Mystic Siva - Under The Influence (1969-70 us, great heavy psych, World In Sound remastered digi hard sleeve edition)

And yet another trip back to the days of "Love and Peace" trip in every sense of the word. It's going to Detroit in the "Motor City" and "Rock City" as KISS later described as beautiful,which lead you to the holy grail of psychedelic music.

A very young band, the musicians traveled between 16 and 17 hours of recordings on this album, called MYSTIC SIVA had set out to conquer the world with emotional charged psychedelic rock inclusive easily hard rock gem impact here and there. A task which unfortunately never really succeeded.

Here, the signs were good. How the 1969 and 1970 live recorded tracks on the "Under the influence" points out, there are no bunglers that here the instruments, including organ Hammond B3 (about as fat as a grand piano, at least in terms of weight) hard-driven pounding hypnotic shred.

A relaxed grooving opener with a fine organs Hammond carpet on which the guitarist can then indulge in endless solos arouses my attention. Purely instrumental rock is 'Keep Your Head' in your heart. You can hear at once that it must have been recorded live, whether in concert or as a demo in a mini studio or rehearsal room, who knows to say that? The wild leads to the very relaxed rhythms are certainly very exciting.

'Spinning A Spell' is more atmospheric with dark melodic vocals and dark, psychedelic rock with gorgeous distorted lead guitar and organs deposits, but still quite ingratiating and straightforward. Could have been at a proper studio recording the Doors compete, the degree Acid leads the guitar Your senses have turned upside down.

'Come On Closer' again is a bit more on Boogie Rock the guitar and the organ provide a proper background to the song, the rhythm crew to the subtle foundation. Fine rock song, but less spectacular.

'Super Natural Mind' is then pure Acidrock, beautifully atmospheric and aggressive, especially with the lead guitar. The drum has a sick sound as if someone whacked too much reverb and echo added duplicated tracks slightly offset. Sounds trippy! The singer here pretty angry roars into the microphone, while the basic instrumentation relaxed weaves their soundscapes.

'Come Together' is a cover of a famous Beatles song, which consists of elongated introduction of intensive organ carpets, singing to wailing lead guitar, which plays the basic riff) and still relaxed rhythm starts up then the singing . Just this beguiling organ sounds make the song into a spiritual experience, even if the Hammond is not used as a lead instrument really nice acidic wah rhythm that would make any cover sound good.

'Magic Luv' is then straighter skirt with Boogey and Blues in the ass. However, Mystic Siva made in the chorus in some left-sounding runs. The vocalist for his tender age has already bought a powerful male voice and my old rabbit really the cutting.

Us gently flows against the melancholy atmosphere of 'Find Out Why'. However, this song is in the chorus is a bit energetic, away from the rainy mood, braces itself against the band for a brief moment of resignation and sadness. Beautiful organ lines and a lovely clean guitar instrumental bear brunt. Oh yeah, did I mention that the drummer is the lead singer? Should there be, I am thinking only of the Dave Clarke Five (Beat Tape) or later as troops Exciter Or Autopsy in Metal. It's not wrong to do what the guys here. More of it.

By Spencer Davis Group cover ' I´m A Man' it goes on acidrockig a nice driving beat, a steady and howling lead guitar which makes fire properly, straight, powerful vocals and this thrilling organ riffs, all it takes for a good hard rock song. And this is hard rock! Over seven minutes, the band was made to cover this track! She was formally noted in the fun they had there.

'Tobacco Road' is also a cover, a hit of the composer and musician John D. Loudermilk,which is here modeled to a jam blues to hard rock. Mystic Siva make the song lives up to take him in their time and can who is there trans riff into a jam Blues Rock. Mystic Siva make the song lives up to take him in their time and are up there with older guys like Led Zeppelin and Deep Purple, who also like these scattered passages of free improvisation and jam in the actual compositions, the listener can appreciate where would Mystic Siva can go if their perseverance would have been just a little stronger.

'Sitting In A Room' an eruptive own composition A mystical guitar line, a fat organ and open scream,massive groovy heavy rock with very good sound and captivating spherical vocal line is offered here. The organ riffs and guitar attacks penetrate your soul and leave a bloody lump of mind. You could almost here "Blue Cheer meets Doors" Fit as a comparison. Killer Song!

The lead guitar saws unstoppable and even the usually relaxed rhythm section has to do something properly. How could the man on the drums to sing then? Eventually, the song is quiet, reserved, somewhat hypnotic and atmospheric, this very evocative of howler Backing vocalist are sick reminder of werewolves. In the singer speaks with aggressive voice when he would make a speech in front of a bunch of demons. I would say that we have THE highlight of the original songs on this album already very strong before us. It drives me to despair when I think that these are all previous shots here that were not previously published.

'Black Sheep', acting in the album, it is a cover again, this time. By local Detroit rock heroes SRC, the biggest rival of the aspiring MC 5 and certainly examples of our music-making villain - Mystic Siva It is quietly flowing, melodic Acidrock with beautiful vocal melody and thought-provoking lead guitar. The organ plays more than just the basic carpets, takes even the harmonies in the verses, while the undistorted guitar rhythms played is a fine finish! Beautiful!

by Adamus67

Tracks
1. Keep Your Head (D. Mascarin, Al Tozzi) - 4:47
2. Spinning A Spell (D. Mascarin, Al Tozzi) - 3:21
3. Come On Closer (D. Mascarin) - 3:10
4. Super Natural Mind (D. Mascarin, Al Tozzi) - 4:59
5. Come Together (Lennon, Mc Cartney) - 5:14
6. Magic Luv (D. Mascarin, Al Tozzi) - 3:02
7. Find Out Why (D. Mascarin) - 4:51
8. I´m A Man (Winwood, Miller) - 7:08
9. Tobacco Road (Loudermilk) - 6:46
10.Sitting In A Room (D. Mascarin, Al Tozzi) - 6:05
11.Black Sheep (S.R.C.) - 4:17

Mystic Siva
*Al Tozzi - Guitar
*Dave Mascarin - Drums, Vocals
*Marc Heckert - Organ, Vocals
*Art Thienel - Bass, Vocals

1970  Mystic Siva

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Gothic Horizon - The Jason Lodge Poetry Book (1970 uk, beautiful psychedelic folk rock)

The first of the two LPs by this obscure British group offers delicate folk and folk-rock, very much grounded in acoustic guitars, though some percussion and wind instruments are also heard on some tracks. It's not colored, however, with the traditional British folk slant identified with the most well-known of the U.K. acts in the style from the period. 

It's more pop-influenced than trad-influenced, emphasizing the group's high, quavering harmonies on songs that are both wistful and self-effacingly humorous. At their most serious (as on "Wilhelmina Before Sunrise"), they sound a bit like Fairport Convention did in their early pre-traditional folk-rock days (à la "Decameron"). 

At times, a Simon and Garfunkel influence becomes a little too obvious; "St. Valentine's Day Massacre," "Althea Williams," and especially "Pisces" can't fail to recall that celebrated duo, all the way down to Paul Simon-like bent note guitar flourishes. Just to mix things up even more, there are tunes with a somewhat vaudevillian good-time flavor, sounding a little like the Lovin' Spoonful, or Peter and Gordon in their "Lady Godiva"/"Afternoon Tea" era. 

While all of these bands and duos are good ones with whom to have similarities, the usual rule when such similarities crop up applies: Gothic Horizon themselves are not as good or identifiable as any of these apparent influences. It's on the slight and mild side, but nice enough as such second-and-third-tier rarities go, often bearing something of a sunny-morning-by-the-creek feel. 

by Richie Unterberger

Tracks

1. The Jason Lodge Poetry Book - 4:20

2. Song For Susan (Andy Desmond) - 2:49

3. Odysseus - 5:12

4. A.J.Lone's Dog - 2:52

5. Willow Tree Vale Song - 3:52

6. Six Summers Back - 2:09

7. Song - 3:58

8. Althea Williams (Andy Desmond) - 3:47

9. Wilhelmina Before Sunrise (Andy Desmond) - 3:17

10.St. Valentine's Day Massacre - 2:47

11.A Third For Jason Lodge - 2:09

12.Pisces (Andy Desmond) - 3:48

13.A Farewell Ode To Port Sunlight (Andy Desmond) - 2:34

All selections by Mike Simmons except where stated

Gothic Horizon
*Andy Desmond - Six, Twelve String Guitars, Vocals
*Richard Garrett - Vocals
with
*Mark Helme - Lead Guitar
*Ron Lawrence - Bass
*Gray Richardson - Percussion
*Ian Cameron - Flute
*Eli Bickerstaffe - Banjuele
*Jean Baptiste - Keyboard
*Mike Simmons - "Willow Tree Vale" Guitar
*The Yetties - Vocals

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The Koobas - Koobas (1969 uk, fuzzy mod beat with psych blend, BGO remaster)

The Koobas were among the better failed rock bands in England during the mid-'60s. Their peers, among the most talented group of the early British beat boom never to make it, included the Roulettes, the Chants, and the Cheynes. Favorites of the press and popular for their live shows, they somehow never managed to chart a record despite a lot of breaks that came their way, including a tour opening for the Beatles, top management representation, and a contract on EMI-Columbia. 

The group was formed in 1962 by guitarist/singers Stuart Leathwood and Roy Morris, drummer John Morris (who was quickly succeeded by Tony O'Reilly), and bassist Keith Ellis, all of whom were veterans of Liverpool bands such as the Thunderbeats and The Midnighters. The band, known at one point as the Kubas, did a three week engagement at the Star-Club in Hamburg in December 1963 and out of that built up a serious reputation as performers. 

They had a sound that was comparable to the Beatles, the Searchers, and the Mojos, as Liverpool exponents of American R'n'B with a strong yet lyrical attack on their guitars and convincing vocals. It wasn't until after Brian Epstein signed them a year later, however, that a recording contract (with Pye Records) came their way. 

They got one false start through an appearance in the movie Ferry Cross the Mersey, starring Gerry and the Pacemakers, playing one of the groups that loses a battle-of-the-bands contest, but the Koobas' footage ended up being dropped from the final cut of the film. Their debut single, "I Love Her" b/w "Magic Potion," failed to chart, as did its follow-up, despite the exposure the group received opening for the Beatles on their final British tour.

Coming off of those nine shows, the group was booked into the most prestigious clubs in London and started getting great press, but two more singles failed to dent the charts in 1965 and 1966. They jumped from Pye Records to EMI-Columbia in 1966, and continued to get good, highly visible gigs, including a January 1967 appearance with the Who and the Jimi Hendrix Experience at the Savile Theatre (owned by Brian Epstein), and a tour of Switzerland with Hendrix. 

The group's sound was a lean yet melodic brand of R'n'B-based rock 'n' roll, similar to the Beatles, though the Koobas didn't start to blossom as songwriters until fairly late, which may have been part of their problem. They recorded good-sounding and very entertaining songs, but somehow never connected with the right sound at the proper moment. 

By the middle of 1967, they'd altered their look and their sound, moving away from American-style R'n'B and toward psychedelia. The group members also began writing their own material, sometimes with help in the lyric department from their new manager, Tony Stratton-Smith. Their singles still utilized outside songwriters, however, and the group's best crack at the chart came early in 1968 when they recorded Cat Stevens' "The First Cut Is the Deepest," complete with heavy fuzz-tone guitar. Their single garnered some airplay but was eclipsed by P.P. Arnold's Top 20 version of the same song. 

Despite his best efforts, Stratton-Smith couldn't help the group overcome the failure of their last single. The quality of their gigs and the fees they were earning began declining, and their morale soon followed. By the end of 1968, the Koobas had agreed among themselves to go their separate ways. Ironically, the group's split coincided almost perfectly with Stratton-Smith's final effort on their behalf. Despite the failure of a succession of singles, EMI-Columbia agreed to let the band cut a long-player in late 1968. 

The group lasted just long enough to finish the album, Koobas, a mix of topical songwriting, psychedelia, R'n'B, and nostalgia that might've found an audience if only there had been a Koobas still together to tour behind it and promote the record in early 1969. Instead, by 1970 the album was already in the cut-out bins. Keith Ellis jumped to Van Der Graaf Generator and then Juicy Lucy (with whom he played on the major U.K. hit "Who Do You Love"), and later moved to Los Angeles. 

Stuart Leathwood became part of the duo Gary and Stu, with Gary Holton, and was later a member of the group March Hare. The Koobas' early work on Pye is effectively scattered over several CD releases, including Watch Your Step from Sequel Records. In the summer of 2000, Beat Goes On reissued their self-titled EMI-Columbia album with eight bonus tracks drawn from their early singles for the label, thus assembling their complete post-1966 work in one place for the first time. 

by Bruce Eder

Tracks
1. Royston Rose (Ellis, Morris) - 3:51
2. Where are the Friends? (Ellis, Leathwood) - 3:37
3. Constantly Changing (Ellis, Morris, Leathwood) - 2:44
4. Here's a Day (Ellis, Morris, Leathwood) - 3:10
5. Fade Forever (Ellis, Leathwood) - 2:59
6. Barricades (Ellis, Stratton-Smith, Leathwood) - 5:02
7. A Little Piece of My Heart (Blackwell, Scott) - 2:42
8. Glod Leaf Tree (Ellis) - 3:38
9. Mr. Claire (Leathwood) - 3:44
10.Circus (Ellis, Leathwood) - 5:42
11.Sweet Music - 2:40
12.Face - 2:32
13.Sally - 2:35
14.Champagne And Caviar - 2:28
15.Gypsy Fred - 3:03
16.City Girl - 2:26
17.First Cut is the Deepest - 3:05
18.Walking Out - 1:48

The Koobas
*Stuart Leathwood - Lead Vocals, Guitar
*Roy Morris - Guitar, Vocals
*Tony O'Reilly - Drums
*Keith Ellis - Bass

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Chillum - Chillum (1971 uk, sensational experimental heavy prog rock, with jazz projections, 2010 japan SHM remaster)

Chillum was one of the bands featured on the now famous Mushroom label, which has become one of the most collectable independent labels from the early seventies. The label's small release schedule, the originality of its artists and the diversity of their music, almost guarantee that vinyl collectors prize ownership of an original Mushroom issue for musical content and rarity alike. 

The label was founded by Vic Keary, who recorded most of its releases at London's Chalk Farm studios, where he worked as an engineer. It was Vic's vitality and enthusiasm that ensured bands like Chillum were released. The Chillum album (this is supposed to be the 3rd Secondhand album) has a tale or two behind its release. Secondhand had parted company with their guitarist and were involved in a seemingly fruitless search for a replacement. 

One prospective axeman was Tony McGill; his audition, held at the Chalk Farm studios, was fortunately recorded and it was during this session that he and the band formed such an instant rapport that Vic, taping everything as usual, just allowed the tape to run. Now we have a chance to hear the raw, unedited result of this first meeting with Tony as "Brain Strain ". 

After a break, another jam session took place - "Yes We Have No Pajamas ". The laughter that can be heard at the beginning of Chillum's "Land Of A Thousand Dreams " is attributable to a couple of young doctors from the nearby Royal Free Hospital, who wandered into the studios because they could hear the band from the Belmont Pub next door (now called The Engine Room), where they often went for a drink. 

This epic session extended into early morning hours, when drummer Kieran fell asleep after recording his drum solo. Vic recalls with obvious relish that breathing or snoring mightily, with headphones still clamped to his ears, Kieran's somnolent efforts were recorded and then played back to him, so he was able to double track for about three minutes in perfect sync while still asleep, thus providing the ending "percussion" track for "Land Of A Thousand Dreams ". 

The grunt at the very end represents engineer Vic's none too delicate wake up boot. Its this raw, as it happened, unrehearsed craziness that shines through the playing. Chillum's music has much of the originality and inventiveness these musicians brought to their releases, with unfamiliar time sequences and rhythm patterns on some of the tracks. 

The lengthy workouts and the live, unrestrained format allowed them free reign to experiment with the unusual in the informal atmosphere these sessions generated. The acoustic track "Promenade Des Anglais " was Tony's interpretation of a song Ken had written about a street in the south of France, where the band often played on tours. The bonus tracks "Fairy Tale" and "Celebration" were recordings made after the band returned from a further European tour; these were never released, as this line up split up shortly afterwards. "This Is Not Romance" was a recording made by Ken with just a Steinway grand piano, just before the main album was recorded. 

This song was never used on any other album. "Incubator" was a track created by engineer Mike Craig, using a Leslie-type speaker and on audio oscillator. The sleeve credits on the album deserve some explanation. The band and Vic decided to use pseudonyms, because a couple of their overseas distributors suggested they release a session featuring some famous London musicians, even if they played under assumed names. 

So, for the record, Ken became Elliot Ness, Kieran was Max Fish, George changed to Sticky Schmaltz and Tony, for no apparent reason, evolved into Buddy Cuddy. Engineers Vic and Mike Craig were not spared this evolutionary process and duly became Blind Joe Smith and Herr Von Tskutting. The distributor's reaction is unfortunately unknown. Chillum's album sleeve was produced "cottage style", after the first attempt was banned by Music Week. 

Taking the Beatles White Album as their influence, the band hand printed, painted and stickered each plain sleeve, using car aerosol spray, an old printing set and some rubber stamps. By mid 1972, the Mushroom label ceased to record and release albums. This was a tough time for Vic and his circle of close musician friends. It was with great sadness that he admitted defeat, forced to stop releasing a series of highly original albums that so closely reflected his love of music. But the musical force that was Ken Elliot drove Chillum & Secondhand onward. 

Lacking a label did nothing to stop the creative process and shortly after the final demise of Mushroom, Seventh Wave were born from the remains of the previous bands. They released two albums "Things To Come" and “PSI-FI"on the Gull label in 1974 and 1975.

Tracks
1. Introduction by Brain Surgeons from R.F. Hospitial - 0:16
2. Brain Strain - 21:42
3. Land Of A Thousand Dreams (Ken Elliott) - 1:19
4. Too Many Bananas (Kieran O'Connor) - 4:11
5. Yes! We Have No Pajamas - 10:33
6. Promenade Des Anglais (Ken Elliott) - 2:04
7. The Lone Commuter - 1:33
8. Three Bllind Mice - 1:45
9. Celebration - 6:05
10.This Is Not Romance - 5:12
All compositions by Ken Elliott, George Hart, Kieran O'Connor, Tony McGill except where indiacated

Chillum
*Ken Elliot - Keyboards, Vocals
*Tony McGill - Guitar
*George Hart - Bass
*Kieran O'Connor - Drums

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The Insect Trust - Hoboken Saturday Night (1970 us, amazing blues jazz folk psych)

So declares Nancy Jeffries, shareholder of the Insect Trust, which congealed in Memphis circa 1966 and melted away in Hoboken by 1971. Strictly speaking, "everybody" was a quintet. Jersey-born Jeffries was the singer, sucked into the Memphis scene after her first band secured a residency in Fayetteville, Arkansas, and abandoned their trek to San Francisco. There she met reed player/rock critic Robert Palmer and fell for Skip James rediscoverer and guitar acolyte Bill Barth. Soon Barth and Jeffries visited New York and wound up renting a place in the same cheap old Hoboken building occupied by Luke Faust, who joined them on banjo, fiddle, and harmonica after they all shared a brief fling with Peter Stampfel's Holy Modal Rounders. Back in came Palmer, who had moved north after college and was writing for a radio-financed freebie masterminded by the guy who later gave the world Lifestyles of the Rich and Famous. New Orleans-born saxophonist Trevor Koehler hooked up via a crazed Memphis beatnik they knew.

The quintet included at least two superb musicians: Barth, ranked by James biographer Stephen Calt with the devil man himself, and Gil Evans regular Koehler. But it did not include a rhythm section. This made it hard for them to play out, as did their tendency to traipse off to Tennessee. But it also threw them in with some unlikely sidemen. Drummer Buddy Saltzman, superbassist Chuck Rainey and rhythm guitarist Hugh McCracken, the hired hands on Capitol's 1968 The Insect Trust, were renowned studio cats who also backed, for instance, the Archies--which is less surprising when you learn that manager Steve Dubow came aboard straight from the Cowsills. 

The long-lost 1970 masterwork you've purchased is more ragtag; Joseph Macho and Charlie Macey, for instance, have passed into obscurity. But in addition to nonpareil r&b drummer Bernard "Pretty" Purdie (who's on the debut too), Atco reimbursed contributors including avant bassist William Folwell (Albert Ayler, Buddy Guy), pro bassist Bob Bushnell (Mickey & Silvia, Ian & Sylvia) and, on two tracks, Elvin Jones, the premier jazz drummer of our time.

In 1998 interviews posted by the Perfect Sound Forever netzine, Barth--amid claims that he was "never really a big Insect Trust fan" and that the project must have been a failure because its sole purpose was "making plenty of money"--hits paydirt: "I consciously tried to keep the musical ideas separate and distinct. Fusion music was beginning to happen in those days, and I personally regarded it as mush." Note that Barth assumes leadership of this band he didn't like, the one Jeffries just called "everybody's." Note that Jeffries has also recalled, "Bill was the leader because he was the biggest asshole." Compare Faust's analysis: "The band was a democracy--Bill was the leader but he was laid back." Then return to Barth's point. 

The Insect Trust did not make fusion music. They encompassed blues and old-timey and what was called folk-rock and plenty of jazz and, quiet as it's kept, bubblegum, too. But except for the bubblegum, submerged in the unobtrusive competence that underpins The Insect Trust and the quickened tune sense that sparks Hoboken Saturday Night, the ingredients didn't fuse into mush. They coexisted, strikingly in many of the best cases but always easily and naturally. This was pluralistic tolerance in action, at once traditionalist, futuristic and entranced with the here-and-now.

It was something else too--bohemian. Why else begin with a 35-second opening snatch composed by blind Manhattan street musician Louis "Moondog" Hardin, for decades a fixture in his Viking or Native American leathers at Sixth Avenue and 54th Street? "Be a hobo and go with me/From Hoboken to the sea," quaver Faust and Barth over Palmer's recorder obligato and somebody's bongos. Then Jeffries belts, drawls, swallows and surrounds the title credo about having fun because there's nothing better to do. The groove is solid if not quite in the pocket, with mild mayhem all around including more recorder. 

By the time her three minutes are up, Jeffreys is talking gibberish or speaking in tongues, only to right herself on the lovely lope of "Eyes of a New York Woman"--Bushnell-sounding bass line that never stumbles, harmonizing horns, wearily wistful recorder solo, literary lyric lifted from Thomas Pynchon's V. As a traveling man promises escape on the Barth-Jeffries "Ragtime Millionaire," the horns say hello New Orleans-style, with Palmer picking up his clarinet and Folwell and/or kibitzing beatnik buddy Warren Gardner tootling trumpet.

But the horns don't fully assert themselves till Koehler's "Somedays." An infectious Diddleybeat drives a garbled lyric that kind of begins "I can't ask why who knows when/Because it is and then again" and may or may not wonder whether "we're crazy." But it's the unison reeds that define the track's freneticism. Which--more yin and yang--is immediately corrected by William and Arloha Folwell's pastoral love song "Our Sister the Sun," where Jones's bish-bashing waltz time and bassist Folwell's spirit quest gently tether a clarinet-dominated outro that carries the tune past seven minutes on an album where only one other track exceeds 3:23. In 1970, that seemed a suitable farewell to side one, but on CD it leads to another gear switch: Faust's "Reciprocity," the catchiest, liveliest, silliest and nicest song on the record: "Woke up with this tune in my head/It said, 'You're dead.'" Faust disagrees, with horns and a second-line march to back him up.

The middle of the second side is where vinyl albums used to let up, and there is one dip, Jeffries' breathy rendition of a pretty Koehler tune that doesn't justify the grand title "Reincarnations." But before then, she has her proudest moment, the preemptively feminist/womanist "Trip on Me," where she unlooses her assertive voice, a loud mix of booze, smoke, brass and Middle Eastern scales, on lines like "Understand you're just another man/Everything you touch you don't have to own." "I've done all I can, I'm only human, I'm me," she abruptly concludes--only then once again there's a switch. 

Sprightly banjo-and-recorder that recalls Othar Turner's panpipe blues leads into Jeffries's sweet voice, the murmured lyric something about a train that ends with a reassuring, "Hold me tight, Daddy, everything is OK/I'll stay"--which segues immediately on the same track, into a Faust folk song about the assassination of James Garfield. Then the dip, and then, incredibly, the peak: a fully orchestrated version of a ditty about a play date involving spaceships written and initially sung by Koehler's six-ish son Glade. Banjo, hand drums, grownup duet, crazy unison horn section and Elvin Jones all work and play well with others to climax this joyously eccentric and intensely humanistic album. Yes, the literal ending is nearly six minutes of Koehler and Gardner's wonderful instrumental-plus-scat "Ducks." But it's a coda--a prequel to a sequel, a glimpse of a next that never came.

Anyone who wonders what the hippie '60s were like--or could be like, with the arrant nonsense and obsessive back-biting avoided or suppressed--can find out from this true collective. Not the Beatles or the Stones--they were different, bigger and often better, mass culture. Hoboken Saturday Night--like Have Moicy!, the later and smaller and more pastoral and perfect album Peter Stampfel helped actualize, and maybe the Dead's Aoxomoxoa or even Dylan's Basement Tapes--is subcultural. All involve folkies untouched by self-righteous sentimentality.

Three of the Insect Trust are not gone. Koehler--responsible for Moondog and Jones and "Glade Song," all decisive touches--committed suicide in 1976, a genius misfit to his unnecessary end. Palmer died of liver failure in 1997, a former New York Times staffer who left behind two important books (Deep Blues and Rock & Roll: An Unruly History) and much uncollected journalism and scholarship. Barth was painting in Amsterdam when a heart attack got him in 2000. 

Faust still lives in Hoboken, where he co-directs the Monroe Street Movement Space and teaches tai chi. "Surprised that in later life I was able to function," Jeffries became an a&r luminary, signing the likes of Suzanne Vega and Ziggy Marley before she lost her Elektra vice-presidency in 2000. Understandably, she's feeling disaffected. She thinks bands aren't in it for the music anymore. She's wrong--there are many more such now than in the '60s. But if any of them have a Hoboken Saturday Night in them, I wish they'd tell me about it.

by Robert Christgau

Tracks
1. Be A Hobo (Louis "Moondog" Hardin) - 0:35
2. Hoboken Saturday Night (Nancy Jeffries , Robert Palmer, Bill Barth) - 3:00
3. The Eyes Of A New York Woman (Jeff Ogden, Thomas Pynchon) - 3:08
4. Ragtime Millionaire (Nancy Jeffries, Bill Barth) - 3:20
5. Somedays (Trevor Koehler) - 2:47
6. Our Sister The Sun (Arloha Folwell, William Folwell) - 7:20
7. Reciprocity (Luke Faust) - 3:23
8. Trip On Me (Nancy Jeffries, Robert Palmer, Bill Barth) - 2:45
9.a. Now Then Sweet Man (Trevor Koehler)
b. Mr Garfield (Traditional arr. by Luke Faust) - 3:07
10.Reincarnations (Trevor Koehler) - 3:15
11.Glade Song (Luke Faust, Trevor Koehler) - 3:00
12.Ducks (Trevor Koehler, Warren Gardner) - 5:40

Musicians
*Nancy Jeffries  -  Vocals
*Robert Palmer  - Alto Saxophone, Clarinet, Recorder
*Trevor Koehler  - Baritone Saxophone, Soprano Saxophone, Piccolo Flute, Flute, Drum
*William Folwell - Bass
*Bob Bushnell- Bass
*Joseph Macho- Bass
*Charlie Macey  - Bass, Rhythm Guitar
*Bernard "Pretty" Purdie -Drums
*Charles Nealy -Drums
*Donald MacDonald -Drums
*Elvin Jones -Drums
*Bill Barth - Guitar, Steel Guitar
*Luke Faust - Harmonica, Banjo, Electric Guitar, Fiddle
*Hugh McCracken - Rhythm Guitar
*Ralph Casale- Rhythm Guitar
*William Folwell  - Trumpet
*Warren Gardner  - Trumpet

1968  The Insect Trust

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The Insect Trust - The Insect Trust (1968 us, superb jazzy blues folk psych)

Back in the '60s, most white blues fans trying to play the music took the approach of struggling to sound as serious and authentic as possible, and a big part of the charm of the Insect Trust's debut album is that, by accident or design, they went in an entirely different direction. 

While the Insect Trust were clearly and affectionately influenced by classic blues and folk, they were also eager to mess around with it, and Robert Palmer and Trevor Koehler's horns and woodwinds often throw this music into a loopy, atonal, and acid-infused direction while the loose, slightly rickety sound of Bill Barth and Luke Faust's guitars and banjos honors the styles found on vintage 78s just as their rock-oriented chops keep the results from sounding as if they spent much time actually learning the original riffs. 

Given the loose but insistent backporch funk of this music -- perhaps held in place by guest musicians Bernard Purdie, Hugh McCracken, and Chuck Rainey -- the sweet tone of Nancy Jeffries' vocals seems a bit out of place, but she never seems less than committed, and she gives "World War I Song" and "Declaration of Independence" a full-bodied reading that fits their meaning, if they don't sound especially "bluesy." 

And the final two cuts, "Mountain Song" and "Going Home," take off into a never-never land of pastoral avant-garde whimsy that exists in a world all its own. the Insect Trust refined their worldview on their second, last, and finest album, 1970's Hoboken Saturday Night, but their debut has more than its fair share of lovely moments and is an engaging example of roots music fans letting their freak flag fly with righteous joy. 

by Mark Deming

Tracks
1. The Skin Game - 4:07
2. Miss Fun City - 5:04
3. World War 1 Song - 3:18
4. Special Rider Blues - 7:45
5. Foggy River Bridge Fly - 1:07
6. Been Here And Gone So Soon - 3:29
7. Declaration Of Independence - 2:30
8. Walking On Nails - 3:12
9. Brighter Than Day - 2:31
10.Mountain Song - 2:49
11.Going Home - 5:10

Musicians
*Bill Barth - Electric, Steel, Bottleneck Guitar, Percussion
*Steve Duboff - Percussion,
*Luke Faust - Banjo, Guitar, Harmonica, Percussion, Vocals
*Nancy Jeffries - Percussion, Vocals
*Trevor Koehler - Upright Bass, Drums, Piano, Piccolo, Baritone Sax, String Arrangements, Wind
*Joe Mack - Bass
*Hugh McCracken - Guitar
*Bob Palmer - Alto , Soprano Recorder,  Clarinet,  Percussion,  Alto Sax, Wind
*Bernard "Pretty" Purdie - Drums
*Chuck Rainey - Bass
*Buddy Saltzman - Drums
*Buddy Southman - Drums

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Magic - Enclosed (1968-69 us, fabulous guitar psych rock with soul and sunny folk shades, Gear Fab release)

Enclosed was the title of Magic's debut album released in 1969, and this Gear Fab reissue by the same name includes the entirety of that debut, but also adds a 1968 single from the original lineup and songs from the 1971 sessions on Motown imprint Rare Earth that culminated in their second self-titled album, so it really can be considered the definitive document of the band. 

On the original single, the band leaned toward rock & roll that was very much informed by black music -- one side was a cover of the Otis Redding classic "That's How Strong My Love Is," the other a Duane King original that Sam & Dave could have easily torn into; in fact, Magic, and particularly its most talented songwriter, King, displayed an almost magic knack for penning songs that sound like lost Southern soul classics. 

King's lead vocals could be strikingly bluesy, and the band cooks throughout the album, moving from the loping country-rock & soul of the opening track "Keep on Movin' On" to the electric blues of "Who Am I to Say?" to the sunny country-rock of "California" to the Stax-styled ballad, "You Must Believe She's Gone." Stax is, in fact, a good reference point for the entire debut album. 

The rhythm section consistently locks into a transcendent groove, and Joey Murcia's fabulous guitar work is slightly busier than Steve Cropper's but approaches the work of that legend, with a proper grit to it that is never wasted. It is surprising that Magic never quite found a wider audience. 

The final track from the first album, "Sound of the Tears Is Silent," sounds as if it could have come from the pen of Smokey Robinson, and it leads perfectly into the band's subsequent stint on Motown's Rare Earth label. 

Most of the songs from that period that show up on the Gear Fab reissue, however, seem to veer closer to streamlinened, hard blues-rocking territory (with a couple of country-ish cuts) and are, as a result, not quite as appealing as the previous soulful material. Still, the early Magic songs alone make this a welcome reissue, especially for lovers of Stax and Southern soul music. 

by Stanton Swihart

Tracks
1.  Keep On Movin' On (Duane King) - 3:22
2.  Indian Sadie (Joey Murcia) - 3:57
3.  You Must Believe She's Gone (Duane King) - 4:04
4.  ETS Zero (Duane King) - 2:42
5.  Wake Up Girl (Duane King) - 2:35
6.  One Minus Two (Duane King) - 2:37
7.  Who Am I To Say? (Duane King) - 1:57
8.  I'll Just Play (Duane King, Joey Murcia) - 11:55  
9.  I Think I Love You (Duane King) - 2:38
10.That's How Strong My Love Is (Jamison) - 3:07
11.California  (Joey Murcia) - 2:51
12. Sound Of The Tears Is Silent (Duane King) - 2:59
13.I Do (Duane King) - 3:26
14.Hold Me Tight (Duane King) - 3:35
15.Compassion (Duane King) - 2:44
16.Be At Peace With Yourself (Duane King) - 3:23
17.Too Many People Starving (Joey Murcia) - 3:45

Magic
*Nick King - Bass, Backing Vocals
*Gary Harger - Drums
*Duane King - Guitar, Lead Vocals
*Joey Murcia - Lead Guitar
*Clyde Hamilton - Organ, Trumpet, Backing Vocals
*Paul Rankin -  Steel Guitar
*Mike Motz - Guitar

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Green Bullfrog - The Green Bullfrog Sessions (1971 uk, classic rock melted with hard blues)

Green Bullfrog - Do the names Speedy, Sleepy, Bevy, Sorry, Boots, Pinta, The Boss, The Vicar and Jordan mean anything to you? The Green Bullfrog sessions were originally released with many of the artists cloaked behind pseudonyms and consequently it sold 428 copies upon its original March 1971 Decca release.

Green Bullfrog was an album resulting from a one-off studio project and recorded between February and May 1970. The album was the idea of producer Derek Lawrence who assembled a group of musicians with whom he had worked in the 1960s. For contractual reasons, the musicians were billed under pseudonyms:Earl Jordan (a.k.a. 'Jordan'), Ritchie Blackmore ('Boots'), Albert Lee ('Pinta'), Big Jim Sullivan ('Boss'), Rod Alexander ('Vicar'), Chas Hodges ('Sleepy'), Tony Ashton ('Bevy'), Matthew Fisher ('Sorry') and Ian Paice ('Speedy'). Obviously the record is a highly sought after rarity.

How's about Ian Paice and Ritchie Blackmore ( Deep Purple, but you knew that ), Tony Ashton ( Ashton, Gardner and Dyke), Chas Hodges and Albert Lee ( Heads, Hands and Feet), Big Jim Sullivan (Tom Jones), Matt Fisher ( Procol Harum), Rod Alexander (JoDo) and Earl Jordan ( Les Humphries Singers)? Thought so - well, for some of them, anyway! This was a fantastic "once-off" blues/rock project put together by Derek Lawrence, who produced Deep Purple's first two albums and who was also working with Wishbone Ash at the time.

Legal constraints prohibited the various musicians from using their real names. The album was first released in 1971 in the US on Decca Records and later on in the UK on MCA Records in 1972. If you have a copy of the original MCA album, frame it and look after it - it's very sought after. It was released on CD,including this stunning cover of the Elias McDaniels classic,( rivaled only by Juicy Lucy's and Tucky Buzzard's versions! ) CD reissue, remixed at Abbey Road studios in London during 1991, re-produced by original producer Derek Lawrence. Originally engineered by Martin Birch; remastered by Peter Vince. A Connoisseur Collection 1991 re-release of the GREEN BULLFROG tapes, re-titled 'The Green Bullfrog sessions', added a further three previously unreleased tracks 'Ain't Nobody Home', 'Louisiana Man' and 'Who Do You Love' were included. Some of the original tracks were also extended and the running order was altered. If you like blues or rock music or are a fan of Blackmore, Deep Purple, Jim Sullivan or Albert Lee you really cannot afford not to hear this album.

The album itself was recorded live on a four track at Kingsway Recorders during two long sessions on April 20th and May 23rd 1970. One session not starting until the early hours of the morning as Blackmore and Paice had been doing a Purple gig earlier. The strings and horns were added on 4th January 1971 with Del Newman. Tracks wise it's a mix of old standards, a Derek Lawrence penned slow blues and the classic million miles an hour (uncredited due to contractual reasons) Blackmore instrumental 'Bullfrog'. Now, to me this is rock'n'roll of great people, listen with due attention, especially track "My Baby Left Me",where there is a duel between guitar-raising Lee & Blackmore, and see if I'm not right!

"Green Bullfrog" opens with the rock and roll stomp of 'My Baby Left Me' and from the very outset the energy and quality is top notch. Its not just the guitars of Blackmore, Lee and Sullivan that hog the limelight either as although this is certainly a 'guitar' album the ivory tinklers get their moments in the sun, as does the bass of Chas Hodges. Ian Paice of course holds the thing together and drives it all along in the way only he can. Vocalist Earl Jordan is no passenger either as he delivers some energetic raspy blues soaked vocals simply dripping in soul and feeling. Why the bloke isn't thought of more highly is beyond me. 'Makin Time' is a great blues rock stomper with a great riff whilst 'Lawdy Miss Clawdy' features some great rock and roll piano to compliment the guitar.

The instrumental 'Bullfrog' is for many the highlight of the album as Blackmore, Sullivan and Lee trade solos like gunslingers. This could be the fastest Blackmore has ever played. No lover of the guitar should miss out on hearing it as it is a truly wonderful peice of music. It has been featured on numerous Blackmore anthologies and retrospectives so shouldn't be difficult to track down even if the original album is nigh on impossible to find. Apparently Blackmore just started playing it when Lawrence suggested they needed an instrumental and Sullivan came in underneath and Lee on top in perfect harmony. It is almost like they are racing or duelling at times. With the swirling organ and driving rhythm of the drums you could certainly imagine it as a Purple track. It certainly deserves its place up there as one of the top Blackmore tracks. 'I Want You' is possibly the weakest track on the album but is still no back number.

A little slower than the majority of the album it still features some great riffy guitar with Blackmore sounding very like he did on the "Fireball" sessions. 'I'm A Free Man' has an almost soul motown feel to it in places in the vocal and Blackmore plays some great guitar again including a nice 'picked' Shuggie Otis type solo to which singer Jordan can be heard saying "thats mean Ritchie baby" before Blackmore launches into another fast rock solo. Absolutely brilliant stuff. Even with all the fantastic guitar on offer the personal highlight for me is 'Walk A Mile In My Shoes'. This is for me the definative version and really highlights Earl Jordan's vocal ability.

The guitar solos are a little more understated but still straight out of the top drawer. Paice's shuffle drumming is also vital to the overall feel of the song. The backing vocals are, for me anyway, the icing on the cake. Whenever I need cheering up on it goes and it never fails to do the trick. The final track 'Loving You Is Good For Me Baby' is a brooding blues from the pen of Derek Lawrence which I could imagine being recorded by Free. According to Lawrence he played the demo to Sullivan who complained "Oh no not another blues, lets make it interesting". He then played it in 17:9 time without anyone batting an eyelid.

A superb end to a truly wonderful album. I can't see why MCA would have sat on it for over a year but can find no definative proof one way or the other. One thing that is for certain though is that is didn't sell many copies. According to MCA it sold less than 500 copies and they have never recouped the $15,000 advance they gave Lawrence for the rights to it. Something which puzzled Lawrence as he claims that everyone he has ever met claims to have a copy !!

by Adamus67 

Tracks
1. Ain't Nobody Home (J. Ragavoy) - 4:16
2. Bullfrog (Lawrence) - 7:15
3. Walk A Mile In My Shoes (South) - 3:46
4. My Baby Left Me (Crudup) - 3:18
5. Makin' Time (Phillips, Pickett) - 3:00
6. Lawdy Miss Clawdy (Price) - 3:20
7. I'm A Free Man (Klingman) - 4:37
8. Lovin' You Is Good For Me Baby (Lawrence, Corlett, Hutton) - 4:54
9. I Want You (White) - 3:52
10.Louisiana Man (Doug Kershaw) - 4:11
11.Who Do You Love (Elias McDaniels) - 4:02

Musicians
*Rod Alexander - Guitar
*Tony Ashton - Keyboards
*Ritchie Blackmore - Guitar
*Matthew Fisher - Keyboards
*Charles "Chas" Hodges - Bass
*Earl Jordan - Vocals
*Albert Lee - Guitar
*Ian Paice - Drums
*Jim Sullivan - Guitar

Related Acts
1969  Ashton Gardner And Dyke
1970  Ashton, Gardner And Dyke - The Worst Of
1971  Ashton, Gardner and Dyke - Let It Roll / Live
1967-68  Remo Four - Smile
1964-66  The Creation - How Does It Feel To Feel  
1964-66  The Birds - Collectors' Guide To Rare British Birds

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Mystic Siva - Mystic Siva (1970 us, organ drivin' rough psych, World In Sound release)

Mystic Siva LP(privately pressed) is one of the most sought-after artifacts in the whole psychedelic rock arena! But back in 1970 Mystic Siva were just a bunch of Detroit teenagers messing around in their parents garage with a Hammond B3 organ and a wah wah pedal. Little did they know that that original copies of this album would one day change hands for thousands of dollars!

Tripped out fluid guitar and rippling keyboards envelop mystical acid lyrics. This legendary US '60s psych monster that under the right influences will destroy your head! Finally from the master tapes! Be blown away by the mind bending power of "Supernatural Mind" in a previously unheard clarity and is rare as hell.

Beyond these influences, it exudes a genuine originality and freshness palpable, the sound despite a touch amateur nevertheless something modern and besides if you back to the style of ...Do not believe as long as it is basically the draft: no, the beautiful parts of an organs that plays both the rhythmic, atmospheric solo and magnificent solos wha wha guitars are rather well developed and this is especially the battery enough suffering, just as the song catches up but it is by his side very deliberate. It seems to me that this album was recorded in one day, without doubt giving it a charming side "live". Finally, the group name and the garish orange cover with collage Hindu deities gives the object an unusual dimension worship?

We're talking about Mystic Siva, a group of Detroit in 1970 published one of the darkest album and searched for American psychedelia eaters. Imagining hallucinate Mark Heckert(14 years) playing his organ HammondB3 the inevitable influence of the first album by The Doors, to Thienel Art (15) setting the standard of musical development with its low bass, Al Tozzi (15) guitar tapping that way and shaping great psychedelic solos and Dave Mascarin (15 years) playing drums, singing, writing songs and coming up with all the graphic design the LP.

I can not understand how some kids his age were able to conceive a work of such magnitude that begins with the powerful 'Keeper Of The Keys', a topic that we trace where the shots go, with a strong base of organ, bass and drums, and the powerful solo Tozzi that seems endless. And lasts and lasts ... and I love ... wish it would not end. While other guitar creating overlaps below some interesting musical textures. And Mascarin ... that voice does not seem that of a 15 year old guy.

And the psychedelic we dive 'And When You Go', a quiet theme dominated by organ, guitar and a quiet voice Mascarin nostalgic. Quiet and relaxing, remembering what we did the two before she left which evokes serious "Thank you" Led Zeppelin 2.

And as usual we return to the party with 'Eyes Have Seen Me', whose powerful and catchy riff already part of my life. This time with the help Mascarin sings the chorus in a sentence and the ever present based organ-guitar-bass-drums. But here Tozzi guitar uses a more acidic, more in line with lysergic sounds Californians funky and splashed with bright guitar solos.

While reciting Mascarin things about her band plays and plays ... and recorded the entire album in one day. Upon completion of the subject suddenly entered the world with... 'Come On Closer'. No doubt Jim Morrison and his family are present in this excellent composition blues dyes that takes us to Venice Beach three years ago, when Jim & Cia released their powerful debut album. It is in details like 'Come On Closer' when it is clear the influence of a great band.

By the way, sublime finish. 'Sunshine Is Too Long' is a curious and beautiful percussion rhythm from the guitar and organs. Tozzi shines again, but now with less volume than the other times, with a single house brand. I do not know but that rhythm guitar with Jimi Hendrix reminds ... And we come to one of the high points on the album!

'Spinning A Spell', a lysergic composition acquires more power as they passed the minutes with its superb parts, saturated his guitar, his outbursts and volutes psyches. . The Doors, The Doors again ... but this time with the inclusion of a guitar solo, entering devastating, as an ax splitting a piece of wood. A single heavy psychedelia, that is. Great theme to close the first side of the album. 'Supernatural Mind' and gloomy start, and then lead to a sonic as pleasant.

The ogan Hammond Heckert does not stop, not for ... And in the chorus Mascarin pacesetter for Tozzi between overwhelming, devastating, devastating. I'm on my knees now to idolize it sounds: psychedelic, psychedelia and more psychedelic. Undoubtedly one of the best cuts on the plate.

'Find Out Why' is another quiet and melancholy theme to lie on the couch and remember those wonderful years. A bit of softness is not bad, listening organ development and interventions that support melody.

'Magic Luv', a real bomb with his crazy garage.. Mascarin comes out, like their colleagues. I shudder when I hear the skin macabre chorus, to make way for a blueseros acids and guitar riffs. Hypnotic and amazing subject.  'Touch The Sky' begins with a nice rhythm that leads to another one of Tozzi, this time also less volume, so we can appreciate the work of other musicians more clearly.

Album ends with one of the most developed compositions instrumentally: 'In A Room' The intro of the song is wild and improvised and really prepares us for what will come after, a cry of Mascarin resulting in something like a duck (maybe heard something Syd Barrett before), and then recite and recite with a strong foundation rhythmic background. To emphasize the perpetual Heckert organ in conjunction with Tozzi guitar. But let's not forget Thienel and low, that throughout the two instruments clothes disco star. And now howls ... Syd Barrett is present ... who are you?! Dismal end to a sublime album.

by Adamus67

Tracks
1. Keeper Of The Keys - 4:28
2. And When You Go - 4:50
3. Eyes Have Seen Me - 3:25
4. Come On Closer - 3:24
5. Sunshine Is Too Long - 3:13
6. Spinning A Spell - 3:26
7. Supernatural Mind - 4:16
8. Find Out Why - 5:40
9. Magic Luv - 3:24
10. Touch The Sky - 3:51
11. In A Room - 5:23

Mystic Siva
*Art Thienel - Bass, Vocals
*Dave Mascarin - Drums, Vocals
*Al Tozzi - Guitar
*Mark Heckert - Organ, Vocals

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Stray Dog - Fasten Your Seat Belts (1973 us, weighty hard rock with psych and blues touches)

Stray Dog started their journey in 1968 (under the name Aphrodite) Originally formed in Texas from there they moved to Denver, Colorado, they became very popular with the audience's in Denver, playing a southern blues-rock style and giggin' in the midwest led by veteran vocalist/guitarist William Garrett "Snuffy" Waldren, bassist/vocalist Alan Roberts and Randy Reeder on drums for five years.

While playing in a Denver club in 1973, Emerson, Lake and Palmer were also playing in town and so the story goes Greg Lake(or his manager)  Neville Chesters walked in the club and saw the band playing and signed them to ELP's newly formed label, Manticore. The deal was signed and part of the contract was that the band fly over to the U.K. as soon as possible and start recording. Drummer Randy Reeder stayed behind and was replaced by Lee Sampson who played with the proto-metal power trio, Noel Redding's Road.

Stray Dog's self-titled album was cut in a few short weeks in 1973 with Greg Lake producing the album as it was basically ignored by fans and critics called it mindless heavy metal. The band went on tour with ELP in Europe and the U.S. Thick, well oiled blues rock with a metallic groovey glam rock sheen with the Texas swagger of boogie similar to that of Bedlam, Tucky Buzzard and hard sonic sound of Neil Merryweather's Space Rangers. Proto- awesomeness!

There are some very bright spots here - ''Tramp'' has a wicked bass part non-stop thorughout and the drummer clearly could have played in most prog-bands of the time - but it is primarilly power-trio rock (bass, guitar, drums) built off a blues root. This song will rock your socks off and definately feels longer than 5:32.

''You Know'' suffers from a muddy recording but is essentially a continuation of power trio rock - with the constant movement in the bass line reminding me of the kind of stuff Thin Lizzy was up to on Bad Reputation.

"The Journey" is closest to what you may call proggy as it is more then 10 minutes long and goes through a number of changes musically speaking. The song is filled with instrumental hightlights - this band could really rock. For the most part - a song by song listing will continue to say the same thing - recording muddy, power trio rock - excellent [pick one or more: /bass/guitar/drums] part.

"Drive My Car" - the one by the Beatles! no less. Stray Dog put a groove on this song that is very cool and I enjoy it a lot. Sound/mix is not particularly good. Tramp/Dog's blues (live) This band could rock out a live joint.

In some ways this band reminds of Albert Lee, in others of T-Rex and yet other times Little Feat. In most ways this album is power-rock by talented (and poorly recorded) musicians. Unless I am missing something from the first 2 albums, Stray Dog is associated with prog music only due to their releation ship with ELP and particularly Greg Lake.

1974 saw the addition of Walden's long time friend Tim Dulaine who was with the Texas rockers Buckwheat Honey who added lead vocals and guitars with writing six songs for the band's new album, ''While You're Down There '' and also added session keyboardist Luis Cabaza. The album was recorded in L.A. at the Record Plant with Austin Godsey producing. With the personel changes and Snuffy Walden taking a back seat to Dulaine the result was more of a "commercial" sounding hard rock and the catchy hooks.

The band members went thier own way with Walden joining Free due to the incapicitation of Paul Kossof and worked with Kossoff in Back Street Crawler, Eric Burden and released some solo material and is now in the movie and T.V. business. Dulaine went onto a solo career.
by Adamus67

Tracks
1. How It Is (The Sacred Mix) - 2:30
2. Tramp (Fat 'n' Sassy Mix) - 5:32
3. You Know - 3:46
4. Crazy ('Bout To Lose My Mind Mix) - 5:12
5. The Journey - 10:33
6. Drive My Car - 3:24
7. Tramp (Live) - 7:13
8. Dog's Blues (Live) - 1:45

Stray Dog
*Alan Roberts - Bass, Vocals
*Leslie Sampson - Drums
*Snuffy Walden - Guitar, Vocals
with
*John Bundrick ('Rabbit') - Organ, Piano
*Mel Collins - Flute

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