Recorded in Phoenix Arizona's Audio Records with producer Hadley Murrell (who also contributed a pair of songs), 1969's "Bliss" was released by the L.A.-based Canyon Records. Musically the LP offered up a mix of originals (all three members contributing material), and blues covers. Interestingly, based on the cover which shows a chalice and a young, angry looking priest, our initial expectations were that this might be a Christian-rock LP. Those thoughts were reinforced by the opener "Ride the Ship of Fool" which blended a nice melody with sweet harmonies and a pseudo-religious lyric and "Cry for Love".
While those characteristics are enough to send a large segment of the population running for cover, in this case the results aren't half bad. The religious sentiments are kept in check throughout and are wrapped in a series of tasty rockers. Powered by Aldred's powerhouse drumming and Reed's fuzz guitar (check out "VIsions" and their cover of Joe Tex's "I Want To be Free"), this is simply a great LP!.
Tracks
1. Ride the Ship of Fools (Hadley Murrell, Larry Tuszon) - 4:11
2. Cry for Love (Brad Reed, Ann Reed) - 5:01
3. Gangster of Love (Johnny Watson) - 2:59
4. I Want To Be Free (Joe Tex) - 3:03
5. Visions (Rusty Martin) - 3:29
6. Don't Think (Buford Riley Aldred) - 2:09
7. I'm Gonna Hurt You (Hadley Murrell, Eddie Campbell) - 2:03
8. Make My Old Soul New (Bard Reed) - 2:08
9. Rock Me Baby (B.B. King) - 3:29
Most reviews I've seen of 1969's "Summerhill" have been less than overwhelming, though it's apparently fairly rare as was included in one of Hans Pokora's "Record Collector Dreams" books (think it's in the 5th volume). Accordingly my expectations for this one were pretty low and when I finally stumbled across a copy of the album it actually sat in my 'to-listen-to' pile for a couple of months before I bothered giving it a spin. To say the least, I was pleasantly surprised by the collection and found it far better than most of the heavily hyped crap out there.
Produced by David Briggs, "Summerhill" showcased a talented line up in the form of keyboardist Doug Burger, bassist Larry Hickman, lead guitarist Alan Parker, and drummer Del Ramos. Featuring ten original compositions, all four members contributed material giving the album a diverse, but occasionally unfocused feel. The set certainly sported a late-1960s West Coast vibe ('course it was recorded a Wally Heider Studio), bouncing all over the musical spectrum, including conventional rock ('Bring Me Around'), sunshine pop ('Soft Voice'), psych ('Follow Us'), a touch of jazz ('What Can I Say'), and brushes with more experimental moves (check out the aural meltdown on side two's 'The Bird').
Elsewhere the album was interesting for showing the band as an early exponent of true country-rock. Parker's pretty country-flavored ballad 'The Last Day' was every bit as good as anything being released by The Byrds, The Buffalo Springfield, or Poco (who's Rusty Young provided pedal steel guitar)'. Speaking of The Buffalo Springfield and The Byrds, Parker's fuzz guitar propelled 'My Way (Hard for You)' would have sounded right at home on one of their early albums. Even better was the fuzz and feedback drenched 'It's Gonna Rain'. A great slice of harmony rich, lysergic soaked rock.
While nothing here was exactly trend setting, it made for an album that was fun to listen to with headphones and play 'spot-the-influences'. Try playing it with 'Friday Morning's Paper'.) In fact, there's only one out-and-out turkey in the form of an overblown ballad (the closer 'Summer Days'). One of the better albums I've stumbled across over the last couple of years and well worth digging up.
Tracks
1. Soft Voice (Larry Hickman) - 3:49
2. Friday Morning's Paper (Alan Parker) - 2:35
3. Bring Me Around (Del Ramos, Alan Parker) - 2:23
4. The Last Day (Alan Parker) - 3:36
5. Follow Us (Larry Hickman) - 3:49
6. The Bird (Del Ramos, Larry Hickman) - 1:22
7. My Way (Hard For You) (Alan Parker) - 3:02
8. What Can I Say (Larry Hickman) - 2:39
9. It's Gonna Rain (Del Ramos, Alan Parker) -3:18
10.Summer Days (Alan Parker) - 4:05
Grinderswitch was a southern rock band formed in Warner Robbins, Georgia. They recorded for Capricorn Records, but never rose to same success as their label mates, The Marshall Tucker Band or The Allman Brothers Band.
Grinderswitch was formed in 1973, while original members Dru Lombar, Larry Howard, Joe Dan Petty and Rich Burnett lived together in farm, practicing and writing songs. Joe Dan Petty was working for The Allman Brother Band at the time and supported other members of Grinderswitch, before they got a record contract.
After Capricorn Records signed them, first album "Honest to Goodness", came out in 1974. It started never ending touring for them, taking brakes only to record new albums. Grinderswitch performed side by side with Lynyrd Skynyrd, Wet Willie, The Charlie Daniels Band and other southern rock’s greatest stars. Macon Tracks album came out in 1975 and contained their best known song "Pickin' the Blues".
In mid 70’s the band joined Stephen Miller whose musical adventures included John Lee Hooker, Al Kooper, Tom Fogerty, Elvin Bishop, Allman Brothers among others, he also recorded three albums with Linn County in late 60’s. With Stephen Miller on keyboards and vocals, Grinderswitch released three studio albums “Pullin' Together” 1977, “Redwing” 1977 and “Have Band Will Travel” in 1981 and as producer. There is also 1977 recorded unreleased album under the name "Chasing Wild Desires".
Tracks
1 Red Wing 4:30
2 You And Me 2:53
3 That Special Woman 2:31
4 Taste Of Love 7:16
5 This Road 4:08
6 Wings Of An Angel 3:35
7 Watermelon Time In Georgia (Harlan Howard) - 2:20
8 I Bought All The Lies 2:59
9 Faster And Faster 3:05
All songs written by Grinderswitch except where stated.
Grinderswitch
Dru Lombar - Guitar, Vocals
Stephen Miller - Keyboards, Vocals
Rick Burnett - Drums
Larry Howard - Guitar, Vocals
Joe Dan Petty - Bass, Vocals
Timing, as they say, is everything. The adage is just as applicable to the realms of commerce and marketing as it is to creative inspiration. When the Sopwith Camel's debut album was issued, in 1967, almost a year after its featured hit had peaked ("Remember 'Hello Hello'?" read the sleeve sticker), there was a sense of misalignment, of clock and calendar time running off schedule. In short, despite notching a national Top 30 hit, the San Francisco band's moment had passed.
Recording delays and the departure of Willie Sievers (guitar) and Terry McNeil (guitar) were factors in the album's delayed release. So were the newly formed quintet's inexperience in the studio, its lack of material, lead singer Peter Kraemer's winter illness, New York City and the Albert Hotel. None of which prevented The Sopwith Camel from being one of the most enjoyable, consistent and pop LPs to emerge from mid-'60s Frisco.
The pop factor has always played into folks' perception of the band, since the December '66 Hot 100 success of "Hello Hello," achieved by only the second S.F. group to sign a record contract (the Airplane was first), bugged many underground- rock longhairs, who saw hit singles as impossibly gauche items. "It was a known fact that we weren't hardened musicians," Kraemer told Pete Frame in a Zigzag interview. "We didn't do extended versions of 'Midnight Hour,' though we did 'Born in Chicago' and 'Bright Lights, Big City.'" (I recall them delivering a house-wrecking take on the Stones' "2120 South Michigan Avenue" at the Avalon. August '66, on a bill with the Dead.)
But the Camel's psychedelic papers were in order. Kraemer, after all, had grown up in Virginia City, Nevada—the acknowledged ground zero for the Charlatans and the whole lightshow-LSD-Victoriana formula that would blow the pop-music lab sky high - and was one of the first S.F. State students to room in the Haight (with, among other proto-freaks, future Grateful Dead manager John Mclntyre). Drummer Norman Mayell had played with Charlie Musselwhite in Chicago and hung with Kesey's Pranksters. And the band (which would add London-born, Frisco-bred bassist Martin Beard) formed in the basement of 1090 Page, the delivery room that birthed Big Brother & the Holding Company.
The young band played plenty, on local bills with the Great Society and the Charlatans, Allen Ginsberg and the Dead, the Grass Roots and the Daily Flash. And it caught the ear of producer Erik Jacobsen, who'd helmed the Lovin' Sooonful's hits and recorded the Charlatans "I heard a tape of 'Hello Hello,' and it just knocked me out," recalled Jacobsen in Zigzag. "If that couldn't become a huge hit, I'd eat my watch and chain!"
In short order, the Camel signed with the Spoonful's producer, the Spoonful's label (Kama Sutra) and the Spoonful's manager (Bob Cavallo, later to guide the careers of Little Feat and Prince), and, in late 1966, trekked to New York to cut its album. With Cavallo grooming the band to open for the touring Spoons, it's no surprise that the IP's songs veer to the bright side of the road; they're compact, melodic vehicles, many of which fall into the then-prevalent "goodtime music" bag ("Daydream," "Good Day Sunshine," etc.). The most obvious examples of this style are "Hello Hello," "Walk in the Park" and "The Things That I Could with You," though the campy vaudevilliana of "Little Orphan Annie" (about the Depression-era comic strip that introduced the exclamation "Leapin' lizards!") likewise fits. Inspirational Verse: "The wisdom of the ages/ Clutters Annie's pages."
But there's ambition and adventurousness present too. "The Great Morpheum" starts ominously and builds, on some great changes, to a killer chorus, and the largely instrumental "Maybe in a Dream," a modal, 12-string-harmonium-fuzz-guitar piece not unlike Country Joe & the Fish's "Cetacean," is a sleeper treat. Sievers' "Saga of the Low Down Let Down" resembles a jangly Charlatans-Spoonful co-venture, while the punky "Cellophane Woman," with its "Diddy Wah Diddy" verse rhythm, could easily have come from the Standells or Chocolate Watch Band songbooks. It sports a classic Frisco psyche guitar solo, as does the subtler "Frantic Desolation."
The marketplace failure of The Sopwith Camel and the group's subsequent dissolution make one wonder what could have been. The 45 follow-up to "Hello Hello," though it barely scraped the bottom of Billboard's Hot 100, may have been the band's finest four minutes. The A-side, "Postcard from Jamaica," sounds solidly commercial, the band having sanded off some of the campy edges of its style while retaining the knack for melody and striking arrangements. The flip, "Treadin,"' is simply sublime — Spoonful-ish, yes (think "You Didn't Have to Be So Nice"), but with a sparkling twin-guitar solo unspoolmg mid-song and some of the Bach-ish flavour that makes "Maybe in a Dream" so tasty.
As quickly as "Hello Hello" charmed its way up the charts, the Sopwith Camel got the goodbye look and disappeared down the hall of pop-rock history. A reunited band produced 1972's The Miraculous Hump returns from the Moon (Reprise), but the timing and the tunes failed to connect. One certified classic album was all they had in them, but we can surely be thankful for it.
by Gene Sculatti, November 2005
Tracks Stereo
1. Hello Hello (T. MacNeil, P. Kraemer) - 2:27
2. Frantic Desolation (T. MacNeil, P. Kraemer) - 2:15
3. Saga Of The Low Down Let Down (W. Sievers) - 1:46
4. Little Orphan Annie (T. MacNeil, P. Kraemer) - 2:53
5. You Always Tell Me Baby (T. MacNeil, P. Kraemer) - 1:47
6. Maybe In A Dream (T. MacNeil, P. Kraemer) - 2:02
7. Cellophane Woman (W. Sievers) - 2:27
8. The Things That I Could Do With You (T. MacNeil, P Kraemer) - 2:12
9. Walk In The Park (W. Sievers) - 2:25
10.The Great Morpheum (T. MacNeil, P. Kraemer) - 2:57
11.Postcard From Jamaica (T. MacNeil, P Kraemer) - 2:25 Mono
12.Treadin' (T. MacNeil, P. Kraemer) – 2:19
13.Hello Hello (T. MacNeil, P. Kraemer) - 2:27
14.Frantic Desolation (T. MacNeil, P. Kraemer) - 2:15
15.Saga Of The Low Down Let Down (W. Sievers) - 1:48
16.Little Orphan Annie (T. MacNeil, P. Kraemer) - 2:53
17.You Always Tell Me Baby (T. MacNeil, P. Kraemer) - 1:47
18.Maybe In A Dream (T. MacNeil, P. Kraemer) - 2:02
19.Cellophane Woman (W. Sievers) - 2:27
20.The Things That I Could Do With You (T. MacNeil, P. Kraemer) - 2:12
21.Walk In The Park (W. Sievers) - 2:25
22.The Great Morpheum (T. MacNeil, P. Kraemer) - 2:57
23.Postcard From Jamaica (T. MacNeil, P Kraemer) - 2:25
Originated from Huntingdon, Cambridgeshire circa 1970. Previously known as Slow Dog whose lone single was issued by EMI in 1972. Hemery, Knibbs, Judd, Ward, Loakes was the line-up responsible for these recordings. All songs recorded at Beck studios in Wellingborough. Rape and Superior Camp recorded January 1971 (sourced from surviving acetate).
Finding Out and Saga recorded December, 1971. Playing To You, To The Old and Young, Castles, Work Song recorded February, 1973. The band supported many famous acts such as Renaissance, Uriah Heep, UFO and Sam Apple Pie. They were managed by Rufus Manning Associates, a booking agency based in Huntingdon responsible for managing artists such as Mr. Lucifer, Little Women, Cuckoo and Tuesday's Children.
Tracks
1. Playing To You - 3:36
2. Work Song - 4:47
3. Castles (Geoff Knibbs) - 5:17
4. To The Old and Young - 4:54
5. Finding Out - 7:24
6. Saga - 5:54
7. Rape - 6:27
8. Superior Camp - 8:37
All songs by Nick Hemery except where stated
Tracks 1-4 February 1973
Tracks 5-6 December 1971
Tracks 7-8 January 1971
Mother Superior were a rare breed, for not only were they musicians of obvious talent, they were an all female group responsible for recording the definitive crossover album between progressive rock and jazz rock of the mid seventies. This period was a time of transition in the British rock scene; the prog era's candle had finally flickered out two or three years earlier, even the more successful bands that survived its demise were largely on the downslide as punk drew ever closer During this time, Mother Superior emerged displaying leanings towards the earlier progressive sound but with a jazz rock feel and enchanting vocals blending intricate harmonies 'and slick interplay making an altogether delightful concoction.
However, the nature of this music is such that any attempt to try to categorise it is to dilute its richness of style and appeal. Enthusiasts of the progressive era may draw comparisons with Earth and Fire, Sandrose and Fusion Orchestra all of which featured female singers. But how many good all female rock bands were there in the 70s? Fanny spring to mind and; a bit later on, there were the Runaways. After that it's a struggle. Here we have this rare phenomenon, a magical songwriting and arranging partnership of Lesley Sly (keyboards) and Audrey Swinburne (guitars) often alternating on lead vocals giving the compositions a mixture of tenderness and sensitivity plus exuberance and wit. Furthermore their adeptness at rousing improvisation is epitomised by extensive soloing notably in 'Mood Merchant' and 'No Time Toulouse Lautrec'. A steady rhythm section of Jackie Badger (fingering a Gibson bass) and Jackie Crew (drums and percussion) also add backing vocals where required.
Their prowess in renovating old songs and turning them into highly listenable pieces shows up in 'Love The One You're With' and an absolutely splendid version of 'Lady Madonna'. In 1975 the band were given the opportunity by IBC Studios to make use of all night downtime recording sessions. Whilst these recordings were taking shape they were gigging regularly, especially in and around London, in expectation of a forthcoming record deal. Test pressings were circulated, but unbelievably, the album never secured a UK release. This setback spurred the band on to look further afield in search of a deal for their finely crafted, exquisite work of art, which really ought to have gained an automatic right to worldwide release and acclaim if foresight and enlightened judgement had prevailed.
Instead it was in Scandinavia, where greater appreciation of this exceptional group emerged. Mother Superior's album finally escaped on the tiny SMA label albeit in a ridiculously small quantity making it nigh on impossible to locate these days. That LP. titled 'Lady Madonna' (Cat No SMA 3014), is presented here, on this painstakingly remastered CD together with the original artwork. Shortly after the low-key album release the line-up abandoned their hopes of hitting the big time. Alas prematurely. At a time when chauvinism was rife in the music industry and where it was widely declared that girls couldn't play rock and roll it was hardly surprising that their patience wore despondently thin.
Mother Superior may not have had the luck of the draw but perhaps it was because they were such a unique band, not easily pigeon-holed, that led to them ultimately being overlooked rather than becoming a sensation. In any case, we are honoured to present to you this true lost gem which we hope you will cherish as we do.
Bassist Jackie Badger went on to join Snips featuring ex Wild Turkey guitarist Mick Dyche. About four decades later their timeless artistry and dazzling finesse can at last live on to bewitch a new audience.
by Pedro Sassafras
Tracks
1. No Time Toulouse Lautrec - 5:49
2. Just One Look - 5:53
3. Mood Merchant - 7:03
4. Love the One You'r With (Stephen Stills) - 4:39
5. Ticklish Allsorts - 5:19
6. Lady Madonna (John Lennon, Paul McCartney) - 4:35
7. Year Upon Tears - 5:57
All songs by Lesley Sly, Audrey Swinburne except where indicated
Originally known as The Now, this little known sextet debuted with the 1968 single 'I Want b/w 'Like a Flying Bird' (Embassy catalog 1968). Picked up by Atlantic's newly formed Cotillion subsidiary they quickly released an equally unheralded follow-up single 'Deja Vu' b/w 'A Hard Time' (Cotillion catalog number 44005) before opting to change their name to the curious Mr. Flood's Party.
1969's cleverly-titled "Mr. Flood's Party" offered up a pleasant set which managed to mix lite psychedelia with some progressive moves. With five of the six members contributing material (Jay Hirsh and Michael Corbett responsible for the bulk of the set), selections such as 'Northern Travel', 'Deja Vu' and 'Advice' sounded like a stoned version of The Association suffering from a J.R. Tolken fixation (if you doubt the description check out 'Simon J. Stone').
In hindsight that description probably doesn't sound too attractive ... which isn't fair since the set's actually pretty entertaining. Full of pretty melodies, nice harmonies and unorthodox song structures, highlights include the psychy 'The Liquid Invasion' and the dreamy 'Garden of the Queen'. Elsewhere Cotillion tapped the album for a single: 'Deja Vu' b/w 'Alice Was A Dream'
Tracks
1. Northern Travel (Jay Hirsh, Michael Corbett) - 6:45
2. Deja Vu (Jay Hersh, R. Amerling) - 5:02
3. Advice (Freddy Toscano) - 3:10
4. Prince Of Darkness (Jay Hirsh, Freddy Toscano) - 3:59
5. Simon J. Stone (Jay Hirsh) - 2:38
6. Stanley's Tea (Jay Hirsh, Marcel Thompsen) - 2:12
7. The Liquid Invasion (Jay Hirsh) - 4:40
8. Garden Of The Queen (Jay Hirsh, Michael Corbett) - 3:21
9. The Mind Circus (Jay Hirsh, G. Raines) - 6:49
10.Alice Was A Dream (Bonus Track) (Jay Hirsh, K. Melrose) - 3:13
Saturnalia were a British band activated in the late 60's early 70's. Their sole and rare album was on the ostentatious side of progressive folk rock, perhaps slightly anticipating some of the earnest classical-rock-fusion-with-female-vocals explored by Renaissance in the 1970s.
The songs tend toward the winding and ponderous side, and the vocals -- especially those by female singer Aletta -- can cross into the histrionic in the more strident passages. Perhaps a little more influenced by the male-female vocal tradeoffs typical of some late-'60s American psychedelic bands than most such British efforts, it also boasts plenty of hard rock guitar and a good helping of lyrics reflective of a fantasy world, Ã la "Princess and the Peasant Boy" and the title track.
As the song that brings in the strongest British acoustic folk feel, "Dream" is one of the more palatable tracks, but groups such as Renaissance were able to craft more accessible and memorable material using some of the same elements.
by Richie Unterberger
Tracks
1. Magical Love (Aletta Lohmeyer) - 4:32
2. She Brings Peace - 4:42
3. And I Have Loved You - 3:22
4. Winchester Town - 7:55
5. Traitor - 4:36
6. Soul Song (Aletta Lohmeyer, Pilikian) - 2:58
7. Princess And The Peasant Boy - 3:34
8. Dreaming (Aletta Lohmeyer) - 2:43
9. Step Out Of Line - 4:18
All songs by Rod Roach, Adrian Hawkins except where indicated
Saturnalia
Aletta Lohmeyer - Vocals
Tom Crompton - Drums
Adrian Hawkins - Vocals
Richard Houghton - Bass
Rod Roach - Guitar
Scott was born Philip Blondheim on January 10, 1939 (not on October 1 as often stated) in Jacksonvile, Florida. That's where he lived for half a year before moving to Asheville, North Carolina. Scott's father died in Asheville in 1941, just a few months after Scott's second birthday.
Early in 1942, World War II had just begun, Scott's mother moved to Washington D.C. where she'd found a job with the Administration. During the years of the war rents were very high as was travelling and thus Scott didn't see his mother very often, usually just once a year. She had to share a room with colleagues because she couldn't afford an appartment of her own. Until 1946 Scott lived with grandmother, then with three other families in North Carolina, Kentucky and Rhode Island.
Scott became interested in singing and playing guitar in the mid fifties. Singing always meant more to him than playing any instrument, although he entertained the fantasy of becoming a jazz guitarist for a while. His real love at the time was jazz. He used to spend hours singing along at the top of his voice to jazz vocal albums.
In the mid fifties Scott and John Phillips were both singing, but in separate vocal groups. They first met at one of John's legendary parties in his apartment on Ramsey Alley in Alexandria, Virginia. John sat in a corner on the floor, singing and playing one of his songs on guitar. Scott told him he liked to sing and play guitar too. John said "Well, sit down and sing this part." Scott did as he was told, and so began a long musical friendship.
John and Scott formed a quartet, which they named The Abstracts. They fashioned themselves after groups like The Four Freshmen, The Hi-Los and the Four Preps. In 1959, they made their first trip to New York and met an agent who had been in a group called "The Smoothies", which had a big hit in the 40's called "You're an Old Smoothie". "The Abstracts" became "The Smoothies" and began to work in traditional night clubs with chorus girls and comedians.
In 1960 "The Smoothies" recorded a few pop singles, produced by Milt Gabler, who was later inducted into the Rock & Roll Hall of Fame for a lifetime of producing artists like Billie Holiday, Louis Armstong, and Bill Haley.
But in 1960 folk music was selling, and soon John and Scott were looking for a banjo player to form a folk trio. They found Dick Weissman, considered one of world's finest 5 string banjo players. They became "The Journeymen" and recorded three albums for Capitol Records.
Then came The Beatles, and everything changed. John formed "The Mamas and the Papas" and throughout the 60's wrote a remarkable body of songs that captured and chronicled the personal and social upheavals of the decade. Billy Joel refers to John as the "Stephen Foster of the 60's." One of these remarkable songs was San Francisco.
Early on the day Scott recorded San Francisco, some friends picked wildflowers and wove a garland, which he wore while he sang, as his friends sat on the floor and meditated in the studio.
In the rest of the world, especially in Eastern Europe, San Francisco became a freedom song. "During the Cold War the secret police threatened residents with imprisonment just for listening to western music. Many of these people adopted San Francisco as their personal anthem of hope and freedom. It is very humbling," says Scott.
It had been intended that the John Phillips song Twelve Thirty (Young Girls Are Coming to the Canyon) would be Scott's follow up song to San Francisco but contractual obligations resulted in the Mamas and Papas recording the song and Scott released Like An Old Time Movie, which was a minor hit, and to this day he is known as a 'one hit wonder'. On stage Scott says that if you are going to be a one hit wonder, San Francisco is the hit to have.
There is a theory that Like An Old Time Movie was not a bigger hit, especially in Europe, because at that time Europeans did not really know what an old time movie was - they didn't have late movies on television.
After his hit song and the subsequent album, The Voice of Scott McKenzie, Scott released an album of his own songs, called Stained Glass Morning. Sadly Scott passed away in his LA home on 18th August, 2012, after two weeks in hospital.
Tracks
1. San Francisco (Be Sure to Wear Flowers in Your Hair) (John Phillips) - 3:01
2. Like an Old Time Movie (John Phillips) - 3:17
3. Twelve Thirty (Young Girls Are Coming to the Canyon) (John Phillips) - 3:19
4. No, No, No, No, No (Michel Polnareff, Geoff Stephens) - 2:52
5. Celeste (Donovan) - 3:31
6. Rooms (John Phillips) - 3:29
7. Don't Make Promises (Tim Hardin) - 3:56
8. Reasons to Believe (Tim Hardin) - 2:24
9. It's Not Time Now (John Sebastian, Zal Yanovsky) - 2:48
10.What's the Difference, Chapter 1 (Scott McKenzie) - 2:20
11.What's the Difference, Chapter 2 (Scott McKenzie) - 2:42
12.San Francisco (Mono Single) (John Phillips) - 2:57
13.What’s The Difference (Mono) (Scott McKenzie) - 2:18
14.Like An Old Time Movie (John Phillips) - 3:17
15.What’s The Difference (Chapter II) (Scott McKenzie) - 2:42
16.Celeste (Mono Single) (Donovan) - 3:31
17.No, No, No, No, No (Mono Single) (Michel Polnareff, Geoff Stephens) - 2:53
18.Holy Man (John Phillips) - 2:48
19.What’s The Difference (Chapter III) (Scott McKenzie) - 3:36
Countryrock Band from Bergen, Norway, formed in January 1974. The band was the first Boosting Countryrock band in Norway.
Rune Walle guitarist and drummer Gunnar Bergstrøm had both played with Hole In The Wall. They had just served with Saft when they joined with Jimmy Martin (vocals, guitar), John Torkelsen (bass) and Jarle Zimmerman (vocals, keyboards) to create Norway's answer to American groups like Eagles, Poco and the Flying Burrito Brothers. Quintet moved to Denmark, where they lived in a collective in the country and created songs to their first LP, recorded in Oslo with Hallvard Kvåle as a producer. The album New Day (1974) attracted attention both for the strong music - especially the title cut, with its dramatic final sequence - and jacket that showed a blimp floating over a dense cloudy.
The original Flying Norwegians unraveled when Walle was a member of the American band Ozark Mountain Daredevils in June 1976. January 1977 (with Jan Ove Hommel on bass) was released on the album the same year. The band had already marked him as studio musicians for Teddy Nelson under the name Flyvende Nordmenn, including «Diggy Liggy»,, and they continued with this too without Walle. Among the many artists they worked for, had Johannes Kleppevik and lentil Hansen. In 1978 stacked sand, Zimmerman and Bergstrøm a new crew for the legs, now with the Ronald Jensen (bass), Egil distinguishable (steelgitar) and Jan Ove Hommel (guitar, accordion). Walle was a producer for the crew's only LP, This Time Around.
Rune Walle participate in the following LPs with Ozark Mountain Daredevils: Men From Earth (A & M, 1976), Do not Look Down (A & M, 1977), It's Alive (A & M, 1978) and Ozark Mountain daredevil (CBS, 1980).
Tracks
Disc 1
New Day 1974
1. Young Man (Rune Walle, Cato Sanden, Gunnar Bergstrøm, Jarle Zimmermann, Johannes Torkelsen) - 3:58
