Agnes Strange - Strange Flavour (1976 uk, fantastic hard rockin' boogie, 2007 Rev Ola remaster edition)

Sometimes, albums become far more interesting because of their back story. Case in point: Agnes Strange. This heavy trio from Southampton, England, led by singer-guitarist John Westwood, somehow didn't make a splash on the early '70s boogie circuit despite their obvious similarities to beloved acts like the Groundhogs, Budgie and Status Quo. 

Despite some heavy names in their corner, including management company DJM (led by Dick James, who had made a mint off the Beatles' publishing) and A&R folks at Pye Records, some bad luck and inexplicable business decisions led them off course. Foremost among these was a fundamental misunderstanding of the term "pub rock," which led Pye to release Strange Flavour on a one-off label called Birdsnest, which was affiliated with a chain of theme pubs of the same name, owned by the beer manufacturer Watney's. 

The existing heavy rock audience at the time reacted much as straight-edge punks would if McDonald's and Sony BMG joined forced to release a hardcore album available only at fast food restaurants, and Strange Flavour disappeared without trace, as did Agnes Strange.Funny thing, though: it turns out that Strange Flavour is actually pretty good. Produced by Dave Travis, whose remarkably cheesy country albums from the '60s are much beloved by Anglo-kitsch collectors, and engineered by Colin Thurston, who was about a half decade away from his heyday as a name post-punk and new romantic producer, Strange Flavour is comfortably pitched between the old and the new, or at least the new iterations of the old.

 "Clever Fool" is a basic bluesy shuffle that would sound right at home on one of Dave Edmunds' Rockpile-era albums, while "Motorway Rebel" is tailor-made for the Foghat crowd, with its faux bluesy riffage and a hackneyed opening line "Well, I been to New York City/You know I been to L.A." delivered in a voice that screams that its owner has never been further west than Liverpool. On side two, things get a lot spacier, culminating in the epic freak-out "Children of the Absurd," complete with Pink Floyd-style sonar guitar pings and rampant wah-wah abuse. 

Westwood and his compatriots, bassist Alan Green and drummer Dave Rodwell, may not have been able to solidify a trademark Agnes Strange sound, but the "see if it works" variety and generally tasteful playing makes Strange Flavour an interesting listen for rock obscurantists and old boogie fans alike. This reissue features remastered sound, full liner notes of the whole odd story and four bonus tracks including the punchier 45 single mix of the anthemic opening track "Give Yourself a Chance." 

by Stewart Mason

Tracks
1. Give Yourself A Chance (J. Westwood, A. Green) - 3:30
2. Clever Fool (J. Westwood) - 3:23
3. Travelling (J. Westwood) - 2:53
4. Alberta (D. Travis) - 5:44
5. Loved One (A. Green) - 6:00
6. Failure (D. Rodwell) - 5:19
7. Children Of The Absurd (D. Rodwell, A. Green, D. Barber) - 7:47
8. Odd Man Out (J. Westwood) - 3:53
9. Highway Blues (J. Westwood) - 5:31
10.Granny Don't Like Rock 'N' Roll (J. Westwood) - 5:21
11.Interference (D. Travis) - 1:44
12.Give Yourself A Chance (J. Westwood, A. Green) - 3:28
13.Motorway Rebel (J. Westwood) - 4:04
14.Strange Flavour (J. Westwood, A. Green, D. Rodwell) - 3:56
Track 12 Single Version
Tracks 13-14 Album Outtakes
   
Agnes Strange
*Dave Rodwell - Vocals, Drums
*Alan Green - Vocals, Bass
*John Westwood - Vocals, Guitar

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Priscilla - Gypsy Queen (1970 us, amazing r 'n' b phychedelia, 2013 korean remaster)

Booker T. Jones exited Stax Records before it came to a complete crash and married singer Priscilla Coolidge, Rita's sister, and the two hooked-up musically as well. Great things were expected from this project. Jones led his namesake, Booker T. & the MG's, to some success at Stax. The four-pieces also served as the label's most prominent house band, and, in addition, Jones shared co-writer credit on some great songs. Coolidge, like her sister, sang with an abundance of soul. Rita recorded for A&M, and the label had issued a solo album on Priscilla, which originally came out on Sussex Records. Few people will tell you this is a bad album, cause it's not. The lovebirds are all over the place theme-wise -- love, social problems, ethnic issues, and other twists and spins on a multitude of subjects.

by Andrew Hamilton

Tracks
1. On The Road - 3:55
2. Let It Shine - 3:08
3. Gypsy King - 3:39
4. Come On Sweet - 2:59
5. Salty Haze 2:58
6. T My T - 2:07
7. Good Morning Freedom (Roger Cook, Roger Greenaway, Albert Hammond) - 4:02
8. Now The Children Remind You (Weiss, Unobsky) - 2:48
9. Long Rivers Flow (Ray Stinnett) - 3:18
10.Spring Rain (Ray Stinnett) - 2:26
11.Hummingbird (Leon Russell) - 6:00
All songs by Priscilla Coolidge except where stated.

Musicians
*Priscilla Coolidge - Vocals
*Booker T. Jones - Organ, Piano, Harmonica
*Joel Scott Hill - Guitar
*Herb Ellis - Guitar
*Ray Stinnett - Guitar
*Ray Brown - Bass
*Chris Ethridge - Bass
*Earl Palmer - Drums
*Jim Gordon - Drums
*Sam Watson - Drums
*Rita Coolidge - Vocals
*Donna Weiss - Vocals

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Barry McGuire - The World's Last Privat Citizen / Barry And The Doctor (1968/70 us, astonishing protest folk psych rock with blues tinges)

Along with Bob Dylan's emergence came countless other folk-based "protest singers" in the early to mid-'60s, including Barry McGuire. Born in Oklahoma City during 1937, McGuire had relocated to New York City and joined up with folk revivalists the New Christy Minstrels by the early '60s.

He was anointed the band's lead singer and appeared on several albums and their first hit single, "Green, Green" (which was co-penned by McGuire). Soon after, however, McGuire caught the attention of both record producer Lou Adler and singer/songwriter P.F. Sloan, resulting in the guitarist/singer leaving the New Christy Minstrels and launching a solo career, signing on with Adler's Dunhill Records.

McGuire's solo debut, The Barry McGuire Album, was released in 1963, but it wasn't until two years later that McGuire scored a massive hit with the Sloan-penned track "Eve of Destruction," which topped the U.S. charts (peaking at number three in the U.K.) and was taken from his sophomore full-length, Barry McGuire Featuring Eve of Destruction.

McGuire became good friends with another Adler-guided outfit, the Mamas & the Papas (who mentioned him in some of their song lyrics), while further solo albums were issued, including This Precious Time and The World's Last Private Citizen, but none spawned any singles as successful as "Eve."

By the early '70s, McGuire had turned his back on folk music and he re-appeared as a Christian/gospel artist, signing on with the Myrrh label and issuing such standout albums as 1973's Seeds, 1975's Lighten Up, and a live recording, 1982's To the Bride, among countless others.

McGuire put his music career on hold and moved to New Zealand in the mid-'80s with his wife, where they remained until 1990, working with the poverty organization World Vision.

Upon his return, McGuire began issuing albums once more, including such titles as El Dorado, Let's Tend God's Earth, Adventures on Son Mountain, and Journey to Bible Times, before teaming up with another gospel singer/guitarist, Terry Talbot, to form an outfit called Talbot McGuire. 

by Greg Prato

"The World's Last Private Citizen" album is Barry's 1967 release, and his final on the Dunhill label. The album contains many good tracks. The production is no longer the potentially annoying voice on one channel, music on the other. The songs are from a variety of songwriters, from Barry and an ex-New Christy minstrel, to members of Paul Revere and the Raiders. Highlights include, "Top of the Hill," "Cloudy Summer Afternoon" and the ultra cool "Grasshopper Song." Included is a song from the movie The President's Analyst, "Inner Manipulations." Barry's career is slowing down here. There are a few repeats from earlier albums, such as "This Precious Time," and "Hang on Sloopy."

"Barry McGuire and the Doctor"  is Barry's final secular album, on the Ode label. For this album Barry teamed up with Eric Hord ("The Doctor"), as well as members of the Byrds (Chris Hillman, Michael Clarke), Flying Burrito Bros (Sneaky Pete Kleinow), Dillard and Clark (Byron Berline), and the Eagles (Bernie Leadon). The album has a very different feel to it than his earlier Dunhill material. The songs are longer and have a more bluegrass feel to them at times, which means they are quite good. This is perhaps his most critically acclaimed album he has ever made, although sales were weak. Highlights include "Too Much City" and "South of the Border" where drug references abound. Barry noted that he doesn't remember much about the album, except the mounds of cocaine he and others consumed while recording it. Barry would soon undergo a powerful change in his life.

Church-year

Tracks
1. Top O' The Hill (M. Smith) - 2:22
2. Cloudy Summer Afternoon (T. Edmonson) - 2:55
3. Secret Saucer Man (P. Potash, B. McGuire) - 2:43
4. There's Nothin' Else On My Mind (E. Pistilli, P. Cashman) - 2:52
5. Walkin' My Cat Named Dog (N. Tanega) - 2:07
6. Hang On Sloopy (B. Russell, W. Farrell) - 4:02
7. Masters Of War (Bob Dylan) - 2:33
8. Inner-Manipulations (P. Potash, B. McGuire) - 3:40
9. The Grasshopper Song (D. Levin) - 3:18
10.This Precious Time (S. Barri, P.F. Sloan) - 2:48
11.Why Not Stop And Dig It While You Can (B. McGuire) - 2:16
12.Eve Of Destruction (P.F. Sloan) - 3:35
13.South Of The Border (B. McGuire, Riley Wildflower) - 5:45
14.Old Farm (Dr. Eric Hord, B. McGuire) - 5:33
15.Too Much City (Dr. Eric Hord, B. McGuire) - 8:50
16.Train (Dr. Eric Hord, B. McGuire) - 6:40
17.Electric Train (Dr. Eric Hord, B. McGuire) - 6:50
18.Meet Me At The Bottom (B. McGuire, Howlin' Wolf) - 6:06
19.Lollipop Train (Single Version) (S. Barri, P.F. Sloan) - 2:47

Musicians
*Barry McGuire - Vocals, Harp, Bells, Wind
*Dr. Eric Hord - Twelve String Guitar, Vocals
*Chris Hillman, Riley Wildflower - Bass
*Bill Mundi, Merle Boatman, Michael Clarke - Drums
*Bernie Leadon, Rocky Hilton - Electric Guitar
*Byron Berline - Fiddle
*Sneaky Pete - Pedal Steel Guitar
*Nicky Woods - Percussion

1963  Barry McGuire & The New Christy Minstrels - Star Folk (2007 RPM remaster)

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Toni Vescoli - Information (1971 swiss, fascinating progressive folk psych rock, 2012 korean remaster)

Toni Vescoli is a pioneering Swiss singer/songwriter/guitarist of the classic rock era who over the course of his long career performed a variety of styles, from English-language pop/rock to Dylanesque folk music. Born on July 18, 1942, in Zürich, Switzerland, Vescoli formed the trailblazing rock band Les Sauterelles in 1962. Comprised of Vescoli (rhythm guitar, lead vocals), Rolf Antener (lead guitar, vocals), Heinz Ernst (bass guitar, vocals), and Düde Dürst (drums, vocals), Les Sauterelles were sometimes referred to as the "Swiss Beatles" and recorded on Columbia Records during the mid-'60s. 

The band's first hit was "Hong Kong" (1965), written by Vescoli; also in 1965, the band was featured on the compilation album Swiss Beat Live! alongside fellow Swiss bands the Counte and the Dynamite. Les Sauterelles released several singles during the latter half of the '60s, including the number one hit "Heavenly Club," and they released a couple albums, too. Vescoli broke up the band in 1970.

by Jason Birchmeier

When Les Sauterelles split, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and started incorporating psychedelic and electric elements to his sound, such as feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc., as he was also influenced by bands like Pink Floyd and King Crimson. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, “Seven Deadly Sins”.

In 1971, Toni released his debut solo album, “Information”. A folk-rock / psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive-rock, from fragile acoustic numbers to dark, wigged-out psychedelic tracks.

Tracks
1. Dying Land - 3:22
2. Idleness - 2:50
3. Happy Family - 1:13
4. Hatred And Love - 5:21
5. Information - 4:43
6. Beautiful Morning - 4:35
7. There's A Bird - 3:36
8. Hypocrites - 3:17
9. Intermezzo - 0:28
10.Do Hurry - 5:37
Words and Music by Toni Vescoli

*Toni Vescoli - Vocals, Guitars, Various Instruments

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The Sensational Alex Harvey Band - Live / The Penthouse Tapes (1975-76 uk, solid glam rock melted with varied tunes, double disc set)

Although the Sensational Alex Harvey Band showed off plenty of sonic firepower on studio outings like Next and Tomorrow Belongs To Me, they were always at their most ferocious in the concert arena. As a result, Live is an especially rousing and engaging addition to the group's catalog. Since the set list is almost entirely composed of time-tested favorites, it also one of their most consistent albums. The album's contents are taken from a single night's performance at the Hammersmith Odeon, and this gives it a sonic coherence that other live albums rarely capture. 

A totally committed performance from the band seals the album's appeal with its thrilling combination of heavy metal bombast and tight arrangements that carefully deploy keyboard shadings to flesh out the guitar-heavy sound. The proceedings start powerfully with "Faith Healer," an ominous rocker whose thunderous riffs take on a new level of muscle in the live arena. Other highlights include "Give My Compliments to the Chef," a sci-fi-influenced tale of societal breakdown that slowly but surely builds into a hard-rocking frenzy, and the group's cover of "Framed," which transforms the classic Leiber-Stoller tune into a twisted psychodrama where Harvey debates with the audience over his innocence. 

However, the finest track on the album is a cover: the group's surprisingly subtle version of the Tom Jones hit "Delilah" tones down the original's fevered psychodrama to create a waltz-like tune with a tongue in cheek circus atmosphere. This track is also notable because it was released as a single and became one of the group's biggest hit singles in Europe. To sum up, Live is a double-triumph for the Sensational Alex Harvey Band because it functions both as a strong live souvenir for the group's fans and also as a solid introduction to the group's highlights for the novice. 

Their 1976 "Penthouse Tapes" allowed the group to give full vent to this obsession: three of the tracks are band originals, but the rest are a series of covers that hit everything from Irving Berlin to the Osmonds to Alice Cooper.  The highlight of the band originals is"Jungle Jenny," a gender-switched Tarzan tale that sets lyrics about a lusty white goddess who drives the apes mad over a tune that mixes glam rock guitar with tribal drums. 

In terms of covers, the standout tracks include a moody mid-tempo take on Jethro Tull's "Love Story" and "Crazy Horses," which utilizes Harvey's larynx-shredding wail to bring out the apocalyptic overtones in this surprisingly hard-rocking Osmonds tune.The band also takes some surprisingly effective stabs at country rock with their boozy sing-along cover of "Gamblin' Bar Room Blues" and "Say You're Mine (Every Cowboy Song)," a Harvey original.

by Donald A. Guarisco

Tracks
Disc 1 Live 1975
1. Fanfare (Justly, Skillfully, Magnanimously) (D. Wadsworth) - 1:24
2. Faith Healer (A. Harvey, H. McKenna) - 6:50
3. Tomahawk Kid (A. Harvey, H. McKenna, D. Batchelor) - 5:50
4. Vambo (A. Harvey, H. McKenna) - 9:29
5. Give My Compliments To The Chef (A. Harvey, H. McKenna) - 6:37
6. Delilah (Les Reed, Barry Mason) - 5:17
7. Framed (Jerry Leiber, Mike Stoller) - 11:08

Disc 2 The Penthouse Tapes 1976
1. I Wanna Have You Back (S.A.H.B.) - 2:39
2. Jungle Jenny (S.A.H.B., D. Batchelor) - 3:59
3. Runaway (Del Shannon, Max Crook) - 2:44
4. Love Story (Ian Anderson) - 5:03
5. School's Out (Alice Cooper) - 4:55
6. Goodnight Irene (Lead Belly) - 4:32
7. Say You're Mine (Every Cowboy Song) - 3:21
8. Gamblin' Bar Room Blues (Jimmie Rodgers, Shelly Lee Alley) - 4:06
9. Crazy Horses (Alan Osmond, Wayne Osmond, Merrill Osmond) - 2:50
10.Cheek To Cheek (Irving Berlin) - 3:32

The Sensational Alex Harvey Band
*Alex Harvey - Lead Vocals
*Zal Cleminson - Guitars
*Chris Glen - Bass Guitar
*Hugh McKenna - Keyboards, Synthesizer
*Ted McKenna - Drums, Percussion
*B.J. Cole - Pedal Steel Guitar

The Senstational Alex Harvey Band
1972-73  Framed / Next 
1974-75  The Impossible Dream / Tomorrow Belongs to Me  
Related Act
1970  Tear Gas - Piggy Go Getter (Vinyl edition)
1971  Tear Gas - Tear Gas
     
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Brian Auger's Oblivion Express ‎– Brian Auger's Oblivion Express (1970 uk, amazing jazz progressive rock, 2013 japan SHM edition)

Having learnt his craft on London's jazz scene at Lichfield Street's Cottage Club and later at (he Flamingo, Auger first scored hits in France but it wasn't until he teamed with Julie Driscoll in Julie Driscoll, Brian Auger and the Trinity that he made his name in the UK with two albums -1967's Open and 1969's Streetnoise - plus a Top 5 single, a lysergic rock reading of Bob Dylan's 'This Wheels On Fire'.

Having parted company with Driscoll after a disastrous US tour and feeling straitjacketed by the his trio. The Trinity, who had just seen 1970s Sefouralbum commercially flop, Auger decided to disband in the summer and take a break, "I went on holiday with my wife and our son Karma. When I came back there were calls waiting at the agency, musicians asking to work with me. Wanting to fry out tor the new band- Guitarist Jim Mullen was one of those guys. He was hired. Then we auditioned a few bassists and found Barry Dean and finally discovered Robbie Mclniosh playing in a casino in Nice in a band called the Piranhas. Later when Robbie left the Express to join the Average White Band, we went straight back to the casino and nabbed his replacement in the Piranhas' Steve Ferrone I don't think I was very welcome in the casino after that."

Their 1970 eponymous debut set their manifesto. "I wanted to wipe the slate clean but continue developing the idea of jazz rock. I heard 'In A Silent Way' by Miles Davis, he'd recorded it while we were doing Streetnoise (with Julie Driscolland the Trinity) and it gave me hope and direction. Here was my idol taking basslines from rock and combining them with /azz. I knew I was on the right path musically. I looked on the Oblivion Express as a school, a place where we could learn and experiment but because we were going against the musical tide I thought it was the quickest way to oblivion hence the name."

Recorded in London's Advision Studios over a twoweek period the album revealed a group keen to find  their own identity. "I realised the key to this was writing my own material. I was listening to Eddie Ham's and Les McCann but my writing took me in a more rock direction There weren't that many musicians doing what we wanted to do so we basically/list explored. I also see myself primarily as a live player so I wanted to get in the studio and get it down in a couple of takes and get the best feel to it. I hoped to preserve some live-ness' about the album."

One artist who Auger did turn to for inspiration, however, was John Mclaughlin, whose 'Dragon Song' provides the album's opening cut. "John was an old friend of mine. When I was in New York in 1970 he asked me to drop by the studio and listen to the mix of his new LP. Devotion. I heard 'Dragon Song' and thought, wow! I'd like to try a version of that and that was one of the first things we went into the studio to cut ourselves."

A tumultuous onrush of progressive rock it introduced the Express at their heaviest with an exhilarating fusillade of melodramatic, gothic organ stabs, fills and runs, revealing Auger at his most accomplished to date.  Self penned cuts: 'The Sword', 'The Light' and the title cut meanwhile looked more to Miles Davis for their spirit.

"I was aware that Miles' LPs were incredibly diverse, he went from one thing to something totally different each time out. you can see the progression of the artist growing in his work. As I had a free reign and my artistic development in my own hands I decided this was the time to explore. The debut really shows this, with me being the main writer. By its follow up A Better Land I was taking a more soft approach. I began to write a lot with Jim Mullen."

'The Light', propelled by Barry Dean's driving bassline provided a platform for Auger's vocal and Hammond organ prowess, mixing pulsating rhythms with euphoric, uplifting lyricism, while 'On The Road' delivers a note perfect blueprint for fusion. 'The Sword', as its title suggests is a vitriolic slice of heavy Hammond rock and the blazing title cut is piloted by raging guitars and Auger's gravelthroated vocal.  While Auger was immensely pleased with his statement, the music press weren't.

Sadly both Oblivion Express and its follow up. 1971's A Better Land while securing the group a strong fanbase both in the UK and the US, were slated. "We took a real shellacking by the press. They hated me. If you weren't making prog rock like ELP. Yes and Genesis at the time you were seen as a has been."

Auger, however, was anything but. His third LP, Second Wind (which featured singer Alex Ligertwood) charted in the US and by 1973 the Oblivion Express1 future was cemented. Their fourth album, Closer Jo It appeared simultaneously on the US Billboard rock, jazz and R'n'B charts.

by Lois Wilson, MOJO magazine 

(Thanks to Jon Harrington and Brian Auger)

Tracks
1. Dragon Song (McLaughlin) - 4:27
2. Total Eclipse (Ball) - 11:35
3. The Light (Auger) - 4:24
4. On The Road (Mullen, Auger) - 5:26
5. The Sword (Auger) - 6:35
6. Oblivion Express (Auger) - 7:51
7. Dragon Song (Live, Reutling, Germany, Feb 1972) (McLaughlin) - 5:32

The Oblivion Express
*Brian Auger- Lead Vocals, Keyboards
*Jim Mullen - Guitar, Vocals
*Barry Dean - Bass, Vocals
*Robbie McIntosh - Drums

Brian Auger's Oblivion Express
1971  A Better Land (2006 japan remaster)
1972  Second Wind (2006 japan remaster)
1973  Closer To It (2006 japan remaster) 

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The Rascals - Once Upon a Dream (1968 us, sensational mosaic of r'n'b, latin, jazz and orchestrated psychedelia, japan remaster)

After releasing three classic garage blue-eyed soul records, the Rascals felt a need to expand their sound, become a bit more ornate, and take in the influence of psychedelia. In early 1968 they released Once Upon A Dream, a vague concept lp inspired by recent albums Pet Sounds and Sgt. Pepper’s. The concept is a bit unclear to me but I believe each track is supposed to represent a different dream. The group’s vocal arrangements were some of their most ambitious to date and where the previous three albums had been excellent collections of album tracks and singles, Once Upon A Dream hangs together quite well as an album – a finished product if you will.

Once Upon A Dream opens up with a fairly well known track, Easy Rollin’. Easy Rollin’ is one of the mini classics on this album and stands out from previous Rascal outings in that it’s more roots influenced with edgy acoustic guitars, harmonica, and B-3. The production on this song is remarkable: one can hear birds chirping in the background and the band itself seems to have more space and breathing room. Other tracks like the dreamy Silly Girl and zany Rainy Day are psychedelic pop songs that have strings and horns in the mix. 

These sweet, confectionery treats give way to harder edged psych rockers Please Love Me and It’s Wonderful. Please Love Me harks back to the band’s mid 60s garage soul period but has wonderful flute and swirling fuzz guitar effects. Other great songs are the soul-blues of Singin’ The Blues Too Long which has a clear Ray Charles influence, and the great, overlooked blue-eyed soul classic, My World. My World is notable for including female backup singers as well as the Rascals’ own excellent vocal arrangement.

The Rascals would release other good albums after Once Upon A Dream but few pop records from the time are as instantly memorable and sophisticated as this. At the time, the album’s production and sound were considered a triumph. This is a true classic and should be part of any serious rock n roll collection. 

by Jason Nardelli 

Tracks
1. Intro: Easy Rollin' – 3:14
2. Rainy Day – 3:39
3. Please Love Me – 2:03
4. Sound Effect / It's Wonderful – 3:24
5. I'm Gonna Love You (Gene Cornish) – 2:33
6. Dave & Eddie / My Hawaii – 4:13
7. My World – 2:54
8. Silly Girl – 2:42
9. Singin' The Blues Too Long – 5:10
10.Bells / Sattva – 4:23
11.(Finale): Once Upon A Dream – 3:53
12.Intro: Easy Rollin' – 3:14
13.Rainy Day – 3:39
14.Please Love Me – 2:03
15.Sound Effect / It's Wonderful – 3:24
16.I'm Gonna Love You (Gene Cornish) – 2:33
17.Dave & Eddie / My Hawaii – 4:13
18.My World – 2:54
19.Silly Girl – 2:42
20.Singin' The Blues Too Long – 5:10
21.Bells / Sattva – 4:23
22.(Finale): Once Upon A Dream – 3:53
All songs by Felix Cavaliere, Eddie Brigati except where noted.
Tracks 1-11 Stereo, Tracks 12-22 Mono.

The Rascals
*Felix Cavaliere - Vocals, Keyboards, Sitar
*Eddie Brigati - Vocals, Percussion, Tamboura
*Gene Cornish - Vocals, Guitar
*Dino Danelli - Drums, Tabla
Additional Musicians
*David Brigati - Vocals
*Chuck Rainey - Bass
*Ron Carter - Bass
*Richard Davis - Bass
*King Curtis - Tenor Saxophone
*Hubert Laws - Flute
*Melvin Lastie - Trumpet
*Buddy Lucas - Harmonica
*Steve Marcus - Soprano Saxophone

1971  The Rascals - Peaceful World (Japan remaster)
1972  The Rascals - Island Of Real (Sundazed remaster)

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