Eastern Rebellion is an album by pianist Cedar Walton which was recorded in late 1975 and became the first record released on the Dutch Timeless label.
Track listing All compositions by Cedar Walton except as indicated "Bolivia" - 10:10 "Naima" (John Coltrane) - 8:37 "5/4 Thing" (George Coleman) - 7:53 "Bittersweet" (Sam Jones) - 6:54 "Mode for Joe" - 7:51
Personnel
Cedar Walton - piano George Coleman - tenor saxophone Sam Jones - bass Billy Higgins - drums
In 1968 Blondie's Debbie Harry was plying her trade with Psych Folk Band Wind in the Willows; the UK Pressing of this LP is incredibly hard to find today. Some of the rare single releases associated with this LP have also been added.
Side 1
1. Moments Spent
2. Uptown Girl
3. So Sad (To Watch Good Love Go Bad)
4. My Uncle Used To Love Me But She Died
5. There Is But One Truth, Daddy
Side 2
1. The Friendly Lion
2. Park Avenue Blues
3. Djini Judy
4. Little People
5. She's Fantastic And She's Yours
6. Wheel Of Changes
Wind in the Willows an American band which included Deborah Harry as a vocalist. The band took its name from British writer Kenneth Grahame's, The Wind in the Willows, a classic of children's literature. The band's only album, the self-titled The Wind in the Willows barely entered the US charts #195 let alone the UK charts. The band broke up shortly after failing to achieve commercial success. The following year Artie Kornfeld, the producer of the album, went on to be the music producer of the Woodstock festival in 1969. Debbie Harry went on to join The Stilettos in 1974 and other bands until subsequently achieving success in 1976 with Blondie.
Wind in the Willows recorded a second album which was never released. The whereabouts of the tapes are unknown. According to Cathay Che's biography on Harry, it has never surfaced.
Turns out Wind in the Willows were not he only 60's Psych-folk-rock outfit to reference Kenneth Grahame's book. Pink Floyd used the title of Chapter 7 for their album Piper At The Gates of Dawn.
"The Mole was bewitched, entranced, fascinated. By the side of the river he trotted as one trots, when very small, by the side of a man who holds one spellbound by exciting stories; and when tired at last, he sat on the bank, while the river still chattered on to him, a babbling procession of the best stories in the world, sent from the heart of the earth to be told at last to the insatiable sea."
It was a bit difficult to trace background information on Kathy Smith. She was part of the California folkie scene, playing at local venues and coffeehouses. A legendary venue but rather unknown was Paradox where people like Tim Buckley, Jackson Browne, Steve Noonan, the Nitty Gritty Dirt Band, John McEuen, and Penny Nichols used to play. Nobody found out about the place so it had to close down. The musicians found a new podium at the Troubadour. I am not sure around what time Kathy Smith started to share stages, and hang around with them, but especially with people like Penny Nichols, Pamela Polland and Jackson Browne (a close contact which explains how their songs ended up on her albums. Pamela Polland (also known from her album The Gentle Soul) was going to appear on her debut too). Penny Nichols, who first sang with a bluegrass band with John, Bill & Alice McEuen (until John took Jackson Browne's place in the Nitty Gritty Dirt Band), then formed a duo with Kathy Smith called the Greasy Mountain Butterballs which toured Vietnam in the fall of 1966.
Kathy Smith - Kathy Smith 2 [1971] (Full Album)
Tracklist:
A1 Lady Of Lavender (Written By Jimmie Spheeris) - 3:47
A2 It's Taking So Long (ritten By C. Jackson Brown) - 4:57
A3 Rock & Roll Star (Written By Pamela Polland) - 4:00
A4 Willie (Written By Jimmie Spheeris) - 3:55
A5 Fly Off With The Wind (Written By Kathy Smith) - 4:32
B1 Seven Virgins (Written By Jimmie Spheeris) - 3:49
B2 For Emile (Written By Kathy Smith) - 3:43
B3 Travel In A Circle (Written By Kathy Smith) - 5:57
B4 Blessed Be The People (Written By Kathy Smith) - 4:57
Credits
Bass: Gerry Germont, Tony levin
Congas [Conga]: Daniel Ben Zebulon
Drums, Percussion: Bill La Vorgna, Don Alias, Donald McDonald
Flute [Flutes]: Jeremy Steig
Guitar [& Soul]: Don Sarlin
Keyboards: Jan Hammer, Warren Bernhardt
Performer [Pa Pa Umau Maus & Insanity]: Jimmie Spheeris
Engineer [Director Of Eng.]: Val Valentin
Engineer [Eng.]: Al Manger, B. Fox, John Neal, John Norman
Remix: Dave, John Norman
Producer: Mark Roth
Art Direction: Norbert Jobst
Design [Cover Design], Photography By: Mark Roth
Recorded on 35 mm magnetic film at:
R.K.O. Studios, New York / Eng. Al Manger, B. Fox
Glen Glenn Sound, California / Eng. John Neal, John Norman
Remix at Glen Glenn: John Norman & Dave
Record Company: Stormy Forest Records
Distributed By: MGM Records
Recorded At: RKO Sound Studios
Remixed At: Glen Glenn Sound
Label: Stormy Forest – SFS 6009
Format: Vinyl, LP, Album
Country: US
Released: 1971
More research on Kathy Smith:
Kathy Smith was an American folk singer-songwriter who emerged during the late 1960s and early 1970s, a period rich with folk, rock, and psychedelic influences. Though not widely known compared to some of her contemporaries, she was part of the broader folk revival and singer-songwriter movement that included artists like Joni Mitchell, Joan Baez, and Judy Collins.
Smith gained attention in the late 1960s as part of the Los Angeles folk scene. Her debut album, Some Songs I've Saved (1969), was released on the Tradition/Everest label. This record showcased her introspective songwriting and delicate vocal delivery, drawing from both traditional folk and contemporary influences.
Her most notable work came with Kathy Smith 2 (1971), released on Stormy Forest Records, a label founded by folk legend Richie Havens. This album had a more polished production, incorporating elements of folk-rock and psychedelic folk. Despite receiving positive reviews, it did not achieve major commercial success. However, the album remains a cult favourite among folk enthusiasts.
Following Kathy Smith 2, her presence in the music industry faded, and she did not achieve mainstream recognition. Unlike some of her peers who transitioned into pop or rock stardom, Smith remained a relatively obscure figure. Her music, however, has gained renewed appreciation among collectors of vintage folk and psychedelic records.
Her work is often compared to the softer, poetic side of the 1960s-70s folk movement, with heartfelt lyrics and haunting melodies that resonated with the era’s introspective songwriting trends.
