As this record came out on the Moody Blues' Threshold label, it's inevitably gotten some comparison to their patrons of sorts. It's not all that much like the Moody Blues, however, other than sharing the trait of being more pop-influenced than much progressive rock. Its more bombastic than the Moody Blues in its strident vocals, melodies, and serious arching lyrics.
While it's not extremely similar to Kansas, it might hold some appeal for fans of the kind of American art rock Kansas purveyed as well, in part because of its pop-flavored gravity, in part because violinist Peter Orgil is a big part of Asgard's sound. For all that, it just doesn't stick in the mind nearly as much -- regardless of whether you consider that a good or bad thing -- as the more accessible prog rock bands like the Moody Blues and Kansas do, in spite of the premium they place on straining vocal harmonies.
Lyrically it fits in snugly with the more naïve side of prog rock's probing visions, as reflected by titles like "Children of a New Born Age" and "Starquest," the latter track decorated by dated swooping synthetic sounds.
by Richie Unterberger
Tracks
1. In the Realm of Asgard - 4:25
2. Friends - 4:39
3. Town Crier - 3:59
4. Austin Osmanspare (Rodney Harrisson, Rob Hunt, Bernhard Jinks, Luis Farrell) - 4:15
5. Children of a New Born Age - 3:13
6. Time - 5:11
7. Lorraine - 4:45
8. Starquest - 5:17
All songs by Rodney Harrison except where noted
Andy Fairweather Low was born in Cardiff, Wales, Fairweather Low formed Amen Corner in the mid-'60s, for which he served as lead singer. The group scored six U.K. hits from 1967 to 1969, the biggest of which was the number one "(If Paradise Is) Half as Nice." Its success put Fairweather Low's attractive face on the bedroom walls of teenage girls all over Britain. Amen Corner broke up at the end of the '60s and evolved into the more progressive Fair Weather, which scored a hit with "Natural Sinner" in 1970, but broke up in 1971.
Fairweather Low retired for several years, but returned as a solo artist in 1974 , "La Booga Rooga" is his most successful record, this continues his eclectic approach, starting off with the steel guitar-drenched cover "My Bucket's Got a Hole in It" and also featuring the cocktail lounge pop of "Champagne Melody" and the funky title track (a U.K. hit for the Surprise Sisters), plus his biggest solo single, the whimsical "Wide Eyed and Legless."
Fairweather Low made a series of albums through 1980, reaching the U.K. Top Ten with the singles "Reggae Tune" and "Wide Eyed and Legless." Gradually, however, he began to work as a sideman to more prominent British musicians, notably ex-Pink Floyd leader Roger Waters, and with the ARMS benefit group in 1987. He toured Japan with George Harrison and Eric Clapton in 1991 and has since been part of Clapton's backup band. Fairweather Low began touring with Bill Wyman's Rhythm Kings and, in 2006, hit the road again with Waters for the Dark Side of the Moon Tour.
by William Ruhlmann
Tracks
1. My Bucket's Got A Hole In It (Clarence Williams) - 3:11
2. Jump Up And Turn Around - 4:04
3. Halfway To Everything - 4:03
4. La Booga Rooga - 4:12
5. Champagne Melody - 3:32
6. If That's What It Takes - 3:30
7. 8 Ton Crazy - 3:31
8. Grease It Up - 3:10
9. Wide Eyed And Legless - 4:01
10.Inner City Highwayman - 4:42
All songs by Andy Fairweather Low, except where noted
Though the lone record from Rain is a few stops short of a lost classic, Sunbeam's reputation is intact thanks to the solid songwriting of Frank Schallis, who passed away in 2000, and Cobb Bussinger. Cobb gives a nice rundown of the aftermath left on the wake of Rock Island (also a one album phenomena), that band's path to Rain, and the latter's disillusion and disbanding during the writing of a double LP follow-up at the hands of the usual industry ineptitude and shortsightedness.
Though the vocals were occasionally a little corny and the production of Jeff Hest, under direction from the legendary Enoch Light, sounded more late '70s than early, the eponymous solitary album boasted a great deal of variety from early prog, power pop, and folk to psychedelic rock and even a little jazz. "To a Dreamer" alone is a dazzling mix of organ driven hard rock and ELP prog, specifically the Moog from the "Lucky Man" solo. They deserved a shot at that album. There was so much more they could have done that they never had a chance to prove. Shame on you, nameless record executives.
by Alan Ranta
Tracks
1. Can You Help Me Sing My Song - 1:53
2. To A Dreamer - 3:59
3. Mother's Evil Child - 3:02
4. Love Me Still - 4:02
5. All Your Days Are Long - 6:31
6. Let Our Hopes Run Our Dreams - 3:34
7. Song To Barbara - 5:19
8. You Take Me Higher - 2:28
9. He Could Have Known - 5:46
10.As I Played My Song (For You) - 3:19
All songs by Cobb Bussinger, Frank Schallis
John Stewart's follow-up to the unprecedented success of California Bloodlines stuck close to the same formula. Recorded in Hollywood with many of the same musicians from the earlier record -- Norb Putnam, Kenny Buttrey, Charlie McCoy, among them -- Stewart also employed other country musicians such as banjo boss Bobby Thompson and fiddle player Doug Kershaw as well as a host of his peers -- from Russ Kunkel and Carole King to Danny "Kootch" Kortchmar, James Taylor, and Bryan Garofalo -- at the suggestion of producer Peter Asher -- later known for his schlock work with Linda Ronstadt and Carly Simon among others. Nonetheless despite Asher's best attempts at taming the thin, reedy wildness in Stewart's voice, it wasn't to be. Stewart is a songwriter with a rambling vision, and the best of his rambling songs are included here, and as such, he draws inspired performances from all of his bandmembers.
The feel of the album is somewhat stripped of the California crap that was in so many records from that time. A listen to "Belly Full of Tennessee," with Kershaw's fiddle and Putnam's bass driving the tune, colored elegiacally with Thompson's banjo, makes it a Louisiana bayou dance tune. It's raw, tough, and full of unbreakable spirit. "Back in Pomona" is a country rocker in the purest sense of the word. Stewart's uncompromising lyrical vision that relates the past as if it were a living, breathing present drives a band eager to carry those words through to the listener. Willard is a romantic record in the same way that California Bloodlines was, but its romanticism is well intentioned in that it poetically preserves a time period in America that was quickly disappearing. In the title track, Stewart's romanticism centers on a character, a hobo, who embodies everything that is free and wild, untamed, and often tragic, but there are no apologies, no sentiments other than the fact that this unlikely icon is everyone and everyone is him, separated only by circumstance. Likewise "Golden Rollin' Belly," about the need for a woman's sexual company, with Chris Darrow's fiddle and Thompson's banjo riding well inside a big fat Garofalo bassline. Willard is a country record in all the best ways; it just might be Stewart's master opus.
by Thom Jurek
Tracks
Disc 1 California Bloodlines 1969
1. California Bloodlines - 3:15
2. Razor-Back Woman - 2:29
3. She Believes In Me - 2:38
4. Omaha Rainbow - 3:10
5. The Pirates of Stone Country Road - 3:56
6. Shackles And Chains - 2:56
7. Mother Country - 4:57
8. Some Lonesome Picker - 3:13
9. You Can't Look Back - 2:06
10.Missouri Birds - 3:29
11.July You're A Woman - 3:18
12.Never Going Back - 5:00
All songs by John Stewart
Disc 2 Willard 1970
1. Big Joe - 3:19
2. Jukie, Judy, Angel Rain - 3:08
3. Belly Full of Tennessee - 2:50
4. Friend of Jesus - 2:26
5. Clack Clack - 2:23
6. Hero from the War - 2:26
7. Back in Pomona - 2:28
8. Willard - 3:36
9. Golden Rollin' Belly - 3:14
10.All American Girl - 2:20
11.Oldest Living Son - 3:16
12.Earth Rider - 2:53
13.Great White Cathedrals - 2:04
14.Marshall Wind - 5:43
All compositions by John Stewart
Musicians 1969 California Bloodlines
*John Stewart - Vocals, Guitar
*Fred Carter Jr. - Guitar
*Norbert Putnam - Bass
*Lloyd Green - Pedal Steel
*Hargus "Pig" Robbins - Piano
*Kenneth A. Buttrey - Drums
*Charlie McCoy - Harmonica 1970 Willard
*John Stewart – Acoustic Guitar, 12-String Guitar, Auto Harp, Boxes
*James Taylor - Acoustic Guitar, Background Vocals
*Joel Bishop O'Brien - Drums, Conga
*Russ Kunkel - Knees, Drums, Boxes
*Billy Mummy - Cow Bell
*Peter Asher - Background Vocals, Tambourine, Bass, Auto Harp
*Bryan Garofalo - Bass, Background Vocals
*Carole King - Piano
*Mike Stewart - Guita
*Doug Kershaw - Fiddle, Background Vocals
*Kenneth "Down Wind" Buttrey – Drums, Knees
*Norbert "Home Town" Putnam – Bass
*Bobby Thompson - Banjo
*Ralph Schuckett - Piano, Harmonium
*Buffy Ford - Background Vocals
*Abigale Haness - Background Vocals
*Danny Kooch - Electric Guitar
*Chris Darrow - Fiddle
*Fred "The Flash" Carter - Acoustic Guitar
*"Goodtime" Charlie MCcoy – Harp
*The People - Background Vocals
This may be John Stewart’s finest achievement although some fans might argue in favor of the great Willard from 1970. California Bloodlines was John Stewart’s first true solo disc. Recorded and released in 1969, Stewart used many of the same musicians as Dylan did for Nashville Skyline. As expected this disc is much more rustic and country influenced than his work with either Buffy Ford or the Kingston Trio. Regardless, this is a “must own” for fans of authentic American music.
It took me several spins and a few hours in deep thought to finally come to terms with this classic. John Stewart’s quivering, thin Johnny Cash-like vocals threw me off at first but now I see why many rate California Bloodlines as one of the premier Americana albums. It’s stacked from top to bottom with great songs and intelligent songwriting. The opener is one of Stewart’s classics, and while the studio side is excellent in it’s own way, I prefer the full, live arrangement from October of 69 (Chris Darrow plays fiddle/mandolin on the live version). Stewart’s songwriting is best heard on gems “Lonesome Picker,” “Missouri Birds,” and “The Pirates of Stone Country Road.” These cuts are loaded with images of people and places from a bygone era.
He occasionally takes the historical viewpoint a la Robbie Robertson but his songwriting is certainly one of the album’s strengths. If you’re a fan of Gene Clark or Mickey Newbury I’m sure you’ll be able to appreciate the awesome “Lonesome Picker.” This track is a spellbinding masterpiece with haunting imagery and lyrics that still cut deep today. My favorite song from the album, “Never Goin’ Back,” is another standout track that features plenty of buzzing fuzz guitar similar to the Burritos’ classic “Devil In Disguise.” The rest of California Bloodlines is fleshed out with accomplished country-rockers and pretty country-folk ballads that have great melodies and tight arrangements.
by Jason Nardelli
Tracks
1. California Bloodlines - 3:08
2. Razorback Woman - 2:27
3. She Believes in Me - 2:34
4. Omaha Rainbow - 3:07
5. The Pirates of Stone County Road - 3:51
6. Shackles and Chains - 2:54
7. Mother Country - 4:53
8. Some Lonesome Picker - 3:10
9. You Can't Look Back - 2:03
10.Missouri Birds - 3:26
11.July You're a Woman - 3:14
12.Never Goin' Back - 4:58
All songs by John Stewart
Musicians
*John Stewart - Vocals, Guitar
*Fred Carter Jr. - Guitar
*Norbert Putnam - Bass
*Lloyd Green - Pedal Steel
*Hargus "Pig" Robbins - Piano
*Kenneth A. Buttrey - Drums
*Charlie McCoy - Harmonica
For many, “A Web Of Sound” is the band’s finest moment, and the record is fully in line with the progressive musical atmosphere of Los Angeles in the mid-1960s. The second half of 1966 could be viewed as the peak of the original Seeds’ three-year career in terms of creativity and credibility. A quintessential 1966 rock album, “A Web Of Sound” retained the crazed energy of the Seeds first album, but dosed with a growing maturity and a willingness to experiment. It evolved out of a period when the band was truly Los Angeles’s own, for it had been in the back-alley bohemian rock clubs of the city that the contents of “Web” flowered.
Written and recorded during the band’s residencies at Hollywood’s underground club Bido Litos, alongside Love and the embryonic Doors it achieved notoriety for the 14-minute showstopper ‘Up In Her Room’, but also features some of the Seeds’ signature tunes including ‘Mr Farmer’, ‘Tripmaker’ and ‘A Faded Picture’. There is a questing, proto-psychedelic aura to “Web” that is both delicious and thrilling at the same time.
Seeds fans should note that the entire contents of our deluxe two-disc set are new to compact disc. They include the original stereo mix of the “A Web Of Sound” which has been unavailable since the 1960s, along with its punchier mono incarnation. The previously unreleased outtakes include a cryptic early demo of ‘The Wind Blows Your Hair’, with a completely different arrangement to the version issued as a single, as well as its original mildly controversial lyric.
Also featured is an unused mono mix of the “A Full Spoon Of Seedy Blues” LP, made at the time of its recording in late 1966. This LP, originally credited to the Sky Saxon Blues Band, is traditionally seen as a bit of an aberration in the Seeds catalogue, but listening to it now, it is revealed as a creditable attempt to pay homage to a genre that few white American bands had mastered. Blues legend Muddy Waters’ patronage of the band: he contributed the song ‘Plain Spoken’; and members of his band performed on the sessions and he wrote a tribute on the LP jacket, was also a major feather in the Seeds’ cap.
As with all our Seeds reissues, “A Web Of Sound” comes as a trifold digipak with extensive illustrations and fresh commentary from the participants on both its contents and the career of these garage rock avatars.
by Alec Palao
Tracks
Disc 1 A Web Of Sound (stereo) 1966
1. Mr. Farmer (Sky Saxon) - 3:14
2. Pictures And Designs (Darryl Hooper, Sky Saxon) - 2:44
3. Tripmaker (Darryl Hooper, Marcus Tybalt) - 2:45
4. I Tell Myself (Marcus Tybalt) - 2:27
5. A Faded Picture (Darryl Hooper, Sky Saxon) - 5:26
6. Rollin' Machine (Sky Saxon) - 2:51
7. Just Let Go (Darryl Hooper, Jan Savage, Sky Saxon) - 4:19
8. Up In Her Room (Sky Saxon) - 14:42
Bonus Tracks
9. The Wind Blows Your Hair (Version 1) (Buddy Biglow, Sky Saxon) - 3:10
10.Dreaming Of Your Love (Version 2) (Sky Saxon) - 2:15
11.Out Of The Question (Version 4) (Sky Saxon, Russ Serpent) - 3:17
Disc 2 A Web Of Sound (Mono) 1966
1. Mr Farmer (Sky Saxon) - 3:10
2. Pictures And Designs (Darryl Hooper, Sky Saxon) - 2:45
3. Tripmaker (Darryl Hooper, Sky Saxon) - 2:47
4. I Tell Myself (Sky Saxon) - 2:34
5. A Faded Picture (Darryl Hooper, Sky Saxon) - 5:21
6. Rollin' Machine (Sky Saxon) - 2:43
7. Just Let Go (Darryl Hooper, Jan Savage, Sky Saxon) - 4:20
8. Up In Her Room (Sky Saxon) - 14:42 A Full Spoon Of Seedy Blues (Mono) 1967
9. Pretty Girl (Luther Johnson) - 2:06
10.Moth And The Flame (Sky Saxon) - 3:53
11.I'll Help You (Carry Your Money To The Bank) (Sky Saxon) - 3:32
12.Cry Wolf (Sky Saxon) - 6:09
13.Plain Spoken (Muddy Waters) - 2:56
14.The Gardener (Sky Saxon) - 5:02
15.One More Time Blues (Luther Johnson) - 2:29
16.Creepin' About (Sky Saxon) - 2:48
17.Buzzin' Around (Sky Saxon) - 3:44
The Seeds
*Rick Andridge - Drums
*Darryl Hooper - Keyboards, Organ, Piano, Backing Vocals
*Jan Savage - Guitars, Backing Vocals
*Sky Saxon - Lead Vocals, Bass, Harmonica
*Harvey Sharpe - Bass
*Luther Johnson - Guitar (A Full Spoon Of Seedy Blues)
*Mark Arnold - Guitar (A Full Spoon Of Seedy Blues)
*George "Harmonica" Smith - Harmonica (A Full Spoon Of Seedy Blues)
*James Wells Gordon - Saxophone (A Full Spoon Of Seedy Blues)
Recorded at Toronto's Bathurst St. United Church, 1972's "The Perth County Conspiracy Alive" was a live, 13 track double album set. Largely acoustic, the performances were all surprisingly good, showcasing some nice vocal harmonies and the band's penchant for crafting exceedingly pretty melodies. All of that came as a surprise to me since I didn't expect these guys to sound nearly as tight. Highlights included the opening Dylan cover 'You Ain't Goin' Nowhere', the pretty ballad 'Broken Wing' and the radio friendly 'Take a Look at the Light Side' (the latter track being one of the few that seems to have undergone significant post-production work).
The fact that these guys actually had a sense of humor ('Stratford People') was an added bonus. While the set had a lot going for it, one minor complaint stems from the emphasis on pained ballads which eventually started to take a toll on listeners (or maybe I'm just not sensitive enough). For what its worth, the album would have benefited from a couple of up-tempo numbers. Once again produced by John Williams, the set sported crystal clear audio and sounded marvelous on a good stereo, or headphones.
1970's "The Perth County Conspiracy Does Not Exist" released for Columbia and co-produced by John Williams and the band the results were prime hippy-era west coast-styled acid-folk !!! (I'd normally cringe when hearing something like that, but this time around its a pretty apt descriptor. Musically original material like 'Midnight Hour', the CSN&Y-styled 'Easy Rider' and 'Truth and Fantasy' mixed strong melodies and nice vocals from both Keelan and Smith with entertaining if dated and occasionally pompous lyrics. Imagine the International String Band had they copped an English degree and been tough enough to survive in Canada and you'll be in the right aural neighborhood.
Extra credit for the band's willingness to borrow from the likes of Dylan Thomas ('Midnight Hour') and even William Shakespeare ('Excerpt from "as you like it"'). Best of all is the stunning closer 'Crucifixation Cartoon' ... I can't eve begin to describe how good this track is. The set isn't perfect - the kids reciting poetry t the start of 'Listen To the Kids' is pretty lame, as are some of the spoken word segments and 'The Dancer' is merely dull. Still, maybe because it's so unique this one's definitely a keeper and even more attractive to me given it's an album that you can still find at an affordable price.
Tracks
1. Midnight Hour (Cedric Smith, Richard Keelan, Dylan Thomas) - 6:35
2. Epistle To the Borderliner (Cederic Smith) - 1:57
3. Easy Rider (Richard Keelan) - 4:40
4. Truth and Fantasy (Richard Keelan, Christopher Logue, Cederic Smith) - 5:42
5. Don't You Feel Fine (Richard Keelan) - 2:40
6. You Have the Power (Cedric Smith, Richard Keelan) - 4:44
7. Keeper of the Key (Richard Keelan) - 3:18
8. Lady of the County (Cedric Smith) - 3:27
9. Listen To the Kids (Richard Lewis, Richard Keelan) - 2:59
10.Trouble On the Farm (Cedric Smith) - 2:17
11.Excerpt from "as you like it" (Williams Shakespeare, Richard Keelan) - 2:02
12.The Dancer (Richard Keelan) - 4:51
13.Crucifixation Cartoon (Cedric Smith, Richard Keelan) - 6:20
The Perth County Conspiracy
*Michael Butler - Bass
*Terry Jones - Vocals, Guitar
*Richard Keelan - Vocals, Guitar
*Cedric Smith - Vocals, Guitar, Bass
Rob Freeman and Ian McLintock never quite achieved rock stardom, but it wasn't for a lack of talent or effort, and their career together unwittingly serves as a superb example of the shifting tides of the British rock scene in the 1960s and early '70s. Freeman and McLintock's recordings get a thorough examination on Listen to the Sky, which follows the stylistic evolution of their bands over the course of a decade. Freeman (guitar and vocals) and McLintock (bass and vocals) first worked together in the Others, an R&B combo from Southwest London whose lone single, a cover of Bo Diddley's "Oh Yeah," was a well crafted rave-up in the manner of the Rolling Stones and the Pretty Things. Both sides of that single appear here, along with an unreleased follow-up, but by 1966 the Others had split and Freeman and McLintock had formed a new band, the more pop-oriented Sands.
There was more than a bit of nascent psychedelia in Sands' music, especially their cover of the Bee Gees' "Mrs. Gillespie's Refrigerator" and "Listen to the Sky," an original that ends in a bizarre noise coda that quotes Holst's The Planets! After one single Sands fell apart, despite management by Brian Epstein, but Freeman and McLintock soldiered on with a new project, Sun Dragon, which scored an almost-hit with their cover of the Lemon Pipers' "Green Tambourine" in 1968 (with typical luck, their label's pressing plant went on strike as the single was starting to gain radio play, prematurely ending its run on the charts).
Sun Dragon's music was more polished and calculatingly commercial than their earlier efforts, with polished production and a strong emphasis on covers, but the group's first and only album, included here, is well-crafted U.K. pop that would have done some of the better-known production teams of the day proud. The set closes out with two cuts from post-Sun Dragon projects of the '70s, which are slick but solidly professional pop product. Given the stylistic diversity of the music here, Listen to the Sky would best serve loyal fans of Freeman and McLintock, who unfortunately are small in number, but folks with an interest in how U.K. pop changed during the '60s will find this edifying, and Freeman and McLintock's undervalued talent is certainly evident throughout.
by Mark Deming
Artists - Tracks
1. The Others - Oh Yeah (Ellas McDaniel) - 2:53
2. The Others - If You Don't Come Back (Jerry Leiber, Mike Stoller) - 2:17
3. The Others - Smokestack Lightning (Chester Burnett) - 2:36
4. The Others - I'm Taking Her Home (Ian McLintock, Paul Stewart) - 2:17
5. Sands - River Deep, Mountain High (Ellie Greenwich, Jeff Barry, Phil Spector) - 3:27
6. Sands - Mrs Gillespie's Refrigerator (Robin Gibb, Barry Gibb, Maurice Gibb) - 2:06
7. Sands - Listen To The Sky (Paul Stewart, Peter Hammerton) - 3:45
8. Sands - Weddings Make Me Cry (Andrew Pope, Herb Rooney) - 2:43
9. Sun Dragon - Green Tambourine (Paul Leka, Shelley Pinz) - 2:25
10.Sun Dragon - So You Wanna Be A Rock 'n' Roll Star (Chris Hillman, Roger McGuinn) - 2:01
11.Sun Dragon - Seventeen (Ian McLintock, Bob Freeman) - 2:43
12.Sun Dragon - Peacock Dress (Ian McLintock, Bob Freeman) - 2:19
13.Sun Dragon - Five White Horses (Ian McLintock, Bob Freeman) - 2:30
14.Sun Dragon - Far Away Mountain (Ian McLintock, Bob Freeman) - 2:53
15.Sun Dragon - Blueberry Blue (Paul Leka, Shelley Pinz) - 2:22
16.Sun Dragon - Love Minus Zero (Bob Dylan) - 3:19
17.Sun Dragon - I Need All The Friends I Can Get (Ian McLintock, Bob Freeman) - 2:26
18.Sun Dragon - Windy (Ruthann Friedman) - 2:10
19.Sun Dragon - Empty Highway (Ian McLintock, Bob Freeman) - 2:39
20.Sun Dragon - Look At The Sun (Ian McLintock, Bob Freeman) - 2:56
21.High Noon - Drivin' Drivin' (Ian McLintock, Bob Freeman) - 2:29
22.High Noon - Bring Back That Love Again (Ian McLintock, Bob Freeman) - 2:39
23.McLintock - Hey, Hey, What Do You See (Ian McLintock, Bob Freeman) - 2:43
Honeyman is a previously unreleased live 1973 radio broadcast in excellent sound. As the songs originate mostly from the Sefronia and Greetings from L.A records (although a couple of songs from the '60s do appear), this couldn't be placed among his best work, or even among his best live albums (Dream Letter and Live at the Troubadour 1969 are both considerably better). Buckley's vocals are great, though, and if the tunes are sometimes too funky for their own good, this is generally good stuff, especially his riveting interpretation of Fred Neil's "Dolphins".
by Richie Unterberger
Tim Buckley was a riveting live performer. While the albums made near the end of his career are not accorded the respect of the earlier, groundbreaking releases, the songs were still up to Buckley’s high standards. Honeyman is a live album from a 1973 radio broadcast. The sound is superb and the playing is much more organic sounding and even tighter than his studio recordings. Here, the songs breathe. Fred Neil’s “Dolphins” is a credible opener, perfect for Buckley’s sympathies and its quick segue into Buckley’s own “Buzzin’ Fly” from his studio best Happy/Sad makes for a great one-two punch. The avant-garde period is passed over for a shot at Goodbye and Hello’s “Pleasant Street” and tracks from Greetings from L.A. and Sefronia. The dexterous guitar leads of “Get On Top” help cook the radio waves. “Devil Eyes” and “Stone In Love” follow with a deeper funk that leaves plenty of room for Buckley to pull off his best night moves.
Tracks
1. Dolphins (Fred Neil) - 3:45
2. Buzzin' Fly (Tim Buckley) - 7:20
3. Get On Top (Tim Buckley, Larry Beckett) - 4:41
4. Devil Eyes (Tim Buckley, Larry Beckett) - 7:34
5. Pleasant Street (Tim Buckley) - 8:14
6. Sally Go 'Round The Roses (Lona Stevens, Zell Sanders) - 5:53
7. Stone In Love (Tim Buckley) - 4:17
8. Honey Man (Tim Buckley, Larry Beckett) - 8:31
9. Sweet Surrender (Tim Buckley, Larry Beckett) - 8:26
