John Lennon – Live New York City (1986)

FrontCover1.jpgLive in New York City is a posthumous live album by English rock musician John Lennon with the Plastic Ono Elephant’s Memory Band. It was prepared under the supervision of his widow, Yoko Ono, and released in 1986 as his second official live album, the first being Live Peace in Toronto 1969.

Recorded on 30 August 1972 at Madison Square Garden in New York City, Lennon performed two shows, one in the afternoon and one in the evening, a benefit concert for the Willowbrook State School for Retarded Children in New York, at friend Geraldo Rivera’s request. Rivera introduces Lennon and Ono at the beginning of the album, and he is referenced in Lennon’s impromptu revised lyrics in the opening song, “New York City”.

The benefit concerts, billed as One to One, also featured other performers in addition to Lennon, including Stevie Wonder, Roberta Flack, Melanie Safka and Sha-Na-Na, although their performances are not included on this album, nor on the simultaneous video release.

Live in New York City captures Lennon’s last full-length concert performance, coming right after the release of Some Time in New York City. Backing Lennon and Ono were Elephant’s Memory, who had served as Lennon and Ono’s backing band on Some Time in New York City. Although the material Lennon performed was largely drawn from his three most recent albums of the period (John Lennon/Plastic Ono Band, Imagine and Some Time in New York City), he also included in the setlist his Beatles hit “Come Together” and paid tribute to Elvis Presley with “Hound Dog” before leading the audience in a singalong of “Give Peace a Chance”. “Come Together”, originally in the key of D minor, was performed in E minor.


Upon its early 1986 release, Ono was criticised by former members of Elephant’s Memory for using the first – and weaker – performance instead of the stronger evening show. They also took issue with the simultaneous video release of the concert, which it was alleged had been edited to show Ono as prominently as Lennon. However, on the album release, Ono’s vocal performances on such numbers as “Hound Dog” had been mixed out completely. Additionally, all of her solo performances, which included “Sisters, O Sisters”, “Born in a Prison”, “We’re All Water”, “Don’t Worry Kyoko (Mummy’s Only Looking for Her Hand in the Snow)”, “Move on Fast” and “Open Your Box”, were deleted from the audio edition of the concert, to create a pure Lennon album. The video release retained the Lennon complete set-list including Ono’s “Sisters, O Sisters” and “Born in a Prison”.


Portions of the evening performance later saw release on the John Lennon Anthology.

Live in New York City reached No. 55 in the UK, and surprised many with its US appeal where it peaked at No. 41 and eventually went gold.

The concerts documented on Live in New York City were Lennon’s only rehearsed and full-length live performances in his solo career, and his first – and last – formal, full-fledged live concerts since the Beatles retired from the road in 1966. Lennon never mounted a tour during his post-Beatles career. The concerts also marked the last time he performed live with Ono or with Elephant’s Memory. (by wikipedia)


John Lennon’s concert appearances during his solo years were rare and scattered about, so any live document is worth hearing. Yet this one, the fabled One to One concert at Madison Square Garden, doesn’t live up to its legend, however noble the cause (a benefit for the Willowbrook School for Children). Much of the problem, one suspects, is that Lennon concerts tended to be quick, casual one-offs; this material might have really rocked if John had broken the tunes in on the road first. Also, the Plastic Ono Elephants ConcertPoster.jpgMemory Band is a fairly crude bunch of bashers, with Stan Bronstein’s flailing sax and surprisingly poor drumming, despite the support of Jim Keltner. So Lennon is pretty much left to his own devices. In the first few numbers he sounds distracted, not in full command, even disconnected from the band.

A core primal scream piece “Well Well Well” is given a perfunctory run-through; “Instant Karma” sounds stiff, with embarrassing drum breaks (“We’ll get it right next time,” John says); and he makes only one reference to his Beatle past with a heavy-handed “Come Together.” Things do improve later on when “Mother” and “Cold Turkey” work up a good lather, and “Hound Dog” is not bad, although the concluding “Give Peace a Chance” is limited to the brief excerpt included on Shaved Fish. Phil Spector was the original producer of the recording, and it’s one of his murkier jobs, not nearly as focused as his work on The Concert for Bangla Desh in the very same arena the year before. More from the concert, including some of Yoko’s numbers, can be found on the companion video cassette released at the same time. (by Richard S. Ginell)


John Lennon (vocals, guitar, keyboards)
Jim Keltner (drums)
Yoko Ono (keyboards)
Elephant’s Memory:
Stan Bronstein (saxophone)
Richard Frank Jr. (drums)
Wayne ‘Tex’ Gabriel (guitar)
Adam Ippolito (keyboards)
Gary Van Scyoc (bass)
John Ward (bass)


01. New York City (Lennon) 3.39
02. It’s So Hard (Lennon) 3.18
03. Woman Is The Nigger Of The World (Lennon/Ono) 5.30
04. Well Well Well (Lennon) 3.51
05. Instant Karma! (Lennon) 3.40
06. Mother (Lennon) 5.00
07. Come Together (Lennon/McCartney) 4.21
08. Imagine (Lennon) 3.17
09. Cold Turkey (Lennon) 5.29
10. Hound Dog (Leiber/Stoller) 3.09
11. Give Peace A Chance (Lennon) 0.59




Imagine there’s no countries
It isn’t hard to do
Nothing to kill or die for
And no religion, too

Imagine all the people
Living life in peace

You, you may say I’m a dreamer
But I’m not the only one
I hope someday you will join us
And the world will be as one

Imagine no possessions
I wonder if you can
No need for greed or hunger
A brotherhood of man

Imagine all the people
Sharing all the world

You, you may say I’m a dreamer
But I’m not the only one
I hope someday you will join us
And the world will live as one

Various Artists – A Coltrane Serenade (1991)

FrontCover1.jpgThe Lincoln Center Jazz Orchestra is probably too big and bulky to be considered a tight unit but all the players are individually of distinction. Mainly their program is to highlight and celebrate the giants of jazz from yesteryear. They have performed and recorded music by Ellington, big band swing and numerous others.

To celebrate John Coltrane, the “house band” of Todd Williams, Wynton Marsalis, Marcus Roberts, Christian McBride, Billy Higgins and Wes Andersen are supplemented by guests Joe Henderson, McCoy Tyner and Roy Haynes.

This is a very comfortable way to get into Coltrane as the music here are among his most accessible. Dear Lord is taken at a lounge-y pace, with enough soloing to make this jazz. Coltrane’s explosive, experiential side is gently avoided. The final track Mr Symes is a sweet ballad.

Almost 40 years after his passing, John Coltrane’s best work remains A Love Supreme which hopefully any self-respecting jazz fan has in his collection. (Professor Red)

What a great celebration for Mr. John Coltrane !

Jazz At Lincoln Centre, Alice Tully Hall, New York, August 9, 1991
Excellent braodcast recording

Lincoln Center


Tracks 01. – 03.
Wes Andersen (saxophone)
Billy Higgins (drums)
Wynton Marsalis (trumpet)
Christian McBride (bass)
Marcus Roberts (piano)
Todd Williams (saxophone)

Tracks 04. – 05.
Christian McBride (bass)
Roy Haynes (drums)
Joe Henderson (saxophone)
Charles McPherson (saxophone)
McCoy Tyner (piano)
Reginald Veal (bass on 05.)


01. Mr. Day 8.23
02. Miles Mode 8.32
03. Tunji  8.06
04. Dear Lord  7.50
05. Mr Symes/Dahomey Dance  24.37

Music composed by John Coltrane

John Coltrane.jpg


The Dubliners – At It Again (Seven Deadly Sins) (1968)

FrontCover1Nearly three decades since they first came together during informal sessions at O’Donoghue’s Pub in Dublin, the Dubliners remain one of the most influential of Ireland’s traditional folk bands. Unlike their counterparts the Clancy Brothers, the Dubliners have never strayed from the raw looseness of the pub scene. According to Dirty Linen, “Whereas the Clancys were well-scrubbed returned Yanks from rural Tipperary, decked out in matching white Arab sweaters, the Dubliners were hard-drinking backstreet Dublin scrappers with unkempt hair and bushy beards, whose gigs seemed to happen by accident in between fist fights”.

Initially known as the Ronnie Drew Folk group, the Dubliners have gone through several personnel changes since they were formed in 1962. The original group featured Ronnie Drew on vocals and guitar, Luke Kelly on vocals and five-string banjo, Barney McKenna on tenor banjo, mandolin, melodeon, and vocals and Ciaren Bourke on vocals, guitar, tin whistle, and harmonica.The first change occurred in 1964 when Kelly left temporarily Singleand Bobby Lynch (vocals and guitar) and John Sheahan (fiddle, tin whistle, mandolin, concertina, guitar, and vocals) were added. The following year, Kelly returned and Lynch departed.

The Dubliners’ earliest recordings included appearances on multi-artist compilations The Hoot’nanny Show and Folk Festival: Festival Folk, released in 1964. Their first break came when they met Nathan Joseph, owner of Transatlantic Records, at the Edinburgh Festival in 1963. Signing with Joseph’s label, the group released their debut full-length album, The Dubliners, later the same year.

In 1967, the Dubliners recorded their breakthrough single, “Seven Drunken Nights,” based on Child Ballad number 273. Although its risque lyrics caused it to be banned from officially sanctioned radio stations, it became a Top Five hit after being aired by pirate radio station, RTE. With the song’s success, the band began touring throughout the world. In the early ’70s, the Dubliners toured in a production of Brendan Behan’s Cork Leg. (by Craig Harris)

And here´s the album with their hit “Seven Deadly Sins”:

At It Again is a studio album by The Dubliners and was released on the Major Minor label in 1968. It featured “The Irish Navy”, a satirical song with lyrics co-written by Ronnie Drew and Luke Kelly and set to music by John Sheahan. Barney McKenna and Ciarán Bourke also feature on the album. It was re-released under the title Seven Deadly Sins. The order of the tracks varies in different re-releases. (by wikipedia)

Another pretty good album by the legends Of Irish Folk !


Ciarán Bourke (vocals, guitar, tin whistle, harmonica)
Ronnie Drew (vocals, guitar)
Luke Kelly (vocals, banjo)
Barney McKenna (irish tenor banjo, mandolin, melodeon)
John Sheahan (fiddle, mandolin, tin whistle, concertina)


01. Seven Deadly Sins (McLean) 2.47
02. Net Hauling Song (MacColl) 2.14
03. Nancy Whiskey” (Traditional) 2.40
04. Many Young Men Of Twenty (Keane) 2.25
05. Instrumental Medley: Paddy’s Gone to France/Skylark (Traditional) 2.04
06. Molly Bawn (Traditional) 3.15
07. The Dundee Weaver (Traditonal) 1.29
08. The Irish Navy (Drew/Kelly) 2.27
09. Tibby Dunbar (Burns/McLean) 1.48
10. The Inniskillen Dragoons (Traditional) 3.43
11. Instrumental Medley: The Piper’s Chair, Bill Hart’s Jig, The Night of St. Patrick (Traditional) 2.00
12. I Wish I Were Back In Liverpool (Kelly/Rosselson) 4.01
13. Darby O’Leary (Traditional) 2.41
14. Go To Sea No More (Traditional) 4.11






Frank Sinatra & Count Basie – An Historic Musical First (1963)

LPFrontCover1Sinatra–Basie: An Historic Musical First (a.k.a. Sinatra-Basie) is a 1962 studio album by Frank Sinatra, arranged by Neal Hefti.

This was the first recording that Sinatra made with the Count Basie Orchestra. In 1964, Sinatra and Basie would make a final studio recording, It Might as Well Be Swing, orchestrated by Quincy Jones, and Sinatra’s first live album, Sinatra at the Sands (1966) would feature the Basie band.

Sinatra appeared on an episode of The Dinah Shore Show that aired on December 9, 1962, the day before Sinatra-Basie was released, and performed the album’s arrangement of “Please Be Kind”.

According to Will Friedwald’s book, Sinatra! The Song Is You, “Basie didn’t play piano on several of the tracks: ‘The day before the first date, we rehearsed all day, all night’, said Bill Miller, officially serving as contractor. ‘Everybody also came in an hour before so we could go over them again.’ As Joe Bushkin has pointed out, ‘The Basie guys could read as well as any studio band’, but to help them nail the charts even tighter, Sinatra and Miller brought in ace lead trumpeter Al Porcino. Basie was a capable but not an expert reader, Miller continued, ‘and he was very slow to learn new tunes, so on a couple of the songs, he said, “You play it.”‘ Long story short, Bill Miller played piano on ‘Pennies from Heaven.'” (by wikipedia)


The long-awaited first collaboration between two icons, Count Basie and Frank Sinatra, did something unique for the reputations of both. For Basie, the Sinatra connection inaugurated a period in the ’60s where his band was more popular and better-known than it ever was, even in the big-band era. For Sinatra, Basie meant liberation, producing perhaps the loosest, rhythmically free singing of his career. Propelled by the irresistible drums of Sonny Payne, Sinatra careens up to and around the tunes, reacting jauntily to the beat and encouraging Payne to swing even harder, which was exactly the way to interact with the Basie rhythm machine — using his exquisite timing flawlessly. Also the members of the Basie band play a more prominent role than usual on a Sinatra record, with soloists like Frank Wess — in some of the finest flute work of his life — and tenors Frank Foster and Eric Dixon getting prominent solo opportunities on several of the tracks. The record was criticized by some as a letdown when it came out, probably because Neal Hefti’s charts rarely permit the band to roar, concentrating on use of subtlety and space. Yet the record’s restraint has worn very well over the long haul — it doesn’t beat you into submission — and it concludes with its best shot, a wonderfully playful treatment of “I Won’t Dance.” (by Richard S. Ginell)


Al Aarons (trumpet)
Count Basie (piano)
Buddy Catlett (bass)
Sonny Cohn (trumpet)
Henry Coker (trombone)
Eric Dixon (flute, saxophone)
Frank Foster (saxophone)
Charlie Fowlkes (saxophone)
Freddie Green (guitar)
Thad Jones (trumpet)
Bill Miller (piano)
Sonny Payne (drums)
Al Porcino (trumpet)
Benny Powell (trombone)
Flip Ricard (trumpet)
Marshall Royal (clarinet, saxophone)
Frank Sinatra (vocals)
Rufus Wagner (trombone)
Frank Wess (flute, saxophone)

01. Pennies From Heaven (Johnston/Burke) 3.30
02. Please Be Kind (Chaplin/Cahn) 2.44
03. (Love Is) The Tender Trap (Cahn/Van Heusen) 2.37
04. Looking At The World Through Rose Colored Glasses (Steiger/Mailie) 2.32
05. My Kind Of Girl (Bricusse) 4.38
06. I Only Have Eyes For You (Warren/Dubin) 3.31
07. Nice Work If You Can Get It (G.Gershwin/I.Gershwin) 2.38
08. Learnin’ The Blues (Silvers) 4.26
09. I’m Gonna Sit Right Down And Write Myself A Letter (Ahlert/Young) 2.36
10. I Won’t Dance (Kern/McHugh/Hammerstein II/Fields/Harbach) 4.08



Pat Metheny Group – Spealing Of Now (2002)

FrontCover1.jpgSpeaking of Now is an album by the Pat Metheny Group, released in 2002 by Warner Bros. It marks the first appearances of Group members Antonio Sánchez, who replaced Paul Wertico on drums, and multi-instrumentalist Cuong Vu. A veteran of the avant-garde jazz scene and an admirer of both Pat Metheny and the Group, Vu was approached by the bandleader to join; Metheny had been very impressed with recordings of Vu’s trumpet playing and vocal abilities.

Cameroonian musician Richard Bona also participated in the album’s recording and tour, the latter of which particularly showcased his abilities on vocals and bass guitar.

In 2003, as part of the album’s promotion, a concert was recorded in Japan and released on DVD and the Group performed on the PBS series Austin City Limits. (by wikipedia)


Speaking of Now finds guitarist Metheny leading a retooled Pat Metheny Group; in addition to longtime core members, keyboardist Lyle Mays and bassist Steve Rodby, the Group now includes drummer Antonio Sanchez, trumpeter/vocalist Cuong Vu, and Richard Bona, who’s best known as a bassist, but who functions primarily as the Group’s percussionist/vocalist. The result is an exquisite album that features fresh new musical perspectives while losing none of the Group’s familiar wide-ranging, melodic, always accessible sound. Most of the tracks on Speaking of Now were composed by Metheny and his longtime collaborator Mays, although three tracks were composed solely by Metheny.


There’s a buoyant feel to this album that is not to be confused with lightness. This is complex, intricately detailed music that reveals additional layers with each listening. Metheny seems to delight in discovering the myriad means by which his prodigiously accomplished bandmembers can provide coloration to the compositions, both within the larger group and in solo spotlights. Sanchez’s rhythmic agility and sensitivity is featured throughout, particularly on “The Gathering Sky,” which begins as a sparkling, piano-led number and then transforms into a grooving band jam. One of the album’s many solo highlights comes during “Proof,” where Vu turns in a poignantly lyrical trumpet solo that is followed by an electrifying, steadily intensifying solo by Mays. Vocals have long been part of the Metheny Group sound, but now he is utilizing them in new ways; “Another Life” opens with Bona and Vu harmonizing on a chorale that leads into the artist’s delicate acoustic guitar work, while Bona provides sweet vocalizing over Metheny’s guitar on the beautiful, soaring “You.” Every track on Speaking of Now possesses a distinct beauty and eloquence. This is a superb offering that is not to be missed. (by Lucy Tauss)


Richard Bona (vocals, percussion, guitar, bass)
Lyle Mays (keyboards)
Pat Metheny (guitar, guitar synthesizer)
Steve Rodby (bass, cello)
Antonio Sánchez (drums)
Cuong Vu (trumpet, vocals)


01. As It Is (Metheny/Mays) 7.40
02. Proof (Metheny/Mays) 10.13
03. Another Life (Metheny) 7.08
04. The Gathering Sky (Metheny/Mays) 9.22
05. You (Metheny) 8.24
06. On Her Way (Metheny/Mays) 6.04
07. A Place In The World (Metheny/Mays) 9.52
08. Afternoon (Metheny) 4.43
09. Wherever You Go (Metheny/Mays) 8.04



Kingfish – Alive In `85 (1985)

FrontCover1Kingfish was an American rock band led by Matthew Kelly, a musician, singer, and songwriter who plays guitar and harmonica. Kelly co-founded Kingfish in 1973 with New Riders of the Purple Sage bass player Dave Torbert and fellow San Francisco Bay Area musicians Robbie Hoddinott (lead guitar), Chris Herold (drums), and Mick Ward (keyboards). Ward died in a car accident later that year, and was replaced by Barry Flast, another keyboardist from San Francisco.

In 1974, Kingfish became more well known, and signed their first record contract, after Grateful Dead guitarist and singer Bob Weir, a long-time friend of Kelly’s, joined the band.[4][5][6] (Kelly had previously been a guest musician on the Grateful Dead album Wake of the Flood.) Weir toured with Kingfish and was a band member on their first two albums, Kingfish and Live ‘n’ Kickin’. When the Dead started touring again in 1976, Weir left Kingfish, along with Hoddinott and Herold, who were then replaced by Michael O’Neill (lead guitar) and David Perper (drums). (Kelly later appeared on the Grateful Dead albums Shakedown Street and The Closing of Winterland, and on Weir’s album Bobby and the Midnites. In 1995 he became a founding member of Weir’s band Ratdog.)


The lineup of the band continued to change, with Kelly and Torbert remaining at the core. Then, in 1979 Torbert and Kelly parted ways and Torbert formed a new lineup with Danny “Rio” DeGennaro and Michael O’Neill on guitars and sharing lead vocals. Also part of that lineup were Steve Shive (drums) and Ralph Liberto (keyboards, saxophone). Dave Torbert died of a heart attack in 1982.

Starting in 1984, Kingfish would regroup from time to time and go on tour with a gradually evolving lineup of musicians led by Matthew Kelly. In 1987, Kelly also released a solo album called A Wing and a Prayer.

In 1999 Kingfish released a new studio album, Sundown on the Forest, recorded over a period of several years with different combinations of musicians, including Bob Weir and a number of other Kingfish veterans. Kelly had left RatDog the year before, and was living in Hawaii. Since then Kingfish has not performed live.

Danny DeGennaro was shot to death on December 28, 2011. Robbie Hoddinott died of liver failure on March 6, 2017, one day before his 63rd birthday (by wikipedia)


And here´s an album from their mid Eighties activities.

Alive in Eighty Five — also known as Alive in ’85 — is an album by the rock band Kingfish. It was recorded at Sweetwater in Mill Valley, California in 1985, and released by Relix Records as a vinyl LP later that year. It was released on CD in 1991.

It is unclear whether or not Alive in Eighty Five was recorded live in concert. Although Sweetwater was a live music venue, the album sounds like a studio recording. (by wikipedia)

One might have thought that Kingfish was effectively ended by the death of founder Dave Torbert in 1982, but this live album features a version of the band led by harmonica player Matthew Kelly and featuring original guitarist Robbie Hoddinott, plus drummer David Perper, who was on the 1978 Trident album. The band is filled out by singer/pianist Barry Flast, guitarist Garth Webber, and bassist Steve Evans. Kingfish remains a competent bar band ensemble on this outing, said to have been recorded at the Sweetwater in Mill Valley, California (though it sounds like a studio set); the kind of band you wouldn’t mind seeing over a few beers if you didn’t have to go too far out of your way. But their renditions of “Big Boss Man,” “Dancing In The Streets,” and other standards aren’t going to make anybody forget the better known versions. (by William Ruhlmann)

Okay, this a sort of party album (it´s very blues orientated album), full of classic songs from the rock and  history (including a nice version of “Statesboro Blues”) and that means fun, fun and fun only !


Steve Evans (bass)
Barry Flast (vocals, piano)
Robbie Hoddinott (guitar)
Matthew Kelly (vocals, guitar, harp, national steel slide guitar)
David Perper (drums)
Garth Webber (guitar on 02., 04., 07. + 08.)


01. Big Boss Man (Dixon/Smith) 3.36
02. Dancing In The Streets (Gaye/Hunter/Stevenson) 4.33
03. Rip It Up (Blackwell/Marascalco) 2.43
04. Holy Cow (Toussaint) 3.25
05. Rumor At The Honky Tonk (Flast) 3.57
06. Money Honey (Stone) 3.44
07. Statesboro Blues (McTell) 3.51
08. 40 Days And 40 Nights (Roth) 5.43



Roger McGuinn – Same (1973)

FrontCover1.jpgRoger McGuinn was Roger McGuinn’s first full-length solo album, released in 1973.

This album was released after The Byrds’ 1973 reunion album, on which all five founding members of the group participated in the sessions. McGuinn himself has stated that any outtakes left over from those sessions appeared here, but this was later proven to be false with the discovery of several alternate takes and at least one outtake in late 2009. The majority of the songs on the album were co-written with Jacques Levy, who collaborated with McGuinn on the abandoned country-rock musical Gene Tryp in 1968-1969 (most of the resulting songs appeared on The Byrds’ (Untitled) and Byrdmaniax albums) and remained his principal lyricist until 1977.

Two songs (David Wiffen’s “Lost My Drivin’ Wheel” and “Bag Full Of Money”) were originally recorded by the Clarence White-era Byrds in 1972 but remained unreleased re-release of Farther Along on CD in 2000. Additionally, three other songs (“I’m So Restless”, “Hanoi Hannah” and “The Water Is Wide”) were performed by The Byrds at least once; the former two were premiered at a concert in Brookville, New York in early 1971, while the latter was played at a later date in August 1972. An outtake from this album, Jackson Browne’s “Jamaica, Say You Will”, had also been performed by The Byrds throughout 1971, though Clarence White handled the lead vocal and McGuinn sang the high harmony. McGuinn sings lead on this iteration, which was left off the original album before being released as a bonus track on the 2004 reissue. (by wikipedia)


Roger McGuinn’s 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it’s a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs. Never was it folkier than on the acoustic “I’m So Restless,” which benefited from harmonica by Dylan himself (about whom the song was partially about). All four of the other original Byrds play on “My New Woman,” which is virtually a reunion of the original quintet, with the addition of saxophone by jazzman Charles Lloyd; David Crosby makes unobtrusive cameos on some other tracks. As likable as it is, however, the album isn’t an unqualified triumph. Some of the songs aren’t so hot, some of the Moog synthesizer (by McGuinn) is unnecessary, his vocals sometimes seem to have been recorded with too much brittleness, and none of this is as good as the best of the Byrds. Unexpected influences make themselves heard in the Beach Boys harmonies of “Draggin'” (with Bruce Johnston of the Beach Boys on piano and backup harmonies), the Vietnam blues of “Hanoi Hannah,” and the gospel-rock of “Stone.” (by Richie Unterberger)


Hal Blaine (percussion)
Michael Clarke (drums)
Jerry Cole (guitar)
David Crosby (guitar, vocals)
Bob Dylan (harmonica)
Buddy Emmons (pedal steel guitar)
Chris Ethridge (bass)
Jim Gordon (drums)
John Guerin (drums)
Chris Hillman (bass)
Bruce Johnston (piano, vocals)
Charles Lloyd (saxophone)
Roger McGuinn (vocals, guitar, banjo, synthesizer, harmonica)
Graham Nash (guitar, vocals)
Spooner Oldham (keyboards)
Leland Sklar (bass)
David Vaught (bass)
background vocals:
Gene Clark – Spanky McFarlane
Jimmy Joyce Children’s Chorus (vocals on 08.)

01. I’m So Restless (McGuinn/Levy) – 3:05
02. My New Woman (McGuinn/Levy)  – 3:10
03. Lost My Drivin’ Wheel (Wiffen) – 3:27
04. Draggin’ (McGuinn/Levy) – 3:36
05. Time Cube (McGuinn/Hippard) – 3:15
06. Bag Full Of Money (McGuinn/Levy) – 3:19
07. Hanoi Hannah (McGuinn/Levy) – 2:50
08. Stone (Oldham/Penn) – 2:59
09. Heave Away (Traditional) – 3:03
10. M’ Linda (McGuinn/Levy) – 2:42
11. The Water Is Wide (Traditional) – 3:05