Standing out as one of Dr. John’s most overtly political album, Babylon rings just as true as it did when it was first released in 1969, and it hasn’t lost any of its voodoo magic either. Originally cut in late ‘68, the album was influenced by dark themes such as the assassinations of Bobby Kennedy and Martin Luther King Jr., the Tet offensive, and the Vietnam War.
While the lyrics can be clumsy at times, there are moments that shine through with a weight it still holds to this day, as on the album’s title track “No politicians/No higher religions/To guide you from the dark.”
While the lyrics can be heavy, the music is weightless and the brand of Weird that Dr. John specialized in. Loaded with electronic effects and unthinkable, otherworldly rhythms, the remastering further draws out and amplifies Dr. John’s legendary New Orleans sound of voodoo-funk with the occasional jazz influence; a smoky and sexy groove with the sharp edge of something sinister. A darkness in the almost trance-like chant of Dr. John’s delivery.
What falls a bit short is the music itself. There are times where it fades a bit too much into the background, gives up a bit too much of its power to the lyrics. As a result, some of the mysticism is lost and it’s difficult to establish a connection from one song to the next. Even so, Babylon still carries enough magic to make goose bumps crawl across your skin when the rhythm slows on a song like “Twilight Zone” and the lyrics “In the outer limits of a land unknown/In the twilight zone,” mumbled like a spell.
by Talia Boettinger
Tracks
1. Babylon - 5:24
2. Glowin' - 5:40
3. Black Widow Spider - 4:15
4. Barefoot Lady (Dr. John Creaux, Harold Battiste) - 3:11
5. Twilight Zone - 8:17
6. The Patriotic Flag-Waiver - 4:57
7. The Lonesome Guitar Strangler - 5:36
All compositions by Malcolm Rebennack "Dr John Creaux"
Pesronnel
*Dr. John - Vocals, Keyboards, Guitar, Percussion
*Richard "Didimus" Washington - Guitar, Percussion
Originally released on the Daffodil Records label in 1977, the debut self-titled album by Toronto rockers Hunt became an immediate hit in Texas of all places but was virtually ignored in Canada and the rest of the U.S. Formed from the ashes of the early-'70s band Dillinger, Hunt also featured drummer Paul Kersey who had formerly played with the Canadian hard rock stalwarts Max Webster.
The music of Hunt on this debut features a heavy organ and guitar lead with elements of progressive rock in the form of synthesizers, strings, and even a flute on a number of songs. Sounding very similar to such popular bands of the mid-'70s such as Rush, Kansas, Styx, and even Jethro Tull in odd moments, the band showed potential to become international stars. The band even included a song sung in French on the album! Unfortunately, it was the late '70s and disco was dominating the charts and punk was beginning to take hold on the music scene; hard rock and heavy metal music were starting to lose popularity.
Internal strife within the band lead to Hunt being reduced to a trio for the next album, Back on the Hunt, which was not to be released until three years later . This release by Unidisc is a straight reissue of the original album at a budget price and contains no bonus tracks.
by Keith Pettipas
Tracks
1. I Was Only Dreaming (Brian Gagnon, Paul Cockburn) - 4:25
2. A Song For A New Day (Brian Gagnon, Paul Cockburn) - 5:59
3. Little Miss Perfection (Brian Gagnon, Paul Cockburn) - 3:12
4. I Want To Be King (Brian Gagnon, Paul Cockburn) - 4:55
5. Faces (Jacques Harrisson) - 4:28
6. Billy (Brian Gagnon) - 3:39
7. Sent Me Away (Brian Gagnon) - 4:08
8. On Revient (Tout Le Temps) (Jacques Harrisson) - 3:33
9. Sad Song (Brian Gagnon) - 4:15
The Hunt
*Brian Gagnon - Lead Vocals, Bass, Acoustic Guitar
*Jacques Harrisson - Keyboards, Lead Vocals, Flute
The sole album by Sydney-based jazz rock band SUN, Sun 1972, is a feast for the ears. It has been a much sought after lost gem, now reissued on remastered CD for the first time since the original album release in October 1972. The musicianship is excellent, the songs are engaging and the icing on the cake comes with Renée Geyer’s gorgeous and emotive vocals.
Renée was 18 years old when the band recorded the album, and it’s immediately obvious that she already possessed a distinctive and powerful voice at such an early stage of her career. She had yet to assert herself fully as a stage performer but we can overlook that for now. She was able to handle the jazz mode of the music on her way to establishing her enduring reputation as the Queen of Australian funk and soul. R.I.P. Renée Geyer.
Rehearsal Tapes (1971-1972) issued on the ETT Imprint label. SUN existed between 1971 and 1974, with the core membership comprising Keith Shadwick (sax, flute), Henry Correy (bass), Garry Norwell (drums) and George Alamanza (electric piano). The group’s roots extended back to 1968 and blues band Spoonful (aka Spoonful of Soul), from Wollongong, NSW. By 1971, arch jazz enthusiast Keith Shadwick was steering the band in a more exploratory, adventurous avant-garde direction.
They covered material by the likes of jazz legends Nat Adderley, Pharoah Sanders, John Coltrane and Max Roach, earning a reputation as Australia’s No. 1 jazz rock band. Members came and went, with Renée Geyer joining mid-1971. The group’s manager, jazz entrepreneur Horst Liepolt lined up a recording deal with RCA Records and with Liepolt producing SUN cut their debut album at Copperfield Studios, Ultimo. By that stage, the musicians were writing their own material, ranging from the jazz-rag stylings of ‘Silver Dollar Rag’, the lofty free-form jazz of ‘No Cherries for Henry’ to the rocky ‘I Really Want to Know’ and ‘Vendetta’. A standout is the progressively inclined yet laid-back ‘Message’. Here Renée sings in her most emotive, low and smoky tones, offset by delicate flute lines and haunting, echo-laden guitar work.
The Bonus Material was captured and preserved on reel-to-reel tape by Ian Shadwick, Keith’s brother. They add a new dimension to the group’s recorded legacy, highlighting Renée’s astonishing singing technique and the sheer dedication and musical depth of the band’s craft. Highlights include an early arrangement of ‘The Message’, a jamming eight-minute version of Nils Lofgren’s ‘Try’, ‘When I Reach Out for Your Hand’, ‘S.S.’, ‘Sea of Tranquility’, ‘You are Only a Shadow’, ‘Darkside of Destruction’ and ‘Largesse’ all of which present moments of brilliance.
Aztec
Tracks
Disc 1 Sun 1972
1. Silver Dollar Rag (George Almanza) - 2:10
2. Message (Chris Sonnenberg) - 6:10
3. No Cherries For Henry (Renee Geyer, Keith Shadwick, Henry Correy, Garry Norwell, George Alamanza, Chris Sonnenberg) - 9:10
4. S.S. (Keith Shadwick) - 6:47
5. I Really Want To Know (Ian Smith) - 4:05
6. Largesse (George Almanza, Henry Correy, Keith Shadwick) - 3:17
7. 3 1/2 (Keith Shadwick) - 6:32
8. Vendetta (George Almanza) - 6:20
9. Not The Time Now (Keith Shadwick) - 3:38
Disc 2 The Rehearsal Tapes Tapes (1971-72)
1. Silver Dollar Rag (George Almanza) - 2:36
2. The Message (Chris Sonnenberg) - 5:50
3. When I Reach Out For Your Hand (Renee Geyer, Keith Shadwick, Henry Correy, Garry Norwell, George Alamanza, Chris Sonnenberg) - 7:44
4. Blue Sun (Renee Geyer, Keith Shadwick, Henry Correy, Garry Norwell, George Alamanza, Chris Sonnenberg) - 18:16
5. Sea Of Tranquility (Renee Geyer, Keith Shadwick, Henry Correy, Garry Norwell, George Alamanza, Chris Sonnenberg) - 3:04
6. Try (Nils Lofgren) - 8:14
7. You Are Only A Shadow (Renee Geyer, Keith Shadwick, Henry Correy, Garry Norwell, George Alamanza, Chris Sonnenberg) - 3:21
8. S.S. (Chris Sonnenberg, Keith Shadwick) - 7:11
9. Darkside Of Destruction (Renee Geyer, Keith Shadwick, Henry Correy, Garry Norwell, George Alamanza, Chris Sonnenberg) - 3:34
10.Three 1/2 (Keith Shadwick) - 6:24
11.I Really Want To Know (Ian Smith) - 3:25
12.Largesse (George Almanza, Henry Correy, Keith Shadwick) - 3:17
"Jeremiah" is an obscure set of McCartneyesque power-pop written and performed, for the most part, by David Brown. Other members include Seiwell and Spinosa, i.e., Spinozza, who were members of Wings. Bassist Karl Jarvi and lead guitarist Pat Walters had played in a number of North Carolina-based outfits including The Barons and the Paragons. Jarvi had also been in The New Mix with singer/guitarist David Brown. Seiwell, as mentioned, recorded a couple of albums with Paul McCartney and Wings. This is a nicely crafted album. For what it's worth, front-man Brown recorded a follow-up album "I Want To Be with You" in 1972.
A group from Copenhagen, active in 1969-1971. Lived in Pocket-House and performed in the basement. Everyone could attend their rehearsals and concert, released only one single.
In 2003, the Frost label found everything (that could be found) and released this compilation disc. Heavy psychedelic with organ and guitar.
Tracks
1. I'm So Sleepybake Your Own Cake - 6:52
2. I'm In No Hurry - 5:20
3. Futte (To The 'pocket-House'-Cat!) - 5:30
4. I Can't See The Sun - 3:32
5. Opus II - 5:08
6. You Just Do What You Want To Do - 5:06
7. Love Machine - 4:29
8. In One Or Another Condition - 4:13
9. Sorry Babelook At Your Beautiness Picture - 9:44
One of Syracuse all-time greatest bands "The Seven" has members dating back to Syracuse;s very first rock band Jeff & The Notes (Nick Russo) add an original Sam & The Twister (Chuck Mellone), a few "Capitols" (Al Ruscito, Chuck & Frank Sgroi) along with some of Jimmy Cavallo's traveling Houserockers (Chuck Sgroi, Tony Licamele, John Latocha) and you end up with a band originally called "The Upsetters" in early 1966.
March 1967, with the departure of guitarist Latocha while adding Bob Canastraro, they changed their name to the "Magnificent Seven". After about a year Canastraro was replaced by Chuck Wheeler (of Surprise Package) and the band shortened their name to "The Seven". They became one of most popular and listened to bands between 1969 & 1972. The magical, mystical, and musical "The Seven" hit the road teaming with Syracuse Radio Station WOLF now known as "The Big 15".
They traveled with WOLF Radio deejay playing school assemblies throughout Central New York in one of Syracuse musics greatest promotions. This outstanding group was comprised of musical veterans Nick Russo (vocals, percussion), Chuck Mellone (keyboards, B3), Chuck Wheeler (guitar), Al Ruscito (trombone), Frank Sgroi (sax), Chuck Sgroi (bass) and drummer Tony Licamele.
The Seven played at some of New York Cities famed nightspots such as Ungano's located at 210 West 70th Street and two showcase performances at "The Bitter End", one with famed CNY songwriter Larry Santos (wrote Candy Girl for the 4 Seasons). After choosing to sign with Thunderbird Records over London's Parrot label (had both Them & Tom Jones) they entered New York's A&I Studio to records their first album.
The album "The song is Song, the album is Album" hit stores in 1970 on the Thunderbird Record label owned by Leonard Silver and Steve Brodie of Buffalo's Transcontinental Records Sales. Three songs were released as singles "Song" in January 1970, and later in May the flipside "Heatwave" that charted for seven weeks on WOLF Radio. Their third single, the old Zombies song "Tell Her No" stayed on the WOLF chart for ten weeks starting in July 1970.
In 1971, Tommy Forest (former Monterays vocalist) replaced Nick Russo who went on to form the band "Yugan" with Jimmy Cox. Mickey Nicotra and Bob Papaleoni..
The Seven one of Syracuse's greatest bands could be seen in such popular CNY night spots as The Place, Campus Inn, Captain Mac's and The Shack playing their famed one hour long "Rascals Medley". They also appeared in concert with "The Turtles" and on the popular regional television show "Upbeat" hosted by Don Webster that aired Sunday mornings from studios in Cleveland, Ohio.
Their final recording, the song "Junkyard" while not professionally completed is included on the History of Syracuse album series.
by Ron Wray, January 30, 2012
Tracks
1. Something Times Something Equals (Chuck Wheeler) - 0:42
1970s Candles in the Rain was Melanie Safka's third album, but while her first two LPs found her trying to make a coherent whole out of her grab bag of influences and ideas, this was where she seemed to truly hit the mark for the first time. "Lay Down (Candles in the Rain)" was that rarity, a hit single that truly presented an eclectic artist in her best light -- the Woodstock rock festival that inspired the tune was just the sort of event that would appeal to Melanie's hippie-styled idealism, and with the power of the Edwin Hawkins Singers backing her, she had a level of musical strength on hand that would prevent her from sounding histrionic.
While "Lay Down" was easily the most effective track on Candles in the Rain, the rest of the album found Melanie sounding more confident and expressive than ever before -- there's a emotional gravity to "Citiest People" and "Leftover Wine" that's compelling even when she pushes a little to hard for pathos, and "What Have They Done to My Song Ma?" was the first of her many musical broadsides against the music business, and its wit doesn't blunt its wounded passion. And while Melanie is generally thought of as a singer/songwriter, she was always an imaginative interpreter of the songs of others, and her versions of "Ruby Tuesday" and "Carolina on My Mind" exist on an entirely separate plane from the originals.
Finally, the production and arrangements by Peter Schekeryk create fine backdrops for Melanie, punctuating her performances and complementing her emotional peaks and valleys without getting in the way (and the accompanists deliver uniformly superb work). If Candles in the Rain was the album that broke Melanie to a larger audience, it did so not just because it featured her biggest hit single to date, but because it matched material and interpretation with greater skill than she had in the past, and it ranks with her finest work.
by Mark Deming
Sadly Melanie Anne Safka Schekeryk, passed away on January 23, 2024, at the age of 76.
Tracks
1. Candles In The Rain - 1:49
2. Lay Down (Candles In The Rain) - 3:49
3. Carolina In My Mind (James Taylor) - 3:49
4. Citiest People - 3:42
5. What Have They Done To My Song Ma? - 4:06
6. Alexander Beetle (Alan Alexander Milne, Melanie Safka) - 3:05
7. Good Guys - 3:11
8. Lovin' Baby Girl - 4:05
9. Ruby Tuesday (Mick Jagger, Keith Richards) - 4:48
10.Leftover Wine - 6:15
11.Almost Like Being In Love (Alan Jay Lerner, Frederick Loewe) - 3:51
12.Dream Seller (Rod Clements) - 3:36
Music and Words by Melanie Safka except where noted
Quicksand were an obscure Welsh psychedelic and progressive rock band active in the early 1970s.Hailing from Neath in South Wales, the band was the original group of bass guitarist Will Youatt who was to join fellow Welsh prog rockers Man prior to the recording of the band’s sole album for Pye Records’ progressive imprint, Dawn.
Originally formed in 1969, they featured Michael “Will” Youatt (bass), Jimmy Davies (guitar) and Anthony Stone (drums). This line up recorded one single "Passing By" / "Cobblestones" (both written by Will Youatt) in 1970. Will Youatt left to join briefly Piblokto! then Man. Phil Davies (bass) and Robert Collins (keyboards) then joined the band. A second single "Time To Live" / "Empty Street, Empty Heart" was released in 1973 and was soon followed by the album “Home Is Where I Belong” later the that year. The band ceased to exist in 1975 when James Davies formed Alkatraz with Will Youatt.
In June 1976 the band decided to record another album. Booking into London's Freerange Studio the tracks on 'Harvest Time' were, if anything, even more ambitious and less "commercial" than its predecessor. There was an eight-minute plus "Scottish Suite" containing a medley of such traditional perennials as "Coming Through The Rye", the reel "Peter Gray" (expertly played by Bill Thorp), "Skye Boat Song" and "McPherson's Rant". The album also contained a highly tongue-in-cheek rendition of the Tin Pan Alley standard "Moonglow" with the group helped out by Judy Mackenzie (vocals) and Dave Cooke (guitar), the group having played some gigs with the Mackenzie/Cooke duo.
But by far the more ambitious number on 'Harvest Time' was the 18 minute plus title track. After a delicate orchestral introduction featuring George Caird on oboe, John Payne on clarinet, William Prince on horn and Jeremy Ward on bassoon, "Harvest Time" flows into a medieval-sounding Sandford/Thorp composition featuring the haunting refrain "Though the sower may be sad/Harvest time will make him glad". The song continues to build, the woodwind interweaving with Bill Thorp's elegant piano and then violin, acoustic guitar and woodwind swirl around to take the listener to the telling vocal climax "All that we need is a handful of seed/All that we want is to live/Won't you turn to the sower/Forget all your greed/Ask, and I know he will give".
Such intricate pastoral delights were of course light years away from Cliff Richard immediacy and the emergent US CCM, so there was no attempt to put 'Harvest Time' with a record label. The band pressed some copies (there seems to be some debate whether the pressing was 500 or 1000 copies) and took them to the Greenbelt Arts Festival to sell at what was to be their final concert. Trevor Sandford explained the band's decision to make the 1976 Greenbelt the Water Into Wine Band's swansong. "I guess we all had other careers and things we'd trained to do or wanted to do. We've all ended up doing completely different things. Bill, the violinist, plays with the Academy Of Ancient Music, you may have heard of them, they're a top international music ensemble. I went a different way into other things. Pete's an architect. We said let's give it a couple of years but we realised that we'd either then have to become commercial to really make a living out of it or else we'd be 60 and still earning £10 a year. We were on survival rations basically and we decided that yes, it was okay and we enjoyed it and had a great time but let's quit while we're winning."
As it turned out, of course, that wasn't the end of the story. Over the next two decades record collectors began to emerge keen to explore the obscurer denizens of progressive folk music. In America and, of all places, Japan, vinyl copies of the UK version of 'Hill Climbing For Beginners' and 'Harvest Time' began to change hands for ever increasing amounts of cash. In 1999 such was the demand amongst collectors that a Korean label Hugo-Montes bootlegged 'Hill Climbing For Beginners' without, of course, the knowledge of the band. Two years later entrepreneur Steve Smith, aware of the collector interest in the band, did his homework and tracked down members of the Water Into Wine Band and with the band's cooperation released a double CD package reissue featuring both the UK and USA versions of 'Hill Climbing For Beginners' and the 'Harvest Time' album on his Kissing Spell Records.
Today, the four original members still have some contact with each other and indeed haven't completely forgotten the days when they were long haired folkies. Explained Trevor, who when not running his business, is a County Officer with Kent County Council and a member of the Kent Chamber Choir, "I've got a bit of decking in my back garden which sits above the ground and people can gather round and hear from a distance. We did have a bit of a reunion when a round number birthday came around not that long ago. So maybe we'll do it again at that level. Most of the audience were our kids who are now at university. They thought it was quite cool to have dads who were able to do this kind of stuff."
by Tony Cummings
Tracks
1. Wedding Song (Trevor Sandford) - 4:15
2. Waiting For Another Day (Ray Wright) - 6:26
3. Scottish Suite (Traditional) - 7:54
4. Patience (Is A Virtue) (Trevor Sandford, Bill Thorp) - 3:16
5. Moonglow (Will Hudson, Irving Mills, Eddie DeLange) - 2:34
6. Harvest Time (Trevor Sandford, Bill Thorp) - 15:51
Water Into Wine Band
*Bill Thorp - Vocals, Violin, Piano, Bass, Bongos
*Pete McMunn - Vocals, Acoustic Guitar
*Ray Wright - Vocals, Acoustic Guitar, Electric Guitar, Bass, Bongos
The origins of the Water Into Wine Band go back to 1971 at Cambridge University when students Trevor Sandford (vocals, guitar, bass), Peter McMunn (guitar), Ray Wright (guitar, bass, bongos) and Bill Thorp (violin, piano) met up and found they had mutual interests in theology and music. Explained Trevor, "We were all at Cambridge doing various degrees and things and we all played different things; some were from a folk background, some rock. Bill Thorp who plays the violin was from a classical music background. We all just met up and it was at the time when folk rock was in vogue and we all got together, we were there at the same time and because we got on quite well we decided to spend a week together in an old vicarage in Huddersfield, just playing music to each other. At the end of the week we did a gig in the local school. The turn out was about 1,000 kids and they liked it. So we thought fair enough, we'll carry on from here. So we did. Because there was folk rock of a different style - Strawbs folky rocky stuff but ours was very much acoustic. One guy in America when we were on tour there described it as gospel chamber music but that's a whole other story."
Although Christian bands such as Malcolm & Alwyn, the Glorylanders and Out Of Darkness were already laying the foundations of a Christian scene in the UK, the Water Into Wine Band didn't consider themselves a ministry group. Said Trevor, "We saw ourselves as a band who were Christian rather than a Christian band. In a way we just wanted to play music, a lot of which had backgrounds in our beliefs and what we wanted to say. But some of it was just fun music. We didn't see ourselves as exclusively kind of promoting the Gospel. The music kind of spoke for itself in a lot of ways. We'd play in folk clubs and so on. It was a much tougher environment to get a Christian message across but we would just do the music and let that speak."
In 1973 as well as the folk clubs Water Into Wine Band were beginning to play gigs in church halls and outreach events. Recalled Trevor, "We got grabbed by what was then the sort of emerging Christian scene a bit. Somebody must have heard us at a gig or something and we were offered the chance to make an album by Word UK. A guy called Bobbie Graham was the producer. We went down to Enfield and made the album there. It was all pretty raw stuff and we were pretty inexperienced at recording."
Trevor remembered the Enfield sessions very well. "I remember I borrowed a long scale bass - I normally played a short bass because it fitted into the car. We had an Austin A40 if you remember what those things are, and the whole band would fit inside the Austin A40. We called it the Tardis. We'd sit in the back with guitars over our knees. For the recording I borrowed a Fender Precision or something and I couldn't play the thing. If you listen to the album you'll hear the fret buzz which annoys me to this day."
Despite its crude production - Bobbie Graham's drums and bongos sound distinctly out of synch - and a lack of dynamics in the arrangements 'Hill Climbing For Beginners' showed the band to be thoughtful crafters of chamber folk. Bill Thorp's violin work was dazzling, some of the vocal harmonies truly haunting and the 11-minute epic "Song Of The Cross" one of the most ambitious works ever attempted by a UK Christian band. With crowd pleasers like "Stronger In The World" and the wonderfully named "I Used To Be Blind (But Now I'm Short-Sighted)" the album definitely had its moments. Then something unexpected happened. The December 1974 issue of Buzz magazine announced the development. "Acclaim from America has come for the acoustic outfit Water Into Wine Band. Billy Ray Hearn, A&R manager of Word Records, has described them as 'one of the most creative and original bands I've heard. And I believe they will make a big impact on the American gospel scene.' As a result the band last month re-recorded their first 'Hill Climbing For Beginners' for release in the USA."
Strangely, the re-recording of 'Hill Climbing For Beginners' for the American market occurred not in the USA but in Britain. Explained Trevor, "We recorded the new version at Wessex Studios in South London with John Pantry producing. The Americans wanted a cleaner sound and a more commercial feel, and more production and so on. So we took the opportunity to respond to that by adding extra instrumentation. So for instance we put a string quartet on one of the numbers and we also had harmonies with that. We added flute, wind and so on so whilst we weren't entirely. . . we wanted to keep it a fairly small, kind of raw group sound and not make it into pop music - we didn't use a lot of drums - we still took the opportunity to do something that we felt made the music more interesting. There were pluses and minuses but on the whole we were able to do something good with it."
The American release version of 'Hill Climbing For Beginners' didn't please everyone. Mark Allan Powell's Encyclopedia Of Contemporary Christian Music reports that "critics consider the American version a travesty, while collectors price the original British edition at £250." The release on American Myrrh did, however, get the band out to the States. Said Trevor, "I think we sold a number of albums in the US. But the thing was the American market in the '70s wanted something much more immediate than the music we were making. We did a couple of tours in the US. They liked some of the music we would do that was very straightforward, less complex - they loved it. But then we'd get into some of our chamber style music that was a bit more complex and they wouldn't know what we were up to really. If you look back at some of the progressive rock of the time it did get very creative and it wasn't maybe everybody's cup of tea and that was particularly so in America."
Neither did the band's progressive folk offerings always connect with British audiences. Remembered Trevor, "We were the support act for some Cliff Richard Tear Fund concerts (in the autumn of 1975). To be honest, our music and his was like chalk and cheese. His was mainstream pop and ours was more progressive folk rock type of stuff. But we connected with the audience."
Trevor Sandford, lead singer of Water Into Wine Band died in Kent on 28th March, 2017.
by Tony Cummings
Tracks
1. Stranger In The World (Trevor Sandford) - 4:22
2. I Used To Be Blind (But Now I'm Short Sighted) (Ray Wright) - 5:26
3. Jesus, I've Been Walking (Ray Wright) - 6:45
4. Hill Climbing For Beginners (Trevor Sandford) - 3:29
5. The Start Of A Run (Bill Thorp, Trevor Sandford) - 3:35
6. Song Of The Cross (Pete McMunn, Ray Wright) - 11:00
7. I Have Seen The Lord (Ray Wright) - 4:41
Water Into Wine Band
*Bill Thorp - Vocals, Violin, Piano, Bass, Bongos
*Pete McMunn - Vocals, Acoustic Guitar
*Ray Wright - Vocals, Acoustic Guitar, Electric Guitar, Bass, Bongos
