Rare Earth's “Willie Remembers” (again co-produced by Baird and the band) hit the charts on 25 November 1972, peaking at a disappointing #90 while charting for 20 weeks. Michael Urso (bass and vocals) replaced original member John Persh. For the first time, the band put out an album of almost entirely original material. Unfortunately, the album did not sell, despite having many good moments. The album had two singles “Good Time Sally” and “We’re Gonna Have A Real Good Time” but neither sold well, topping out at #67 and #93 respectively.
The band’s fortunes were fading. Fortunately for collectors both single edits are included on “Anthology” and serve notice that although the band’s singles were no longer top 10 or even top 20 smashes, they were certainly worthy efforts. But the times had changed. Music headed in a more progressive direction, and the band’s brand of psychedelic rhythm and blues turned breezy, good time music waned in favor. Motown thought it was ‘too white’ and refused to promote it.
by Kevin Rathert
Tracks
1. Good Time Sally (Tom Baird) - 2:53
2. Every Now And Then We Get To Go On Down To Miami (Dino Fekaris, Nick Zesses) - 3:11
3. Think Of The Children (Ray Monette, Mark Olson, Pete Rivera) - 5:36
4. Gotta Get Myself Back Home - 3:02
5. Come With Your Lady - 5:47
6. Would You Like To Come Along - 2:48
7. We're Gonna Have A Good Time - 3:25
8. I Couldn't Believe What Happened Last Night - 12:29
All sons by Gil Bridges, Eddie Guzman, Ray Monette, Mark Olson, Pete Rivera except where noted
There was something very special about being able to live a life split between two worlds, one quiet and countrified, and the other - on the road or in the heart of London's nightlife!
I think you can hear that contrast in the music itself: a mixture of focused energy and laid-back calm. It was a reflection of the way we lived and worked. We all came from a heavily industrialised Welsh seaport that was closely surrounded by mountains and wild romantic countryside; it was the contrast that inspired us.
And it still inspires me. I am about to release a new Blonde On Blonde album. The music's already 'in the can' and includes songs from Blonde On Blonde's live performances that were not previously released. It also includes some very recent material. The new album is called "Coldharbour" (another name for my hometown Newport). It was hearing "Rebirth" again that brought me determination to complete the project.
In the meantime, I hope you enjoy the sounds of 1970 so faithfully captured here on this reissued CD. When I listened to it again, it was like taking a ride in a time capsule in my own head. The sound and the memories are crystal clear.
by David Thomas
Tracks
1. Gene Machine (Gareth Johnson) - 2:12
2. I Don't Care (Dave Thomas, Gareth Johnson) - 2:40
3. Love Song (Dave Thomas) - 6:45
4. Bar Room Blues (Dave Thomas) - 5:30
5. Sad Song For An Easy Lady (Dave Thomas) - 4:14
6. Ain't It Sad Too (Gareth Johnson) - 4:25
7. The Bargain (Dave Thomas) - 4:16
8. The Rut (Graham Davies) - 5:29
9. Happy Families (Gareth Johnson) - 3:50
10.No. 2 Psychological Decontamination Unit (Gareth Johnson) - 3:03
11.Chorale (Forever) (Gareth Johnson) - 4:53
12.Sad Song for An Easy Lady (Single Version) (Dave Thomas) - 3:34
Blonde On Blonde
*Graham Davies - Acoustic Guitar, Guitar, Bass Guitar, Banjo, Vocals
*Gareth Johnson - Lead Guitar
*Les Hicks - Percussion
*Dave Thomas - Vocals, Acoustic Guitar, Bass Guitar, Harmonica
Blonde on Blonde's second album, Rebirth, was a more focused body of music than their debut; it also constituted the recording debut of the group's second lineup: David Thomas (vocals, guitar, bass), Gareth Johnson (sitar, lead guitar, lute, electronic effects), Richard Hopkins (bass, keyboards), and Les Hicks (drums, percussion).
Whether they're doing the spacy, airy, psychedelic pop of "Castles in the Sky" or the folky "Time Is Passing," the group attack their instruments as though they're performing live, and the effect is riveting throughout, even when the melodic content flags slightly. Thomas' voice is powerful if a little over-dramatic at times, but when the band keeps things moving, there's enough richness of content to carry the album and then some; the band was probably really interesting in concert, too, based on the evidence here. And for once with a band like this, trying to encompass psychedelia, folk-rock, hard rock, and progressive rock between two covers, they don't over-reach on their magnum opus "Colour Questions," the record's 12-minute centerpiece.
The group's prog rock impulses are also expressed on the album's original closer, "You'll Never Know Me/Release," which is a tour de force for Richard Hopkins' keyboard playing; unlike most of the competition, Blonde on Blonde seems not to have gravitated to the Moog synthesizer or the Mellotron, and the difference is refreshing, Hopkins' grand piano and organ speaking volumes in their own resonant language.
by Bruce Eder
Tracks
1. Castles In The Sky (Eve King, Paul Smith) - 3:29
2. Broken Hours (David Thomas) - 3:40
3. Heart Without A Home (Gareth Johnson) - 5:27
4. Time Is Passing (Les Hicks, David Thomas) - 2:40
5. Circles (Gareth Johnson) - 7:23
6. November (David Thomas) - 3:09
7. Colour Questions (David Thomas) - 12:07
8. You'll Never Know Me (Gareth Johnson)/Release (Richard John) - 7:46
9. Circles (Single Version) (Gareth Johnson) - 3:30
10.Castles In The Sky (Alternate Version) (Eve King, Paul Smith) - 3:24
11.Time Is Passing (Alternate Version) (Les Hicks, David Thomas) - 3:45
Blonde On Blonde
*Gareth Johnson - Lead Guitar, Sitar, Lute, Electronic Effects
*David Thomas - Vocals, Guitar, Bass
*Richard Hopkins (Aka Richard John) - Bass, Keyboards
*Les Hicks - Drums, Percussion
Guitarist Les Dudek has played with some of rock and pop's biggest names (Stevie Nicks, Steve Miller, Dave Mason, Cher, Boz Scaggs, and the Allman Brothers Band, among others), in addition to issuing solo albums on his own. Born on August 2, 1952, in Rhode Island, Dudek began playing guitar at the age of 11 (first inspired by such pop hitmakers as Elvis Presley and the Beatles), and only three years later, would sneak into bars to play with bands. It was during his teenaged years that Dudek discovered such blues masters as Freddie, Albert, and B.B. King, as well as such then-modern day blues rockers as Paul Butterfield and Steve Miller. By the early '70s, Dudek was residing in Florida, playing in the obscure group Power, whose keyboard player was friends with the Allman Brothers' Dickey Betts. Soon a friendship was struck up between Betts and Dudek, as Betts contemplated forming a side band in addition to his Allman duties. The duo cut some demos, but the group was disbanded when work on the Allman's classic Brothers and Sisters album got underway. But Dudek was present for the recording sessions, laying down some guitar lines alongside Betts on "Ramblin' Man" and helping co-write one of the Allman's best-known songs, "Jessica" (for which Dudek also played on).
After his brief detour with the Allman Brothers, Dudek signed on with Boz Scaggs, playing with him for five years and appearing on the 1976 release Silk Degrees. Dudek became friends with one of his main guitar influences during this time, Steve Miller, leading to a co-headlining tour between Scaggs and Miller, which saw Dudek appearing with both artists each night. (Miller would subsequently record a few of Dudek's original compositions, including "Sacrifice" for his Book of Dreams release, while Dudek also played on Miller's Fly Like an Eagle album.) A planned acoustic tour with just Dudek and Miller was shelved at the last minute, as Dudek returned for a tour with Scaggs. With all this activity, Dudek still found time to sign a solo deal with Columbia Records, issuing four albums between 1976 and 1981 -- 1976's self-titled debut, 1977's Say No More, 1978's Ghost Town Parade, and 1981's Gypsy Ride -- as well as launching the DFK Band (which saw Dudek joined by keyboardist Mike Finnigan and guitarist Jim Krueger), who issued a lone, self-titled release in 1979.
Dudek also played with Cher briefly in the early '80s, as the famous singer attempted to launch a rock-based outfit, Cher & Black Rose, which failed to get off the ground due to record label turmoil. Cher launched her successful movie acting career shortly thereafter and even helped Dudek land a bit part in 1985's Mask as a boyfriend (Cher and Dudek demoed a song for the movie which has remained unissued). Dudek then guested on Stevie Nicks' 1985 release, Rock a Little, and was the guitarist on the album's ensuing tour. The '90s saw Dudek return to his blues roots, as he appeared on Steve Miller's back-to-basics release, 1993's Wide River, and issued his fifth solo release overall, 1994's Deeper Shade of Blues.
by Greg Prato
Tracks
Disc 1 Les Dudek 1976
1. City Magic - 5:30
2. Sad Clown - 5:19
3. Don't Stop Now - 3:54
4. Each Morning - 7:27
5. It Can Do - 6:29
6. Take The Time - 4:07
7. Cruisin' Groove - 4:08
8. What A Sacrifice - 7:01
All songs written by Les Dudek except "What A Sacrifice" by J. Cooke, Les Dudek.
Disc 2 Say No More 1977
1. Jailabamboozle - 3:06
2. Lady You're Nasty - 4:40
3. One To Beam Up - 2:05
4. Avatar - 5:00
5. Old Judge Jones - 4:56
6. Baby Sweet Baby - 5:35
7. What's It Gonna Be - 3:27
8. Zorro Rides Again - 5:50
9. I Remember - 2:07
All songs written and arranged by Les Dudek Musicians 1976 Les Dudek
*Les Dudek - Vocals, Guitars
*Jeff Porcaro - Drums
*Gerald Johnson - Bass
*David Paich - Piano, Organ
*Maxine Green, Pepper Swenson, Jeri Stevens, Carolyn Willis, Myrna Matthews, Rebecca Louis - Background Vocals
*Chuck Rainey - Bass
*Mailto Correa - Congas
*Jim Hugart - Bass
*Tom Scott - Lyracon
*David Hungate - Bass
*Boz Scaggs - Backing Vocals
1977 Say No More
*Les Dudek - Guitars, Vocals
*Alan Feingold, David Paich, Ted Stratoin - Keyboards
*Jeff Porcaro - Drums
*Gerald Johnson - Bass
*Kevin Calhoon, Reymondo, Pat Murphy - Percussion
*Sherlie Matthews, Rebecca Louis, Clydie King - Background Vocals
*Joachiem Young - Organ
*David Sancios - Organ
*Chuck Rainey - Bass
Piblokto is an Inuit word describing a “dissociative fugue state, usually occurring in Inuit women, in which the afflicted person screams, tears off her clothes, and runs out into the snow; afterward, she has no memory of the episode.” Piblokto! is also the name of a band fronted by Pete Brown between 1969 and 1971.
Pete Brown is one of those rare mavericks who really should be a household name, but for whatever reason the gods of rock, the furies, luck, life or what you may call it, didn’t always give Brown and his talents the rewards he so justly deserves.
Brown is a poet, a lyricist, a musician, a composer, a songwriter, a singer—the man Eric Clapton described as the “fourth member” of supergroup Cream. It was through Cream that Brown first came to recognition as the lyricist for Jack Bruce on such hits as “Sunshine Of Your Love,” “White Room,” “I Feel Free,” and “Politician.” Brown’s success with Cream led him to form his own band, Pete Brown and His Battered Ornaments, which included Chris Spedding among its ranks. With the Battered Ornaments, Brown released the influential album A Meal You Can Shake Hands With In The Dark.
In 1969, the Rolling Stones booked Brown and co. as support for their free Hyde Park concert. The prospect of world recognition never seemed so certain—but life is never so straightforward or so easy.
The day before appearing on stage with the Stones, Brown was ruthlessly kicked out of his own band. Even worse, his vocals were excised from the Battered Ornaments’ album Mantlepiece and replaced by Spedding’s.
Some may have given up, but not Brown, who formed a new band Pete Brown and Piblokto! releasing two albums Things May Come and Things May Go but the Art School Dance Goes on Forever and Thousands On A Raft in 1970.
Piblokto!‘s music was a pioneering fusion of poetry, folk, rock, jazz, prog, and for these two albums alone, Brown and his fellow musicians (Jim Mullen, guitar; Dave Thompson, keyboards; Steve Glover, bass; Rob Tait, drums) should have been overnight sensations—but again, it didn’t quite work out that way.
The band split and Brown went on to collaborate with Graham Bond on the album Two Heads Are Better Than One, before forming two new groups Brown and Friends then the Flying Tigers. In some respects his moment had passed, and with the arrival of punk, Brown returned to writing, this time producing television dramas and screenplays.
In the early seventies, Pete Brown and Piblokto! made two appearances on the French TV show Pop 2, where they performed rip-snorting renditions of “Aeroplane Head Woman,” “Golden Country Kingdom,” and “Got a Letter From a Computer.”
by Paul Gallagher
Tracks
1. Things May Come and Things May Go, But the Art School Dance Goes on Forever (Pete Brown) - 5:06
2. High Flying Electric Bird (Pete Brown, Jim Mullen) - 4:18
3. Someone Like You (Pete Brown) - 5:49
4. Walk for Charity, Run for Money (Pete Brown, Jim Mullen, Roger Bunn) - 5:31
5. Then I Must Go and Can I Keep (Pete Brown, Chris Spedding) - 3:53
6. My Love Is Gone Far Away (Pete Brown, Chris Spedding) - 2:50
7. Golden Country Kingdom (Pete Brown, Jim Mullen) - 3:11
8. Firesong (Pete Brown) - 6:01
9. Country Morning (Pete Brown, Roger Bunn) - 6:48
10.Flying Hero Sandwich (Pete Brown) - 3:18
11.My Last Band (Pete Brown) - 3:03
Quoting Damon Runyon on both the back cover and inside the gatefold, Brief Replies warns "Do not sweet-talk me sweet-talker, for I am no stranger...." Music that was too literate for the time, the second album from Ten Wheel Drive emerged as Jimi Hendrix and Janis Joplin were making their exits in 1970. "Pulse" was intended to be the opening track, and it would have been a great one, but despite being listed that way on the back cover, it is actually the third band on the vinyl's first side, and is evidence that sequencing is so key. "Morning Much Better" opens the album without the sledgehammer blues of this Genya Ravan/Michael Zager funk-rock dirge. It is explosive without the Top 40 appeal of Blood, Sweat & Tears. Going further down the road of complete artistry, "Come Live with Me" pulls away from the big-band sound, leaving the authors -- Genya Ravan on a wailing harp and voice along with co-writerAram Schefrin's guitar.
The thing about Ten Wheel Drive is their defiance toward what was considered conventional at the time. Each song on all three of their long-players, those on the 1969 debut Construction, and the polished gems from 1971's effort with Alice in Wonderland cartoons on the cover, Peculiar Friends (are better than no friends at all) break down barriers and stretch the formats of the day. They reached their pinnacle with a cover of the Jerry Ragovoy/George David Weiss masterpiece, "Stay with Me." Janis Joplin's last producer, the late Paul Rothchild -- who created many a Doors album, had Bette Midler sing in the film The Rose what Genya Ravan gave birth to here. But it is Ravan's harp and dynamic and soulful performance which puts the tune over the top. The compact, radio-friendly tour de force is a departure from the lengthier jams like "How Long Before I'm Gone." Though they change moods enough within a tune like this before veering off into the scribblings which made Chicago Transit Authority such a labor, it was still too progressive for rock audiences who were driven by the Top 40 single. That Clive Davis could edit Ragovoy's "Piece of My Heart" on behalf of Big Brother & the Holding Company was one of the reasons Big Brother's album (and single) charted so high.
When Ravan left TWD for her solo outings, including one on Columbia with Davis as president, that too failed to generate the excitement a talent like Genya Ravan deserved then, as she does now. "Last of the Line" shows her chameleon-like skills, and those of the band as well. She started as one of the pioneers of the girl group sound in the '60s reinvented herself in this experimental pop/jazz unit, and went on to put out solid rock & roll solo albums in the '80s. Had the songwriting duo of Michael Zager and Aram Schefrin continued working with Ravan, she would have a body of work that would be impressive, and they would no doubt be household names. There is every indication of that here, especially on "Last of the Line," perhaps the most commercial of Zager and Schefrin's tunes. A classy hook about a ramblin' gal..."the last branch of the tree/which will die with me/I'm the last of the line." The instrumental "Interlude: A View of Soft" concludes this special album with Ravan's voice used as an instrument, as accurate as David Liebman's flute and sax. Powerful music that should have been stretched out over 25 or so albums.
by Joe Viglione
Tracks
1. Morning Much Better (Genya Ravan, Michael Zager) - 2:36
2. Brief Replies (Aram Schefrin, Michael Zager) - 5:35
3. Pulse (Genya Ravan, Michael Zager) - 4:21
4. Come Live With Me (Aram Schefrin, Genya Ravan) - 5:22
5. Stay With Me (George David Weiss, Jerry Ragovoy) - 4:20
6. How Long Before I'm Gone (Aram Schefrin, Michael Zager) - 6:45
7. Last Of The Line (Aram Schefrin, Michael Zager) - 5:21
8. Interlude: A View Of Soft (Aram Schefrin, Michael Zager) - 3:53
This exemplary recording by songwriters Aram Schefrin, Mike Zager, and singer Genya Ravan was highly experimental in ways that Chicago, Big Brother & the Holding Company, Traffic, and other of their contemporaries wanted to be. Imagine Ronnie Spector leaving the Ronettes to join Blood, Sweat & Tears, and realize the sweet Goldie Zelkowitz from Goldie & the Gingerbreads did just that by reinventing herself here as the great Genya Ravan. The Ravan co-write, "Tightrope," is five-minutes-and-ten-seconds of psychedelic blues-jazz-funk. This is the sound Janis Joplin would refine for her Kozmic Blues experience, and while Janis Joplin and Kozmic Blues performed at Woodstock, Ten Wheel Drive were getting such a buzz they turned Woodstock down.
History would, indeed, have been different had they played "I Am a Want Ad" at that event, but with Sid Bernstein as co-manager, and songs like "Lapidary," the band had a lot going for it. "Lapidary" is a complete about face, Traffic's "John Barleycorn" with a female vocalist. "Eye of the Needle," on the other hand, was an eight-minute-plus show stopper of horns and guitars that come in like some country's national anthem. With Ravan's amazing wail at the end, it becomes powerful stuff. Songwriter Louie Hoff got to arrange his "Candy Man Blues," which puts Ravan in a nightclub setting, the piano and flutes changing the mood dramatically. This is such an adventurous and remarkable record by such a talented crew, it is a shame they didn't record 20 or more platters.
A Polydor executive made a statement that if they couldn't break Slade, they weren't a real company. Polydor did, in fact, fail to launch that British supergroup in America, and one wonders if these recordings were made for another label, if oldies stations wouldn't be playing Ten Wheel Drive today. "Ain't Gonna Happen" is extraordinary, showcasing a band on the prowl and a singer who pounces every chance she gets with a voice that does all sorts of wild things. If "Polar Bear Rug" and "House in Central Park" were a bit too evolved for Top 40, their A&R man should have brought them a single. Ten Wheel Drive could, like Etta James, play to those who crave this wonderful fusion of jazz and blues with a rock edge. A Ten Wheel Drive reunion, bringing this music back on-stage, is something that would make the world a better place.
by Joe Viglione
Tracks
1. Tightrope (Genya Ravan, Leon Rix) - 5:10
2. Lapidary (Aram Schefrin, Mike Zager) - 4:32
3. Eye Of The Needle (Aram Schefrin, Mike Zager) - 8:11
4. Candy Man Blues (Elizabeth Hoff, Louie Hoff) - 4:36
5. Ain't Gonna Happen (Aram Schefrin, Mike Zager) - 5:37
6. Polar Bear Rug (Aram Schefrin, Mike Zager) - 4:34
7. House In Central Park (Aram Schefrin, Mike Zager) - 4:32
8. I Am A Want Ad (Aram Schefrin, Mike Zager) - 4:27
There’s nothing particularly wrong with Stavia, the only album made by Ohio band The Brotherhood. If this were a common dollar-bin staple, it might be a pleasant surprise. But the album’s reputation precedes it, and the hype just isn’t earned. Released in 1972 in a private press edition of maybe 200 or 300 copies, the album has sold for $250 to $750, and there’s an original pressing on Discogs right now that can be all yours for $1,100. But don’t be misled by those prices, or by the name of the Spanish label reissuing the album. The Brotherhood plays perfectly competent soulful rock with a social conscience, yet there’s nothing outsider about it.
As the band’s name and diverse lineup suggests, The Brotherhood fosters racial harmony. “Color Line” starts the album with the earnest lyric, “I’m feeling blind/ That color line, yeah!” The musicianship is solid, the drums especially fevered as the well-meaning lead singer pleads, “I’m looking to the day when people can be themselves.” It’s a commendable sentiment delivered with a little soul but with perhaps less conviction than his band, who delivers solid lead guitar and swirling, mildly acid-tinged organ swirls. Stavia offers good musicianship that evokes the mellow side of ‘70s rock, but if you seek out private press records to hear something unfamiliar and unusual, there isn’t a whiff of that here.
by Pat Padua
Tracks
1. Color Line (Bill Fairbanks, John Hurd) - 2:39
2. Rock And Roll Band (John Hurd) - 3:20
3. Back Door (Bill Fairbanks) - 2:30
4. For Her Time (John Hurd) - 3:03
5. Meditation Pt. 1 (John Hurd) - 1:53
6. Uncle (Bill Fairbanks, John Hurd) - 4:38
7. Cry Of Love (John Hurd) - 4:04
8. Tragedy (John Hurd) - 3:35
9. Meditation Pt. 2 (Bill Fairbanks, John Hurd) - 3:26
Long lean groovers from Brian Auger and the Oblivion Express group – recorded with a slightly freer feel than some of the group's earlier albums, and an approach that has them stretching out nicely! Brian still sings a bit on some tracks, but there seems to be more of a focus than before on the keyboards – that nicely compressed Auger use of Hammond and electric piano that actually went onto influence a fair bit of American players at the time, in the way that Auger himself had been influenced before by their own earlier work. Rhythms are great throughout – making all tracks funky, in a laidback sort of way – and titles include a remake of "Bumpin' On Sunset", one of the band's best tracks, plus "Change", "Beginning Again", "You'll Stay In My Heart", and "Straight Ahead".
Jim Keays fronted the successful Master's Apprentices until they broke up in the U.K. 1971. This marked a career change and he returned to Australia, where he worked for Go-Set magazine, formed the Rock On Agency, and appeared at the Mulwala Rock Festival in April 1972. In March 1973, he starred in the Australian version of the Who's Tommy and in January 1974, Keays participated in the third annual Sunbury Festival.
Keays then returned to music, recording his debut solo album, The Boy From the Stars, a concept album about an extraterrestrial visitor who attempts to warn people of the earth's imminent destruction. Keays, playing the role of the boy from the stars, wrote most of the music and all of the lyrics. "Kid's Blues"/"&Inter-Planetary Boogie" (December 1974) and "The Boy From the Stars"/"Take It on Easy" were released as singles and Keays undertook an ambitious tour in support of the album, but due to the size of the show, only three concerts were staged.
The anti-drug song "Give It Up"/"Love Is" was released in June 1975. He then formed Jim Keays' Southern Cross with Mick Elliot, Rex Bullen (keyboards), George Cross (bass), and Rick Brewer (drums). They released a reworking of the Masters Apprentices' "Undecided"/"For Someone" in December 1975, by which time the lineup had changed to Peter Laffy (guitar), Ron Robinson (bass), and John Swan.
In 1977, Keays formed the Manning/Keays Band with Phil Manning. The next year, Keays formed the Jim Keays Band with Ron Robinson, James Black (guitar), and David Rowe (drums). Guitarists John Moon and Geoff Spooner replaced Black, and by 1979, the band had evolved into the Keays with a revamped lineup of Moon, Bruce Stewart (guitar), Peter Marshall (bass), and Nigel Rough (drums). In early 1980, the band began recording an album which was never finished due to Stewart's ill health. The single "Lucifer Street"/"The Living Dead" was released and the band broke up.
The unfinished album was finally released in 1983 as a solo Jim Keays project titled Red on the Meter and "Lucifer Street" was re-released as a single. Keays then began working as a DJ until a new deal with Virgin in 1987 saw him fly to the U.K. to record with producer Craig Leon (the Ramones, the Bangles) and ex-Sweet guitarist Andy Scott. Two singles were released from the sessions: "Undecided"/"Dubcided" (July 1987) and "Reaction"/"Bates Motel" (October 1987). The Masters Apprentices then re-formed until Keays issued his second solo album in 1993, Pressure Makes Diamonds, on the Gemstone label. BMG reissued the album in mid-1994, after which Keays revived the Master's Apprentices again.
Keays and his fellow Master's Apprentices bandmembers were inducted into the Australian Record Industry Association (ARIA) Hall of Fame in 1998. In 1999, Keays published his first book, His Master's Voice, which told the story of the Masters Apprentices. In January 2000, Raven Records reissued Keays' 1974 solo album, The Boy From the Stars, with five bonus tracks. The Mavis's contributed a cover of "The Boy From the Stars" to the original soundtrack of the Australian film Sample People in May 2000.
by Brendan Swift
Jim Keays passed away on Jun 13, 2014, he had been suffering from Multiple Myeloma for seven years.
Tracks
1. The Boy From The Stars - 5:45
2. Take It On Easy (Jim Keays, John Brownrigg) - 4:36
3. Nothing Much Left (Jim Keays, John Brownrigg) - 5:05
4. Space Brothers - 9:07
5. Alchemical Takeover - 4:45
6. Urantia (Jim Keays, John Brownrigg) - 5:50
7. Kids' Blues - 3:28
8. The Right Way To Go - 5:24
9. Reason To Be Living - 7:52
10.Inter-Planetary Boogie - 4:06
11.Give It Up (Cocainut) - 4:10
12.For Someone - 5:40
13.Interview With John O'Donnell 3XY. 1:34
14.Nothing Much Left / Urantia (Jim Keays, John Brownrigg) - 11:04
All compositions by Jim Keays except where stated
Bonus Tracks 10-14
Tracks 10-12 from Singles releases
Track 14 Live At Sunbury 1975
