Year Of Recording: 1976 – ManyFantasticColors (2024)

Michael Bernard Bloomfield (July 28, 1943 – February 15, 1981) was an American guitarist and composer, born in Chicago, Illinois, who became one of the first popular music superstars of the 1960s to earn his reputation almost entirely on his instrumental prowess, since he rarely sang before 1969. Respected for his guitar playing, Bloomfield knew and played with many of Chicago’s blues musicians before achieving his own fame and was instrumental in popularizing blues music in the mid-1960s. He was ranked No. 22 on Rolling Stone’s list of “100 Greatest Guitarists of All Time” in 2003 and No. 42 by the same magazine in 2011. He was inducted into the Blues Hall of Fame in 2012 and, as a member of the Paul Butterfield Blues Band, was inducted into the Rock and Roll Hall of Fame in 2015.

In the 1970s Bloomfield played in local San Francisco Bay area clubs, including the Keystone Korner, and sat in with other bands. In 1977, Bloomfield was selected by Andy Warhol to do the soundtrack for the pop artist’s last film, Andy Warhol’s Bad[10] (also known as BAD). An unreleased single, “Andy’s Bad”, was also produced for the project. During 1979–1981 he performed often with the King Perkoff Band, sometimes introducing them as the “Michael Bloomfield and Friends” outfit. Bloomfield recorded “Hustlin’ Queen”, written by John Isabeau and Perkoff in 1979. He toured Italy and Sweden with guitarist Woody Harris and cellist Maggie Edmondson in the summer of 1980. He sat in with Bob Dylan at San Francisco’s Warfield Theatre on November 15, 1980. Bloomfield played on Dylan’s “Like a Rolling Stone” and “The Groom’s Still Waiting at the Altar”. He continued to play live dates, and his performance at San Francisco State College on February 7, 1981, would be his final appearance.

Although Bloomfield came from a wealthy family, he never inherited a large lump sum. He received annual income from a trust that had been set up by his paternal grandfather, which gave him $50,000 each year.

The exact events and circumstances that led to Bloomfield’s death are not clear. What is known is that he was found dead in his car on February 15, 1981. He was seated behind the wheel of his Mercury, with all four doors locked. The only details (from unnamed sources) relate that Bloomfield died at a San Francisco party and was driven to another location in the city by two men who were present at the party.[citation needed] Bloomfield’s last album, Cruisin’ for a Bruisin’, was released the day his death was announced. His remains are interred in a crypt at Hillside Memorial Park Cemetery, in Culver City, near Los Angeles. (wikipedia)

If you’ve never really experienced Mike Bloomfield just letting loose and playing ripping and inspired guitar, this is a darn good starting point. Recorded live in 1976 and 1977 by producer Norman Dayron at the Old Waldorf nightclub on Bloomfield’s home turf in San Francisco with a hand-picked band, the results are startling to say the least. Bloomfield plays with assurance and authority throughout, exploring new ideas with each new chorus from his guitar, arguably at his best since his early Butterfield/Dylan days.

He plays a lot of slide guitar here, too, and tracks like “Bad Luck Baby,” “The Sky Is Crying,” “Dancin’ Fool,” and “Buried Alive in the Blues” showcase his mighty talents with the bottleneck, taking the lessons learned firsthand from Robert Nighthawk to places new and wild. Bloomfield was never much of a singer, and everybody from old pal Nick Gravenites to bassist Roger Troy to drummer Bob Jones ends up handling all the vocals on this disc. But one listen to the “Blues Medley” that kicks off the proceedings is reason enough to know why Bloomfield’s reputation on his chosen instrument ranks up there with the greats. Consider this disc validation of that rep. (by Cub Koda)

Recorded live at The Old Waldorf

Personnel:
Mike Bloomfield (guitar, vocals)
Nick Gravenites (vocals, guitar on 03., 95., 06. + 09.)
Bob Jones (drums, vocals on 02. + 04.)
Mark Naftalin (piano on 01. – 03., 06. – 09.)
Roger (Jellyroll) Troy (bass, vocals on 01., 07. + 08.)
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Mark Adams (harmonica on 01.)
Barry Goldberg (organ on 01.)
George Rains (drums on 01.)

Tracklist:
01. Blues Medley: Sweet Little Angel (King/Bihari) / Jelly Jelly (Eckstein/Hines) 7.44
02. Feel So Bad (Willis) 4.27
03. Bad Luck Baby (Gravenites) 5.53
04. The Sky Is Cryin’ (James) 5.24
05. Dancin’ Fool (Gravenites) 3.49
06. Buried Alive In The Blues (Gravenites) 4.56
07. Farther Up The Road (Robey/Veasey) 3.17
08. Your Friends (Malone) 7.19
09. Bye, Bye (Gravenites) 4.26

Link 1
Link 2

More from MIke Bloomfield in this blog:

The official website:

The story Of KGB:

KGB was a short-lived American rock band, one of the late supergroups of the 1970s.

The name is made up of the initials of the three main players, Ray Kennedy (vocals), Barry Goldberg (keyboards) and Mike Bloomfield (guitar); Goldberg and Bloomfield had previously played together in The Electric Flag.

The rhythm section consisted of Ric Grech (bass, formerly of Family, Blind Faith and Traffic) and Carmine Appice (drums, formerly of Vanilla Fudge, Beck, Bogert & Appice).

The members of KGB (sometimes also spelt K.G.B.) received high-paying contracts from the record company MCA in 1975 toformation of a supergroup. The debut album with the title KGB (featuring the line-up of Appice, Grech, Goldberg, Bloomfield and Kennedy) was released in 1975, but flopped with both critics and buyersby both critics and buyers. The music magazine Sounds criticised the group’s lack of a musical community of interest. In 1976, the second album Motion was released with Appice, Goldberg, Kennedy, Ben Schultz and Gregg Sutton.

Mike Bloomfield refused to travel to Los Angeles, where the recordings took place; his contribution was recorded and mixed in Sausalito. and mixed in. In an interview, he made disparaging remarks disparagingly about the project, which came to a premature end after 18 months. premature end after 18 months. (wikipedia)

Barry Goldberg had a manager friend who wanted to assemble yet another super group. The manager had bassist Rick Grech, formerly of Blind Faith, and drummer Carmine Appice, formerly of the Vanilla Fudge, interested in the project, and he was eager to shop the concept around to record companies. “We’ll clean up!” was the manager’s selling point to Michael.

By the early summer, a deal had been worked out with MCA for the group – curiously named KGB, after the Russian secret police – to record an album. MCA’s interest, as far as Michael was concerned, was solely in the “bankability” of the band; the music was irrelevant to the label’s corporate managers. To them KGB was a product, like soap or breakfast cereal.

Bloomfield and the other members of KGB got along well and actually liked each other, but the artifice behind their collaboration was too thin to withstand all the pressures from the front office. After studio sessions in Los Angeles in June, and overdubbing dates later in Sausalito, Michael was thoroughly disgusted with the superficiality of the whole business.

He was enough disgruntled that, following the release of the band’s eponymous album in February 1976, he gave a tell-all interview to the Los Angeles Times in which he took the band and record company to task. Michael opined KGB before the break-up: from left, Carmine Appice, Ric Grech, Barry Goldberg, Michael Bloomfield and Ray Kennedy. MCA promotional photothat KGB had everything to do with business and nothing to do with art. He followed that impolitic move with a two-page letter to MCA that was part harangue, part resignation. Everyone involved was furious with him, and by April KGB was effectively dead in the water.

The whole affair left Michael with an overwhelming desire to do something with integrity. (mikebloomfieldamericanmusic.com)

Didn’t exept this , white funk /disco (Toco 2009)

In the 70s I was very disappointed by this album … today it doesn’t sound so bad (” Lookin’ For A Better Way ” with a fine slide-guitar or “Lay It All Down” a great Gospel song) … Of course my listening habits have changed

A second listen give’s it more credence than it did back in the day.

Personnel:
Carmine Appice (drums, percussion, background vocals9
Barry Goldberg (keyboards, synthesizer)
Ray Kennedy (vocals)
Ben Schultz (guitar, banjo, magic bag
Gregg Sutton (bass, vocals on 06.)

Tracklist:
01. Woman, Stop Whatcha Doin’ (Appice)
02. I Only Need A Next Time (Goldberg/Sawyer)
03. My Serene Coleen (Kennedy)
04. Lookin’ For A Better Way (Conrd/Kennedy)
05. Lay It All Down (Jennings/Goldberg)
06. Treading Water (Sutton/Schultz/Appice)
07. Goin’ Thru The Motions (Bayer Sager/Goldberg)
08. Je T’Aime (Kennedy)
09. Determination (Sutton)

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An interesting encounter:

Michael Hoenig (born 4 January 1952) is a German composer who has composed music for several films and games, in addition to two solo albums, including the highly acclaimed 1978 album Departure from the Northern Wasteland. In 1997, he was nominated for a Primetime Emmy Award for Outstanding Main Title Theme Music for composing the theme to the science fiction series Dark Skies.

As the editor of the underground magazine LOVE in the late sixties, Hoenig was part of the burgeoning progressive rock scene in Berlin, which fostered bands like Tangerine Dream, Ash Ra Tempel and Agitation Free.

His interest in avant-garde music, sound generators and prepared tapes caught the eye of Michael Günther, the bassist of Agitation Free, and he joined the band in February 1971. In March 1975, Hoenig was hired to replace Peter Baumann in Tangerine Dream for an Australian tour and a London Royal Albert Hall concert, and subsequently left Agitation Free, which broke up shortly after. Baumann rejoined Tangerine Dream soon after, and Hoenig went on to collaborate with Klaus Schulze on the short-lived project “Timewind” (unrelated to the 1975 Schulze album of the same name). In 1976 he had a brief collaboration with Manuel Göttsching of Ash Ra Tempel; a recording of one of the sessions was released in 1995 under the title “Early Water”. In 1977, he released his first solo album, the highly acclaimed Berlin School classic Departure from the Northern Wasteland, and left for Los Angeles shortly after it was released.

Hoenig owns a recording studio in Los Angeles and through his company Metamusic Productions, he has composed the scores for several movies (see filmography below) and television shows. In addition to this, he has composed music for the extremely popular Baldur’s Gate PC games by BioWare. In 1987, Hoenig released his second solo album, Xcept One. The track Bones on the Beach from the Xcept One album was installed in the roller coaster CHAOS at Opryland in Nashville, making the attraction the first roller coaster to be synced to music. Bones on the Beach has also been used at a similar roller coaster, Revolution, at Bobbejaanland, a family park in Lichtaart, Belgium from 2004 to 2008 and since 2011. (wikipediaI)

Manuel Göttsching (9 September 1952 – 4 December 2022) was a German musician and composer.

As the leader of the groups Ash Ra Tempel and Ashra in the 1970s and 80s, as well as a solo artist, he was one of the most influential guitarists of the Krautrock (also known as Kosmische Musik) genre. He also participated in the Cosmic Jokers sessions. His style and technique influenced dozens of artists in the post-Eno ambient and Berlin School of electronic music scenes in the 1980s and 1990s.

As a child, Göttsching was exposed to the music of Verdi and Puccini by his mother, who was a fan of opera. He also listened to radio stations run by American and British allied forces. Too young for early rock and roll, it was not until the 1960s that Göttsching found the music that really inspired him such as Motown music from the United States, as well the Rolling Stones and British blues bands. Originally a classical guitarist, the music he heard inspired him to switch to the electric guitar.

In school, Göttsching played with a cover band. “We played some Rolling Stones, we played some Beatles, we played some Who, some what was the popular music and that was just for fun,” he recalls. However upon hearing Blue Cheer’s proto-metal cover of “Summertime Blues” and learning about the free jazz movement inspired Göttsching and his bandmates to pursue a freer, more improvisatory approach to music.

Göttsching and his bandmates moved from song-based music to free improvisation, forming the musical group Ash Ra Tempel in 1970. “We didn’t play blues,” Göttsching recalls. “We used some elements of it but tried to keep the freestyle of improvisation and using some blues themes.” Along with Göttsching, the group included Klaus Schulze (who had just left Tangerine Dream) and Hartmut Enke. Just after Ash Ra Tempel released its self-titled debut album in 1971, Schulze left to pursue what became a successful solo career.

In 2000, Göttsching and Klaus Schulze released a studio album and a live album as Ash Ra Tempel. The live album was recorded as part of the Cornucopia concerts curated by Julian Cope at the Royal Festival Hall in London.

Göttsching died on 4 December 2022, at the age of 70.

Göttsching’s 1981 album E2-E4 had a major influence on the development of electronica, especially the techno genre. Some suggest that Göttsching’s playing might have had an influence on U2’s The Edge echo-laden guitar style of the early to mid-eighties.

Initially recorded at the end of 1976, “Early Water” is a collaboration between ex-ASHRA RA TEMPEL Manuel Göttsching and ex-AGITATION FREE Michael Hoenig. The result of this session has been restored and entirely remixed by Hoenig in Los Angeles in 1995. The album consists in one single 50 minutes long track, in the pure style of the Berlin electronic school.

To replace things in their context, Göttsching had just recorded “New Age of Earth”, and Hoenig had just collaborated in TANGERINE DREAM and KLAUS SCHULZE live performances. Compared to ASHRA’s first album, the music is colder, hypnotic, sometimes oppressive, but always fluid. The important use of sequencers sounds sometimes futuristic.

Manuel Göttsching’s guitar is simply gorgeous and undulates around Hoenig’s interlacing synthetizer loops. This long piece contains however some lengthy passages, especially the middle part, and therefore maintaining attention is difficult. In terms of ambiance, this has more similarities with a SCHULZE or a TD concert, certainly due to Hoenig’s recent experiences.

Released in 1976 in a shortened version, “Early Water” would have stand up to comparison to other progressive electronic opus at the same time. A bit long, nonetheless recommended to TANGERINE DREAM or SCHULZE fans. (by Modrigue)

Personnel:
Manuel Göttsching (guitar, keyboards, electronics)
Michael Hoenig (keyboards, electronics)

Tracklist:
01. Early Water (Göttsching/Hoenig) 48.23

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Procol Harum were an English rock band formed in Southend-on-Sea, Essex, in 1967. Their best-known recording is the 1967 hit single “A Whiter Shade of Pale”, one of the few singles to have sold over 10 million copies.[4] Although noted for their baroque and classical influence, Procol Harum’s music is described as psychedelic rock and proto-prog with hints of the blues, R&B, and soul.

In 2018 the band was honoured by the Rock and Roll Hall of Fame when “A Whiter Shade of Pale” was inducted into the new Singles category.

After Dave Ball left, Mick Grabham was the group’s guitarist from 1972 until 1977.

The band continued with their new symphonic rock sound on their follow-up, Grand Hotel. Released in March 1973, the album reached No. 21 in the US. It did not chart in the UK, but it was certified silver for selling over 60,000 copies there.

The band returned to its hard rock roots with their seventh studio album Exotic Birds and Fruit, released in April 1974. Reid said the group made a conscious attempt to “dispel that symphonic image” that they had been attached to and has a similar sound to their debut. The album’s sleeve was absent of lyrics in the liner notes.

In 1975 Procol Harum played the final night at the Rainbow Theatre in London before its refurbishment.

The personnel changes contributed to declining sales in the later part of the 1970s, with “Pandora’s Box” being the final UK Top 20 hit in 1975. Its parent album Procol’s Ninth saw a re-connection with Jerry Leiber and Mike Stoller, who both produced and wrote with the band.

In 1976 the band regrouped to record their final album of the 1970s, Something Magic. This marked the departure of Cartwright, after Brooker thought Copping was a better bassist which led to the arrival of newcomer Pete Solley on keyboards. The album’s producers were not impressed with the group’s material, which took the form of “The Worm and the Tree”, an extended track that originated from a theme of Brooker’s that the band had attempted some years before, but the group “made it up as we went along” in the studio.

Something Magic was released in March 1977 and peaked at No. 147 in the US.[31] During the subsequent tour, the band celebrated their tenth anniversary with a concert at the Palladium Theatre in New York City in May.

In April 1977, during the promotional tour for Something Magic, Copping joined Frankie Miller’s band and was replaced in Procol Harum by Elton John’s former bassist Dee Murray.[33] The tour ended in May, and the following month Grabham announced that he had left the band, claiming that he had been “generally dissatisfied with my role … for some months”.[34] The band played one final show in October when “A Whiter Shade of Pale” co-won the Single of the Year award at the 1977 Brit Awards, with Brooker, Wilson and returning members Cartwright and Copping joined by guitarist Tim Renwick.

In July 2009, Matthew Fisher won a British court judgment awarding him 40% of the music royalties from 2005 onwards for 1967’s “A Whiter Shade of Pale”, which had previously gone 50% to Brooker for the music and 50% to Reid for the lyrics.

Brooker, the only constant member of the band and the main songwriter, died on 19 February 2022. The band’s website described him as “a brightly shining, irreplaceable light in the music industry”. “A Whiter Shade of Pale” entered the UK Official Singles Sales Chart Top 100 at number 38 on 25 February 2022. After his death, Procol Harum disbanded for good. (wikipedia)

And here´s an interesting TV broadcast show…

An edited 30 minutes version of this concert was broadcasted in 1976, a rebroadcast in the 1990s was extended to 52 minutes.

This edition in enhanced quality shows the full studio performance of 68 minutes. (.H. Braunschmidt)

But to be honest: You can hear that the band had passed its peak … A lot of things sound rather disorganised … It seems they lost their musical direction … what a pity … but that’s also part of rock music.

Personnel:
Gary Brooker (piano. vocals)
Alan Cartwright (bass)
Chris Copping (organ)
Mick Grabham (guitar)
B. J. Wilson (drums)

Tracklist:
01. Introduction (in German) 0.31
02. Conquistador 4.42
03. Bringing Home The Bacon 3.56
04. As Strong As Samson 5.39
05. Pandora’s Box 4.05
06. The Unquiet Zone 4.37
07. Grand Hotel 7.38
08. Souvenir Of London 3.12
09. A Salty Dog 5.16
10. Nothing But The Truth 3.37
11. Band introduction 1.06
12. Power Failure 5.47
13. Magdalene (My Regal Zonophone) 2.58
14. Break-Up 2.50
15. Breathless 2.47
16. A Whiter Shade Of Pale 5.18
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17. Rockpalast (WDR Studio Cologne) (uncut edition) 1.08.01

Music: Gary Brooker
Lyrics: Keith Reid
except XX:
Johnn Sebastian Bach – Gary rooker – Keith Reid – Matthew Fisher

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More from Procol Harum in this blog:

Aerosmith is an American rock band formed in Boston in 1970. The group consists of Steven Tyler (vocals), Joe Perry (guitar), Tom Hamilton (bass), Joey Kramer (drums), and Brad Whitford (guitar).

Their style, which is rooted in blues-based hard rock, has also incorporated elements of pop rock, heavy metal, glam metal, and rhythm and blues, and has inspired many subsequent rock artists.

Aerosmith is sometimes referred to as “the Bad Boys from Boston” and “America’s Greatest Rock and Roll Band”. The primary songwriting team of Tyler and Perry is sometimes referred to as the “Toxic Twins”.

Perry and Hamilton were originally in a band together, the Jam Band, where they met up with Tyler, Kramer, guitarist Ray Tabano, and formed Aerosmith; in 1971, Tabano was replaced by Whitford. They released a string of multi-platinum albums starting with their eponymous debut in 1973, followed by Get Your Wings in 1974. The band broke into the mainstream with Toys in the Attic (1975) and Rocks (1976). Draw the Line and Night in the Ruts followed in 1977 and 1979. Throughout the 1970s, the band toured extensively and charted a dozen Hot 100 singles, including their first Top 40 hit “Sweet Emotion” and the Top 10 hits “Dream On” and “Walk This Way”. By the end of the decade, they were among the most popular hard rock bands in the world and developed a following of fans, often referred to as the “Blue Army”. Drug addiction and internal conflict led to the departures of Perry and Whitford in 1979 and 1981. The band did not fare well and the album Rock in a Hard Place (1982) failed to match previous successes.

Perry and Whitford returned to Aerosmith in 1984. After a comeback tour, they recorded Done with Mirrors (1985), which did not meet commercial expectations. It was not until a 1986 collaboration with rap group Run–D.M.C. on a remake of “Walk This Way”, and the 1987 multi-platinum release, Permanent Vacation, that they regained their previous level of popularity. In the late 1980s and 1990s, the band won numerous awards for music from the multi-platinum albums Pump (1989), Get a Grip (1993), and Nine Lives (1997), while they embarked on their most extensive concert tours to date. Their biggest hits during this period included “Dude (Looks Like a Lady)”, “Angel”, “Rag Doll”, “Love in an Elevator”, “Janie’s Got a Gun”, “What it Takes”, “Livin’ on the Edge”, “Cryin'”, and “Crazy.” The band also filmed popular music videos and made notable appearances in television, film, and video games.

In 1998, they achieved their first number-one hit with “I Don’t Want to Miss a Thing” from Armageddon’s soundtrack and the following year, their roller coaster attraction opened at Walt Disney World. Their comeback has been described as one of the most remarkable and spectacular in rock history. Additional albums Just Push Play (which included the hit “Jaded”), Honkin’ on Bobo (a collection of blues covers), and Music from Another Dimension! followed in 2001, 2004, and 2012. In 2008, they released Guitar Hero: Aerosmith, which is considered to be the best-selling band-centric video game. After five decades, the band continues to tour and record music. From 2019 to 2022, the band had a concert residency in Las Vegas, which was interrupted from 2020 to 2021 due to the COVID-19 pandemic. From 2023 to 2024, the band will embark on a farewell tour, called “Peace Out: The Farewell Tour”.

Aerosmith is the best-selling American hard rock band of all time, having sold more than 150 million records worldwide, including over 85 million records in the United States.[18][19] With 25 gold, 18 platinum, and 12 multi-platinum albums, they hold the record for the most total certifications by an American group and are tied for the most multi-platinum albums by an American group. They have achieved twenty-one Top 40 hits on the US Hot 100, nine number-one Mainstream Rock hits, four Grammy Awards, six American Music Awards, and ten MTV Video Music Awards. They were inducted into the Rock and Roll Hall of Fame in 2001, and were ranked number 57 and 30, respectively, on Rolling Stone’s and VH1’s lists of the 100 Greatest Artists of All Time. In 2013, Tyler and Perry were inducted into the Songwriters Hall of Fame, and in 2020, the band received the MusiCares Person of the Year award. (wikipedia)

Rocks is the fourth studio album by American rock band Aerosmith, released on 3 May 1976. AllMusic described Rocks as having “captured Aerosmith at their most raw and rocking.” Rocks was ranked number 366 on the updated Rolling Stone’s list of the 500 Greatest Albums of All Time in 2020. It has greatly influenced many hard rock and heavy metal artists, including Guns N’ Roses, Metallica, and Nirvana. The album was a commercial success, charting three singles on the Billboard Hot 100, two of which reached the Top 40 (“Back in the Saddle” and “Last Child”). The album was one of the first to ship platinum when it was released, and has since gone quadruple platinum.

Previously, Aerosmith had recorded three albums: Aerosmith (1973), Get Your Wings (1974), and the breakthrough LP Toys in the Attic (1975), which produced Top Ten hit “Walk This Way” and the popular “Sweet Emotion”. Although often derided by critics, the band had amassed a loyal fanbase from relentless touring and their ferocious live shows. Producer Douglas explains, “The only thing we were talking about a few months before Rocks was that it was going to be a real hard-rock album.

And we might go back to the format of the first album, which was to rock out on every tune. And again, keep it real raw. And make it as live sounding as we possibly could.”[9] By the time of the album’s sessions, the group had already begun living the rock-and-roll lifestyle to the hilt, indulging their already considerable appetite for drugs. However, their hedonistic lifestyle did not appear to hamper them creatively; Rocks was considered by many fans, critics, and fellow musicians to be one of the highlights of their career. Guitarist Joe Perry later recalled, “There’s no doubt we were doing a lot of drugs by then, but whatever we were doing, it was still working for us.” (wikipedia)

Few albums have been so appropriately named as Aerosmith’s 1976 classic Rocks. Despite hard drug use escalating among bandmembers, Aerosmith produced a superb follow-up to their masterwork Toys in the Attic, nearly topping it in the process. Many Aero fans will point to Toys as the band’s quintessential album (it contained two radio/concert standards after all, “Walk This Way” and “Sweet Emotion”), but out of all their albums, Rocks did the best job of capturing Aerosmith at their most raw and rocking. Like its predecessor, a pair of songs have become their most renowned — the menacing, hard rock, cowboy-stomper “Back in the Saddle,” as well as the downright viscous funk groove of “Last Child.” Again, even the lesser-known tracks prove essential to the makeup of the album, such as the stimulated “Rats in the Cellar” (a response of sorts to “Toys in the Attic”), the Stonesy “Combination,” and the forgotten riff-rocker “Get the Lead Out.” Also included is the apocalyptic “Nobody’s Fault,” the up-and-coming rock star tale of “Lick and a Promise,” and the album-closing ballad “Home Tonight.” With Rocks, Aerosmith appeared to be indestructible. (by by Greg Prato)

Personnel:
Tom Hamilton (bass, guitar on 05.)
Joey Kramer (drums, percussion, background vocals on 09.)
Joe Perry (guitar, bass on 01. + 05., pedal steel guitar on 09., percussion 0n 05., background vocals on 04.)
Steven Tyler (vocals, keyboards, harmonica, bass on 05.)
Brad Whitford (guitar)
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Paul Prestopino (banjo on 02.)

Tracklist:
01. Back In The Saddle (Tyler/Perry) 4.41
02. Last Child (Tyler/Whitford) 3.26
03. Rats In The Cellar (Tyler/Perry) 4.07
04. Combination (Perry) 3.41
05. Sick As A Dog (Tyler/Hamilton) 4.12
06. Nobody’s Fault (Tyler/Whitford) 4.26
07. Get The Lead Out (Tyler/Perry) 3.42
08. Lick And A Promise (Tyler/Perry) 3.05
09. Home Tonight (Tyler) 3.17

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More from Aerosmith in this blog:

The official website:

A free form rock band founded by a small community of 5 German hippies / “avant garde” artists back at the beginning of the 70’s (Wolfgang Franz Czaika, as Caesar, is credited with “Lead- & Rhythmguitar”, Ullrich Kallweit, known as Ulli “Drums/Percussion”. His brother Harry Kallweit known as Harry, contributes “Electric bass/voice”, Manfred Uhr AKA Warlock on “Organ/fuzz-organ/voice” and Norbert Luckas AKA Nobbi on “Guitar/A77/Noises”). Their self title effort was published in 1972 in Düsseldorf at Luftschutzbunker (Air Raid Shelter) studio. The cover of their self title album (a militaristic image which is a portrait of the third Reich military force) provides an illustration of anger expressed by the WWII’s young generation against their parents. By consequence German Oak’s music is very eerie, dark and weird, dominated by heavy, “distorted” guitar solos & raw bluesy rhythms. The background creates “shadowy” & “ambient” sequences thanks to delay echoes, electronic “fuzzy” noises & repetitive bass lines. A funkadelic/jazzy felt punctuates with discretion this grandiose, “creepy” instrumental album. A first CD reissue was offered by Witch And Warlock in 1991. Today this album is re-edited by Radioactive records (2005). In a rather discretion they also released the moody, cloudy and experimental epic-kraut “Niebenlungenieg” (1972). (Philippe Blache)

In the early ’70’s, a few young musicians from Dusseldorf, newly baptised into the hippie movement, yet still angry at the actions of the previous generation, retreated into an abandoned war era bunker under the city. There, with cheap instruments, and cheaper recording equipment, they managed to cut a strange, dour hidden gem for krautrock. The result was hated and panned when it first surfaced, but would later be vindicated for what it was. So most of the album is a dark, tinny, claustrophobic rumination on the war and horror the Nazis wrought. Particularly terrifying voice samples of Hitler, and of falling bombs, hammer home the bleakness of war and how evil the party was. It feels like the whole war is just falling down on you. The recording techniques and makeshift recording studio result in the lo-fi sound quality that high fives that of the first Smiths album, but, and this is an important lesson to learn, lo-fi has its uses, and this is one of them.

This album could not ever be as claustrophobic, as off, as horrifying, without it sounding like it came from a mine in Cornwall. We are in the bunker with the band as they play their anger out. Seventeen chords and the truth. Eventually, the rage the band had is quenched, and then they jam. The SQ is no better, but it is a unique effect, interesting to listen to the psychedelic throwdown through the lens of war’s SQ; perhaps this is the aftermath, still dark, but now hopeful. The instrumentation is wonderful, and more people here would find much to love had this been hi-fi. The band, through the playing, sampling, and choice of recording techniques, were just excellent. The hatred came from being mistaken for being pro-war when the album first surfaced, and then compounded by those who listened to it and hated the sound quality, but this is a tin coated masterpiece. And it should never be listened to any other way. (by LearsFool)

5 stars The dark German collective back with completely catchy kraut-improvisations. All tracks deliver memacing heavy, fuzzy psychedelic moments that merit a serious listening. After their amazing and most popular effort, “Nibelungenlied” stresses the free-sonic-destruction dimension of their music. The sound is always dominated by screaming / electric bluesy guitar parts, sound experiments and macabre keyboards effects. “The heroic deeds of Siegfried” is a dark and minimalist, melancholic composition with a dubtle “medieval” flavour.

The savage percussions announces a delicate, simplistic guitar sequence in a moody tone. “Nibelungenlied I” is an agressive, dynamic guitar orientated composition, featuring really hypnotic, rocking sequences; all in improvisation with a repetitive bass line and some vicious guitar solos. “Gunter & Brunhild”, “Hagen von Tronje” & “Siegfried’s death” are bluesy-kraut jam with wha wha effects and strangely doom, sinister atmospheres. Heavy, complex, weird & cool! A “poisoning” masterpiece. This album only has to be avoided by those who can’t support an extremely poor, infect sound production (by Philippe)

Personnel:
Wolfgang Franz “Caesar” Czaika (lead guitar)
Norbert “Nobbi” Luckas (revox A77, sound effects)
Ullrich “Ulli” Kallweit (drums, percussion)
Rolf “Moerly” Moers (bass)
Manfred “Warlock” Uhr (drums, percussion, guitar, windchimes, clockwork)

Tracklist:
01. The Heroic Deeds Of Siegfried (Uhr) 6.10
02. Nibelungenlied I: Siegfried & Kriemhild (Czaika/Kallweit) 7.31
03. Gunter & Brunhild (Czaika/Kallweit) 4.02
04. Hagen von Tronje (Czaika/Kallweit/Moers) 5.35
05. Siegfried’s Death (Czaika/Kallweit/Moers) 4.18
06. Dankwart, Ruediger & Hildebrand (Czaika/Kallweit) 4.26
07. Dietrich von Bern (Czaika/Kallweit) 3.28
08. Nibelungenlied II: Krienhild & Etzel/Final Fights And Death (Czaika/Kallweit/Moers) 12.16
09. Lament (Uhr) 1.26

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The LP edition:

Art Lande is an American musician who was born in New York City, United States, on 5 February 1947.

Born in New York, Lande began piano at age 4. He attended Williams College and moved to San Francisco in 1969. In 1973 he recorded Red Lanta, an album of duets with Norwegian musician Jan Garbarek. With Mark Isham on trumpet, he started the Rubisa Patrol group in 1976. They performed in the Bay Area and toured extensively in Europe by van. This group made two records for ECM: Rubisa Patrol (1976), Desert Marauders (1977), and one for 1750 Arch Records, The Story of Ba-Ku (1978).

In the early 1980s Lande taught at the Cornish College of the Arts in Seattle. He moved to Switzerland, where he taught at a jazz school in St. Gallen. In 1987 he moved to Boulder, Colorado to teach at Naropa University.

Lande has written many compositions, but is also known for his unusual and distinctive interpretations of popular and jazz standards. He has made several solo piano recordings devoted to such material, including The Eccentricities of Earl Dant in 1977, Hardball! (1987), Melissa Spins Away (1987), Friday the Thirteenth (1996, featuring thirteen Thelonious Monk compositions) and While She Sleeps (2005).

Although he is known as a pianist, Lande has performed and recorded on drums. He appeared in the 2021 film JazzTown, directed by Ben Makinen. (wikipedia)

Rubisa Patrol is an album by American jazz pianist Art Lande recorded in 1976 and released on the ECM label. It was his first album for ECM Recortds.

This recording, with the short-lived ensemble Rubisa Patrol, may someday be considered as one of the classic ECM recordings of all time. Some stunning compositions are present within a restrained, melodic concept, but please don’t term it new age. While there is a spiritual quality present, it is not overbearing. Four of the pieces are written by acoustic pianist Art Lande, with the standout track “Corinthian Melodies” a thing of sheer opulent beauty.

Trumpeter Mark Isham and Lande are the principal voices in this quartet, and the textures they conjure would set a precedent for what Isham would do for the bulk of his career in scoring for films. Bassist Bill Douglass and drummer Glenn Cronkhite are as sensitive a lower dynamic rhythmic team as can be. This is contemporary improvised music nonpareil, a relaxed, well-paced program that is here to soothe and reassure you. (by Michael G. Nastos)

Yes … what an album, yes, what a wonderful album … an album for the eternity !

Recorded at the Talent Studio in Oslo, Norway in May 1976

Personnel:
Glenn Cronkhite (drums, percussion)
Bill Douglass (bass, flute)
Mark Isham (trumpet, flugelhorn, saxophone)
Art Lande (piano)

Tracklist:
01. Celestial Guests/Many Chinas (Isham/Traditional) 9.52
02. Jaimi’s Birthday Song (Lande) 3.38
03. Romany (Cronkhite) 8.39
04. Bulgarian Folk Tune (Traditional) 0.57
05. Corinthian Melodies (Lande) 8.35
06. For Nancy (Isham) 6.03
07. Jaimi’s Birthday Song (Lande) 2.45
08. A Monk in His Simple Room (Lande) 5.11

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The official website:

Mott the Hoople were an English rock band formed in Herefordshire. Originally known as the Doc Thomas Group, the group changed their name after signing with Island Records in 1969.

The band released albums at the beginning of the 1970s but failed to find commercial success. On the verge of breaking up, the band were encouraged by David Bowie to stay together.

Bowie wrote the glam-style song “All the Young Dudes” for them, which became a big hit in 1972. Bowie subsequently produced their album of the same name, which added to their success.

Despite personnel changes, the band had further commercial success with Mott (1973) and The Hoople (1974). Lead singer Ian Hunter departed the band in 1974, after which the band’s commercial fortunes began to dwindle. They remained together with continuing personnel changes until their break-up in 1980. The band have had reunions in 2009, 2013, 2018 and 2019. (wikipedia)

Shouting and Pointing is a 1976 album by British band Mott. It was the second and final album by the group.

Despite favourable nods by critics in the music press, Shouting and Pointing was the only Mott album to not chart at all in either the U.S. or U.K. Following that disappointment, the band was dropped by CBS records. Singer Benjamin left, to be replaced by ex-Medicine Head band singer/guitarist John Fiddler, and the band changed their name to British Lions, just one year after the release of this album. Retrospective reception to the album is now negative. (wikipedia)

British rockers Mott the Hoople had a somewhat confounding career arc. Best known to pop radio listeners in the U.S. for the 1972 David Bowie-produced All the Young Dudes — their only Billboard Top 40 hit — the group was around for a few years on both sides of that radio staple.

Early on, they meandered trying to find their sound, ping-ponging between jacked-up covers, semi-aimless but excitingly enervating jams, and even acoustic sounds, before putting it all together on Brain Capers in late 1971. But few noticed; it was their first LP to miss the U.K. charts entirely, and the band split up. One who did notice was Bowie, who convinced the group to reunite and record Dudes, an album which sanded down most of Mott the Hoople’s rougher edges and finally brought them success (despite the Bowie tinny-sounding AM radio recording method … but that’s another story). Once they did get famous things collapsed in a few short years; according to the group’s official timeline, guitarist Mick Ralphs stuck around for another album before decamping to form Bad Company, and frontman Ian Hunter lasted for one studio album beyond that.

Then things get messy. The official timeline completely ignores a pair of later albums, billed as simply “Mott.” Upon release, these albums didn’t set the world on fire; today they still tend to get slagged on by music writers, and consequently have been ignored by many Mott the Hoople fans. The final album, Shouting and Pointing, was the only Mott album to not chart at all in either the U.S. or U.K. Following that disappointment, the band completely changed their name, to British Lions. A representative example of the modern critic’s take on Shouting and Pointing comes from All Music critic Stephen Thomas Erlewine, who calls it a real-life Spinal Tap moment and “one of the true nadirs of ’70s rock.” Ouch.

Let me be a dissenting voice to that opinion.

Shouting and Pointing is a truly fine glammy rock record by a group who sound like they’re having fun — something that at times felt lacking on the Hunter-led discs, despite the quality of much of the music. Mott the Hoople’s founding rhythm section of drummer Dale Griffin and bassist Overend Watts were still around from the early days, along with mid-period addition Morgan Fisher on keys. New-ish lead guitarist Ray Major and singer Nigel Benjamin came on board for the first album as Mott, Drive On. The band undeniably is different without Ian Hunter’s distinctive, raspy vocals, and the sort of grandiose melancholy of his songwriting. (That also means the tendency for the band to occasionally go grandiosely over the cliff and extend tracks out into jam-band land is gone — a plus to this listener.)

More so than Hunter’s vocal sound and attitude, Mott is just a different beast because it’s now Watts and company in charge of writing the songs. The humorous edge that was always lurking in the Hunter-led band is intact and even amped up in the Mott era, which is probably what makes Erlewine mention Spinal Tap. And, I must say, what the heck is wrong with being Spinal Tap, anyway? Mott was clearly in on the rock ‘n roll joke on Shouting and Pointing. With Benjamin’s high-pitched and less raspy lead vocals, Mott comes across as a sort of bizarre mash-up of Sparks and early AC/DC on the harder-edged tracks.

Ultimately, I wonder what would have happened if the “Mott”-era lineup had changed their name immediately rather than trying to maintain momentum by using the shortened band name. Would these two albums have been considered scrappy achievements by some underdogs, rather than crappy bummers by a rhythm section in over their heads and trying to stretch out their time in the spotlight? Oh well. It’s all in the past now. The original five members on Mott the Hoople’s debut album reunited in 2009 and the again in 2013, which is pretty darn cool. Maybe Watts and Griffin can convince Hunter to sing something off Shouting and Pointing. (by Bob Koch)

Of course the band was missing the great songwriter In Hunter, but with songs like “Shouting And Pointing”, “Storm”, Too Short Arms (I Don’t Care) (the song would be a wonderful Rod Stewart song !) or they already had good rock songs in their program. And … then a fine version of the Easybeat classic “Good Times”.

The more I listen to the album, the better it gets !

Personnel:
Nigel Benjamin (vocals, guitar)
Dale “Buffin” Griffin (drums, percussion, background vocals, percussion)
Morgan Fisher (keyboards, synthesizer, background vocals)
Ray Major (leadguitar, slide-guitar, background vocals)
Pete Overend Watts (bass, background vocals)

Tracklist:

Shouting Side:
01. Shouting And Pointing (Fisher/Watts) 4.33
02. Collision Course (Watts) 3.27
03. Storm (Fisher/Watts/Major) 5.30
04. Career (No Such Thing As Rock’n Roll) (Fisher/Benjamin) 5.27

Pointing Side:
05. Hold On, You’re Crazy (Watts) 4.31
06. See You Again (Watts) 4.21
07. Too Short Arms (I Don’t Care) (Watts/Major) 4.00
08. Broadside Outcasts (Fisher/Watts) 3.19
09. Good Times (Vanda/Young) 3.55
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10. Too Short Arms (I Don’t Care) (Eddie Kramer⧸Electric Lady Mix) (Watts/Major) 4.15

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More from Mott The Hoople:

The official website:

James William Buffett (December 25, 1946 – September 1, 2023) was an American singer-songwriter, musician, author, and businessman. He was best known for his tropical rock music, which often portrays a lifestyle described as “island escapism”. Buffett recorded hit songs known as “The Big 8”: “Margaritaville” (1977), which is ranked 234th on the Recording Industry Association of America’s list of “Songs of the Century”; “Come Monday” (1974); “Fins” (1979); “Volcano” (1979); “A Pirate Looks at Forty” (1974); “Cheeseburger in Paradise” (1978); “Why Don’t We Get Drunk” (1973); and “Changes in Latitudes, Changes in Attitudes” (1977). His other popular songs include “Son of a Son of a Sailor” (1978), “One Particular Harbour” (1983), and “It’s Five O’Clock Somewhere” (2003). He formed the Coral Reefer Band in 1975.

Of the over 30 albums released by Buffett, eight are certified gold and nine are certified platinum or multiplatinum. In total, Buffett sold over 20 million albums.

Buffett also parlayed the “island escapism” lifestyle of his music into several business ventures including Jimmy Buffett’s Margaritaville restaurant chain, the now defunct Cheeseburger in Paradise restaurant chain, and ventures in hotels, casinos, liquor, and retirement communities. Buffett was one of the world’s richest musicians, with a net worth of $1 billion. He was also a bestselling author. His devoted fanbase, composed mostly of baby boomers, are known as “Parrotheads”.

Buffett died on September 1, 2023, age 76, in his home in Sag Harbor, New York, due to complications from Merkel-cell carcinoma, a rare and aggressive skin cancer, with which he had been diagnosed four years earlier. (wikipedia)

Havana Daydreamin’ is the sixth studio album by American popular music singer-songwriter Jimmy Buffett and his fourth regular major label album. It was produced by Don Gant and released on January 20, 1976, on ABC ABCD-914 and January 28, 1987, on ABC Dunhill’s successor label MCA.

The album’s name was originally to have been Kick It in Second Wind and was to have included the songs “Please Take Your Drunken 15 Year Old Girlfriend Home,” “Train to Dixieland,” and “Wonder Why You Ever Go Home” as well as a different version of “Kick It in Second Wind.” Instead, these songs were replaced with “Woman Goin’ Crazy on Caroline Street”, “Havana Daydreamin'”, and “Cliches.” “Wonder Why You Ever Go Home” was rewritten and rerecorded as “Wonder Why We Ever Go Home” for release on Buffett’s next album Changes in Latitudes, Changes in Attitudes.

Several rare versions of this album exist or are rumored to. These have altered song ordering and contain two songs that were deleted from the final release: “Please Take Your Drunken 15 Year Old Girlfriend Home” and “Train to Dixieland.” A third song that is rumored to exist, “We’ve Been Taken to the Cleaners (and I Already Had my Shirts Done),” is likely apocryphal, as no known recording of it exists whereas the other two tracks are fairly easy to find in Buffett trading circles.

Most of the songs on the album were written or co-written by Buffett, two with his future wife, Jane Slagsvol. Other songs include “Big Rig” written by Coral Reefer Greg “Fingers” Taylor and “This Hotel Room” by Steve Goodman (who also co-wrote “Woman Goin’ Crazy on Caroline Street” with Buffett). The album also contains a remake of Jesse Winchester’s “Defying Gravity,” the first of several Winchester songs Buffett would record over his career. None of the songs on the album have been played regularly at Buffett’s live concerts since the 1970s.

A different version of “The Captain and the Kid” was originally released in 1970 on Down to Earth and yet another on 2002’s Meet Me in Margaritaville: The Ultimate Collection making it (with “In the Shelter”) one of only two Buffett songs with three different studio versions.

For pacing purposes, the second verse of “Woman Going Crazy on Caroline Street” was cut on the single release.

Havana Daydreamin’ was Buffett’s most successful album to date reaching No. 65 on the Billboard 200 album chart and No. 21 on the Billboard Top Country Albums chart. However, none of the three singles from the album charted.

William Ruhlmann of Allmusic wrote that “By the time of… Havana Daydreamin’, Jimmy Buffett seemed to have established a pattern for what a collection of his songs would be.” Ruhlman noted that while the album’s style was still essentially the country music of Buffett’s earlier work, this release exemplified his shift in audience from the country scene to the popular market, as well as his adoption of a “Gulf Coast ne’er-do-well” persona.[4] Peter Reilly of Stereo Review found the album appealing, saying “I confess that I find it hard to resist anyone who spends so little time trying to impress me”. Reilly found the title track perhaps the best, calling it “an ambiguous trip into B. Traven (you remember him – The Treasure of Sierra Madre, Death Ship) territory.” Record World said that the song “is colored with a lilting south of the border sound that could be a north of the border success.” In 2012, Jeff Vrabel of The Florida Times-Union listed the track as one of Buffett’s “lost treasures”, describing it as “a humid, drifting tale of boats, wine and late-night stories, all wrapped in circumstances that seem darker and more criminal.” (wikipedia)

Personnel:
Roger Bartlett (guitar)
Jimmy Buffett (guitar, vocals)
Harry Dailey (bass)
Phillip Fajardo (drums)
Greg “Fingers” Taylor (harmonica, piano)
+
Sammy Creason (drums)
Johnny Gimble (fiddle)
Doyle Gresham (pedal steel-guitar)
Steve Goodman (guitar)
Jerry McGee (guitar)
Farrell Morris (percussion)
Joe Osborn (bass)
Mike Utley (piano)
+
background vocals:
Don Gant – Buzz Cason – Bergen White – Ginger Holiday – Anita Bell
+
background vocals on 02.:
The Oak Ridge Boys
+
horns on 04.
The Muscle Shoals Horns

Tracklist:
01. Woman Goin’ Crazy On Caroline Street (Buffett/Goodman) 4.10
02. My Head Hurts My Feet Stink and I Don’t Love Jesus (Buffett) 2.36
03. The Captain And The Kid (Buffett) 3.18
04. Big Rig (Taylor) 3.32
05. Defying Gravity (Winchester) 2.43
06. Havana Daydreamin’ (Buffett) 3.40
07. Cliches (Buffett) 2.47
08. Something So Feminine About A Mandolin (Buffett/Slagsvol) 3.33
09. Kick It In Second Wind (Buffett/Slagsvol) 3.57
10. This Hotel Room (Goodman) 3.11

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The official website:

David LaFlamme (May 4, 1941 – August 6, 2023) was an American singer and violinist best known for co-founding the San Francisco band It’s a Beautiful Day.

David LaFlamme was born in New Britain, Connecticut, on May 4, 1941. His mother was from a Mormon family in Salt Lake City, and when he was eight years old, the family moved there to be near her family. LaFlamme had been studying violin since moving to Los Angeles at the age of five, and in Salt Lake City he won a competition to perform as soloist with the Utah Symphony Orchestra.

After briefly serving in the U.S. Army, he returned to the music scene in San Francisco in 1962. During the 1960s he performed with a wide variety of notable San Francisco acts, such as Jerry Garcia and Janis Joplin. He helped create the band Electric Chamber Orkustra, and later, an early version of Dan Hicks and His Hot Licks. Then in summer 1967 he and his wife Linda Neska Laflamme formed It’s a Beautiful Day. The group’s eponymous LP was released by Columbia Records in 1969, containing their biggest hit, “White Bird”. The album was produced by David LaFlamme.

The group’s second album, Marrying Maiden, was released the following year. It was their most successful on the charts, reaching number 28 in the U.S. and number 45 in the U.K. After two additional albums, Choice Quality Stuff/Anytime and Live at Carnegie Hall, LaFlamme left the group in 1972 over disputes regarding the direction and management of the band.

For a time he performed with the groups Edge City and Love Gun in the Bay Area before going solo. In 1976, he released the album White Bird on Amherst Records. His remake of the song “White Bird” cracked the Billboard Hot 100, peaking at No. 89 that same year. This was followed by the album Inside Out in 1978, also on Amherst Records. Both project releases were co-produced by David LaFlamme and Mitchell Froom.

After years of legal wrangling over ownership of the band’s name, LaFlamme resumed formal use of It’s a Beautiful Day when former manager Matthew Katz let the trademark of the name go unrenewed. From 2000, he performed with the reconstituted band, which included his wife Linda Baker LaFlamme (not the same person as his previous wife Linda LaFlamme) and original drummer Val Fuentes.

LaFlamme also appeared on the television shows Frasier, Ellen, and Wings, as a strolling violinist who stands right at the table in a restaurant, playing loudly or annoyingly.

In later years, LaFlamme suffered from Parkinson’s disease. He died on August 6, 2023, at the age of 82. (wikipedia)

And here´s his first solo album:

His covers of his earlier works is definitely the highpoint of the CD.
I’ve been a fan of LaFlamme going back to the 1960s and enjoyed this CD.
Those not familiar with his work should start with “It’s A Beautiful Day”. (Hardyboys.us)

A top notch recording from David LaFlamme. Of course I consider “It’s a Beautiful Day’s” first album as one of my top 10 album’s of all time. (therocknrolldr)

A collectors item no doubt. Glad I added it to my collection.

And his violin playing was really fantastic !

Personnel:
Jeff Dambrau (banjo)
Dominique Dellacroix (vocals)
Mitchell Froom (keyboards, clavinet, synthesizer)
Roger Glenn (flute)
Mitchell Holman (bass)
David LaFlamme (violin, vocals)
Doug Kilmer (bass)
Tom Marken (drums)
Peter Milio (drums)
James Ralston (guitar)
+
The Tower Of Power horn section:
Greg Adams (trumpet, flugelhorn)
Emilio Castillo (saxophone)
Mic Gillette (trumpet, trombone, horn)
Stephen Kupka (saaxophone)
Lenny Pickett (saxophone)

Tracklist:
01. White Bird (D.LaFlamme/L.La Flamme) 4.00
02. Hot Summer Day (D.LaFlamme/L.La Flamme) 7.03
03. Swept Away (D.LaFlamme) 5.38
04. Easy Woman (D.LaFlamme) 4.11
05. This Man (D.LaFlamme) 4.50
06. Baby Be Wise (D.LaFlamme/Froom) 3.49
07. Spirit Of America (D.LaFlamme/Froom) 4.12

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The official website (now deleted):