Linn County - 'Till The Break Of Dawn (1970 us, awesome psych blues rock, original vinyl release)

Linn County were formed in Iowa, round 1967. They moved to San Francisco prior to recording their first album in 1968.

The third and last Linn County LP, came out in 1970. Their sound follows the steps from their previous release, tasty psychedelic blues with slices of soul, and bit more mature essence. Though the band had slightly changed it's name by the time this LP was released.

They split up in 1970. A solo album released by band member Stephen Miller the same year included 4 tracks recorded by the final Linn County line-up.

Tracks
1. Tell The Truth (R. Charles) - 5:02
2. Monkey Man (Stephen Miller) - 3:38
3. TV Free (Stephen Miller) - 3:10
4. Wine Take Me Away (T. Collins, M. Haggard) - 3:00
5. Next Time You See Me (Forest, Harvey) - 4:21
6. Let The Music Begin (Stephen Miller) - 3:03
7. Black Nights (Legenross) - 4:52
8. Further On Up The Road (Veasey, Robey) - 2:19
9. Boogie Chillun (J. L. Hooker) - 8:41
10.'Till The Break Of Dawn (Stephen Miller) - 1:48

Musicians
 *Stephen Miller - Organ, Vocals
 *Larry Easter - Saxophone, Flute
 *Dino Long - Bass
 *Clark Pierson - Drums
 *Fred Walk - Guitar, Sitar

more Linn County releases
1968 Proud Flesh Soothseer
1969 Fever Shot 

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Edward Bear - Eclipse (1970 canada, fascinating melodic progressive rock, 2012 Flawed Gems edition)

Edward Bear’s sophomore lp came in the form of Eclipse the summer in 1970. Featuring a healthy dose of well-written tight folk-inspired pop, it was an obvious continuation of the first album. The first single "You Can't Deny It" was issued amid high hopes. 

Also a graphic artist, Weldon designed a sleeve for the 45 that actually had something for the buyer to look at, one of rock's first 45 sleeves to have some actual thought put into it. Again the group received a good critical response and decent airplay. 

Soon after their second release, Danny Marks left the band and their got  more softened but gained much more popularity.

Tracks
1. Four Months Out to Africa (Paul Weldon) - 3:13
2. Chris' Song (Larry Evoy) - 6:23
3. You Can't Deny It (Danny Marks) - 4:40
4. Pickering Tower (Larry Evoy) - 2:57
5. T-1 Blues (Danny Marks) - 3:24
6. Pirate King (Larry Evoy) - 3:23
7. Long Forgotten Day (Danny Marks) - 4:55
8. Monday (Danny Marks) - 5:40

Edward Bear
*Larry Evoy - Drums, Vocals
*Danny Marks - Banjo, Composer, Guitar, Vocals
*Paul Weldon - Bass, Keyboards, Piano, Vocals

1969  Edward Bear - Bearings

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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 David

Tracks
1.Only You - 4:33
2.Painted Ladies - 3:22
3.Falling In Love - 3:27
4.Today - 3:08
5.Trafalger - 3:10
6.I Love You Still - 4:05
7.Jenny - 4:07
8.It`S All For You - 3:50
9.Suicide - 2:04
10.While You Were Out - 2:38
11.Song Dance (Live) - 6:29
12.Of Once And Future Kings (Live) - 6:50
13.Natchez Trace (Live) - 4:18
14.A Little Better (Live, Prev. Unreleased Song) - 2:18
15.A Look In Your Eyes (Live, Prev. Unreleased Song) - 4:27
16.Julia (Live) - 2:55
17.She Came Shining (Live) - 4:37
18.Did You See Him Cry (Live) - 6:07
19.Subway Sue (Prev. Unreleased Early Version) - 5:40
20.I Wait For You (Prev. Unreleased Song, Studio Recording 1977) - 1:44
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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Archie Whitewater - Archie Whitewater (1970 us, brilliant psychedelic jazzy brass rock, 2011 reissue)

Can you imagine paying $100,000 for a group and then hiding it away for over a year?" So ran the first line in an article about Archie Whitewater back in August 1970. in the Free Lance-Star newspaper out of Fredericksburg. Virginia. "Well, that's exactly what Chess Records did with the group..." Not that Chess's eventual publicity campaign made stars out of the nine musicians in the band. In fact. Archie Whitewater's lone album for Chess's cool spin-off label Cadet Concept, is a best-kept secret among collectors - and this reissue, remastered from the original tapes, marks its first-ever appearance on CD. 

Copies of Archie Whitewater now sell for upwards of £100. fuelled chiefly by the plethora of funky drum breaks and beats scattered across the album. The album's most acknowledged track is probably 'Cross Country', a mellow funk track with some sublime electronic piano and serene vocals, because it was exhumed by Chicago hip-hop artist Common (or Common Sense. as he then called himself) for the track 'Chapter 13 (Rich Man Vs Poor Man)' on his second album Resurrection from 1994. 

Another Archie Whitewater song. 'Hulk', was borrowed by 90s New York hip-hop act Blahzay Blahzay. Other rap artists followed suit, usually recycling some aspect of 'Cross Country' within their music. Since the 90s. the cult status of Archie Whitewater's sole album has grown steadily: a quick glance at websites like Popsike reveals just how many copies of the album have sold for silly money on eBay and the record is praised by numerous blogs which pride themselves on their crate digging credentials. 

And yet despite the plethora of information now available about myriad acts via the internet, precious little has been documented about their story.  Simply put, Archie Whitewater adopted the big band 'horn rock' mould pioneered by the likes Blood Sweat  And Tears in the late sixties, fusing elements or funk soul. psychedelic rock and jazz into their songs. Also some debate dwelt on their possible association with other acts on the Cadet Concept labels  (namely Rotary Connection and the productions of Charles Stepney) or even  whether they were black or white.

Archie Whitewater captures a period in American music when musicians adopted a carefree approach to combining their influences. In so doing, they created some idyllic music which sounds unrestrained by the usual straitjacket imposed on artists on major labels. After some forty years. RPM is proud to usher this fine record into the digital age.

by John Reed. November 2011

Tracks

1. Don't Be Short (Bob Berkowitz, Travis Jenkins) - 2:09

2. Northstar (Bob Berkowitz, Charles Hyams) - 4:17

3. Mist Of The Early Morning (Bob Berkowitz, Charles Hyams) - 3:52

4. Life Is A River (Travis Jenkins) - 3:23

5. Friends And Neighbors - 3:46

6. Country To The City - 4:27

7. Home Again - 4:09

8. Cross Country - 3:21

9. Lament For The Walking Dead (Travis Jenkins) - 4:35

10.Seacoast - 3:51

11.Hulk - 1:59

All songs by Bob Berkowitz except where noted

Archie Whitewater
*Travis Jenkins - Tenor Flute, Vocals
*Tony Vece - Bass,
*Sam Burtis - Trombone
*Lynn Sheffield - Alto, Vibes
*Peter Labarbera - Vibes
*Bob Berkowitz - Keyboard
*Fred Johnson - Vocals
*Paul Metzke - Guitar
*JIm Abbott - Drums

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Alun Davies – Daydo (1972 uk, fabulous folk rock with glam shades, 2008 RDI edition)

Alun Davies is one of the most highly respected session guitarists in the United Kingdom. A founding member, along with childhood friend Jon Marks and Nicky Hopkins, of pop-jazz group Sweet Tuesday, Davies made his greatest mark as accompanist for British singer/songwriter Cat Stevens from 1970 until Stevens' conversion to Islam and retirement from music in 1977. Davies subsequently collaborated with ex-Small Faces vocalist Ronnie Lane, co-writing the opening track "One Step" and a second tune, "She's Leaving," on Lane's 1979 album See Me.

Davies launched his musical career in a duo that he shared with Marks (then known as Michael Burchell) in 1963. The duo's sole album, Relax Your Mind, was produced by American producer Shel Talmy, best known for his work with the Who, the Kinks, Manfred Mann, Chad & Jeremy, and Ralph McTell. After busking in Paris and the south of France, in 1964, the two musicians returned to England and signed with an agent, who secured them a gig on a Cunard Line ship. 

After 16 voyages across the Atlantic ocean, Davies and Mark went their separate ways. Davies, who had gone on to work as a session musician for Fontana Records and tour with Marianne Faithful, Spencer Davis, and Jeremy Taylor, reunited with Mark to form Sweet Tuesday in 1968. Although they recorded one memorable album, the group disbanded after Fontana declared bankruptcy and went out of business.

Returning to session work, Davies was recruited to perform on Cat Stevens' album, Mona Bone Jakon, in 1970. The session proved so successful that Stevens invited Davies to join him on tour following therecording of his groundbreaking album, Tea for the Tillerman. Davies' involvement with Stevens was reciprocated when he recorded his debut solo album, Waste of Time in 1972. The album, which showcased seven tunes written or co-written by Davies, featured Stevens on piano and was co-produced by Stevens and Paul Samwell Smith. Davies' second solo effort, Daydo followed two years later. 

by Craig Harris

Daydo is a poem: A Sweet Thursday album: is telling me to play louder when the heavy trucks rolled by: is a friend of Cat Stevens songs: V song ts living for today, laughing at yesterday, and writing for tomorrow. in this album, long awaited by friends and the first of many, are reflected the feelings and experiences, the joys and sorrows of time spent in the market place with Alex Campbell, Spencer Davis, Gerry Lockran, a host of others including myself, and, more recently, Cat Stevens, who perhaps more than anyone is responsible for introducing Alun as a major artist who stands alone and steps to his own tune. 

It's rare these days that my path crosses Alun's, for different groups travel different routes, but when we do meet again I have a feeling it wi!l be in a concert hall on his own tour, sitting in the front row alongside all the other friends he's worked with. It is impossible for words to describe the music as they would serve only to confuse and you who listen will find your own words, no doubt better than mine as the only things you need for this album, are ears and plenty of them! 

by Mark Almond, Summer 1972 

Tracks
1. Market Place - 3:46
2. Old Bourbon - 4:51
3. Portobello Road (Cat Stevens, Kim Fowley) - 2:23
4. Poor Street - 4:28
5. Abram Brown Continued (Alun Davies, Jeremy Taylor) - 3:59
6. Waste Of Time - 4:07
7. I'm Gonna Love You Too (Joe Mauldin, Norman Petty, Niki Sullivan) - 2:41
8. Vale Of Tears - 5:07
9. I'm Late (Sammy Fain, Robert Hilliard) - 2:39
10.Young Warrior - 2:59
All songs by Alun Davies except where indicated.

Musicians
*Harvey Burns - Drums
*Gerry Conway - Drums
*Alun Davies - Guitar, Vocals
*Charlie Gainsford - Banjo
*Chris Laurence - Bass
*Jean Roussel - Keyboards
*Larry Steele - Bass
*Cat Stevens - Keyboards
*Jeremy Taylor - Guitar

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Bert Sommer - The Road To Travel (1968 us, beautiful folk psychedelic baroque tinged rock)

Major labels were taking all kinds of chances on untested talent in the late '60s, but although his name may have been unfamiliar to most in the industry, Bert Sommer was hardly untested. By the release of The Road to Travel, his 1968 debut, he had already written five songs for the Vagrants (founded by a pre-Mountain Leslie West, Sommer's schoolmate) and sung lead vocals on the Left Banke's single "Ivy, Ivy" through a friendship with that band's Michael Brown. 

The Road to Travel shows that his well of inspiration had not yet run dry. With help from a conglomeration of friends and studio professionals, Sommer proved he was facile in a variety of styles -- orchestral pop, acoustic folk, and some of the most sensitive singer/songwriter material heard before the style had fully flowered (with apologies to Tim Buckley). All of this was delivered in Sommer's plaintive voice, although he was more convincing when he really let go than when he tried to rein it in. Anachronistically, he began the LP with the words "And when it's over" (the title of the opener), moving quickly on the song from eerie Baroque pop to bombastic, brass-led art rock. 

That was a mere taste of what was to come, encompassing the hippie-dippie end of folk on "Jennifer" (the song Sommer gained raves for at Woodstock), straightforward sunshine pop for "Things Are Goin' My Way," and a curiously aggressive falsetto take on art rock for "Tonight Together." Sommer's power as a songwriter and performer was clear, but he was incredibly difficult to pin down. That may be what doomed The Road to Travel, but it has an undeniable flair. 

by John Bush

Tracks
1. And When It's Over - 3:13
2. Jennifer - 2:35
3. Things Are Coin' My Way - 2:29
4. She's Just A Girl - 3:44
5. Tonight Together - 2:28
6. The Road To Travel - 3:55
7. She's Gone - 3:01
8. Hold The Light - 2:53
9. A Simple Man - 2:45
10.Brink Of Death - 3:20
11.A Note That Read - 3:27
All selections written by Bert Sommer

Musicians
*Hugh McCraken - Guitars
*Danny Cooch. - Guitars
*David Cohen - Guitars
*Sam Brown - Guitars
*Al Giorgoni - Guitars
*Bert Sommer - Guitars Vocals
*Joe Mack - Bass
*Renie Press - Bass
*Al Rogers - Drums
*Ron Frangipane - Piano
*Paul Griffin - Piano
*Artie Kaplan - Flute
*Specs Powell - Vibes

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Total Issue - Total Issue (1971 france, exceptional prog fusion jazz rock, 2012 Flawed Gems extra tracks edition)

Driven by the momentum, liberating and creative May 68, many groups inspired by the French Anglo-American pop that bloomed on the hexagon.  Total Issue  formed in 1970, made its way into jazz circuits accompanying jazzmen French and American way. Released their  eponymous album on the United Artists label in 1971. 

"Total Issue" is the reflection of their time and merges the French song and singing in English. "La Porte Ouverte" is undoubtedly  one of the highlights, it starts as jazzy folk reminds "Cadence and Cascade" by King Crimson less melancholy, melt quickly in an environment where tribal flute warm absorbs us,  and with the  wah – wah acid guitar, turns into a creepy trip. 

When we listen to these psych prog jazz influences, we could easily believe that this work could have a different fate if it was released  in the States or Britain,. In fact, we are dealing with an album that lacks coherence can be endearing, easy to listen to but the default will be the work of a French quintet. 

When they disbanded the following year, every member took his own road more or less successful. Texier and Romano made a solid reputation on the European jazz scene, both in their own discography and in collaborations with artists such as John abercrombie, Didier Lockwood Beck and Gordon (note that Romaro is sponsoring and honorary chairman Archie Shepp Jazz Festival of Porquerolles Island since its inception in 2002). 

by Jimmy James

Tracks
1. Les Marins - 3:30
2. La Porte Ouverte - 8:20
3. Come Down - 2:55
4. Over The Shadow - 3:05
5. Rustique - 6:25
6. Quiet Place - 2:25
7. Dis-Mais-Dis - 4:03
8. Résurrection - 3:45
9. Instrumental Jam I - 1:13
10.Instrumental Jam II - 5:55

Total Issue
*Henri Texier - Bass, Percussion, Vocal
*Aldo Romano - Lead Vocal, Drums, Guitar
*Georges Locatelli - Lead Guitar, Percussions, Vocal
*Michel Libretti - Violin, Guitar, Drum, Percussion, Vocal
*Chris Hayward - Flute, Keyboards, Percussion, Vocal

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Steel Mill - Jewels Of The Forest, Green Eyed God Plus (1971 uk, exeptional heavy prog blues rock, 2010 remaster and expanded)

Like every scene, the 70s British prog rock movement had its bands that came and went without creating a ripple – some justifiably, some inexplicably – and unfortunately Steel Mill were one such victim. Jewels Of The Forest (Green Eyed God Plus...) neatly brings together their sole album, 1972’s Green Eyed God, along with the two singles that comprised the band’s entire output. Also included are recently discovered demos, and, most surprisingly, a brand new track recorded earlier this year.

Green Eyed God was only released in Germany upon its completion in 1972 and it wasn’t until 1975, long after the band’s demise, that it appeared on domestic shores. Listening now to this little progressive masterpiece it is truly mystifying as to why any label would sit on this little gem, with its quintessentially English mix of prog, folk, hard rock and blues that at once has a broad enough spectrum to draw in fans of Black Sabbath, Jethro Tull and Led Zeppelin, and yet is a unique and characterful album brimming with great songs.

The riffs in the likes of opener ‘Blood Runs Deep’, highlight ‘Black Jewel Of The Forest’ and the fine title track have an edge and darkness not unlike Iommi’s finest, yet take on a calmer, more unsettling air amongst the rural atmospheres that quickly emerges as distinctly Steel Mill. Green Eyed God has that quality so rare in progressive music in that it is all done in a much understated manner – there are no self-indulgent wig-outs or flamboyant displays of showmanship and virtuosity; the album just leaves behind a warm glow of satisfaction, and some damn good hooks stuck in the brain.

Going beyond the original album and into the rest of Jewels Of The Forest, the two b-sides, whilst nice in and of themselves, were rightly left off the album; both ‘Get On The Line’ and ‘Zangwill’ are catchy, upbeat numbers, but are very much at odds with the centrepiece. The five newly unearthed demos date from two years previous and show the very interesting evolution of Steel Mill from their bluesy, Cream-like, late 60s scene origins. These curios are a long way from where the band ended up, and with good reason: all the positives of Green Eyed God are missing from these non-descript, derivative slabs of blues rock.

Last, but by no means least, we have ‘A Forgotten Future / A Future Past’, the first recording by a newly reformed Steel Mill – complete with all five original members. It is both comforting and disconcerting that it is barely noticeable that this and the first eight tracks on the disc were recorded some 38 years apart. ‘A Forgotten Future/A Future Past’ has that wonderful laid back Steel Mill sound with a great crunching riff at its epicentre; but are the band just trying to recapture a long lost past? Perhaps that is a question for the future. For now revel in the timely re-release of the lost classic that is Green Eyed God. 

by Dominic Hemy

Tracks
1. Blood Runs Deep - 5:05
2. Summer's Child - 4:25
3. Mijo and the Laying of the Witch - 7:52
4. Treadmill - 4:00
5. Green Eyed God - 9:45
6. Turn the Page Over - 3:52
7. Black Jewel of the Forest - 6:04
8. Har Fleur - 0:48
9. Get on the Line - 4:15
10.Zangwill - 3:43
11.Green Eyed God - 3:46
12.Confusion - 3:50
13.Monday Arrives - 3:15
14.Super Clean Man - 3:33
15.Keep Working - 3:56
16.Growing Bald - 3:52
17.A Forgotten Future/A Future Past - 5:00
Track 9 Bonus single 1972
Tracks 10-11 Bonus single 1971
Tracks 12-16 Previously Unreleased Demo/Acetate Recordings, April 1970
Track 17 new song 2010

Steel Mill
*David "Dave" Morris - Keyboards, Vocals
*Derek Chandler - Bass, 1969-71
*Terry Williams - Guitar, 1969-72
*John Challenger - Saxophone, Woodwinds
*Colin Short - Drums, 1969-70
*Ricky (Aka Rupert Bear) - Drums, 1970
*Chris "The Rat" Martin - Drums, 1970-72
*Jeff Watts - Bass, 1971-72
*Alan Plaice - Guitar, 1972
*Danny Easterbrook - Bass, 1972

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Formerly Fat Harry - Goodbye For Good, The Lost Recordings (1969-72 us/uk, rough psych west coast influences)

Formerly Fat Harry are one the forgotten greats of late '60s British rock. The band was formed in London in 1969 by ex-Country Joe & the Fish bassist Bruce Barthol and two old friends from the Berkeley California folk music scene, Gary Petersen and Phil Greenberg. Fat Harry was soon signed up by the original Pink Floyd management company. 

Playing a highly idiosyncratic brand of Americana that frequently experimented with jazz time signatures, the band played at two of the now legendary free concerts in Hyde Park, the 1970 Bath Festival, Phun City and many of the clubs of the era such as The Marquee in London.

A quartet of 'musician's musicians', admired by everyone from Ralph McTell to Edgar Broughton and Michael Chapman, the group made only one LP for Harvest Records before disbanding in 1972. Though reflecting their musical and song-writing abilities, that record failed to capture their true flavour. 

Now, this previously unreleased collection of studio demos and live recordings (taken from the band's own archive) finally sets the record straight, delivering a heady mix of country, folk, blues and psychedelia, as well as including for the first time ever a version of their much-loved live favourite, 'Mariachi Riff'.

The accompanying 16 page CD booklet includes comprehensive liner notes, featuring interviews with the band, plus rare photographs from their own archive.

by Hux

Tracks
1. Wild Side Of Life (Thompson) - 3:11
2. Funky 8 (Peterson) - 3:41
3. Corelia Correll (Peterson, Greenberg) - 8:39
4. Tell Me All About It When You See Me (Peterson) - 6:46
5. Girl On A Bicycle (McTell, Peterson) - 4:03
6. Zurich Blues (Barthol, Greenberg, Peterson) - 6:25
7. As The Rain Falls (Peterson) - 4:44
8. Goodbye For Good (Greenberg) - 7:04
9. Seulbe (Peterson) - 6:14
10.Time Slips By (Greenberg) - 7:24
11.I'd Rather Be A Newsboy (Kuhn, Kuhn, Branen) - 1:47
12 Mariachi Riff (Barthol, Greenberg, Peterson) - 16:50
Track 3, Demo tape, recorded at Sound Techniques studios, London.
Tracks 2, 5, 7, 9 and 10, London demo studio work tapes
Tracks 1, 4, 6, 8,11 and 12, Live recordings

Formerly Fat Harry
*Bruce Barthol - Bass, Vocals
*Phil Greenberg - Guitar, Vocals
*Gary Peterson - Guitar, Keyboards, Vocals
*Laurie Allan - Drums (Tracks 1, 3, 4, 8, 9, 11, 12)
*John Marshall - Drums (Tracks 2, 5, 7)
*Alan Jackson - Drums (Track 6)

Related Act
with Country Joe and the Fish
1965-71  The First Three E.P's
1967  Electric Music For The Mind And Body
1967  I-Feel-Like-I'm-Fixin'-To-Die
1968  Together

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The Queen's Nectarine Machine - The Mystical Powers of Roving Tarot Gamble (1968 us, psychedelic rock, 2011 digi pack issue)

The Queen's Nectarine Machine released one LP during their career, The Mystical Powers of Roving Tarot Gamble, which was recorded in 1968.

I was fortunate enough to get a copy of it from singer Jimmie Jersie, but it is otherwise extremely difficult to find. I spoke with Jimmie recently (listen to the interview). According to Jimmie, the trippy band name and the occult theme of the LP were the idea of their production company, Super K. The band was much more of a rock & roll band, influenced more by the Rascals, Rolling Stones and the Beatles. Still, this album is a prime example of late-1960s psych—as is the band's appearance.

Jimmie, who identified himself as "the wierdo in the flowered pants," did his part in establishing the band's look. The flowered pants? Imported from Italy. In fact, all of the shirts that the band members are wearing are Jimmie's.

Jimmie was also a member of the Del-Aires, a band with a career as interesting as the Queen's Nectarine Machine. The Del-Aires appeared in the movie The Horror of Party Beach, which aired on Mystery Science Theater 3000. The website Bad Movie Planet called the Del-Aires "The Greatest B-Movie Band Ever?" The Del-Aires also were playing in the Angel Lounge in Lodi, New Jersey, on the night of the infamous killings that left two police officers dead, chronicled in David Stout's book Night of the Devil. 

Tracks
1. Where Are We Goin' (M. Lane) - 2:18
2. 4th Dimension (S. Dworkin, G Willet, J. Katz, J. Kasenetz) - 2:49
3. Gypsy Lady (J. Katz, J. Kasenetz, J. Palmes) - 2:34
4. I Got Troubles (You Got Troubles)  (J. Katz, J. Kasenetz, J. Jersie, J. Ribaudo) - 2:30
5. The Seance (J. Katz, J. Kasenetz) - 5:21
6. Mysterious Martha Garoo (S. Dworkin, G Willet, J. Katz, J. Kasenetz) - 5:22
7. The Book (F.Marcus) - 1:59
8. Land of Krepus (S. Dworkin, G Willet, J. Katz, J. Kasenetz) - 2:34
9. Mrs. Fortune Teller (S. Dworkin, G Willet, J. Katz, J. Kasenetz) - 2:09
10.Everybody's Got a Song to Sing (S. Dworkin, G Willet, J. Katz, J. Kasenetz) - 2:12

The Queen's Nectarine Machine
*Jimmie Jersie - Vocals
*Joe Ribaudo - Guitars
*Guy Rigano - Drums
*Drew Troeder - Bass

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Zoo - Zoo (1969 france, fascinating jazzy blues psych with prog elements, 2012 Flawed Gems issue)

This great debut album was originally released in 1969 by Riviera label and at the time was one of the earliest French rock records!! LP consisted a powerful collection of largely instrumental jazz blues-rock tracks with strong psychedelic and fiink influences with electric guitars, Hammond organ, electric violin and saxophone parts being backed by very busy rhythm section and strong, vocal of Joel Dayde. 

This twisted musical mixture is pretty hard to describe, but it should appeal to the fans of Electric Flag, early Funkadelic, Chicago Transit Authority, early Family and Larry Coryell. It's worth noting that popular US vinyl version released by Mercury Records in 1970 (with the same cover design) was a compilation of tracks from first two albums.

Tracks

1. If You Lose Your Woman (Joël Daydé, Michel Bonnecarrère) - 4:10

2. Ramses (Michel Bonnecarrère) - 4:41

3. Bluezoo (Pierre Fanen) – 5:42

4. Rhythm And Boss (Michel Bonnecarrère) - 4:44

5. Memphis Train (Bonny Rice, Rufus Thomas, Willie Sparks) - 3:24

6. Samedi Soir A Carnouet (Michel Bonnecarrère) – 5:56

7. You Sure Drive A Hard Bargain (Allen Jones, Bettye Crutcher) – 3:28

8. Mammouth (Michel Bonnecarrère) - 7:31

Zoo
*Joël Daydé - Vocals
*Pierre Fanen - Guitar
*Michel Bonnecarrère - Guitar
*André Hervé - Keyboards
*Michel Hervé - Bass
*Daniel Carlet - Saxophone, Violin
*Michel Ripoche - Saxophone, Violin, Trombone
*Tony Canal - Trumpet
*Christian Devaux - Drums

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Houston Fearless - Houston Fearless (1969 us, hard fuzzy psych rock, 2006 edition)

Not much known about this quartet (Harley Baker, Bill Combest, Joe Krasomil and Bob Wall). Signed by Imperial, their self-titled 1969 debut teamed them with producers Charles Greene and Brian Stone (whom we're more familiar with producing soul and R&B acts). 

Including a set of late-'60s hard rock, material such as "Not Foolin' Me", "Race with the Devil" and an extended cover of The Buffalo Springfield's "Mr. Soul" had a Steppenwolf-styled feel to them (aka manic vocals, walls of keyboards and an occasional screaming guitar). 

With Wall and Baker responsible for most of the material, among the more interesting tracks were the acoustic "Only For You" which offered up their prettiest melody, the country-rocker "What Are Those Things", and "Blue Bones and Ashes" which benefited from a mild psychedelic feel.

Bad-cat

Tracks
1. Not Foolin' Me (Bob Wall) - 3:58
2. His Eye Is On the Sparrow (arranged and adapted by Houston Fearless) - 3:10
3. Only For You (Bob Wall) - 3:40
4. Blue Bones and Ashes (Harley Baker) - 2:43
5. Race with the Devil (Adrian Gurvitz) - 2:26
6. Mr. Soul (Neil Young) - 4:58
7. What Are Those Things (Dallas Frazier, A.L. Owens) - 2:11
8. Knock Knock (Bob Wall, Joe Krasomil, Bill Combest, Harley Baker) - 3:12
9. Joshua (arranged and adapted by Houston Fearless) - 2:10
10.Love Has A Habit (Bob Wall) - 3:16
11.Hold Me (Bob Wall) - 2:53

Houston Fearless

*Harley Baker - Keyboards

*Bill Combest - Drums

*Joe Krasomil - Bass

*Bob Wall - Guitar, Vocals

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Musical Theatre - Revolutionary Revelation (1969 us, concept political proto-progressive rock, Metromedia rare Vinyl edition)

"This album attempts to explain in musical form not only what the youth of today are against but also what they are for. It shows that they are not attacking the ideals of American Democracy as much as wanting them realized. Their beliefs have been woven into a story of related songs. 

It is impossible to categorize, as it is similar to nothing else on the music scene. It is simply - today. It is a musical expression against the war, racism, violence, poverty, the destruction of our natural environment, inequality, puritanism and the imbalance of power." 

from Rear sleeve-note

With a call-and-response style between the Musical Theatre and an omnipotent voice, the Revolutionary Revelation is a journey which asks questions and provides answers. Protest/leftie/anti-establishment concept album with elements of funk-rock, psychedelia and sunshine pop. Lots of excellent spoken word sections between tracks with weird effects and sounds. 

Tracks include ‘Reflections In The Life Of An Assassin’ and ’I’ve Seen God In Many Places'. Very funky with beats all over the place, such as the “we’re gonna turn the Pentagon into a discotheque” section - spoken word/laughter over massive B-Boy drums. Interesting stuff, a real period piece and a completely unique listening experience!

Tracks

1. Revolution - 2:24

2. We Want (Gloria Shayne, Jason Darrow) - 2:03

3. Computer World - 2:45

4. You Only Reap What You Sow (Gloria Shayne, Jason Darrow) - 1:36

5. Reflections In The Life Of An Assassin (Gloria Shayne, Jason Darrow) - 3:05

6. There Must Be A Better Way Of Life - 3:04

7. A Love Pill - 3:35

8. Before The Apple (Jason Darrow, Noel Regney) - 2:35

9. I've Seen God In Many Places - 4:32

10.A Revolutionary Revelation (Jason Darrow, B. Ross, Noel Regney) - 3:11

All compositions by Gloria Shayne, Jason Darrow, B. Ross except where noted

Musicians
*Paul Griffin - Organ, Piano
*Al Gorgoni - Guitars
*Dave Spinozza - Guitars
*Bill Snyker - Guitars
*Jimmy Johnson - Drums
*Chuck Raney - Fender Bass
*Jack Jennings - Percussion
*Howard Newhouse - Mystical Voice

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Oxfords - Flying Up Through Sky (1966-72 us, pleasant colorful psychedelic flavors, Gear Fab release)

In 1964 I was a sophomore in high school, and like everyone else, was in awe of the Beatles.  I had been playing guitar for a year or so and was having the usual problems keeping a band together for more than a week.  I somehow managed to steal the best players from several groups that I had been practicing with.   I finally had a band that was good enough to actually play gigs.  The group was called "The Spectres".  I played lead guitar, my high school classmates Bill Tullis and Bill Turner were lead singer and bass guitar respectively.   Danny Marshall, a friend from another school, played rhythm, and Glenn Howerton played drums.  That same year, a band known as "The Oxfords" was getting a lot of attention in Louisville.  

In 1965 a rift between the Oxfords' leader and drummer Jim Guest and the other four members caused that group to split up.  Because we had all seen each other's bands, Jim asked us if we'd like to play with him and become the Oxfords.  This worked well, since the other guys in Jim's group liked our drummer better.  The two bands swapped drummers and we became the Oxfords.  The other guys with Glenn became the Rugbys.  They chose this name because they wore rugby shirts when they played.

In 1966 the Oxfords entered a recording studio for the first time.  Bill Turner had been replaced by bassist Ray Barrickman, and Danny Marshall had been replaced by guitarist Ronnie Brooks.  The first thing we recorded was the Burt Bacharach/Hal David song "(There's) Always Something There To Remind Me".   Gene Synder, our booking agent sent a rough mix to Nashville producer Buzz Cason.   Buzz liked it, came to Louisville to help us finish it, and most importantly, got us a record deal with Bell Records.  

Ray Barrickman sang the lead vocal on this song, but in the fall of 1966 he left the band to attend college out of town.  Ronnie Brooks then switched to playing bass, and Bill Tullis started playing rhythm guitar.  So when the song was finally released, we had to try to cover the record on gigs with Bill Tullis singing the lead vocal.  This worked (more or less), since PA systems weren't all that good in those days.  However, shortly after the record's release, the song was quickly recorded by another group and our air play all but stopped.

We recorded our second record "Sun Flower Sun", which was also released on Bell records in 1967.  This record made an appearance on Dick Clark's American Bandstand in the "Rate the  Record" segment.   With a score of only 65, the single was effectively doomed.

Later in 1967 Ronnie left the band and was replaced by bassist Garry Johnson.  Garry then left after several months to play bass in the newly-formed Louisville group Elysian Field, with guitarist Frank Bugbee and drummer Marvin Maxwell.  

A few years ago Ronnie Brooks wrote several songs for Hank Williams, Jr.  Ronnie was invited to the recording session, and as he was talking with Hank he heard someone call out his name.  It was Ray Barrickman, who was playing bass in Hank Williams, Jr.'s band.Ronnie is now a music producer in Nashville and was the voice of the middle Budweiser Frog in the TV commercials.  

Ronnie's older brother Randy, was a high school classmate and good friend of mine.  A few years ago Randy wrote the timeless Christmas classic "Grandma Got Run Over By A Reindeer".

Meanwhile back in the 60's, there was an all-girl band in Louisville known as The Hearby.  Jim Guest and I liked their sound and helped them make their first and only record.  I was particularly interested in their lead singer Jill DeMarco.  

In 1968 our group evolved again.  This time, drummer Jim Guest was replaced by Donnie Hale, Dill Asher became the bass player, and most significantly, I asked  Jill to join the group.

This was the group that recorded the bulk of the LP material.  Donnie's friend Keith Spring was a brilliant musician and orchestrator.  Keith agreed to do the orchestrations for the album cuts and played on the recording sessions.  Keith, also played in the group for a short time in 1968.  However, the musical direction we were going with Keith was far too esoteric for the gigs we were playing  (we actually played regularly at Fort Knox during the Viet Nam War).  Keith later went on to work with actor/musician Martin Mull and legendary rock group NRBQ.  That year we got to open for Frank Zappa and the Mothers at a Louisville rock club and for The Grateful Dead at Bellarmine College.

In 1969, Dill Asher was replaced by bassist Larry Holt, and Donnie Hale was replaced by drummer Paul Hoerni  (brother of the Rugby's bass player Mike Hoerni).  We recorded several more album cuts and the group's last single "Come On Back To Beer", which was inspired by our contact with Frank Zappa.  This single was released on Paula Records and made it to number one on rock radio in Louisville.

In 1970 the album was finally finished.  Although we had offers from two record labels, we were uncomfortable with both deals.  The labels wanted total control, along with buy-outs of all materials and rights.  We decided to release and promote the record ourselves.

In 1971, out of the frustration of not being able to play enough original songs on our gigs, I got heavily involved with a theatrical production that I had written.  My show was a rock musical called "Grease".  It happed simultaneously with another more-famous production by the same name that was just starting in Chicago.  The Oxfords got all greased up and became the pit band for the show.  It ran for several weeks on the University of Louisville campus and was also performed in Atlanta and at the University of Kansas.

At that same time, I had gotten a notice from Selective Service to report for a draft physical.  I fasted for two weeks and weighed only 117 pounds (10 pounds underweight for my 5'-11" height) at the time of the physical.  Because of this, however, I didn't have enough strength to support the weight of my guitar and also sing.  I decided I'd switch to playing keyboards and flute and we added guitarist Jerry Canter to the group.  We recorded "The City" with this group, but it was never released on vinyl.

Finally in 1972, Paul, Larry, and Jerry all left the band.  Quentin Sharpenstein, became the bass player.  Quentin had played tuba on the orchestra overdub session for our album four years earlier.  Guitarist Tony Williamson, a good friend of Larry, and jazz drummer Bobbie Jones also joined the group.   Jill played both guitar and clavinet at various times, and I played a Hammond organ and Rhodes piano.  

That same year, Danny King, a friend of mine, opened a recording studio.  I volunteered the band's services in trade for studio time, and soon became the studio's engineer.  I wasn't paid, but I used this opportunity to record most of the later cuts on the CD.  

By this time, it was becoming obvious (even to me) that the Oxfords were not on the road to rock stardom.  Jill was especially tired of the situation, the other musicians had opportunities to play with other groups, and I had discovered that my passion was working in a recording studio.

The group disbanded for good in the summer of '72.  But hey, that's the cool thing about recording...the music lives on!

by Jay Petach

Tracks
1.  My World (Jay Petach, Jill DeMarco) - 3:18
2.  Lighter Than Air (Jay Petach, Jill DeMarco) - 2:50
3.  Sung At Harvest Time (Quechua Indian Song P. D.) - 3:47
4.  Two Poems by e.e. Cummings (Music by Keith Spring) - 4:37
5.  Flying Up Through The Sky (Jay Petach, Jill DeMarco) - 3:00
6.  Come On 'Round (Jay Petach, Jill DeMarco) - 5:00
7.  Young Girl's Lament (Traditional P.D.) - 2:38
8.  Trix Rabbit  (Jay Petach) - 3:10
9.  (There's) Always Something There To Remind Me (Hal David, Burt Bacharach) - 2:58
10. Time and Place (Bill Tullis, Jim Guest, Jay Petach) - 2:20
11. Sun Flower Sun (Jim Guest, Jay Petach) -  2:08
12. Chicago Woman (Jim Guest, Jay Petach) - 2:48
13. Come On Back To Beer  (Jay Petach,  Jill DeMarco) - 2:37
14. Your Own Way (Algie, S. Jones) - 2:43
15. The City (Jill DeMarco) - 2:45
16. Flute Thing (Jay Petach) - 2:08
17. Cuttin You Loose (Tony Williamson) - 3:12
18. Sweet Lover Man (Jill DeMarco) - 2:38
19. Those Winds (Jill DeMarco) - 3:09
20. Tornado Baby  (Jill DeMarco) - 5:59

Musicians
*Jill DeMarco - Vocals, Guitars, Kalimba, Clavinet
*Jay Petach - Vocals, Guitars, Piano, Flute, Vibes, Timbales, Organ
*Dill Asher - Bass
*Donnie Hale - Drums
*Paul Hoerni - Drums
*Larry Holt - Bass
*Keith Spring - Piano, Flute, Kalimba, Other Percussion
*Ken Albrecht - French Horn
*Ronnie Brooks - Guitars, Vocals
*Jim Guest- Drums, Vocals
*Ray Barrickman - Bass, Vocals
*Bill Tullis - Vocals
*Buzz Cason  - Vocals
*Jerry Canter - Guitar
*Quentin Sharpenstein - Bass
*Bobby Jones - Drums
*Tony Williamson - Vocals, Guitars

1966-72  Flying Up Through The Sky - Two

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Gary Farr - Take Something With You (1969 uk, outstanding bluesy folk rock tinged psychedelia, 2008 Sunbeam double disc issue)

Gary Farr was born on October 19th 1944 and raised in Worthing, Sussex, the youngest of four children of the legendary Welsh heavyweight boxer Tommy Farr. Privately educated, he travelled extensively and spent a time working in his sister's London jazz club, The Farm, before deciding to pursue a career in music himself. He began his career in February 1964, as frontman of the T-Bones. 

They quickly became a leading light of the UK R&B scene, playing a longterm residency at impresario Giorgio Gomelsky's Crawdaddy Club in Richmond (alongside the Yardbirds, the Rolling Stones and many others), and signing to Columbia. Though they also had a residency at the Marquee club, toured with blues legends such as Sonny Boy Williamson and Howlin' Wolf, appeared on the popular TV show 'Ready Steady Go!7, neither the three 45s or the EP they issued in 1964 and 1965 sold in significant quantities, and Farr departed for a solo career at the start of 1967. 

That January he recorded an up-tempo track backed by the Action, 'A Little Piece Of Her' (which is heard here for the first time), but the remainder of his songs were in a markedly different style, combining acoustic singer-songwriter structures with wistful, poetic lyrics. Gomelsky remained his manager, and - after Farr had recorded numerous demos, included here on disc two - he paired him up with former Blossom Toes drummer Kevin Westlake.

The duo initially called themselves 'The Lion and the Fish', but the only disc released by them, 'Green' / 'Everyday' (also included here as bonus tracks) appeared under their full names in June 1968, on Gomelsky's Marmalade label. Soon afterwards they amicably parted, and Farr was again pursuing a career alone, living at the house rented for the label's artists in Fulham, London. 

Towards the end of the year Gomelsky put him into the studio to tape a solo LP, backed by numerous other musicians associated with the label, including Meic Stevens and members of the Action, Mighty Baby, the Blossom Toes and Spooky Tooth. Though it was melodic, thoughtful and expertly played, Take Something With You never had a chance - its release was delayed for almost a year, and when it finally appeared in December 1969 Marmalade was mid-collapse and Gomelsky had just moved to France. 

It received no promotional support whatsoever, and only seems to have been reviewed in two of the UK's pop newspapers, meaning that neither it nor the 45 that preceded it ('Hey Daddy' / 'The Vicar and the Pope') sold. Undeterred, by early 1970 Farr had got some attention on the live scene, especially after appearing at the Isle Of Wight Festival in August 1969 (organised by his brother Rikki), and he soon signed another deal, with CBS. 

Having moved to Surrey, he spent several months gigging and rehearsing new material, before recording his second album that autumn, with backing from Richard Thompson and members of Mighty Baby. Strange Fruit was issued in December, exactly a year after Take Something With You, and sadly suffered much the same fate. An early demo of its standout track, 'In The Mud', closes disc two here. Soon afterwards he moved to the US, where he eventually signed to Atlantic and recorded his third and final album, Addressed To The Censors Of Love, in Muscle Shoals in 1973, under the auspices of the legendary Jerry Wexler. 

Later in the decade he formed the US-based rock band Lion, whose sole LP, Running All Night, appeared on A&M in 1980. Thereafter, disillusioned with the music business, he pursued a career as a photographer, taking stills for Hollywood movies and also for private clients. He never gave up music, however, and his friends and family cherish privately-made recordings of him, which find him returning to the blues and folk of his youth to stunning effect. On July 29th 1994 he succumbed to a heart attack tragically young, after cycling near to his Laurel Canyon home. 

His reputation has never ceased to grow in the years since, however - especially with the advent of the internet. Copies of Take Something With You have changed hands on eBay for up to £300, and it is to be hoped that this first reissue - produced with the full involvement of his family - will allow more people than ever to appreciate his considerable talents.

by Richard Morton Jack, September 2008

Tracks

Disc One

1.Don’t Know Why You Bother Child - 4:10

2.The Vicar and the Pope - 4:03

3.Green - 4:57

4.Two Separate Paths Together - 4:48

5.Take Something With You - 6:09

6.Dustbin - 3:42

7.Time Machine 4:09- 

8.Why Not? - 4:02

9.Curtain Of Sleep - 4:02

10.Goodbye - 4:45

11.Everyday (Bonus Track) - 3:25

12.Green (Bonus Track) - 2:59

13.Hey, Daddy (Bonus Track) - 3:21

All songs by Gary Farr except  tracks 3, 11 and 12 by Gary Farr and Kevin Westlake

Disc Two
1.A Little Piece Of Her (1967 demo) - 2:37
2.Victorian Dreams (1967 demo) - 2:10
3.Two People (1967 demo) - 3:57
4.Concerto For Men In The Country (1967 demo) - 3:19
5.Images Of Passing Clouds (1967 demo) - 3:51
6.I See You (1967 demo) - 3:50
7.Pondering Too Long (1967 demo) -3:59
8.Hey Daddy (1968 demo) - 3:45
9.Don't Know Why You Bother Child (1968 demo) - 4:41
10.Green (1968 demo) - 3:07
11.Two Separate Paths Together (1968 demo) - 3:50
12.Time Machine (1968 demo) - 3:05
13.Why Not? (1968 demo) - 4:44
14.Goodbye (1968 demo) - 3:36
15.In The Mud (1970 demo) - 6:50
All songs by Gary Farr except track 10 by Gary Farr and Kevin Westlake.

Musicians
*Gary Farr - Guitar, Vocals
*Meic Stevens - Lead Guitar
*Martin Stone - Lead Guitar
*Ian Whiteman - Piano, Flute, Saxophone (track 9)
*Mike Evans - Bass
*Brian Belshaw - Bass
*Andy Leigh - Bass, Mandolin
*Nick Jones - Congas., Tambourine
*Roger Powell - Drums
*Karen, Cynthia, Nichola and Linda - Backing Vocals

1972  Addressed To The Censors Of Love

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Iguana - Iguana (1972 uk, superb progressive jazzy brass rock, 2012 Flawed Gems remaster)

The mysterious British band Iguana was formed in Southampton in early 70's and released one excellent album originally in 1972 on label Polydor Records. and then disappear without a trace. The core of the band was guitarist/vocalist Bruce Roberts, bass-player John Cartwright and drummer Pete Hunt, The trio was augmented by strong dual brass-section - Ron Taylor on alto sax and tambourine and Chris Gower on trombone also piano played here by Don Shinn.

Despite the album being released on the well-known Polydor label, it quickly became one of its most obscure items, since for some strange reason nobody was interested in the great blend of loud jazz-rock and energetic heavy rock stuffed with progressive elemenets.

The sound of Iguana is rich and colorful, based on permanent juxtapositions of heavy, some what funky guitar sound and jazzy saxophone riffs – most of the songs are catchy and easy-to-get-into, in spit'e of their complex structures, alluding stylistics soul unique, sophisticated and richly orchestrated with vocals reminiscent of Mike Patto.

Though most of the tracks are vocal-driven, there are enough space for adventurous instrumental excursions, the band achieves a perfect balance between song-oriented as is the longest piece on the LP, almost 9-minute 'Price Of Love' reminding Colosseum, Mogul Thrash and other brass rockers of the 1970s. Actually Brainchild's 'Healing Of The Lunatic Owl' would be the closest comparison to Iguana’s. debut, only if Brainchild work was closer to progressive realms, Iguana veers more towards pure rocking sound, making the accent on sheer intensity of the early British rock music.

by Adamus67

Tracks
1. Iguana - 3:33
2. Southampton Blues - 1:47
3. Price Of Love - 8:46
4. Power Of Love - 3:45
5. I Don't Need No Buddy - 3:15
6. Ron's Tune - 4:23
7. Prostitude - 3:31
8. Grey Day Lady - 3:19
9. Celluloid Samba - 3:24
All titles written and arranged by Iguana.

Iguana
*Bruce Roberts - Guitar, Vocals
*Ronnie Taylor - Alto Saxophone, Tambourine
*John Cartwright - Bass, Finger Drums
*Chris Gower - Trombone, Tambourine
*Pete Hunt - Drums, Congas
With
*Don Shinn - Piano

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