rep>>> Plainsong - In Search Of Amelia Earhart (1972 uk, wonderful folk rock, 2013 japan remaster)

In just under three years, Ian Matthews split from Fairport Convention, went solo, formed Matthews' Southern Comfort - with whom he scored a number one U.K. hit - left the group at the height of its popularity, recorded three more records on his own (only two were released at this time) and in early 1972 started Plainsong, his fourth band in five years. And while his track record led one to believe that Plainsong may be just another short stay, the subsequent album, In Search of Amelia Earhart, proved to be worth the venture. 

Ian Matthews was of course the obvious draw, but Plainsong seemed to be formed as more of a collective effort, with lead guitarist Andy Roberts, who shares the lead vocal duties, the other focal point in the band. On the other hand, Matthews, whose folk and country-tinged tunes set the tone for the record, is the only member to contribute original material. Included among these is the thematic "True Story of Amelia Earhart," which along with the haunting "For the Second Time," leads a pack of five Matthews compositions that range from good to excellent. Elsewhere, Paul Siebel's heartbreaking "Louise," the dulcimer and harmony driven Appalachian gospel of "I'll Fly Away," and Roberts' readings of the playful "Yo Yo Man," Jim & Jesse's "Diesel on My Tail" and the mournful 1939 tale of "Amelia Earhart's Last Flight" are all highlights. 

Its title and artwork, along with notes by Charles Goerner on the flight and disappearance of Amelia Earhart and Frederick Noonan, gave In Search of Amelia Earhart the feel of a concept album, even though the title is nowhere to be found on the outside jacket and there are only two songs related to the subject contained within. It wasn't really a surprise when a follow-up, though recorded, failed to materialize, with the band parting ways on less than amicable terms, and Matthews going on to record two more records for Elektra. Still, In Search of Amelia Earhart fits nicely alongside the rest of his terrific early-'70's catalogue. 

by Brett Hartenbach

Tracks

1. For The Second Time (Ian Matthews) - 3:51

2. Yo Yo Man (Rick Cunha, Marty Cooper) - 2:13

3. Louise (Paul Siebel) - 3:18

4. Call The Tune (Ian Matthews) - 5:22

5. Diesel On My Tail (Jim Fagan) - 2:03

6. Amelia Earhart's Last Flight (Dave D. McEnery) - 4:05

7. I'll Fly Away (Albert E. Brumley) - 2:03

8. True Story Of Amelia Earhart (Ian Matthews) - 4:32

9. Even The Guiding Light (Ian Matthews) - 4:12

10.Side Roads (Ian Matthews) - 3:29

11.Raider (Jerry Yester, Judy Henske) - 4:32

Plainsong

*Ian Matthews - Guitar, Vocals
*Dave Richards - Guitar, Vocals
*Andy Roberts - Guitar, Vocals
*Bob Ronga - Bass, Vocals
Additional Musicians
*Timi Donald - Drums
*Martin Jenkins - Cello, Mandola, Mandolin
*Dave Mattacks - Drums

Related Act
1971  Ian Matthews - If You Saw Thro' My Eyes (2012 remaster)

Just Paste

Text Host

Free Text

Chicken Shack - 100 Ton Chicken (1969 uk, awesome blues rock, 2013 remastered and expanded edition)

The amusingly titled "100 Ton Chicken' represents Chicken Shacks third album on the Blue Horizon label. Released in late Spring '69 it heralded a shift in the band's recorded output brought about mainly as a result of the departure of Christine Perfect, who had handled not only the keyboard chores bust also a substantial part of the vocal work with the hand (it was her vocal on the reworking of Etta .lames' "I'd Rather Go Blind" that gave the Shack their top ten single success) left to persue a solo career. 

Organist Paul Raymond was recruited immediately and thrown as it were, into the deep end. The decision had been taken to get to work on a new studio album as quickley as possible. Stan in particular was keen to get away from the sound associated with the first two albums. We thought it a good idea to look for a new venue and come April of 1969 we found ourselves at Barry Morgan's Studios in North London. 

Apart from recordings that had been made on location abroad , this was to be the first time any Blue Horizon act had recorded anywhere other than CBS Studios. Bond Street. The results sounded quite different and gave The Shack what they were looking for - a "heavier" sound. Now you know how the title "100 Ton Chicken" was coined !

Far more care was taken will the choice of material for this project. Stan took to writing new material with a s ightly more commercial appeal to it. We ' rere all acutely aware of the need to ;ome up with a follow-up to "I'd Rather Go Blind" and we knew to a man it wouldn‘t be easy. In fact "Tears In The Wind" prc 'ved to be something of a success when one considers that many media people expected the follow-up to feature the dulcet tones of Christine. 

Stan also penned a couple of fine instrumentals of his own (in the Freddie King mould of course) and got another opportunity to make ise of some Cockney rhyming slang ("Horse & Cart"). We covered a Clarence Carte  tune ("Weekend Love"): took a nood once again in the direction of the great Freddie King by covering "Look Ma, I'm Cryin' " and cut versions of Lowell Fulson's "Reconsider Baby" and Gatemouth Brown's "Midnight Hour". 

Stan even expertly handled a rendition i if Davy Grahams erstwhile instrumental "Anji". More time was also spent pulling this set together than had been taken by their predecessors. Whereas in the past we had tended to rush in. book two days and complete the job we made several visits spanning almost four weeks. This gave everyone the chance to regroup and analyse what had gone before and then re-record it : if we felt it necessary. 

We also recorded a I number of other titles that in fact have never been released. Now this may be because they were never finshed or just ; weren't good enough. No attempt has been made to discover whether these multitracks (16 tracks as I recall) still exist or not, so who's to say.

Further potential points of interest in relation to this release? Well, Morgan Sound still exists today except that the name has changed. It's still in the same place - although its expanded to both sides of the street. Look for Power Plant and Battery Studios. Our engineer on those dates was Roy Baker - nowadays better known as Producer Roy Thomas Baker (Queen. etc...) 

The album artwork was as bizarre as always - Terence Ibbott in charge. For those of you who may still have the original vinyl release (with gatefold sleeve) particular note should be taken of the exceptional photographic work. The basic theme for these sessions was jointly planned by Stan and Terence. Quite where they got the idea from heaven knows ! You can however have fun with sticky pieces of paper and your own "bubble" quotes .

Personally. I think we were all mad. But at least its made people stop and look and hopefully, listen. But - despite all our efforts. "100 Ton Chicken" was not. regretfully, the success we had all hoped for. It did not make the album charts as the two earlier efforts had done - but then you win some and lose some. The Chicken Shack continued to work the college and club circuit, here and throughout Europe increasing their already substantial fan base. One thing that Stan and his band members have never been are quitters. More power to the Parson's Nose I say.

by Mike Vernon , 1994

Tracks

1. The Road Of Love (Clarence Carter) - 3:31

2. Look Ma, I'm Crying' (Rudolph Toombs, Jerry Harris) - 3:25 

3. Evelyn - 4:17

4. Reconsider Baby (Lowell Fulson) - 3:25

5. Weekend Love (Clarence Carter) - 2:14

6. Midnight Hour (Clarence  Brown) - 2:55

7. Tears In The Wind - 2:45

8. Horse And Cart - 3:38

9. The Way It Is - 4:29

10.Still Worried About My Woman - 3:12 

11.Anji (Davy Graham) - 1:38

12.The Things You Put Me Through - 3:56

13.Night Life (Paul Buskirk, Walter Breeland, Willie Nelson) - 5:23

Tracks 3,7,8,9,10,12 written by Stan Webb

Chicken Shack
*Stan Webb – Guitar, Vocals
*Paul Raymond – Keyboards, Vocals
*Andy Sylvester – Bass Guitar
*Dave Bidwell – Drums, Congas, Cowbell
With
*Mike Vernon – Finger Cymbals

Chicken Shack
1968  40 Blue Fingers, Freshly Packed And Ready To Serve (2013 reissue)
1970  Accept (japan remaster and expanded)
1973  Unlucky Boy (2013 reissue)
1974  Go Live "Goodbye Chicken Shack" 

Just Paste
Text Host

Free Text

rep>>> People - Both Sides Of People (1969 us, awesome psych rock with country traces, 2014 korean edition)

One of the last great '60s bands hailing from the San Jose area, People followed in the homegrown tradition of such fabled South Bay combos as the Syndicate of Sound, Count Five, Chocolate Watchband, Mourning Reign and the E-Types. 

Mikel Hunter Herrington, the legendary KLIV disc jockey known as Captain Mikey and the man who helped break the Syndicate of Sound's national smash "Little Girl" in 1966, agreed to manage People if they found a new lead singer. When high school pals Larry Norman and Gene Mason both sounded outstanding at an audition, Hunter suggested the band use both as frontmen. The rest of the classic People lineup would include guitarist Geoff Levin, Albert Ribisi on keyboards, bassist Robb Levin and drummer Denny Fridkin. Everybody agreed the name People-in contrast to the common practice of the day of anthropomorphic band names (Beatles, Animals, Byrds, Doors)-was a winner. 

Produced by Captain Mikey, People's "I Love You" single vaulted into Billboard's Top 20 by the spring of 1968, then circled the globe as a chart-topper wherever it was released. Of course, "I Love You," originally a 1965 B-side by British pop maestros the Zombies, is a knockout. Penned by Chris White, bass player of the St. Alban's combo, the song, as were most Zombies melodies, is a minor-key gem, and it still resonates heavily today with Summer of Love vibrations. 

But anyone who thinks People were just a vehicle for little-known Zombies songs should have a listen to I Love You, the San Jose outfit's first album. One of their debut LP's more remarkable tracks is Denny Fridkin's "Crying Shoes," which incorporates the familiar strains of Edward Elgar's "Pomp and Circumstance" march into a tune whose bridge is right out of the Absolutely Free album by Frank Zappa's Mothers of Invention. 

And, not to be missed is "The Epic," a sprawling work-often compared to the Who's rock opera Tommy-that occupies the entire second side of People's debut longplayer. In reality, "The Epic," which features some dialogue in Spanish, wields a lighter touch than Tommy, more in the vein of an earlier extended work by the Who, "A Quick One While He's Away." 

A full understanding of People also requires total immersion in Both Sides Of People, the band's second Capitol LP, cut in an era where albums not singles had the power to make or break an artist. Norman had left the band upon the 1968 release of their first album, reportedly because the record's name had been changed by the label from What We Need Is A Lot More Jesus And A Lot Less Rock 'n' Roll to what Capitol deemed a safer title: I Love You. 

Although Larry Norman was gone, three of his tunes-in particular the brilliant, Small Faces-like "I've Got You On My Mind"-grace People's sophomore effort as testament to his songwriting prowess. But People soldiered on with Gene Mason now singing lead full-time, opening large concerts for the likes of the Doors, Janis Joplin and the Byrds. People had proved they belonged on the national stage, and they took full advantage of the opportunity.

by Jud Cost

Tracks
1. I've Got You On My Mind (Larry Norman) - 2:36
2. Hasty Heart (Larry Norman) - 3:23
3. You'll Never Know For Sure - 3:35
4. Think (Loman Pauling) - 3:02
5. Hey Sweetheart - 3:43
6. Lucky John - 4:12
7. She's A Dancer (Larry Norman) - 7:41
8. Pirate Bill - 6:00

Songs written by Albert Ribisi, Denny Fridkin, Gene Mason, Jeoff Levin, Larry Norman, Robb Levin except where stated 

People
*Denny Fridkin  - Drums
*Jeoff Levin  - Guitar
*Robert Levin  - Bass
*Gene Mason  - Vocals
*Larry Norman  - Vocals
*Albert Ribisi  - Organ

1968  People - I Love You (Capitol)

Just Paste

Text Host

Free Text 

rep>>> Wicked Lady - Psychotic Overkill (1972 uk, awesome heavy psych, 2012 issue)

The second and final collection of Wicked Lady tracks all came from 1972, following the replacement of original bassist Bob Jeffries with Del Morley. Nothing else about either the band or its recording approach changed otherwise, with what proved to be the group's remaining recorded legacy being more of the same style and approach on The Axeman Cometh. Still, there's a little more of a frenetic edge on songs like "I'm a Freak," with faster tempos as well as lines like "I don't know right from wrong/I think I'm gonna be a politician." 

The band's one recorded cover shows up, a reasonable enough lumber through Jimi Hendrix's "Voodoo Chile" that has lead figure Martin Weaver throwing in a couple of queasy guitar moments all his own. Similarly, the hints of a little more stretching that can be heard at the end of The Axeman Cometh, with the stately enough near conclusion of "Tell the Truth," is more than welcome. "Ship of Ghosts," the final song on the collection, is also the band's longest at 22 minutes; while there are a couple of longueurs, its ambition is reasonably matched by the performance, from full adrenaline overdrive to near silence and back again, concluding on a gently lyrical note. "Passion" deserves a note as well for two reasons -- Morley's more notable basswork and Weaver's concluding line for the chorus: "Just tell me that you love me/And I won't throw your grandma on the fire." 

by Ned Raggett 

Tracks
1. I'm A Freak - 5:01
2. Tell The Truth - 5:08
3. Passion - 9:29
4. Voodoo Chile (Jimi Hendrix) - 4:41
5. Why Don't You Let Me Try - 5:00
6. Sin City - 7:04
7. Ship Of Ghosts - 22:00
All songs by Wicked Lady except where stated.

Wicked Lady
*Del "German Head" Morley - Bass
*Dick Smith - Drums
*Martin Weaver - Guitar, Vocals

1968-72 Wicked Lady - The Axeman Cometh (2012 Guerssen)

Related Act

1972  Dark - Round The Edges (2013 Machu Picchu)

1974-95  Dark - Anonymous Days

Just Paste

Text Host

Free Text

rep>>> One - Come (1972 us, marvelous spiritual jam psych rock, 2015 edition)

One of the more curious acts in the Bay area group scene was a band (or collective) called One, or, more specifically. 1, acquaintances of Paul Kantner and Grace Slick from Bolinas. A nine-piece ensemble including two female vocalists, they engaged in lengthy, drifting tunes that drew as much from raga as from rock, with touches of jazz and country. One member, Roger Crissinger, the only semi-known quantity, had previously enjoyed notoriety having been a member of the progressive rock group Pearls Before Swine. But the leader of the group was a mysterious man who didn't always sing so much as vocalise in his own unique way, often without words, who needed words? 

This character went by the name of Reality D. Blipcrotch. A former Marine and former actor, Blipcrotch was originally from Elgin, Illinois, where he first sang professionally aged just three years old in his father's barbershop quartet. No one knew anything else about him. not even his original name, he'd had it legally changed, swears former Airplane manager, Bill Thompson.

The story behind the making of One's self-titled album for Grunt, which was released in 1972, is one that still rankles producer Pat Leraci (aka Maurice). It's a tale that both defies reality and defines the broad absurdity of the post-Aquarian times with equal measure. 

Although these anecdotes shed light on the bizarre situation confronting the producer, they reveal only half the story of the musicians and their own paths that lead them to the mercy of Reality D, Blipcrotch and his herb-driven vision of exploding records and free groove-sprung hashish. Although Blipcrotch and his identity has always proved a mystery to those around him, on online source made remarks in a message that was totally un-related to the band or music as a whole and was instead more concerned with Volkswagen vans and a loose relative of his father, namely one Jerry Leroy. 

As the commentator states: Jerry Leroy, aka Reality D. Blipcrotch, aka Jerry Wiley (I'm not making this up) parked his (VW) in the driveway of our home when I was about ten years  old, Jerry Wiley was his birth name and the one he used as a young up-and-coming actor. The second one was his stage name when he became a hippie rock musician with a group called 1 (I saw them do a sound check at the Fillmore in San Francisco). His third name came when he was born again and moved to Hawaii and started writing Christian operas".

Aside from solving the mystery of Blipcrotch, an elementary spectacle on our part surely, the remainder of the band appear to be the threads of a social circle or to be more specific in this case, a Chicago hippie commune. The band was assembled in the Bolinas district of Chicago, ft. under the supervision and direction of Jerry Leroy In 19TO- Their most earnest recruit was Roger Crissinger who had fared better than his counterparts as a founding member of Pearls Before Swine alongside Tom Rapp. Although Crissinger would split from PBS in 1968 he would leave 1 and rejoin Rapp to assist on his solo debut album Stardancer in 1972. Grunt records itself was a vanity label formed in 1971 by Jefferson Airplane assisted by RCA records, ft helped to promote Bay area bands such as “1”, Papa John Creach, Hot Tuna and the Airplane before their transition into Jefferson Starship.

CD Liner-Notes

Tracks
1. One Of A Kind (Marc Granat, Reality D. Blipcrotch) - 4:31
2. Two Car Raga (Marc Granat, Roger Crissinger, Reality D. Blipcrotch) - 8:37
3. Free Rain (Reality D. Blipcrotch) - 5:09
4. Three Songs (Frank Trevor Fee, Marc Granat, Reality D. Blipcrotch) - 10:08
5. Old Englishhh (Marc Granat, Reality D. Blipcrotch) - 7:51

One
*Mark Baker - Drums
*Reality D. Blipcrotch - Voice, Percussion
*Roger Crissinger - Organ, Piano
*Frank Trevor Fee - Bass
*Donald Ensslin - Rhythm Guitar, Banjo
*Marc Granat - Guitar, Sitar, Dulcimer
*Sarah Oppenheim - Voice, Autoharp
*Laurie Paul - Voice, Tanpura
*Theodore Teipel - Flute, Harmonia, Piano

Related Act
1967  Pearls Before Swine - One Nation Underground (Japan remaster)
1972  Tom Rapp - Stardancer (2009 issue)

Just Paste

Text Host

Free Text

rep>>> Thomas Jefferson Kaye - Thomas Jefferson Kaye (1973 us, marvelous blend of folk country gospel classic rock, 2016 korean remaster)

Thomas Jefferson Kaye was a bit of a prodigy. Born in North Dakota, by the age of 18 he was already in New York working for the record label Scepter as an A&R man. In next to no time he was producing and writing material for their acts The Shirelles, Judy Clay, Maxine Brown, Chuck Jackson and The Kingsmen. But it was when he produced Loudon Wainwright III first release for Columbia in 1972 that his stock really rose. He then followed that up with work on the country funk fuelled Be What You Want to by Link Wray and it was around this time that Kaye moved to the sunnier climbs of California and started recording the self-titled solo album we're looking at here. He passed over the production duties to Gary Katz dedicating himself to the writing and performing of this collection of music. 

The opening number Body Song creeps in unsteadily, like a drunk with his shoes in his hands, sneaking through the door before inevitably tumbling over and collapsing in a heap on the floor while the room spins round and round. The tempo lifts with Collection Box and the sound toughens up with a groove still lazy enough for the band to dig in deep and then completely out of nowhere the strings come in. Oh yeah! The Stonesy strut of The Door Is Still Open is up next, followed by some finger picking boogie on Learning How to Fly. Although I'll Be Leaving Her Tomorrow is in serious danger of veering too far into slushy country ballad territory it is saved by some excellent vocal harmonies courtesy of Donald Fagen. His Steely Dan cohort, Walter Becker, also appears on the album and his bass playing on the next track Hole in The Shoe Blues helps create the Dr John-ish spooky-funk groove that underpins the songs repeated refrain "I read in the paper this morning that you were dead". The tune Snake in The Grass sounds like it was recently exiled from Main Street for bad behaviour while the wistful air of Thanks For Nothing is complimented by the subtle interplay of Tom Salisbury's piano dancing round the steel guitar of Bobby Black. 

But if you need just one reason to track this hidden gem down then it's the albums closer Hoe Bus. Driven along by some seriously salty guitar playing from Rick Derringer, the song is a full-on embodiment of the Whiskey Preachin philosophy, all wrapped up in a five-minute mind-meld of country, soul, blues, gospel, rock and funk. There's even a middle eight detour into something akin to High Heeled Sneakers and the final few bars of the track wouldn't even sound out of place on Sly Stone's There's a Riot Goin On. It's a real renaissance song from a real renaissance man who would then arguably go on to produce Gene Clark's finest recording, No Other, to be reviewed here sometime soon. But that's a whole other story.

by Michael Hosie

Tracks

1. The Body Song - 4:17

2. Collection Box - 4:07

3. The Door Is Still Open - 3:26

4. Learning How To Fly - 3:36

5. I'll Be Leaving Her Tomorrow - 4:22

6. Hole In The Shoe Blues - 5:18

7. Snake In The Grass - 5:01

8. Thanks For Nothing - 4:29

9. Hoe Bus - 5:01

Music and Words by Thomas Jefferson Kaye

Personnel

*Thomas Jefferson Kaye - Guitars, Vocals

*Rick Derringer - Electric Guitar

*Donald Fagen - Keyboards, Piano, Vocals

*Jeff Baxter - Guitar

*Walter Becker - Bass

*Joe Frank Carollo - Bass

*Terry Adams - Cello

*Victor Feldman - Percussion

*Venetta Fields - Vocals

*Richie Furay - Vocals

*Jim Gordon - Drums

*Randy Jo Hobbs - Bass

*Clydie King - Vocals

*Jim Mason - Vocals

*Sherlie Matthews - Vocals

*Diane Morrison - Vocals

*Dorothy Morrison - Vocals

*Michael Omartian - Keyboards

*David Palmer - Vocals

*Dean Parks - Bass

*Micki St Clair - Vocals

*Tom Salisbury - Piano

*Rick Shlosser - Drums

*Mark Springer - Vocals

*Dusty Springfield - Vocals

*Chris Williamson - Vocals

Just Paste

Text Host

Free Text

rep>>> Green - To Help Somebody (1971 us, pleasant rural, classic rock, 2011 reissue)

One of the most unjustly-neglected bands of their time, Green got together at North Texas State University in the late '60s, and released a stunning psych-pop debut in 1969. Their largely-overlooked second LP first appeared in September 1971. In the interim between albums, multi instrumentalist James Neel had been replaced by pianist / trumpeter Jay Pruit.

"To Help Somebody" was self produced, and recorded at 2545 North Fitzhugh, Dalla Texas. It's still largely unknown, perhaps because it doesn't sound much like its predecessor, a punchy pop rock record, tightly performed and well recorded.

A classy combination of rock and roll and ballads, with acid-tinged guitar and tasteful horns, it comes across as an idiosyncratic amalgam of The Beatles, The Zombies and Buffalo Springfield, making it a must-have for fans of classic '60s psychedelia and early 1970s rural rock. 

Tracks

1. All My Bells - 3:24

2. To Help Somebody - 1:53

3. She Dont' Love Me - 2:58

4. Mary Magdalena - 2:04

5. Can You See Me (Wilson Fisher) - 2:52

6. Teenage Woman (Gary Casebeer) - 2:34

7. Lady, Oh Lady - 1:49

8. Big Dipper (John Martin, Wilson Fisher) - 3:48

9. High Time (Jay Pruitt, John Martin) - 3:02

10.Suzy - 2:49

11.Funny Faces - 3:11

12.San Fernando Valley Girls - 3:11

13.Forest Lawn - 1:35

All compositions by John Martin except where indicated

Green

*Gary Casebeer  - Drums, Vocals

*Richard Gardzina - Tenor Saxophone, Flute, Clarinet, Trumpet, Piano, Accordion

*Wilson Fisher - 8 String Bass, 12 String Guitar, Vocals

*John Martin - Guitar, Piano, Clavinet, Vocals

*Jay Pruitt - Piano, Trumpet

With

*Kathy Kelsey Pruitt - Cello (Tracks 5,7)

*Chuck Mandernach - Trombone (Track 11)

1969  Green - Green  

Just Paste

Text Host

Free Text

rep>>> Green - Green (1969 us, great texas psych rock, 2007 edition)

Like many bona fide lost classics, Green is still largely shrouded in mystery. It sold badly on its original release (in the spring of 1969, on Atlantic subsidiary Atco), and still hasn't received its due as one of the most imaginative psych-pop albums of the period.

Certain members were from Denton, Texas, while Richard Gardzina (now a distinguished saxophonist and flautist) hailed from Manchester, New Hampshire. The group are thought to have coalesced at North Texas State University, and recorded four songs as demos in a local studio, an acetate of which has recently surfaced (included here as bonus material). It shows them to have been a superbly tight unit well before they got to cut an album.

Their eventual debut, produced by veteran songwriter and composer Fred Darian, reflects little of the crazed psychedelia of fellow Texan musical travellers like the 13th Floor Elevators and the Golden Dawn. If anything, it's more Englishinfluenced, a taut collection of acid pop tunes set to distorted guitar and taut horn arrangements that complement, rather than swamp, the material.

Though four separate band members are credited with contributing brass to the record, selfindulgence is entirely avoided in favour of complex arrangements that consistently take unexpected turns. This means that, like many other neglected gems, the album reveals itself best on repeated listening. The songs veer from the mellow ballads Sunrise #7 and Footprints In The Snow to the hard psychedelic Green and Eastern-tinged Where Have I Been?', and - though most feature an impressive range of instruments - they are never cluttered.

Ultimately, however, the band's very breadth of talent may have damaged their chances of commercial success, for the album sank without trace. Its follow-up, 1971's To Help Somebody (also on Atco) was less focused (though still impressive in parts) and didn't sell either, prompting the band to fall apart. It is to be hoped that this first CD reissue will help to shed more light on the story behind this widely-admired LP.

Tracks
1. To Be (John Martin) - 2:52
2. Where Have I Been? (John Martin) - 3:10
3. Sunrise # 7 (Wilson Fisher) - 3:37
4. Just Try (John Martin) - 2:13
5. Sparkle (John Martin) - 2:20
6. Green (Wilson Fisher, Gary Casebeer, Bobby Blood, Richard Gardzina, John Martin) - 3:24
7. Footprints In The Snow (John Martin) - 2:23
8. At The Time (John Martin) - 2:15
9. RCMPB (Wilson Fisher) - 3:06
10.Don't (John Martin) - 2:11
11.Have You Ever? (John Martin, Richard Gardzina) - 3:05
12.Where Have I Been? (John Martin) - 3:25
13.Have You Ever? (John Martin, Richard Gardzina) - 3:19
14.At The Time (John Martin) - 2:22
15.Sunrise # 7 (Wilson Fisher) - 3:28
Bonus Tracks  12-15

Green
*Gary Casebeer  - Percussion, Keyboards, Brass, Vocals
*Richard Gardzina - Reeds, Keyboards, Vocals, Brass
*Wilson Fisher - Strings, Vocals, Harmonica
*John Martin - Strings, Keyboards, Vocals
*James Neel - Brass, Keyboards, Vocals, Reeds
*Bobby Blood - Brass

Just Paste

Text Host

Free Text

rep>>> Barbara Keith - Barbara Keith (1973 us, marvelous folk country rock, 2008 japan remaster)

A singer/guitarist and folk-influenced songwriter, Barbara Keith's curious career began when she was discovered at Greenwich Village's famous Café Wha?. Her first appearance on record was in 1968, with her background vocals and one of her songs appearing on the self-titled debut from Kangaroo. 

Verve Records released the first of two self-titled albums in 1969. Some critics fell in love with the album but as far as sales the album went nowhere. Her second self-titled album -- released by Reprise in 1972 -- coupled Keith with producer Doug Tibbles. Keith and Tibbles married and soon became unhappy with the music industry. Deciding to focus on family and develop their art with a major-label influence, Keith and Tibbles gave back their Reprise advance, a move that caused the label to under-promote her album. 

Once again, the album didn't achieve much as far as sales, but Keith's songwriting skills were being noticed throughout the record industry. Barbra Streisand, Lowell George, Tanya Tucker, Delaney & Bonnie, the Dillards, and many others covered songs from the album, "The Bramble and the Rose" and "Detroit or Buffalo" being the favorites.

Keith reappeared in the '90s with her "AC/DC meets Patsy Cline" band the Stone Coyotes with her husband, and son John Tibbles, rounding out the band. The band found a cult following of which writer Elmore Leonard was a member. Leonard included the band in his sequel to Get Shorty, Be Cool, and included five Keith songs in the text. 

by David Jeffries

Barbara Keith dropped out of the music scene before anyone really had a chance to appreciate her work. Originally recorded for Warner Bros. in 1971, Barbara Keith was withdrawn when Keith, not completely happy with the results, gave the advance money back and walked away from the music business. 

With the re-release of the album 30 years later by Water, all of this will seem a bit odd, because Barbara Keith is a fine effort highlighted by great writing and solid production. Only one cover, Dylan's "All Along the Watchtower," is included, which is surprising in that the original material -- by a fairly unknown artist -- is both strong and familiar. Delaney & Bonnie covered "Free the People" (so did Barbra Streisand), and singer/songwriter Mary McCaslin sang "The Bramble and the Rose." Keith's own versions, highlighted by country-rock and classic rock treatments, respectively, are equally fine. 

Keith's an expressive, soulful singer who sounds like she would've fit into Delaney & Bonnie's band, or passed for an American version of Sandy Denny. Other standout songs include the country-folk of "Detroit or Buffalo" and the rocking closer, "A Stone's Throw Away." The album is fairly short -- 35 minutes -- but it's not weighted down by filler or subpar cuts. Barbara Keith is an excellent album, and one hopes that its author is more inclined to appreciate it in 2004. 

by Ronnie D. Lankford Jr.

Tracks
1. All Along The Watchtower (Bob Dylan) - 3:14
2. Rolling Water - 3:12
3. The Bramble And The Bush - 2:55
4. Burn The Midnight Oil No More - 3:09
5. Free The People - 3:48
6. Detroit Or Buffalo - 4:32
7. The Road I Took To You - 3:20
8. Shining All Along - 3:11
9. Rainy Nights Are All The Same - 3:27
10.A Stone's Throw Away (Barbara Keith, Doug Tibbles) - 4:47
All songs by Barbara Keith except where noted

Musicians
*Barbara Keith - Guitar, Piano, Vocals
*Max Bennett - Bass
*Richard Bennett - Bass, Pedal Steel
*John Brennan - Guitar
*David Bennett Cohen - Guitar
*Nick Decaro - String Arrangements
*Craig Doerge - Piano
*Lowell George - Electric, Slide Guitar
*Jim Gordon - Drums
*Emory Gordy - Bass
*Milt Holland - Percussion
*Jim Keltner - Drums
*Sneaky Pete Kleinow - Pedal Steel Guitar
*Danny Kootch - Electric Guitar
*Danny Kortchmar - Guitar
*Russ Kunkel - Drums
*Clarence Mcdonald - Piano
*Spooner Oldham - Piano
*Tony Peluso - Guitar
*Leland Sklar - Bass
*Ron Tutt - Drums
*Mike Utley - Organ

Just Paste

Text Host
Free Text

rep>>> The Kitchen Cinq - Everything But (1967 us, nice garage folk psych, 2010 O Music edition)

When buying albums by '60s rock bands, ground zero is 1966. If I'm hesitant to spend the cash, proximity to that year makes a difference in whether I end up springing for something or not. One of the better discs I've ponied up for in the past year is Everything But ... The Kitchen Cinq, the only album by a fairly obscure band with origins in Texas. From what I can tell, it actually came out in early- to mid-1967, but I'd bet it was recorded in '66, which would place it right in the magic 8-ball of my unscientific theory. Unfortunately, the mono copy I scored online is pretty beat up, but the music more than justified the cost of finally obtaining a copy.

Information about the band is scarce, but Mike Dugo of 60sgaragebands.com has come to the rescue once again with his excellent interview of guitarist Jim Parker, the best place to learn the Kitchen Cinq's story. To summarize briefly, the band was active as early as 1961 as The Illusions. They first had their name changed to the Y'Alls by impresario Ray Ruff for a single in '66, and again modified their moniker after moving to Los Angeles and getting involved with more famous impresario Lee Hazlewood. They released an album and several non-LP singles, before a lineup change and yet another name change, to Armageddon (not to be confused with the later Keith Relf band).

The music on Everything But... is a winning blend of harmony-drenched, poppy folk-rockers with the occasional fuzztone flip-out, such as band originals "Determination" and "Please Come Back to Me." Also excellent is the stop-start "You'll Be Sorry Some Day," not written by the band but a song probably first recorded by them, judging by the publishing credits.

The band proves very adept at integrating covers into their own sound, including managing to create a somewhat different spin than usual for Buffy Sainte-Marie's oft-recorded "Codine." They also take shots at Neil Diamond, the Beau Brummels, the Hollies (brave), Gene Pitney (extremely brave) and one song by Hazlewood. Luckily, it mostly all comes out sounding like the Kitchen Cinq.

Their album ended up being the first released on Hazlewood's LHI Records, an imprint best remembered today as the original home for Gram Parsons' International Submarine Band and Hazlewood's own cult classics. Everything But... was produced by Hazlewood flame/pre-Nancy Sinatra duet partner Suzi Jane Hokom, who gave it a bright and reverb-y, typically '60s production. In fact, the mysterious Ms. Hokom can be seen in the collage of band pictures on the back cover, surrounded by the band. There's also pics of the band surrounding Bill Cosby and Dick Van Dyke, apparently included to drive home a "we're in Los Angeles" message to the record-buying public.

These days, records on LHI rarely turn up, and this one is no different. Perhaps compounding its rarity is the fact that LHI's first distribution deal, with Decca, apparently lasted less than a year. After the label's first few albums the catalog numbers were reused for new LPs under a different distribution deal!

So, the Kitchen Cinq album was likely only available for a very short time originally. Like most of the LHI catalog (aside from the ISB album and Hazlewood's own work), it's never been given a proper reissue, but it can be tracked down from fellow collectors with a bit of internet searching, if one can't turn up an original LP. Now, if I could just find the Honey Ltd. and Eve LPs... (LHI, 1967).

by Bob Koch

Tracks
1. You'll Be Sorry Some Day (Bob Corso) - 2:34
2. Solitary Man (Neil Diamond) - 2:27
3. Determination (Johnny Stark, Mark Creamer) - 2:00
4. Please Come Back To Me (Johnny Stark, Mark Creamer) - 2:26
5. Codine (Buffy St. Marie) - 2:44
6. Young Boy (Ervan James Parker) - 2:27
7. Last Chance To Turn Around (Victor Milrose, Tony Bruno, Bob Elgin) - 3:07
8. Still In Love With You Baby (Ronald Elliot) - 2:32
9. If You Think (Raul Danks, Jon Taylor) - 2:05
10.I Can't Let Go (Chip Taylor, Al Gorgoni) - 2:25
11.Need All The Help I Can Get (Lee Hazlewood) - 2:44

The Kitchen Cinq
*Mark Creamer - Guitar, Vocals
*Dale Gardner - Bass, Vocals
*Jim Parker - Guitar, Vocals
*Dallas Smith - Guitar
*Johnny Stark - Drums

Just Paste

Text Host

Free Text

rep>>> The Buoys - Timothy "Golden Classics" (1971-73 us, fine classic rock with counrty folk influence)

"Timothy” really was about a mule, but a lot of people thought he was another trapped miner." Rupert Holmes, the man who wrote "Timothy", was still trying to explain his 1971 hit for The Buoys in a 1988 interview to promote his new Broadway musical, "The Mystery of Edwin Drood." Laughing, Holmes swore the anguished song about the two survivors in a trio of trapped miners was not an ode to cannibalism. 

It was easy to laugh then, but it wasn't so funny when Scepter Records issued the single by the Wilkes-Barre, Pennsylvania quintet. Even though the song would eventually go into Billboard's Top 20, many radio programmers were reluctant to play the song, especially when listeners called demanding to know why some band was singing about eating this poor miner. It also didn't help when there were media reports about college students holding 'Timothy For Lunch Bunch" gatherings. 

Whatever the song was about, the notoriety did help get a hit for the group made up of Fran Brozena - keyboards, Gerry Hludzik - bass, Chris Hanlon - guitar, Carl Siracuse - drums, and Billy Kelly - lead vocals. They were discovered by a Scepter engineer, who then approached Holmes about writing a song to help the quintet get some attention. He agreed, and the song ultimately became Holmes' first real hit as a writer. Holmes also wrote a number of songs and played keyboards on The Buoys' debut Scepter album. 

It featured 'Timothy" and two other minor chart successes that also told odd stories. "Bloodknot" was said to be about a reform-school ritual while "Give Up Your Guns" was about an old West shootout. Although Holmes would go on to chart success as a singer, going Top 10 with "Escape (The Pina Colada Song)" and "Him", The Buoys soon sank out of sight. Scepter issued a few other singles, all featured here. 

The group then signed to Polydor, cutting two singles, "Don't Try To Run" and "Liza's Last Ride", also included on this album. In 1980, a couple of Buoys - Billy Kelly and Gerry Hludzik, who was also known as Joe Jerry - were back in music as a group called Dakota. Their self-titled album on Columbia failed to generate any attention.

by  Mark Marymont

Tracks
1. Timothy (Rupert Holmes) - 2:49
2. Give Up Your Guns (Rupert Holmes) - 4:16
3. Sunny Days/Memories - 5:02
4. Tell Me Heaven Is Here - 3:33
5. The Prince of Thieves (Rupert Holmes) - 4:17
6. Castles - 2:27
7. Bloodknot (Rupert Holmes) - 2:13
8. Tomorrow (Rupert Holmes) - 3:26
9.Streams Together - 2:48
10.Good Lovin' - 2:30
11.Pittsburgh Steel - 4:13
12.Absent Friend - 3:51
13.These Days - 2:47
14.Sunny Days - 1:25
15.Don't Try to Run (Brozena, Kelly, Hludzik) - 3:21
16.Dreams (Brozena, Kelly, Hludzik) - 3:26
17.Look Back America - 6:34
18.Liza's Last Ride - 2:55
All songs written by the Buoys except where noted

The Buoys
*Bill Kelly - Lead Vocals, Guitar
*Jerry G. Hludzik - Bass, Vocals
*Chris Hanlon - Guitar
*Fran Brozena - Keyboards
*Carl Siracuse - Drums
with
*Sally Rosoff - Cello

Just Paste

Text Host

Free Text

rep> Mouzakis - Magic Tube (1965-73 us, stunning raw garage psych with rhythm and blues traces, 2007 bonus tracks edition)

Mouzakis were an East coast basement garage psych group and this is their full LP from 1971. The band started with R&B rock standards, adapted on its way bits of rock’n roll, early rock, and stayed mostly rather on the edge with a more garage rock sound. They learned songs like from Animals, and did a cover from Blues Magoos.

Groups of that time like The Who, Animals and even the Rolling Stones very much liked to keep that rawness of garage alive in their more into the 70s directing rock expressions, also Fabulous Pharoahs and Mouzakis fitted with that approach.

The tracks are a bit longer and especially the first two tracks show complex rhythm use in combination with their adapted R&B influence into rock territory. “Magic Tube” has a complex fast rhythm, (bass and drums) almost funky in its bluesy rock way, while on top is slower bluesy singing, with rhythm guitar, creating a unique kind of complexity I have not heard elsewhere. “Rock Around the clock” with additional organ parts continues a bit in the same direction.

Fred Dawson opined 'after trying to get 4-5 people to agree on 'stuff to play,' we ended up as a three piece band. What we lacked in personnel we made up for in amplification.' Magic Tube, very much the rough and ready hard garage psych album, features almost complete material from the collective pen of Dawson and Stevenson.

Of the band, one critic was moved to proclaim 'Mouzakis has to be heard to be believed. They are totally unique...and as a trio, they accomplish more in their sound than groups double their size!'" Two of the members continued to play under the name Capone until the 80s.

Tracks

1. Sometimes, I Think About You (Ronnie Gilbert, Ralph Scala, Emil Theilheim, Mike Esposito) - 3:01

2. Hold Me Tight (Fred Dawson, Ed Stevenson, Bill Rylander) - 2:41

3. Church Key (Aubry Fisher, Ed Stevenson) - 2:41

4. Route 66 (Bobby Troup) - 2:11

5. Run And Hide (Fred Dawson, Ed Stevenson) - 2:03

6. Fire Street (Fred Dawson, Ed Stevenson) - 2:59

7. Don't Need Your Money - 3:08

8. Gonna Give You Rock 'n' Roll - 2:33

9. Looking Back (Johnny Guitar Watson) - 2:28

10.We Will Be Together (Dick Taylor, Phil May, John Stax) - 3:14

11.Lady (Fred Dawson, Steve Stipo) - 3:06

12.Hey Hey Hey (Richard Penniman) - 2:13

13.Morning Sun (Fred Dawson, Ed Stevenson) - 2:40

14.Don't Want You No More (Fred Dawson, Ed Stevenson) - 2:46

15.Magic Tube - 7:26

16.Rock Around The Clock (Jimmy DeKnight, Max Freedman) - 2:30

17.White Horse - 3:28

18.Love Everyday - 3:56

19.Long Haired Bombardier - 4:07

20.Party Ball - 2:18

21.Lady - 5:31

22.Both Do Fine - 3:09

All songs by Fred Dawson, Eddie Stevenson, Steve Stipo except where stated 

Tracks 1-4 as The Fabulous Pharoahs

Mouzakis
*Ed Stevenson - Vocals, Trumpet, Drums
*Sam Stipo - Guitar
*Fred Dawason - Saxophone, Keyboards

The Fabulous Pharoahs

*Ed Stevenson - Lead Vocals, Drums 

*Aubrey Fisher, - Lead Guitar 

*Fred Dawson - Tenor Sax, Organ 

*Bill Rylander - Rhythm Guitar

*Bobby Walker - Bass

Just Paste

Text Host

Free Text

rep>>> Imagine - Images Clear Skies And Rainbows (1975 us, elegant progressive rock, korean bonus tracks edition)

"Images, Clear Skies and Rainbows" was an impressive venture into prog-rock teetering on the edge of progressive by a group called Imagine.

An exceptionally solid effort from start to finish. The first side shows the group in more of a progressive vein with several good but abbreviated guitar runs, giving you a taste of what direction the group could actually go in when they decided to. On the second side they bear down and let you see their true colors by stretching out the guitar interludes into longer segments in each song. 

The best song on the entire LP is "Tomorrow." The bass and guitar team up to give you a tour de force of rock and roll. The flute adds another dimension to the taken as a whole sound, giving it that decidedly progressive edge. Judging from the sound and vocal style. This LP is remarkably good considering I have never heard of them and cannot seem to find any history of the group anywhere. 

by Keith Hannaleck

Tracks
1. Come Alive - 5:33
2. City Lights - 5:06
3. Rock And Roll Man - 4:37
4. Superstar - 5:31
5. Images Clear Skies And Rainbows - 5:34
6. Tomorrow - 5:26
7. My Golden Lady - 4:33
8. Castles Of Sand - 5:31
9. Just A Dream (Bonus) (Jeffery Levy) - 5:06
10.Flight 491 To Nowhere (Bonus) (J. Levy, E. Slaski) - 4:30
All songs by Ted and Mike Kieta, except where noted.

Musicians
*Mike Kieta - Bass Lead Vocal
*Ted Kieta - Guitar, Vocals
*Bob Rowland - Acoustic Percussion
*Mike Prichard - Flute, Lead Vocal
*Todd William - Lead Guitar
*Ray Smith - Lead Guitar
*Keith Dickerson - Saxophone
*M.H. Dickson - Keyboards
*Nancy Black, Karen Smith and Carol Dickerson - Backing Vocals

Just Paste

Text Host

Free Text

rep>>> Dana Gillespie - Weren't Born A Man (1973 uk, outstanding glam bluesy soulful rock, 2021 japan remaster and expanded)

Weren’t Born A Man, released in 1973, is Dana Gillespie’s third album and contains her version of ‘Andy Warhol’, a song that David Bowie originally wrote for her. Bowie and Mick Ronson produced said track and Gillespie’s original ‘Mother, Don’t Be Frightened’, and Ronson and Spiders from Mars members Trevor Bolder and Mick Woodmansey played on both cuts. 43 years after its original release, Weren’t Born A Man stands as a must-have record for anyone with an interest in 70s music. 180g vinyl.

Hardcore David Bowie fans should have heard by now about the so-called Bowpromo album. It contains ‘rough mixes’ of original tracks that would later be included on the Hunky Dory and Ziggy Stardust albums, as well as an exclusive track and the early (and shorter) versions of some amazing songs that would later make their way into Dana Gillespie’s Weren’t Born A Man LP from 1973: ‘Mother, Don’t Be Frightened’ and ‘Andy Warhol’. In fact, these two tracks on Dana’s album were produced by Bowie and Mick Ronson, featuring the members of The Spiders from Mars as backing band. Weren’t Born A Man is Gillespie’s third album after some previous folk and pop recordings and a rather successful career as an actress. She played Mary Magdalene in the first London production of Jesus Christ Superstar in 1972. 

However, her involvement in music would soon be connected to some of the key players in the London scene, such as Mick Jagger, Jimmy Page and David Bowie. But there is much more to this album that just Bowie’s glam sound influence. ‘All Cut Up On You’, ‘All Gone’, ‘Eternal Showman’ or the title track ‘Weren’t Born A Man’ are all outstanding tracks on their own that show Dana Gillespie’s various moods, from mellow notes to sexually ambiguous statements. Sadly, record sales did not match RCA’s expectations and after one more album Dana was forced to take a long break on her recording activity that would eventually lead her to a very different approach to music. During the 80s Gillespie made a comeback becoming a member of the Mojo Blues Band and her career as a blues singer has not stopped since then, releasing over 25 albums to date. 43 years after its original release, Weren’t Born A Man stands as a must-have record for anyone with an interest in 70s music.

Tracks

1. Stardom Road (Parts I&II) (Jim Avery, Terry Stamp) - 7:22

2. What Memories We Make - 5:10

3. Dizzy Heights - 3:36

4. Andy Warhol (David Bowie) - 3:05

5. Backed A Loser - 4:55

6. Weren't Born A Man - 4:10

7. Mother, Don't Be Frightened - 4:19

8. All Cut Up On You - 4:18

9. Eternal Showman - 3:27

10.All Gone - 5:10

11.Mother, Don't Be Frightened - 4:12

12.Andy Warhol (David Bowie) - 2:42

13.Never Knew - 3:28

14.All Cut Up On You - 3:21

15.Lavender Hill - 3:22

16.Lavender Hill - 3:32

17.Never Knew - 3:43

18.Hold On To Your Fire (David Bentley, Mick Liber) - 3:10

19.Weren't Born A Man (Dana Gillespie, Mick Liber) - 3:48

All compositions by Dana Gillespie except where indicated

Tracks 18-19 by Libido

Musicians

*Dana Gillespie - Guitar, Synthesizer, Vocals

*Barry DeSouza - Drums

*Bobby Keys - Saxophone

*Brian Odgers - Bass

*Chris Ray - Guitar

*Dave Wintour - Bass

*Frank Ricotti - Percussion

*Jim Ryan - Guitar

*Joanne Williams - Vocals 

*John "Rabbit" Bundrick - Keyboards

*Liza Strike - Vocals

*Mike Moran - Keyboards

*Pat Donaldson - Guitar

*Paul Keogh - Guitar

*Ray Cooper Percussion

*Ray Glynn - Guitar

*Rick Wakeman - Keyboards

*Ronnie Leahy - Keyboards

*Rosetta Hightower - Vocals

*Terry Cox - Drums

*Del Newman - Synthesizer (Track 9), Strings Arrangement (Tracks: 1,5,10)

*Mick Ronson - Strings Arrangement (Track 7)

1968  Dana Gillespie - Foolish Seasons (2006 remaster)  

1969  Dana Gillespie - Box Of Surprises (2008 remaster)

Just Paste

Text Host

Free Text

rep>>> Julie Felix - Clotho's Web (1972 us / uk, amazing folk rock with great accompaniment, 2009 remaster and expanded)

From the opening title track, with its arresting arrangement possibly masterminded by John Paul Jones, it’s immediately clear that this is an album to be taken seriously. At the time of its release, Julie Felix was already well established, having enjoyed ample BBC TV coverage for her easy folk song interpretations. By 1970, however, she was ready to move forward when she signed with Mickie Most.

The first 12 tracks here make up her Clotho’s Web album, which features all Felixpenned songs bar one. More importantly, it pulled in fuller instrumentation from the likes of Danny Thompson, Big Jim Sullivan, Davey Johnstone and the aforementioned Mr Jones, whose work with Most’s production helped make the resultant collection striking, atmospheric and highly convincing. Felix’s vocals are strong, confident and are placed well up front. Eight bonuses, mostly non-album singles, are added, making this a good value package. Worth the price of admission for the title track alone, which stands as one of the great folk-rock moments.

by Kingsley Abbott

Tracks
1. Clotho's Web - 3:35
2. Windy Morning - 3:05
3. Fire Water Earth And Air - 3:06
4. Clickety Clack - 2:57
5. Beside The Still Fjord - 2:47
6. The Ballad Of San Andreas (John Carter, Gillian Shakespeare) - 3:22
7. Hills Of May - 1:55
8. Moonlight - 2:41
9. Happiness - 3:48
10.The Lean Years - 3:05
11.Summer On Fire - 4:36
12.Lady - 4:24
13.Heaven Is Here (Errol Brown, Tony Wilson) - 3:12
14.Soon - 3:28
15.Watching, Waiting - 2:22
16.Portrait of A Mistress As A Young Girl - 3:51
17.If I Could - 3:12
18.Alone - 2:33
19.Snakeskin - 3:08
20.Moonlight - 3:01
All compositions by Julie Felix except where stated

Musicians
*Julie Felix - Vocals, Guitar
*Big Jim Sullivan - Guitars
*Cozy Powell - Drums
*Danny Thompson - Bass
*Davey Johnstone - Guitar
*Dougie Wright - Drums
*John "Rabbit" Bundrick - Keyboards
*John Fiddy - Bass
*John Paul Jones - Bass
*Stephan Grossmann - Guitar

1964-66   First Second And Third • The Complete Three Decca LPs (2008 RPM)
1966-67  Julie Felix - Flowers • Live In Concert (2011 Japan)

Just Paste

Text Host

Free Text