Rising above any number of recently unearthed late-60s anglo-pop platters, the sole offering from small town Massachuesetts phenomenon Lazy Smoke is a cohesive, solid, classic album in every sense.
While bands like The Beatles and The Left Banke were singing about love, lament and hallucinated travel experiences, the songs on "Corridor Of Faces" get sincerely dark right away.
One of the biggest collectables of the late-80s. This record is good enough that it's become the shorthand everyone uses when describing any 60s record that's remotely hazy.
Tracks
1. All These Years - 3:28
2. How Was Your Day Last Night? - 1:51
3. Come With The Day - 2:49
4. Salty People - 4:39
5. Jackie-Marie - 2:58
6. Under Skys - 4:16
7. Sarah Saturday 2:47
8. There Was A Time - 2:01
9. Am I Wrong? - 3:37
10.How Did You Die? - 3:16
11.I Don't Need The Sun - 1:19
12.Changing The Time - 1:36
13.I Could Fall Asleep - 1:14
14.Wait Till You See - 2:57
15.Scarecrow - 2:08
16.All These Years - 2:46
17.Come With The Day - 2:15
18.Salty People - 3:16
19.Jackie-Marie - 2:56
20.There Was A Time - 1:38
21.Sarah Saturday - 2:14
22.Am I Wrong? - 3:24 Tracks 11-22 Unplugged Demos
Lazy Smoke
*John Pollano - Vocals, Guitar, Piano
*Ralph Mazzotta - Guitar, Vocals
*Bob Door - Bass
*John Villanucci - Piano
*Ray Charron - Drums
Out Of The Storm is Jack Bruce yet again taking a different path. No one can accuse this man of being redundant as he leaves behind the hard rock of Whatever Turns You On from his 1973 work with West, Bruce & Laing and takes on Steely Dan with a track like "Keep On Wondering."
The problem with West, Bruce & Laing is that they should have been the back-up band providing Jack Bruce the vehicle to express his artistry. "Keep It Down" would have been a tremendous track for WBL, and Lou Reed/Alice Cooper guitarist Steve Hunter provides the tasteful licks which Leslie West would've used a sledgehammer to find. The title track is real introspection with more "I" references than found on a page in a Marie Osmond autobiography.
Bruce uses the rock format to sing the poetry that he and long time collaborator Peter Brown have crafted here. When played next to his other albums, from Things We Like to Monkjack, as well as the aforementioned Leslie West collaborations, the indellible voice of Jack Bruce is found to belong, not to a chameleon, but to a true changeling. In an industry that resists change, his music evolves in relentless fashion, switching formats as efficiently and quickly as he switches record labels.
While Eric Clapton achieves the acclaim, it is Jack Bruce who delivers a novel and totally original title like "One" with a vocal that moves from cabaret to blues to soul. The man has one of the most powerful and identifiable rock & roll voices, and his body of work is overpowering. "One" has the drums of Jim Gordon and another venture into the Procul Harum sound Bruce has toyed with over various albums in different ways.
Out Of The Storm is another excellent chapter with Steve Hunter showing proficiency and remarkable restraint. Robin Trower, Mick Taylor, Leslie West, Eric Clapton and so many other guitar greats have put their sound next to Jack Bruce's voice, and this is Steve Hunter aiding and abetting, but not getting in the way of Bruce's creative pop/jazz.
by Joe Viglione
Tracks
1. Pieces Of Mind - 5:39
2. Golden Days - 5:14
3. Running Through Our Hands(Jack Bruce, Janet Godfrey) - 4:14
4. Keep On Wondering - 3:10
5. Keep It Down - 3:46
6. Into The Storm - 4:45
7. One - 5:03
8. Timeslip - 6:33
9. Pieces Of Mind - 3:34
10.Keep On Wondering - 3:15
11.Keep It Down - 4:26
12.Into The Storm - 5:42
13.One - 4:57
All lyrics written by Peter Brown, Music by Jack Bruce except where indicated
Musicians
*Jack Bruce - Bass Guitar, Piano, Clavinet, Vocals, Electric Piano, Organ, Harmonium, Harmonica
*Jim Gordon - Drums
*Jim Keltner - Drums
*Steve Hunter - Guitar
This is a very intriguing release from Alexander's (San Diego-Based) Timeless Bloozband. I picked up the record on the basis that it was mentioned in one of the early issues of the pioneering rock mag "Crawdaddy!" and was immediately drawn in by the fantastic cover art. Seriously, this has got to be one of my favorite record sleeves of all time. Great colors and a wonderful image of the sad-eyed lady in the wicker chair with the band's name spelled out in psychedelic letters-- "timeless", indeed!
With such a welcoming image, surely the tunes inside had to great, right?
Well, the music here does start off in fine fashion with a hard blues titled "Love So Strong", which apparently was the single though I don't think it ever charted. This winning number segues nicely into the album's real highlight, the jazzy "Horn Song", which musically is very much in line with what bands like The Electric Flag were doing at the time. (We'll call it psychedelic jazz blues, for lack of a better term.) The lyrics on this one are delivered at a rapid pace and contain a well-worded, anti-authoritarian message very much in line with the prevailing cynical mindset of your average 1968 street urchin. A fantastic song that would make great fodder for any forward-thinking late-60's compilationist.
At this point upon first hearing I thought maybe I'd unearthed a genuine lost classic, but regrettably the quality of the songwriting does drop a notch or two from here on, though the musicianship remains fantastic throughout. Instrumentally, their line-up consisted of a vocalist who I'm guessing also plays the blues harp and flute, lead guitar (very Mike Bloomfield-esque), electric piano, bass and drums. As mentioned previously, tight musicianship is the order of the day, and the album sounds as if it was recorded live in the studio.
For a good summation of what the Bloozband were about, one could use the song "Swanannoa Tunnel" which takes the traditional blues form and re-works it into something quite new (for its time) via haunting wordless backing vocals and rapid-fire drumming. There's even a bit of harp/ guitar duetting going on at the end here. Songwise, "Swanannoa" definitely seems like it may have been the band's on-stage highlight. Despite their moniker, the Bloozband were really better at this sort of psych/ jazz rock sound then they were at the straight blues stuff.
Much of the album's second side is unmemorable, though once again it bears mention that the playing here is quite fine. The drummer in particular impresses, while the weak link remains the vocalist, who while adequate on the mellower stuff veers close to embarrassing on the trio of blues howlers-- "Rosie", "Darlin'" and "Help Me".
Overall my high expectations for this record were somewhat met, but in the end the experience was a little lacking. Alexander's Timeless Bloozband were definitely a second-tier act in the face of such heavy competition as The Doors, Yardbirds or The Electric Flag (to name three bands similar in mood and approach). Yet nevertheless they were still a crack band who contributed one stone cold classic to the pantheon in "Horn Song". Therefore, I recommended For Sale to fans of the sixties' blues rock and psych, particularly if you can get the LP for cheap on the used market.
by Jasonbear
Tracks
1. Love So Strong - 2:17
2. Horn Song - 3:33
3. Plastic Is Organic - 2:37
4. Swannanoa Tunnel - 3:54
5. Rosie - 2:42
6. Front Man - 3:00
7. Tight Rope Walker - 3:24
8. Life - 3:30
9. Darlin' - 2:42
10.Help Me - 4:38
11.Firefly - 2:21
Alexander's Timeless Bloozband
*Charles Lamont
*Carl Lockhart
*Larry Marks
With a live version of "Crossroads" going Top 30 for Cream, Songs for a Tailor was released in 1969, showing many more sides of Jack Bruce. George Harrison (again using his L'Angelo Misterioso moniker) appears on the first track, "Never Tell Your Mother She's Out of Tune," though his guitar is not as prominent as the performance on "Badge."
The song is bass heavy with Colosseum members Dick Heckstall-Smith and Jon Hiseman providing a different flavor to what Bruce fans had become accustomed to. Hiseman drums on eight of the ten compositions, including "Theme From an Imaginary Western," the second track, and Jack Bruce's greatest hit that never charted. With "just" Chris Spedding on guitar and Jon Hiseman on drums, Bruce paints a masterpiece performing the bass, piano, organ, and vocals. The song is so significant it was covered by Mountain, Colosseum, and a Colosseum spin-off, Greenslade.
One has to keep in mind that the influential Blind Faith album was being recorded this same year (and according to the late Jimmy Miller, producer of that disc, Jack Bruce filled in for Rick Grech on some of the Blind Faith material). Bruce's omnipresence on the charts and in the studio gives the diversity on Songs for a Tailor that much more intrigue. "Tickets to Water Falls" and "Weird of Hermiston" feature the Hiseman/Spedding/Bruce trio, and though the wild abandon of Ginger Baker is replaced by Hiseman's jazz undercurrents, these are still basically two- to three-and-a-half-minute songs, not as extended as the material on Bruce's work on his John McLaughlin/Heckstall-Smith/Hiseman disc Things We Like recorded a year before this, but released two years after Songs for a Tailor in 1971. The history is important because this album is one of the most unique fusions of jazz with pop and contains less emphasis on the blues, a genre so essential to Bruce's career.
Indeed, "Theme From an Imaginary Western" is total pop. It is to Jack Bruce what "Midnight Rider" is to Greg Allman, a real defining moment. "Rope Ladder to the Moon" has that refreshing sparkle found on "Tickets to Water Falls" and "Weird of Hermiston," but Bruce has only John Marshall on drums and producer Felix Pappalardi adding some vocals while he provides cellos, vocals, guitar, piano, and bass. Side two goes back to the thick progressive sound of the first track on side one, and has a lot in common with another important album from this year, Janis Joplin's I Got Dem Ol' Kozmic Blues Again Mama!
Jack Bruce and Janis Joplin were two of the most familiar superstar voices on radio performing hard blues-pop. Joplin added horns to augment her expression the same time Jack Bruce was mixing saxes and trumpets to three tracks of this jazz/pop exploration. "He the Richmond" deviates from that, throwing a curve with Bruce on acoustic guitar, Pappalardi on percussion, and Marshall slipping in again on drums. But the short one minute and 44 second "Boston Ball Game, 1967" proves the point about the pop/jazz fusion succinctly and is a nice little burst of creativity.
"To Isengard" has Chris Spedding, Felix Pappalardi, and Jack Bruce on acoustic guitars, a dreamy folk tune until Hiseman's drums kick in on some freeform journey, Spedding's guitar sounding more like the group Roxy Music, which he would eventually join as a sideman, over the total jazz of the bass and drums. "The Clearout" has Spedding, Hiseman, and Bruce end the album with progressive pop slightly different from the other recordings here. As with 1971's Harmony Row, Peter Brown composed all the lyrics on Songs for a Tailor with Jack Bruce writing the music. A lyric sheet is enclosed and displays the serious nature of this project. It is picture perfect in construction, performance, and presentation.
by Joe Viglione
Tracks
1. Never Tell Your Mother She's Out Of Tune - 3:41
2. Theme For An Imaginary Western - 3:30
3. Tickets To Water Falls - 3:00
4. Weird Of Hermiston - 2:24
5. Rope Ladder To The Moon - 2:54
6. The Ministry Of Bag - 2:49
7. He The Richmond - 3:36
8. Boston Ball Game 1967 - 1:45
9. To Isengard - 5:28
10.The Clearout - 2:35
11.The Ministry Of Bag (Demo Version) - 3:47
12.Weird Of Hermiston (Alternate Mix) - 2:33
13.The Clearout (Alternate Mix) - 3:02
14.The Ministry Of Bag (Alternate Mix) - 2:54
All Lyrics written by Peter Brown, Music by Jack Bruce
Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy.
There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch.
Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak.
This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny.
This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even with its pretensions, is rock 'n' roll.
by Stephen Thomas Erlewine
Tracks
Disc one
1. Baba O'Riley - 5:01
2. Bargain - 5:33
3. Love Ain't For Keeping - 2:10
4. My Wife (John Entwistle)3:35
5. The Song Is Over - 6:17
6. Getting In Tune - 4:49
7. Going Mobile - 3:43
8. Behind Blue Eyes - 3:42
9. Won't Get Fooled Again - 8:35
10.Baby Don't You Do It (Longer Version) - 8:21
11.Getting In Tune - 6:36
12.Pure And Easy (Alternate Version) - 4:33
13.Love Ain't For Keeping (Electric Version, Townshend On Lead Vocals) - 4:06
14.Behind Blue Eyes (Alternate Version) - 3:30
15.Won't Get Fooled Again (Original New York Sessions Version) - 8:48
Disc two
1. Love Ain't For Keeping - 2:57
2. Pure and Easy - 6:00
3. Young Man Blues - 4:47
4. Time Is Passing - 3:59
5. Behind Blue Eyes - 4:49
6. I Don't Even Know Myself - 5:42
7. Too Much of Anything - 4:20
8. Getting in Tune - 6:42
9. Bargain - 5:46
10.Water - 8:19
11.My Generation - 2:58
12.Road Runner (Ellas McDaniel) - 3:14
13.Naked Eye - 6:21
14.Won't Get Fooled Again - 8:50
The Who
*Roger Daltrey – Lead Vocals, Harmonica
*Pete Townshend – Guitars, Organ, VCS3 And ARP Synthesiser, Backing Vocals, Piano, Vocals
*John Entwistle – Bass Guitar, Vocals, Piano
*Keith Moon – Drums, Percussion Additional Musicians
*Nicky Hopkins – Piano
*Dave Arbus – Violin
*Al Kooper – Organ
*Leslie West – Guitar
Many believe that all starts from a certain hit record by one of America’s pioneering and premiere ‘garage’ bands. Yes, it all kicked off with the raucous sound of ‘Louie Louie’ by The Kingsmen, a smash hit back in 1963. A combination of teenage angst and an insidious ‘hook line’ ensured the number would become a classic and inspiration to future generations of rockers.
The Kingsmen came from Portland, Oregon and were headed by singer Jack Ely and guitarist Mike Mitchell. ‘Louie Louie’ was their debut single, written by Richard Berry and recorded by him way back in 1957. The Kingsmen’s version got to Number 2 in the US chart and proved a Top 30 hit in the UK in 1964.
Although the group was the subject of internal dissent after their first big hit, they went on to enjoy more chart success with such songs as ‘Money’ and ‘The Jolly Green Giant’, both included on this 20 track compilation.
Tracks
1. Louie Louie - 2:46
2. Haunted Castle - 2:48
3. Money - 2:31
4. Little Latin Lupe Lu - 2:27
5. Death of an Angel - 2:35
6. The Jolly Green Giant - 1:59
7. Long Green - 2:39
8. The Climb - 2:32
9. Annie Fanny - 2:07
10.Trouble - 2:23
11.Killer Joe - 2:19
12.The Gamma Coochee - 2:11
13.Little Green Thing - 2:00
14.Little Sally Tease - 2:56
15.Give Her Lovin' - 1:48
16.The Wolf of Manhattan - 2:35
17.Long Tall Texan - 2:47
18.You Can't Sit Down - 3:01
19.New Orleans - 2:25
20.Let the Good Times Roll - 1:53
Mandrill’s first three albums were recorded at Jimi Hendrix’s Electric Lady Studios in New York’s Greenwich Village. Their reputation as a “World Music Group” and “Champions for Peace” began with their self-titled debut album, which contained the epic composition titled “Peace and Love.”
This amazing suite was performed by the group accompanied by the Symphony of the New World, an 80-piece orchestra, and a 200-voice chorus to a Standing Room Only audience at Philharmonic Hall in New York City.
Their sophomore release Mandrill Is contained the single “Get It All” and the cosmic anthem “Ape is High.” The third album, Composite Truth, released in 1973, propelled Mandrill’s popularity around the globe with their jam-heavy funk rhythms encapsulated in the song “Fencewalk.” Their freewheeling approach influenced peers such as Parliament-Funkadelic, Earth Wind & Fire and others.
As their popularity grew, so did their appearances on all of the major music TV shows. Mandrill performed on both of Don Kirshner’s series, In Concert and Rock Concert. On numerous occasions they appeared on Soul Train with Don Cornelius, Midnight Special with Wolfman Jack, Soul! with Ellis Haizlip and Like It Is with Gil Noble.
Tracks
1. Ape Is High - 5:32
2. Cohello - 1:50
3. Git It All - 4:30
4. Children Of The Sun - 5:00
5. I Refuse To Smile - 4:05
6. Universal Rhythms - 3:24
7. Lord Of The Golden Baboon - 3:33
8. Central Park - 4:05
9. Kofijahm - 3:25
10.Here Today Gone Tomorrow - 4:30
11.The Sun Must Go Down - 3:17
All Songs written and arranged by Mandrill
Graham's second effort, a trip between counrty rock to folk and back to classic forms, Prison song is one of these songs that sticks in your mind and absorb it like the earth smack every drop of the rain, this song was one of my favorites that time and even now gives me the same gentle sentiments.
Graham Nash is from a unique era of singer songwriters who created an amazing musical legacy. This album is a fine example of the closing period of that special era and well worth investigating.
Tracks
1. Wild Tales – 2:18
2. Hey You (Looking At The Moon) – 2:14
3. Prison Song – 3:10
4. You'll Never Be The Same – 2:48
5. And So It Goes – 4:48
6. Grave Concern – 2:45
7. Oh! Camil (The Winter Soldier) – 2:51
8. I Miss You – 3:04
9. On The Line – 2:35
10.Another Sleep Song – 4:43
All Tracks composed by Graham Nash
Musicians
*Graham Nash - Acoustic, Electric Rhythm Guitar, Electric Piano, Harmonica, Vocals
*Johnny Barbata - Drums
*Joel Bernstein - Acoustic Guitar
*David Crosby - Vocals
*Tim Drummond - Bass
*Harry Halex - Electric Piano, Acoustic Guitar
*Ben Keith - Pedal Steel Guitar, Dobro
*David Lindley - Electric Slide Guitar, Mandolin
*David Mason - Twelve String Guitar
*Joni Mitchell - Vocal
*Joe Yankee (aka Neil Young) - Acoustic Piano
Bridge materialized in April 1971 consisting of three accomplished musicians: Francis and John Webster and Tony Lecaillon. The Webster brothers have been performing together since 1964 when they started a group called "The Marcatos". In 1967 they moved to Toronto where they joined forces with Tony and reorganized "The Marcatos" into a seven-piece group. In 1969 the group recorded an album at Sound Canada.
The album, entitled David, contained nine original tunes and two commercial tunes, (Hey Jude and House of the Rising Sun), and was played frequently on CHUM FM and other stations. The following Spring Francis and John moved to their farm in the Georgian Bay area where they began cultivating original material and sounds, playing in local churches and nightclubs with great success.
Meanwhile, Tony travelled around England (his native land), and Europe, to open his ears and eyes to the scene there. Francis, John and Tony rejoined last year to produce a unique combination of country, folk, jazz and rock, with original lyrics and music. Bridge answer the question, for anyone who wishes to know, what happened to the Canadian band David after their lone record on Sound Canada in the late 60s.
Guitarist Francis Webster, bassist John Webster, and drummer Tony Lecaillon from David make up Bridge who recorded this ultra obscure and rare record at the same Sound Canada studios in 1971. Next to each song is a brief description of the musical genre of each ranging from "Ego Trip" to "Country" to "jazz shuffle."
What this album is differs drastically from what you'd expect from David.The best way to describe Bridge's album would be "Sweetheart Of The Rodeo" on tons of acid! There is no fuzz guitar, but a clean west coast shimmering tone on all tracks, bizarre vocal effects on ; the tripped out "It's My Life" and plenty of weirdness present for the whole album.
The tracks that are labelled "Country" all have a strange bent to them . despite being early back-to-the- roots country rock influenced by Graham Parsons and "real" country artists like Hank Williams. The long "Ego Trip" version of Little Richard's "You're My Girl" is great fun and the only good version I've heard of one of his songs.
There is something here very enjoyable for anyone looking for a bizarre i twisted record of fun music, especially "Brand New Day" with echoes of Spirit and a bit of Freeborne. Very rare and a good one.
by Ben Blake Mitchner
Tracks
1. I Had It But I Lost It - 2:33
2. It's My Life - 3:07
3. Ain't My Day - 3:18
4. Simple Blues Form - 3:18
5. Running Away - 2:28
6. Brand New Day - 4:48
7. You're My Girl - 9:45
8. Born To The Country - 4:12
9. Barnyard - 3:56
Mandrill may have been too good for their own good. The heart of the band were the Wilson brothers - Louis "Sweet Lou", Richard "Dr. Ric" and Carlos "Mad Dog" – who created a tasty blend of soul, blues, rock, Afro-Latin elements and jazz. It was a strongly danceable sound, but the band's often complex rhythms and lengthy solos didn't lend themselves to easily cutting a piece down to a shorter version for radio exposure. Nonetheless.
Mandrill created some great music during their decade or so of playing and writing. While the Wilsons were the clear creative force, they were ably assisted by Omar Mesa, Claude "Coffee" Cave. Charlie Padro and Bundie Cenac. Between them, they played more than 20 instruments. The Wilsons were in high school in Brooklyn. New York, when they joined the school band. After they got more proficient on their instruments, the three brothers began to play in small clubs around their neighborhood until they were drafted into the military in the '60s. One Wilson, Ric also attended medical school and v/as one of the few physicians to divide his time between medicine and music.
After meeting their military obligations, the Wilsons got more serious about their music. Placing an ad for other players in New York's "Village Voice", they got more than 200 responses. They included guitarist Mesa and the other members of the original 1968 line-up. Most of the players were experienced musicians with diverse backgrounds and musical interests that helped define the varied sound of what the Wilsons decided to call Mandrill. By 1971. Mandrill was signed to Polydor Records. Their debut album, "Mandrill" (Polydor 4050), was released in early 71.
While the album was a Top 50 seller, singles taken from it didn't sell. Things looked up with "Mandrill Is" (Polydor 5025), which came out in the spring of 1972. It sold well and so did the single "Get It AH" (Polydor 14142). which moved into the Billboard rhythm and blues Top 40 in the fall of 72. Mandrill had their biggest hit in the spring of 1973 with "Fencewalk" (Polydor 14163), a Top 30 R&B single that just missed the pop Top 50. "Composite Truth" (Polydor 5043), which spawned "Fencewalk", was a Top 30 album and would be their biggest-selling release. It also contained another hit in the Top 30 "Hang
Loose" (Polydor 14187).
Their record sales resulted in a busy touring schedule, which was fine with the guys in the band. In a 1973 interview Ric Wilson said they wanted to stay as busy as possible. Added Carlos, "Our music is for the people. If we don't keep playing we lose touch." Mandrill proved they were still in touch with a fourth best-selling album - "Just Outside Of Town" (Polydor 5059) - in the fall of 73. It contained two popular singles: "Mango Meat" (Polydor 14200) and "Love Song" (Polydor 14214). In 1974 they did better on the singles charts, especially with "Positive Thing" (Polydor 14235), which went Top 30 on the R&B charts.
While times had changed for Mandrill, when they were at their peak the band produced a tasty melange of styles that may have been a challenge for radio programmers. But anyone who saw them live or heard their albums got the message to their music. This collection of some of their best work shows how good they were.
by Mark Marymont
Tracks
1. Mandrill - 4:20
2. Warning Blues - 4:33
3. Symphonic Revolution - 5:22
4. Rollin' On - 7:41
5. Peace And Love (Amani Na Mapenzi) Movement I (Birth) - 1:50
6. Peace And Love (Amani Na Mapenzi) Movement II (Now) - 1:45
7. Peace And Love (Amani Na Mapenzi) Movement III (Time) - 2:15
8. Peace And Love (Amani Na Mapenzi) Movement IV (Encounter) - 6:05
9. Peace And Love (Amani Na Mapenzi) Movement V (Beginning) - 2:05
10.Chutney - 3:07
