On their return to New Zealand (early 1969), they began recording an album at Stebbing's studios. About half way through it Peter Barton left the group and Larry Waide was brought in to complete the album. Released late 1969, the album was called "Burning Up Years". From it came the single "I Think I'll Go Back Home"/"You Really Got Me".
Work then began immediately on the second album. It was recorded in June 1970 and released as "Stoned Guitar". From it came the singles "Midnight Sun"/"Idea" and "Black Sally"/"Tomorrow".
Larry Waide left the group after recording the second album, as musical directions began to change. His position was filled in February 1971 by former Underdogs bass player Neil Edwards. No sooner had he joined and the group was back in the studios to record their third album. This was called "Pins In It" and was released in June 1971. One single, "Rainbow World"/"Highway", was issued from this album.
Firmly established as one of the rarest LPs of the period, it's presented here complete with exclusive photographs, six bonus tracks and detailed notes by Greer himself, making it truly essential for fans of hard psychedelic rock.
At the same time as its release, the group headed to Sydney for a three month tour. It was not a happy time for the band and at the end of the visit, Billy TK announced that he was remaining in Australia. This basically signalled the end of Human Instinct as a heavy rock band. Instead of replacing Billy with another guitarist, Maurice decided to go for a totally different sound and added Graeme Collins on keyboards.
This configuration didn't last very long and in 1972 Maurice started again with a completely new line-up which consisted of himself, Martin Hope, from the Fourmyula, and John Donoghue, from Timberjack, both on guitar, and Glenn Mickelsson (also known as Zaine Griff) on bass. From late 1971, Maurice divided his time between his music and nightclub construction with his brothers, Barry and Frank. They were responsible for opening quite a few clubs in Auckland, notably Hatchett's, Granny's, Shantytown, Ruby's Saloon and Croft's, as well as quite a number of others around the country.
1. Pinzinet (Neil Edwards, Khayam) - 4:02
2. Stand Up (Neil Edwards, Maurice Greer, Tiny Thompson) - 3:44
3. Duchess of Montrose (Neil Edwards) - 3:56
4. Hazy Days (Billy Te Kahika) - 3:36
5. The Washing Song (Neil Edwards) - 2:50
6. The Nile Song (Roger Waters) - 3:17
7. Play My Guitar (Billy Te Kahika) - 2:53
8. Highway (Billy Te Kahika) - 2:22
9. Rainbow World (G. R. Edwards, Neil Edwards, Maurice Greer) - 4:27
*Maurice Greer - Lead Vocals, Drums, Percussion
*Neil Edwards - Bass
*Billy Te Kahika - Guitars
*Dick Hopp - Flute
*Robert Hooper-Smith - Organ
In 1966, four high school students from the Los Angeles suburbs formed The Human Expression, and by January 1967, their first single, Love At Psychedelic Velocity b/w Every Night, was released to an unsuspecting public.
It was a dazzling, driving, opus of mind-bending sounds, and a harbinger of things to come.
Their second single, Optical Sound b/w Calm Me Down, released in the Summer Of Love, was a two-sided tour de force, with brooding introspective lyrics by lead singer, Jim Quarles.
The Human Expression's edgy bad boy image was the antithesis of the flower-children image so prevalent for groups in 1967.
The Human Expression's third single was Sweet Child Of Nothingness, written by Mars Bonfire, who offered the band another new song, Born To Be Wild.
Quarles thought the lyrics trite, and since he was the lead singer, the band rejected the song, even before Steppenwolf recorded it.
Nevertheless, the three singles The Human Expression released during their short-lived career, would burnish their reputation as one of the finest garage bands to emerge from the mid-60's Los Angeles music scene.
Compiled on this CD are all the surviving demos and tapes of The Human Expression, along with rare band memorabilia, and demos by Quarles from 1965 (recorded just before The Human Expression).
1. Readin' Your Will (Jim Quarles, Jim Foster) - 2:45
2. Love at Psychedelic Velocity (Human Expression) - 2:37
3. Every Night (Demo Version) (Human Expression) - 2:43
4. Calm Me Down (Single Version) (Jim Quarles, Jim Foster) - 2:28
5. Optical Sound (Single Version) (Jim Quarles, Jim Foster) - 2:37
6. Sweet Child of Nothingness (Mars Bonfire) - 3:08
7. Room of Shadows (Complete Version) (Jim Quarles) - 2:22
8. Calm Me Down (False Start) (Jim Quarles, Jim Foster) - 0:14
9. Calm Me Down (Unreleased Version) (Jim Quarles, Jim Foster) - 2:27
10.Every Night (Single Version) (Human Expression) - 2:36
11.Optical Sound (Promo Version) (Jim Quarles, Jim Foster) - 2:33
12.Calm Me Down (Promo Version) (Jim Quarles, Jim Foster) - 2:25
13.I Don't Need Nobody (Mike Verlingien) - 2:56
14.I Told Her (Jim Quarles) - 1:57
15.Return Nevermore (Jim Quarles) - 1:58
16.Judgement of Rejection (Jim Quarles) - 2:05
The Human Expression
*Jim Quarles - Lead Vocals
*Jim Foster - Rhythm Guitar
*Martin Eshleman - Lead Guitar
*Tom Hamilton - Bass
*Armand Poulin - Drums
Originally known as The Circus, The Human Zoo were a rock band from Westminster, California. Featuring Jim Cunningham and Roy Young on vocals, John Luzadder on guitar, Larry Hanson on guitar and keyboards, Bob Dalrymple on bass and Kim Vydaremy on drums, the group was discovered by Jim Foster, guitarist with the Los Angeles-based psychedelic band The Human Expression, whose single "Optical Sound" had been a regional hit.
On Foster's suggestion, the band changed their name from The Circus to The Human Zoo and they landed a recording deal with Accent Records, a small label based out of Hollywood. While Accent released their debut album in 1970, it was pressed in very small quantities; it's been speculated that the label's management believed the group had the potential to be signed to a larger label and pressed the LP primarily as a promoti...
1. It's Got To Be (Roy Young) - 3:01
2. Na-Na (Larry Hanson) - 2:07
3. Help Me (Jim Cunningham, Larry Hanson) - 3:11
4. I Dont' Care No More (Larry Hanson, John Luzadder) - 2:36
5. Funny (A.Morettini, D.Leonards) - 5:09
6. Late To My Resurrection (A.Morettini) - 3:07
7. When Papa Started Drinking (Bob Dalrymple) - 2:27
8. Gonna Take Me a Ride (Jim Cunningham, John Luzadder) - 3:31
9. Stone Sassy Fox (Jim Cunningham, D.Leonards) - 3:16
10. The Human Zoo (Roy Young, John Luzadder) - 3:12
11. The Time Was Over (Bob Dalrymple) - 2:36
The Human Zoo
*Roy Young - Vocals
*Jim Cunningham - Vocals
*Larry Hanson - Guitar, Horn, Keyboards
*John Luzadder - Guitar
*Bob Dalrymple - Bass
*Kim Vydaremy - Drums
Michael George "Chick" Churchill is a classically-trained pianist best-known as on/off keyboard man with Ten Years After, possibly the archetypal British blues/rock band, featuring Alvin Lee's lightning-fast guitar work.
You and Me is Churchill's only solo album, is an unfairly forgotten rock gem with quite strong, progressive influences. A bevy of famous friends Jethro Tull's Martin Barre, Cozy Powell, Leo Lyons, Rick Lee, Roger Hodgson, Bernie Marsden, Garry Pickford Hopkins, it’s really hard to imagine a better configuration on one record.
1. Come And Join Me - 5:10
2. Broken Engagement - 3:09
3. You And Me - 4:41
4. Reality In Arrears - 7:02
5. Dream Of Our Maker Man - 2:58
6. Ode To An Angel - 4:06
7. You're Not Listening - 2:39
8. Chiswick Flyover - 2:54
9. The Youth I Dreamt In Slipped Away - 4:31
10.Falling Down An Endless Day - 3:06
All songs written by Chick Churchill.
*Chick Churchill - Piano, Organ, Moog, Mellotron, Vocals on 7,10
*Gary Pickford-Hopkins - Vocals
*Martin Barre - Guitar on 1,2,5,9
*Rodger Hodgson - Guitar on 3, Bass on 3,4,6,7
*Bernie Marsden - Guitar on 4,6,7
*Leo Lyons - Bass on 1,2,5,8,9
*Cozy Powell - Drums on 1,5,8,9
*Ric Lee - Drums on 2
*Rick Davies - Drums on 3,4,6,7
*Bill Jackman - Sax on 1,3
The Filet of Soul Story When Mike started his band, they were known in those early days as Attila and the Huns. "While still in High School, we played in dance halls, bars, school dances and the standard band circuit". The Huns managed to make a steady and somewhat lucrative living.
One year later, the band, put up their own money and produced their first single recording. Recorded on the SARA record label, "Cheryl"(written for a friend who was killed in a car crash), backed with "The Lonely Huns" 45s sold about 20.000 copies locally in the Central Wisconsin area during the bands live performances. A win in a Battle of Bands contest sent the Huns on the way to a national road tour, where the Huns met a Chicago/Milwaukee record producer Lenny LaCour.
Lenny convinced the Huns to change their name and sign his record contract for 4, 45s and an LP recorded at Chicago's Chess Studios. The new Filet of Soul as the band became known, was about to embark on a two year National road tour and many more adventures which would cover a 20 year slice of time together. During this time they also traveled to the continent of Greenland for a U.S.O. show, where they met and performed for the U.S. and Danish Air forces and Prince Phillip of Wales.
Returning home they spent nine and a half months performing in the Chicago Playboy Club where they rubbed elbows with and got to know some of the biggest names in show biz. Greats like: Sammy Davis Jr., Mick Jagger, Sony & Cher, Jimmy Durrante, Shelly Berman. Jimmy Rodgers, Kenny Rogers. Buddy Ebsen. Gabe Kaplan. Myron Cohen, Jerry Van Dyke, The Shadows of Knight and the list goes on and on. Michael and his band recorded two albums (One at Chess Studios in Chicago) and eleven 45's a few of which have become collector's items. "Freedom1 was different from a lot of era albums in that it showcased a largely original set of material.
Mostly penned by member Mike Peace, the album showcased an interesting mix of blue-eyed soul ("Treat Her Right"), top-40 pop ("Here's Where I Get Off") and tougher rock material ("Come To Me"). As lead singer Peace had a great voice that was more than capable of handling the band's diverse repertoire. It was all performed with the kind of naive enthusiasm that more than compensated for whatever performance short comings the band had and for the somewhat low-fi sound and production.
Interestingly virtually every one of the twelve songs had commercial potential, but these guys were at their best when playing straight ahead rock - the wah-wah guitar propelled title track, "Big City USA", the fuzz -driven 'Standing At the Wrong Machine" and the raging garage screamer "Stepping Into Your Fire".
There was also a nice cover of the Zombies' "Tell Her No". Certainly not the most original album you've ever heard, but thoroughly charming and one that I continually spin. The b & w cover is due to a color sleeve being beyond the band's means, after purchasing the rights to the album from Chess. who chose not to release it.
by Mike Peace, October 2011
1. Freedom (Mike Peace) - 4:25
2 Come To Me (Mike Peace) - 1:55
3. Here's Where I Get Off (Mike Peace) - 2:45
4. Tell Her No (Rod Argent) - 2:03
5. Sweet Lovin' (Mike Peace) 2'46
6. Treat Her Right (Roy Head, Gene Kurtz) - 1:58
7. Big City USA (Rich LaGault, Mike Peace) - 2:51
8. Standing At The Wrong Machine (Lennie LaCour) - 2:25
9. Get Ready (William Robinson) - 2:48
10.Steppin' Into Your Fire (Lennie LaCour) - 3 44,
11.Learn How To Love (Mike Peace) - 3:13
12.Do Your Own Thing (Lennie LaCour, Mike Peace) - 2:58
In 2001 when Gear Fab Records released the Oxfords “Flying Up Through The Sky” reissue CD, I thought that the disc had included all of the material the group had ever recorded. The music on the first CD went from the first time the group set foot in a studio in 1966 to record “There’s Always Something There To Remind Me”, up to 1972 when the group made the last Oxfords recordings (“Tornado Baby”, “Those Winds”, “Sweet Lover Man”, etc.).
At that time I had tried to get the group’s original multi-track masters, but the Allen- Martin (formerly Sambo) Studio, where almost all of the group’s recording had been done, had refused to release the tapes. Because of this, most of the songs on that CD were transfers from the vinyl LP and the 45s.
Then in 2006 the Allen-Martin Studio closed. The property and equipment were sold, and the building was bulldozed. The studio’s tape archives, which had been locked away (some of the tapes for over forty years), were to be thrown into a dumpster.
However, thanks to the efforts of Marvin Maxwell and Walker Ed Amick, all of the master tapes were saved. Marvin was Louisville’s first-call session drummer who played on a large percentage of the recordings done there. He had also played in both Soul Inc. (touring with the Dick Clark Caravan), and with the group Elysian Field. Walker Ed Amick is a rock guitar player who has played with the likes of Delaney Bramlett (Delaney and Bonnie and Friends), Joe Cocker, Eric Clapton, and even Beatle George Harrison!
Marvin then started doing a weekly radio show called “Louisville’s Lost and Found” on public radio station WFPK. The show featured the old music recordings that he and Ed had been transferring from tape to CD.
Webcasts of any of the shows can be heard by going to www.groovymusicinc.com, and clicking the MEDIA tab. Marvin asked me to be on the show the week they were featuring the Oxfords songs. When Marvin told me what he and Ed had been doing, I volunteered to help transfer (and in many cases) remix years of recordings from the original multi-track masters. I’d go through each box of tapes like a kid looking for the prize in a box of corn flakes.
Several months into the project, Marvin handed me a box that had what I’d been looking for. It was the Oxfords multi-track masters. Surprisingly though, I now had, not only the songs I had remembered recording, but several other reels with songs that I forgot had existed!
This CD features those songs. I’m not sure why they were never released, but it was probably that the group still had hundreds of unsold LPs! The second production run of the original 2001 re-issue GF-168 “Flying Up Through The Sky” will have the recordings that were remixed from the original multi-track masters (as opposed to transfers from the vinyl LP). Listeners should notice a marked improvement in the sound quality, since all but four songs are from the original tapes.
This disc you’re holding in your hand right now (GF-226) has every song digitally mastered directly from the original analog multi-track. They’re mixed and mastered the way we would have done it, if we’d had unlimited studio time back in the 60’s.
by Jay Petach
1. The Harm I Do (By Being Me) (Jill DeMarco) - 2:52
2. Reno, Nevada (Richard Farina) - 2:23
3. Lightnin' Sally (Jay Petach, Jill DeMarco) - 2:27
4. Dance!(Jay Petach, Jill DeMarco) - 2:40
5. I Can't Remember Your Name (Jill DeMarco, Tom Owen) - 3:15
6. Coin' Home (Jay Petach, Tom Owen) - 2:35
7. Year of Jubilo (Intro) (Trad. Henry Clay Work) - 0:11
8. Year of Jubilo (Trad. Henry Clay Work, Music by Jill DeMarco) - 2:49
9. Sit Down (Traditional, Arranged by Jill DeMarco) - 2:35
10.Sunshine Can Still Feel Warm (Jim Guest, Jay Petach) - 3:00
11.Make Me One of Your People (Jim Guest, Jay Petach) - 2:29
12.I Gave You My Name (Jim Guest, Jay Petach) - 3:27
13.When You Decide (To Say Good-Bye) (Jerry Canter) - 2:56
14.Runaway (Del Shannon, Max Crook) - 1:54
15 Foolin'Around Waltz (Jesse Collin Young) - 2:48
16 Underscore (Keith Spring, Jay Petach) - 4:00
Southern rock will continue to live and breathe in some fashion, especially as reminders of the genre's glory years -- such as the Outlaws' 2012 four-CD set Anthology (Live and Rare) 1973-1981 -- are issued. There's a treasure trove of material here, with over four hours of previously unreleased material from the Tampa, Florida-based band. the Outlaws could stand on the edge of straight-up country yet turn on a dime and blast out walloping bulldozer-on-steroids hard rock, maintaining memorable melodies and hooks along the way on signature songs like "There Goes Another Love Song," "Green Grass and High Tides," "Hurry Sundown," and the cover of "(Ghost) Riders in the Sky."
The original lineup included an amazing triple-threat frontline with lead vocalists/guitarists Hughie Thomasson, Henry Paul, and Bill Jones, often referred to as the "Florida Guitar Army." Bass guitarist Frank O'Keefe and drummer Monte Yoho provided the bottom thump, with O'Keefe's work (as well as that of future replacements Harvey Dalton Arnold and Rick Cua) standing out as especially integral to the arrangements. (Latter-era vocalist/guitarist Freddie Salem and drummer David Dix are to be commended as well.)
Most of the live material comes from the band's first three albums: 1975's Outlaws, 1976's Lady in Waiting, and 1977's Hurry Sundown. Multiple versions of several songs are collected including "There Goes Another Love Song," "Stick Around for Rock and Roll," "Knoxville Girl," "Freeborn Man," "Song in the Breeze," "Gunsmoke," and "Green Grass and High Tides," among others. One stand-out rarity is the cover of Jackson Browne's "Red Neck Friend." Disc one includes performances from 1975 shows in Denver, Colorado; Bryn Mawr, Pennsylvania; Cleveland, Ohio, and the Record Plant recording studio in Sausalito, California.
Disc two features 1976 performances at the Record Plant in Los Angeles, California. Disc three captures 1977 performances in Pittsburgh, Pennsylvania and Passaic, New Jersey; as well as 1981 tracks also from Pittsburgh, Pennsylvania. Disc four is the most interesting for longtime fans because it includes studio demos recorded between 1973 and 1977. Nine demos from the Outlaws, Lady in Waiting, and Hurry Sundown sessions are followed by eight previously unreleased ones. "Never See Your Face" is bouncy country rock, "Windy City Blues" is a smoldering and surprisingly effective 7-and-a-half-minute jam, "Nighttime's Passing Dream" is melodic and easygoing, and "Goodbye Tupelo" is very nearly pure country.
An informative essay is included in the liner notes, but specific details on the origins and sources of this material -- Radio broadcasts? Soundboard recordings? Venues? Precise dates? Lineups? -- are incomplete. Despite occasional shrillness, the overall sound quality of these recordings is excellent. The studio demos sound like nearly completed recordings; they aren't like some demos that get released and sound like they were primitively recorded at the bottom of a muddy river. Anthology (Live and Rare) 1973-1981 is a sure-fire reminder of the Outlaws' powerful music and their unique contribution to Southern rock.
by Bret Adams
Live in Denver, CO (August 1975)
1. Waterhole (F. O'Keefe, H. Paul, H. Thomasson) - 1:55
2. Stick Around for Rock and Roll (Hughie Thomasson) - 9:01
3. Knoxville Girl (Henry Paul) - 3:40
4. There Goes Another Love Song (Henry Paul) - 2:56
Live in Bryn Mawr, PA (August 1975)
5. Song for You (W. Jones, H. Thomasson) - 3:36
6. Prisoner (W. Jones) - 9:48
7. Redneck Friend (J. Browne) - 3:49
Live in Cleveland, OH (September 1975)
8. There Goes Another Love Song (H. Thomasson, Monte Yoho) - 3:16
9. Freeborn Man (Keith Allison, M. Lindsay) - 5:17
10. Kansas City Queen (Hughie Thomasson) - 8:11
Live in Record Plant Sausalito, CA (November 1975)
11. Song in the Breeze (Henry Paul) - 4:53
12. Knoxville Girl (Henry Paul) - 3:21
13. Cry No More (W. Jones) - 4:13
14. Green Grass and High Tides (Hughie Thomasson) - 12:53
Live in Record Plant Los Angeles, CA (November 1976)
1. Waterhole (F. O'Keefe, H. Paul, H. Thomasson) - 2:07
2. Stick Around for Rock and Roll (Hughie Thomasson) - 8:54
3. Song in the Breeze (Henry Paul) - 4:59
4. Lover Boy (Hughie Thomasson) - 4:17
5. Freeborn Man (Keith Allison, M. Lindsay) - 5:11
6. Cry No More (W. Jones) - 4:02
7. Knoxville Girl (Henry Paul) - 3:34
8. Green Grass and High Tides (Hughie Thomasson) - 14:10
9. There Goes Another Love Song (H. Thomasson, Monte Yoho) - 4:17
Live in Stanley Theater Pittsburgh, PA (March 1977)
1. South Carolina (Henry Paul) - 3:11
2. Gunsmoke (Henry Paul, Monte Yoho) - 4:33
3. Song in the Breeze (Henry Paul) - 4:47
Live in Capitol Theater Passaic, NJ (May 1977)
4. Cold and Lonesome (Harvey Dalton Arnold) - 3:34
5. Holiday (W. Jones) - 4:39
6. Hurry Sundown (Hughie Thomasson) - 4:09
7. Lover Boy (Hughie Thomasson) - 3:49
8. Gunsmoke (Henry Paul, Monte Yoho) - 4:05
Live in Pittsburgh Arena Pittsburgh, PA (November 1981)
9. Angels Hide (Hughie Thomasson) - 6:14
10. Blueswater (W. Jones) - 4:59
11. Keep Prayin' (Frank O'Keefe) - 2:46
12. You Are the Show (Hughie Thomasson) - 5:16
13. (Ghost) Riders in the Sky (S. Jones) - 7:07
Disc 4 “Outlaws” Sessions
1. Song for You (Hughie Thomasson) - 3:57
2. It Follows from the Heart (W. Jones) - 4:18 “Lady In Waiting” Sessions
3. Freeborn Man (Keith Allison, M. Lindsay) - 5:48 “Hurry Sundown” Sessions
4. Gunsmoke (Henry Paul, Monte Yoho) - 3:56
5. Holiday (W. Jones) - 3:57
6. Hurry Sundown (Hughie Thomasson) - 4:12
7. Cold and Lonesome (Harvey Dalton Arnold) - 3:49
8. Night Wines (W. Jones) - 4:05
9. Heavenly Blues (Henry Paul) - 3:23 Unreleased Demos 1973 – 1977
10. Never See Your Face (Henry Paul) - 2:55
11. Windy City Blues - 7:32
12. Nighttime's Passing Dream (Henry Paul) - 3:26
13. True Love at First Sight (Hughie Thomasson) - 2:19
14. Where Does It Go from There - 3:22
15. Goodbye Tupelo (Hughie Thomasson) - 2:37
16. Alone with You Again (Hughie Thomasson) - 2:26
17. Two Time Blues - 2:38
The Outlaws Original Line Up
*Hughie Thomasson – Guitars, Vocals (Died 9/9/07)
*Henry Paul – Guitars, Vocals
*Billy Jones – Guitars And Vocals (Died 2/7/95)
*Frank O’Keefe – Bass And Vocals (Died 2/26/95)
*Monte Yoho – Drummer Other Members 1977 - 1981
*David Dix – Drums, Percussion
*Harvey Dalton Arnold – Bass, Vocals
*Freddie Salem – Guitars, Vocals
*Rick Cua – Bass, Vocals
Machiavel might be Belgium's best known and most successful progressive rock band, but they weren't the first.
Probably the earliest band from that country playing this kind of music is Mad Curry, who released a single called "Antwerp", and then a self-entitled album, both in 1970 on the small Pirates label, meaning LP copies aren't likely to float around, and a legitimate CD reissue hasn't surfaced.
The band came from Antwerp, which is in the nothern half of the country (where the Flemish variety of Dutch is spoken). The band included female vocalist Viona Westra, who sounds remarkably like Curved Air's Sonja Kristina, with saxist Joosk Geeraerts (apparently also known as Giorgio Chitschenko), organist Danny Rousseau, bassist Jean Andore (or Vandooren), and drummer Eddy Kane (or Verdonck).
Notice they don't have a guitarist. Despite the band being Belgian, they stick to a British style of jazzy progressive rock.
Really, Mad Curry is truly one of the great, lost gems of progressive rock. This is simply an incredible collection of music, with some really creative drumming from Eddy Kane, and some killer organ work from Danny Rousseau.
This one of those progressive rock albums that isn't particularly pretentious (for those who run at the thought of this kind of music), as they tend to borrow more from jazz than classical. The music is really full of great twists like on "Beauty", "Music, the Reason for Our Happiness", and "Longhaired Children in a Cave".
"The Worker" is a real interesting one where it the keyboard heard sounds like a cross between a piano and harpsichord. While vocals are largely from Viona Westra, one of the guys (not sure who) do actually share vocal duties on "Beauty" (a song with reference to sex) and he reminds me of the Amon D??l II male vocalist.
Frequently Mad Curry gets compared to Soft Machine and Julian's Treatment, which is understandable, the Soft Machine comparison coming from the jazzy nature of the music, and Julian's Treatment for the female vocals and Hammond organ.
Other groups I get reminded of are Affinity, Catapilla, and even Curved Air (thanks to Viona Westra sounding like Sonja Kristina, which means if you like Sonja's vocals, you'll have little problem warming up to Viona's vocals, although like Sonja, she is an acquired taste).
Really, had Mad Curry been British, they'd likely end up on the Vertigo label, as it's very much in the vein of the more jazzy progressive albums on that label.
But since they were Belgian, they ended up on the Pirates label. Remember, in Belgium, the progressive rock scene hadn't been as so well represented as the progressive rock scenes in the countries that surround it (Netherlands, France, Germany), but Belgium had their share of groups worth your time, and if you're a fan of those British groups I mentioned, I really think you can't go wrong with Mad Curry. I was simply blown away from the first listen!
by Ben Miler
1.Men - 4:08
2.Big Ben - 4:53
3.Beauty - 3:31
4.Music, The Reason Of Our Happiness - 4:05
5.Jack Is Away - 5:17
6.5 Longhair Children In A Cave -
7.The Worker - 3:48
8.Sound For Tomorrow (Giorgio Chitschenko) - 3:16
9.Antwerp (single A side) - 2:57
10.Song For Cathreen (single B side) - 2:26
All titles by Viona Westra and Giorgio Chitschenko except where noted
The sole, eponymous LP of the British band was released in 1973 by EMI Label, unfortunately in France only ! There's no information available about the band ( even their names ) expect the fact they came from Telford area in Shropshire and were previousley known as Fluff.
The music itself is best described as very melodic, early Badfinger ( well done vocal harmonies, catchy melodies ) combined with George Harrison ( beautiful electric / acoustic guitar sound ), some hard rock ( on few tracks ) and progressive rock influences ( occasional mellotron passages, changing moods ).
1. Just A Bridge - 3:34
2. Back Room (Alan Millington, Mick Skinner, Alan Phillips) - 3:43
3. Hallelujah Dave - 2:51
4. Getting Older - 2:51
5. Making It Hard (Alan Millington, Mick Skinner, Alan Phillips) - 3:54
6. Show - 4:46
7. It's All Right - 3:16
8. Frost And Fire - 2:39
9. Simple Man - 2:43
10.Glen - 0:55
11.I Can Fly - 3:30
12.Shanty - 6:43
All songs by Alan Millington, Mick Skinner except where stated
I knew that I had to play the guitar when I heard the unique sounds of Eric Clapton, I was I3 years old when a friend of mine introduced me to John Mayall's Bluesbreakers and "cream's" Disraeli Gears albums which featured Eric Clapton. I wore those albums out! I came across a gretch guitar; a small amplifier and a fuzz face distortion unit. From that moment on, i was in love with that "overdrive" sound.
During my mid-teen age years.'i studied some jazz, on and off, but always looked for ways to integrate "jazz riffs" into a "rock" environment: for quite some time I had developed a fondness for poetry, so songwriting became an opportunity to weave this desire to write, into the musical sounds that i could create. I dont consider myself a musican, nor have i ever. I feel, that i am an artist who uses the guitar and lyrics just as an impressionist painter uses his brush and canvas. My work is "stream of consciousness" for the most part during my late teens. I realized that a number of people showed an interest in my music.
I then decided to record my first album. I never pursued music in a commercial or monetary way. To me, recording my music was a way to express myself as well as an avenue to create something tangible: a record. My first album, "Jeffery Liberman" was recorded at the age of I9, i had very little money and only with the help of all parties involved (ie. Artist for cover; recording studio, etc.) Was i able to complete the entire project for a mere $ 2,000!
All of the profits from this album were donated to the larabida children's hospital in Chicago. Illinios. I wanted to use whatever talent or perceived talent that i had. To help others when possible. After completing my first album, i realized that i not only enjoyed writing and playing. But i also enjoyed the production aspect of my music. I continued to write and record my songs as money would allow. Consequently, all of my music was "low budget. My focus was always on the expression of my ideas. Not on the presentation. I had to employ some unusual recording techniques, so as to enable me to record my music while having such limited financial access.
I have had the pleasure of playing with such notable artists as: Phil Upchurch. Muddy Waters jr., junior a awells and the rhythm selection of junior walker and the all stars. My musical influences include such greats as: Eric Clapton, Carlos Santana, Duane Allman, Roy Buchanan, Jeff Beck, Albert Collins, Larry Carlton and Jan Ackerman. I have put together a guitar book for people that would like to learn the note patterns and chords that i use in my playing.
No music reading is required. Anyone can learn the note patterns and riffs used by all of these artists. I believe that toe artists' soul is what differentiates each player's sound as well as their interpretation of tonal patterns. My current equipment is: hamer guitar; gibson es-347. Gibson les paul, martin d-35 small amplifier (inexpensive. No name) "rat distortion box vox cry baby wah wah pedal. Jefferey Liberman
Tracks Disc 1 Jefferey Liberman 1975
1. Drcamin' Sailor - 2:17
2. Evanescent - 3:03
3. Catherine - 2:51
4. Phenaphen #3 - 8:42
5. Boogie Blues - 3:37
6. Safari - 2:51
7. Tasty Vertex - 4:14
8. All That Jazz - 4:10
9. Women's Needs Are Seldom - So Meet Them At The Why? - 4:45 Solitude Within 1975
10.I Can't Change - 3:48
11.Springtime - 2:35
12.Rock Or Roll Me - 3:39
13.Lite Is Just A Show - 2:32
14.A Mvopic Huphoria - 1:43
15.Woman - 4:40
16.Solitude Within - 2:43
17.Soft Anil Lasts - 2:22
18.The Same Old Blues - 3:31
19.Transition - 3:29
All Songs by Jeff Liberman
Disc 2 Synergy 1978
1. Way Of The Wind - 2:34
2. Just A Thoimlu - 2:43
3. What The Funk - 1:14
4. Everything Around Us Will Be Love - 2:56
5. On The Move - 2:28
6. Another Day - 3:05
7. Springtime - 2:35
8. Transformation - 3:25
9. Stream Ot Contusion - 3:08
10.Cornin' Down On Me - 4:53 Into The Comfort Zone 1989
11.Way Of The Wind - 3:36
12.Places Tb Go - 3:26
13.Down On Me - 5:16
14.Another Day - 3:15
15.City Streets - 5:27
16.Music Lakes Me Higher - 2:23
17.You've Got The Cure - 3:08
18.Man For You - 3:24
W.I C'an't Change - 3:50
20.There S A Way - 3:55
21.25 Or 6 To 4 - 4:44
All songs by Jeff Liberman except track #21 by Robert Lamm
In the Summer of 1970 Joe toured England and Scandinavia playing at the Bath and Bickershaw Festivals. Both were huge successes and we decided to stay in London and record some of the new songs that Joe had been writing. We booked De Lane Lea studio for a couple of weeks and started trying to find people we knew to play on the record.
Eventually we wound up with among others Peter Green and Danny Thompson and two songs Spencer Davis. Unfortunately we had a lot of problems once we got the tapes back to California. We had to go back into the studio and add some new drums-Chicken Hirsh from the Fish; and on "Hold On It's Coming II"; Greg Dewey and Ed Bogas on violin.
This album features a different style of songwriting than the 5 Country Joe and The Fish albums—it's more political—more to the point6 ("Mr. Big Pig" more topical)—("Air Algiers"). Joe spent some time in the South of France, and went to Algiers to see if he could find Eldrige Cleaver an important member of the Black Panther Party who had fled the USA to avoid being arrested. —He didn't run into him. The title song "Hold On it's Coming " was subject to much controversy in the press.
Many critics thought the hitchhiker was a reference to Christ—Joe won't say; and many different allusions about the song and it's meaning (if any) showed up in the press from time to time. The album itself got great radio play, but was confiusing to stores and buyers because of the cover. Many thought it was the soundtrack to a movie—since there was no movie, the records wasn't adequately stocked. Goes to show what art can sometimes do to an album release.
by Bill Belmont, Berkeley, June 2001
1. Hold on It's Coming No. 1 - 3:52
2. Air Algiers - 2:31
3. Only Love Is Worth the Pain - 3:55
4. Playing With Fire - 3:20
5. Travelling - 4:27
6. Joe's Blues - 4:14
7. Mr. Big Pig - 3:31
8. Balancing on the Edge of Time - 3:11
9. Jamila - 3:26
10.Hold on It's Coming No. 2 - 3:52
Words and Music by Country Joe McDonald
*Country Joe McDonald - Vocals, Acoustic Guitar, Guitar
*Spencer Davis - Back-Up Vocal, Acoustic Guitar, Harmonica
*Rockhead - Electric Guitar
*Richard Sussman - Piano
*Nick Buck - Electric Piano
*Alex Dmochowski - Bass
*Eric Weissberg - Bass
*Vic Smith - Bass, Electric Guitar, Back-Up Vocal
*Gary "Chicken" Hirsh - Drums
*Greg Dewey - Drums
*Mark Sidi Siddy - Talking Drum (Track 9)
*Ed Bogas - Fiddle (Track 10)
*Peter Green - Guitar (Tracks 2, 3)
*Danny Thompson - Bass
The Rotterdam based band started as The Swinging Soul Machine and changed to Machine. Their sound was a mixture of Psych, progressive, hard rock and brass rock. Nederbeat was one of the more healthy psych/garage scenes coming out of continental Europe and Machine were like the latter stages of those groups such as Q65 and Cosmic Dealer.
Singer John Caljouw came from the legendary dutch band Dragonfly. The strong Hammond organ presence adds a proto-prog sound similar to Deep Purple and Mainhorse. Horns were frequently inserted in those days to increase the odds of a chart appearance, given the wild success of Chicago and Blood Sweat and Tears. And, as expected, there's also a strong blues influence throughout.
Machine existed from 1970 to 1972 but was also revived from 1973 to 1974 by Content and Warby.
by Tom Hayes
1. Rainmaker (Machine) [3:23]
2. Virgin (Machine) - 4:29
3. Say goodbye to your friends (H. Sel, J. Caljouw) - 2:46
4. God's children (Machine) - 4:41
5. Old black magic (Machine) - 3:42
6. Spanish roads (Machine) - 5:23
7. Lonesome tree (F. Content) - 3:38
8. Sunset eye (F. Content) - 6:26
Skin Alley was formed in 1968 through a series of important personnel changes to finally stabilize around Thomas Crimble (keyboards, bass and vocals), Bob James (saxophone and guitar), Krzysztof Henryk Justkiewicz (keyboards) and Alvin Pope ( drums). Clearwater strategy to publicize Skin Alley with labels is their potential to play a maximum of free concerts in the London area. During one of these concerts in August 1969 with High Tide and Skin Alley, training unknown name Group X has squatter equipment and played his first concert: the audience has to know the future Hawkwind. The famous DJ John Peel attended the concert and Skin Alley allows to record a show broadcast in the legendary show on Radio One.
Some companies point the nose to sign Skin Alley and finally CBS offers the best deal. The band entered the studio in November 1969 and wax layer on what to do first album based progressive rock and jazz rock. Before the release of this album, CBS included the first song "Living in sin" on the compilation "Fill your head with rock" published in 1970. This little warm-up helps to know a little better Skin Alley, whose album was released in March 1970 with the single "Better be blind / Tell me" loaded to bait the public.
"Skin Alley" is a good album of progressive uneventful, with great moments like "Living in sin" or the beautiful and melodic "Tell me." Groundwater organ sounding and subtle flûtiaux introduce a "Mother please help your child"-like blues saint-Sulpician. Product of progressive jazz with great pomp recalls Graham Bond Organisation or Artwoods ("Marsha"). "All Alone" is a long slow sadness which would be perfect for a surprise party in a funeral home. The album ends with the honest boogie "(Going down the) highway" highly enriched saxophones and organs.
This first album was very well received by critics and Skin Alley promote share in France during the spring of 1970, a tour which also vying Kevin Ayers and the Edgar Broughton Band. CBS has enough confidence in his new protégé allow him to record a second album. The group enters the De Lane Lea studios in June 1970, with producer Fritz Fryer and sound engineer Martin Birch (who later produce Deep Purple, Rainbow, Black Sabbath, Blue Öyster Cult, Whitesnake and Iron Maiden legend) . It is precisely at this time that Thomas Crimble share in Hawkwind and is replaced by Nick Graham (ex-Atomic Rooster).
The album "To Pagham and Beyond" marks a more jazzy improvisation and more progressive than its predecessor. This second album contains three long jams that give a spatial aspect: "Big Brother is watching you", "The queen of bad intentions" and "Take me to your leader's daughter." The group also includes the "Walking in the park" by Graham Bond, leading to a more adventurous and more content released on the first album.
Skin Alley received shortly after the recording of her second album, an order for the soundtrack of a German documentary about the supermodel Verushka. The group has recorded songs like "Shower music", "First drug scene" and "Cemetery scene" in a funky style in their infancy. This film was to be called "Stop Verushka" is finally stillborn and the soundtrack that would accompany ends into oblivion CBS offices.
Big Brother is Watching You – The CBS Recordings Anthology brings together the first two albums from Skin Alley – their 1970 eponymous debut and it’s follow up (also 1970) To Pagham and Beyond – along with a single ‘Better Be Blind’ and the unreleased soundtrack album to the equally unreleased film, Stop Veruschka. A rare old package and no mistaking, Guvnor.
Skin Alley blended a formidable sonic stew, flavouring their musical melting pot with elements of psychedelia, folk and the occasional dash of jazz horns, played out against a snarling undercurrent of bluesy riffage. This was served to an eager audience of free-festival-dwelling counter culturites, on a sizeable platter of proto-progressive rock. Close your eyes for a second, while listening to Big Brother is Watching You, and witness the seething mass of barnets that their particular brand of underground stylings sailed across, undulating as a single consciousness on a summer’s afternoon in Dorset, 1969.
‘Living in Sin’ is a case in point of how the musical machinations of Skin Alley evoke a certain spirit of freedom, long laid to rest, that eschews cynicism in favour of swirling flute melodies. The kind that unwrap an exquisite picture box of late 60?s hippy imagery, as imagined callow young things spin like dervishes upon the hallowed soil of Olde England, giving “The Man” something to fill his next half-century’s worth of quietly anaemic nostalgia TV shows with.
As ‘Living in Sin’ kicks off the original Skin Alley album, so it does this anthology, which is split into two discs: the first presenting the self-titled debut, with the second disc showcasing To Pagham and Beyond. For understandable reasons, the aforementioned Stop Veruschka is spread across both discs, tail-ending the first two albums so as not to break up their continuity. It’s largely forgettable, apart from one ray of light in ‘Sun Music’, which would reappear on Skin Alley’s third release, Two Quid Deal.
Whereas Skin Alley is a tight collection of the socially conscious and the sinister (‘All Alone’ sounding uncannily similar Country Joe and the Fish’s spectacularly eerie ‘Bass Strings’), To Pagham and Beyond opts for a more laidback approach, with extended jams and a heavier acknowledgement of the jazz influences. The nine minute ‘Take Me to Your Leader’s Daughter’ illustrates this perfectly, as meandering instrumental passages intertwine with brief vocal departures; the type of thing that would easily have gone on for another 40 minutes when performed on stage.
Big Brother is Watching You, brings the two albums together nicely, with both discs having their fair share of high points. Those old HFoS favourites, the Mellotron and the Hammond Organ, are incorporated liberally throughout and there’s even room left for a Harpsichord on the medievally-flavoured folk instrumental ‘Country Aire’. The flute be the real star though, providing the thread that binds a great deal of this excellent anthology together. If you’re a fan of the rough-around-the-edges underground rock rawness demonstrated by High Tide, Mighty Baby, Edgar Broughton and Hawkwind, to name a small few, then this band of hirsute ne’er-do-wells could be right up your (Skin) alley.
Taken From The Album Skin Alley
1. Living In Sin - 4:41
2. Tell Me - 4:39
3. Mother, Please Help Your Child - 4:11
4. Marsha - 7:18
5. Country Aire - 2:16
6. All Alone - 8:13
7. Night Time - 5:32
8. Concerto Grosso (Take Heed) - 0:29
9. (Going Down The) Highway - 4:16
A and B Sides Of Single
10.Better Be Blind - 3:02
11.Tell Me (Single Version) - 3:58
Taken From The Unreleased Soundtrack Album Stop Veruschka
12.Shower Music - 3:34
13.Sofa, Taxi And Sand Themes - 5:10
14.Cemetery Scene - 4:40
15.First Drug Scene - 5:15
Disc-2 Taken From The Album To Pagham And Beyond
1. Big Brother Is Watching You - 6:47
2. Take Me To Your Leaders Daughter - 8:46
3. Walking In The Park - 6:41
4. The Queen Of Bad Intentions - 6:47
5. Sweaty Betty - 8:04
6. Easy To Lie - 5:17 Taken From The Unreleased Soundtrack Album Stop Veruschka
7. Russian Boogaloo - 4:09
8. Skin Valley Serenade - 5:30
9. Sun Music - 5:26
10.Bird Music - 4:16
11.Snow Music - 2:33
* Thomas Crimble - Bass, Vocals, Keyboards, Harmonica
* Bob James - Saxophone, Flute, Guitar, Vocals
* Krzysztof Henryk Juszkiewicz - Organ, Piano, Harpsichord, Melotron, Vocals, Trumpet
* Giles 'Alvin' Pope - Drums, Percussion
* Nick Graham - Vocals, Keyboards, Bass, Flute
* Tony Knight - Drums, Vocals
Mesa, Arizona, hardly a psychedelic mecca but the roots of Bliss and their first incarnation “The Sect” began there. While students at Mesa High 1966, Brad Reed, Rusty Martin and Corky Aldred got together and formed The Sect, eventually adding Tom Smith on bass and J.R. Lara on tambourine and vocals. Influenced by the British Invasion (who wasn’t?) the band landed a gig at a local nightspot called the Dungeon and changed it’s name to the Henchmen to fit the ambiance. But this was short lived and soon the band changed back to The Sect and began playing around Maricopa County. Keep in mind Reed was just 15 at the time!. Interesting this were to come for the boys.
Later in the summer the band caught at the attention of legendary producer Hadley “Madley” Murrell who had an ear for local talent and did some of the biggest records to come out of the area. He immediately booked them time in the famous Audio Recorders to record the two bonus singles included here. By the end of 1968 all 5 members had graduated from Mesa High School and broke up for a while.
The band decided to reform as a trio with Martin, Reed and Aldred, now a little older and more accomplished on their instruments, the name was BLISS. They teamed up with Murrell again to record a full album which was released on Canyon Records later that year. Sadly though the Lp is a great one, it had little fanfare until years later when collectors began to re-discover it.
Now it is considered a classic and worth a hefty buck. Well the story would seem to end there but…there was another album recorded a bit later which is the one you have here. Murrel again wrote a couple brilliant songs, as did Reed and Aldred. Some of the details of this epic unreleased music are the sketchy but the lp is not. From start to finish it is a killer, vocally, musically and intellectually…wow!. At least 4 classic psychedelic rock tracks appears here, notably “Music train” and “Hippies, Cops and a Bunch of Rocks”. I have added the Sect 45 as bonus tracks here… Catch the Music Train and Return to Bliss
by Brian Hulitt, Hallucinations records.
1. Hotche Blues - 4:18
2. Music Train - 3:22
3. Nothing In My Life - 1:53
4. Fear Of Fears - 4:04
5. Reach Out And Touch You - 5:01
6. City Woman - 3:19
7. Hippies, Cops And A Bunch Of Rocks (Hadley Murrell, Eddie Campbell) - 3:54
8. Sandbox Symphony (Forest Webb) - 2:25
9. Simply Sunday (By The Sect) (Brad Reed) - 1:40
10. Just Can’t Win (By The Sect) (Rusty Martin) - 2:10
All songs by Corky Aldred except where indicated
And that about covers it, except that in between he was half of a group called Peanut Butter ‘n’ Jelly, and then he was on his own again, and he met people who went wha? When he sang his songs. "I remember the first time Derek Taylor heard me, he was standing in the other room and I did this medley I had worked out back then - I did a lot of songs with this transition thing worked in between em - and suddenly he goes CRASH!, drops everything, falls against the wall, and then when I finished he comes over and he says, 'Well, I , oh - what good are words, anyway? I just wanted to say, I really enjoyed your... music.' And I'm saying 'Uh, right,' and the walls are going ka-choonga, you know? One of those mystical experiences."
Gordon met Clive Davis, the president of Columbia Records, who said something like 'yeah', and signed him, and Gordon finally made his album - something he'd waited for a long time, and while making it someone phoned in a bomb threat. "A bomb threat, can you imagine? But we kept on recording. Studio time is scarce at Columbia." One of the strange things about Gordon is the way he sings: hard to describe, one of those things you have to hear. He sings echo with himself, sends his voice around the corner, through a filter, brings it back again, sings echo with himself.
The music at first hearing may sound foreign, jarring, unapproachable - especially the more electronic space songs. Maybe you can't see it at first, but then later when you find it has all worked out, it is most accessible. The first album Buster, doesn't have too many really difficult electric space songs. "We thought we'd keep this one pretty basic," Gordon says. "But I certainly do try to remind people about life and death and those things."
Eye magazine, December 1968
1. Looking For The Sun - 2:37
2. Letter To Baba - 2:44
3. Topanga - 2:29
4. Autumn Is A Bummer - 1:49
5. A Bunch Of Us Were Sitting Around A Candle In San Francisco Getting Stoned And I Hope You’re There The Next Time - 1:58
6. Waiting For The Time - 1:56
7. Thinking In Indian Again - 1:56
8. Puppet Theatre 23 - 2:08
9. One Real Spins Free - 2:24
10.Windy Wednesday - 3:47
11.Miss Mary - 2:55
All compositions by Gordon Alexander
‘What A Lovely War’ … is entitled to such a puzzling irony, the British band’s debut LP Colonel Bagshot does not rocked the Billboard list of the very rich musically 1971. What’s more, in their own country no one even thought about release their album. Debut took place only in the United States.
The next album, which was released for the first time on CD, thanks to the Swedish label: Flawed Games… album devoted to anti-war topics is a piece of excellent, soft – progressive music under the sign of the late Beatles, The Strawbs and early Moody Blues. And while fans of 10-minute solos on the Hammond organ and distorted guitars may feel disappointed, but fans of the good old play based on a clear and ambitious arrangements of tunes from the early 70′s – should be thrilled!
I’m a big fan of this album, but I needed a few hearings to bite deeply into her mood. Just one little thing … Over 10 years ago, an American DJ just took the tape from the first track (Six Days War), remixed it a bit, added a typical soul drums, made a clip of the starving people of Africa i .. so “borrowed” a piece has reached the very top of the U.S. charts and sold millions of copies!and was used for the soundtrack of “Phone Booth” starring Colin Farrell (no relation to Brian).
Funny story is that these facts at the time it was, not Internet (yes, yes meant that contemporary rock librarians ‘Colonel Bagshot’ filed under band from the USA.
No, but now that we have the internet … it turned out that the native British people of flesh and blood!
The group was formed in the late ’60s. They played a lot of concerts and recorded albums. Their work, we compare some of the achievements of The Beatles, The Moody Blues, or even The Strawbs. Album padded ro is the 3.4-minute intervals protest songami a strong anti-war message and already less librarians determine how this type of music: psychedelic rock, or so-called soft-progressive … It is important that arrangements are top notch, the board listened to with great pleasure, even after so many years, and “Colonel” can sometimes bump so that the heel is coming! …. Just great!
Colonel Bagshots toured with Slade and went through transitions with new band members before Brian Farrell Became a solo artist signed to Warner Brothers and Kenny Parry, Dave Dover, Terry McCusker went on to form ‘Nickelodeon’ tight and very popular rock / pop trio. Colonel Bagshot reformed in 2006 for the launch of a book about the 70′s music scene at the Cavern in Liverpool.
1. Six Day War - 3:58
2. Lay It Down - 3:07
3. Lord High Human Being - 3:00
4. Headhunters - 2:47
5. I've Seen The Light - 4:45
6. Dirty Delilah Blues - 4:15
7. Sometimes - 2:02
8. That's What I'd Like To Know - 4:00
9. Smile - 2:55
10.Tightrope Tamer - 2:50
11.Oh! What A Lovely War - 3:18
In the mid sixties, five football players from a local high school got together to Jam. The sounds blended and recorded an album for the Century label which was a late 60's early 70's Californian custom record label that pressed tens of thousands of small-run records for schools, church groups and obscure local bands. This was one of those delightful garage/psych jewels that occasionally cropped up on the label.
With its rustic mill cover this a a garage psych album consisting mostly of covers, delivered with lashings of fuzz guitar and heavy, spooky organ. The stand-out track surely is the jaw droppingly awesome cover of Neil Young's "Sugar mountain". What you are hearing on this album are moods, transitions and feelings of the Fifth Flight.
1. Can't You See (D. Knoedler, S. Denny, K. Van Ordstrand) - 4:51
2. I'd Like To Make It With You (David Gates) - 3:29
3. Devil With A Blue Dress (F. Long, W. Stevenson) - 4:09
4. Celebrate (G .Bonner, A. Gordon) - 2:06
5. Midnight Hour (S. Cropper, W. Pickett) - 3:42
6. Summertime (G. Gershwin, DuBose Heyward) - 4:18
7. It’s All Over Now (B. Womack, S. Womack) - 2:13
8. Sugar Mountain (Neil Young) - 6:10
9. Try A Little Tenderness (J. Campbell, R. Connelly, H. M. Woods) - 4:59