Monday, February 19, 2024

The Blue Jays - Nascence (1970 us, awesome funky groovy brass rock)

Blue Jays were a US band, their sole LP "Nascence" recorded November 1970 on Map City Label (same as Purple Image and Yesterday's Children). Funky rock record with "Wahka, Wahka" a downtempo and moody cut & "Independent Man" a midtempo, edgy, funky tune. Collector's item with the Supa good "What Do You Want From Me Woman" sampled by "Large Professor" for "Nas" Rapper "It Ain't Hard To Tell".An essential LP with superb gatefold cover. After this release they changed the name to White Water and released "Out Of The Darkness" in 1973 on RCA label. John Vastano former lead singer/song writer of the Blue Jays/White Water, passed away September 21, 2018.  
1. Hey Little Lady - 3:37
2. What Do You Want From Me Woman - 3:40
3. Freedom - Where Have You Gone - 3:35
4. Reason To Cry - 4:06
5. Independant Man - 3:29
6. Wahka Wahka (Dick Domane) - 5:40
7. Jackson (Billy Edd Wheeler, Jerry Leiber) - 3:23
8. Beg Borrow And Steal - 3:08
9. Hard Thing To Accept - 3:13
All songs by John Vastano except where stated

The Blue Jays
*Bob Fiocco - Bass, Trombone
*Conrad Catalano - Drums, Percussion
*John Emma - Tenor, Alto Saxophones
*John Vastano - Guitar, Vocals
*Richard Domane - Organ, Trumpet

Zazu - Zazu (1975 us, beautiful soft prog rock with jazzy aspects, 2008 digipak remaster)

Chicago based Zazu released this only album which quickly fell out of site due to their label’s  lack of promotion. Music is Symphonic prog rock, nice guitars and lot of keyboards, good vocals and all -except one- are original compositions. The record label disinterested in anything the band did and a second album never released as well as Zazu’s guitarist ending up in a 'Hospital' years later.
1. Country Eyes (Randy Curlee, Paul Ripurero) - 3:41
2. Upon The Island Unisphere (John Melnick, Randy Curlee) - 6:41
3. Just Friends (John Melnick, Bill Traut) - 3:48
4. Midnight Train (Rick Marotta, Stu Woods, Tom Cosgrove) - 3:59
5. Ittsanottasonatta, But It's Close (John Melnick, Paul Ripurero, Mickey Lehockey, Randy Curlee) - 10:23
6. Morning Rain (John Melnick, Mickey Lehockey) - 6:16

*Randy Curlee - Bass, Vocals 
*Mickey Lehockey - Drums 
*John Melnick - Keyboards, Vocals
*Paul Ripurero - Guitars, Vocals

Sunday, February 18, 2024

The Crimson Bridge - The Crimson Bridge (1972 us, nice mixture of jazz funk blues brass rock with spiritual references, 2004 reissue)

Latin rock jazz progressive fuzz acid folk oughta describe this. God knows who was running the Myrrh-Label in 1972 but they score an authentic winner with this horn-based band. Vocals remind greatly of David Clayton Thomas and arrangements of Blood Sweat & Tears - a huge band at the time of this album. Gary Rand-composer of the ambitious side-long 'Suite In Three Parts' - will surface with an album of worship choruses in the 80's. Touches of scatting Swingle Singers, Elton John, Santana, and Broadway are in here. Much better than most major label stuff and not too hard to find. Awful cover. Crimson Bridge also had a 45 out; Livin' In The Love O' The Lord/Now Is The Time.
1. Better Times (Russ Gregory) - 3:15
2. Easy Ways (Russ Gregory) - 2:34
3. Comin' (Terry Winch) - 4:07
4. He's Alive (Terry Winch) - 4:10
5. Birthright (Russ Gregory) - 3:45
6. First Suite: First Movement (Searching in Reality) (Gary Rand) - 6:16
7. First Suite: Second Movement (Experience) (Gary Rand) - 5:26
8. First Suite: Third Movement (The Beginning of Joy) (Gary Rand) - 8:26

The Crimson Bridge
*Norm Bakker - Trumpet
*Dave Dyer - Bass
*Russ Gregory - Guitar, Vocals
*Carol Healy - Flute, Vocals
*Roger Heuser - Trombone
*Trish Rattan - Vocals
*Carolyn Shafer - Keyboards, Vocals
*Gary Shafer - Drums
*Terry Winch - Trumpet

Friday, February 16, 2024

Steve Davis - Music (1970 us, marvelous blend of jazz, funk soul, folk, psych rock)

Steve Davis’s Music (1970) is appropriately named – this LP contains sounds that range from acoustic folk all the way to hard bop.  Davis shows his versatility as a composer on this record; it is exploratory and delves into a variety styles.  Many of these tunes utilize a typical jazz structure, providing a great deal of freedom for experimentation and soloing within the music.  Everyone in the band is given a chance to express themselves during the solo sections of Davis’s musical landscapes, allowing for the technical ability of his ensemble to really shine.  Ultimately, Music is a great example of how jazz can be stylistically implemented within a variety of genres.

The record begins with Destination Altitude – an assertive introduction which features a thumping horn section over Davis’s Hammond  licks and driving vocal line.  Percussionist Karl Himmel anticipates Davis’s tempo changes before he even plays them, allowing Bentley Smith to accentuate his guitar solo over the newly altered beat with ease.  Himmel breaks the beat in half for the guitarist, who shreds a Hendrix-esque solo over the colorful organ chords.

Space is one of the album’s more striking tracks, particularly because of its seamless transition from a hard-rock style refrain into a slow-swinging jazz section.  The aggressive tone of Bentley Smith once again takes charge, yet he steps aside for both the cosmic tones of Davis’ vibraphone and young saxophonist Billy Harper (who would later play with the great Elvin Jones) during the jazzier passage.  The best way to describe this section of Space would be to imagine dimly lit, smoky jazz club.

Davis steps aside as lead vocalist for It’s All Because She’s Gone and is replaced by Jim Hurt, the ensemble’s bassist.  The track begins with Hurt’s serenading vocal line on top of swinging instrumentation courtesy of Davis, Harper, and Kimmel.  This tune, being the longest cut on the album, is appropriately separated in two parts.  The latter features a lengthy solo by Bentley Smith, played in a similar vein to Grant Green or Wes Montgomery.  He plays with a dynamic intensity that shows his ability to remain subdued in tone while at the forefront of the group.

Lalune Blanche is my favorite cut off of this record.  It contains Davis’s best vocals; he sings beautifully melodic phrases (“Emily” is credited for Davis’s French lesson on this one) while playing wonderfully voiced chords on his B-3.  Harper and Kimmel are the supporting facets of Davis’s performance, backed by Hurt’s baselines which never cease to stop moving.  In addition, Billy Harper rips a lengthy solo towards the middle of the tune, in the vein of Tom Scott.  Of all the chances he has to shine on this date, Lalune Blanche is the one that Harper truly takes advantage of.  It is the most conversational of his solos thus far; he establishes a clear dialogue with Davis, Hurt,  and Kimmel.  Harper reacts incredibly well to the movements that the other musicians make, and this part of the tune amounts to wonderfully executed 4-part improvisation between bass, drums, saxophone, and organ.

I only have a minute complaint about the record; it seems to lack consistency.  There are very short, folky tracks on the album that seem out of place within the scope of the project.  That being said, these tracks are both wonderful and brief enough to be considered secondary.  They don’t do anything to take away from the album as a whole, and only after several listens do they really seem out of place.

Overall, Music is a great accomplishment.  For 1970 it’s far ahead of its time, and Davis’s compositions should be considered progressive to say the least.  That being said, he never oversteps any boundary that might take away from the seriousness of this work, and some of the tunes on here are really far-out.  It’s clear that a great deal of thought and conceptualization went into this recording; Davis managed to through eight songs together that sound nothing alike, and maintains a common overtone throughout.  From the folksy to psychedelic sounds, it’s pretty clear that the guys playing on this record are rooted in jazz.  I get the feeling that Davis’s had a clear intention with this project, and it seems like he may have tailored his compositions for a particular sounding group; one that would be able to apply jazz in a wide range of musical contexts.
The Vinyl Station, June 10, 2014
1. Destination Altitude - 4:04
2. Poor Child Of The Street - 6:47
3. Space - 4:05
4. Please Come Back Home - 3:17
5. On A Sad Day - 2:01
6. It's All Because She's Gone - 8:21
7. My Life Could Be Better Without You - 4:01
8. Lalune Blanche - 5:27
All compositions by Steve Davis

*Steve Davis - Organ, Chimes, Vibes, Lead Vocals
*Bentley Smith - Guitar
*George Clinton - Piano, Back Vocals
*Willliam Harper - Sax
*Harvey Thompson - Flute
*Wayne Hill, Trumpet - Fl├╝gelhorn
*Jim Hurt, Vocal - Bass 
*Wayne Butler - Alto Saxophone
*Karl Himmel, Drums, Percussion 
*Norm Ray - Baritone Sax, Flute
*Bill Pippin - Trumpet, Fl├╝gelhorn 
*Dick Miller - Trumpet, Flugelhorn

Thursday, February 15, 2024

Stow Lake - Flite (1970-71 us, impressive brass acid psych rock, 2023 release)


Studio/live recordings from 1970-71 by this lost Bay Area band. A superb cool blend of acid-rock, psychedelia and brass-rock with some outstanding guitar leads, Hammond organ and a tight rhythm section. Stow Lake was a seven piece group (named after the lake in Golden Gate Park) comprised of well-seasoned musicians from the original San Francisco psychedelic/fusion scene.

Among them, we can find ace guitar player Bob Hardy (previously of hard psych group The Osgoode/Asgard); the tandem of Jeff Ervin (sax, flute) and Jean Hintermann (trumpet), both later on Aura, Bill Whiter's backing band and Hot Cider (with Dennis Geyer of A.B. Skhy); child prodigy Larry Mallarino on trombone and bass player Dave Dunaway (later of jazz fusion band Listen). Not forgetting powerful singer/organist Bob Staley.

Unreleased until now, the recordings contained here were registered at top studios like McCune and Golden State Recorders. Also including are a couple of excellent quality live tracks recorded at the legendary Fillmore West in 1971, showing the band at their peak with an impressive jamming/acid-rock sound.
1. Flite (Bob Staley) - 7:24
2. Time (Bob Staley, Bob Hardy, Jeff Ervin, Jean Hintermann, Dave Dunaway, Larry Mallarino, Bill Thomas) - 5:04
3. Two Hats In One (Bob Hardy, Harkens, Bob Styler) - 6:41
4. Goodbye (Bob Staley) - 2:45
5. Jam 1 (Jeff Ervin) - 8:38
6. Truth (Bob Staley, Bob Hardy, Jeff Ervin, Jean Hintermann, Dave Dunaway, Larry Mallarino, Bill Thomas) - 12:08
7. Mountains (Jeff Ervin) - 3:56
8. Flite (Bob Staley) - 5:58

Stow Lake
*Bob Staley - Organ, Folk Guitar, Lead Vocals
*Bob Hardy - Electric Guitar, Vocals 
*Jeff Ervin – Sax, Flute
*Jean Hintermann - Trumpet
*Dave Dunaway - Bass Guitar, Harmony Vocal
*Larry Mallarino - Trombone
*Bill Thomas - Drums

Related Act

Wednesday, February 14, 2024

The Finchley Boys - Everlasting Tributes (1967-72 us, remarkable psych blues rock, 2016 double disc remaster and expanded)

Chicago, the capital of the state and of the Urban Blues. It is with the greatest ease that in January 1968, Garrett Oostdyk (guitars), George Faber (vocals, harmonica), Tabe (eight string bass) and J. Michael Powers (percussions), four local youngsters share their bluesman apprentice's talent and form the Finchley Boys. But in 1968, psychedelic fever has spread in all the recesses of the American territory sprinkling madness in the most proven structures, making them explode accompanied by a great many fuzz, distortion and various other rummage about The Finchley Boys were not spared the epidemic and will transfigure their basic blues to a furious lyrical epic et transfigureront leur blues basique en une furieuse epopee lyrique under the impulse of a remarkable guitarist-producer, Garrett Oostdyk. For this last task, he finds the help of Genevra Shirley, also featuring in the backing vocals. 

Their album "Everlasting  Tributes  unique concrete trace of their existence, is released in 1972 on Golden Throat Records, a Californian label (?) and is already presented as a posthumous work. It gathers together recordings carried out in specific places, the Chess studios (in Chicago) and the Golden Voice studios (in California ?) at various periods : the first in September 1968 ("Hooked"), the second in February 1969 ("Outcast") and the last in May ("Who's Been Talkin'" "I'm Not Like Everybody Else") and June 1969 ("Swelling Waters", "Once I Was A Boy", "It All Ends". "Restrictions"). We also assume that (at least for the first ones), these tracks were actually demo tapes destined to get the attention of the major companies s managers, up to that moment not much inclined to hang around in the lost clubs of the Middlewest in order to discover talents yet unknown. 

Despite this unexpected and cahotic gestation, unlike most compilations "Everlasting Tributes" bears a unity in the tone, a great attraction force and a puzzling ensemble sound. Garrett Oostdyk's guitar in particuliar does wonders here and astonishes us in solos staggering with virtuosity and feeling not only in classic blues songs like "Who's Been Talkin'", signed Chester  Howlin' Wolf  Burnett but also in great covers such as the Kinks' "I'm Not Like Everybody Else" (a fetish song for a great number a Amercian psychedelic bands)or in wonderful psychedelic original compositions such as "Swelling Waters", "Hooked", Vnce I Was A Boy" et le great "It All Ends". I hope that the release of this compact disc will also give you the opportunity to share my enthousiasm for a formation that remained anonymous for a long time and for an album that has become very hard to find. 

A few years ago, EVA Records released "Practice Sessions" which offered four tracks of the existing album qui proposait quatre litres de I'album existent plus cinq autres (among which the famous "Finchley Boys Blues") taken from an unreleased tape probably dating from the same periods (from September 1968 to June 1969). The avantage (the only one ?) of this cold and technological object which is th C.D. resides in a great capacity of absorption and a better quality of playing than the LP. That way, Eva records can offer us on the same medium the entire Finchley Boys' recordings and even if the previously unrealeased tracks may not be of the most irreproachable quality of sound and of in inspiration topping pieces like "It All Ends", we will listen to them with interest and with the rares pleasure of discovery only bitterly regretting that Garrett Oostdyk did not carry out the carreer that his talent deserved.
by P. Thieyre
Auteur du  Rock Psychedelique American! 1966/1973, Editions Librairie Parallels 1991/1993
Disc 1 
1. Who's Been Talkin' (Chester Burnett) - 4:30
2. Swelling Waters - 3:56 
3. Outcast (Eddie Campbell, Ernie Johnson) - 2:37
4. I'm Not Like Everybody Else (Ray Davies) - 4:46 
5. Hooked - 4:14
6. Once I Was A Boy - 4:33
7. It All Ends - 4:00
8. Restrictions - 3:39
Music written by George Faber, Garret Oostdyk, J. Michael Powers, Tabe, Lyrics Larry Tabeling, George Faber except where indicated
All songs from "Everlasting Tributes" 0riginally released by Golden Throat Records 1972, except Tracks 1,4 recorded 1969 Golden Voice Studios Pekin, Illinois.
Disc 2
1.  Outcast (Eddie Campbell, Ernie Johnson) - 2:39
2.  Hooked - 3:56
3.  Suffering Servant - 3:50
4.  Jack Rabbit Jump - 4:18
5.  Who Goes There? - 9:02
6.  Hell Fire And Brimstone - 5:14
7.  Sweathog Blues - 6:13
8.  Cry Cry Cry - 5:19
9.  On A Better Day - 3:00
10.Only Me (Let Your Mind Be Free)  (Mark Warwick) - 4:56
Music written by George Faber, Garret Oostdyk, J. Michael Powers, Tabe, Lyrics Larry Tabeling, George Faber except where noted
Track 1 was recorded at Chess Studio in Chicago, Illinois, 1969.
Tracks 2,3,9 were recorded at Golden Voice Studios, 1968-1969 
Track 4 was recorded in San Francisco, 1971
Tracks 5,6,7,8 were recorded live at In Stiches in Champaign, Illinois, June 1971
Track 10 was recorded live at the University of Illinois' Illini Union, Urbana, Illinois, January 1967

Finchley Boys
Disc 1
*George Faber - Vocal, Harp
*Garret Oostdyk - Guitar
*J. Michael Powers - Drums, Percussion
*Tabe - 8 String Bass, Vocals
*Genevra Shirley - Vocals (Tracks 6, 8)

Disc 2
*Garrett Oostdyk - Guitars (Tracks 1-9), Backing Vocals (Tracks 2 , 4)
*George Faber - Vocals, Harp
*Tabe - 8-String Bass (Tracks 1-3, 9), 4-String Bass (Tracks 4-8, 10), Backing Vocal (Tracks 2, 4)
*J. Michael Powers - Percussion (Tracks 1-3, 9)
*Billy Shaw - Percussion (Tracks 4-8)
*Genevra Shirley - Backing Vocal (Track 4)
*Jim Cole - Guitar, Backing Vocals (Track 10)
*Mark Warwick - Lead Guitar, Backing Vocals (Track 10)
*Glen Cronkite - Percussion (Track 10)

Tuesday, February 13, 2024

Tin House - Tin House (1971 us, excellent heavy blues rock, 2014 digipak bonus tracks edition)

The opening chords of "I Want Your Body," the opening track on Tin House, gives you a very good idea of what to expect from the rest of the album. The brash, energetic guitar might remind you of Edgar Winter Group, which would be entirely appropriate because guitarist Floyd Radford left this group to join that band just after this album was made. Edgar Winter himself has a cameo, playing a one-finger organ solo, and his longtime compatriot, Rick Derringer, produced the album. Interesting as it may be to pick through influences, Tin House had their own sound, composed of blues and progressive hard rock with poppy harmony vocals. 

The progressive side comes to the fore with the slightly pompous duo of "Endamus Finallamus" and "Lady of the Silent Opera," which are redeemed by several catchy and inventive instrumental passages. Tin House was a hot band with some good ideas, and though the players went on to greater success in other groups, this album is worth a listen. 
by Richard Foss
1. I Want Your Body (Floyd Radford, Mike Logan) - 1:45
2. 30 Weight Blues (Floyd Radford, Mike Logan, Jeff Cole) - 2:19
3. Be Good and Be Kind (Floyd Radford, Mike Logan, Jeff Cole) - 2:36
4. You've Gone Too Far (Floyd Radford, Jeff Cole) - 3:45
5. Silver Star (Floyd Radford, Mike Logan) - 4:01
6. Personal Gain (Floyd Radford, Mike Logan, Jeff Cole) - 4:25
7. Jezebel, Give Me Your Lovin' (Jeff Cole) - 2:41
8. Tomorrow (Floyd Radford) - 2:55
9. Endamus Finallamus (Floyd Radford, Mike Logan, Jeff Cole) - 3:49
10.Lady of the Silent Opera (Floyd Radford, Jeff Cole) - 3:35
11.Be Good And Be Kind (Floyd Radford, Mike Logan, Jeff Cole) - 2:53
12.I Want Your Body (Floyd Radford, Mike Logan) - 2:36
13.Understand - 3:48
14.Thanks To My Friends - 3:50
Bonus Tracks 11-14
Tracks 13-14 previously unreleased

Tin House
*Floyd Radford - Guitar, Vocals 
*Mike Logan - Drums, Vocals 
*Jeff Cole - Bass, Vocals 
*Rick Derringer - Piano (Track 2)
*Edgar Winter - Organ (Track 4), Strings (Track 10)

Sunday, February 11, 2024

Yesterday's Children - Yesterday's Children (1970 us, solid heavy blues psych rock, 2001 akarma hard sleeve edition)

This elegant CD reissues the sole album by this obscure Connecticut group who recorded this one LP and a classic psychedelic garage punk single which appears on the Psychedelic Unknowns compilation. While the debut single was classic beat garage of the period 1966, by the 1969 album the group expanded into more hard rock and progressive styles -- and this album is drenched in the lead guitar blitz of Reggie Wright. The group was led by brothers Denis Croce on guitar and Richard Croce on vocals, and Chuck Maher and Ralph Muscatelli on bass and drums. The group is not to be confused with a Chicago-area group of the same name and era who appeared on the Pebbles box set. The reissue on Italian obscure specialist label Akarma is a stunning object to behold and an audiophile remaster of this underground classic. 
by Dean McFarlane
1. Paranoia - 4:42
2. Sad Born Loser - 4:30
3. What Of I (Richard Porter) - 4:03
4. She's Easy - 6:57
5. Sailing - 7:38
6. Providence Bummer - 4:09
7. Evil Woman (Larry Weiss) - 3:20
8. Hunter's Moon - 6:11
All songs by Chuck Maher, Dennis Croce, Ralph Muscatelli, Reggie Wright, Richard Croce except where indicated

Yesterday's Children
*Dennis Croce - Lead Vocals
*Richard Croce - Rhythm Guitar
*Reggie Wright - Lead Guitar
*Chuck Maher - Bass Guitar
*Ralph Muscatelli - Drums

Saturday, February 10, 2024

Walnut Band - Go Nuts (1976 us, fantastic rural psychedelic rock with west coast influence, dual guitar sound and some subdued tasty organs, 2012 edition)

What new can be said about the late 60's and early 70 's of the 20th century that has never been said before? We were kids growing up in that landscape point in America -Vietnam, sex, drugs, and rock fn roll. Sex was love, not death, and drugs were enlightenment, not addiction. A generation bought the idea of the revolution but only a few of us still believed it after the revolution was bought out. So now that decade is a tiedyed media stereotype perpetrated by those cashing in. I sti II have my mirrored aviator glasses and cowboy boots. But let's not be cynical. The cannonball we ride on has not yet exploded, and the search for the candy apple growing on the sweet potato tree continues in earnest. So when storm clouds hover, take cover, and get your seat belt fastened, because it's not what you say new, it's the way you do it. We had a great time with these songs written at the last heights of a cultural innocence never to be scaled again. My only regret is I wish we recorded the so many others that don't appear in this collection.
Let it roll - Peace 
by Jake Packard

Originally released in 1976 as a private press, a hard guitar psych from this Boston based band.
1. Thieves (Jake Packard, John Lackner) - 6:05
2. Diamonds (Jake Packard) - 3:52
3. Sweet Potato Tree (Jake Packard) - 4:34
4. Ain't No Tellin' (Jake Packard) - 3:11
5. Diesel Motors (Jake Packard, Chuck Harris) - 3:08
6. Seat Belt (Jake Packard, Chuck Harris) - 7:26
7. Cannonball (Jake Packard) - 7:27

Walnut Band
*Dave Creighton - Bass
*Chuck Harris - Guitar, Vocals
*John Lackner - Guitar
*Jake Packard - Organ, Piano, Vocals
*Dave Thompson - Drums

Friday, February 9, 2024

The Ace Of Cups - It's Bad For You But Buy It! (1967-69 us, impressive garage psych rock, 2003 release)

In any great scene - social or film - it seems there are always a few frames that get left out. And this, the latest installment in Big Beat's Nuggets From The Golden State series restores some lost footage to the sprawling epic that was San Francisco in the 60s. Necessarily comprised of demos, rehearsals and concert performances, the Ace of Cups' It's Bad For You But Buy It! documents the music of one of the few SF bands that, regrettably, never got a go at the full recording studio experience. Fillmore and Avalon regulars - I recall seeing them, too, at Golden Gate Park events - this all-girl quintet rocked, soothed and cooked, from 1967 to 1970, making its own distinctive contribution to that diverse period. Distinctive" is the operative word. Sure, there are occasional (early) Grace Slick vocal referents, but the Cups' music doesn't generally resemble that of their bigger brothers and sisters, tending, to borrow a phrase from the Beach Boys, more toward an appealing mix of funky/pretty."

"It's Bad For You But Buy It!" is rich in local lore (the subjects of Waller Street Blues and Pretty Boy are, respectively, the Cups' Haight practice pad and Blue Cheer singer-bassist Dickie Peterson)-.-imaginative interpretation (covers of the Parliaments' I Wanna Testify and Mongo Santamaria's Afro Blue)-.-and impressive originals. Glue is a punky, organ-pushed critique of consumerism with a Quicksilver finish, and Stones an earthy driver with deliciously gnarly guitar-ing (Mary Ellen Simpson's solo sounds like she's vamping on the 13th Floor Elevators' Fire Engine). The ballad Simplicity and the appropriately soulful a cappella opener Music disclose the group's more reflective side - and Denise Kaufman's considerable skill as a lyricist - while Kaufman's ultra-rare pre-Cups garage single from 1966, Boy, What'll You Do Then, walks the wilder side with raw-throat vocals, wailing harp and insistent 12-string. Indeed, it's bad for you, but ...
by Gene Sculatti
1. Music - 2:06
2. Boy, What'll You Do Then - 2:28
3. Glue - 4:36
4. Taste Of One - 2:01
5. Stones (Mary Gannon) - 4:44
6. Looking For My Man (Marla Hunt Hanson) - 7:07
7. Afro Blue (Mongo Santamaria) - 7:03
8. Pretty Boy (Mary Ellen Simpson) - 3:42
9. Waller Street Blues (Denise Kaufman, Diane Vitalich, Marla Hunt Hanson, Mary Ellen Simpson, Mary Gannon) - 4:44
10.I Wanna Testify (Daron Taylor, George Clinton) - 2:57
11.Gospel Song (Marla Hunt Hanson) - 6:03
12.Circles - 4:57
13.Catch You Later (Marla Hunt Hanson) - 3:53
14.Simplicity - 4:50
15.Medley: Life In Your Hands / Thelina (Denise Kaufman, Joe Allegra) - 7:28
16.Hear Every Sound (Marla Hunt Hanson) - 4:43
Songs written by Denise Kaufman except where noted
Track 2 as Denise And Company

The Ace Of Cups
*Denise Kaufman - Vocals, Guitar, Harmonica
*Diane Vitalich - Drums, Vocals
*Marla Hunt Hanson -  Organ, Piano, Vocals
*Mary Ellen Simpson - Lead Guitar, Vocals
*Mary Gannon - Bass, Vocals