The Voices Of Millennium are actually telling us about how some of the band members were spending their time after The Millennium break-up (if there ever was one) towards the end of the decade. Though it might not be as adventurous as it was while they were only just “begin-ining”, these sessions show that they were still spending some quality time together.
Some of the tracks, with an almost baroque country feel, with the kind of a Wilson-ian touch too, like I Still Can See Your Face and Will You Ever See Me, as well as the chamber-psych The Blue Marble, later surfaced on Gary Usher’s sophomore Sagittarius release of the same title, while another easy country piece, Share With Me, graced the sunny side of Curt Boettcher’s Together single.
Along with the Spector-ized opener Come To Me Baby, the ones contributing to the more cheery side of the album, are mostly the songs coming from the pen of Sandy Salisbury, with or without a collaborator.
His Measure Of A Man is another piece of more innocent sounding country, as if done by Herman’s Hermits, Navajo Girl adds a bit of a bubblegummy flavour too, with an additional eastern touch through the sitar solo, while the yummy sounding Gouldman-like Together In The End and Little Lost & Found continue to blow the same bubbles, and Midnight Sun is a piece of popsike Monkee-business.
Hear the Voices Of The Millennium and let yourself be taken back to the “sonic past” … once again!
by Garwood Pickjon
Tracks
1. Come To Me Baby (Wilson) - 2:44
2. I Still Can See Your Face (Gary Usher) - 3:02
3. Measure Of A Man (Sandy Salisbury) - 2:26
4. Magic Island (Lee Mallory, Curt Boettcher) - 3:14
5. Will You Ever See Me (Gary Usher) - 2:17
6. The Blue Marble (Gary Usher) - 3:01
7. Together In The End (Curt Boettcher, Sandy Salisbury) - 2:33
8. Share With Me (Curt Boettcher, Joey Stec, Gary Usher, Lee Mallory) - 3:12
9. Midnight Sun (Gary Usher, Sandy Salisbury) - 2:09
10.Little Lost And Found (Sandy Salisbury) - 1:56
11.Navajo Girl (Sandy Salisbury, Gary Usher) - 2:33
12.Keep On Dreamin' (AKA There Is Nothing More To Say) (Curt Boettcher, Michael Fennelly, Lee Mallory, Sandy Salisbury) - 2:07
There's an old L.A. music biz tale that details a stunned Brian Wilson accidentally overhearing a recording session down the hall from his own. As the story goes, Wilson was hanging at Studio Three West with Pet Sounds collaborator Gary Usher in the spring of 1966 when he caught snippets of a recording conducted by 21-year-old wunderkind Curt Boettcher. Boettcher, fresh from producing The Association's first record, and with something of a rare talent for soaring, angelic vocal arrangements along the lines of Wilson's very own, took Wilson and Usher by complete surprise. In fact, legend has it that Boettcher's ability to produce majestically layered instrumental and vocal pieces seemingly at the drop of a hat threw Wilson for a loop, and is rumored to have started the breakdown that would ultimately destroy his Smile project, and indeed his life ever after.
Even if you don't buy the story, Boettcher's effect on L.A. pop cannot be denied. Usher would soon pull him in as a collaborator on what would later become Present Tense by Sagittarius, a psych-pop outfit whose only LP is one of the great, lost classics of "sunshine pop." Boettcher's other major projects in the 60s were work with his own band The Ballroom, and later, a curiously overlooked record by songwriter supergroup The Millennium. In addition to his love of exquisite harmony vocals, Boettcher's stereo productions were remarkably crisp for the time-- certainly more so that Wilson's concurrent adventures in mono. I'd say Boettcher's own songs (and that of most sunshine pop artists) usually weren't of the same depth as Wilson's, but that's another argument.
The Millennium was comprised of several successful songwriters and musicians living and working in Los Angeles in the mid-60s, including Lee Mallory, Sandy Salisbury and Joey Stec. All had worked with or around Boettcher and Usher, and proved themselves capable of delivering on what would become the largest recording budget in Columbia Records' history to that point. Their result was 1968's Begin, and though it's probably the single greatest 60s pop record produced in L.A. outside of The Beach Boys, it (like Wilson's music) found itself very much outside the times that year. After Begin tanked, the band was dropped from Columbia-- setting up the perfect cult record years later. Of course, the band had planned to make many more albums, and Pieces collects demos intended for their follow-up.
Anyone hip to The Millennium or other Boettcher projects might recognize many of the songs here, as they've been released before as Again, though Pieces includes many tracks that failed to make that compilation. Most importantly, almost all of these songs will be of interest to folks looking for perfect pop in the mold of The Association, Beach Boys and even into the budding country-rock of The Byrds. "I Just Don't Know How to Say Goodbye" is an almost perfect realization of the styles of each of those artists, though the tune and loose, gentle optimism of Salisbury's vocal give it a strength to stand on its own. The song, with rising, major-key guitar figures and a folkish bent (much of this music could have worked in a completely acoustic setting) did show up on Salisbury's 1968 solo LP.
"Can You See" is one of many Stec/Michael Fennelly songs (the pair was also responsible for the magnificent "To Claudia on Thursday" from Begin), and is a typically upbeat, sunny tune that might pass for The Monkees were it not for its surprisingly down-to-earth lyrics lamenting love lost over material concerns. The strength of the writing throughout the album is such that the band's failure to break through is a little shocking. "How Much I Love You" is a tender acoustic ballad also penned by Stec and Fennelly, and though it probably helped give birth to Jewel mk. I, it's nonetheless at once achingly melancholy and performed with professionalism that could have made it a hit in another universe. The same goes for the pair's "Sometime or Another", though this actually approaches indie-torch song along the lines Uncle Tupelo.
Although not every song on Pieces matches up with the band's best, none of it ever really betrays its origination as demo recordings. Boettcher obviously had some hand in this, though since all of the band were insiders to some degree, it's not surprising they had access to studios and engineers no other similarly unknown band could ever dream of. Song like "Suspended Animation" (first rate country-pop with a strange sci-fi theme) or the Beatlesque "It's You" sound better than 90% of the music to actually chart in 1968. The latter song in particular, with its pristine harmony vocals and chugging, "Baby You're a Rich Man" bass work, makes it hard to believe Clive Davis never saw anything in these guys.
If all of this is news to you, my advice is to run out in grab a copy of Begin. After that, check out Sagittarius and Boettcher's other projects. And then, when you think you've run out of sugary fun-time pop with a faint dejected edge, head here. The Millennium deserved better way back when, but anyone interested in 60s pop and folk-rock should have no problem digging them now.
by Dominique Leone
Tracks
1. Prelude (Ron Edgar, Doug Rhodes) - 1:04
2. To Claudia On Thursday (Michael Fennelly, Joey Stec) - 2:51
3. Baby It's Real (Curt Boettcher, Michael Fennelly, Sandy Salisbury) - 2:37
4. It's You (Michael Fennelly, Joey Stec) - 2:48
5. I Just Don't Know How To Say Goodbye (Sandy Salisbury, Joey Stec) - 2:04
6. Good People (Michael Fennelly, Joey Stec) - 3:07
7. Can You See (Michael Fennelly, Lee Mallory) - 2:24
8. How Much I Love You (Michael Fennelly, Joey Stec) - 4:06
9. The Blues Is Just A Good Woman Gone Bad (Michael Fennelly, Lee Mallory) - 2:39
10.Once Upon A Time (Curt Boettcher, Lee Mallory) - 2:27
11.Dying With You (Michael Fennelly, Joey Stec) - 2:14
12.The Word (Lee Mallory) - 3:02
13.Share With Me (Lee Mallory, Sandy Salisbury, Joey Stec, Gary Usher) - 3:06
14.Something Or Another (Michael Fennelly, Joey Stec) - 3:41
15.A Younger Me (Michael Fennelly, Lee Mallory) - 2:54
16.I Need To Be By Your Side (Michael Fennelly, Joey Stec) - 1:51
17.Sunshine Girl (Michael Fennelly, Joey Stec) - 2:41
18.Suspended Animation (Curt Boettcher, Lee Mallory, Sandy Salisbury, Joey Stec) - 3:11
19.The Ways I Love You (Michael Fennelly, Joey Stec) - 2:07
20.The Hills Of Vermont (Michael Fennelly, Lee Mallory, Sandy Salisbury) - 3:13
21.It Won't Always Be The Same (Michael Fennelly, Joey Stec) - 3:09
Formed in 1970, this fluid but short-lived jazz rock group formed by Ray Russell (guitar) and featured several of the UK’s leading young jazz musicians, and originally included Harry Beckett (trumpet/flugelhorn), Bob Downes (saxophone), Bud Parkes (trumpet) and Tony Roberts (trumpet/woodwind), Derek Wadsworth (trombone) Alan Greed (vocals) and Brian Miller (keyboards), Daryl Runswick (bass), Alan Rushton and Robin Jones (drums).
Several were involved in other, simultaneous projects, notably solo albums by Downes and Russell and session appearances for albums at that time by Jack Bruce, Keef Hartley and Harvey. Wadsworth and Parkes appeared on the latter’s solo album, Roman Wall Blues, and Harvey who appears on just four of the eight songs on its debut album, but the presence of both a couple of subsequently familiar songs and a vocal workout to rival anything on Framed or Next establish them among his finest performances.
A savage rearrangement of the traditional "Wade in the Water" and his own (with fellow Workshop-per Ray Russell) "Hole in Her Stocking" are both bruising R&B stampers, punctured by howling horns and a guitar riff, in the first-named case, that could have escaped from "Walk Don't Run," Blood, Sweat & Tears-style. Harvey himself is in breathtaking form, utterly undistinguishable from the showman who brought listeners "Vambo," and the only regret is that he is confined to just the four songs -- the remainder of Rock Workshop, while certainly a blistering blur of hot and sweaty jazz-soul-boogie, also sinks into anonymity by comparison, just another white English fusion band honking and stomping around the room. Indeed, there are moments when the sound effects that open and link the songs are more interesting than the songs themselves.
Nevertheless, Rock Workshop remains a key passage in Alex Harvey's career, all the more so in its 2002 CD incarnation, where the original LP is appended by half a dozen bonus tracks, including alternate takes of "Hole in Her Stocking" and "Born in the City," plus a couple of songs that didn't make the album itself. (Despite the track listing's claims to the contrary, incidentally, Harvey does not sing the prettily Traffic-like "Primrose Hill.")
by Dave Thompson
Tracks
1. Ice Cold (R. Shepherd, Ray Russel) - 2:58
2. Wade In The Water (Traditional) - 3:45
3. Hole In Her Stocking (Alex Harvey, Ray Russel) - 4:09
4. He Looks At Me / Mooncross Grove - 10:19
5. Spine Cop - 3:47
6. Born In The City - 3:01
7. Theme For Freedom - 7:34
8. You To Lose (R. Cameron, Ray Russel) - 6:41
9. Spine Cop (Alt Version) - 3:50
10.Hole In Her Stocking (Alt Version) (Alex Harvey, Ray Russel) - 5:31
11.Born In The City (Alt Version) - 2:47
12.You To Lose (Alt Version) - 5:25
13.Primrose Hill (R. Shepherd, Ray Russel) - 5:41
14.Return Of The Goddess - 5:40
All songs by Ray Russell except where noted
Bonus Tracks 9-14
Brought together by manager/producer John Madara, Gulliver was one of the first shots at corporate music. With a line up consisting of Temple University student/vocalist Daryl Hall, drummer Jim Helmer, bassist Thomas Sellers and guitarist Tim Moore, the group had more than it's share of talent quickly attracting the attention of Elektra.
Largely penned by Moore, the album found the quartet trying to find a path between conventional rock ("I'm Really Smokin'" and "Flogene") and early stabs at blue-eyed Philly soul ("Every Day's a Lovely Day" and "Over the Mountain"). On the other hand, Hall's voice was instantly recognizable and most of the songs sported decent melodies ("Lemon Road").
The album proved a commercial flop and the group quickly disbanded, though not before recording a couple of demos with guitarist John Oates. Hall went on to enjoy gigantic success as a member of Hall and Oates.
Calling Valparaiso, Florida home, H.Y. Sledge featured the talents of singer/keyboardist Michael Ewbank, multi-instrumentalist Billy Jones, former Wilkinson Tri-Cycle guitarist Richard "Dickie Porter, bassist Jan Pulver, and drummer Monte Yoho. Pulver had previously been a member of Those Five, while Jones and Yoho had been members of the Tampa-based Dave Graham Band. Interestingly, only credit Ewbank, Porter, and Pulver were credited on the album liner notes, which also fail to provide any writing credits.
Signing a recording contract with Shelby Sumpter Singleton Jr.'s SSS International label, the group made their debut with 1971's "Bootleg Music". Co-produced by Ewbank and Porter, the album wasn't the most original collection you've ever heard. The band were certainly talented with a couple of decent singers and an excellent bassist.
Their sole album was originally issued in the summer of 1971.
Tracks
1. Citation On Liberty - 5:21
2. Such An Easy Day - 3:01
3. Canadian Exodus - 7:39
4. Cellophane Lady / Nowhere To Go - 3:54
5. Ride The Waves - 4:06
6. I'm Your Brother - 3:28
7. Tamara - 2:18
8. Day Of Realization - 2:06
9. It's In The Air - 4:46
10.Finding It - 2:28
All songs by Michael Ewbank, Richard Porter, Jan Pulver
Christine McVie (nee Perfect) is one of the great unsung talents of British blues and pop. Her work with Fleetwood Mac is often overshadowed by her more showy counterparts, Lindsay Buckingham, Peter Green or Stevie Nicks. She provided the spine to their material, and especially added a consistency during the group's wilderness years between 1970 and 1975 (for those of you who haven't had the pleasure, check out her contributions to 1973's Mystery To Me album).
This release is her oft-reissued Christine Perfect album, recorded for Mike Vernon's Blue Horizon label in the period between her leaving Chicken Shack and before she joined her husband-to-be John McVie in Fleetwood Mac. McVie herself has frequently played down the record. Although certainly not a major work, it is a pretty textbook example of pleasant blues rock as the 60s became the 70s. To be honest, her tracks sound pretty much like later Fleetwood Mac album material, which given the presence of John McVie on bass and Danny Kirwan on guitar, is fairly understandable. Her version of Kirwan's When You Say is a standout, easily giving Fleetwood Mac's Then Play On version a run for its money. Perfect's piano work here strives to distil the very essence of the blues.
It is the additional material that highlights her at her best: the demo, Tell Me You Need Me, that was also demoed by Fleetwood Mac is by far and away the best track here. The song underlines the pleasure of her best work; languid, expressive, soulful. With three BBC session recordings here as well, The Complete Blue Horizon Recordings, although hardly essential, is a very welcome listen.
by Daryl Easlea
Tracks
1. Crazy 'Bout You Baby (Walter Jacobs) - 3:01
2. I'm On My Way (Deadric Malone) - 3:08
3. Let Me Go (Leave Me Alone) - 3:34
4. Wait And See - 3:13
5. Close To Me (Christine Perfect, Rick Hayward) - 2:39
6. When You Say (Danny Kirwan) - 3:14
7. And That's Saying A Lot (Chuck Jackson, W. Godfrey) - 2:57
8. No Road Is The Right Road - 2:48
9. For You - 2:45
10.I'm Too Far Gone (To Turn Around) (Album Version) (Clyde Otis, Belford Hendricks) - 3:25
11.I Want You (Tony Joe White) - 2:23
12.Tell Me You Need Me (Previously Unreleased) - 3:20
13.I'm Too Far Gone (To Turn Around) (Single Version) (Clyde Otis, Belford Hendricks) - 3:16
14.Hey Baby (Previously Unreleased BBC Sessions) - 2:33
15.It's You I Miss (Previously Unreleased BBC Sessions) - 3:44
16.Come Into The Sun (Previously Unreleased BBC Sessions) - 2:43
All songs by Christine Perfect except where stated
What Leon has given us is a song cycle that eloquently elaborates the daily vicissitudes of his fulfilled dream of popstardom. While the 8 1/2 motif is hardly new to rock, no one, with the exception of the Dylan of Blonde On Blonde, has captured the ambivalence inherent to the pop hero's situation any more sagaciously or incisively than Russell.
Carney (carnival barker) is certainly Leon's most gentle and personal statement, in which even the hardest rocker ("Roller Derby") seems tame when compared to earlier efforts like "Roll Away the Stone" or "Pisces Apple Lady." Like "8 1/2," the record is as much a view of one small, often ugly corner of contemporary society as it is an interior monologue. Leon touches upon a first love lost to junk ("Me And Baby Jane"), prying grafters from a certain prominent periodical ("If the Shoe Fits"), a pasquinade that sounds like an Asylum Choir number and confusion over whether or not the show must, indeed, go on ("Tightrope").
Leon's marble-mouthed, drawling vocals are a joy throughout, which comes as quite a treat to one who thoroughly detested much of his previous caterwauling (such as his Godawful mistreatment of George Harrison's "Beware Of Darkness"). He renders selections like "Tightrope" and the double-tracked vocal on "Out In The Woods" with just the right amount of tension and "Manhattan Island Serenade" and "This Masquerade" (a lovely melody whose tonic is the same as the Matt Dennis-Earl Brent chestnut, "Angel Eyes") with unabashed, yet understated tenderness. There is none of the cloying quality in Russell's voice and phrasing that somewhat marred his delicate "A Song For You," which was on the first solo album and is the most poignant lyric he has penned to date.
The production is hardly lavish, considering Leon's penchant for doing the large-scale gospel-influenced numbers, and the instrumental backing by this Shelter people troupe (which might be considered to be Russell's repertory company) is superbly subtle, especially John Gallie's organ work.
Like Fellini's Guido, Leon Russell will continue to partake in "the lonely game" he plays because it is his lifeblood, not to mention that he has managed to play it with consummate skill and shrewdness. Perhaps Carney is no more than another cool calculation on the part of its creator, but one comes away from the album secure in the knowledge that Leon is capable of exuding more wit, charm and candor than almost anyone else working in his medium.
by James Isaacs, 9-14-1972
Tracks
1. Tight Rope - 2:59
2. Out In The Woods - 3:35
3. Me And Baby Jane - 3:52
4. Manhattan Island Serenade - 3:25
5. Cajun Love Song - 3:08
6. Roller Derby - 2:22
7. Carney - :47
8. Acid Annapolis (Leon Russell, Don Preston) - 2:47
9. If The Shoe Fits - 2:21
10.My Cricket - 2:55
11.This Masquerade - 4:22
12.Magic Mirror - 4:56
All songs composed by Leon Russell except where indicated
Musicians
*Leon Russell - Vocals, Guitar, Bass, Piano
*Don Preston - Guitar, Vocals
*Joey Cooper - Guitar
*Carl Radle - Bass
*Chuck Blackwell - Drums
*Jim Keltner - Drums
*John Gallie - Organ
T.I.M.E. stands for Trust In Men Everywhere. Debut album of this underrated US psychedelic band ( which evolved out of a very fine, garage-pop psych band Hardtimes ) was released in 1968 by Liberty Records in attractive die-cut, gatefold cover. It contained great mixture of very catchy and memorable songs based on rich vocal harmonies and strong guitar-organ interplay and being somewhere between garage rock and pop-psych.
The music itself was very diverse, ranged from dark, atmospheric heavier tracks to much lighter sounds. It´s worth noting that the main influences to the band were The Beatles, The Byrds, The Hollies and Buffalo Springfield.
Tracks
1. Tripping Into Sunshine - 2:20
2. Label It Love - 2:28
3. Finder's Keepers - 3:13
4. Love You, Cherish You - 2:32
5. Make It Alright - 2:02
6. Let The Colors Keep On - 2:11
7. You Changed It All - 2:31
8. I Really Love You - 2:38
9. Make Love To You - 3:37
10.I Can't Find It - 2:59
11.What Can It Be - 2:20
12.Take Me Along - 3:07
13.What Would Life Be Without It (Single) - 2:32
T.I.M.E.
*Larry Byrom - Guitar
*Bill Richardson - Guitar
*Nick St. Nicholas - Bass
*Steve Rumph - Drums.
Issued in 1969 on Vanguard Records (mostly known as a folk label) this was Coryell’s second solo release. “Coryell” has also been decades out-of-print on vinyl, though reissued overseas (several times) on CD.
“Sex” opens the album with Coryell’s unusual vocal style though it is immediately apparent that the band is percolating with Rainey’s popping bass lines and Purdie’s poundings, Coryell’s solo is generational but very tasteful, as are his piano comps. “Beautiful Woman” is as ballad like as you could expect from Coryell, especially during his vocal passages, the tune moderately upshifts into appealing landscapes as Coryell (and Ron Carter’s bass) lead the proceedings with a smart and sparky jam; (*) note how Coryell really lifts off during the outro fade.
On the LP version “The Jam with Albert” is an instrumental extravaganza closing side one: It’s rhythmic, melodic, and chaotic in a good way. Purdie’s and Stinson’s bass are not only locked tight, they are intertwined setting the foundation for Coryell’s bombastic rock-jazz guitar explorations that are borderline psychedelic and hypnotic; it’s a killer 9:20 track! “Elementary Guitar Solo #5” originally opened side two’s LP, draws from J.S. Bach’s classical origins.
Shortly after the theme is initiated, Rainey, Purdie and Mike Mandel’s piano veer towards improvisational rock, (note Rainey’s bass lines – wow), as Coryell gradually pushes the pedal and accelerates. At the end there is a fitting (second) nod to Bach, too. Julie Coryell’s “No One Really Knows” brings back husband Larry’s singing, but it doesn’t last long with an (instrumental) directional deviation as a nice (somewhat spacey) jam unravels.
“Morning Sickness” originates as a fascinating instrumental that finds Rainey and Purdie in familiar surroundings setting their funky and signature styles – becomes unhinged when Coryell rips into another creative guitar solo in tandem with the famous rhythm section. The finale is the second Julie Coryell inclusion, this time instrumentally, it is the first time I noticed Jim Pepper’s flute; “Ah Wuv Ooh” is a very well written well thought out song that is also pretty and bright.
by Bob Putignano
Larry Coryell died Sunday, February 19th 2017, in New York City. Coryell, 73, passed away in his sleep at his hotel from natural causes. He’d performed his last two shows on Friday and Saturday, February 17 and 18, at the Iridium in New York City.
Tracks
1. Sex - 3:51
2. Beautiful Woman - 4:32
3. The Jam With Albert - 9:20
4. Elementary Guitar Solo #5 - 6:49
5. No One Really Knows (Julie Coryell) - 5:07
6. Morning Sickness - 5:20
7. Ah Wuv Ooh (Julie Coryell) - 4:22
All songs by Larry Coryell except where noted
Hard Times was a 1960s psychedelic garage rock band originally featuring Rudy Romero (vocals), Lee Keifer (vocals, guitar), Bill Richardson (lead guitar), Bob Morris (bass guitar), and Paul Wheatbread (drums). After relocating to L.A. to work with manager Florence Stanley, they made frequent appearances on Dick Clark's local TV show Where The Action Is and were the house band for a time at the Whisky A Go-Go.
They signed with World Pacific Records (a division of Liberty Records) in 1966, releasing several singles. Lee Keifer departed for a solo career (replaced by Larry Byrom) before their debut (and only) album Blew Mind was released by World Pacific in 1967.
After Bill Richardson quit, with only singer Rudy Romero, bassist Bob Morris, and drummer Paul Wheatbread remaining from Hard Times, the group released a single under the name New Phoenix, "Give To Me Your Love" b/w "Thanks" (World Pacific, 1968), produced by Mama Cass. After Rudy Romero left to launch his own solo career, the band split for good. Drummer Paul Wheatbread became a founding member of Gary Puckett and the Union Gap.
Guitarist Bill Richardson joined fellow former Hard Times player Larry Byrom in a psychedelic rock band named T.I.M.E. (Trust In Men Everywhere), alongside former Sparrows (aka Steppenwolf) member Nick St. Nicholas and drummer Steve Rumph.
Signed to the Hard Times' old label World Pacific Records, T.I.M.E. released a debut self-titled full-length in 1968, promoted with singles for "Make It Alright" and the non-album track "What Would Like Be Without It." After its release, St. Nicholas quit to rejoin the Sparrow (by then renamed Steppenwolf) and was replaced by Richard Tepp (Richard and the Young Lions), while Steve Rumph was replaced by Pat Couchois.
A sophomore album recorded with producer Al Schmidt, Smooth Ball, was released by Liberty Records in 1969. More psychedelic and hard rock than their debut effort, the album is highlighted by the ten-minute jam track "Morning Come."
Bill Richardson, who also managed local movie theaters, later became known as lounge singer and OB karaoke host Jose Sinatra.
Tracks
1. Preparation G - 0:52
2. Leavin' My Home - 3:07
3. See Me As I Am - 5:46
4. I Think You'd Cry - 4:20
5. I'll Write A Song - 4:20
6. Lazy Day Blues - 1:44
7. Do You Feel It - 2:30
8. Flowers - 2:39
9. Morning Come - 10:03
10.Trust In Men Everywhere - 5:01
All songs arranged by T.I.M.E. The T.I.M.E.
*Bill Richardson - Acoustic, Electric Guitars, Vocals
*Larry Byrom - Acoustic, Electric Guitars, Vocals
*Pat Couchois - Drums
*Richard Tepp - Bass Guitar
