Sunday, December 4, 2016

Kansas City Jammers - 1972 - Got Good (If You Get It)

Kansas City Jammers
Got Good (If You Get It)

101. For A Sign 3:05
102. Live In Harmony 2:35
103. Messiah 3:50
104. For Father 3:58
105. Chess Piece 5:06
106. Hairy Tongued Turtle 2:51
107. Midnight Watch 3:43
108. Driver 4:54
109. For Marti 3:34
110. Family Song 2:53
111. Fall 3:37
112. Dog & A Cat 0:12
113. Fingers, Foot & Fade 1:03

201. Sing Me that Rock and Roll 2:59
202. Wind in the Willows 3:10
203. Rain 2:53
204. Rock and Roll Out of Crisis 3:23
205. Syd's Song 3:04
206. Radio Interview 1:29
207. Peter Pan 4:12
208. On the Side of a Mountain 3:53
209. Messiah (live) 4:02
210. All the Wars 3:00
211. Backroad Woman 3:10
212. Sunfighter 3:14
213. I'm Your Hero 2:51
214. Mustang Sally 4:41

*Geoffrey Greif -  Piano, Fingers, Acoustic,  Electric Guitars
*Jasey Schnaars -  Bass, Harp, Foot, Acoustic Guitar
*Bob Thompson -  Drums, Harp, Fade, Acoustic Guitar

The band members first began performing together in 1969, while students at Ohio Wesleyan University. Upon Bob and Geoff's graduation in 19 71, they were able to devote themselves to full-time writing, recording, and playing on the local and regional scene. Jasey was a college senior at that time, and married to Syd, whose picture appears on the LP jacket.

This album was recorded in late 1971 and early 1972. As you will hear, the band members were heavily influenced by the big British Invasion bands as well as Crosby, Stills, Nash & Young and the Eagles. The Jammers' soaring harmonies and intricate lyrics were the result of these influences on the trio. As live performers, the Jammers were known for giving incandescent shows with a rough edge (think Stones and the Who) rather different from what is captured on their album. A play list of covers interspersed with their own very original music was often compiled in an idiosyncratic way in order to fit the perceived needs of the audience for whom they were performing.

The Jammers' ability to "read" the audience and to play with passion insured that everyone present had a good time. One audience member was heard to say, "When I feel down, I want to come hear you guys play because you are always so upbeat." What more could a band want to hear?

A second Kansas City Jammers LP was recorded during the summer of 1972, followed by the single 'Give Me That Rock and Roll' in 1973; the single made it to number twenty on WCOL radio's playlist.

Today, the band members have moved on to new careers, but still write and perform with other musicians. Bob has been practicing medicine for thirty years, and has a son and a daughter. He has laid down his drumsticks in favor of the guitar, and plays with an ensemble. Jasey has taught high school English for thirty-five years, and is the father of one son and three daughters. He co-wrote a hit song that was made famous by Eddie Rabbit in the 1980's. He performs with his wife and other local musicians in Ohio. Geoff is now a professor of social work and the father of two daughters. He is still writing songs but not performing, and is also the author of numerous books.

The album has long been a favorite of the fine folks at Void Records. The extensive list of bonus tracks includes the entirety of the band's (until now) unreleased second album.

Henry Tree - 1968 - Electric Holy Man

Henry Tree 
Electric Holy Man

01. Country Son 5:55
02. Mr. Fear 5:30
03. Electric Holy Man 8:30
04. Dear Mr. Fantasy 7:30
05. Lady Of Day 3:50
06. Penfield Town 2:55

Bass Guitar – Charles McLaughlin
Drums – Carmen Castaldi
Guitar, Vocals – Leroy Markish

This Cleveland-based trio won't knock your socks off, but by the same token drummer Carmen Castaldi, singer/guitarist Leroy Markish and bass player Charles McLaughlin turned in an album that's quite diverse and entertaining and in some ways better than other higher priced and better known releases on the Mainstream label.

Produced by Bob Shad, 1970's "Electric Holy Man" differed from a lot of other early-1970s Mainstream releases in that it showcased a progressive streak rather than the popsike sound that was common to the label.

Moreover, for a trio these guys sported a surprisingly full sound, helped in no small measure by Markish's impressive voice. Not being a big jazz fan, I'll be among the first to admit that I was surprised at how entertaining the group's jazzy forays were. 'Mr. Fear', their Traffic cover and the extended title track showcase that interesting jazzy streak with some stunning work from un-credited jazz guitarist Bill DeArango.

Mind you there was still plenty of fuzz driven guitar (check out the second half of the title track), but it didn't come close to these other highlights and the group's most commercial effort; the ballad 'Lady Of Day' was also the album's most disposable offering.

Gringo - 1971 - Gringo


01. Cry The Beloved Country (5:54)
02. I'm Another Man (4:15)
03. More And More (4:41)
04. Our Time Is Our Time (5:03)
05. Gently Step Through The Stream (3:54)
06. Emma And Harry (3:54)
07. Moonstone (4:37)
08. Land Of Who Knows Where (4:05)
09. Patriotic Song (5:11)

2002 CD Reissue Bonus Tracks :
10. I'm Another Man [single version] (3:36)
11. Soft Mud [single B-side] (3:16)

- Henry Marsh / guitar, keyboards, vocals
- Simon Byrne / drums, vocals
- Casey / vocals
- John G. Perry / bass, vocals

"Like many other short-lived prog-rock bands of the early 70's, Gringo's transmutation from the late 60's pop outfit, The Toast, heralded the birth of a new, exciting musical era whilst, at the same time, casting off for good, the shackles of their pseudo-psychedelic existence.

Formed in 1968 as a three-piece, The Toast embarked upon a busy schedule of gigs culminating in the group recording eight songs for BBC 2's "Colour Me Pop" show which was televised in January 1969.

A year later, aftert having signed to CBS records in August 1969, a single "Flowers Never Bend With The Rainfall", backed by the self-penned "Summer Of Miranda", was issued. The A-side, a Paul Simon cover, was, like the B-side, heavily orchestrated, which sounded, at best, cringe-inducing. "Summer Of Miranda", however, displayed at least traces of their "prog" leanings, which would soon come to the fore.

The single, produced and arranged by Tony Cox, sank without trace but work soon started on recording an album, this time with the addition of a female singer. However, the new vocalist had to return suddenly to the USA, so Cox drafted in another female, this time an Irish born lass called Annette Casey. Annette was originally from Dundalk and arrived in England in 1964 to study. In 1969 she put together a band named Casey & Friends and began to record under Tony Cox Productions. She, together with guitarist / organist Henry Marsh, bassist John G. Perry and drummer Simon Byrne formed the revised line-up.
In the spring of 1970 Toast abandoned the old, tired routine and changed their name to Gringo eager to explore the "new freedoms" offered by the burgeoning progressive movement.

One of Gringo's first assignments was a recording session for Mick Softley where they provided backing vocals on the track "Love Colours" from "Sunrise", his debut album for CBS. Early Gringo gigs saw them paired up with other CBS acts during the summer of 1970 (notably Black Widow, who had achieved near instant success, albeit short-lived).

In March the following year Gringo signed a deal with MCA to record an album and single. The track chosen for the single A-side was the catchy "I'm Another Man" which featured a nifty guitar riff sequence from Marsh and was a natural choice to be lifted from the LP and edited down to a suitable running time for a 45. "Soft Mud", the inspired B-side, is typical Gringo, full of quirky time-changes and tempting twists and turns plus, of course, the melodramatic vocal harmonies that were such an integral part of the group's sound. Both sides of this elusive single are included on this CD as bonus tracks.
Gringo's eponymous LP was released by MCA following a Dutch tour in the summer of 1971. The band's hectic schedule had seen them performing to eager audiences in England and throughout the continent (as illustrated in this booklet by the inclusion of a rare photograph taken during a free concert the group performed in Megeve, whilst on tour with Caravan and Barclay James Harvest).
In November of that year bassist John G. Perry left the group to join Iranquility. Nevertheless, plans were announced for work to start on recording a second LP which was reputedly going to be produced by Jon Hiseman. Meanwhile Casey had got herself married and now went under her new title of Casey Synge.
The band carried on until the summer of 1972 but sadly there was to be no follow-up album to their promising debut from the previous year. Marsh went on to play in SAILOR whilst Casey joined a female outfit called Thunder Thighs who had a hit in 1974 with "Central Park Arrest" and also provided backing vocals for Leigh Stevens, Pilot, Lou Reed, Mott The Hoople, Cockney Rebel, Marsha Hunt and Maggie Bell.

After his stint with Iranquility, John G. Perry went on to join Spreadeagle, Caravan and Aviator. In 1976 Decca released his solo album "Sinset Wading".
We hope that with this CD edition of Gringo's only issued recordings that the memory of a much overlooked yet estimable group will be rekindled. They left behind a worthy collection of songs of great interest and value to devotees of progressive-rock and are deserving of liberal recognition for their contribution to the scene as a whole."

While I will concede that if one's main expectation of Prog in general, is typified by the long, instrumental dominated Jazz and Classical influenced compositions found on LP's by Yes, Crimson and Soft Machine - then this recording is going to be outside your comfort zone. But if the above is the only criteria which qualifies a performance as 'Progressive', then a lot of excellent music along the lines of Kayak (Royal Bed Bouncer), Rare Bird, Wishbone Ash, late period Gentle Giant, 'Grand Hotel' era Procol Harum, Home, mid-period Caravan, Eno and numerous others are going to be needlessly downgraded. Over time, my listening habits have altered my sensibilities in terms of what defines quality. I think the length of a track falls well below whether the group is able to essentially write a good song that stands on its' own. Correspondingly, there is a lot of 'Symphonic Prog' that is quite forgettable because the melodic concept doesn't support the ambition of the musicianship.
Now - about Gringo. The songs are all well written, the vocal harmonies are superb and the tracks are well recorded. I'm a sucker for good keyboard playing, and here the focus is on the Fender Rhodes. As such, there is a nice, funky groove folded in with the jazzy prog flavor of the music. I classify the musicianship and production values as 'tasteful' - in otherwords, the playing supports the intentions of the song as opposed to virtuosity for its' own sake. The sound of Gringo is unique and therefore, I can't directly fit it in with a sub-genre of prog. The best I could do to give you an idea whether you would enjoy them is to say that the vibe is energetic and upbeat in a similar way to Capability Brown for example. I'd also say that if you (like me), believe that the first two Yes albums were, as outstanding as anything they recorded later - you will find a lot to like with Gringo. 'I'm Another Man' and 'Cry the Beloved Country' are worth the purchase of the album by themselves, but none of the other tracks are filler.

Good Thunder - 1972 - Good Thunder

Good Thunder
Good Thunder

01. I Can't Get Through To You (3:18)
02. For A Breath (5.35)
03. Moonship (2.46)
04. Home Again (6.48)
05. Sentries (2.36)
06. P.O.W (6.50)
07. Rollin' Up My Mind (4.11)
08. Barking At The Ants (6.39)

- James Cahoon Lindsay / lead vocals, percussion
- John Desautels / drums
- David Hanson / guitars, vocals
- Bill Rhodes / bass
- Wayne Cook / keyboards

Good Thunder were a young, heavy progressive five piece from Los Angeles, comprising of James Cahoon Lindsay (lead vocals, percussion), John Desautels (drums), David Hanson (guitars, vocals), Bill Rhodes (bass) & Wayne Cook (keyboards). Their short-lived existence produced only one album, 1972's 8 track, eponymous debut, released through Continental records, a sub division of Elektra.

Their album is now largely forgotten and certainly didn't attempt to break new ground within the field of Californian bands writing hard, guitar oriented art-rock with a progressive/ psychedelic edge, during the early 70's. That said, the musicianship behind the crunchy guitars, driving bass-lines and underpinning Hammond organ rhythms, demonstrate a more than competent level of proficiency. Indeed, the construction of their more progressive tracks (such as 'Barking At The Ants', the stand-out track of the album) leave one wondering what might have been, with a couple more albums under their belts.

This album would appeal to those who enjoy their traditional, heavy progressive rock with an overtly melodic, pre-AOR commercial feel in the vein of early Angel & White Witch, mixed with Deep Purple, High Tide & Uriah Heep classic rock, with the odd touch of Allman Brothers quirkiness.

GoodThunder is practically unkown, which is really a shame considering they released one of the best albums of 1972!
I Can't Get Thru to You - Is a short, but powerful, number loaded with heavy guitars and beautiful organ and piano use.

For a Breath - Starts with some wind-sounding effects, then the main guitar riff fades in. Great guitar solos follows not to long after the vocal parts. Other than the powerful guitars, you also get some nice keyboard work. Then the song changes to a nice and slower melodic piece, which only lasts less than 30 seconds before going back to the main riff and a short bass solo. Then the song picks up right where it started.

Moonship - is another short song, but one of my favorites. Opening up with organ and guitar. This song has haunting vocals and lyrics, the keyboards are the key piece to this haunting puzzle. Moonship pretty much describes GoodThunder in a nutshell.

Home Again - is about a man who is misses his home, family, and friends. This song starts out tame, but don't let that mislead you! For you will be treated with a nice lengthy guitar solo!

Sentries - The shortest song from this album. It opens with an oddly placed circus sounding me this band wasn't without a great sense of humor! Sentries is a nice hard rock song that sounds like it was made to be the leading single from this album....which it was! As with the rest of the album, this song is full of great guitaring and keyboarding!

P.O.W. - is, in my opinion, their masterpiece (along with Barking at the Ants). Expert guitaring and keyboarding. Starts with a piano and acoustic intro which then opens to a nice guitar part. James Cahoon Lindsay gives his best vocals to this song. As I said before, this is simply a masterpiece. Not much else I can say. You definitely have to hear this.

Rollin' Up My Mind - possibly their heaviest song. Beautiful guitaring and lyrics, also one of my favorites from this amazing album.

Barking at the Ants - don't know what the song title means or is about, but it starts with a great guitar riff. As said above in parenthesis, this is their other masterpiece. The guys give the best vocal harmonies and instrumentation on Barking at the Ants. Lyrics are just suberb!

For a bands that's unknown, there sure as hell made on of the best heavy prog albums of the early 70s that effortlessly stands the test of time.

Oh and did I mention the best vocal harmonies of Heavy Prog? I did? Shame on me for being so redundant.

Fantasy - 1970 - Fantasy


01. Happy - 5.24
02. Come - 6.11
03. Wages Of Sin - 3.37
04. Circus Of Invisible Men - 5.32
05. Stoned Cowboy - 5.55
06. Understand - 4.42
07. What's Next - 9.42
08. Painted Horse - 4.35
09. I Got The Fever - 2.07
10. Stoned Cowboy - 2.41
11. Understand - 3.20

*David Robert Robbins - Bass Guitar
*Lydia Jamene Miller - Lead Vocals
*Vincent James Demeo - Lead Guitar, Vocals
*Mario Anthony Russo - Piano, Organ
*Gregory Scott Kimple - Drums

It was a time of peace signs, protests and tie-dye. It was 1967, the Summer of Love. Psychedelia was sweeping the globe and bands like the Vanilla Fudge, the Doors and the Jimi Hendrix Experience were on top of the world. Every major city had its own scene and in Miami the band on the rise was Fantasy.

Fantasy was formed in 1967 and was comprised of 5 teenagers, Billy Robbins (Lead Vocals). Bob Robbins (Bass). Jim DeMeo (Guitar), Mario Russo (Keyboards), and Greg Kimple (Drums). Fantasy started out playing at teen dances and graduated to performing at The Experience, a Miami underground hippie hangout. From 1967 through 1970 the band, led by its charismatic young singer Billy Robbins, was developing a following.

In 1968 The Experience closed its doors and morphed into Thee Image, a large converted bowling alley which featured the biggest artists of the day. Fantasy was chosen as the house band and every weekend they found themselves on the bill with the likes of Cream, Grateful Dead, The Doors, Steppenwolf, Iron Butterfly, Frank Zappa and Led Zeppelin to name a few. The bands regional popularity was soaring when tragedy struck. In the Summer of 1970, Fantasy's lead singer Billy Robbins disappeared.

Dates were postponed and then thirty days later, their worst fears were realized when Billy Robbins was found dead. Several months later the band began its search for a new singer, settling on a 16 year old female vocalist Jamene Miller. Where Billy Robbins was all charisma, Jamene was all talent. She got on board and the Fantasy train kept a rollin'. It was only a matter of months before the band signed a manager and hooked up with the Liberty/United Artists record label This album/CD, is the first and only true Fantasy album.

It is a pure and honest testimonial to its time. Unfortunately for Fantasy, egos, immaturity and questionable management fragmented the band. Where are they now? Fantasy lives on only in the music on this record.
by Greg Kimple

Evensong - 1973 - Evensong


01. Dodos And Dinosaurs
02. I Was Her Cowboy
03. Store Of Time
04. Gypsy
05. Smallest Man In The World
06. Take Your Son To Church Mother
07. Borderline
08. Firefly
09. Rum Runner
10. Sweetbriar Road
11. Homemade Wine
12. Reaching Out For Someone
13. Wooden Wheels
14. Tell Me A Story
15. Dance Dance Dance
16. Romeo

Tony Hulman - guitar, keyboards, vocals
Mike Lawson - guitar, keyboards, vocals

Ray Fenwick - guitar
B. J. Cole - steel guitar
Harbie Flowers - bass
Clem Cattini - drums

Evensong is a similar to the likes of Magna Carta or Strawbs mixed with American and Australian duo songwriter folk in a more British way and with more solo lead vocals, with one Christian song and with one theme inspiration on country folk. This is harmonious folk-pop for which their name Evensong, -which is an Anglican expression for evening prayer-, should describe the aspect of a pastoral softness in their music. One of the two musicians, the British born Michael Lawson had a first life in American rock'n roll touring and playing support acts for American bands and singers in Birmingham, like with a band called The Grasshoppers. After having played with few more bands like The Shanes, The D'Fenders, The N'Betweens and Varsity Rag when the last band split, Evensong was formed as a new inspiration and direction.
The first track immediately sets the tone strongly with a warm voice, acoustic pickings and a full orchestral lush sweetness (strings and clarinet arrangements) benefiting the song, not forgetting the harmony vocal accents finishing touch. This is the track closest to folk-pop acts Magna Carta and the likes. The uptempo humtump electric “I was her cowboy” shows the American interest, and is somewhat out of its place against the other tracks, it does places the songwriter with his logical step in the other direction. The slightly melancholic but strongly focused next song, “Store of Time” is accompanied by nothing else but acoustic guitar but has also a few electric slide accents. “Story Of Time” sounds more psychedelic with its tam tam percussion, its melancholic flute theme with triangle arrangements added to the dual vocals with guitar. The next beauty, “Smallest man in the world”, has again more orchestral harmonies, comparable to the opener, with the inclusion of some flute. The next Christian song has a beautiful Bert Jansch-like guitar arrangement, congas and some electric guitar. The singing reminds me a bit of Cat Stevens here. With more drumming and electric guitar this has similar pop/rock strength too, again with well focused songwriting. “Borderline” is again a strong song, with all the right musical harmonies and arrangements to make this work perfectly. With strong drumming accents and very classical baroque orchestrations this is just wonderful and need to be heard. “Rum Rummer” has a little more up tempo and strong harmony vocals and more orchestrations. The last track is a melancholic guitar led song.

Surprisingly six bonus tracks were added of which 3 were recorded in the studios around the same time, and two came from their off-LP 1973 single. “Home Made Wine” for instance is with similar harmony vocals and acoustic/electric guitars but is rockier. Also here the American influence and accent is more dominant. These tracks still fit, but direct often towards a more (American) East Coast feeling.

Czar - 1970 - Czar


01. Tread Softly On My Dreams(6:37)
02. Cecelia (8:12)
03. Follow Me (3:19)
04. Dawning Of A New Day (6:11)
05. Beyond The Moon (3:44)
06. Today (3:23)
07. A Day In September (7:56)

Bonus tracks: CD counterfeit: Fingerprint (1995)
08. Oh Lord I'm Getting Heavy
09. Why Don't We Be A Rock 'N Roll Band

- Del Gough / drums
- Bob Hodges / keyboards, vocals
- Paul Kendrick / bass, vocals
- Mick Ware / guitar, vocals

Czar's sole album is one that is usually targeted for the dreaded "overrated" term I so despise. And I can see where some folks may be turned off by this album (I'll admit I wasn't too keen on it for about a decade myself), especially when compared to the competition of early 70s England. But if one REALLY analyzes it, most of this album was recorded in 1969 (it was released at the beginning of 1970) and should be considered a pioneering work. The most obvious comparison is CothCK King Crimson, and that's no surprise as we learn that Czar in fact did play with the Crimson King back in those days. Czar were one of the early bands to drench their album in mellotron, and when combined with organ, they were able to present quite a powerful statement. There is some definite holdover from their psych days as a band known as Tuesday's Children, and on some of the poppier tracks, The Moody Blues come to mind here as well.

How do I know so much about Czar? Because the album has finally been reissued legit on Sunbeam Records. Features outstanding sound, awesome liner notes from former band members, photos, the whole works. We learn things like the album should have come out on Vertigo, but for reasons still not understood, Philips put them on their Fontana imprint. We also learn that the last track was unfinished and wasn't meant to be on the album, but rather another long jam session with a classical mid-section was intended (and is included as the only worthy bonus track). And through these bonus tracks, we can hear that Czar was absolutely going in the WRONG direction as a hard blues rock act, which is not surprising given that keyboardist Bob Hodges had packed his gear and left.

Let's have look in great detail .

"Tread Softly on My Dreams" opens the album with an intro part that is 99.99% similar (or I can say it "the same") with Procol Harum's "Homburg". Well, it's unclear to me which came first as I learned from my discussion with progheads that actually Procol Harum did not also make the melody by their own and this "Homburg" was heavily influenced (or probably "adopted") from a classical music. I do not know about it yet as I'm not an explorer of true classical music. But it only happens at the intro part and some repetition in the middle of this track. Overall this is a good track.

"Cecelia" flows in the vein of psychedelic with heavy use of organ throughout the tune. This organ has mainly characterized this song - or even all CZAR music is heavily characterized by the sound of organ. The music flows relatively flat and simple with some accentuation of nice and very seventies organ style. The stricture is simple, using duet voice line with some variations or harpsicord sound. The drummer Del Gough has made good contribution. The guitar solo is simple but really stunning especially combined with the rhythm section of this track. It's truly the "seventies music" man!! For those who like psychedelic, you might love this track. It's an excellent track. This track passes the test on duration of any prog tune that by rule of thumbs were defined as 7-8 minute. It's probably a wrong number but that's what happened in the seventies.

"Follow Me" (3:19) is an outfit that very close with the style of Pink Floyd "The Piper ." album. It's completely a psychedelic venture. You can smell an influence of The Beatles and Procol Harum here. This time guitar takes the lead in the rhythm section as well as short melody / solo in transitions or in the middle of the track. Organ is used lightly with soft sound at background or accentuation during transition pieces.

"Dawning of a New Day" starts off with simple guitar fills with organ at background. It's a ballad song with nice acoustic and electric guitars. Melody is relatively nice and it flows with the voice line, accentuated by the electric guitar work. When organ solo enters the scene it really reminds me to the seventies where the sound of Procol Harum was very popular. Solo guitar performed is very simple but it's enjoyable especially when it is combined with a mellotron sound at the background.

"Beyond the Moon" is another simple structure psychedelic tune in the vein of PF "The Piper .". It seems like I'm now enjoying Syd Barrett creation through this track. If you enjoy "The Piper" you will love this track!

"Today" is a mellow track that in a way reminds me to "A Whiter Shades of Pale" at its intro part. The vocal line sings in high register notes and reminds me to Babe Ruth or Pavlov's Dog singers. It's a nice track with guitar plays as rhythm combined with organ.

"A Day in September" is relatively a long track with more prog venture. It starts off with a combination of bassline and organ followed with guitar fills. The music turns into faster tempo with organ sound in crescendo followed by duet vocal line. The track really turns into prog when it enters approx min 3:40 where the organ brings the music into an interlude that demonstrates guitar solo. I really enjoy this interlude. Sometimes, I can smell the sound of The Doors in this track as well.

"Oh Lord I'm Getting Heavy" is a blues based pop tune with some brass section involved. Organ still plays important role as main rhythm section. "Why Don't We Be a Rock 'n Roll Band" is probably representing the band's yell to be a successful rock band. It's composed in a pop rock vein. It has a good interlude with great guitar solo. The repetition of title lyrics in this tune has made me feel boring. The sonic quality of these two bonus tracks are not good.

CWT - 1973 - The Hundredweight

The Hundredweight

01. Widow Woman
02. Take It Slow
03. Roly Poly
04. Signed D.C
05. Steam Roller
06. Simon's Effort
07. Mind Cage
08. Mephistophales

Bass – Peter Kirk
Drums – Colin White
Guitar, Organ – Graham Jones

CWT was an English band that somehow ended up on Germany's Kuckkuck label, home to such acts as Armageddon, Ihre Kinder, and Out Of Focus. This is some serious ass-kicking British hard rock, with the guitarist and bassist doubling up on the keyboards, and some fierce brass parts that were apparently recorded at Motown Studios. Heavy riffing abounds, the singer is rough and aggressive, almost Dio sounding, the rhythm section id solid and the guitar is awesome. Good cover of Love's "Signed D.C." All in all, this is a pretty good example of early 70's heavy rock. Apparently this is their only release, as well as a single for "Widow Woman."