It was during the American Tour of "Crazy World of Arthur Brown" that Vincent's latent psychiatric problems first manifested themselves, in the form of manic escapades . followed by long periods of depression in hospital. However, by 1969 he had recovered enough confidence to form Atomic Rooster, initially with drummer Carl Palmer.
Over the next fourteen years there were seven albums, two Top Ten Hits, American and European Tours, and a succession of drummers, guitarists and vocalists. But the themes of dread, paranoia and satanic angst recurred throughout like Vincent's own relentless left. hand bass. lines in songs like "Death Walks Behind You", "Time Take My Life", "Dance of Death" or Devil's Answer".
The ominous freneticism of Atomic Rooster virtually defined the epithet heavy.... Meanwhile the breakdowns continued, bedevilling his working relationships, his first marriage, (which ended in 1976) and his attempt to form his own record company.Yet so many of his colleagues who shared the pressures of the studio, the road or the gig, recall his charm, his quickfire wit, his zest, the good fellowship, the cheerfulness that so often sustained others. They also emphasise his versality outside the Atomic Rooster format.
There was another excellent album with Arthur Brown and a fine blues collaboration with Peter Green. Since the sixties he had worked with writer Paul Green; their jazz/poetry duo reappeared at arts festivals during the eighties, and Vincent directed music for two of Green's radio plays. He aslo worked in The Red Buddha Theatre, the Rocky Horror Show, numerous cabaret and club bands, making many new friends. His last major professional engagement was between 1984-86 as a member of Dexy's Midnight Runners. He toured with them in Europe and made an important contribution to their last album "Don't Stand Me Down.
The turbulence of his life caused great pain, both for the man himself and those closest to him, especially Jean, his second wife; and Tom and Renee, his parents. They gave him all they had. And he gave all he could. We do not know how his talents might have developed without the spectre of mental illness. We can only be certain that he is greatly missed.
by Paul A. Green, February 1989
Tracks
1. Friday The 13th - 4:28
2. Seven Lonely Streets - 6:15
3. Tomorrow Night - 5:27
4. Shabooloo - 6:10
5. Death Walks Behind You (John DuCann) - 6:04
6. Stand By Me - 3:23
7. Breakthrough - 3:06
8. Save Me - 3:40
9. Close Your Eyes - 2:48
10.Play It Again (John DuCann) - 4:04
11.In The Shadows (John DuCann) - 10:01
12.Devil's Answer (John DuCann) - 3:46
13.People You Can't Trust - 4:41
14.A Spoonful Of Bromide Helps The Pulse Rate Go Down - 4:46
15.All In Satan's Name (Ric Parnell) - 4:03
All songs by Vincent Crane except where noted.
"The group as a whole Is to these ears more enjoyable than either the Mahavlshnu Orchestra or the new Billy Cobham band. In fact they are providing the kind of solid rhythmic electric music that I didn't think existed In pop circles anymore. Even the Bitter End, under Interim management, seemed more congenial than usual. Any band that can do that must be all right,"
by Peter Occhiogrosso, August 1.1974
Ironically, the legendary music club in New York City called "The Bitter End" Fred played in summer 1974, for six consecutive weeks, twice a day. The bitter end of the band came a few months later. Some of the concerts at the Bitter End were recorded clearly what it World In Sound enabled at its third Fred CD to present a part of it.
"This album contains the best performances from that summer" is because in the booklet to "Live at the Bitter End" to read. Apparently, the makers of the disc have proceeded extremely critical in the selection of numbers. Only a good forty-five minutes of material they deemed good enough to be published. For all I could have the CD still can fill a half-hour with a few inferior pieces. Perhaps, however, was also the sound quality of the other shots clearly worse or the redundancy is too high (at the frequency of occurrence have Fred sure every night pretty much played the same), who knows?
The sound of "Live at The Bitter End" is very good, maybe a little bit dull, and the mix is not always perfect, but for a not for publication recording from the 70s the whole thing sounds all in all, excellent. Sun right live atmosphere is going to give up. Audience and applause is not heard (maybe played fred largely empty stands) and the pieces are separated by showing and hiding from each other. So the whole thing is more like a live studio session.
In musical terms, Fred arrived here quite the jazz-rock. Dominated by David Rose on violin, the band rocks very punchy and varied meaning carried by the doubly occupied key department (Farfisa organ and electric piano), Joe DeChristopher on the electric guitar and the driving rhythm section. Of necessity, simply because of the almost identical cast, you have to think of the Mahavishnu Orchestra, but the music of Fred was somewhat simpler and more relaxed.
A few symphonic-progressive, easy-affected Canterbury rudiments round out the music and give it a personal touch. The above referenced by Christian King Crimson but I can not really find in this music. All in all, Fred here a playful, very colorful, ultimately, very typical of the middle 70's jazz-rock with which they were moving, but certainly in the top class of comparable bands of the time,the sound is fresh, dynamic, punchy and clear. It dominates a nervous electric violin, but also electric guitar and Farfisa organ, giving the sound a psychedelic accent yet come to bear. Bass and drumming are impulsive, groovy and nuanced. This is also true for the sound of instrumental rehearsed, brimming with power plays overall.
Of the three Fred-albums "Live at The Bitter End" is the least original, although the group is the most professional and the most perfect to swing here. You can hear in the music that it is well-oiled live improvisations.
The experience that what was Fred, goes beyond what will be said here, as the music made by the band in the years 1970-1974 goes beyond the tracks of this album. The hope in these words is to give a little historical context to the music being published here, for the first time in a collection more than thirty years after it was first recorded.
Ken Price and Joe DeChristopher began playing together while students at Bucknell University in Lewisburg Pennsylvania in 1967. Ken played keyboards, mainly a beat-up electric Wurlitzer Piano. Joe fancied himself a guitar player, but took up Bass to play in Ken’s Band “Still at Large”. When the lead Guitar player dropped out late in 1968, Ken and Joe stayed together, adding John, a young Bass player. Unfortunately, John’s freshman roommate, Bo Fox, had been snatch up by another popular fraternity dance hall band, “The Gross National Product” a trio of Bo on the Drums and two upperclassmen on Guitar and Keyboards.
While the drumming set was not well filled, Joe and Ken thought they could also use a vocalist to help out. Their classmate Gary Rosenberg self-styled poet and disc jockey at the college radio station, steered the to David Rose recently back at Bucknell after a tour of service as a conscientious objector (running a Quaker related home of disadvantaged youth in a tough part of Paris). David made a great contribution as a stager and frontman, keeping quiet the fact about that he’d been trained to play the Violin, which he started doing at the age of six.
The band known occasionally as “David Rose and his Orchid” or “Mustang Turfbinder and the Swelltones” was improving but still need help on the Drums. Help came in the autumn of 1969, when Bo’s GNP band-mates had graduated and left town, leaving him available. Again with an assist from Gary, Ken, Joe, John and David, now willing to try the Violin in the context of improvisational Rock ‘n’ Roll, matched up with Bo. Amidst the belated arrival in small-town, rural America of blossoming counterculture of Peace, Love and drugs, a wonderful musical experience was born.
Gary continued part of our experience, as a friend an source for new music from the likes of The Band, Procol Harum, Traffic, Jethro Tull, King Crimson and Frank Zappa to name a few. We spent the month of January 1970 intending to write a hundred original tunes, a task at which we failed miserably. Even so, we knew that there was something special happening, and as young and as inexperienced as we were, there was a growing will among us to keep with it.
School ended for most of us either by choice or by graduation in May 1970, but we stayed together most of us living in either of two small harm houses about 4 miles west of town. John transferred to a school in Boston, and we accepted into our ranks of ex-collegians, the outsider Michael “Bones” Robinson, self made bass player and song-writer.
We spend the summer smelling honeysuckle along the banks of the Susquehanna, on those trips back from high schools and bars to the south, near Harrisburg and York, we later spent our time building a house out of a barn for David’s family to live in (after his apartment was ruined by flood of 1972), learning to play, to write and manage on our shared income from playing music.
We attracted diverse collection of friends and well-wishers along the way, including artist/photographer L.J. Kopf roaches Roger Brown and Pat Biggs, sound engineer Charlie Bozenhard (who put together the components of a system to amplify David), Folk musicians Tom Patten and Ira Packman (who opened for some of our concerts), a group of ex-students who became carpenters working as “Grassy Flats” and many others, too numerous to mention.
By late 1971, we'd worked up several original tunes (most of them included on this album.) We managed to produce a 45 rpm single, containing "Salvation Lady" and "a love song", both with lyrics from Gary. David preached the vision of a self-sufficient community of artists, self supporting and true to itself. Gary continued to write poetry, much of which was never put to music. LJ took pictures, designed posters, and showed slides at our concerts.
Everyone took a role in the life of the band, on and off the' stage. We covered Procol Harum, Frank Zappa, Jethro Tull and Mahavishnu Orchestra, enlisting the talenls of wunderkind Peter Eggets on piano, drums when Bo took a break, horn arrangements, and a work ethic we’d never found on our own. Up into 1973, we were existing on the outside of a society in generational turmoil, enjoying our role as outsiders, defiant that hired us, and the booking agents who tried to make a dollar in marketing us.
Even so in those early years especially, we were more than the music, and bigger than the sum of our parts. With the eventual addition of Peter as a full time member of the band, came the departure of Gary, and ultimately later on the dissolution of the band, but alas, that is not the story of the music on this album.
Enjoy what is here, know there is more recorded Fred music to come, and that what is recorded here, while standing on its own merit, was also a part of the seasoning process which led to the music made later under the influence of the formidable composing and arranging skills of Peter Eggers. Welcome to the first recorded music of Fred.
By Joe DeChristopher (Lewisburg Pennsylvania)
Tracks
1. Four Evenings (Mike Robison, Gary Rosenberg) - 6:39
2. Soft Fisherman (David Rose, Gary Rosenberg) - 6:31
3. Salvation Lady (Ken Price, David Rose, Gary Rosenberg) - 6:01
4. By The Way (Joe DeChristopher, David Rose, Gary Rosenberg) - 6:45
5. I'll Go On (J. DeChristopher, K. Price, D. Rose, G. Rosenberg) - 4:26
6. For Fearless Few (Mike Robison) - 3:47
7. A Love Song (Joe DeChristopher, Gary Rosenberg) - 4:40
8. Booking Agent Blues (Joe DeChristopher) - 4:33
9. Windwords (Joe DeChristopher, Gary Rosenberg) - 6:51
10.A Love Song (45rpm version) (Joe DeChristopher, Gary Rosenberg) - 3:58
Fred
*Gary Rosenberg - Lyrics, Percussion
*Joe DeChristopher - Guitar
*David Rose - Keyboards, Violin, Guitar, Vocals
*Bo Fox - Drums
*Ken Price - Keyboards
*Mike Robison - Bass, Guitar, Vocals
*Peter Eggers - Drums, Piano
'Tracks' is a collection of rare versions of some of Wishbone Ash's best loved work, along with some seldom heard gems and surprises. The revolving Wishbone line-up is well presented with all the usual suspects. The music selected for this album treats the listener to exciting live versions of classic songs that have contributed to a legacy, that is uniquely 'Wishbone'.
The airing of this archive material, gives us a backstage pass, shedding a new light on a great British band's stage performances, both from years gone by, right up to the year 2001. Raw and unadulterated, check out the inimitable twin lead sound that blazed a trail for many others, who have often tried, but never improved on the original blueprint laid down by this British original in late 1969.
Tracks
Disc 1
1. Tangible Evidence - 4:05
2. Front Page News - 5:32
3. Lifeline - 7:00
4. Living Proof - 5:53
5. Anger In Harmony - 4:33
6. Queen Of Torture - 3:13
7. Insomnia - 6:50
8. Wings Of Desire - 3:34
9. Ballad Of The Beacon - 4:10
10. Strange Affair - 5:13
11. Outward Bound - 3:45
12. Warrior - 5:34
13. Keeper Of The Light - 4:09
14. Why Don't We - 7:47
Disc 2
1. In The Skin - 5:51
2. The King Will Come - 6:58
3. Persephone - 3:41
4. Standing In The Rain - 6:49
5. Throw Down The Sword - 6:01
6. Way Of The World - 10:23
7. You See Red - 6:16
8. Number The Brave - 5:44
9. Everybody Needs A Friend - 6:03
10. Master Of Disguise - 3:42
11. The Ring - 4:37
12. No More Lonely Nights - 6:23
Now a highly regarded release among the collectors of early 70’s U.S. rock, Dryewater’s Southpaw album was privately released to little fanfare on the J.T.B. label in 1974. The North Carolina based four piece pressed just 500 copies of the album (fewer still with actual covers!) and the rarity value of this initial release has since increased as it’s since become known that the band destroyed the copies they failed to sell at the time! Maybe they had higher expectations for the album, and this is justifiable, as in hindsight the ten original compositions show a very confident release by an obviously proficient line up.
Strong rhythm guitar work forms the basis of most of the songs, but also evident is some melodic, perhaps slightly progressive keyboard work, that both underpins the occasional acid lead guitar solos and maintains the overall momentum of each performance. With a tight rhythm section and strong vocals too, this all makes for a rockin’ rollercoaster ride. A fine example of the harder West Coast sound of the time. Check out the melodic Don’t Let Her Sleep Too Long, the riff - heavy track 2, and rolling rhythms of track10,
Dryewater were certainly overlooked at the time A limited vinyl run released by Void Records in 1996 briefly led to a renewed interest in the band.
Tracks
1. Winterground - 3:02
2. Trouble - 4:07
3. Give Yourself Time To Live - 3:24
4. Don’t Let Her Sleep Too Long - 2:58
5. Let Me Take You - 3:31
6. Thunder - 2:57
7. See Them Run - 2:02
8. Revelation - 2:23
9. Set Out On The River - 2:49
10. After All - 6:30
According to ancient Druidic and Celtic legend, King Arthur will return in this age of Aquarius to sustain us. And man, he's going to blow a mean blues; according to merlin Bond! Long before the recent spate of black magic involvement by some groups, Graham has been involved in white, or as he prefers to call it - holy magick. In order to help the word and perhaps gain a little more understanding he has devoted his latest album "to the true seekers of light".
The lyrics are mainly incantations and chants in Egyptian and Atlean. Stonehenge is photographed on the sleeve with Graham and his wife Diane Stewart raising their arms in supplication. If you can't take the magick however, there is a lot of wailing music to enjoy. Graham sings with his usual pre-Joe Cocker intensity, and plays organ, piano and sax. Keith Bailey is a storm on drums, and other musicians involved are Victor Brox, Big Pete Bailey, Aliki Ashman, John Gross, Alex Dmochowski, Godfrey McLean and John Morsehead. They are at their best on slow tempo blues like "The Judgement".
And even if you don't want an astral temple constructed around you, playing side one, should help contact the "higher forces", according to Bond. At least we can invent a new category - Rockult!
by Chris Welch, January 2, 1971
Holy Magick opens with a fantastic trippy Jam, "Meditation". A 23-minute
insane song, full of references to the 'Dark Side', and with some very
good instrumental lines. The Female-Vocals, are particularly
interesting, and so is trying to understand the weird words he is
singing. The Saxophone has some great lines, the Organ work is also very
cool. "Return Of Arthur" has a strong Blues sonority, with Joe
Cocker-like Vocals and an astonishing Guitar Solo.
In the beginning it
may sound weird and unpleasant, but it will turn into a very enjoyable
listen, after the first minute. "The Magician", again with some blasting
Saxophone work, this song is full of energy and power, probably due to
the Bass line. The Screaming Vocals, by Bond, are the cheery at the top
of the cake. "The Judgement" is completely different from the other
songs, calm, without any sort of insane Instrumental solo. The
Back-Vocals are pretty good on this one, sounding as if they were
answering the Lead-Vocals. "My Archangel" is the lest song. It is quite
weak, not much to say about it except that it i a feel-good song,
without much interest.
The Cover-Art was photographed in Stonehenge,
featuring Graham Bond and his wife, performing a strange ritual. This
Album was not well received by the critics, but it is nonetheless a
fantastic Album.
by Adamus67
Tracks
1. Holy Magick Suite (Graham Bond) - 23:09
...a.Meditation Aumgn
...b.The Qabilistic Cross
...c.The Word Of The Aeon
...d.Invocation To The Light
...e.The Pentagram Ritual
...f .Qabalistic Cross
...g.Hymn Of Praise
...h.12 Gates To The City
...i.The Holy Words Iao Sabao (These Are The Words)
...j.Aquarius Mantra (In Egyptian)
...k.Enochian (Atlantean) Call
...l.Abragadabra The Word Of The Aeon
...m.Praise "City Of Light"
...n.The Qabalistic Cross, Aumgn
2. Return Of Arthur (Graham Bond) - 5:06
3. The Magician (Graham Bond) - 4:04
4. The Judgement (Diane Stewart) - 4:45
5. My Archangel Mikael (Diane Stewart) - 4:09
6. Water Water (Single Version) (Graham Bond, Diane Stewart) - 3:46
7. 12 Gates To The City (Single Version) (Graham Bond) - 3:40
Musicians
*Alex Dmochowski - Bass Guitar
*Rick Gretch - Bass Guitar
*Jerry Salisbury - Cornet
*Godfrey McLean, Keith Bailey - Drums
*John Morsehead, Kevin Stacey - Guitar
*Big Pete Bailey - Percussion
*John Gross - Tenor Saxophone
*Aliki Ashman , Annette Brox - Vocals
*Victor Brox - Vocals, Electric Piano, Piano, Vocals
*Diane Stewart - Vocals, Gong
*Graham Bond - Vocals, Alto Electric, Acoustic Saxophone
Carolyn Hester is a noted Folk Singer from the 60's Greenwich Village Folk Scene. She appeared on the cover of the "Saturday Evening Post" in the May 30th, 1964 issue and has been remembered in many books including "Chronicles", Bob Dylan's autobiography, as being the person who was most instrumental in Dylan's signing to Columbia records - the label that took an unknown singer-songwriter and elevated him to super-stardom.
Hester is known for her angelic voice and her repertoire of traditional English ballads mixed with an original selection of contemporary folk. She has recorded more than fifteen albums in her fifty years of performing. She was signed to the Decca/Coral label in 1957 by her manager-producer, Norman Petty. Also under Petty's influence at that time, was a hip entertainer and friend of Hester's, Buddy Holly. Throughout the '60s, Hester was well-established in the Greenwhich Village folk scene where she met a young, Bob Dylan.
In the late 60’s Carolyn released two albums as The Carolyn Hester Coalition, their second “Magazine” originally issued in 1970 by the Metromedia label. Magazine is slightly more moody and not as sunshiney as the first record, but it is still fairly light, approachable West Coast-ish psych/folk/pop. There are some covers on this record, mixed with originals that hold up next to any other record of its ilk from the era. Hester's crystalline, sweet voice is backed by some hauntingly deep and melodic fuzz, proving that Hester wasn't just any Texas songbird.
Tracks
1 Rise Like Phoenix (Hester, Blume) - 3:18
2. Dedicated (S. Wolfe) - 3:04
3. Plant The Crops In The Garden (Newburge, Blume) - 3:00
4. Beadmaker (Hester) - 2:51
5. St. James Infirmary (Primrose) - 5:22
6. Just Follow Me (Moore, Wolfe, Blume) - 5:14
7. (Sittin On The) Dock Of The Bay (Redding, Cropper) - 3:50
8. Sir Robert, The Lost Knight (Parisi, Blume) - 3:43
9. Calico Sky (Davis, Blume) - 2:38
10.Swing Low, Sweet Chariot (Trad, Blume) - 2:48
If there is one Australian band that deserves the oft-overused adjective "legendary", then that band would be Chain. As has been stated many times, the name Chain is synonymous with blues of the highest order and integrity. Originally formed in 1968, and except for a gap between 1974 and 1982, the band has continued in one form or another to this day.
The five key figures in the saga of Chain are Warren Morgan, Phil Manning, Matt Taylor, the late Barry 'Big Goose' Sullivan and Barry 'Little Goose' Harvey but there have been numerous musicians who have passed through the ranks. Morgan, Manning and Taylor each assumed leadership at one lime or another, with the two Gooses comprising the best rhythm section the band has ever known. Inevitably, at any given time the fundamental nature of Chain has been shaped by the particular musicians present. Still, with all the comings and goings, there is one thing of which we can be sure: Chain "the whole" will always be greater than the sum of its parts.
This portion of the story covers the years 1968 up to the end of 1970, the period preceding the release of thc landmark Australian blues album Toward The Blues and thc enduring hit single 'Black and Blue”. Specifically, we'll focus on the Live Chain version of the band, headed by Morgan and Manning. This is thc first reissue of the album since its original release (Festival SFL-933926) in October 1970. With three bonus tracks added for good measure it makes for compelling listening.
Tracks
1. The World is Wailing (Morgan, Manning, Sullivan, Harvey) -12:11
2. Black and White (Warren Morgan) -12:30
3. Pilgrimage (Harvey, Sullivan, Mason, Morgan, Manning) - 8:40
4. Gen rude Street Blues (Phil Manning) - 6:01
5. Chaser (Sullivan, Mason, Harvey, Morgan, Manning) - 7:13
6. On The Road Again (Glyn Mason) - 4:34
7. Show Me Home (Phil Manning) - 3:27
8. Mr. Time (Warren Morgan) - 4:55 Tracks 1-6 recorded live at Caesar's Palace, Sydney. July 1970 Tracks 7 and 8 Single Festival FK-3331, October 1969
Five Live Yardbirds was the first important -- indeed, essential -- live album to come out of the 1960s British rock & roll boom. In terms of the performance captured and the recording quality, it was also the best such live record of the entire middle of the decade.
Cut at a Marquee Club show in 1964 , Five Live Yardbirds was a popular album, especially once Eric Clapton's fame began to spread after leaving the band. Although the album didn't appear officially in the United States until its CD release by Rhino in the late 1980s, four of its tracks -- "Smokestack Lightning," "Respectable," "I'm a Man," and "Here 'Tis" -- made up one side of their classic U.S. album Having a Rave Up, and the British EMI LP became a very popular import during the early 1970s as a showcase for both the band and the playing of Eric Clapton.
That album had astonishingly good sound, which was not the case with any of the reissues that followed, on vinyl or CD -- even Rhino's compact disc suffered from blurry textures and noise, though it was an improvement over any release since the original EMI LP. The 1999 Repertoire Records reissue is the first CD that matches the clarity and sharpness of the original LP, and along with that improvement, their original concert has been very sensibly expanded with a half-dozen live cuts from roughly the same period, recorded at the Crawdaddy Club.
Among them is a killer live version of the Billy Boy Arnold classic "I Wish You Would."There's also a pair of live tracks from German television in 1967 -- "I'm a Man" and "Shapes of Things"; the two, in a flash, make up for what they lack in perfect fidelity.
by Bruce Eder
Tracks
1.Too Much Monkey Business (C. Berry) - 3.52
2. I Got Love If You Want It (Moore) - 2.40
3. Smokestack Lightning (C. Burnett) - 5.35
4. Good Morning Little Schoolgirl (Demarais) - 2.44
5. Respectable (Isley, Isley, Isley) - 5.35
6. Five Long Years (E. Boyd) - 5.21
7. Pretty Girl (E. McDaniels) - 3.00
8. Louise (John Lee Hooker) - 3.43
9. I'm A Man (E. McDaniels) - 4.33
10. Here'tis(E. McDaniels) - 5.10
11. Smokestack Lightning (C. Burnett) - 6.47
12. You Can't Judge A Book By Looking At The Cover (W. Dixon) - 2.55
13. Let It Rock (C. Berry) - 2.17
14. I Wish You Would (B. Arnold) - 5.53
15. Who Do You Love (E. McDaniels) - 2.17
16. Honey In Your Hips (K. Relf) - 5.53
17. I'm A Man (E. McDaniels) - 4.13
18. Shapes Of Things (Samwell-Smith , Relf , McCarty) - 2.27
As I sit down to write these thoughts, it occurs to me that its now over thirty years since I embarked on a career in the 'biz', in fact its 33% years or an albums worth! Over the course of the years I've been a roadie, drummer, D.J., radio presenter, band manager, recording artist and pop columnist.
A fulsome list and a happy life. I outline this potted biog only because none of this would have happened had it not been for one band, one group of people whose generosity of spirit towards a callow 15 year old, "oh so long ago", made it all possible. 1967 'the summer of love' and this 15 year old heard two records on Radio Caroline that crystallised a lurking desire to 'get into the music biz'. They were Denny Laines' 'Say You Don't Mind' and Rupert's People's 'Reflections of Charles Brawn'. Something in these two songs communicated itself to me in some way inexplainable but lit the fire.
In those days I lived in Hastings and the centre of the pop world there was the Pier Ballroom on a Saturday night. This tatty hall perched on the end of a Victorian edifice transformed itself on a Saturday into a magical place that played host to, amongst others, The Stones, The Who, The Kinks, The Move, Joe Cocker, Jimi Hendrix, Pink Floyd (with Syd Barrett) and... Rupert's People. Having acquired a Saturday job lugging Marshall amps, Hammond organs et al from the roadies' vans to the ballroom for most of the afternoon, I was rewarded with free entrance and backstage privileges at the gigs.
One sultry summer afternoon a van arrived and disgorged Rod, Ray, Steve, John and Dai. The equipment was then duly pushed and lifted into place and the important business of having a drink got under way! In those days the retinue of PRs, managers, press agents etc. that encircle today's artists was happily absent. Rather it was a case of 'we're all in this adventure together', no big time egos, just camaraderie. In this atmosphere I listened to stories from the boys of their life on the road and their hopes for the future. Later that night, on stage and to a packed hall, Ruperts delivered an electrifying set.
Whether it was the musical talent, their good looks or indeed their splendid stage clothes or more likely all of these, they were... special. The gig ended, the gear was reloaded and the van set off back to London. A year passed, a new promoter in the shape of one Jon Scofield leased the pier for the '68 summer season. Jon had turned up at the pier one afternoon in July to find me plugging in some lights backstage and after some discussion offered me a job as stage manager and office boy in his London office. I gratefully accepted! Some weeks later sitting in Jon's office off the Strand he asked me for suggestions for bands to play the pier.
Thus it was at my suggestion that Rupert's People returned for their second gig. By now their second single for Columbia, and may I add my own personal favourite, had been released, 'A Prologue to a Magic World'. The boys once again arrived at the Pier and now living in London, I took up the invitation to 'hang out1 with them. So it was that I 'hung out' at legendary clubs like Middle Earth, UFO, The Marquee and memorably the Cafe des Artistes in Fulham. It was at the latter where for reasons lost in the mists of time I took to the drums (a skill I had acquired along the way) to cover one night for an absent Steve. That was one of my proudest nights, to play with such a great band.
Time moved on,.. Ruperts' third single, 'I Can Show You' was released and I waited for them to explode. It didn't happen. Why? I don't know, but this is a personal story, lets move on. I moved on to work for a record company and gradually lost touch with the guys, but I never forgot them. Its 1995 and disaster! My beloved vinyl record collection is stolen and with it my three priceless Ruperts' singles. Imagine my surprise if you will when glancing through a copy of Record Collector, I find to replace said copies will cost me a small fortune! Rupert's People had over the years assumed icon status. I should not have been surprised, it was only what they deserved.
So why in this age of re-issues of every 'collectable' band known to man was there no Ruperts 'retrospective'? A mission was born. Space does not permit the ensuing four years that passed in vain attempts to locate my old friends. Then in 1999 whilst I was in Amsterdam I received a call from a friend to tell me I might be interested to know that Rupert's People were playing a gig in... Hastings!! Flying back and hurrying down to The Marina Pavilion on Hastings seafront with a sense of bewilderment I was sure he had his facts wrong. So it was on yet another Saturday afternoon I came face to face with Rod, Ray and Steve (sadly no John).
A whole new bunch of fans of the new 'Mod' scene had persuaded the band to re-form for a gig at their 'Mod' rally. To say it was an emotional moment would be a gross understatement. Much later that night the plans were hatched to give life to the record you now hold in your hands. Again space negates all the tales of how much work has gone into this album, suffice to say that Ray's breakfast table in deepest Essex has been the scene of much discussion, planning and not a little reminiscence.
As I stated earlier why Ruperts missed out on the big time is an enigma, 0K they would be the first to agree The Beatles they ain't but Rod, Ray, Steve and John created something that has stood the test of time and anyone who attended that gig two years ago would tell you the story is far from over. They also, through their generosity of spirit and love started a 15 year old boy on a journey that was to fulfil a 'dream in my mind' and for that I love and thank them. Now it just remains for me to invite you to "step inside and join us, in our magic world".
by Colin Bell, Sussex 2001
Tracks
1. All So Long Again (Rod Brosse) - 3:15
2. Charles Brown (Rod Brosse) - 2:18
3. Reflections Of Charles Brown (Conder, Lynton) - 4:18
4. Hold On (Haskell, Conder, Lynton) - 3:33
5. Dream In My Mind (Lynton) - 3:22
6. I Can Show You (Lynton) - 2:58
7. A Prologue To A Magic World (Conder, Lynton) - 4:20
8. I've Got The Love (Beverly, Lynton) - 4:09
9. Water To A Stone (Beverly, Lynton) - 3:56
10. I See You've Changed (Lynton) - 4:34
11. Reflecting (Lynton, Poole) - 6:12
12. You Can't Always Get What You Want (Jagger, Richards) - 5:37
13. My Mind's Eye (Lane, Marriott) - 3:24
14. Rain (Lennon, McCartney) - 3:55
15. I See You've Changed (Version 2) (Lynton) - 5:30
16. Hold On (Version 2) (Haskell, Conder, Lynton) - 5:40
Song #1 perfomed as The Sweet Feeling
Ruperts People
*Ray Beverly - Bass Guitar (1, 2, 5 to 9, 13 to 16)
*Terry Poole - Bass, Vocals (10 to 12)
*Steve Brendell - Drums (1, 2, 4 to 16)
*Dai Jenkins - Guitar (4 to 12)
*Rod Lynton - Guitar, Vocals (1, 2, 4 to 16)
*John Tout - Organ (4 to 12) with
*Gordon Haskell - Bass
*Keith Guster - Drums
*Bryn Haworth - Guitar
*Peter Solley - Keyboards
*Chris Andrews - Vocals
On the fourth volume of this interesting series devoted to songwriters who were under contract to Apple Publishing, the connection to the more public face of Apple -- namely, Apple Records, home to the Beatles and artists like Badfinger and Mary Hopkin -- can be pretty tenuous. Most of these artists did not release music on the Apple label, and some of these songs weren't even published by Apple, although in those cases the writers and/or composers did at least have some Apple connection on their resumes.
Unless that kind of thing easily upsets you, however, you'll find this quite an interesting collection of rarities from the poppier side of British pop-psychedelia, several of which were previously unreleased. With the exception of Merseybeat band the Fourmost (represented by three late-'60s tracks from long after their brief commercial peak, including a 1969 single, "Rosetta," produced by Paul McCartney), none of the artists were hitmakers.
Some did have notable careers or connections, including folk guitarist Stefan Grossman; Brute Force (represented by the notorious naughty novelty "King of Fuh" and his version of "Nobody Knows," which was a minor hit for the Chiffons); Andy Ellison (formerly of John's Children); Timon, the future Tymon Dogg; and Lon & Derrek Van Eaton, who did manage to release a 1972 LP on Apple. Quite a few of the others failed to make the slightest of commercial dents, though a few of them were able to record songs by notable Apple-published songwriters. Marilyn Powell's "Something to Hold on To," for example, was written by Benny Gallagher and Graham Lyle, and the tracks here by Marzipan, Moving Finer, and Ellison were penned by George Alexander of Grapefruit. Based on these 19 songs, Apple's publishing division was largely on the lookout for Beatlesque pop that was more mainstream than the Beatles and fairly commercial.
While none of these cuts seem like obvious hits, they are quite pleasant, and usually quite well-produced, representative samples of British pop-psych that avoid the over-sweetness into which the genre was apt to lapse. Lilting, pleasing harmonies are also to the fore on much of the material, with Promise's demo of "Not Sarah" (one of the highlights) using the Beatles' own Mellotron. the Fourmost sound a bit like an updated Unit 4+2 or hipper Seekers on the folk-poppish "Just Like Before"; Marilyn Powell offers a bit of female pop-soul on "Something to Hold on To," and the Eatons are represented by a demo version of their nice, harmony pop-folk-rock, 1972 George Harrison-produced single "Sweet Music."
by Richie Unterberger
Artists - Tracks - Composer
1. Andy Ellison - Fool From Upper Eden (George Alexander) - 2:51
2. Focal Point - Far Away From Forever (D. Rhodes, P. Tennant) - 3:40
3. Promise - Not Sarah (Alan Morgan, Steve Webber) - 3:02
4. Fourmost - Do I Know You (Brian O'Hara) - 2:22
5. Moving Finger - Jeremy The Lamp (George Alexander) - 2:41
6. Contact - Lovers From The Sky (Trevor Bannister) - 2:40
7. Brute Force - King Of Fuh (Stephen Friedland) - 3:03
8. Fourmost - Just Like Before (Brian O'Hara) - 2:26
9. Stefan Grossman - Not You, Or I, My Dear (Grossman) - 2:28
10.Timon - Now She Says She's Young (Tymon Dogg) - 3:05
11.Promise - Where Love's Concerned (A. Morgan, S. Webber) - 2:15
12.Marilyn Powell - Something To Hold On To (B. Gallagher, G. Lyle) - 2:53
13.Focal Point - Lonely Woman (D. Rhodes, P.l Tennant) - 3:27
14.Brute Force - Nobody Knows (Stephen Friedland) - 2:59
15.Contact - Round And Round (Trevor Bannister) - 3:51
16.Focal Point - Tales From The GPO Files (D. Rhodes, P. Tennant) - 2:19
17.Fourmost - Rosetta (Earl Hines, Henri Woode) - 2:11
18.Marzipan - Sweet Water Mary (George Alexander) - 3:14
19.Lon, Derrek Van Eaton - Sweet Music (D. Van Eaton, L. Van Eaton) - 2:17
In the '73 Sunbury Festival featured Mighty Mouse, as well as a Matt Taylor "solo" slot. Phil and the two Barrys, augmented by second drummer Kevin Murphy backed Matt for this gig. On Mushroom's triple-album document of the event, The Great Australian Rock Festival Sunbury 1973, Mighty Mouse weigh in with the lengthy "Sunset Song", while Matt's set is represented by his own composition, "Brisbane To Beechworth". He had already recorded with his Sunbury line-up (minus Murphy, but with "Sleepy" Greg Lawrie on board) for his debut solo album Straight As A Die. Also a Chain record in all but name, and showcasing Taylor's own rollicking, witty compositions, this album was a Top-20 seller and in September yielded Mushroom Records' first placing in the national Top 10 singles list, "I Remember When I Was Young" a song that, like "I'll Be Gone", "Eagle Rock" and "Most People I Know", has become a perennial 70s OzRock anthem.
With so much activity involving so many Chain alumni, it was inevitable that Mighty Mouse would evolve into yet another Chain -- by now the 15th permutation of the band!. Signing to Mushroom, this line-up issued two singles, the medium-tempo "I Thought You Weren't My Friend" (August) and the gruff shuffle-blues "I'm Gonna Miss You Babe" (November). Neither was particularly successful, but the reconstituted group did impress on the touring circuit, appearing in March at yet another large outdoor gathering, the Down Under Rock Festival in Melbourne (again, all the usual suspects were on a bill that featured – surprise – headliners The Aztecs). During May, Chain toured the country as support to the Muddy Waters Band and soon after teamed with that band's James "Peewee" Madison (guitar, vocals) and George "Mojo" Beauford (vocals, harmonica) for recordings that would form part of Chain's next LP, Two Of A Kind.
One of Melbourne's premier "head" venues around this time, along with the T.F. Much Ballroom, was the Garrison Disco in Prahran, the venue which had served as the unofficial HQ for Madder Lake. Local council pressure forced Garrison's closure in June 1973, and as one of its most popular and regularly-performing acts, Chain was fittingly invited to be among a handful of select bands that paid tribute to the place in its final days. Two Chain songs ("Grab A Snatch And Hold It" and "Do What You Wanna Do"), recorded live there on 7 June, appeared on the various artists' album Garrison: The Final Blow Vol. 2, along with "Roberta" by Taylor and Lawrie as a duo. Other songs recorded that evening were released in other formats: the single "I Thought You Weren't My Friend", b/w "Elephant", an edit of the extended soloing jam "How To Set Fire To An Elephant", which appeared in its full 18-minute form on Two Of A Kind.
Tracks
1. Two Of A Kind (James Madison) - 4:44
2. Reconsider Baby (Lowell Fulsom) - 4:39
3. Everybody Has To Lose Sometime (Traditional) - 8:22
4. Blues With A Feeling (Little Walter Jacobs) - 4:47
5. How To Set Fire To An Elephant (Ian Clyne) - 19:22
Formed from the remnants of Perth band the Beaten Tracks in 1968, the Chain were named by singer Wendy Saddington after the classic soul track "Chain of Fools." Saddington soon left and the band released one of Australia's first progressive blues singles, "Show Me Home," in 1969. Soon after, the Chain shortened their moniker to Chain. In June 1970, Chain recorded the classic live album, Live Chain, at Caesar's Palace discotheque, and along with other Australian acts like Billy Thorpe and the Aztecs, Carson, and the Adderley Smith Blues Band, were considered at the forefront of the Australian blues movement.
In 1971 the new Chain (already by now, "Mk 7"!) attracted the attention of the aggressive young entrepreneur Michael Gudinski, who was by then in the throes of putting together the enduring Mushroom indie record label. Gudinski, who also became the group's manager soon afterwards, has subsequently acknowledged that Mushroom was conceived and built upon Chain's reputation, and he in turn enthusiastically helped foster their career during those heady times.
During the same year, the band continued to grow in stature as a must-see drawcard around the Melbourne blues haunts, as well as being a popular staple at the various outdoor festivals common to the era. An appearance at the Odyssey Festival at Ourimbah in January was captured on the double-LP set History Of Chain, cementing the group's greatness for posterity. Other festival appearances, such as at Myponga outside Adelaide and Wallacia near Sydney (each featuring a roster of the cream of OzRock's best) had a similar effect, and Chain by now were regarded as among the premier of Australia's progressive blues units.
The "classic" line-up of Chain enjoyed a national top ten hit in May with its debut Infinity single, "Black And Blue" (working title: "We're Groaning"), backed with Taylor's ambitious but solidly-delivered and decidedly progressive "Lightning Ground". The A-side recalled the traditional Afro-American "work-song" motif, and heralded the solid, blueswailing body of songs featured on Toward The Blues, Chain's first album for Festival's "progressive" Infinity imprint, which was released to great (and enduring) critical acclaim in September.
At a climactic concert on 13 June 1971 at the Melbourne Town Hall, where a number of the scene's pre-eminent bands assembled (headliners Billy Thorpe and the Aztecs released an LP of their stunning performance there), a self-deprecating Chain were awarded a silver disc plaque (at that time a coveted accolade) for selling 25,000 copies of the "Black 'n' Blue" single, a record that went on to become one of mainstream rock radio's most-played and most oft-requested staples.
MidozTouch-com
Tracks
1. Thirty Two-Twenty Blues (Robert Johnson) - 4:10
2. Snatch It Back And Hold It (Junior Wells) - 5:03
3. Boogie - 10:44
4. Booze Is Bad News Blues - 7:46
5. Albert Gooses Gonna Turn The Blues Looses - 7:04
6. Black And Blue - 4:50
7. Undgemend - 3:28
8. Blow In D - 6:01
9. Mr. President - 3:40
10.Leaving - 2:47
11.Two Of A Kind - 4:43
12.Forever - 5:07
13.I'm Gonna Miss You Babe - 3:30
14.Gertrude Street Blues - 5:01
All songs by Barry Harvey, Phil Manning, Barry Sullivan, Matt Taylor, except where noted.
The story of Flake began in late 1968 when drummer Wayne Thomas quit Sydney band Plastic Tears to form his own group. He recruited four other players he knew -- singer Geoff Gray and bassist Laurie Sinclair (ex The Eli) and organist Rob Toth and guitarist Lindsay Askew (ex The Seen). The new band rehearsed solidly for three months but Laurie Sinclair was forced to drop out before their first gig due to the fact that his father died, his house burned down, he split up with his girlfriend and he had been called up for the Army -- all in the space of one week!
Several changes of personnel during 1969. Mick Gaul left the band and was replaced by Denis Moore (recently returned from the USA) who was known to Thomas from his time with Sydney band Him & The Others. Not long after, Lindsay Askew and Rob Toth both left due to the difficulties of balancing work and band committments -- all the members somehow managed to hold down day-jobs -- and Toth subsequently joined Samael Lilith.
Flake now started looking for a record deal. They had preliminary discussions with EMI, who lined up the renowned David Mackay as producer, but EMI's offer was for two Singles, with the recording of an album dependent on both Singles being hits. At this point independent producer Martin Erdman made them a better offer -- he would sing them to his Du Monde label for two Singles, plus an album, providing Flake had reasonable success with at least one of the Singles.
In early 1970 Flake went to Erdman's World of Sound studio at Ramsgate. The tracks they recorded were the Jackie Lomax song, "You've Got Me Thinking" as the A-side, with as the flip. Unfortunately, although Sydney radio programmers liked the band, they didn't like the song, so Wayne Thomas (who had chosen the A-side) then approached 2UW programmer Gary Jaegear for help. 2UW had rejected the A-side -- but not the B-side, Dylan's "This Wheel's On Fire" -- so Jaegar generously slipped "This Wheel's On Fire" onto the 2UW playlist.
Fortunately for Flake, the single came out at the start of the Radio Ban, which began in May 1970. While this controversial six-month dispute between commercial radio and record companies raged, many major label recordings -- particularly UK hits released or distributed by EMI-- were banned from commercial radio, giving independent labels like Du Monde, Fable, Sparmac and Image unprecedented access to commercial radio playlists.
Before long it was picked up by 2SM and then by stations in other cities. It definitely became a major national hit, although sources differ about exact chart placings. According to Wayne Thomas' History of Flake, it made the Top 5 nationally and stayed on the Go-Set chart for 18 weeks and charts reproduced in the CD-ROM of Martin Erdman's Du Monde compilation confirm his report that it went to #1 in the Sydney Daily Mirror chart and #2 in the 2SM chart, and that it made the Top 30 on 5AD Adelaide. Ian McFarlane's Encyclopedia entry on Flake says that it went Top 5 in Sydney (#4, July) and reached #20 nationally, whereas Martin Erdman asserts that it "reached ... No 7 nationally". Vernon Joyson claims that it spent 25 weeks on the chart. Martin Erdman also reports that the single was originally released by Festival with an orange label, but this was interrupted by the Radio Ban, so Erdman's own World Of Sound company took over pressing and distribution, with Singles released with both gold and orange labels. The single also won the 1970 2SM Australian Talent Award.
In the wake of the single's success Flake toured extensively up and down the east coast, all the while balancing their music career with their day jobs. Inevitably the strain began to tell and the first to leave was Dave Allen. His replacement was Billy Taylor (ex Purple Vision), who took over on rhythm guitar aas well as adding an extra voice to the band's already powerful vocal lineup. Taylor soon became close friends with singer Geoff Gray and the band's roadie Paul Berry, and they soon moved into a flat together. During this period Flake recorded a performance of a song from their repertiore, "Midnight Train", for the ABC's GTK pop show, but it is not yet known whether this still survives in the archives.
Tracks
1. This Wheels On Fire (Dylan, Danko) - 3:07
2. You've Got Me Thinking (J. Lomax) - 2:51
3. Story (Ray Cane) - 3:34
4. Dream If You Can (Rosenbaum, Epstein) - 3:29
5. See The Light (Fataar Bros, Chaplin) - 3:42
6. Under The Silent Tree (Ray Cane) - 3:53
7. Where Are You (Higgs, Palge, Russell) - 4:17
8. Say Goodbye (Gregg Higgs) - 4:28
9.Reflections Of My Life (Cambell, McAleese) - 4:50
10.Life Is Getting Better (Vanda, Young) - 3:18
11.To Be The One You Love (Sharon's solo) (Cipriani, Newell) - 3:47
12.Where Are You (Sharon's solo version) (Higgs, Palge, Russell) - 2:22
13.Teach Me How To Fly (Barnes) - 3:27
14.Quick Reaction (Vanda, Young) - 5:42
15.Down In Rio (Flake) - 6:02
16.How's Your Mother (John Russell) - 1:10
17.Breadalbane - 5:19
Flake
*Wayne Thomas - Drums, Piano, Vocals
*Sharon Sims - Vocals, Percussion
*Geoff Gray - Vocals, Percussion
*John Russell - Lead, Rhythm Guitar, Autoharp
*Greg Higgs - Bass, Vocals
*Billy Taylor - Rhythm, Lead Guitar, Vocal with
*Denise Caines - Vocals
*Dave Allen - Flute, Sax
*Shauna Jensen - Vocals
*Denis Moore - Bass
The David started in 1965 when lead singer and vocalist Warren Hansen got together with bassist Chuck Spieth, drummer Tim Harrison, and rhythm guitarist Mike Butte. Once they added lead guitarist Mark Bird, they got bookings in the Los Angeles area as "The Reasons." In 1966, while attending a gig at the Santa Monica Auditorium, the band met an enthusiastic young man named Steven Vail who convinced them to let him manage them.
Vail redubbed them "The David" to be unique and memorable to a young listening audience. Within months, Steven Vail landed the group a recording contract with 20th Century-Fox Records. In October 1966, The David went into the recording studio for the first time with 20th Century-Fox producer Jackie Mills. They recorded "Bus Token" (sometimes called "Bus Token Fare"), "Foolish Man," and what would become their first A-side, "Forty Miles."
The single was released in December 1966 (backed with "Bus Token"). The group went out to promote it in their clean-cut white corduroy suits and neatly-trimmed long hair. 20th Century-Fox involved them in a nationwide promotional contest where the grand prize was a trip to Los Angeles, a studio tour, and a date with The David. "Forty Miles" received heavy airplay on the West Coast and went to #19 on Bakersfield, CA's top 40 outlet, KIFM.In November, for their second 20th Century-Fox session, they recorded "Out Of My Mind" and "People Saying, People Seeing," but it took more than six months, til June 1967, for 20th Century-Fox to release "People Saying, People Seeing" b/w "Forty Miles."
The group then went through changes. They parted ways with 20th Century Fox, rhythm guitarist Mike Butte left the band, while Steve Vail formed The Vance Music Company, whose first signing was The David. Plans were madefor an album with big production. String arranger extraordinaire Gene Page (who was all over the & many disco hits of the 70s) brought to Sound Recorders in Hollywood a full panoply of horns, strings, sitar, and additional vocals for the sessions that began on November 20,1967.
The sessions later switched to American Recording Co. in Studio City, CA with Richard Podolor as the engineer. Capping Steven Vail's conglomeration and masterpiece of a production was the cover stunningly designed by painter Alan Maynard. When VMC issued the album at the tail end of 1967, the label picked "I'm Not Alone" as the first single, which was issued in a fancy picture sleeve TV beach performance: featuring a photograph by close friend of the band, Chris Georgesco. But radio station program directors had other ideas, especially on the East Coast where "Another Day, Another Lifetime/I Would Like To Know," "Sweet December" and "Time M" got most of the airplay. "Time M" is an obvious example of the theme of time that runs throughout the album, but the song's title is itself a mystery lost in time.
The song was originally just called "Time" but when it got on the session take sheet it had become "Time M," though no one knows why. "Mirrors Of Wood" features Warren playing an instrument of his own design called a plasmatar, a six-foot long wooden frame strung with piano wire and played with a bottleneck to give the vibrant rasp heard on the song. All the songs were written by Warren Hansen, except for "(Mister) You're A Better Man Than I," which Mike Hugg of Manfred Mann wrote for The Yardbirds.
The David recorded it in March, 1968, at T.T.G. Studios in Hollywood along with "I Don't Care," featuring the combined vocals of Mark Bird and Chuck Spieth. Tom Moulton found the two T.T.G.- recorded songs on the original 8-track session tapes during the remixing of the CD. Used by the group to warm up, "(Mister) You're A Better Man Than I" was never intended for release and never had vocals put down on it, but anyone familiar with The Yardbirds' version can tell how skillfully The David do it. The group's promotional efforts included an appearance at the annual Miss Teen Screen Magazine pageant at the Hollywood Palladium. They were also a Gramophone To Groovy, a tv documentary on rock and roll.
The group continued on after the album's release, eventually drifting apart in the »early 1970s. Warren Hansen started college at UCLA and then moved away to start an environmental consulting firm. Tim Harrison went up to Alaska to work on the oil pipeline but moved back to manage properties in the Los Angeles area (when not surfing). Mike Butte continued to live in the Pacific Palisades area and became a finishing carpenter. Chuck Spieth died from smoke inhalation in an accidental house fire in Oregon in the early 70s. While psychedelic in nature, the album does not pinpoint exactly whom The David sound like because theycreated a sound all their own.
They could have been the next big thing if only top 40 radio by late 1967 had not started sticking to the sound they knew, afraid to try something new. Looking back, the album should have sold a lot better than it did. Thirty years later, The David continue to garner fans in the psychedelic/garage band underground. The time has come for The David to get the recognition they truly deserve. It is long overdue.
by Steve Kolanjian
Tracks
1. Another Day, Another Lifetime I Would Like To Know - 5:53
2. I'm Not Alone - 1:50
3. Sweet December - 3:06
4. Tell Me More - 2:25
5. Now To You - 2:50
6. Professor Crawford - 2:41
7. Time M - 3:49
8. So Much More - 2:17
9. Mirrors Of Wood - 3:24
10.Of Our Other Days - 2:08
11.I Don't Care (Unissued) - 2:12
12.Mister, You're a Better Man Than I (Unissued) - 2:52
The David
*Warren Hansen - Organ, Vocals
*Mark Bird - Guitar
*Chuck Spieth - Bass
*Tim Harrison - Drums
