Experimental Hard Rock and Psychedelic vibes, "Eight Miles High" ,title taken from the song that was written by Gene Clark, Roger McGuinn and David Crosby of The Byrds, lent itself perfectly to the hallucinatory atmosphere display. During live performances including the United States was "Eight Miles High stretched to three quarters and enriched with a guitar, drum and bass solo.
As an album side only limited up to about 20 minutes this song was shortened. With 19 minutes is the longest track Eight Miles High Golden Earring who ever put on record. Song Of A Devil's Servant is already ahead of its predecessor On the Double (1969), but at Eight Miles High has a more psychedelic production. The album was recorded in five days at Olympic Studios in London. The spontaneity of the songs was praised, given the rudimentary technology of the release which criticized.
The music of Golden Earring items early seventies hard rock in addition to a remarkably soft, mystical side. Wall Of Dolls (1970), this sensitivity in Seven Tears from songs such as Silver Ships and Hope. Rock n Roll will prevail over again with an exuberant riff engraved The Road Swallowed Her Name and Earring classic She Flies On Strange Wings.
Tracks Eight Miles High
1. Landing (Rinus Gerritsen) – 4:27
2. Song of a Devil's Servant (George Kooymans) – 6:00
3. One Huge Road (Kooymans) – 3:05
4. Everyday's Torture (Kooymans) – 5:19
5. Eight Miles High (Gene Clark, David Crosby, Roger McGuinn) – 19:00
Golden Earring
*Rinus Gerritsen - Bass, Keyboard
*Barry Hay - Flute, Rhythm Guitar, Vocals
*George Kooymans - Guitar, Vocals
*Sieb Warner - Percussion, Drums
Seven Tears
1. Silver Ships (Kooymans) – 5:40
2. The Road Swallowed Her Name (Kooymans) – 4:07
3. Hope (Gerritsen, Hay) – 4:46
4. Don't Worry (Hay) – 3:20
5. She Flies on Strange Wings (Kooymans) – 7:22
6. This Is the Other Side of Life (Kooymans) – 3:19
7. You're Better off Free (Kooymans) – 6:44
As the driving force behind Chilliwack during their illustrious career, Bill Henderson knew that music was his calling early in life. The native of Vancouver was already a working musician while still in high school. He was a student at UBC in 1966 when he joined the group, The Collectors. While spending a whole lot of time in California they were signed to a record deal. After a pair of albums and a string of radio singles between '67 and '69, including "Lydia Purple" and "Early Morning," which found them touring with the likes of The Doors and Jefferson Airplane, The Collectors were dead, Henderson was living in Vancouver - and from the ashes rose Chilliwack.
The band was rounded out by fellow ex-Collectors - drummer Ross Turney, Claire Lawrence on sax and keyboards and Glen Miller on bass. They cut their self-titled debut (also unofficially referred to as MASK because of the African head dress on the cover) in late '70 on the independant Parrot Records. "Chain Train" was the first single, followed by "Rain O," inspired by an Albert King show Henderson saw in San Francisco and a First Nations painting. Other noteable tracks included "Sundown" and "Everyday," the next two singles to come off the record. "We recorded that record in 36 hours, recorded and mixed, the whole thing. We'd never done that before, or since," Henderson reminisced.
But Miller dropped out and after picking up Robbie King and Rick Kilburn for various portions of their tours, the band was on the road non-stop, making stops throughout Canada, into the US, and the 1970 Expo in Japan. Once they came home, Miller soon dropped out, but they carried on - across Canada, to Japan, and all points in between.
Born and raised in Los Angeles, Mark Eric Malmborg was the stereotyped Southern California teenager - blond, tanned, good looking, great teeth, complete with a love of surfing and music. As a teenager he began shopping songs around to major labels, eventually attracting the attention of local radio station engineer Bob Raucher. Raucher helped Eric record material at Hollywood's Gold Star studios. Under the name Mark Eric he also enjoyed modest successes as a songwriter. In 1968 though efforts caught the attention of Warner Brothers executive Russ Regan. Regan eventually signed Eric to MCA subsidiary Uni's newly formed R&B imprint Revue.
Produced by Norman Ratner, 1969's "A Midsummer's Day Dream" is probably the best Brian Wilson and the Beach Boys album they never released. Now, if you weren't a Beach Boys fan that description didn't do much for you. On the other hand, anyone who was an admirer of Brian Wilson's catalog would find this set to be a 'must own' addition to their collection. That also neatly captured the strengths and weaknesses of this release. If you were looking for originality, there wasn't much to be found here.
None of the dozen selections reflected a unique Mark Eric 'sound'. What you did get was someone who managed to nail that unique mid-1960s Southern California vibe that mixed Beach Boys and sunshine pop. Interestingly, Eric and his collaborator/arranger former Animals guitarist Vic Briggs apparently wrote these twelve tracks intending to place them with other acts. The sessions were apparently only intended to demo the material, but the results were so impressive that Revue decided to release it as a Marc Eric effort.
Musically the album was already several years out of step with popular tastes so it shouldn't have been a surprise to see the parent LP and singles vanish directly into cutout bins. Sadly that effectively ended Eric's recording career, though he actually recorded some material for a projected sophomore set. Those tracks were shelved and only saw the light of day when appended to a 2002 Rev-ola CD reissue of the album (catalog number CR-REV 18). Eric subsequently turned his time and attention to modeling, commercials and acting, briefly appearing in a number of early-1970s television shows including The Partridge Family and Hawaii 5-0.
Tracks
1. California Home - 2:31
2. Move With The Dawn - 2:48
3. Laura's Changing - 2:19
4. Where Do The Girls Of The Summer Go? - 3:21
5. I'd Like To Talk To You - 2:56
6. Take Me With You - 3:06
7. Night Of The Lions - 2:41
8. Don't Cry Over Me - 2:49
9. We Live So Fast - 2:25
10.Sad Is The Way That I Feel - 3:05
11.Just Passin' By - 2:49
12.Lynn's Baby - 3:10
13.Place For The Summer - 2:33
14.Build Your Own Dreams - 3:41
15.Summer Goes This Way - 2:50
16.Goin' Native - 2:42
17.Night Of The Lions (45 Mono Mix) - 2:40
18.Don't Cry Over Me (45 Mono Mix) - 2:45
19.California Home (45 Mono Mix) - 2:48
20.Where Do The Girls Of The Summer Go? (45 Mono Mix) - 5:39
All songs Mark Eric Malmborg
Bonus Tracks 13-20
Right on the heels of the revolution. Right after the smoke cleared from Grande Ballroom in Detroit where its native sons, the MC5, set forth a sound that was unheard of in terms of how high amplification could be turned. In this era, the MC5 were are the forefront of the proto punk scene, making their mark with the name inspired by their hometown, the Motor City 5 and on Back in the USA, they would show not only are they one of the great live bands of the day, but that they are not limited to being away from the studio and that they can rock out there too, crafting one of the first great 70's rock albums.
How would this effort differ from their previous. Basic observations state there will be a change in quality due to this being recorded as opposed to live; and while the noise and insanity of the MC5 is not fully present here on the surface, but the volume is certainly still turned up. All the major players were back for this puppy, the soul of the band which is their guitarists Wayne Kramer and Fred "Sonic" Hayes are slightly down a notch from their bombastic set on Kick Out the Jams but as mentioned, they are still the heart of the group.
Alright. The MC5 were prime rockers and in 1970 were definitely not past their prime. Why then has this not been reviewed yet? Well that was the life of the beginning punk bands then, their records reached a wide network of underground fans, but it remained just that, underground (with the single exception of making a Rolling Stone cover. While many artists enjoy the appeal of playing and making albums for a limited audience, it holds back the potential widespread influence that could have been spread to the mainstream. Many groups were victim to this, and indeed the MC5 were. Despite not having widespread acclaim, the band rumbles on without White Panthers leader and manager John Sinclair to make a great piece of pure rock, and make another staple in the early punk years.
Without venturing too far into the future, the band dips into the past a tad, and that venture is what kicks off this album. "WOP BOP A LOO BOP A LOP BOM BOM!" screams front man Rob Tyner and the unheard and unused instrument of the band, piano, comes in to escort this high tempo Little Richard cover which serves to establish the boys not only as old time rock and rollers, but to preview the sexy feel of the work, the subtly risque element of the lyrics with a quick percussion core and slick guitar riffs throughout. The song is not theirs but it might as well be, it perfectly previews the album as well as providing a connection between Little Richard, an early black pianist, and the MC5, who embodied Motown soul and a rebellious attitude. The other featured cover from an earlier black artist is Chuck Berry's Back In the USA which by itself contradicts the rest of the album, proclaiming to be "Glad to be livin' in the USA" but in the context the song also glorifies not the police or the government, but hamburgers, jukeboxes, and drive ins.
What are the main topics selected for this stellar pure rock album? Why what else than what rock and roll is based on, sex and rebellion. That's how this album does so well, theres no need for poetic free form rambling artificial garbage or any sensitivity, the MC5 just rear back and give a balls out performance, this time its in a controlled setting. Want sexy? Look no further than the spot on titled "Teenage Lust". This song goes over how it feels bein' a teen and being hungry for more than burgers. Tyner recalls as "[He] chased them at the bars and [he] grabbed them at the dances/They'd huggy snuggle kissy but they'd never go all the way".
Right on the money this tune is, the band is rockin' with guitar/drum parts blazing throughout and backup vocalists firing, this is a standout thing to rock out and shake your hips to. Want rebellion? "American Ruse" goes just as the title sounds and is made just for you. The reality of their music is displayed here and real situations appear in which " If you complain they're gonna get vicious /Kick in the teeth and charge you with assault". How many times past and present has that been seen, as Hendrix did in the previous years, this song has a seemingly improv version of an old American song brought on by the provocation of "Rock em Back Sonic!". Sonic is indeed what this album is about, applying to not only the noise this makes in the ranks of the underground, but the continuation of the riffage and all out performance of guitarist Sonic Hayes.
What is missing from the album is not only the live chaotic feeling of Kick Out the Jams, but the wild guitar tangents that made that album the classic it is. Other people may find grievances in the slower songs, such as "Let Me Try". While this is in the taste of some, who cares if they play the slow jams occasionally, they're from Detroit for Chrissakes! They know how to rock, swivel, make noise and they do just that in this album. It seems all this would give them the chance to record a slower and still decent song, and they do just that.
Back in the USA, it was slick but rude, loud and crazy, and absolutely essential for any real rock fan to have been listened to by now. Its been 36 years since this baby was released, and somehow the immediate and widespread response to the brilliance of this album has yet to be fully received. That's a crime considering the work (and arrests) it took to make this. No more excuses, the word is out, get it.
by Zachary Powell
Tracks
1. Tutti Frutti (Dorothy Lavostrie, Joe Lubin, Richard Penniman) – 1:30
2. Tonight – 2:29
3. Teenage Lust – 2:36
4. Let Me Try – 4:16
5. Looking At You – 3:03
6. High School – 2:42
7. Call Me Animal – 2:06
8. The American Ruse – 2:31
9. Shakin' Street – 2:21
10.The Human Being Lawnmower – 2:24
11.Back In The U.S.A." (Chuck Berry) – 2:26
All tracks composed by MC5 except where indicated
MC5
*Rob Tyner - Vocals, Harmonica
*Wayne Kramer - Guitar
*Fred "Sonic" Smith - Guitar, Vocals on "Shakin' Street"
*Michael Davis - Bass
*Dennis Thompson - Drums With
*Danny Jordan - Keyboards
*Pete Kelly - Keyboards
Dieter Kaspari (Morgan) was born in Aachen in 1947 and remained faithful in his town ever since. Leaving aside the numerous touring musician since 1965, including 12 years as a pro in various bands, including Cave Dwellers or Credo in Aachen particularly Truss still enjoys a legendary are more important for Kaspari but the two and a half years on the road working with Champion Jack Dupree and many other American blues legends.
Great long tours with Charles & Morgan, as opening act for Golden Earring and Greenslade, since 1978 as a commercial photographer, plus numerous photography books and exhibitions reputation. Mixes currently the city with original Öcher blues, as a singer, guitarist and harmonica player in the Bluesbüllen, formerly known as "blu 'heat'. Charly Büchel is known as Charly McLion and makes electronic music, eLounge ', between Enigma, Enya and Pat Metheny.
"Homework" recorded in 1974 is a pretty transparent record. The nine songs (about 41 minutes) are playful immensely cheerful and blue love, full of oblique and witty psychedelic moments with changes in mood, irritable and melancholy in all its facets, can be best enjoyed, dancing, driving a car and watching the rain when it rains.
"Sesame stress" is instrumental, a perfect introduction. "Hey Man" has thoughtful epic, the Acid Folk is timeless and fresh and loose, finally swims like a fish in water, sung by kids voice, the band takes the children's song like "Five Little Fishes" gentle and tender before the percussion only knows a concept: who are crazy!
"Getaway" tends to rock, the semi-acoustic blues of Morgan's strong voice and acoustic guitar, the drums rock loose and playful, and a fine guitar solo. The "Thieke Blues" ends the first side of the LP.
"Let the Good Times Roll" opens the series on side two. Psychedelic Acid Blues with terrific electric and acoustic guitar to enjoy the night as the day. The three-part "Train Session" (with subtitles a Arrival b. Station Desert c. Full Steam) finished an excellent, idiosyncratic gem flamboyant, fun-loving and hearty music. As I said, it sounds special and wonderful.
Tracks
1. Seamstress - 3:28
2. Super Ugly (Charly McLion, Dieter kaspari, H. kaspari) - 2:09
3. Hey Man - 2:54
4. Five Little Fishes (Dieter kaspari, H. kaspari) - 2:05
5. Getaway (Charly McLion, Dieter kaspari, H. kaspari) - 3:57
6. Thieke Blues - 3:10
7. Let the Good Times Roll - 3:44
8. Rhapsody (CharlyMcLion) - 4:07
9. Train Session a) Arrival (Charly McLion, Dieter kaspari, Kurt Mick) - 2:21
10.Train Session b) Desert Station (Charly McLion, Dieter kaspari, Kurt Mick) - 2:31
11.Train Session c) Fullsteam (Charly McLion, Dieter kaspari, Kurt Mick) - 4:40
12.Train Session d) Yawateg (Charly McLion, Dieter kaspari, Kurt Mick) - 1:19
All songs by Charly McLion, Dieter Kaspari except where noted
Jake Holmes’ first album, 'The Above Ground Sound', generated an amazing level of interest. Of course, the fact that the album included 'Dazed And Confused' had quite a lot to do with it, but it soon became apparent that Holmes’ music, along with the work of a number of other male singer-songwriters is enjoying a bit of a renaissance at the moment.
Jake’s second album, 'A Letter To Katherine December', a record that many critics rate even more highly than his first. This is indeed a great follow-up; an album which easily evades the shadow of its predecessor’s success and another recording that, in typical Holmes fashion, defies description. Although Rick Randle, whose bizarre bass playing was such a feature of 'The Above Ground Sound', is missing on this one, Charlie Fox’s immaculate string and horn arrangements more than compensate. Holmes’ eccentric song writing is here in all its rich diversity, the sound quality is outstanding and the production standards superb.
As was the case with its predecessor, 'A Letter...' failed to achieve any real commercial impact, so Holmes switched to a more country feel for his next two releases. Obviously he had perplexed the people at Tower Records enough by this time as the label cancelled his contract. Without a safety net, Holmes plunged into the world of TV commercials, which, ironically, is where he was to eventually enjoy his only real financial success. Unique card wallet.
Tracks
1. Saturday Night - 2:12
2. Late Sleeping Day - 3:22
3. Chase Your Eyes - 3:28
4. The Diner Song - 2:29
5. High School Hero - 3:18
6. Moving Day - 2:38
7. Leaves Never Break - 4:41
8. It's Always Somewhere Else - 2:30
9. Sleeping Woman - 3:12
10.Houston Street - 4:29
Words and Music by Jake Holmes.
Musicians
*Jake Holmes - Vocals, Guitars
*Ted Irwin - Lead Guitar
*Charlie Fox - Horns, Strings Arragments
The same month Capitol Records released "Brave New World," the third album by the Steve Miller Band, the musicians started to record the band's next album in June 1969 at San Francisco's Wally Heider Studios, where groups such as Jefferson Airplane and Creedence Clearwater Revival also recorded. Keyboardist Nicky Hopkins flew in from London. Hopkins had fallen for the charms of the San Francisco Bay Area on US tours with Jeff Beck and was staying as houseguest at Miller's Marin County home.
He had been British rock's premiere session player - Beatles, Rolling Stones, the Who.The Kinks wrote a song about him, "Session Man," and hired him to play on it. Miller met Hopkins in London when he overdubbed piano and organ on "Kow Kow" from his last album. Hopkins was a tall, quiet, sickly man with a brilliant touch on the keyboards who was forsaking England for California sunshine.
The Steve Miller Band had been touring ceaselessly for more than a year. There were concerts with the Moody Blues and John Mayall's Bluesbreakers with Mick Taylor at the Boston Gardens, a tour with Country Joe and the Fish, shows at the Fillmore West with Eric Burdon and the Animals and many more.
The first three albums had sold more than 400,000 copies combined. Between radio airplay on the growing network of FM underground rock stations and steady touring, the band had established itself. Johns came to San Francisco fresh from final mixes of the next Beatles album, "Get Back," a record that would never be released (eventually the album "Let It Be" was culled from the sessions by producer Phil Spector).
Miller drew from his days as a Freedom Rider for the old gospel song, "Don't Let Nobody Turn You Around." Tim Davis and Lonnie Turner came up with a funky blues,"The Last Wombat in Mecca," and Davis' song "Your Saving Grace," which was the highlight of his career in the Steve Miller Band. Former bandmate Curley Cook contributed rhythm guitar on the track, back with the Steve Miller Band for the first time since he left in July 1967.
Miller and Nicky Hopkins combined forces on "Baby's House," a Miller original Hopkins exploded into a near symphonic, nine-minute epic. The 25 year-old musician was juggling many roles, battling his record company for any kind of support, operating without a manager, and spending close to 300 days a year on the road, recording three albums in the past eighteen months.The record company wanted to release another album before the end of the year and, in October, Miller went to London to finish mixing the record with Johns.
They added a choir to Hopkins' extravagant inventions on the end of "Baby's House." By that time, Nicky Hopkins had joined Quicksilver Messenger Service and was living in Marin. Capitol Records rush-released the album,"Your Saving Grace," in November 1969. The label immediately demanded another album.The band headed back into the studio after Christmas.
by Joel Selvin, San Francisco Chronicle, March 2012
Tracks
1. Little Girl (Steve Miller) – 3:25
2. Just A Passin' Fancy In A Midnite Dream (Steve Miller, Ben Sidran) – 3:41
3. Don't Let Nobody Turn You Around (Steve Miller) – 2:30
4. Baby's House (Steve Miller, Nicky Hopkins) – 8:54
5. Motherless Children (Trad. Arr. Steve Miller) – 6:03
6. The Last Wombat In Mecca (Lonnie Turner) – 2:56
7. Feel So Glad (Steve Miller) – 5:20
8. Your Saving Grace (Tim Davis) – 4:47
The Band
*Steve Miller – Guitar, Harmonica, Lead Vocals
*Lonnie Turner – Bass Guitar, Guitar, Vocals
*Tim Davis – Drums, Background Vocals, Lead Vocals (Tracks 6 And 8)
*Ben Sidran – Organ, Electric Piano
*Nicky Hopkins – Grand Piano
*Glyn Johns – Guitar, Vocals, Percussion
*Minor Wilson - Guitar
When folk-rock singer/songwriter Jake Holmes opened for The Yardbirds in New York in August 1967, little did he suspect that one of his songs, Dazed And Confused, would be “commandeered” by guitarist Jimmy Page and become one of his next band’s major live showpieces.
The band in question is of course Led Zeppelin, and although The Yardbirds did incorporate the song into their live set, it is the Led Zep version that provided Holmes with his 15 minutes of fame, although Mr Page, clearly suffering from a temporary bout of amnesia, forgetfully claimed the song writing credit himself. Holmes had done the rounds of the New York folk scene, working in bands with the likes of Tim Rose before going solo.
This, his first recording, originally appeared on the Tower label (ST 5079) in 1967. The album is considered a folk-rock masterpiece, and was described at the time as “a songwriter, three guitars and a mirror”. The guitars of Holmes, Ted Irwin (later to play with Elliot Murphy, Roy Buchanan and various country singers) are the only backing for Holmes’ voice and the 10 short tracks are outstanding, but especially the sparer, stripped-down original version of Dazed And Confused.
Jake was born December 28, 1939 in San Francisco, California, and before went solo, he performed in a trio with Tim Rose and Richie Hussan, in a group called The Feldmans.
Tracks
1. Lonely - 2:39
2. Did You Know - 2:52
3. She Belongs To Me - 2:14
4. Too Long - 2:47
5. Genuine - 3:58
6. Dazed And Confused - 3:51
7. Penny’s - 2:38
8. Hard To Keep My Mind On You - 2:02
9. Wish I Was Anywhere Else - 2:51
10.Signs Of Age - 4:02
All songs by Jake Holmes
Recorded in 1971, "Rainman" was co-produced by Cuby 'n' the Blizzards drummer Dick Beekman and Nuyens. All tracks co-written by Nuyens and Q65 drummer Jay Baar (there's one cover), far from the Q65-styled R'n'B or psychedelia.
Musically material such as the title track, 'Don't' and '' the collection leans towards laidback singer/songwriter faire; albeit with electric backing. In spite of a fairly heavy accent, Nuyens had a nice voice that was well suited to the material. Individually most of the tracks were quite good, boasting strong melodies with Nuyens occasionally throwing in a tasty guitar solo ('Naturel Man' - his spelling).
Curiously, his cover of Tim Hardin's 'Don't Make Promises' provides the most commercial and enjoyable track.
Tracks
1. Rainman - 2:33
2. Natural Man - 4:02
3. Don't - 2:43
4. Vicious Circle - 2:42
5. Don't Make Promises (Tim Hardin) - 2:44
6. You Will Be Freed By Me - 2:25
7. Money Means Nothing At All - 2:40
8. Get You To Come Through - 5:29
9. She Told Me So - 3:28
10.They Didn't Feel - 4:00
11.The Joy That Is Inside - 3:04
12.The Bird (Bonus track) (Frank Nuyens) - 3:16
All songs by Frank Nuyens and Jay Baar except where noted
Together represents an important step forward for Golden Earring. Unlike the group's previous outings, the songs on this album don't fall into strict rock or progressive categories. Instead, the group blurs these strict lines and weaves elements of each genre into a distinctive style that gives the songs their unique flavor.
For instance, "Brother Wind" has the complex arrangement and length of a prog rock epic, but it moves forward with the energy and powerful riffing of a hard rock song. The group also makes a concerted effort to give each song a tight arrangement and usually more than one catchy hook. The result is the band's first truly consistent album.
Driving rockers abound on Together: "Avalanche of Love" is driven by a procession of gutsy riffs that live up to the song's title, and "Buddy Joe" is a surging, dramatic adventure tale built on a singalong chorus and an insidiously catchy Indian-style guitar riff (this rousing tune has remained a popular part of the band's live set list). "Jangalene" is another highlight, a cleverly arranged tune that starts out as an acoustic blues but flowers into a full-throttle rocker midway through.
Together remains an impressive album and clearly shows off the chops and songwriting skills that would bring the group a massive worldwide success the next year with Moontan.
by Donald A. Guarisco
Tracks
1. All Day Watcher - 4:49
2. Avalanche of Love - 4:14
3. Cruisin' Southern Germany (Barry Hay) - 3:00
4. Brother Wind - 7:54
5. Buddy Joe - 3:48
6. Jangalene - 5:08
7. From Heaven from Hell - 6:06
8. Thousand Feet Below You - 4:11
all songs written by George Kooymans, except where noted
Butch Engle And The Styx were based in Mill Valley, California, USA. They were formerly known as the Showmen, under which name they recorded ‘You Know All I Want’ for the local MEA label. They took their new name in 1965 with the line-up comprising Butch Engle (vocals), Bob Zamora (lead guitar), Mike Pardee (organ), Harry ‘Happiness’ Smith (bass) and Rich Morrison (drums).
In 1966 they won the Band Bash at San Francisco’s Cow Palace and secured the patronage of Ron Elliott, songwriter/guitarist with the Beau Brummels. He wrote and produced the group’s ‘Going Home’, in 1967, which was issued on Loma, a subsidiary of Warner Brothers Records. The single was an ideal showcase for Engle’s strong voice and the group’s musical skills.
Larry Gerughty replaced Mike Pardee before the band, now known simply as the Styx, completed a follow-up. Both sides of ‘Hey I’m Lost’/‘Puppetmaster’ were co-composed by Elliott, but this 1968 single was not a success and the Styx broke up soon afterwards.
by Colin Larkin
Tracks
1. Hey I"m Lost (Ron Elliott, Bob Durand) - 2:32
2. Left Hand Girl (Ron Elliott) - 2:27
3. No Matter What You Say (Ron Elliott, Butch Engle) - 2:46
4. Smile Smile Smile (Ron Elliott, Dave Bettiga) - 1:51
5. I'm A Fool (Ron Elliott) - 2:35
6. I Call Her Name (Ron Elliott) - 2:45
7. She Is Love (Ron Elliott) - 2:14
8. If You Believe (Ron Elliott) - 2:25
9. Smile Smile Smile (Ron Elliott, Dave Bettiga) - 1:52
10.Going Home (Ron Elliott) - 2:06
11.I Like Her (Ron Elliott) - 1:55
12.Hey, I'm Lost (Ron Elliott, Bob Durand) - 2:30
13.Puppetmaster (Ron Elliott, Bob Durand) - 3:46
14.She Is Love (Ron Elliott) - 1:47
15.Tell Me Please (Bob Zamora, Butch Engle) - 2:04
16.You Know All I Want (Bob Zamora) - 1:54
17.Hey I'm Lost (Ron Elliott, Bob Durand) - 2:28
Butch Engle And The Styx
*Butch Engle – Lead Vocals
*Bob Zamora – Lead Guitar
*Mike Pardee – Organ
*Harry "Happiness" Smith – Bass
*Rich Morrison – Drums
*Larry Gerughty – Keyboards
*Barry Lewis - Drums, Percussion (1967-68)
"Moontan" is probably their best album, consisting of lengthy tracks where their boogie-based hard rock was fused with progressive elements. Several passages on the album includes flute, strings, brass and moog, and this together with the length and complexity of the songs makes this a lot more than your average boogie hard rock.
The only exceptions are the straightforward and light rockers "Suzy Lunacy (Mental Rock)" and "Just Like Vince Taylor". The best-known song here is of course their signature track "Radar Love" and this is one of the classic rock songs of the '70s. It's basically a quite simple hard rocking tune, but it also features an instrumental mid-part with moog and horns.
The opening number "Candy's Going Bad" is another hot rocker, but the band again shows their taste for sophistication as the track slows down to a very relaxed and pleasant instrumental-part at the end with a quite weird moog-solo. "Vanilla Queen" is for me the highlight on the album. It starts as a melodic song before it turns into a very tasty instrumental part where the electric guitar plays a beautiful solo over the acoustic chords that drives the track forward, and then finally builds up to grandiose and symphonic finale with lots of strings and powerful brass.
Absolutely superb. "Are You Receiving Me" is another winner, featuring a great jam in the middle with atmospheric flute and more great brass, and the whole thing just increase in intensity and energy before it finally returns to the main theme of the song. "Moontan" can be counted as a classic of '70s rock with progressive tendencies, and comes highly recommended for everyone who likes that kind of stuff!
Tracks
1. Candy's Going Bad – 6:12
2. Are You Receiving Me (John Fenton, Hay, Kooymans) – 9:31
3. Suzy Lunacy (Mental Rock) – 4:24
4. Radar Love – 6:23
5. Just Like Vince Taylor – 4:33
6. Vanilla Queen – 9:16
7. Big Tree, Blue Sea – 8:15
All songs by Barry Hay and George Kooymans, except where noted
The Ramrods were formed in 1961 when 13 year old Tom Carter and a few other musicians perfected enough songs to perform at local dances. Tom's dad, Jack, was instrumental in helping the band book jobs and he also provided the transportation. Their first record, "Flyin1 Saucer Twist", was released in 1961 on the Northway Sound label. The next few years would see three more 45s on Jack Carter's Carram label (CAR for "Carter, RAM for "Ramrods") and quite a few personnel changes.
The band would continue to gain popularity both locally and regionally and by the spring of 1964, the band featured Tom Carter on guitar, Bob Hey on bass, Dave Clelland on drums, Patsy Stevens on vocals (replacing Cathy Kahler), and Johnny Boggs, the main songwriter, on keyboards. In 1965, the band graduated from high school and hit the road playing the then popular teen night club circuit and college bars throughout Michigan. That same year, the band released "I Remember", and "You Know I Love You", their first and only 45 on the local Fenton label.
While getting airplay for the record was difficult for a local band, everyone that heard the record, including radio people and other musicians, were quite impressed with "I Remember". The record was in ae time, unlike anything else on the radio. John and Patsy shared lead vocals and Tom added a simple but very melodic 12-string guitar solo. Behind Tom's solos were orchestra chimes suggested by engineer Dave Kalmbach.The other recordings featured here soon followed, but by early 1966 John, Dave, Patsy, and Bob had left The Ramrods to form a new band called The Soundsations. They added Tom Cordle on bass and Bob switched to guitar. Tom Carter continued on with The Ramrods, although no other recordings were ever produced.
The Soundsations had settled into what would become a 7- month gig at the Colony Room in Kalamazoo when Bob got his draft notice. He left the band and enlisted in the Marines. After auditioning a dozen people the band settled on Dexter Bell, an Alabama boy then living in Kalamazoo. It was this incarnation that recorded the "SHOUT" album. The Soundsations were above all, a party bandOa live band. They were approached by two guys from a local recording company about doing an album of cover tunes to sell off the bandstand. A case of beer and an assortment of wives, girlfriends, and bar patrons were brought into the studio to sing background and sing some of the tunes in a live party atmosphere. A thousand copies were pressed and sold from the bandstand.
The band did no more recording but continued making good money in the clubs until a knock down drag out between Johnny and Tom Cordle ended the band one cold night in Green Bay. Today, Johnny Boggs still plays full time and has recorded several country CDs. Patsy Stevens still performs part time with John. Bob Hey survived a tour of Vietnam, married his high school sweetheart, and now lives in Goshen, Indiana.
In a sad and ironic twist of fate, Bob's replacement, Dexter Bell, was also drafted but never made it back from Vietnam. Dave Clelland played drums for a living until the mid 90's. He still plays part time today. Tom Carter established several NHRA Drag Racing records and now owns a successful model car mail order business called "Hobby Heaven" in Grand Rapids. The whereabouts of Tom Cordle are not known.
by Dave Clelland and Tom Carter
Tracks
1. Double Shot (Smith, Vetter) - 2:14
2. Unchained Melody (Zarel, North) - 3:50,
3. Johnny B. Goode (Berry) - 2:12,
4. What Now My Love (Butler, Davis, Leavill) - 3:25,
5. When A Man Loves A Woman (Lewis, Wright) - 3:07,
6. Midnight Hour (Cropper, Pickett) - 2:35
7. Moody Love (J. Boggs) - 5:32,
8. I Can't Help Myself (Dozier, Holland, Holland) - 2:47
9. Just You (S. Bono) - 3:45
10.Shout (Isley, lsley, lsley) - 5:10
11.Talk, Talk, Talk (J. Boggs) - 2:40
12.It's Gotta Be Love (J. Boggs) - 2:20
13.These Are The Things That You Do To Me (J. Boggs) - 2:18
14.It's Gotta Be Love (Alternate Version) (J. Boggs) - 2:48
15.I Remember (J. Boggs) - 2:27
16.You Know I Love You (J. Boggs)2:49
17.Here They Come (J. Boggs) - 2:19
18.Love's A Game (J D. Miller) - 2:07
19.El Cumbanchero (M.R. Hernandez) - 1:59
20.Runaround Boy (T. Carter, L Nowicki) - 2:07
21.Cotton Candy (T. Carter, L. Nowicki) - 2:28
22.Teen Love (T Carter, R. Selby) - 2:16
23.Frankie And Johnny (Traditional) - 1:30
24.Flyin' Saucer Twist (T Carter) - 2:29
25.Twistin' Boogie (T. Carter) - 2:15
Musicians
*Tom Carter – Vocals Guitar
*Dexter Bell - Lead Guitar
*Johnny Boggs - Keyboards
*Dave Clelland - Drums
*Tom Cordle - Bass
*Bob Hey - Lead Guitar
*Patsy Stevens - Vocals
The Creation was Kenny Pickett, Robert Garner, Jack Jones and Eddie Phillips. Their origins go back to 1963, as Jimmy Virgo & The Blue Jacks who included Jack Jones in their first line up. When singer Jimmy Virgo left, a Kenny Lee took over and they became Kenny Lee & The Mark Four. Kenny Lee became Kenny Pickett and they recruited Eddie Phillips and dropped the prefix to be known simply as, The Mark Four.
The band signed to Mercury Records in 1964 and released two singles featuring four different cover versions. Rock around the clock b/w Slow down and Try it baby b/w Crazy country hop. They signed to Decca and released their first self-penned single. Hurt me if you will and I'm leaving, the first songs to be written by the Pickett/Phillips partnership.
There then came a couple of line up changes as original members of Jimmy Virgo & the Blue Jacks fell by the wayside and the band released their final single in February 1996. Work all day (sleep all night) b/w Going down fast was released on Fontana and were two more originals which began to hint at their future direction.
The Mark Four soon located to London and found a manager, Tony Stratton-Smith who suggested the three piece add bassist Bob Garner to complete the line up. A producer was found in the form of Shel Talmy who had worked with the Who and Kinks in the past and was impressed with what he saw and signed them to his own Planet label. Within a week of signing they were recording a single under a new name, The Creation which Phillips had found in a book of Russian poetry.
The debut single Making Time c/w Try And Stop Me was released in June 1966 and over 30 years later in1997 it pisses on any current release from our Britpop brigade for sheer authenticity. The production, the sharp sound and more importantly the soul was immense. In less than three gripping minutes, The Creation were taking bold steps with the pop format to create their own distinctive near psychedelic sound. Fusing 60's beat and pop harmonies that were the tastes of the times they added a distinctive, nasty electric noise that must have sent shockwaves through most people used to the more refined bands of that era. During the song Phillips plays guitar with a violin bow producing a wall of sound that must have blown away all the shoddy sixties bands desperately copying the Beatles early clean cut days. Only The Who were creating such venomous pop at this time.
The group appeared on the cult 60's TV music show Ready Steady Go and Making Time made it to Number 49 in the charts. The next single went a bit further and took the band to Number 36 in the charts. Painter Man c/w Biff Bang Pow were two altogether poppier songs but equally as enticing as the previous single. Again you would find it hard to find a band around today who can capture such attitude and put it into a simple pop song. This was the band in their prime. You can imagine an ocean of Mod heads bobbing up and down in packed, sweaty late night club feeding off the band's cool sound and celebratory feel.
Pete Townshend of The Who was so impressed with the innovate guitar style of Eddie Phillips he asked him to join the Who as a second guitarist but he turned it down like any cocksure, young upstart with dreams of his own would. Like a true Punk, The Creation would be the band that would slay the rest outta sight. But sadly, it wasn't to be. With success just around the corner, their label Planet folded. Talma was retained as producer and the band eventually signed to Polydor. But not before unrest started to creep into the band. Jack Jones was replaced by a friend of Bob Garner but he was soon left and the band re-instated Jack Jones.
The band were also upset at having so much attention so early on without quite gaining the success it promised. The management was blamed and Bob Garner was now trying to establish himself as the leader of the band. The icing on the cake came when Phillips arrived at a practice to find a new bass player had been drafted in with Bob Garner on vocals. Pickett walked out and the great songwriting partnership was broken.
New bassist Kim Gardner was formerly in the Birds (not the American band!) and the new look Creation released If I Stay Too Long b/w Nightmares. But the single wasn't a success and the bands fortune lie more on the continent, especially in Germany. In their homeland, the would disappear into obscurity as quickly as they broke onto the scene.
Their debut album 'We are Paintermen' was only released in Germany, Holland and Scandinavia. The bands next release in the UK was a single Life Is Just Beginning c/w Through My Eyes. Their label used their success in Germany to promote the record but mysteriously the band never broke through. Perhaps they were ahead of their time. Polydor issues another powerful single, How Does It Feel To Feel (covered in recent times by Ride on their Carnival Of Light album) which had already been released seven months previously in Germany, It flopped and the band went through more line up changes, which included recruiting Ronnie Wood before releasing a final single for Polydor, Midway Down c/w The Girls Are Naked.
They were eventually dropped from Polydor without ever releasing a debut long player in their own country. Further releases followed on the continent before the band split up in June 1968.
Tracks
1. How Does It Feel to Feel? (Garner, Pilllips) - 3:09
2.Life Is Just Beginning (Garner, Pilllips) - 3:00
3.Through My Eyes (Garner, Pilllips) - 3:08
4.Ostrich Man (Unknown) - 2:29
5.I Am the Walker (Pickett, Pilllips) - 2:48
6.Tom Tom (Garner, Pilllips) - 2:57
7.Girls Are Naked (Pickett, Garner, Jones) - 2:00
8.Painter Man (Pickett, Pilllips) - 2:52
9.Try and Stop Me (Pickett, Pilllips) - 2:28
10.Biff Bang Pow (Pickett, Pilllips) - 2:26
11.Making Time (Pickett, Pilllips) - 2:57
12.Cool Jerk (Storball) - 2:21
13.For All That I Am (P. Kahan, S. Friedland) - 3:06
14.Nightmares (Pickett, Pilllips) - 3:13
15.Midway Down (Eandrling, Shapiro) - 2:47
16.Can I Join Your Band (Garner, Pilllips) - 3:05
17.Uncle Bert (Garwood, Pickjohn) - 2:25
18.Like A Rolling Stone (Dylan) - 2:59
19.If I Stay Too Long (Garner, Pilllips) - 3:23
20.Hey Joe (Roberts) - 4:09
The Creation
*Kenny Pickett - Vocals
*Eddie Phillips - Guitar
*Bob Garner - Bass
*Jack Jones - Drums
I remember the sunny afternoon I sat in a high school marketing class trying to think of a project to do. One year earlier I had learned to play guitar and write songs and I thought why not make an album for my project At that time in the world an independent album was unheard of but to me it seemed like a challenge.
I was not trying to become a rock star, I just wanted to share my music and have fun doing it. At sixteen anything seemed possible. Gathering a few of my friends, we began to conspire. The emotional title song was taken from my experience of being the youngest of four and eventually became the name of the album.
I had no band but I knew a lot of musicians so I asked them to come along. I organized everything and I do mean everything. Which was a lot of work but it was a great excuse to miss classes. Each piece became a mini project of it's own. The album art, the studio which was in downtown Toronto, the printer and the presser who had never had a private client before. All were arranged and fleshed out by kids with a common vision.
Without my friends helping me none of it would have been possible so that is why the credit on the cover says "Jeff Moore and Friends". After things got going I realized I probably did not have enough music to fill an album so I decided to ask around to see if anyone wanted to do some of their own music on the album. AJ, from my marketing class played guitar in a small band that had a lead singer songwriter named Christina Becker.
Her tunes were great and she fit right in even though she went to a different school we worked it all out. She almost got a record contract from what she did on the album! We had no money so we presold some albums to get enough to print the covers, pay for the studio and press the record. I think the total budget was about a thousand dollars. Everybody worked on the album for free and that was great. A lot of love was contributed by all and for that I will always be thankful. After choosing the players and arranging the music then the job of producing the music fell back to me.
In the studio I used a lot of time producing Christina's stuff which I made sure sounded great but since we were running out of time I left my vocals until late that night. However we did it all in two days and now I realize that was an awesome thing. To this day I still play those tunes and enjoy them! This album changed my life in a lot of ways. I learned how to collaborate and negotiate. I learned that people are looking for things to do and if you can share a vision with them they most likely will help. I learned that the bonds of creating things together last a lifetime and the outcome outweighs the work.
After the album I pursued my musical career in bars for the next five years. When I became a Christian at age twenty one I started playing in churches and still do so. Even now the highlight of any week is when I get the chance to sing and play and to somehow make a difference in people's lives. The greatest high was the fact that my songs were being listened to by people who liked them.
The funniest moment was when we were taking the album covers to the record pressers and ran out of gas so we had to push Donna's Delta 88. The worse moment was not having enough studio time but somehow the raw and real nature of the songs came out. I was sixteen and drowning in angst. Doing this album was a real turning point and a coming of age for me. Thanks for your interest and encouragement
by Jeff Moore
Tracks
1, Flying So High (Christina Becker) - 2:56
2. Is It You (Jeff Moore) - 3:04
3. For You (Jeff Moore) - 2:29
4. Sandy's Song (Jeff Moore) - 4:46
5. Blind Man (Christina Becker) - 4:50
6. Both Sides (Jeff Moore) - 3:38
7. Call Me When It's Over (Jeff Moore) - 6:08
8. Inspiration (Dave Berard) - 0:21
Night Shift is a great Rock And Roll album. Combining Southern Rock, Blues Rock, & Boogie Rock, and playing them with a Hard Rock crunch, Foghat came up with a great signature sound. NIGHT SHIFT features some excellent songs; "Drivin' Wheel" is a great uptempo rocker, "Don't Run Me Down" shows a nice tempo change from a midtempo verse to a fast and frantic chorus, and is another great song. "Burnin' The Midnight Oil" is a great straight-ahead Hard-Edged Rock And Roll song, while "Night Shift" is a fantastic Hard Boogie song with a great sense of groove.
"Hot Shot Love" is a good Rock song with some nice dynamics, and their cover of "Take Me To The River" is actually a bit reminiscent of their version of "I Just Wanna Make Love To You." The album closes out with a solid Blues Rock song in "I'll Be Standing By." There's not even one bad song on the album. If you don't own any Foghat relaese, this is a good one to start with, along with Fool For The City.
by Erik Rupp
Tracks
1. Drivin' Wheel (Price, Peverett) - 5:13
2. Don't Run Me Down (Hatfield) - 6:32
3. Burnin' the Midnight Oil (Peverett) - 5:38
4. Night Shift (Price, Peverett) - 5:32
5. Hot Shot Love (Peverett) - 4:00
6. Take Me to the River (Al Green, Mabon Hodfes) - 4:40 / 3:22
7. I'll Be Standing By (Price, Peverett) - 5:53
8. New Place to Call Home (Bonus track) (Dan Hartman) - 2:58
At the time of writing this sleeve note - July 15th, 2008, to be absolutely precise - rock and roll is well into its sixth decade, and like most of us, I guess, it's a bit torn and frayed around the edges, but still slugging away. Of course, like the history of anything, rock and roll is not just about the trailblazers and the mavericks - it's as much about those who made telling contributions without necessarily scaling the vertiginous heights of commercial success, or courting notoriety or controversy.
Those musicians and performers who have just got on with it, occasionally percolating up to a broader level of success and visibility, without necessarily troubling the 'best seller' listings with any great consistency. Anyone with a half-decent record collection will own numerous albums by bands and soloists who never quite made the grade, but who have bequeathed a legacy of music that makes one's day to day existence that little bit more worthwhile. This preamble is a somewhat roundabout way of getting to the subject of this excellent reissue - one Al Kooper.
The history books tell us (they tell us so well) that Al Kooper provided the distinctive Hammond organ flourishes that helped characterise the 'wild mercury' sound of the epochal Bob Dylan opus, Like A Rolling Stone. Further exploration also reveals that it was Kooper who set the late sixties / early seventies behemoth that was Blood, Sweat And Tears in train. That's pretty good for starters, (and forgive me if I'm telling you something that you already know) but it was Kooper who was instrumental in shaping the early recorded works of the Southern Rock institution that is Lynyrd Skynyrd, the debut album by Phoenix, Arizona shock-rockers The Tubes, and even lent his considerable keyboard skills to such classics as The Rolling Stones You Can't Always Get What You Want, Rael by The Who (It's on their wonderful Who Sell Out album, and was the basis of the track The Underture on Tommy), and Long Hot Summer Night by Jimi Hendrix (it's on Electric Ladyland).
There's more to Kooper than this, though, as if that were not enough. Born in Brooklyn, New York, in 1944, Al Kooper's musical career can be traced right back to the original rock and roll era of the late 1950s. In 1958, he was a member of The Royal Teens, who had a top five US hit single with the novelty Short Shorts, followed up a year later with the US top thirty hit, Believe Me. (Some readers of this note with similarly fly-paper like memories as your author may recall that the UK's very own Freddie & The Dreamers once performed a version of Short Shorts on something like Sunday Night At The London Palladium, a long-running UK variety show).
In the biography on his own website, Kooper recalls of his tenure with The Royal Teens thus: "I was hanging around the fringes of the music business...playing sessions on guitar. People would hire me because their only alternative was to hire these Jazz players to play this teenage music. These guys were smoking cigars, emulating what kids would play. So, they would hire me to get that 'dumb, kid sound'. I assume that's why I was hired, because I really couldn't play anywhere near as well as those other guys." Although Kooper makes a modest appraisal of his guitar playing talents here, he clearly had a certain musical something that was in great demand; he went on to play scores of sessions for 'dumb, kid' records, and started to build a considerable playing reputation - these days, it'd be called 'networking'.
He offered this observation of that particular era: "It was a very educational time of my life. I learned how to read and write music for the studio. I made friends with the players. They were all very nice to me - with some exceptions. I didn't claim to be up on their musicianship, but it was a great university. The difference between the first time and the fifth time I was on a session was immense. The first time they should have thrown me out, but I was lucky!" In addition to honing his musical chops, Kooper also served time learning about the engineering of studio recordings - a somewhat subtle, even esoteric art that is largely under-appreciated, even this long into the rock and roll game.
At the same time, Kooper also joined up with the songwriting team of Bob Brass and Irwin Levine - the union yielded one massive smash hit in the shape of This Diamond Ring, for Gary Lewis & The Playboys (Lewis was the son of US actor / comic Jerry Lewis). During this period, Kooper befriended the record producer Tom Wilson, who invited Kooper to a Bob Dylan session. By the end of that afternoon, Kooper had ensured his place in rock and roll history by making his stellar organ contribution to Like A Rolling Stone, without ever having played organ before.
Thus began a working relationship with Dylan that has endured throughout the years, Kooper producing Dylan's New Morning album, and many offers of session work: "I'd get tons of calls - some of them, I didn't even want to do, but I didn't want to say no. So, I'd just charge them triple scale, thinking that would deter them - it didn't." Also on the session was the great Mike Bloomfield on guitar, and he and Kooper started a friendship that continued from that point until Bloomfield's premature death in 1981. Out of this relationship came the million selling Super Session album (along with Stephen Stills), and the in-concert album The Live Adventures of Mike Bloomfield & Al Kooper.
By this time, Kooper had been a member of The Blues Project, formed and left Blood Sweat And Tears, and had taken up an A&R role with the CBS label (One of his signings to the label was the classic Brit 60's pop band The Zombies, who recorded their classic Odessey And Oracle album for the label). Throughout all this activity, however, Kooper still managed to sustain an active solo career. Of course, back in those days, major labels still held true to the notion that an artist or band should be allowed to develop their career, and, if sales were positive enough, they could make several albums without necessarily feel the trapdoor opening beneath their feet. Kooper's solo albums, whilst never really troubling the rarefied upper echelons of the sales ledgers, nonetheless were almost all absorbing, musically varied, artistically satisfying and entertaining affairs.
Here's where I contradict myself, however, because the album you should be playing now - Act Like Nothing's Wrong, was originally released in 1976, and was his sixth solo album proper, and his one and only album for the United Artists label. There again, things were starting to change in the music business; although it'd be some years before Punk and the New Wave made it's presence known in the US, the American music business was starting to look flabby and middle-aged.
The era was dominated by mega-platinum selling acts like The Eagles and Fleetwood Mac - hi-gloss, slick packages that didn't leave much room for the spiky, uneven and very-muchhis- own-man types like Kooper. He starts off proceedings with both a musical look back, and an artistic look forward, by reprising the aforementioned Gary Lewis & the Playboys hit, This Diamond Ring. However, Kooper reworks the song with a fine feel for that great mid-70s US Funk sound. He sounds like he's having fun; he takes on Southern Soul / Pop chestnuts like Dan Penn and Spooner Oldham's Out Of Left Field and William Bell's I Forgot To Be Your Love like a feisty middleweight, and it works.
He ropes in pals like the ubiquitous Tower of Power horns, guitarists Little Beaver and Reggie Young to weigh in here and there, and the results are confident and assured. There's even some horn arrangement assistance from Hollywood's Dominic Frontiere, he of the theme from Rat Patrol, The Outer Limits and The Invaders (altogether now: "A Quinn Martin Production"!), and Act Like Nothing's Wrong is sounding like a cool, confident and worthwhile addition to the Kooper canon and your record collection. So what if Hollywood Vampire overstays it's welcome a tad? It's quality gear, all in all. As the saying goes, you can't keep a good man down. Kooper has recently published an update to his hugely entertaining memoir, entitled Backstage Passes and Backstabbing Bastards, has nearly lost his eyesight, but remains a brilliant one-off, whose presence on the earth makes us all feel a bit better about being human. Long may he run.
by Alan Robinson, July 2008
Tracks
1. Is We on the Downbeat - 0:36
2. This Diamond Ring - 4:13
3. She don't ever Lose Her Groove - 3:47
4. I Forgot to be Your Lover - 2:58
5. Missing You - 3:58
6. Out of Left Field - 5:10
7. (Please not)One More Time - 3:33
8. In My own Sweet Way - 2:42
9. Turn my Head Towards Home - 4:35
10.A Visit to the Rainbow Bar and Grill - 0:40
11.Hollywood Vampire - 6:03
All songs by Al Kooper
