By 1974’s ‘Move It’ the band were on the verge of leaving Transatlantic and, for the first time, not only did they record a cover version but, they also made it the title of their album! Relocated at the managements suggestion to the States, ‘Move It’ was recorded in Connecticut, produced again by Wilf Pine from their management company. As Del Bromham is incredibly honest about in the superb booklet notes by Malcolm Dome, it was a mistake on the band’s part to switch management.
Opening with a drum solo called Tap (after all, this was 1974, and it was illegal for all prog and rock albums to be released without a drum solo) they then launch into Move It, which was completely Strayed up and has plenty of that guitar and power they well were known for. To be honest, it blows Cliff’s version out of the water.
The rest of the album, whilst being classic Stray, has always been regarded by the band as bit of a mish mash where they were trying too many different things. Tracks like Bromham’s rocking Hey Domino,their cover of Jimmie Helm’s Customs Man or Gadd’s Mystic Lady and Our Plea especially, moving the band into slightly softer and more melodic areas. This is the sound of a band searching for a new direction and not quite finding it, not a bad record at all, but certainly one which has plenty of alternative musical avenues to head down.
by James R. Turner
Tracks
Disc 1
1. Tap (Richie Cole) - 1:24
2. Move It (Ian Samwell) - 4:04
3. Hey Domino (Del Bromham) - 4:50
4. Customs Man (Steve Gadd) - 3:34
5. Mystic Lady (Steve Gadd) - 3:56
6. Somebody Called You (Del Bromham) - 4:03
7. Give It Up - 5:09
8. Like A Dream - 3:39
9. Don't Look Back - 4:16
10.Right From The Start - 5:05
11.Our Plea (Steve Gadd) - 3:17
12.Move It (Ian Samwell) - 3:21
13.Crazy People - 3:00
Songs 7,8,9,10,13 written by Del Bromham, Steve Gadd
Disc 2
1. Move It (Ian Samwell) - 4:05
2. Crazy People (Steve Gadd) - 3:40
3. Down Down Down (Del Bromham) - 4:28
4. Don't Look Back (Del Bromham, Steve Gadd) - 3:47
5. Somebody Called You (Del Bromham) - 5:48
6. Hey Domino (Del Bromham) - 5:10
7. Don't Look Back (Del Bromham, Steve Gadd) - 5:38
8. Mystic Lady (Steve Gadd) - 4:54
9. Right From The Start (Del Bromham, Steve Gadd) - 6:19
10.Move It (Ian Samwell) - 4:27
Tracks 1-4: BBC Radio One session for Rock On (Sounds Of The Seventies), recorded 20th October 1973, broadcast 17th November 1973
Tracks 5-10: BBC Radio One In Concert, recorded 25th April 1974, broadcast 4th May 1974
The American Midwest. The farm belt. Heartland. Breadbasket. Flyover country. Call this region what you will, but it has often been held in derision by those in other parts of the U.S.A., especially the cultural arbiters of the East and West Coasts. While the sweeping social changes of the 1960s were having an obvious impact on the youth of New York City, San Francisco, and Los Angeles, the Midwest had more in common with the South in that it still may as well have been the 1950s in many places, including the cities.
By the mid 1970s, however, this region had more than caught up with the hipper parts of the country, at least in terms of popular music. Indeed, the Midwest enthusiastically embraced the nascent hard rock, heavy metal, and boogie rock movements on both sides of the Atlantic that had been greatly influenced by late 1960s power trios Cream and the Jimi Hendrix Experience. Furthermore, it also produced some of the era’s most commercially successful, though not necessarily artistically significant, groups of the decade, including REO Speedwagon, Bob Seger and the Silver Bullet Band, Kansas and Cheap Trick, to name just a few.
As the promotion of such performers became more of a business endeavor, these outfits eventually became lumped together in the arena rock bag, which paved the way for the rampant corporatism of the music industry that continues to plague us to this very day. The silver lining to that particular cloud, however, proved to be the opportunities that the system created for the second - and third-tier Midwestern bands who often functioned as the opening acts at concerts staged in college town football stadiums and the Enormodomes of larger metropolitan areas. Groups of this variety often had their own rabid local followings and, in some cases, the wherewithal to record their music and release singles and albums on independent labels, which were still relatively numerous at the time.
One of the best examples of these underappreciated bands is Cedar Rapids, Iowa’s Truth and Janey, who arrived at their name by combining the title of the first LP by the Jeff Beck Group (essentially a power trio plus Rod Stewart) and the cognomen of guitarist Billylee Janey. Formed in 1969 and utilizing only the first part of their eventual name, they soon settled on what would become their most enduring lineup, which also featured bassist Steve Bock and drummer Denis Bunce. The band’s two 45s from the early 1970s found them with one foot in the newly developing heavy metal subgenre and the other in blues and 1950s-1960s rock, as indicated by cover versions of the Rolling Stones’ “Under My Thumb,” Sonny Boy Williamson No. 2’s “Pontiac Blues,” and Chuck Berry’s “Around and Around.”
At about the same time, they added the second half of their moniker. The year 1976 marked the release of Truth and Janey’s debut long player, No Rest for the Wicked, which now apparently changes hands for as much as $800 in the collectors’ market. The fact that it has been reissued three times since the mid 1990s has done much to maintain interest in the group and to introduce them to a new generation of fans.
The live set on Erupts! serves as a respectable companion piece to its studio counterpart, having been recorded not long afterward in April 1976 at a concert in Davenport, Iowa. Evidently, this is not the same Quad Cities-area show from the same year at which they played alongside Blue Öyster Cult, but I would imagine that the performances are of similar caliber. The band had clearly benefitted from constant gigging during this phase in their career, which is reflected in their seemingly effortless ability to transform straightforward songs into eight-minute bone-crushing jams. Throughout the proceedings, Billylee Janey demonstrates that he was arguably at the height of his powers as he shreds through one title after another.
Material from No Rest is well represented, with that album’s title track, “The Light,” “A Child/Building Walls,” “Ain’t No Tellin’” (which remains the only example of a Mississippi John Hurt song receiving the heavy metal treatment that I know of), and “My Mind” all making appearances here. While none of these renditions are bad, the studio versions often prove to be superior because the performances are generally more focused. While it’s difficult to fault the musicianship of Janey, Bock, and Bunce, the longer numbers nevertheless occasionally overstay their welcome in similar fashion to Cream’s extended live interpretations of their hits.
The remaining material that clocks in longer than five minutes can be assessed in much the same way, although I have a marked preference for “Birth of the Heart” over “Tunnel of Tomorrow.” Truth and Janey revisit their early singles with takes on “Under My Thumb” and “Around and Around,” although the latter ranks as one of the worst treatments of a Chuck Berry tune that I’ve ever heard. In sum, Erupts! is a decidedly mixed bag.
While I often found myself nodding in approval to Janey’s blazing fretwork and was never tempted to lift up the stylus while listening to these records, the music didn’t really stick with me in the same fashion, as would material from a five-star album. More enthusiastic reviewers have compared these performances to Grand Funk, Robin Trower, and Johnny Winter. Having never been a big fan of any of those acts, I shouldn’t be surprised about my ambivalent feelings regarding this set.
by Scott D. Wilkinson, April 17, 2015
Tracks
1. No Rest For The Wicked - 5:18
2. Birth Of The Heart - 9:05
3. Universal Light - 6:51
4. A Child - 3:03
5. Building Walls - 2:53
6. Tunnel Of Tomorrow - 8:12
7. The Light - 3:52
8. One Down One To Go - 4:52
9. White Bread - 5:21
10.My Mind - 7:21
11.As I Am - 5:06
12.Ain't No Tellin' (Mississippi John Hurt) - 4:21
13.Hard Road - 5:29
All songs written by Billy Lee Janey, Steven Bock except where noted
Recorded Live, April 8, 1976 at the Col Ballroom, Davenport, Iowa
Ultimate Spinach was one of the most well-known, and perhaps the most notorious, of the groups to be hyped as part of the "Bosstown Sound" in 1968. The name itself guaranteed attention, as one of the most ludicrous and heavy-handed "far out" monikers of the psychedelic era, even outdoing formidable competition such as the Peanut Butter Conspiracy. Although the group were competent musicians with streaks of imagination, their albums were generally poor third cousins to the West Coast psychedelic groups that served as their obvious inspirations.
Ultimate Spinach was produced by veteran arranger Alan Lorber, a main architect of the "Bosstown Sound." In September 1967, he announced a marketing plan in the top music trade papers to make Boston, in his own words (from his liner notes to Big Beat's reissue of Ultimate Spinach's first album), "a target city for the development of new artists from one geographical location." This automatically insured that Lorber and his groups would be the subject of some derision from the hip underground, since vital regional music scenes such as San Francisco psychedelia (which the Bosstown sound often seemed to be mimicking) have to happen on their own, rather than being manufactured. MGM was the label that released most of the Bosstown Sound groups, and it was through MGM that Lorber arranged to distribute two of the bands he produced, Orpheus and Ultimate Spinach.
On the first two of their three albums, Ultimate Spinach was utterly dominated by leader Ian Bruce-Douglas, who wrote all of the material, sang the majority of the lead vocals, and played a wide variety of instruments, most frequently electric keyboards. Their self-titled debut, released in 1967, was a seriously intended psychedelic stew, with inadvertent comically awkward results. Bruce-Douglas' songs tended to be either dippily, humorlessly cosmic, or colored by equally too-serious fingerpointing at mainstream society.
The music aped the songwriting forms and guitar/keyboard textures of West Coast psychedelic stars the Doors, the Jefferson Airplane, and Country Joe & the Fish, but sounded like ham-handed pastiches. Bruce-Douglas created some sleek, weedy electric keyboard lines on tracks like "Sacrifice of the Moon," but was sometimes so imitative of Country Joe & the Fish's first album that he crossed the line into plagiarism, as on "Baroque #1," with its close similarities to Country Joe's "The Masked Marauder." There were more graceful touches in the occasional vocals by guitarist Barbara Hudson and a Baroque-classical tinge to some of the arrangements, and the album did actually sell fairly well.
Behold and See, also released in 1968, was similar to the debut album but a little more even-keeled. That wasn't all good news: there weren't any keyboard-dominated instrumentals to rival "Sacrifice of the Moon," Barbara Hudson didn't have any lead vocals (although guest vocalist Carol Lee Britt took some), and Bruce-Douglas' songwriting was still embarrassingly high-minded and pretentious. The mysterious Bruce-Douglas disbanded Ultimate Spinach after the second LP was recorded, leaving Lorber holding the bag, as a third Ultimate Spinach album had already been scheduled for release.
An entirely different lineup was assembled for their third and last album, with only Barbara Hudson remaining from the one heard on the first LP. Also including Ted Myers (ex-Lost and Chamaeleon Church) and guitarist Jeff Baxter (later to play with Steely Dan and the Doobie Brothers), this version of Ultimate Spinach recorded III. The record was an undistinguished jumble of psychedelic, hard rock, and pop styles that sounded like the work of several different bands.
by Richie Unterberger
Tracks Disc 1 Ultimate Spinach 1967
1. Ego Trip - 3:12
2. Sacrifice Of The Moon (In Four Parts) - 3:45
3. Plastic Raincoats/Hung-Up Minds - 2:55
4. (Ballad Of The) Hip Death Goddess - 8:12
5. Your Head Is Reeling - 3:39
6. Dove In Hawk's Clothing - 3:53
7. Baroque #1 - 4:47
8. Funny Freak Parade - 2:34
9. Pamela - 3:10
10.Your Head Is Reeling (Mono Version) - 3:38
11.(Ballad Of The) Hip Death Goddess (Mono Version) - 8:18
All compositions by Ian Bruce Douglas
Disc 2 Behold And See 1968
1. Gilded Lamp Of The Universe - 3:04
2. Visions Of Your Reality - 5:50
3. Jazz Thing - 6:40
4. Mind Flowers - 9:38
5. Where You're At - 3:12
6. Suite: Genesis Of Beauty (In Four Parts) - 9:45
7. Fifth Horseman Of The Apocalypse - 5:58
8. Fragmentary March Of Green - 6:38
9. Mind Flowers (Mono Version) - 9:38
10.Fragmentry March Of Green (Mono Version) - 6:38
All selections by Ian Bruce Douglas
Disc 3 Ultimate Spinach III 1969
1. (Just Like) Romeo And Juliet (Richard "Popcorn" Wylie, Thelma Williams) - 2:34
2. Somedays You Just Can't Win (Ted Myers, Tony Scheuren) - 3:23
3. Daisy (Jeff Baxter) - 2:21
4. Sincere (Ted Myers) - 3:32
5. Eddie's Rush (Ultimate Spinach) - 6:52
6. Strange Life Tragicomedy (Ted Myers, Tony Scheuren) - 4:13
7. Reasons (Tony Scheuren) - 3:52
8. Happiness Child (Ted Myers) - 4:42
9. Back Door Blues (Ted Myers) - 2:56
10.The World Has Just Begun (Ted Myers, Tony Scheuren) - 3:20
The Ultimate Spinach
*Ian Bruce-Douglas - Vocals, Acoustic, Electric Guitars, 12-String Bass, Electric Piano, Organ, Keyboards, Sitar, Vibraphone (Disc 1 And 2)
*Barbara Jean Hudson - Acoustic, Electric Guitars, Vocals
*Keith Lahteinen - Drums, Percussion, Vocals (Disc 1)
*Richard Nese - Acoustic, Electric Bass, Feedback (Disc 1 And 2)
*Geoffrey Winthrop - Acoustic, Electric Guitars, Feedback, Acoustic, Electric Sitar, Vocals
*Ted Myers - Guitar, Vocals (Disc 1 And 3)
*Russell Levine - Drums, Percussion (Disc 2 And 3)
*Carol Lee Brit - Vocals (Disc 2)
*Mike Levine - Bass (Disc 3)
*Jeff Baxter – Lead, Bowed, Steel Guitars, Vibraphone, Vocals (Disc 3)
*Tony Scheuren - Organ, Piano, Acoustic Guitar, Vocals (Disc 3)
Singer/songwriter David Blue has tended to be well supported by talented studio musicians on his string of albums, of which this is the seventh in ten years. Here, he boasts a backup band as good as any he has used in the past: Jesse Ed Davis on lead guitar, producer Barry Goldberg on piano and organ, Auburn Burrell on pedal steel and rhythm guitar, Donald "Duck" Dunn of Booker T. & the MG's on bass, and Levon Helm of the Band (or Michael Baird) on drums, with David Lindley adding mandolin, slide guitar, and violin.
The playing gives him more of a rock sound than he has used before, although the musicians are versatile enough to give the leadoff track, "Run, Run, Run," a lilting Southwestern/Mexican feel to go along with its lyrics about the Santa Ana winds and the lights of Santa Fe, and to negotiate a reggae rhythm on "Maria, Maria." More typical, however, is "Tom's Song," a sinuous rocker that recalls the Eagles' "One of These Nights." But as the musical content of Blue's records has become more accessible and accomplished, his songwriting has tended to take more of a backseat, and his monotonic singing has remained only adequate. Here, the songs have interesting lines as they tell their tales of love and loss, but they are not as effective on the whole as Blue's earlier work.
by William Ruhlmann
Tracks
1. Run Run Run - 4:34
2. The Ballad Of Jennifer Lee - 4:23
3. Tom's Song - 4:11
4. I Feel Bad - 2:32
5. Cordelia - 4:34
6. Maria, Maria - 4:02
7. Cupid's Arrow - 4:11
8. Primeval Tune - 5:18
9. She's Got You - 4:47
All songs by David Blue
Been a fan of classic rock and prog for as long as you can remember, but never heard of the powerhouse band Lighthouse? Well, don't feel bad, as I'm sure that there are many folks who share your confusion. Lighthouse were a Canadian band who hit the scene in 1970 and scored a few hit singles, most notably "One Fine Morning" and "Just Wanna Be Your Friend", but historically they will probably be best remembered for their live performances. You see, Lighthouse generally went on stage with at least a dozen or so musicians, including a full horn & reed section, cellos, keyboards, guitar, bass, vibes, and drums. Picture early Chicago and Blood Sweat & Tears, but with more emphasis on hard rock, jazz, and classical song structures. Oh, and these guys could seriously jam!
This classic album was recorded February 2nd, 1972 at New York's Carnegie Hall, recently remastered by keyboard/vibes player Paul Hoffert. It remains an astounding piece of recorded musical history, showing a rock band throwing away all conventional wisdom and simply "going for it". Sure, Lighthouse could churn out some catchy hooks and melodies (the alluring "Just Wanna Be Your Friend", the psychedelic pop of "Old Man", and the soaring hit "One Fine Morning" are prime examples), but they really hit paydirt on extended romps and progressive tinged hard rock numbers.
"You and Me" is a near 10-minute flight that starts off as a folky-psychedelic pop number, which slowly morphs into a rocking, Jethro Tull inspired flute fest, featuring the wispy blasts of Howard Shore and some ripping guitar work from Ralph Cole. In fact, Cole's incredibly funky riffs and blistering solos are all over hard rock pieces like "Take It Slow (Out in the Country)" and the crankin' "Rockin' Chair", and he really shines during an extended jaunt on the epic 18 minute re-working of the Byrds classic "Eight Miles High", one of the albums highlights that contains plenty of jamming and adventurous instrumental passages from the whole band. Drummer Skip Prokop really worked well with the large horn & reed section, as the tight arrangements on tunes like "1849" and "Insane" rival anything the already mentioned Chicago and BS&T were doing at the same time. The addition of cello, vibes, congas, tambourine, and percussion to the raging trumpets, trombone, sax, flute, guitar, bass, keyboards, and drums, really gave this band a huge big band sound, and it shows on each and every track here. Credit also needs to be given to the vocal skills of guitarist Cole, drummer Prokop, and members of the horn section Shore, Larry Smith, and Keith Jollimore-they all did a fine job on this evening.
Normally this would get a perfect score here, but I'm holding back a half point due to this reissue not having any commemorative photos from the show, or any live shots whatsoever. It's a shame as this release deserved the full treatment, but nontheless, the music is really what matters, and this is killer stuff from a long forgotten band. Grab this if you can, as it's amazing stuff.
by Pete Pardo, July 24th 2007
Tracks
1. Concert Introduction - 0:35
2. Just Wanna Be Your Friend (Skip Prokop, Bob McBride) - 3:08
3. Take It Slow (Out In The Country) (Ralph Cole, Larry Smith, Keith Jollimore) - 3:21
4. Old Man (Larry Smith) - 7:44
5. Rockin' Chair (Ralph Cole, Skip Prokop) - 3:51
6. You And Me (Howard Shore) - 9:14
7. Sweet Lullabye (Skip Prokop) - 5:17
8. 1849 (Skip Prokop, Raplh Cole) - 6:48
9. Eight Miles High (Roger McGuinn, David Crosby, Gene Clark) - 18:09
Piquant three-part harmonies, cumbersome guitar woven tightly with organ flourishes, all poured over hot rhythm grooves! Recorded 1970-1972 under the watchful eyes and ears of Ron and Howard Albert, aka Fat Albert Productions (Wishbone Ash, Procol Harum, CSN) at the legendary Criteria Studios in Miami, this powerhouse album finally sees the light of day
The album was the culmination of years of hard work by the High Keys. “A Little Too Heavy” is a commanding opener, mixing organ flourishes with heavy lead guitar runs for a searing hard rocker that proudly displays their Vanilla Fudge influence. “Bird In The Hand” and the road weary “Headin’ Home” also lay down the heavy gauntlet — the former with some fine soloing and the latter with complex harmonies and rhythms as fast as a touring van's wheels. And on “Too God To Be True,” the hard rock is slower, more contemplative and, above all, still affecting.
But the band could do more than just rock out, sliding into a soulful groove on “Memories Never Cease,” laying back for a ballad on “Chance” and doing a little of both on “Buffalo Girl,” which starts as a melancholy blues before segueing into a hard-rockin’ climax that leaves room for Druckman to stretch out again. The playful “I’m On My Way Up” takes still another direction with more great harmonies to bolster its choruses, while congas played by Calarusso fill out the sound on the catchy rock of “It’s Alright.” “Something New” displays the band’s melodic inclinations, which can also be heard on the pleading “Take Me Back.”
Junior's Eyes are one of the more well-known unknowns -- if such an oxymoron can be applied -- of the late-'60s British psychedelic scene. Most people who have seen any reference to them at all are apt to know them only as an act that served as David Bowie's backup group briefly in the late '60s. Mick Wayne, Junior's Eyes' lead guitarist and songwriter, played guitar on Bowie's "Space Oddity" and some of Bowie's other recordings.
Prior to forming Junior's Eyes, he had briefly been in the Hullaballoos, a lightweight British Invasion band that had a bit of success in the States. He had also been in the Bunch of Fives with ex-Pretty Things drummer Viv Prince. As part of the Tickle, he wrote their sole 1967 single, "Subway (Smokey Pokey World)," one of the greatest obscure psychedelic 45s. He also played acoustic guitar on James Taylor's Apple album.
All of these interesting peripheral contributions might lead one to suspect that Junior's Eyes' 1969 album, Battersea Power Station, could be a hidden nugget of psychedelia. Other than Wayne, Junior's Eyes' personnel was variable during its brief existence. Members of some note who played in the lineup at some point included drummer John Cambridge, who went on to another David Bowie backup band, the Hype; guitarist Tim Renwick, who much later would play with Pink Floyd; and Steve Chapman, who later played drums with Poco.
After Junior's Eyes broke up in early 1970, Wayne went on to session work and a stint with the Pink Fairies. Battersea Power Station was reissued on CD by Castle in 2000, with the addition of three non-LP singles, four demos, and both sides of the Tickle's 1967 single.
by Richie Unterberger
Tracks
1. Total Power - 1:11
2. Circus Days - 3:42
3. Imagination - 6:09
4. My Ship - 2:47
5. Miss Lizzie - 2:53
6. So Embarrassed - 3:18
7. Freakin' - 1:51
8. Playtime - 3:55
9. I'm Drowning - 1:25
10.White Light - 6:38
11.By the Tree - 5:02
12.Mr. Golden Trumpet Player - 2:25
13.Blake Snake - 2:39
14.Woman Love - 2:39
15.Starchild - 3:57
16.Sink or Swim - 3:24
17.Circus Days (Single Version) - 2:56
18.White Light (Demo) - 5:14
19.By The Tree (Demo) - 3:52
20.Imagination (Demo) - 3:46
21.Playtime (Demo) - 3:57
22.Subway (Smokey Pokey World) - 2:39
23.Good Evening - 2:37
It was about 1:30 AM, Monday 18 August. Bethel’s dairy farmers would be up soon and hoped that the roads would be open so trucks could pick up their milk. Many Catskill weekend vacationers bemoaned their luck to have picked a weekend when 500,000 others unintentionally closed down the area.
For those who had remained at the festival, there were still four more bands yet to play after Blood, Sweat and Tears to complete Sunday’s lineup: Crosby, Stills, Nash, and Young, the Paul Butterfield Blues Band, Sha Na Na, and Jimi Hendrix. The rain storm had delayed the day’s progression, but even without the downpour, the festival would still have stretched out into early Monday.
The live performance often gave individual band members the chance to stretch out their studio performances. The set lasted about 55 minutes.
Woodstock-whisperer
Tracks
1. More And More (Don Juan, Pea Vee) - 3:04
2. Just One Smile (Randy Newman) - 4:45
3. Somethin' Comin' On (Al Kooper) - 2:29
4. I Love You More Than You'll Ever Know (Al Kooper) - 7:29
5. Spinning Wheel (David Clayton-Thomas) - 4:56
6. Sometimes In Winter (Steve Katz) - 3:30
7. Smiling Phases (Chris Wood, Jim Capaldi, Steve Winwood) - 10:21
8. God Bless The Child (Arthur Herzog, Jr., Billie Holiday) - 6:54
9. And When I Die (Laura Nyro) - 5:18
10.You've Made Me So Very Happy (Berry Gordy Jr., Brenda Holloway, Patrice Holloway, Frank Wilson) - 5:00
The previously unreleased album from 1975. features Liam Genocky and Steve Byrd (also later of Gillan fame) in a septet playing a variety of rock styles, covering the best of white and black music of the era...an enjoyable if eclectic concoction. there is a sense of adventure the size of an interstate running through the band's musicianship…Eight studio recordings and four live cuts from a 1975 European tour catch Zzebra in audacious form.
No Point' starts things off nicely with a jazz/funk effort, but what impressed me most were the vocals - impressive stuff! 'Society' rocks things up a little, cool music with some great percussion...The quality of the live tracks is very good. absolutely innovative, vibrating progressive hard(?) rock with lots of jazz, folk elements, extremely complex structures and brilliant musicianship…A very demanding, precious release, exclusively hot.
Tracks
1. Procession Of The Zzebra (Alan Marshall, John McCoy, Tommy Eyre) - 2:03
2. No Point (John McCoy) - 3:46
3. Society (Alan Marshall) - 5:40
4. Evacuate (Dave Quincy, Trevor Preston) - 5:45
5. Living (Steve Byrd, Tommy Eyre) - 5:11
6. It's Take It/Leave It (John McCoy) - 3:47
7. Baila Jo (Loughty Amao) - 6:58
8. Word Trips (Alan Marshall, Tommy Eyre) - 5:00
9. Panic (John McCoy) - 5:27
10.Mr J (Loughty Amao) - 4:56
11.You've Lost That Lovin' Feeling (Barry Mann, Cynthia Weil, Phil Spector) - 6:04
12.Hungry Horse (Loughty Amao, Dave Quincy, Terry Smith, Ted Yeadon) - 15:03
Michael Allen Konstan born (April 3, 1946) in N.Y.C. and begun his music career in mid sixties, playing in a New York group called The Quadrangle. They released one single “She’s Too Familiar” / “No More Time” penned by Michael Konstan and Jay Fishman, one more 45' for Michael ‘My Lovely One / This Time’ released through MGM Records in 1966.
In 1973 Konstan recorded a full length album for RCA Records, simply titled ‘Michael Konstan’. A melodic tapestry with varied styles, from folk, jazz and soft rock wonderful harmonies and well arrangements.
After this effort Michael no longer involved in music business and got elaborated in wine industry. Michael Konstan sadly passed away October 28, 2024 in North Providence RI.
