By 1968 guitarist Lonnie Mack had been playing professionally for a decade. Ironically, it took a lengthy article in Rolling Stone magazine to finally capture the attention of major record labels.
Signed by Jac Holzman's Elektra Records, Mack finally seemed poised for the big time. Produced by Russ Miller, 1969's "Whatever's Right" is the resulting mix of blues, gospel and country genres was clearly souped up to appeal to a rock audience. While the spotlight was clearly on Mack's Gibson Flying V (and his speed of light whammy bar), to my ears the biggest surprise here was Mack's singing.
As exemplified by tracks like 'My Babe, 'What Kind of World Is This?' and his cover of Bobby Womack's 'I Found a Love' the guy actually had a great voice. Interestingly, the two best songs here are also the only two Mack originals. 'Mr. Healthy Blues' was a killer instrumental that showcases how fast this guy could play, while Elektra marketing executives should have been fired for not having pulled 'Gotta Be An Answer' as a single.
Tracks
1. Untouched By Human Love (Norman Simon, Dick Roman) - 3:40
2. I Found A Love (Wilson Pickett, Willie Schofield, Robert West) - 3:34
3. Share Your Love With Me (Deadric Malone, Alfred Braggs) - 4:12
4. Teardrops On Your Letter (S. Scott) - 4:14
5. Baby What You Want Me To Do (Jimmy Reed) - 2:53
6. Mt. Healthy Blues (Instrumental) (Lonnie Mack) - 6:50
7. What Kind Of World Is This? (Troy Seals) - 4:05
8. My Babe (Willie Dixon) - 2:36
9. Things Have Gone To Pieces (Leon Payne) - 2:55
10.Gotta Be An Answer (Lonnie Mack) - 2:43
Best known for his work with a band that bridged the gap between R&B and garage rock, Ray Stinnett was also an unsung hero of the Memphis music scene whose most personal music would wait over 40 years to find an audience. Stinnett was born in Memphis, Tennessee in 1944, and like so many kids growing up in Memphis, he developed a love for music early on, getting his first guitar when he was 12 years old. Stinnett claims he bought the instrument at the same pawn shop where Elvis Presley was said to have gotten his first guitar, and as Stinnett was walking home, he spotted Presley driving by in a Cadillac, who called out to the youngster, "Hey, cat." Suitably encouraged, Stinnett set about learning the guitar, and by his mid-teens, he was playing around town in a duo act with drummer Jerry Patterson, as well as working with a teen rock band called Johnny and the Electros and doing occasional session work. In mid-1963, a Texas-based group called the Nightriders, led by keyboard man Domingo "Sam" Samudio, were booked into a standing gig at a Memphis nightspot called the Diplomat Club when their guitar player and drummer both quit; Stinnett and Patterson signed on to replace them, and when the Nightriders' engagement ended, the Memphis boys hit the road with the band.
A few months later, the Nightriders changed their name to Sam the Sham and the Pharaohs, and after they cut a single for a small Memphis label, MGM Records picked up the disc for national distribution. "Wooly Bully" became the top-selling single of 1965, spending 14 weeks in Billboard's Top 40, and a pair of minor hits followed ("Ju Ju Hand" and "Ring Dang Do"), but Stinnett's tenure with the group was short-lived; within a year of "Wooly Bully" hitting the charts, the Pharaohs had a falling out with Samudio over business matters, and they found themselves replaced with a new set of Pharaohs, who scored a hit of their own with "Li'l Red Riding Hood." Stinnett, Patterson, and their fellow ex-Pharaohs cut a single for Dot Records as the Violations, "The Hanging" b/w "You Sure Have Changed," which dealt metaphorically with their anger and disappointment, but the record went nowhere commercially and the group split up.
In 1967, as Americans became aware of the growing counterculture, Stinnett headed to Northern California and embraced the hippie lifestyle while living at a celebrated commune, the Morning Star Ranch; a year later, back in Memphis, he formed a psychedelic band called 1st Century, who lasted long enough to release one single for Capitol Records, "Looking Down" b/w "Dancing Girl." While 1st Century quickly dissolved, Stinnett struck up a friendship with legendary producer and instrumentalist Booker T. Jones, and as Stinnett began putting a greater focus on his songwriting, Jones encouraged him and gave him occasional gigs.
By the dawn of the 1970s, Stinnett and his wife were living on a commune in California and searching for spiritual enlightenment. Stinnett's life path reflects the shifting cultural Zeitgeist of the 1960s with commendable accuracy, but thankfully he never stopped playing guitar like a Memphis boy who dug the blues, as evidenced by A Fire Somewhere, an album Stinnett recorded in 1971 that finally earned a long-overdue release in 2012. When Booker T. Jones produced an album for his then-wife Priscilla Coolidge-Jones, 1970's Gypsy Queen, Stinnett played guitar on the sessions and wrote two songs that appeared on the LP.
Stinnett was a protégé of Booker T. Jones, and when Jones signed a deal with A&M Records, he persuaded them to sign Stinnett as well, and if what Stinnett was writing was a long way from classic Memphis R&B, Stinnett's sharp, emphatic guitar work and easygoing sense of timing suggest he learned more than a little from the cats at Stax Records, though his vocals weren't always on a par with his picking.
As a songwriter, Stinnett conjures up a fine, swampy fusion of soul, country, blues, and rock, with occasional side trips into psychedelia and gospel, and though it's true Stinnett's spiritual and philosophical conceits sometimes sound a bit clumsy after 40 years of gathering dust, Stinnett never sounds less than entirely sincere, and when he deals with the nuts and bolts of love and relationships, he strikes a bull's-eye. And Stinnett was blessed with a rhythm section as idiosyncratically gifted as he was in bassist Mike Plunk and drummer Jerry Patterson. Differences with A&M over marketing and management caused Stinnett to walk away from his record deal, and A Fire Somewhere got left by the wayside, buried in the label's vaults.
This re-release of the album doesn't quite resurrect a lost classic, but this is an entertaining, often fascinating set of well-crafted swamp rock that showcases a talent that deserved a hearing it didn't get in 1971. The album was remastered from the original session tapes,
by Mark Deming
Tracks
1. Salty Haze - 2:43
2. You Make Me Feel - 3:53
3. Silky Path - 5:03
4. Wheel Of Time - 2:36
5. Stop - 3:32
6. Long Rivers Flow - 2:48
7. America - 4:21
8. You And I - 4:18
9. Honey Suckle Song - 3:00
10.Liberty Train - 3:40
11.Naturally High - 3:11
12.Loves In The Answer - 2:46
13.A Fire Somewhere - 5:30
14.The Rain - 5:27
Music and Words by Ray Stinnett
Released in 1972, the Rowan Brothers' eponymous debut arrived with a great deal of hype, including an ad featuring a quote from Jerry Garcia in which he stated that Chris and Lorin Rowan "could be like the Beatles. They're that good." Produced by Bill Wolf and David Grisman (credited as David Diadem), the first effort from the Stinson Beach, CA, duo never even came close to living up to such lofty praise. Though it can give a young artist a boost, this sort of hype can quite often be devastating, and probably hurt the pair in the long run.
The Rowan Brothers is a mix of country-rock, folk, and pop tunes with cosmic ("the universe is nothing but a fantasy/of life's illusions throughout eternity") and hippie ("we'll put on our costumes, bring the music along/come on friends we'll sing a happy song") underpinnings, which are often trite and very much artifacts of the time. Although they may lack lyrical muscle, Chris and Lorin are capable of pleasant, catchy tunes that can be light and spirited or lush and pretty. Ignored at the time and somewhat dated today, The Rowan Brothers is another forgotten relic from the late-'60s and early-'70s San Francisco music scene.
by Brett Hartenbach
Tracks
1. Hickory Day - 2:52
2. All Together - 3:04
3. The Best You Can - 2:52
4. One More Time - 3:27
5. Lay Me Down - 2:34
6. The Wizard - 3:06
7. Mamma Don't You Cry - 3:05
8. Gold - 3:35
9. Love Will Conquer - 3:27
10.Lady of Laughter - 3:36
11.Move on Down - 2:27
12.Singin' Song - 3:34
All songs written by Lorin Rowan, Chris Rowan
Lonnie Mack was born in Ohio and raised in nearby southern Indiana, he was raised on blues, country and roadhouse rock.
His singing incorporated all three styles. To him, they were all part of the same fabric of Southern music that carpeted the area around his home base in Cincinnati.
Mack didn’t get much of a chance to showcase his vocal talent, however, until he signed at the end of the 1960s with Elektra Records, a folk label that was trying to branch out into rock.
His Elektra albums didn’t make much of a dent when they were issued; Mack’s bluesy roots music was out to style. Today they sound like long-lost gems. At times, they invite comparison to the recordings of the late Eddie Hinton, the blue-eyed soul man from Tuscaloosa.
Mack’s 1969 release, “Glad I’m in the Band," showed him to be a formidable vocalist, especially on blues and r&b. Mack’s remake of Huey “Piano" Smith’s New Orleans rocker “Roberta" was a particularly fine welding of his skills as a player and a singer, and he turns in a very credible performance on Little Willie John’s 1959 blues ballad, “Let The Talk."
From his stash of early 1960s recordings, he resurrects “Why," a tough, slow blues, and “Memphis," which loses little of its bite in a more contemporary setting.
“Save Your Money" is a delectable slice of Muscle Shoals-style soul, while “Old House" shows Mack’s deep affinity for country.
by Ben Windham
Tracks
1. Why - 4:20
2. Save Your Money - 2:48
3. Old House - 3:08
4. Too Much Trouble - 2:05
5. In The Band - 1:44
6. Let Them Talk (Sonny Thompson) - 4:15
7. Memphis (Chuck Berry) - 2:28
8. Sweat And Tears (David Byrd) - 4:14
9. Roberta (Al Smith, John Vincent) - 2:20
10.Stay Away From My Baby (Ray Pennington) - 3:45
11.She Don't Come Here Anymore (Lonnie Mack, Wayne Bullock) - 4:24
All tracks by Lonnie Mack except where indicated
Wild Butter was started in 1970 by drummer/lead singer Rick Garen and keyboard player Jerry Buckner. Garen had previously been in the Collection and recorded a demo called "Little Man". Former Rogues member Jerry was impressed and got Eric Stevens, WIXY program director and manager of Damnation of Adam Blessing, interested as well. Stevens took it to New York and after a week or two Buckner got a call saying the band had a LP recording deal with United Artists - only there was no band, yet, although UA didn't know that. "Put a band together" was the request and Rick and Jerry talked to their Akron peers and found Jon Senne' (guitar) and Steve Price (bass) willing to get on board.
Wild Butter played a month or so before recording the LP at Cleveland Recording. "Little Man" was not done, but a whole LP was, including excellent songwriting contributions from everyone. Considering the short time the band had to work up the songs, the high level of writing, musicianship, and vocals are amazing, and the LP is certainly a lost treasure of 1970 contemporary unpretentious melodic rock. The recordings included some guitar parts from Mark Price (Steve's high school aged brother and future Tin Huey member), Jim Quinn and Bob Kalamasz (both from Damnation). The Senne' penned "Roxanna (Thank You for Getting Me High) was chosen as a 45 track backed with "Terribly Blind". The cover photos were taken in a Akron industrial area at Stevens' suggestion. A few shots were taken before some hardhats objected to the 'longhairs' and chased them out!
Wild Butter played the NE Ohio club scene including places like Admiral Bilbos in Westlake where they had to use a fan to cool down their primitive Heathkit PA amp. If the amp overheated, it was instant 15 minute break time. "Roxanna" got some local airplay on stations like WIXY and the band got an appearance on Upbeat, sharing the show with Blues Image who were riding the top of the charts with "Ride Captain Ride" at the time, summer of '70. During the Friday afternoon taping the band got the offical thumbs down stare from Cleveland's 1st lady of establishment telejournalism, Dorothy Fuldheim, as she walked past them in the WEWS TV station hallway!
Tracks
1. Roxanna (Thank You For Getting Me High) (Jon Senne) - 2:36
2. Terribly Blind (Jon Senne, Steve Price) - 3:28
3. From One Who Sang The Song (Jon Senne) - 2:36
4. Come Fly With Me (John Buckner) - 3:21
5. Oh Martha (Jon Senne, Steve Price) - 4:40
6. Never Comes The Day (Justin Hayward) - 4:39
7. And We Loved It (Jon Senne) - 3:32
8. I've Been Waiting For You (Neil Young) - 3:06
9. Tommy The Cat (R. Peters, Steve Price) - 1:51
10.New York Mining Disaster (1941) (Barry Gibb, Maurice Gibb, Robin Gibb) - 5:15 The Wild Butter
*Jerry Buckner - Keyboards, Autoharp, Vocals
*Rick Garen - Lead Vocals, Drums
*Steve Price - Bass, Vocals
*Jon Senne - Guitar, Vocals Guests Musicians
*Mark Price - Guitar
*Jim Quinn - Guitar
*Bob Kalamasz - Guitar
Born in Sayre, Pennsylvania on February 11, 1917. As a child, his father Antonio (Tony) played an Enrico Caruso disc for young Johnny and from that time on Johnny knew what he wanted to do with his life. As a result he became a child prodigy singing whenever possible in public or private in the Sayre, Athens and Towanda area of Pennsylvania, as well as Waverly, New York, and as far as Scranton, Pennsylvania and Elmira, New York. He turned professional as a child after winning a talent show/contest that was produced in Sayre at the Sayre Theatre by the great 'Blackstone the Magician' in c.1926.
Young Johnny sang for every club or organization in the area that needed or wanted talent to perform for their various causes,i.e. The Elks, Lions, The D.A.R. et,al. In 1932 after a fire almost destroyed the family home, young Johnny, with his father's blessing, decided to travel alone to NYC to become a band vocalist. His childhood idols and inspirations were Bing Crosby, Russ Columbo, Red McKenzie, as well as Caruso.
The album was released in a private edition of 300 copies and most of them were given away to family and friends. In the late 80s, one of those copies was unearthed by rare record dealer Paul Major, who was one of the first persons to appreciate the singularities of “Reachin’ Arcesia”. Since then, the album, which mixes over the top crooner vocals with late 60s acid-rock / pop arrangements is now considered a lounge-psych / real people masterpiece.
Tracks
1. Pictures In My Window (J. Johnson, Perry) - 2:31
2. Soul Wings - 4:01
3. White Panther - 2:31
4. Leaf - 3:00
5. Voice Of Love - 2:34
6. Reaching (Furth, Perry, Arcessi) - 2:43
7. Summer Of Love (D. Totten, Perry) - 3:14
8. Mechanical Doll - 1:51
9. Butterfly Mind - 2:52
10.Desiree (J. Johnson, Lejon) - 3:02
11.Rainy Sunday - 3:24
All songs by John Arcessi and Lejon except where stated.
Tales of Justine only had one single, 1967's "Albert (A Pet Sunflower)"/"Monday Morning," both sides of which are included on this release. But with the addition of 13 tracks recorded between August 1967 and January 1969 that were unreleased at the time, there's enough for a full album with this LP, pressed in a limited edition of 1000 copies. Entirely written by David Daltrey (except one song he co-wrote with Paul Myerson), it's very much in the school of flowery British pop that, ahem, flowered in the period just post-Sgt. Pepper's
Even by the gaudy standards of the style, it's inclined toward storybookish lyrics and precious melodies, quite possibly taken to excess on "Obsolete Incident," which manages to fit in references to whitewashed coal, chocolate flowers, a clock that runs backwards, and sunburned toast just in the first 40 seconds. Orchestration gets loaded into the mix on the five tracks recorded in December 1968, perhaps looking forward to the kind of musicals on which producer Tim Rice and arranger Andrew Lloyd Webber would collaborate in the near future. If you're the kind of listener who just loves, say, the Hollies in their most psychedelic period around the time of Butterfly, you may well find this to your liking, though it's on the candy-coated side even in comparison with the Hollies' sweetest pop-psychedelia. A harder side surfaces on "Evil Woman," with its pungent psychedelic organ. basic mod rock, and freak-out instrumental break, but that's an atypical effort in the context of this collection.
Though Tales of Justine were yet more precious in their approach. Bandmember and singer/songwriter David Daltrey was featured in the early Rice-Webber musical Joseph and the Amazing Technicolor Dreamcoat, and later formed the group Carillion, a support act in a tour during David Bowie's Ziggy Stardust phase. The group's single, and numerous unreleased tracks from 1967-1969, were compiled on the 1,000-copy limited-edition Tenth Planet LP Petals from a Sunflower in 1997.
by Richie Unterberger
Tracks
1. Albert (A Pet Sunflower) - 2:51
2. Monday Morning - 3:22
3. Sunday School - 3:24
4. Evil Woman (David Daltrey, Paul Myerson) - 3:33
5. Obsolete Incident - 2:39
6. Music To Watch Us By - 3:05
7. Sitting On A Blunestone - 2:40
8. So Happy - 3:10
9. Morpheus - 4:02
10.Aurora - 2:53
11.Something Special - 2:44
12.Pathway - 3:41
13.Saturn - 3:19
14.Jupiter - 2:16
15.So Much Love To Give You - 3:27
All songs written by David Daltrey except where indicated
You Well-Meaning Brought Me Here is generally considered Ralph McTell's finest album; it is also one of the best albums of the singer/songwriter movement of the early 1970s. Gus Dudgeon (Elton John) was enlisted as producer, and he brought in guitarist Caleb Quaye, as well as Roger Pope and, on mandolin, Davey Johnston. The sessions also featured soon-to-be-famous keyboardist Rick Wakeman and arranger/conductor (and future David Bowie producer) Tony Visconti, among others. Like Dudgeon's early Elton John records, You Well-Meaning Brought Me Here had a restrained production in which the added instrumentation and string arrangements were only used to support McTell's vocals and acoustic guitar.
The songs made for a loose concept album that began with creation ("Genesis I Verse 20"); continued with primitive man ("First and Last Man"); and, while taking in love ("In Some Way I Loved You"), drinking, and celebration ("Lay Your Money Down"), man's best friend ("Old Brown Dog"), and war ("Pick Up a Gun"), merged into the singer's own autobiography. The second half of the album revolves around character and story songs, but the whole album reflects McTell's broad experience, especially of some of the seamier sides of life. In that sense, the substitution on the American version of the album of his most famous song, "Streets of London," for "Chalkdust," which appeared on the British version, was an appropriate one, since it fit with the sympathetic depictions of other poor people on the record. McTell's calm singing and the discreet touches of Dudgeon's production gave these portraits even greater depth, making this a singularly impressive work.
by William Ruhlmann
Tracks
1. Genesis 1:20 - 4:28
2. First And Last Man - 3:35
3. In Some Way I Loved You - 2:54
4. Lay Your Money Down - 2:48
5. Old Brown Dog - 4:25
6. Pick Up A Gun - 4:19
7. You, Well Meaning Brought Me Here - 3:15
8. Chalk Dust - 3:15
9. The Ballad Of Dancing Doreen - 3:08
10. Claudia - 3:46
11. The Ferryman - 7:04
Music and Lyrics by Ralph McTell
This unique and fascinating album has belatedly garnered a considerable following in recent years as a result of the new interest in what is nowadays referred to as Acid Folk. In reality it’s finely-structured acoustic folk-rock, but with strong elements of psychedelic studio treatment and twentieth-century avant-garde classical and choral music. Until now it’s only rated a couple of oblique references in these pages; now it’s time to give it the full exposure it deserves.
The album was the product of a chance conversation between Los Angeles periodontist Linda Perhacs and one of her patients, film score composer Leonard Roseman. Perhacs had written the songs as a hobby sideline, composing with just modally-tuned acoustic guitar and her own beautifully clear voice. Stimulated by Perhacs’s own graphic visualisation of her composition “Parallelograms” as “visual music sculpture” encompassing light, form and colour as well as sound, Roseman offered to develop her songs into an album, arranging and enhancing them in George Martin fashion and utilising the services of his studio’s state-of-the-art technology plus session musicians including guitarist Steve Cohn and percussionists Milt Holland and Shelley Manne. The stunning results found a release on Kapp records, but there the interest stalled; the label pressed the songs out of sequence with dull AM-friendly equalisation on poor quality vinyl, and then proffered no publicity for it, and the brashly commercial Los Angeles AM radio stations refused to play it. When what would become her first and only album in almost four decades tanked, Perhacs went back to the day job.
Over thirty years later she was alerted to the fact that the new generation of Acid Folk musicians such as Devendra Banhart were drawing inspiration from her long-lost work. Reissued by Wild Places in 1996 and by Sunbeam in 2008, the currently-available CD is correctly sequenced, beautifully remastered and comes with eight bonus demos, alternative versions and unreleased songs plus a superb booklet history by Perhacs herself. Perhaps best of all, its belated success has induced Perhacs to start creating music again and she’s issued two albums of new music in partnership with musician/producer Ben Watt of Everything But The Girl since 2007.
The quirky acoustic guitar tunings of Parallelograms may suggest early Joni Mitchell and the clear, crystalline vocals similar-period Joan Baez, but on this album Linda Perhacs utterly transcends both with her dazzling originality. The gently-rippling guitar arpeggios and cascading multi-tracked harmonies of the opening “Chimacum Rain” set out the collection’s predominant motifs, but the following “Paper Mountain Man” is surprisingly funky and blues-inflected with its jazzy percussion and distant, ethereal harmonica, and the wonderfully ironic critique of South Californian society marital celebrations, “Porcelain Baked-Over Cast-Iron Wedding”, rocks along similarly on oriental percussion and delightfully atonal 12-string.
Head and shoulders above the rest, the title track even eschews proper lyrics, the singer’s tongue playing mischievously with the syllables of the title and the names of other geometric forms in a sinuous flow of sound, broken by a Gyorgy Ligeti-like musique concrete interlude, all being the product of Roseman’s realisation of Perhacs’s original scroll-like pictorial depiction of the song. “Moons And Cattails” and “Morning Colours” are similarly, though slightly less, experimental, the former again utilising superbly melismatic vocals and the latter glorious electronically-processed flute obbligati. The rest is more conventional, but still well to the left of the field. As with the avant-garde music that largely inspired it, this is an album to be listened to, not merely heard.
by Len Liechti
Tracks
1. Chimacum Rain - 3:33
2. Paper Mountain Man - 3:13
3. Dolphin - 2:56
4. Call Of The River - 3:51
5. Sandy Toes - 3:00
6. Parallelograms - 4:36
7. Hey, Who Really Cares? (Perhacs, Nelson) - 2:44
8. Moons And Cattails - 4:09
9. Morning Colors - 4:48
10.Porcelain Baked-Over Cast-Iron Wedding - 4:01
11.Delicious - 4:08
12.If You Were My Man (Demo) - 3:30
13.If You Were My Man (Alt. Take) - 2:59
14.Hey, Who Really Cares? (With Intro) - 3:01
15.Chimacum Rain (Demo) - 3:45
16.Spoken Intro To Leonard Rosenman - 2:19
17.Chimacum Rain (Demo With Sounds) - 4:13
18.BBC Interview - 5:52
19.I Would Rather Love - 3:06
All tracks composed and written by Linda Perhacs, except where noted.
In its original vinyl form, Dr. Z's Three Parts to My Soul rates among the most valuable British prog albums of all time. But it is a rarity among such rarities in that it is also as good as a high three-figure value leaves you hoping it would be. Dr. Z was discovered by Nirvana UK frontman Patrick Campbell-Lyons, who is also credited as executive producer on the album. But Three Parts could not be further from its mentor's taste for eclectic airiness. The dominant mood is of percussive keyboards, alternately majestic and militaristic, the sound, if you like, of a Keith Emerson harpsichord concerto if Carl Palmer matched him note for note on a kettle drum. The vocals, meanwhile, have that kind of bellowed edge of conviction which makes every lyric resonate like a profoundly meaningful motto.
The first half of the near-singalong "Spiritus Manes et Umbra" moves like a battalion of tanks, with the LP's title itself rendered as compulsive a chant as any "gabba gabba hey" could be. There are moments of less-than-scintillating activity: the four-minute drum solo which punctuates that same song flags long before the chorus careens back into view, while "Summer for the Rose" is a ponderous snarling in desperate need of melody. At its most inventive and textured, however, Three Parts is an excellent example of early-'70s prog at its deepest and darkest, as inventive as it is occasionally magpie-like. "Burn in Anger," the most commercial song in sight, is a dead-ringer for a classic rock hit which will forever float just beyond your ability to name it, while the closing "In a Token of Despair" is a tour de force of Floydian winds, Crimson-ish signatures, and electifyingly symphonic structure. The Si Wan reissue concludes with two bonus tracks drawn from a similarly rare Dr. Z single released a year or so before the LP. Produced by the Pretty Things' Dick Taylor, "Lady Ladybird" and "People in the Street" have little in common with the main attraction beyond a similar taste for crashing drums and keyboards; the world's first orchestral garage band.
by Dave Thompson
Dr. Z's first and only album is the most rare record released on the Vertigo-swirl label. It sold only about 70 copies (!!) when it was released, and the rest of the pressings were trashed.
Tracks
1. Evil Woman's Manly Child - 4:47
2. Spiritus, Manes Et Umbra - 11:52
3. Summer For The Rose - 4:36
4. Burn In Anger - 3:26
5. Too Well Satisfied - 5:52
6. In A Token Of Despair - 10:33
7. Lady Ladybird - 2:47
8. People In The Street - 3:09
All compositions by Keith Keyes
Dr Z
*Keith Keyes - Piano, Harpsichord, Organ, Vocals
*Bob Watkins - Drums, Percussion
*Rob Watson - Bass
