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

Plain and Fancy

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

Nikos Kazantzakis

Tuesday, January 27, 2015

Telegraph Avenue - Telegraph Avenue (1971 peru, splendid latin psych jazzy folk rock)

Telegraph Avenue were formed in 1970, after lead guitarist Bo Ichikawa returned to Peru, after having stayed half a year in San Francisco, where he had been exposed to the vivid local hippie rock culture. On his return he assembled all kinds of American influences, in a very convincing powerful way, with songs in English, but with ideas for arrangements which were more typical for the best Peruvian bands from those days. 

The full arrangements are incredibly contrasting. Nowadays it would be hard to find any other example of so many arrangements without any overlapping or blurring note, which is a combination of basically bass, acoustic guitars, drums, vocals and vocal harmonies with lots of rather exotic percussion. It is because there were two percussionists in the band. The first percussionist is Walo Carrilo (drums, percussion, maracas, tambourine), who, before Telegraph Avenue, had been a bandleader from Los Holy’s. 

This previous, mostly instrumental group had been the earliest movement towards psychedelia in the mid ‘60s. They made one album called “Sueno Sicodélico”, in a conceptual psychpop style, as well as several singles. The additional percussionist is called Chachi Lujan (acoustic guitar, bongos, piano). The final member is the bass player Alex Nathanson (who also plays acoustic guitar, clavichord, piano). The styles of the songs are very varied, have bluesrock, Californian feelings, influences of soulrock and sixties flavoured styles. The “psychedelic” element is rather unique and can only be heard in the top Peruvian bands. 

1. Something Going (Alex Nathanson) - 4:45
2. Happy (Bo Ichikawa, Chachi Luján) - 3:41
3. Sweet Whatever (Alex Nathanson, Walo Carrillo) - 2:47
4. Lauralie (Alex Nathanson) - 4:05
5. Sungaligali (Bo Ichikawa, Chachi Luján) - 4:05
6. Let Me Start (Bo Ichikawa, Chachi Luján) - 4:05
7. Sometimes In Winter (Bo Ichikawa, Chachi Luján) - 5:26
8. Telegraph Avenue (Bo Ichikawa) - 3:53

Telegraph Avenue
*Bo Ichikawa - Xylophone, Acoustic Guitar, Harmonica , Guitar, Vocals
*Chachi Luján - Acoustic Guitar, Percussion, Congas, Vocals
*Alex Nathanson - Acoustic Guitar, Clavichord, Bass, Alto Vocals
*Walo Carrillo - Maracas, Tambourine, Percussion, Drums, Vocals

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Saturday, January 24, 2015

The Climax Chicago Blues Band - The Climax Chicago Blues Band (1968-69 uk, spectacular blues rock, 2013 remaster and expanded)

Though the Climax Chicago Blues Band formed in Stafford, England, the band would likely have made any of the howling bluesmen from that storied Illinois city proud.  Part of the vanguard of the British blues boom that also included the original Fleetwood Mac, John Mayall’s Bluesbreakers and even Led Zeppelin, Cream and the Rolling Stones, the Climax Chicago Blues Band made its rip-roaring debut for Parlophone in 1969 and began a legacy which continues to this very day, albeit with a wholly different line-up than the one that founded the band all those many years ago.  Esoteric Recordings, an imprint of the Cherry Red Group, has recently reissued the first three albums by the band in new expanded editions.

The self-titled The Climax Chicago Blues Band introduced the world to Colin Cooper (vocals/saxophones/harmonica),  Pete Haycock (guitar/vocals), Arthur Wood (piano/organ/celeste/harmonium), Derek Holt (rhythm guitar/organ/bass), Richard Jones (bass) and George Newsome (drums).   The sextet recorded its first album at Abbey Road under the auspices of budding producer Chris Thomas for George Martin’s AIR production company.  Geoff Emerick was among its engineers.  CCBB was recorded in just two days and largely based on the group’s well-honed live stage routine, blending original songs with covers including “Don’t Start Me Talkin’” by Sonny Boy Williamson, “How Many More Years” by Howlin’ Wolf and “The Entertainer” by Scott Joplin.  Williamson and Wolf, a.k.a. Chester Burnett, were leading lights of the Chess Records-fuelled blues scene in (where else?) Chicago. 

 (“How Many More Years” would go onto inspire “How Many More Times” on Led Zeppelin’s debut, earning Wolf a songwriting credit decades later.)  And “The Entertainer” showed the versatile group’s prescience; just a few years later, Marvin Hamlisch would reinvent the ragtime tune for his Academy Award-winning score to The Sting.  The Climax Chicago Blues Band emphasizes the blues part of the blues-rock equation, though the heavier tracks like “And Lonely” certainly fit the bill for blues-rock.  Esoteric’s reissue premieres a full complement of seven bonus tracks including alternate takes of “Don’t Start Me Talkin’,” “You’ve Been Drinking” and “And Lonely” and outtakes of four other songs.  Another Sonny Boy Williamson staple, “Checking On My Baby,” and T-Bone Walker’s torrid “Stormy Monday” are among the tracks originally left in the vault and rescued by producer Mark Powell for this release.
by Joe Marchese

1. Mean Old World (Big Bill Broonzy) - 3:52
2. Insurance (Waldense Hall, Charlie Singleton) - 3:49
3. Going Down This Road - 3:02
4. You’ve Been Drinking - 2:28
5. Don’t Start Me Talkin’ (Sonny Boy Williamson) - 3:18
6. Wee Baby Blues (Pete Johnson, Big Joe Turner) - 3:20
7. Twenty Past One - 3:08
8. A Stranger In Your Town (Colin Cooper, Lee Hazlewood) - 4:16
9. How Many More Years (Chester Burnett) - 2:58
10.Looking For My Baby - 2:50
11.And Lonely - 8:40
12.The Entertainer (Scott Joplin) - 2:44
13.Checking On My Baby (S. B. Williamson) - 3:24
14.Arthur's Boogie (A. Wood) - 1:35
15.Stormy Monday (T-Bone Walker) - 5:36
16.Don't Start Me Talkin' (Take One) (S. B. Williamson) - 2:54
17.Anybody's Boogie - 0:58
18.You've Been Drinking (Take One) - 4:11
19.And Lonely (Take Five) - 5:33
All songs by The Climax Chicago Blues Band except where stated.

The Climax Chicago Blues Band
*Colin Cooper - Vocals, Harmonica
*Peter Haycock - Lead Guitar, Slide Guitar, Vocal
*Arthur Wood - Piano, Organ, Celeste, Harmonium
*Derek Holt - Rhythm Guitar, Organ, Bass Guitar
*Richard Jones - Bass Guitar
*George Newsome - Drums

1970  Climax Chicago Blues Band - A Lot Of Bottle (2013 remaster and expanded)

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Friday, January 23, 2015

Gonn - Gonn For Good The Best Of Gonn (1966-67/90/96 us, tough raw garage rock)

Gonn formed in Keokuk in 1965 as The Pagans, by the summer of ‘66 founding members Craig Moore (bass) and Gerry Gabel (organ) had been joined by Gary Stepp (rhythm guitar) from Keokuk, Rex Garrett (lead guitar) and Brent Colvin (drums) from Fort Madison.

The band changed the name because Rex’s mom didn’t like it and it was time for a change. The name was the result of throwing words around and settling on the hip term “gone.” They psychedelicized the spelling in the style of the era as a tribute to a great band from Ottumwa, MADD, that GONN held in highest regard.

GONN quickly evolved into a heavily English and West Coast-influenced no-holds-barred garage band; taking their sound and attitude from the likes of the Yardbirds, Rolling Stones, Chocolate Watchband, Doors, and Raiders.

They quickly became known as the “Loudest Band In Town” both on and off stage. By that winter the band had recorded a song written by Craig and Rex that has become legendary — “Blackout Of Gretely”; issued on Bur1ington’s Emir Records with b/w “Pain In My Heart.”

In 1967 former Pagan guitarist Larry LaMaster rejoined the group and Colvin was replaced by 14-year-old drummer Dave Johnson. They went to Freddie Tieken’s Quincy, Ill., IT Studio and recorded their second single “Come With Me” b/w “You’re Looking Fine.”

During 1966-1968, GONN opened concerts at the Burlington Memorial Auditorium with such acts as The Trolls, Mob, American Breed and many others. The band packed teen centers, KC halls all over their corner of the world, traveling in the same 1951 hearse that was used for Craig’s aunt’s funeral!

The original lineup played the 1966 Iowa State Fair to a positive response and in 1967 they came in second to Echos V (Hall of Fame 1998). The band felt their ever-expanding hard-edged psychedelic approach was maybe a little more than the Fair judges could assimilate. GONN appeared for the last time at the state fair in 1968.

Although a working band for a short 2 — years, the group’s members were never out of touch, reuniting in 1990 for a Keokuk riverfront show. In 1996 six of the seven 66-67 members got together to record an entirely new album “Gonn With The Wind” and released a CD of all their 60’s recordings “Frenzology — Punks Along The Mississippi.

Over the years the band received an endless stream of fan letters from around the world. “Blackout” and their intended but never released single “Doin’ Me In” (issued on the Voxx LP) were covered by nuevo garage bands from California to Paris and Rome and beyond. In February of 1997, a six-piece GONN toured Europe for the first time with shows in Rome, Turin, Amsterdam, Paris and others.

1. Don't Need Your Lovin' (Arnold Arr. by Aguilar) - 3:46
2. Death Of An Angel (Donald Woods) - 2:40
3. Sometimes Good Guys Don't Wear White (Ed Cobb) - 2:34
4. Hey Joe (Billy Roberts) - 3:24
5. Blackout Of Gretely (Rex Garrett, Craig Moore) - 4:35
6. Doin' Me In (Rex Garrett, Craig Moore) - 2:53
7. You're Looking Fine (Ray Davies) - 3:44
8. Come With Me (Rex Garrett, Craig Moore) - 2:09
9. Alabama Song (B. Brecht, K. Weil) - 3:07
10.Doin' Me In (Rex Garrett, Craig Moore) - 3:20
11.Oh Yeah (Elias McDaniel) - 2:59
12.Fellow Slave (Walt Stewart) - 2:50
13.When I Was Young (Burdon, Weider, Briggs, McCulloch) - 3:23
14.Head In The Clouds (Craig Moore) - 3:27
15.Pretty Girl (Craig Moore) - 4:32
16.The Wind (Craig Moore) - 6:09
17.Shame On You (Rudi Prodrudi) - 3:47
Tracks 1-5 Recorded 1966
Tracks 6-8 Recorded 1967
Tracks 9-11 Recorded Live in 1990
Tracks 12-16 From the 1996 LP "Gone With The Wind"

*Rex Garrett - Guitar, Vocals
*Gerry Cabel - Vox Organ, Vocals
*Gary Stepp - Guitar, Vocals
*Craig Moore - Bass, Vocals
*Larry LaMaster - Guitar
*Dave Johnson - Drums

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Wednesday, January 21, 2015

Jónas Einar - Gypsy Queen (1972 iceland, outstanding folk rock with prog shades, 2013 reissue)

Einar Vilberg started in the music business quit early, born in Reykjavik Iceland 1950. He started writing songs at the age of 14. Einars first appearance as a musician was as a singer in a school band called the "Beatnicks", (note the take off on the Beatles!!) In 1969 he flew to London England to cut his first record, (there where no recording studios in Iceland at that time) playing the role of songwriter and guitar player on a single called Insane world, an anti war project sung by one of Iceland’s most popular singer at that time.

Next year Einar provided songs and guitar playing on two more singles sung by prominent Icelandic artists. In 1972 after playing in different groups and doing some television shows Einar made the LP Gypsy Queen writing the lyrics and the songs. 

1. On A Riverboat - 2:39
2. Sweet Lady -  2:26
3. I Just Want Your Love - 2:31
4. A Song For Christine - 1:25
5. Gypsy Queen - 3:56
6. Look At All Those People - 2:42
7. Freedom For Our Lovin' - 3:13
8. See The Sun - 4:09
9. Music Forest - 1:48
10.How Can We Know God Is Real? - 3:51
11.Lucky Day - 2:30
12.Gypsy Queen - 0:21
All songs written by Einar Vilberg Hjartarson

Jónas Einar
*Jónas R. Jónasson - Vocals, Flute, Accordion, Percussion
*Einar Vilberg Hjartarson - Vocals, Guitars
*Timmy Donald - Drums, Congas
*Sigurdur Arnason - Bass

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Monday, January 19, 2015

New York Rock 'N' Roll Ensemble - Faithful Friends / Reflections (1969-70 us / greece, amazing baroque folk psych rock, 2005 edition)

Over the course of their first three albums in the late 1960s, the New York Rock 'n' Roll Ensemble made their mark as one of the few bands of any era to comfortably integrate classical music and instrumentation into a rock format. Their 1968 self-titled debut had been co-produced by Shadow Morton (famous for his work with the Shangri-Las, Janis Ian, the Vanilla Fudge, and later the New York Dolls), and also showcased a quintet that could skillfully blend instrumental, compositional, and vocal input from five distinct and diverse musicians. The group's 1969 follow-up, Faithful Friends, solidified and expanded their assets while allowing themselves to take a stronger voice in the production.

Most of the songs on Faithful Friends were original compositions, and owed more to rock than classical music, with all five members contributing as songwriters.  The band also inserted brief classical pieces by Bach ("Trio Sonata No. 2 in G Major") and Thomas Morley ("Aria"), as well as a lengthier adaptation of Bach's "Brandenburg." On top of all this was a cover of one of Jimi Hendrix's less celebrated songs, "Wait Until Tomorrow." With the frequent incorporation of oboe and cello into the arrangements, and the group's oft-noted performances in tuxedos and tails, they didn't quite sound or look like any other act on the late-'60s rock scene—quite a feat, at a time when so many artists were trying to outdo each other in eclecticism or outrageousness.

The division of most of the lead vocals between keyboardist/oboist Michael Kamen and rhythm guitarist Brian Corrigan as an asset. "Michael had the more 'cultured' voice, with some early stage experience in musicals prior to the NYR&RE (also in early bands)," he notes. "He wanted badly to be the American John Lennon. Brian had [a] more bluesy voice, and could be more easily compared with Jagger. The combination was great for us and helped to set off the songs, and also helped us to remain slightly enigmatic and not so easy to cubbyhole (are they classical? Rock? Or what?)—which was both an advantage and disadvantage." Adds lead guitarist Clif Nivison (who also takes a lead vocal on "Lazy Man"), "No band I've been in since had people who could all sing lead and harmony. Michael and [drummer/oboist] Marty [Fulterman] could both hear oboe parts in almost all songs, and the cello is such a beautiful sound; it always adds color."

Of the original songs on Faithful Friends, perhaps the most familiar-sounding to the general rock audience is "Sing Lady Sing," due to its similarity to a different record that ended up getting much more exposure. "Buddy Miles took pretty much all the guitar lines that Michael and I wrote and used them in 'Them Changes,'" says Nivison. "It is the same song with a different vocal." As for the group's cover of "Wait Until Tomorrow," written by a musician with whom Miles was soon to (briefly) play, Clif explains, "Michael and I were great Hendrix fans. He heard us play his song at [the New York club] The Scene in 1969. He told us he really liked it."

It was original material, however, that was at the core of Faithful Friends, often blending rock and classical flavors into the same track without either element clashing with or overwhelming the other. Although the New York Rock & Roll Ensemble were happy with how their music was progressing, Faithful Friends, like their debut, was not a big seller, possibly because it was so hard to categorize. "I think the media was still having problems with us, our image, and our 'place' in the rock developments of that time," feels Dorian. "The West Coast was coming on strong—hippies, war resisters, the whole '60s thing was exploding all around and we were exploding with it. However, we still had our tuxedos and tails we wore playing live, and we were still often connected to the New York 'Beautiful People' scene—a difficult image that was becoming more and more of a burden. In fact, during the time of this record's release, we were breaking away from that, and so I guess we were getting mixed signals—very positive from our fan base, and more restrained from the new audience we were beginning to reach out to." The band's association with Atlantic Records was already on the verge of ending, but not before a third album of a very different sort, Reflections, emerged—a story told on Collectors' Choice Music's CD reissue of that unusual recording.

For their third--and certainly best--record the band recruited Greek composer and songwriter Manos Hadjidakis. The resulting REFLECTIONS plays like a film score--not surprisingly, given Hadjidakis's experience as a composer of just such works--with epic instrumental sweeps and passages of quiet melancholy. Many of the tracks, such as "Orpheus," "The Day," and "Kemal," incorporate the folk melodies of Hadjidakis's homeland while maintaining a baroque psychedelic touch. 
by Richie Unterberger

Faithful Friends 1969
1. I'm Too Busy (Brian Corrigan, Martin Fulterman) - 3:05
2. City (Michael Kamen) - 3:18
3. Asking Too Much (Brian Corrigan, Michael Kamen) - 2:39
4. Trio Sonata No. 2 In G Major (Johann Sebastian Bach) - 0:53
5. Kite Song (Brian Corrigan, Michael Kamen) - 2:20
6. Wait Until Tomorrow (Jimi Hendrix) - 3:50
7. Sing Lady Sing (Brian Corrigan, Michael Kamen) - 3:17
8. Nel Cox (Brian Corrigan, Michael Kamen) - 2:53
9. Thinking Of Mary (Brian Corrigan, Dorian Rudnytsky) - 3:06
10.Faithful Friends (And Flattering Foes) (Martin Fulterman) - 3:10
11.Aria (Thomas Morley) - 1:05
12.Lazy Man (Clifton Nivison) - 2:47
13.Brandenburg (Johann Sebastian Bach, B. Corrigan, M. Fulterman, M. Kamen) - 5:20
Reflections 1970
14.Orpheus (Manos Hadjidakis, Dorian Budnytsky) - 2:37
15.The Day (Manos Hadjidakis, Brian Corrigan) - 3:42
16.Love Her (Manos Hadjidakis, Brian Corrigan) - 5:02
17.Dance Of The Dogs (Manos Hadjidakis) - 3:30
18.Kemal (Manos Hadjidakis, Martin Fulterman) - 4:32
19.Dedication (Manos Hadjidakis, Clifton Nivison) - 2:51
20.The Three Answers (Manos Hadjidakis) - 3:50
21.Street Song (Manos Hadjidakis, Brian Corrigan) - 3:23
22.Bitter Way (Manos Hadjidakis, Brian Corrigan) - 4:39
23.Noble Dame (Manos Hadjidakis, Dorian Budnytsky) - 3:31

The New York Rock 'N' Roll Ensemble
*Dorian Rudnytsky - Bass, Cello
*Martin Fulterman - Drums, Oboe
*Michael Kamen - Keyboards, Oboe
*Clifton Nivison - Lead Guitar
*Brian Corrigan - Rhythm Guitar
*Manos Hadjidakis - Orchestral Arrangements (14-23)

1971-72  The New York Rock Ensemble – Roll Over / Freedomburger

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Saturday, January 17, 2015

Crystal Syphon - Family Evil (1967-68 us, brilliant garage acid psych, 2012 Vinyl edition)

America’s great lost acid rock band.  Who knew California band Crystal Syphon had an album’s worth of material sitting in the can waiting to be heard by 60s psych rock fans?  This has to be not only one of the best reissues of 2012 but also one of the best archival classic rock discoveries of the year.

Crystal Syphon’s origins can be traced back to the Morlochs, a garage band who formed in 1965 and hailed from the San Joaquin Valley area.  As the years went by (and after several personnel changes) the Morlochs changed their name to Crystal Syphon.  Crystal Syphon played the S.F. live circuit with some of the era’s biggest names while the major labels expressed serious interest in this promising, up-and-coming group.  As the 60’s passed into the 70’s, no album or single appeared and the group members moved on to other projects, effectively putting an end to Crystal Syphon. Roaratorio did a superb job in assembling this excellent LP (vinyl only release), which was cobbled together from studio sessions, demos and live shows.  It’s arguably a fuller picture then any studio LP could give the listener, as all sides of the band are on full display, whether it be in the studio or on the live stage.

Does the music live up to the hype? You bet. The earliest tracks have a rawer sound than the later material, which is clearly influenced by big time S.F. bands Quicksilver Messenger Service, The Grateful Dead and Jefferson Airplane.  “In My Mind,” recorded in 1968, sounds like a lost outtake from the first Quicksilver album.  The deep vocals and vibrating guitar tones strongly recall the mighty Quicksilver Messenger Service.  No matter, it’s an excellent track that could have easily made any psych compilation you care to name.  “Marcy, Your Eyes” and “Paradise” two of the earliest cuts from 1967, have thick garage fuzz, naive teen vocals, and cascading acid guitar work – outstanding.  The last 15 seconds of “Paradise” are especially great.

The guitarist starts playing eastern scales and just when you think they are about to explode into the most intense raga solo you’ve ever heard the song ends – what a clever trick!  Other highlights are the menacing acid rock of “Fuzzy and Jose,” “Family Evil” and “Winter Is Cold.”  These cuts are longer, slow paced and closer in sound to Jefferson Airplane and Quicksilver Messenger Service – lots of acid guitar work, creative arrangements and spacey vocals.  “Try Something Different” is another earlier cut with a lilting folk-rock sound that recalls Buffalo Springfield in it’s guitar figures.

Every cut on Family Evil is worthwhile.  There’s nearly 50 minutes of great psych rock here – so not only a significant discovery but an absolute must own for any 60s rock fan.
by Jason Nardelli

1. Marcy Your Eyes - 3:36
2. Paradise - 3:08
3. Have More of Everything - 5:25
4. Try Something Different - 3:42
5. Fuzzy And Jose - 7:33
6. Are You Dead Yet - 2:17
7. In My Mind - 2:43
8. Family Evil - 5:41
9. Fails to Shine - 5:46
10.Winter Is Cold - 7:01
All songs by Crystal Syphon

Crystal Syphon
*Tom Salles - Vocal, Guitar
*Jim Sanders - Vocal, Guitar
*Jeff Sanders - Vocals, Organ, Percussion
*Bob Greenlee - Bass
*Andy Daniel - Drums (1-4)
*Dave Sprinkel- Vocals, Organ, Percussion (Except #4)
*Marvin Greenlee - Drums (5-10)

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Thursday, January 15, 2015

Lincoln Street Exit - Drive It (1970 us, superb garage psych, 2010 remaster and expanded)

Dearest Brothers and Sisters
Make no mistake about this album, it is loud, heavy, alive and ready. Lincoln St. Exit was formed in June of 1964. Since then they lost one of their musicians, Paul Chapman(who died). The three original members, Michael Martin, Mac Suazo and Lee Herres, still remain with the group. Their music is influenced greatly by the American Indian culture of New Mexico.

This is evident in the hard-driving beat and hypnotic rhythm pattern that is maintained throughout the album. Their own personal feelings and the many hard times they have encountered along the way all come through in their music. As co-writer on some of the material, our view of the war is expressed in the two compositions "Man Machine" arid "Time Has Come Gonna Die".

We move from such gospel-orientated tunes as "Going Back Home" and "Soulful Drifter" to the down home sound of "Teacher Teacher" and "Dirty Mother Blues", the latter being so heavy it shakes all of your \ital organs Our snnga also deal with modern sexual mores, as in "Straight Shootin1 Man", "Got You Babe" and "Phantom Child". Lincoln St. Exit have been together for over six years, and they're going to make it.
God Bless The Exit.
As told to Mark Janowski by Tommy Bee

This is my cup of tea, one of my desert island records. Dirty, rough, Garage, Psych, Roots 'n' Roll, Folk, well it's everything abount Rock 'n' Roll in a magic cauldron, just give a spin and let yourself to enjoy a trip far and beyond...

Lincoln St. Exit were Albuquerque, New Mexico’s premiere garage/ psych band of the late 60′s, early 70′s. In early 1969 Lincoln St. Exit, Mike Martinez, Mac Suazo, RC Gariss and Lee Herrerra recorded in Clovis New Mexico at the Norman Petty Studios and the song "Soulful Drufter" emerged from the "Drive It" Album. The album was distributed by Mainstream Records.

Artists like Janis Joplin (Pre Columbia Records) and Amboy Dukes (Ted Nugent’s group) recorded for the label at the same time.  Soulful Drifter gained radio station play and Exit had a hit record along the Great Lakes Area.  The airplay was enough to catch the ear of Motown records in Detroit.

At that time Motown was looking to increase it’s catalog of new artists on their new Rare Earth label and Exit filled the need.  Motown liked the group, a new sound, a new look and a new direction was needed.  So the idea was that they would return to their roots and create.  A new sound in music was born “American Indian Rock”. Under the management of Tom Bee the new sound emerged and the new Xit name was born.  The acronym was XIT for Xing of Indian Tribes came about because of some of the group’s ethnic background.

The first album for Motown was “Plight of the Redman” released in 1971.  It’s a history lesson from the beginning to end sung by member Mike Martinez and tells the story from the beginning of peace in the New World to their struggles with the white man in America and finally to the climatic end of the narrative speech by Mac Suazo.

XIT played many venues including the Whiskey A Go-Go in Hollywood and in 1972 the 8th International Music Festival in Venice Italy.  This festival was broadcasted to over 30 million people throughout Europe, along with countless concerts in cities and reservations across the United States and Canada.

1. Man Machine - 4:02
2. Dirty Mother Blues - 6:55
3. Got You Babe - 3:06
4. Teacher Teacher - 2:45
5. Soulful Drifter - 2:00
6. Time Has Come Gonna Die - 4:06
7. Going Back Home - 3:03
8. Straight Shootin' Man - 3:00
9. Phantom Child - 3:14
10.The Bummer - 2:22
11.Sunny Sunday Dream - 2:58
12.St. Louis Mama (B-Side 1968) - 2:35
13.Whatever Happened To Baby Jesus (Parts 1 & 2 1968 Single) (Bonus Track) - 6:18
14.The Bummer (A-Side 1967) - 2:23
15.Sunny Sunday Dream (B-Side 1967) - 3:33
16.Who's Been Driving My Little Yellow Taxi Cab (A-Side 1966) - 2:16
17.Paper Lace (B-Side 1966) - 2:20
18.Half A Man (Bonus Track) - 3:00
19.She's Upon Her Way (Bonus Track) - 2:49
20.Open Doorway (Bonus Track) - 2:45
21.Orange Benevolent (Bonus Track) - 2:45
22.Forever Or Not At All (Bonus Track) - 3:48
23.Yellow Man Of Paris - 2:40
24.She's My Everything (Bonus Track) - 3:05

Lincoln St. Exit
*Michael Martin - Lead Vocals, Lead Guitar
*Mac Suazo - Heavy Bass Guitar
*Lee Herres - Drums And Percussion
*R. C. Gariss - Second Lead Guitar

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