THE JOY OF FRISCO

 

This one comes as a wonderful surprise! A true lost treasure from one of Frisco's ballroom groups.

A big thank you to the original up-loader for giving you and I a chance to hear one of those bands that had no known recordings . There are countless posters out there featuring the band. The most well known being from this very night when Allmen Joy was the opening act for the Doors 

Here are a few notes from the text that came with the file.

If Blue Cheer made cream cheese outta the air, then these guys must have crystallized the heavens on a good night .A  mix of Blue Cheer & Big Brother guitars, Country Joe & The Fish style ethereal moves & organ, & occasional Dead-like feedback & vocal insanity, mixed with 60s garage sounds & a nod to the Chambers Brothers... 60s West Coast manna from the vault.

This recording demands some real volume so hang out the freak flag & hope the neighbors are on vacation. A missing link in the 60s Bay Area music puzzle & undoubtedly one of the finest uploads ever offered so far . Not sure what might crawl out of the cave in the future, but this should shiver some timbers & shake some angel dust outta yr trees. Here's one from the depths of 1967 Haight Ashbury, where & when the love children were playing on the street & dancing in the park with rainbows in their eyes, flowers in their hair & the Allmen Joy filling their ears on many a night. 

 Allmen Joy

1967-12-xx  Denver, Colorado  Family Dog  1601 West Evans Avenue

 Line-up (unconfirmed) ::: Lu "Fist" Stephens - organ, vocals // Roger “Rog” Alan Saunders - lead electric guitar, vocals // Ken Zeidel - rhythm electric guitar, vocals // Dennis "Funky" Parker - electric bass, vocals // Rod Harper - drums.

01-[06:38]  Walk With Me

02-[11:02]. Funky Broadway
03-[09:58]. Funky Broadway (late set, or reprise)
04-[10:55]. You're Gonna Miss Me
05-[06:55]. Need Your Love
06-[07:01]. The// Merry Tripster
07-[06:43]. The Monkey Time
08-[04:22]. 'Freak Out' -> ? (instrumental)...

THE TONY BENNETTS

Hope you all had a great Valentine's Day

1 Signe Toly Anderson - Chauffeur Blues - Jefferson Airplane
2 Janis Joplin - Bye Bye Baby - Big Brother and the Holding Company
3 Grace Slick - Sally Go Round The Roses - The Great Society
4 Lynne Hughes - Cherry Ball ( Shake Mama Shake) - Tongue and Groove
5 The Ace Of Cups - Music
6 Jan Errico - I Still Love You - The Vejatables
7 Tina Meltzer - Flying Away - Serpent Power
8 Patti Santos - Ridin' Thumb - It's A beautiful Day
9 Lydia Pense - Let me Dowm easy - Cold Blood
10 Tracey Nelson - Seven Bridges Road - Mother Earth
11 Toni Brown - The War You Left - Joy Of Cooking
12 Barbara Mauritz - Cross Between - Lamb
13 Lydia Moreno(Phillips) - Bad News - Stoneground
14 Annie Rizzo - I'm Funky But I'm Clean - Grootna
15 Linda Tillery - Danger Heartbreak Dead Ahed - The Loading Zone
16 Clara Miles - Tell Me - Under Milkwood
17 Janis Joplin - One Good Man - Kosmic Blues Band
18 Kathi McDonald - I Need A Man To Love - Big Brother and the Holding Company
19 Lynne Hughes - Gypsy Good Time - Solo
20 Deirdre LaPorte - Ajax - Stoneground
21 Ellen McIlwaine - Bow'd Up - Fear Itself
22 Donna Jean Godchaux - Sunrise - The Grateful Dead
23 Suzy Fischer - Pride Of Man - The Dinosaurs
24 Grace Slick - Fast Buck Freddie - Jefferson Starship

AND NAILS

Based in San Francisco, Hammer was composed of singer John DeRoberts, drummer  John Guerin, keyboardist Norman Landsberg, bass player Richie McBride, and guitarist Jack O'Brian.  The band's lucky break came in 1969 when they attracted a mentor in the form of the legendary Bill Graham.  Graham showcased the band with a number of opening act performances at the Fillmore East and West, quickly signing them to his Atlantic Records affiliated San Francisco label.A great review of this artist can be found at this link

http://badcatrecords.com/BadCat/HAMMER.htm

Hammer

Initial release : 1970San Francisco SD 203
The only album released by Hammer.
Tracks

• Something Easy (De Roberts/Landesberg)
• Hot and Cold (O'Brien)
• Tuane (Landesberg)
• You May Never Wake up (Kennedy / O'Brien)
• Hangover Horns (De Roberts/Kennedy / O'Brien)
• Charity Taylor (De Roberts / Landesberg / O'Brien)
• Sad Song, Happy Song (Kennedy / O'Brien)
• Sweet Sunday Morning (Landesberg / Austin)
• Pains and Tears (Landesberg)
• Death to a King (Landesberg)

Musicians

• John De Roberts - vocals
• Jack O'Brien - guitar
• Norman Landsberg - keyboards
• John Guerin - drums
• Ritchie Mcbride - bass

Credits

• Producer - David Rubinson

DO YOU KNOW JACK?

 I recently had a request for this file. It intrigued me into researching Jack and his whereabouts. I was surprised to learn that jack had passed away in November of 2013,, so I decided to post this one again so everyone can hear what a talented musician Bonus was and to remember yet another of my generations iconic and special musical talents

Jack Bonus... otherwise known throughout the Bay area music scene both then and now as Stephen Schuster.
An accomplished woodwind player and guitarist has been playing for over 40 years in and around SF. This is the only LP made by Jack . His name appears everywhere on LPs from the musicians at the time. He co wrote the song "Silver and Gold" on the first QMS lp. His Tenor saxophone and flute have been an integral part of many recordings. His beginnings date back to being the equipment manager for QMS and jamming with them on occasions. He played as a member of the Keith and Donna Band for a period of time. He was a short term member of Jefferson Starship for the Freedom At Point Zero LP and tours. He spent time with Sly and the Family Stone and on and on and on....
This Lp is a nifty little package that features Jack's gruff voice singing some nice little songs. The Hobo Song went on to fame as a bluegrass tune by Garcia while in Old And In The Way. This LP is rare and deserves a chance to be put out on CD but my copy of the vinyl is great.

                                                          

ALL STAR JAM AT THE MATRIX

Disc One:
The Matrix, San Francisco, California, August 4th 1970.

John Cipollina
Carlos Santana
Dino Valenti
Jack Casady
Jorma Kaukonen
Nicky Hopkins
Gary Duncan

01. Rock Me Baby
02. Stormy Weather
03. Sunshine Superman Jam
04. Santana Jam

Disc Two :
The Matrix, San Francisco, California, October 21st 1970.

John Cipollina
Jerry Garcia
David Freiberg
Papa John Creach
Jack Casady
Jorma Kaukonen
Nicky Hopkins

01. Jam 1
02. Jam 2
03. Jam 3
04. Jam 4

                                                                            

BALLROOM BLITZ

Since we are on this wave of West Coast Boots we might as well throw in one last one. Here's a set of the SF bands live released on a boot called High Times In Frisco in 1996, If you get the 3 California LP's, and the  KSAN Vault series and The San Francisco Nights series you could say you have collected some great music from a great time.

1. The Other Side of This Life - Jefferson Airplane (Fillmore West; October 14, 1967)
2. It's Alright - Jefferson Airplane (Fillmore West; October 14, 1967)
3. Jam - Jefferson Airplane (Fillmore West; October 14, 1967)
4. Susie Q. - Quicksilver Messenger Service (Fillmore West; November 6, 1966)
5. Mona - Quicksilver Messenger Service (Fillmore West; November 6, 1966)
6. Dark Magic - Moby Grape (Avalon Ballroom; December 31, 1966)
7. Flying High - Country Joe and the Fish (Fillmore West, 1967)
8. Ball and Chain - Big Brother and the Holding Company (Matrix, 1967)
9. It Takes a Lot to Laugh, It Takes a Train to Cry - The Daily Flash (Matrix, 1966)
10. Going to Mexico - Steve Miller Band (Matrix, January 1967)

PSYCHEDELIC JUG FACTOR

A group who mixed up elements of jug band, folk-rock, blues, and psychedelia, PH Phactor was based at various points in both Portland, OR, and San Francisco. During their lifetime they recorded just one single, "Minglewood Blues"/"Barefoot John," released in 1967 on the Piccadilly label. The A-side, an update of a blues song from the 1920s, was one of the best of the relatively few jug band/blues/folk-rock combinations to be released in the 1960s, while the B-side was raw, bluesy folk-rock. An entire album of material recorded by the band, Merryjuana was released in 1980 on Piccadilly. This LP (now very hard to find) showed more range than the single had, with excursions into good-time jug band music, Country Joe and the Fish-like psychedelia, and blues-rock.
On the evidence of this rare LP, PH Phactor were a band that, like the Lovin' Spoonful, Country Joe & the Fish, the Charlatans, and Kaleidoscope, linked jug band folk to psychedelic rock in their versatile repertoire. PH Phactor, alas, weren't as notable as any of those prior acts. But their music on this 1980 release (recorded during the 1960s, although only two tracks, the single "Minglewood Blues"/"Barefoot John," came out at the time) was respectably enjoyable. As was the case with all of those like-minded groups, they sounded worst when they were trying to do comic jug band material. At other points, though (as on "Suzy"), they had an engaging, ragged blues-rock-psychedelic looseness and quizzical humor reminiscent of San Francisco bands like Country Joe & the Fish and, less closely, the Charlatans. Strange as it might seem, one of the singers -- the guy who takes the lead on "Jelly Roll" and "Barefoot John" -- sounds a heck of a lot like Jonathan Richman, though there seems no way Richman could have been influenced by such an obscure group. They do a surprisingly good blues-rock cover of Howlin' Wolf's "Three Hundred Pounds of Joy" (here retitled "200 Pounds of Heavenly Joy"), and get into eastern-influenced jazzy psychedelic improvisations on the seven-minute "Rain Island." ~ Richie Unterberger, All Music Guide

Tracks
Love love love
Suzy
Eyes of love
Skin
Jerry roll
Minglewood blues

Barefoot John
200 pounds of heavenly joy
38 gun
Merryjuana
Rain island

Paul Bassett ~ Drums, Washboard
John Browne ~ Guitar, Harmonica
Davy Coffin ~ Guitar, Mandolin
John Hendricks ~ Mandolin, Mandola, Banjo, Guitar, Kazoo, Jug, Vocals
Dennis Long ~ Drums
Steve Mork ~ Bass, Jug
Nick Ogilvie ~ Guitar, Banjo, Harp, Vocals
Chris Robinson ~ Guitar
Mike Rush ~ Drums Album: Merryjuana

SAL,RON & LYDIA

1971-08-04 San Francisco, California Boarding House (M3-FM)

01. A Friend Is A Friend
02. It's Not Easy
03. Wanderingman Suite: Pt.I - Everyman -> Pt.II - Story Road
04. The Things You Wish To Do
05. Next In Line
06. Males

Total Time : 28:12

Superb stereo FM recording.
Acoustic outing from our Beau Brummels & Stoneground friends. First class, dreamy West Coast acoustic guitars & vocal harmonies.

BAY BIG BAND

Stoneground was formed 1970 in San Francisco. What originally started as a trio soon expanded to a 10 piece band. Stoneground were know for their outstanding live performances and they toured America and Europe as part of Warner Brothers' Medicine Ball Caravan. In Europe they developed cult status through this. Nevertheless 1973 marked a big break in the band's history as differences in opinion within the band caused them to split.


1971-03 San Francisco, California KSAN-FM Studios
Haight Ashbury "Hashbury" Free Clinic Call-In Benefit
Live in studio performance
Top of the Argonaut Building, 211 Sutter Street

ELEVEN PIECE ENSEMBLE

Stoneground kicked off the Fillmore West's closing week festivities on a bill featuring longtime locals the Flamin' Groovies and two other hometown favorites: Cold Blood and Boz Scaggs.

Constant personnel changes and the cumbersome challenges created by traveling with too many musicians and singers ultimately doomed the group, but Stoneground featured a lot of accomplished talent for a single band. Anyone who caught them live during the 1970 or '71 can attest to the powerful blend of bluesy rock 'n' roll they were able to create. The band became a popular opening act; however, due to the presence of too many talented lead singers, Stoneground failed to develop a distinctive sound or catch on in any major way.

For this show, the band was fronted by ex-Beau Brummel singer Sal Valentino. Lynn Hughes is also on board. Having previously recorded with the seminal San Francisco psychedelic bands The Charlatans and Tongue and Groove, Hughes - also a former Lickette during an early incarnation of Dan Hicks and His Hot Licks - brought a variety of experience to the band. Annie Sampson, a gifted soulful gospel singer, also added flavor. Overall, the group's music displays a wide range of contemporary 1960s influences, as evinced particularly in their choice of cover material.

They kick the night off with a nod to the mid 1960's era, when the San Francisco music scene was just getting underway, with a double dose of vintage 1965 Dylan. Other interesting highlights include a revised version of "Me and The Devil," a song Hughes had first recorded with The Charlatans. Additionally, a great electrified version of "Richland Woman," a song brought to their attention through Maria Muldaur's early recordings with Jim Kweskin's Jug Band, is performed. Johnny Cash also gets the double nod with "Get Rhythm" and the encore, "Big River."

Several strong originals are also well received. Most familiar is "Passion Flower." The show stopper, though, is the set closer, "Total Destruction To Your Mind" - a song that, while failing to deliver on it's title, perhaps, is nonetheless a wild ride that leaves the Fillmore audience wanting more. This is a rousing set that proves Stoneground, despite an lack of recognition, had serious skill, and even more potential.

LOST FLOWERS

Of all the bands that made up the mid-‘60s San Francisco scene, the Wildflower may have been the perfect conglomeration of Haight Street expectations. Combining the streamlined, jet-age folk-rock sound of Takes Off-era Jefferson Airplane, jammy aspects of the Grateful Dead, the pretty harmonies of Sopwith Camel and We Five, bluesy numbers like Quicksilver Messenger Service and Big Brother and the Holding Company, and the folk punk of the Harbinger Complex, the Wildflower were not some cheap imitation of these groups. They were contemporaries of them, sharing smoky nightclubs and ballroom stages from day one. And though they were there from the beginning, were courted and trotted out with the best of them, the Wildflower never landed "the big one," and thus, sadly and unfairly, have remained but a footnote in San Francisco music history.
The Wildflower was born in a time before the whole world knew about San Francisco and the fun its denizens were having. The Beat scene of North Beach had been slowly evolving into something new. The area around Haight and Ashbury, near where the universities were, was a low-rent paradise filling up with creative young people, recently untethered from their families and ready to try just about anything. But as more and more people arrived to take part in the celebration, things started to take a turn. By the time Surrealistic Pillow hit the racks at Magic Flute, exploitative articles declaring the Haight a hippy haven filled the pages of mainstream rags like Look and Life. People began piling into the City by the busload and things quickly became messy and overcrowded. "Not since the California Gold Rush had San Francisco been flooded with such a large group of outsiders carrying dreams and little else," wrote Pam Tent in her Cockettes memoir Midnight at the Palace. Listening to Love is the Song We Sing, Rhino Record's recently released history of the Bay Area rock scene, you can actually hear the dissolution of the fraternity. Things get horny and more bombastic post-‘67. For the most part harmonies go out there door in favor of scorching leads and caterwauling vocals. By 1969 the best days of San Francisco were way behind it. From the band bio webpage


The Wildflower got their start in Oakland in ’65 and quickly got to gigging ‘round Bay Area venues like the Straight Theatre, the Fillmore, Avalon Ballroom, and even the Red Dog Saloon up in Virginia City where the Charlatans did their thang. Like the Dead, the Wildflower had a poet on the payroll—Michael McCausland—who, as Robert Hunter did for Jerry and co., tossed down heady lyrics for the guys to twang behind. And twang they did. Their harmonious Frisco folk rock is pretty much what you’d describe if you were trying to nail down a definition of “that” sound. Only better. The bad news is the only thing ever released back then were four tracks they contributed to the A Pot of Flowers comp—Mainstream’s stab at documenting the Frisco hippy scene (two of ‘em came out as a single as well). But what songs they were. Jangly and oftentimes mystical, they sit confidently alongside the other (absolutely killer) Bay Area groups on the record, the Otherside and Harbinger Complex.
The good news is that lead Flower Stephen Ehret thought it would be a good idea to go back in the studio now and record all the old songs that never made it to tape. My own modern recording prejudices aside, the results are pretty darned good. The harmonies are still there, in that haunting post-folk way that only kids who lived crowded together in Victorians could achieve. First there’s “Message to You”—uncannily catchy, a little mellowed with age, but take away the feelgoodness and it’s a Markley-esque ditty with great self-introspection lyrics (something the Wildflower is good at if you’ve heard their “Wind Dream”). “Please Come Home” suffers the most from… uhhh, technology, but underneath the Heavy Metal Pedal the secret’s revealed as to where Paul Kantner got his ideas for Blows Against the Empire. “Of Planets, Mirrors, and Men” has a haunting New Age Native/American vibe (in a good way!) and is reminiscent melody-wise of “Ripple” which it probably predates. “On Even Red” is a simply fantastic combo of Brautigan sincerity and get-chicks harmonies (pretty much the same thing I guess)—a tune criminally missing from our psyche for the last forty years. A song like “In My Mind,” with its “Hi–de-hi” verse easing into the heavier chorus must’ve been a trip live had we all been around to catch it. You can’t have it all, but stuff like this kinda makes up for it.
ERIC BLUHM Ugly-Things magazine

This Cd is available from the band on their website at http://thewildflower-sf.com/index.html

BEWARE THE BANDERSNATCH

Frumious Bandersnatch was a psychedelic rock band in the late 1960s. The band was named after a character from the Lewis Carroll poem "Jabberwocky". Based out of San Francisco, California, the band was active from 1967 to 1969. Their initial three-song EP produced a minor underground hit with the song "Hearts to Cry". A recording of their live work, titled A Young Man's Song, was released on the Big Beat label.

The band was formed across the bay from San Francisco in Contra Costa County, and changed personnel several times in their brief lifespan (1967-69). Interest from several record companies came to naught, and the band's only release was a three-song EP on their own label, pressed in a quantity of 1000 and distributed locally.

Four members of Frumious Bandersnatch (Bobby Winkelman, Jack King, Ross Valory, and David Denny) would be regular members of the Steve Miller Band. Valory, along with fellow Frumious Bandersnatch member George Tickner and manager Herbie Herbert would join with ex-Santana members Neal Schon and Gregg Rolie to form the band Journey in 1973.

WEST COAST WEATHER

Country Weather was one of the minor bands that were part of the San Francisco music scene of the mid- to late '60s. The group was formed in the San Francisco suburb of Walnut Creek, CA, by high school students Dave Carter (bass and vocals) and Steve Derr (rhythm guitar and vocals) as a cover band called the Virtues in 1966. They were joined by Paul White (lead guitar) and Craig T. Nelson (drums) (not the actor of the same name), who were soon replaced by Greg Douglass and Bill Baron. In 1967, they auditioned for promoter Chet Helms, who suggested they change their name and stop playing covers. Soon after, they became Country Weather. Over the next few years, they played frequently at such San Francisco venues as the Avalon Ballroom, the Fillmore Auditorium, and Winterland, opening for many of the renowned acid rock bands of the day, as well as up and down the West Coast. But they were never signed to a national record contract. In 1969, they recorded their own one-sided, five-song disc, which earned airplay on local radio stations.

Country Weather disbanded at the start of 1973, when Douglass and Baron quit to form a band called Mistress. Douglass later joined the Steve Miller Band and has also played with Van Morrison, among others. Carter played in a version of Quicksilver Messenger Service and in former Moby Grape member Skip Spence's band. Country Weather re-formed in August 2000 to play a benefit concert for a friend in need of a liver transplant. What was intended to be a one-off event led to the full-time reformation of the band with a lineup of Carter, Derr, Graham Cooper (lead guitar and vocals), and Lloyd Ferris (drums and vocals), a former member of Appaloosa. In 2003, the band changed its name to Weather, and Ferris left, replaced by Terry Ratza. In 2005, the Swiss label RD Records, which specializes in unreleased music from the '60s and early '70s, released the band's debut album, Country Weather, as a double vinyl LP. The album contained vintage recordings made between 1969 and 1971. ~ William Ruhlmann, All Music Guide

BELL RINGERS

This San Francisco band was formed when former harpoon sharpener and garbage collector at the University of Washington Seattle, Al Linde, met Joe Tate, a cesspool driver and former student at the School of Mining and Minerology. Joe later met the group's drummer, Teddy Stewart, outside a bar in Sausalito. The other two members joined later. The band were featured in a series of three concerts in Golden Gate Park and eventually ABC offered them a recording contract. The band started out as The New Salvation Army Banned and the name change was made because the record company was afraid of being sued by Col Hartog of the Salvation Army, SF chapter. It was changed when we signed our contract (which ABC later broke, although they did have good reason). Info from Acid ,Fuzz, and Flowers

ELECTRIC CHAMBER

Formed in 1965, this seminal San Francisco "avant-garde" band never released any records although all its members, went on to play with other groups or found fame for various reasons. When they disbanded in 1967, Terry Wilson joined The Charlatans and David LaFlamme founded It's A Beautiful Day (after a brief stint with the first line-up of Dan Hicks and The Hot Licks). Jaime Leopold too joined Dan Hicks and The Hot Licks in 1968, whilst Jesse Barish, who was friends with Marty Balin became a song writer and went on to form Jesse, Wolff and Whings in 1971. Bobby Beausoleil also joined several local groups (including The Powerhouse Of Oz who performed for film-maker Kenneth Anger) before teaming up with Charles Manson and being associated with his murders.

BOBBY BEAUSOLEIL gtr, bouzouki
DAVID LAFLAMME violin, vcls
JAIME LEOPOLD bass
HENRY RASOF oboe
TERRY WILSON drms
JESSE BARISH gtr, vcls, piano
EMMET GROGAN vcls

MARIN COUNTY CIRCUS

Original Flying Circus Eagle artwork by Kevin Haapala



The Flying Circus hailed from the Marin County area of the Bay. They were very popular in the local club circuit and had an alliance with the band Clover.The original Flying Circus was formed mid to late 60s. First band members seem to have been John Haapala (bass), Kevin "Kid" Haapala (guitar), Bill Berry (vocals), Jim Grandjean (guitar) and Don Perkins (drums). This early line-up recorded two 45s at San Francisco's Golden State Studios in 1966/67: "I'm Going/Midnight Highway" and "Green Eyes Green World/Got To Learn to Love". Produced by Hank Levine and Larry Goldberg.Decent West Coast garage sounds, from this Marin County, California outfit, who recorded at San Francisco's Golden State Recorders. Both sides of the 2nd 45 feature good guitar work

Clover and Circus at Brown's Hall, Mill Valley
Poster Artist: Kevin Haapala

THE HARP'S LAMENT

One of the first acts signed to Bill Graham's Fillmore label, 1969's "Resurrection" teamed the band with producer David Rubinson. As one might have guessed from the album title (let alone the back cover which showed three crosses), their sophomore effort found the band pursuing a pseudo-religious agenda. In spite of occasionally clunky lyrics and an irritating degree of echo, Ceballos-penned material such as "God Is Back In Town," the ballad "Only I Know" and " Today and Tomorrow" wasn't half bad. Boasting a nifty Ceballos guitar solo, the stately title track was our nomination for standout track. Elsewhere, the driving "Bye Bye Baby" and "Little Brown Hen" recalled Quicksilver Messenger Service. Certainly not likely to get top-40 airplay, but San Francisco certainly turned out worse sounding bands. Commercially the set did nothing; the trio calling it quits shortly thereafter.

"Resurrection" track listing:

1.) God Is Back In Town (Wayne Ceballos) -
2.) Resurrection (Wayne Ceballos) -
3.) Only I Know (Wayne Ceballos) -
4.) Bye Bye Baby (Wayne Cebballos) -


1.) Today and Tomorrow (Wayne Ceballos) -
2.) Little Brown Hen (Wayne Ceballos) -
3.) Aum (Wayne Ceballos) -
4.) Pachuko Boogie - Preserve Your Mama (A. Ammons)

WAYNE THE HARP

Aum was discovered by photographer Jim Marshall when the band performed at Swiss Village in San Francisco in 1968. Marshall brought Aum to Bill Graham's attention and to the "Sounds of the City" auditions at the Fillmore West where the band wowed the audience. The blues-rock group featured Wayne Ceballos, Kenneth Newell, and Larry Martin. The trio lasted through 1970 and released two albums.
Led by singer/multi-instrumentalist Wayne Ceballos, the little know Aum stand as also-rans in the lexicon of '60s San Francisco bands. With drummer Larry Martin and bassist Ken Newell rounding out the trio, the group's initial reputation stemmed from their jam-oriented concerts.

Initially signed by the London-affiliated Sire label, as one would expect from the title, the group's 1969's "Bluesvibes" found them working in a distinctively blues-vein. Reflecting the band's live act, the Richard Gotthrer produced debut featured a series of seven extended jams, (the shortest song clocking in at 4 minutes). With Ceballos writing the majority of the material, in spite of period excesses , originals such as "Mississippi Mud" and "Chilli Woman" weren't half bad. Moreover, Ceballos proved a decent singer, injecting considerable energy into his performances. Among the few missteps, the band's ponderous cover of John Loudermilk's "Tobacco Road" would've been suitable for Vanilla Fudge. Commercially the set proved a non-entity; quickly vanishing into cutout bins.

1.) Tobacco Road (John Loundermilk) - 6:54
2.) Mississippi Mud (Wayne the Harp Ceballos) - 4:03
3.) My Bridge Blues (Wayne the Harp Ceballos) - 5:41
4.) Chilli Woman (Wayne the Harp Ceballos) - 4:34

5.) Little Help from You (Wayne the Harp Ceballos) - 6:54
6.) Movin' Man (Wayne the Harp Ceballos) - 7:48
7.) You Can't Hide (Wayne the Harp Ceballos) - 7:24

ZONED AGAIN

Track Listing

1. Think
2. Time Stops
3. Help Me
4. Think Alone
5. One For All
6. You Got Me Hummin’
7. Enter