Various Artists - The Electric Asylum Vol. 2 (1969-73 uk, more rare acid freakrock)

These are obscurities -- and you better believe they are very obscure when the most well-known artists are Steamhammer and the Montanas -- from the late '60s and early '70s, and about as much early hard rock (with some prog rock elements as well) as psychedelia. With all due respect to the estimable Past & Present label for digging into a genre that reissues haven't explored much, it's doubtful that comps such as these will launch as much collector enthusiasm for the style as specialist reissues did for freakbeat. 

The material is largely somber, the arrangements on the heavy side, and the songs not too memorable, if often tightly played and well produced. These are the kinds of releases that, in any era, clutter the bins of ill-distributed records that very few people have heard or are familiar with; these just happen to be ones belonging to the British early-'70s hard rock division. You can hear echoes of Jimi Hendrix, Spooky Tooth, Peter Green-era Fleetwood Mac, Ten Years After, the Jeff Beck Group, Jethro Tull, and the like, if usually in a less lively and ebullient mood, but nothing that's going make you wonder why these acts didn't get bigger. 

The inclusion of a couple pretty pointless covers of well-known tunes by big stars (the Deep Set doing Neil Young's "Cinnamon Girl" and the Treetops singing the Moody Blues' "Gypsy") doesn't help. On a more positive note, Josephine Levine's vocals on J.C. Heavy's "Mr. Deal" add welcome spice to what otherwise is a pretty testosterone-heavy set, and Steamhammer's "Windmill" has a lighter, dreamier, more psychedelic feel than their predominantly blues-based output (and the rest of this CD). And no, the Iron Maiden who do "Falling" here are not the famous metal band of the same name. 

by Richie Unterberger

Artists - Tracks
1.Cats Eyes - The Wizard - 3:38
2.Buster Jangle’s Flying Mattress - Taken Over My Brain - 2:55
3.J.C. Heavy - Mr. Deal - 3:35
4.Eastwood - I Am Free - 3:58
5.Iron Maiden - Falling - 6:05
6.Wolfrilla - Song For Jimmi - 3:08
7.The Deep Set - Cinnamon Girl - 3:20
8.Steamhammer - Windmill - 4:25
9.Gentry - Attempted Contact - 3:14
10.Humbug - Ebeneezer - 3:52
11.Montanas - Doctor Nero - 2:49
12.Choc - Time - 3:11
13.Magnet - Mr. Guy Fawkes - 3:56
14.Mosaic - Bird Of Time - 2:19
15.Chameleon - Who Am I? - 3:27
16.Now - People Are Standing - 3:09
17.Iron Cross - All Of The Time - 3:10
18.The Treetops - Gypsy - 3:32
19.Lost Dog - Latchkey Child - 3:04
20.J.C. Heavy - That Woman’s Mind - 2:39

The Electric Asylum series
1970-74  Volume One

other Past and Present compilations
60-70's  Floor Filler Killers / New Directions Vol. 3
60-70's  Mind Expanders Vol.2
1967-74  Psych Bites Vol.1
1968-74  Psych Bites Vol.2
1969-73  Up All Night

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Various Artists - The Electric Asylum Vol. 1 (1970-74 uk, rare acid freakrock, Past and Present release)

20 blasts of long-forgotten British Freakrock. The Glorious British Psychedelic music scene did not cease to exist at midnight on December 31st 1969, it took on the previous decade with furore, new gadgets and studio gimmicks, but with some of the same key players. 

From the hard and loud sound of J.C. Heavy, Rainbow Family and Steel Mill to the sublimely bonkers Asylum, Monsoon, Mighty ‘Em and Galahad interspersed with spoonfuls of Psychedelia, Doom and Acid Rock.

Artists - Tracks
1. Mighty 'Em - Jekyll & Hyde - 3:23
2. Asylum - Suzy's Back - 2:36
3. Iron Horse - Magic Love - 3:04
4. Monsoon - Night Of The Fly - 3:01
5. Galahad - Rocket Summer - 3:06
6. J.C. Heavy - Is This Really Me - 3:12
7. Rainbow Family, The - Travellin' Lady - 2:49
8. Puzzle - Do You Feel The Pain - 2:48
9. Grumbleweeds, The - In A Teknicolor Dreem - 3:44
10.Explosive, The - Hey Presto, Magic Man - 3:05
11.J.C. Heavy - Do What You Like - 3:15
12.Choc - The Devil - 3:07
13.Danta - Queen Of Sheba - 4:17
14.Vincent Crane's Atomic Rooster* - O.D.- 3:19
15.Renegade - Never Let Me Go - 2:34
16.Satisfaction - Love It Is - 3:01
17.Audience - Eye To Eye - 2:33
18.Steel Mill - Get On The Line - 4:17
19.Kirk St. James - Tears I Cry3:55
20.Legs - So Many Faces - 2:54

The Past and Present compilations
60-70's  Floor Filler Killers / New Directions Vol. 3
60-70's  Mind Expanders Vol.2
1967-74  Psych Bites Vol.1
1968-74  Psych Bites Vol.2
1969-73  Up All Night

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Dick Campbell - Blue Winds Only Know (1965 us, great folk rock with smart pop feel, 2003 Rev Ola issue)

The enigmatic Dick Campbell, singer, songwriter, producer and one of the most famous humorists in the 1960's music business, it's sometimes difficult to tell whether he means something seriously or not the quality of the music remains the same as ever outstanding! In 1965, on his way from Massachusetts to join Gary Usher in California, he stopped off in Chicago to produce a band.and ended up making one of the foremost and most collectable electric-Dylan clone albums of the period....with backing from the Butterfield Blues Band and the young Peter Cetera.

Dick had never any intention of being a folk rocker, The Beach Boys and The Four Seasons being more his thing, his publisher being behind the deal, but the idea of making a record with these outstanding musicians AND getting paid was too much to turn down! only the occasional incongruous surf backing vocal and deliberately over-convoluted faux Dylan lyric gives away Dick's real personality It is possible to take it all as a straight Dylan cop ala David Blue..(with rather better melodies!)..if one does not spot Dick's enigmatic smile on the cover!.

Dick would go on to produce many classic mid-west garage bands, and write and record the amazing fairy tale album "Beyond A Shadow Of A Doubt" with Gary Usher and Curt Boettcher, as well as be publishing A'n'R for Harry Nillson and Paul Williams, AND writing songs for the Cowsills to boot.but the sheer Mouse And The Traps gall of this record gives us...the essential Dick Campbell! Dick Campbell was a part of the legendary Gary Usher/Curt Boettcher circle and this release contains Backing by The Butterfield Blues Band with Mike Bloomfield, as on the classic Dylan early electric albums, Peter Cetera, later of Chicago and members of The Buckinghams.

Tracks
1 Blue Winds Only Know - 2:30
2 Share With Me - 3:00
3 Don't Give Up On Me - 2:06
4 Echo - 2:00
5 If I Didn't See You - 3:47
6 I'll Be Alone - 2:20
7 Love Knows Only You - 2:07
8 Maybe - 2:43
9 Pretend It's Me - 2:17
10 Sea Gull - 2:26
11 Time To Sing For You - 2:07
12 So Long - 2:39
13 Window World (Dick Campbell, Keypashine Golesorkh) - 1:41
14 Peace On Earth (D. Campbell, K. Golesorkhi, Steve Hoffman) - 1:59
15 Sometimes (Dick Campbell) - 1:46
16 The World (Dick Campbell, Keypashine Golesorkh) - 2:31
All songs by Dick Campbell, Gary Usher unless as else stated.
Bonus tracks 13-16

*Dick Campbell - Voclas, Guitar

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Hudson And Ford - Worlds Collide (1975 uk, delicate glam soft rock, Vinyl edition)

“Worlds Collide” was the “difficult” third album by Hudson and Ford, more glam than their previous works, but not bad at all. Their single "When Love has Overgrown" tanked, and no other was attempted from the album. This was despite Hudson Ford's invocation in soft-rock numbers like as "As Hours Go By," a gentle piece with Latin percussion and echoing electric piano. The album develops sharper edges later, with the shrill "Jesus Said" and the satisfyingly jagged guitar in the glam rave-up of "Petro Rock." All in all an  enjoyably release.

Tracks
1. Did Worlds Collide? - 5:52
2. Mechanics - 3:28
3. When Love Has Overgrown - 3:48
4. As Hours Go By - 3:01
5. Bootleg - 3:11
6. Jesus Said - 3:42
7. Day Without Love - 4:44
8. Petro Rock - 3:20
9. Mile High City - 3:37
10. Keep Me Rolling - 4:07
Words and Music by Richard Hudson, John Ford

Musicians
*Richard Hudson - Vocals, Accoustic Guitar
*John Ford - Vocals, Bass
*Micky Keene - Electric Guitar
*Chris Parren - All Keyboards
*Ken Laws - Drums, Percussion
*Johnny Mealing - Bass, Strings Arrangement
*Dick Morrissey - Saxophone
*Tom Allom - Organ

Others releases
1973  Nickelodeon
1974  Free Spirit

Related Acts
1967  Elmer Gantry's Velvet Opera
1969  Ride A Hustler's Dream

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Pulse - Pulse (1969 us, tough 'n' rough psych blues rock, Fallout bonus tracks edition)

From New Haven, Connecticut, The Pulse evolved out of The Bram Rigg Set and The Shags, and were originally known as The Pulse Of Burritt Bradley.

The track, Burritt Bradley, is a surreal slice of psychedelic madness, which can also be found on the Beyond The Calico Wall (LP & CD) compilation.

By contrast, their album is a furious heavy rock affair and rated highly by some collectors.

Tommy Violante left in 1969, although the band soldiered on until '72, playing mostly rehashed Cream-type stuff.

Pulse (originally named "The Pulse of Burritt Bradley," after a name they saw on a grave stone) released two singles: "Can Can Girl" / "Burritt Bradley" and "My Old Boy" / "Another Woman".

Pulse initially included Augusto, Violante, Bennett Segal (drums), Peter Neri (lead guitar), Richard "Sno Whyte" Bednarzcyk (organ), and Paul Rosanno and Lance Gardner both playing bass.

The group honed their skills for almost a year just jamming in the studio, but by the time their first album was released both Violante and Gardner had departed.

The self-titled album Pulse was a real accomplishment. Not only was the playing and songwriting solid, the heavy style and complex arrangements seem a few years ahead of their time 

by Fuzz, Acid 'n' Flowers

Tracks

1. Too Much Lovin' (Peter Neri) - 3:15

2. Another Woman (Paul Rosanno) - 737

3. Hypnotized (Peter Neri) - 4:36

4. Thanks For Thinking Of Me (Bennett Segal) - 3:53

5. Lo-Down (Carl Donnell) - 3:54

6. She's Killin' Me (Bennett Segal) - 3:45

7. Garden Of Love (Peter Neri) - 3:33

8. Amassilation (Bennett Segal) - 5:54

9. My Old Boy (Bennett Segal) - 2:25

10.Can Can Girl (Carl Donnell, Tommy Roberts) - 2:45

11.Burritt Bradley (Paul Rosano, Benet Segal, Peter Neri, Jeffrey Potter, Richard Bednarczyk, Carl Donnell) - 2:57

Pulse
*Carl Augusto - Vocals
*Tom Violante - Rhythm Guitar
*Bennett Segal - Drums
*Peter Neri - Lead Guitar
*Richard "Sno Whyte" Bednarzcyk - Organ
*Paul Rosanno - Bass

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Various Artists - Quiet Days In Clichy (1969 multinational, exiting varied styles psych blues jazz rock, 2010 remaster)

Looking back at this over forty year old film, it's an interesting relic, to be sure, and actually a very intriguing piece of art. At times, seemingly intending to offend, though in others attempting to draw us in to the characters and their escapades, 'Quiet Days in Clichy' is a fairly uneven piece of cinematic experimentation, based off the novel by Henry Miller, that will surely attract or repel its audience, and fast.

This is the story of two men in France, whose bond is seemingly formed by their shared interest in sharing the opposite sex. 'Quiet Days in Clichy' is more than just what's on the surface. The constant prolonged shots, where any action seemingly is shown for three to five times as long as it needs to take, creates a fascinating look at the characters, even if they are only as interested as their genitalia are locked and loaded. 

There are no quick flashes, or brief moments whatsoever, and that makes the film somewhat intimate, holding on like a lover right at the edge of satisfaction trying to extend that moment as long as possible. The extended silence that permeates the majority of the film is also quite refreshing, as the Country Joe McDonald soundtrack acts as a narrative, of sorts, crude as it may be. 

We don't get the characters thoughts, save for some crudely drawn random thought bubbles that pop up on screen, as McDonald tells the tale from a different angle, chauvinistic as it may be, concerning their romps, and predicaments caused by their constant skirt chasing.

by Nate Boss

Artists - Tracks
1. Country Joe McDonald - Quiet Days in Clichy I. - 1:49
2. Country Joe McDonald - Nys' Love. - 4:20
3. Country Joe McDonald - Hungry Miller & The Hungry World. - 2:26
4. Andy Sundström - Clichy. - 2:46
5. Young Flowers - Behind the Golden Sun. - 2:17
6. Papa Bue's Viking Jazzband - Luxembourg Stomp. - 4:12
7. Country Joe McDonald - Quiet Days in Clichy II. - 3:52
8. Ben Webster - Blue Miller. - 4:02
9. Andy Sundström - Champs Elysées. - 2:40
10.Young Flowers - Menilmontant. - 4:08
11.Young Flowers - Party Beat. - 4:05
12.Country Joe McDonald - Mara. - 1:53

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
1969  Live! Fillmore West
1969  Here We Are Again
1970  CJ Fish
1970  Tonight I'm Singing Just For You
1971  Hold On It's Coming
1971  War War War
1973  Paris Sessions

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Albert Hammond ‎– It Never Rains In Southern Califonia / The Free Electric Band (1972-73 uk, fabulous country folk sunny rock, 2004 remaster)

Albert Hammond was born on May 18, 1944, in London and grew up in Gibraltar to Gibraltarian parents. In 1960, Albert left school, formed a band and began sending out recordings of his very first compositions to labels in England, where they were released by Parlophone Records. Soon thereafter, Albert met Mike Hazlewood and almost immediately, they teamed up as collaborators and began gaining recognition as a songwriting team: “Little Arrows” (Leapy Lee in 1968 - top 10 country and pop charts), “Make Me An Island” (a number one hit in 14 countries), “Gimme Dat Ding” (The Pipkins in 1970 - pop and R&B charts), “Freedom Come, Freedom Go” (The Fortunes in 1971), “Good Morning Freedom” (Blue Mink, 1970). “Gimme Dat Ding” was written for a children's television program called "Oliver In The Overworld" which starred Freddie and the Dreamers.

Having become one of Britain's most successful songwriting teams, Albert and Mike decided to move to southern California. Albert played his songs to every record company possible, until Hal Landers and Bobby Roberts gave him the first artist’s contract ever for their newly-built Mums label, a division of CBS’s Epic label. After auditioning for CBS president Clive Davis, and over 30 other people, Albert was asked to record some songs. Albert went into the studio to record what would become the It Never Rains In Southern California album. The title song went to number five in the U.S. and became a worldwide success. This offered Albert the opportunity to tour, which led him to almost all continents. Albert went on to record seven albums for the CBS label.

It Never Rains in Southern California is not only Albert Hammond's biggest solo hit, the album which spawned that Top Five smash was the best representation of the songwriter until his When I Need You album was released a few years later. The band is in a groove on this disc, and the songs are more happening than on the two immediate follow-ups, The Free Electric Band in 1973 and 1974's self-titled Albert Hammond. Songs like "Down by the River" and "The Road to Understanding" have more enthusiasm and spirit than the two succeeding albums. Albert Hammond, better-known as a songwriter for Jefferson Starship, Julio Iglesias, and Leo Sayer, among others, could have been a superstar on his own had he maintained the high level of songwriting exhibited on this disc. 

Though Mama Cass Elliot did a brilliant rendition of "If You've Gotta Break Another Heart" on her The Road Is No Place for a Lady album, that single was not embraced by the public as it should have been. The original version is here, along with the songwriter's take on his own "The Air That I Breathe." The Hollies would get a bigger hit out of this song than they had with "He Ain't Heavy, He's My Brother," but Hammond's has more tenderness and more subtlety. It's great. "Listen to the World" has the singer preaching with a band who is rock-solid behind him. Dan Altfeld's co-production with Hammond and Michael Omartian's impeccable arrangements (Omartian was everywhere at this point in time) are captivating. 

The material Mike Hazelwood was writing with Hammond here is also top-notch. "If You Gotta Break Another Heart" keeps coming back as a brilliant pop classic that will someday top the charts if given the chance. "Names, Tags, Numbers, & Labels" would get rearranged and released two years later on the Albert Hammond album, a practice the singer/songwriter continued on other releases. Taking previously recorded work and recrafting it wasn't a bad idea for a man whose tunes have helped so many other artists. It Never Rains in Southern California is a wonderful primer for people interested in this multifaceted artist. Songs like "From Great Britain to L.A." continue the theme initiated in It Never Rains in Southern California and continued on The Free Electric Band album -- a musician in search of fame. The arrangements, the vibe, all the elements fall into place perfectly on this outing, and it is a shame they couldn't duplicate the magic quickly and with such brio. Hammond could have rivaled Elton John for chart dominance at this time had he been able to churn out more albums as superb as this. 

by Joe Viglione

Tracks

1. Listen To The World - 3:00

2. If You Gotta Break Another Heart - 2:41 

3. From Great Britain To L.A. - 3:32

4. Brand New Day - 3:27 

5. Anyone Here In The Audience - 3:58 

6. It Never Rains In Southern California - 3:53 

7. Names, Tags, Numbers And Labels - 4:30  

8. Down By The River - 3:06 

9. The Road To Understanding - 4:24 

10.The Air That I Breathe - 3:51 

11.Smokey Factory Blues - 3:30 

12.The Peacemaker - 2:42  

13.Woman Of The World - 3:09 

14.Everything I Want To Do - 2:35 

15.Who's For Lunch Today? - 2:58 

16.The Free Electric Band - 3:26  

17.Rebecca - 3:09  

18.The Day The British Army Lost The War - 4:04  

19.For The Peace Of All Mankind - 4:13  

20.I'll Think I'll Go That Way - 3:36

All songs written by  Albert Hammond, Mike Hazelwood

Tracks 1-10 from "It Never Tains In Southern California" 1972

Tracks 11-20 from "The Free Electric Band" 1973

Musicians

*Albert Hammond - Guitar, Vocals

*Larry Carlton - Guitar

*Carol Carmichael Parks - Vocals

*Jim Gordon - Drums

*Jay Lewis - Guitar

*Michael Omartian - Keyboards

*Joe Osborn - Bass

*Sid Sharp - Strings

*Michael Omartian - Keyboards

*Alan Beutler, Jacky Kelso, Tommy Scott - Flute

*Don Altfeld - Percussion

*Ray Puhlman - Bass

*Carol Carmichael and Friends - Vocals

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Cargo - Cargo (1970-72 holland, tremendous hard progressive rock, remaster edition with bonus tracks)

This unit started out as September and recorded a few singles that hold no interest to progheads. They then changed their name to Cargo and recorded their sole album. CARGO consist of brothers Ad and Jan De Hont both on guitars, Willem DeVries on bass and vocals and English drummer Denis Whitbread. 

The music developed here is a seducing hard rock with a killer twin-guitar attack much in the line of Wishbone Ash around their “Argus” album. The two brothers play delightfully long and cooperative guitar lines that intertwine beautifully (what a pleasure it is to follow in stereo their progress) proof of their long-standing mutual trust and camaraderie.

The De Hont and De Vries brothers had found particular favour with the Dutch public under the rock band September with numerous singles in 1970 such as Presley’s “Little Sister” and the De Vries penned “Yelly Rose”. September’s finest cover was an urgent version of Bert Bacharach “Walk On By” which kicks the shit out of the original. After changing their name to Cargo they launched their 1970 self-titled album has enough guitar slash to rip half of Holland’s Dykes to shreds. 

To describe the turbulent guitar breaks of Cargo, one needs to create a setting and describe the structures that extorted the ferocious solos. It was awesomely pulverizing when Jan De Hont unleashes his Fender Strat in parallel with Ad De Hont’s Gibson SG on the thudding “Cross Talking” in the spirit of Wishbone Ash. This 8min indulgence also trembles with the bass hammering Willem De Vries on his Gibson B3. Nothing like this has ever thundered through Amsterdam since the rolling Panzerwagens of 1940. 

Cargo’s entourage of drummers comprised of drummers Jerry Gobel, Frans Smit, Snuffel and ex Ekseption Dennis Whitebread who played on the Ekseption concept album Beggar Julia’s Time Trip. Cargo was primal export that never happened.The tour de force of the album is vibrantly illuminated on the 15min “Summerfair” with escalating guitar trade - offs that reach an excruciating pinnacle.The astounding vox by Willem De Vries shudders like those November North Winds that lash the barges of Amsterdam. 

Cargo are turbulently forceful in the same windforce as Tractor, Rush or Jericho. Cargo also covered the sensitively squeezed “Lydia Purple” originally written by Dunn and McCashen for their album Mobius. This superb psychedelic gem was also covered by The Collectors and Giant Crab. Cargo released This power packed Prog group supported the Flock during sell-out concerts. Next to the summit driven Focus and Finch, Cargo were Holland’s most engaging contraband.

Lastfm 

Tracks
1.Sail Inside - 10:54
2.Cross Talking - 8:33
3.Finding Out - 5:14
4.Summerfair - 15:35
5.Choker - 3:52
6.Lydia Purple - 3:51
7.Telly Rose - 4:01
8.If Mr. Right Comes Along - 4:23
9.Little Sister - 3:41
10.Walk On By - 2:59
11.Run Away - 3:14
12.One More Change - 2:35
Bonus tracks 5-12

Cargo
*Willem De Vries - Vocals, Bass
*Jan De Hont - Guitar
*Ad De Hont - Guitar
*Dennis Whitebread - Drums
*Hessel De Vries - Vocals, Electric Piano
*Jerry Gobel - Drums
*Ador Otting - Hammond Organ
*Frans Smith - Drums (9-10)
*Snuffel - Drums (11-12)

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Various Artists - Cosmarama (1969-73 uk/europe, prog psych behemoths, Psychic Circle release)

It should be noted that the set is liberally populated with Euro progsters, with half a dozen representatives from Holland and another half-dozen from Belgium and Germany. The set opens with the title track from the UK band, Distant Jim, who only released albums on the continent. They were a sort of supergroup whose family tree included members of Methuselah, Amazing Blondel, Junior’s Eyes and The Smoke. 

The unusual time signatures and syncopated beats are pure prog, highlighted by some firebreathing soloing from guitarist Les Nicol. Saloman, one of today’s premiere guitarists, is a sucker for flashy stringbenders, which may explain the inclusion of Belgian rockers, Carriage Company’s ‘In Your Room.’ Guitar licks abound, but besides a few organ flourishes, the track is more akin to heavy metal than prog.

Saloman flips Dutch band, The Tower’s oft-comped ‘Slow Motion Mind’ over for the dreamy B-side, ‘In Your Life,’ a wonderful, Procol Harum-ish floater. The Liverpudlian Back Street Band take liberties with the melody from Lennon’s ‘Come Together’ on their 1969 B-side, ‘Daybreak’ and Family completists may enjoy the Dutch supergroup (including members of Q65 and Focus), Big Wheel’s chugging, boogie bar blues rendition of ‘Old Songs New Songs,’ but I fail to hear the prog connection.

Holland’s Silence give us the hard rocking ‘Devil Woman,’ which takes a familiar Led Zep riff and morphs it into an enjoyable amalgam of Black Sabbath and Jethro Tull – imagine ‘Immigrant Song’ tagteaming with ‘Paranoid’ and ‘Locomotive Breath.’ Another prolific Dutch band, Ginger Ale check in with ‘Get Off My Life Woman,’ wherein Roek Williams’ credible Jim Morrison impersonation leaves this listener thinking “The Doors with horns.”

Pussy formed out of the ashes of Jerusalem, so I don’t think it’s the same outfit that released the Pussy Plays album. Like the Jerusalem album, ‘Feline Woman’ was produced by Deep Purple’s Ian Gillan, so once again you can expect more heavy metal than prog results. German heavy rockers, Electric Food’s family tree includes branches to Lucifer’s Friend and Uriah Heep, so you know what to expect from ‘I’ll Try.’ And although there are no women in the Dutch band, Mr. Albert Show, the vocalist on ‘Kings of Galaxy’ sounds like Suzi Quatro, Do with that information what you will! Castle Farm’s self-released ‘Hot Rod Queen’ is a stomping little rocker that successfully mines the Mott The Hoople oeuvre with a title that seems ripped straight off an old Marc Bolan album! 

And finally, and quite surprisingly, the Irish showband, Chips (from Sligo) turn in the most traditional prog track in the bunch with ‘Earth,’ which is full of swirling keyboards, multi-layered vocals, and astrological themes that all combined to remind me of the German prog/kraut band, Triumvirat. But other than that, despite the fact that many of the songs provide varying degrees of entertainment in their own right, prog purists should be cautioned that, to these ears, most of these tracks lean more towards the heavy, power blues end of the spectrum. 

by Adamus67

Artists - Tracks - Composer
1.Distant Jim - Cosmarama (Austin) - 5:59
2.Carriage Company - In Your Room (Kent) - 3:48
3.Kingdom - All I Need (Edwards) - 3:31
4.The Tower - In Your Life (De Groot) - 4:42
5.Back Street Band - Daybreak (Bellis) - 2:56
6.Big Wheel - Old Songs New Songs (Chapman, Whitney) - 3:15
7.Bismarck - Shotgun Express (Englebert, Thomas) - 3:51
8.Cwt - Widow Woman (Jones, Kirk, White) - 3:17
9.Silence - Devil Woman (Weeda, Putter) - 2:51
10.Ginger Ale - Get Off My Life Woman (A. Toussaint) - 2:41
11.Pussy - Feline Woman (Pussy) - 2:30
12.Tenderfoot Kids - Man In Black (Vion) - 2:10
13.Electric Food - I’ll Try (Hesslein, Monro) - 3:15
14.Mr.Albert Show - Kings Of Galaxy (Borgers, Schrama) - 2:47
15.The Petards - Free (King) - 2:30
16.Castle Farm - Hot Rod Queen (Benike) - 4:00
17.The Pebbles - Half Past Dead (Bekky) - 5:01
18.Corporal Gander’s Fire Dog Parade - Love Song (Scott, Talby) - 3:20
19.Chips - Earth (Chips) - 2:51
20.Richard St. Clair And Forum - Give Me Back (St. Clair) - 3:44

Psychic Circle compilations
1961-64  Phantom Guitars: A Cool Collection of Twangin' Instrumentals
1966-72  With The Sun In My Eyes
1968-72  White Lace And Strange
1968-72  The Room Of Loud Sounds
1964-69  Realistic Patterns Orchestrated Psychedelia
1965-69  Wednesday Morning Dew 
1965-70  The Electric Coffee House 
1965-70  The Golden Road The Electric Coffee House Vol.2
1969-74  Blow Your Cool: 20 Prog Psych Assaults
1969-74  Lovin’ Fire 20 Obscure Gems
1970-77  A Visit To The Spaceship Factory

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Hudson And Ford - Nickelodeon (1973 uk, delightful country folk rock with glam splashes, Vinyl issue)

Hudson-Ford,  were sadly underrated and largely ignored by the pop music buying public. Why? Couldn't tell you. Not any particular reason you could put your finger on.

Bear in mind this is the mid-1970's, Hudson-Ford were a good and competent band, with good song writing skills and good production, they failed to click with an audience who were just getting tired of what was available, certainly in mainstream. 

The sound of Hudson Ford, though, ranged to glam, with a occasional nod to their electric folk past. Their roles broadened as well, with Hudson leaving the drums to others in order to focus on singing and lead guitar, and Ford expanding his vocal and acoustic guitar duties. 

The debut album "Nickolodeon" was bolstered by the presence of Rick Wakeman and other studio sharpshooters, the sounded more country/folk than their following albums with well writing tunes, they  scored a hit in the U.K. with the single "Pick Up the Pieces."

Tracks
1 Crying Blues - 3:30
2 Angels - 3:06
3 I Wanted You - 2:40
4 Hello, I Thought You Were Dead - 0:58
5 Burn Baby Burn - 2:57
6 Dark Lord - 4:37
7. Pick Up the Pieces - 2:34
8. Let Her Cry - 2:31
9. Tea Leaf (To Joss) - 0:58
10.Take It Back - 4:40
11.I Don't Understand - 1:50
12.Revelations - 5:09
Words and Music by Richard Hudson, John Ford

Musicians
*Richard Hudson – Vocals, Guitar, Sitar
*John Ford – Vocals, Bass, Guitar
*Rick Wakeman – Harpsichord, Piano
*Mickey Keen - Lead Guitar, Steel Guitar, Vocals
*Ken Laws - Drums
*Chris Parren – Piano, Clavinet
*Gerry Conway - Drums
*Tom Allom - Harmonium, Piano
*Billy Bell - Banjo. Jack Emblow

2nd album
1974 Hudson Ford - Free Spirit  

Related Acts
1967  Elmer Gantry's Velvet Opera
1969  Ride A Hustler's Dream

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Alicia May - Skinnydipping In The Flowers (1976 us, wonderful folk rock tinged with prog and traditional colors, 2008 korean release with bonus track)

In the 60s and 70s Alicia May was a singersongwriter gigging regularly in the bars and saloons of Laguna Beach, California. She got to know a lot of musicians, one of them knew Joni Mitchell, they all went on a picnic, Joni introduced her recording engineer Henry Lewy, Lewy let Alicia use studio downtime to record, another friend fronted up $1,000 and a privately-pressed LP was born. That’s how it happened back then.

Skinnydipping In The Flowers is like an archaelogical treasure; a find that faithfully encapsulates the music of a particular time and place. The songs, all May’s own, are performed well and the instrumentation is varied, but the lyrics are that bit too whimsical and wordy to achieve universal resonance. It’s a great reissue but it’s probably not going to be put on repeat too often.

by Tim Holmes

Tracks
1. Borderline - 3:58
2. Summer Days - 3:13
3. The Prism Song - 3:26
4. Love Jig #1 - 1:59
5. Forest Of Dreams - 2:04
6. Dearly Beloved - 3:29
7. Carry Me Home - 3:26
8. End Of The Sky - 2:12
9. By And By - 2:39
10.My Favorite Stream - 3:24
11.Liza - 2:32
12.Kindred Spirits - 1:35
All songs by Alicia May Cory

Musicians
*Alicia May - Vocals, Acoustic Guitar, Appalachian Dulcimer
*Danny Dettwyler - Flute, Vocals
*Karen Hammack - Piano
*Will Brady - Bass
*Tony Selvage - Violin, Viola
*Red Rhodes - Steel Guitar
*Steve Leach - Bass
*Tris Imboden - Drums
*Nissan Eventoff, John Smith - Vocals
*Michael Gwinn, Phillip Morgan - Vocals
*Henry Lewy - Deep Vocal

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The Unspoken Word - The Unspoken Word (1970 us, splendid psych blues rock, Wounded Bird edition)

Largely unknown group from Long Island, New York. After their debut that could be described as folk rock with a psychedelic edge, the 2nd record is definitively more rock/blues orientated.

The harmonies of Dede Puma and guitarist Zenya Stashuk still sport a Jefferson Airplane-style vocal blend, and R’n’B-flavored sound of Pacific Gas and Electric. Puma's vocals lean closer to the cool, vibratoless style of Grace Slick than the soul/blues ululations of Janis Joplin. The guitar and organ riffs often bear a distortion-laden crunch that nods to the burgeoning hard rock scene of the time. Nevertheless, the things that served the band in good stead on its first album - strong harmonies, tight playing, and a solid sense of structure - still shine through here.

Tracks
1. Pillow - 2:42
2. Sleeping Prophet - 3:04
3. Put Me Down - 2:34
4. Personal Manager (Albert King, David Porter) - 9:40
5. Reincarnation (Chuck Berry) - 1:49
6. Sleepy Mountain Ecstacy - 4:02
7. I Don't Need No Music - 2:44
8. Little Song - 2:28
9. Healthy, Wealthy And Wise - 2:38
10.Around And Around - 5:19
11.Morning - 1:50
All songs by Granlegede Bupumacstasin except where noted

The Unspoken Word 
Zenya Stashuk - Lead Guitar, Rhythm Guitar, Vocals
Dede Puma - Vocals
Greg Buis - Bass,  Vocals
Les Singer - Drums
Angus Macmaster - Keyboards

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Alan Trajan - Firm Roots (1969 uk, remarkable organ driving psych folk rock)

Frustratingly little is known about Alan Trajan, whose sole LP has become one of the rarest singer-songwriter recordings of the late 1960s. Born Alan Robertson in Livingston, outside Edinburgh, he became an accomplished barrelhouse / boogie-woogie pianist in his teens and was part of Edinburgh’s fertile music scene in the late 1960s, where he made friends with David McNiven, leader of the much-loved folk trio (later duo) Bread, Love & Dreams. 

When Decca producer Ray Horricks (perhaps best known for his seminal work with guitarist Davy Graham) spotted the latter at the Edinburgh Festival in 1968, he signed them up, and McNiven introduced him to Robertson. Much taken by his distinctive keyboard style and soulful voice, Horricks offered him the chance to record too.

Featuring heavy organ and searing electric guitar parts on tracks like Speak To Me, Clarissa (addressed to a girl who has OD’d) and the propulsive One Tends To Get Bitter Now And Again, mellower numbers such as the beautiful Thoughts (featuring Graham) and a heartfelt cover of David Ackles’ Down River, as well as three good-timey Dylan covers, which reflected his long apprenticeship playing in pubs, it’s a varied and unusual collection whose surreal lyrics and frequently despairing atmosphere ensured poor sales when it appeared on MCA in 1969. 

Robertson was prevailed upon by his manager to change his name to Trajan for the LP’s release (he believed Robertson sounded too Scottish, and decided that the expansionist Roman Emperor’s name was more distinctive), but neither it nor the extracted 45 (Speak To Me, Clarissa / This Might Be My Last Number) sold, and he soon reverted to his real name.

Having contributed memorable organ parts to Bread, Love and Dreams’s classic Amaryllis LP in 1970, he went on to forge a partnership with Scottish blues singer Tam White, with whom he made a musical TV series for Grampian in the early 70s, before relocating to London. 

There he played in innumerable pubs and became part of legendary jazzer George Melly’s band for many years, but his hard-drinking landed him in prison and he died of liver disease at the start of this century. It is to be hoped, however, that this first CD issue of Firm Roots will focus attention on his overlooked gift as a musician and singer-songwriter, one whose idiosyncratic compositions straddled soul, folk, pop, psychedelia and progressive rock at a time when few were daring to be as diverse.

Tracks
1. Speak To Me, Clarissa - 4:09
2. One Tends To Get Bitter Now And Again - 2:18
3. Thoughts - 2:36
4. Highway 51 Blues (Bob Dylan) - 1:57
5. This’ll Drive You Off Your Head - 2:16
6. Mental Destruction - 2:35
7. Time - 3:08
8. Down River (David Ackles) - 3:43
9. Corinna, Corinna (Bob Dylan)  - 2:40
10.This Might Be My Last Number - 2:30
11.Girl From The North Country (Bob Dylan)  - 2:19
12.Charles Russell, Gtr., Vcl. & Harmonica - 4:00
All songs by Alan Trajan except where noted.

Musicians
*Alan Trajan - Vocals, Keyboards, Piano, Organ
*Davy Graham - Guitars
*David McNiven - Guitars, Keyboards

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Major Arcana - Major Arcana (1976 us, dreamy stoned acid folk blues psych, Korean remaster)

Collectors have long known about Milwaukee's Major Arcana, but I'm surprised it hasn't attracted more mainstream attention.  Jim Spencer originally made his name as a writer/publisher, responsible for a series of early-1970s underground magazines, including Freek.  He also found time to record a pair of mid-1970s solo LPs that attracted local attention, but did little on the national scene. 

In 1974 he decided to form a band, recruiting the talents of bassist Michael Burdecki, lead guitarist Randall Dubis, and percussionist Jim Kitchen.  Released on Spencer's own A Major Label (which also released the highly sought after Anonymous album), "Major Arcana" served as a showcase for Spencer who handled all of the vocals and was credited with writing, or co-writing nine of the ten songs (the one exception being a cover of the traditional 'Greensleeves').  Propelled by Spencer's likeable voice (for some reason every time I listen to the LP I think of Jack Black in 'High Fidelity'), musically the album was hard to describe since it bounced all over the horizon including stabs at conventional blues, commercial ballads, folk-rock, Dr. John-styled funk ('Papa Doc') and even jazzy interludes. 

Curiously lots of reviews have slapped a 'psych' label on the LP.  Frankly that's the one genre I just don't hear much of - maybe a little in side two's 'Down Under Blues' and the closing 'Greensleeves'.  Maybe I'm simply going deaf ...   In spite of some cheesy synthesizers, co-written with Milwaukee poet Charles Dynzof (aka Chuck Simmons), 'Western Wind' started the album off with a stunning ballad, with 'Shake Me' and 'Steal Your Love Back Home' turning in equally engaging mid-tempo pop pieces.  It wasn't perfect.   'Deanna Durbin Blues' and 'Fran's Blues' were okay, if unexceptional blues numbers. 

Interestingly guitarist Dubis went on to pursue the genre in his post-Major Arcana career (see below).  Elsewhere, courtesy of buddy Sigmund Snopek III, the flute interludes quickly became an irritant.  Still, the album's loose, low tech feel more than compensated for the somewhat fragmented musical lineup, making it a perfect LP to play on one of those cold, rainy or snowy Sunday mornings when you can't get much energy going.  

Depending on which source you use, between 1,000 and 2,500 copies were pressed.  Regardless, the LP's hard to find.  Original copies are also worth owning for the cool Denis Kitchen cover art (the only album cover he's ever done), as well as the hard to find Peter Poplaski poster insert.  

On a related note, in 1999 Kitchen had artist Roger May convert the original print into 3D.  I believe he had 100 copies printed (I own #76) and he sells signed artist print copies for $50 over the internet. Suffering from a number of personal issues and apparently heavily into drugs, Spencer died of a stroke.  He was only 39 years old.

In the late-1970s Dubis moved to Denver, Colorado where he ended up touring with a number of local acts including the late Son Seals and Sonny Rhodes.  He also formed The Randall Dubis Band which has released a series of albums.

Bad-cat

Tracks
1.  Western Wind  (Charles Dynzof, Jim Spencer) - 5:03
2.  Dark Trip To Edge City   (Jim Spencer, Barry Patton) - 4:13
3.  Shake Me   (Jim Spencer) - 3:32
4.  Steal Your Love Back Home  (Jim Spencer) - 4:27
5.  Deanna Durbin Blues  (Jim Spencer) - 4:39
6.  Down Under Blues  (Jim Spencer) - 4:53
7.  Papa Doc  (Jim Spencer) - 5:31
8.  Back In The Spirit  (Jim Spencer) - 4:38
9.  Fran's Blues   (Charles Dynzof, Jim Spencer) - 5:16
10.Greensleeves  (Traditional Arranged By John Nebi,  Jim Spencer,  Sigmund Snopek Iii) - 3:25

Major Arcana
*Michael Burdecki - Bass, Slide Guitar
*Randall Dubis - Lead Guitar, Backing Vocals
*Jim Kitchen - Percussion, Harmonica
*Jim Spencer  - Vocals, Guitar

Related Act

1973  Jim Spencer - Landscapes (2009 korean remaster)

1974  Jim Spencer - 2nd Look (2009 Korean remaster)

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Quatrain - Quatrain (1965-69 us, incredible garage acid folk psych, 2008 Sundazed extra tracks edition)

Back in 1968, Tetragrammaton Records of Beverly Hills, Bill Cosby’s label, released a local Los Angeles group’s only recorded album, Quatrain. The group consisted of Don Senneville, one of Los Angeles’ more creative lead guitarists, Steve Lindsay on bass guitar, Rick Pease on rhythm guitar, and Jim Lekas on drums. The record album was produced and engineered by the late David Briggs, Neil Young’s producer for many years.

Those of us who were fortunate enough to be part of the excitement and enchantment of Los Angeles’ psychedelic and popular music movement between 1964 and 1969 gaze back glowingly and longingly upon those halcyon and magical times. Quatrain was part of the flow and pulse of the musical weaves in those politically and socially turbulent, but equally carefree and provocative moments in Los Angeles. 

Los Angeles was truly something in the 1960s: Open, creative, still innocent, but growing bolder and openly seeking new musical and sociological paths.  The Watts Riots, the Sunset Strip music scene, love-ins, sit-ins, free love, drugs, and the Laurel and Topanga Canyon scenes marked the bright side.  Viet Nam dragged on, and Armstrong would soon walk on the Moon.

But the foreboding and chilling event that marked the culmination of the 1960s was the rude awakening brought about by the Tate and Labianca tragedies. Innocence in Los Angeles had been forever lost, and Quatrain went through the changes warily, like everyone else in the summer of 1969.

Quatrain was a garage band out of the San Fernando Valley and was originally formed in 1963 as The Fourth Shadow by founding members Senneville and Pease, with Lekas joining to play drums and sing in November of 1964 after a stint as an aerospace worker and part-time surf band drummer. Pease was a talented folk musician and excellent writer, as was Senneville.

Bassist Mark Johnson and guitarist Bruce Epstein were added in early 1965 to complete the first version of the quartet after Pease had gone off to the military. The group was mostly a cover band then.

Tireless promoter and personal manager Billy Marcot provided direction and early gigs for the foursome. Roger “Turk” Anderson and a young but sagacious Russ Deck were the group’s spiritual advisors and close associates. The group, still called The Fourth Shadow at the time, covered a lot of British Invasion material, with the usual au fait and de rigueur black turtlenecks and sport coats. School hops, parties, and beer bars were typical venues for The Fourth Shadow.

From 1965 to 1967, personnel changed periodically and the band’s name changed several times. Other members in the Quatrain evolution included guitarist Tim “Rainbow” Bell, lead singer Cary Brent, backup singer Doug Webb, and most importantly, Steve “Buff” Lindsay, bassist from the popular San Fernando Valley rock group The Boss Tweeds. Lindsay became a solid part of the group on bass, replacing the departing Mark Johnson. 

In 1966, the group, then known as The Berries, which was at the time holding court as the house band at The Middle Earth on Ventura Boulevard in Reseda, was signed by Doubleshot Records of Hollywood, but nothing materialized except for a national Pillsbury radio jingle for “Gorilla Milk,” a breakfast mix product that went nowhere, much like two singles released on Doubleshot by The Human Jungle, as the boys were known, with Joe Hooven and Hal Wynn as producers. Wynn and Hooven had previously struck gold with The Count Five’s “Psychotic Reaction,” and Brenton Wood with “The Oogum-Boogum Song” and “Gimme Little Sign.”

The band was booked by Doubleshot to play a dance in Pasadena as The Plastic Zoo, and the embarrassment of performing under that name for one gig was obviated by the opportunity to share the bill as one of five groups with the then just-formed, talented, and up and coming Three Dog Night.

The Plastic Zoo and The Human Jungle experiments, and the affiliation with Doubleshot Records, ended as quickly as they had begun, and the boys thankfully returned to playing clubs around Hollywood and the San Fernando Valley as The Berries. 

In 1967, Lekas suggested “Quatrain” as a new name after spending a few weeks reading the quatrains of Omar Khayam. The group agreed to the change, and the new name stuck.

Tracks
1. Fragments - 4:14
2. Unconquered Islands - 3:17
3. Flowing Robes - 3:20
4. Fields of Love - 2:26
5. Canyon Women - 1:22
6. Rollin - 3:09
7. Black Lily - 3:23
8. Early Morning Company - 2:54
9. Ask Me No Questions (Steve Lindsay) - 2:58
10. Try To Live Again - 3:00
11. Masquerade (Don Senneville) - 2:42
12. The Tree - 5:36
13. Towering Buildings - 4:19
14. So Much For Royalty - 3:57
15. Unforeseen Regrets - 4:43
16. When Will You Happen to Me (Don Senneville, Jim Lekas) - 4:21
17. Let You Go - 3:14
18. Sun Came Up - 4:48
19. Get A Life - 4:06
20. Ghosts Over the Sunset Strip - 4:59
All compositions by Jim Lekas, except where indicaded.
Tracks 13-20  Previously Unissued

Quatrain
*Don Senneville - Lead Guitar
*Steve "Buff" Lindsay - Bass Guitar
*Eric Pease - Rhythm Guitar
*Jim Lekas - Drums

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Stu Nunnery - Stu Nunnery (1973 us, wide country folk rock, Vinyl edition)

If you’ve never heard of Stu Nunnery, you’re probably not alone, but it would be your loss. Nunnery is a singer/songwriter who released one self-titled album on the short-lived Evolution label in 1973. The nine-song LP showcased a heady talent, playing a mix of folk-rock that fans of Dan Fogelberg, James Taylor, Gordon Lightfoot and Jackson Browne should connect with immediately. 

Yet, Nunnery sounded like no one else. And if you’ve never heard him, read and listen on, for there’s plenty of great music to discover here.

Stu Nannery

"My story is a simple one. I did one album in 1973-74. Over the next couple of years, two of the cuts from that album“Madelaine” and “Sally From Syracuse”reached the Top 100 on the American charts. And in 1976 after I had left the company I was with“Lady It’s Time To Go,” which is on the flip side of the album, became the #1 Record in Rio de Janeiro and San Paulo, Brazil. 

And it was my recording of it, sold to a label called Copacabana Records, which was part of the RCA stable. And in 1976, I got a phone call after I had left the record company I was with, telling me I was a big star in South America, and, “Can you come down here and perform?”

Tracks
1. The Isle Of Debris - 5:30
2. And That's Fine With Me - 3:35
3. Sally From Syracuse - 3:58
4. Madelaine - 3:30
5. Lady It's Time To Go - 3:30
6. Your Rise - 2:51
7. Diminished Love - 3:23
8. The Lady In Waiting - 3:28
9. Roads - 5:10
All songs by Stu Nunnery

Musicians
*Andy Muson, Kirk Hamilton, Stu Woods - Bass
*Alan Schwartzeberg, Rick Marotta - Drums
*Eric Weissberg, Ken Kosek - Fiddle
*Al Gordoni, David Spinozza, Elliot Randall, Hugh McCracken, John Tropea - Guitar
*Buzzy Feiten - Bass
*Paul Griffin - Keyboards, Synthesizer
*Stu Nunnery -  Guitar, Vocals

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Sawbuck - Sawbuck (1972 us, excellent west coast psych with southern rock taste, Vinyl issue)

Sawbuck formed 1970  in San Francisco. On an office remodeling job, Ronnie Montrose met promoter Bill Graham, who introduced him to his partner, producer David Rubinson. Graham and Rubinson owned a small record label called Fillmore Records, and signed a recording contract with Sawbuck. 

Rubinson was especially impressed by Montrose--s talent and ambition. He set the guitarist up for session work with the Pointer Sisters and keyboardist Herbie Hancock before he arranged for Montrose's big break.

Montrose had been in the process of recording what would have been his first album with Sawbuck when David Rubinson, the producer, arranged an audition with Van Morrison. Montrose got the job and played on Morrison's 1971 album Tupelo Honey. 

Mojo Collins remembers,

One day I stumbled into the office of the Fillmore and met the secretary Annie, we quickly became friends and she opened the door for me to get a 45 record to Bill Graham, owner and manager of theJefferson Airplane and Marty Balin. He liked the record and I got hooked up with Annie and her friend Starr Donaldson who was playing Wolfie in the San Francisco version of "Hair" at a local theatre. 

We became friends and later I met Ronnie Montrose and Chuck Ruff along with Bill Church, who replaced our original bassist Kooch. This was the basic foundation for what became Sawbuck. We were signed to Fillmore Records and an album entitled "Sawbuck" was recorded in 1970-71 produced by the famed David Rubinson who also produced Moby Grape, Santana, Janis Joplin, The Chambers Brothers, Elvin Bishop, Cold Blood and Tower of Power.

For the next year or so we toured and opened for major acts and played the final week of the Fillmore West before it closed. During the making of the album, Ronnie was approached to do some commercial jingles and one was heard by Van Morrison, and Ronnie was gone, he later wound up with Edgar Winter and recruited Chuck Ruff from Sawbuck for The Edgar Winter Group, and that pretty much ended our tenure as a performing band. 

I came home to NC and tried to put together another Sawbuck, with my brother David Collins and a few of his friends, we toured for awhile when the album was released but fizzled out because of lack of support from the label. Around this time David Rubinson and Bill Graham split there partnership and Sawbuck was shelved. 

Tracks
1. Sing This Song - 3:50
2. Wound Up - 2:35
3. Oo Lolla Moore - 3:26
4. Virginia Woman (In Gear) - 3:07
5. There Will Be Love - 3:02
6. Believe - 3:07
7. Reno - 2:29
8. Mayday - 3:04
9. Sweet and Sour - 2:57
10.Lovin' Man - 2:35
11.Bible Burning - 4:03
12.Promised Land - 5:27
All songs written by Mojo Collins except Reno' written by Stephen Hatley and Chuck Ruff.

Sawbuck
*Mojo Collins - Lead vocals, Guitars
*Starr Donaldson - Guitar, Vocals
*Chuck Ruff - Drums
*Stephen Hatley - Keyboards, Acoustic Guitar
*Nine Year – Bass
Guest Musicians
*Ronnie Montrose – Guitar Track 6 & 10
*Bill Church – Bass
*Boots Rolph Stuart Hughston - Saxophone
*Andrew Narell - Steel Drum
*Sami - Congas
*Hungria Carmello Garcia - Timbales
*Arsinio Avizaro - Vocals
*Raymond Clough - Vocals

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