Outlaws – Anthology / Live 'n' Rare (1973-81 us, powerful southern rock, 2012 Purple Pyramid four disc set release)

Southern rock will continue to live and breathe in some fashion, especially as reminders of the genre's glory years -- such as the Outlaws' 2012 four-CD set Anthology (Live and Rare) 1973-1981 -- are issued. There's a treasure trove of material here, with over four hours of previously unreleased material from the Tampa, Florida-based band. the Outlaws could stand on the edge of straight-up country yet turn on a dime and blast out walloping bulldozer-on-steroids hard rock, maintaining memorable melodies and hooks along the way on signature songs like "There Goes Another Love Song," "Green Grass and High Tides," "Hurry Sundown," and the cover of "(Ghost) Riders in the Sky." 

The original lineup included an amazing triple-threat frontline with lead vocalists/guitarists Hughie Thomasson, Henry Paul, and Bill Jones, often referred to as the "Florida Guitar Army." Bass guitarist Frank O'Keefe and drummer Monte Yoho provided the bottom thump, with O'Keefe's work (as well as that of future replacements Harvey Dalton Arnold and Rick Cua) standing out as especially integral to the arrangements. (Latter-era vocalist/guitarist Freddie Salem and drummer David Dix are to be commended as well.) 

Most of the live material comes from the band's first three albums: 1975's Outlaws, 1976's Lady in Waiting, and 1977's Hurry Sundown. Multiple versions of several songs are collected including "There Goes Another Love Song," "Stick Around for Rock and Roll," "Knoxville Girl," "Freeborn Man," "Song in the Breeze," "Gunsmoke," and "Green Grass and High Tides," among others. One stand-out rarity is the cover of Jackson Browne's "Red Neck Friend." Disc one includes performances from 1975 shows in Denver, Colorado; Bryn Mawr, Pennsylvania; Cleveland, Ohio, and the Record Plant recording studio in Sausalito, California. 

Disc two features 1976 performances at the Record Plant in Los Angeles, California. Disc three captures 1977 performances in Pittsburgh, Pennsylvania and Passaic, New Jersey; as well as 1981 tracks also from Pittsburgh, Pennsylvania. Disc four is the most interesting for longtime fans because it includes studio demos recorded between 1973 and 1977. Nine demos from the Outlaws, Lady in Waiting, and Hurry Sundown sessions are followed by eight previously unreleased ones. "Never See Your Face" is bouncy country rock, "Windy City Blues" is a smoldering and surprisingly effective 7-and-a-half-minute jam, "Nighttime's Passing Dream" is melodic and easygoing, and "Goodbye Tupelo" is very nearly pure country. 

An informative essay is included in the liner notes, but specific details on the origins and sources of this material -- Radio broadcasts? Soundboard recordings? Venues? Precise dates? Lineups? -- are incomplete. Despite occasional shrillness, the overall sound quality of these recordings is excellent. The studio demos sound like nearly completed recordings; they aren't like some demos that get released and sound like they were primitively recorded at the bottom of a muddy river. Anthology (Live and Rare) 1973-1981 is a sure-fire reminder of the Outlaws' powerful music and their unique contribution to Southern rock. 

by Bret Adams

Tracks

Disc 1

Live in Denver, CO (August 1975)

1. Waterhole (F. O'Keefe, H. Paul, H. Thomasson) - 1:55

2. Stick Around for Rock and Roll (Hughie Thomasson) - 9:01

3. Knoxville Girl (Henry Paul) - 3:40

4. There Goes Another Love Song (Henry Paul) - 2:56

Live in Bryn Mawr, PA (August 1975)

5. Song for You (W. Jones, H. Thomasson) - 3:36

6. Prisoner (W. Jones) - 9:48

7. Redneck Friend (J. Browne) - 3:49

Live in Cleveland, OH (September 1975)

8. There Goes Another Love Song (H. Thomasson, Monte Yoho) - 3:16

9. Freeborn Man (Keith Allison, M. Lindsay) - 5:17

10. Kansas City Queen (Hughie Thomasson) - 8:11

Live in Record Plant Sausalito, CA (November 1975)

11. Song in the Breeze (Henry Paul) - 4:53

12. Knoxville Girl (Henry Paul) - 3:21

13. Cry No More (W. Jones) - 4:13

14. Green Grass and High Tides (Hughie Thomasson) - 12:53

Disc 2

Live in Record Plant Los Angeles, CA (November 1976)

1. Waterhole (F. O'Keefe, H. Paul, H. Thomasson) - 2:07

2. Stick Around for Rock and Roll (Hughie Thomasson) - 8:54

3. Song in the Breeze (Henry Paul) - 4:59

4. Lover Boy (Hughie Thomasson) - 4:17

5. Freeborn Man (Keith Allison, M. Lindsay) - 5:11

6. Cry No More (W. Jones) - 4:02

7. Knoxville Girl (Henry Paul) - 3:34

8. Green Grass and High Tides (Hughie Thomasson) - 14:10

9. There Goes Another Love Song (H. Thomasson, Monte Yoho) - 4:17

Disc 3

Live in Stanley Theater Pittsburgh, PA (March 1977)

1. South Carolina (Henry Paul) - 3:11

2. Gunsmoke (Henry Paul, Monte Yoho) - 4:33

3. Song in the Breeze (Henry Paul) - 4:47

Live in Capitol Theater Passaic, NJ (May 1977)

4. Cold and Lonesome (Harvey Dalton Arnold) - 3:34

5. Holiday (W. Jones) - 4:39

6. Hurry Sundown (Hughie Thomasson) - 4:09

7. Lover Boy (Hughie Thomasson) - 3:49

8. Gunsmoke (Henry Paul, Monte Yoho) - 4:05

Live in Pittsburgh Arena  Pittsburgh, PA (November 1981)

9. Angels Hide (Hughie Thomasson) - 6:14

10. Blueswater (W. Jones) - 4:59

11. Keep Prayin' (Frank O'Keefe) - 2:46

12. You Are the Show (Hughie Thomasson) - 5:16

13. (Ghost) Riders in the Sky (S. Jones) - 7:07

Disc 4
“Outlaws” Sessions
1. Song for You (Hughie Thomasson) - 3:57
2. It Follows from the Heart (W. Jones) - 4:18
“Lady In Waiting” Sessions
3. Freeborn Man (Keith Allison, M. Lindsay) - 5:48
“Hurry Sundown” Sessions
4. Gunsmoke (Henry Paul, Monte Yoho) - 3:56
5. Holiday (W. Jones) - 3:57
6. Hurry Sundown (Hughie Thomasson) - 4:12
7. Cold and Lonesome (Harvey Dalton Arnold) - 3:49
8. Night Wines (W. Jones) - 4:05
9. Heavenly Blues (Henry Paul) - 3:23
Unreleased Demos 1973 – 1977
10. Never See Your Face (Henry Paul) - 2:55
11. Windy City Blues - 7:32
12. Nighttime's Passing Dream (Henry Paul) - 3:26
13. True Love at First Sight (Hughie Thomasson) - 2:19
14. Where Does It Go from There - 3:22
15. Goodbye Tupelo (Hughie Thomasson) - 2:37
16. Alone with You Again (Hughie Thomasson) - 2:26
17. Two Time Blues - 2:38

The Outlaws
Original Line Up
*Hughie Thomasson – Guitars, Vocals (Died 9/9/07)
*Henry Paul – Guitars, Vocals
*Billy Jones – Guitars And Vocals (Died 2/7/95)
*Frank O’Keefe – Bass And Vocals (Died 2/26/95)
*Monte Yoho – Drummer
Other Members  1977 - 1981
*David Dix – Drums, Percussion
*Harvey Dalton Arnold – Bass, Vocals
*Freddie Salem – Guitars, Vocals
*Rick Cua – Bass, Vocals

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Mad Curry - Mad Curry (1970 belgium, superb progressive rock with jazz glances, bonus tracks remaster edition)

Machiavel might be Belgium's best known and most successful progressive rock band, but they weren't the first.

Probably the earliest band from that country playing this kind of music is Mad Curry, who released a single called "Antwerp", and then a self-entitled album, both in 1970 on the small Pirates label, meaning LP copies aren't likely to float around, and a legitimate CD reissue hasn't surfaced.

The band came from Antwerp, which is in the nothern half of the country (where the Flemish variety of Dutch is spoken). The band included female vocalist Viona Westra, who sounds remarkably like Curved Air's Sonja Kristina, with saxist Joosk Geeraerts (apparently also known as Giorgio Chitschenko), organist Danny Rousseau, bassist Jean Andore (or Vandooren), and drummer Eddy Kane (or Verdonck).

Notice they don't have a guitarist. Despite the band being Belgian, they stick to a British style of jazzy progressive rock.

Really, Mad Curry is truly one of the great, lost gems of progressive rock. This is simply an incredible collection of music, with some really creative drumming from Eddy Kane, and some killer organ work from Danny Rousseau.

This one of those progressive rock albums that isn't particularly pretentious (for those who run at the thought of this kind of music), as they tend to borrow more from jazz than classical. The music is really full of great twists like on "Beauty", "Music, the Reason for Our Happiness", and "Longhaired Children in a Cave".

"The Worker" is a real interesting one where it the keyboard heard sounds like a cross between a piano and harpsichord. While vocals are largely from Viona Westra, one of the guys (not sure who) do actually share vocal duties on "Beauty" (a song with reference to sex) and he reminds me of the Amon D??l II male vocalist.

Frequently Mad Curry gets compared to Soft Machine and Julian's Treatment, which is understandable, the Soft Machine comparison coming from the jazzy nature of the music, and Julian's Treatment for the female vocals and Hammond organ.

Other groups I get reminded of are Affinity, Catapilla, and even Curved Air (thanks to Viona Westra sounding like Sonja Kristina, which means if you like Sonja's vocals, you'll have little problem warming up to Viona's vocals, although like Sonja, she is an acquired taste).

Really, had Mad Curry been British, they'd likely end up on the Vertigo label, as it's very much in the vein of the more jazzy progressive albums on that label.

But since they were Belgian, they ended up on the Pirates label. Remember, in Belgium, the progressive rock scene hadn't been as so well represented as the progressive rock scenes in the countries that surround it (Netherlands, France, Germany), but Belgium had their share of groups worth your time, and if you're a fan of those British groups I mentioned, I really think you can't go wrong with Mad Curry. I was simply blown away from the first listen! 

by Ben Miler

Tracks
1.Men - 4:08
2.Big Ben - 4:53
3.Beauty - 3:31
4.Music, The Reason Of Our Happiness - 4:05
5.Jack Is Away - 5:17
6.5 Longhair Children In A Cave -
7.The Worker - 3:48
8.Sound For Tomorrow  (Giorgio Chitschenko) - 3:16
9.Antwerp (single A side) - 2:57
10.Song For Cathreen (single B side) - 2:26
All titles by Viona Westra and Giorgio Chitschenko except where noted

Mad Curry
*Viona Westra - Vocals, Percussion
*Giorgio Chitschenko (Joosk Geeraerts) - Varitone Saxophone
*Danny Rousseau - Keyboards, Sounds
*Jean Andore (Vandooren)  - Bass
*Eddy Kane (Verdonck) - Drums

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Ironbridge - Ironbridge (1973 uk, soft rock with prog traces and nice vocals harmonies, Flawed Gems 2012 release)

The sole, eponymous LP of the British band was released in 1973 by EMI  Label, unfortunately in France only ! There's no information available about the band ( even their names ) expect the fact they came from Telford area in Shropshire and were previousley known as Fluff.

The music itself is best described as very melodic, early Badfinger ( well done vocal harmonies, catchy melodies ) combined with George Harrison ( beautiful electric / acoustic guitar sound ), some hard rock ( on few tracks ) and progressive rock influences ( occasional mellotron passages, changing moods ).

Tracks

1. Just A Bridge - 3:34

2. Back Room (Alan Millington, Mick Skinner, Alan Phillips) - 3:43

3. Hallelujah Dave - 2:51

4. Getting Older - 2:51

5. Making It Hard (Alan Millington, Mick Skinner, Alan Phillips) - 3:54

6. Show - 4:46

7. It's All Right - 3:16

8. Frost And Fire - 2:39

9. Simple Man - 2:43

10.Glen - 0:55

11.I Can Fly - 3:30

12.Shanty - 6:43

All songs by Alan Millington, Mick Skinner except where stated

Ironbridge

*Alan Millington - Vocals, Drums

*Mick Skinner - Guitar, Vocals

*Alan Phillips - Guitar, Vocals

*Gerry Ward - Bass

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Jeff Liberman - Then And Now (1975/78/89 us, exciting singer songwiter, acid psych folk blues rock with experimental mood)

I knew that I had to play the guitar when I heard the unique sounds of Eric Clapton, I was I3 years old when a friend of mine introduced me to John Mayall's Bluesbreakers and "cream's" Disraeli Gears albums which featured Eric Clapton. I wore those albums out! I came across a gretch guitar; a small amplifier and a fuzz face distortion unit. From that moment on, i was in love with that "overdrive" sound.

During my mid-teen age years.'i studied some jazz, on and off, but always looked for ways to integrate "jazz riffs" into a "rock" environment: for quite some time I had developed a fondness for poetry, so songwriting became an opportunity to weave this desire to write, into the musical sounds that i could create. I dont consider myself a musican, nor have i ever. I feel, that i am an artist who uses the guitar and lyrics just as an impressionist painter uses his brush and canvas. My work is "stream of consciousness" for the most part during my late teens. I realized that a number of people showed an interest in my music.

I then decided to record my first album. I never pursued music in a commercial or monetary way. To me, recording my music was a way to express myself as well as an avenue to create something tangible: a record. My first album, "Jeffery Liberman" was recorded at the age of I9, i had very little money and only with the help of all parties involved (ie. Artist for cover; recording studio, etc.) Was i able to complete the entire project for a mere $ 2,000!

All of the profits from this album were donated to the larabida children's hospital in Chicago. Illinios. I wanted to use whatever talent or perceived talent that i had. To help others when possible. After completing my first album, i realized that i not only enjoyed writing and playing. But i also enjoyed the production aspect of my music. I continued to write and record my songs as money would allow. Consequently, all of my music was "low budget. My focus was always on the expression of my ideas. Not on the presentation. I had to employ some unusual recording techniques, so as to enable me to record my music while having such limited financial access.

I have had the pleasure of playing with such notable artists as: Phil Upchurch. Muddy Waters jr., junior a awells and the rhythm selection of junior walker and the all stars. My musical influences include such greats as: Eric Clapton, Carlos Santana, Duane Allman, Roy Buchanan, Jeff Beck, Albert Collins, Larry Carlton and Jan Ackerman. I have put together a guitar book for people that would like to learn the note patterns and chords that i use in my playing.

No music reading is required. Anyone can learn the note patterns and riffs used by all of these artists. I believe that toe artists' soul is what differentiates each player's sound as well as their interpretation of tonal patterns. My current equipment is: hamer guitar; gibson es-347. Gibson les paul, martin d-35 small amplifier (inexpensive. No name) "rat distortion box vox cry baby wah wah pedal.
Jefferey Liberman

 Tracks
Disc 1
Jefferey Liberman 1975 
1. Drcamin' Sailor - 2:17
2. Evanescent - 3:03
3. Catherine - 2:51
4. Phenaphen #3 - 8:42
5. Boogie Blues - 3:37
6. Safari - 2:51
7. Tasty Vertex - 4:14
8. All That Jazz - 4:10
9. Women's Needs Are Seldom - So Meet Them At The Why? - 4:45
Solitude Within 1975
10.I Can't Change - 3:48
11.Springtime - 2:35
12.Rock Or Roll Me - 3:39
13.Lite Is Just A Show - 2:32
14.A Mvopic Huphoria - 1:43
15.Woman - 4:40
16.Solitude Within - 2:43
17.Soft Anil Lasts - 2:22
18.The Same Old Blues - 3:31
19.Transition - 3:29
All Songs by Jeff Liberman 

Disc 2
Synergy 1978
1. Way Of The Wind - 2:34
2. Just A Thoimlu - 2:43
3. What The Funk - 1:14
4. Everything Around Us Will Be Love - 2:56
5. On The Move - 2:28
6. Another Day - 3:05
7. Springtime - 2:35
8. Transformation - 3:25
9. Stream Ot Contusion - 3:08
10.Cornin' Down On Me - 4:53
Into The Comfort Zone 1989
11.Way Of The Wind - 3:36
12.Places Tb Go - 3:26
13.Down On Me - 5:16
14.Another Day - 3:15
15.City Streets - 5:27
16.Music Lakes Me Higher - 2:23
17.You've Got The Cure - 3:08
18.Man For You - 3:24
W.I C'an't Change - 3:50
20.There S A Way - 3:55
21.25 Or 6 To 4  - 4:44
All songs by Jeff Liberman except track #21 by Robert Lamm

Musicians
*Jeffery Liherman - Vocals, Guitars, Synthesizers
*Phil Uptcmple - Bass
*Tom Radlock - Drums
*Lindsey Nelson - Vocals, Keyboards, Flute
*Bryce Roberson - Bass, Guitars
*Joel Brooks - Piano
*Ronnie Harvil - Bass
*Billie Ebmeyer - Percussions
*Jerry Peoples - Sax
*Brian Grice - Percussions
*Harry Brotman - Synthy
*Larry Ball - Bass
*Danny Watson - Piano
*Roger Mathews - Bass
*Charles Krisler - Percussions
*George Voss - Clarinet
*Nick Cortesc - Vocals
*Marvin R. Sparks, Jr. - Percussions
*Chris Moberly - Keyboards
*Ron Kurzman - Percussions
*Sandy Tower - Keyboards, Vocals
*Dan Lomas - Guitars, Moog, Bass, French Horns
*Tom Radlock - Percussions
*Ron Harris - Bass
*Byron K. Bowie - Horns, Flute
*Solomon (King) Johnson - Vocals
*Byron Gregory - Rhythm Guitars
*Paul Richmond - Bass
*Koco - Keyboards
*Morris Jennings - Percussions

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Country Joe McDonald - Hold On It's Coming (1971 us, fascinating folk psych blues rock with Peter Green, Spencer Davis and Danny Thompson, Akarma limited edition)

In the Summer of 1970 Joe toured England and Scandinavia playing at the Bath and Bickershaw Festivals. Both were huge successes and we decided to stay in London and record some of the new songs that Joe had been writing. We booked De Lane Lea studio for a couple of weeks and started trying to find people we knew to play on the record. 

Eventually we wound up with among others Peter Green and Danny Thompson and two songs Spencer Davis. Unfortunately we had a lot of problems once we got the tapes back to California. We had to go back into the studio and add some new drums-Chicken Hirsh from the Fish; and on "Hold On It's Coming II"; Greg Dewey and Ed Bogas on violin. 

This album features a different style of songwriting than the 5 Country Joe and The Fish albums—it's more political—more to the point6 ("Mr. Big Pig" more topical)—("Air Algiers"). Joe spent some time in the South of France, and went to Algiers to see if he could find Eldrige Cleaver an important member of the Black Panther Party who had fled the USA to avoid being arrested. —He didn't run into him. The title song "Hold On it's Coming " was subject to much controversy in the press. 

Many critics thought the hitchhiker was a reference to Christ—Joe won't say; and many different allusions about the song and it's meaning (if any) showed up in the press from time to time. The album itself got great radio play, but was confiusing to stores and buyers because of the cover. Many thought it was the soundtrack to a movie—since there was no movie, the records wasn't adequately stocked. Goes to show what art can sometimes do to an album release.

by Bill Belmont, Berkeley, June 2001

Tracks
1. Hold on It's Coming No. 1 - 3:52
2. Air Algiers - 2:31
3. Only Love Is Worth the Pain - 3:55
4. Playing With Fire - 3:20
5. Travelling - 4:27
6. Joe's Blues - 4:14
7. Mr. Big Pig - 3:31
8. Balancing on the Edge of Time - 3:11
9. Jamila - 3:26
10.Hold on It's Coming No. 2 - 3:52
Words and Music by Country Joe McDonald

Musicians
*Country Joe McDonald - Vocals, Acoustic Guitar, Guitar
*Spencer Davis - Back-Up Vocal, Acoustic Guitar, Harmonica
*Rockhead - Electric Guitar
*Richard Sussman - Piano
*Nick Buck - Electric Piano
*Alex Dmochowski - Bass
*Eric Weissberg - Bass
*Vic Smith - Bass, Electric Guitar, Back-Up Vocal
*Gary "Chicken" Hirsh - Drums
*Greg Dewey - Drums
*Mark Sidi Siddy - Talking Drum (Track 9)
*Ed Bogas - Fiddle (Track 10)
*Peter Green - Guitar (Tracks 2, 3)
*Danny Thompson - Bass

Country Joe discography
1965-71  The First Three E.P's
1967  Electric Music For The Mind And Body
1967  I-Feel-Like-I'm-Fixin'-To-Die
1968  Together
1969  Live! Fillmore West
1969  Here We Are Again
1970  CJ Fish
1970  Tonight I'm Singing Just For You

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Machine - Machine (1970 holland, fantastic heavy psych with prog shades)

The Rotterdam based band started as The Swinging Soul Machine and changed to Machine. Their sound was a mixture of  Psych, progressive, hard rock and brass rock. Nederbeat was one of the more healthy psych/garage scenes coming out of continental Europe and Machine were like the latter stages of those groups such as Q65 and Cosmic Dealer. 

Singer John Caljouw came from the legendary dutch band Dragonfly.  The strong Hammond organ presence adds a proto-prog sound similar to Deep Purple and Mainhorse. Horns were frequently inserted in those days to increase the odds of a chart appearance, given the wild success of Chicago and Blood Sweat and Tears. And, as expected, there's also a strong blues influence throughout. 

Machine existed from 1970 to 1972 but was also revived from 1973 to 1974 by Content and Warby.

by Tom Hayes

Tracks
1. Rainmaker (Machine) [3:23]
2. Virgin (Machine) - 4:29
3. Say goodbye to your friends (H. Sel, J. Caljouw) - 2:46
4. God's children (Machine) - 4:41
5. Old black magic (Machine) - 3:42
6. Spanish roads (Machine) - 5:23
7. Lonesome tree (F. Content) - 3:38
8. Sunset eye (F. Content) - 6:26

Machine
*John Caljouw - Vocals
*Francois Content - Trumpet
*Wim Warby - Tenor Sax
*Maarten Beckers - Saxophone, Flute, Clarinet
*Hans Sel - Guitar
*Paul Vink - Keyboards
*Jan Warby - Bass Guitar
*Jan Bliek - Drums

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Skin Alley - Big Brother Is Watching You (1970 uk, astonishing jazz rock with prog tone, 2011 esoteric double disc remaster plus unreleased material)

Skin Alley was formed in 1968 through a series of important personnel changes to finally stabilize around Thomas Crimble (keyboards, bass and vocals), Bob James (saxophone and guitar), Krzysztof Henryk Justkiewicz (keyboards) and Alvin Pope ( drums). Clearwater strategy to publicize Skin Alley with labels is their potential to play a maximum of free concerts in the London area. During one of these concerts in August 1969 with High Tide and Skin Alley, training unknown name Group X has squatter equipment and played his first concert: the audience has to know the future Hawkwind. The famous DJ John Peel attended the concert and Skin Alley allows to record a show broadcast in the legendary show on Radio One.

Some companies point the nose to sign Skin Alley and finally CBS offers the best deal. The band entered the studio in November 1969 and wax layer on what to do first album based progressive rock and jazz rock. Before the release of this album, CBS included the first song "Living in sin" on the compilation "Fill your head with rock" published in 1970. This little warm-up helps to know a little better Skin Alley, whose album was released in March 1970 with the single "Better be blind / Tell me" loaded to bait the public. 

"Skin Alley" is a good album of progressive uneventful, with great moments like "Living in sin" or the beautiful and melodic "Tell me." Groundwater organ sounding and subtle flûtiaux introduce a "Mother please help your child"-like blues saint-Sulpician. Product of progressive jazz with great pomp recalls Graham Bond Organisation or Artwoods ("Marsha"). "All Alone" is a long slow sadness which would be perfect for a surprise party in a funeral home. The album ends with the honest boogie "(Going down the) highway" highly enriched saxophones and organs.

This first album was very well received by critics and Skin Alley promote share in France during the spring of 1970, a tour which also vying Kevin Ayers and the Edgar Broughton Band. CBS has enough confidence in his new protégé allow him to record a second album. The group enters the De Lane Lea studios in June 1970, with producer Fritz Fryer and sound engineer Martin Birch (who later produce Deep Purple, Rainbow, Black Sabbath, Blue Öyster Cult, Whitesnake and Iron Maiden legend) . It is precisely at this time that Thomas Crimble share in Hawkwind and is replaced by Nick Graham (ex-Atomic Rooster).

The album "To Pagham and Beyond" marks a more jazzy improvisation and more progressive than its predecessor. This second album contains three long jams that give a spatial aspect: "Big Brother is watching you", "The queen of bad intentions" and "Take me to your leader's daughter." The group also includes the "Walking in the park" by Graham Bond, leading to a more adventurous and more content released on the first album.

Skin Alley received shortly after the recording of her second album, an order for the soundtrack of a German documentary about the supermodel Verushka. The group has recorded songs like "Shower music", "First drug scene" and "Cemetery scene" in a funky style in their infancy. This film was to be called "Stop Verushka" is finally stillborn and the soundtrack that would accompany ends into oblivion CBS offices.

Big Brother is Watching You – The CBS Recordings Anthology brings together the first two albums from Skin Alley – their 1970 eponymous debut and it’s follow up (also 1970) To Pagham and Beyond – along with a single ‘Better Be Blind’ and the unreleased soundtrack album to the equally unreleased film, Stop Veruschka. A rare old package and no mistaking, Guvnor.

Skin Alley blended a formidable sonic stew, flavouring their musical melting pot with elements of psychedelia, folk and the occasional dash of jazz horns, played out against a snarling undercurrent of bluesy riffage. This was served to an eager audience of free-festival-dwelling counter culturites, on a sizeable platter of proto-progressive rock. Close your eyes for a second, while listening to Big Brother is Watching You, and witness the seething mass of barnets that their particular brand of underground stylings sailed across, undulating as a single consciousness on a summer’s afternoon in Dorset, 1969.

‘Living in Sin’ is a case in point of how the musical machinations of Skin Alley evoke a certain spirit of freedom, long laid to rest, that eschews cynicism in favour of swirling flute melodies. The kind that unwrap an exquisite picture box of late 60?s hippy imagery, as imagined callow young things spin like dervishes upon the hallowed soil of Olde England, giving “The Man” something to fill his next half-century’s worth of quietly anaemic nostalgia TV shows with.

As ‘Living in Sin’ kicks off the original Skin Alley album, so it does this anthology, which is split into two discs: the first presenting the self-titled debut, with the second disc showcasing To Pagham and Beyond. For understandable reasons, the aforementioned Stop Veruschka is spread across both discs, tail-ending the first two albums so as not to break up their continuity. It’s largely forgettable, apart from one ray of light in ‘Sun Music’, which would reappear on Skin Alley’s third release, Two Quid Deal.

Whereas Skin Alley is a tight collection of the socially conscious and the sinister (‘All Alone’ sounding uncannily similar Country Joe and the Fish’s spectacularly eerie ‘Bass Strings’), To Pagham and Beyond opts for a more laidback approach, with extended jams and a heavier acknowledgement of the jazz influences. The nine minute ‘Take Me to Your Leader’s Daughter’ illustrates this perfectly, as meandering instrumental passages intertwine with brief vocal departures; the type of thing that would easily have gone on for another 40 minutes when performed on stage.

Big Brother is Watching You, brings the two albums together nicely, with both discs having their fair share of high points. Those old HFoS favourites, the Mellotron and the Hammond Organ, are incorporated liberally throughout and there’s even room left for a Harpsichord on the medievally-flavoured folk instrumental ‘Country Aire’. The flute be the real star though, providing the thread that binds a great deal of this excellent anthology together. If you’re a fan of the rough-around-the-edges underground rock rawness demonstrated by High Tide, Mighty Baby, Edgar Broughton and Hawkwind, to name a small few, then this band of hirsute ne’er-do-wells could be right up your (Skin) alley.

by Adamus67

Tracks

Disc-1

Taken From The Album Skin Alley

1. Living In Sin - 4:41

2. Tell Me - 4:39

3. Mother, Please Help Your Child - 4:11

4. Marsha - 7:18

5. Country Aire - 2:16

6. All Alone - 8:13

7. Night Time - 5:32

8. Concerto Grosso (Take Heed) - 0:29

9. (Going Down The) Highway - 4:16

A and B Sides Of Single

10.Better Be Blind - 3:02

11.Tell Me (Single Version) - 3:58

Taken From The Unreleased Soundtrack Album Stop Veruschka

12.Shower Music - 3:34

13.Sofa, Taxi And Sand Themes - 5:10

14.Cemetery Scene - 4:40

15.First Drug Scene - 5:15

Disc-2
Taken From The Album To Pagham And Beyond
1. Big Brother Is Watching You - 6:47
2. Take Me To Your Leaders Daughter - 8:46
3. Walking In The Park - 6:41
4. The Queen Of Bad Intentions - 6:47
5. Sweaty Betty - 8:04
6. Easy To Lie - 5:17
Taken From The Unreleased Soundtrack Album Stop Veruschka 
7. Russian Boogaloo - 4:09
8. Skin Valley Serenade - 5:30
9. Sun Music - 5:26
10.Bird Music - 4:16
11.Snow Music - 2:33

Skin Alley
* Thomas Crimble - Bass, Vocals, Keyboards, Harmonica
* Bob James - Saxophone, Flute, Guitar, Vocals
* Krzysztof Henryk Juszkiewicz - Organ, Piano, Harpsichord, Melotron, Vocals, Trumpet
* Giles 'Alvin' Pope - Drums, Percussion
* Nick Graham - Vocals, Keyboards, Bass, Flute
* Tony Knight - Drums, Vocals

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Bliss – Return To Bliss (1969 us, sharp psych blues rock, 2nd unreleased album, 2008 Hallucinations edition)

Mesa, Arizona, hardly a psychedelic mecca but the roots of Bliss and their first incarnation “The Sect” began there. While students at Mesa High 1966, Brad Reed, Rusty Martin and Corky Aldred got together and formed The Sect, eventually adding Tom Smith on bass and J.R. Lara on tambourine and vocals. Influenced by the British Invasion (who wasn’t?) the band landed a gig at a local nightspot called the Dungeon and changed it’s name to the Henchmen to fit the ambiance. But this was short lived and soon the band changed back to The Sect and began playing around Maricopa County. Keep in mind Reed was just 15 at the time!. Interesting this were to come for the boys.

Later in the summer the band caught at the attention of legendary producer Hadley “Madley” Murrell who had an ear for local talent and did some of the biggest records to come out of the area. He immediately booked them time in the famous Audio Recorders to record the two bonus singles included here. By the end of 1968 all 5 members had graduated from Mesa High School and broke up for a while.

The band decided to reform as a trio with Martin, Reed and Aldred, now a little older and more accomplished on their instruments, the name was BLISS. They teamed up with Murrell again to record a full album which was released on Canyon Records later that year. Sadly though the Lp is a great one, it had little fanfare until years later when collectors began to re-discover it. 

Now it is considered a classic and worth a hefty buck. Well the story would seem to end there but…there was another album recorded a bit later which is the one you have here. Murrel again wrote a couple brilliant songs, as did Reed and Aldred. Some of the details of this epic unreleased music are the sketchy but the lp is not. From start to finish it is a killer, vocally, musically and intellectually…wow!. At least 4 classic psychedelic rock tracks appears here, notably “Music train” and “Hippies, Cops and a Bunch of Rocks”. I have added the Sect 45 as bonus tracks here… Catch the Music Train and Return to Bliss

by Brian Hulitt, Hallucinations records.

Tracks
1. Hotche Blues - 4:18
2. Music Train - 3:22
3. Nothing In My Life - 1:53
4. Fear Of Fears - 4:04
5. Reach Out And Touch You - 5:01
6. City Woman - 3:19
7. Hippies, Cops And A Bunch Of Rocks (Hadley Murrell, Eddie Campbell) - 3:54
8. Sandbox Symphony (Forest Webb) - 2:25
9. Simply Sunday (By The Sect) (Brad Reed) - 1:40
10. Just Can’t Win (By The Sect) (Rusty Martin) - 2:10
All songs by Corky Aldred except where indicated

Bliss
*Rusty Martin - Bass
*Brad Reed - Guitar, Vocals
*Corky Aldred - Drums, Vocals

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Gordon Alexander - Gordon's Buster (1968 us, beatific psych folk with breezy orchestral bossa nova-flavored pop, 2011 Kismet release)

And that about covers it, except that in between he was half of a group called Peanut Butter ‘n’ Jelly, and then he was on his own again, and he met people who went wha? When he sang his songs. "I remember the first time Derek Taylor heard me, he was standing in the other room and I did this medley I had worked out back then - I did a lot of songs with this transition thing worked in between em - and suddenly he goes CRASH!, drops everything, falls against the wall, and then when I finished he comes over and he says, 'Well, I , oh - what good are words, anyway? I just wanted to say, I really enjoyed your... music.' And I'm saying 'Uh, right,' and the walls are going ka-choonga, you know? One of those mystical experiences." 

Gordon met Clive Davis, the president of Columbia Records, who said something like 'yeah', and signed him, and Gordon finally made his album - something he'd waited for a long time, and while making it someone phoned in a bomb threat. "A bomb threat, can you imagine? But we kept on recording. Studio time is scarce at Columbia." One of the strange things about Gordon is the way he sings: hard to describe, one of those things you have to hear. He sings echo with himself, sends his voice around the corner, through a filter, brings it back again, sings echo with himself. 

The music at first hearing may sound foreign, jarring, unapproachable - especially the more electronic space songs. Maybe you can't see it at first, but then later when you find it has all worked out, it is most accessible. The first album Buster, doesn't have too many really difficult electric space songs. "We thought we'd keep this one pretty basic," Gordon says. "But I certainly do try to remind people about life and death and those things."

Eye magazine, December 1968

Tracks
1. Looking For The Sun - 2:37
2. Letter To Baba - 2:44
3. Topanga - 2:29
4. Autumn Is A Bummer - 1:49
5. A Bunch Of Us Were Sitting Around A Candle In San Francisco Getting Stoned And I Hope You’re There The Next Time - 1:58
6. Waiting For The Time - 1:56
7. Thinking In Indian Again - 1:56
8. Puppet Theatre 23 - 2:08
9. One Real Spins Free - 2:24
10.Windy Wednesday - 3:47
11.Miss Mary - 2:55
All compositions by Gordon Alexander

Musicians
*Gordon Alexander - Vocals, Guitar
*Jim Gordon - Drums
*John Guerin - Drums
*Ben Benay - Guitar
*Al Casey - Guitar
*Bill Pitman - Guitar
*Carole Kaye - Bass
*Pete Christlieb - Saxophone
*Plas Johnson - Saxophone

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Colonel Bagshot - Oh! What A Lovely War (1971 uk, amazing atmospheric psychedelia through guitar-based soft-progressive to folky ballads, 2012 Flawed Gems remaster)

‘What A Lovely War’ … is entitled to such a puzzling irony, the British band’s debut LP Colonel Bagshot does not rocked the Billboard list of the very rich musically 1971. What’s more, in their own country no one even thought about release their album. Debut took place only in the United States.

The next album, which was released for the first time on CD, thanks to the Swedish label: Flawed Games… album devoted to anti-war topics is a piece of excellent, soft – progressive music under the sign of the late Beatles, The Strawbs and early Moody Blues. And while fans of 10-minute solos on the Hammond organ and distorted guitars may feel disappointed, but fans of the good old play based on a clear and ambitious arrangements of tunes from the early 70′s – should be thrilled!

I’m a big fan of this album, but I needed a few hearings to bite deeply into her mood. Just one little thing … Over 10 years ago, an American DJ just took the tape from the first track (Six Days War), remixed it a bit, added a typical soul drums, made a clip of the starving people of Africa i .. so “borrowed” a piece has reached the very top of the U.S. charts and sold millions of copies!and was used for the soundtrack of “Phone Booth” starring Colin Farrell (no relation to Brian).

Funny story is that these facts at the time it was, not Internet (yes, yes meant that contemporary rock librarians ‘Colonel Bagshot’ filed under band from the USA.

No, but now that we have the internet … it turned out that the native British people of flesh and blood!

The group was formed in the late ’60s. They played a lot of concerts and recorded albums. Their work, we compare some of the achievements of The Beatles, The Moody Blues, or even The Strawbs. Album padded ro is the 3.4-minute intervals protest songami a strong anti-war message and already less librarians determine how this type of music: psychedelic rock, or so-called soft-progressive … It is important that arrangements are top notch, the board listened to with great pleasure, even after so many years, and “Colonel” can sometimes bump so that the heel is coming! …. Just great!

Colonel Bagshots toured with Slade and went through transitions with new band members before Brian Farrell Became a solo artist signed to Warner Brothers and Kenny Parry, Dave Dover, Terry McCusker went on to form ‘Nickelodeon’ tight and very popular rock / pop trio. Colonel Bagshot reformed in 2006 for the launch of a book about the 70′s music scene at the Cavern in Liverpool.

by Adamus67

Tracks
1. Six Day War - 3:58
2. Lay It Down - 3:07
3. Lord High Human Being - 3:00
4. Headhunters - 2:47
5. I've Seen The Light - 4:45
6. Dirty Delilah Blues - 4:15
7. Sometimes - 2:02
8. That's What I'd Like To Know - 4:00
9. Smile - 2:55
10.Tightrope Tamer - 2:50
11.Oh! What A Lovely War - 3:18

Colonel Bagshot
*Brian Farrell - Vocals, Guitar, Stylophone
*Kenny Parry - Vocals, Guitar, Keyboards
*Dave Dover - Vocals, Bass Guitar, Keyboards
*Terry McCusker - Vocals, Drums

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Fifth Flight – Into Smoke Tree Village (1970 us, garage psych with fuzz guitar and spooky organ)

In the mid sixties, five football players from a local high school got together to Jam. The sounds blended and recorded an album for the Century label which was a late 60's early 70's Californian custom record label that pressed tens of thousands of small-run records for schools, church groups and obscure local bands. This was one of those delightful garage/psych jewels that occasionally cropped up on the label. 

With its rustic mill cover this a a garage psych album consisting mostly of covers, delivered with lashings of fuzz guitar and heavy, spooky organ. The stand-out track surely is the jaw droppingly awesome cover of Neil Young's "Sugar mountain". What you are hearing on this album are moods, transitions and feelings of the Fifth Flight.

Tracks

1. Can't You See (Danny Knoedler, Steve Denny, Kenny Van Ordstrand) - 4:51

2. I'd Like To Make It With You (David Gates) - 3:29

3. Devil With A Blue Dress (Shorty Long, William "Mickey" Stevenson) - 4:09

4. Celebrate (Gary Bonner, Alan Gordon) - 2:06

5. Midnight Hour (Steve Cropper, Wilson Pickett) - 3:42

6. Summertime (George Gershwin, DuBose Heyward) - 4:18

7. It’s All Over Now (Bobby Womack, Shirley Womack) - 2:13

8. Sugar Mountain (Neil Young) - 6:10

9. Try A Little Tenderness (Jimmy Campbell, Reg Connelly, Harry M. Woods) - 4:59

Fifth Flight
*Dudley Gray - Bass, Vocals
*Charlie Knoedler - Drums
*Danny Knoedler - Guitar
*Steve Denny - Piano, Organ, Vocals
*Kenny Van Ordstrand - Lead Vocals

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Crystalline - Axe Music (1970 uk, heavy psych with raw fuzzed out guitars and dreamy female vocals, 2012 Guerssen release)

Axe did not make a lot of music, but they made some phenomenal music. Some of the best ever to emerge from the swamp of heavy British psychedelia, certainly some of the rarest, ft is heavy but luckily never takes either of the two usual wrong directions: dexterity leading to wanky prog noodling, or high volume leading to endless bludgeoning riffs and not much else. 

Unlike most stuff hyped by dealers as "prog psych" or "heavy psychedelic', which all too often is merely mindless proto-heavy metal, Axe were something very special. They managed to pull off a ma|or coup: they could blend heavy guitar, fuzz-overloaded amps and plenty of silky ribbons of Raga moves with female vocals, Vivienne's pensive yet direct vocal delivery, and poetic lyrics which tend towards folk structures, into a form that is proudly psychedelic, and still avoids all the usual pitfalls of such a marriage of unlikely elements. Explosive and astounding, they demolish similar femme-lead efforts like Curved Air or Shocking Blue. 

But this mix of styles is not to suggest that this is a 'happy medium', or a compromise. Yes, the heaviness is occasionally leavened with some occasional folkish inflections, but these do not predominate, and in many ways the mention of 'folk' does the music an injustice. Too much so-called "acid folk" is folk first and acid last. Axe were no lay-down-and-die "acid folk" weeds. There sound is first and foremost spine-tingling acid rock. They made use of imaginative and trippy fairyland lyrics, deeply immersed as they were in the whole hippie thing. 

Here's a representative quote from their masterpiece 'Here From There': "Long ago in times of old / When knights were strong and bold, / When fairies lived beneath the trees /And flew about on bumblebees / They bathed and swam in moonlight shafts, (In toadstools large and small / Are tiny lights and chimneys tall, / Fiery dragons roar through caves / Sending out a mist-like haze, / Fat, stout trolls beneath bridges lie (Waiting to grab whatever comes by....'And yet, despite its unbridled musical brilliance and perhaps because of the hideously botched Kissing Spell "reissue", the Axe LP still languish in deepest obscurity. (The profile of the Axe LP is starkly contrasted with an album like Jesse Harper's "Guitar Absolutions" (or whatever you wanna call it), which is also "heavy", also "acetate-only", also "big bucks", also made "available on vinyl and CD formats"). 

But, Jesse gets a lot of glory and even some mainstream media attention, whereas Axe get pretty much sod-all and not even get a mention in something like RC's (comprehensive ha ha ha) "Psych Trip" series! I guess those hacks just didn't, couldn't, get it. Doubtless, in their Pigeon Hole World they'd automatically call the Axe recordings "Progressive" just because they're heavy and from 1970. Such folks have a tendency to compartmentalise "prog" and "psych" as it they are always totally separate, unrelated entities, even in the face of obvious over-laps. 

Of course, yeah you guessed it Jesse Harper did gain inclusion in RC's 'Trip'...and he's a New Zealander! All this despite the fact that ol' Jesse's album isn't even a patch on Axe's! ( (Isn't it time that the world woke up to the fact that Axe were superb? Isn't it time that Tony Barford was recognised as one of British Psychedelia's greatest guitarists? "This Machine Kills" were the words Donovan had on his guitar, but never would they have been more appropriate than on Tony Barford's Gibson. Tony Barford is one of the truly great long lost psych-rock guitarists. 

His playing could make paint blister, and piles of old newspapers to spontaneously burst into flame. It would cause retired Colonels to choke on their port & lemon, and it would strike maiden aunts stone cold dead.

by Paul Cross

Tracks
1. Another Sunset, Another Dawn - 4:08
2. Peace Of Mind - 3:08
3. A House Is Not A Motel (Arthur Lee) - 4:45
4. Here From There - 7:53
5. Crimson Nights - 6:15
All songs by Crystalline except where noted.

Axe Music (Line-Up Fll, 1968)
*John (?) - Vocals
*Mark Griffith - Guitar (Later Shadows Bass Man)
*Mick 'Zulu' Knight - Hammond Organ
*Roger Milliard - Bass
*Stevie Gordon - Drums

Axe (Line-Up #2, 1969)
*Vivienne Jones - Vocals
*Tony Barford - Guitar
*Graham Richards - Saxes & Flute
*Roger Milliard - Bass
*Stevie Gordon Drums

Axe (Line-Up #3, 1969-1971)
*Vivienne Jones - Vocals
*Tony Barford - Guitar
*Roger Milliard - Acoustic Guitar
*Mick Knobbs - Bass
*Stevie Gordon - Drums
This line-up were for a short time known as Crystalline.
Under which name they recorded the acetate demo tracks.

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Country Joe McDonald - Tonight I'm Singing Just For You (1969 us, beautiful country folk rock, Akarma limited edition)

When Joe signed with Vanguard as a solo artist in-late 1969, after the Woodstock Festival, it was apparent that Vanguard wanted an album release as soon as possible. Joe had always wanted to do an album of Woody Guthrie songs he and Sam Charters worked out a schedule that got Joe to Nashville for the recording. 

Sam booked a stellar collection of "players" from Nashville-Grady Martin on guitar, Norbert Putnam on bass (who later collaborated with Joan Baez on "Blessed Are" which featured the hit "The Night They Drove Old Dixie Down". When "Thinking of Woody Guthrie" (VSD 6546) was finished, a lot of studio rime remained, so Joe and Sam decided to record a collection of Joe's favorite country songs using the same "Nashville Cats" — who had been booked for the time anyway. 

Joe grew up in El Monte California, in the Valley near Los Angeles. Country music was popular and some of the songs on this album were hits in the 50's and early 60s. Songs like "Six Days On The Road" and "Ring Of Fire" were all over the airwaves when Joe was growing up. Notable on three of the tracks are the Jordanaires, the gospel tinged group that recorded and sometimes toured with Elvis Presley. 

This album coming from Joe in early 1970, confused many fans and critics, as the country music world was very supportive of the War in Vietnam and this collection coming from such a pivotal figure of the anti-war movement seemed rather incongruous. It was however a true representation of a portion of his musical roots and has for the most part stood the test of time.

by Bill Belmont, Berkeley, June 2001

Tracks
1. Ring Of Fire (Merle Kilgore, June Carter) -  2:31
2. Tennessee Stud (Jimmy Driftwood) - 3:20
3. Heartaches By The Number (Harlan Howard) - 2:45
4. Tiger By The Tail (Harlan Howard, Buck Owens) - 2:05
5. Crazy Arms (Ralph Mooney, Chuck Seals) - 2:58
6. You've Done Me Wrong (Ray Price, George Jones) - 1:46
7. All Of Me Belongs To You (Merle R. Haggard) - 2:22
8. Oklahoma Hills (Leon Jerry Guthrie, Woody Guthrie) - 2:42
9. Tonight I'm Singing Just For You (Billy Edd Wheeler, Jerry Lieber) - 3:26
10.Friend, Lover, Woman, Wife (Mac Davis) - 2:53
11.Six Days On The Road (Earl Greene, Carl Montgomery) - 2:18

Musicians
*Country Joe McDonald - Vocals
*Grady Martin - Dobro, Guitar
*Ray Edenton - Guitar
*Harold Bradley - Bass, Guitar
*Norbert Putnam - Bass
*Hal Rugg - Steel Guitar
*Hargus Robbins - Piano
*Buddy Harmon - Drums
*The Jordanaires - Backing Vocals On Tracks 1, 2, 3, 7, 9

Country Joe discography
1965-71  The First Three E.P's
1967  Electric Music For The Mind And Body
1967  I-Feel-Like-I'm-Fixin'-To-Die
1968  Together
1969  Live! Fillmore West
1969  Here We Are Again
1970  CJ Fish

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Country Joe And The Fish - The First Three E.P's (1965-71 us, classic west coast protest folk psychedelic rock)

This collection of songs represents the very first successful American attempt to use a record propaganda and promotion. In 1965 Joe McDonald was to have performed a a demontration to protest the draft in Oakland, California, to politicized his audience, he and his then (and sometimes current) associate Barry Melton and Ed Denson (Kicking Mule Records) decide to form a jug band to accompany them at this event. They asked along some musicians they knew through Chris Strachwitz (Arhoolie Records) to record two songs for this record, as he had recording equipment and a way to get the records pressed. 

They recorded two songs, "Superbird" and "I Feel Like I'm Fixing To Die Rag", a young songwriter from the Bay Area, Peter Krug recorded "Fire IN The City" and "Johnny's Gone Th The War" which were added as b-side.

This record was conceived  as a "talking" edition of Joe's magazine RAG BABY. They called themselves Country Joe And The Fish, a name which was arrived at as compromise to Country Mao and the Fish (as in the Mao saying regading the "fish that swims in the sea of the people") since they were in effect to conceived as agit-prop group. This "record" and the appereance in Oakland led to requests for them to appear as a band and their emphasis slowly shifted from an acoustic jug band to an electric "Rock" band playing a brand of what later came to be called :Psychedelic Music".

To promote themselves as an "Electric Band" and maybe make some money, they again formulated and recorded another EP. This was recorded at Sierra Sound Studios in Berkeley, California and formally astablished the existence of the RAG BABY Label. This EP numbered 1002 with its distinctive cover (by Berkeley artist Tom Weller) became one of the most identiflable of the many locally produced items from the San Francisco Bay Area, in the late 1960's. It was released in June of 1966, sold for $1.00. It certainly achieved notably as a collector's item, for established the band in New York long before they ever appeared ther and was available in record and "head shops" as far away as London. It contained three songs "Section 43", "Thing Called Love" and "Bass Strings".

In 1971, Country Joe again decided to mix commerce with politics and EP's. Then working with Jane Fonda and Donald Sutherland in a political musical revue they did shows for GI's to draw attention to the war in Vietnam. This FTA (Free The Army) Show was presented at "alternative" coffee houses (with names such as "Oleo Strut") that became centers for ant-war activism.

One of these in Mountain Home, Idaho was burned to the ground after their appereance there. Joe made another record that would contain material relevant to this period and songs that performed in the show. The third EP (RAG 1003) contains "Tricky Dicky", "Free Some Day" and "Kiss My Ass". They were recorded at Jack Leahy's Funky Features Recording Studiuo in San Francisco. The record was to have sold for $1.50 to raise money for the show and the VVAW (Vietnam Veterans Against The War), but some were burned, some were lost in transit and others dissappeard. It was probably more political than the first one as it went directly to the point, it received considerable airplay, however on what were then known as "progressive" FM radio stations.

Tracks
EP-1 10/1965
1. Who Am I? - 5:40
2. Dirty Claus Rag - 2:00
3. I Feel Like I'm Fixin' To Die Rag (Takes 1,4,5)* - 8:02
4. Superbird (J. McDonald, B. Melton, D. Cohen, B. Barthol, J.F. Gunning) - 3:33
5. Fire In The City (Peter Krug) - 4:43
6. Johnny's Gone To War (Peter Krug)  - 2:00
EP-2 06/1966
7. (Thing Called) Love - 2:33
8. Bass Strings - 3:57
9. Section 43 - 6:43
EP-3 05/1971 (Cover design by Jane Fonda)
10.Kiss My Ass - 3:00
11.Tricky Dicky - 3:54
12.Free Some Day - 5:29
All compositions by Country Joe McDonald except where indicated
*Take 5 listed as track #8
*Take 4 listed as track #14

Musicians
EP-1 10/1965
*Joe McDonald - Vocals, Acoustic Guitar, Harmonica
*Barry Melton - Vocals, Electric Guitar
*Carl Shrager - Washboard, Kazoo
*Bill Steele - Washtub Bass
*Mike Beardsleee - Vocal
EP-2 06/1966
*Joe McDonald - Vocals, Acoustic Guitar, Harmonica
*Barry Melton - Vocals, Electric Guitar
*David Cohen - Electric Guitar, Farfisa Organ
*Bruce Barthol - Bass, Harmonica
*John Francis Gunning - Drums
*Paul Armstrong - Tambourine, Maracas
EP-3 05/1971 (Free the Army Show)
*Joe McDonald - Vocals, Acoustic Guitar, Electric Guitar
*Anna Rizzo - Vocals
*John Rewind - Electric Guitar
*Richard Sussman - Piano
*Nacho Dewey - Harmonica
*Vic Smith - Bass
*Greg Dewey - Drums

Country Joe discography
1967  Electric Music For The Mind And Body
1967  I-Feel-Like-I'm-Fixin'-To-Die
1968  Together
1969  Live! Fillmore West
1969  Here We Are Again
1970  CJ Fish

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