the way to the local Lynyrd Skynyrd/Charlie Daniels Band concert in the epic track “No Rockin’ Tonight”. All the elements are here, tight rhythm section, wailing guitar and ballsy vocals. Their version of the old standard “I Know You Rider” is the best I’ve heard, with an updated hardrock sound. Songs like “Still In The Saddle”, “Even If I Tried”, “Jack’s Blues”, “Cry Your Blues Away” and more all hit the right spot for those of us who worship at the altar of the Allman/Van Zandt sound. I have heard some negative comments about the cover art which depicts a ’50s dime store cowboy ride, but personally I like that such an innocent jacket contains such a potent and sharp edged music. [RH – Rich Haupt]

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Track List
1. San Francisco Man
2. 24 Hours A Day
3. Me And You
4. Where’s The Country Gone
5. One Up For Listening
6. There’s Just You
7. Days End
8. The Feeling
9. Don’t Deny It

SOUTHERN STEEL “Get On Through” out of Miami, Florida in 1974 firmly resides in the upper realms of rare early ’70s southern rock LPs and the brilliant guitar interplay, vibrant vocals and finely crafted songs will seriously grab late ’60s westcoast rock ears as well. It’s really accessible stuff, heartfelt country inflected vocals with appealing vivid guitar textures and rhythms that fly. Echoes of Buffalo Springfield, Flying Burrito Brothers, Byrds, more on the rock than the country side but genuine about both. It’s southern but it’s also eastcoast-westcoast. In fact the opening track titled “San Francisco Man” is loaded with searing guitar licks and propulsive rhythmic action hitting pleasure points similar to the first Moby Grape LP. “Get On Through” contains thoughtful song oriented outdoors rock with little in the way of “south’s gonna rise again” attitude, bluesy grit, bad women, whiskey, or hard livin’ roadhouse action. These guys genuinely sound turned on to life, everyday regular dude seeker post ’60s style and it is contagious. You can really feel it when the sweet southern fried dual guitar leads cascade out at just the right moment.
Southern Steel’s primary songwriter, vocalist, electric 12 string, and bassist was Jim Goodman. The other members all did time in previous local bands with names like Heat Machine, Willy Bogg, The Force, and Dakota. Spike Warner on lead / slide guitar and vocals , Ed Ocean Olszewski on lead guitar, bass and vocals, and Greg Orsini on percussion all play tight together with an assured energetic vibe that only comes from experience. Recorded quickly in two days at Criteria Studios with producer Craig Leon ((produced the Ramones and Blondie’s first records) at the helm, this LP exists because two rich Floridian lawyers Bill Blanton and Bill Barragan saw Don Kirshner’s In Concert rock series on TV, decided to get into the music biz, formed a label named Earth Records, put an ad in the paper and found Southern Steel, ready to rake in massive rock and roll dollars. That didn’t happen but fortunately nearly 50 years later we do have this uplifting slice of life. Hard to imagine a band this pure and sincere could exist nowadays with no taint of irony and no corny posing. Real people. In other words… this is a vintage blast of humanity with mesmerizing guitar magic you can really fly high with. Every track has hooks and staying power, the sort of album that feels fresher each time you spin it but somehow also seemed familiar the first time you heard it.
After this LP was issued the band got serious interest from major labels, they certainly had the terrific songs and sonic mojo needed to go up the charts… but it all fizzled out over the next year. If you are into early ’70s southern rock with country flavor and leftover ’60s westcoast flashes, more turned on than traditional in approach you should give this album a chance get stuck in your mind.

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STREAM EVERY WHERE – https://ridingeasy.ffm.to/trcrooks.OYD

1.Waiting For A Better Day
2. Song Of David
3. We Are All Brothers
4. Old Music
5. Tennessee Land
6. Life On The Road
7. Hot Busch

This story played out locally all across the USA in the wake of the paradigm changing Beatles / British Invasion of 1964. Childhood friends Jimmy Stewart and Larry Farrar heard electric guitars and started a garage band, evolving into Rat Salad by 1970, Hit And Run after that, and finally the Tennessee River Crooks. The band name is taken from the cigar box roadie/manager Jerry Crouch used to stash cash in while working the door at countless gigs across Tennessee, Kentucky, Arkansas, Missouri, Illinois… like most regional working bands of the day these guys played crowd pleasing cover versions at live shows to pay the bills. However, they intended to do their own material from the very start. Originally issued as a private pressing in 1976, this rare LP is an unfiltered slice of real life in the Southern Rock genre. We are lucky some slick producer didn’t stumble across them and water it down with dollar signs in his eyes! This stuff is as pure as it gets!
They say it concisely in the liner notes on the LP sleeve: “It is not produced by a major record label. It does not contain many of the tricks and gimmicks normally associated with such a production… what you hear is the band, with most of the rhythm tracks recorded live, just as they sound when you hear them live. The music is all original, the reproduction is realistic.” Yes folks, it is not merely a record, it is life itself! While the big Southern Rock bands like Skynyrd, Allmans, 38 Special, etc. are influences what you get here is akin to a secret glimpse behind the curtain into one of the myriad local scenes across America… in this case out of Paris, Tennessee. Recorded way out in the sticks at Sound Farm Studio in Puryear, Tennessee. Way beyond reach by the long arm of the record biz. One of the joys about discovering lost buried vinyl treasure like this is the superior power of a diamond in the rough over the polished stone. You get the real deal that tends to age best, the low budget “warts” become beauty marks across time because they breathe like real human beings having a blast!

The band on the LP are Jimmy Stewart on bass and lead vocals, his brother Ricky Stewart on drums, Larry Farrar and Ronnie Waters on guitars. Previous member Mike Hendrix returns for the sessions to add lead guitar. Jimmy and Mike wrote the songs. Some friends also help out including Dianne Davidson on backing vocals who made several LPs of her own and worked with Tracy Nelson of Mother Earth. Honey Combs also adds background vocals besides having the coolest name out of everyone involved. Kenneth D. Simmons adds steel guitar and Alan Raidt adds a bit of synth, Kenny Snow adds mandolin. It’s basically a no frills 2 guitars, bass, drums lineup with the extra instruments used very sparingly in inventive ways. The uncluttered directness of the recordings wears well as plenty of space is left for your own head to fill in. The energy is not diluted by unnecessary elaboration. The guitars do tasty southern dual action at just the right moments. The vocals inhabit a space somewhere between Steve Miller and Ronnie Van Zandt without imitating them. Bare bones equals long shelf life here in the vivid manner the guitar tracks are arranged, the loose but tight rhythm section below and the clear way the vocal harmonies are deployed with just the right balance. The harder rock elements and the country moves blend seamlessly supporting lyrics with little of the common southern iconography of the genre. Their concerns are more rooted in the moment than in the past. Life on the road, women, a friend’s death, living naturally… more an outdoors rural post-hippie new man vibe than a born to lose roadhouse brawler. Capable of bringing the two together on stage I am sure… the LP is song oriented but I bet they jammed the hell out of some of these tracks in the flesh. Nothing abstract or arty here, this is music made to reach people straight up.

The rare original LP was issued with two different sleeves, tragically. The first press from 1976 has a photo of the namesake Tennessee River Crooks cigar box on the front. The second press from 1977 has a photo of Ronnie Waters and is titled “To A Brother” in his memory as he passed away only months after the LP first came out. 1000 copies of each version were made and they pull hundreds of dollars on the collector scene nowadays.

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Track List
1. Straight Up
2. Troublemaker
3. Fast Guns And Rot Gut
4. Can’t Win For Losin’
5. Straight Shootin’ Man
6. In The Wind
7. Fortunate Son
8. High Fashion Girl
9. Hangin’ Tree

MAD JACK Straight Up 1984

MAD JACK was formed by rock and roll lifer Lou Kaplan in direct response to the show biz glam path hard rock had taken during the rise of early ’80s hair metal. He
saw that firsthand in L.A. and hightailed it back to upstate New York, looking to put a band together that keeps it real, roots oriented and rocking out down and dirty
along the lines of Lynyrd Skynyrd. ZZ Top, Allmans, Outlaws… Southern Rock out of the North but deep fried with the right moves to score gigs opening for his heroes and storming the Eastern Seaboard for the next 20 years. “Straight Up” is Mad Jack’s debut LP issued privately in 1984 and it smokes!
There are traditional boogie undercurrents in the rhythms, trouble with lady luck in the lyrics, plenty of Jack Daniels and roadhouse ripping but every track is constructed with non-stop hooks performed with the energy of a buncha dudes partying like there’s no tomorrow. With the dual guitar action, gutsy but radio friendly vocals and uncompromising view of how to live life free and fair, Mad Jack doesn’t waste a second of your time. I’m sure they jammed out relentlessly at length on stage but what you get here on vinyl is the sort of concise focus that puts the classic into classic rock without putting on any airs. Had a major label pumped some serious green into their thing I’m sure you would already have these songs running wild in your brain!
Lou Kaplan and Danny Austin are an incredible team on guitars, interlocking riffs and soaring dual leads backed by Nick Nicholas on keyboards, Mark Young on bass and Pete Mendillo on drums. They echo many of their influences without losing their own identity… proof Southern Rock about real life and real people
transcends geography as well as time!

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1. Change The Run
2. Put Down Blues
3. Southern Sounds
4. Thinkin’ Bout You
5. All Be Gone
6. Outlaw
7. Tell You
8. Take This TIme
9. R.R.A.N. (Rock N Roll All Night)

MAMMOTH is a grabber right out of the gate, every step they take is unleashed with deadly economical precision. They may flash on Lynyrd Skynyrd and other vintage southern rock traditions but the brilliant way the vocals are recorded and the to-the-point interlocking guitar moves will fire up anybody into any sort of hard rock. They can rip it up with hot leads, probably jammed out on these songs at live shows but lucky us, they laid them down for all times here with the sort of thought out unified force and construction that screams hit radio. Loads of personality, accessible, produced and mixed with the clarity of classic rock that never loses it’s perfectly deployed impact. The uncluttered arrangements leave plenty of space, crafted with the kind of balanced mojo in the mix where every detail adds to the whole. Down and dirty but also achieving a universal pop-friendly appeal!
The Mammoth LP was recorded in 1981 at Relayer Studios in DeLand, Florida with the two guitars, bass and drums quartet line-up sounding like it could have been a decade earlier. Buzz Fetters on lead guitar, Bill Abell on rhythm guitar, Joey Costa on bass and Ron Herman on drums… with everybody contributing to the vocals. Rather than having a strong up front emotive singer the lead vocals here are multi-tracked and integrated into the songs with plenty of attitude but also a genre-transcending presence… you can imagine the vocal ambience working in punk, glam, even psychedelic contexts. Mammoth have a sound informed by roots music but it is really in the rear-view mirror the way they roll.
The songwriting here is terrific, they have a way of saying things that comes off as sincere but not too serious. You get plenty of in-your-face hard rock action but also several melodic tracks that have a more reflective charm to round out the trip. AND… when you hear their brilliant ode to southern rock titled “Southern Sounds” I challenge you to find any song about the subject more delightful. These guys keep it real, whether they’re being bad ass or vulnerable they express themselves with 100% genuine feeling as contagious and life affirming as it gets!

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2023.03.11

Spotify:
https://open.spotify.com/track/25YuFljQWpoJdqWTLycrcG?si=1d24a8acd98b444d

Deezer:
https://www.deezer.com/en/album/147348482

Apple Music:
https://music.apple.com/br/album/trilobita-single/1511716815

Bandcamp:
https://13rainscanner.bandcamp.com/album/trilobita

https://www.facebook.com/13rainscanner
https://www.instagram.com/13rainscanner/

source BRAINSCANNER

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2023.03.11

Spotify:
https://open.spotify.com/artist/16KhRzBhGsAjWLWB1vSNrG

Deezer:
https://www.deezer.com/en/artist/49887912

Apple Music:
https://music.apple.com/br/artist/brainscanner/1423318242

Bandcamp:
https://13rainscanner.bandcamp.com/album/trilobita

https://www.facebook.com/13rainscanner
https://www.instagram.com/13rainscanner/

#shorts

source BRAINSCANNER

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‘Fear’ is OUT NOW on CD/LP/Digital.

Official Links:

VALKYRIE on Bandcamp: https://thevalkyrierides.bandcamp.com/
VALKYRIE on Facebook: https://www.facebook.com/thevalkyrierides/
VALKYRIE on Instagram: https://www.instagram.com/valkyrie_va

http://www.relapse.com
http://www.facebook.com/relapserecords
http://www.relapserecords.bandcamp.com
https://www.instagram.com/relapserecords
http://www.twitter.com/relapserecords

#Valkyrie #HeavyRock #RelapseRecords

Lyrics:

Careful what you say
It’ll make you pay
Careful what you do
Because the eye’s on you

Evil eye
Evil eye
Evil lies

When you’re doing well
It’ll bring you hell
Don’t forget your charms
To ward away the harm

Evil eye
Evil eye
Evil lies

source Relapse Records

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