Purple Image - Selftitled (1970)
Personnel:
WARREN ADAMS vcls, piano, organ A
WILLIAM ADAMS vcls, perc A
DIANE DUNLAP vcls A
DEL MORAN bs A
RICHARD PAYNE drms A
KENNETH ROBERTS vcls, gtr A
FRANK SMITH gtr A
(ED SNODGRASS sax A)
ALBUM:
1(A) PURPLE IMAGE (Map City) 1970 R1
45:
1 (Marching To A) Different Drummer/Why (De-Lite 526) 1970
[quote]PURPLE IMAGE - PURPLE IMAGE
Purple Image’s eponymous and only album merged a strong blend of soul funk and psych rock to considerable effect. Released in 1970 on the obscure Map City label, founded by former Kama Sutra artists and song writer, the ex-Tradewinds Pete Anders and Vincent Poncia, Cleveland-based Purple Image sadly managed only this lone effort. It’s clever use of fuzz and wahwah guitar demonstrates a clear Hendrix influence, as does the second side’s final track, Marching To A Different Drummer, a 15-minute guitar jam extravaganza. The overall sound is tight and driving, making for a truly excellent album which also features some really nice cover art.
Genres: Rock
Styles: Psychedelic, Hard Rock
AMG Review by Andrew Hamilton
Though African-American and raised in the predominantly Black 105th Superior area of Cleveland, Purple Image played rock — psychedelic, mind-bending, pass-the-bong, strobe-light, posters-on-the-wall head music. This obscure album recorded on Map Records has risen to the status of cult because of its scarcity and the musical orientation of Warren Adams (vocals, piano, organ), Kenneth Roberts (vocals, rhythm), William Adams (vocals, conga), Frank Smith (lead guitar), Del Moran (bass), Richard Payne (drums), and lone female Diane Dunlap (vocals); Edward Snodgrass, a non-member, augmented P.I. on sax. Purple Image wrote everything except the LP's masterpiece, the 15-minute, 24-second rendition of Bob Craig's "Marching to a Different Drummer." As with all six selections, Purple Image sounds better when the volume is cranked. "Drummer" is an energetic, powerful blend of acid rock and fusion; Snodgrass blows a frantic Coltrane-ish sax, and Dunlap wails like she slammed her hand in a door. "We Got to Pull Together" is an airy, charming, socially significant ballad that urges us to become color-blind, forget the past, and get along. Snodgrass plays a tender horn while a male does a convincing lead wallpapered by some arresting, swooping harmonies. On "Living In the Ghetto," they sing about the woes of poverty; if you like heavy metal, this and "Why" will tickle your fancy. "Lady" features Dunlap and a male on an upbeat rock-blues number. The back cover pictures P.I. posing under the now-defunct Liberty Theater marquee in mod-type clothing. The front cover features a slim, pretty, Afro-wearing Black woman with three arms holding three globes surrounded by clouds.
Fuzz Acid And Flowers Review
From Cleveland, Ohio, this black group played a mix of soul funk and psych rock with fuzz and wah-wah guitars, clearly influenced by Hendrix. After some tracks like Living In The Ghetto, We Got To Pull Together or What You Do To Me, the album ends with fifteen minutes of guitar jams. The album also has really nice cover art.
Map City was the New York label managed by the ex-Tradewinds, Anders and Poncia. [/quote]
Tracks:
1.Living In The Ghetto (06:36)
2.Why (04:40)
3.Lady (03:39)
4.We Got To Pull Together (03:38)
5.What You Do To Me (03:34)
6.Marching To A Different Drummer (15:28)
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