Small Faces - The Immediate Years (1965-69 uk, superb classic mod psych freakbeat, four discs box, 1st edition)

The box opens up modestly enough with Steve Marriott's old band, the Moments, covering the Kinks' "You Really Got Me" and doing one other song, "Money Money." A few of the band's Decca tracks that seem to float between Decca and Immediate follow, and then we plunge into the group's Immediate history. 

Andrew "Loog" Oldham's independent label wasn't much more organized than the typical blues label from Chicago in the 1950s, and the Small Faces' tape library is a mess. But the producers have included everything -- every stereo and mono version of each song (where a different mix exists), the five official live tracks, the unfinished backing tracks, every known outtake. 

Anyone who thinks this is overkill doesn't know the Small Faces -- they weren't much less prolific than the Rolling Stones, and were better than the Stones as both a soul band and a psychedelic band (the Stones never really made the jump into drug songs too comfortably); and based on the evidence, they could have cut the Who to shreds most nights. 

The sound varies, although it's all been nicely cleaned up (mildly CEDAR-ized, actually), and while three versions of "(Tell Me) Have You Ever Seen Me" may seem like overkill, it's all fascinating stuff, watching certain songs change and evolve. This is where it ends for the serious fan.

by Bruce Eder

Tracks

Disc 1

1. (The Moments) - You Really Got Me (Ray Davies) - 2:24

2  (The Moments) - Money , Money (Ray Charles) - 2:18

3. Watcha Gonna Do About (Samewll, Potter) - 1:58

4. Sha La La La Lee (Shuman, Lynch) - 2:56

5. Hey Girl - 2:18

6. My Mind's Eye (Original Single Mix) - 1:57

7. My Mind's Eye (Album Mix) - 2:04

8. All Or Nothing - 3:05

9. Yesterday, Today And Tomorrow - 1:55

10.I Can't Make It (Mono Version) - 2:12

11.Just Passing (Mono Version) - 1:14

12.Here Comes The Nice (Mono Version) - 2:58

13.Talk To You (Mono Version) - 2:08

14.Itchycoo Park (Mono Version) - 2:49

15.I'm Only Dreaming (Mono Version) - 2:25

16.Tin Soldier (Mono Version) - 3:22

17.I Feel Much Better (Mono Version) (Mariott, Lane, McLagan) - 3:58

18.Lazy Sunday (Mono Version) - 3:06

19.Rollin' Over (Mono Version) - 2:13

20.The Universal (Mono Version) - 2:46

21.Donkey Rides , A Penny , A Glass (Mono Version) (Mariott, Lane, McLagan) - 2:51

22.Afterglow (Of Your Love)  (Mono Single Edit) - 3:26

23.Wham, Bam, Thank You Mam (Mono Version) - 3:18

Disc 2

1. I Can't Make It (Stereo Version) - 2:12

2. Just Passing (Stereo Version) - 1:16

3. Here Comes The Nice (Stereo Version) - 3:04

4. Itchycoo Park (Stereo Version) - 2:51

5. I'm Only Dreaming (Stereo Version) - 2:26

6. Tin Soldier (Stereo Version) - 3:24

7. I Feel Much Better (Stereo Version) (Mariott, Lane, McLagan) - 3:58

8. The Universal (Stereo Version) - 2:42

9. Donkey Rides, A Penny A Glass (Stereo Version) (Mariott, Lane, McLagan) - 2:54

10.Wham Bam, Thank You Mam (Stereo Version) - 3:19

11.(Tell Me) Have You Ever Seen Me (Version 2) - 2:15

12.Something I Want To Tell You - 2:10

13.Feeling Lonely - 1:35

14.Happy Boys Happy - 1:37

15.Things Are Going To Get Better - 2:40

16.My Way Of Giving (Version 2) - 2:00

17.Green Circles (Version 1) (Mariott, Lane, O'Sullivan) - 2:48

18.Become Like You - 1:58

19.Get Yourself Together - 2:16

10.All Our Yesterdays - 1:53

21.Talk To You - 2:09

22.Show Me The Way - 2:09

23.Up The Wooden Hills To Bedfordshire - 2:06

24.Eddie's Dreaming (Mariott, Lane, McLagan) - 2:53

Disc 3

1. Ogden's Nut Gone Flake (Mariott, Lane, McLagan, Jones) - 2:29

2. Afterglow (Of Your Love) - 3:32

3. Long Agos And Worlds Apart (McLagan) - 2:34  

4. Rene - 4:31

5. Song Of A Baker - 3:16

6. Lazy Sunday - 3:07

7. Happiness Stan - 2:36

8. Rollin' Over - 2:49  

9. The Hungry Intruder (Mariott, Lane, McLagan) - 2:14

10.The Journey (Mariott, Lane, McLagan, Jones) - 4:09

11.Mad John - 2:50

12.Happydaystoytown - 4:21  

13.Rollin' Over (Live Version) - 2:31

14.If I Were A Carpenter (Live Version) (Tim Hardin) - 2:33

15.Every Little Bit Hurts (Live Version) (Ed Cobb) - 6:22

16.All Or Nothing (Live Version) - 3:43

17.Tin Soldier (Live Version) - 3:22

Disc 4
1. Call It Something Nice - 2:06
2. The Autumn Stone (Marriott) - 4:00  
3. Every Little Bit Hurts (Studio Version) (Ed Cobb) - 3:56
4. Collibosher - 3:13
5. Red Balloon (Tim Hardin) - 4:13
6. Don't Burst My Bubble - 2:24
7. (Tell Me) Have You Ever Seen Me (Version 3) - 2:06  
8. Green Circles (Version 2) (Mariott, Lane, O'Sullivan) - 2:35
9. Picaninny - 3:04  
10.The Pig Trotters - 2:47
11.The War Of The Worlds - 3:15
12.Wide-Eyed Girl On The Wall - 2:48
13.Tin Soldier (Instrumental Version) - 3:03
14.Green Circles (USA Mix) (Mariott, Lane, O'Sullivan) - 2:52
15.Wham Bam, Thank You Mam (Guide Vocal) - 3:22
16.Collibosher (Alternate Mix) - 3:35
17.Donkey Rides, A Penny, A Glass (Alternate Mix With Experimental Brass Overdub) (Mariott, Lane, McLagan) - 3:08  
18.The Hungry Intruder (Instrumental Version) (Mariott, Lane, McLagan) - 2:04
19.Red Balloon (Alternate Mix) (Tim Hardin) -  4:21
20.Tin Soldier (Half Instrumental, Half Vocal Mix) - 3:24
21.The Autum Stone (Alternate Mix) - 4:00
22.Wide-Eyed Girl On The Wall (Alternate Mix) - 2:58
All songs by Steve Marriott and Ronnie Lane except where noted

Small Faces
*Steve Marriott - Lead Vocals, Guitar
*Ronnie Lane - Lead Vocals, Bass
*Ian McLagan - Keyboards, Vocals
*Kenny Jones - Drums, Percussion

1967  Small Faces - Green Circles / First Immediate Album 
1968  The Small Faces - Ogden's Nut Gone Flake (3 discs set)

Related Act 
1969  Humble Pie - As Safe As Yesterday Is (Japan edition)
1969  Humble Pie - Town and Country (2007 remaster and expanded)
1970  Humble Pie (Japan edition)
1971  Humble Pie - Rock On
1971  Humble Pie - Performance, Rockin’ The Fillmore (2013 issue, 4 discs set)
1972  Humble Pie - Smoikin' (Japan edition)
1973  Humble Pie - Eat It (Japan edition)
1973  Humble Pie - In Concert / King Biscuit Flower Hour

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Twink - Think Pink (1970 uk, essential heavy acid psych rock, 2013 remaster and expanded)

“Think Pink” is one trippy, hobbity mindfuck of the highest water. It’s a complex and varied album where no two songs are the same, but seem to be examples of sub-genres entire ALBUMS could be fashioned from. Come to think of it, it’s probably the last high-water mark of old-school psychedelia the moment before it gave up the ghost. And Twink had steadily worked his way through a succession of bands that by the time he was in The Pretty Things, making many musical acquaintances via The Pretties’ management, the Bryan Morrison Agency, who also handled The Deviants and Tyrannosaurus Rex. Soon enough they had performed enough gigs together to force Morrison to circulate a letter to these three bands requesting that they refrain from ever showing up at each other’s gigs ever again. Because if there was havoc to be caused, it WAS caused, and if there was none to be found, it would be located immediately. 

When Twink left The Pretties, he assembled a virtual roll call of London underground musicians: Viv Prince, Wally Waller, John Povey, Victor Unitt, The Deviants, Quiver bassist Honk, John “Junior” Wood (ex-Tomorrow) and Steve “Peregrine” Took. This album owes a grand debt to Paul “Black George” Rudolph for his uncredited arrangements and outstandingly effortless yet complex Stratocaster noise guitar burn-outs (which populate “Think Pink” in sheer and blissful abundance) are huge, soaringly hard and were barely hinted at on the third Deviants album. And the sessions yielded all things loose, crazy and hardened post-psychedelic. There is even a surprisingly manic funk out rare for even white dopers at the time as well as acoustic numbers that don’t sound the least bit obligatory, raga-based chants and group sing-alongs. Along with Rudolph, the other main inspiration for “Think Pink” was undoubtedly Twink’s pretty, blonde and Kohl-eyed girlfriend Silver, who appears on both the back cover and the album with an unforgettable vocal interlude.

The album opens with “The Coming Of The Other One,” a vocal incantation as screeching backwards sitars, further vocal mantras and randomly hit percussion float through the air and clang in a dark, incense-filled basement from “Performance” with Steve Took emitting fear-inducing animal noises in a dark corner. It fades as sitars race back in time, and the air clears and gets brighter with the remake of Twink’s minnow-psych pop A-side for The Aquarian Age, “Ten Thousand Words In A Cardboard Box.” A celebration of “a thousand colourful shadows dancing around my head/Rejoicing to the waking of the dead...” over heavily recorded drums as Rudolph covers the drums and telephonically-phased vocals with underpinning streams of pink cirrus clouds at daybreak noise/guitar. But Rudolph winds up shanghai-ing the piece into a soaringly free-noise hurricane as he peels riff after riff out of his bottomless Strat. 

“Standing Tiptoe On The Highest Hill” is a chilly, overcast autumn morning with swelling mellotron, muted guitar and somber drums, bursting your heart when the grim (yet sung angelically-echoed) lines come in and it dawns on you that this is the acoustic grandfather of Joy Division’s “Decades.” Backward noise/guitar streaks by Rudolph transform the whole piece into a coiled and curling jam out that cuts out to let the song descend quietly back into the sand and it’s seaweed-strewn grave. “Fluid” ends the album side, an instrumental stripped bare of everything but genitals. Slow bass, guitar and drums crack out an undulating and repeating rhythm as Twink and Silver coo to each other, barely touching and letting their vocal vibrations do the work of a thousand fingers. It’s Joy Division again, only a decade earlier and this time it’s “I Remember Nothing.” This is just side one, but side two is just as fantastically charged up and out there, reaching its apex with the Took-damaged, “The Sparrow Is A Sign.” 

by The Seth Man

Tracks
1. The Coming Of The One - 3:42
2. Ten Thousand Words In A Cardboard Box (Twink, John Junior) - 4:28
3. Dawn Of Majic - 1:45
4. Tiptoe On The Highest Hill - 5:18
5. Fluid - 4:05
6. Mexican Grass War - 5:28
7. Rock And Roll The Joint - 2:26
8. Suicide - 4:22
9. Three Little Piggies (Steve Took, Twink) - 3:12
10.The Sparrow Is A Sign (Steve Took, Twink) - 2:23
11. 10,000 Words In A Cardboard Box (Twink, John Junior) - 3:25
12. Good Wizard Meets Naughty Wizard (Twink, John Junior) - 4:40
13. 10,000 Words In A Cardboard Box (Twink, John Junior) - 4:54
14. Dawn Of Magic - 3:24
15. Fluid - 3:40
16. Fluid - 4:19
17. Rock An’ Roll The Joint - 2:15
18. Suicide - 3:10
All titles by Twink except where indicated
Bonus tracks 11-18

Musicians
*Twink – Drums, Tablas, Vocals
*Paul Rudolph – Guitar, Bass, Vocals
*John "Junior" Wood – Bass
*Wally Allen – Piano
*John Povey – Sitar, Mellotron
*Steve Peregrin Took – Guitar, Percussion, Vocals
*Viv Prince – Drums
*Vic Unite - Guitar
*John Lodge - Bass
*Silver Darling - Vocals
*Mick Farren - Spoken Words

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Thomas And Richard Frost - Visualize (1969-70 us, wondrous sunny folk psych)

The unreleased album Visualize by Thomas & Richard Frost, taken with its attendant singles "Hello Stranger" and "Open Up Your Heart", is a sparkling and heartwarming gem of late 1960s pop, but the project was merely yet another chapter in the remarkable career of these two brothers, from San Mateo on the San Francisco Peninsula. Rich and Tom Martin had been performing together since the beginning of the decade, with the ensuing litany of bands mirroring all the variegates of American grass roots rock 'n' roll in the 1960s: instrumental surf and greasy R&B in the Impressions; jangly folk-rock with The Newcastle Five; the fuzz-tinged garage rock of The Art Collection. And last but not least, the thundering mod sound of the Martins power trio Powder; whose own LP, recorded while the group was based in Los Angeles and employed as Sonny & Cher's road band, remained frustratingly unissued, and indeed acted as a precursor to the creation of the masterpiece you hold in your hands. 

For after the Powder debacle, the Martins returned to northern California to lick their wounds and demo some more introspective material. Though they were enamored of artists like Donovan and Simon & Garfunkel, the Martins innate - and very much Anglophilic – pop sensibility lingered in new compositions like "Bluey Blues Blue" (later to be recorded as "Where Did Yesterday Go?"), "Would You Laugh" and "She's Got Love". It was to be the latter tune that caught the ear of promo man John Antoon, who signed the Martins to his Tons Of Fun publishing imprint, assumed managerial duties and got the duo signed to Imperial Records under the nom de disque Thomas & Richard Frost. As a single, the simple, catchy "She's Got Love" was to achieve a modicum of success as a turntable hit, reaching only the lower half of the Billboard Hot 100 in late 1969, but with strong regional airplay across the country, upon the back of which the Frosts were able to tour. 

Back in LA, Rich and Tom made the scene with their pals Rodney Bingenheimer and Frank Zinn, enjoying a brief but eye-opening spell as bona fide pop stars. Plans were big for the Frosts, with a full, lavishly orchestrated, album release, but it was all to fall apart as the follow-up singles stiffed and parent label Liberty/UA decided to wind down Imperial. In 1971, Rich and Tom signed a new deal with Uni and finally got an album, eponymously-titled and singer/songwriter-orientated, released the following year. In their press interviews the Frosts did for that Uni album, they disparaged the bubblegum of their Imperial period, but the state-of-the art production pop of Visualize has clearly stood the test of time and sounds better now, than it probably ever has. 

The proceedings are imbued with the Zeitgeist of Los Angeles in its last throes of pop innocence, and the Martins heart-on-their-sleeve Anglophilic sensitivity is less derivative then remarkably refreshing, with superbly recorded arrangements that any late 1960s pop fan will cherish. Listening to tracks like "Open Up Your Heart", "Where Did Yesterday Go?" or "Hello Stranger" recalls the simple joys of commercial pop at the dawn of the 1970s. Uncomplicated, fun, yet eminently memorable. Tony Macauley would be proud.

by Alec Palao, El Cerrito, California

Tracks
1. Prelude/Shes Got Love - 2:55
2. Where Did Yesterday Go - 2:39
3. December Rain April Laughter - 2:54
4. Woodstock - 2:43
5. Gotta Find A New Place To Stay - 2:29
6. With Me My Love - 2:18
7. Where Are We - 2:25
8. Come Clap Your Hands - 2:30
9. The City - 2:33
10.The World Is Love - 2:41
11.On Our Way Home - 2:48
12.If I Cant Be Your Lover (Vic Dana, Ted Glasser) - 5:44
13.Hello Stranger - 2:42
14.Fairy Tale Affair - 2:49
15.Open Up Your Heart (John Worsley) - 2:51
16.Everyday Judy - 4:14
All songs by Thomas and Richard Frost, except where noted.

Musicians
*Richard Martin - Guitar, Vocals
*Tom Martin - Vocals, Guitar, Bass
*Mars Bonfire - Guitar
*Earl Palmer - Drums
*Michael O'Martian - Piano
*Ben Benay - Guitar
*Barney Kessel - Guitar
*David T. Walker - Guitar
*Jim Horn - Saxophone
*Jay Migliori - Flute
*Doug Feiger - Bass
*Tony Sales - Bass
*Max Bennett - Bass
*Red Rhodes - Pedal Seel Guitar
*The Blossoms - Vocals
*Joe Osborne - Bass

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Happy the Man - Crafty Hands (1979 us, smart symphonic progressive rock, japan remaster)

Though never a major success story by any means, legendary US progressive rock band Happy the Man have long been one of the most beloved acts in the hearts of true prog fans for many years. Their debut self-titled album in 1977 for Arista Records should have been the start of a great and lengthy career, but the band split in 1979 not long after the release of their second album Crafty Hands.

Crafty Hands, and really any of the output from Happy the Man, is one part progressive rock and one part jazz-fusion. As the band were basically an instrumental outfit, their style was built on soaring melodies, tight but complex rhythms, and dazzling interplay between the instruments. The line-up for this album was Stanley Whitaker (guitars, vocals), Frank Wyatt (keyboards, sax, flute), Kit Watkins (keyboards, recorder), Rick Kennell (bass), and Ron Riddle (drums). Though you can hear the influence of Genesis, Gentle Giant, Yes, and Return to Forever in the music of Happy the Man, they took those influences and created something fresh and unique with them. Tunes like "Service With a Smile" and "Ibby It Is" have bright, breezy melodies that soar over the top of some challenging arrangements, with Watkins & Wyatt really creating some sensational keyboard tapestries. 

Those who love the complex interplay of Gentle Giant will totally get into "Steaming Pipes", and "Morning Sun" is a just a gorgeous slice of keyboard drenched prog rock. "Wind Up Doll Day Wind" would feature the vocals of Whitaker, and though a nice little Genesis styled number, kind of sticks out like a sore thumb here. Much more ambitious are the dramatic "Open Book". complete with some tasty acoustic picking from Whitaker and some lovely flute & recorder from Wyatt & Watkins. "I Forgot to Push It" is an upbeat prog/fusion track filled with intricate guitar/keyboard exchanges, and the album closes with the melodic & atmospheric "The Moon I Sing (Nosurri)", a track just dripping with gorgeous keyboard textures and melodies.

As far as US prog goes, it doesn't get much better than this folks. Crafty Hands is classy stuff all the way, and if by chance you haven't yet stumbled upon either this or Happy the Man's debut previously, then you owe it to yourself to discover them at this very moment.

by Pete Pardo

Tracks
1. Service With A Smile (Ron Riddle, Hawkes) - 2:44
2. Morning Sun (Kit Watkins) - 4:05
3. Ibby It Is (Frank Wyatt) - 7:50
4. Steaming Pipes (Stanley Whitaker) - 5:30
5. Wind Up Doll Day Wind (K. Watkins, S. Whitaker, F. Wyatt) - 7:06
6. Open Book (F. Wyatt) - 4:53
7. I Forgot To Push It (K.Watkins) - 3:08
8. The Moon, I Sing (Nossuri) (K.Watkins) - 6:16

Happy The Man
*Stanley Whitaker - Six And Twelve String Guitars, Vocals
*Frank Wyatt - Pianos, Harpsichord, Saxes, Flute, Words
*Kit Watkins - Pianos, Harpsichord, Moog, Fake Strings, Clavinet, 33, Recorder
*Rick Kennell - Bass
*Ron Riddle - Drums, Percussion

1977  Happy The Man (Japan remaster)

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Jodo - Guts (1971 uk, stunning heavy blues psych rock)

Jodo formed from a band called Axe who had a minor hit with a single called "Running Wild" written by Rod Alexander and Bill Kimber.

Jodo were a British band whose sole album was only released in the US at the time. Killer heavy-rock sound with ultra loud fuzzed out guitars and melodic vocals. Engineered by Martin Birch (B. Sabbath, D. Purple, B.O.C.) and produced by Derek Lawrence (D. Purple, Green Bullfrog).

Tracks
1. Nightmare (R. Alexander, W. E. Kimber) - 3:30
2. One Night Stand (J. Taylor , R. Alexander, W. E. Kimber) - 2:49
3. I'm Still Trying (J. Taylor , R. Alexander, W. E. Kimber) - 4:50
4. What's Your Number (E. Jordan, J. Taylor , R. Alexander, W. E. Kimber) - 2:46
5. Rat Race (R. Alexander, W. E. Kimber) - 2:58
6. Seventeen (J. Taylor , R. Alexander, W. E. Kimber) - 5:23
7. Wish You'd Never Been Born (J. Taylor , R. Alexander, W. E. Kimber) - 3:06
8. It's No Good (R. Alexander, W. E. Kimber) - 3:12
9. Pushing (D. James, R. Alexander, W. E. Kimber) - 3:50
10.There's Still Time (J. Taylor , R. Alexander, W. E. Kimber) - 4:36

Jodo
*Earl Jordan - Lead Guitar, Vocals
*Rod Alexander - Bass, Keyboards, Vocals
*Jon Taylor - Guitar
*Bill Kimber - Vocals
*Chico Greenwood - Drums

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Pearls Before Swine - Use Of Ashes / These Things Too (1969-70 us, fabulous acid folk baroque psych, 2011 remaster issue)

For their second Reprise Records outing, Pearls Before Swine worked primarily with Nashville-based musicians, including a small orchestra who provide a stately feel to the highly intimate nature of the material. According to Tom Rapp, the songs were written while he and his wife were living in the Netherlands, which Rapp said contributed significantly to the air of romanticism throughout. 

"The Jeweller" opens the album with an exquisite tale that exemplifies Rapp's remarkable abilities to draw upon disparate metaphors such as shining coins and worshiping God, both involving the The Use of Ashes -- hence the title. The rural mood created by the notable Music City USA stalwarts effortlessly fuses with David Briggs' baroque-flavored harpsichord on the delicate "From the Movie of the Same Name," featuring Rapp and spouse Elisabeth on non-verbal vocalizations as they "da-da-da" the melody. Although "Rocket Man" predates the Elton John cut by a couple of years, Bernie Taupin cites it as his inspiration for the lyrics behind John's 1972 Top Ten hit. 

The words are credited as having been influenced by a Ray Bradbury novella that dealt with the universal emotion of loss. Again, Briggs' keyboard runs relate the story with subdued refinement. By contrast, "God Save the Child" is one of the more amplified inclusions, making good use of session heavies Kenneth A. Buttrey (drums) and Charlie McCoy (guitar), especially when placed against the restrained string section. Another sonic texture in the tapestry is the jazzy "Tell Me Why," shimmering with an uncredited vibraphone lead gliding beneath Rapp's whimsical lines. These tracks are offset by the noir "When the War Began," the ethereal love song "Margery," and the mid-tempo retelling of the "Riegal," a ship whose 4,000 inhabitants perished during World War II. 

Rapp's juxtaposition of stark imagery reveals that while Pearls Before Swine might not have continued the bombastic direction set about on their earlier protest works "Uncle John" or "Drop Out," they maintained social and political relevance. 

by Lindsay Planer

Amid all the weird and wonderful music to appear in 1967, Pearls Before Swine still managed to stand out when their startling first album, One Nation Underground, appeared on New York’s underground ESP-Disk label. The following year’s Balaklava refined the other-worldly mystery surrounding the band, led by singer-songwriter Tom Rapp, who (thanks to his manager, who also looked after the Fugs) next appeared on Reprise.

With original band gone, Rapp used session musicians along with wife Elizabeth on his next two albums, gathered here on a twofer which curiously swaps their order of release. 1969’s These Things Too takes a subtler, soft focus approach, veering between the hallucinogenic shimmers of the title track and Man In The Tree, to stoned weirdness of Frog In The Window, plus a heartfelt take on Dylan’s I Shall Be Released.

Though backed by the Area Code 615 musicians, The Use Of Ashes reflected Rapp’s time in Holland, an archaic European feel shrouding The Jeweller, The Old Man and wartime shipwreck tragedy Riegal. When The War Began is chillingly beautiful, with heavenly doo wop strings, while Rocket Man, written on the day of the moon landing, provided Bernie Taupin with a handy title for Elton. Over 40 years on, the atmosphere of these albums still sounds like nothing on this planet.

by Kris Needs

Tracks
1. The Jeweler - 2:45
2. From The Movie Of The Same Name - 2:18
3. Rocket Man - 3:01
4. God Save The Child - 3:04
5. Song About A Rose - 2:18
6. Tell Me Why - 3:42
7. Margery - 2:59
8. The Old Man - 3:13
9. Riegal - 3:09
10.When The War Began - 5:05
11.Footnote - 1:18
12.Sail Away - 3:07
13.Look Into Her Eyes - 4:36
14.I Shall Be Released - 3:04
15.The Frog In The Window (Reprise) - 2:32
16.I'm Going To The City - 2:30
17.Man In The Tree - 3:26
18.If You Don't Want To (I Don't Mind) - 3:14
19.Green And Blue - 0:21
20.Mon Amour - 2:06
21.Wizard Of Is - 3:36
22.The Frog In The Window - :41
23.When I Was A Child - 4:45
24.These Things Too - 3:23
All compositions by Tom Rapp

Musicians
*Tom Rapp - Vocals, Guitar
*Elisabeth - Vocals
*Charlie Mccoy - Dobro, Guitar, Bass, Harmonica
*Norbert Putnam - Bass
*Kenneth Buttrey - Drums
*Buddy Spicher - Violin, Cello, Viola
*Mac Gayden - Guitars
*David Briggs - Piano, Harpsichord
*John Duke - Oboe, Flute
*Hutch Davie - Keyboard
*Bill Pippin - Oboe, Flute
*Wayne Harley - Banjo, Harmony
*Jim Fairs - Guitar, Harmony, Celeste
*Bill Salter - Bass
*Grady Tate - Drums
*Richard Greene - Electric Violin

Pearls Before Swine
1967 One Nation Underground (Japan remaster)
1968  Balaklava (Japan remaster)

1970  The Use of Ashes (2003 Water)
1971  Beautiful Lies You Could Live In
1971  City Of Gold

Tom Rapp
1972  Tom Rapp - Stardancer (2009 Lemon edition)
1973  Sunforest (2009 Lemon edition)

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Happy The Man - Happy The Man (1977 us, spectacular progressive experimental space rock, japan remaster)

Though it met with little commercial success, Happy the Man's 1977 debut quickly became a cult sensation with fans of prog rock. It's easy to see why: their sound combines a number of diverse influences in a distinctive manner, and their music is as complex and meticulously arranged as any prog album one cares to mention. 

Unlike some popular prog acts, Happy the Man does not allow one instrument to take center stage or allow relentless soloing to dominate the songs. Instead, the focus is on complex interplay between the group's players: compositions like "Knee Bitten Nymphs In Limbo" and "Stumpy Meets the Firecracker in Stencil Forest" are built on the kind of mathematically complex yet playful instrumental interplay that is normally associated with Frank Zappa's most complex work. Elsewhere, the group slows down the instrumental pyrotechnics to show off a grasp of melody; the best example is "Starborne," which starts off with moody washes of Tangerine Dream-style synthesizer and builds to a dramatic, almost orchestral fanfare. 

The one real downside of the album is the inclusion of two vocal-oriented songs that don't jell with the rest of the album because the group is obviously not comfortable dealing with conventional song structures. These selections also suffer from pretentious lyrics; for example, "On Time as a Helix of Precious Laughs" tries to philosophize about the meaning of life but gets bogged down in artsy, obscure imagery. 

In the end, Happy the Man doesn't quite live up to its legendary reputation but remains a solid prog outing that will find favor with those who enjoy art rock at its most complex and ambitious. Collector's note: One Way Records' 1999 reissue of Happy the Man was remixed for the compact disc format by the group's keyboardist, Kit Watkins. 

by Donald A. Guarisco

Tracks
1. Starborne (Kit Watkins) - 4:22
2. Stumpy Meets The Firecracker In Stencil Forest (Stanley Whitaker) - 4:16
3. Upon The Rainbow (Befrost) (Watkins, Frank Wyatt) - 4:42
4. Mr. Mirror's Reflections On Dreams (Watkins) - 8:54
5. Carousel (Wyatt) - 4:06
6. Knee Bitten Nymphs In Limbo (Whitaker) - 5:22
7. On Time As A Helix Of Precious Laughs (Wyatt) - 5:22
8. Hidden Moods (Watkins) - 3:41
9. New York Dream's Suite (Wyatt) - 8:32

Happy The Man
*Mike Beck - Percussion
*Rick Kennell - Electric Bass
*Stanley Whitaker - Six, Twelve String Guitars, Lead Vocals
*Frank Wyatt - Saxophone, Flute, Piano, Keyboards, Vocals
*Kit Watkins - Mini Moog, Acoustic Piano, Rhodes Piano, Arp String Ensemble, Hammond B3, Hohner Clavinet, Flute, Marimba

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The Squires - Going All The Way With The Squires (1965-66 us, awesome garage psych, Crypt vinyl edition)

The Squires hailed from Bristol, Connecticut, which is a small working class city about 25 miles from the state capitol of Hartford. Bristol was once home to the Bristol Red Sox who were the AA affiliate of the Boston Red Sox in the 70's & 80's, playing their home games at ultra cool Muzzy Field (which still stands to this day.) Many of the Red Sox greats of the 70's such as Jim Rice, Fred Lynn and later Bruce Hurst & Dennis "Oil Can" Boyd passed through Bristol. Outside of that the only other notable landmark in Bristol is that it is the home base of "dork factory" ESPN network (a very uncool place!)

All that aside The Squires began life as The Rogues and cut a cool garage 45 called "It's The Same All Over The World" in 1966. A name change to The Squires found the group signed as a "one off" with mega USA label Atco Records. "Going All The Way" is quite simply one of the top 10 USA garage 45's of the era. Musically it comes on as strong as 1966 Byrds blended with the toughness of the early Who. Lyrically it is in the same ballpark as Third Bardo's "I'm 5 Years Ahead Of My Time" & The Who's "I Can See For Miles" in that it is a teenage declaration of intent. Clear the field The Squires are coming through! I should also mention lead singer Mike Bouyea's vicious scream about midway in.

On the flip "Go Ahead" is in a different bag altogether, this one is a chiming folk-rock ballad that brings to mind California folk-rockers The Dovers. The lead vocals on this song remind me of a very young Feargal Sharkey of The Undertones. At one time this 45 was ultra rare but a warehouse find in the mid 80's leaked a few more copies onto the market. I got my copy in a swap with Connecticut radio legend "Fast Eddie" Budds for the first 45 by Squeeze, talk about a steal! That was like the Orioles getting Frank Robinson from Cincinnati for Milt Pappas!

For those unwilling to search out the 45, luckily Crypt Records issued a sensational Squires anthology simply titled "Going All The Way" back in the 80's,  it's a great album with many superb out-takes. Squires lead singer Mike Bouyea later became a radio personality in Canada.

by Dave Furgess

Tracks 
1. Going All The Way - 2:19
2. It's The Same All Over The World (as The Rogues) - 2:38
3. Oh No! (as The Rogues) (Bouyea, Flanigan) - 2:24
4. I Can't Do It - 2:26
5. Gloria (V. Morrison) - 2:34
6. The Original - 2:01
7. Go Ahead - 2:16
8. We Can Try - 2:02
9. Walkin' - 1:56
10.Rink Bash - 2:35
11.It's The Same All Over The World (Unreleased Demo) - 2:26
All songs written by Michael Bouyea, except where noted.

The Squires
*Jim Lynch - Backing Vocals, Rhythm Guitar
*John Folcik - Bass Guitar
*Tom Flanigan - Lead Guitar, Backing Vocals
*Michael Bouyea - Lead Vocals, Drums,  Guitar
*Kurt Robinson - Organ

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Bob Lind ‎– You Might Have Heard My Footsteps, The Best Of (1965-72 us, glorious folk psych)

This 25-song compilation includes the entire contents of his two 1966 LPs, as well as a 1967 single and two previously unreleased tracks. This period piece is highlighted by "Elusive Butterfly," the original versions of "Counting" and "Cheryl's Goin' Home," "Mr. Zero" (covered by Yardbird lead singer Keith Relf on a flop single), and the previously unreleased, gorgeous baroque rock song "English Afternoon." 

by Richie Unterberger

Tracks
1. Elusive Butterfly - 2:46
2. Mister Zero - 3:43
3. You Should Have Seen It - 2:55
4. Counting - 2:54
5. Drifter's Sunrise - 3:26
6. Unlock The Door - 4:06
7. Truly Julie's Blues (I'll Be There) - 2:51
8. Dale Anne - 3:01
9. The World Is Just A “B” Movie - 3:57
10.Cheryl's Goin' Home - 2:06
11.It Wasn't Just The Morning - 2:50 -
12.I Can't Walk Roads Of Anger (Unedited Version) - 4:28
13.San Francisco Woman - 2:54
14.A Nameless Request - 2:15
15.West Virginia Summer Child - 2:12
16.Go Ask Your Man - 2:30
17.Remember The Rain - 2:47
18.I Just Let It Take Me - 2:35
19.The World Is Just A “B” Movie Meets Reno, Funtown, U.S.A. - 2:48
20.We've Never Spoken - 2:09
21.Oh Babe Take Me Home - 3:34
22.Eleanor - 3:33
23.It's Just My Love - 2:44
24.I Fall To You - 2:02
25.English Afternoon - 2:37
All songs by Bob Lind

*Bob Lind - Vocals, Guitar

1971  Bob Lind - Since There Were Circles

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Lindisfarne - The Charisma Years (1970-73 uk, amazing progressive folk rock, 2010 four disc set edition)

Four CDs round up the complete and utter Lindisfarne tale, from their arrival on the mainstream scene with 1970's still stunning Nicely Out of Tune through the following year's flirtation with stardom via Fog on the Tyne, and on through the sadly diminishing returns that were Dingly Dell and Roll on Ruby. Yes, the story would continue later in the '70s, and on and off since then, too.

But the first incarnation of the band was the one that mattered the most, and those first two albums remain quintessential early-'70s folk-rock, with neither folk nor rock having much to do with any of it. Lindisfarne are, perhaps rightfully, best judged by their two biggest hits, the sad mystery of "Lady Eleanor" and the singalong joy of "Meet Me on the Corner." Add "We Can Swing Together," "No Time to Lose" (amazingly, a mere B-side at the time) and "Fog on the Tyne," and Lindisfarne could have been the new Faces if only Alan Hull had wanted to be the next Rod Stewart. But pop fame and fortune sat awkwardly on the group's shoulders, which is why Dingly Dell was the original lineup's final shout.

The band split, some to form Jack the Lad; the rest to continue as a revamped soft rock Lindisfarne whose presence here (the final disc) really does spoil the proceedings somewhat. Better to end with the concert disc that takes 1973's Lindisfarne Live album, expands it to take in the entire evening's entertainment, and reveals Lindisfarne to have been one of the most entertaining live acts of their era. That, and a near-full album's worth of bonus material drawn from period singles, compilations, and mispressings ensure this is a must-have box set, even for fans who think they already own all the Lindisfarne they could ever need.

by Dave Thompson

Tracks
Disc 1

1. Lady Eleanor - 4:16

2. Road to Kingdom Come (Rod Clements) - 4:15

3. Winter Song - 5:14

4. Turn a Deaf Ear 3:56

5. Clear White Light, Pt. 2 - 4:07

6. We Can Swing Together - 5:48

7. Alan in the River With Flowers - 3:09

8. Down - 3:11

9. The Things I Should Have Said (Rod Clements) - 4:03

10.Jackhammer Blues (Woody Guthrie) - 3:25

11.Scarecrow Song - 3:23

12.Knackers Yard Blues (Rod Clements) - 3:39

13.Nothing But the Marvellous Is Beautiful - 4:42

14.From My Window (Rod Clements) - 3:29

15.On My Own I Built a Bridge (Rab Noakes) - 4:17

16.Lady Eleanor - 4:15

17.We Can Swing Together - 3:31

18.Scarecrow Song - 4:02

19.Meet Me On the Corner (Rod Clements) - 2:37

Tracks 1,3-8,11,16-18 by Alan Hull

Disc 2

1. Meet Me On the Corner (Rod Clements) - 2:40

2. Alright On the Night - 3:33

3. Uncle Sam  (Simon Cowe) - 2:57

4. Together Forever (Rab Noakes) - 2:35

5. January Song - 4:14

6. Peter Brophy Don't Care (Alan Hull, Terry Morgan) - 2:49

7. City Song - 3:06

8. Passing Ghosts - 2:30

9. Train in G Major (Rod Clements) - 3:10

10.Fog On the Tyne - 3:24

11.Scotch Mist (Rod Clements, Simon Cowe, Ray Jackson, Alan Hull, Ray Laidlaw) - 2:07

12.No Time to Lose - 3:15

13.January Song - 6:11

14.All Fall Down - 3:41

15.Plankton's Lament - 1:55

16.Bring Down the Government - 1:29

17.Poor Old Ireland - 2:58

18.Don't Ask Me (Rod Clements) - 3:31

19.O No Not Again - 3:21

20.Dingle Regatta (Traditional) - 1:05

21.Wake Up Little Sister - 2:52

22.Go Back (Simon Cowe) - 2:59

23.Court in the Act - 3:09

24.Mandolin King - 2:34

25.Dingly Dell - 6:09

All compositions by Alan Hull except where stated

Disc 3

1. Intro 1:13

2. Together Forever - 3:06

3. No Time to Lose - 3:56

4. January Song - 5:04

5. Meet Me On the Corner (Rod Clements) - 3:41

6. Alright On the Night - 4:31

7. Train in G Major (Rod Clements) - 3:29

8. Scotch Mist (Rod Clements, Simon Cowe, Ray Jackson, Alan Hull, Ray Laidlaw) - 2:43

9. Lady Eleanor - 6:01

10.Knacker's Yard Blues (Rod Clements) - 4:54

11.Fog On the Tyne - 5:50

12.We Can Swing Together - 17:52

13.Jackhammer Blues (Woody Guthrie) - 5:40

14.Clear White Light - 11:08

Music and Lyrics by Alan Hull except where indicated

Disc 4

1. Taking Care of Business - 2:57

2. North Country Boy (Tommy Duffy) - 3:26

3. Steppenwolf - 5:01

4. Nobody Loves You Anymore (Colin Gibson, Ken Craddock) - 3:05

5. When the War is Over - 5:02

6. Moonshine (Tommy Duffy) - 3:56

7. Lazy - 3:22

8. Roll On River (Colin Gibson, Ken Craddock) - 5:19

9. Tow the Line (Colin Gibson, Ken Craddock) - 2:32

10.Goodbye  (Tommy Duffy) - 4:46

11.Taking Care Of Business - 2:58

12.North Country Boy (Tommy Duffy) - 3:22

13.Roll On River (Colin Gibson, Ken Craddock) - 5:25

Songs 1,3,5,7,11 by Alan Hull 

Lindisfarne
*Rod Clements - Electric Bass, 12 String, Acoustic, Electric Guitar, Organ, Piano, Violin, Vocals
*Simon Cowe - Banjo, 12 String, Acoustic Guitar, Mandolin, Vocals
*Ken Craddock - Guitar, Keyboards, Vocals
*Tommy Duffy - Bass, Vocals
*Charlie Harcourt - Guitar
*Alan Hull - 12 String, Acoustic Guitar, Harmonium, Keyboards, Organ, Piano, Electric Piano, Vocals
*Ray Jackson - Harmonica, Harp, Mandolin, Vocals
*Ray Laidlaw - Drums
*Paul Nichols - Drums

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Klaatu - Klaatu / Hope (1976-77 canada, elegant symphonic rock with space and some glam shades)

Those who appreciate the smart pop, art/symphonic-rock, and weird sci-fi themes of Klaatu needn't venture beyond this two-on-one issue of their first two Capitol releases. Klaatu frequently alternated between Beatlesque pop, the showy guitar rock and vocal theatrics of early Queen, and the electronic orchestral techniques pioneered by Walter Carlos, or worked all three into the structure of a four- or five-minute song. 

They reached their creative peak on their second album Hope, which implemented all of the above in a very creative and effective manner but was predictably dismissed by the music press as being "over-indulgent" and "pretentious" -- and this only after it was ascertained that Klaatu was not the alias for the second coming of the Beatles. Their subsequent releases were downright ghastly pop-rock affairs that lacked originality and made their early-'80s demise a welcome occurrence. The Korean issue lacks liner notes and credit details, but for those who are curious about the Canadian band, this compilation presents Klaatu in their finest hour. 

by Dave Sleger

Tracks
1. Calling Occupants Of Interplanetary Craft (John Woloschuk, Terry Draper) - 7:17
2. California Jam (John Woloschuk, Dino Tome) - 3:01
3. Anus Of Uranus (Dee Long) - 3:21
4. Sub-Rosa Subway (John Woloschuk, Dino Tome) - 4:38
5. True Life Hero (Dee Long) - 3:24
6. Doctor Marvello (John Woloschuk) - 3:37
7. Sir Bodsworth Rugglesby III (John Woloschuk) - 3:24
8. Little Neutrino (Dee Long) - 8:14
9. We're Off You Know (John Woloschuk) - 4:01
10.Madman (Dee Long) - 2:40
11.Around The Universe In Eighty Days (Dee Long) - 4:59
12.Long Live Politzania (John Woloschuk) - 9:13
13.The Loneliest Of Creatures (John Woloschuk) / Prelude - 3:45
14.So Said The Lighthouse Keeper (John Woloschuk) - 5:51
15.Hope (John Woloschuk) - 4:43
16.We're Off You Know (Reprise) - 0:52

Klaatu
*Dee Long - Vocals, Keyboards, Guitars
*John Woloschuk - Vocals, Guitars, Bass, Keyboards
*Terry Draper - Drums, Percussion, Backup Vocals

1977/80  Klaatu - Sir Army Suit / Endangered Species

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Steve Miller Band - Number 5 (1970 us, brilliant psych bluesy rock, 2012 digi pak remaster)

The fifth album in Edsel’s program is 1970′s aptly-titled Number 5 which brought the first era of The Steve Miller Band to a close.  Before heading to Nashville to record the album, Miller parted ways with both Glyn Johns and Lonnie Turner, leaving just Tim Davis from the original band line-up.  

Bobby Winkelman of Frumious Bandersnatch was drafted for bass duties, and Nashville regular Charlie McCoy (owner of the studio where Number 5 was recorded) contributed harmonica to a few tracks.  Sidran, Hopkins and even Turner reappeared to make contributions, and Boz Scaggs appeared as a co-writer of an old bluesy onstage favorite, “Going to Mexico.”  McCoy’s harp added a different, though still blues-based, sound to Miller’s repertoire, and the change in scenery must have paid off when Number 5 became the group’s most successful album yet.  Miller’s distinct voice enlivened the jaunty “Going to the Country” (“Hey ho!  One thing I know!  People in the country really let themselves go!”), co-written with Sidran.  

Buddy Spicher’s fiddle and some fine harmonies also made an impression.  Bud Billings added mariachi brass to the light-hearted “Hot Chili.”  Serious, topical issues were still on Miller and co.’s minds, however.    Tim Davis professed his belief in the banjo-accompanied “Tokin’s” that “in a while, I know it’s gonna change,” and Miller echoed John Lennon in the foreboding, musically experimental “Jackson-Kent Blues,” imploring listeners to “give peace a chance.”  Miller also took the opportunity to decry the “Industrial Military Complex Hex” and speculated on those young soldiers, asking them, “When the wind blows you home/To the shores of home/Will you be one of those/Who killed another man?”

In 1971, Steve Miller suffered a car accident, and Capitol released Rock Love, an album of vault material.  It was followed by the other “lost” album of Miller’s career, 1972’s Recall the Beginning…A Journey to Eden.  The same year, an Anthology capped off this period of the artist’s career.  In 1973, the Steve Miller Band released The Joker, and solidified its place in classic rock history.

Whereas many of Edsel’s other recent reissue series have included copious amounts of bonus material, the Steve Miller Band series instead concentrates primarily on the original albums with just one bonus track on one album.  The addition of lyrics and liner notes, however, make these presentations the best yet for these often-overlooked and once hard-to-find albums.   Before Steve Miller flew like an eagle, he was grounded in the blues and San Francisco psychedelia.  Fans will likely relish hearing how that great career started.

by Joe Marchese 

Tracks
1. Good Morning (Bobby Winkelman) - 2:48
2. I Love You (S. Miller) - 2:45
3. Going To The Country (S. Miller, Ben Sidran) - 3:47
4. Hot Chili (T.Davis) - 3:30
5. Tokin's (T. Davis) - 4:23
6. Going To Mexico (S. Miller, Boz Scaggs) - 2:29
7. Steve S. Miller's Midnight Tango (B. Sidran) - 2:40
8. Industrial Military Complex Hex (S. Miller) - 3:54
9. Jackson-Kent Blues (S. Miller) - 7:18
10.Never Kill Another Man (S. Miller) - 2:42

Band
*Steve Miller - Guitar, Vocals
*Lonnie Turner - Bass Guitar
*Bobby Winkelman - Bass Guitar, Vocals
*Ben Sidran - Keyboards
*Nicky Hopkins - Keyboards
*Tim Davis - Drums, Vocals
*Charlie McCoy - Harmonica
Additional Musicians
*Lee Michaels - Organ On "Going To Mexico"
*Buddy Spicher - Fiddle On "Going To The Country"

The Steve Miller Band
1968  Children Of The Future (2012 digipack remaster)
1968  Sailor (2012 digipack remaster)
1969  Brave New World (2012 digipack remaster)
1969  Your Saving Grace (2012 digi pack remaster)

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Klaatu - Sir Army Suit / Endangered Species (1978/80 canada, lovely beatlesque pop with prog touches)

In 1976, Capitol Records in L.A. signed a three record deal with a totally unknown band, sight unseen. The band, Klaatu, demanded not to appear in public, play live or give interviews to support the album. In fact, nobody at Capitol even knew who the band was.

This was unheard of in the music industry, but Capitol felt this progressive rock band from Canada had presented them with one of the finest albums they had ever heard. Their first record, simply entitled 'Klaatu' – released as '3.47 E.S.T.', in Canada — contained no names, photos or clues to the identity of the band members. All writing and production credits were given collectively to Klaatu.

They had spent three long years experimenting at night in the recording studio owned by producer Terry Brown (Rush, Max Webster) and Doug Riley (Dr. Music) to complete an album filled with creative new sounds and innovative techniques. To them, the studio was a fourth band member... and another reason why they didn't want to tour.

Although there were initial comparisons to The Beatles in the music press, plus Pink Floyd meets The Beach Boys, the band simply saw this as a compliment, since The Fab Four had been one of many inspirational bands to them since they were kids.

John is from the West-end of Toronto and attended York University's fine arts program. John first met Terry Draper at grade school in the early 1960s. They played in a number of bands together until 1967 when John left to get a head start songwriting and recording. In 1971, John and Terry formed the short-lived Mudcow, adding Dee Long as guitar player.

Their desire to play original music – and not tour the stripper circuit – led to Mudcow's demise. Then John met producer Terry Brown at a job interview… and Klaatu took flight.

However, to fully understand Klaatu and how events transpired, one must realize three key things about John Woloschuk: 1) His love of old black and white movies. 2) His passion for music. 3) His shyness. That's why his bio ends here.

Dee first met Terry Draper in 1968 when they played against each other during a Battle of the Bands competition. Determined to play his own original music, Dee left Mudcow when they were forced to do covers. So when John was given the opportunity by Terry Brown to play him some of his demo tapes, John invited Dee to play his demos as well.

Instantly recognizing their talent, Terry Brown invited them to record at Toronto Sound Studio during off hours. And the rest is history.

During the creation of Klaatu's five albums, Dee continued to develop his skills as an engineer and producer. Eventually leaving the band to focus on his own production studio -- later working with Sir George Martin at London Air Studios.

Dee now lives in British Columbia with his wife. He's created several CD's over the years, including his latest release Life AfterLife. Terry says he finally made it to the top – but only when he started his own roofing company!

The gregarious drummer joined his former Mudcow band mates in 1974, when John and Dee realized they needed a permanent drummer who understood what they were trying to do in the studio. Terry lives just north of Toronto with his wife.

Klaatu-theband

Tracks
Sir Army Suit 1978
1. A Routine Day (John Woloschuk) - 3:11
2. Juicy Lucy (John Woloschuk) - 3:39
3. Everybody Took A Holiday (Dee Long) - 3:00
4. Older (Dee Long) - 3:17
5. Dear Christine (John Woloschuk) - 3:53
6. Mister Manson (Dee Long) - 4:16
7. Tokeymor Field (John Woloschuk) - 3:29
8. Perpetual Motion Machine (Dee Long) - 3:17
9. Chérie (Dee Long) - 3:07
10.Silly Boys (Dee Long) - 4:59
Endangered Species 1980
11.I Can't Help It (Dee Long) - 3:41
12.Knee Deep In Love (JJohn Woloschuk, Dino Tome) - 3:15
13.Paranoia (John Woloschuk) - 4:12
14.Howl At The Moon (John Woloschuk, Dino Tome) - 3:32
15.Set The World On Fire (John Woloschuk) - 4:16
16.Hot Box City (Dee Long) - 3:48
17.Dog Star (Dee Long) - 4:17
18.Sell Out, Sell Out (John Woloschuk) - 4:55
19.All Good Things (John Woloschuk) - 1:57

Klaatu
*Dee Long - Lead Vocals, Keyboards, Guitars
*John Woloschuk - Bass, Acoustic Guitars, Keyboards, Vocals
*Terry Draper - Drums, Percussion, Vocals

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