Sunday, April 30, 2023

The Albert - The Albert (1970 us, fascinating blues jazz brass rock, Vinyl edition)

Albert where formed late sixties in New York City by the time when Otis Smith left his band  (All Night Workers, which found national success with its 1965 recording “Don’t Put All Your Eggs In One Basket,” a tune that was paired with “Why Don’t You Smile?,” co-written by friends Reed and John Cale), round  1968, by which point Smith had moved to New York City’s Albert Hotel, where he met musicians like Howard Wyeth, Jon Huston, Paul Dickler among others. 

The hotel was located in Greenwich Vllage in New York City and was a hangout of many musicians, such as Tim Buckley, Mike Bloomfield, Skip Spence, Mama Cass Elliot, Jonathan Richman, John Sebastian, James Taylor, Frank Zappa and many others. It was actually a shelter and several musicians had negative experiences. 

Smith and his friends created a shape which they called "The Albert" apparently after the name of the hotel. They released two albums by the same name "The Albert". Their musical horizons were quite wide, from elements of jazz, blues, psychedelic rock with lots of horns, splendid vocals and great guitar work. After achieving limited success as The Albert, some of the members joined Bob Dylan for his Rolling Thunder Revue and recordings.

Otis Smith passed away in 2008, and Howard Wyeth the keyboardist and drummer who was the one of the guys who joined Dylan’s band, died March 27, 1996.
1. Pity The Child (John Trivers, Marcia Hillman) - 6:12
2. Things Ain't Easy (Jon Huston) - 7:13
3. Cold 'n' Hard (Louis St. Louis) - 7:33
4. Been So Good (For So Long) (Louis St. Louis) - 8:39
5. Misery (Lloyd Baskin) - 4:37
6. Let It Fall (Howard Wyeth) - 6:13

The ALbert
*Otis Smith - Vocals, Congas
*Frank Vicari - Tenor Saxophone 
*Michael Gibson - Lead Trombone 
*Jon Huston - Solo Trombone, Trumpet 
*Jay Silva - Lead Trumpet 
*Richard Meisterman - Solo Trumpet 
*Paul Dickler - Guitar 
*Howard Wyeth - Organ, Piano 
*Paul Petruccelli - Bass 
*Barry Lazarowitz - Drums


Friday, April 28, 2023

Second Life - Second Life (1971 germany, tough stoner krautrock, digipak remaster)

Second Life is a hard rock power-trio from Frankfurt, which should appeal to Jimi Hendrix fans. Their self-titled debut LP relies heavily on the Hendrix power-trio approach as the overall feel of the music and especially the vocals has Hendrix written all over it. The album kicks off with the twenty-minute epic ‘Second Life’. A collage of explosions introduces the track before giving way to some rather downbeat acoustic guitar and vocals. Slowly the track builds into a heavy guitar jam (the second life) containing heavy blues rock riffs and Hendrix-styled guitar solos before giving way to a six-minute drum solo. 

Following this solo the track returns to the heavy riff motifs that were featured earlier before ending with another collage of explosions. ‘I’m Going’ follows a similar path in that it starts off slow before building up steam. The guitar on this track sounds a bit psychedelic and the vocals sound like Hendrix. ‘Raiders Of Night’ is a heavy anthem containing a heavy riff and a catchy chorus. ‘Sunshine Is Dying’ and ‘Hate’ close out the album in similar fashion with ‘Hate’ being the stronger of the two tracks. Overall this album is a good first outing. Soon after its release the band changed their name to Tiger B. Smith
1. Second Life - 20:55
2. I'm Going - 5:37
3. Raiders Of Night - 4:58
4. Sunshine Is Dying - 5:27
5. Hate - 5:02
All compositions by Holger Schmidt, Claus Meinhardt, Karl-Heinz Trauth

Second Life
*Holger Schmidt - Guitar, Vocals
*Claus Meinhardt - Bass, Vocals
*Karl-Heinz Trauth - Drums

Monday, April 24, 2023

Overland Stage - Overland Stage (1972 us, wonderful prog folk rock harmonies with spiritual references)

Although it was released in 1972 by the major label Columbia, it disappeared without a trace.

Overland Stage was six-piece from Fargo, North Dakota. They moved to West Coast to record their self titled album.. Except for "To The Park" (recorded in Chicago), the album was all recorded at Columbia Studio in San Francisco, but the members must have felt something very different from the desolate atmosphere of their hometowns.

The back of the album has a brief band introduction beginning with "Six Jesus freaks playing rock and roll". Therefore, although it is classified as Christian music, the sound is more progressive folk rock with a light swamp color that reflects from  the lightness of the guitar and the coolness of the vocals and chorus. It also has a quirky feel, with effective use of conga and flute, and the occasional use of unique rhythms. 

I think songs like Stephen Stills' "Cherokee", which has a dry chorus and flute is like a desert drive, "It's Just Life", has an acoustic vibe  that fits with the flute, are their signature style. Ballads like "Will Leave Me" have a healing taste to Christians. "Don't You Believe", has a pleasant mellow repetition, and the groovy cover of Trilogy's "I'm Beginning To Feel It" is fab. In conclusion the feel is a warm minor wind blowing through the desolate land.
1. Salvation (Dave Hanson) - 3:24
2. Cherokee (Stephen Stills) - 3:53
3. She Will Leave Me (Julian Elofson) - 3:11
4. I'm Beginning To Feel It (Kevin McCann) - 2:58
5. Brother Moses (Dave Hanson, Julian Elofson) - 5:30
6. To The Park (Rick Johnsgard) - 3:08
7. After You Leave Me (George Clinton) - 3:15
8. Don't You Believe It (Dave Hanson) - 3:11
9. It's Just Life (Rick Johnsgard) - 3:55
10.Indian (Dave Hanson, Julian Elofson) - 4:49

Overland Stage
*Julian "Al" Elofson - Vocals, Congas 
*Don "Milker" Miller - Guitar 
*Rick "Banch" Johnsgard - Guitar, Flute, Vocals 
*Jim "Bink" Flint - Organ, Piano 
*Steve "Boobs" Babbs - Bass 
*Dave "Mort" Hanson - Drums, Vocals

Cochise - So Far (1972 uk, rough country classic rock, 2002 edition)

Cochise is one of those talented, early-1970s English bands that simply couldn't catch a break in the United States (not to imply they were commercial gangbusters in their native UK).   The band  was largely the brainchild of former Plastic Penny lead guitarist Mick Grabham.  When Plastic Penny folded Grabham started recruiting for a new band,  Formed in 1969 the original Cochise lineup featured the talents of former Bluesology singer Stewart Brown, pedal steel guitarist BJ Cole, ex-Taste drummer John 'Willie' Wilson, and former Jokers Wild bassist Ricky Wills  Having played the college and club circuit, they found a backer in the form of Andrew Lauder who helped get them a contract with United Artists.

With another personnel change that saw former Creepy John Thomas Roy Otemro (aka Roy O'Temro) replace original drummer Wilson (who subsequently following by stints in Stud and Quiver (soon to be The Sutherland Brothers and Quiver), the band released a third studio set, 1972's "So Far". 
1. Cajun Girl (Roy O'Temro) - 3:28
2. Blind Love (David Elliott) - 4:38
3. Dance, Dance, Dance (Neil Young) - 3:58
4. So Many Times (Rick Wills) - 3:17
5. Diamonds (Mick Grabham) - 3:25
6. Thunder In The Crib (B.J. Cole) - 3:58
7. Up And Down (Roy O'Temro) - 5:41
8. Wishing Well (Mick Grabham) - 3:02
9. Midnight Moonshine (Mick Grabham) - 6:12

*Stewart Brown - Vocals, Guitar
*B.J. Cole - Steel Guitar
*Mick Grabham - Guitar, Keyboards, Vocals
*Rick Wills - Bass, Vocals
*John 'Willie' Wilson - Drums
*Roy O'Temro - Drums
*John Gilbert - Vocals

Saturday, April 22, 2023

David Buskin - He Used To Treat Her (1973 us, smart bright folk rock)

First of all, this is me writing this, so you can be pretty sure the good stuff is left out – hey, I might need it for my memoirs or to blackmail someone. I was born and grew up in the Bronx. I went to PS 28 (like Artie Traum ), Horace Mann ( like Eliot Spitzer ), Brown University (like E. Howard Hunt ) and the U.S. Army (like Ulysses S. Grant). I’ve been doing music of one form or another as long as I can remember. So that’s for a least half an hour.

My father was a sea captain. We didn’t know each other too well, but he had a good sense of humor, and my love of silliness is a gift from him. My mother wanted to be a doctor, but she had a congenital hearing loss, and her zoology professor at Barnard spoke too softly for her to hear, so she ended up studying botany. She taught dance at Russell Sage in Troy, NY, where they dedicated the yearbook to her. She was incredibly sweet, gentle and loving, and she wanted the world to be high-minded and well-mannered. I get my gullibility from her. Music from both of them. One of my fondest memories is singing at Carnegie Hall around 1971 with my parents beaming up at me from the third row. I remember thinking, “For a Jewish kid from the Bronx, it don’t get too much better than this.”

I think this is already too long. I’ve made several albums, the first of which was recorded on an Edison cylinder. I’ve had songs recorded by Judy Collins, Tom Rush, Peter, Paul & Mary, Johnny Mathis, Astrud Gilberto, Tracy Nelson, Jane Olivor, Dixie Carter, Pat Benatar, Roberta Flack, the drummer from Kiss, some guys from Toto, and some others I’m not remembering at the moment. My darkest moment as a songwriter was having Frank Sinatra cut one of my songs, not like his vocal and never re-record it. Jingles recorded by everybody. My faves are a Burger King spot by Mel Tormé with a big band –little slice of heaven for Davy getting to meet and work with Mel – and – aside from Robin singing his little heart out on my Post Office song, “We Deliver For You” – maybe Richie Havens’ work on the Amtrak campaign I did, “All Aboard, America.” Oh, and Jonatha Brooke singing “Serious Freedom” for Goodyear, which has about nothing to do with tires and gives you a pretty good idea of the Alice In Wonderland qualities of the ad biz. This is an industry that hired Dr. John to do a voiceover (!), and then the woman asked him, 1) Could he put a little more smile into it, and 2) Did he have to do it in a Southern accent…. But the money was cute.

But I digress, as Rob Carlson ( one of my two, ah, supporting players in Modern Man ) would say. The best part about the rock and roll purgatory that was the late, unlamented band Pierce Arrow was meeting the aforementioned Batteau person. We certainly have had a lot of fun. For example: Singing the Everly Brothers’ classic, “Bird Dog” at a benefit with Paul Newman speaking the “He’s a bird” lines. Paul Newman! Hearing about the Peekskill riots from Pete Seeger himself. Pete Seeger! Starting to sing my verse to “Amazing Grace” at one of the Newport Folk Festivals – big finale with all your serious folk royalty onstage – and having Bonnie Raitt goose me, causing the lyrics to mutate into French or something. Bonnie Raitt! Grabbing my…attention! It’s a full life.

Last few years I’m getting my kicks writing plays and sketches and the like. The first one, my putative director James Naughton says lacks a second act. I suggest we do it as a one-act, thus saving everyone a lot of time and trouble. He does not respond. But I’m happily at work on a musical with one of my jingle mentors, the prodigious and very Protestant Jake Holmes. We have high hopes. One act. No intermission. Home in time for Law and Order. What more could anyone need?
by David Buskin
1. Another Time - 4:08
2. Trials - 3:24
3. Eden - 3:52
4. Feel A Little Lonely - 3:00
5. Every Night And Day - 2:57
6. He Used To Treat Her - 4:18
7. Solo - 3:01
8. In Your Songs - 4:14
9. Oh, What A Feeling - 3:36
10.Downriver - 4:10
Music and Lyrics by David Buskin

*David Buskin  - Guitar, Piano, Vocals 
*Kenny Buttrey  - Drums
*Robert Charles  - Congas
*Dennis Good  - Trombone
*Teddy Irwin  - Congas, Guitar
*Skip Lane  - Tenor  Sax 
*John Bird  - Guitar
*John Bird  - Guitar
*Mike Leech  - Bass
*Jimmy Maelen  - Percussion
*Bob Mann  - Guitar
*Farrell Morris  - Percussion
*Andy Muson  - Bass
*Billy Puett  - Baritone  Sax
*Norbert Putnam  - Drums
*Norman Ray  - Baritone  Sax
*Allan Schwartzberg  - Drums
*Don Sheffield  - Trumpet
*Glen Spreen  - Organ, Synthesizer
*Jon Stroll  - Keyboards, Piano
*George Tidwell  - Trumpet
*Florence Warner  - Vocals 
*Bobby Woods  - Electric Piano
*Doug Yankus  - Electric Guitar
*Reggie Young  - Electric Guitar

Thursday, April 20, 2023

Frank White - Nice To Be On Your Show (1973 uk, tough boogie, roots 'n' roll, classic rock)

Sheffield born guitar player Frank White, started in the 1960s, where he toured Europe with another local hero, The Crying Game pop star Dave Berry and the Cruisers. He played with Carl Perkins, Albert Lee and The Crickets. Frank,  is regarded as a musician who could have matched the careers of Eric Clapton and Keith Richards, if he had wished, but he put aside the chance of global fame and fortune in favour of family and faith.

Frank’s solo debut album – Nice To Be On Your Show – was released in 1973 on Fantasy Records, home of Creedence Clearwater Revival. The album features five original songs penned by Frank and seven covers from Chuck Berry, Buddy Holly among others. Four man tight band, in blues vein, groovy roots with great dual guitar parts.

There are enough myths and legends surrounding Frank White to give Homer a sequel to The Odyssey. That the Rolling Stones wanted him in the band when Mick Taylor left. That Elvis saw him on ‘Shindig’ and was digging his playing. That, off the record, he’s Eric Clapton’s favourite guitarist. That he could have been the first white guy signed to Motown. That his mate Joe Cocker wanted him for The Grease Band. That he had the first twin-neck electric guitar in Europe, before Jimmy Page. (That one is true). 

Frank has rejected the conjecture. Only he knows the truth. He’s put aside the chance of fame and fortune in favour of family and faith. The King of Don Valley Delta Blues counts off “Blue Moon Of Kentucky”, he understands that you don’t need to reinvent the wheel, just keep the axle greased and let it roll on down Route 66, or the A57......  Sadly Frank died on March 29 2020.
1. Nobody (Wayne Carson Thompson) - 2:33
2. Not Fade Away (Charles Hardin, Norman Petty) - 3:06
3. Move On (Frank White) - 3:08
4. What Am I Living For (Arthur Harris, Fred Jay) - 5:09
5. Kingdom Hall (Frank White) - 3:22
6. Blue Moon Of Kentucky (Bill Monroe) - 3:20
7. Gonna Find My Baby (Gotta Find My Baby) (Chuck Berry) - 2:25
8. Punk (Frank White) - 5:40
9. No Money Down (Chuck Berry) - 2:37
10.Nice To Be On Your Show (Frank White) - 4:03
11.Lawdy, Miss Clawdy (Lloyd Price) - 3:03
12.Darnall Dogtrack (Frank White) - 2:22

*Frank White - Electric, Slide Guitars, Vocals
*Pat Donaldson - Bass
*Gerry Conway - Drums, Percussion
*Roy Barber - Electric Guitar 

Tuesday, April 18, 2023

Bob Patterson - Instrumentalist Singer Songwriter (1971 us, elegant folk blues rock, 2009 korean bonus tracks remaster)

Bob Patterson is an award-winning songwriter, singer, storyteller, author, visual artist, and public speaker. He’s been performing all over the country at festivals, clubs, radio, and television for more than fifty years. He was awarded the Fellow Man and Mother Earth Award from the Stetson Kennedy Foundation and has received a Lifetime Achievement Award from the Florida Storytelling Association. While capable of performing a wide variety of music, he prefers performances where he can perform his original Florida Stories and Songs. He’s an advocate for protecting the wild heart of Florida, especially clean water.

His career began in the late 1960s when he signed a recording contract with the prestigious folk music label, Vanguard Records. He recorded an album at that time with his folk-rock band, Elizabeth. Bob wrote and sang the popular single “Mary Ann,” along with four other cuts on the album. Bob moved to Florida in 1969 and became an integral part of the Florida folk music scene. He has been featured at the Florida Folk Festival for over forty years performing 12 string guitar and songwriting workshops, storytelling, and music concerts. 

Presenting this 1971 mellow-folk rarity, extremely rare private folk record assembled by friends in a Philadelphia studio. Most tracks have multiple layered guitars, and 8 of the 12 songs have vocals. Listen to the doomy "Darlin' Good Girl," which sounds like the Richard Farina classic "The Bold Marauder" to some ears. If you collect private folk LPs from this era, you'll be hard-pressed to top this one for quality and obscurity. A near-perfect, sun-dappled recording, but there's a darkness amidst the calmness as well.

Bob Patterson opened for Emmy Lou Harris at the 2005 event and was chosen as one of the Legacy Performers for 2006, 2007, 2008, and 2009 festivals. He independently produces music and stories on CD which have received rave reviews from critics and fans alike. His songs have been recognized by the American Song Festival and The Best of Florida Song Writing Competition. His song “Lullabye of the Rivers” was used in the documentary film about the Ocklawaha River. He had his book “Forgotten Tales of Florida” published by the History Press.

Bob is the co-founder of the Gamble Rogers Folk Festival and has served as the event’s artistic director for over fifteen years. He is a board member of the Florida Storytelling Association and has been producing music for the HAWKE Wildlife Association’s “Music for the Birds Concert” for over twenty years. The editor of First Coast Entertainer, Rick Grant, writes that “Bob valiantly carries on the Gamble Rogers tradition of humorous storytelling, folk-singing, and consummate guitar artistry. He is a true Florida songwriter and superb picker of the 12 string.”

Dr. Margaret Longhill, president of the Will McLean Foundation writes, “His songs, like his photographs, vignettes of the heart, stir us to look a little deeper and love a little more.” With a distinctive voice and 12 string guitar technique, Bob will take you on a trip through the real Florida that is filled with humor and folklore of the people.”
1. Travelin’ Through The Countryside - 4:54
2. Meadowlands (Instrumental) (Traditional) - 2:38
3. Darlin’ Good Girl - 2:45
4. Here’s To Huddie (Instrumental) - 1:19
5. I Am Abandoned - 4:30
6. I’m Going Home - 3:33
7. Bed Of Roses - 3:34
8. Mick’s Celebration (Instrumental) - 1:50
9. Lonesome City - 3:00
10.The Alarm Rings Five - 4:18
11.Trippin’ To Boston (Instrumental) - 2:14
12.Friends Of Mine - 3:04
13.Mississippi In The Morning - 4:04
14.Mary Ann - 2:57
All songs by Bob Patterson except where noted
Bonus Tracks 13-14

*Bob Patterson - Vocals, Twelve-String Guitar
*Jerry Ricks - Acoustic, Slide Guitars (Tracks 1-12)
*Chuck Klein - Dulcimer (Track 3)
*Ken Jacobs - Bass (Tracks 5,7,12)
*John Ransome - Bass (Track 6)
*Hank Ransome - Drums (Track 6)
*Cotton Kent - Keyboards (Track 6)
*Phil Peterson - Rhythm Guitar (Track 7)
*Bob Roberts - Banjo (Track 12)
*Michael Rector - Bass (Track 13)
*Derek Hess - Drums (Track 13)
*Jimmy Nee - Pedal Steel Guitar (Track 13) 
*Joline Patterson - Bass (Track 14)
*John Magee - Drums, Percussion (Track 14)
*Kenny Levine - Strings (Track 14) 

Related Act

Monday, April 17, 2023

Michael Gately - Gately's Cafe (1972 us, wonderful folk soft rock, Al Kooper production feat Paul Kossoff, 2013 korean remaster)

Michael Gately's first album "Gately's Cafe", which left two wonderful works in the early 70's, known as the songwriting partner of Robert John, who is familiar with the soft rock masterpiece "If You Don't Want My Love", and Robert John also participates fully in this work. Produced by Al Kooper, not to mention the sense of songwriting, the whispering voice that cannot be imagined from this jacket and Al Cooper's wonderful arrangement match very well, boasting a high degree of perfection without any discarded songs. Gentle vocals and harmonies. Based on folk and blues, with good time feeling phrases and arrangements, the fresh appearance is a masterpiece that travels from Bliss Building to Greenwich Village to the West Coast. 

Al Kooper (for whom he seems to have returned the favour, appearing as a writer, arranger and backing vocalist on Kooper’s own records) but despite his links to better-known musicians, a berth on a major label, and the fact that it’s clear he was a highly distinctive singer-songwriter, with plenty of commercial promise, it seems none of Gately’s various releases left the kinds of mark they deserved to, and Gately himself eventually died of a heart condition in 1982 at the age of 39.
1. Introduction (My Heart Sings) - 2:07
2. The Way Your Love Is Going - 3:22
3. Love Of My Life (Michael Gately, Robert John) - 3:21
4. Karo - 2:00
5. Lonesome Song ('Bout Someone Who's Gone He's Got To Carry On I Wonder Can He Make It?) (Al Kooper, Phyllis Major) - 3:00
6. The Piano Player's (Al Kooper) - 4:40
7. Sometimes I Get A Notion (Gotta See The Country) - 2:10
8. You're What's Been Missing From My Life (Michael Gately, Robert John) - 3:00
9. Hook Another Horse (To Your Love Carriage) - 3:54
10.Over Now (Michael Gately, Robert John) - 2:45
11.Color All The World (Michael Gately, Robert John) - 5:30
Music and Words by Michael Gately except where stated

*Michael Gately - Vocals
*Robert John - Vocals
*Caleb Quaye - Acoustic, Electric Guitars
*Herbie Flowers - Bass
*Roger Pope - Drums, Body Percussion
*Paul Kossoff - Guitar 
*Ian Duck - Harmonica
*Al Kooper - Keyboards, Arranger
*Jerry Goodman - Violin

Saturday, April 15, 2023

The Screaming Gypsy Bandits - In The Eye (1973 us, fascinating melt of folk jazz blues brass rock)

The Screaming Gypsy Bandits were a popular Bloomington band during the early to mid 1970’s, playing live frequently with a revolving lineup; a core of Mark Bingham, Caroline Peyton, and Bruce Anderson remained relatively constant.  Their sound was an intriguing stew of roots rock, psychedelia, and jazz infused rock with gospel overtones, rendering their LP almost uncategorizable; further confusing the issue was that the studio album bore scant resemblance to their live performances.

Mark Bingham’s 1969 return to Bloomington after being under contract to Elektra Records got things rolling, and he led the band throughout its duration.  The album, In The Eye, was recorded at Jack Gilfoy Sound Studios and released on BRBQ Records in 1973, selling well enough to have multiple pressings.  Most have the cover pictured above; a few have a hand made collage cover.   The album was reissued on vinyl by Indianapolis label OR Records in 1996, in a limited edition of 375 copies.  More recordings were made, but not released, including an album provisionally entitled Kryptonite.

"In The Eye" is a genre-bending psychedelic expression unconcerned with the media, the fuzz, and society at large. After the band broke up, Bingham and Bourne started the Brain Sisters, which were short lived.  Bingham moved to New Orleans and began a long career as studio owner and producer, while continuing to record and release solo albums.  
Indiana Music
1. Prematurely (Fly Me Away) - 3:54
2. Junior - 7:23
3. All This Waiting - 3:36
4. Path Of Light - 5:00
5. In The Eye - 3:52
6. White Teeth - 5:28
7. Pedigree - 3:52
8. Mules - 3:15
9. Foggy Windows - 3:40
All songs by Mark Bingham

*Mark Bingham - Guitar, Vocals
*Brenden Harkin - Lead Guitar 
*Bruce Anderson - Slide Guitar 
*Caroline Peyton - Vocals 
*Dale Sophiea - Vocals 
*John Clayton - Bass  
*Jim Rapport - Bass  
*Bill Myers - Banjo 
*Willy Schwarz - Piano, Organ, Bass, Sarod, Tambura, Tabla 
*Terry Cook - Soprano Saxophone, Flute 
*Rick Lazar - Drums, Congas, Percussion 
*Regina Mushabac - Cello 
*Christine Kennery - Oboe 
*David Edge - Violin 
*Gail Middleton - Harp  
*Jim Van Valkenburg - Viola

Friday, April 14, 2023

Shawn Phillips - Bright White (1973 us, magnificent jazzy folk rock with prog tinges)

Possessing more rhythmic vitality than its predecessors, as well as a smoother, quasi-jazz feel, Bright White may be Phillips' most conventionally accessible album. 
by Bruce Eder
1. Bright White - 2:50
2. Salty Tears - 3:04
3. All The Kings And Castles - 4:33
4. Victoria Emmanuele - 4:28
5. Planned "O" - 6:36
6. Lasting Peace Of Mind - 6:20
7. Technotronic Lad - 3:31
8. Dream Queen - 4:27
9. It's A Beautiful Morning - 3:16
10.Lady Of The Blue Rose - 6:00
All songs by Shawn Phillips

*Shawn Phillips - Vocals, Acoustic, Electric Guitar, Synthesizer
*Anthony R. Walmsley - Electric Guitar
*Peter Robinson - Keyboards, Orchestral Arrangements (Track 3)
*Chuck Rainey - Bass
*Barry De Souza - Drums
*Danny Kortchmar - Guitar (Track 1)
*William Smith - Organ (Track 1)
*Chuck Findley - Brass (Track 1)
*Craig Doerge - Clavinet (Track 1)
*Leland Sklar - Bass (Track 1)
*Russ Kunkel - Drums (Track 1)
*Bobby Keys - Horns (Track 4) 
*Jim Horn - Horns (Track 4) 
*Jim Price - Horns (Track 4)
*Pastrami Brothers - Percussion (Track 6)
*Sneaky Pete Kleinow - Slide Guitar (Tracks 7,8)
*Larry Carlton - Acoustic Guitar (Track 8)
*Paul Buckmaster - Orchestral Arrangements (Track 10) 

1970  Shawn Phillips - Contribution / Second Contribution (2009 remaster)
1971  Shawn Phillips - Collaboration
1969-72  Shawn Phillips - Faces (2014 remaster) 

Thursday, April 13, 2023

Broken Glass - Broken Glass (1975 uk, exceptional bluesy classic rock, feat Stan Webb and Miller Anderson, 2005 remaster)

Stan Webb took time out from his band Chicken Shack to form a brilliant band entitled Broken Glass featuring such great players as Miller Anderson, Robbie Blunt, Mac Poole and Rob Rawlinson. The three pronged guitar attack of Webb, Anderson and Blunt soon had venues rocking and EMI put the money up for the band's debut album. The album hit the streets to great reviews and Broken Glass seemed on their way to fame and fortune. The quality of the Webb, Anderson, Bunt compositions was exceptional but as often beset bands in the Seventies, problems with management ensued and the project collapsed.

"Broken Glass" kicks off with the banging rocker "Standing On The Border," which featured Stan and Miller Anderson sharing lead vocals. A great opening riff is replaced with a lot of pressure by the verses, which benefit from the alternating vocals of the two frontmen. Wow, what power! Then replaced by Ashton's rolling piano parts and a short guitar solo. Completely different is the following "It's Alright", which shines with a great groove, three ingeniously interlocking guitars and strong Webb vocals, but also comes a lot softer. Still one of the best numbers on this disc.

As the third title, "Keep Your Love" brings something completely different, namely reggae to the gift table. Of course, the protagonists also master it easily and Tony Ashton can once again score on the organ. Add to that the gorgeous slide work from Anderson, the spot-on bass from Rawlinson and the charismatic voice from Webb.  "Can't Keep You Satisfied", which comes across as a relaxed jam and spreads a lot of atmosphere, "Jersey Lightning" sets the tone again, a brisk country stomp refined by a great dobro played by Miller Anderson. 'It's Evil' is the blues classic by Willie Dixon, but it gets a whole new funk treatment here. 

A real cracker "Crying Smiling", which goes straight towards the twelve again. Another great rocker with Anderson and Robbie Blunt's backing vocals topping an already strong chorus. Very fine guitar solo by Robbie Blunt too. "Take The Water" is the first recording of what is now known as "Chicken Shack Opera" and has been a staple of Stan Webb's Chicken Shack concerts for over twenty years. Again, a relaxed blues jam in which each individual band member can show what they're made of. 

The album ends with the title song written by Anderson, who also did the vocals alone, this last number is about the poor musician who is being ripped off and taken advantage of and betrayed from all sides. A look into the famous crystal ball, as it turned out very quickly. The manager of Broken Glass had invested the high advance payment from the record company in another of his protégés and very quickly squandered the entire fund. The result was that Broken Glass played a single concert in London after the album was released and then disbanded without a trace. 

Stan Webb then launched the next edition of Chicken Shack, taking with him Robbie Blunt, who had a home there for two more albums. Webb was very impressed by the band at that time and their composition (which was not always the case with previous and later Chicken Shack formations) and was very bitter for a long time that Broken Glass was once again killed by a third party have been done. What remains for posterity is this one album where you can enjoy rock, blues, reggae, hot jams and beautiful acoustic numbers.
1. Standing On The Border (Lance Mark Alexander, Stan Webb) - 3:41
2. It's Alright (Stan Webb) - 3:38
3. Keep Your Love - 4:38
4. Can't Keep You Satisfied - 5:18
5. Jersey Lightning (Stan Webb) - 1:53
6. It's Evil - 3:47
7. Ain't No Magic - 5:12
8. Crying Smiling - 3:53
9. Take The Water (Lance Mark Alexander, Stan Webb) - 5:24
10.Broken Glass (Lance Mark Alexander) - 2:31
All compositions by Robbie Blunt, Stan Webb except where indicated

Broken Glass
*Robbie Blunt - Lead, Slide Guitars
*Mac Poole - Drums
*Rob Rawlinson - Bass
*Stan Webb - Lead, Slide, Dobro Guitars, Vocals 
*Miller Anderson - Guitar, Vocals
*Tony Ashton - Keyboards

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1967-68  Remo Four - Smile
1969  Ashton Gardner And Dyke - Ashton Gardner And Dyke
1970  Ashton, Gardner And Dyke - The Worst Of
1971  Ashton, Gardner and Dyke - Let It Roll / Live

Wednesday, April 12, 2023

Sorcery - Sinister Soldiers (1978 us, dark underground basement heavy rock, 2001 reissue)

Here is a long lost monster, a true classic, an underground legend, a gem among gems. Intrigued yet? Meet SORCERY, a band whose star lit briefly from 1976 to somewhere around 1980. Hailing from Chicago, Illinois - and not to be confused with the hard rock band from California, which rose to greater prominence at almost exactly the same time the five-member band put out just two albums.

Their debut is called Sinister Soldiers and was the most impressive chapter in Sorcery’s journey as a band. A respectable length of forty-nine minutes, Sinister Soldiers was issued as a double LP. In 1978, when I was a teen, this was a real attention getter. You know, one of those you’d be likely to take home for the cover art alone. 

Sinister Soldiers certainly lives up to its title. The music is indeed dark and sinister. There is quite a variety of style on the LP. From killer Sabbath vibes to dreamy progressive psychedelia and even some punky hard rock. The first thing that should grab you is the incredible guitar solos of Paul Koster, whose is grounded in the early-seventies school of acid rock shredding. They are plentiful and intense, riding the evolutionary edge between hard rock and heavy metal. Arguably, this is an example of protometal, though I consider it leaning more heavily in the direction of hard rock.

Tim Barrett’s vocals are another standout, ranging from mellow to urgent, though there’ll be no screaming found here. He was apparently in three other Midwestern bands – Aleister Crowley, Canterbury, and Sea of Monsters– though I have never happened upon recordings from these others. The singing on Sinister Soldiers is sometimes strange, twisted, sweet, and haunting.

Kieran Hoening’s aggressive drumming is what really brings us to heavy metal, even edging into NWOBHM territory. Bear in mind that this was 1978 - though some of the songs were surely recorded earlier and this time in the feel-good decade proved to be a difficult one for heavy music of all stripes. It was a transitional period where metal was still searching for its identity. Dave Maycroft’s bass playing is basically in the doom style, but a tad more laid back. If this were more widely known - and had a better transfer from the beautiful vinyl analog, it would surely be considered a classic. 

The whole album is great, leading you on a partly cloudy trip into the depths of the mind. The stand out track for me is the 12:17 minute song, “The Last Goodbye.” It is the most psychedelic and progressive of tracks. “Snowshit” is another clear winner, being the one song with true heavy metal riffs and long, searing guitar solos. It’s a memorable song and for many of you, this will be a new favorite in your playlist.

Unfortunately, because of limited distribution, Sorcery’s classic never got its just due. Since its release, it’s become one of the rarest and most sought after protometal records of the seventies. I remember scoring my copy in a trade in the late-eighties. By the nineties, the record was valued at $1000-$1500. Now that I’m out of the collect-and-trade business, I can only imagine what the value of an original copy would go for in 2016.

Sorcery did something that hardly anyone was doing at the time and would be decades before bands experimented again with the metal-rock fusion. The extreme rarity and obscurity of this album only adds to the legend that is Sorcery’s Sinister Soldiers.
by Papa Paul, Nov. 22 2016
1. Arachnic (The Dark King) (Dave Maycroft, Kieran Hoening, Kirk Bryk, Paul Koster) - 3:58
2. Fly The Sky - 2:59
3. Sugar Sweet Lady (Debbie's Song) (Kirk Bryk) - 4:09
4. Last Good-Bye - 12:16
5. Slippin' Away (For K.E.R.) - 4:07
6. Snowshit - 9:21
7. Airborne - 4:58
8. Sorcerer - 3:22
9. Schitzoid - 4:22
All songs by Kirk Bryk, Tim Barret except where noted

*Tim Barret - Lead Vocals
*Kirk Bryk - Vocals, Lead Guitar, Bass, Synthesizer, Percussion
*Paul Koster - Guitar, Vocals 
*Dave Maycroft - Bass
*Kieran Hoening - Drums
*Chuck Dorrinton - Bass (Track 2)

Saturday, April 8, 2023

The Sons Of Adam - Saturday's Sons The Complete Recordings (1964​-​66 us, jagged garage psych, feat Randy Holden from Blue Cheer fame, 2022 release)

Remembered as one of the most talented West Coast garage rock bands of the 1960s The Sons Of Adam began life as a surf rock group, with three of four original members actually being East Coast transplants.

Lead guitarist/vocalist Randy Holden and rhythm guitarist/lead vocalist Jac Ttanna were born in Pennsylvania, although like bass guitarist/vocalist Michael Port they called Baltimore home, the latter actually a native of the city. With the addition of drummer Bruce Miller, quickly replaced by Keith Kestler, The Fender IV were born, releasing four single sides on the Imperial label before another change in drummers, with Michael Stuart-Ware taking over, and a move toward garage rock resulted in The Sons Of Adam, so named by colorful and shadowy cult figure Kim Fowley, who issued two singles on Decca. Following more personnel changes, with Holden being replaced by Craig Tarwater and Stuart-Ware by Randy Carlisle, a final 45 appeared on the Alamo label before the band dissolved in June 1967.

Long unavailable in any format, High Moon Records has compiled the six The Sons Of Adam singles sides along with three studio outtakes, supplementing them with eight previously unreleased live recordings from the band’s August 6, 1966 performance at the Avalon Ballroom in San Francisco along with both sides of the two The Fender IV 45s and three additional studio recordings by the surf rockers, a total of twenty four tracks, more than sixty eight minutes of music recorded between 1964 and 1966, in deluxe CD and double LP editions. The result is one of the most highly anticipated reissues of 2022.

‘Saturday’s Son’ opens with thirty minutes from The Son of Adam’s sizzling Avalon Ballroom performance beginning with their six minute take on the Bert Berns, Jerry Wexler and Solomon Burke classic ‘Everybody Needs Somebody To Love’ a melodic number with Holden delivering stinging, stabbing bursts of lead guitar and a fiery solo. The Ttanna/Holden original ‘Mr. Sun’ features power chording by Holden, with Ttanna belting out the vocals. Another Ttanna/Holden original ‘The Long Road’ finds Holden riffing with restraint, his guitar looming, hinting at heaviness. 

The group’s cover of Graham Gouldman’s ‘Evil Hearted You’ rivals that of the Yardbirds, Holden delivering a string bending solo and Ttanna’s vocals rivaling those of Keith Relf. Side one of the first LP closes with the rocking Ttanna/Holden penned ‘It Won’t Be Long’, Holden’s guitar open to full throttle, Port’s bass line and Stuart-Ware’s drum fills putting the pedal to the metal. Side two opens with the Lou Josie composition from which the set draws its title, and showcases Holden’s heavy lead line and an extended solo which plays the tune out. Ttanna/Holden’s ‘Go Away’ is three minutes of dead ahead rock, with an insistent riff and Holden’s guitar set to stun. The last live cut is an eight minute cover of Van Morrison’s ‘Gloria’ which the band gives the rave up treatment a la Yardbirds, Ttanna screaming vocals over Holden’s soaring solo, Stuart-Ware pounding out the beat with his racing drums and Port’s thundering bass deepening the groove. The tune closes with Holden controlling the feedback as he solos the outro, the sound building to a crescendo. 

The singles and outtakes section begins with the December 1965 a-side ‘Take My Hand’ a Ttanna/Holden original showcasing the band’s British invasion influenced melody with its relaxed guitar riffs and drum fills, Holden contributing a searing solo. The b-side, a cover of Steve Venet and Tommy Boyce’s ‘Tomorrow’s Gonna Be Another Day’ closes side two with its harmonious vocals and lead guitar line, relaxed groove and driving guitar solo. Disc two opens with Ttanna/Holden’s ‘I Told You Once Before’ an outtake, with heavily echoed guitar and vocals along with a melodic bass line courtesy of Port. A cover of The Zombies’ Chris White’s ‘You Made Me Feel Good’, also an outtake, has a chiming guitar intro, smooth lead line, gorgeous vocal harmonies and a restrained guitar solo. 

Mike Port’s ‘Without Love’, yet another outtake, is a haunting love song with its delicate mid-tempo melody. Jeff Beck’s influence on Holden is apparent on the group’s cover, and single a-side, of Brian and Mike Hogg’s ‘You’re A Better Man Than I’ popularized by the Yardbirds. Holden’s heavy guitar intro is contrasted by Ttanna’s delicate vocals, with Port and Stuart-Ware supplying the song’s heavy rhythm. Holden’s quivering lead line gives way to a solo filled with sustain that soars the tune to a close. The b-side, a studio take on ‘Saturday’s Son’ is a hot rocker, its lead line and thundering bass line driving the tale of a cursed man, “the thirteenth child, Saturday’s son”, with Holden’s solo playing the song out. 

The first tune recorded by the band with new lead guitarist Craig Tarwater and drummer Randy Carlisle was a cover of Arthur Lee’s ‘Feathered Fish’ released as the a-side of The Son Of Adams’ final, late fall 1966 single. The tune had long been part of the band’s live repertoire and was in fact released by Holden with his next band The Other Half. Regardless, the The Sons Of Adam take is a fine piece of garage rock filled with a heavy guitar riff and fuzz bass, Tarwater offering a fiery solo and Ttanna delivering the trippy lyrics with swagger. The single’s b-side, and LP side closer, is the Mike Port penned ‘Baby Show The World’ with its rumbling bass intro and snarling lead guitar line. Tarwater’s relaxed solo floats over the top, with Carlisle’s drums crashing and Port’s bass throbbing, Tarwater’s outro filled with restrained feedback. This would sadly prove to be the final recording by The Sons Of Adam as personality conflicts caused an irreparable rift in their ranks, the end result being Randy Holden joining The Other Half with whom he would record the timeless single ‘Mr. Pharmacist’, later touring with and recording one side of original tunes on Blue Cheer’s ‘New! Improved!’, then recording the classic heavy psychedelic LP ‘Population II’ with ex-Kak drummer Chris Lockheed before taking an extended break from music. 

Michael Stuart-Ware was lured by Arthur Lee to join Love at their creative peak, playing drums on the ‘Da Capo’ and ‘Forever Changes’ albums, while Jac Ttanna would form Genesis (the American, not British group), with Mike Port as bassist before the lineup was finalized with future Steppenwolf (‘For Ladies Only’) guitarist Kent Henry, the group releasing two singles and the ‘In The Beginning’ album, with Ttanna as rhythm guitarist/vocalist and chief songwriter, penning such tunes as the epic 16 minute ‘World Without You’, although Port would by then have departed the music industry and returned to Baltimore where he managed a movie theater for many years before falling into homelessness and sadly dying on the city’s streets in 2014. 

Guitarist Craig Tarwater remained active musically but never again reached the heights of The Sons Of Adam and passed in early 2018, while drummers Bruce Miller, Keith Kestler and Randy Carlisle seem to have vanished from the music industry.. As for ‘Saturday’s Son’ the release ends where the West Coast recording legacy of the transplanted East Coast trio of Holden, Ttanna and Port began back in 1964 as the The Fender IV with the bottom side of the second LP containing seven tracks, six Holden originals and one co-written with Ttanna, all four single sides and three outtakes featuring drummer Kestler. Holden’s ‘Mar Gaya’ is a surf rock instrumental propelled by Holden’s lead line and Port’s throbbing bass, with Kestler adding a mid-tune drum break. The song was released as a single on Imperial in 1964 c/w Ttanna and Holden’s ‘You Better Tell Me Now’ which hinted at the Yardbirds influence on Holden guitar work and showcased the racing drums of Kestler along with the repeated forlorn Ttanna vocal refrain “you better tell me now what you’re gonna do”. 

The Holden penned a-side ‘Malibu Run’ is a reverb drenched surf rocker in the vein of Dick Dale with the guitarist’s lead line dominating from beginning to end. The 1965 Imperial single’s b-side ‘Everybody Up’ is a danceable piece of guitar driven surf rock with Ttanna encouraging listeners with the tunes only lyrics “everybody up” as the band plays at breakneck speed, Holden’s lead guitar joined by Port’s throbbing bass and Kestler’s pounding drums. The disc closes with three outtakes, all Holden compositions. ‘Lonely Surf Guitar’ opens with Kestler riding his cymbals before Holden takes over with a slower tempoed, heavily echoed, lead line sounding very much like Jimi Hendrix vintage 1967 and showing how unique and ahead of his time Holden truly was. ‘Highway Surfer’, another outtake, is an instrumental with its relentless riff and ringing solo by Holden as he races up and down the neck of his guitar. 

The disc, and set, closer is yet another surf instrumental ‘Little Ole’ with nice tempo changes and Holden illustrating perfect usage of his reverb as his lead line glides effortlessly through the tune coaxing incredible tones along the way. The tune is an absolutely delightful end to a most impressive collection of guitar based rock music.

‘Saturday’s Sons: The Complete Recordings 1964-1966’ was produced by Alec Palao, who also contributed the liner notes based on interviews conducted between 1997 and 2021 with surviving members Randy Holden and Jack Ttanna. The deluxe CD features sound transfers edited by Palao and an immaculate mastering job by Dan Hersch. This long overdue tribute to a band far ahead of its time and deserving of a much better fate than it received will be of interest to fans of hard rock, psychedelic rock, surf rock, 1960s rock and classic rock and is highly recommended.
by Kevin Rathert
1. Everybody Needs Somebody To Love (Bert Berns, Jerry Wexler, Solomon Burke) - 6:08
2. Mr Sun (Jac Ttanna, Randy Holden) - 2:36
3. The Long Road (Jac Ttanna, Randy Holden) - 2:52
4. Evil Hearted You (Graham Gouldman) - 2:28
5. It Won't Be Long (Jac Ttanna, Randy Holden) - 2:28
6. Saturday's Son (Lou Josie) - 2:36
7. Go Away (Jac Ttanna, Randy Holden) - 3:08
8. Gloria (Van Morrison) - 8:02
9. Take My Hand (Jac Ttanna, Randy Holden) - 2:22
10.Tomorrow's Gonna Be Another Day (Steve Venet, Tommy Boyce) - 2:17
11.I Told You Once Before (Jac Ttanna, Randy Holden) - 2:07
12.You Make Me Feel Good (Chris White) - 1:59
13.Without Love (Mike Port) - 2:40
14.You're A Better Man Than I (Brian Hugg, Mike Hugg) - 2:57
15.Saturday's Son (Lou Josie) - 2:13
16.Feathered Fish (Arthur Lee) - 2:32
17.Baby Show The World (Mike Port) - 2:32
18.Mar Gaya (Randy Holden) - 2:29
19.You Better Tell Me Now (Jac Ttanna, Randy Holden) - 2:11
20.Malibu Run (Randy Holden) - 2:27
21.Everybody Up (Randy Holden) - 1:55
22.Lonely Surf Guitar (Randy Holden) - 2:42
23.Highway Surfer (Randy Holden) - 2:28
24.Little Oly (Randy Holden) - 2:24
Tracks 1-8 recorded live at the Avalon Ballroom, August 6th, 1966.
Tracks 9-17 Singles and Outtakes
Tracks 18-24 as The Fender IV 

The Sons Of Adam
*Randy Holden - Guitar, Vocals (1965-1966)
*Joe Kooken (Aka Jac Ttanna) - Guitar (1965-1967)
*Mike Port - Bass (1965-1967)
*Michael Stuart - Drums (1965-1967)
*Craig Tarwater - Guitar, Vocals (1966-1967)
*Randy Carlisle - Drums (1967)

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Thursday, April 6, 2023

Ramatam - In April Came The Dawning Of The Red Suns (1973 us, good mixture of brass, roots, folk, classic rock, 2005 edition)

April Lawton's short rock & roll moment in the sun takes a better turn on Ramatam's second attempt, In April Came the Dawning of the Red Suns. Acoustic ramblings like "Excerpt From Guitar Concerto #1," where she plays solo for 44 seconds, are more inviting than much of what was on the group's self titled debut. Since her prowess was a big part of the hype, why those introspective glimpses weren't extended is the mystery. There's also a pretty interlude, "Rainy Sunday Evening," which comes between two awful moments on side one, "Betty Lou" and "I Can Only Love You," proving the previous point. A '50s-type vocal sound slips into this morass, and these two titles display the worst elements found when "experiencing" the band's first effort, despite the fact that only lead guitarist Lawton and Tommy Sullivan remain. 

With another Atlantic producer, Geoffrey Haslam, taking over from Tom Dowd and heavy string sections replacing the marquee talent former bandmates Mitch Mitchell and Mike Pinera brought to the table, the album has sparks that just never take off. Instrumental portions of "I Can Only Love You" have merit decimated by a god awful vocal from Sullivan, who sings much better on "The Land" and "Autumn Now," two songs that sound like Robbie Robertson and the Band jamming with America after some gig. The heavy orchestration -- 11 strings and eight horns -- conducted by Charles Gouse, brings a certain refinement to this rock band that live and in its earlier incarnation was an all-out assault. Haslam worked with artists and projects as diverse as the Velvet Underground's Loaded, the J. Geils Band, Bette Midler's The Divine Miss M, Delbert McClinton, and others, and he brings his polish to smooth out the rough edges -- but as the late Jimmy Miller used to say (paraphrased), "a big part of it is the talent you're given to work with." When a singer doesn't have that ability to get it across, you can end up with the dilemma facing Ramatam. 

The strength Haslam brought to the first J. Geils album, bringing it all together and letting it play out, is less-efficient here, though this is a vast improvement over Dowd's work on Ramatam's debut. If the first edition of this ensemble was a poor-man's supergroup, this version finds good production impeded in parts by Tommy Sullivan morphing into that poor-man's Jim Dandy from Black Oak Arkansas. Imagine Dandy attempting to sing to a boogie-woogie version of Cream's music and you'll understand the dilemma. "Stars and Stripes Forever" is a pointless exercise opening side two, but it leads into the shining moment, Lawton's pretty vocal supplemented by Bruce Morgenheim's violin on a song called "Bounty on My Table." That respite is knocked off the table with "Downrange Party," where the group seems to have their Jim Dandy persona clashing with the Jimi Hendrix Experience and some horns to boot -- dreadful. 

The one-minute "Free Fall" by Sullivan is as enticing as some of Lawton's creative spurts, and the fact that there is some magic that escaped this project is obvious. What was needed was the removal of the grating, pointless pseudo-Southern rock, replacing it with a psychedelic jam à la Iron Butterfly -- a band a former member belonged to. A good digital editor could actually cut and paste and come up with something very special if those involved were so inclined. Then a really special moment, like the '50s send-off "Rhinoceros," would have more punch.
by Joe Viglione
1. The Land/Rainy Sunday Evening - 6:21
2. Betty Lou - 4:00
3. I Can Only Love You - 5:44
4. Except From Guitar Concerto - 0:43
5. Autumn Now (April Lawton) - 3:58
6. Stars And Stripes Forever - 2:33
7. Bounty On My Table (John Philip Sousa) - 3:56
8. Downrange Party - 5:22
9. Free Fall - 0:52
10.Push A Little - 5:16
11.Rhinoceros (April Lawton, Tommy Sullivan, Jimmy Walker) - 3:30 
All compositions by April Lawton, Tommy Sullivan except where indicated

The Ramatam
*April Lawton - Bass, Guitar, Harmonica, Vocals
*Jimmy Walker - Drums, Vocals
*Tommy Sullivan - Bass, , Guitar, Keyboards, Mini Moog, Orchestration, Piano, Saxophone, Vocals, Wind
*Raymond Beckenstein - Horn
*Garnett Brown - Horn
*Harold Coletta - Strings 
*Dominick Gravine - Horn
*Emanuel Green - Strings 
*Arthur Kaplan - Horn
*Harold Kohon - Strings 
*Joseph Malignaggi - Strings
*Richard Maximoff - Strings
*Kermit Moore - Strings
*Bruce Morgenheim - Guitar, Violin, Vocals
*David Nadien - Strings
*Joe Newman - Horn
*Gene Orloff - Strings
*Max Polikoff - Strings
*Seldon Powell - Horn 
*George Ricci - Strings
*Russ Savakus - Strings
*Joseph J. Shepley - Horn