Although Freedom Highway played a lot of live shows in the late '60s around the San Francisco area, the band never put out any recordings while it was active, like many groups from the region.
They did record sessions in 1968 and 1969 that surfaced on the 2002 archival release Made in '68, which shows Freedom Highway to be a competent if non-trailblazing band in the main current of San Francisco psychedelic rock, perhaps most akin to Moby Grape of the well-known groups in the genre.
After they disbanded, several members continued to tour the Bay Area minor leagues, with bassist-singer David Schallock playing with the post-Janis Joplin Big Brother and the Holding Company, David Bromberg, and the Sons of Champlin; guitarist/singer Gary Philippet playing with Copperhead, Earthquake, and Greg Kihn; and drummer/singer Bruce Brymer playing with Melton, Levy and the Dey Bros. and the Ducks.
by Richie Unterberger
Tracks
1. Chico (Smoke El Ropo) - 5:33
2. Give - 7:56
3. Don't Look Back - 4:55
4. The Waltz For Prime Tunas - 4:45
5. New Connections - 6:33
6. Heaven Train - 2:32
7. Loretta - 5:54
8. Real Eyes - 5:04
9. Head In The Fire - 4:29
10.Be My Friend - 4:46
11.Lack And White - 3:34
12.Reese Returns - 3:41
13.Spirit Passing 'Round - 2:30
The Vejtables were one such great band from the San Francisco area, and had their discs received more promotion, they surely would have attained widespread commercial success. "Feel . . . The Vejtables" features every inch of material this mighty fine band ever recorded, including previously unreleased tracks.
People talk about how influential and innovative San Francisco acts like the Jefferson Airplane and the Grateful Dead were, but here's a band that deserves just as much acclaim. Each song on the anthology possesses its own unique twist, augmented by generous samplings of hallucinogenic handiwork.
Right from the start, the Vejtables attracted attention and were signed to the local Autumn label, which also employed the Beau Brummels. The band's debut single, "I Still Love You," favorably paired bouncy Merseybeat curves with crisp and crackling folk rock overtones. A regional hit, the catchy tune resembled a razor sharp hybrid of the Beatles and the Beau Brummels, fronted by a top-dollar female vocalist, Jan Errico. Chiming twelve-string guitars and billowy harmonies were indeed an integral part of the band's repertoire. However, the flipside of this single showed a completely different side of the band. Somewhat dark and disturbing, "Anything," contained a haunting refrain and an unusual arrangement, bleached with an embryonic psychedelic complexion.
The band's second effort, an enthused cover of Tom Paxton's "The Last Thing On My Mind" resonants with cool and confident folk pop moves, while "Mansion Of Tears" provides an absolutely emotive vocal performance and air-tight musicianship.
1966 was a transitional year for the Vejtables. To begin with, Autumn Records ceased to be and Jan left the fold to join the Mojo Men, another red hot San Francisco band. Upon losing Jan and their contract with the Autumn label, the Vejtables basically deserted their folk pop roots and simply got better and better. Imagination reigned and trippy raga rock aspirations pierced a good deal of their ensuing ventures. Pressed on Uptown Records, the powerful "Hide Yourself" explodes to a rush of rattlesnake sitar sensations and the comparably energetic "Feel The Music" cleverly blends wiggy Lovin' Spoonful styled jugband beats with a dollop of wicked acid-salted guitar atomics. Both these numbers are undeniably phenomenal and are best described as the missing link between snarling garage punk and jamming hippy rock.
In 1967, the Vejtables switched their handle to the Book of Changes and gifted with the Tower label with a groovy single. Shaped of a snappy bubblegum pitch and goofy lyrics, "I Stole The Goodyear Blimp" echoed a tougher version of the Royal Guardsmen and was backed by "Suddenly I'm Desperately In Love," which was packaged in bluesy country rock wear and was similar to the kind of stuff the Grateful Dead and Moby Grape were linked with. As far as the previously unissued cuts go, "Smile, Smile, Smile" sits as a gorgeously melodic slice of lightly battered psychedelic folk rock, while "Rearrange Yourself" and "Time and A Place" sizzle to the core with hard driving rhythms and bold hooks you won't soon forget.
In view of "Feel . . . The Vejtables," the band was equally as capable of playing underground rock as they were mainstream pop music. A pity they didn't stick around longer and realize their full potential. The musicians in the Vejtables may not be as immediately recognizable as Jerry Garcia or Grace Slick, but it is important to mention that a few of them performed in other worthy bands. For instance, Rick Dey was a member of the Wilde Knights from the Pacific Northwest. He also wrote "Just Like Me," which was of course a hit single for Paul Revere and the Raiders.
After exiting the Vejtables in 1966, Jim Sawyers landed a job with the Syndicate of Sound, while Richard Fortunato held a role in the Los Angeles based Preachers, a band garage rock junkies certainly need no introduction to. Yes, the Vejtables were a classy lot and this record is a testimony to their genius!
by Beverly Paterson
Tracks
1. Anything - 1:58
2. I Still Love You - 2:23
3. Mansion Of Tears - 2:20
4. The Last Thing On My Mind - 2:30
5. Smile, Smile, Smile - 1:58
6. Cold Dreary Morning - 2:12
7. I Still Love You (Alternate Version) - 2:18
8. Feel The Music - 2:53
9. Shadows - 3:12
10.Better Rearrange - 2:17
11.Good Times - 3:30
12.Time And Place - 3:48
13.Suddenly I'm Desperately In Love - 2:10
14.I Stole The Goodyear Blimp - 2:20
15.Hide Yourself - 2:49
16.Good Things Are Happening - 2:49
17.Hide Yourself (Alternate Instrumental Take) - 4:03
Formed in 1966, this Long Island, New York band was born right on the cusp of the burgeoning psychedelic scene, and their razzle dazzle music reflects such an environment. Everything you always wanted to know about Bohemian Vendetta can be heard here. A complete collection, Enough contains acetates, singles, and the group’s solitary self-titled full-length album that came out in 1968 on the Mainstream label.
In their infancy, the band cocked their ears towards torn and frayed white boy blues. The raw and scratchy feel of “Like Stoned” owes a growl and a grunt to the Pretty Things, and the hormone-charged bite of “Irresistible” could pass as a Shadows of Knights number. But as time marched on, Bohemian Vendetta, who were initially billed as the Bohemians, found their own niche, and what a cool niche it was.
Aside from covers of the Animals’ “House Of The Rising Sun” and the Rolling Stones’ “I Can’t Get No Satisfaction,” which are both performed in a slow, sleepy and crushingly heavy mode, Bohemian Vendetta wrote original material, giving them an edge over and above the competition. Teeming with color and creativity, the band’s songs were cleverly engineered and executed with gusto.
Groovy fuzz guitars, compounded by spiffy organ passages light the fire torching the tunes on Enough, while charismatic vocals, rippling with animation and excitement, nimbly rope together snotty garage rock inflections with shades of swinging of soul power and lysergic laced kookiness. Bohemian Vendetta further flaunted a forte for plunging brawny hooks and clutching choruses into their wares, with “I Wanna Touch Your Heart,” “Enough” and “Love Can Make Your Mind Go Wild” denoting what good pop sensibilities they harbored.
Basically a poetry reading set to dark and distressing music, “Deaf, Dumb & Blind” stages a swell Doors imitation, the weird and wacky “Paradox City” curls and coils to the beat of esoteric lyrics and stabbing breaks, and the carnal hunger of “(She Always Gives Me) Pleasure” pushes and grinds with slaving hard rocking rhythms. Devised of sweeping melodies and neat organ drills, “All Kinds Of Highs” is another pick to click on the record.
Quick, tight jams additionally personified the songs of Bohemian Vendetta. Had the band continued on, they probably would have pursued the progressive bent often tinting their efforts. But it was sadly not to be, as they dismantled shortly after “Bohemian Vendetta” arrived on the shelves. Throbbing and bobbing with freaky, funky and fun sounds, Enough (Distortions Records) celebrates a band whose psychedelic punk rock affairs were definitely in order.
by Beverly Paterson
Tracks
1. Like Stoned -2:47
2. Irresistable - 2:53
3. All Kinds Of Lows And All Kinds Of Highs - 2:21
4. I Don't Go That Way - 2:21
5. How Does It Feel - 2:55
6. Enough - 2:45
7. Half The Time - 2:43
8. I Wanna Touch Your Heart - 2:27
9. Images - 1:55
10.Charity Killjoy - 2:33 -
11.House Of The Rising Sun (Tradtional Arr. By B. Cooke, Tony Sarafino) - 5:45
12.Riddles And Fairytales - 2:57
13.(She Always Gives Me) Pleasure - 4:15
14.All Kinds Of Highs - 3:43
15.Satisfaction (Jagger, Richards) - 5:25
16.Paradox City - 2:17
17.Love Can Make Your Mind Go Wild - 2:47
18.House Of The Rising Sun (Tradtional Arr. By B. Cooke, Tony Sarafino) - 5:27
19.Images (Shadow In The Night) - 1:55
20.Deaf, Dumb And Blind - 3:33
21.I Wanna Touch Your Heart - 2:33
22.Riddles And Fairytales (45 Version) - 2:42
All compositions by Tony Camp and Brian Cooke except where noted.
Recorded when legendary Chicago blues harpist Walter 'Shakey' Horton visited the UK in 1968, Southern Comfort is a superb showcase for his talents, as well as those of bassist Jerome Arnold (the Butterfield Blues Band), drummer Jessie C. Lewis (Otis Rush) and trailblazing guitarist Martin Stone (Savoy Brown and Mighty Baby).
Though mostly a superb blues set, however, it's best-known today for the epic closing track - one of the most mind-blowing psychedelic workouts ever recorded.
"Whilst still with Mighty Baby, Martin Stone recorded a rare album called Southern Comfort with American blues harmonica player Walter 'Shakey' Horton, which is principally notable for Netti Netti, the long psychedelic jam that ends proceedings" from The Tapestry Of Delights
Tracks 1. Easy (No. 2) (Horton) - 3:20 2. If It Ain't Me Babe (Lane) - 3:20 3. Sugar Mama (Horton) - 3:22 4. Need My Baby (Horton) - 2:56 5. Somethin' Else (Horton) - 3:53 6. Walking By Myself (Lane) - 3:49 7. Train Time (Horton) - 3:31 8. Found A New Love (Lewis) - 4:01 9. Same Old Blues (Lewis) - 2:02 10.Paying Double (Arnold) - 2:26 11.Netti-Netti (Stone, Arnold) - 11:54
Musicians *Big Walter Sharky Horton - Harmonica, Vocals *Martin Stone - Guitars *Jerome Arnold - Bass, Vocals *Jessie C. Lewis - Drums, Vocals
This was Gypsy's second album and their the most collectable. The song "As Far As You Can See (As Much As You Can Feel)" is a 12 minute epic which is probably their best song from all of their albums. This song also received the most radio airplay from this album.
The band has matured greatly with this album. The basic music is structured much like their first LP, but the sound is more together and the organ, played by Jimmy Walsh, seems to be the focal point of the group's maturity. "As Far As You Can See" is an enchanting education; while the second side of the LP contains one view of paradise entitled "Here in the Garden," and two other explicitly religious tunes. Gypsy-official
Tracks
1. Around You – 5:27
2. Reach Out Your Hand – 2:33
3. As Far As You Can See (As Much As You Can Feel) (Rosenbaum, Lordan, Walsh) – 12:09
4. Here In The Garden I – 6:43
5. Here In The Garden Ii – 3:07
6. Blind Man – 3:59
7. Time Will Make It Better (Walsh) – 2:53
All Songs By Enrico Rosenbaum except as noted
Formed in Lyon in 1969 as Chico & The Slow Death because they meant it (man), the following year they renamed themselves Chico Magnetic Band and comprised Chico on death throttle vocals; Patrick Garel on pounding dunderhead drums; Alain Mazet on Richter scale raising bass and Bernard Monneri on howlingly fierce shred guitar with attached fuzz/wah hardwired directly into his frontal lobes.
And what this crew laid down was a freewheeling and loose mess that created its own language, cycling as it does through a back catalogue of the collective id, the rejected odd and the accepted stinky: as though every emotion every uttered for generations and every symbolic thrust of the battering ram against the gates of nothingness have touched down all on one album with an overdose of ESP.
Released on the tiny Disques Vogue subsidiary label Box Office, “Chico Magnetic Band” was recorded at two different Parisian studios: Europa Sonor (where Magma recorded their first album and Aphrodite’s Child laid down their classic “666” double album) and Wagram Studios. And judging the results of those last two named records, Europa Sonor had some uniquely sounding rooms on their premises, which carried over with the widest sonic spectrum onto “Chico Magnetic Band.”
Producer Jean-Pierre Rawson boisterously captured the group’s thunder live in the studio as clear as an unmuddied lake while also resounding with an unstoppable fury. These sounds are everything I search for in rock’n’roll. It’s tripped out. It’s psychedelic. It’s heavy. It’s very heavy. It roots me to the ground AND it’s got experimental electronic freak outs as well as moments of chilling acoustic introspection that can only portend heavy shit raining down and they never made an umbrella THIS strong to withstand such a torrent.
It’s heavy to the soul as well as to the ears, and its not only as bold as love but it’s bolder than fuck and although it only lasts for a half an hour look out because there’s a fire in the hole cause Chico and The Magnetic hommes are not only coming through, but coming through in the biggest way possible.
Tracks
1.Explosion - 5:48
2.Pop Pull Hair - 2:41
3.Lot Of Things - 4:38
4.We All Come And Go - 3:11
5.To Where I Belong - 6:14
6.My Sorrow - 3:05
7.Crosstown Traffic (Jimi Hendrix) - 3:13
8.Pop Orbite - 3:44
All songs by Mahmoud Ayari, Patrick Garel except where indicated. Tracks 2 and 8 Effes technique by Jean Pierre Massiera
Chico Magnetic Band
*Mahmoud Ayari "Chico" - Vocals
*Bernard Lloret - Guitar
*Patrick Garel - Drums
*Alain Fabrègue - Bass
Progressive rock outfit Gypsy began its existence as the Minneapolis-based pop band the Underbeats, formed in 1964 by guitarist James Johnson, bassist Doni Larson, and drummer Tom Green.
With the subsequent addition of singer/guitarist Enrico Rosenbaum, the group regularly performed throughout the Twin Cities circuit, scoring a handful of local hits including "Footstompin'," "Annie Do the Dog" and "Book of Love." Keyboardist James "Owl" Walsh was recruited after Johnson was drafted for military service in 1969; upon his discharge, Johnson returned to the Underbeats lineup, and the quintet relocated to Los Angeles soon after, where they landed a gig as the house band at the famed Whiskey-a-Go-Go.
Rechristened Gypsy, they began pursuing a heavier, more complex sound inspired by the rise of British progressive rock, though often compared to the music of Santana. After replacing Green with drummer Jay Epstein, the band signed to the Metromedia label, issuing their self-titled double-album debut in 1970 and earned considerable FM airplay with the tracks "Gypsy Queen" and "Dead and Gone."
Larson and Epstein exited Gypsy prior to recording the follow-up, 1971's In the Garden, cut with bassist Willie Weeks -- who later resurfaced in the Doobie Brothers -- and drummer Bill Lordan. Randy Cates assumed bass duties for 1972's Antithesis, Gypsy's first album for new label RCA; however, upon releasing 1973's Unlock the Gates, the group dissolved, reforming just long enough to play the Super Jam '77 concert at St. Louis' Busch Stadium.
A year later Walsh formed a new Gypsy lineup, issuing The James Walsh Gypsy Band on RCA to little notice; in 1996 -- once again the sole original member -- he assembled another Gypsy unit, releasing 20 Years Ago Today. While Lordan went on to play with Robin Trower, Rosenbaum died September 10, 1979 after a long battle with drug abuse; he was just 36 years old.
by Jason Ankeny
Tracks
1. Gypsy Queen Part 1 - 4:21
2. Gypsy Queen Part 2 - 2:33
3. Man Of Reason (James C. Johnson) - 2:59
4. Dream If You Can (E. Rosenbaum, Jay Epstein) - 2:48
5. Late December - 4:12
6. The Third Eye (James Walsh) - 4:55
7. Decisions - 8:16
8. I Was So Young - 4:00
9. Here In My Loneliness - 3:10
10.More Time - 5:35
11.The Vision - 7:30
12.Dead And Gone - 11:07
13.Tomorrow Is The Last To Be Heard - 5:48
All compositions by Enrico Rosenbaum except where noted
Gypsy
*James Walsh - Vocals, Keyboards, Percussion,
*Enrico Rosenbaum - Vocals, Guitars, Percussion,
*Jay Epstein - Drums,
*James C. Johnson - Vocals, Lead Guitar,
*Doni Larson - Bass
"I decided to take the road to freedom rather than the road to fame and fortune"
Alvin Lee
Lee wrote all of the songs on the album, but he's quick to acknowledge influences from a varied group of artists and genres, from R’n’B icon Chuck Berry to ex-King Crimson drummer Ian Wallace. This isn't surprising, since TYA's music, although predominantly hard rock, had significant blues and jazz influences.
Lee began writing songs for Still on the Road to Freedom in 2008. By the time he was ready to go into the studio, he had 33 potential tracks in hand. After wrestling unsuccessfully with trying to consider all of them, he finally isolated his favorites (a little less than half of the total) and worked them into "an entity in itself with a beginning, a middle and an end."
And somehow, the mixture of arena rock, blues, bebop, country rock and folk does seem natural. Lee's guitar work, be it electric or acoustic, is as good as ever. His voice, never known for its "polish" (which is a good thing) is still natural and vibrant.
This is one of those relatively rare albums that is a good listen all the way through, with no need to skip tracks to hear the good ones. But, naturally, there are some I do like to go back to, like the percussion-driven "Listen to Your Radio Station," the catchy "Midnight Creeper," the instrumental "Down Line Rock" and "Love Like a Man 2" (a new version of a track originally on TYA's 1970 Cricklewood Green album.)
Lee plays multiple instruments on the album, which he also recorded and mixed. Other band members include two longtime associates -- Pete Pritchard on bass and Richard Newman on drums -- and keyboardist Tim Hinkley.
TYA (minus Lee) re-formed in 1988, but there are a lot of fans who are loyal to the original (1966-1974) lineup. If you're among them, you should put this album on your "get" list. If you're unfamiliar with either TYA or Alvin Lee, the album is a good listen just for the musicianship, and for the concept of creative freedom that drives it.
You might also be able to relate to the philosophy that accompanies a painting by Lee that appears on the CD and in the liner: "There are many forks on the road to freedom and the road to nowhere is one of them."
by Dave White
Although I don't usually post releases produced and recorded outside the golden era of Rock 'n' Roll (60's-70's) sometimes I make exceptions, this is one of these, dedicated to the memory of Alvin Lee, some forty years now (since I was in my early teen years) he's filling, my soul and my sentinmets, with his amazing guitar, his voice and his songs.
From the bottom of my heart, Thank you Very much Alvin Lee.
Tracks
1. Still On The Road To Freedom - 4:23
2. Listen To Your Radio Station - 2:22
3. Midnight Creeper - 4:10
4. Save My Stuff - 4:02
5. I'm A Lucky Man - 3:27
6. Walk On, Walk Tall - 3:17
7. Blues Got Me So Bad - 2:09
8. Song Of The Red Rock Mountain - 2:04
9. Nice And Easy - 3:07
10. Back In 69 - 2:35
11. Down Line Rock - 2:29
12. Rock You - 1:32
13. Love Like A Man 2 - 6:52
All songs by Alvin Lee
‘Freedom is a heady wine’, they say, and guitar hero Alvin Lee certainly tasted plenty when he teamed up with American singer Mylon LeFevre to create this excellent 1974 album.
Alvin had spent many years performing heavy rock’n’roll with Ten Years After before he took the plunge and headed in a more soulful musical direction. With Mylon taking lead vocals on some of the tracks and writing fresh material, the album has a different, more relaxed feel that coaxed new sounds out of Alvin. He was also encouraged by a plethora of guest stars, notably Stevie Winwood on piano, Jim Capaldi on drums and Tim Hinkley on organ. There is even an appearance by one ‘Hari Georgeson’ who seems to perform George Harrison’s ‘So Sad (No Love Of His Own)’ with special feeling!….
This 12 track album is boosted by the inclusion of an extra bonus A-side single version of ‘So Sad’, and it also has comprehensive CD liner notes by Chris Welch, detailing the evolution of the album and Alvin’s blossoming solo career.
Guitar hero Alvin Lee headed in a more soulful musical direction on this 1974 album, with Mylon taking lead vocals on some of the tracks and writing fresh material. The album has a different, more relaxed feel that coaxed new sounds out of Alvin.
Features a stellar line up of guest musicians, including Stevie Winwood, Jim Capaldi, Tim Hinkley, Ron Wood with special guest appearance by George Harrison.
Tracks
1. On The Road To Freedom (Alvin Lee) - 4:13
2. The World Is Changing (I Got A Woman Back In Georgia) (Lee, Mylon Lefevre) - 2:45
3. So Sad (No Love Of His Own) (George Harrison) - 4:34
4. Fallen Angel (Lee) - 3:20
5. Funny (Lee) - 2:48
6. We Will Shine (Lefevre) - 2:37
7. Carry My Load (Lee) - 2:58
8. Lay Me Back (Lefevre) - 2:53
9. Let 'Em Say What They Will (Ron Wood) - 2:52
10.I Can't Take It (Lefevre) - 2:51
11.Riffin' (Lee, Lefevre) - 3:31
12.Rockin' 'Til The Sun Goes Down (Lee, Lefevre) - 3:08
13.So Sad (No Love Of His Own) (Single Version) (George Harrison) - 3:00
Sundazed have done a fantastic job in reissuing the lost 1960s folk rock gem that is The Gentle Soul. Thriving in the vibrant mid to late 1960s folk rock movement, Pamela Polland and Rick Stanley of The Gentle Soul hung out with the likes of Neil Young, Jackson Browne (there's an early tune written by him as one of the bonus tracks here), The Byrds, and Tim Buckley, and worked with the likes of Terry Melcher, Jack Nitzsche, Ry Cooder (whose incredible guitar playing is throughout this cd), Van Dyke Parks, Larry Knechtel, Jerry Cole and Hal Blaine. Amongst this incredible scene of creativity, The Gentle Soul released one album and a handful of singles, but never had the push they needed or any luck with sales. Their recordings became more and more scarce through the years, the album even becoming a collector's item with a 3 figure price tag.
Thanks to Sundazed, we've got the entire recorded output of The Gentle Soul, as well as three previously unissued sides all on cd for the very first time. The cd has the entire album first, then the singles and unreleased tracks, so it doesn't play chronologically. The singles (tracks 12-14, 17-18) have a slightly more rocking sound then the gently orchestral album, but the singles are by no means rock-n-roll.
Tell Me Love is an incredible single which has an alternate take too, both arranged magically by Jack Nitzsche. Both mixes are quite different and shed a different feel on the melodic celtic lilt. The single mix has a harder hitting sound, but the alternate version has a fuller, modern sound. The first single's b-side, You Move Me, has that coffee house folk rock sound and Mamas and Papas styled harmonies and is tremendous.
The second single, Our National Anthem should've been a hit, and it's a astonishing it was not. It's also got that Mamas and Papas anthemic folk rock feel, but maybe it's the fact that the chorus is not as out right sing-a-long-able is what kept it off the charts. It's still a catchy as heck folk rock number. Song For Three, its b-side has a Dylanesque melody about a girl named Wendy. The final single, 2:10 Train has a more country folk sound and is a bit meandering, sort of like Linda Ronstadt and The Stone Poneys.
The Gentle Soul album (tracks 1-11) are wonderful orchestrated folk rock. Pamela Polland and Rick Stanley combine incredible vocal harmonies with some great original tunes, which are only improved upon thanks to the production of Terry Melcher and instrumentation from the likes of Ry Cooder and Van Dyke Parks. Songs like Renaissance or Love Is Always Real (which also has an alternate take as a bonus track) are baroque and orchestrated with harpsichords and flutes.
The melodies they came up with just enhance the whole proceedings. Generally speaking the songs with Pamela singing come out on top and remind me at times of the Michelle album Saturn Rings. At times this album reminds me of Belle and Sebastian or their side project Gentle Waves (rather fitting) - if they were more inspired by traditional folk music instead of Nick Drake. If you want to hear Ry Cooder at his most pronounced, check out the instrumental album opener Overture or the haunting song Reelin'. If I were to pick a favorite song, it would have to be See My Love - which to me sounds like it could be straight off a Belle and Sebastian album with it's melody, piano and Pamela's light as air lead vocals. It's the closest they come to rocking out.
I was very glad when I learned that Sundazed were going to reissue The Gentle Soul album. I'm glad that more than just the collectors can hear the magic held in this delightful folk rock album. Hopefully, it can find a place in your collection too.
Tracks
1. Overture - 4:34
2. Marcus (Pamela Polland) - 2:54
3. Song for Eolia - 2:16
4. Young Man Blue (Rick Stanley) - 2:34
5. Renaissance - 3:14
6. See My Love (Song for Greg) (Pamela Polland) - 3:59
7. Love Is Always Real - 2:59
8. Empty Wine (Woods of a Song) - 2:39
9. Through a Dream - 4:00
10.Reelin' (Pamela Polland) - 3:20
11.Dance (R. Stanley, N. Wynn) - 3:27
12.Tell Me Love (Rick Stanley) - 2:27
13.Song for Three (P. Polland, G. Copeland) - 3:00
14.2:10 Train (T.C. Campbell) - 2:55
15.Flying Thing (Jackson Browne) - 3:18
16.God Is Love - 2:22
17.You Move Me (Pamela Polland) - 2:16
18.Our National Anthem (Pamela Polland) - 2:31
19.Tell Me Love (Rick Stanley) - 2:26
20.Love Is Always Real (Pamela Polland) - 3:05
All songs by Pamela Polland and Rick Stanley except where indicated
Musicians
*Pamela Polland - Vocals, Guitar
*Rick Stanley - Vocals, Guitar
*Tony Cohan - Tabla
*Ry Cooder - Guitar, Mandolin
*Mike Deasy - Guitar
*Van Dyke Parks - Harpsichord
*Paul Horn - Flute
*Sandy Konikoff - Drums
*Larry Knechtel - Organ
*Gayle Levant - Harp
*Ted Michel - Cello
*Bill Plummer - Bass
*Riley Wildflower - Guitar
*Jerry Cole - Guitar
*Joe Osborne - Bass
*Hal Blaine - Drums Free Text Text Host
