Read Ebook {PDF EPUB} Vertigo by Michael Mandrake Buyer's Guide: Vertigo Records. Away from the label’s big hitters, there’s a treasure trove of unique and essential albums to be discovered. We pick out the very best. Every team needs a star player or two, but the legendary Vertigo records imprint had several. Black Sabbath for one. Status Quo for another. Let’s not forget Rod Stewart and his seminal solo albums, An Old Raincoat Won’t Ever Let You Down and Gasoline Alley. Hell, Vertigo even had Nirvana on their books for a while – albeit the Patrick Campbell-Lyons kind. But star players are nothing without a strong supporting cast, and that’s where this issue’s Buyer’s Guide comes in. Vertigo might have built its reputation as the go-to progressive label of the late 60s and early 70s, with albums such as Sabbath’s debut and Paranoid , Quo’s Piledriver , Uriah Heep’s …Very ’Eavy …Very ’Umble , even. But Vertigo’s DNA was built on a dizzying array of what could be termed B-list bands. That’s not to denigrate these lower-tier acts in any way, shape of form. They might not have enjoyed the critical acclaim and hot-selling success of Vertigo’s album-chart-busting performers, but that doesn’t make them any the less worthwhile. You also have to place this Buyer’s Guide in the context of the musical environment of the time, when the pages of record companies’ chequebooks were looser than a circus clown’s trousers, and A&R stood for artists and repertoire, not attitude and rejection. Vertigo could sign unproven bands to four-album deals in the hope they might, one day, come good – a luxury that doesn’t exist today. Who, in 2015, remembers the likes of Cressida, Gracious!, Ancient Grease, Daddy Longlegs, Catapilla or Frumpy? Determined eccentricity was the backbone of the label and gave it a cachet it still enjoys. If there’s one unifying theme behind this Buyer’s Guide, it’s that no modern-day mainstream record company would dare touch any of these bands with a barge pole. The role of album-sleeve designer Marcus Keef played its part too. Keef might be renowned for his work with Sabbath but he was also the mastermind behind many other Vertigo releases – check out the Beggars Opera, Colosseum and Warhorse albums featured here. Keef’s covers were always mysterious and attention-grabbing; he contributed considerably to the label’s look. Here be the soft white underbelly of Vertigo; the connoisseurs’ choice. Patto. Hold Your Fire , 1971. Patto are billed as progressive jazz-rockers, thanks mainly to the late Ollie Halsall’s guitar noodlings. But that pigeonholes them unfairly. See You At The Dance Tonight is a Faces-style workout; the longing of *Magic Door *exerts a Reed Richards-like tug on your heartstrings. The voice of mainman Mike Patto (who died in 1979 aged just 36, from throat cancer) was raspy and soulful, and his lyrics possessed a biting, cynical edge (check out the title track, a diatribe against brown-rice-munchin’ hippies). After this album, the band moved to Island and released the equally momentous Roll ’Em Smoke ’Em Put Another Line Out . Buffalo Volcanic Rock , 1973. If you know of Australia’s Buffalo at all, it’s likely because the late Pete Wells, who would gain fame as founder/slide guitarist of Rose Tattoo, played bass with them. But it was the unsung duo of vocalist Dave Tice and six-stringer John Baxter who gave this beast its rip-snorting, hoof- pounding USP. Tice – who would later hook up with rowdy UK pub rockers the Count Bishops – howls and hollers over Baxter’s ear- perforating, proto-metal licks and the result is so feral and primitive, it hits you like a Cro-Magnon’s cudgel to the cranium. From the slothful, sprawling Freedom to the unrepentantly evil Shylock , Volcanic Rock is a neglected masterpiece. SUPERIOR: Reputation cementing. Warhorse. Bassist Nick Simper had a point to prove after being dumped by Deep Purple. Forming Warhorse from the ashes of soul singer Marsha Hunt’s backing band, he even recruited Rick Wakeman to rival DP keysman Jon Lord. (Sadly, Rick was “fired due to unreliability” at the demo stage.) Warhorse’s debut straddles Purple Mk I and II. Nowhere is this more evident than on Burning , with its menacing Mandrake Root vibe, while Ashley Holt’s screams are straight out of Ian Gillan’s songbook. Simper, meanwhile, drives the band like Andy Fraser drove Free. Plus you can’t beat an album that begins with a track titled Vulture Blood . Colosseum. Valentyne Suite , 1969. It wasn’t Sabbath or Quo or Rod The Mod who held the coveted catalogue number VO1 – that honour went to superstar drummer John Hiseman’s band, Colosseum. Even today, the cover of V*alentyne Suite *– which depicts a sultry 60s ‘chick’ standing next to a candelabra – resonates. Even if you didn’t buy a copy, the image exerted a powerful presence in the record racks. A potent mix of jazz rock, fusion and prog, and featuring an all-star cast including keysman Dave Greenslade and saxophonist Dick Heckstall- Smith, more than 45 years after its release, *Valentyne Suite’*s tour de force status remains undiminished. Beggars Opera. Imagine a parallel universe where Deep Purple never recorded In Rock but instead continued in the same vein as Concerto For Group And Orchestra . Welcome to the bonkers world of Beggars Opera, where baroque, out-of-control keyboards rule the roost; where theatrical posturing is augmented by Sabre Dance -style guitars. For a Scottish band they sound remarkably English – check out the clipped vocals on Passacaglia ; very Video Killed The Radio Star . Strange to think they once demo’d a glam-rock opera, Diana Demon , with producer Tony Visconti. Stranger still, guitarist Ricky Gardiner went on to work with David Bowie and Iggy Pop. Flied Egg. We bet this Japanese three-piece had smiles on their faces when they called themselves Flied Egg, in wry acknowledgment of their native inability to pronounce the letter ‘r’. This, the band’s second and final album, features four loose’n’lethal live tracks, part Heep, part Hendrix; a trio of studio recordings that sound like The Hollies gone psychedelic; and epic, organ-fuelled closer 521 Seconds Schizophrenic Symphonic : all-out rawk with a Procol Harum bent. Strangely, there’s no sign of the Pythonesque humour of their debut, Dr Siegel’s Fried Egg Shooting Machine. Maybe they just wanted to get laid. GOOD: Worth exploring. May Blitz. Listening to May Blitz’s ravaging sound, it’s no wonder they named themselves after the Luftwaffe bombardment that devastated Liverpool in 1941. Vertigo execs doubtless saw this Canadian/British power trio as the label’s answer to Cream, who’d split in late ’68; certainly this debut contains plenty of weighty, measured blues-rock in the Clapton/Bruce/Baker vein. Unfortunately, all too often the songs become enveloped in a fuggy haze and end up as disjointed, dope-fuelled freakouts. The weirdly titled Squeet , meanwhile, includes the lyrics: *‘Squeet all over the wall/Let’s squeet away the night.’ *Time to get the decorators in. Jade Warrior. Jade Warrior only signed to Vertigo because they shared management with the Osibisa-like Assagai. The label was desperate to jump on board the Afro-rock bandwagon, so it took on JW as a makeweight. Based around the duo of Jon Field and Tony Duhig, this, the supernatural proggers’ second (of three) albums for Vertigo, is their most rock- oriented. On the highlight, the 15-minute Barazinbar , they prove themselves to be the missing link between Van der Graaf Generator and Santana. Duhig, who sadly died in 1990, chips in with killer power chords: his apeshit guitar burnout at the end of* Minnamoto’s Dream *has to be heard to be believed. Juicy Lucy. Juicy Lucy , 1969. Juicy Lucy caused quite a stir when they, er, spurted on to the scene in ’69. The cover of their debut album depicted a raddled barmaid, naked except for a covering of overripe fruit. The band’s flamboyant frontman, Ray Owen, was black and sang like Jim Dandy uttering backwards Satanic messages. And mainman Glenn Ross Campbell was a demon on the twin-neck lap steel guitar, as anyone who saw the Lucy on TV playing their sole hit, Bo Diddley’s Who Do You Love? , will testify. This uneven venture features too many cover versions – but all that is forgiven as soon as you hear Just One Time : slow, brooding and almost Doors-like. Dr Strangely Strange. Heavy Petting , 1970. Many people’s first exposure to the dubious charms of Dr Strangely Strange was on the seminal Island Records compilation *Nice Enough To Eat *(1969) and the throwaway track Strangely Strange But Oddly Normal . A year later the Oirish folksters cropped up on Vertigo for this oddly titled album. The whiny vocals of Tim Booth are a major irritant, while many of the songs sound ill-conceived and under-baked, akin to an impromptu pub-rock bash-along involving fringe members of the Strawbs and McGuinness Flint. There’s some nifty stuff from their guest guitarist, a young Gary Moore, though. Vertigo by Michael Mandrake. Thanks to Goddess fish for hosting day 5 of my book tour today! I truly enjoyed posting and I hope I entertained you as well. Please be sure to follow the rest of my Vertigo book tour. Tuesday at Sex Marks the GSpot And the final day at the Rainbow Studio I'll also be at TRS on the ninth to announce all winners! So stay tuned. Whats coming up for my muses? Well, Michael's next book is m/m, called Under the Gun from No Boundaries Press. Also, the sequel to True Meaning of Love, an m/m novel is coming soon as well from XOXO publishing. For good gal Rawiya, her mmf, Living in the Now, her m/m Smooth Like Latte, and also Sugar Daddy all from Naughty Nights Press. Rawiya's series African Sun is in the works as well as she'll finish this mostly m/f series for Michael Mandrak. Lastly, BL has an m/f called Losing my Inhibitions, her sequel to My Lieutenant and interracial m/m, and the m/m book Candyman to come from NNP. To keep up with me and the muses, visit these links and or signup for the newsletter. Vertigo by Michael Mandrake. Hello again. So what about my new book Vertigo? It's an M/M historical paranormal from Sizzler Editions. The story actually started with a short I did for my editor Sacha Illyvich for the anthology, Riding the Rocket . The stories in there are all scifi or paranormal with an m/m spin which makes it unique. When doing the story over a year ago, I knew I'd have more to tell about these characters, Dr. Hayden Curry and his discovery. The fun of it was, not knowing exactly what would happen to my characters along the way especially since I really didn't use and outline. Needless to say, a lot of what happened was quite a surprise including the ending which I really didn't expect and turns out the end of this book is only the beginning to part two which I'm looking forward to writing very soon. Want to know more? Check out some of my blogs on the tour so far. Here is the list: Vertigo by Michael Mandrake. London, England 1916. Dr. Hayden Curry is having a rough time of it. He is a renowned scientist whose recent experiments have all failed and his longtime lover, companion, and assistant in the lab, Lawrence, has been committed to a mental institution. Then there is the guilt Hayden is feeling of being the person who signed the papers locking Lawrence away in Dr. Gothersbury’s Clinic for the mentally impaired. A call from the city morgue interrupts his ennui and informs him that they have something of unknown origins for him to investigate. The “thing” turns out to be a dead body but is it human or animal? It seems to have the attributes of both. Intrigued, Hayden and his man servant, Berrows, collect the body and head home to the lab. Just as he is to begin his autopsy the thing comes alive, introduces himself as David, and asks for the Doctor’s help in finding out how he came to be. Nonplussed Hayden watches in bemusement as David shifts from a manbeast into a gorgeous young man, the most beautiful he has ever seen. The mystery of David interests the scientist in Hayden while the handsome man stirs up lust and desires Hayden had thought gone with Lawrence. But is David really what he seems? As Hayden becomes more befuddled and obsessed with David, David slowly takes over the Doctor’s life in every aspect. Can Hayden uncover the truth behind David before it is too late to save himself? Vertigo is an apt title as David succeeds in keeping Hayden Curry off balance for the duration of the story. The same can be said for the reader. And to my mind, it results in the same end for both of us. As a reader and reviewer, Vertigo, stands for a succession of missed opportunities as well as the author never achieving a balance of plot and characterization. There are several plots contained within this story, mashed together in a patchwork frame. It starts out promisingly enough, with the thought that the author is going into a historial Werewolf in London theme when David’s original werewolf physique shifts back to human. But that storyline is quickly dispatched as the plot sequeways into a Dr. Jekyll/Mr Hyde whenever David’s plans/wishes/demands are not met. When thwarted, David shifts back into the original creature whose threats and menace force Hayden to do as creature wishes, including having sex with him, drinking of his liguids (sweat, semen, blood) etc.. I thought we were looking at a gay take on duality of nature theme, which I would have loved to have read. Then as more of David’s backstory emerges Vertigo turns into a demon cast from Heaven horror tale and all becomes lost with a plodding story and characters whose menace has now vanished into a mawkish, and obsessive love. Another problem is the character of Dr. Hayden Curry. He is just an unpleasant man. He is vain, selfish, self absorbed, and thinks society revolves around him. This would have worked in the story’s favor had it turned into a tale of comeuppance and the tribulations that await someone who gets what they wish for. And the reader gets a glimpse of that now and again. But clearly Michael Mandrake wishes us to sympathize with Hayden and the path he has chosen for himself, to walk along side his demon lover no matter the consequences. The upshot of this is that I could have cared less what happened to either Hayden or David, or anyone else in their circle. The only victim here is that of Lawrence who makes a brief reappearance late in the story and is the fulcrum for the remaining drama that is Hayden’s life at this point. Lawrence is an innocent, undeserving of his fate and as a object of Hayden’s love, He is another missed opportunity as the only likable person introduced in the story. The fate the author has in store for him is dreadful while clearly intended to be the exact opposite. He emerges from his captivity still in love with Hayden, trustful and ready to take up where they left off. Instead, the tag team of David and Hayden will leave him with a gap in his memory and a suicide to deal with. Not my idea of making amends for the terrible things both David and Hayden did to Lawrence and another misstep by an author who has lost their way with this story. David is the final main problem here. As a man, he is controlling,self centered and disagreeable, as a beast he maintains a sufficient threat as to be menacing and is the most interesting in this form, but finally as a demon, well he is just not very demon like. He had wandered the earth being the “rumination of man” then spots the child that is to be his eternal love , acts more petulant than obsessed, pouts and has bouts of sullenness. But a mighty demon cast from Heaven? No, that just does not figure into the equation. He is just not that evil or should I say believably evil. David the evil demon. *shakes head* All the disparate plot lines gather together into an preposterous ending where God is unhappy with the plot (as is the reader), takes away all their powers, and Hayden flings himself out the window on his way to death and a happy eternity spent with David doing Satan’s deeds. No really they are very happy together. Well, except for the fact that Hayden is clothed in the garments he was buried in, but that is just a trifle. There were minor issues such as modern American phrases and notions coming from a 1916 London setting and background. I realize that this is a fantasy but a little homework would have alleviated this problem. Minor Rant Alert! I also have problems with the usage of the word “orb” when used in conjunction with or as a description of eyes. There are blue orbs, fiery orbs, and so on. I wish that every author using this as a noun for eyes immediately select Find and Replace in the Tool section and use it to delete the word orb in every reference. This cannot go on. I don’t know about you but when I look at a person I don’t think “What lovely orbs they have.” Most people don’t, so why use it in a story? This cannot be solely attributed to Michael Mandrake as I recently read no less than two other books with the same issue. This was just the breaking point. So please no more orbs unless they are magical ones used by sorcerers. End rant. Vertigo is the second book I have read of Michael Mandrake’s and I think the author has promise. Perhaps a good editor and some crit partners would be of assistance in eliminating some of the problems I had with this novel. Vertigo has some wonderful stories buried within it, just not the one the author chose in the end. And that is a real shame. Cover: The cover is as confused as the story. 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