'igginbottom 'igginbottom's Wrench (1969) [reissue 2009]

Allan Holdsworth is a legendary figure in the world of Jazz and Rock guitar players. For four decades he has been considered one of the finest exponents of the instrument. Esoteric Recordings are pleased to announce the release of the album that saw Holdsworth make his recorded debut, Igginbottom's Wrench. Igginbottom was formed in Bradford in 1968 and also featured Dave Freeman (drums), Steven Robinson (guitar, vocals) and Mick Skelly (bass). Their sole album was originally released by Decca's Deram label in 1969, and featured such innovative pieces as The Castle and Sweet Dry Biscuits. The record also enjoyed the patronage of Jazz legend Ronnie Scott. A criminally under-rated work, Esoteric is proud to present the album to a new audience.

This New York-based psychedelic blues rock quintet featured Ray Kennedy (vocals), Art Del Gudico (guitar), Jerry Guida (organ), Tommy Burns (drums) and Michael Lamont (drums). The band’s debut album largely comprised of contemporary hits, notably ‘Hey Joe’, ‘Morning Dew’ and ‘Come See About Me’. An unknown quantity when they supported Moby Grape on a brief UK tour in 1968, Group Therapy impressed audiences with their exciting, soul-based stage act. The album, retitled You’re In Need Of…Group Therapy was belatedly issued in the wake of this interest, but although their version of ‘River Deep - Mountain High’ garnered interest when issued as a single, the set failed to emulate its corresponding in-concert intensity. The band split up without achieving their potential, although Kennedy later secured success as a singer and songwriter.

Expanded release for the debut album by Noel Redding's band with eight bonus tracks. Recorded in 1969, Fat Mattress was the eponymous debut album by the band formed by Jimi Hendrix Experience bass guitarist Noel Redding. The album evoked the influences of the time, touching upon styles pioneered by groups such as Traffic (whose member Chris Wood guested on the record). A superb piece of psychedelic rock in it's own right, Fat Mattress failed to get the attention it deserved at the time of release (despite a tour as support act to the Hendrix Experience) but has subsequently been hailed as a classic of the era. This Esoteric reissue has eight bonus tracks comprising non-album singles, mono mixes, studio out-takes and an unreleased solo single by Fat Mattress’ Jim Leverton.

Three Dog Night (1968). Three Dog Night's self-titled debut is one of the strongest and most cohesive offerings by the combo. Their claim to fame would come via overhauls and sleepers from a wide spectrum of luminous singer/songwriters. The moniker refers to lead vocalists Danny Hutton, Chuck Negron and Cory Wells, but credit is overdue for the incendiary instrumentalists: Mike Allsup (guitar), Jimmy Greenspoon (keyboards), Joe Schermie (bass) and Floyd Sneed (drums). The combo's initial achievement came in April of 1969 after their remake of Harry Nilsson's loner/heartbreak anthem "One" landed in the Top Five. So successful was the track, the record label emblazoned the name of the song onto the cover art - resulting in the long-player also (albeit erroneously) being identified as "One"…

Forty years ago, this original of this album almost appeared on Island Records, and therein lies a tale almost as interesting as the record itself. Ian A. Anderson, as he was then known, almost shared a name with Jethro Tull's frontman. The band's management decided the label wasn't large enough for two Ian Andersons and the newcomer was shuffled off elsewhere. As an anecdote it's priceless, but so is this artefact of the British blues boom of the late 1960s. It was, perhaps, great hubris on Anderson's part to believe he could write blues songs equal to those of the greats (and he probably cringes these days over "Short Haired Woman Blues"), but in many ways they hold up well, and he's helped out by some excellent musicians, notably the great Bob Hall on piano, while Chris Turner turns in some stunning harmonica performances…

The first Soft Machine LP usually got the attention, with its movable parts sleeve, as well as the presence of ultra-talented songwriter Kevin Ayers. But musically, Volume Two better conveys the Dada-ist whimsy and powerful avant rock leanings of the band. Hugh Hopper took over for Ayers on bass, and his fuzz tones and experimental leanings supplanted Ayers' pop emphasis. The creative nucleus behind this most progressive of progressive rock albums, however, is Robert Wyatt. He provides the musical arrangements to Hopper's quirky ideas on the stream-of-consciousness collection of tunes ("Rivmic Melodies") on side one. Unlike the first record, which sounded choppy and often somnolent, this one blends together better, and it has a livelier sound…

Awakening… (1969). From the legendary hard rocking South African psych rock scene, alongside such greats as Freedom’s Children, and Suck, comes The Third Eye. Awakening is the Third Eye’s debut full length, originally released in 1969, and is a masterful and complex album of late sixties South African heavy psych, featuring fuzzed out guitars, great brass arrangements and virtuosic organ work, provided by the young Dawn Selby, who, at the time of recording was all of 14 years old!…

Tom Jones' greatest strength is as a showman, making Tom Jones Live in Las Vegas one of his strongest records. As he tears through his well-constructed show, the vocalist works the reserved crowd into a near-frenzy, which makes him sing stronger and more dramatically. However, Tom Jones is at his best when he is at his most melodramatic, so this isn't a flaw.

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.