Graffiti - Graffiti (1968 us, west coast psychedelia with high multi-part vocal harmonies, 2010 remaster)

Graffiti is it quite an interesting group with considerable ambition. Almost classical in spirit, melodies and fuzzy structure to the late sixties, the American psychedelic style, to make an album like Freeborn, Beacon Street Union and the Ford Theatre, but also psychedelic Beatles, and even The Pretty Things.

Graffiti released an obscure, self-titled LP on ABC in 1968 that was co-produced by Bob Thiele (more known for his work with many major jazz musicians), Eddie Kramer (most known for his engineering onJimi Hendrix records), and Jay Senter. Though accomplished in its musicianship and versatile in its stylistic focus, Graffiti lacked much in the way of enduring musical interest, blending some jazz, classical, pop, and blues influences into a generic, West Coast rock-influenced psychedelic sound that often employed high multi-part vocal harmonies.

Graffiti's sole album was in some ways typical of numerous obscure psychedelic one-shots on fairly big labels in the late 1960s: over-ambitious lyrics, a kaleidoscope of styles that butted heads as often as it blended, emulation of several passing psychedelic trends pioneered by bigger groups, and an absence of really good songs. All that said, as such albums go, it's better than average, though hardly noteworthy. That's kind of faint praise, but at least Graffiti were less ponderous than many such bands, with a sort of gossamer lightness to much of their material.

As for what kind of styles they mined, they're hard to pin down, though they're fairly influenced by West Coast psychedelia of the era, with some of the vocal harmonies so high that one can mistakenly think there was a woman in the group (there wasn't). Bits of jazz, classical guitar, blues-rock, psychedelic effects, and vocal harmonies both sunshine pop and Gregorian seep through from time to time as the band float through an ever-shifting melodies and styles. The songs and instrumental solos do tend to go on too long, however, and the songwriting isn't memorable.

But in general, in spite of this - or because of this, the drive entertaining, very positive with a number of interesting things. Good, good, vocals, guitar and cool sunshine melody - what do you need for a particular mood? Unique and rare release, no doubt belonging to an absolute canon of psychedelic rock.

by Adamus67

Tracks

1. Father Protector - 4:16

2. The Capture Of Me 

3. Life Blood - 9:45

4. Interlude #1 - 0:55

5. Jingle Jangle Woman - 5:10

6. New Life - 2:51

7. Girl On Fire - 2:26

8. nterlude #2 - 1:17

9. Cold Water - 4:40 

10.Interlude #3 - 0:32

11.Love In Spite - 3:22

12.Ugly Mascara - 5:17

13. Love In Spite (A Side Single) - 3:23

14. He's Got The Knack (B Side Single) - 2:42

Graffiti
*George Stuntz - Guitars
*Jon St.John - Guitar
*Steve Benderoth - Bass, Keyboards
*Richie Blakan – Drums, Percussion
*Tony Taylor - Vocals

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Brigade - Last Laugh (1970 us, rough psychedelic rock, Shadoks release)

Official release of Portland, OR garage/psych bands, impossible to find independent record /homemade (BVRS 1066 - originals are impossible to find because only 100 copies pressed were made at the time and some even had the wrong record in)album. Hammond organ, full of dynamic and strong fuzz guitar solos, driving drums and amazing vocals,quintessence 1970 American independent record which deserves this offical reissue (Shadoks)

The story of the Brigade will ring bells of recognition from just about anyone who grew up in the '60s. Growing up in the north suburbs of Portland during this era, of course, The Brigade emerged from a context - in this case a very vibrant '60s music scene in the Pacific Northwest. The "Northwest Sound" in fact had two rival epicenters: the Tacoma/Seattle area and, 3 hours drive to the south, Portland, Oregon.

From the late '50s and on into the '60s, the region produced its share of wellknown acts: The Kingsmen, Paul Revere & The Raiders, Don & The Goodtimes, The Ventures, The Fleetwoods, The Wailers, and The Sonics. Most of these bands initially focused on a white version of R&B, gradually moving into original songs that got regional radio play and occasionally broke out into the national "hitmakers" scene.

Other wellknown Northwest artists of the era included The Viceroys, The Dynamics, The Frantics (two of whom later re-emerged to form Moby Grape), Little Bill & The Bluenotes, Ron Holden, Merilee Rush & The Turnabouts and a handful more. But of course for every one band that made it into the studio, much less got airplay, there were another 50 bands caught up in the dream. Portland, with its near neighbors Salem and Eugene to the south, had the usual share of teenagers doing their musical thing.

Once they were ready to move out of the bedroom and garage, bands had numerous venues to show off their stuff: school dances, store openings, church events, private parties, plus a whole circuit of teen dance halls and armories. The idea was to have fun, meet girls and make a little money. Portland also offered an annual teenfair Battle of the Bands, affording the lucky winners some local press coverage, maybe some cash, musical instruments or amplifiers, and often the greatest prize of all, "a recording contract". Monster psychedelic rarity 1970. This record will be the crown jewel of your record collection.

by Adamus67

Tracks
1. Change in Me - 5:55
2. Love Day for Day - 2:33
3. Desert Song  (You're All Alone) - 5:53
4. Bad Town - 2:56
5. Self Made God - 4:06
6. Forever - 1:23
7. Circles of Life - 4:20
8. Everybody Is Laughing - 3:54

The Brigade
*Peter Belknap - Vocals
*Eric Anderson - Keyboards, Background Vocals
*Ed Wallo - Guitar, Background Vocals
*Dennis Steindl - Bass, Background Vocals
*Bob Anderson - Drums, Background Vocals

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Jody Grind - Far Canal (1970 uk, impressive heavy bluesy progressive rock, 2nd album, 2006 japan remaster)

Hinkley’s finest moment came with the second Jody Grind album Far Canal, launched in June 1970 next to Pete Gavin and future Hummingbird guitarist Bernie Holland who had started out in the early days with Bluesology, Patto and Ferris Wheel.The classical motif intro “We’ve Had It” spirals like a magician into some ejaculated riffs that make you realise this is no ordinary group. You have to hear the live track “Plastic Shit” recorded at the Roundhouse to understand the capabilities of this nuclear force. 

The lengthy workout on the instrumental “Red Worms And Lice” with Bernie’s guitar spurting like hot mercury balanced with the jazzy ”Ballad For Bridget” were astounding. Peter Gavin joined Heads, Hands & Feet and Vinegar Joe while Tim played sessions with Al Stewart, Snafu and Alvin Lee. Bernie Holland went on to play with Van Morrison. 

by Shiloh Noone

Tracks
1. We've Had It (Holland) - 5:07
2. Bath Sister (Hinkley) - 3:29
3. Jump Bed Jed (Holland) - 7:14
4. O Paradiso (Hinkley) - 7:32
5. Plastic Shit (Holland, Hinkley) - 7:19
6. Vegetable Oblivion (Holland) - 2:10
7. Red Worms And Lice (Holland, Hinkley) - 7:22
8. Ballad For Bridget (Hinkley) - 3:40

 Jody Grind
*Bernie Holland - Acoustic Guitar, Electric Guitar, Bass Guitar, Vocals
*Pete Gavin - Drums, Percussion
*Tim Hinkley - Organ, Piano, Electric Piano, Vibraphone, Vocals

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Jody Grind - One Step On (1969 uk, exciting progressive rock with jazz elements, 2006 japan remaster)

Jody Grind remain vastly understated in musical measure and lyrical overflow.Their story started in 1966 when a group called The News comprising guitarist Ivan Zagni, Andy Fields vox and keyboards, Harvey Platt bass and Denny Royal drums released two singles “The Intertainer” and “I Count The Tears”. The News even included at one time ex Chicago Line Blues Band vocalist Mike Patto which evolved into 

The Continentals with Andy Fields being replaced by Peter Miller and future Zagni looking for a more vibrant conduit. The connection came in 1969 with drummer Barry Wilson and ex Chicago Line Blues Band keyboardist Tim Hinkley, a veteran having played on Bo Street Runner’s “Ready Steady Win” formed the trio Jody Grind and launched their debut One Step On.

The album was a busy affair with Hinkley letting loose and providing the core of their improvised structures. The opening brass riddled trilogy “One Step On” was an austacious pounding with extremely fast leadbreaks by Zagni which included a very speedy rendition of the Stones’ “Paint It Black” featuring Renaissance bassist Louis Cennamo.The highlight was a heavy loaded bluesy lament called “USA”. David Palmer handled the arrangements for the debut that stands out like a mighty warrior, but sadly the swordsman were about to defect. 

After two viciously splendid singles, the Chuck Berry styled “Rock ‘n Roll Man” and “Paint It Black”. Zagni and Wilson were cajoled by ex Renaissance Cennamo to form Bogomas while later Zagni played with Elton Dean. Within six months the group depleted into Blue Whale with Ansley Dunbar keyboardist Tommy Eyre and Juicy Lucy/ Tempest vocalist Paul Williams.The group sessions included Robert Fripp but after their debut Aynsley departed for Frank Zappa. 

by Shiloh Noone

Tracks
1. One Step On - 18:46
..a.In My Mind
..b.Nothing At All
..c.Interation
..d.Paint It Black
2. Little Message - 4:42
3. Night Today - 5:04
4. U.S.A. - 6:40
5. Rock 'n' Roll Man - 4:35
All songs by Tim Hinkley and Ivan Zagni

Jody Grind 
*Tim Hinkley - Organ
*Ivan Zagni - Guitar
*Barry Wilson - Drums
With
*Louis Cenammo - Bass on 'Paint It Black', 'A Little Message', and 'Rock n Roll Man'.

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Mike Stuart Span - Children Of Tomorrow (1964-68 uk, great mod psych beat with sunny blue eyd soul and jazzy blinks, 2011 Grapefruit remaster)

 

They made precious little impact at the time, but Brighton based quartet the Mike Stuart Span have been lauded by collectors for at least a couple of decades now as one of the finest British psychedelic bands of the era.With their early 1968 single Children Of Tomorrow b/w Concerto Of Thoughts widely acknowledged as one of the best (and rarest a copy recently sold on eBay for in excess of £700) examples of the genre, their recordings have appeared on numerous illegal releases as well as a limited edition, band-authorised mid-1990s anthology. 

However, licensing restrictions ensured that a definitive, all-encompassing Mike Stuart Span compilation remained an impossible dream.Until now, that is, because Children Of Tomorrow represents the Mike Stuart Span motherlode. Featuring every MSS studio recording known to have survived, it includes their brace of mod-soul singles for EMI and their notorious but little-heard stab at pop stardom with Fontana together with that superlative psych-pop 45 on Jewel and a host of demos in a similar vein.

As a considerable bonus, we also feature a clutch of previously-unissued treasures: the only recording made by pre-MSS outfit the Mighty Atoms, a far more muscular radio session stab at Fontana A-side You Can Understand Me and two 1966 demos that effectively won the group their EMI deal. With previously unpublished photos and fresh quotes from band members Stuart Hobday and Gary Murphy, Children Of Tomorrow is the definitive Mike Stuart Span anthology.

Grapefruit 

Tracks
1 Come On Over To Our Place (Mann, WeiI) - 2:13
2. Still Nights (Hobday) - 2:07
3. Dear (Stevens) - 2:30
4. Invitation (D'Abo) - 2:14
5. Children Of Tomorrow (Hobmur Benmac) - 3:15
6. Concerto Of Thoughts (Hobmur Benmac) - 3:02
7. You Can Understand Me (Howard Blaikley) - 2:45
8 Baubles And Bangles (Hammond, Hazelwood) - 2:32
9. Second Production (Murphy, Bennett) - 3:41
10.Rescue Me (Smith, Miner) - 3:38
11.World In My Head (Hobday, Bennett) - 4:28
12.Time (Murphy, Bennett) - 4:08
13.Flames (Murphy, Bennett) - 5:02
14.Blue Day (Hobday, Bennett) - 6:12
15.Remember The Times (Hobday) - 2:48
16.Wanderin1 Eye (Hobday) - 2:35
17.You Can Understand Me (Howard, Blaikley) - 2:51
18.Follow Me (Lynch, Shuman) - 2:27
19.Workout (Hobday) - 3:02

Mike Stuart Span
*Stuart Hobday - Vocals
*Roger McCabe - Bass Guitar
*Gary ‘Roscoe’ Murphy - Drums
*Brian Bennett- Lead guitar, Vocals
with
*Garry Parsley - Trumpet
*Jon Poulter - Keyboards
*Dave Plumb - Tenor Saxophone

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Les Fleur De Lys - Reflections (1965-69 uk, significant mod psych freak beat)

Although several of their singles are coveted by collectors of '60s British rock, Les Fleur de Lys remain obscure even by cult standards. That's partly because they never came close to getting a hit, but also because their furious pace of lineup changes makes their history very difficult to trace, and also precluded any sense of consistent style or identity. The group did release a number of fine singles in the mod-psychedelic style that has become known as "freakbeat," with more of a soul music influence than most such British acts.

Les Fleur de Lys changed lineups about half-a-dozen times during their recording career, which roughly spanned 1965-1969. Drummer Keith Guster was the only constant member; some of the musicians passing through went on to commercial success with Journey and Jefferson Starship (keyboardist Pete Sears) and King Crimson (bassist Gordon Haskell). At the outset, they recorded a couple of singles for the Immediate label that were produced by Jimmy Page (there remains some controversy about whether he played guitar on these as well). A cover of the Who's "Circles" featured the fluid, slightly distorted guitar lines that would become Fleur de Lys' most distinguishing characteristic. The 45s made no commercial impact, however, and Fleur de Lys helped sustain themselves in the late '60s by backing relocated South African singer Sharon Tandy. 

Sprawling 24-track comp of the rare recordings of this enigmatic band. Includes 14 songs issued under the Les Fleur de Lys name, singles that they issued under the Rupert's People, Chocolate Frog, and Shyster pseudonyms, and releases on which they backed Sharon Tandy, John Bromley, and Waygood Ellis. It goes without saying that such a manic hodgepodge is geared toward the hardcore collector market. 

But if you like mid-to-late '60s mod-psych, it's a decent item to have around, with some sparkling (occasionally crazed) guitar work, unusually constructed tunes that sometimes meld soul and psychedelia, and nice harmonies. "Circles" and "Mud in Your Eye" are first-rate pounding mod guitar tunes; "Gong With the Luminous Nose" is pop-psych at its silliest; "Reflections of Charlie Brown" is pop-psych at its most introspective; and Sharon Tandy's "Daughter of the Sun" is a lost near-classic with witchy vocals and sinister psychedelic guitar. 

by Richie Unterberger 

Tracks
1. Circles - 3:06
2. Mud In Your Eye - 3:04
3. Going With the Luminous Nose - 2:37
4. Sugar Love - 2:08
5. Hold On (with Sharon Tandy) - 3:13
6. Prodigal Son - 2:01
7. One City Girl - 2:47
8. Daughter of the Sun (with Sharon Tandy) - 3:56
9. Tick Tock - 2:46
10.I Can See the Light - 3:01
11.Liar - 3:20
12.I Forgive You (as Chocolate Frog) - 2:41
13.So Come On - 1:53
14.Hammerhead - 1:31
15.Stop Crossing the Bridge - 2:04
16.I Like What I'm Trying To Do - 2:17
17.Hold On (as Rupert's People) - 3:31
18.Butchers and Bakers (as Chocolate Frog) - 2:55
19.Wait For Me - 2:24
20.Reflections of Charlie Brown (as Rupert's People) - 4:16
21.Brick By Brick - 2:30
22.I've Been Trying - 2:45
23.Moondreams - 2:30
24.So Many Things - 2:18

Les Fleur De Lys
*Frank Smith - Guitar, Vocals
*Alex Chamberlain - Organ
*Gary Churchill - Bass
*Keith Guster - Drums
*Gordon Haskell - Bass
*Pete Sears - Keyboards
*Phil Sawyer - Guitar
*Chris Andrews - Vocals
*Bryn Haworth - Guitar, Vocals
*Tony Head - Vocals
*Graham Maitland - Guitar
*Tago Byers - Bass

Related Act
1967-69  Magic World Of Rupert's People

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Les Irresistibles - L'Integrale / Complete Works (1968-71 us, orchestrated sunshine beat pop, 2009 Magic edition)

US psychedelic pop band Les Irresistibles (The Beloved Ones) scored a huge hit with "My Year Is A Day". they were based in France at the time. William Sheller produced them and wrote the hit.

Here are their complete works, 24-bit remastered from original tapes, from the Magic Records label. A delicious slice of light psych. 

Tracks
1. My Year Is A Day - 2:56
2. She And I - 3:21
3. Lands Of Shadow - 2:49
4. Sunshine And You - 2:13
5. Dreams Of Dolls - 2:49
6. Why Try To Hide - 3:12
7. Things Inbetween - 2:31
8. Girl I Loved You - 3:00
9. Universe Of Love - 2:44
10.Peace Of Love - 3:41
11.My Love Is With Me Today - 2:09
12. Christmas Bells Will Ring - 4:48
13.Who Ever You May Be - 3:05
14.Baby I Need You Back Again - 3:06
15.The Lady Of France - 2:15
16.Baxter's First Step - 2:03
17.Baxter's Blues - 3:01
18.Baxter Williams - 2:24
19.Baxter's Last Step - 3:36
20.Fade Away - 2:09
21.Gotta Find Another Girl - 2:32
22.The Break Through - 3:26
23.Here She Comes - 2:23
24.Slave To Freedom - 2:09
25.To Experience - 2:51

Les Irresistibles
*Jim McMains - Vocal, Keyboards
*Steve McMains - Bass
*Tom Arena - Lead Guitar
*Andy Cornelius - Drums

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Les Sauterelles - View To Heaven (1968 swiss, flower beat pop with baroque tinges)

A Swiss '60s band that have sometimes been mistakenly identified as a British group due to their 1968 single "Dream Machine," a quite catchy and enjoyable facsimile of British flower pop with high harmonies, psychedelic lyrics, and driving guitars. The band had actually been recording since 1965, and established themselves as one of Switzerland's best and most popular groups. 

That's a status that isn't conferred upon most, Switzerland being a small country. Much of their first LP (1966) was filled with covers of popular rock hits. These were interpreted, however, with a brash energy that makes the record stand out above the scores of similar covers-oriented albums produced around the globe during the era. "Dream Machine" was a more original effort, and an album from 1968, View to Heaven, also had a more pronounced folk and psychedelic feel than their earliest outings. Les Sauterelles continued recording all the way into the early '70s, and several of their songs (notably "Dream Machine") surfaced on collector-oriented reissues in the '80s. 

Although much of this debut consists of covers of popular British and American rock songs of the mid-'60s, it's pretty enjoyable in spite of its unoriginality. The raw, almost punky cover of "Cheryl's Going Home" is terrific, and arguably better than the prototypes by Bob Lind and the Blues Project; not far behind is the moody reading of "No No No," a power-chord pounder originally performed by the obscure (in the U.S., at any rate) British Invasion group the Sorrows. Dylan's "Desolation Row" and "She Belongs to Me" are given 

British mod-type arrangements that, while they will most likely find no favor with most Dylan fans, have a refreshing irreverence that most Dylan covers lack; the Paris Sisters' wimpy ballad "I Love How You Love Me" is somehow transformed into a decent rock tune. The rest of the album doesn't match these highlights, yet it's a decent (and very rare) artifact of a Swiss band that no doubt wowed 'em live in their homeland; in the absence of frequent tours by the genuine originators, they were probably a pretty acceptable substitute. 

by Richie Unterberger

Tracks
1. Montgolfier - 2:43
2. Big Old Sun - 2:28
3. Hippie Soldier - 2:28
4. Hello, One Kiss, Goodbye - 2:00
5. Good New Times - 2:18
6. Where Have All The Flowers Gone? - 1:45
7. Silly Damsel - 3:44
8. Heavenly Club - 2:35
9. Homage - 2:27
10.Hotel Continental - 2:40
11.Dream Machine - 2:28
12.It's All Over Now Baby Blue - 3:12
13.Auf Wiedersehen - 1:15

Les Sauterelles
*Peter Rietmann - Bass Guitar, Vocals
*Kurt (Dude) Durst - Drums, Vocals
*Rolf Antener - Lead Guitar, Vocals
*Little Fritz - Organ, Piano
*Toni Vescoli - Rhythm Guitar, Vocals

Related Act
1971  Toni Vescoli - Information (Korean remaster)

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Bobby Callender - Rainbow (1968 us, wonderful orchestrated orient folk psychedelia with jazz tinges, Akarma remaster bonus tracks edition)

This a very unique concept by Bobby Callender, with Colin Walcott and Donald Robertson on sitar, Paul Harris on organ, piano and harpsichord, and many more "progressive" artists. 

"Rainbow" is a very personal spiritual approach with end 60's progressive foundation. The singing has deep emotions, is fragile in its mellowness. The association for listeners and for Bobby might be different. He was on his spiritual search. For us he's in a sort of musical mind-blowing experience. 

"My rainbow of colours reflects the past and present. Each change has been indicated by the spectrum of my life and only it knows the hidden colours of my future"  says the cover quote about the concept, telling us about Bobby's quest. 

"Sade Masoch" might be the most outstanding track in various ways ; it is a sad but nice touching story about a teacher who lost his mind after a too self-controlled life. The mellowness gives it also a very sad feeling of a very introvert spiritual introspective. As I said before several people might use this more readily to get stoned by. Some tracks are a bit sleepy mellow in singing, but all have interesting progressive approach of music. This contrast makes the complete concept highly original. Also the bonus tracks are worth to discover.

Psych-Folk 

Tracks
1. Rainbow - 2:48
2. Nature - 4:39
3. Sade Masoch - 2:57
4. Purple - 11:49
5. Mother Superior - 4:26
6. Autumn - 3:09
7. Man - 4:13
8. I'm Just High On Life - 4:51
9. Symphonic Pictures - 4:54
10.Raga Man - 6:32
11.Story Of Rahsa And d'Ahra - 4:44
Words and Music by Robert Callender.

Musicians
* Bobby Callender - Vocals
* Collin Walcott - Percussion, Sitar, Tabla
* Paul Winter - Violin
* Richard Davis - Bass
* Maurice Brown - Cello
* Thomas Buffum - Violin
* Robert Bushnell - Bass
* Eric Gale - Guitar
* Louis Haber - Violin
* Paul Harris - Organ, Piano, Harpsichord
* Stuart Macdonald - Violin
* Louis Mauro - Bass
* Hugh Mccracken - Guitar
* Bernard "Pretty" Purdie - Drums
* Alan Raph - Trombone
* Elliott Rosoff - Violin
* David Sackson - Viola

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Drama - Drama (1971-72 holland, significant hard blues rock with folk traces)

For more than a year now people have been talking and writing about the group Drama. The band comprised a number of individuals who had already made their marks in the past in several different bands: Polle Eduard (Tee Set, After Tea], Drummer fen "Shell" Schelfekens (InCrowd, Big Wheel), Ulli Grun (Boots, After Tea), and the young guitar virtuoso Frank Van Der Kloot (Bobby's Children and soon to play on the new Barry Hay album: 'Only Parrots, Frogs And Angels'). 

Twenty five years ago it was Harrie Knipschild, Hollands best known blues expert, who started penning his praise for the band Drama in the Veronica Television Magazine. Drama started after splitting of the band After Tea (Trio: Ulli, Shell and myself). We needed a new challenge, and with the addition of guitarist Frank Van Der Kloot we grew into a band with, what's the word, balls. Record companies quickly became interested and we were even given studiotime without even having written anything. 

We used the studio to write and rehearse, and because we all had the same blood group, we all knew that it would only be a matter of time before the material came rolling out. Now, on the 23rd of July 1997, with the help of a dog eared scrapbook and a somewhat scanty memory, I'm trying to write a foreword for the soon to be appearing Drama CD. Initially I was pleased that this was happening, even though our friend and Drama producer Hans Van Oosterhout won't be able to enjoy it. Hans slipped peacefully into an eternal sleep on the 4th of May 1995, but I know he would have been proud that this was happening. 

Apart from the fact that Hans was also Supers/Step's producer, he was also responsible for a large part of the Drama sound. By this I don't mean the sound on 'Mary's Mama' (produced by Peter Koelewijn). Phonogram had spent a lot of money on Drama by that time, and after the tiring creation of the album, a hit was most welcome. Koelewijn came, and Drama had themselves a hit which they subsequently refused to play live. It wasn't particularly a "Drama" but it was quite difficult trying to explain that to irate venue owners after our gigs. We were quite often involved in hassles after our shows, but never had any trouble with our real fans who had already bought the album anyway. 

Drama came and went quite quickly. After Ulli had gone back to Germany and we'd once more become a trio, we no longer had a recording deal, and couldn't find much work. Quite good reasons to call it a day I can't really think of anything else to say at the moment except that this should have been a double CD with one “studio” disc and one "live1 disc to give you a good picture of what Drama were really about. Because live, without leaving a trace of modesty, we were something else.

by Polle Eduard, July 1997

Tracks
1. Dreamed I Was The President (Shel Schellekens) - 4:46
2. I’m Your Hoochie Coochie Man (Willie Dixon) - 7:51

3. No Doctor (FrankVan Der Kloot) - 2:29

4. Melodrama (Shel Schellekens, Polle Eduard, Ulli Grόn, Polle Eduard) - 4:30

5. Smile Or Yell (Polle Eduard) - 6:59

6. Tell The World I’m Coming (Ulli Grόn) - 2:57

7. Brains Or Not (Polle Eduard) - 6:31

8. Give Up And Go (Polle Eduard) - 2:29

9. Down (Polle Eduard) - 3:08

10.Hard To Believe (Shel Schellekens, Polle Eduard, Ulli Grόn, Polle Eduard) - 5:18

11.Daddy Won’t Let Me (Polle Eduard) - 3:04

12.Everywhere (Ulli Grόn) - 3:27

13.Mary’s Mamma (Peter Koelewijn, Peter Schoonhoven) - 3:20 

Drama
*Shel Schellekens  - Drums
*Frank Van Der Kloot - Guitar, Vocals
*Ulli Grόn - Hammond Organ, Mellotron, Guitar, Vocals
*Polle Eduard - Lead Vocals, Bass, Acoustic Guitar
With
*Sacha VanGeest - Flute

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