This short-lived band was a collaboration between two songwriters, Wayne Berry and George (no, not that one) Clinton who each had distinctive and largely divergent musical interests, with Clinton being (roughly) more of a rocker, and Berry being more on the country/rural/acoustic side of the tracks. They recorded two albums as Timber, followed by a couple of solo albums, and briefly reunited as "Volunteers" for one album in 1976.
Tracks
1. Tip Top (Wayne Berry) - 6:51
2. All But Gone (Wayne Berry) - 4:12
3. Good Intentions (Wayne Berry) - 2:53
4. Part Of What You Hear (Wayne Berry) - 3:37
5. Boat Ride (George Clinton) - 4:33
6. In It (George Clinton) - 2:17
7. She's My Lady (George Clinton) - 4:54
8. Go On Alone (George Clinton) - 3:07
9. A Sad Song (George Clinton) - 5:33
10.Country Blue / Don't Hide Tonight (Wayne Berry) - 5:56
The Timber
*Wayne Berry - Vocals, Bass, Guitar
*George Clinton - Vocals, Keyboards, Woodwinds, Autoharp
*Warner Charles Davis - Drums, Percussion
*Judy Elliott - Vocals
*Roger Johnson - Lead Guitar, Vocals
Dateline 1966 – the Pacific North West of the USA – a hotbed for numerous local and regional bands following the tradition of the renowned North West Fratrock of the Kingsmen or the uncompromising Rock & Roll of The Sonics and Wailers. Not so the United Travel Service.
They were sadly overlooked at the time but are now revered for their two brilliant, killer folkadelic 45 releases “Wind And Stone” b/w “Drummer Of Your Mind” and “Gypsy Eyes” b/w “Echo Of You”. The UTS were mainly influenced by the San Francisco scene, Garage Rock and the Byrds. Their high quality repertoire written by guitarist Ben Hoff and produced by New Tweedy Brothers producer Rick Keefer would have made a classic local psychedelic album if released back then. But it was not to be.
Their great album, would have counted to the classic psychedelic ones, had it been released at the time. Break-A-Way presents for the first time ever, a collection of the band's rare 45s, along with five more, until now unreleased studio recordings, plus three home demos.
Tracks
1. Wind And Stone - 3:28
2. Drummer Of Your Mind - 2:58
3. Snow - 2:30
4. Like Me - 2:46
5. The Slightest Possibility - 2:28
6. ytilibissoP tsethgils ehT - 2:31
7. Gypsy Eyes - 2:23
8. Echo Of You - 2:36
9. To Helen (Ben Hoff, Edgar Allan Poe) - 3:42
10.California Dreamin' (John Phillips) - 3:57
11.Nelly Was A Lady (Stephen C. Foster) - 2:07
12.Beyond The Rainbow - 3:38
13.Some Velvet Morning (Lee Hazelwood) - 4:34
14.Flamenco Express (Ben Hoff, Dale Sweetland, John Reeves, Steve Bennett) - 4:46
15.Helen (With Percussion) (Ben Hoff, Edgar Allan Poe) - 3:40
All songs written by Ben Hoff except where stated
The United Travel Service
*Steve Bennett - Guitar
*Ray Doern - Bass
*Ben Hoff - Guitar, Vocals
*John Reeves - 12-String
*Jim Roberts - Bass
*Dale Sweetland - Drums
The original City Blues Band was formed in Fullerton, Calif. in 1966. It made an LP, financed by David R. Hall, a local DJ, in 1967 that sold in in record shops in LA and Orange Counties of So. Calif. About five copies even made it to Victoria around this time. Today it is a sought after collectors item, mostly in Europe.
The band then went through several personel changes, mostly guitarists. In it's final So. Calif. inception, Bob Lesher was the only original member left. He moved to Victoria in April, 1969, soon to be followed by Mike Balfe (drummer) and Bill Burdick (bassist).
For it's Victoria version the band featured Tim Zurowski and Phil Rossner, Victoria guitarists and borrowed Paul Iverson, on bass, from Frendlyn Page prior to Burdick arriving in town. As a result, the band's first gigs were opening for Frendlyn Page.
The City Blues dissolved in early 1970 as all the players mixed more into the "Victoria scene" to form Bayside Blues, an eventually, Blues Union.
Phil Rossner was into Elmore James when I was introduced to him by Tim Zurowski. I seem to recall that He was taking over Tim's spot in City Blues and thought him to be perfect for the position as he was so well educated about the blues idiom.
Unfortunately, the band was in such a state of flux we never got a real chance to play much together, and I regret that as he was/is such a fine, ego-free guitarist.
by Bob Lesher
Tracks
1. I'm In A Groovy Mood (Ed Soldberg, Steve Eliot) - 2:57
2. Blues For Lawrence Street (Dick Payne, Bob Lesher) - 4:40
3. Steal My Chickens (Jimmy Rodgers) - 2:47
4. Goin' To New York (Jimmy Reed) - 4:02
5. All Blues (Dick Payne) - 6:52
6. You Gotta Help Me (Sonny Boy Williamson, Willie Dixon, Ralph Bass) - 4:26
7. Goin' Down To The River (Ray Charles) - 4:38
8. Smokestack Lightning (Chester Burnett) - 9:50
One of the most versatile mid-'60s garage groups -- indeed, they were for the most part too accomplished and pop-savvy to truly merit the garage band tag -- We the People had some big hits in Florida, but never broke out nationally, despite releases on the large RCA and Challenge labels. Veterans of Orlando garage combos the Trademarks, the Offbeets, and the Nonchalants all found their way into We the People, who made their first single for the local Hotline label, "My Brother the Man," in early 1966. "My Brother the Man" was a smoking, almost-crazed, hard garage-punk number, a path the band continued to follow on their early Challenge singles "Mirror of Your Mind" and "You Burn Me Up and Down."
Grinding guitar chords, organ, aggressive vocals, and crazed guitar distortion (particularly on the swooping noises and feedback that introduce "You Burn Me Up and Down") were their initial trademarks. Yet at the same time they could throw in gentler and more lyrically and melodically subtle originals, like the beautiful, tremolo-laden ballad "(You Are) the Color of Love," on the B-side of "Mirror of Your Mind." Unusual for a garage band, they boasted two prolific and talented songwriters in Tommy Talton and Wayne Proctor. Proctor was the more interesting of the pair, penning one of the great raga rock tunes (the gutsy "In the Past," covered by the Chocolate Watch Band), the Baroque-psychedelic "St. John's Shop," and "(You Are) the Color of Love." All had uncommonly elusive, vague, but evocative lyrics for a young regional band of the time; Proctor even wrote a love song to a nun ("Love Wears Black (None)"), although that wasn't issued until more than 30 years later.
We the People had a good share of chart success in Florida, but suffered a major setback when Proctor left the band in early 1967. The music recorded subsequent to his departure had its moments: the nasty "When I Arrive" made its way onto a Pebbles compilation, and "The Day She Dies," although written by Talton, recalled Proctor's work with its harmonic pop, melodic base and odd lyrical slant. Some of the last numbers they cut in the studio were derivative soul-rock tunes, though, and Talton's departure at the end of the '60s, as well as the expiration of their recording deal, sealed the death of the group, although they continued for a bit longer. As part of the Southern rock group Cowboy, Talton was the only We the People member with a visible music career after the '60s.
by Richie Unterberger
Tracks Disc 1
1. The Trademarks - Everything'll Be Alright (Wayne Proctor) - 2:06
2. The Offbeets - Drivin' Me Out Of My Mind (David Duff) - 2:23
3. My Brother The Man (Version 1) (Wayne Proctor) - 2:11
4. Mirror Of Your Mind - 2:45
5. (You Are) The Color Of Love (Wayne Proctor) - 2:28
6. She Does Everything For Me (Rod Argent) - 2:10
7. He Doesn't Go About It Right - 2:29
8. You Burn Me Up And Down - 2:23
9. Nothing Like A Vision (Demo) - 3:10
10.Proceed With Caution (David Duff) - 2:17
11.By The Rule - 2:05
12.Look At The Girls (Version 1) - 3:01
13.Love Is A Beautiful Thing (Eddie Brigati, Felix Cavaliere) - 2:45
14.The Nonchalants - Double Trouble (Dennis Messimer) - 2:16
15.The Trademarks - Don't Say You Love Me (Wayne Proctor) - 2:23
16.St. John's Shop (Version 1) (Wayne Proctor) - 2:45
17.Love Wears Black (None) (Version 1) (Wayne Proctor) - 2:33
18.Beginning Of The End (Wayne Proctor) - 1:56
19.The Day She Dies - 2:27
20.There's Gonna Be A Storm - 2:55
All songs by Tommy Talton except where noted
Disc 2
1. When I Arrive - 3:08
2. No, No Boys - 3:01
3. In The Past (Wayne Proctor) - 2:35
4. Alfred, What Kind Of Man Are You (Wayne Proctor) - 2:27
5. Boy, She Just Don't Feel It (Demo) (Wayne Proctor) - 2:55
6. Declaration Of Independence (Wayne Proctor) - 2:19
7. Look At The Girls (Version 2) - 2:43
8. Follow Me Back To Louisville (Bill Davison) - 2:00
9. Lovin' Son Of A Gun - 2:18
10.St. John's Shop (Version 2) (Wayne Proctor) - 2:27
11.Half Of Wednesday (Wayne Proctor) - 2:17
12.Fluorescent Hearts - 2:33
13.The Nonchalants - I Wanna Do It (Bob Feldman, Jerr Goldstein, Richard Gottehrer) - 3:37
14.The Offbeets - She Lied (David Duff) - 2:41
15.Ain't Gonna Find Nobody (Better Than You) (David Duff) - 2:32
16.My Brother, The Man (Version 2) (Wayne Proctor) - 2:08
17.Free Information - 2:26
18.You Like Me, You Love Me (Demo) - 2:28
19.Too Much Noise - 2:26
20.Love Wears Black (None) (Version 2) (Wayne Proctor) - 2:32
All songs by Tommy Talton except where stated
We The People
*Tommy Talton - Vocals, Guitar
*Wayne Proctor - Guitar
*Lee Ferguson - Drums
*Randy Boyte - Keyboards
*David Duff - Bass
A remarkable feature of Colosseum Live was the inclusion of one of the more unusual numbers in the band's repertoire, namely Michael Gibbs's outstanding composition "Tanglewood '63." This was a brave piece for a six piece jazz rock band to tackle since the original version (aside from a version recorded by Gary Burton's quartet in 1982) was made by Gibbs for his second big band album for Deram in 1971. But Gibbs plus Colosseum members Jon Hiseman, Dick Heckstall-Smith and Dave Clempson had also performed this track, as members of the New Jazz Orchestra, at the Jeanetta Cochrane Theatre, London on 26 May 1970 (a CD of the concert eventually being released on the Dusk Fire label in 2008 and going under the title of Camden '70). The version of "Tanglewood '63" heard on this re-mastered Colosseum Live album meticulously reflects the labyrinthine and complex arrangement of the piece. The Colosseum version also utilises vocal harmonies to replace some of the original instrumentation and most notably the voice of Chris Farlowe, whose ability to sing intricate melody lines proves beyond doubt that he was not merely an impressively powerful rhythm and blues singer.
The original Colosseum Live LP was released in 1971 on the Bronze label, the content gleaned from concerts recorded in the United Kingdom. Tracks included Jack Bruce's "Rope Ladder To The Moon" and Graham Bond's "Walking In The Park" which was Colosseum's hugely popular signature tune. Then there were some frenetic blues tracks, "Skellington" and the blistering "I Can't Live Without You" (not included on the original 1971 Bronze label double vinyl release but included as a bonus track on the 1992 Sequel CD reissue). The mood was taken down a little with the classic T-Bone Walker number "Stormy Monday Blues," Farlowe's barnstorming vocals positively shining through. The Greenslade, Heckstall-Smith and Farlowe-penned "Lost Angeles" is another genuine highlight of the album, a fifteen minute tour de force proving that the band could write effective and dynamic numbers when they set about it.
This Esoteric release includes an extra CD of bonus tracks recorded in Brighton, Bristol and Manchester. Significantly there is the addition of several tracks not included on the original release including a full length version of "The Valentyne Suite," a very rare treat to hear live. Also, sandwiched between "I Can't Live Without You" and "The Machine Demands A Sacrifice" is "Time Machine," a stupendous twelve minute drum solo—where Hiseman, egged-on by a increasingly hysterical audience, proves what a technically brilliant drummer he is; towards the climactic ending of his solo he kicks his twin bass drums at almost superhuman speed. His drumming far outstripped the capabilities of the average rock drummer, which he most certainly was not. The bonus CD on this release makes this an absolutely essential purchase for all Colosseum fans, who will undoubtedly already possess a version of the original Colosseum Live.
Those who haven't heard this band before will be mightily impressed at the virtuosic talent of all the members of the group and the timeless quality of the music presented here. Therefore this is a very welcome reissue indeed from one of the pre-eminent pioneering British jazz rock outfits and one of the genre's most well-loved bands.
by Roger Farbey
Tracks Disc 1 (Original Album)
1. Rope Ladder To The Moon (Jack Bruce, Pete Brown) - 9:45
2. Walking In The Park (Graham Bond) - 8:22
3. Skelington (Dave "Clem" Clempson, Jon Hiseman) - 14:57
4. I Can't Live Without You (James Litherland) - 7:49
5. Tanglewood '63 (Michael Gibbs) - 10:13
6. Stormy Monday Blues (Aron T. Walker) - 7:29
7. Lost Angeles (Chris Farlowe, Dave Greenslade, Dick Heckstall-Smith) - 15:48
Tracks 1-7 recorded at Manchester University, Manchester, UK (March 18, 1971) and the Big Apple, Brighton, UK (March 27, 1971), on the "Daughter of Time" tour.
Disc 2
1. Rope Ladder To The Moon (Jack Bruce, Pete Brown) - 10:56
2. Skellington (Dave "Clem" Clempson, Jon Hiseman) - 14:41
3. I Can't Live Without You (James Litherland) - 21:39
.a.Time Machine (Jon Hiseman)
.b.The Machine Demands A Sacrifice (Jon Hiseman, James Litherland, Dick Heckstall-Smith, Pete Brown)
4. Stormy Monday Blues (Aron T. Walker) - 5:12
5. The Valentyne Suite - 21:20
.I.January's Search (Jon Hiseman, Dave Greenslade)
.II.Theme Two - February's Valentyne (Jon Hiseman, Dave Greenslade)
.III.Theme Three - The Grass Is Greener (Jon Hiseman, Dick Heckstall-Smith)
Tracks 1-2 recorded at The Big Apple, Brighton, 1971
Track 3 recorded at Manchester University, March 1971
Track 4 recorded in Bristol, 1971
Track 5 recorded at Manchester University, March 1971.
The only album from the French progressive quartet (including one British member) appeared on the market in 1972, and featured English lyrics sung by Ian David Jelfs former guitarist of the UK prog rock formation Circus (of Mel Collins fame).
This rare album balances between Caravan, Traffic and Brian Augger's Trinity, with dominant and powerful Hammond organ sounds, tight rhythm section, jazzy guitar licks (similar to Allan Holdsworth and Robert Fripp)
Tracks
1. Let It Get Higher (Ian David Jelfs) - 3:38
2. Summer Song (Ian David Jelfs) - 3:33
3. Ba'Albeck Stone (Philippe Combelle) - 3:37
4. Out In The Open (Ian David Jelfs) - 3:47
5. Green Star (Philippe Combelle, Michel Coeuriot) - 3:19
6. Tiahnanaco Road (Philippe Combelle, Gilles Papiri) - 3:07
7. Aledebarente (Michel Coeuriot) - 4:52
8. Mesopotamie Natale (Gilles Papiri) - 5:38
9. Proxima (Gilles Papiri) - 2:40
Seven years after 1960s girl group poster-girls The Shirelles scored a number one smash hit with “Will You Love Me Tomorrow” and three years before recording one of the best selling pop albums of all time, singer-songwriter Carole King was a member of a fledgling west-coast folk-rock outfit called The City. Built around King’s heavily refined Brill building song-craft and the tight, funky guitar playing of one Danny Kootchmar, The City had an extraordinarily brief moment in the spotlight – if the spotlight is even what you could call their momentary spark into existence – before King’s stubborn reluctance to perform sealed the band’s fate. Nonetheless, they managed to cut a very solid record with 1968’s Now That Everything’s Been Said, and it deserves to be slid back into the popular radar, not only as a curious artifact from one of pop’s most legendary songstresses, but as an extremely well-polished disc of mellow rock and roll from a period when even the popular mainstream was starting to dip its sticky fingers in the electric currents of the musical counterculture.
The opening track is one of the album’s finest moments, with the hiccup of a tape deck cutting into Kootchmar’s fluid electric guitar and King’s floating, elemental piano chording. “Snow Queen” has all the Laurel Canyon trademarks, from soaring harmonies and textured instrumental interplay that never intrudes on the vocals but rather elevates them above the laid-back rhythm section into a sort of ethereal timelessness. Perhaps this record’s second biggest claim to fame, besides the obvious presence of King herself, is her own performance of “Wasn’t Born To Follow,” a quiet assertion of individuality and counterculture ideals taken to the charts by The Byrds around the same time that Now That Everything’s Been Said first saw the light. The City’s arrangement is not far removed from McGuinn and company’s, but King’s singing does throw a new spin on the number that lets it rival its more famous counterpart rather than being subsumed by it. For whatever reason I never realized the blatant similarities between this song and Leonard Cohen’s “Suzanne” until I heard this less well-known take – open-handed plagiarism or the old folk-revival card, who’s to say; either way both songs retain their beauty and this particular selection remains a City highlight.
Taken as a whole this is a relatively safe and consistent record, without many real surprises save for Kootchmar’s star turn on the soulful “A Man Without A Dream.” It’s unfortunate that he was not given more chances to shine here (though he does do a sort of informal duet with King on the rambling “My Sweet Home”) as his strong and earthy voice helps ground his partner’s occasional flights into Tin Pan Alley melodramatics. His one song at least manages to add some variety to the proceedings and make this more than just another Carole King record. One wonders how much collaboration there was between musicians here, for despite King’s obvious claim on songwriting credits there are a couple of moments that sound as though they’d been born in an atmosphere of collective improvisation. “That Old Sweet Roll” even sees the band dipping its hands into a sort of rollicking American blues bag, though the song ends up channeling Cab Calloway in a prom dress more than it does Howlin’ Wolf or the Reverend Gary Davis.
So where does this leave us? I’d argue that The City helps illuminate a time in which even the more conservative members of the American popular music establishment were willing to dip their fingers in the new wave of artistic expression that would in a few years simply become old guard. The results are an unlikely mixture of mainstream talent and late-sixties rebelliousness – a powerful combination, however questionable the concept’s street cred may sound. Considering the personnel here it’s rather surprising that Now That Everything’s Been Said is out-of-print, but with enough scrounging one of the three past reissues should turn up. Maybe you’ll get lucky: my own copy came from the cut-out bin at my local record store mixed in with a bunch of latter-day Carole King records.
by Nik Rayne
Tracks
1. Snow Queen (Gerry Goffin, Carole King) - 3:43
2. I Wasn't Born To Follow (Gerry Goffin, Carole King) - 3:42
3. Now That Everything's Been Said (Carole King, Toni Stern) - 2:19
4. Paradise Alley (Carole King, David Palmer) - 2:52
5. Man Without A Dream (Gerry Goffin, Carole King) - 3:46
6. Victim Of Circumstance (Carole King, David Palmer) - 2:31
7. Why Are You Leaving (Carole King, Toni Stern) - 3:29
8. Lady (Gerry Goffin, Carole King) - 2:57
9. My Sweet Home (Toni Stern, Margaret Allison) - 3:09
10. I Don't Believe It (Carole King, Toni Stern) - 2:38
11. That Old Sweet Roll (Hi, De, Ho) (Gerry Goffin, Carole King) - 3:22
12. All My Time (Gerry Goffin, Carole King) - 3:16
The City
*Charles Larkey - Bass
*Danny Kortchmar - Guitar, Vocals
*Carole King - Piano, Vocals With
*Jim Gordon - Drums
Jesse Ed Davis was perhaps the most versatile session guitarist of the late '60s and early '70s. Whether it was blues, country, or rock, Davis' tasteful guitar playing was featured on albums by such giants as Eric Clapton, Neil Diamond, John Lennon, and John Lee Hooker, among others. It is Davis' weeping slide heard on Clapton's "Hello Old Friend" (from No Reason to Cry), and on both Rock n' Roll and Walls & Bridges, it is Davis who supplied the bulk of the guitar work for ex-Beatle Lennon.
Born in Oklahoma, Davis first earned a degree in literature from the University of Oklahoma before beginning his musical career touring with Conway Twitty in the early '60s. Eventually the guitarist moved to California, joining bluesman Taj Mahal and playing guitar and piano on his first three albums. It was with Mahal that Davis was able to showcase his skill and range, playing slide, lead, and rhythm, country, and even jazz guitar during his three-year stint.
The period backing Mahal was the closest Davis came to being in a band full-time, and after Mahal's 1969 album Giant Step, Davis began doing session work for such diverse acts as David Cassidy, Albert King, and Willie Nelson. In addition, he also released three solo albums featuring industry friends such as Leon Russell and Eric Clapton.
In and out of clinics, Davis disappeared from the music industry for a time, spending much of the '80s dealing with alcohol and drug addiction. Just before his death of a suspected drug overdose in 1988, Davis resurfaced playing in the Graffiti Band, which coupled his music with the poetry of American Indian activist John Trudell. The kind of expert, tasteful playing that Davis always brought to an album is sorely missed among the acts he worked with.
His second album "Ululu" is far more a collector's record than an actual "turntable staple," it is a significant improvement from Davis' first solo outing. During the title track in particular, as well as a cover of Merle Haggard's "White Line Fever," Davis' voice achieves a ragged glory that makes the listener realize why sloppy rock & roll can be so much fun. Other standout moments include a version of the tune that Davis co-wrote with Taj Mahal, "Further on Down the Road," and the Davis-penned "Reno St. Incident." In all, it is the fun record that you would expect from a standout session player like Davis.
by Steve Kurutz
Tracks
1. Red Dirt Boogie, Brother - 3:44
2. White Line Fever (Merle Haggard) - 3:03
3. Farther On Down The Road (You Will Accompany Me) (Taj Mahal, Jesse Davis) - 3:14
4. Sue Me, Sue You Blues (Georg Harrison) - 2:45
5. My Captain - 3:23
6. Ululu - 3:40
7. Oh! Susannah (Traditional) - 2:45
8. Strawberry Wine (Levoln Helm, Robbie Robertson) - 2:13
9. Make A Joyful Noise - 3:51
10.Alcatraz (Leon Russell) - 3:15
All songs by Jesse Davis except where noted
Musicians
*Jesse Davis - Vocals, Guitar
*Donald "Duck" Dunn - Bass
*Jim Keltner - Drums
*Mac Rebennack - Organ, Piano
*Billy Rich - Bass
*Larry Knechtel - Organ
*Leon Russell - Piano
*Chuck Kirkpatrick - Backing Vocals
*Albhy Galuten - Piano
*Stan Szeleste – Piano
*Arnold Rosenthal - Bass
*The Charles Chalmers Singers, Clydie King, Merry Clayton, Vanetta Fields - Backing Vocals
When Belgian Portuguese duo Jess and James (Tony Lam and Wando Lam) released their third LP in 1969, they already had an impressive body of work under their belt.
Playing a highly energized blend of pop and soul, they achieved great success in Europe with singles like '' Move'' and '' Something for nothing'' . Oddly enough, they were often presented as British musicians origin instead of Portuguese.
Jess and Jamed released a couple of well*received albums in the same style of the singles, a brilliant mix of soul, pop and psych, recorded along with the legendary J.J.Band: “Move!” (Palette MPB S*3114, 1968 / Belter 22.281) and “Revolution, Evolution, Change!” (Palette MPB S*3237, 1969 / Belter 22.305).
Their next record wouldn't bear the name Jess and James but instead the quite adventurous name of Free Pop Electronic Concept. “A New Exciting Experience” was a joint effort with experimental composer Arsène Souffriau, one year before the much*lauded “Ceremony”, where composer Pierre Henry is joined by rock group Spooky Tooth.
Later in 1969, Jess and James released their self titled third and final album which is widely regarded as their best. This time they are joined by top session musicians Scott Bradford (keyboards) and Stu Martin (drums) and the sound changes toward a more hard*psych*prog approach, featuring superb Hammond work and some long jams, at times reminiscent of early Caravan.
Here you can find this fabulous album reissued for the first time, licensed from Belter Portugal, plus three bonus tracks taken from non*LP 45s released in 1970*71, in the same musical style.
Tracks
1. Straight Man (Scott Bradford, Wando Lam) - 3:32
2. Mrs. Davis (Wando Lam, Scott Bradford) - 4:41
3. Perdition Again (Wando Lam, Scott Bradford) - 4:39
4. Lip Service (Wando Lam, Scott Bradford) - 1:56
5. A Passing Car (Scott Bradford, Wando Lam) - 5:23
6. She’s A Woman (John Lennon, Paul McCartney) - 4:05
7. Skathing (Stu Martin, Wando Lam, Scott Bradford) - 3:56
8. James Stuff (Wando Lam, Tony Lam) - 7:55
9. Change (Scott Bradford, Wando Lam) - 3:09
10.Julie's Doll (Wando Lam, Scott Bradford, Tony Lam) - 2:09
11.Let The Day Go By (Wando Lam, Tony Lam, Ralph Benetar) - 2:37
12.Something For Nothing (P. Tubbs) - 2:31
Bonus Tracks 9-12
The Jess And James
*Antonio 'Jess' Lameirinhas - Vocals, Bass
*Fernando 'James' Lameirinhas - Vocals, Guitar
*Stu Martin - Drums
*Scott Bradford - Keyboards With
*Major Belshaw - Bass
*Nathan Davis - Sax, Clarinet
*Pete Mcgregor - Sax
*Janot Morales - Trumpet
*John John Perilli - Sax
*Dave 'Hip' Rose - Trumpet, Horns
*Phil Rosenberg - Lead Guitar
*Freddie Rottier - Percussion
*Bob Salmons - Percussion
*Willy Vande Walle - Sax, Flute
*Ralph Benetar - Saxophone
Mason Proffit earned a major-label contract with Warner Bros. Records in 1972 after its second and third albums, Movin' Toward Happiness and Last Night I Had the Strangest Dream, both made the charts in 1971 despite being released on small independent labels. Warner probably thought it was getting in on the country-rock trend already receiving national exposure via the Flying Burrito Brothers on A&M and Poco on Epic, and it might well have worked out that way. Rockfish Crossing, the group's Warner debut, was an accomplished blend of country and rock on which the Talbot brothers, who led the band, sang pure harmonies on folk-rock songs, played convincing country hoedowns, covered country standards like "You Win Again," and even included some timely social consciousness in "Were You There," with its references to My Lai and Wounded Knee.
They dressed up in Western gear on the album cover like 19th century desperadoes, Civil War soldiers, and buffalo hunters. It's hard to say why this appealing and apparently trendy package wasn't successful, but Rockfish Crossing, unlike its two predecessors, didn't sell well enough to make the charts, much less expanding Mason Proffit's following. The country-rock hybrid was a delicate mixture, one not really perfected until the Eagles did it a little later. (Neither the Flying Burrito Brothers nor Poco actually sold records in significant quantities.) It may be that Mason Proffit, despite earlier indications, simply fell between the stools of being too country for the rock audience and too rock for the country audience. But the group's music was an accomplished blend of the two styles.
by William Ruhlmann
Tracks
1. Jesse - 3:56
2. You Win Again (Hank Williams) - 4:09
3. Better Find Jesus - 3:17
4. Summer Side Of Love - 3:20
5. Breakin' Down - 1:48
6. Were You There - 4:32
7. Hobo - 4:32
8. A Thousand And Two - 4:36
9. Medley: Cripple Creek/Quit Kickin' My Dog Around - 3:33
10.Wetback - 3:25
11.Medley: George's Jam/Call Me The Breeze (John Talbot, Terry Talbot, J.J. Cale) - 5:26
All songs written by John Talbot, Terry Talbot unless as else noted.
