Chances are that unless you come from the area around Corpus Christi, Texas or got to hear one of their two singles on Smash recorded in 1969, you've never heard of the Sherwoods. They were a quintet who made some noise during 1968-69, enough to get signed by Mercury Records but not to get heard once their official records started coming out.
The Sherwoods were Michael Claxton (lead and backing vocals), Johnny Clary (drums, lead and backing vocals), David Franklin (lead and rhythm guitar, backing vocals), Jim Frye (lead and rhythm guitar, backing vocals), and Kenny Blanchet (bass). Essentially a psychedelic punk outfit, not too far removed from the likes of the Moving Sidewalks (featuring Billy Gibbons) and the Thirteenth Floor Elevators, their music featured lots of extended jams on guitar and alternately spaced-out, languid vocals and intense, R&B-inspired pieces.
Their live shows were evidently very impressive, because it was one such performance in Austin that got them signed by Mercury, but only two of the three singles they cut were ever released, to no success. After two years together, the group broke up in early 1970 amid personal difficulties and members' problems with the Vietnam-era draft. Three members of the band remain active in music in the 1990s, Franklin and Frye in Feo Y Loco, and Blanchet in the Houston-based group the Hightailers.
by Bruce Eder
Tracks
1. The Move - 4:10
2. I Know You Cried (Mike Claxton) - 2:21
3. Ride Baby, Ride (Mike Claxton) - 4:27
4. Wishes - 9:08
5. If You Could See As I See (Mike Claxton) - 2:13
6. The Wait - 5:30
7. I'll Be Gone - 3:49
8. Martha's Song - 5:37
9. The Game - 6:56
10.Mama Said - 4:08
The Sherwoods
*Michael Claxton - Lead Vocals
*Johnny Clary - Drums, Vocals
*David Franklin - Lead, Rhythm Guitar, Backing Vocals
In the dim but not so distant past, at a time when legends were forming, some rare monsters could be seen stomping through the undergrowth. One was unearthed in Hackensack—not the New Jersey backwater derived from the Algonquians’ stony ground but four English rockers, hairy and larger than life, who named themselves after a much-liked Thelonious Monk song. The surprises start here. First glimpsed in 1969 its origins and ancestry are obscure, but by ’71 founder Nicky Moore felt he had the right chemistry fixed and the critter stomped through the jungle of gigland to the astonishment of unsuspecting natives.
By 1972 they were playing well over 250 concerts a year non-stop across the land of the Mini Minor and Continental tundra. That year, Island released their first and only single, the non-album Moving On / River Boat. The vocalist says it tickled the European charts, and a German picture sleeve exists. The A-side was written by Mick Ralphs, who also contributed lap steel guitar, after ’Sack supported label-mates Mott The Hoople on their Rock ‘n’ Roll Circus tour a few months earlier. It was produced by Muff Winwood, older brother of Steve (both ex-Spencer Davis Group), who later produced Dire Straits’ debut (’78) and the first hits of Sparks. He was also working as A & R at Island, but it seems he was less than helpful with the next logical step of an album for Hackensack.
Like other very popular live acts in that era it was wondered if their incredible energy could be captured in the studio as evidence. The same problem beset many name-bands as different as Medicine Head, Strife, Quintessence and Groundhogs; some adapted their styles between concert and vinyl, like T. Rex and Pink Fairies, others (the most famous?) just reproduced the same sound in both environments without a second thought. Hackensack hoped their debut platter would be live, which wasn’t to be. The result would herald their demise.
Initially scheduled by Island, who had the demos, Polydor eventually released the first and only album in 1974: Up The Hardway. Its striking red-sky cover of a knight pointing to a distant cliff-city, agreed by the band and award-winning the vocalist recalls, might first suggest prog or metal, but the LP is a tasteful mix of straight heavy boogie and ballads with quality vocals and guitar. The uninitiated listener today might imagine they have stumbled on a lost classic by hair-rockers who notched up millions thanks to their predominantly female audience. The line-up was Nicky Moore (lead vocals, guitar, electric piano), Ray Smith (lead guitar, vocals), Paul Martinez (bass), and Simon Fox (drums, percussion). Smith was soon better-known as Ray Majors, changing his name to avoid confusion with the guitarist of another Island band, Albert Lee’s Heads, Hands & Feet.
The album opens with probably their signature tune, Up The Hardway, co-written by Moore and Majors, a grinding heavy slab of stoner rock, with a time-change solo mid-way in the 5.40. Nice guitar with effects also graces the seven-minute ballad A Long Way To Go, bravely followed by another slow number (Goodbye World), both exemplifying Moore’s soul-influenced voice. A driving rock ‘n’ roll cover of Lazy Cow, with female backing vocals, highlights the singer’s taste for jiving. Angels Theme/Goodboy Badboy (not Goodbye as on the CD, another Moore / Majors co-write) is pure Mountain without being derivative at all. Popular live, it’s delivered in a restrained but nevertheless thumping style here. Guitarist and singer swap roles for a more English sound on Blindman, Northern Girl is a bubbling slow rocker, done a little heavier live when extended into jam length round a borrowed famous lick. Hot Damn Home-Made Wine, a mixer in Brinsley Schwarz-like style, closes a fine set.
The eight songs aren’t adapted for 45s but explore ideas within their framework. The quirk in the mixture is that the only two covers, Lazy Cow and Hot Damn Home-Made Wine, are by Charles Hodges of Chas & Dave fame (or infamy depending on the colour of your gib). Hot Damn is on their collaboration with the novelty jazz singer Theresa Brewer’s 1973 LP, and Cow was later a 45 B-side of the duo’s in ’75. This oddity partly points to Moore covering songs he likes, continued to the present day, but also that Hackensack’s producer, Derek Lawrence, oversaw the chirpy pubsters including the Cow song. He is more famous for Deep Purple’s first albums and Jethro Tull’s debut single (as Jethro Toe) after working with Joe Meek. Perhaps it was Lawrence’s influence, as early Purple also did their fair share of covers too. "Up the Hard Way" is still one of those rarities that, once heard, is unforgettable.
Frustrated with the direction Fludd was going, Scarborough, Ont native and local bass wiz Greg Godovitz formed Godo, a makeshift group with studio musicians that released a 45 on A & M that featured a cover of The Kingsmen’s “Louie Louie” in 1975. When the song started gaining some momentum, he recruited ex Brutus guitarist Gino Scarpelli and drummer Marty Morin (ex of Truck) and made their way around the Toronto bar circuit.
As their act developed and an extra ‘D’ was added to the band’s name, they outgrew the surroundings and quickly made the rest of Ontario, and then central Canada part of their rounds, also dipping into the States occasionally while honing their chops. After Morin left and was replaced on drums by Doug Inglis, they were signed to a deal with Polydor, and released their self-titled debut in ’77. The only single was the ominous musical oddysey “Under My Hat.” Along with tracks like “Bus Driver Blues” (about Morin’s choice of preferred occupations instead of that of a rock star), “Let It Slide,” and “Let That Lizard Loose” let the world know they were a talented power trio with a fresh, straight-forward approach to recording, utilizing few overdubs which helped create the ‘raw sound’ they would later become known for in a near-unprecendented fashion.
They released WHO CARES? in ’78 and picked up where the debut record left off, but was a little heavier, and a lot bolder. Produced by Thomas Morley-Turner at Sounds Interchange in Toronto, clean cut riffs mixed with delicate harmonies showed Goddo was not a one-dimensional act, but took on a brasher approach than its predecessor. The lead single “Sweet Thing,” and tracks like “Oh Carole” – the ode to Rough Trade‘s Carole Pope, “Cock On” – his spin on the controversial Fludd album of the same name and “Drop Dead (That’s Who)” all made Goddo one of the most original groups of the time.
The only sister of James, Livingstone, Hugh, and Alex, Kate Taylor’s 1971 debut album ‘Sister Kate’ was not just a great listen, it was also a significant recording in the development of the ‘70s LA sound epitomised by the production work of UK producer Peter Asher. It was only the second record to include the now legendary LA crew of musicians that included the likes of Leland Sklar, Russ Kunkel, and Danny Kortchmar. Despite being in at the ground level of what was then a new and exciting sound, Kate Taylor didn’t release another album until 1978 before dropping out of the music industry for over twenty years in 1979 after the release of her third album which was recorded in Muscle Shoals. She has released infrequent albums in the 21st Century culminating in 2021’s ‘Why Wait’ which is a reunion with producer Peter Asher and the LA musicians of the ‘70s and is also a celebration of that time and sound.
Serendipity played a part in Kate Taylor getting to know Scottish musician and bassist Alan Thomson, who has his own impressive CV and provides backing for Kate Taylor’s US and European Tour. Alan Thomson’s cousin was John Martyn and he played bass with Martyn for the final thirty years of his career, he has also played with a whole host of musicians including The Hellecasters, Robert Palmer, Phil Collins, Hank Marvin, Bert Jansch, Dick Gaughan, Jethro Tull’s Martin Barre, Rick Wakeman, Amos Garrett, and many, many more.
by Martin Johnson, September 29, 2022
Tracks
1. Home Again (Carole King) - 2:18
2. Ballad Of A Well Known Gun (Elton John, Bernie Taupin) - 4:42
3. Be That Way (Livingston Taylor) - 2:51
4. Handbags And Gladrags (Mike D'Abo) - 3:25
5. You Can Close Your Eyes (James Taylor) - 2:34
6. Look At Granny Run, Run (Jerry Ragovoy, Mort Shuman) - 2:49
7. Where You Lead (Carole King, Toni Stern) - 2:27
8. White Lightning (Jape Richardson) - 2:40
9. Country Comfort (Elton John, Bernie Taupin) - 3:39
10.Lo And Behold/Jesus Is Just All Right (James Taylor, A. Reid Reynolds) - 2:22
11.Do I Still Figure In Your Life (Pete Dello) - 2:19
12.Sweet Honesty (Beverley Martyn) - 6:31
Personnel
*Kate Taylor - Vocals, Clapping
*Peter Asher - Vocals, Backing Vocals, Clapping
*John Beland - Guitar
*Merry Clayton - Vocals, Backing Vocals, Background Music
*Sandra Crouch - Percussion, Tambourine
*Oma Drake - Vocals, Backing Vocals, Background Music
*Abigale Haness - Vocals
*Gail Haness - Backing Vocals, Background Music
*John Hartford - Banjo
*Carole King - Piano, Vocals, Backing Vocals, String Arrangements, Background Music
Although the album Jumble Lane [Holyground Records, 1971] is officially credited to Jumble Lane, no such band ever existed: the name describes a constellation of 23 musicians with diverse interests and directions, who had Bretton Hall College as their common denominator. The record was pressed in just 99 copies, with the original covers by Mal Williamson falling victim to an accident. Biff Byford does play the flute and participates in the composition of 4 tracks out of a total of 17 sessions at the time, of which 12 made it onto the original vinyl version (which is extremely rare and is rumored to have changed hands for up to 1,900 euros), while the rest remained unreleased until the 1993 CD reissue.
It was a whirlwind record, combining Rich Freeman's interests in Johann Sebastian Bach and John Dowland ("Prelude In D Minor/Allemande"), British folk ("Lyke Wake Dirge"), the echo of Joni Mitchell pre-Ladies Of The Canyon (covering "Gallery" by Marcia and Linda King) and the era's electric concerns around blues, American folk rock and guitars: we hear e.g. both an adaptation of the well-known one by B.B. King "Rock Me Baby" featuring Ric Jerrom, as well as original efforts like "Blues For Joanne" and "Frustration/Ends Away!", where we meet Byford again. A special touch is also "Girl From Gothenburg", presented as an instrumental composition by pianist Martin Snell, but in essence it is a renegotiation of the melody of the Swedish traditional song "Visa Från Utanmyra".
The overall feeling is that it shows a wide variety of playing skills that are difficult to categorize.
Tracks
1. Prelude In D Minor / Allemande (Johann Sebastian Bach, John Dowland) - 3:15
2. Girl From Gothenburg (Martin Snell) - 3:55
3. Flutelode (Biff Byford) - 1:56
4. Blues For Joanne (Ric Jerrom) - 2:05
5. Five In A Van (Chris Garfield, Martin Snell) - 4:14
6. Red Hot Daddy (Reprise) (Ian Ball) - 0:20
7. Frustration / Ends Away (Biff Byford, Chris Garfield, Liam Arthurs, Martin Snell, Nick Dew, Nick Mann) - 5:00
8. Little Frederique (Biff Byford, Rich Keys, Steve Channing) - 1:38
9. The Shipper / Rock Me Babe (Dave Holland, Melvin Jackson, Joe Josea, B.B. King) - 4:35
10.Organics / Red Hot Daddy (Liam Arthurs, Martin Snell, Nick Dew, Ian Ball) - 3:19
11.The Gallery (Joni Mitchell) - 3:37
12.Preserve (Biff Byford, Liam Arthurs, Martin Snell, Nick Dew, Rich Keys, Steve Channing) - 4:43
"During the period spanning 1969-1972, Quintessence were one of Britain's most powerful and most popular live acts. Immediately after leaving Quintessence, vocalist Phil 'Shiva' Jones and guitarist Dave 'Maha Dev' Coddling had formed Kala. Beset by bizarre personnel issues, and in the hands of a record label which somehow found defeat in the jaws of what should have been a victory for all concerned, Kala nevertheless managed to release one overlooked gem of an album and a couple of blistering live tracks during its brief existence.
The album features some titles which were in a similiar vein to Quintessence, with others nodding towards the popular boogie and country-rock of contemporaries like the Faces. Now exquisitely remastered by Ron Geesin, with two previously unreleased live tracks and two brand new vocal takes, this CD debut of Kala's complete works has been compiled with the full cooperation of Phil and Dave. The accompanying 16-page full-color booklet includes extensive liner notes by Colin Harper, an interview with the band, and recollections on each track by Shiva Jones."
Tracks
1. Travelling Home (Dave Codling) - 3:19
2. Sun (Tony Hill) - 4:20
3. Thirsty Generation (Dave Codling) - 4:57
4. Pearl - 6:31
5. Meditations - 7:15
6. Still Got Time - 5:55
7. Hallelujah - 2:54
8. Honey Of Love - 5:24
9. Come On Around To My House - 4:42
10.Before You Leave (Mick Cox) - 9:46
11.Going Down Slow (Chester Burnett) - 3:56
12.Honey Of Love - 5:40
13.Meditations - 7:17
14.Still Got Time - 5:58
All songs by Phil ‘Shiva’ Jones except where noted
Tracks 1-8 from the 1973 LP Kala
Tracks 9-10 from the 1973 LP Bradley's Roadsbow: Live At The Marquee
Tracks 11-12 Live in 1973 (previously unreleased)
Tracks 13-14 feature new vocals from Phil 'Shiva' Jones (previously unreleased)
Kala
*Dave Codling - Guitar
*Sid Gardner - Bass, Vocal Harmony
*Phil Jones - Guitar, Vocals
*Johnnie Miles - Drums, Vocal Harmony
*Les Nicol - Guitar, Vocal Harmony
*Perry Sinclair - Guitar, Vocal Harmony
With
*Peter Arneson - Piano
*John Barham - Brass Arrangement, Cello Arrangement
Graham went into a somewhat harder-rocking bluesy groove on this record, though a strong jazz feel was always present in the rhythm especially. More than any other Graham LP, this offers proof that the guitarist would have established himself as a major star on the folk circuit in the '60s -- if only his singing was better. As a guitarist, he's simply wonderful, combining folk, jazz, and blues styles into an invigorating, idiosyncratic style that can both swing and attain a delicate sadness.
As an interpreter, he's relentlessly imaginative, breathing new vigor into overdone R&B standards, or devising fresh folk arrangements for Beatles and Paul Simon tunes. But as a vocalist, he's adequate at best; if he had even possessed the modest expressiveness of a Bert Jansch, the material would be that much more striking. Almost none of these tracks are available on Graham compilations, and this rare LP is definitely worth seeking by those who are familiar with some of his other '60s work. Especially excellent are the jazzy "Hummingbird" and the instrumental cover of Lalo Schifrin's "The Fakir," which blends the rhythmic drive of Charles Mingus with hypnotic raga-esque riffs.
by Richie Unterberger
Tracks
1. No Preacher Blues (Davy Graham) - 2:13
2. The Fakir (Lalo Schifrin) - 4:10
3. I'm Looking Thru' You (John Lennon, Paul McCartney) -2:01
4. Hummingbird (Davy Graham) -2:37
5. Watermelon Man (Herbie Hancock) -2:57
6. Stormy Monday (Traditional) -3:37
7. Money Honey (Jesse Stone) -2:23
8. Walkin' The Dog (Rufus Thomas) -2:36
9. Fire In My Soul (Blind Willie Johnson) -1:50
10.Lost Lover Blues (Traditional) -2:03
11.Neighbour Neighbour (Alton Joseph Valier) -2:33
12.Jubilation (Junior Mance) -1:46
13.Rags And Old Iron (King Curtis, Oscar Brown Jr.) - 3:20
The sole Harmony Grass album, 'This Is Us' (1970), is arguably the finest UK soft rock release of the last three decades. Bandleader Tony Rivers was an enormous Beach Boys fan, and it was his enthusiasm for the California sound which defined his sonic template.
Until 1968, Harmony Grass traded as Tony Rivers & The Castaways, gaining a reputation as England's Beach Boys, and attracting the attention of UK pops' two most influential managers. In 1966 they signed a management contract with Brian Epstein and a singles deal with Andrew Loog Oldham's Immediate Records.
As the 60's wore on, Rivers picked up any new American musical developments. The Castaways' 1967 residency at London's Marquee Club was used to hone an act which included versions of The Tradewinds' Mind Excursion, The Lovin' Spoonful's You Didn't Have To Be So Nice, and an uptempo Association-style rendition of Walk On By.
By late 1968 the name Tony Rivers & The Castaways was sounding dated, and their post-Epstein manager decided Harmony Grass sounded much hipper. The renamed group signed with RCA and issued Move In A Little Closer Baby in December 1968.
Although subsequent Harmony Grass singles flopped, the band released some gems, totally at odds with the formulaic fare that might be expected from a band stranded on the chicken-in-a-basket cabaret circuit by the end of the decade. Foremost amongst them was Mrs Richie (included on the This Is Us album), a self-composed song influenced equally by the harmonies of Crosby, Stills, Nash and Young and (uniquely for a British band) Love.
Despite the lack of single success, RCA released This Is Us. Tony Rivers produced most tracks and wrote seven of them. The soaring harmonies of What A Groovy Day were on a par with the best of The Association. Of the other new songs, the atmospheric Byrds/Beach Boys amalgam I've Seen To Dream was a stand-out. Cover versions of Chatanooga Choo Choo, Tom Dooley and Spanky & Our Gang's Byrd Avenue blended seamlessly into the album.
After the album failed to chart, RCA decided Simon & Garfunkel's Cecilia might be the song to get Harmony Grass back into the charts. They released the single, relegating Mrs Richie to the B-side. Insulted, Tony Rivers departed the group. Harmony Grass carried on without Rivers, issuing a final single, the bubblegum styled Stand On Your Own Two Feet, and then got heavy, first as 'Grass' and then as 'Capability Brown'.
Tony Rivers moved into production for CBS and worked as a session singer on projects ranging from the budget cover version Top Of The Pops collections to Roger Daltrey's One Of The Boys album. In 1975 he became Cliff Richard's vocal arranger, staying with him until 1986.
Late-'60s concept band Hello People was put together by New York producer Lew Futterman. Basing his concept on French mime films, Futterman assembled a group of Ohio musicians to make up the group, dressed in full face paint and performing wordless mime routines between their songs during their live sets. The first lineup of the band consisted of guitarist and singer W.S. Tongue, bassist Greg Geddes, keyboardist Larry Tasse, drummer Ronnie Blake, guitarist Bobby Sedita, and flute player Michael Sagarese. Taking on stage names like "Goodfellow" and "Much More," the band was born and recorded its debut, self-titled album in 1967.
The Hello People were one of the more interesting also-rans of their day, never really scoring a hit record but turning heads for a moment with their gimmicky mime motif, dressing in full face paint and performing wordless skits between songs while performing. A convoluted back story and one best ignored when examining Fusion, the second of eight LPs produced in the group's lifetime, and arguably their brightest moment.
More or less the creation of New York producer Lew Futterman, the band reached out in several directions at once to cash in on various musical trends at the inception of their Summer of Love. Watching mimes tune in, turn on, and drop out may have been a little harder to swallow at the time, but with decades of hindsight, the various attempts at counterculture significance on Fusion are pleasantly comical, surprisingly inspired, and often weirdly deep. Beginning with the moody, Baroque pop of "White Winged Doves," the album switches gears with almost every song.
The Free Design-esque flutes and social commentary of "Anthem" are bizarrely mismatched, and abruptly fade into the proto-prog horns of the instrumental "Jelly Jam," and then into the electric Dylan rip-off of "How Does It Feel to Be Free?" Beatles-via-the-Monkees pop, psychedelic folk, and rootsy road ballads round out the album's diverse ten songs, bringing together a vaguely conceptual album about fusing ideas and styles from a vaguely conceptual band. Buffered by nostalgia, the ten completely processed stabs at appropriating styles of the day hold some weight and feel enjoyably odd as tuneful reminders of strange days past.
by Fred Thomas
Tracks
1. White Winged Doves (Peter Weston) - 4:11
2. Anthem (W. S. Tongue) - 4:01
3. Jelly Jam (Bobby Sedita, Greg Geddes, Larry Tasse, Michael Sagarese) - 4:00
4. If I Should Sing Too Softly (W. S. Tongue) - 3:16
5. How Does It Feel To Be Free (W. S. Tongue) - 3:41
6. Pray For Rain (Peter Weston) - 2:53
7. A Dream Of Tomorrow (Peter Weston) - 4:18
8. Everything's Better (Bobby Sedita, Larry Tasse, W. S. Tongue) - 3:17
In the mid 1960s, so concerned were the Danish-American Blegvad family by the US’ nightmare political mood following the Kennedy assassination and the escalating Vietnam conflict that they upped sticks from prosperous mid-century Connecticut and relocated to sleepy Hertfordshire. It was there, at the fee-paying St Christopher School in Letchworth, that Peter Blegvad formed a band with aspiring musicians Anthony Moore and Neil Murray (who doesn’t appear again in this story but would later play bass for Whitesnake and Black Sabbath.) The teenage band, variously named things like Slap Happy and the Dum-Dums, went their separate ways as teenage bands tend to do. After a stint at a British art school, Anthony Moore moved to Hamburg in 1970. On arriving, two people would change the course of his creative life. One was Dagmar Krause, a Hamburg native who had already been a member of early alternative folk act The City Preachers and recorded the excellent psychedelic avant-rock album I.D. Company in 1970 with vocalist Inga Rumpf. Krause and Moore quickly became an item.
The other was Uwe Nettelbeck, a German leftist intellectual and critic who had begun acting as a middle-man between label PolyGram and the West German avant-garde. Nettelbeck had effectively assembled the membership of Faust and, admirably, convinced the label to finance a new studio for the group in a former schoolhouse in the village of Wümme on the outskirts of Bremen. Meeting Nettelbeck was fortuitous timing. Moore was developing a fierce interest in tape machine experiments, influenced by European avant-garde composers like Stockhausen and Pierre Schaeffer but also English pop experimentalists such as George Martin and Joe Meek. Through Nettelbeck, Polygram recorded three albums of Moore’s work – 1971’s Pieces From The Cloudland Ballroom and the 1972 releases Secrets Of The Blue Bag and Reed Whistle And Sticks. “It was enough for PolyGram to throw up their hands in despair,” remembered Moore in a 2022 interview with Perfect Sound Forever website, “at that point, Uwe asked me if I couldn’t possibly make something a little more listenable.”
He phoned up his old friend Peter Blegvad, who was bored, lonely and studying in Exeter. Of course he wanted to get on the next plane to make an experimental rock album. His arrival at Wümme minted the three-piece act that would adopt the name of Peter and Anthony’s old school band. “Peter, Dagmar and myself were offered the use of the studio and as we were just a trio,” writes Blegvad in the liner notes to the new reissue, “it seemed a natural choice to ask Faust to become our rhythm section.” Jean-Hervé Péron, the bass player, Gunther Wüsthof, the keyboard and sax player, and Zappi Diermaier, the drummer, became, in effect, Slapp Happy’s rhythm section.
"Acnalbasac Noom" was their second LP, recorded in 1973, and engineered by Kurt Grauner, in Faust's legendary Wumme studio. Like the first it was produced by Faust's Svengali Uwe Nettelbeck, using Faust as the Slapphappy house band. Unaccountably it was rejected by Virgin Records, who made the group re-record all the material with different musicians and another producer in their own studio. That version is still available through Virgin as 'Casablanca Moon' -- they straightened up the name too. As time has told, it is now universally accepted that Acnalbasac is the definitive version of this material. This rather overdue reissue, taking advantage of significant technological advances, has been completely re-mastered by Bob Drake from the original tapes. The CD also features a handful of extra tracks, including the single 'Everybody's Slimming' released to coincide with a one off concert at the ICA in the '80's." Bonus tracks: "Everybody's Slimming," "Blue Eyed William," "Karen," and "Message."
by Fergal Kinney, 15 September 2023
Tracks
1. Casablanca Moon - 3:05
2. Me And Paravati - 3:31
3. Mr. Rainbow (Peter Blegvad) - 3:50
4. Michelangelo/The Drum - 6:30
5. A Little Something (Peter Blegvad) - 3:17
6. (Silence) - 0:14
7. The Secret - 3:25
8. Dawn - 3:36
9. Half-Way There (Peter Blegvad) - 3:08
10.Charlie 'N Charlie - 2:24
11.Slow Moon's Rose (Anthony Moore) - 3:08
12.(One Minute Silence) - 0:56
13.Everybody's Slimmin' - 4:12
14.Blue Eyed William (Peter Blegvad) - 3:37
15.Karen (Peter Blegvad) - 3:23
16.Messages (Dagmar Krause) - 2:13
All compositions by Anthony Moore, Peter Blegvad except where indicated
