Blood, Sweat & Tears – Blood, Sweat & Tears 3 (1970)

LPFrontCover1Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.

After the huge success of their previous album, Blood, Sweat & Tears 3 was highly anticipated and it rose quickly to the top of the US album chart. It also yielded two hit singles: a cover of Carole King’s “Hi-De-Ho”, and “Lucretia MacEvil.” However, the album relied heavily on cover material and it received lukewarm reviews (this may also have been influenced by the band’s participation in an unpopular U.S. government-sponsored tour of Eastern Europe (by wikioedia)

Blood, Sweat & Tears had a hard act to follow in recording their third album. Nevertheless, BS&T constructed a convincing, if not quite as impressive, companion to their previous hit. David Clayton-Thomas remained an enthusiastic blues shouter, and the band still managed to put together lively arrangements, especially on the Top 40 hits “Hi-De-Ho” and “Lucretia Mac Evil.” Elsewhere, they re-created the previous album’s jazzing up of Laura Nyro (“He’s a Runner”) and Traffic (“40,000 Headmen”), although their pretentiousness, on the extended “Symphony/Sympathy for the Devil,” and their tendency to borrow other artists’ better-known material (James Taylor’s “Fire and Rain”) rather than generating more of their own, were warning signs for the future. In the meantime, BS&T 3 was another chart-topping gold hit. (by William Ruhlmann)


David Clayton-Thomas (vocals)
Bobby Colomby (drums, percussion, background vocals)
Jim Fielder (bass)
Dick Halligan (keyboards,  harpsichord, celeste, trombone, flute, horn, background vocals)
Jerry Hyman (trombone, recorder)
Steve Katz (guitar, vocals on 02., harmonica)
Fred Lipsius (saxophone, piano, backgtound vocals, music box)
Lew Soloff (trumpet, flugelhorn)
Chuck Winfield (trumpet, flugelhorn)


01. Hi-De-Ho (Goffin/King) 5.36
02. The Battle (Halligan/Katz) 2.53
03. Lucretia MacEvil (Clayton-Thomas) 3.04
04. Lucretia’s Reprise” (Blood, Sweat & Tears) – 2:35
05. Fire And Rain (Taylor) 4.03
06. Lonesome Suzie (Manuel) 4.36
07. Symphony For The Devil Halligan)/Sympathy For The Devil (Jagger/Richards) 7.50
08. He’s A Runner (Nyro) 4.15
09. Somethin’ Comin’ On (Cocker/Stainton) 5.33
10. 40,000 Headmen (Winwood/Capaldi) 4.41




Various Artists – Jesus Christ Superstar (1970)

FrontCover1.jpgJesus Christ Superstar is a 1970 rock opera by Andrew Lloyd Webber and Tim Rice. The album musical is a musical dramatisation of the last week of the life of Jesus Christ, beginning with his entry into Jerusalem and ending with the Crucifixion. It was originally banned by the BBC on grounds of being “sacrilegious.”

The album’s story is based in large part on the Synoptic Gospels and Fulton J. Sheen’s Life of Christ, which compares and calibrates all four Gospels. However, greater emphasis is placed on the interpersonal relationships of the major characters, in particular, Jesus, Judas and Mary Magdalene, relationships that are not described in depth in the Gospels.
Lyricist Rice said he took inspiration from the Bob Dylan song “With God on Our Side”.
“Herod’s Song” is a lyrical rewrite of “Try It and See”, previously written by Lloyd Webber and Rice as a proposed British entry into the 1969 Eurovision Song Contest to be sung by Lulu, then recorded and released as a single by Rita Pavone. The writers had also included it (as “Those Saladin Days”) in an aborted show called Come Back Richard Your Country Needs You.
The melody of “I Don’t Know How to Love Him” also predates Jesus Christ Superstar; it was rewritten from a 1968 Lloyd Webber/Rice collaboration titled “Kansas Morning”.Recording

For the recording, Lloyd Webber and Rice drew personnel from both musical theatre (Murray Head had just left the West End production of Hair) and the British rock scene (Ian Gillan had only recently become the singer of Deep Purple). Many of the primary musicians — guitarists Neil Hubbard and Henry McCullough, bassist Alan Spenner, and drummer Bruce Rowland — came from Joe Cocker’s backing group The Grease Band. Saxophonist Chris Mercer had also played with Hubbard in Juicy Lucy.Release
The first piece of Superstar released was the title song, as a single in November 1969 backed with the instrumental “John Nineteen Forty-One.” The full album followed almost a year later.


The album topped the U.S. Billboard Pop Albums in both February and May 1971 and ranked number one in the year-end chart ahead of Carole King’s massive hit Tapestry. It also served as a launching pad for numerous stage productions on Broadway and in the West End. The original 1970 boxed-set issue of this 2-record set was packaged in the U.S. with a special thin brown cardboard outer box which contained the 2 vinyl records and a 28-page libretto. The album was listed as the top-selling LP on the U.S. Billboard Pop chart of 1971. It is also the sixth most successful album of all time in Norway, peaking at No. 3 and staying on the charts for 87 weeks. (by wikipedia)

Jesus Christ Superstar started life as a most improbable concept album from an equally unlikely label, Decca Records, which had not, until then, been widely known for groundbreaking musical efforts. It was all devised by then 21-year-old composer Andrew Lloyd Webber and 25-year-old lyricist Tim Rice. Jesus Christ Superstar had been conceived as a stage work, but lacking the funds to get it produced, the two collaborators instead decided to use an album as the vehicle for introducing the piece, a fairly radical rock/theater hybrid about the final days in the life of Jesus as seen from the point of view of Judas. If its content seemed daring (and perhaps downright sacrilegious), the work, a “sung-through” musical echoing operatic and oratorio traditions, was structurally perfect TheaterProgramfor an album; just as remarkable as its subject matter was the fact that its musical language was full-blown rock music. There was at the time an American-spawned hit theater piece called Hair that utilized elements of rock music, but it wasn’t as unified a work as Webber and Rice’s creation, and it was less built on rock music than on pop music that referred to rock; Webber and Rice’s work presented a far sharper, bolder musical edge and pushed it much further and harder than Hair ever did. Serving as their own producers, the two creators got together more than 60 top-flight singers and musicians (including Chris Spedding, John Gustafson, Mike Vickers, P.P. Arnold, and members of Joe Cocker’s Grease Band, not to mention Murray Head, Ian Gillan, and Yvonne Elliman in key singing roles), and managed to pull the whole production together into a more than coherent whole that contained a pair of hit singles (the title track and “I Don’t Know How to Love Him”) to help drive AM radio exposure. What’s more, the whole album sounded like the real article as far as its rock music credibility was concerned — it was played good and hard for a studio creation. Released in America by Decca as a handsomely decorated double-LP set complete with illustrated libretto, Jesus Christ Superstar seemed to pick up where the Who’s Tommy (also a Decca release) and Hair had left off, and audiences from across the age and cultural spectrum responded. Teenagers who didn’t know from Jesus, opera, or oratorios liked the beat, the hard rock sounds, and the singing and bought the album, as did parents who felt that the record offered a chance to understand some aspects of this youth culture around them, and especially its music — and so did some more forward-thinking clergy and theologians, who saw any opportunity to spread the word about Jesus where it wasn’t previously going as intrinsically good.


The result was a chart-topping LP followed in short order by a Broadway production and, a little later, a multi-million-dollar movie (oddly enough, the original double LP created barely a ripple in England in 1970 and 1971, though there was eventually a British stage production that went on to become what was then the longest-running musical on London’s West End). And all of this acceptance and embrace in America took place scarcely five years after an innocent observation by John Lennon concerning the relative popularity of the Beatles and Jesus, made in England but reported in the American tabloids, had led to protests and a media boycott of the band’s music and their 1966 tour across the Bible Belt. Jesus Christ Superstar, by contrast, passed through the border and Southern states without any controversy, speaking volumes in the process about what had happened to American society in the interim. The original release was also the first “event” album of the ’70s, presaging a brace of generally less successful efforts in that direction, ranging from Lou Adler and Lou Reizner’s orchestrated version of Tommy (Pete Townshend’s rock opera basically blown up to Jesus Christ Superstar dimensions) to the soundtrack All This and World War II and Leonard Bernstein’s Mass. (by Bruce Eder)



Victor Brox (Caiaphas, High Priest)
Barry Dennen (Pontius Pilate)
Yvonne Elliman (Mary Magdalene)
Ian Gillan (Jesus Christ)
Murray Head (Judas Iscariot)
Mike d’Abo (King Herod)
Annette Brox (Maid by the Fire)
Paul Davis (Peter)
John Gustafson (Simon Zealotes)
Brian Keith (Annas)
Paul Raven (Priest)
Neil Hubbard (guitar)
Henry McCullough (guitar)
Chris Mercer (saxophone)
Peter Robinson (keyboards)
Bruce Rowland (drums, percussion)
Alan Spenner (bass)
Harold Beckett (trumpet)
Anthony Brooke (bassoon)
James Browne (horns)
Jim Buck, Sr (horns)
Jim Buck, Jr. (horns)
John Burdon (horns)
Joseph Castaldini (bassoon)
Norman Cave (piano)
Jeff Clyne (bass)
Ciclone (saxophone)
Keith Christie (trombone)
Les Condon (trumpet)
Alan Doggett (synthesizer)
Ian Hamer (trumpet)
Ian Herbert (clarinet)
Clive Hicks (guitar)
Karl Jenkins (piano)
Frank Jones (trombone)
Bill LeSage (drums)
John Marshall (drums)
Andrew McGavin (horns)
Anthony Moore (trombone)
Douglas Moore (horns)
Peter Morgan (bass)
Chris Spedding (guitar)
Louis Stewart (guitar)
Chris Taylor (flute)
Steve Vaughan (guitar)
Mike Vickers (synthesizer)
Brian Warren (flute)
Mick Weaver (keyboards)
Andrew Lloyd Webber (keyboards, synthesizer)
Alan Weighall (bass)
Kenny Wheeler (trumpet)
Strings of the City of London Ensemble
backgroumd vocals conducted by Geoffrey Mitchell:
Pat Arnold – Tony Ashton – Tim Rice – Peter Barnfeather – Madeline Bell – Brian Bennett – Lesley Duncan – Kay Garner – Barbara Kay – Neil Lancaster – Terry Saunders – Alan M. O’Duffy
Children’s choir conducted by Alan Doggett on 01.
The Trinidad Singers conducted by Horace James on superstar



CD 1:
01. Overture 3.59
02. Heaven On Their Minds 4.22
03. What’s The Buzz/Strange Thing Mystifying 4.13
04. Everything’s Alright 5.14
05. This Jesus Must Die 3.37
06. Hosanna 2.09
07. Simon Zealotes/Poor Jerusalem 4.47
08. Pilate’s Dream 1.28
09. The Temple 5.43
10. Everything’s Alright (reprise) 0.32
11. I Don’t Know How To Love Him 3.38
12. Damned for All Time/Blood Money 5.09

CD 2:
13. The Last Supper 7.08
14. Gethsemane (I Only Want to Say) 5.33
15. The Arrest 3.21
16. Peter’s Denial 1.28
16. Pilate and Christ 2.44
17. King Herod’s Song (Try It and See) 3.03
18. Judas’ Death 4.15
19. Trial Before Pilate (Including the 39 Lashes) 5.13
20. Superstar 4.16
21. The Crucifixion 4.06
22. John Nineteen: Forty-One 2.09

Music written by Andrew Lloyd Webber
Lyrics written by Tim Rice


The US labels

Savoy Brown – Looking In (1970)

FrontCover1.jpgLooking In is the sixth album by the band Savoy Brown.

It was released by Decca in 1970 (SKL 5066). For release in the USA and Canada tapes were leased to Parrot Records (PAS 71042).

The album reached no. 50 in the UK. (by wikipedia)

Savoy Brown’s blues-rock sound takes on a much more defined feel on 1970’s Looking In and is one of this band’s best efforts. Kim Simmonds is utterly bewildering on guitar, while Lonesome Dave Peverett does a fine job taking over lead singing duties from Chris Youlden who left halfway through the year. But it’s the captivating arrangements and alluring ease of the music that makes this a superb listen. The pleading strain transformed through Simmonds’ guitar on “Money Can’t Save Your Soul” is mud-thick with raw blues, and the comfort of “Sunday Night” is extremely smooth and laid back.


“Take It Easy” sounds like it could have been a B.B. King tune as it’s doused with relaxed guitar fingering. The entire album is saturated with a simple, British blues sound but the pace and the marbled strands of bubbly instrumental perkiness fill it with life. Even the Yardbirds-flavored “Leaving Again” is appealing with its naïve hooks, capped off with a heart-stopping guitar solo. This album along with Street Corner Talking best exemplify Savoy Brown’s tranquilizing style. (by Mike DeGagne)


Lonesome Dave (vocals, guitar)
Roger Earl (drums)
Kim Simmond (guitar, piano)
Tony Steven (bass)
Owen Finnegan (percussion)


01. Gypsy (Simmonds) 1.02
02. Poor Girl (Stevens) 4.09
03. Money Can’t Save Your Soul (Peverett/Simmonds) 5.32
04. Sunday Night (Simmonds) 5.25
05. Looking In (Peverett/Simmonds) 5.19
06. Take It Easy (Peverett/Simmonds) 5.44
07. Sitting An’ Thinking (Simmonds) 2.54
08. Leavin’ Again (Peverett/Simmonds) 8.30
09. Romanoff (Simmonds) 1.02



More Savoy Brown:

More Savoy Brown1



Shirley Bassey – Something (1970)

FrontCover1.JPGSomething is a 1970 album by Shirley Bassey. With her career having been in decline since the latter part of the mid 1960s, Something proved to be Shirley Bassey’s comeback when it was released in August 1970. The title track single became her biggest UK hit for many years, reaching No.4 and spending 22 weeks on the chart. This was actually the second single featured on the album, “The Sea and Sand” having already been released earlier. The album was similarly her biggest hit for many years in the album charts, reaching No.5 and spending 28 weeks in the top 50.

This album led to a major revival in Bassey’s career, and it would see Bassey transform into mainly an album artist, recording fifteen albums in the 1970s (four of those live recordings). Of those three would be top ten albums, three others in the top fifteen, and a further four in the top 40. She would also reach the top three twice, with a pair of compilations. This was also her first work with record producer Noel Rogers and producer/arranger Johnny Harris, who built on Bassey’s traditional pop roots to include contemporary songs and arrangements.

The album’s original release was in stereo on vinyl and cassette. This was the first Shirley Bassey studio album not to be issued in mono. The album was released in the US as Shirley Bassey is Really “Something” and featured different artwork and cover photograph. (by wikipedia)


Locked out of the singles charts for the past seven years, Shirley Bassey finally returned with this collection of “contemporary” standards, including her British Top Five single “Something.” (Bassey, who first heard the song when Peggy Lee sang it, apparently didn’t even know it was a Beatles tune until just before recording it.) To parallel the modern material, Johnny Harris’ arrangements add an upfront electric bass and hang-loose drumkit to the heavy strings and brass. Of course, Bassey was never a jazz singer, so she makes the transition from traditional pop to contemporary rock with an ease more comparable to Barbra Streisand than Peggy Lee. There are a few jazzy rock standards (“Light My Fire,” “Spinning Wheel,” “Something”) plus plenty of latter-day show tunes (“Easy to Be Hard,” “What Are You Doing the Rest of Your Life,”) and a few ’60s vocal pieces (“The Sea and Sand,” “My Way,” “Yesterday When I Was Young”). Each tune that comes her way gets stamped with the irrepressible Bassey style, and ends up making a remarkably cohesive album of contemporary pop. (by John Bush)

What a voice !


Alternate front + back cover

Tony Campo (bass)
Harold Fisher (drums)
Bill Parkinson (guitar)
Shirley Bassey (vocals)
unknown orchestra conducted by Johnny Harris


01. Something (Harrison) 3.33
02. Spinning Wheel (Clayton-Thomas) 3.05
03. Yesterday I Heard The Rain (Manzanero/Lees) 3,27
04. The Sea And Sand (Harris/Colton/Smith) 3.59
05. My Way (Comme D’Habitude) (Revaux/François/Thibaut/Anka) 3,36
06. What About Today? (Shire/Maltby, Jr.) 3.08
07. You And I (Bricusse) 3.44
08. Light My Fire (Krieger/Manzarek/Densmore/Morrison) 3.25
09. Easy To Be Hard (MacDermot/Ragni/Rado) 2.39
10. Life Goes On (Theodorakis/Martin) 2.38
11. What Are You Doing The Rest Of Your Life? (Legrand/A.Bergman/M.Bergman) 2.55
12. Yesterday, When I Was Young (Aznavour/Kretzmer) 3.48


Miles Davis – Jack Johnson (OST) (1971)

FrontCover1.jpgJack Johnson, later reissued as A Tribute to Jack Johnson, is a 1971 studio album and soundtrack by American jazz trumpeter, composer, and bandleader Miles Davis. In 1970, Davis was asked by Bill Cayton to record music for his documentary of the same name on the life of boxer Jack Johnson. Johnson’s saga resonated personally with Davis, who wrote in the album’s liner notes of Johnson’s mastery as a boxer, his affinity for fast cars, jazz, clothes, and beautiful women, his unreconstructed blackness, and his threatening image to white men. This was the second film score he had composed, after Ascenseur pour l’échafaud in 1957.

The music recorded for Jack Johnson reflected Davis’ interest in the eclectic jazz fusion of the time while foreshadowing the hard-edged funk that would fascinate him in the next few years. Having wanted to put together what he called “the greatest rock and roll band you have ever heard”, Davis recorded with a line-up featuring guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, clarinetist Bennie Maupin, and drummers Jack DeJohnette and Billy Cobham. The album’s two tracks were drawn from one recording session on April 7 and edited together with recordings from February 1970 by producer Teo Macero.


Jack Johnson was released by Columbia Records on February 24, 1971. It was a turning point in Davis’ career and has since been viewed as one of his greatest works. JazzTimes later wrote that while his 1970 album Bitches Brew had helped spark the fusion of jazz and rock, Jack Johnson was Davis’ most brazen and effective venture into rock, “the one that blew the fusion floodgates wide open, launching a whole new genre in its wake”. According to McLaughlin, Davis considered it to be his best jazz-rock album. (by wikipedia)


None of Miles Davis’ recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis’ promise that he could form the “greatest rock band you ever heard.” Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, “Right Off,” the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians’ point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Davis; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Davis rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career.


Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. The groove gets nastier and nastier as the track carries on and never quits, though there are insertions by Macero of two Davis takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On “Yesternow,” the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Davis, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown’s “Say It Loud, I’m Black and I’m Proud.” The material that eases the first half of the tune into the second is taken from “Shhh/Peaceful,” from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of “Right Off.”


It gets more complex as the original lineup is dubbed back in with a section from Davis’ tune “Willie Nelson,” another part of the ambient section of “Right Off,” and an orchestral bit of “The Man Nobody Saw” at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero. (by Thom Jurek)

AlternateFrontCoverAlternate frontcover


he first track and about half of the second track were recorded on April 7, 1970 by this sextet:

Billy Cobham (drums)
Miles Davis (trumpet)
Steve Grossman (saxophone)
Herbie Hancock (organ)
Michael Henderson (bass)

John McLaughlin (guitar)

The “Willie Nelson” section of the second track (starting at about 13:55) was recorded on February 18, 1970 by a different and uncredited lineup:

Chick Corea (piano)
Miles Davis (trumpet)
Jack DeJohnette (drums)
Dave Holland (bass)

Bennie Maupin (clarinet)
John McLaughlin (guitar)
Sonny Sharrock (guitar)


01. Right Off (Davis) 26.54
02. Yesternow (Davis) 25.35LabelB1


More Miles Davis:

More Miles Davis

Jimmy Smith – Groove Drops (1970)

FrontCover1.jpgGroove Drops is a 1970 jazz album by Jimmy Smith, arranged, conducted and produced by Johnny Pate and released on the Verve label.Groove Drops is a 1970 jazz album by Jimmy Smith, arranged, conducted and produced by Johnny Pate and released on the Verve label.
On the Billboard albums chart, Groove Drops peaked at number 197, and at 13 on the top Jazz albums chart. (by wikipedia)

I love this album! It was a favorite of mine as a kid growing up in the 70’s, and revisiting it in the present day has been no less fun for me. Jimmy is in fine form on all tracks, with infectious grooves on the aptly named title track, as well as Sunny and Ode to Billie Jo. The funky backbeats heard on this album were a favorite thing for Smith. He loved that beat and used it on numerous tunes in his career. The other songs on the album, Days of Wine and Roses, Who Can I Turn To, feature gorgeous Hammond balladeering as none other was capable of quite like Jimmy Smith. Why AllMusic gave this album 2 out of 5 stars is beyond me. I’ll give it 5 any day, it’s one of my favorite albums. It showcases a great master of the Hammond organ at the top of his form. There are many great organists then and now, but this is one of Jimmy’s best albums of the 70s. (by Mark Twain)


Jimmy Smith (organ)
unknown orchestra conducted by Johnny Pate


01. Groove Drops (Smith) 4.15
02. Days Of Wine And Roses (Mancini/Mercer) 5.23
03. Sunny (Hebb) 6.01
04. Ode To Billie Joe (Gentry) 6.23
05. Who Can I Turn To (When Nobody Needs Me) (Bricusse/Newley) 3.38
06. By The Time I Get To Phoenix (Webb) 4.40


If – Same (1970)

LPFrontCover1If were a progressive rock band formed in Britain in 1969. Referred to by Billboard as “unquestionably the best of the so-called jazz-rock bands”, in the period spanning 1970–75, they produced eight studio-recorded albums and did some 17 tours of Europe, the US and Canada.

If, often referred to as If 1, is the eponymous debut album by the English Jazz rock band if. It was released in 1970 on the Island Records label in the UK and Capitol Records in the US. The original artwork and the if logo, which was an award-winning design, were by CCS Advertising Associates. (by wikipedia)

If’s first album came out in the summer of 1970, while most horn-driven jazz-rock bands were still mimicking the successful formula employed by Chicago and Blood, Sweat & Tears. If was different, with more of a jazz feel on both the instrumental and the vocal ends. The material on If provides plenty of room for reedmen Dave Quincy and Dick Morrissey, plus guitarist Terry Smith, to stretch out. Though not particularly deep or profound, the lyrics nonetheless express the positive, optimistic sentiments prevalent at the time.


J.W. Hodgkinson’s unusual tenor vocal timbre fits like a lead instrument in the mix, soaring above and within the arrangements. “What Can a Friend Say” kicks the album off in fine style, setting the parameters within which the band works throughout the rest of the disc, with the horns complementing Hodgkinson’s rendering of the verses, which wrap around excellent, extended sax and guitar solos. The instrumental “What Did I Say About the Box, Jack?” showcases Morrissey’s high-octane flute work and the speedy fingers of guitarist Smith. The album continues in the same consistently excellent vein, with the ballad “Dockland” providing a beautiful respite toward the end of the album. (by Jim Newsom)

In other words: Another timeless masterpiece of British Jazz-Rock !


Dennis Elliott (drums)
J.W. Hodkinson (vocals, percussion)
John Mealing (keyboards, background vocals)
Dick Morrissey (saxophone, flute)
Dave Quincy (saxophone, flute)
Jim Richardson (bass)
Terry Smith (guitar)

01. I’m Reaching Out On All Sides (Quincy/Fishman) 5.45
02. What Did I Say About the Box, Jack? (Morrissey) 1.51
03. What Can A Friend Say? (Quincy) 6.59
04. Woman Can You See (What This Big Thing Is All About) (Hodkinson) 4.11
05. Raise The Level Of Your Conscious Mind (Fishman/Marsala) 3.13
06. Dockland (Runswick) 4.44
07. The Promised Land (Quincy) 3.43