Deep in the brown burnt hills of Southern California, there is a place called Topanga Canyon. The people wholive there are mostly musicians who grew weary of the many harassments of our culture. Dedicated musicians who searched for and found a place where they could create their music in pace.
These Canyon Groups (as they have come to be known) are not neon hippies , but artists who have fled the music profession's hangers-on –al the phonies on the rock scene with their dubious talents and destructive ambitions. Here, in the serenity of Toppanga, the Canyon Groups hold festivals and concert! Where they learn from each other and grow.
Here, in the home they've made for themselves, they meet to exchange ideas in an atmosphere of tolerance and creativity. Here they have found tranquility and freedom of expression in a setting of flowers, trees and grass.
Of all the Canyon Groups, St. John Green is perhaps the most mystical both in the religious and philosophical sense. Each of their songs is intensely dramatic, intensely concerned with life and its mysteries. As arranger Mike Baxter explains: "In our environment we have experienced both good and evil.
Our concept of evil is constructed in our music in hopes that those who listen and understand might learn to enjoy the beauty that really exists. We have learned from the people of the Canyon that there’s no substitute for being individually free. This is reflected in our songs and explains why each is different from the other.
Perhaps the imagination, the fire and the Sheer artistry of St. John Green would have found its outlet in any setting. But those who know—those who have listened and understood and applauded these compelling, haunting songs like to think that the magic of the Canyon inspired the magic of St. John Green.
Tracks
1. 7th Generation Mutation (E. Bissot) - 3.19
2. Canyon Women (K. Fowley) - 3.01
3. Devil And The Sea (M. Baxter, V. Sambino) - 2.18
4. Do You Believe (E. Bissot) - 2.11
5. Help Me Close The Door (E. Bissot) - 1.02
6. Messages From The Dead (E. Bissot) - 4.09
7. Goddess Of Death (E. Bissot) - 2.25
8. St. John Green (K. Fowley) - 3.05
9. Spirit Of Now (M. Baxter, V. Sambino) - 2.33
10.Love Of Hate (E. Bissot) - 2.11
11.One Room Cemetary (K. Fowley) - 3.43
12.Shivers Of Pleasure (M. Baxter, E. Bissot, K. Fowley) - 3.19
St. John Green
*Ed Bissot - Bass, Vocals
*Vic Sabino - Harmonica, Vocals
*Bill Kirkland - Guitar
*Mike Baxter - Organ
*Shel Scott - Drums
Mandy Morton led much more the band away from the limitations in creativity of folk and even folkrock visions, but kept the whole typical linear heritage of England’s culture, with references to Renaissance and medieval times that brings an idea of magic, giving that way more colour and depth in background to the inspirations.
Sandy Roberton did the production. He produced before the early folk/folkrock albums of Steeleye Span. Especially on the opener “Dead Man’s Eyes” we can hear a comparable approach of an influence of folk mixed with a straight rock rhythm. The lush orchestrations on “All Before” by Robert Kirby* are comparable to some Sandy Denny tracks, while especially on the closing track, “Letter to a lady” the arrangements that confirm the old England blossoming days with bassoon and such, are most impressive.
Most arrangements are definitely making the best of a singer-songwriting vision, with tracks that have rather progressive or often crafted even at times with its own subtleness, heavy rocking arrangements. I must also mention how Mandy also has a beautiful coloured voice and singing and a personality and vision that give this album a masterly musically conceptual vision, which made this album an essential classic.
Tracks
1. Magic Lady - 2:28
2. Music Prince - 3:19
3. According to Mathew - 3:29
4. Little Inbetween - 1:35
5. Goodbye the Day - 4:25
6. Silence do the Rest - 3:00
7. The Lady - 3:12
8. White Ship - 2:44
9. Witchfinder - 3:41
10.Gypsy Glass - 3:48
11.Ghost of a Song - 2:59
12.Winter Storms (Bonus Track) - 2:58
13.Magic Lady Reprise - 0:52
Lyrics and Music by Mandy Morton
Mandy Morton And Spriguns
*Mandy Morton - Lead Vocals, Acoustic Guitar
*Tom Ling - Electric And Acoustic Violins, Harpsichord
*Byron Giles - Electric And Acoustic Guitars, Vocals
*Alex Cooper - Drums And Percussion
*Mike Morton - Bass Guitar Guest Musicians
*Tim Hart - Dulcimer, Vocals
*Graeme Taylor - Electric Guitar
*Gordon Folkard - Cello And Concertina
*Sarah Folkard - Viola
*Gaynor Roberts - Backing Vocals (On Track 2)
This is one of the long, lost psych gems that I thought would never ever be reissued! Saint Steven was Steven Cataldo, onetime member of Ultimate Spinach, one of the greatest of all-time psych bands, from Boston. This was one of those records that came out of nowhere, was played on FM radio a bit and then disappeared without a trace. It was ABC/Probe Records, the same label as Soft Machine's first album.
I've tried in vain to find out more about this gem, but have never seen anything about it anywhere until now, nearly forty years after it was released in 1969. Finally, here it is again with two bonus tracks and a lovely booklet explaining some of the mystery. Each side of the album was a suite, "Over the Hills" on side one and "The Bastich" on side two.
The cover features "Saint Steven" hugging his guitar floating up in the clouds as the sun radiates around him with a drawing of a sea monster slithering down at the edge of the ocean. No musicians were listed inside, just the producer, engineer and cover design folks. The lyrics were included and are quite poetic with the feeling of dread buried beneath some of the warmer imagery. 1969 was the year when it felt like the positive forces of the sixties were coming to an end.
The war in Vietnam and protests worldwide made things feels as if the world would end too soon. Each of these songs balances the innocent with the darker forces that we all must confront. Saint Steven uses his own mythical figures, "Gladacadova" and "Ay-Aye-Poe-Day", to add magic and mystery to his little tales. In the middle of "Poor Small", the song stops and we get an excerpt from one of the Presidential elections in which some old woman is reading the tally of states and hitting a gavel.
The song continues and so does the tally in the background, it still reminds me of sad realities of life that we try to escape from with music. Although the original album was rather short (about 29 minutes), it still worked as one entire piece, amazing from the beginning to the end. I can't compare it to any other bands, because it doesn't really sound like anyone else, although I do hear a bit of Spirit in some of those hypnotic sustained guitar parts."
by Bruce Lee Gallanter
Tracks
1. Over The Hills - 0:43
2. Animal Hall - 2:50
3. Gladacadova - 2:11
4. Over The Hills - 0:18
5. Poor Small - 2:41
6. Ay-Aye Poe Day - 3:22
7. Grey Skies - 2:51
8. Over The Hills - 1:28
9. Bastich I - 3:07
10.Voyage To Cleveland - 2:51
11.Sun In The Flame - 2:26
12.Bright Lights - 2:02
13.Louisiana Home - 2:51
14.Bastich II - 1:06
15.My Sunday Love (Bonustrack) - 2:57
16.Where Has The Time Gone To (Bonustrack) - 2:38
All songs by Steven Cataldo
Musicians
Steven Cataldo - Guitar, Vocals
Stephen Pinney - Drums (On Bonustracks)
Ian Bruce Douglas - 12string Guitar (On Bonustracks)
Barbara Vanderloop - Backing Vocals(On Bonustracks)
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
