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

Monday, November 30, 2015

Thirty Days Out - Miracle Lick (1972 us, awesome groovy rock, 2010 issue)

Playing a well behaved version of San Francisco west coast and Midwestern hippie rock with slight progressive moves, 'Miracle Licks' will appeal to those who long for the hazy days of Grand Funk Railroad, early REO Speedwagon and more importantly Quicksilver Messenger Service. 'Honey I Do' is standard '70s good time rock, pleasant enough blue-jean boogie and the type of thing that backed-up clogged airwaves in the early part of the decade, but it's the final track on this side that wins points for creativity. 'The Sun Keep Right On Shining' with its well placed use of Mellotron and haunting melody makes searching for this record all the more worthwhile. 

As shamefully post-Woodstock a title as 'Everybody's Got to Have A Song' is, you would be forgiven for expecting the worse but it's actually a very good tune with excellent vocals from John Micaleff who shines on much of the record. 'Never Felt Better' sounds like an REO Speedwagon/ Neal Doughty styled rocker featuring a prairie burning organ solo and barroom piano with 'Take A Look At Yourself' closing out the album along similar lines making for a slightly above average album of groovy Midwest rock- New York style.

Thirty Days Out bass player Monte Melnick ended up as tour manager for New York punk darlings The Ramones, but trying to find much else on this east coast band is next to impossible. The group released a self-titled album in 1971 sent to record stores not in shrink wrap, but housed in a poster of a Steamliner. A novel idea and it received a lot of attention from store owners and record buyers, but the band's second album 'Miracle Lick' didn't fare quite as well and the band folded shortly thereafter.

1. Honey I Do (Jack Malken, John Micallef) - 3:54
2. I Need You - 3:23
3. Any Other Day (Phil Lowe) - 3:14
4. Tupelo (Jack Malken, John Micallef) - 2:53
5. The Sun Keeps Right On Shining - 5:40
6. Everybody's Got to Have A Song - 5:25
7. Phoenix - 2:49
8. Never Felt Better - 4:11
9. Take A Look At Yourself - 6:08
All compositions by John Micallef except where stated

Thirty Days Out
*Phil Lowe - Drums, Vocals
*Jack Malken - Lead Guitar, Vocals
*Monte Melnick - Bass, Keyboards, Vocals
*John Micaleff - Vocals, Guitar
*Nicky Harrison - strings
*Bing McCoy, Teddy Taylor - keyboards, mellotron
*Madeleine Bell, Doris Troy, Lisa Strike, Christine Ohlman - background vocals

1971  Thirty Days Out - Thirty Days Out (2010 edition) 

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Wednesday, November 25, 2015

Sitting Bull - Trip Away (1971 germany, spectacular west coast influenced heavy psych with prog shades, 1994 and 2002 bonus tracks editions)

The beginning of Sitting Bull is closely linked to the musical history of bandleader Bernd Zamulo. Bernd Zamulo grew up near Bremen where he played with a few local bands. At a Lords concert in 1965 he met the band and they clicked from the start and at another gig Bernd was invited to play bass with them. It was a perfect performance and he sung the classic "Boom Boom". Later on that year the Lords bassist, Lord Knut, had a bad accident and was unable to continue playing so they asked Bernd to take his place for the rest of the tour. In the autumn of 1965 Bernd left his band Rhythm Brothers, and joined the Lords. With his other talents as a pianist, guitarist and singer he was quite a find for the Lords. 

The following years saw the Lords produce many hit singles arid albums making a lot of money in the process. Bernd was getting restless though and wanted to leave the mainstream and take a change towards more progressive music. He was in a quandary though as he was good friends with the other band members but could not realize his musical ambitions with them. 

In the beginning of 1971 he made his decision and left the Lords which in turn led to the break-up of the band who in fact reformed years later. The break-up of the Lords created a furor in press but could not hold Bernd back from his decision and he went looking for new musicians, which didn't take long. Bernd's interest in American Indians led to the group being called Sitting Bull. His past career with the Lords put him in good stead with the music industry making it easier to find a record deal. 

To avoid record company influence the band decided to produce their record themselves but this was a costly matter and the money had to come from somewhere. Although Bernd made a lot of money with the Lords he also lived well and his lifestyle had to change, lie moved away from the costly Dusseldorf and moved to a hunting cottage in Oldendorf outside Bremen and sold off some of his luxurious possessions that he accumulated with the Lords.

With a record company advance from CBS Sitting Bull moved into Hamburg's Windrose studio to record their debut LR The band were able to use the excellent facilities and were able to emulate their contemporizes from Britain and America and record whenever they felt like it. They were able to do exactly what they wanted in this top studio and were not bothered about making their music commercial, the love of music was enough. As the sessions were lengthy and costly the band had to move out of their hotel and into an empty house. 

When the LP finally arrived CBS took two songs for a single and arranged a promotion tour which proved impossible to finish because the band's lifestyle was so chaotic they were not even able to turn up for some of the dates! The record company was not too pleased about this and the band broke up after being together for nearly two years. With a changed line-up they recorded two singles for Philips. Two titles we have chosen as bonus tracks.

Bernd Zamulo decided to take a break and in 1975 joined up with his former colleagues from the newly reformed Lords where he has stayed until today. Compared with other German bands the Sitting Bull album was a success and entered the LP charts accumulating positive press critique on the way. The autonomy of the music was praised especially the long improvised epic Krautrock songs. 

The title song of the album. "Trip Away'' was over ten minutes long and showed the clear structural and musical abilities of the band. Untypical for German bands of the time Sitting Bull were influenced by West Coast music which when given the German treatment was a special experience.
by Manfred Steinheuer
Many thanks to B. Zamulo for his kind help.Translation: Trevor Wilson

1. Trip Away (Pit Schimkat, Sabine Schöffler) - 10:19
2. Song Of Junk (Bernd Zamulo, Pit Schimkat, Sabine Schöffler) - 3:51
3. Every Time (Pit Schimkat, Sabine Schöffler) - 3:17
4. Indian Fate (Pit Schimkat, Sabine Schöffler) - 3:55
5. Hopeless Love (Bernd Zamulo, Pit Schimkat, Sabine Schöffler) - 2:50
6. Too Many Stops (Jochen Jaschinski) - 4:24
7. For Me For You (Jochen Jaschinski) - 4:26
8. Business Woman (Pit Schimkat, Sabine Schöffler) - 3:47
9. Lonely Lover (Bernd Zamulo, Pit Schimkat, Sabine Schöffler) - 3:57
10.Clean Survival (Bernd Zamulo, Jochen Jaschinski) - 4:01
11.Motorcycle Mama - 2:07
12.Your Lovin' Man - 1:47

The Sitting Bull
*Piet Schimkat - Vocals
*Bernd Zamulo - Bass, Vocals, Piano
*Rolf Brockhorst - Guitar
*Achim "Zotty" Brierley - Drums
*Jochen Jaschinski - Additional Vocals, Compositions
*Sabine Schoffler - Lyrics

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Friday, November 20, 2015

The Stained Glass - A Scene In Between (1965-67 us, exciting garage beat folk psych, 2013 issue)

“A Scene In-Between” is the story of a group who fell through the cracks.An act with the Stained Glass’s capabilities should have been huge.Mid-60s San Jose, California had a thriving music scene, but was overshadowed by that of neighbouring San Francisco.

Compared to the garage stylings of the Chocolate Watchband or Count Five, the Glass boasted a quirky and melodic demeanour, one which captured the European beat group zeitgeist better than other local groups.

They had progressive and innovative material, the product of the fertile imagination of bass player Jim McPherson.A singular talent quite without compare on the local scene, McPherson threw musical curveballs that caught the ear, and pollinated each lyric with an intriguing worldview.These were not the thought processes of the typical garage band.

Jim’s songs also benefited enormously from the assistance of drummer Dennis Carrasco and guitarist Bob Rominger.The pair’s superlative vocal and instrumental capabilities drew out the melodic possibilities of the arrangements.Just as important was the founding member of the Stained Glass, Roger Hedge; without his drive the band’s repertoire may never have reached the general public.

The quartet began as the Trolls in 1964, issuing the fantastic punk item ‘Walkin’ Shoes’ themselves before a run of singles on RCA which included the pop-psych gems ‘My Buddy Sin’ and ‘A Scene In-Between’.Although the Glass later signed to Capitol for two albums, including 1968’s acclaimed “Crazy Horse Roads”, our collection focuses on their first incarnation, and presents the best of their released tracks from then, along with a swathe of exceptional unissued recordings that reveal their smart songwriting and innovative sound.Highlights include several sides cut as the Trolls; the rocking out-takes ‘Broken Man’ and ‘Bubble Machine’; intriguing demos such as ‘Second Day’ and ‘Revenge Is Sweet’; and some raw live tracks that further showcase their abilities.All songs are from master tape, and the heavily-illustrated booklet delves into the Stained Glass’ career with great detail.

There are some projects I have toiled at for years, waiting patiently for a break in which to move forward.This particular set has been in my mental In Box ever since I found a copy of ‘Walkin’ Shoes’ in an Oakland disc emporium, not long after moving to the Bay Area over a quarter-century ago.I subsequently located the other Stained Glass records, all of a high standard, but it wasn’t until I investigated their unreleased material some years later that I appreciated how special they were.As each year dragged on, patiently waiting for the various permissions required, I got to know the various parties: Jim McPherson’s supportive widow Evy, the affable Mr Carrasco and the erudite Mr Rominger.Then, as we moved into the home stretch, as if by magic the enigmatic Roger Hedge materialized from the ether.He not only handed me the long-thought-lost Trolls master tapes, but also spun tales of his days when he was a national badminton champion.

Thus with the release of “A Scene In-Between”, this long, strange trip has a most satisfying resolution.Jim McPherson’s aptitude was evident, confirmed by his later association with local SF rock heavies which included John Cipollina’s Copperhead and  a successful writing career for others such as Jefferson Starship.His work with the Stained Glass was viewed largely as an apprenticeship, his “baby pictures”, if you will.But the short few years documented on this collection reveal his one-of-a-kind talent was in full flower even at that early stage.And to a man, his fellow travelers: Dennis Carrasco, Bob Rominger and Roger Hedge brought that talent to life with their essential contributions.Any musician should be proud of baby pictures such as these.
by Alec Palao

The Trolls
1. Walkin' Shoes - 2:08
2. She's Not Right - 2:17
3. How Do You Expect Me To Trust You? - 2:51
4. No Rhyme Or Reason (Roger Hedge) - 2:21
5. Sweeter Than Life - 2:27
6. Such Good Friends - 1:46
The Stained Glass
7. Broken Man - 2:38
8. Lonely Am I (Bob Rominger) - 2:25
9. If I Needed Someone (George Harrison) - 2:12
10.My Buddy Sin - 2:55
11.Vanity Fair - 3:01
12.Revenge Is Sweet (Bob Rominger) - 2:07
13.We Got A Long Way To Go (Barry Mann, Cynthia Weil) - 2:34
14.Inside Ouch - 2:14
15.Too Fit To Be Tied (Demo) - 3:39
16.Dollar Sign Friends (Demo) (Bob Rominger) - 2:18
17.Second Day (Demo) - 2:44
18.Bubble Machine - 2:55
19.Mediocre Me - 2:45
20.A Scene In-Between - 2:38
21.Mr Martyr - 2:21
22.You Keep Me Hangin' On (Live) (Brian Holland, Lamont Dozier, Eddie Holland) - 2:54
23.My Flash On You Live (Arthur Lee) - 3:00
24.2120 S.Michigan Avenue (Live) (Mick Jagger, Brian Jones, Keith Richards, Charlie Watts, Bill Wyman) - 5:28
All Tracks written by Jim McPherson except where noted

The Stained Glass
*Jim McPherson - Bass, Harmonica, Keyboards, Vocals
*Bob Rominger - Guitar, Vocals
*Roger Hedge - Rhythm Guitar, Vocals
*Dennis Carrasco - Drums, Vocals
*Billy Mure - Harmonica
*Don Peake - Guitar

1969  Stained Glass - Crazy Horse Roads
1969  Stained Glass - Aurora

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Monday, November 16, 2015

P.F. Sloan ‎- Measure Of Pleasure (1968 us, tremendous folk rock, 2006 issue)

With the exception of "Secret Agent Man", nearly all of P.F. Sloan's best-known songs appear on his mid-'60s Dunhill records. While Songs Of Our Times and Twelve More Times endure as classic folk-rock albums, and "Take Me For What I'm Worth" as first-rate songwriting, Measure Of Pleasure sounds far more modern as a piece of recording than the Dunhill LPs. Produced in 1968 by Tom Dowd and recorded in Muscle Shoals with a band that included Steve Cropper, Measure was overlooked upon its release. Still, Sloan's rich tenor and controlled falsetto mark him as a completely credible pop-soul singer. "New Design" stands with his best work, and on "Country Woman" he sings, "Everything I could hope for/Is waiting for me down in Tennessee," and sounds convincing. The idiomatic backing tracks are superb, and Sloan sings as though he needs nothing more than a hot meal and a warm Tennessee woman.
by Edd Hurt

The brilliant first Atlantic album by PF Sloan blend of New York folk and rougher roots, all recorded at the Sun Studios in Memphis, with some great help from a backing group that includes Steve Cropper on guitar! Sloan's folkie tendencies are nicely undercut by the harder Memphis groove here – one that's got some slightly soulful undercurrents, and which works beautifully with the poetry of his original compositions. The blend is one that helps keep the record from sounding too much like any of Sloan's contemporaries – although at one level, it's also a conduit for so a huge amount of different musical ideas and options that were opening up to American singers at the end of the big folk boom of the 60s. Elements of Tim Hardin, Tim Buckley, and Fred Neill certainly surface here – but there's a sense of self that's all Sloan's own, and which makes us wish he'd followed up with work as strong as this!

P.F. Sloan, the songwriting great behind classic singles like Barry McGuire's "Eve of Destruction" and Johnny Rivers' "Secret Agent Man," passed away Monday night (Nov. 15/2015) after a short bout with pancreatic cancer, the musician's representative confirmed to Rolling Stone. Sloan, who was born Philip Schlein, was 70.

1. One Of A Kind - 3:02
2. New Design - 3:58
3. (What Did She Mean When She Said) Good Luck - 2:59
4. How Can I Be Sure - 4:45
5. Star Gazin' - 3:10
6. Miss Charlotte - 3:53
7. Champagne - 3:36
8. And The Boundaries Inbetween - 3:15
9. Above And Beyond The Call Of Duty - 3:40
10.Country Woman (Can You Dig It All Night) - 4:15
Words and Music by P.F. Sloan

*P.F. Sloan - Guitar, Vocals

1965-66  PF Sloan - Precious Time / The Best Of (vinyl edition)

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Saturday, November 14, 2015

P.F. Sloan - Precious Time / The Best Of (1965-66 us, impressive protest folk, vinyl edition)

A seminal figure in the evolution of West Coast pop, singer/songwriter P.F. Sloan composed and produced some of the most enduring records of the 1960s. While his solo efforts remain folk-rock cult classics, they were barely promoted by longtime label Dunhill, and his subsequent exit from the company was the start of a fall from grace that culminated in a three-decade absence from the studio. Born Philip Gary Schlein in New York City on September 18, 1945, he spent the lion's share of his adolescence in Los Angeles. While browsing the Sunset and Vine music store Wallich's Music City, the 12-year-old met Elvis Presley, who agreed to an impromptu introductory guitar lesson. Within a year Sloan signed to Aladdin Records, issuing his debut single, "All I Want Is Loving," to little notice. 

The Mart label effort "She's My Girl" met a similar fate, but in 1961 he resurfaced as a staff songwriter with Screen Gems, which teamed him with fellow composer Steve Barri under the supervision of producer Gary Usher. As the Fantastic Baggys, Sloan and Barri capitalized on the budding surf craze with "Tell 'Em I'm Surfin'." They also co-wrote the Round Robin hit "Kick That Little Foot, Sally Ann," and when Screen Gems exec Lou Adler broke ranks to found his own label, Dunhill, he brought Sloan and Barri with him to write and produce. Throughout the mid-'60s, the Sloan/Barri partnership proved a hitmaking force to rival the likes of Bacharach/David or Goffin/King. Smashes like Johnny Rivers' "Secret Agent Man," the Turtles' "You Baby," and the Grass Roots' "Where Were You When I Needed You" were instrumental in defining the sound of Southern California rock 'n' roll.

Sloan's most influential composition was the Bob Dylan-inspired "Eve of Destruction," a number one hit for Barry McGuire in the fall of 1965. The song, which drew fire from conservatives and liberals alike, nevertheless became one of the defining protest anthems of the growing counterculture movement, and its success spurred Sloan to renew his own recording career in full. His comeback effort, "Sins of a Family," a bleak, poignant tale of teen prostitution, spent less than two weeks on the pop charts in late 1965, and the LP Songs of Our Times suffered backlash from a folk-rock community that dismissed Sloan as little more than a studio hack jumping on the latest commercial trend. Moreover, Dunhill execs blanched at the thought of losing their most successful songwriter, and spent virtually nothing on promoting his solo career. 

A 1966 follow-up set, Twelve More Times, fared no better, and a frustrated Sloan demanded release from his contract. Dunhill finally agreed, but forced him to sign away all songwriting royalties past, present, and future. Sloan's talent and integrity inspired fellow pop tunesmith Jimmy Webb to write a glowing tribute, "P.F. Sloan," but he remained persona non grata on the pop charts. His 1968 Atco debut, Measure of Pleasure, tanked, and he relocated to New York City, moving in with his parents and plotting his next move. Sloan did not resurface until 1972, releasing the much-maligned Raised on Records on the tiny Mums label. In the decade to follow, he battled depression and catatonia, finally resurfacing in 1985 with a handful of New York club dates. Sloan nevertheless resisted overtures to cut a new LP until 2006, teaming with producer Jon Tiven and guests including Lucinda Williams and Frank Black to record the Hightone release Sailover. 
by Jason Ankeny

1. This Precious Time (PF Sloan, Steve Barri) - 2:41
2. Eve of Destruction - 3:08
3. The Sins Of A Family - 3:01
4. Here's Where You Belong (PF Sloan, Steve Barri) - 3:02
5. This Is What I Was Made For (PF Sloan, Steve Barri) - 2:17
6. What Exactly's the Matter With Me - 2:27
7. I Get Out Of Breath - 3:13
8. From A Distance - 3:04
9. The Man Behind The Red Balloon - 2:15
10.What Am I Doin' Here With You (PF Sloan, Steve Barri) - 2:41
11.Take Me For What I'm Worth - 2:45
12.Lollipop Train (You Never Had It So Good) (PF Sloan, Steve Barri) - 3:08
13.When The Wind Changes - 4:23
14.Halloween Mary - 2:32
All songs by PF Sloan unless otherwise.

*PF Sloan - Vocals, Guitar

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Thursday, November 12, 2015

The Bermuda Jam - The Bermuda Jam (1969 multinational, marvelous vivid psychedelia, 2015 issue)

If you go by the liner notes, this late-1960s quartet was a multi-national affair, the four members coming from Australia (James O'Connor), England (Paul Muggleton), Portugal (Glen Mello) and the States (Andy Newmark). In spite of the accents, one got the feeling this was little more than a goofball studio project, probably masterminded by Bob Crewe, whose DynoVoice label released their sole LP.

Produced by Andy Denno, 1969's "The Bermuda Jam" was one weird affair. Complete with sound effects and spoken word snippets, musically the set found the quartet all over the spectrum. "Hold Me" and "Who Put the Sun In Your Eyes (Who Put the Fly In Your Soup)" offered up harmony rich top-40 pop; "Up Down, Turn Around" found the band turning in a decent blue-eyed soul effort, while "Forever Young" had a C'n'W feel. Nothing here was terribly wrong, nor with the exception of the meltdown "Good Trip Lollipop" was there anything particularly right. 

Back to "Lollipop" - complete with meltdown keyboards, LSD drenched vocals (the hysterical laughter and nursery rhyme fragments were a sweet touch) and crunching guitar, it was easily the most psych-oriented effort and the standout track, it's too bad the rest of the LP wasn't as memorable. As you'd expect, the set vanished without a trace, followed in short order by the band. (Nice pajamas guys ...)

1. Hold Me (Paul Muggleton) - 2:37
2. Forever (Paul Muggleton) - 2:56
3. Good Trip Lollipop (An Antihystathmn) (Paul Muggleton) - 4:48
4. Who Put the Sun In Your Eyes (Who Put the Fly In Your Soup) (Paul Muggleton) - 4:08
5. Forever Young (Andy Denno) - 3:53
6. Up Down, Turn Around (Andy Denno, B. Campo) - 2:22
7. I Want To Love You (Andy Denno, Glenn Mello) - 3:03
8. Easy To Say (But So Hard To Do) (Andy Denno) - 2:32
9. Medley - 10:24
.a.Down In the Valley (Andy Denno, Glenn Mello, Paul Muggleton, James O'Connor)
.b.Getting Ready for the Heartbreaks (L. Weiss, L. Edwards)
.c.Don't Fight It (Wilson Pickett, Steve Cropper)
.d.I Who Have Nothing (J. Bryant)

The Bermuda Jam
*Glenn Mello - Bass, Guitar
*Paul Muggleton - Guitar, Vocals, Keyboards
*Andy Newmark - Drums
*James O'Connor - Guitar

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Sunday, November 8, 2015

Jellyroll - Jellyroll (1971 us, remarkable brass jazz blues rock, 2015 korean remaster)

Roger "Jellyroll" Troy, Musician, Singer, Bass Player, Songwriter, Producer, affectionately known as "Roll" to his peers, was a very well respected and talented musician, known by many fans, musicians and producers alike for his great vocals, writing and producing, and solid funky bass playing. Pull window down to see more below.

He was originally from Cincinnati, Ohio, later relocating to San Francisco, and played in numerous groups including "The Fendermen", "The Hollywood Argyles", his own group "Jellyroll" and record on Kapp records in or around 1969' entitled "jellyroll"-which included members Roger Troy (lead vocals bass), Tim Heding (keyboards, background vocals), Ed Setser (guitar), Stu Perry (drums, percussion), Lee Asch (alto-tenor-baritone saxophones), Dave Parkinson (tenor saxophone) and Bob Thorne (trumpet), also featured on the album is Cosme Joseph Deaguero on Conga.

Jellyroll joined The Electric Flag reunion band around 1973' and was on their subsequent record "The Band Kept Playing" and was a excellent record with Michael Bloomfield, Buddy Miles, Barry Goldberg, Nick Gravenites, and others, with producer great-Jerry Wexler, in 1974'...

He went on to play the next several years with "Michael Bloomfield and friends" groups, including "Try It Before You Buy It", "Life In The Fast Lane", "Between A Hard Place And The ground", "Count Talent and The Originals", "Live At The Old Waldorf", "Analine", "if You Love These Blues, Play Them Ad You Please", "Bloomfield-A Jellyroll had a solo record he did on RCA records in 1976, which featured such top-notch studio musicians such as James Gadson, Sonny Burke, Larry Goshorn, Ernie Watts, and others.

Roll worked into the late 70s and 80s with such artists as Maria Muldour, Mick Taylor, Lonnie Mack, Nick Gravenites, Jerry Garcia & Howard Whales("Hooteroll" tour), Mike Finnigan, Timmy Goshorn and Larry Goshorn of Pure Prairie League, Dave Widow and many others too numerous to mention...He had several songs covered by artists such as Tracy Nelson, Jose Feliciano, Carlene Carter, and others.

Roger, was 45 when he died of heart problems resulting from a heart surgery and later complications, he died in 1991. Roll, was a "card", and a practical joker, always pulling one on someone, for a good laugh...Bless his soul...When he was on top of his game he was one-bad to the bone-Musician, and would often make the hair on the back of my neck-stand up, when he would sing...roll was a powerful singer with great melody and articulation, with a sometimes Gospel-like feel, and a blues and rock and roll soul. .He was like a white Bobby Blue Bland.
by Dave Widow

1. Restless Feeling (Roger Troy, Richard Podolor, Jellyroll) - 2:24
2. Seach For A Memory (Roger Troy, Richard Podolor, Jellyroll) - 2:56
3. Strange (D. Hoagland) - 2:29
4. Trying To Forget Someone Too (Roger Troy) - 4:09
5. Quick Trip (T. Hending) - 1:18
6. Help Me Over (Roger Troy, Richard Podolor, Jellyroll) - 3:00
7. Come On Baby (Roger Troy, Jellyroll) - 3:17
8. Follow Me (Roger Troy, Richard Podolor, Jellyroll) - 2:52
9. At The Beginning Of Tomorrow (Roger Troy) - 3:07
10.Hard Times (Roger Troy, Richard Podolor, Jellyroll) - 4:40
11.Standing On The Inside (Roger Troy, Ed Setser) - 3:31

The Jellyroll
*Roger Troy - Lead Vocals, Guitar
*Tim Heding - Keyboards, Vocals
*Ed Setser - Guitar
*Stu Perry - Drums, Percussion
*Les Asch - Alto, Tenor, Baritone Saxophones
*Dave Parkinson - Tenor Saxophone
*Bob Thorne - Trumpet
*Cosme Joseph Deaguero - Conga

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