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

Wednesday, October 1, 2014

Wool - Wool (1969 us, splendid psych rock with funky sunny rays, 2006 remaster)

This 1969 release by Watertown, New York’s Wool proves that even when you have strong talent and all the right connections, sometimes it still isn’t enough to get your band to break.

The group formed in the early ’60s, and were originally known as Ed Wool and The Nomads.  Ed Wool, who was a master guitar prodigy and excellent songwriter, was influenced early on by the new British Invasion sound and later on by the cream-of-the-crop of soul/R&B.  Ed Wool and The Nomads were huge in the mid-60s’ thriving Northern/Upstate New York music scene, even sharing the stage with bands such as Mitch Ryder & The Detroit Wheels, The (Young) Rascals, and The Rolling Stones.  In 1966, Ed and The Nomads scored a recording contract with RCA Victor and made one single, “I Need Somebody” b/w “Please, Please, Please,” which flopped.  

Several line-up changes ensued as the ’60s progressed, but with Ed Wool still as the main focal point. The group was known as “The Sure Cure” for a brief amount of time, releasing the Feldman/Goldstein/Gottehrer penned “I Wanna Do It” for the Cameo-Parkway label, which also flopped.  Next, as “The Pineapple Heard,” Ed’s group even had the chance to be the first group to record the Boyce & Hart tune “Valleri” in 1967, a year before The Monkees had a hit with it.  That single, released on the tiny Diamond label, again, flopped.  Starting circa 1968, Ed Wool finally settled with a new and final line-up, which included his younger sister Claudia on vocals, and began going by the simple, unique name “Wool.”  The group traveled to New York City and began laying down tracks for their lone eponymous album for ABC Records.

This time around, the group managed to establish a songwriting connection with Neil Diamond, and had folk/pop songwriter and musician Margo Guryan at the helm for production help.  Surely, this should’ve been a recipe for success. Unfortunately, the album went virtually unnoticed nationally, and scored at the very bottom of the Billboard Top 200.  In Upstate/Northern NY, the album was a hit, with several of the tunes being played constantly on local radio stations.  Although it was largely unknown, one can assume that a lack of promotion from ABC Records was likely to blame for the album not being a hit.  It’s a shame, because the music contained on the album is downright good, with even some moments of greatness.

The album is a super tight blend of psych-rock, pop, and funk.  The album’s biggest highlight, a cover of Big Brother & The Holding Company’s “Combination Of The Two” absolutely blows the original out of the water in every aspect. Both the music and vocals make Big Brother’s version sound…dare I say…weak?!  One should especially pay attention to the wild vocals of Claudia Wool and the jaw-dropping fuzzy bass solo, courtesy of Ed Barrella.  The second highlight of the album is an Ed Wool original, entitled “If They Left Us Alone Now.”  A stark piece of psych-pop balladry, the tune belonged in the Top 40.  The Neil Diamond-penned “The Boy With The Green Eyes” also had hit written all over it.  Their cover of “Any Way That You Want Me,” which was better known by The Troggs, The Liverpool Five, and later Evie Sands, may be the best recorded version.  The album closes with the nine-and-a-half minute cover of Buffalo, NY’s Dyke & The Blazers’ “Funky Walk” and perfectly showcases Ed Wool’s superb guitar chops.

After Wool released this album, they recorded a handful of singles for Columbia (yet another major label!), all of which fell upon deaf ears.  Ed Wool is now based in Albany, NY playing blues-rock with a new line-up.  Wool reunited in 2007 for a concert at the famous Bonnie Castle Resort in Alexandria Bay, NY playing some of their old ’60s songs.  As for this album, it was definitely Wool at their peak of creativity. Wool has become a cult classic of sorts, and can be a bit pricey on eBay.  Luckily, in 2006, the UK’s Delay 68 label reissued a remastered version of the album on CD with plenty of photographs and liner notes, and is available for purchase on Amazon.  If you have the extra cash, pick this little gem up.  It will not disappoint the average ’60s rock fanatic.
by Katie Kanitz 

1. Love, Love, Love, Love, Love (John Hill, Don Cochrane) -3:14
2. Combination Of The Two (Sam Andrew) - 3:05
3. If They Left Us Alone Now (Ed Wool) - 3:36
4. To Kingdom Come (J. R. Robertson) - 2:28
5. I Don't Like You Anymore (Ed Wool) - 2:55
6. Any Way That You Want Me (Chip Taylor) - 4:07
7. It Was Such A Lovely Night (Loving You Tonight) (Ed Wool) - 2:20
8. The Boy With The Green Eyes (Neil Diamond) - 3:35
9. Funky Walk (Lester Christian) - 9:40

*Ed Wool - Lead Guitar, Vocals
*Claudia Wool - Vocals, Percussion
*Ed Barrella - Bass
*Tom Haskell - Rhythm Guitar, Vocals
*Peter Lulls - Drums

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Monday, September 29, 2014

Plainsong - Plainsong (1972 uk, wonderful folk rock, 2013 japan remaster and 2005 double disc edition)

Plainsong was a short-lived folk-rock outfit with country-rock leanings that briefly provided a pretty close British equivalent to the likes of Crosby, Stills & Nash. Singer-songwriter Iain Matthews had been the frontman with Fairport Convention during their early West Coast-influenced period, and had subsequently enjoyed moderate success as a solo artist and with his pioneering British country-rock outfit Southern Comfort. His main collaborator in Plainsong would be guitarist and multi-instrumentalist Andy Roberts, former musical kingpin of the loose collective of folk musicians and performance poets known as the Liverpool Scene. Rounding out the new band were bassist/pianist David Richards and Californian acoustic guitarist Bob Ronga, with percussion being provided on an ad-hoc basis by Iain’s former Fairport colleague Dave Mattacks or fellow folk-rock stalwart Timi Donald. The gentle irony of the band’s name belies their strengths: Matthews’s angelic voice and their superb four-part harmonies, plus immaculate instrumental backings.

Prior to their formation in early 1972 Roberts had become infatuated with the alternative version of the Amelia Earhart story propounded in Fred Goerner’s book The Search For Amelia Earhart , which suggested that she had been on a clandestine aerial spying mission for the US government on the Japanese at Saipan in 1937 and had perished at their hands, the whole affair then being hushed up to avoid an early war. Matthews became readily interested in the topic. Unable to stretch the concept to a whole album, they decided to make a short suite on it the centrepiece of their Elektra debut, which also took as its title that of Goerner’s tome and featured appropriate cover art. A cover of David McEnery’s traditional account “Amelia Earhart’s Last Flight” was followed by Matthews’s own “True Story Of Amelia Earhart” which proffered the Goerner line. Cleverly splitting the two was a soulful version of the old bluegrass spiritual “I’ll Fly Away”. The remainder of the album comprised mellow, thoughtful compositions by Matthews and widely varying but carefully chosen covers of numbers by obscure but respected folk-rock and country artists, including Paul Siebel’s “Louise”, Henske and Yester’s “Raider” and Jim & Jesse’s rollicking “Diesel On My Tail”.

What you got from this apparent mishmash was a beautifully coherent folk-country-rock album with glorious vocals and superbly understated, largely acoustic accompaniment with the occasional fiery Telecaster tail-twist, the whole having a wistful, summery feel absolutely redolent of 1972. It nonetheless failed to trouble the Top 100 album charts, and the Ronga-less follow-up provisionally titled Now We Are 3, which moved further towards country-rock, was shelved when the remaining band members split abruptly due to ferocious antipathy between Matthews and Richards and Iain’s long-aspired determination to move his muse to California. The album lay dormant till 2005 when the Water label in San Francisco released it as part of an absolutely stunning 2-CD compilation entitled simply Plainsong which includes the debut album, the unreleased follow-up, an early single and a dozen live stage and radio recordings: just about everything laid down by the original line-up. Matthews and Roberts had meanwhile reunited in a new Plainsong in the nineties, but I’ll leave you to investigate that if you will.

It's not often you hear mandolins duelling with wah-wah guitars on the same track, or a traditional tale of northern millworkers preceding a Merle Haggard saloon lament, but Plainsong had no use for rulebooks; they were far too busy crafting intelligent acoustic soundscapes and toying with accepted pop sensibilities, and to be presented with 40 examples of such joyousness in one tidy case is a rare and wonderful thing... "Quite simply and without any hype - a supergroup"
by Adamus67

Japan 2013
1. For The Second Time (Ian Matthews) - 3:51
2. Yo Yo Man (Rick Cunha, Marty Cooper) - 2:13
3. Louise (Paul Siebel) - 3:18
4. Call The Tune (Ian Matthews) - 5:22
5. Diesel On My Tail (Jim Fagan) - 2:03
6. Amelia Earhart's Last Flight (Dave Mcenery) - 4:05
7. I'll Fly Away (Albert E. Brumley) - 2:03
8. True Story Of Amelia Earhart (Ian Matthews) - 4:32
9. Even The Guiding Light (Ian Matthews) - 4:12
10.Side Roads (Ian Matthews) - 3:29
11.Raider (Jerry Yester, Judy Henske) - 4:32

Disc: 1
1. For The Second Time - 3:50
2. Yo Yo Man - 2:13
3. Louise - 3:18
4. Call The Tune - 5:22
5. Diesel On My Tail - 2:03
6. Amelia Earhart's Last Flight - 4:05
7. I'll Fly Away - 2:03
8. True Story Of Amelia Earhart - 4:32
9. Even The Guiding Light - 4:12
10. Side Roads - 3:29
11. Raider - 4:38
12. Seeds And Stems - 3:58
13. Tigers Will Survive - 5:02
14. Spanish Guitar - 5:29
15. Time Between - 2:31
16. Truck Driving Man - 2:58
17. I'm So Lonesome I Could Cry - 2:47
18. Wreck Of The Old 97 - 1:55
19. I'll Fly Away (Demo) - 0:39

Disc: 2
1. Old Man At The Mill - 2:33
2. Urban Cowboy - 3:43
3. The Fault - 2:50
4. Swinging Doors - 2:57
5. Keep On Sailing - 4:40
6. Miss The Mississippi - 2:51
7. Home - 3:33
8. First Girl I Loved - 4:03
9. Save Your Sorrows - 2:22
10. Nobody Eats At Linebaugh's Any More - 4:07
11. The Goodnight Lovin Trail - 4:38
12. All Around My Grandmothers Floor - 3:12
13. That's All It Could Amount To - 1:25
14. Amelia Earhart's Last Flight - 5:17
15. Any Day Woman - 4:24
16. Poor Ditching Boy - 3:33
17. Even The Guiding Light - 3:19
18. True Story Of Amelia - 4:20
19. Raider - 5:01
20. Miss The Mississippi - 3:35
21. Along Comes Mary - 2:47
22. Even The Guiding Light - 3:26

*Ian Matthews - Guitar, Vocals
*Dave Richards - Guitar, Vocals
*Andy Roberts - Guitar, Vocals
*Bob Ronga - Bass, Vocals
Additional Musicians
*Timi Donald - Drums
*Martin Jenkins - Cello, Mandola, Mandolin
*Dave Mattacks - Drums

Related Act
1971  Ian Matthews - If You Saw Thro' My Eyes (2012 remaster)

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Saturday, September 27, 2014

Sage - By Sage (1970 us, stunning rough southern rock)

Sage' was a Tampa, FL based band that was founded in 1967. Sage began playing local dances and clubs which eventually brought the band to the attention of Blues Image's Mike Pinera who signed them to his small Illusion label.  It is widely rumoured that Illusion was some sort of a tax scam with albums by Sage and stable mates Hopney being given away or destroyed immediately upon release. 

There probably is more than just a small grain of truth in this rumour, as this particular album is spectacularly rare and almost never comes up for sale. Sage By Sage is a strong album with some first-rate playing and excellent song writing.
by Adamus67

1. My Girl - 3:10
2. Lovely Lady - 4:08
3. Don't Stop Loving Me - 4:09
4. No One But You - 3:52
5. I'm Satisfied With You - 3:27
6. I Believe In You - 4:27
7. Morning Dove - 5:54

John Cameron (guitar)
Hilda Williers (bass)
Ray Williers (guitar)
Rodger Stephan (drums)

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Thursday, September 25, 2014

Chris Spedding - Backwood Progression (1970 uk, awesome classic rock with glam and folk traces, 2014 remaster)

Chris Spedding is a special character in the history of English rock of the 70s is somehow the most visible musicians and rock stars more discreet, still right in the middle, centrist total, neither white nor black, perfect gray. At least that's what we can conclude listening to albums of his solo career, a career that began in 1970 with the album "Backwood progression.

Born in Derbyshire June 17, 1944, raised in Sheffield and Birmingham by adoptive parents, Chris Spedding embrace a musical career in the late 60s by joining the Battered Ornaments, jazz and rock group led by the legendary Pete Brown, poet, Cream lyricist and future host Piblokto, interesting English progressive rock band in the early 70s.  when Brown left the Battered Ornaments, they enter in a phase of decay, and one that we sense as savior Chris Spedding. Guitarist gifted jazzman who is also coach at Nucleus, Spedding can only note that the Battered Ornaments do not want to continue the adventure or even enjoy free recording hours available to them at the famous Abbey Road Studios in London.

As the group is still bound to a contract Harvest label, Chris Spedding is alone on board with Abbey Road sessions to the eye and an obligation to put out a record as soon as possible. It is these circumstances that give rise to the first solo album by Spedding, "Backwood progression." But the good Chris is primarily a musician accompanying a shark studio that will also be found a part of his career on this lucrative business. As he has never written a single song before the album he jumped into the water and made a dozen titles for the occasion.

Solo artist and composer default, Chris Spedding is going to deliver a decent album but completely outside the trade routes of the time it released. Neither hard nor soft, neither experimental nor commercial, nor adventurous nor nerdy, neither aggressive nor soft nor provocative preservatives or rock or jazz or prog or psych, or anything or everything, in short, completely neutral, "Backwood progress" door its name: One step forward, one step back but in the end, something that can defy time with an album to consistent quality, without exaggeration or weakness, balanced on allowing federate various tastes .

Without knowing it, without want it, Chris Spedding commits good album par excellence, one that will produce no tub, the one the rock critics fail to catch, as it is without bumps. Chris Spedding shows "Please Mrs. Henry" Bob Dylan, in a friendly version. And the most remarkable is when he refers to the condition of a session musician, with a "Session Man" which allows him to copy several styles of guitar (Jimmy Nolen Ritchie Havens), something that he happily emerge in 1976 on his song "Guitar jamboree" where he likes to copy lots of famous musicians. For it may be that, Chris Spedding: a great imitator, a guitarist who can do many things, and can truly forge his own style.
by François Becquart

1. For What We Are About To Hear - 2:29
2. Backwood Progression - 3:44
3. Words Don't Come - 1:47
4. The Hill - 3:28
5. You Can See - 5:19
6. Session Man - 1:28
7. Please Mrs. Henry (Bob Dylan) - 2:19
8. The Soldiers And The Goodtime Girls - 3:58
9. Ought To Be A Law - 2:30
10.She's My Friend - 3:10
11.Should The Occasion Arise (Roger Potter) - 2:15
12.Never Carry More Than You Can Eat - 2:26
13.Backwood Theme - 2:05
All songs by Chris Spedding except where stated

*Chris Spedding - Vocals,  Guitars
*Roy Babbington  - Bass
*Laurie Allan - Drums
*Paul Abrahams - Organ
*Royston Mitchell – Piano, Harmonium,  Backing Vocals
*Frank Ricotti - Conga

1972  Chris Spedding - The Only Lick I Know
1977  Chris Spedding - Hurt
1975-77  Chris Spedding - Chris Spedding (2013 Audiophile edition)

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Tuesday, September 23, 2014

Fynn McCool - Fynn McCool (1970 Rhodesia / uk, magnificent prog classic rock, 2014 edition)

The story of the Shake Spears is one of the most absorbing within the annals of 1960’s rock and roll. Despite enduring numerous line-up changes involving key members throughout their history, the band persevered, successfully bridging different eras – the mid 60’s British Invasion, psychedelia and late 60’s hard rock. This is an impressive achievement, as trends in music did not last long in this most volatile decade. The Shake Spears also stand among the very few notable bands of the era to originate from the African continent. Their history began with two young bands in the early sixties in Rhodesia, the Dynamics and the Phantoms.

Unfortunately, Shakespeare’s Spanish adventure was over when their sponsor suffered a heart attack and the group was forced to return to England as they were left with no money coming in.

This line-up of Shakespeare didn’t last long after their return. Disillusioned by their failed tour to Spain and with no hope of going to the US, the band envisioned no bright future and decided to split up.

Martin and Georgie left, but Alan (now the senior member of the group), Chris, and Mick had new plans. It just happened that at the same time the English psychedelic-pop / blues-rock band Grapefruit had also disbanded, so they could enlist Grapefruit’s keyboard player Mick Fowler for their new project. They teamed up as an entirely new band, for which they chose the name Fynn McCool (after Finn McCool, originally Fionn mac Cumhaill in Gaelic, a figure in Irish mythology).

The group signed to RCA, which had not only been the Shake Spear’s last record label, but also that of Grapefruit (who were signed to the RCA Dunhill label in the USA), so the company was familiar with both bands and knew about their popularity in Europe, so that it was easier to promote them. Fynn McCool toured through the countries that had been the creative home of the Shake Spears before: the Benelux states, Germany, and especially France.

The 1960’s came to an end, and the new decade looked promising for the group. Soon they started recording at Olympic Studios, and their style would be far different from the Shake Spears. Fynn McCool now was into heavier, progressive tunes – no more pop for Belgian kids. Their first record, “U.S. Thumbstyle” / “Diamond Lil'” (RCA 1956; A-side by Chris Stone, B-side by Mick Fowler) was released in May 1970 and the group’s album was still being completed, when RCA suddenly decided to release it prematurely in August 1970 – the tracks were not fully worked out and the model that was being built for the cover art wasn’t finished either.

Fynn McCool turned out to be a fluctuating group, as by the time the album (recorded with the initial line up) came out, the line up had already been changed, as two more ex-Grapefruit members, Bob Wale (replacing Chris Stone on guitar) and Geoff Swettenham (brother of Pete Swettenham; replacing Mick Carter on drums) were recruited in July. Bob Wale had joined Grapefruit in spring 1969, and had been a key figure in the group’s immediate change of style from sweet baroque pop to heavier tunes. Vik Tedeschi, a Swiss-German Jazz musician, joined on saxophone, oboe and flute, but for just a couple of months. Fynn McCool broke up in February 1972.

1. U.S. Thumbstyle (Chris Stone) - 2:55
2. Hopeless Prescription (Chris Stone) - 4:09
3. Hey Ho (Mick Fowler) - 2:53
4. Diamond Lil (Mick Fowler) - 4:03
5. Great Change Coming On (Alan Escombe, Chris Stone, Mick Fowler) - 3:18
6. The Road To Wisdom (Mick Fowler) - 4:06
7. The Only Way To Feel (Chris Stone) - 3:25
8. Faith Of Clay (Chris Stone, Mick Fowler) - 3:59
9. Coming On Stronger (Mick Fowler) - 3:47
10.Shattered (Part 1) (Alan Escombe, Chris Stone) - 3:18
11.Shattered (Part 2) (Alan Escombe, Chris Stone, Mick Fowler) - 4:51

Fynn McCool
*Chris Stone - Guitar, Vocals
*Alan Escombe Wolhuter - Bass, Vocals
*Mick Carter - Drums
*Mick Fowler - Guitar, Piano, Lead Vocals

Related Act
1969  Grapefruit - Deep Water

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Sunday, September 21, 2014

Tommy Peltier Feat. Judee Sill - Chariot Of Astral Light (1969-74 us, ouststanding folk psych rock)

Tommy Peltier started out as a trumpet player. Born and raised in New Orleans, he moved with his family to California at the age of 13. He formed a Dixieland band, and then was drafted into the U.S. Navy and spent two years working with their ensembles. After his stint expired, he settled back in Southern California and set to work with the Jazz Corps, a group who played mostly local gigs and ended up cutting a few sides with a young Roland Kirk. Judee Sill wound up circling in this orbit as well, and the two became occasional collaborators, sometime lovers, and lifelong friends.

But in 1970, an injury prevented Peltier from playing trumpet and thus excised him from the jazz world. Not one to be undone, he took a few chords that he had learned from friends like Sill and set out as a singer-songwriter. None of that music saw the light of day until now, collected together as Chariot of Astral Light.

The Sill connection is the key here. The two worked together on a lot of Peltier's material, and Judee pops up on half of the disc's 12 tracks, handling backing vocals, guitar and organ lines. She's an obvious influence on these songs, but her starry, oblique introspection and deep-seeded religious fascination didn't carry over so much into Peltier's tunes. These tracks tend to be relentlessly optimistic and upbeat, although they do bear a striking resemblance to the work of both Tom Rapp and Neil Young in parts (mainly in Peltier's high-pitched vocal delivery).

It's unclear what Peltier planned to do with a lot of these songs. He had a house in Echo Park where he held weekly Saturday recording sessions in his front room that a number of peripheral scenesters would attend (Lynn Blessing, Wolgang Melz, and Dave Purlato - all of whom appear here). Aside from the few takes done at actual studios, the bulk of the stuff on display here was recorded in that tiny room.

This record is somewhat curious, then, released in anticipation of Water's forthcoming reissues of Sill's two Asylum LPs from the early 1970s and hot on the heels of her now recovered and somewhat completed third album. If that connection is what it takes to get this music out there, then so be it. Peltier probably won't be remembered in any great lineage for his efforts, but as evidenced here he wrote some pretty nice tunes,  a good picture of what could have been, or at the very least an in-depth portrait of what he describes as a difficult period in his life.

Sill is absent from the first half of the disc, but even without her Peltier is in fine form. He checks in with six originals that range from the bristling stomp-cum-country-psychedelia of "Time After Time" to the sly boogie of "Red Rider." When Sill steps in for the remainder of the album, her efforts mesh well and become another piece of the support system. Her unmistakable vocals and lazy farfisa lines color the title track, but the drawing is all Peltier. Better still is "Here Today," Tommy's first attempt at vocals, played with only Judee backing him up. With only acoustic guitar and two voices, you can hear Peltier finding his range and his voice with increasing confidence as the song spins.

Chariot of Astral Light – another one of those "what could have been" records that seem to pop up with more and more frequency these days (see also: Gary Higgins, Simon Finn, etc.). It works well as a spotlight on a few songs that never had their moment to shine, but also as a testament to the power and impact Judee Sill had during her brief life.
by Michael Crumsho

1. 10,000 Greyhounds 4:14
2. Time After Time (Sammy Cahn, Julie Styne) - 6:29
3. Oneness - 3:29
4. Butterflies 2:16
5. Red Rider 3:32
6. Beautied Out 4:34
7. Pocket Socket 3:26
8. Chariot Of Astral Light 3:24
9. Here Today 2:57
10.Oneness - 4:47
11.Smile All The While 4:02
12.My Friend 3:22
All songs composed by Tommy Peltier except where indicated.

*Judee Sill - Farfisa Organ, Guitar, Organ, Vocals
*Tommy Peltier - Farfisa Organ, Guitars, Vocals
*Dave Parlato - Bass
*Wolfgang Melz - Bass
*Art Johnson - Guitar
*Lynn Blessing - Farfisa Organ
*David Bearden - Harp
*Barry McManus - Drums
*Judy Hemmel - English Horn
*Bobby Toris - Congas
*Bob Harris - Keyboards
*Kathryn Reynolds - Vocals
*Mope Dido - Congas

1971  Judee Sill (2013 Japan remaster)

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Friday, September 19, 2014

The Butterfield Blues Band - Live Vol.2 (1970 us, great blues rock)

A smoking live set from the Butterfield Blues Band – and like all the group's work, as much of a jazz and soul album as a blues one! Butterfield drew his inspiration from the Chicago bluesmen, it's true – but his style also has plenty of echoes of New Orleans soul, Memphis R&B, and other strands of American work – in a mode that's quite similar to some of the changes that were going on in the British beat group scene at the end of the 60s. 

The lineup here features some really nice touches on sax from Trevor Lawrence and Gene Dinwiddie – and the live setting only seems to loosen all the players up even more than usual, and let them hit a few nice funky moments. 

1. Gene's Tune (Gene Dinwiddie) - 12:29
2. Nobody's Fault But Mine (Otis Redding) - 6:58
3. Losing Hand (Charles Calhoun) - 14:28
4. All In A Day (Hod Hicks) - 8:11
5. Feel So Bad (Chuck Willis) - 4:43
6. Except You (Jerry Ragavoy) - 4:51
7. You've Got To Love Her With A Feeling (Freddie King, Sonny Thompson) - 5:23
8. Love March (Gene Dinwiddie, Philip Wilson) - 12:25    

The Butterfield Blues Band
*Paul Butterfield - Harmonica, Vocals
*George Davidson - Drums
*Gene Dinwiddie - Soprano, Tenor Sax, Vocals, Lead Vocal On Track 8
*Ted Harris - Keyboards
*Rod Hicks - Fretless Bass, Vocals
*Trevor Lawrence - Baritone Sax, Vocals
*Steve Madaio - Trumpet, Vocals
*Ralph Walsh - Guitar                          

Paul Butterfield's mosaic
1964  The Original Lost Elektra Sessions
1965  The Paul Butterfield Blues Band
1966  East West
1966  East-West  (2014 Audio Fidelity Hybrid SACD) 
1966-68  Strawberry Jam
1967  The Resurrection Of The Pigboy Crabshaw
1968  In My Own Dream
1969  Keep On Moving
1970  Live 
1971  Sometimes I Just Feel Like Smilin'
1973  Paul Butterfield's Better Days
1973  It All Comes Back (Japan Edition)
1976  Put It In Your Ear

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