On their third album Strong in the Sun (1973), the band took even bigger steps towards the mainstream. Matthew Fisher of Procol Harum produced, giving the duo a fuller, cleaner sound. It opens with a cover of Nick Drake's "Free Ride", surely one of the earliest Nick Drake covers and a bold step for 1973. Even so this is the most conventional of their three albums and apart from some beautiful songs it is sometimes their most mundane. In any event it did not bring the hoped for commerical breakthrough and Chrysalis lost interest in the band.
They returned to Dublin and split up. Sonny Condell subsequently enjoyed the more visible solo career and was a founder member of Scullion. O'Kelly played with Naima in the mid-70s and became a producer, working for the Irish branches of EMI and Polydor, before moving abroad again to live and work in Amsterdam and London.
Irish Rock
Tracks
1. Free Ride (Nick Drake) - 3:08
2. Whitestone Bridge (Condell) - 4:14
3. Teesside (Condell) - 3:55
4. Cinema (O'Kelly) - 4:41
5. Strong In The Sun (O'Kelly) - 3:40
6. The Wind Was High (O'Kelly) - 3:22
7. In The Morning (Condell) - 3:23
8. Love Lost (O'Kelly) - 3:19
9. Most magical (Condell) - 3:47
10.Fall Of Day (Condell) - 2:36
Tír na nÓg was a mellow hippy folk duo formed in Dublin by Sonny Condell and Leo O'Kelly in late 1969 or early 1970. They took their name from an island in pre-christian Irish mythology where people remained forever young. "Tír na nÓg" literally translates as "Land of the Young".
They met in the highly active folk club scene in Dublin in 1969. Sonny Condell, from Wicklow, had previously been in folky duo Tramcarr 88 who scored a minor Irish hit in 1968. In 1964, at the age of 14, Leo O'Kelly from Carlow began playing in a local showband called The Tropical Showband, before graduating in 1967 to psychedelic band The Word. In 1969 he began playing the folk clubs in Dublin and replaced Donal Lunny in the Emmet Spiceland with whom he toured in Britain, Europe and North America.
Although influenced by traditional music, the duo played modern acoustic folk music, becoming more rock-oriented over time. Both Condell and O'Kelly were strong songwriters and their songs (written separately) complemented each other well. While not obviously as touched by otherness as more adventurous Dublin contemporaries Dr. Strangely Strange, the songs are offbeat and unusual, always melodic but with playful deviations and an element of whimsy. They developed a unique, immediately recognisible approach in their early days, with judicious use of exotic instruments supplementing the basic two acoustic guitar format.
They travelled to London to try to secure a record deal and succeeded within 2 weeks, signing with Chrysalis Records, even though they'd already been turned down by parent label Island!
Between 1971 and 1974, Tír na nÓg released three albums on Chrysalis and gigged heavily in Britain and Europe, alternating between the small folk clubs and playing support in larger venues to bigger names such as Jethro Tull, ELP, Procol Harum (all on the Island/Chrysalis roster), The Who, Steeleye Span, and Hawkwind to name a few. The built up a devoted following in the UK and Ireland and had a strong supporter in BBC Radio's John Peel, but they never quite managed to breakthrough to a wider audience. There are moments of greatness spread across their three albums but they never quite made that one classic album.
The eponymous debut is their most acoustic album, featuring complex, intricate guitar playing. It was produced by legendary folk producer Bill Leader. It has been compared favourably to Pentangle, The Incredible String Band, Magna Carta, Fairport Convention and Fotheringay. The response to the album was encouraging -- it was Melody Maker's Album of The Month on its release
Irish-Rock
Tracks
1. Time Is Like A Promise (Sonny Condell) - 2:56
2. Mariner Blues (Condell) - 4:12
3. Daisy Lady (Leo O'Kelly) - 2:21
4. Tir Na Nog (O'Kelly) - 5:20
5. Aberdeen Angus (Condell) - 1:50
6. Looking Up (O'Kelly) - 4:51
7. Boat Song (O'Kelly) - 3:24
7. Our Love Will Not Decay (Condell) - 3:04
9. Hey Friend (Ray Dolan) - 3:01
10.Dance Of Years (Condell) - 3:50
11.Live A Day (Condell) - 3:04
12.Piccadilly (O'Kelly) - 5:35
13.Dante (Condell) - 2:56
Tir Na Nog
*Sonny Condell - Vocals, Guitar, Moroccan Pottery Drums, Tablas, Jews Harp
*Leo O'Kelly - Vocals, Guitar, Dulcimer, Electric Bass, Tin Whistle With
*Barry Dransfield – Fiddle
*Annie Crozier – Psaltery
Wide Open is a progressive rock milestone and a consummate example of underground psychedelic hard rock at its most inventive and powerful. As the title suggests, a free-flowing and expansive musical blending of rock, blues and jazz, and to leaven out the sound there’s a touch of acid folk thrown in for good measure.
It’s a very English-influenced sound but far from being a slavish copy of the overseas role model, the album bears a uniquely Australia flavour. It continues to be held as one of Australia ’s prime rock collectables, with original pressings of the album selling for as much as US$600.00 on eBay in recent years.
The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze (Tamam Shud) combine to stamp the record as a tour de force, where style, content, technique and sonic bearing meet in perfect equilibrium.
Furthermore, the whole shebang is held together by the restlessly exploratory bass lines of the great Bob Daisley (who later went on to a stellar international career with Rainbow, Ozzy Osbourne, Gary Moore, Uriah Heep, Chicken Shack – the list is endless!) and the muscular, yet agile drum patterns of Dannie Davidson (Tamam Shud, Band Of Light).
Is it any wonder then that all these elements add up to make Wide Open one of the most sought-after artefacts of the entire Aussie progressive rock era?
Reformation:
On the 17th July 2005 , Kahvas Jute, featuring new drummer Mark Marriott (an experienced session player), played a gig at famed Sydney venue The Basement which was filmed for future DVD release.
The set list that night featured six tracks from Wide Open, seven new songs, a cover of Cream’s ‘Politician’ plus an impromptu jam on the old Yardbirds number ‘The Nazz are Blue’ featuring guest vocalist Jimmy Barnes (5 of the audio tracks feature as bonus tracks on the CD reissue).
If anything, the gig showed the band to be better musicians than ever, with the added elements of experience and maturity shining through, while also managing to capture the Kahvas Jute sound to perfection.
Aztec Music’s reissue of Wide Open has been digitally remastered by Dennis Wilson. Packaged in our usual 6 panel digi-pak, with rare photos, and liner notes by Ian McFarlane.
Tracks
1. Free - 5:13
2. Odyssey - 3:59
3. Up There (T. Gaze, D. Davidson) - 2:49
4. She’s So Hard to Shake - 4:17
5. Vikings - 4:32
6. Steps of Time (D. Davidson) - 3:22
7. Twenty Three (T. Gaze) - 3:49
8. Ascend (Bob Daisley) - 3:11
9. Parade of Fools - 9:09
10.Politician (P. Brown, J. Bruce) - 6:43
11.She’s So Hard To Shake - 4:21
12.Ascend (Bob Daisley) - 1:47
13.Ascension (T. Gaze) - 1:46
14.Parade Of Fools - 11:04
All songs by Dennis Wilson except where noted
10-14 Bonus Tracks – Live at the Basement 2005
Emerging from the glut of Southern Californian rock groups in the mid-'60s, Things to Come formed in 1966. Their original lineup included lead singer Steve Runolfsson, drummer Russ Kunkel (who would go on to become a top sessionman), and bassist Bryan Garofalo (also a future sessionman and a member of Glenn Frey's band since 1982). The group cut only three singles in their brief lifetime;
This album is astounding Stones/Them influenced garage and dark psych, recorded 1965-'67. The set includes the impossibly rare 45 of "Sweetgina" b/w "Speak Of The Devil" as well as other lost, unreleased masterpieces.
Tracks
1. Sweetgina (Steve Runolfsson) - 2:59
2. Missisippi Dealer (L. Robinson) - 2:09
3. I Want Out (Steve Runolfsson) - 2:41
4. Your Down (Steve Runolfsson) - 2:30
5. Speak Of The Devil (Steve Runolfsson) - 2:41
6. Smokestack Lightning (Instrumental) (C. Burnett) - 2:20
7. Character Of Caruso (Steve Runolfsson) - 3:33
8. Tell Me Why (Bryan Garofalo) - 2:12
9. Tomorrow (Lynn Rominger) - 3:06
10. Pushin' Too Hard (Instrumental) (Sky Saxon) - 2:32
11. Show Me A Place (R. Kunkel) - 3:02
12. I'm A Man (Instrumental) (E. McDaniels) - 1:48
13. Home To You (R. Kunkel) - 2:08
14. Your Down (Instrumental) (Steve Runolfsson) - 2:28
15. Icicles On The Roof (Lynn Rominger) - 2:27
16. Sweetgina (Instrumental) (Steve Runolfsson) - 3:05
17. Behold Now Behemoth (Steve Runolfsson) - 4:05
18. Darkness (Steve Runolfsson) - 4:05
Things To Come
*Steve Runolfsson - Vocals
*Lynn Rominger - Guitar
*Bryan Garofalo - Bass
*Russ Kunkel - Drums
Released in 1974, Mammoth Special was Decameron’s follow up to Say Hello to the Band and saw the four-piece add another member, while pursuing a more progressive sound.
The title track sets the tone for this evolution, providing for a beefier, more dynamic outing than before, although the harmonising prevalent on the first album, reminiscent of American artists such as CSN and The Byrds, remains largely intact and even allows for an (almost) a cappella cover of Buffalo Springfield’s ‘Rock and Roll Woman’.
The baroque-tinged ‘Jan’ is a fine folky throwback, which, along with melodically haunting ‘The Stonehouse’ and the previously mentioned title track, is an album highlight. The infectiously quirky bonus track ‘Twinset and Pearls’ rounds Mammoth Special off nicely.
Tracks
1. Mammoth Special (Johnny Coppin) - 3:48
2. Rock And Roll Woman (Stephen Stills) - 2:13
3. Just Enough Like Home (Dave Bell) - 3:53
4. A Glimpse Of Me (Johnny Coppin, Dave Bell) - 2:43
5. Late On Lady Day (Johnny Coppin, Dave Bell) - 3:53
6. Breakdown Of The Song (Dave Bell) - 3:06
7. The Cheetah (Johnny Coppin, Dave Bell) - 4:57
8. Jan (Johnny Coppin, Dave Bell) - 3:10
9. The Stonehouse (Johnny Coppin, Dave Bell) - 4:30
10. Parade (Johnny Coppin, Dave Bell) - 5:05
11. The Empty Space - This Side Of Innocence (Johnny Coppin, Dave Bell) - 5:58
12. Twinset And Pearls (Johnny Coppin, Dave Bell) - 2:23
Mark Lindsay was a solo star at the same time he was in one of America's most successful rock 'n' roll bands. Lindsay managed his doubledipping on the charts as a member of Paul Revere And The Raiders. He sang lead and played saxophone on many of their 20-plus hits while also reeling off a string of his own chart records, including a Top 10 smash and three best-selling albums.
Paul Revere And The Raiders first played together in 1959 in Caldwell, Idaho, originally billing themselves as The Downbeats and specializing in rock 'n' roll instrumental. By 1960, they had their better-known name, although the emphasis was still on songs without words. They debuted on the tiny Gardena label, out of Southern California, with "Beatnick Sticks". It didn't hit, but their next single, "Like Long Hair" (Gardena 116), a snappy number based on Rachmaninoff's "Prelude In C-Sharp Minor", did better, moving into Billboard's Top 40 in the spring of 1961.
Despite cutting a now-rare album for Gardena, The Raiders were unable to build on their initial success. Things were made more difficult when Revere was drafted in the middle of '61 and the band decided to disband. By 1963, Revere and Lindsay were back together, again working as Paul Revere And The Raiders, and based in Portland, Oregon. The group cut a few singles for Seattle's Jerden label, but they failed to attract much attention on the part of radio programmers.
They did attract attention, however, from the talent scouts at Columbia Records and were signed to the label in 1963, debuting with a version of the muchrecorded "Louie, Louie" (Columbia 42814) that lost out to the million-selling take by The Kingsmen. They also didn't do well with a follow-up: "Louie - Go Home" (Columbia 43008), which came out in the summer of '64. After two more unsuccessful singles, the band finally got another national hit with "Steppin' Out" (Columbia 43375), a minor success in the late summer of 1965.
Already known for an energetic live show, the band suddenly became regular visitors to the Billbard singles and album charts with hits like "Kicks" (Columbia 43556), "Hungry" (Columbia 43678) and "Good Thing" (Columbia 43907), all featuring Lindsay's powerful vocals. They also benefited when Dick Clark, host of "American Bandstand", tapped The Raiders as regulars on his new TV program, "Where The Action Is", which debuted on ABC in June 1965. By 1969, Paul Revere And The Raiders were one of the country's most popular bands. If their record sales had cooled a bit, they still managed to hit the charts with regularity and were still hugely popular on the tour circuit.
Perhaps feeling restless, Lindsay began cutting solo records, although he remained in the band. He began working with Jerry Fuller, who had written hits for Ricky Nelson and produced huge records for Gary Puckett And The Union Gap and O.C. Smith. Lindsay debuted as a solo singer with "First Hymn From Grand Terrace" (Columbia 44875), a dramatic Jimmy Webb ballad that had been featured in the epic "Hymm From Grand Terrace" on Richard Harris' 'The Yard Went On Forever" album. It was a minor hit in the summer of 1969.
Lindsay would do better in early 70 with "Arizona" (Columbia 45037). Originally done in 1969 by the English group Family Dogg, as a follow-up to their chart record "Way Of Life", the emotional ballad was perfect for the Lindsay voice and delivery. It peaked in the Top 10 and spawned the "Arizona" album, which was on the charts for almost six months. It included Lindsay's first two hits along with "Miss America" (Columbia 45125), which was a Top 50 record in the spring of 1970.
"Silverbird" (Columbia 45125) was the title of Lindsay's fourth hit - a Top 30 record - and his second album, which was on the LP lists for almost three months. It also contained "And The Grass Won't Pay No Mind" (Columbia 45229), a Neil Diamond song that went Top 50 for Lindsay in the fall of 1971. "
Lindsay had three more minor hits in 1971: "Problem Child" (Columbia 452), "Been Too Long On The Road" (Columbia 45385) and "Are You " Old Enough" (Columbia 45462). He also did well with the album "You've Got A Friend".
In 1975 Lindsay left The Raiders to spend all his time on solo projects. He then rejoined a year later, in time to capitalize on the bicentennial celebrations that were interested in having the band perform in the colorful Revolutionary War uniforms they usually sported.
After the celebrations were over, Lindsay once again left the group, working as a producer for a while and singing on numerous commercials. Revere continued on the road, playing oldies shows with a revolving group of Raiders that is still a draw.
There are numerous Paul Revere And The Raiders collections on the market, but it's been a lot harder to find anything by the solo Lindsay. This package, drawing from his singles and that trio of Columbia albums, will rectify that situation. While he was a fine rock 'n' roll singer with The Raiders, Lindsay also demonstrated his way with more subdued and orchestrated material as a solo act. He was great at both, as this collection proves.
by Mark Marymont
Tracks
1. Arizona (Kenny Young) - 3:08
2. Something (George Harrison) - 2:43
3. Sunday Morning Coming Down (Kris Kristofferson) - 4:04
4. Love's Been Good to Me (Rod McKuen) - 3:23
5. Small Town Woman - 3:08
6. First Hymn from Grand Terrace - 2:31
7. Miss America (James Kelly) - 3:32
8. The Name of My Sorrow (Jimmy Webb) - 4:38
9. Leaving on a Jet Plane (John Denver) - 4:06
10.I'll Never Fall in Love Again - 3:06
11.Man from Houston (Mark Lindsay) - 3:04
12.Silver Bird (Kenny Young) - 3:03
13.We've Only Just Begun (Roger Nichols, P. Williams) - 2:10
14.So Hard to Leave You - 3:04
15.Bookends - 3:21
16.And the Grass Won't Pay No Mind (Neil Diamond) - 3:24
17.Medley: The Long and Winding Road/Yesterday - 3:14
18.Funny How Little Men Care - 3:11
19.Come Saturday Morning - 2:32
20.Feel the Warm - 2:51
21.Windy Wakefield - 3:15
The Electric Prunes' December 14, 1967 show from the Concert Hall in Stockholm, originally taped for broadcast on Swedish radio, fully restored and properly remastered. The result is the finest record ever released by this band, and maybe the best live album of the psychedelic era.
It was issued by a private label in England in a double-pocketed CD jacket with a beautifully illustrated booklet, complete with written reminiscences by the surviving members. The band's lineup is from their second album, Underground: James Lowe (lead vocals), Mark Tulin (bass, organ, vocals), Ken Williams (lead guitar), the late Mike Gannon (rhythm guitar, vocals), and Quint (drums). Calling them tight would be an understatement -- the band does a 45-minute set, parts of which ("Try Me On For Size," "You Never Had It Better") display long instrumental passages showing off Williams' prowess on the fuzz-tone guitar and Quint's powerful drumming to great effect; "I Had Too Much To Dream Tonight" is here, along with "Long Day's Flight" and "Get Me to the World On Time" and solid covers of "Got My Mojo Workin'" and "Smokestack Lightnin'."
This live show presents the group as much more of a garage-punk band than a psychedelic band, though they still traffic in the currency of the latter, including lots of distorted guitars and organ cadenzas -- the snarl and energy keep things moving, however. Twice as valuable as their Edsel hits compilation.
by Bruce Eder
Tracks
1. You Never Had It Better (Snagster, Schwartz, Poncher) - 3:49
2. I Had Too Much to Dream (Last Night) (Nancie Mantz, Annette Tucker) - 3:19
3. Try Me on for Size (Jill Jones, Annette Tucker) - 9:33
4. I Happen to Love You (Gerry Goffin, Carole King) - 4:05
5. I Got My Mojo Working (Preston Foster, Muddy Waters) - 6:42
6. Long Day's Flight (Til Tomorrow) (Weakley, Yorty) - 3:35
7. Smokestack Lightning (Howlin' Wolf) - 5:31
8. Get Me to the World on Time (Jill Jones, Annette Tucker) - 7:17
The Electric Prunes
*Michael "Quint" Fortune - Drums
*Mike Gannon - Guitar, Vocals
*Mark Tulin - Bass, Organ, Vocals
*Ken Williams - Guitar
*James Lowe - Lead Vocals
By 1974, and the release of our second LP Mammoth Special, Decameron had established itself as a very popular live contemporary folk band with regular tours of the UK, Holland, Belgium and Germany. A follow-up album Beyond The Days was recorded for the Mooncrest label but never released.
However manager Sandy Roberton then signed the band to Transatlantic Records and the album was re-worked in March 1975 with producer Tom Allom. Dave Bell remembers being on holiday in Cornwall when the band got a phone call saying the LP was to be released in September and they needed a new title. Dave said "Call it Third Light and set fire to it – the cover not the album!".
Third Light is still considered by the band and many of our fans to be our best album. It received a number of great reviews in the press and the Sunday Times critic Derek Jewell included it in his Top Ten albums of 1975. Many of the lyrics have been misconstrued over the years, but I consider that songs like Trapeze', "The Ungodly” and 'Journey's End' are some of the finest that Dave and I wrote together.
The album was promoted with tours of Holland and Belgium and a major UK tour in the autumn of 1975. Drummer Bob Critchley had joined the band and our single 'New Girl In School', released under the name of our alter ego, The Magnificent Mercury Brothers, had received a lot of airplay. Our fourth and final LP Tomorrow's Pantomime was recorded in April 1976, just a few months before we performed our final gig at Southsea on the 4th July.
I remember the album being recorded in a hurry and under a cloud of uncertainty about the future, but I still think it includes some of our strongest material. The title track was written on a terrible ferry crossing from Gothenburg to Amsterdam, while 'The Shadows On The Stairs' was finished on tour in Germany. 'So This Is God's Country' and 'Peace With Honour' were written in the wake of Nixon and Vietnam, and partly based on my brief experience of living in America a few years earlier.
by Johnny Coppin, June 1997
Decameron's first Transatlantic release was their third album, appropriately titled Third Light, and features the original line-up of Johnny Coppin, Dave Bell, Dik Cadbury, Geoff March and Al Fenn. The album contains nine original Coppin and Bell songs and their version of 'Morning Glory', by Tim Buckley, one of the band's singer-songwriter heroes.
Transatlantic released the follow- up Tomorrow's Pantomime in 1976 by which time the band had added drummer Bob Critchley. Seven of the ten songs from Tomorrow's Pantomime are included in this CD re-issue. Johnny Coppin now has a successful solo career as a singer-songwriter, having released several albums such as Force Of The River and A Country Christmas on his own label, Red Sky Records.
Dave Bell still writes songs and together with Al Fenn can still recall amazing details of Decameron's gigs. Dik Cadbury plays in various bands and has a phenomenal memory for all the band's vocal harmonies, while Geoff March, now a tree consultant and part-time cello player, admits to remembering very little! Decameron's music still lives on and in recent years they have re-united for a few-special one-off concerts. This is the first time these two albums have been re-issued on CD.
by Laurence Aston
Tracks 1975 Third Light
1. Rock And Roll Away (Bell) - 3.38
2. All The Best Wishes (Coppin, Bell) - 5.16
3. The Strawman (Bell) - 4.33
4. Saturday (Cadbury, Bell) - 3.01
5. Wide As The Years (Coppin, Bell) - 6.04
6. Journey's End (Bell, Coppin) - 4.41
7. Road To The Sea (Coppin, Bell) - 3.08
8. Trapeze (Coppin, Bell) - 4.52
9. The Ungodly (Bell, Coppin) - 4.08
10. Morning Glory (Buckley, Beckett) - 5.32
1976 Tomorrow's Pantomime
11. The Deal - 4.41
12. Fallen Over - 2.28
13. Ask Me Tomorrow - 5.14
14. Tomorrow's Pantomime - 4.37
15. The Shadows On The Stairs - 6.29
16. So This Is God's Country - 5.30
17. Peace With Honour - 3.20
Words and Music by Dave Bell and Johnny Coppin.
Decameron
*Dave Bell - Vocals, Acoustic, Electric Guitars, Bass Guitar, Percussion
*Dik Cadbury - Vocals, Bass Guitar, Violin, Viola, Lead Guitar, Acoustic Guitar
*Johnny Coppin - Vocals, Acoustic Guitar, Keyboards
*Al Fenn - Acoustic Guitar, Lead Guitar, Tiple, Bass Guitar
*Geoff March - Vocals, Cello, Keyboards, Psaltery
*John Halsey - Drums (Tracks 1-10)
*Bob Critchley - Drums (Tracks 11-17) With
*John Mealing - Organ (Tracks 5, 7)
*Mike Winfield - Cor Anglais (Track 4)
Decameron was the contemporary folk group formed by Johnny Coppin and Dave Bell back in 1969, who then, with the addition of Al Fenn and Geoff March, went professional in August 1971. The band were originally managed by Jasper Carrott and John Starkey, and their first album was "Say Hello To The Band" in 1973 on Vertigo Records.
Celebrated folk-rock svengali Sandy Roberton produced the album and at the end of recording he told the band he wanted to be their manager. At this point things moved up a gear – a recording deal with Mooncrest, tours in Holland, Germany and Belgium, bigger venues in the UK and the addition of another band member Dik Cadbury on bass. Bass player Dik Cadbury then joined the band and they went on to record 3 more albums, and tour the UK and Europe extensively before breaking up in 1976.
Tracks
1. Say Hello To The Band - 3:50
2. Byard's Leap - 7:27
3. Judith - 3:24
4. Innocent Sylvester Prime - 4:26
5. Crows - 5:00
6. The Moon's In 'A' - 4:39
7. Stoat's Grope - 2:30
8. Ride A Lame Pony - 5:22
9. Shine Away - 2:41
10.Friday Nignt At The Regal (B-Side 1973) - 3:01
Decameron
*Dave Bell - Guitar, Vocals
*John Coppin - Guitars, Vocals
*Al Fenn - Lead Guitar, Mandolin, Vocals
*Geoff March - Cello, Violin, Vocals With
*B.J. Cole - Dobro
*Andy Roberts - Dulcimer
*Ian Whiteman - Piano, Organ
*Pat Donaldson - Bass
*Timi Donald - Drums
Discovered by recording artist, producer and arranger H.B. Barnum and signed to his Mothers Records label in 1968, The Novells, an LA-based outfit, managed to release That Did It! and a couple of singles before calling it a day a year later.
Barnum, whose arrangement credits included work for Count Basie, Frank Sinatra, Etta James, The Supremes, The Temptations and Aretha Franklin, had clearly taken on more than he could chew with The Novells whose album, That Did It! was a nice blend of pop melodies and heavier rock -- not Barnum's thing at all, although he did manage to convince the band to do a cover of Otis Redding's 'Sitting On The Dock Of The Bay.
' There's also some tasty fuzz guitar on tracks such as 'Love' (a Lee Michaels cover) but the band seemed unable to decide on exactly what their musical identity was, as they were a passable pop group as well as a serious rock band and evidence of their ability to be both is found here in ample supply. This is a surprisingly good, with varied styles, thought worthy of investigation.
Tracks
1. Almost There - 2:59
2. Love - 3:13
3. Age of Innocence - 3:06
4. Glass House - 2:52
5. Sitting On the Dock of the Bay - 3:18
6. Pink Wallpaper - 2:41
7. Sunshine of Your Love - 3:30
8. Tomorrow's Yesterday - 2:37
9. Only You - 3:24
10.Can't Ya See It - 2:50
11.Time to Show Her - 3:27
The Novells
* Robert Archer - Vocals, Guitar, Keyboard, Fiddle,
* Ed Benson - Vocals, Guitar, Keyboard,
* Chip (Frederic) Moore - Vocals, Drums, Percussion, Xylophone,
