quinta-feira, 8 de dezembro de 2016

The Survival - La Onda De The Survival (1971 mexican, awesome acid/garage/psychedelic blues-rock - vinyl rip) Flac

THANKS TO ORIGINAL UPLOADER: "UGO"

Master-tape reissue of this super rare Mexican heavy psych album from 1971, filled with wah-wah guitar, ripping fuzz and primitive effects. Rated 5 stars In Hans Pokora's book "3001 Record Collector Dreams".
Bluesy acid psych with a typical Mexican '60's sound, The Survival specialized in acid blues rock  with a sound that ranges from a loose, wigged out psyche blues approach to tighter and faster groove – still informed by electric blues, but tricked out with fuzz and wah wah. A nice mix of raw production and expansive inspiration! 
They formed in the 1960's; because they went through so many lineup changes, they eventually took the group name "Survival"! With Swiss born Luscher Andrés Fontana on drums and vocals; Joaquin Ramos on lead guitar; Luis Ramirez on bass; and Oscar Vazquez on rhythm guitar, Survival released their first and only album in 1971.
It was influenced by West Coast psych rock and the British Blues—sort of a combination of Country Joe and the Fish, Quicksilver Messenger Service and Ten Years After. They sing in heavily accented English, and it's a worthwhile discovery. Includes "Old People", "The World Is A Bomb", "What The World Need Is Union", "Electric Chair", "Canabis Lady", "Useless Warefare" and more. The group soon split, and the only evidence of their existence of this masterpiece of Mexican psychdelia.
A1. Old People 5:45
A2. The World Is A Bomb 2:29
A3. What The World Need Is Union 2:09
A4. Inspiration Blues 3:14
A5. Electric Chair 2:00
B1. Ending Blues 5:58
B2. Disturbance 2:46
B3. Canabis Lady 2:29
B4. Nothings Monumet 3:33
B5. Useless Warefare 3:07


sábado, 3 de dezembro de 2016

Traffic Sound - Yellow Sea Years 1968-1971 (1968-71 peruvian, stunning hard/psychedelic folk-rock - Compilation) Flac

Psychedelic and Prog Rock band from Peru. 
Traffic Sound was a Peruvian rock band founded in 1967 by Manuel Sanguinetti (vocals), Freddy Rizo Patrón (rhythm guitar), Jean Pierre Magnet (sax), Willy Barclay (Willy "Wilito" Barclay) (lead guitar), Willy Thorne (bass) and Luis Nevares (Luis "Lucho" Nevares) (drums). Freddy and Manuel had met in school and played in Los Hang Ten's. Freddy and his older brother Jose originally thought of founding "Traffic Sound". 

The name was chosen because of their penchant for a traffic light, placed as a souvenir in the attic of the Rizo-Patróns house, where they held their practices, after a wild night in Lima. 
After a year of continued rehearsals and private shows they tried their luck at Peruvian psychedelic emporium The Tiffany with great success and recorded his first album "A Bailar Go Go" in 1968 with label MAG. It contained versions of songs by The Doors, Cream, Jimi Hendrix, Iron Butterfly and The Animals. In later albums they included their own music with a fusion of Andean and Afro-Latin sounds. They held gigs in Peru, Chile, Argentina and Brazil. 

Their second album "Virgin" (1969), all original material, catapulted them to legendary status especially because it contains the absolute icon of Peruvian Psychedelia, "Meshkalina". 
In 1970 they recorded another LP named "Traffic Sound", aka. III, aka. "Tibet's Suzettes", where they blend the Psychedelic spirit with an Andean folk sound, and give the necessary step to be closer than ever to progressive rock. 

In 1971 Braniff International Airways organized the first South American Tour of a Peruvian band, and Traffic Sound was well received in demanding markets such as Argentina and Brazil. 
After the tour they switched to bigger label Sono Radio and released four singles. At this point Willy Thorne left the band and was replaced by Zulu or (Miguel Angel Ruiz Orbegoso) on bass, with whom they recorded their last LP, "Lux". Incredibly, during a massive strike of Sono Radio workers the master tapes disappeared and were only found in 1996. This album is different to the previous, the Andean influence is more evident and some political concerns were expressed. 

The band held a memorable concert at the Teatro Segura in Lima together with the Contemporary Orchestra of Peruvian jazz pianist Jaime Delgado Aparicio in 1971 and disbanded in 1972.

The first anthology of one of the most important South American bands of the 60's! With this double LP and CD (80 minutes!) discover the best recordings the band made from 1968 to 1971 for legendary labels Sono Radio and Mag. In "Yellow Sea Years" the evolution of the band can be fully traced from their roots in ACID BLUES-ROCK –born with Hendrix, Cream or Yardbirds– to solid LATIN-ROCK, complete with PSYCHEDELIC touches and folk inspiration.

And finally you get the idea that, had they not been a Peruvian band, TRAFFIC SOUND would NOT sounded like this. But it is also clear that if they had come from a more "developed" country, they could have been one of the best known and most admired bands of their time. In fact they ARE!


sábado, 26 de novembro de 2016

Máquina! - Lets Get Smashed (2010 spanish, fantastic progressive/psychedelic blues-rock - Singles compilation) Flac

Stunning compilation with all the singles by Barcelona's legendary psychedelic- progressive group including potential hits such as 'Lands of perfection', 'Let's get smashed' or 'Look away our happiness'. 

Founded by Jordi Batiste (bass, flute), Enric Herrera (organ), Lluís "Luigi" Cabanach (guitar), and Santiago "Jackie" García Cortés (drums) as Sisa's backing band, "Máquina!" is maybe the very first underground rock group to have recorded in Franco’s Spain, their first single dating back to early 1969. 

Their first LP in 1970 had striking artwork depicting a clock coming out from a croissant, meaning that it was time to wake-up in Spain: The album was called "Why? Máquina!" and it was clearly so rebellious under a dictatorship that fellow group "Tapiman" (founded by ex-Máquina drummer J. Mª Vilaseca, "Tapi", and Barcelona crosstown rivals/friends) answered them with a track called "Don’t Ask Why". 

The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years. 

Two years later, the band recorded with a different line-up (both guitarists having left, and including Carles Benavent on bass). It was a live album with a much different bluesier sound complete with a brass section (and almost all new material) reminiscent of Chicago Transit Authority.





sábado, 19 de novembro de 2016

Skip And The Creations - Mobam (1967 us, great garage rock - 1995 reissue) Flac

Practically nothing is known about Skip And The Creations, apart from the fact that they were a sextet, that their first names were Walter, Brute, Jeffrey, Skip, Rick, and Tommy, and that Skip was their lead singer, Jeffrey was the lead guitarist, Walter may have been the organist, and Brute played a Fender-model bass.

Skip And The Creations cut their Justice Records LP in 1967 (Justice 152) and disappeared sometime after that.

The album is Garage Frat-Rock of the Soulful sort - covers include Bob & Earl's "Harlem Shuffle", Wilson Pickett's "Ninety-Nine and A Half", The Swingin' Medallions's "Double Shot" and "Deadric Malone", Joseph Scott's "Turn On Your Lovelight", The Isley Brothers' "Respectable", The Spencer Davis Group's "Gimme Some Lovin', Hank Williams’ "I'm So Lonesome I Could Cry".

Skip And The Creations seemed bent on becoming Virginia's answer to The Outsiders.

These boys really tried hard, mixing R&B and gospel influences in a surprisingly effective fashion, and their concert performances must have been awesome in the context of the times.

Their cover of "Double Shot" was no threat to The Swingin' Medallions, nor was their "Respectable" going to make The Outsiders worry about losing gigs - but even here, Skip And The Creations did sing and play with a demented, soulful snarl that makes their work entertaining and animated, and puts these performances over.

"Mobam" supposedly means Makers Of Bad Ass Music. 
From Colonial Heights, just outside of Richmond, Virginia; they had a fan club based in Colonial Heights, Virginia, outside of Petersburg.

1 Respectable        2:32
2 I'm So Lonesome I Could Cry           2:47
3 Harlem Shuffle    3:04
4 Ninety-Nine and a Half (Won't Do)    2:47
5 Double Shot (Of My Baby's Love)     2:13
6 I'll Go Crazy        2:53
7 I'm Calling You Baby     1:54
8 Try Me      3:51
9 Turn on Your Love Light          2:54
10 Gimme Some Lovin'   1:59
11 Terry      2:36

sábado, 12 de novembro de 2016

Stray - Saturday Morning Pictures (1972 uk, stupendous hard/psychedelic rock, 2006 Japan reissue) Flac

Stray are a British band formed in 1966. Vocalist Steve Gadd (born 27 April 1952, Shepherd's Bush, London), guitarist Del Bromham (born Derek Roy Bromham, 25 May 1951, in Acton, London) (ex Tradera), bass player Gary Giles (born Gary Stephen Giles, 23 February 1952, in London) and drummer Steve Crutchley (born c 1952) formed the band whilst all were attending the Christopher Wren School in London. Richard "Ritchie" Cole (born 10 November 1951, in London) replaced Crutchley in 1968. They signed to Transatlantic Records in January 1970.

The group's brand of melodic, hook-laden hard rock proved to be a popular draw on the local club scene during the early 1970s. However the band did not have commercial success with its record releases. At one stage Charlie Kray (brother of the Kray twins Ronnie and Reggie), was their manager. Gadd left the band in 1975 due to artistic differences and was replaced on vocals by Pete Dyer.
The original Stray finally dissolved in 1977, although Bromham later continued to play in various resurrected versions of the project well into the 2000s.

There are two Iron Maiden connections to Stray. The early song "All in Your Mind" from the Stray 1970 debut album was covered by Maiden, and Maiden bassist Steve Harris's daughter Lauren has covered "Come On Over".

From late 2006 until early 2007, the band's back catalog of eight studio albums issued originally during the 1970s were re-released by the UK-based Sanctuary Records in compact disc format. The new releases are remastered and add bonus tracks culled from single B-sides, studio outtakes and BBC broadcast sessions.

The Universal Music Group have just bought the entire back catalogue and Stray are touring again with Del Bromham (guitar and vocals), Stuart Uren (bass guitar and vocals) and Karl Randall on drums.

One of the great records of the early 70's by one of the great bands who should have been massive. Saturday Morning Pictures starts with Our Song acoustic intro followed by crashing power chords enter Steve Gadd's super vocals and anthemic chorus and you have a classic rock song. 

Track two is yet another classic the Hendrix inspired After The Storm both of these opening two tracks are so good that they are still in the band's set list at the time of writing some 37 years later. Track three is the harmony driven space rock of Sister Mary followed by the brilliant Move That Wigwam.

Next up and live favourite is Leave It Out great riff, country violins, slide guitar that could peel paint,Steve Gadd again excelling on vocals (as he does on the whole album) WHAT A SONG this ends and we are straight into the dirty opening riffs of How Could I Forget You which gives way to some blues country-folk with some terrific vocal interplay between Gadd and guitarist Del Bromham (Del Bromham - what a guitarist, his playing has soul - what a songwriter - what a showman live).

Last track on the original album is the melodic Queen Of The Sea again great guitar work by Bromham. This re-issue has bonus tracks including single B-side to opening track Our Song called Mama's Coming Home another great track it is fast and very catchy with a great little piano fade out (My 18 year old son can't understand how it did not make the album). Georgia is classic dirty down blues with fantastic slide guitar and Gadd's brilliant vocals. Get Out Right Away is a catchy slice of roots rock and we also have a BBC session version of Sister Mary and the 45 r.p.m. version of Our Song.So in conclusion this is a masterpiece, not a bad track on it (personally i find Zeppelin,Sabbath,Purple etc boring and dated) go and seek this band out or go and see them live if you like rock music you will probably love this - Stray rock but with soul and intelligence.
01. Our Song (6:03)
02. After the Storm (6:45)
03. Sister Mary (4:19)
04. Move That Wigwam (5:20)
05. Leave It Out (4:33)
06. How Could I Forget You (5:50)
07. Mr. Hobo (2:39)
08. Queen of the Sea (6:25)
09. Our Song (Single Edit) (4:05) *
10. Mama's Coming Home (3:49) *
11. Georgia (3:14) *
12. Get Out Right Away (3:01) *
13. Sister Mary (Radio 1 Session) (3:52) *

sábado, 5 de novembro de 2016

Headstone Circus - Headstone Circus! (1968-70 us, awesome psychedelic/blues-rock) Flac

Bassist Nick Bonis, drummer Randy Ray Pope and lead guitarist Mike Johnstone formed Headstone Circus in 1966.
The group was meant to have a psychedelic rock imprint, but the addition of singer/songwriter Glenn Faria diverted that original intention toward something much closer to Crosby, Stills & Nash, Neil Young or Buffalo Springfield.
Upon listening to these tracks released almost 40 years after the fact, it is obvious that the group was doing some things right.
Faria has a warm and soulful voice, the multi-part vocal harmonies (the main CS&N tie-in) are beautiful and most of the melodies exert an immediate appeal. However, possible reasons why the group never "made it" also become quickly obvious, the main one being a tendency to overstretch simple songs.
While musically proficient, the group simply doesn't have in its ranks the kind of virtuosity or creativity that could justify playing a simple chorus-and-verse song for five minutes or more.
As a result, otherwise pretty good songs like "I'm Going Down" and "Summers Gone" drag on for too long, making them sound weaker than they had to be.
There is still some enjoyment to be had from these tapes though, especially for fans of harmony folk-rock or connoisseurs who liked Faria's early-'70s solo LP (another rarity legitimately released for the first time in the 2000s).
The first eight tracks make up what would have been Headstone Circus' album proper; they are well recorded but the tapes clearly suffered from old age (distortion, slight drops, a grainy feel). The last four tracks are demo recordings.
"On Halloween night we went to an old cemetery, dropped acid, and spent a very strange night among the tombstones. The tombstones appeared to be melting and taking on animal shapes. Some of us saw spirits, and I'm not sure what I saw, but it was disturbing. Afterwards, we referred to that night as the "Headstone Circus". It seemed appropriate to call ourselves "Headstone Circus" as a band so we did". Enjoy this amazing westcoat album which was recorded in Washington D.C."]
01. I'm Goin' Down - 4:38
02. You Don't Know - 6:52
03. Summers Gone - 4:44
04. I'm Crazy - 5:57
05. Healer - 4:09
06. Arms Of God - 3:31
07. Born In Georgia - 3:56
08. Reason To Live - 3:16
09. Reach Out - 2:45
10.I Hear The Thunder - 3:43
11.I Love The Wind - 4:11
12.Bear Down - 5:18
All compositions by Glenn Faria

Headstone Circus
*Glenn Faria - Lead Vocals, Guitar
*Mike Johnstone - Guitar
*Randy Ray Pope - Drums, Vocals
*Nick Bonis - Bass


sábado, 29 de outubro de 2016

The Groundhogs - Split (1971 uk, superb psychedelic/blues-rock, Akarma reissue) vinyl rip 24-bit

Following the success of their breakthrough album, Thank Christ for the Bomb, The Groundhogs didn’t waste any time in returning to the studio to begin recording their next album. Having seen their previous album reach number nine in the UK charts, the band were enjoying what was at that point the most successful point of their career and they were evidently keen to get to work on its follow up. Emerging in early 1971, Split saw the band build upon the experimental elements that graced some of the material on Thank Christ for the Bomb to create their strongest and most consistent album to date.

While its predecessor had a loose concept running through all nine of its songs, Split is very much an album of two halves. Side one of the original LP is made up of the epic four-part title suite, while side two consists of a series of more straight forward but equally engaging songs. The lyrical themes of this album are a lot more personal than the themes of ‘alienness’ and war that were featured throughout Thank Christ for the Bomb but they are no less intriguing, particularly with regards to the first half of the album. The lengthy title track, which has been split into four separate parts, remains one of Tony McPhee’s finest compositions. Despite at first sounding very much like the type of drug influenced tales typical of lengthy psychedelic rock tracks, the lyrics are actually much more unconventional, telling the tale of a panic attack McPhee experienced in May 1970. This sprawling twenty minute-plus epic describes the singer/guitarist’s feelings of panic, confusion and claustrophobia over a backdrop of heavy, bluesy guitar playing complimented by Peter Cruikshank’s throbbing bass lines and Ken Pustelnik’s impressive drumming. Tony McPhee’s Jack Bruce-esque vocals are as strong here as they’ve ever been and are perfectly in keeping with the twisted tales of paranoia and hallucinations. It’s McPhee’s guitar playing however that really stands out. Raw, powerful and full of emotion, his playing is creative but never over indulgent.

While not quite as enthralling as the first, the second half is by no means disappointing. Cherry Red is rightly hailed as one of the band’s best songs, featuring an impressive vocal performance from McPhee as well as some blistering guitar work. Modern psych band Earthless covered the song for their 2007 album Rhythms From a Cosmic Sky, which goes some way to explaining the song’s iconic status within the psychedelic rock genre. Elsewhere the John Lee Hooker inspired Groundhog is a prime example of raw, dirty blues at its best while A Year in the Life provides a moment of rest bite from the album’s heavier moments. 

While McPhee is undoubtedly the driving force behind the band, Pete Cruikshank and Ken Pustelnik, on bass and drums respectively, are much more than mere extras, providing an excellent tight rhythm section, which is essential for a blues rock power trio. There’s a strong chemistry evident on this album and the band show that they have enough creativity and collective talent to be considered a major force in the late 60’s/early 70’s blues rock movement and while the band went on to release some strong material after this album, this remains their finest achievement.
A1. Split Part 1 (4.30)
A2. Split Part 2 (5.15)
A3. Split Part 3 (4.30)
A4. Split Part 4 (5.44)
B1. Cherry red (5.43)
B2. A Year In The Life (3.15)
B3. Junkman. (5.02)
B4. Groundhog (5.47)
Tony McPhee - Vocals / guitar
Pete Cruikshank - Bass
Ken Pustelnik - Drums


sexta-feira, 21 de outubro de 2016

Strawberry Path - When The Raven Has Come To The Earth (1971 japan, killer psychedelic/hard blues-rock) Flac

This terrible band was an appalling sour mash of American Breed cod-psychedelia overlain with lashings of the kind of shrill spewdo operetta that would disgrace the grooves of Uriah Heep’s dopey SALISBURY LP twelve months hence.

Like most of the so-called heavy Japanese bands of the period, Strawberry Path was in actuality anything but. Generally, their catholic sound is eclectic and overwrought, with arrangements being of the everything-including-the-kitchen-sink variety.

Music freaks claim songs such as ‘Leave Me, Woman’, ‘Woman Called Yellow Z’ and ‘I Gotta See My Gypsy Woman’ as evidence of the band’s good intentions, but the band’s deft performances of such daft AOR drool as ‘Mary Jane On My Mind’ and Marmalade/Hollies soundalike ‘The Second Fate’ suggests their hearts were more naturally in this non-headspace.

The band was really a duo with help from occasional bassists Hisashi Eto and former Powerhouse bassist George Yanagi, the latter also contributing a lead vocal, as he did for the Shinki Chen solo LP. 

Strawberry Path would eventually mutate into the equally poor Flied Egg (great band name, at least!). Drummer Hiro Tsunoda would thereafter throw in the towel completely, going for total sub-sub-Peters & Lee meltdown with his agonisingly bad solo LP MARY JANE, a 1977 barrel-scraper featuring all of his previous crimes against rock, plus an unashamed copy of Zeppelin’s ‘Stairway To Heaven’ done in a Danish Eurovision style. Although Strawberry Path’s original Philips LP sleeve names the record WHEN THE RAVEN HAS COME DOWN TO EARTH, it is occasionally listed under the Japanese title OHTORI GA CHIKYU NI YATTEKITAHI (review by Julian Cope).

This is an album that will appeal to garage fans, psych heads, mondo music lovers and acid freaks alike, merging as it does a variety of Western influences, ranging from Jimi Hendrix (check out Shigeru Narumo's hard psych guitar) to Black Sabbath, Led Zeppelin and Deep Purple.

01.I Gotta See My Gypsy Woman
02.Woman Called Yellow "Z"
03.Second Fate
04.Five More Pennies
05.Maximum Speed Of Moji Bird
06.Leave Me Woman
07.Mary Janes On My Mind
08.Spherical Illusion
09.When The Raven Has Come To The Earth

Strawberry Path:

Shigeru Narumo – lead guitar, keyboards, vocals
Hiro Tsunoda – drums, vocals



sábado, 15 de outubro de 2016

Jasper - Liberation (1969 uk, brilliant psychedelic/progressive blues-rock, Japan reissue, remastered, papersleeve) Flac

In the crowded underbrush of the late sixties British psych blues scene Jasper was definitely at the head of its class. 

The quintet's personalized blues style, with Steve Radford's excellent lead-guitar lighting the way (punctuated also by their keen use of flute and harpsichord) is well expressed in the inspired version of 'Baby Please Don't Go' and 'Ain't no Peace'. Unfortunately soon after the release of their rare l969 debut album Liberation the group disbanded and disappeared from the scene...

There's John Mayall-styled blues-rock ("Ain't No Peace," "Confusion"), Colosseum like jazz blues rock ("Baby Please Don't Go," "The Beard"), rambling morbid bluesy instrumental jamming (including a six-minute wordless version of "St. Louis Blues" with hauntingly sad harmonica), and a Baroque-psychedelic arrangement of Donovan's "Cuttin' Out."...

Brilliant 1969 UK progressive psych with a blues feel. Don't let that put you off though — early Jethro Tull had a blues edge and this album is very similar in feel to that band. Definitely a classic of the era. Features superb psych artwork. 
Above album was originally released on Spark Rec. Not too much is known about the band. 

01. Liberation I /Written-By – A. Feldman/ (3:47)
02. Ain't No Peace /Written-By – N. Payn, S. Radford/ (2:56)
03. Baby Please Don't Go /Written-By – J. Williams/ (7:18)
04. Shelagh /Written By – Hozier/Dolland/ (2:24)
05. Liberation Interlude /Written-By – A. Feldman/ (1:15)
06. Liberation Interlude /Written-By – A. Feldman/ (0:33)
07. Confusion /Written-By – J. Taylor, N. Payn/ (2:29)
08. St. Louis Blues /Written-By – W. C. Handy/ (6:32)
09. Cuttin' Out /Written-By – D. Leitch/ (2:42)
10. The Beard /Written-By – A. Feldman/ (3:49)
11. Liberation II /Written-By – A. Feldman/ (3:08)
12. Finale /Written-By – G. Greenwood, J. Taylor, S. Radford/ (0:48)

sábado, 8 de outubro de 2016

Paul Brett's Sage - Schizophrenia (1972 uk, superb psychedelic/folk/country-rock - Esoteric reissue) Flac

Paul Brett Sage's second full-length, Jubilation Foundry, was a rocking affair that danced delightfully from rock's roots in blues and R&B to its many contemporary nooks and crannies. With their follow-up, 1972's Schizophrenia, PBS dove into the harder side of rock, quite a feat for a group that featured a plethora of percussion but no drummer; although one was brought in for the driving "Slow Down Ma!." But as "Custom Angel Man" proved, Sage could rock like a Band of Gypsies even without one. 

However, it was Southern rockers and jam bands that were the group's strongest influences, and on "Charlene" they bring the two together. Imagine the Allmans fronting the Band to get the idea. The instrumental "Limp Willie," in contrast, features great dueling acoustic guitars, until the song flops over into Grateful Dead territory. "Take Me Back I Will Love You" sounds just like Pink Floyd, minus all their pomposity and self-indulgence, and is one of the album highlights. 

And there's plenty more of those within, from the gorgeous harmonies and acoustic guitars that stream across "Savior of the World" and "Tale of a Rainy Night" to the bluesy show-stopper "Make It Over." But as far afield as PBS seemed to have wandered from their folkie roots and for all their use of electric guitars, the many acoustic elements that initially defined their sound remain, giving the band and this set a sound entirely unlike anything else from the time. 

Routinely labeled acid folk and progressive rock, in fact, Sage were pop/rockers working in a thoroughly unique medium, creating a sound that still thrills today.
01. Custom Angel Man (Paul Brett) - 2:33
02. Charlene (John Hutcheson) - 3:03
03. Song Of Life - Song Of Death (John Hutcheson) - 2:43
04. Slow Down Ma! (John Hutcheson) - 2:56
05. Saviour Of The World (John Hutcheson) - 3:37
06. Limp Willie (Paul Brett, Bob Voice, Dick Dufall, Stuart Cowell) - 1:38
07. Tale Of A Rainy Night (Paul Brett) - 3:00
08. Take Me Back And I Will Love You (John Hutcheson) - 4:10
09. Autumn (Paul Brett) - 4:42
10. Make It Over (Goddard, Philips) - 3:08
11. Bee (Paul Brett) - 0:51
Bonus:
12. Dahlia (single A-side,1972) (Paul Brett) - 4:08

Personnel:
- Paul Brett - lead vocals, acoustic & electric guitar, arranger, producer
- Stuart Cowell - electric guitar
- Dick Dufall - bass, vocals
- Bob Voice - percussion, vocals
+
- Dave Lambert - piano (01), organ (05,08,10)
- Rod Coomes - drums (04)
- Rob Young - piano (04), flute (09), oboe (09)