In The Land of Free, we still keep on Rockin'

your pass in heaven is xara.

Plain and Fancy

"I hope for nothing, I fear nothing, I am free"

Nikos Kazantzakis

Tuesday, September 16, 2014

Dr Feelgood - Be Seeing You (1977 uk, dynamite hard boogie pub rock, 2014 SHM remaster)

Wilko Johnson had left in early 1977 and in April that year the Canvey Island band introduced their new line-up by way of a secret warm up show in their hometown. By summer ’77 they were making the first record with Gypie, the Nick Lowe produced Be Seeing You. Although Mayo was still working his way into the band's sound, Dr. Feelgood retained their tough, hard-rocking appeal.

Three further studio albums would be recorded with Mayo, including Private Practice which contained the UK top ten single Milk And Alcohol.

After what he describes as a ‘four year binge party’ Gypie Mayo quit the band and the end of 1980 (although he would stay on for a further six months), in part, to spend more time with his family.
by Paul Sinclair

1. Ninety-Nine And A Half (Won't Do) (Steve Cropper, Eddie Floyd, Wilson Pickett) - 3:08
2. She's A Wind Up (Lee Brilleaux, John Martin, John Mayo, John B. Sparks) - 2:00
3. I Thought I Had It Made (Lee Brilleaux, John Mayo) - 2:16
4. I Don't Want To Know (Lee Brilleaux, John Mayo) - 2:42
5. That's It, I Quit (Nick Lowe) - 2:34
6. As Long As The Price Is Right (Larry Wallis) - 3:09
7. Hi-Rise (John Mayo) - 2:37
8. My Buddy Buddy Friends (Aaron Corthon) - 2:45
9. Baby Jane (Bishop, Nesbitt, Reed, Simmons, Wilson) - 2:58
10.The Blues Had A Baby, And They Named It Rock 'n' Roll (Brownie Mcghee, Morganfield) - 2:20
11.Looking Back (Johnny Guitar Watson) - 2:00
12.60 Minutes Of Your Love (Isaac Hayes, David Porter) - 2:24  
13.Long As The Price Is Right (Second Version) (Larry Wallis) - 3:20
14.You'll Be Mine (Willie Dixon) - 2:54
15.My Buddy Buddy Friends (Aaron Contion) - 2:49
16.Looking Back (Johnny Watson) - 2:29
17.Homework (Perkins , Clark) - 2:23
18.You Upset Me Baby (King, Josea, Davis) - 4:23
19.Hey Mama, Keep Your Big Mouth Shut (Ellis McDaniels) - 3:50

Dr Feelgood
*Lee Brilleaux - Vocals, Guitar, Harmonica
*John B. Sparks - Bass Guitar, Vocals
*Gypie Mayo - Guitar
*The Big Figure (John Martin) - Drums, Vocals

1974  Down By The Jetty (2014 Japan SHM edition)
1976  Dr Feelgood - Stupidity (2014 Japan SHM edition)
1975  Malpractice  (2014 Japan SHM edition)

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Sunday, September 14, 2014

Beast - Beast (1970 us, terrific heavy psych prog jazz rock, 2013 Flawed Gems issue)

The second LP has a more mature, more rock and charmingly transparent sound - sometimes very close to the progressive aesthetic (flute,organ).

Formed in Denver,Colorado,Beast featured the talents of drummer Larry Ferris,keyboardist Gerry Fike,woodwind player Mike Kearnes,bassist Kenny Passarelli. singer David Raines,trumpet player Dominick Todero and former Super Band guitarist Robert Yeazel. 

Following the loss of horn player Todero and bassist Passarelli (replaced by Roger Byrant),in 1970's cleverly-titled "Beast" was released on the Evolution label. Continuing their partnership with producer Norman Petty the album was again recorded at Petty's Clovis, New Mexico studios. Musically the collection wasn't too different from the debut. Anyone familiar with Lighthouse or Sugarloaf styled horn rock will be pretty comfortable with most of the material. 

Slightly more varied than the debut, the flute propelled "Communication" and "Don't You Think It's Time?" reflected a quasi-jazzy feel, while the harmony rich "Inlook" sounded like an Association-styled slice of pop and "Move Mountain (You Got It)" found the band taking a stab at conventional hard rock. The overall effect was professional,if a little short on originality and inspiration ... Packaged in one of the year's uglier covers (credit to Charles E. Murphy),the set vanished without a trace,followed in short order by the band.

1. Inlook (Robert Yeazel) - 4:22
2. Communication (Robert Yeazel, R. Morgan, J. Greenspoon) - 6:08
3. The Man Outside (Robert Bryant, Robert Yeazel) - 1:26
4. Migration (MIke Kearnes) - 1:58
5. Whistle (Robert Yeazel) - 0:56
6. I Am (Robert Yeazel, David Raines, Gerry Fike) - 2:11
7. Don't You Think It's Time? (Robert Yeazel, David Raines, Robert Bryant) - 3:32
8. Move Mountain (You Got It) (Robert Yeazel, David Raines, Robert Bryant) - 4:38
9. It's So Hard (Gerry Fike) - 3:17
10.Legal Machines (David Raines) - 2:52

The Beast
Bob Yeazel- Guitar, Vocals
David Raines- Vocals
Michael Kerns- Flutes
Gerry Fike- Keyboards
Roger Bryant- Bass
Larry Ferris- Drums

Related Acts
1972-73  Diamondhead - Diamondhead

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Friday, September 12, 2014

Marcus - Marcus Original LP And Outtakes (1967-70 us, delicate ethereal wondrous psychedelic folk, 2011 double disc set)

It's July 1969, and I'm sitting at Brother Juniper's, a cafe on Haight Street. I knew it was run by a New Age cult called The Holy Order of Man' and I also knew this bright eyed chick, Dianne, who was serving food there, was part of the group.

You could have had me believing that black was white when I looked into her deep brown eyes and beheld her breasts protruding beneath her brown Brother Juniper robe. I knew she liked me by the way she packed the tuna salad onto that rye bread sandwich she made for me.

That'll be both my lunch and dinner meals. I took my cherry burst Gibson acoustic guitar (with a custom L-40 neck) from my gig bag, and tuned it. I wanted to get it perfect or as near you could get without tuning gadgets that would become so ubiquitous several decades later. I had created some chords that my friend Daniel McCurdy had inspired. 

They were multiples of suspensions that would immediately bring your head into a lofty and elated space. Daniel had said if these progressions were electrified they would knock people over, they were so powerful. I never tried playing them electric. I was so impressed with my friend's sound, as it seemed so different. I thought he must be from some other galaxy or something. In the past, I usually played simple triad chords on my guitar until I met him. Now I was inventing far out chords left and right with new ethereal tunes I write.

I flashed back to a month ago when a couple of friends invited me and guitarist Charlie Cocky to their house. Charlie liked my new songs and would play a very sensitive acoustic lead part on his axe while I sang and played my ethereal chords. Suddenly, a guy who was standing next to me flopped down and bonked his head hard when he hit the floor. He either fainted, or got knocked out by our sound. I said, "Charlie, we must have been so perfectly in tune it knocked him out." Charlie responded, "I think we were just the right microtone off to have that effect."

I don't want any episodes like that happening here at Brother Juniper's, so I played a simpler song, an ode to buxom Dianne, 'Lady of Light.' It never made it to the album, nor did my ode to 'Hallie' and my New York lover's song, 'Monday Marye Morning.' I enjoy making a sound with my voice and guitar that I imagine could make people feel peace, love and joy, and often it does.

As the people gathered around the table where I'm sitting I could see on their faces the pleasure I'm bringing them as I sing about the beauty of nature as in the 'Color Song.' I feel the spirit of a new age in the air. I enjoy the slow vibrato I create with my voice, not unlike Donovan or Tim Harden. I delight in those influences along my journey. 

The vibe has been uplifted at Brother Juniper's so now I get up, walk outside and embrace the warm sun pouring down upon the colorfully clad folks on Haight Street...
by Marcus (June 2009)

After the release of the Freak Scene album, psychedelic guru Rusty Evans made his way from NYC to San Francisco, a geographic shift that resulted in work for the legendary San Francisco Sound label, producing bands such as It’s A Beautiful Day, Tripsichord, and Indian Puddin’ and Pipe; it also led to a drastic shift in style from the psychedelic “happening” of the Deep album for Cameo Parkway and the raga rock of the Freak Scene album for Columbia. And so it came to pass that Evans reclaimed his birth name of Marcus, and recorded a very mellow LP in 1969 for Kinetic Records, a label formed by the Kinetic Playground Ballroom in Chicago. Like much of Marcus’ work, the album is a fascinating relic of a particular time and place, in this instance San Francisco’s Haight-Ashbury district in the post-Summer of Love era.

The Marcus LP is richly orchestrated psychedelic-folk music, with a pronounced Donovan and/or Tim Harden flavor to it, something that did not escape its creator. The mood is dreamy, the songs reflective, the voice vibrato, the album a yin to the yang of the Freak Scene “Psychedelic Psoul” album which precedes it by two years. So we have the hot and aggressive Freak Scene album contrasted—some might say perfectly balanced—by the diffuse and tranquil Marcus album two years later. To our mind, further proof of the excellence of the artistic mind behind both albums. 

This is the first actual re-issue of the vastly under-rated Marcus album since 1969; the only previous CD edition used alternate takes and not the album versions. Our fulsome edition indulges any completionist fantasies we might harbor, as it also serves up thirty-two bonus tracks, nearly two hours of alternate takes and acoustic demos (plus a few non-album tracks). There are guitar/voice demos recorded several months before Kinetic came along and offered a deal; other home demos have Marcus with acoustic guitar, bass and cello. There are guitar/voice demos were recorded six to eight months before Kinetic came along and offered a deal; other home demos have Marcus with acoustic guitar, bass and cello. 

There are also abundant demo studio versions, some of tremendous quality. The end result is (apparently) our first “interactive” release, as you can create your own ideal version of the Marcus album. Budget-priced double disc package includes a 20-page booklet, with an introduction by Marcus, his incredible history in music, and lyrics. Printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Disc 1
Marcus LP 1970
1. (We’ll All) Go Together - 3:30
2. Time Of Our Time - 2:43
3. Helene - 3:54
4. Grains Of Sand - 4:01
5. High Priestess - 3:45
6. The Coming - 3:22
7. Royal Maze - 3:03
8. Butterfly Girl - 3:22
9. Color Song - 3:29
10.Children Of Aquarius - 3:03
Acoustic Demos 
11.Go Together - 2:47
12.Time Of Our Time - 2:23
13.High Priestess - 3:00
14.Royal Maze - 2:36
15.Children Of Aquarius - 3:18
Alternates With Band 
16.The Coming - 3:05
17.Butterfly Girl - 3:33
18.Color Song - 3:38
19.Helene - 3:54
20.Grains Of Sand - 3:50
Words and Music by Marcus Uzilevsky

Disc 2
Alternates 1967
1. Go Together - 3:50
2. Time Of Our Time - 2:41
3. Helene - 3:45.
4. Grains Of Sand - 3:58
5. High Priestess - 2:54
6. Earth Child - 2:55
7. The Coming - 3:00
8. Royal Maze - 3:05
9. White Cloud - 2:17
10.Butterfly Girl - 3:20
11.Color Song - 3:26
12.Children Of Aquarius - 3:01
13.Go Together - 2:37
14.Time Of Our Time - 2:41
15.Grains Of Sand - 4:02
16.Butterfly Girl - 3:15
17.Color Song - 3:39
18.White Cloud - 2:16.
19.Royal Maze - 2:27
20.Color Song - 3:28
21.Butterfly Girl - 3:20
22.Children Of Aquarius - 3:07
Words and Music by Marcus Uzilevsky

*Marcus Uzilevsky - Vocals, Arrangements

Related Acts
1966  The Deep - Psychedelic Moods

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Tuesday, September 9, 2014

Hot Knives - Hot Knives (1976 us, spectacular rough folk garage psych rock, 2011 release)

Hot Knives was a band with an impressive pedigree and plenty of talent which unfortunately was in the right place at the wrong time -- playing enthusiastic and tuneful power pop and folk-rock with a faint psychedelic undertow, the group should have been right at home on the San Francisco music scene, but in the mid-'70s, they were too late for the Ballroom scene, stuck out like a sore thumb in the age of stadium rock, and were a poor fit for the harder sounds of new wave and punk that were lurking on the horizon. 

Hot Knives was formed by the brother-and-sister team of Michael Houpt (lead vocals and guitar) and Debra Houpt (lead vocals), who began singing together as teenagers growing up in Pennsylvania, playing folk tunes in the style of Peter, Paul and Mary. By 1969, Michael had relocated to Northern California, and he began working with a political improvisational theater troupe in San Francisco; the Flamin' Groovies sometimes rehearsed at the company's performance space, and Michael struck up a friendship with bandmembers Tim Lynch (lead guitar) and Danny Mihm (drums). By 1972, Debra had moved to San Francisco, while Lynch and Mihm were looking for a new project after the Flamin' Groovies' original lineup fell apart. 

With bassist Ed Wilson joining Michael, Debra, Tim, and Danny, Hot Knives was born, with the group taking their name from Michael's favored method of smoking hashish. Hot Knives gigged regularly in the Bay area and the group slowly built a following for their engaging melodies, Michael and Tim's guitar interplay and the soaring vocal harmonies of the Houpts. However, they were far enough from the mainstream that record companies weren't interested, and in 1976 Hot Knives took matters into their own hands, self-releasing a single, "Lovin' You" backed with "Around the World," which was produced by Cyril Jordan of the Groovies. Another 7" followed later the same year, "I Hear the Wind Blow" b/w a cover of Moby Grape's "Hey Grandma." 

The singles earned some enthusiastic press (Greg Shaw in Bomp! called them "the best thing happening in San Francisco these days") but didn't lead to a record deal, and while the group had a wealthy and enthusiastic patron in Casper Weinberger, Jr. (whose father was Secretary of Defense under Ronald Reagan), it wasn't enough to keep the lineup intact after Tim Lynch left the band. While Hot Knives continued for a while with guitarist Bob Kinney, they quietly called it quits by the end of the decade. In 2011, the Australian label Grown Up Wrong released a Hot Knives collection that featured both sides of their two singles, along with ten unreleased tracks. 
by Mark Deming

This is a gem. For the last 30 years it occupied lead singer Mike Houpt’s dusty cupboard, forgotten and neglected before being tracked down by Australia’s Grown Up Wrong! Records.

Fronted by Mike and Deborah Houpt, The Hot Knives’ self titled album will take you back to a more innocent time in ’76 with a blistering concoction of 60’s San Fransisco folk rock and muscular rock’n’roll topped with sweet, sweet harmonies between Mike and Deborah. Think Fleetwood Mac’s rockin’ alternative.

The album features 11 rockin’ originals, mostly from the mind of main man Mike Houpt, who had released two Hot Knives 7” singles, back in the day himself through his own K.O records label. The album also features three thumping covers, The Knickerbockers’ Beatles sound- alike "Lies", Moby Grape’s "Hey Grandma" and a big beat version of the frequently covered "Silver Threads and Golden Needles".

What really catches me about this album is the timing of its release with the 70’s music becoming a much more sought after sound (think Tame Impala and Stonefield), it will be interesting to see how the album is perceived in the public eye. It is a really upbeat, rockin’ album with some of the most blistering guitar solos I have heard to date.

The best reference to their sound I can give you is Fleetwood Mac, mostly because of the common era of both outfits. Also the distinct warm harmonies and gorgeous, flaming guitar. The difference between the both is that The Hot Knives is definitely more upbeat and rockin’ with more solos and more of a rock’n’roll influence.

Definitely worth a listen. Harmonies, harmonies, harmonies! 
by Nick Leighton

1. Around The World (Michael Houpt) - 2:50
2. Sooner Or Later (Michael Houpt) - 3:38
3. I Hear The Wind Blow (Michael Houpt) - 3:57
4. Take Me Back (Debby Houpt) - 2:50
5. Secrets About Me (Michael Houpt) - 5:02
6. Hey Grandma (Jerry A. Mlller.Jr., Donald J. Stevenson) - 2:49
7. You Can Get Anything You Want (Michael Houpt) - 3:23
8. Lies (Buddy Randell, Beau Charles) - 2:42
9. Lovin’ You (Michael Houpt) - 3:31
10.Silver Threads And Golden Needles (Jack Rhodes, Dick Reynolds) - 2:35
11.Winter's Come (Michael Houpt) - 2:39
12.So Fast (Ed Wilson) - 2:49
13.Fool For Love (Ed Wilson) - 2:43
14.Turning Into (Michael Houpt) - 3:25

Hot Knives
*Debra Houpt - Vocals
*Michael Houpt - Rhythm Guitar, Vocals
*Bobby Kinney - Lead Guitar, Vocals (Tracks 2, 4, 11, 12)
*Tim Lynch - Lead Guitar, Vocals
*Danny Mihm - Drums
*Ed Wilson - Bass, Vocals

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Sunday, September 7, 2014

Cosmic Travelers - Live! At the Spring Crater Celebration Diamond Head, Oahu, Hawaii (1972 us, superb jam psych rock, 2012 remaster)

"We are travelers on a cosmic journey, Stardust, swirling and dancing in the eddies and whirlpools of infinity. Life is eternal We have stopped for a moment to encounter each other, to meet, to love, to share. This is a precious moment. It is a little parenthesis in eternity." Paulo Coetho, The Alchemist The Cosmic Travelers is a rare, original live album with 1,000 copies released on the Volcano label. This live jam was recorded at the Spring Crater Celebration in the Diamond Head Volcano in Oahu, Hawaii on April 1, 1972. The event was organized by businessmen and friends Tom Moffat, Ken Rosene and Herb Brentlinger.

The artists were a Los Angeles based combo of psychedelic blues studio musicians; Jimmy McGhee, Dale "Mule" Loyola, Joel Christie and Drake Levin. Jimmy had backed up Gene Redding and Etta James. Dale had recorded with the band Hook, and Joel and Drake had recorded with Lee Michaels. Prior to this. Drake had been the lead guitarist for Paul Revere and the Raiders, from their early dance hall days in the Pacific Northwest, to their national success with Dick Clark's Where The Action Is, and he had played on most of their biggest hit records. After leaving the Raiders, Drake had also been a member of the group The Brotherhood, which featured two of his Raider band mates, Phillip Volk and Michael "Smitty" Smith.

This festival in Hawaii was the first time that these four musicians had played together as a group, and they took the main stage and were recorded for this album after only two days of rehearsals. The rocking, hard driven guitar riffs from Jimmy and Drake were mesmerizing, and the vocals from Joel, Jimmy and Dale were a near-perfect harmony. The Cosmic Travelers was a good description of these four souls. They were musicians traveling to the Sunshine Festival, and the name seemed quite fitting since they were all indeed spiritual men.

The live Crater Festival album was recorded the same year that Drake and I met. It was later that year, the day before Thanksgiving, and when I met him he had this album in his hand. Both of our lives were forever changed and forever tied together from that point on. The next few months after we met were holidays spent traveling to Miami and Hermosa Beach. Drake and I went on to make beautiful music together as husband and wife until he passed away on the Fourth of July in 2009.

If you knew Drake, then you know that he was always a  leader, the idea maker and vision seeker, the music man. Drake was born in Chicago and moved to Idaho with his family when he was young. Although his years in Chicago were few, rhythm and blues seemed to be as much a part of him as others who spent their whole lives making music in that city. Drake joined the Raiders at 16 years old, and by the time that he had barely turned 18, he had already recorded a live set of music with the group, featuring covers of many R’n’B standards, and some original music. His talent was obvious in his guitar solos and steady rhythm. In later years, besides playing with Lee Michaels. Drake also played with Emmit Rhodes and Ananda Shankar, and produced other artists as well.

As Drake and I got to know each other, I got to know his friends in the Cosmic Travelers also. Drake had described Jimmy McGhee as a soul brother from Los Angeles. He and Jimmy had toured in Canada and the mid-west with Gene Redding and Etta James. Jimmy moved in with us while the guys prepared to go back to Hawaii and cut another album. He lived with us in Los Angeles for the next couple of years. Something that was so impressive to me was that he played his guitar all the time! He seemed to live and breathe music; if he was awake he was playing. He was so incredibly jazzy and funky! No matter who came to the house, Jimmy would have them playing some instrument or singing.

The fabulous and solid Peruvian drummer, Dale Loyola, had just come off the road with Lee Michaels. Dale also moved in with us, and along with Drake and Jimmy formed the new group. The Travelers. They toured the west coast from Santa Barbara to San Diego for the next 5 years. The soulful and amazingly talented lead singer and bass player, Joel Christie, had his own group happening in Los Angeles. Joel was writing very heavily back then. He sang lead in the musical Jesus Christ Superstar, and wrote spiritual and new age beginnings material. Eventually Joel came to live with us as well, after the other guys had moved out, and he played gigs with Drake in Tahoe with Curtis Lawson and Billy Dunn.

This gig in Hawaii brought these gentlemen together as musicians and life long friends, and as you listen to this album, you are listening to some of their best work. This was but a brief moment in eternity, but a very rare and special moment!
by Sandra Levin, San Francisco, California October, 2012

1. Farther Up The Road (Joe Veasey. Don Robey) - 9:16
2. Move Your Hands (Lonnie Smith) - 10:24
3. Jungle Juice (Granville McGhee) - 6:46
4. Look at You Look At Me (Dave Mason, Jim Capaldi) - 3:52
5. Soul (McGhee, Redding) - 7:00
6. Soul Reprise (McGhee, Levin, Christie, Loyola) - 2:13

The Cosmic Travelers
*Drake Levin - Guitar
*Jimmy McGhee - Guitar, Vocals
*Joel Christie - Bass, Vocals
*Dale Loyola - Drums, Vocals

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Friday, September 5, 2014

Central Nervous System - I Could Have Danced All Night (1968 canada, exceptional funky r 'n' b' jazzy psych rock, 2008 remaster issue)

Band was originally known as "Five Sounds" and included keyboardist Joe Sealy. They released two singles in 1965 and 1966 on Epic which charted on Halifax radio station CHNS. In 1968 the "Five Sounds" were the house band on CBC television's "Where It's At" (the local segment of the national series) which was hosted by Frank Cameron and produced in Halifax.

In 1968 the band went to New York to record "I Could Have Danced All Night" album and changed name to "Central Nervous System" at the suggestion of Mark Joseph who worked at the Record Plant where the album was recorded. Album consisted of Billard and Jollimore penned originals and cover of Lonnie Mack's "Why" which was not listed on the album cover. Album was produced by Tom Wilson (Zappa, Dylan) and Eddie Kramer (Hendrix, Stones) was one of the engineers.

Band split up in 1969 just before the album had a chance to try itself in the marketplace and dates were lined up to tour in the United States. Billard and White both went on to play in "Pepper Tree" at different times. Oakley switched to lead guitar and was a founding member of "Soma". Jollimore and Cassidy both went to Lighthouse.
by Ritchie Oakley, Jim Rice and Richard Bonner

1. Comin' To Get Ya - 2:15
2. Undecided - 3:00
3. She's Everything Good To Me - 2:22
4. I'm My Own Keeper - 2:44
5. Sweet Hot Lucy - 2:20
6. Silence In My Room - 2:27
7. Why (Lonnie Mack) - 4:18
8. It's So Hard - 2:31
9. Welcome Back Girl - 2:52
10.A Heart That's Cold - 2:28
11.Mystery Lady - 2:56
All songs by Doug Billard, Keith Jollimore except where stated

Central Nervous System
*Keith Jollimore - Saxophone
*Bruce Cassidy - Trumpet
*Ritchie Oakley - Bass
*Jim White - Guitar
*Jack S. Lilly - Drums
*Doug Billard - Vocals

Related Act
1971  Lighthouse - One Fine Morning 

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Wednesday, September 3, 2014

Bob McAllen - McAllen (1971 us, spectacular acid tinged folk rock, 2014 korean remaster)

Amazing 12-string slinging folk singer-songwriter from East Lansing, Michigan. He’s got a bit of a Tim Buckley sound, and he’s a really interesting lyricist.

"Lady Today" also features the "Woolies" including Jeff Baldori on lead guitar. "By Candlelight", subtitled "Love Song to a Cat" is just that but it's quite a nice piece of folk psych with flugel horn low in the mix providing texture. You can't beat the honesty of such self-produced music. His vocals and 12-string are both great. "It Depends" has a fast tempo and a dreamy texture with echoed vocals in the 60's mode. 

Original sound with lyrics like "I used to walk the fields with a gun - just for fun but now I walk with empty hands again. I do not care for hunting any more - since the war. I will not hunt for animals or men." More dreaminess on "Guess We'll Never Be That Way Again" and "Nights Like This".

1. You've Heard This Song Before - 2:54
2. Furry Little Friend - 3:17
3. Rollen Home - 2:40
4. By Candlelight - 3:44
5. Happiness All The Time - 2:17
6. Wish I Were A Whippoorwill - 2:23
7. It Depends - 3:39
8. Guess We'll Never Be That Way Again - 3:13
9. Night Like This - 4:01
10.Lady Today - 3:45
11.Didn't You - 4:53
All songs by Bob McAllen

*Bob McAllen - Vocals, Guitar, 12 String Guitar
*Mike Grace - Bass
*Dave Koether - Drums
*Mike O'Sullivan - Glugel Horn
*Bob Baldori - Shakers
*Jeff Baldori - Lead Guitar
*Bee Metros - Drums
*Zocko Groendal - Bass

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