In The Land Of FREE we still Keep on Rockin'

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Plain and Fancy

Music gives soul to universe, wings to mind, flight to imagination, charm to sadness, and life to everything.

Plato

Thursday, March 5, 2026

rep>>> The Corporation - Get On Our Swing / Hassels In My Mind (1970 us, brilliant fuzz psych rock, 2008 remaster)



In late 1967, Kenny Berdoll and Gerry Smith of the Brehmen Caste got a gig at the Galaxy in Cudahy, a South Side Milwaukee suburb. They named the band Eastern Mean Time and Pat McCarthy joined. EMT went through several musicians until the Kondos brothers came aboard in early 1968. It was apparently a joint meeting of the minds, as Nick Kondos' version is that he and John were looking for musicians with which to form their new band.

It was John who suggested the new name, and Danny Peil was the last to join. "He was working in Las Vegas," said Nick, "but we convinced him to come back to Milwaukee. We showed him what we had and he said, This is what I've been looking for. I've had enough of the night clubs.' He had the voice, the range and the strength.

Then we felt we had the right combination." Initially the majority of their repertoire covered Vanilla Fudge, Cream, Hendrix and other psych flavoured material, but they had an agreement with the club owner to rehearse there in the afternoons and work on their originals, gradually introducing more of them into the gig. In a 1975 interview for the Milwaukee Bugle American, Berdoll said, "We built lighting systems and made the Galaxy into a psychedelic club. We'd sit down in my basement and invent new ways to do lighting and stuff, and that all carried over into the Corporation.

The billing that we had was like The Biggest Light Show in Town with the Largest Projections' - a lot of visuals. We started doing college dates and a few other bars, also trips to Chicago, where we played the Aragon Ballroom, and a few as far as Minneapolis." In 1969, with the help of the senior Kondos, the band bought half interest in the Bastille, a club near Lincoln & Howell.

"The Bastille was a psychedelic thing because we put all our ideas into that place," said Berdoll. "It was an old movie theatre with all the seats removed." By this time the Corporation was doing all original material, most of it written by John Kondos, and some written by Nick. "We had already written 90 per cent of those songs when we had the Eastmen Blues Band," said Nick. "We probably could have recorded eight or nine albums." With the Bastille as a home base, the band also gigged occasionally at O'Brad's on the East Side, and they opened for Cream and other names at the Scenem downtown.

While in Detroit for the initial recordings, they appeared at a college festival in Ann Arbor along with Procol Harum, SRC and the MC5. "We went over really big there," said Kondos. "Next thing, we were doing love-ins and things at Washington Park and Grant Park with the Messengers and some others. It was all hippies and we were the ones that drew the people in." For Berdoll, the high point in the Corporation's existence was right after the album came out. "We played a really big 'be-in' at a park on the South Side. About 10,000 people showed up; it was really electric; the adrenalin was flowing.

Towards the end we had to do several encores and the thing was almost erupting into a riot. Everything was political back then, like the draft card burnings and such." Perhaps more extensive touring might have propelled that first album to greater heights, but except for Chicago and St Paul, the band remained local. There were no television appearances, and nothing else to build a greater audience. Kondos said that a European tour was in the planning stages, but it fell apart when disagreements with Capitol Records surfaced.

The Corporation travelled to Los Angeles to meet with the label, the Kondos brothers and their uncle handled the negotiations. "They treat you like kings," said Nick. "They set you up with the hottest girls; we went to a jam featuring Jimi Hendrix, and then they get the drugs out. But we found out that the album was selling and we didn't get a penny. We had an argument with Capitol and that's how the contract ended. Maybe we were a little impatient.

You give it everything you've got and, if you want to be a star, you have to let them use you and abuse you for a while, and THEN worry about the money." By July 1969, only about 18 months after the band had jelled, and only five months after dropping off Billboard's LP chart, the Corporation was no more. Besides the break with Capitol, drugs were a contributing factor, and perhaps egos got in the way. "No single person was an angel," said Kondos. "It was everybody's fault; everybody screwed up." Gerry Smith was the first to leave the band, relocating to Florida.

The remaining members played a couple of gigs and then decided to split up. Alexander Kondos, along with his brother, attorney Michael, and his two sons travelled to Los Angeles to meet with record companies. "We wanted someone to hear us live," said Nick. "We were prepared." With no demo tape, they aroused enough interest for Capitol to send producer John Rhys (pronounced Reese) to hear them. "I was one of their only guys outside of Hollywood," said Rhys, who spent about a week in Milwaukee and saw the band at several places. "I liked them, I liked their concept. I liked the Kondos brothers; John was a great talent." Nick added that Rhys was "excited as hell" after hearing just two songs on the first night and, by the last set, he was practically ready to record.

The Capitol LP was cut at Ralph Terrana's Terra Shirma Studio in Detroit, where Rhys lived at the time. "There were no problems at all," he said. Berdoll explained the evolution of 'India', the John Coltrane piece that fills an entire side of the LP: "It started off as a break song. We'd do it for three minutes one time, then five, then ten, and soon it was a 20-minute song." "Mitch Ryder & the Detroit Wheels were setting up in another studio," recalled Kondos. "We blew their minds. Ryder came down and said, 'You guys are ahead of your time – more ahead than the people are ready for.'

" The subsequent material was recorded at Dave Kennedy Studios in Milwaukee. "They were just flying too high," said Rhys. "One song had a 16-bar flute intro and John couldn't get past eight bars. Then one day he came out of the men's room and said, "We can't go on with this - you're a Cancer and I'm a Sagittarius. This just ain't gonna work." But according to Nick, it all worked out in the end. "The second album is a lot better than the first," he said.

To listen to this CD, get ready for a trip - in the 60s- 70s sense of the word. Overall, the Corporation employed liberal use of instrumental colours, a dynamic range of vocals - from gentle to scream, solo to group - experimental and thoughtful arrangements (with many twists and turns combining elements of pop, garage rock, blues, hard rock and psychedelic), dissonance and high energy (with lots of busy drums). Expect sudden changes in direction. And a brief whistle call thrown into a few cuts is fun.
by Gary Myers


Tracks
1. You Make Me Feel Good (John Kondos, Daniel Peil) - 2:32
2. Sitting by the Sea (John Kondos) - 2:59
3. Heard the News (Nicholas Kondos) - 4:56
4. I Do Love Her (Kenny Berdoll, John Kondos) - 2:48
5. Yes I Know (John Kondos, Nicholas Kondos) - 2:31
6. Get on My Swing (John Kondos, Nicholas Kondos) - 2:55
7. Walking Along (John Kondos, Nicholas Kondos) - 3:22
8. Hassels in My Mind (John Kondos, Daniel Peil) - 5:28
9. My Child, He Walks Alone (John Kondos, Daniel Peil) - 9:58
10.Sky Faces (John Kondos, Daniel Peil) - 6:30
11.Changes (John Kondos, Daniel Peil) - 4:07
12.Book on a Shelf (John Kondos) - 4:36

The Corporation
*John (Alexander) Kondos - Flute, Guitar, Keyboards, Harmonica
*Nicholas Kondos - Drums
*Patrick McCarthy - B3 Organ
*Daniel Peil - Vocals
*Gerard Smith - Guitar
*Kenny Berdoll - Bass

Other Corporations:
1969  The Corporation

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Wednesday, March 4, 2026

rep>>> Mike Vernon - Moment Of Madness (1973 uk, fascinating funky groovy bluesy rock, 2018 korean remaster)


Second solo album for Mike Vernon, released for Sire records and not by his own label. "Moment Of Madness" was recorded in Oxfordshire in England during the spring in 1973, and revealed on record stores later the same year.

Slightly different from his previous release, more hard funky sounds (sometimes reminds me "Gold Plated", by Climax which came out couple years later and was also produced by Mike Vernon). There are some Bluesy tones and of course a cast of prime musicians. Alls songs were written by Mike and Vie Vernon.

Musician, producer and label head, Mike Vernon died March 2nd 2026, at the age 81, his boyhood passion for blues turned into a hugely impactful career.


Tracks
1. Day In Day Out - 4:29
2. No Idea - 3:13
3. Third Hand - 2:55
4. She Put Her Shoes Outdoors - 3:29
5. That's The Best That I Can Do - 2:58
6. Don't Bullfrog Me - 3:32
7. Stoney Ground - 3:11
8. Night Owl - 2:57
9. Talking 'Bout Me - 4:00
10.No Time To Lose - 3:25
11.All You Can Do - 3:11
12.Moment Of Madness - 3:10
All song by Mike Vernon, Vie Vernon

Personnel
*Mike Vernon - Harmonica, Percussion, Vocals
*Vie Vernon - Vocals
*Colin Allen - Drums
*Paul Butler - Guitar
*Howie Casey - Saxophone
*John Donnelly - Trumpet
*Laurence Garman - Harmonica
*Billy Graham - Trombone
*Derek Griffiths - Guitar
*Joe Jammer - Guitar
*Ric Lee - Drums
*Leo Lyons - Bass
*Mitch Mitchell - Drums
*Cecil Moss - Trumpet
*Bruce Rowland - Drums
*Fuzzy Samuels - Bass
*Andy Silvester - Bass
*Nick South - Bass
*Pete Wingfield - Keyboards


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Monday, March 2, 2026

rep>>> John Hammond - Mirrors (1967 us, astonishing blues rock, 2016 remaster)



Blues Hall of Fame inductee John Hammond is a giant of 20th century blues, a talented songster whose work has preserved countless blues, gospel, and folk tunes that otherwise might have disappeared from the great Americana songbook. The son of famed Columbia Records A&R legend John Hammond (who discovered Dylan and Springsteen and was an early champion of Delta bluesman Robert Johnson), the young Hammond began playing guitar in high school and dropped out of college to pursue his musical vision. Living in Greenwich Village in the early-to-mid-60s, Hammond hung around and made music with fellow travelers like Jimi Hendrix, Eric Clapton, and Duane Allman.

Hammond has released roughly three-dozen albums since his self-titled 1962 debut, including a critically-acclaimed collection of material by singer/songwriter Tom Waits, 2001’s Wicked Grin. Known as a skilled interpreter of song, Hammond possesses an enormous knowledge of, and deep insight into the material he performs. Signed to the venerable Vanguard Records label early in his career, Hammond recorded so much material during his initial sojourns into the studio that Vanguard was releasing albums long after he’d left the label. Mirrors is one such work, a Frankensteined-production that cuts ‘n’ pastes various performances but somehow comes together as a cohesive album. The original side one is entirely ‘electric,’ Hammond joined in the studio by friends like Charlie Musslewhite and a pre-Band Robbie Robertson and Levon Helm; side two is strictly ‘acoustic.

Hammond’s rowdy cover of Billy Boy Arnold’s ‘I Wish You Would” spanks the planks from note one. Jimmy Lewis’s fluid bass line opens the song, Musselwhite’s greasy harp jumps in soon thereafter as Hammond growls out the vox above as funky a rhythm as you’d hear in the mid-60s. Hammond’s guitar battles with Robertson’s while the greatest master of the Telecaster, Michael Bloomfield, toils away in the background on piano. Hammond’s take on the great T-Bone Walker’s “They Call It Stormy Monday” is workmanlike but, considering how often the tune’s been covered by literally everybody in the blues biz, Hammond’s languid vocals and subdued instrumentation seem rather lackluster by comparison.

Much more interesting is the unusual reading given Piedmont bluesman Blind Willie McTell’s “Statesboro Blues.” Best known as performed by the Allman Brothers Band, Hammond’s spry take pre-dates Duane Allman’s by a half-decade and has a decidedly rockabilly tint that features guitarists Billy Butler and James Sprull chicken-pickin’ joyfully behind Hammond’s twangy vocals. A cover of Mose Allison’s “I Just Got Here” stands at the crossroads of the Delta blues and big city jazz, and Hammond’s gruff vocals slip and slide across Barry Goldberg’s minimalist keyboard riffs.

A full-band version of Robert Johnson’s “Traveling Riverside” closes out the album’s ‘electric’ side with a bang, the rhythm section of bassist Lewis and drummer Helm laying down a locomotive groove atop which Hammond’s roaring vocals and Musselwhite’s raging harp dance alongside Robertson’s nimble fretwork. The ‘acoustic’ side of Mirrors offers just Hammond and his guitar, an engaging pairing that delves deeply into the traditional acoustic blues that Hammond adores. A pair of Johnson’s songs open the side, slow-burning “Stones In My Passageway” provided ethereal vocals and haunting guitar, effectively capturing the original emotion of the Delta blues classic.

A cover of Johnson’s “Walking Blues” is more upbeat, with Hammond’s gritty vocals and aggressive, percussive guitarplay providing a (then) contemporary sheen to the muddy Delta gem. “Death Don’t Have No Mercy” is a Rev. Gary Davis song, done up nicely here with some elegant fretwork and reverent vocals effectively mixing blues and gospel and taking the song dangerously close to Son House’s darkly-emotional turf. Casual blues fans all know Blind Willie Johnson’s “Dark Was The Night,” but they don’t know that he had a much deeper songbook of blues and gospel treasures. Hammond tackles Johnson’s “Motherless Willie Johnson” (a/k/a “Motherless Children”), his reading differing greatly from Eric Clapton’s better-known cover, the song performed here with reckless abandon that successfully channels the original’s emotional energy.
by Rev. Keith A. Gordon


Tracks
1. I Wish You Would (Billy Boy Arnold) - 2:51
2. They Call It Stormy Monday (But Tuesday Is Just As Bad) (T-Bone Walker) - 4:11
3. Statesboro Blues (Blind Willie McTell) - 3:23
4. Keys To The Highway (Big Bill Broonzy, Charles Segar) - 3:15
5. I Just Got Here (Mose Allison) - 4:37
6. Travelling Riverside (Robert Johnson) - 2:55
7. Stones In My Passway (Robert Johnson) - 3:12
8. Walking Blues (Robert Johnson) - 2:57
9. Death Don't Have No Mercy (Traditional) - 3:19
10.Motherless Willie Johnson (Blind Willie Johnson) - 2:22
11.When You Are Gone (Blind Boy Fuller) - 2:34
12.Rock Me Mama (Traditional) - 2:27
13.Get Right Church (Traditional) - 1:53

Musicians
*John Paul Hammond - Guitar, Harmonica, Vocal
*Michael Bloomfield - Guitar, Piano
*William "Billy" Butler - Guitar
*Bobby Donaldson - Drums
*Barry Goldberg - Organ
*Levon Helm - Drums
*Eric Garth Hudson - Organ
*Jimmy Lewis - Bass
*Charlie Musselwhite - Harmonica
*Robbie Robertson - Guitar

1967  John Hammond - I Can Tell (bonus tracks) 
1968  John Hammond - Sooner Or Later
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Sunday, March 1, 2026

rep>>> Jericho - Jericho (1971 canada, gorgeous bluesy hard classic rock 2019 korean remaster)



Has classic rock radio made a bad name for itself because the music doesn’t wear well with age, or is it because they keep playing the same old shit? In a perfect world, classic rock gems like Jericho would no longer be neglected by the airwaves and listeners would abound in new sounds from a previous era. Just imagine your local classic rock station slipped in one cut off this record, in place of the usual barrage of Zep and Skynyrd repeats; there could easily be a demand for this sweet sounding, authentic-as-it-gets, yet unissued and unplayed recording.

Jericho members Frank DiFelice, Denny Gerrard, Fred Keeler, Gordon Fleming hailed from Canada and recorded this one-off at the famous Bearsville studio in Woodstock, with engineering and production by Todd Rundgren. These guys were a part of the same scene as Jesse Winchester and The Band, sharing Rundgren as producer and art director Bob Cato between this and Stage Fright, and the music falls right in line, albeit with a harder edge.

They bust down the door with “True Fine Girl,” sounding like the Band on steroids with overdriven organ and screeching guitars notching a next-level sound. “SS #4” even sounds a little like hard rock “Cripple Creek,” but the key here isn’t loud guitar rippin but a loose knit down-home groove. There are nasty prog moves and killer Clavinet shredding on “Cheater Man;” Gordon Fleming really steals the show on keys, often overshadowing the guitar leads a rare feat for keyboardists. “Baby’s Gone Again” is a blues that shuffles harder than Cream and “Backtrack” is a killer Edgar Winter style instrumental with gnarly parts played thru Garth Hudson’s own Leslie speaker and Clav. I’m a sucker for “Goin’ To The Country,” a goofy, stoned country groover with wowy Moog bass replacing the “jug” line. The vocalist shines on this little number vocals are really great all the way through, actually that definitely stands out from the rest.

One track, “Make It Better,” would score a minor hit, but Jericho would be largely forgotten, unissued since its original release. I do find that this record tends to push a little too hard; it’s kind of relentlessly hard-rockin. But it deserved much more than it got. 
by Brendan McGrath 

Fred Keeler passed away on June 14th, 2019


Tracks
1. True Fine Girl (Fred Keeler) - 2:43
2. The Road I Never Took (Gordon Fleming) - 3:17
3. Lonely As Me (Fred Keeler) - 2:35
4. Cheater Man (Fred Keeler) - 2:21
5. Baby's Gone Again (Fred Keeler) - 3:02
6. Goin' To The Country (Fred Keeler) - 3:24
7. Fool Killer (Mose Allison) - 3:49
8. Intro: Into My Blue Heaven • Backtrack (George Whiting, Walter Donaldson, Denny Gerrard, Frank De Felice, Fred Keeler, Gordon Fleming) - 4:27
9. Make It Better (Fred Keeler) - 3:23
10.S.S. #4 (Gordon Fleming) - 3:48
11.Do You Want Me (Fred Keeler) - 3:24
12.Can't Seem To Make It Happen (Gordon Fleming) - 5:40

Jericho
*Frank DiFelice - Drums
*Denny Gerrard - Bass, Vocals
*Fred Keeler - Lead Guitar, Vocals
*Gordon Fleming - Organ, Piano, Accordion, Vocals
With
*Todd Rundgren, Rhythm Guitar, Harmony Vocals

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Thursday, February 26, 2026

Argent - Counterpoints (1975 uk, elegant art rock with prog elements, 2025 japan remaster)



Dropped by long time record label Epic, the band signed with United Artists (RCA in the UK), releasing 1975's  Chris White, Rod Argent, and Tony Visconti produced "Counterpoints".    The band's second post-Russ Ballard album was apparently recorded under trying circumstances which included drummer Bob Henrit coming down with a nasty case of hepatitis which required Genesis' Phil Collins to step in for most of the recording sessions.  As on earlier albums, Rod Argent was responsible for most of the material with bassist Jim Rodford and singer/guitarist John Grimaldi contributing the remaining material.   Musically the band seemed to be trying to navigate the thin line between artistic integrity and record label pressure to generate commercial viable material.   

The problem was they seemingly couldn't figure out where that sweet spot was.  The end result was an album that was too commercial for progressive fans, and too progressive for their pop fans.   Add the absence of any standout number ('Rock and Roll Show' was probably the most readily commercial tune), and you had an album that disappeared in a heartbeat.   The band toured in support of the LP, but needless to say, within a year Argent itself was history.
by Scott Blackerby


Tracks
1. On My Feet Again - 3:15
2. I Can’t Remember But Yes - 3:05
3. Time (Jim Rodford) - 7:18
4. Waiting For The Yellow One (John Grimaldi) - 2:50
5. It’s Fallen Off (John Grimaldi) - 2:45
6. Be Strong - 4:14
7. Rock 'n' Roll Show - 4:04
8. Butterfly - 3:06
9. Road Back Home - 7:36
All compositions by Rod Argent except where indicated

Argent
*Rod Argent - Organ, Electric Piano, Vocals
*John Grimaldi - Guitar, Lap Steel Guitar
*John Verity - Guitar, Vocals
*Jim Rodford - Bass, Guitar, Vocals
*Bob Henrit - Drums, Percussion
With
*Phil Collins - Drums, Percussion


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Tuesday, February 24, 2026

rep>>> The Outlaws - Lady In Waiting (1976 us, exceptional country southern rock, 2018 remaster)



The Outlaws, a southern rock band who also incorporated strong country influences, a triple guitar attack and exquisite harmonies, first came onto the scene with their classic self titled debut album in 1975. It featured hits such as 'There Goes Another Love Song' and the live favourite 'Green Grass And High Tides'

The band had much going for them, with Hughie Thomasson, Henry Paul and Billy Jones all being skilled singers, songwriters and guitar players. 'Lady In Waiting' was their second album, issued in 1976, and serves as a fitting sequel to the well received first record. 'Breaker Breaker' is a superb slice of Eagles-like 70s country rock, while the bluegrass infused 'South Carolina' will get feet tapping in no time. A first class cover of 'Freeborn Man' and the Thomasson penned 'Just For You' are both fine examples of the band showing their southern rock roots and the supremely catchy 'Lover Boy' highlights how well the band's three vocalists blend on a chorus.

Closing out with the excellent 'Stick Around For Rock And Roll', 'Lady In Waiting' is a tremendous entry into The Outlaws discography and if you haven't got it, this reissue is well worth picking up.

The band would follow this up with 'Hurry Sundown' in 1977 and a live album in 1978. In 1979, the band would re-group after the departure of Henry Paul, who would go on to form his own band. Freddie Salem would be drafted in as a replacement and the band made the magnificent 'Playin' To Win' album, a much more rock orientated effort than their previous work. To see where the story goes net, you need the next batch of the reissues, reviewed here. In the meantime though, enjoy this sublime example of 70s Southern Rock with a country soul.
by James Gaden, March 26, 2018


Tracks
1. Breaker Breaker (Hughie Thomasson) - 3:00
2. South Carolina (Henry Paul) - 3:06
3. Ain't So Bad (Billy Jones) - 3:49
4. Freeborn Man (Keith Allison, Mark Lindsay) - 4:51
5. Girl From Ohio (Henry Paul) - 5:03
6. Lover Boy (Hughie Thomasson) - 3:59
7. Just For You (Hughie Thomasson) - 3:17
8. Prisoner (Billy Jones) - 3:58
9. Stick Around For Rock 'n' Roll (Hughie Thomasson) - 6:36

Outlaws
*Hughie Thomasson - Lead Guitar, Vocals
*Billy Jones - Lead Guitar, Vocals
*Monte Yoho - Drums
*Frank O'Keefe - Bass Guitar
*Henry Paul - Electric, Acoustic Guitar, Vocals

1975  The Outlaws - The Outlaws (2001 remaster)

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Monday, February 23, 2026

rep>>> Tandyn Almer - Along Comes Tandyn (1966 us, impressive sunny psych folk, 2013 digipack release)



We recently lost another unsung genius from the cracks and crevices of 60s pop/psych. Tandyn Almer, who sadly passed in early 2013, would never become a household name, but you’ve definitely heard his work. Penning major tunes like “Along Comes Mary” for the Association, “Sail on Sailor” and “Marcella” for the Beach Boys, and countless other psych-tinged gems, Almer left behind a distinguished trail of well-crafted compositions. Luckily, and ironically (as I’m sure he would have enjoyed to see its official release), we have gained a new trove of lost work in Along Comes Tandyn, a collection of Almer’s demos from 1965-1966.

Originally written and recorded for Davon music, a small number of acetates labeled “The New Songs of Tandyn Almer” was circulated in order to shop his tunes to other recording artists. While some acts like The Sure Cure and Curt Boettcher’s The Ballroom took the bait, most of these tracks have remained unheard. The sound is definitely demo quality (all the better), the band generally led by a clangy electric guitar and sprinkled with bits of piano and harpsichord. 

The vocals soar with typical 60s harmony, the lyrics quite often along the same vein. You can tell Almer was a real musician’s musician, his tunes never compromise, always taking an unexpected turn and often for something quite complicated. Take a listen to the surprisingly hip “Everytime I Take You Back To Me” and just try to follow the changes; or check the classical piano work on “There’s Gotta Be a Way.” Even “Along Comes Mary” (not included here) ducks and weaves at every chance, delivering it’s punch where you’d least expect it.

Some of Almer’s other happenings of note include an interview in Leonard Bernstein’s Inside Pop – The Rock Revolution (a “serious” investigation into pop’s emergence as an art form), as well as a short-lived best friendship with Brian Wilson, allegedly ending in an enstranging three-way.  While not exactly loaded with clear winners (Face Down in the Mud” is a downright weirdo blues offering that would sound at home on FZ’s Only in it for the Money and some tracks sound a bit like psychedelic filler). 

Along Comes Tandyn is still an excellent comp of lost pop-psych with a satisfying garage sound. Essential for fans of complex pop, the full package includes excellent liners (with lots of information provided by Tandyn himself) and will turn anyone into a hardcore Tandyn fan. Count me a Fandyn.
by Brendan McGrath


Tracks
1. Find Yourself - 2:44
2. You Turn Me Around - 2:20
3. Anything You Want (T. Almer, G. Mekler) - 3:45
4. About Where Love Is - 2:11
5. Everytime I Take You Back To Me - 2:08
6. There’s Gotta Be A Way - 2:43
7. Alice Designs - 3:39
8. Face Down In The Mud - 4:09
9. Where Will They Go - 4:34
10.Escape - 3:27
11.Victims of Chance - 3:34
12.Bring Your Own Self Down (The Purple Gang) - 2:48
13.I Get High - 3:21
14.Menagerie of Man - 2:15
15.Sunset Strip Soliloquy - 4:05
Words and Music by Tandyn Almer unless otherwise stated.

*Tandyn Almer - Vocals, Piano

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Sunday, February 22, 2026

rep>>> Paul Pena - Paul Pena (1971 us / cape verde, fascinating groovy folk classic rock, 2018 korean remaster)



Paul Pena was born on January 26, 1950 in Hyannis, MA, the oldest child of Jack and Virginia Pena. His grandparents came from the Cape Verde Islands off the west coast of Africa. He was born with congenital glaucoma. When he was five, he began school at the Perkins School for the Blind in Watertown - a suburb of Boston. He graduated in 1967 and then attended Clark University in Worcester, MA. 

As a young child, Paul soon showed his talent for music. His mother heard him picking out melodies and chords on a baby grand piano that had been found in the town dump and brought home, 'as a toy that a blind child might enjoy.' He developed 'perfect pitch.' Soon Paul was studying the piano, guitar, upright bass, violin and 'a little trumpet.' He played and sang popular jazz and Cape Verdian ballads with his father, a professional jazz musician, and also sang in his school choruses. Paul appeared in a talent show, and while in college, performed in coffeehouses in Worcester. 

Paul Pena is a respectable album in that style, but it's a fairly ordinary journeyman effort, albeit without serious flaws. There's a little bit of an early-'70s folky singer/songwriter looseness à la Van Morrison involved as well, though occasionally he gets into a funky groove that was more explicitly Southern soul-influenced. Only "One for the Lonely" comes close to getting a really hooky blues-rock riff into the mix, however. Some of the other tracks have some modest pleasures as well, like the expansive organ of "Something to Make You Happy," which gives the brooding number a San Francisco acid rock tinge. The folk-bluesy "Lullaby" is another of the stronger tracks, with its galloping going-down-the-road feel and unexpected addition of steel guitar (by Jeff Baxter) and harp. 
by Richie Unterberger


Tracks
1. Woke Up This Morning - 4:56
2. I'm Gonna Make It Alright - 4:13
3. The River - 6:08
4. One For The Lonely - 4:50
5. Something To Make You Happy - 7:07
6. My Adorable One (Ida Irral Berger, Clara Thompson) - 3:44
7. When I'm Gone - 4:37
8. Lullaby - 5:16
All songs by Paul Pena except where stated

Personnel
*Paul Pena - Guitar, Keyboards, Lead Vocals, Background Vocals
*Jesse Raye - Bass, Background Vocals
*Jim Wilkins - Drums
*Ed Costa - Keyboards, Background Vocals
*Jeff Baxter - Steel Guitar
*Jumma Santos - Congas, Maracas
*Betsy Morse - Harp
*Clarice Taylor - Background Vocals
*Ellis Hall - Background Vocals
*Gil Thomas - Background Vocals
*Earl Frost - Background Vocals
*Ronnie Ingraham Concert Choir - Background Vocals

1973  Paul Pena - New Train

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Saturday, February 21, 2026

rep>>> Pavlov's Dog - Has Anyone Here Seen Sigfried? (1977 us, excellent third album, 2007 official remastered edition with bonus tracks)



David and the "Great Lost Pavlov's Dog" album. So that is what you want to hear about, huh? Okay. I suppose it is worth a shot. Those were heady days, and more than a little depressing for your erstwhile poet find singer.

Pavlov's Dog had been touring in support of "The Sound of the Bell," bringing its melodic romanticism to some of the strangest venue's your narrator could have imagined in his youth. Yet living it! Concert dates with Nektar, Slade, Kraftwerk, Blue Oyster Cult, Journey, ELO, Thin Lizzy, Peter Frampton , ad nausea I left the band tired, restless and completely discontent.

The rhythm section had been salvaged, with Kirk Sarkesian more than capably handling the drum chores in the wake of Mike Safron and Bill Bruford's exits. David Hamilton was handling the piano in the studio, with Tom Nickeson holding it down on tour, in addition to his vocals and guitar duties.

Me, I was just plain unhappy, with the record company, management and agencies all pushing for a "HIT." Now lets be a trifle honest here, shall we? I write love songs, this is not the Brill Building. Major Plan Concocted!! Bring in new producers (Krugman and Perlman help meeeeeee!!!!!!), the band decides they ate songwriters (even the roadies), and EVERYBODY wants to sing! Did I want to vomit-you betcha!

So the powers that be want David to deliver the "pop" songs, ouch. Douglas and I came up with "Painted Ladies" and "Trafalgar" in minutes, not our best work that. "Falling In Love" and "Jenny" were tossed out, spent seconds of pleasure on that pair. "Only You," "I Love You Still" and "Suicide," squarely where my heart was.

The recording began in St.Louis at Technosonic Studios, not far from both my boyhood and present homes. Mark Spector $ John Jansen co-producing this awful mess. I came equipped with my bulldog Charlie & and Telecaster guitar each day, and amid wrestling bouts with Mark (yes...really), managed to get the basic tracks recorded with the band spinning out of control. Overduba were not pretty....Steve Scorfina is singing "It All For You," a song he had from his REO Speedwagon days, and Tom came up with a quick instrumental exit for the album, "While You Were Out."

I'm singing the Jefferson Airplanes' "Today," (is this somebody's idea of the "HIT" ?), and hating my every waking moment. Time to ditch this scene, David & Douglas escape to New York with the master tapes! Bring in the ringers! Jeff Baxter takes a masterful turn on the guitar solo on "Painted Ladies," thanks Jeff! Jeff & Elliot Rahdall compose some melodic harmony guitars for "Falling In Love," "Jenny" and elsewhere, Jim Maelen contributed some terrific percussion & smoothing quite a few bad patches.

That's Elliott on the solo in "Falling In Love," he said he really liked the song & I didn't. O well In any case, the gothic intrigue of "Only You" still holds measure with me today (I love Scorfina's tragic pathos in the solo), as does "Suicide." Is that where the unfortunate rumours of my untimely demise stem? I still perform Love You Stiff," from time to time, I enjoy the way my voice sounds! Also, "Only You," occasionally. It still maintains the potential' & penchant' for a heartbreak... So It Goes 
by "Just" David


Tracks
1.Only You - 4:33
2.Painted Ladies (David Surkamp, Doug Rayburn) - 3:22
3.Falling In Love - 3:27
4.Today (Marty Balin) - 3:08
5.Trafalger (David Surkamp, Doug Rayburn) - 3:10
6.I Love You Still - 4:05
7.Jenny - 4:07
8.It`S All For You (Steve Scorfina) - 3:50
9.Suicide - 2:04
10.While You Were Out (Tom Nickeson) - 2:38
11.Song Dance (Mike Safron) - 6:29
12.Of Once And Future Kings - 6:50
13.Natchez Trace (Steve Scorfina) - 4:18
14.A Little Better - 2:18
15.A Look In Your Eyes - 4:27
16.Julia (Live) - 2:55
17.She Came Shining (David Surkamp, Doug Rayburn) - 4:37
18.Did You See Him Cry (David Surkamp, Doug Rayburn) - 6:07
19.Subway Sue - 5:40
20.I Wait For You (David Surkamp, Doug Rayburn) - 1:44
All compositions by David Surkamp except where stated
Bonus tracks 11-20

Pavlov's Dog
*David Surkamp - Vocals
*Douglas Rayburn - Mellotron, Piano
*Rick Stockton - Bass
*Kirk Sarkisian - Drums
*Tom Nickeson - Keyboards, Piano
*Steve Scorfina - Guitar
*Sigfried Carver - Violin (11-15)


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Thursday, February 19, 2026

rep>>> Jellyroll - Jellyroll (1971 us, remarkable brass jazz blues rock, 2015 korean remaster)



Roger "Jellyroll" Troy, Musician, Singer, Bass Player, Songwriter, Producer, affectionately known as "Roll" to his peers, was a very well respected and talented musician, known by many fans, musicians and producers alike for his great vocals, writing and producing, and solid funky bass playing. Pull window down to see more below.

He was originally from Cincinnati, Ohio, later relocating to San Francisco, and played in numerous groups including "The Fendermen", "The Hollywood Argyles", his own group "Jellyroll" and record on Kapp records in or around 1969' entitled "jellyroll"-which included members Roger Troy (lead vocals bass), Tim Heding (keyboards, background vocals), Ed Setser (guitar), Stu Perry (drums, percussion), Lee Asch (alto-tenor-baritone saxophones), Dave Parkinson (tenor saxophone) and Bob Thorne (trumpet), also featured on the album is Cosme Joseph Deaguero on Conga.

Jellyroll joined The Electric Flag reunion band around 1973' and was on their subsequent record "The Band Kept Playing" and was a excellent record with Michael Bloomfield, Buddy Miles, Barry Goldberg, Nick Gravenites, and others, with producer great-Jerry Wexler, in 1974'...

He went on to play the next several years with "Michael Bloomfield and friends" groups, including "Try It Before You Buy It", "Life In The Fast Lane", "Between A Hard Place And The ground", "Count Talent and The Originals", "Live At The Old Waldorf", "Analine", "if You Love These Blues, Play Them Ad You Please", "Bloomfield-A Jellyroll had a solo record he did on RCA records in 1976, which featured such top-notch studio musicians such as James Gadson, Sonny Burke, Larry Goshorn, Ernie Watts, and others.

Roll worked into the late 70s and 80s with such artists as Maria Muldour, Mick Taylor, Lonnie Mack, Nick Gravenites, Jerry Garcia & Howard Whales("Hooteroll" tour), Mike Finnigan, Timmy Goshorn and Larry Goshorn of Pure Prairie League, Dave Widow and many others too numerous to mention...He had several songs covered by artists such as Tracy Nelson, Jose Feliciano, Carlene Carter, and others.

Roger, was 45 when he died of heart problems resulting from a heart surgery and later complications, he died in 1991. Roll, was a "card", and a practical joker, always pulling one on someone, for a good laugh...Bless his soul...When he was on top of his game he was one-bad to the bone-Musician, and would often make the hair on the back of my neck-stand up, when he would sing...roll was a powerful singer with great melody and articulation, with a sometimes Gospel-like feel, and a blues and rock and roll soul. .He was like a white Bobby Blue Bland.
by Dave Widow


Tracks
1. Restless Feeling - 2:24
2. Seach For A Memory - 2:56
3. Strange (Dan Hoagland) - 2:29
4. Trying To Forget Someone Too (Roger Troy) - 4:09
5. Quick Trip (Tim Hending) - 1:18
6. Help Me Over - 3:00
7. Come On Baby (Roger Troy, David Parkinson, Eddie Setser, Les Asch, Stu Perry, Tim Hedding) - 3:17
8. Follow Me - 2:52
9. At The Beginning Of Tomorrow (Roger Troy) - 3:07
10.Hard Times - 4:40
11.Standing On The Inside (Roger Troy, Ed Setser) - 3:31
All songs by Roger Troy, Richard Podolor, David Parkinson, Eddie Setser, Les Asch, Stu Perry, Tim Hedding except where noted

The Jellyroll
*Roger Troy - Lead Vocals, Guitar
*Tim Heding - Keyboards, Vocals
*Ed Setser - Guitar
*Stu Perry - Drums, Percussion
*Les Asch - Alto, Tenor, Baritone Saxophones
*Dave Parkinson - Tenor Saxophone
*Bob Thorne - Trumpet
With
*Cosme Joseph Deaguero - Conga

Related Act
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Monday, February 16, 2026

rep>>> Hungry Wolf - Hungry Wolf (1970 uk, great jazz rock, with psych groovie funk flashes, 2019 korean remaster)



Originally released on Philips, Hungry Wolf’s sole album is a primarily instrumental pop rock affair, with some heavy Hammond organ to hold interest (courtesy of the Mohawks’ Alan Hawkshaw).

A work of session musicians including future members of Rumplestiltskin and Ugly Custard. swirling freaking organs and various wood instruments accompany guitarist Alan Parker.The album is now very rare.

It featured vocals by Peter Lee Stirling who had a couple of pop hits in the early seventies as Daniel Boone; as well as Alan Parker (Blue Mink, David Bowie, CCS, Elton John, Gerry Rafferty) and Alan Hawkshaw (Cliff Richard, Shadows, Madeline Bell, Donovan, Family Dogg).


Tracks
1. Melanie - 3:05
2. Watching And Waiting - 3:24
3. Custards Last Stand - 2:49
4. Country Wild - 4:40
5. Waiting For The Morning Sun - 3:02
6. Like Now - 2:48
7. Hole In My Shoe - 5:24
8. Sleepy - 5:11
9. The Drifter (Alan Hawkshaw, Alan Parker, John Cameron) - 3:23
10.Revolution??? (Alan Hawkshaw, Alan Parker, John Cameron) - 2:56
All songs by Alan Hawkshaw, Alan Parker except where stated

Hungrt Wolf
*Alan Hawkshaw - Keyboards
*Alan Parker - Guitar
*Clem Cattini - Drums
*Peter Lee Stirling - Vocals
*Herbie Flowers - Bass
With
*John Edwards - Trombone
*Tony Fisher - Trumpet
*Ken Gouldie - Trombone
*Cliff Hardy - Trombone
*Bobby Haughey - Trumpet
*Derek Watkins - Trumpet
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Sunday, February 15, 2026

rep>>> Brass Monkey - Brass Monkey (1971 uk, fine classic rock, 2014 korean remaster)



Interresting straight ahead rock band from UK, most of the songs were written by the British duo composers/producers Doug Flett and Guy Fletcher. Album includes also four cover versions.

“Brass Monkey” had its moments, Ben Case has a pretty good versatile voice that was equally at home across the entire album. Their genre of choice was country bluesy classic rock with some hard moments, -think something between CCR and Rod Steward- tracks like ‘Goodbye Birds’ and the bluesy instrumental ‘Strange Days’ showcased a mild English influence.  Elsewhere the required social commentary ‘All Fall Down’ was surprisingly tuneful and subtle.

Singer Ben Case (Peter Lee Stirling) has worked with Tim Rose, Hungry Wolf, Rumplestiltskin among other bands, drummer Dougie Wright with Justine, The John Barry Seven and Whistler. Guitarist Mike Morgan has no connection with the Texas born who made career since 1990 with his band The Crawl.


Tracks
1. Sweet Water - 3:31
2. You Keep Me Hangin` On (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:50
3. Goodbye Birds - 4:00
4. All Fall Down - 3:56
5. Strange Days - 3:46
6. Keep A Little Bit Back - 3:08
7. Stay With Me Baby (Jerry Ragovoy, Larry Weiss) - 3:43
8. Proud Mary (John Fogerty) - 3:12
9. Bang Bang (My Baby Shot Me Down) (Sony Bono) - 3:24
10.Sing, Sing, Sing - 3:27
All songs by Doug Flett, Guy Fletcher except where indicated

Brass Monkey
*Ben Case (Peter Lee Stirling) - Vocals
*Ken Summer (Ken Street) - Guitar
*Mike Morgan - Guitar
*Les Hurdle - Bass
*Dougie Wright - Drums

Related Acts
1970  Justine - Justine (2008 Sunbeam release)
1970  Rumplestiltskin - Rumplestiltskin (2007 remaster)
1972  Rumplestiltskin - Black Magician (2011 remaster edition with extra track)  
1971  Whistler - Ho Hum

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Saturday, February 14, 2026

rep>>> SRC - SRC / Milestones / Traveler's Tale (1968-70 us, astonishing heavy garage psych, 2012 double disc box set remaster)



Much was expected of SRC, and for good reason. Aside from being exceptional songwriters and musicians, the Ann Arbor, Michigan band had the support of both the public and a major label. Bursting with potential, they were clearly primed for global domination.

Signed to Capitol Records, SRC (short for the Scot Richard Case) waxed a trio of full-length albums for the imprint that have now been brought together as a double-disc package by Beat Goes On Records. Sad to say, the band never conquered the world, which was no fault of their own, as their efforts weren’t as widely distributed and promoted as all hoped they would be. But they remained tremendously popular locally and continued to be held in high regard in later years by those exposed to their material.

Released in 1968, the band’s debut album, SRC, crackles and crunches to the tune of a heavy beat. Grinding Hammond organ passages producing feelings of gloom and doom share space with squealing acid-stained riffs, while the drumming is tribal and toxic. Self-possessed vocals, alternating between light and dark, complete the sessions.

A thoroughly eerie environment envelopes the moody “Black Sheep,” and songs like “Daystar,” “Exile” and “Paragon Council” are grafted of science-fiction visages. Imaginative and freaky, SRC often resembles a grungier version of the Doors.

The band’s next album, Milestones, which appeared in 1969, proved to be quite different than its predecessor. Gone was the jagged edge, replaced by bright singing, intricate melody lines and sophisticated structures dripping with smoothness.

Clocking in at over eight minutes in length, “The Angel Song” breathes in and out to a lush terrain of progressive movements, where “Show Me” and “I Remember Your Face” are glistening ballads.

But by no means had SRC turned soft, as clarified by “Up All Night,” “No Secret Destination” and “Eye Of The Storm,” which pulsate steadily with zippy frequencies. As well, an ambitious cover of “In The Hall Of The Mountain King” exhibits the band’s incredible improvisational skills.

SRC’s final album, Traveler’s Tale hit the decks in 1970 and was stuffed and buffed with hard rocking razzle dazzle. Blazing guitars, plucked with polish and precision, augmented by rows of inventive tempo changes propel cuts such as the bluesy “Midnight Fever,” the whammy jammy “Across The Land Of Light” and the sweeping swirls of “By Way Of You” to stratospheric heights.

Loaded with lashing licks, aided by super-size harmonies, majestic keyboard excursions and burning hooks, “A New Crusader” steps forward as another winner included on Traveler’s Tale, and then there’s the haunting psychedelic-soaked vibe of “Street Without A Name,” the gospel styled “The Offering” and “Diana,” which crosses neo-Latin flavored rhythms with jazzy indentations.

As strongly indicated by these recordings, SRC was ambitious and adventurous. Pouring their hearts and souls into their music, they created tunes smacking of artistic integrity. Those attracted to the enterprising musings of the Pretty Things, Deep Purple, Procol Harum and Yes will certainly appreciate the equally exciting sounds of SRC. 
by Beverly Paterson


Tracks
1. Black Sheep - 4:51
2. Daystar - 4:30
3. Exile - 4:23
4. Marionette - 4:01
5. Onesimpletask - 5:36
6. Paragon Council - 4:00
7. Refugeve - 3:40
8. Interval - 5:14
9. No Secret Destination - 4:21
10.Show Me - 3:42
11.Eye Of The Storm - 4:55
12.I Remember Your Face - 1:41
13.In The Hall Of The Mountain King-Bolero (Edvard Grieg, Jimmy Page ) - 6:10
14.Checkmate - 3:47
15.Our Little Secret - 2:43
16.Turn Into Love - 3:03
17.Up All Night - 3:10
18.The Angel Song - 8:15
All songs by Scott Richardson, Gary Quackenbush, Elmer George Clawson, Glenn Quackenbush, Steve Lyman, Robin Dale(Tracks 1-8), Al Wilmot(Tracks 9-18)  except where Stated
Tracks 1-8 from debut album "SRC" released 1968
Tracks 9-18 from "Milestones" released 1969


Disc 2 Traveler's Tale 1970
1. A New Crusader (Scott Richardson, Glenn Quackenbush, Ray Goodman) - 7:07
2. Street Without A Name (Glenn Quackenbush, Scott Richardson) - 5:13
3. Midnight Fever (Scott Richardson, Ray Goodman) - 3:53
4. Never Before Now (Glenn Quackenbush, Scott Richardson) - 3:57
5. By The Way Of You (Scott Richardson, Elmer George Clawson, Glenn Quackenbush, Ray Goodman, Al Wilmot) - 3:18
6. Diana (Glenn Quackenbush, Scott Richardson) - 4:37
7. Across The Land Of Light (Scott Richardson, Glenn Quackenbush, Ray Goodman, Elmer George Clawson, Al Wilmot) - 6:54
8. The Offering (Scott Richardson, Glenn Quackenbush) - 6:12
9. My Fortunes Coming True (Bonus Track) (Ray Goodman, Scott Richardson) - 3:19

SRC
*Steve Lyman - Second Guitar, Vocal
*Glenn Quackenbush - Hammond Organ
*Scott Richardson - Lead Vocal
*E.G. Clawson - Drums
*Gary Quackenbush - Lead Guitar
*Robin Dale - Bass, Vocal (Disc 1 Tracks 1-8)
*Al Wilmot - Bass Vocals (Disc 1 Tracks 9-18, Disc 2)

1968  SRC - SRC (2010 Bonus Tracks edition)
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Friday, February 13, 2026

rep>>> Jeff St John's Copperwine - Joint Effort (1970 aussie, groovy garage psych with blues ans funky vibes, 2004 reissue and 2000 bonus tracks edition)



Copperwine (aka Jeff St John's Copperwine) was formed by Jeff St John's in early 1969.  The band's first gigs were some low-key dates in Perth, before returning to Sydney. Copperwine soon commanded a rabid following in that city's fast-developing 'head' scene. Around the time of the new band's formation, guitarist Ross East was also invited to join the revised Masters Apprentices line-up by Jim Keays, but he turned it down, opting to stay with Jeff. 

Aided by East and Peter Figures, plus Alan Ingram on bass and keyboardist Barry Kelly (from Marty Rhone's Soul Agents), St John wowed punters at the Ourimbah "Pilgrimage For Pop", Australia's first major outdoor rock festival, held at Ourimbah, NSW at the end of January 1970. The band's dynamic repertoire mixed quality prog-flavoured group originals with powerful renditions of Sly & the Family Stone's funk classic "Sing A Simple Song" (a stage fave for many Australian acts of the time including Southern Comfort and The Affair), a storming version of The Temptations' psych-soul masterpiece "Cloud Nine" and Blind Faith's "Can't Find My Way Home."

This body of songs was captured by producer Pat Aulton in superb that remains one of the most accomplished and musically adventurous long players of the time. The punningly-titled Joint Effort won considerable critical acclaim, but failed to generate significant sales. A similar fate befell the great single lifted from the album, "Cloud Nine" / "Days To Come" (Feb. 1970). An EP, Sing A Simple Song, which featured four selections from its parent album, came out in May 1970.

In retrospect, Joint Effort reveals at least three truths -- the album was one of Festival Record's most consistent sellers for many years, it's a fine artefact of what was musically going on with OzRock in this heady and fertile time, and it documents what a fine band Copperwine was and provided conclusive proof that Jeff is one of the best rock vocalists this country has ever produced.

The musicianship of the band, particularly that of East and Kelly illustrated the embarrassment of riches scattered among Australian groups at this time. Original band-composed collaborations on the LP include the reflective "Fanciful Flights" (compiled on Raven's 2-CD compilation Golden Miles: Australian Progressive Rock, 1969-1974), the jazz-tinged instrumental "Any Orange Night" and the ensemble piece "You Don't Have To Listen". The towering opening track, a surging, organ-driven cover of The Temptation's "Cloud Nine", showed off Jeff's commanding soul stylings, superbly backed by a power-drive performance from Copperwine that, frankly, puts the original in the shade.

Another single, issued on Spin in November 1970, fared extremely well. The smoothly confident, organ-led cover of Rotary Connection's "Teach Me How To Fly" (featuring a berserk guitar solo from East, and some very tasty bass-drums interplay) propelled the band to #12 in Melbourne and a very encouraging #3 Sydney chart placement. St John's dazzling vocal performance on this record is probably the main reason why.

An 'insane” (as Jeff puts it) schedule of touring, concentrated in the eastern states, sustained Copperwine throughout 1970-71. Noted soul-blues singer Wendy Saddington (formerly of James Taylor Move and Chain) joined as co-lead vocalist in May 1970 and made her recording debut with the band (without St John though) on the intriguingly laid-back, bluesy album Wendy Saddington and Copperwine Live, recorded at the Wallacia Rock Festival in January 1971. By this time, too, former Amazons and Dave Miller Set member Harry Brus had replaced Alan Ingram on bass.

The Copperwine/Saddington live album was scheduled for re-release on CD as part of Festival's reissue program, but the entire reissue project was scrapped after the acquisition of Mushroom Records. Festival's rapid financial decline after 2002 led to its closure in late 2005, and the entire Festival-Mushroom archive was sold to the American-owned Warner Music group soon after.

Although Saddington had departed Copperwine by February 1971, the group continued to tour relentlessly, with Jeff at the helm. Another major event for the band in 1971 was its participation in the Hoadley's Battle of the Soudns. The group, with St John in ultimate form, put on a commanding show, performing a stunning version of the Leon Russell-penned "Hummingbird", but they finished third behind Fraternity and Sherbet.

"Hummingbird" (backed by Derek & The Dominos' Keep On Growing) became the next Copperwine single, which was released in August on Festival's new progressive subsidiary, Infinity and it was a moderate chart success. Early in the year they recruited Glyn Mason (ex-Chain, Larry's Rebels) and this line-up performed at the Mulwala Festival near Albury in NSW in April 1972. Soon after, Jeff split from Copperwine, but the band continued on for some time, with Mason taking over as lead vocalist.
by Paul Culnane


Tracks
1. Cloud Nine (Barrett Strong, Norman Whitfield) - 6:22
2. Sing A Simple Song (Sylvester Stewart) - 4:25
3. Fanciful Flights Of Mind (Jeff St. John, Peter Figures) - 3:23
4. Any Orange Night (Barry Kelly, Peter Figures) - 7:26
5. You Don’t Have To Listen (Barry Kelly, Peter Figures) - 5:00
6. I’ve Been Treated So Bad (Washboard Sam) - 3:09
7. Days To Come (Ross East) - 4:10
8. Reach Out (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 5:22
9. Can’t Find My Way Home (Steve Winwood) - 4:19
10.Train (Alan Ingham, Barry Kelly, Peter Figures) - 2:18
11.I Remember (Jeff St. John, Peter Figures) - 5:54
12.Enviroment In Three Parts (Pat Aulton) - 7:50


2000 Vicious Sloth Collectables Bonus Tracks
13.Teach Me How To Fly (Sidney Barnes) - 4:12
14.Freedom Blues (Steven Quincy Reeder Jr., Richard Penniman) - 3:15
15.Hummingbird (Leon Russell) - 3:55
16.Keep On Growing (Bobby Whitlock, Eric Clapton) - 3:24

Musicians
*Harry Brus - Bass
*Ross East - Guitar, Vocals
*Johnny Green - Guitar
*Barry Kelly - Piano, Clarinet
*Wendy Saddington - Vocals
*Jeff St. John - Vocals
*Peter Figures - Drums
*Alan Ingham - Bass
*Phil Wooding - Guitar
*Glyn Mason - Vocals, Guitar
*John Sangster - Vibes, Glockenspeil
*Billy Thorpe - Harmonica
*Doug Ashdown - 12 String, Dobro Guitar
*Elegio Sincic - Sitar
*Mick Parker - Flute
*Marilyn Murray - Vocals
*Obadia Loombogle - Harp
*Phil Wooding - Guitar

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