Aaron Space was a Canadian psychedelic rock band from Toronto, performing art rock with a touch of psychedelia and a pinch of 70's hard rock. The songs are energetic, fun, and the guitar is beautiful.
They released their first single, "Keep On Movin'," which featured Lisa Garber on bg vocals, b/w "The Visitor" in the fall of '71 to mixed reviews. It eeked its way up to #83 on some strong support from Toronto radio, where it stayed for three weeks. Recorded at Eastern Sound in Toronto and produced by John Stewart, their eponymous debut album followed early the next year, with the single, "Marsha" b/w "She Smiles" close behind.
After a series of short tours around central Canada, plans were being made for a follow-up album, some songs had been written, and some time in the studios had been spent. But with their deal with Warner on the brink of ending, the band imploded, and everyone went on to individual projects.
Whereas by the 21st century any 12-year-old with a laptop and a MySpace page could make music and have it heard by millions of strangers, in the pre-internet days artists and bands might work and perform diligently for years on end without escaping utter anonymity, never mind even sniffing a record deal. This is the story of (among many other groups) Kansas City's JPT Scare Band, which was formed in 1973 by three friends -- vocalist/guitarist Terry Swope, bassist Paul Grigsby, and drummer Jeff Littrell -- who simply loved to jam for hours on end, inspired by the psychedelic hard rock of Cream, Blue Cheer, and the Jimi Hendrix Experience.
Although they would soon realize that their symbiotic musical relationship was something special and eventually recorded the best fruits of their labor to tape, the JPT Scare Band (named after its members' first initials, obviously, plus the scary length of their acid rock jams) never managed to graduate from basement woodshedding to world-wide stardom. Their informal reel to reel recordings were so obscure and sparsely circulated, in fact, that the group would likely have been entirely forgotten were it not for a pair of hard rock anthropologists at Monster Records, who tracked them down in the early '90s and rounded up their '70s highlights for limited release on two vinyl albums, Acid Acetate Excursion and Rape of Titan's Sirens, and later CD via 2000's Sleeping Sickness.
These reissues were rave-reviewed and eagerly snapped up by collectors of '70s hard rock, but when the JPT Scare Band members -- still friends and still jamming after all these years, believe it or not -- asked Monster to release some of their present-day recordings, the label balked, and by conveniently going out of business shortly thereafter, motivated the veteran rockers to take matters into their own hands. Launching their own website and indie label, Kung Bomar, the JPT Scare Band promptly issued a new collection, Past Is Prologue, mixing old and more recent material in 2002.
by Eduardo Rivadavia
Tracks
1. Sleeping Sickness - 15:17
2. Slow Sick Shuffle - 7:13
3. King Rat - 13:17
4. It's Too Late - 5:31
5. Acid Acetate Excursion - 6:58
6. I've Been Waiting - 12:12
7. Time To Cry - 12:44
All songs by Jeff Littrell, Paul Grigsby, Terry Swope
The JPT Scare Band
*Jeff Littrell - Drums
*Paul Grigsby - Bass, Vocals
*Terry Swope - Guitar, Vocals
After Spirit’s first four classic albums, the band entered a period of fluctuating personnel, style, and success. The double-LP Spirit of ‘76 had marked the revitalization of the band around guitarist Randy California and drummer Ed Cassidy, and indulged the experimental side of the group. Finding themselves the object of some chart action after years of disappointment, the two quickly followed up with Son of Spirit, hanging onto bassist Barry Keene from the previous record. It is a much tamer affair, sticking to the band’s more song-oriented side, and maintaining a relatively pastoral mood. There are some beautiful acoustic guitar moments, and plenty of great, if somewhat restrained, lead parts on electric. California, as the sole singer, uses his modest vocal talents to good effect on the soft material. The previous album had introduced a trend of cover tunes, and the Beatles’ “Yesterday” is added here.
The next year, original members John Locke (keyboards) and Mark Andes (bass) came back into the fold temporarily for Farther Along, leaving only singer Jay Ferguson missing from the band’s classic lineup. For the most part, this album continues in the relatively non-experimental vein of its predecessor, though it should be noted that a non-experimental Spirit album is still fairly out-there compared to most bands. Aside from an embarrassing disco beat on one track, the material here stands up well through the years; a couple of the tunes rank with the band’s best.
by Jon Davis, 2006-05-01
Tracks Son Of Spirit
1. Holy Man (Randy California) - 3:02
2. Looking Into Darkness (Ed Cassidy, Randy California) - 2:53
3. Maybe You'll Find (Randy California) - 2:40
4. Don't Go Away (Randy California) - 3:43
5. Family (Randy California) - 3:07
6. Magic Fairy Princess (Randy California) - 3:02
7. Circle (Randy California) - 3:28
8. The Other Song (Barry Keene, Ed Cassidy, Randy California) - 5:33
9. Yesterday (John Lennon, Paul McCartney) - 1:54
10.It's Time Now (Randy California) - 3:02 Farther Along
11.Farther Along (Ed Cassidy, Matt Andes, Randy California) - 3:23
12.Atomic Boogie (Ed Cassidy, John Locke, Mark Andes, Matt Andes, Randy California) - 2:41
13.World Eat World Dog (Ed Cassidy, John Locke, Randy California) - 2:45
14.Stoney Night (Randy California) - 2:30
15.Pineapple (John Locke) - 2:11
16.Colossus (Randy California) - 2:58
17.Mega Star (John Locke, Randy California) - 3:27
18.Phoebe (Matt Andes) - 2:10
19.Don't Lock Up Your Door (Ed Cassidy, Matt Andes, Randy California) - 3:10
20.Once With You (John Locke, Randy California) - 1:34
21.Diamond Spirit (Matt Andes, Randy California) - 2:26
22.Nature's Way (Randy California) - 2:04
The Spirit Son Of Spirit
*Randy California - Bass, Guitar, Vocals
*Ed Cassidy - Percussion, Drums
*Barry Keane - Bass Farther Along
*Mark Andes - Bass, Vocals
*Randy California - Bass, Guitar, Vocals
*Ed Cassidy - Percussion, Drums
*John Locke - Keyboards
*Matt Andes - Guitar, Vocals
Another one of Texas' wealth of interesting, late-'60s psychedelic bands, Christopher came together in 1968 in the Houston area. Doug Tull (drums), Doug Walden (bass, vocals), and Richard Avitts (guitar, vocals) were the original members of the band, which was originally known as United Gas. Tull and Avitts, at the time playing in a series of R&B and soul-leaning groups, first met in 1966 when Tull sat in on drums with one of Avitts' bands. Tull, however, was not as serious about the music as Avitts, leading to an eventual split. Tull developed a friendship around this time with Jefferson Airplane guitarist Jorma Kaukonen, and, in 1967, invited Avitts to jam with them. Certain that they had the makings of a band, the two went searching for a bassist who could sing, eventually finding Doug Walden.
It was not long before United Gas developed a following in and around Houston, playing local clubs such as Tangerine Forest, whose owner, Nick Lee, developed an interest in the band, eventually becoming their manager. Walden and Avitts began writing their own material and recorded a demo that Lee had circulated around Las Vegas and Los Angeles by his connections in those cities. United Gas moved to Las Vegas for a brief time and then to Los Angeles after L.A. record label Metromedia offered them a two-year contract. At the behest of Metromedia, the band changed their name to Christopher so that they wouldn't be confused with similarly monikered California band Pacific Gas & Electric. Walden and Avitts felt Christopher to be a religious band -- the name is derived from Saint Christopher -- and wanted to convey this through the music.
Recording of their first album started in early 1969; however, it was hampered by Tull's drug use and his failed suicide attempt. He was fired (later returning to Houston and joining Josephus) and the sessioins were completed with drummers John Simpson and Terrence Hand. The result was Christopher's self-titled debut album, released in a single 1970 pressing of a thousand LPs by Metromedia. Walden and Avitts remained in Los Angeles playing as Christopher until Avitts returned to Houston later in the year.
From the psychedelic tribal blues opener "Dark Road" through to the end of the album, Christopher shows just how strong the second-level psychedelia of the late '60s could be. There was no shortage of great musicians hailing from Texas during the era, and the ones who remained in the state were forming some of the most idiosyncratic bands of the swirling, inventive times: top-flight bands such as Thirteenth Floor Elevators, Lost & Found, the Golden Dawn, and Christopher. Christopher, though, cannot exactly be lumped together with those peers. They had to leave Texas for California to make their mark, and indeed, Christopher owes a good deal to the music of that state -- songs such as "Magic Cycles" and "In Your Time" are informed by the dreamier qualities of the San Francisco sound, especially the extended atmospherics of Jefferson Airplane and the Grateful Dead.
There are also hints of fellow Los Angeles bands the Doors and Spirit throughout the album, and like the best music coming out of California, the songs on Christopher sound somehow revolutionary and foreboding, as if there is something dark lurking just beneath the surface of the music. Occasionally, Christopher occupied similar musical territory as Cream. They were not unfamiliar with the blues, and, like the British supergroup, they were an absurdly powerful three-piece with an abundance of ability in both instrumental and songwriting proficiency. In addition, Doug Walden's vocals are a dead ringer for Jack Bruce. With that said, the album actually sounds quite different from Cream. Christopher are somehow both more mystical and earthy. "Dark Road" starts out with a loping, jazzy blues groove before being propelled forward by a tempo change and some brilliant, musical drumming. "Wilbur Lite" seems grounded by some slashing chording by Richard Avitts, but then an open-ended melody and upward bass progression raise the song up off its legs. "Queen Mary" rolls along on top of a choppy drum beat and bass groove until Walden's phenomenal spine-tingling vocals soar above the music, uncontainable. The music itself, however, never spins out of restraint.
The songs are all relatively succinct, never growing excessive or dull, and Avitts' guitar playing is economical. The lyrics can get a bit pretentious here and there, but that doesn't even really qualify as a minor flaw since it is a product of ambitiousness and the era. Christopher is one of the finer albums to have fallen completely through the cracks of the '60s, and Christopher one of the era's best forgotten bands. One wishes that they had stuck around long enough to create more music.
by Stanton Swihart
Tracks
1. Dark Road - 2:54
2. Magic Cycles - 5:05
3. Wilbur Lite - 3:57
4. In Your Time - 5:28
5. Beautiful Lady - 2:32
6. Lies - 3:08
7. Disaster - 3:46
8. The Wind - 5:03
9. Queen Mary - 3:25
10.Burns Decision - 5:17
All songs by Christopher
Christopher
*Richard Avitts - Guitar, vocals
*Doug Walden - Bass, Piano, vocals
*John A. Simpson III - Drums
*Terrance Hand - Drums
*Doug Tull - Percussion
*Ron Kramer - Percussion
Although sometimes overlooked in favour of bigger Canadian classic rock mainstays, Chilliwack (from Vancouver, a couple cities away from their namesake) definitely belong in the CanCon pantheon. Like many of the bands who had their heyday around the same time, they still play about a thousand casinos a year. However, up until now, the only way dreamsto get your hands on their three classic albums, Dreams Dreams Dreams, Lights from the Valley and Breakdown in Paradise, was to raid your dad’s record collection. Their label, the independent Mushroom Records, folded around 1979 and the albums never made it to CD. The albums have recently each been reissued with new liner notes written by frontman and sole original member Bill Henderson.
The new liner notes provide an insight into the making of each album and the inner turmoil of the band during the peak of their success, including the well-worn rock ‘n’ roll tropes of egos clashing, heartbreak and financial troubles. There’s other interesting trivia, like the fact that the band were all Scientologists during the making of Dreams Dreams Dreams, which has the best and maybe only classic rock song written about Scientology, a galloping acoustic number called “Something Better.”
Aside from the Scientology song, the three albums are pretty standard fare in the lyrics department. They’re about breakups, love, life on the road and contain a lot of references to airplanes, all supported by acoustic guitars andadorned with harmonies that would make the Beach Boys swoon. Dreams is very folky and acoustic-based, Breakdown rocks out with its riffs out a bit more, and Lights falls somewhere in the middle.
The three reissues are treasures for the devoted Chilliwack fan. For the uninitiated, they’ll serve as an introduction to a band that probably never got the success they deserved. Catch them soon at a casino near you.
by Dylan S. Keating
Tracks
1. Fly At Night (Bill Henderson, Ross Turney) - 4:51
2. Baby Blue (Bill Henderson, Ross Turney) - 5:24
3. Rockin' Girl (Bill Henderson, Glenn Miller) - 3:34
4. California Girl (Bill Henderson) (5:14
5. Roll On (Bill Henderson, Ross Turney) - 5:50
6. Something Better (Bill Henderson, Ross Turney) - 6:09
7. Rain-O (Bill Henderson, Ross Turney, Glenn Miller, Claire Lawrence) - 5:44
8. Fly At Night (Reprise) (Bill Henderson, Ross Turney) - 0:52
9. 'Reach (Demo) (Bill Henderson, Ross Turney) - 2:47
10.Something Better (Songwriting Tape) (Bill Henderson, Ross Turney) - 1:52
The Chilliwack
*Bill Henderson - Guitar, Vocals, Solina
*Glenn Miller - Bass, Vocals
*Ross Turney - Drums, Percussion
*Howard Froese - Guitar, Vocals, Solina, Piano
The heart of James Taylor's appeal is that you can take him two ways. On the one hand, his music, including that warm voice, is soothing; its minor key melodies and restrained playing draw in the listener. On the other hand, his world view, especially on such songs as "Fire and Rain," reflects the pessimism and desperation of the 1960s hangover that was the early '70s. That may not be intentional: "Fire and Rain" was about the suicide of a fellow inmate of Taylor's at a mental institution, not the national malaise. But Taylor's sense of wounded hopelessness -- "I'm all in pieces, you can have your own choice," he sings in "Country Road" -- struck a chord with music fans, especially because of its attractive mixture of folk, country, gospel, and blues elements, all of them carefully understated and distanced.
Taylor didn't break your heart; he understood that it was already broken, as was his own, and he offered comfort. As a result, Sweet Baby James sold millions of copies, spawned a Top Ten hit in "Fire and Rain" and a Top 40 hit in "Country Road," and launched not only Taylor's career as a pop superstar but also the entire singer/songwriter movement of the early '70s that included Joni Mitchell, Carole King, Jackson Browne, Cat Stevens, and others. A second legacy became clear two decades later, when country stars like Garth Brooks began to cite Taylor, with his use of steel guitar, references to Jesus, and rural and Western imagery on Sweet Baby James, as a major influence.
by William Ruhlmann
Tracks
1. Sweet Baby James - 2:48
2. Lo And Behold - 2:34
3. Sunny Skies - 2:15
4. Steamroller - 2:55
5. Country Road - 3:21
6. Oh, Susannah (Stephen Foster) - 1:58
7. Fire And Rain - 3:20
8. Blossom - 2:10
9. Anywhere Like Heaven - 3:23
10.Oh Baby, Don't You Loose Your Lip On Me - 1:45
11.Suite For 20 G - 4:45
All songs by James Taylor except where stated
The rarest, and I would dare to say best, folk/psych album from Peter Howell and John Ferdinando, musical brainchildren behind Ithaca, Agincourt, Alice Through the Looking Glass, and Tomorrow Come Someday. This fifth Howell/Ferdinando album had just been completed in or around 1974 when the partnership came to an end. Howell had been working at the BBC as a studio manager since 1970 (he'd provided a stiff upper lip voiceover for John Peels Top Gear shows), but he was now offered a position with the BBC Radiophonic Workshop, which he accepted, and still holds. An album so incredibly rare (only a single acetate exists), that many have doubted the album’s existence… until now! “Friends” still has the recognizable Ithaca and/or Agincourt sound, with lead vocals mainly by Peter Howell mostly, but with all the same elements and participants, and four tracks featuring the lovely vocals of Ruth Cubbin. A pastoral psychedelic folk stroll in the sunshine, with a few tracks reminiscent of 60's soft psych. Very good!!”
Tracks
1. You Need Friends - 3:00
2. A Tale Of Your Life (Ruth Cubbin, Peter Howell) - 2:39
3. Summer Sunday Blues - 2:20
4. One Sweet Day - 2:17
5. Memories - 2:10
6. Lonely Road - 3:10
7. In The Morning - 3:22
8. Come Inside - 2:43
9. Take A Walk - 3:31
10.River Song - 2:41
11.Once In A Winter Town (Ruth Cubbin, Peter Howell) - 2:02
12.Time To Run - 3:01
All compositions byPeter Howell except where noted
Euclid's one and only album is among the very best of the late 1960's - early 1970's heavy rock albums of all time. Based out of Haverhill, Massachusetts, the musicians themselves come from a diverse New England garage & psych-rock background. Bassist Harold Perino Jr. (aka "Maris"), came from The Ones, a central Mass. garage band who also had a rare garage LP on the Ashwood House label. The other members were from southern Maine. Garage rockers Gary Leavitt on lead vocals & guitar, and his brother Jay Leavitt on drums were in the Cobras together. Ralph Mazzota from the psych-tinged Maine group Lazy Smoke is outright dazzling on blistering lead guitar.
Pedigree aside, this is a powerful and inventive psychedelic heavy rock album that stands on its own as a great work. Euclid was signed to Bob Thiele's Flying Dutchman Records subsidiary label, Amsterdam Records, distributed by Mainstream Records, and was one of the few, if not only "rock" releases on either label (a notable exception being the rare Minx soundtrack by The Cyrkle). With its tremendous rumbling in-your-face riffing fuzz guitars; screaming solos, backwards bits, thick fuzz bass, pounding drums and oddly-effected vocals, the album, produced by the legendary Bobby Herne, with finishing touches to the mix by Les Paul, Jr; stands proudly with one foot in the 1960s & one in the 1970s, crafting their sound with a heavy-handed metallic attitude.
One of the coolest things about this album is the overall evidence of the various background influences brought in by each of the group members. In Euclid, you get the very best of it all. You have the raw & ferocious high energy garage element mixed with a very clear and real psychedelic conviction of the drug saturated times. These characteristics combined with a new heavy/hard rock discipline & focus, resulted in one of the best early heavy rock albums ever recorded in the United States. The combined members' various instrumental contributions are equally matched by their amazingly supportive crystalline four-vocal harmonies. The background vocal quality is quite effectively offset by the lead vocals "take no prisoners" brutal male vocal styling. Bobby Herne's production on this record, with lots of twists & turns, is absolutely top notch and gives the music its deep unstoppable heavy forward momentum. The first track is a real winner, clocking in at over 11 minutes, blasting forth with super heavy monster riffs.
There's also hints of an eastern psych groove with cool sitar playing, and their version of "Gimme Some Lovin'" sounds as if it were done by The Jimi Hendrix Experience. With their old friend Bobby Herne in the producer's chair (he also produced The Shaggs "Philosophy Of The World" LP), they create a "bad trip" spiked with backwards tape effects, darkly-phased vocals, all instruments set from overkill to "pummel", and an album title certainly eligible for the 'truth-in-advertising' award with its 'earth moving' characteristics. Their original songs are incredibly inventive with lots of twists and turns. The album itself stands as a perfect monument which musically represents the transition from hard heavy psych to hard heavy rock. This is an LP you'll play over & over, and never get tired of! In short, the group Euclid was one of the true "unsung" cornerstones that really helped pave the way for the up and coming US hard rock movement. This is an LP you'll play over & over and never get tired of it!
Gary Leavitt, Bobby Hearne, and Maris have all passed on due to various circumstances over the years. Gary Leavitt was killed in a 1975 motorcycle accident, which effectively ended the band, who were a popular live attraction in the Northeast up until then. Jay Leavitt still performs occasionally with his group Bluezberry Jam in the Maine area. The Leavitt brothers along with Bobby Herne, first appeared together in 1966 as the Cobras, releasing the New England garage classic "I Wanna Be Your Love" bw/ "Instant Heartache" on the Big Beat label, one of the most incredible and out of control garage 45's ever recorded.
Tracks
1. Shadows Of Life - 3:02
2. On The Way (Ralph Mazzota) - 4:37
3. Bye Bye Baby - 4:38
4. Gimme Some Lovin' (Stevie Winwood) - 4:24
5. First Time Last Time - 3:37
6. Lazy Livin - 5:57
7. 97 Days - 3:10
8. She's Gone - 2:47
9. It's All Over Now (Bobby Womack, Shirley Womack) - 4:24
All songs by Gary Leavitt except where indicated
This is an amazing reissue, three times over -- for psychedelic music buffs, British R&B and soul enthusiasts, and fans of the progressive rock band Gentle Giant (which evolved out of Simon Dupree & the Big Sound). And it's also incredibly long overdue. Best-known for their Oriental ersatz pop-psychedelic classic "Kites," Simon Dupree & the Big Sound actually started out as a blues and R&B-based outfit, not too different from the Spencer Davis Group. This double-CD set covers their complete EMI output, most of which has never been reissued, and almost all of which is very impressive (and even manages to intersect obliquely with Apple Records' orbit).
The group's early soul-oriented sides are killers, exciting, totally convincing pieces of British-made R&B that, in the case of "Love" and "Medley: 60 Minutes of Your Love/A Lot of Love," should have placed them head-to-head with the likes of Steve Winwood and the Spencer Davis Group. Even when they move into a slightly trippier sound, on "There's a Little Picture Playhouse," the group still utilizes a basic soul backing. And "Kites," coming along in the middle of the first disc, is such a radical departure from everything before it, that it's astonishing to hear in this context, even knowing the song well -- the rest of the CD is made up of trippy psychedelic ballads with Mellotron accompaniment, often with punchy acoustic rhythm guitars. It's all very pretty and inventive in a pop context, and rivals or surpasses the psychedelic sides of Rainbow Ffolly and most other EMI artists of the era this side of the Beatles and maybe the Move.
The highlight of the group's post-"Kites" output was the single "Part of My Past," which was recorded during sessions for what was to have been their second album, Once More Unto the Breach, Dear Friend. That entire unreleased album is here, as the first 16 tracks on Disc Two, and they are a wonder -- the best parts include a gorgeous pop-psych ballad called "What in This World" that doesn't even have a songwriting credit; "Wha Cha Gonna Do," with its "Strawberry Fields Forever" opening and impassioned vocals; the almost-lewd "Don't Make It So Hard (On Me Baby)," with a vocal that was a holdover from the group's soul era; the bouncy, vaguely Bee Gees-like "Kindness"; and the trippy, spacey "Castle in the Sky," one of the finest pieces of psychedelic pop/rock ever to come out of EMI (or, more properly, never to come out from EMI -- until now).
The latter should have been another "King Midas in Reverse," but thanks to the failure of "Part of My Past," the whole LP was shelved. The rest of the second disc is comprised of a short string of disappointing pop/rock singles -- vaguely reminiscent of the late-'60s Hollies -- imposed upon the group by their management, concluding with their extrovert rendition of the James Taylor-authored "Something in the Way She Moves Me," backed with a progressive-sounding, organ-heavy B-side, "I'm Going Home," authored by Reginald Dwight in the period before he became Elton John. This is followed by the complete contents of the group's only released LP, Without Reservations, which repeats the same R&B-era singles and B-sides (i.e., their pre-"Kites" work) from Disc One, only in their punchier mono mixes. The remastering is impeccable, the packaging beautifully illustrated with period photos of the band, and thorough annotation by David Wells.
by Bruce Eder
Tracks
Disc 1
1. I See The Light (John Durrill, Michael Rabon, Norman Ezell) - 2:16
2. It Is Finished (Evelyn King, Paul Smith) - 3:01
3. Reservations (Albert Hammond) - 2:24
4. You Need A Man (Evelyn King, Paul Smith) - 2:30
5. Day Time, Night Time (Mike Hugg) - 2:15
6. I've Seen It All Before (Evelyn King, Paul Smith) - 2:47
7. Medley: 60 Minutes Of Your Love / A Lot Of Love (David Porter, Isaac Haye, Homer Banks) - 4:35
8. Love (Jackie Edwards) - 3:04
9. Get Off My Back (Evelyn King, Ray Shulman) - 2:01
10.There's A Little Picture Playhouse (Eric Hine) - 2:13
11.What Is Soul (Ben E. King, Bob Gallo) - 2:35
12.Teacher, Teacher (Derek Shulman, Philip Shulman, Ray Shulman) - 2:04
13.Amen (Sam Cooke) - 2:25
14.Who Cares (Evelyn King, Ray Shulman) - 2:34
15.Kites (Hal Hackaday, Lee Pockriss) - 3:44
16.Like The Sun Like The Fire (Evelyn King, Paul Smith) - 2:26
17.For Whom The Bell Tolls (Evelyn King, Paul Smith) - 3:06
18.Sleep (Derek Shulman, Eric Hine) - 3:01
19.Part Of My Past (Evelyn King, Paul Smith) - 3:17
20.This Story Never Ends (Eric Hine, Ray Shulman) - 2:08
21.Thinking About My Life (Derek Shulman, Ray Shulman) - 2:34
22.Velvet And Lace (Derek Shulman, Ray Shulman) - 2:11
23.We Are The Moles (Part 1) (Derek Shulman, Ray Shulman) - 4:30
24.We Are The Moles (Part 2) (Derek Shulman, Ray Shulman) - 2:43
26.She Gave Me The Sun (Derek Shulman, Philip Shulman, Ray Shulman) - 2:36
27.The Eagle Flies Tonight (Tony Hazard) - 2:22
28.Give It All Back (Derek Shulman, Philip Shulman, Ray Shulman) - 2:41
Disc 2
1. Stained Glass Window (Don Grady, Gary Zekley) - 2:05
2. Please Come Back (Yaniv Shulman) - 2:41
3. Light On Dark Water (Evelyn King, Paul Smith) - 1:52
4. What In This World (Unknown) - 3:11
5. What Cha Gonna Do (Evelyn King, Paul Smith) - 2:46
6. Don't Make It So Hard (On Me Baby) (Willia Parker, Eddie Floyd) - 3:01
7. Kindness (Unknown) - 2:30
8. Castle In The Sky (Evelyn King, Paul Smith) - 2:44
9. Loneliness Is Just A State Of Mind (Evelyn King, John King, Paul Smith) - 2:55
10.Laughing Boy From Nowhere (Derek Shulman, Philip Shulman, Ray Shulman) - 2:48
11.You (Derek Shulman, Philip Shulman, Ray Shulman) - 2:11
12.Can't You See (Derek Shulman, Philip Shulman, Ray Shulman) - 2:49
13.Now (Derek Shulman, Philip Shulman, Ray Shulman) - 2:27
14.Rain (Derek Shulman, Philip Shulman, Ray Shulman) - 3:18
15.Something In The Way She Moves (James Taylor) - 2:35
16.I'm Going Home (Elton John, Bernie Taupin) - 3:42 Without Reservations LP (Mono) 1967
17.Medley: 60 Minutes Of Your Love / A Lot Of Love (David Porter, Isaac Hayes, Homer Banks) - 4:35
18.Love (Jackie Edwards) - 3:04
19.Get Off My Bach (Evelyn King, Ray Shulman) - 2:00
20.There's A Little Picture Playhouse (Eric Hine) - 2:13
21.Day Time, Night Time (Mike Hugg) - 2:31
22.I See The Light (John Durrill, Michael Rabon, Norman Ezell) - 2:21
23.What Is Soul (Ben E. King, Bob Gallo) - 2:34
24.Teacher, Teacher (Derek Shulman, Philip Shulman, Ray Shulman) - 2:11
25.Amen (Sam Cooke) - 2:24
26.Who Cares (Evelyn King, Ray Shulman) - 2:31
27.Reservations (Albert Hammond) - 2:30
The Simon Dupree And The Big Sound
*Phil Shulman - Alto, Tenor Saxophone, Flute, Clarinet, Trumpet, Mellophone, Piano, Percussion, Vocals
*Eric Eric Hine - Keyboards, Mellotron
*Derek Shulman - Vocals
*Tony Ransley - Drums
*Ray Shulman - Bass
*Peter O'Flaherty - Bass
Tracy Nelson doesn't touch everyone, but once she does, she carries you away. She can be sexual and spiritual not successively but on the same note and breath; she seems to suffer and to transcend suffering simultaneously. Vocally, Mother Earth is now Tracy Nelson, and although in theory I miss the male voices--especially Robert St. John's, whose songwriting always added something too--I'm not really complaining. Yet this record is a slight disappointment. I love it, but I know that my prejudices are strong and that only once--on her own composition, "Andy's Song"--does Tracy burst calmly into free space as she does so often on the two previous Mother Earth lps and on Tracy Nelson Country. Recommended unequivocally to her cadre and equivocally to the benighted.
by Robert Christgau
Tracks
1. Satisfied (Martha Carson) - 3:59
2. Groovy Way (S. Taylor) - 4:20
3. Get Out Of Here (Bobby Charles) - 4:23
4. Ruler Of My Heart (Naomi Neville) - 6:24
5. Andy's Song (Tracy Nelson) - 4:31
6. Take Me In Your Arms, Rock Me A Little While (Brian Holland, Lamont Dozier, Eddie Holland) - 3:11
7. You Won't Be Passing Here No More (J. Thomas) - 5:00
8. This Feeling (Scott Miller) - 6:30
Personnel
*Tracy Nelson - Vocals
*Andy Mcmahon - Piano, Organ
*Bob Cardwell - Guitar
*John Andrews - Guitar
*James Day - Pedal Steel
*Ben Keith - Dobro
*Dave Zettner - Bass
*Karl Himmel - Drums
*Farrell Morris - Percussion
*The Earthmen (Dave Zettner, Bob Cardwell, Andy Mcmahon) - Backing Vocals
