It's Psychedelic Baby Magazine

It's Psychedelic Baby is an independent, music magazine covering a wide range of alternative, underground and mostly non-mainstream music. Exclusive interviews, reviews and articles. A place where musicians can express themselves. We serve an international readership.

Monday, June 27, 2016

Psychedelic Attic #24


LPs
Hawkwind
The Charlatans
Sendelica
Cheap Wine
The Pink Diamond Revue
Bellhound Choir
Dwiki Dharmawan
Telstar Sound Drone
Uther Pendragon

CDs
Estoner
Mike Dekleva
Nancy McCallion
Kuparilinna
Kathy Greenholdt
Shawn Kingsberry
The Velveteins
Coastal Legends
Robin Baugh
Gregg Douglass and the Accomplices
Suit Of Lights
Dada Paradox
High Mountain Bluebirds
Jay Power
The Froot '67
Spray Paint
Gone Dead Train
The Love Dimension
RAZ Band
Angry Angles
Cheap Wine
Miggi
Rod Brown
Skylight
Mythos
RA
V.A. Astonishing Sound Show Stories Vol. II
Silent People
Bank Myna
Mark Sanders
Space Echo
The Age Of Reason
Robbie The Werewolf
Jerusalem
La Rocca!
Bill Frisell
Chris Speed
Harris Eisenstadt
Hedvig Mollestad Trio
This Is Head
Indica
Gravitsapa

Tapes

Sunday, June 26, 2016

Bruce Cockburn - Rumours Of Glory (2014) review


Bruce Cockburn, "Rumours Of Glory" (True North Records, 2014)
Canadian National Treaure Documented and Celebrated

Forty five years, 1969 to 2014, of music from Canadian singer/songwriter, political activist, spiritual adventurer and guitarist extraordinaire Bruce Cockburn are celebrated in this magnificent eight CD, one DVD boxed set.  Compiled by Cockburn manager and True North Records founder Bernie Finkelstein, the collection contains 117 tracks on the CDS, 14 of them rare or unreleased, and another 19 live tracks on the DVD recorded on Cockburn's 2008 solo "Slice Of Life" tour.  The boxed set is a companion to Bruce's memoir, also titled "Rumours Of Glory" a 540 page documentation of Cockburn's life with the lyrics to 100 of the boxed set's titles woven into the prose for good measure.

How does one impart the scope of this most ambitious project?  Cockburn's songs transcend music, the lyrics filled with incredible metaphors and full of inspiration are a perfect match for his renowned prowess on guitar, acoustic and electric alike, as well as resonator and dulcimer.  Musician, spiritual traveler, ecologist, political activist, parent, all these describe Bruce Cockburn, the human being.  These attributes cannot help but stand out in Cockburn's musical catalog.  "Rumours Of Glory" delves deeply into this catalog with the first seven discs containing tracks selected from his 21 studio, 5 live and 5 compilation albums, the material being presented in nearly chronological order.  

Disc one opens with a couple of middle to later day recordings, first 1996s "The Charity Of Night" which "offers three separate vignettes spanning thirty years" including events in Honduras in 1985 when Cockburn witnessed the government of El Salvadore bomb its own people."  Next up is Cockburn's incredible song regarding the fate of the rain forests and conditions in Third World Nations, 1988s "If A Tree Falls" which poses the perennial question, "if a tree falls in the forest does anybody hear?"  Cockburn's guitar work is especially good on this one, highlighted by an incredible solo.  Two tunes into the set and I already know I am holding something very special in my hands.  The best known Canadian musicians come to mind, Joni Mitchell and Neil Young the first two come to mind, and I am already comparing Cockburn's work on an equal level.  In contrast to Mitchell and Young, however, Cockburn chose to remain in his native Ontario, rather than relocate to the US.  This choice certainly came at the price of several million records, although he has managed to top the 7 million mark in world wide record sales as of 2014.

Following "If A Tree Falls" the set travels back to a much earlier time, 1969, for "Man Of A Thousand Faces" an autobiographical song about how Cockburn resembles a 
"chameleon, blending in with whoever he's with, but being not an impostor, but rather an observer, a contributor and someone who really cares."  The first two discs contain songs from Cockburn's folk years closing with Bruce's lone US hit single, 1979s "Wondering Where The Lions Are" which peaked at #21 on the Billboard charts and resulted in an appearance on Saturday Night Live.  A real highlight of disc two is "Stolen Land" recorded in 1986 lamenting the treatment of aboriginal people in Canada and Native Americans in the United States.  The music on the first two discs is almost entirely acoustic.  

By the time the songs from disc three get going, Bruce's involvement in international politics and relations comes to the fore of his music, beginning with 1983's "The Trouble With Normal" whose title track's chanted chorus,  like so many of Bruce's songs serves as both an accurate appraisal of the state of the world and a harbinger of the steady decline in quality of life conditions for citizens of places such as Central America and the Middle East.  Disc three contains what is probably Cockburn's best known song, 1984's "If I Had A Rocket Launcher" an anti-war song written while Cockburn was visiting Guatemalan  refugee camps in Southern Mexico and he cries out in anguish and outrage at the violence laid upon the refugees and laments not having an RPG to even things up a bit.  Cockburn's manager Bernie Finkelstein suggested the song be released as a single.  Cockburn countered that no radio station would program the song.  Luckily for us, Bernie's opinion won the day.  The song reached #94 on the US Billboard charts.  "Waiting For A Miracle" is especially touching as a cry of the Nicaraguan citizens' improvement in living conditions under the Sandinista government even as the world's most powerful nation, the United States, was doing all it could to undermine and displace the Sandinistas, an update of a topic Cockburn addressed in "Nicaragua" from 1983's "The Trouble With Normal."  

Cockburn isn't always so serious in his writing as in the classic (who put that bullet hole in) "Peggy's Kitchen Wall" a musical question that remained unanswered for many years until the shooter was identified in Bruce's memoir "Rumour Of Glory."  As the author whimsically lamented it would have been more fun if he'd never found out who did the shooting.  Likewise, 1998's "The Last Night Of The World" tells of Bruce's female friend of years before had said that she'd like to go out drinking champagne in a bath, whereas Bruce had a "survival" backpack with food, tools, and such.  Obviously her idea became desirable to Cockburn.  

By the mid-1980s Cockburn was also championing the then burgeoning HIV/AIDS cause with "Lovers In A Dangerous Time."  The song did very well on the Canadian charts and was slated to be released as a single in the US but attracted little attention south of the border.  1985 saw Bruce take aim at the IMF and its treatment of Third World nations in "IMF, dirty MF takes away everything it can get" and "you don't really give a flying fuck about the people in misery."  Powerful stuff, complete with an incredible guitar solo to close the tune.  Likewise, disc six's "The Mines Of Mozambique" expresses Bruce's disdain for land mines.  Some titles are rather self explanatory, such as "Gospel Of Bondage" and "Radium Rain" further evidence of Cockburn's concern for the planet.

On disc seven Bruce visits atrocities old and new in "Post Cards From Cambodia" and 
"This Is Baghdad" which serve as markers in time along Cockburn's life long gift for observing and reporting on the state of humanity.  It is as no wonder, and only fitting, that financial support for this project came, in part, from the Government of Canada through the Department of Canadian Heritage (Music Fund Of Canada).  

Disc eight contains rare or unreleased tracks, 14 of them, nearly an hour in all.  Standouts include the philosophical "Wise Users."  This is the disc that will interest Cockburn fans the most.  Perhaps more rare tracks could have been included, but as a long time fan I am very pleased with the song selection overall.  There are a couple of tracks I would like to have had included, such as 1983's "Candy Man's Gone," but that is inevitable.  

The DVD included is from the 2008 "Slice Of Life" solo tour It includes 78 minutes of music, 19 tracks, and is the first ever full concert long DVD Cockburn has released.  The sound and video are excellent.  Some would like to have had video from Bruce's most commercially successful period in the 1980s included, but the set list is impressive and so is the playing.


True North Records did a wonderful job on the packaging.  The eight CDs are in four double-digipaks, nice and sturdy.  There is a 90 page booklet with complete track annotations as well as an essay by Nick Jennings.  The box sets are hand numbered, 3,000 copies, and are autographed by Cockburn.  I can think of two big reasons you should purchase this box set right off the top of my head.  First, and perhaps most importantly the music found here is top quality, songwriting and performance alike.  Cockburn is not to be underestimated as a songwriter of the highest order as well as a top flight guitarist.  Second, and arguably equally important is the incredible story of the state of the Earth as told by observer and reporter Bruce Cockburn.  Regardless, "Rumours Of Glory" is an incredible box set, get your copy before it sells out.

Review by Kevin Rathert/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

Thursday, June 23, 2016

Èlg interview with Laurent Gérard

 
Do you ask a banana tree why bananas taste like they do?

In this interview, 36 years old Frenchman Laurent Gérard calls the music on his new album 'Mauve Zone' pocket symphonies, a ghost train journey, a mistery, an illusion, a puzzle and a cartoon. All correct.

Stanley Kubrick once said that you don't make a movie with a camera, but in the editing room. Could I say the same thing about your music: that recording is one thing, but that the real work is the editing, making layers, constructing the recordings?

Yes! You're right. All my albums are conceived like movies. Editing is very important. When recording an album I create sonic objects with the same artificial approach used in studio films. They are illusions. Albums recorded live are fantastic also, of course, but it's a completely different approach and up until now in my solo work the sequences are created separately and I piece them together like a puzzle to form an ensemble, looking for ways to find links. Everything is always linked on a subconscious level. It is a well thought out yet empirical process which would be very costly for classical film production. Kubrick was smart enough to get the Warner studios to back him up financially for three years while he developed '2001: Space Odyssey'. He had time to feel his way through it, which is rare in Hollywood cinema.           

In one way, the audio horror you create is kind of cartoonish and playful, but on the other hand, I also have the impression: "here's a perfectionist at work."

I've always found humour and derision in horror and anxiety in humour. They are interrelated, inseparable. Our anxiety and fears are ridiculous, in a way, on a universal scale. We often laugh about things that surpass us, that make us uncomfortable or give us vertigo. And cartoonish perfectionism exists! Mel Blanc is a perfect example. His voice work on the Tex Avery characters is very precise, almost maniacal! "That's all folks!", Mel Blanc's cath phrase, is actually on his tombstone in Los Angeles.

When I played this album for the first time, I thought it sounded recognisable. What would you define as 'your style'?

I don't know where it comes from or what it is. I just really love working. All the doubting and discouragement and all the transformations and illuminations that occur make what we call style. But than again: we don't ask banana trees why bananas taste like they do, do we? They're just bananas. They happen with time, molecule mingling and sunshine, bad luck sometimes or maybe a very fruity need to stand out and feel different.    

Do you see Ghédalia Tazartès as an influence or more as a colleague?

Ghédalia is and always will be an influence.We are excellent bar colleagues too.

I had to smile when I heard the guitar solo on the end of the A-side. A crappy tribute to Eddie Hazel's solo in 'Maggot Brain'?

I know the 'Maggot Brain' solo well, it's an excellent track! My crappy guitar solo salutes him! But I cry tears of sadness as it was not meant to be crappy but epic and beautiful. I will forever be misunderstood. 

You said you always find doing interviews difficult, but especially for a record like this one. Why so?

Because this record is a kind of mystery, even for me.

Your album has a dream kind of feeling (or a nightmare, a well air conditioned nightmare): you hear an Englishman talking, than a woman, than some field recordings, all connected by dark electronics on the background, and you think: "What's going on here?" What's the story? How are all these things connected? 

I love that idea of an air conditioned nightmare. Norman Mailer used to describe the US in those terms. What I can say now looking back on the elaboration of this ghost train journey is that the general feeling for me was slimy and opaque and I was looking for light. That's what ties everything together.

Who are the different voices on the record? 

There are three guests on this record: Catherine Hershey as the "Top-down" priestess, than Dylan Nyoukis as the narrator of the Lady Diana nightmare. And Alan "uncle Jim" Bishop as the mad man who brings the storm before the calm on B-side.

The French voice is yours, I suppose?

The French voice is mine but at the beginning of the B-side I speak in Mauvian, not French!

I remember once being in a Turkish bar with you in Brussels. You got irritated by the music that was playing. You hated the compressed sound, you said, and the dominant bass. It showed you are very much aware of the sound and the music that surrounds you. Do you think that you are more aware of this than other people? And do you see this as a plus or as a negative thing?

I was probably a grumpy potato that day. But yes I am very conscious of the sounds that surround me. Music that shuts up silence gives me a headache. I counter it by singing songs in my head and composing brain pocket symphonies. Sometimes in the metro I start tripping on the mechanical rhythms it creates, and on the sounds of metal screeching. When a metro musician with an accordion starts belting out "Besa me mucho" it can mess up my inner groove but I'll still give it a listen and help those guys out with money when I can. It takes a lot of nerve to be faced with indifference and play anyway. I don't know if I have the same courage that they do. I sometimes dream about playing and shouting in the street like a corner preacher. I try to be as present as possible when I listen to a record in my home. Otherwise I take John Cage's advice: if I want to listen to music, I open the window.

© Jonas Chéreau

Èlg fanpage
Soundcloud

Interview by Joeri Bruyninckx/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

Tuesday, June 21, 2016

William Tyler - Modern Country (2016) review


William Tyler - Modern Country (Merge Records, 2016)

William Tyler, along with a notable cast of characters, including Wilco’s Glenn Kotche and Phil Cook of Megafaun, has managed the ultimate and unexpected feat of picking up right where John Fahey left off, laying down a stunning collection of instrumentally based atmospheric songs that fuse a range of moods that seldom rise above a heartbeat.

This is country, it’s also a sort of plaintive pastoral folk music laced with understated spacey synths and a gentle breezy pedal steel guitar that interweaves and intertwines with Tyler’s guitar work, where the music is nearly organic, designed to both summon emotions and wash them away in the same instant.  Not since the work done by Neil Young on the "Dead Man" soundtrack have I been so musically shaken, yet "Modern Country" is so very much more, with each song sounding for all the world as if they’re letters from another time and another place, where the simpleness of this music only goes to denote its complexities and brilliance.

Review by Jenell Kesler/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

The Earl Scruggs Revue - Live! From Austin City Limits (1977)


I first discovered Earl Scruggs as a wee lad in the 70s. One night I came across a TV show I’d never before seen called “Austin City Limits”. The guest that night was The Earl Scruggs Review, a country/rock/bluegrass band made up of five long-hairs in jeans and a grey-headed banjo player in a western shirt. It turned out that three of the five longhairs were the sons of Earl the banjo player. This was remarkable because I’d never seen an inter-generational rock band other than Jefferson Starship and The Partridge Family.

As the hour continued on, it became obvious that this old-timer was no Papa John Creach. His banjo was virtuosic, even to my un-country-fried ears. I liked the Dylan covers, the originals and even the bluegrass instrumentals (which I viewed as square-dance music). Admittedly, Gary Scruggs wasn’t much of a singer but his bass playing made up for it, and the rest of the band were tight and talented as well. Some months later the Columbia House catalog arrived, featuring The Earl Scruggs Review Live! From Austin City Limits. Needless to say I ordered a copy and actually paid for it (no one ever paid for Columbia House products). As a result “I Just Can’t Seem To Care” took up permanent residence in my sub-conscious (“Packed my bags while you lay sleeping/Left a note upon the door…”). And the fast version of “I Shall Be Released” still sounds more “right” to me than Richard Manuel and The Band (much as I like them).

I found out later about “Foggy Mountain Breakdown” which defined and revitalized the three-fingered banjo style and “The Ballad Of Jed Clampett” (from the “Beverly Hillbillies”) which brought that style to the 60s generation. Maybe because Earl was an instrumental virtuoso rather than a singer, his death hit me in a different way than the passing of most icons, who are usually singers.  I never became a huge fan of bluegrass or country music, but I can appreciate a virtuoso player who followed his muse and moved the world. Goodbye and thanks, Earl.

Review by Kevin F. Wozniak/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

Monday, June 20, 2016

Secret Colours - Secret Colours (2010) review

 
Secret Colours - Secret Colours (2010)

With each track being somewhat similar in their liquifying nature and structure, Secret Colours does not lose the conceptual flow, nor the psychic development and energy necessary to move and shift within the band’s hauntingly profound and compelling neo-psychedelic ebb and flow ... a flow that shimmers with delight, giving a modern take on what a historic lysergic adventure would have been like, in this, an almost acid-free culture and time.

Faster paced tracks overlay those of a slower nature seamlessly, unfolding with mild overtones of surf, sun, sand and heady libations.  Oddly compelling are the soft spoken lyrics that go down easy, giving each song a sense of urgency and displacement, creating a dream like mesmerizing atmosphere of nostalgic honesty and magical delight ... one filled with fuzzed out guitars, lingering instrumentals, along with a presentation that is worth drawing the blinds, and setting aside all else that’s going on in the world.
 
Review by Jenell Kesler/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

It's Psychedelic Baby presents: TAU - ‘Mother’


TAU TAU TAU is a wild archaic scream from the heart, woven from a seamless thread of prayers, chants, psychedelic invocations, and as Nunutzi says “songs of praise” in English, Spanish and Gaelic, shaken through pre-hispanic drums, bells, shakers, synths and acoustic guitar played “through an amp with a very shitty pick up that gives a weird sound.”
The recordings began in Berlin, by happenstance on the day Bowie died, the album was completed in a nine day live session. “ Though sad, for us it was a very good omen to start that day. There was a silent euphoria in the room, like being at the wake of an old friend with your closest friends. We made an altar for him for the huge inspiration that he was which stayed there until we finished the recording”.

© Nico Neefs

Featuring collaborations with Knox Chandler of Siouxsie and the Banshees, Earl Harvin of Tindersticks,  Nina Hynes and Miss Kenichi, TAU TAU TAU includes numerous additional vocalists and musicians, all of whom make their own unique contribution to the celebratory psychedelic folk of Tau.

http://fuzzclub.com/
https://tauofficial.bandcamp.com/

Saturday, June 18, 2016

Robert King - Super8 (2016) review


Robert King - Super8 (Rubber Taxi, 2016) 

From the first few seconds of tuning into this brand new recording by Robert King, erstwhile lead vocalist for legendary late 70s / early 80s Edinburgh group Scars, I knew that this was going to be something rather special indeed. Although King has been involved with a variety of names throughout the 80s, 90s and beyond, particularly Nico back in the 80s after Scars called it a day, this is effectively his first commercial release as a solo artist!
The main track, or that which has been laid down as the original version, or original mix of 'Super8' is a stunning, quite breathtaking slice of thought-provoking cinematic pop with moments throughout that can only be described as truly psychedelic! Two other mixes are also contained herein, one by Russell Burn (part of celebrated Edinburgh post-punks The Fire Engines and Win) ably augmented by the members of Opium Kitchen, the group King is currently involved in. The other is by Robert Blamire (originally with '77 punk black-hearts Penetration).

'Super8' does an absolutely splendid, highly convincing job in conveying what, in the hands of others, may have been only a fairly ordinary rendering of a rollickingly great idea; the anticipation and arrival by train of friend / lover set to words and music. However, it's King's off-beat lyrical observations and dead-pan humour that are key to the success and execution of 'Super8'. Also integral to the project is King's choice of instrumentation. The drums, here played by Ravi Low-Beer with loose, locked-down precision, are big, bold and positively Liebezeit-ian in their unwavering application. This and the passages of wispy keyboard lines that float, almost dream-like, in and out of the surreal scene, lend an air of Krautrock or Kosmiche to the proceedings: think Can and Harmonia. Then there's the efforts of King's long-time musical confidante Robert Blamire, (Blamire, remember, was responsible for Scars' lone album "Author! Author!") who here provides plenty of bottom-end bass rumble. King himself then adds the extra edge - the piece de resistance, if you will - that pushes things towards an atmosphere of intense menace with his fearsome guitar volleys, the blows ministered by way of a wickedly fuzzed-out synth-patch, which are unrelenting in their attack!
Picture the scene: a girl on the Super8 train films (on Super8?) her journey during the busy three hours forty minute plus trip from somewhere's-ville to destination Lyon, in France: "ten minutes late nearly makes it four". It's a journey that's filled with the hustle and bustle of humankind, of night-light camera flashes caught in an array of kaleidoscopic reflections. The eventual consumption of comestibles has also been observed in the lyrics, as the passenger load begins to thin out: "salad, quinoa, and English-style sandwiches", are consumed, as well as "San Pellegrino and cafe plastique that tastes so weak ..."

This juxtaposition of the ordinary and mundane with the supplication of some truly, and wonderfully alive sounds takes 'Super8' high into the realms of the extraordinary. The just-so timing and precision delivery of RK's lines; lucid and poetic are near perfect, and serve to draw the listener further in. We  want to know more, meanwhile the (train) track's overall pulse and rhythmic repetition suitably enhances the whole surreal vista, helping consolidate King's concept of the song as a kind of mini-movie; a thrilling panorama of ideas!
Scars fans might also find one or two not dissimilar threads, and ideas between this latest Robert King outing and such as the group's astounding (also French-themed) "dirty weekend" style 1979 debut single 'Adult/ery', who knows?

Without any shadow of doubt, however, 'Super8' - with the Burn and Blamire mixes demonstrating more of a trans-into-semi-industrial Euro electro pop bent - contains some of the most timeless, and most powerful electronic-based sounds heard in the world of modern music today. And it can really get under your skin too. An impassioned and thoroughly provocative sound. You owe it to yourself to locate 'Super8' and tune in to the seduction of its propulsive beat-poetry!

Review by Lenny Helsing/2016
© Copyright http://psychedelicbaby.blogspot.com/2016

Thursday, June 16, 2016

The Third Power interview with Jem Targal

© Tom Wright

Recently, bassist/vocalist Jem Targal, of the late 1960s/early 1970s Michigan power trio, Third Power, shared his memories of the life of the high octane band who arose from the same scene as the MC5, the Stooges and SRC among others as well as his post-Third Power projects.

When and where were you born?  Did music play a big part in the Targal household?

I was born in Ann Arbor Michigan, February 28, 1947. Both of my parents were Musicians ... my Dad played Violin and Piano, my Mom was a Music Major at U of M, she played mostly Piano, Violin and ***Harp***. So we had lots of instruments at home to play with ... !!! Which I Did !!! ... They *Loved* Classical Music and Played it "All" the time !!!

When did you begin playing and what was the first instrument you played ...

We had a Baby Grand Piano I was playing at "3" years old ... I'd play and repeat patterns my Parents liked and were impressed by ... I was playing "Violin" by the "3" Grade at home and at school ... my Parents bought me a 1/2 size very *Toney* "Violin" ... "lots" of classes and lessons thru the years led me to play in "Orchestras" thru Grade School and High School leading me to become part of the "Northwest District Orchestra" while in High School ... Pretty *Cool* ... """Lots""" of ***Music*** !!! ... I also sang in the school *Choirs* ... I had a "Large" vocal range ... I'd be playing in the Orchestra then run up to sing in the Choir then back to the Orchestra ... *Nice* ...

What kind of gear did you start with?

I started Playing Guitar at about "15" it was some kind of Acoustic ... My first *Electric* was a turquoise "Silvertone" (Sears) and a small practice amp that I put a "PA" horn on ... sounded ***Coooooolll*** !!!

How old were you when you joined your first band and what was the name of the band?

When my family moved from "Detroit" to "Troy" MI in 1965 ... everyone there heard about all the *Music* Stuff* I was doing - It was kinda like "Footloose" (the movie) so some of the Guys asked me if I'd like to play with the "Kingbees" !!!  ***Oh Yeah*** ...

What kind of music did the band play?  Who were your major musical influences?

The "Kingbees" did songs like "Kinks" - "Beatles" - "Stones" -"Everly Brothers" - I did an ***Awesome*** "Summertime" everybody liked !!! ... I Loved "all" the "English" bands ... "Beau Brummles" - "Gerry and the Pacemakers" - "Stones" - "Beatles" - "Georgie Fame" (*Yeah*Yeah*)  - "Young Rascals" - "Wilson Pickett" - "Sam and Dave" - .........

When and where did you and Drew meet?  What was the circumstance of the meeting?

Drew and I met at "Oakland Community College" 1965 / 66 (the first class of "OCC" Auburn Hills Campus) in the "Speed Reading" class he was the room monitor ... we got talking about everything ... then got around to *Music* & *Art* ... we even started doing drawings on the "Blackboard" as we talked ... when Drew realized I had played "Violin" for "10" years he said """I bet you'd be really *Good* playing "Bass" guitar """... Drew had played Drums for years and was switching to "Guitar" ... ***Funny*** Drew had the same turquoise "Silvertone" guitar that I had ... I started learning to play Bass on mine then finally got a "Kingston" Bass ....

When did drummer Jim enter the picture?  How and why did he enter the picture?

We got together with a Drummer and Singer, friends of Drew ... we did a couple of "Gigs" at local Dances together ... But the Drummer kept blowing the "Breaks" in """MUSTANG SALLY""" even after we rehearsed it over and over and over ... it was making "US" Crazzzzzzy" ... then he did it again at a Show ... while Drew & I were looking at each other ... waiting for it to happen ... !!! Again !!! ... Drew and I talked it over - we needed a "New" Drummer ... Drew knew of an *Awesome* Jazz Drummer that had just recovered from cutting his "Thumb" on a table saw ...... ***Jim Craig*** ... we got together ... it was """Amazing""" he added Soooooo much !!! the singer ended up leaving too ... Sooooo there """WE""" were !!!!! .................... I BELIEVE this was in 1967 .....

When did Third Power first unite?  What was the musical scene in Detroit like at this point?

I *BELIEVE* we were underway as !!!*THIRD POWER*!!! in 1967 .....

Lots of High School Gigs for Everybody ... Hideouts, Crows Nests (we did a Gig there at the """Crows Nest East with the "MC5") ... "Silverbell" - "Something Different" and a "New" club was starting to do shows in "Detroit" called the ***GRANDE BALLROOM*** !!!

Early Third Power (Van Wert, Rick Hohl)

How long was it before you guys played your first gig?  Where was the gig and did you share the bill with any other band?

One of our firsts "Gigs" was at "Troy" High School ... I remember this because it was my High School ... and Drew ended up !!!*Smashing*!!! his turquoise "Silvertone" guitar at the end of our set ... !!!*YEAH*!!! ... 

We played at an "Eagles" club in "Troy" where we kinda got the reputation for making any amp sound "10" times louder" than it actually was ... I think it was actually because we played SOOOOO  HARD it just sounded like that !!!

Another one of our *Awesome* Gigs was at the "PSYCEDELIC MIDWAY" AT "ROYAL OAK KIMBAL" Ice Rink" ... ***COOOOOOOLLL*** Gig at the time !!! Drew and I had just gotten our "6 / 10" 150 Watt "SILVERTONE" amps *NICE* They ended up hearing our "Show" all the way in "Clawson" ... the """Police""" came !!! ..... a "15" year old kid *Al Licari* turned us on to the Gig and actually booked a bunch of other shows for us too after that ... we play a lot of Shows there and met our "future" Manager "Lloyd Edwards" there tooooo.

Another one of our first "Gigs" was at a """Battle of the Bands""" at "Southfield High School" - we had just finished building our """New Equipment"""" "Heath Kit" Amps and speakers and some "Good" "PA" Columns ... and *Jim Craig* had put his "Double Bass" Drum Set together ***Fun*** ... We *WON* ... We thought it was because of our "New" Equipment ... """BUT""" ***WE*** Played ***GOOD*** TOOOOOOOO !!! ...

Who were Third Power’s major influences?

I still remember Drew coming to practice one night after finding this new album of a group called "CREAM" ... being a "Trio" we just went *WOW* ... then here comes another """New""" album ... *JIMI HENDRIX* ... ***AMAZING*** ... We loved that three guys like us could make sooooo much happen musically ... it confirmed we were on the right track !!!

Did Third Power always play original songs or did you do some covers?  If so, what were the songs you covered?

Early on we were doing lots of "Young Rascals" ( Lonely too long - "Come on Up " ) "Time won't let me" (Outsiders) - Sam and Dave - Hold on I'm Coming - Soul man - Midnight Hour - "Route 66" - Johnny B Good" - "Mustang Sally" - "Summertime" Then later we were doing Hey Joe - Brave Ulysses - Crossroads - You Got Me Floating - Purple Haze - Respect - "I'm So Glad, which became a signature tune for us ... complete with our """INTENSE""" ***JAMMIN*** !!!

What was the first original song written by Third Power?  Who wrote it?

Pretty sure it was "Why Do Little Girls" - written by me ... it was the first "ROCK 'N' ROLL* tune I had written. We had lot's of *Harmonies* in it and Early !!!*THIRD POWER*!!! *ROCKED IT* !!!

What was the band’s writing process?

Drew or I would come up with a song and bring it to rehearsal then we'd arrange it as a *Group* and put our !!! *SIGNATURE* !!! on it ... ***Fun*** ... I still remember *Jim Craig* coming to rehearsal with a Tune called "THE HUMAN CIRCUS" it was ***AMAZING*** ... We all arranged it adding our touches here and there ... It had a really cool """Jammin""" Instrumental in the middle ... with a *Jazzy* vibe to it *Jim* being a *Jazz* Drummer and all ... I was Proud to be singing *Jim Craigs* Tune ... it was Really Coooooolll to play " THE HUMAN CIRCUS " at our *GIGS* !!!

 Drew Abbott © Frank Pettis
Jem Tergal © Frank Pettis
Jim Craig © Frank Pettis

How did Third Power get the single “We, You, I” b/w “Snow” issued?  Was it a one off contract?  Who was the contract with?

Our Manager Lloyd Edwards and Bill Baron created "Baron Records" so we could begin recording !!!*THIRD POWER*!!! Music ... we recorded "4" songs at "United Sound" in "Detroit" ( Motowns Studio) ... the other ones were "Hear What I Say" - "Say How I Feel" ... Still have the Original Acetates of those !!!


How many copies of the 45 were printed?  How was the single marketed? 

"500" copies of “We, You, I” and “Snow”

How were sales of the single?  Did the labor help promote the 45?

Not sure how sales went ... I do remember giving a lot of them away at some of our """Gigs""" people have told me that they still have theirs !!! ... the Biggest Plus was *** DAN CARLISLE *** of ***WABX*** playing """SNOW""" then """WE, YOU, I """ on the !!!*DETROIT*!!! Airwaves ... that was SOOOOO ***COOOOOOOOLLL*** our First Airplay !!! ... it almost killed """US""" ... ( we were driving in our Manager *LLOYDS* """Awesome"""1966 Buick Riviera by the """State Fair Grounds""" ... we had it playing Sooooo """LOUD""" we didn't hear the """Ambulance*** that was coming at us from a side street !!!!! """WHOA"""!!! ) ... ***EXCITING*** !!!!!

What venues did the band play during 1968 and 1969?  Who were some of the bands you gigged with during this period?

I've got to tell you about 1967 too ... We played a club called Mother's Teenage Nightclub, in East Tawas, MI a couple of times ... the first time we played there we road on a Flatbed truck in the 4th of July parade that day ... we were still called the ***BLEWSIES*** then and we played with the """RATIONALS""" that night ... Well we knew of them and decided not to do our !!!*ROCKIN*!!! version of """RESPECT""" out of """RESPECT""" for their ***HIT*** ... so we were being really *NICE* and they seemed kinda """SNOOTY""" to us ... SOOOOO being the """SPUNKY*** Trio that we were ... we did our version anyway !!!!! ... It's ***FUNNY*** but we became really ***GOOD*** friends thru the years !!!!

The next time we played there we got to play with """THE BOB SEGER SYSTEM""" we were Really ***HONORED*** to play with them ... and I still remember we got to play on their ***VOX SUPER BEETLE*** AMPS !!!!! ... ***COOOOOOOOOLLL***

My family owned a cottage on Lake Huron in EAST TAWAS ... so playing at ***MOTHERS*** was Very ***SPECIAL*** to me !!! ... ***FUN***

1968 - The ***Oakland Mall*** Grand opening concert was one of our First """BIG""" concerts 20,000 people there ***FUN***, !!!*THIRD POWER*!!! got to play with BOB SEGER, RATIONALS, AMBOY DUKES, SAVAGE GRACE and SKY (Doug Fiegers band) ... WOW ***COOOOOLLL*** GIG ... THE """DETROIT FREE PRESS""" gave ***JIM CRAIG*** the nick name ***BIG BEAT*** in their article about the show !!! ... The Clawson Hideout / Guardian Angels, was a ***FUN*** place to play !!! ... with a """VERY""" !!!***ENERGIZED***!!! crowd that made you want to """REALLY""" play for them ... They'd get SOOOOOO !!!*WILD*!!! the wood Floor would bounce """UP & DOWN""" ... like """3 or 4 inches""" I think we did some of our best shows there !!! ...

Another ***FUN*** gig was VAN WERT OHIO ... ***THE INN CLUB*** one of our *Favorite* places to play ... a little tiny town in the middle of nowhere ... with the ***BEST*** crowds that ***LOVED*** to !!!*ROCK*!!! ... we met two of our future """ROADIES""" there ... ***ROY CHUCH MAGEE*** & ***RUSS SCHLAGBAUM*** ... WOW what a """TEAM""" ... they were with us until the end of !!!*THIRD POWER*!!! ... then both went on to work with """ROD STEWARD and the SMALL FACES*** - ***ROLLING STONES*** - """THE WHO""" ..... 
1969 - Some of the """COOOOOLLL""" places we got to play in 1969 ..... *** Grande Ballroom *** -  Olympia Stadium - Detroit Pop Festival - Civic Auditorium, Grand Rapids Pop Festival - Petoskey Rock Concert & Jazz Fest - The Palladium, Birmingham, MI - Sherwood Forest, Davison MI - ***Eastown Theater*** - Silverbell - Michigan State Fair, Detroit - First Annual Rock & Roll Revival - Something Different, Southfield MI - Meadow Brook - Wamplers Lake Pavilion ...

The Detroit Public Library front steps, Detroit, MI with Amboy Dukes, Brownsville Station, Third Power, Mitch Ryder and The Detroit Wheels "WABX-FM Free Concert"... This was the last show of a "30" day road tour way down South ... what an ***AWESOME*** way to come home ... and the ***COOOOOLLL*** promo shot of us was taken there !!! ... ***20,000 to 30,000 ROCKERS*** were there !!!!!  ...

In June 1969 we played at """UNGANOS""" in NY with ***JOHN LEE HOOKER*** we split sets we had the 1st and 3rd ... after our first set our manager Lloyd came back stage and said a """Celebrity""" wanted to meet ***US*** ... we went out front and here's this """SLIM""" ***DUDE*** white suit and BIG sunglasses coming over to say *HI* .... it was ***MILES DAVIS*** !!! ... he told us how much he liked the band because of our """JAMMIN""" and told ***JIM CRAIG*** how much he liked his """DRUMMIN"""... ***COOOOOOLLL*** ... that was ***SPECIAL*** for me because JIM would tell me how much he *Loved* ***MILES*** while he would play me """ALL""" his albums !!!

One more show of Interest was at """ALBION""" college ... A LOT happened that day ... """BOB SEGER""" came out on the stage and announced the band wasn't ready and would not to play ... ***IGGY*** jumped off the stage during their set an landed on a *GIRL* that turned out to be the DEANS """GRAND DAUGHTER""" ... !!! OH BOY !!! ... I believe they refused to pay the band ...

A ***COOOOOLLL*** thing for us was """JERRY LUBIN""" coming over to us before we played our set and asked to Introduce us because he had a !!!*GREAT*!!! intro ... here it is ... ***LOVE*** IS THE !ST POWER ( with his index finger and thumb making a """L""" ) ... ***PEACE*** IS THE SECOND POWER ( peace sign) ... and !!! ***LADIES AND GENTALMEN*** ... THIS IS THE !!!*THIRD POWER*!!! ( three fingers ) ... then *DREW* started playing the opening to """GETTIN TOGETHER""" ... !!! ***STRETCHING AND SCREAMING*** HIS ***GUITAR*** !!! ... !!!*WOW*!!! ... THE """CROWD WENT ***WILD*** !!!!!

How did the contract with Vanguard Records come about?

We were one of the bands that played at the """DETROIT ROCK N ROLL REVIVAL""" in 1969 at the """Michigan State Fair Grounds""" ... !!! What a """SHOW""" !!! all of the !!!*DETROIT*!!! bands played along with some National acts ... Sam Charters from """Vanguard""" wanted to sign us on the spot ... he "Loved* !!!*THIRD POWER*!!! ... we were talking to Columbia Records too, ... we thought we would get more attention from """Vanguard""" because they were a smaller company and we liked ***SAM*** a lot. ... At the this was all happening I didn't realize that my ***Cousin*** was """ AHMET ERTUGUN""" from """ATLANTIC""" records ... my Dad told me about my family connection after we had signed with """Vanguard""" ... everything happened so fast he didn't realize it could make a difference. ... I did get to meet ***AHMET*** years later when I was at a ***Cartoon Licensing Convention*** in New York ... I took my ***JUNGLEBIRD*** puppet - !!!*THIRD POWER*!!! and ***LUCKEY GUY*** albums - T-Shirts a garbage bag full of ***STUFF*** to show him !!! ... It caused """BIG STIR*** at the """ATLANTIC""" offices ... I can Still see his Face when we first saw each other  ***COOOOOOOOOOLLL*** !!!

How long did it take to record the LP “Believe?”  Where was the album recorded?

*CHUCK ZIEMBA* our ***Original*** """ROADIE""" and *AJ* loaded up our "New" *Blue* Flamed - "Black" - GMC "14" footer with *Tooled* Leather "Seats and """SUPER SOUND SYSTEM"""... we all headed to NY ... *US* in our "65" *Caddy* Limo when !!!*THIRD POWER*!!! recorded "BELIEVE" at the "Vanguard" 23 Street Studios in "New York" in "2" / "2" week sessions ... then Jim - Drew & Myself "picked" straws ( it might have been "Electrical* wire ) to see who would go to NY to help with the final mix ... budget wise "1" of us had to stay ... Drew and I went ..... 

Roadies Chuck Ziemba and AJ

Can you describe the sessions?  Who was the producer?

Sam Charters was our Producer - http://en.wikipedia.org/wiki/Samuel_Charters ... He really liked working with US and we were the only band he ever invited to his home for dinner when we were in New York recording our album ... he played us some amazing recordings he had done when he was younger ... he'd go out and record music at clubs on his Reel to Reel ... he played a Live recording of skip James doing "I'm So Glad" he had recorded ... ***Coooooolll*** ... plus he Played the Piano on "Passed By" ... he had never played on any other bands record before ... he really liked """PASSED BY """ and he *Loved* doing it !!!. Recording in NY,NY was a *Grand* experience for us young !!! "DETROIT"!!! Musicians ... we got tickets for "HAIR" from "Vanguard" got to ride "Subways" - fell over looking at all the TALL Buildings ... *Groupies* from the """CHELSEA HOTEL""" ... and ***Recording*** a "Major" "Professional" album Together !!! ***NICE***...... We decided to add something different to "Won't Beg Anymore" that we hadn't done before ... a *Party* sequence ... Sooooo we went out on the streets of NY and asked people if they'd like to be part of an album ... we had set up mikes in the studio ... and about "20" people came in and we all got drinks and got loose together and recorded the "New" part for "Won't Beg Anymore"... besides the tunes that ended up on "Believe" we recorded "Jam in D" which was one of our "Heavy" *Favorites* - "Hey Little Suzie" a tune where all three of us started out playing drums ... then Punched out the tune !!! "Hey Little Suzie" !!!... *AWESOME* ... We had planned to record the full version of "Little Drummer Boy" for a "Second" Album ... but there was enough space left so we decided to record a preview on "Believe" ... we were one of the first bands to do a Traditional Christmas song !!!*ROCK*!!! Style ... as Christmas is an all year message - we played "Little Drummer Boy" at all our shows ... The engineer "ED FRIEDNER" was ***EXCITED*** he was going to be able to use all the "New" "Psychedelic" techniques he had learned ... for !!!*THIRD POWER*!!! ***MUSIC*** 

What kind of gear (guitar, bass, amps) did you use recording the album?

I used "2" TB-1 Speaker Cabinets with a "TRAYNER" YBA-3 100 Watt amp ( I used double that at our shows ) it was a !!!*Great*!!! setup - I could make it !!!*GROWL*!!! ... I used my "GIBSON" EB-3 wide neck BASS... Drew had a "Marshall" 100 Watt Stack ( he used double that at our shows ) ... Drew used multiple guitars ... Jim had his "Ludwick" Natural wood Double Bass Drum set !!!

How many copies of the LP were printed?  Was the album promoted by Vanguard?  How were sales?

I Believe they made "30,000 "BELIEVE" Albums ... they sold *Great* in "Michigan" and "Florida". But "Vanguard" dropped the ball on Promotion.


Where did Third Power play in its heyday?  Who did you play gigs with?  Did you play with big name Detroit bands like the Stooges?  The MC5?  SRC?

***Grande Ballroom*** - Procol Harum - John Mayall - Steve Miller Blues band - When we played with  """Iron Butterfly""" they changed their set around after they heard !!!*THIRD POW#ER*!!! play we had the 1st & 3rd set and they had the 2nd and 4th set ... they moved """IN A GADDA DA VIDA""" to their first set because they needed some """Impact""" after our 1st ***ROCKIN*** set ... - Lee Michaels - James Gang - Genesis - Savoy Brown - Teegarden and Van winkle - Keef Hartley - Colosseum - The Amboy Dukes - Frost - Frijid Pink - Brownsville Station - Sunday Funnies.

***Eastown Theatre*** - Traffic - Frost - MC5 - Canned Heat - Paul Butterfield Blues band - Teegarden and Van Winkle - Buddy Miles.

*** Goose Lake*** - """ 250,000""" +++ people there !!! ... Faces featuring Rod Stewart, Jethro Tull, Chicago, Ten Years After, The Flying Burrito Brothers, Mountain, John Sebastian, the James Gang featuring Joe Walsh, The Flock and The Litter... Bob Seger, the MC5, The Stooges, Detroit featuring Mitch Ryder, Brownsville Station, Savage Grace, Third Power and SRC... Masters of ceremonies were Teegarden & Van Winkle ... !!!***WHAT A WEEKEND***!!!WHAT A SHOW***!!!

*** Atlanta Pop Fest*** - Jimi Hendrix - Allman Brothers - Grand Funk - We were there to play but the "Festival" was declared a Disaster Area after a day (water systems and more failed ) they were trucking in Water Tankers ... and the schedule got messed up too ... there were Waaaaayyy Tooooo many people there and it was !!!HOT!!! ... 300,000 +++ people ... we were """All""" camped out under "3" Giant *PLUM* Orchards with a River down the road ..... Our ***LIMO*** and Equipment truck were part of our campsite under a BIG PLUM TREE ... ***FUNNY*** I still remember while we were watching ***JIMI HENDRIX*** play - I saw """MARK FARNER """ who was standing by the side of the stage ... turn ... took a few steps ... then fell on his FACE ... I think because ***JIMI*** was SOOOOO ***AWESOME*** ... We didn't get to play but ... it was another ***AMAZING*** time !!!!!

***Agora Ballroom - Chicago*** - Lee Michaels and Frosty

*** Olympia Stadium*** ... 16,000 PEOPLE WERE AT THIS SHOW ... MC-5 , SRC, Bob Seger System, The Amboy Dukes , The Rationals , Sweetwater , Dick Wagner & The Frost , Frijid Pink , Mandala , The Up , Wilson Mower Pursuit , Plain Brown Wrapper , Train , Früt of the Loom , Third Power, Savage Grace , Red White & Blues Band , Caste , Unrelated Segments , H.P. & The Grass Route Movement , & more... ~ (two stages)... ANOTHER POWER FILLED !!!*DETROIT*!!! ***ROCK N ROLL*** CONCERT !!!!!

*** Meadow Brooke*** ... All The Lonely People, Wilson Mower Pursuit, Savage Grace, Sky and !!!*Third Power*!!! played ... I dedicated my solo tune """HIDDEN AWAY""" to my *MOM* who was in the audience with my brothers ... and one of my *Favorite* pictures of me playing was taken there and used on a POSTER of the show !!!

*** Sherwood Forest*** """Awesome""" Outdoor Venue ... A !!!*GREAT*!!! place to play ... !!! REALLY ENERGIZED CROWDS !!!... We played there a couple of time ... """TED NUGENT""" sat in with us at one of the gigs !!!

*** The WareHouse*** in New Orleans with "Grand Funk" ... !!!*Third Power*!!! had to do """3""" *Encores* ...
two Big shows with "Quick Sliver Messenger Service" in "Florida"

We did a couple of shows with ***FRIGID PINK*** on their tour promoting """HOUSE OF THE RISING SUN """ ... we were with them when they got their first ***ROYALTIY*** checks after they won the rights ... we were all hanging out after one of the shows , when their manager came in with the ***CHECKS*** ... !!!***COOOOOOLLL***!!! ... ***PARTY***

© Boof Design
 At Vanity Ballrom © Phil Quaderer
© Lisa Tergal

How long was Third Power together?  When and why did the group disband?

1967 - 1972 ... As they say ... """ALL GOOD THINGS COME TO AN END """ .........

© Frank Pettis

Were any recordings done after “Believe?”  If so, are there unreleased Third Power tracks that could be released?  

We recorded a couple of other tunes in Ann Arbor at "MORGAN SOUND" Studios ... """GOT A HOLD OF ME""" was one of them ... and We played at the "Grande Ballroom" 40th" Anniversary Show which was *Recorded* and *Video Taped* in 2006 for "Old Stoners Productions" !!! WE opened the show with " GOT A HOLD OF ME" ***Awesome*** ... WE did the show together after "35" years apart and "5" days rehearsal ... ***NICE*** We were ***AMAZING*** !!!

West Park Ann Arbor

Also """CARTUNE""" and """EVERYDAY""" were done at the same session.

When we recorded ***BELIEVE*** we also recorded some other tracks that ended up being part of the ***BONUS*** tracks for the """LITA""" RE-RELEASE.


There have been numerous reissues of “Believe.”  How many of these have been official and are you aware of any bootleg releases?

I thought they "All" were "Bootleg'd ... except the "Akarma" "CD" ... would love to get some *Royalties* ... But I have been *Grateful* that "BELIEVE" has still been available to all the "New" generations of *Music* Lovers !!!

What was your most memorable Third Power gig and who did you share the stage with on that occasion?

*** GOOSE LAKE *** - "MICHIGANS" !!!*WOODSTOCK*!!! 1970... Four Day Concert """ 250,000""" +++ people there *MC-5* - *IGGY and the STOOGES* ( we played after the Stooges Saturday night ) - Mountain* - Rod Stewart and the *Small Faces* - *Joe Cocker* - Tee Garden and Van Winkle - *SRC* - *Jetho Tull* - *Savoy Brown* *Ten Years After* - Savage Grace* - James Gang - Alice Cooper - Bob Seger - Chicago - Brownsville Station - Flying Burrito Brothers - Flock - John Drake Shakedown - Mighty Quick ..... !!!*THIRD POWER*!!! got to "Play" *TWICE* ... one of the other *Acts* couldn't make it at the last minute Sunday ... SOOOOO they asked !!!*THIRD POWER*!!! to """PLAY AGAIN""" ...so we got to play both at night and during the day ... ***COOOOOLLL*** ... The *View* from the Stage was ***AMAZING*** both Day & Night time ... When they spun the """ROTATING STAGE""" around after THE STOOGES set *DREW* started playing the !!!*SCREAMING*!!! guitar intro to """GETTIN TOGETHER""" ... and ***IGGY*** had gotten the crowd so worked up ... they were tearing down the plywood boards off the fence surrounding the stage ... these Gnarly faces were peering thru the fence screaming !!! ... Our manager ***LLOYD*** suggested we calm things down by playing our version of ***LITTLE DRUMMER BOY*** ... !!! WOW !!! did that work ... as we got into it ... things became ***BEAUTIFUL*** you could hear a """PIN""" drop ....... and """EVERYONE""" lit up candles flashlights - lighters it looked like the ***MILKY WAY*** of ***STARS*** ... it might have been the First time that ever happened at a Concert !!! ... we always played ***LITTLE DRUMMER BOY*** at our shows because we wanted """CHRISTMAS*** to be an all year long message !!! ... I'd need another whole article for "ALL" the other stories from that ***WONDERFUL WEEKEND*** !!! .................

Gig Park
Gooselake © Steve Edwards

What did you do musically upon the disbanding of Third Power?

It took a couple of years after !!!*THIRD POWER*!!! before I really started playing with a group again ...

I couldn't believe it but I got together with ***PEP PERINE*** and some other really talented guys from Rochester MI with this !!!*HOT*!!! 18 year old guitarist """CHRIS MARSHALL*** ... *Herman Daldin* - *Rex Brownie* - *BAWANA - Don Lucking* - and ***ME*** were !!!***WHITE BUCKS*** !!! ..... it turned out to be an ***Amazing*** group ... and I made Life Long ***FRIENDS*** with these guys !!! ... we evolved into another ***Amazing*** group called ***FUNCTION*** ... ***REX*** had the largest """MOOG""" Synthesizer in the Midwest at the time ... it was like """Keith Emerson""" playing with us !!! ...we started playing some ***Awesome*** Gigs playing some really progressive tunes but we were to Heavy for the Bar scene and slowly disbanded.


About 1973 I got a call from ***GUITARIST*** """ROBERT GILLESPE""" ... We got together and formed !!!*WOW*!!! a three piece with ***JOHN THORPE*** on drums !!! ... We had a cooooolll  """ZEPLIN"""MEDELY that I sang ... we played at the """RED CARPET""" and some other gigs ... but did some real ***NICE*** recordings at """DMX""" Studios (Danny Dallas) ... """I CAN DELIVER""" and """HEAVENLY""" were two of my tunes we recorded ... my favorite Jem tune from this session is *** CRYIN TOOOOO *** ... ***BOBBY*** played the ***BEST*** guitars on this cut ... his solo is SOOOOO ***UNFORGETABLE*** ... *** THANKS BOB*** ..........

Another COOOOOLLL musical moment was with ***JIM CRAIG*** ... I got asked to play at the ***STAR BAR *** in Ann Arbor ... we played together with a singer friend who got into a fight with his girlfriend and left the gig ... we had these """BIG FOAM colored COWBOY""" hats we were all gonna wear ... so *JIM* & *I* went on stage with our hats any way ... just the """2""" of ***US*** ... !!! and  *** T O R E ***  up the place !!! ... we had to do """5""" encores ... """Everybody""" had ***Colored Hair*** and the !!!*WILDEST*!!! ***PUNKY*** !!! outfits ... they wouldn't let us off the stage !!! ... JIM & I  should have kept doing it !!!

In the mid-seventies I got together with ***HARRY PERRY*** who assembled an amazing group of """ALL STAR""" players to play his """BAZAARNIVAL*** show at the """LATIN QUARTER""" in DETROIT ... There were ***DANCERS***MAGIC ACTS*** and the """BAND""" playing """HARRY PERRYS*** Music ... we """ALL""" dressed up in !!!*WILD*!!! outfits ... it was an ***AMAZING*** show !!!!! ..... on the way to the Gig my car broke down ... and I met a guy at the auto parts store who gave me a ride back to my car that was filled with all my gear for the show ... we couldn't get my car going ... so he drove me to the show in his """BIG YELLOW CADDY"""... his name was ***SAL MURO*** ... a singer who use to sing with """ HARLEQUIN""" ... he couldn't believe where we ended up ... at this ***MAGICAL*** show !!! ... We became ***Best Friends*** and ***SAL*** was my ***FAVORITE*** singing partners """EVER""" ... we called ourselves the ***SHEAVERLY BROTHERS*** ... you should hear us sing my ***CHAUFFER BUTLER*** tune ... we also recorded some ***Awesome*** tunes that ***SAL*** wrote that I would *LOVE* to release again!!!

In 1978 I released a SOLO album done on a """4""" track TEAC reel to reel - with a """6""" channel """BOGAN""" mixer ... ***LUCKEY GUY*** on our """SHEAVY""" Records was a project I needed to do because of lack of opportunities at the time ... I was writing """a lot""" the recordings weren't so hot but the ***TUNES*** were ***Amazing*** and the recordings did have a ***SPECIAL*** quality to them !!! ... So with the help of my Parents ... let's make an """ALBUM""" !!! ... I created All the ***ART*** for the cover and hand Glued the cover together with ***Friends and Family*** ... I had a hard time selling them for $11.OO each and soon kinda gave up doing much with them and did give some away ... To my !!!***SUPRISE***!!! decades later the album was being collected """WORLDWIDE""" !!! ... thru friends I found out """BOBBY BROWN""" even had one ... people still want the original album today!!! ... In 2005 I hooked up with record collectors ***JADE HUBERTZ*** & ***BRENT REPP*** and reissued a "CD" version of ***LUCKEY GUY*** with an ***AMAZING***LYRIC*** booklet with lots of ***ARTWORK*** and history of how the "CD" version was created ... !!!! ***IT WAS A MIRACLE*** !!! ... It's still available on """OBSCURS OXIDE""" records and """AMAZON"""

JIM CRAIG, RAY GOODMAN, and MYSELF got together in the 1980's and recorded some ***AMAZING*** cuts of my tunes """CARTUNE"""WHISKEY TRAIN"""CHAUFFER BUTLER""" """HEAVENLY"""I CALL YOUR NAME"""DO THE DANCE"""TIME TO UNWIND"""WORKIN FOR THE MAN""" PLUS ***MORE***MORE***MORE*** ... ***CHUCK ZIEMBA*** made this all happen ... got us together, got us recording, and """Pumped us all up""" !!! ***THANKS***CAZ*** !!!

***CHUCK ZIEMBA*** is also responsible for getting !!!*THIRD POWER*!!! back together in 1985 in ***HOLLYWOOD*** !!! ... Jim and Drew were already living there , so I hopped on a plane so we could do some playing and recording together ... We helped *DREW* move into his new pad in the """HOLLYWOOD HILLS""" ( when he was in the """SILVER BULLET BAND""" ) ***CATFISH HODGE*** and some of his band guys were there too ..... then we went to a recording studio in """TORRANCE""" with Charlies friend *DONOVAN* and recorded some tunes together !!! ... first time together in a dozen years !!! ... ***COOOOOOOOOOLLL*** ... The ***BEST*** part of US getting together was that ***CAZ*** was our """Original ***ROADIE*** ... What a ***REUNION*** !!!

In the """90's""" I started doing a lot of playing with ***CHRIS MARSHALL** and ***BRYAN BARNES*** ... we did a lot of ***AMAZING*** music together ... at one point we had a band with """2""" Drummers that """REALLY ROCKED""" !!! ... We rehearsed in my basement in """WATERFORD""" ... the neighbors got a free concert twice a week ... they ***LOVED IT*** !!!
  We did a recording session at Jeff Millers """MILLER SOUND""" that produced some Classic cuts ... """EVERYBODY HERE YOU"RE A STAR""" - WORKIN FOR THE MAN - JUST FOR YOU - NIGHT OF LOVE - COOL COOL GRASS - SHE MAKES ME GO !!!*WOW*!!! - NEXT TO YOU - MY CAR
AND WONDERFUL GIRL were the main cuts ... we called the group !!! ***ROCKDADDY*** !!!

After !!! ***ROCKDADDY*** !!! I expanded my """Studio""" and started recording myself ... playing """ALL""" the parts ... another ***AMAZING*** batch of tunes to add to my growing Library of ***JEMS*** MUSIC !!!
I've never stopped Writing and Recording ... I've written over """400""" tunes """200""" of them are ***AWESOME*** ... and soon to be released !!! .....

How did the recent reissue of “Believe” done by Light In The Attic come about?  How did it feel when the project came to fruition with the Record Store Day release? 

JIM CRAIGS son***SCOTT CRAIG*** is a major record collector ... I think he and his buddies talked us up a lot in the community and got the ear of """LITA""" people ... plus the fact that ***BELIEVE*** has been reissued and reissued over the last """40""" years ... and the !!!*DETROIT*!!! music scene has been a !!!***HOT SPOT***!!! """ Forever !!! ... especially the """60s & 70s""" !!! ...

I couldn't ***BELIEVE*** it when I first heard about the """RE-RELEASE""" ... and the level that """LITA""" wanted to make it ... """46""" years and we're !!! BACK !!! and in such a ***GRAND*** fashion ... I asked the community if anyone had any pictures they'd like to submit and !!!*WOW*!!! pictures we had never seen came in and were ***SPECTACULAR*** ... """TOM WESCHLER""" - ***FRANK PETTIS""" - """CHARLES AURINGER""" and my sister ***LISA*** and our old roadie ***RUSS SCHLAGBAUM*** all helped make this happen !!! ***THANKS YOU***THANK YOU*** !!! ... I wish we could have used them ALL !!!

Then ***RECORD STORE DAY *** ... !!!*WOW*!!! ... I had no Idea that ***BELIEVE*** would be distributed ***WORLDWIDE*** ... What an ***AWESOME*** Event !!! ... ***FRIENDS*** were sending me pictures from around the world of their !!!*THIRD POWER*!!! purchase ... !!!*** HOW COOOOOLLL*** !!! ***THANKS***EVERYBODY*** !!!
  
What were the sources of the bonus tracks included on the CD?  How much more Third Power music is left in the vaults and are there plans for any further releases?

DREW & I got together with ***RAY GOODMAN*** and gave him our """ORIGINAL""" MASTERS of the LAST Studio Cuts we did together at """MORGAN SOUND""" and some live cuts from the ***GRANDE BALLROOM*** ... and RAY proceeded to """BAKE""" - """DIGITALIZE""" and """MIX""" FORTY year old STUDIO & LIVE tapes !!! ***NICE***RAY*** !!!

I knew we had some other tracks that were recorded at the """VANGUARD""" Studios in NY. NY when we did ***BELIEVE*** ... so """LITA""" checked the vaults and found """ 5 """ more tracks !!! ... they had studio WHIZ ***ALEC PALAO*** remix those tracks !!! ***THANKS***ALEC*** ... I was hoping there was a full recording of *** LITTLE DRUMMER BOY *** ( I guess we just did a snippet of it that ended up at the very end of the album) ... and ***JAM IN D*** which was one of our show ***FAVORITES*** ... but we did get to have these cuts for the re-release !!!

There are a lot of """LIVE""" cuts of our shows that no one has heard ..... and """A LOT""" of """INTEREST """ in releasing them ... We'll see what happens  ........ 

Is there anything you would like to add concerning the life of Third Power as a band?

Because of ***3 LOVELY FRIENDS*** of ours ***LYNN ***PAULA*** & ***HAPPY*** we ended up in Farmington MI at an """80""" Acre farm ... with a herd of horses, a """BIG OLE""" Farm house, and a """GIANT""" Hay filled BARN ... """40""" acres of woods with a creek running thru it """DIRTY CREEK*** was it's name ... There were out buildings by the main house that friends turned in little Pads ... a real community of ***AMAZING*** people !!! ... TOM WRIGHT and his """HARD CORE*** production guys spent a lot of time at the !!!***POWER FARM***!!! ... they built an ***Indian Village*** back in the woods ...Teepees and all ... We had a """LARGE""" insulated rehearsal studio in the basement ... with curtains that lined the whole room that we got from the """EASTOWN""" Theater and a large striped  """PARACHUTE""" for the ceiling and a bunch of colored carpet sample tiles for the floor ... ***COOOOOLLL*** ... a !!!*GREAT*!!! place to ***CREATE*** !!! ... and the ***PARTIES*** !!!
It was the ***COOOOOEST*** place to !!! ROCK 'N' ROLL !!! we'd have the """Best""" ***PARTIES*** there ... once or twice a month after their shows """Everyone""" would come out to the !!!"POWER FARM"!!! and *JAM* and ***PARTY*** until Dawn !!!

© Lisa Targal Favors

This was SOOOOO much ***FUN*** putting this """INTERVIEW""" together for """PSYCHEDELIC BABY""" Magazine ... I got to relive some of the ***BEST*** times of my life with you and our ***FANS***  ...

I would like to thank you ***GUYS*** very much for sharing the !!!*THIRD POWER*!!! story with your ***PSYCHEDELIC BABY*** READERS ..... !!!*ALRIGHT*!!!

I'D """REALLY""" LIKE TO ***THANK*** ALL THE !!!*THIRD POWER*!!! ***FANS*** WHO HAVE SUPPORTED US AND ***ENJOYED*** WHAT WE DID ALL THOSE """DECADES""" AGO ... AND STILL APPRECIATE THE ***MUSIC*** WE CREATED ... ***TODAY*** !!! ..... ***THANK YOU***THANK YOU*** ... !!!*ALRIGHT*!!!

If anyone would like to see some of the *ART* & MUSIC* I've done thru the years ... here are some of my websites: .....


 !!! COMING SOOOOON !!! ... *** THE AVENTURES OF JUNGLEBIRD*** ...

An ***ANIMATED***INTRACTIVE***MUSICAL***STORY FILLED*** """E-BOOK"""
Thanks so much for sharing your story Jem. What an adventure! And it isn’t over yet!!


Interview by Kevin Rathert/2016
© Copyright http://psychedelicbaby.blogspot.com/2016