The third and final of the original studio albums by the Chocolate Watchband, One Step Beyond is n the one hand close as any performing group called the Chocolate Watchband ever got to making a finished album of their own, which is reflected in the fact that all but one song here was an original by the bandmembers; but on the other hand, this is a different Watchband lineup, assembled by Sean Tolby and Bill Flores, including guitarist Mark Loomis and drummer Gary Andrijasevich (both of whom had left in 1967 to join the Tingle Guild), and original, Foothill College-era Chocolate Watchband member Danny Phay (who'd also been in the Tingle Guild).
Missing is David Aguilar, the band's one-time lead singer and most visible songwriter up to that time -- and the result is an album that has almost none of the influence of the Rolling Stones, and, instead, shows the greatest folk-rock influence in their history. The overall sound is brittle but melodic, reminiscent in some ways of the Quicksilver Messenger Service, the Charlatans, Moby Grape, and the Jefferson Airplane. Danny Phay isn't nearly as charismatic a singer as Aguilar, but he's not bad, either, and there are lots of interesting shared vocals.
There's also quite a bit more guitar noodling here than on any previous Watchband recording -- that's not necessarily a bad thing, though it does dilute some of the impact of the punkier moments. "Devil's Motorcycle" is also of special interest to fans of Moby Grape, as it features the Grape's Jerry Miller subbing for Loomis on lead guitar. They shined on Ashford & Simpson's "I Don't Need No Doctor" as well as the Loomis/Andrijasevich original "Uncle Morris," and "Flowers" was a beautiful piece of folk-based psychedelia, while Sean Tolby's "Fireface" recaptured some of the original band's thicker rock textures.
Original Foothill College-era member Ned Torney was also present on the sessions playing keyboards, but his work was left out of the final mix of the album, which meant the guitars got even greater exposure than intended.
by Bruce Eder
Tracks
1. Uncle Morris (G. Andrijasevich, M. Loomis) - 3:09
2. How Ya Been (D. Phay, G. Andrijasevich) - 3:10
3. Devil's Motorcycle (G. Andrijasevich, S. Tolby) - 3:01
4. I Don't Need No Doctor (N. Ashford, V. Simpson) - 4:01
5. Flowers (D. Phay, G. Andrijasevich) - 2:46
6. Fireface (S. Tolby) - 2:49
7. And She's Lonely (M. Loomis, S. Tolby) - 4:16
8. Don't Need Your Lovin (D. Aguilar) - 2:36
9. Sitting There Standing (Flores, Aguilar, Andrijasevich, Loomis, Tolby) - 2:20
10.Blues Theme (M. Curb) - 2:21
11.Loose Lip Sync Ship (D. Aguilar, M. Loomis) - 3:01
Bonus Tracks 8-11
The Chocolate Watchband
*Sean Tolby - Guitar
*Bill "Flo" Flores - Bass
*Mark Loomis - Guitar.
*Gary Andrijasevich - Drums.
*Danny Phay – Vocals With
*Jerry Miller - Guitar
The Inner Mystique, the hypnotic second album by the Chocolate Watch Band, takes up exactly where its sacred predecessor left you: looking for your perfect match at the local Love-In. When Watch Band lead singer par excellence Dave Aguilar grabs you by the lapels and tells you "I'm Not Everybody Else," you have no choice but to believe him. He's not. And when he cools down enough to extol the virtues of "Medication," who could doubt his sincerity? Especially when he stokes the fires to the boiling-point where medication may not really make much difference. But the real stunner here is the Watch Band's exhilarating cover of Bobby D's "It's All Over Now, Baby Blue." In typical CWB interpretive bliss, nobody has ever done this hallowed song any better. Not Bob Dylan, not Van Morrison. Nobody.
A San Jose, Calif. band whose reputation has grown exponentially over the decades, the Chocolate Watch Band are now revered as one of the Seven Wonders of the World of garage rock. Spotlighting the classic lineup—the inflammatory vocals of Dave Aguilar and the roof-rattling guitars of Mark Loomis and Sean Tolby, fronting the rock-solid bass of Bill Flores and the letter-perfect drums of Gary Andrijasevich—the Watch Band's first two albums have it all. Stones swagger snake-hips its way through cosmic significance with just a dusting of eye-opening psychedelic legerdemain to make your neck snap backwards in pure joy.
Tracks
1. Voyage Of The Trieste (W. Cobb) - 3:38
2. In The Past (W. Proctor) - 3:06
3. Inner Mystique (W. Cobb) - 5:35
4. I'm Not Like Everybody Else (R. Davis) - 3:42
5. Medication (M. Alton, B. Ditosi) - 2:06
6. Let's Go, Let's Go, Let's Go (H. Ballard) - 2:15
7. It's All Over Now, Baby Blue (B. Dylan) - 3:11
8. I Ain't No Miracle Worker (N. Mantz, A. Tucker) - 2:49
9. She Weaves A Tender Trap (Bonus Track) (W. Cobb) - 3:29
10.Misty Lane (Bonus Track) (M. Siegel) - 3:16
11.Baby Blue (Original Single Version) (Bonus Track) (B. Dylan) - 3:12
12.Sweet Young Thing (Bonus Track) (W. Cobb) - 2:55
The Chocolate Watch Band
*Mark Loomis – Lead Guitar
*David Aguilar - Vocals
*Gary Andrijasevich - Drums
*Sean Tolby – Rhythm Guitar
*Bill 'Flo' Flores - Bass
This awesome but underrated record from this unjustly forgotten US band from Boston was released on Cotillion Records in 1972 and contained very ambitious, well-arranged and truly inspired, jazzy progessive rock with memorable and complex tracks, full of interesting ideas.
Their music was characterized by fine electric guitar and Hammond phrases mixed with excellent and intensive violin, flute and sax solo parts. Because the Guns & Butter line-up was predominantly Jewish, there was more than a hint of traditional Jewish music in thier sound, which gave them a unique and distinctive sound. This beautifully varied and simply stunning music can be compared to early Kansas, Jethro Tull and Darryl Way's Wolf. Unfortunately the record went completely unnoticed and as a result the band split up.
Tracks
1. I Am - 4:23
2. Time Has Wings - 2:54
3. Look At The Day - 2:38
4. Sometimes - 8:32
5. It Can't Go On Like This - 3:10
6. Our Album - 3:04
7. Lady Grey - 3:48
8. Family - 2:33
9. Elysium's Butterfly Comes - 2:33
10.The Wanderer - 5:26
Lost Nation were formed in Detroit, Michigan, their sole album "Paradise Lost", originally released 1970 in the US on Rare Earth RS 518. Late psych album , crossing over to progressive rock with some of the organ/guitar jams. Recalls another Michigan group - the more known SRC, especially on their "Traveler's Tale" album. Album is melodic in a heavy style with plenty of organ, including Hammond B3. Great riffing and soloing and always fun, in the style of what people now call “proto-prog”.
Essentially it is an amalgam of late psych rock, early Prog and hard rock. There were lots of bands from the period 1968-71 that encompassed these three elements, played in an atmosphere of early Deep Purple with a touch of Beggars Opera, lots of tasty guitar improvisation! remind me of most, this is a real killer in case you are into US hard psych into prog albums. Stunning tracks and musicianships. 7 minutes "She'll Take You" is nothing else then a monster!. Mandatory purchase for any lover of rock music of 1970!
by Adamus67
Tracks
1. Tall Ivory Castle (L. Zelanka, R. Stults) - 4:48
2. Rome (L. Zelanka, R. Stults) - 4:05
3. Little Boy (C. Webb, R. Stults) - 4:27
4. Images (C. Webb, R. Stults) - 6:50
5. Seven Minute Woman (C. Webb, R. Stults) - 5:05
6. Shadows Within You (L. Zelanka, R. Stults) - 4:36
7. She'll Take You (C. Webb, R. Stults) - 7:14
8. Falling Inside My Mind (L. Zelanka, R. Stults) - 7:17
Drummer John Kowalski and bass player Bob Homa formed Haymarket Square in Chicago in the late '60s. Both had previously toiled in Chicago high school garage band the Real Things, the name a derivation and tribute to English beat band the Pretty Things. Not your typical amateurs, the Real Things actually played professional instruments and earned professional gigs until they disintegrated in 1967 due to the usual reasons of the season, leaving the two original members to assemble a new unit.
Homa decided to place ads in the campus newspaper of the University of Illinois Chicago -- where both he and Kowalski had enrolled by this time -- as well as in two local Chicago dailies. Guitarist Marc Swenson, a 17-year-old lead player who idolized and emulated Dave Davies, was the first to answer and was quickly hired after a short, impressive audition. The three then set about searching for a singer, but were unsuccessful until receiving a call from Gloria Lambert, who had also seen their advertisement. At the time, she was biding her time in the folk band Jordan, Damian, and Samantha until something more exciting (i.e., electric) came along for which she could utilize her classically trained skills.
An audition was set, and when the 20-year-old blonde with the powerful Grace Slick voice showed up, the three teenagers were somewhat awestruck and, of course, impressed, and snapped her up immediately. Like Swenson, Lambert also happened to be a strong burgeoning songwriter. The quartet took the name Haymarket Square in honor of the Chicago Labor riot that took place at the turn of the century.
Within a short time, the band had earned a strong local reputation and degree of popularity on the Chicago rock scene, playing premier rooms such as the Electric Playground and the Playboy Mansion in addition to the many teen clubs and hangouts, and sharing stages with important international groups like the Yardbirds and Cream, as well as local favorites H.P. Lovecraft, Saturday's Children, and the Shadows of Knight. Soon they were composing their own songs in imitation of their idols Jefferson Airplane, while also absorbing the city's blues and folk traditions, and adding a smattering of Lovecraftian occult touches.
Haymarket Square's escalating stature led to an offer from the Chicago Museum of Contemporary Art in the summer of 1968 to act as backup musicians for a live work of art that was on display at the time, the Original Baron and Bailey Light Circus, produced by a pair of University of Illinois professors. It in turn led to Magic Lantern, released on independent Chaparral Records later in 1968.
As the music featured on it was initially utilized as live accompaniment and created expressly with that purpose in mind, the album plays much like the records of the Airplane's middle, most psychedelic period, as much visceral experiences to fill San Francisco ballrooms as they are objects for home listening, or like early Grateful Dead recordings, intended as soundtracks for Acid Tests and experimental light shows. But as with the work of those bands, Magic Lantern transcends its intended purpose; in fact, it is one of the stronger -- not to mention one of the earliest -- slices of acid rock from the era, outstanding in every way, from Kowalski's expert drumming to Lambert's impressive, insistent singing to the intensely mood-filled, darkly textured original songs.
The band changed personnel shortly after the album's release. Homa chose to exit the band and was replaced by Ken Pitlik, while Robert Miller added a second guitar to the mix. This version of Haymarket Square continued through 1974, when they called it quits. By this point, Swenson and Lambert had married, while the others went their own separate ways.
In 1966 the Misunderstood, an ambitious anti-war rock band from small town California, set off on a mission to England. In swinging sixties London they forge a revolutionary new psychedelic sound, but on the very brink of international success the heart of the band is ripped out when their lead singer is drafted by the US Army. Torn from stardom and faced with war or prison he miraculously escapes from boot camp and embarks on a spiritual journey to mystical India, living for seven years as a monk in a primitive ashram.
With the discovery of a secret ruby mine, and magical jewels, he becomes embroiled in further extraordinary adventures, his fugitive life forcing him to live in the shadows, one step ahead of the authorities. Children of the Sun is the thrilling true-life saga of the greatest lost rock band of the 1960s and one young man’s quest for spiritual peace, personal freedom, and survival.
Too little-known in their time to qualify as forgotten, the Misunderstood were, in all but riches and renown, the American Yardbirds: a panzer-garage quintet from Riverside, California, combining electric-blues lust with rave-up dementia and tight, flammable songwriting. After an early-’66 line-up change, the band boasted, in the country-raga invention and greased lightning of steel guitar prodigy Glenn Ross Campbell, its own Jeff Beck and Jimmy Page rolled into one.
These feral demos show why Peel went wild: singer Rick Brown’s deep, scarred bark, like Howlin’ Wolf swallowed whole by Eric Burdon; the searing psychedelic prophecy of Campbell’s pedal steel in the London audition takes of “My Mind” and “Children of the Sun."
Two weeks after that September ’66 session, Jimi Hendrix arrived in the UK and became all the rage, the immigrant acid king. But the Misunderstood got there first. Hear the proof.
by Adamus67
Tracks
1. Children of the Sun (Hill, Brown) - 2:50
2. My Mind (Hill, Brown) - 2:34
3. Who Do You Love (Elias McDaniel) - 2:26
4. I Unseen (Hill) - 2:01
5. Find the Hidden Door (Hill, Brown) - 2:16
6. I Can Take You to the Sun (Hill, Brown) - 3:38
7. I’m Not Talking (Traditional) (Original arrangement) - 2:25
8. Who’s Been Talking? (Traditional) - 2:57
9. I Need Your Love (Treadway) - 3:20
10.You Don’t Have to Go (Traditional) - 4:43
11.I Cried My Eyes Out (Treadway) - 2:39
12.Like I Do (Treadway) - 2:51
13.You've Got Me Crying Over Love (Hidden track) - 2:22
This was apparently a one-shot album for the Uncle Bill label. It was pressed in Greensboro, NC (40 miles south of Danville) and may be the only lp on the label.
The album has a rogressive touch, with quite a lot of brass and woodwind and the occasional mellow instrumental like "Jimmy's Song" and "Rainbows".
Band known for its strong stage presence including an appearance in the buff at the 1971 rock festival in LoveValley, NC; used fog machines and other stage gimmicks to create a crowd frenzy; veteran musicians formed group almost overnight with members of The Impacts and The Pieces of Eight.
Tracks
1 Wishing Well - 4.15
2 Toe Jam - 3.20
3 Blue, Down, And Out - 2.49
4 Big Leg Woman - 2.23
5 Revaduction - 1.20
6 Where Do We Go From Here - 4.10
7 I'll Be Gone Come Yesterday - 2.50
8 I've Learned To Hide The Pazh - 4.21
9 Jimmy's Song - 3.23
10 K.D.'S Dilemma - 5.35
11 Rainbows - 2.11
12 Princess - 3.26
13 Critics, Friends, And People - 3.24
The Twentieth Century Zoo were the first psyche rock hand from Phoenix to have a national album release. The story begins in 1966 when West High School student Bob Sutko recruited Allan Chitwood and Greg Farley and formed the folk-rocking Bitter Sweets.
The band became a fixture on the valley rock ‘n' roll scene, measuring up to such local legends as the (pre-Alice Cooper) Spiders, the Caravelles, the Mile Ends, Vibratos and Phil and the Frantics. The Bitter Sweets released two local singles in 1966 and 1967, including the now sought-after Byrds clone "Cry Your Eyes Out" (Hype 102). The Bitter Sweets gained the support of Tony Evans, an influential music director of Phoenix radio giant KRIZ (1230 am).
Evans ran Routeen Music, a local publishing company, which scored a big hit on Artco - a Phoenix soul label - with the original "Funk)' Broadway" by Dyke and The Blazers. Evans soon placed the regional hit on Art Laboe's Original Sound Records in Los Angeles. This connection led to the band's third and final single - "In The Night/Another Chance" (OSR 70) - getting a similar national shot in 1967. Though "In The Night" holds up as a decent fuzz-punker today, contemporary success eluded the band. By late 1967, the Bitter Sweets decided to take a different tack, psychedelicizing into the Twentieth Century Zoo.
Besides ex-Bitter Sweets Sutko (vocals and harmonica), Farley (rhythm guitar), Chitwood (bass) and drummer Paul Bennett, the group picked up Paul "Skip" Ladd, formerly of the Laser Beats ("Rampage," Laser 101), on lead guitar. Band manager Chari Zelman – affectionately recalled as a pushy, redheaded, single mom - financed a session at Audio Recorders on North Seventh Street in Phoenix. The resulting single's A-side, "Clean Old Man" (CAZ 103) gave little warning ot the ferocity found on the flip.
The mind-crunching fuzz of "You Don't Remember" could have clinched legendary status for The Zoo all by itself. Shortly after the record hit the streets in late 1967, Bennett received his greetings from Uncle Sam and the band needed a new percussionist. Future drummer Randy Wells of Sounds Incorporated remembers auditioning in Zelman's garage: "It was full of young drummers, all banging away on their sets, but as soon as I started to play, they liked me," says Wells, who honed his chops bearing the skins in the Tempe High School marching band. Wells was firmly planted in the drummer's seat by the rime the Zoo returned to the studio to cut their next single, 1968s heavy "Love In Your Face"/ Tossin' and Turnin’ (CAZ 104).
In the fall of that year, Zelman secured an album contract with Vault Records of Los Angeles. Wells remembers spending two weeks in LAs Sound Factory Studios, cutting what was essentially the Zoo's live set at the time. The album, Thunder On A Clear Day (Vault 122), includes rerecorded versions of "You Don't Remember" and "Love In Your Face” both of which arc longer and in stereo.
The pair are included on this CD, along with two previously unreleased album tracks, "Hall Of The Mountain King" and "Enchanted Park." Wells recalls dashing with producer Gene Simmons over the percussion. "I wanted to do a Santana sounding thing with the drums. We had these Latin licks, but Gene didn't have time for it. He did pump up the drums in the mix. They sound pretty good." Simmons added keyboards to the session and many different sound effects, including a string introduction to "Blues With A Feeling" that Wells recalls he found on a tape in the studio. Vault released die LP and edited versions of "Rainbow" and "Bullfrog" as a single (Vault 948) in late 1968.
The album is now considered a West Coast hard-rock classic. "I was surprised with the album cover and my double exposure picture on the back," says Wells. "I was definitely the strongest personality in the band, because I wanted things done a certain way, and I clashed several times with Gene Simmons, but he forgave me. He knew I was a crazy drummer. For that time, (considering) the quality of the studio, they did pretty good with what we had." After the release, the band played several large concerts at the Phoenix Veterans Memorial Coliseum, opening for national acts. "We played with Iron Butterfly twice, The Byrds, Crabby Appleton and Blue Cheer," Wells remembers. "The second time we played with Iron Butterfly we used rented amps for some reason and the fuses kept blowing. It was the most horrendous night of my career. We were really ready to kick butt, and they kept blowing fuses right and left. We had to stop after a couple of songs." There was a final Vault single release in 1969, "Only Thing That's Wrong"/ "Stallion Of Fate" (Vault 961), the group's swansong release.
Following the demise of the Zoo in 1970, Wells played in local Phoenix country-rock band E.Z. Pickins, before answering to a higher calling in the mid-70's. He recently earned his Doctorate of Ministry and has his own church in California, although he still plays drums on Sunday. As Wells says: "I can still get things going with my double bass drums. I don't miss a lick. I've even got some new things, but this time it's for the Lord."
by John P. Dixon
Tracks
1. You Don't Remember (Single Version) (R. Sutko, G. Farley) - 2:49
2. Clean Old Man (R. Sutko, Paquette) - 2:37
3. Love In Your Face (Single Version) (G. Farley, R. Sutko) - 2:03
4. Tossin 'n' Turnin (Rene, Adams) - 2:16
5. Quiet Before The Storm (P. Ladd, R. Sutko) - 4:56
6. Rainbow (P. Ladd, R. Wells, R. Sutko) - 4:17
7. Bullfrog (M. Merrick)- 6:39
8. Love In Your Face (G. Farley-R. Sutko) - 3:20
9. You Don't Remember (R. Sutko, G. Farley) - 3.09
10. It's All In My Head (H. Aceves) - 5:06
11. Blues With A Feeling (W. Jacobs) - 9:54
12. Only Thing That's Wrong (A. Chitwood, R. Sutko) - 2:44
13. Stallion Of Fate (S. Ladd, J. Preston) - 2:55
14. Country (R. Sutko, G. Farley) - 2:53
15. Hall Of The Mountain King (Grieg) - 2:59
16. Enchanted Park (R. Sutko G. Farley) - 4:29
The recent deluge of mid-'60s relics that continue to rise from the vinyl crypt for a little modern re-consideration are too often more miss than hit. For every Pete Dello or Comus reissue there are seven or eight barely mediocre offerings from bands like Eclection or the Vejtables. Chrysalis, a colorful quintet from Ithaca, New York who dabbled in everything from folk, rock and jazz to Middle Eastern music fall somewhere in the middle, and their one and only recording,
Definition remains a fascinating, if uneven lesson in the fine art of psychedelia. Frank Zappa, who championed Chrysalis as "a group that has yet to destroy your mind" was originally asked to produce, but was in the throes of removing himself from a bitter contractual dispute with MGM/Verve. In the end, Definition went through numerous production teams who all left for various reasons -- none relating to the music or musicians -- which makes it all the more curious that it sounds so defined and cohesive.
Frontman Spider Barbour, who had appeared on both Zappa's We're Only in It for the Money and Lumpy Gravy -- and who is now, ironically, a naturalist devoted to the lives of moths and butterflies -- brings a great deal of early Mothers of Invention aesthetic to the table. Jazzy piano motifs flitter about truncated worldbeat rhythms, while short comedy skits provide segues between songs that deal with insects, yodeling girls, and hippie culture.
It's all very Sgt. Pepper's, but there is an adventurous glee to the songs and arrangements that's equally matched by the talent behind them. It's the kind of brainy yet daft art rock that collegiate drug users, music school geeks and even children can find common ground in, and Rev-Ola's extensive liner notes and inclusion of eight bonus tracks from the sessions makes for a rewarding listen whoever you are.
by James Christopher Monger
Tracks
1. What Will Become of the Morning - 2:33
2. Lacewing - 3:24
3. Cynthia Gerome - 3:56
4, April Grove - 2:54
5. Father's Getting Old - 2:24
6. 30 Poplar - 2:28
7. Baby, Let Me Show You Where I Live - 2:35
8. Fitzpatrick Swanson - 2:33
9. Lake Hope - 2:16
10.Piece of Sun - 1:50
11.Summer in Your Savage Eyes - 2:22
12.Dr Root's Garden - 4:14
13.The Dues Are Hard (Paul Album, Ralph Kotkov) - 2:58
14.Gimme Your Love - 3:23
15.Sink in Deeper - 3:04
16.Window Shopping - 2:42
17.Wheel I Can Ride - 2:48
18.Cold and Windy City - 2:35
19.Cynthia Gerome - 4:19
20.Dr Root's Garden - 4:55
All compositions by J. Spider Barbour except where indicated
It all seems so long ago, but in the early seventies Australia hosted a burgeoning music scene that built on the garage pop explosion of the sixties. Music and culture had reflected on the initial rock’n’roll explosion, and all sorts of new avenues were being explored.
One of the most adventurous explorers was Melbourne ’s magnificent Madder Lake . Their career was typical of the times. Emerging from the sixties as a cover band (San Sebastian), they coalesced into an original band of great creativity and power, helped kickstart an independent Australian music industry, participated in the legendary gigs like Sunbury, and after two amazing albums that pushed the envelope of creativity and could’ve been major highlights in any part of the world, eventually folded without ever achieving the critical or popular acclaim their originality and talent deserved.
That’s the nutshell version, and it will do for now, because the focus really should be on this magnificent pair of albums that have now been given the lavish Aztec Music treatment they deserve. Like Sebastian Hardie in Sydney Madder Lake have remained a secret known only to those who remembered swaying close eyed as their music transported you to a higher state.
It’s often called progressive rock, and that’s probably fair enough, because it was music that transformed our understanding of what was possible, but ultimately it’s too limiting to try and tie music like this down with a label. Explore for yourself and be prepared to marvel and just what the Australian music industry was capable of in 1973 and 1974.
Stillpoint came first and is the product of just a few days in the studio. From the opening bars of “Salmon Song” you realise that you’re hearing something very different. Brenden Mason’s guitar and John McKinnon’s keyboards interplay joyously as the rhythm section of Kerry McKenna (bass) and Jac Kreemers (drums) underpin the sonic excursions with a thunderous bottom end that has just been waiting for a digital remastering to be fully revealed. After six and a half minutes creating expectation, Mick Fettes gravely vocals burst through the speakers, and the strength of Madder Lake is revealed. This is a band the absolutely revels in sparking off each other. The speed of recording captures an almost improvisational feel that was characteristic of their live performances. If “Salmon Song” was the only thing they’d ever recorded they would have been a great band, fortunately for music lovers everywhere it was just an entree.
Stillpoint contains the two singles that were obligatory for any band wanting to achieve recognition in the music industry, “Goodbye Lollipop” and “12-lb Toothbrush”, but goes way beyond that as the band explored textures, sounds and space. “Lollipop” is still irresistible, the perfect name for three and a half minutes of pure, unadulterated joy, while “Toothbrush” sounds as fresh as the first time its “na na nana nana na na” vocal hook first entered the collective consciousness of a generation of Australians.
This superb re-release supplements the musical explorations of the original album with some wonderful rarities. Aztec Music were obviously determined to make sure “12-lb Toothbrush’s” infectious hook infiltrated as many brains as possible, because the original single version is included here, as is a live version from Sunbury ’73. Two tracks from the rare “Final Blow” LP recorded live at The Garrison in Melbourne on 10 June 1973 round out the collection and offer convincing proof of just how powerful Madder Lake were on stage.
by Bernie Howitt
Tracks
1. Salmon Song - 8:22
2. On My Way To Heaven - 3:51
3. Helper - 5:07
4. Listen To The Morning Sunshine - 5:11
5. Goodbye Lollipop - 3:36
6. Song For Little Ernest - 4:30
7. 12-Lb. Toothbrush - 6:02
8. Bumper Bar Song (B-Side) - 4:41
9. 12-Lb. Toothbrush (Single Version) - 3:50
10.Country Blues (B-Side) - 2:43
11.Down The River (G. Ratziass) (Live At Sunbury) - 6:14
12.12-Lb. Toothbrush (Live At Sunbury) - 8:18
13.Bumper Bar Song (Live At Garrison) - 5:50
14.When Is A Mouse (Live At Garrison) - 5:38
All song by Madder Lake except where noted.
