Chicken Shack - O.K. Ken 1969

This was Chicken Shack's most popular album, making the British Top Ten. If you're looking for relics of the British Blues Boom, however, you'd be much better off with Ten Years After, to say nothing of legitimate artists such as Fleetwood Mac and John Mayall. British blues at its best could be exciting (if usually derivative), but it's difficult to fathom how this relentlessly plodding, monotonous effort met with such success. Stan Webb took most of the songwriting and vocal chores, emulating the slow-burning Chicago boogie with little skill or subtlety (though he wasn't a bad guitarist). Christine Perfect did write and sing a few songs, but these unfortunately found both her compositional and vocal chops at a most callow stage of development. To nail the coffin, most of the songs were preceded by excruciating comic dialog that made Cheech & Chong sound sophisticated in comparison. AMG.

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Bob Dylan & The Band - Before the Flood 1974

Bob Dylan and the Band both needed the celebrated reunion tour of 1974, since Dylan's fortunes had been floundering since Self Portrait and the Band stumbled with 1971's Cahoots. The tour, with its attendant publicity, definitely returned both artists to center stage, and it definitely succeeded, breaking box office records and earning great reviews. Before the Flood, a double-album souvenir of the tour, suggests that these were generally dynamic shows, but not because they were reveling in the past, but because Dylan was fighting the nostalgia of his audience -- nostalgia, it must be noted, that was promoted as the very reason behind these shows. Yet that's what gives this music such kick -- Dylan reworks, rearranges, reinterprets these songs in ways that are still disarming, years after its initial release. He could only have performed interpretations this radical with a group as sympathetic, knowing of his traits as the band, whose own recordings here are respites from the storm. And this is a storm -- the sound of a great rocker, surprising his band and audience by tearing through his greatest songs in a manner that might not be comforting, but it guarantees it to be one of the best live albums of its time. Ever, maybe. AMG.

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Bob Marley & The Wailers - Burnin' 1973

The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- "Put It On," "Small Axe," and "Duppy Conqueror" -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style. The confrontational nature of the group's message is apparent immediately in the opening track, "Get Up, Stand Up," as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s "Simmer Down" philosophy. Here, on "Burnin' and Lootin'," they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, "Many Rivers to Cross," asking impatiently, "How many rivers do we have to cross/Before we can talk to the boss?" "I Shot the Sheriff," the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences ("If I am guilty I will pay"), and emphasizes the isolated nature of the killing ("I didn't shoot no deputy"), but its central image is violent. Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers. The three bonus tracks on the 2001 reissue are all by Tosh and Wailer, though recorded at the album's sessions, suggesting the source of their frustration. AMG.

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Blind Ravage - Blind Ravage 1972

Blind Ravage was formed in September 1969 in Laval, a suburb of Montreal, Quebec. Jean (John) Charbonneau (guitar, vocals) and Bob Dufour (bass, lead vocals) had been working together along with drummer Danny Gorman doing gigs in various night clubs in and around Montreal They met with Andre Deguire (drummer, vocals) at one of those night clubs where he was backing up shows and singers. On account of Danny's departure, John and Bob asked Andre to join them. Andre had been gigging once in a while with Serge Fleury (organ, piano, vocals) who was doing R&B at the time and who knew Bob well, having played with him in the early sixties with a group called the Furys. That band had stormed Montreal's dance halls with Beatles and Stones material for many years. Serge was asked to join the group and this is how Blind Ravage all started. 

The guys did night clubs mostly in Montreal doing covers of Rod Stewart, Deep Purple, Spencer Davis, Led Zeppelin and other rock bands that highly influenced them when they decided to write their own material. So, they went on and produced an album on the Crescent Street label along with producer Ken Ayoub. Ayoub had produced earlier records with Bob and Serge at the time of the Furys. The album was released in 1971 and the single Loser b/w My Life was taken from that album. The band played various concerts in Quebec, Ontario and in the northeastern states such as New York, Maine, Vermont and New Hampshire before dismantling in 1973. Bob, Andre and Serge came up with a progressive rock project Genesis type called Clockwork that became very popular especially in Quebec. They also came up with a single called Cybernaut b/w Mean Lady that was very Yes oriented. They went on until late 1975. Later, Bob and John formed a country rock band called Mirage that lasted a couple of years. In the late seventies, the four musicians went their own ways but stayed close friends and performed together occasionally on special events. Andre passed away in 1997 and John died at the end of 2006. Bob and Serge have been mostly into blues over the past 20 years and still gig together once in a while.

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The Billy Cobhman-George Duke Band - Live On Tour In Europe 1976

Excellent lineup on this one as Cobham has 3 Americans with him as he toured across Europe. George Duke on keyboards of course played with Zappa as well as Jean-Luc Ponty. Alfonso Johnson on bass is probably best known for his work on those 3 classic Weather Report albums. John Scofield on lead guitar has quite a long solo career and put out an album with Pat Metheny.This recording is from the "Montreaux Jazz Festival" from 1976. 

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Aguaturbia - Psychedelic Drugstore 1969

Influential Chilean psychedelic rock band formed in 1969 in Santiago. They split up 1974, but reunited in 2000, 2006 and on many other occasions, as they began to work on new material. The band's original drummer, Willy Cavada, passed away in 2013.

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Charles Mingus - Mingus Moves 1973

The stars aligned when Charles Mingus recorded Mingus Moves as his return to Atlantic Records in 1973 after a decade with other labels. The great composer and bassist brought with him a new band that included pianist Don Pullen and tenor saxophonist/flutist George Adams (laying the foundation for their stellar quartet in the 1980s). It also marked the return of longtime drummer Dannie Richmond to his group after several years away -- the kit man rejoined Mingus the day before these sessions occurred. Rounding out the quintet was trumpeter and teacher Ronald Hampton, who was playing with Sam Rivers at the same time. Mingus Moves stands with Changes One and Changes Two as the very best of his late work. Even the two session bonus tracks added by producer Joel Dorn at the end of the 20th century underscore this impression. The nine-cut set is populated with focused compositions by Mingus, Pullen, and Adams, with contributions from Doug Hammond and Sy Johnson. Opener "Canon" is a Latin-tinged modal ballad with a circular melody that hovers between Adams and Hampton amid moody piano, contrasting cumbia and West African rhythms. "Opus 4" is finger-popping hard bop with a fantastically knotty head shared by the horns. Pullen's bright chords and legato fills add flair to Adams' muscular tenor solo. Hammond appears as a vocalist duetting with Honi Gordon on his "Moves," a deeply spiritual cut the band articulates like a sacred hymn. Johnson's "Wee" is a hard-swinging post-bop showcase for the amazing and intuitive dialogue between Adams and Pullen. The tenorist goes deep and wide, following the pianist's ever-expanding harmonic ideas as Mingus and Richmond drive them on. The saxist's "Flowers for a Lady" is a breezy, midtempo groover whose rhythms are centered between Afro-Latin Caribbean and Brazilian sounds with a lovely solo from Hampton. Pullen's "Newcomer" is a conduit for his most intimate tonal inquiries. Adams places first his flute, then his tenor in service to its open, airy, Ellingtonian melody as Hampton joins him in the front line. The original set closer was Mingus' ten-minute "Opus 3," a tough post-bop jam with Hampton holding down the head as Adams pushes every chorus to the breaking point before the rhythm section drives it toward a stomping gospel blues à la "Better Git It in Yo' Soul." Pullen flips it, returning to forceful hard bop in his solo. Mingus and Richmond usher the changes while buoying the soloists. Pullen's "Big Alice" kicks off with a Bo Diddley-esque shuffle, with gospel tropes stitched into the swinging NOLA-styled R&B cadences. Adams, Hampton, and Pullen play soulful vamps together up front and offer tight, celebratory solos as Mingus and Richmond forcefully assert the soaring groove. There isn't a weak moment on Mingus Moves. It is not only a solid entry in the bassist's catalog, but it's an undercelebrated yet necessary encounter with the artist at his late best. AMG.

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Abraxis - Abraxis 1976

Get ready to be transported to a world where Afro-Latin rhythms collide with the vibrant spirit of West Coast rock. "Abraxis" by Abraxis is a mesmerizing fusion of jazz, rock, and pop, creating a sonic landscape that will captivate your senses. Released in 1977, this self-titled album showcases this belgium band's versatility and innovative approach to music.

Led by the talented Charles Loos on keyboards, Abraxis weaves together intricate compositions that traverse different genres with ease. From the ethereal "Clear Hours" to the sprawling epic "Valse De La Mort / A Boire / Et à / Manger," Loos takes the listener on a journey filled with unexpected twists and turns. Jean-Paul Musette's bass work provides a solid foundation, while Dirk Bogaert's flute adds a touch of ethereal beauty to the arrangements. The album also features standout tracks like "Sweetank," a delightful fusion of catchy melodies and rhythmic grooves, and "Billy The Keith," which showcases Loos' guitar prowess. The band's impeccable musicianship is evident throughout, with each member contributing their unique talents to create a cohesive and captivating sound.

Recorded at D.E.S. Studios and expertly mixed by Erwin Vervaecke, "Abraxis" captures the band's energy and creativity in exquisite detail. The album cover, with its psychedelic and trippy artwork, perfectly complements the music within, adding to the overall sensory experience.

Prepare to be spellbound by Abraxis as they take you on a musical journey unlike any other. With their genre-defying approach and virtuosic performances, this self-titled album stands as a testament to their creative vision and enduring legacy. 

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Chico Buarque - Meus Caros Amigos 1976

Chico Buarque's tenth LP, released in 1976, in its CD reissue. The album has Milton Nascimento delivering the vocals to the important "O Que Será," later recorded by Nascimento and many other interpreters. "Mulheres de Atenas," from Augusto Boal's play Lisa, a Mulher Libertadora, is a delicate canção with a feminine theme. "Olhos Nos Olhos" is a deeply heartfelt song about the end of a love affair. "Vai Trabalhar, Vagabundo," from Hugo Carvana's homonymous film, is a lively samba talking about oppression and massification. "Corrente" is a very interesting semiological experience, where each sequence of verses can be followed with no specific order. "A Noiva da Cidade," a lyrical and tender samba-canção, was taken from Alex Vianni's same-named film. From the same film is the ecological "Passaredo," while the dramatic "Basta Um Dia" is from the play Gota D'água, by Chico Buarque/Paulo Pontes. "Meu Caro Amigo" is another song that became a hit from this album, a beautiful traditional choro with a samba-influenced melody. AMG.

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Back Door - Back Door 1972

Released by the band on the Blakey label in 1972 and then re-released by Warner in 1973, this instrumental album is impressive from start to finish, and a veritable catalog of bass guitar technique. Aspery's funky sax and flute work leaves the bottom end completely open to the bass guitar, and Hodgkinson's use of strummed chords is ably backed by his bandmates on the squalling opener "Vienna Breakdown." The mel-low fon-kay bass solo, "Lieutenant Loose," makes effective use of ringing open strings, while "Slivadiv" is a fret-hammering delight. If you're a bassist, be forewarned: listening to this album is a deeply humbling experience. AMG.

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John Hammond, Jr. - John Hammond 1964

The best early works of this folk-blues artist. Acoustic and essential. AMG.

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Janis Joplin - Pearl 1970

Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out. Thanks also to a more consistent set of songs, the results are magnificent -- given room to breathe, Joplin's trademark rasp conveys an aching, desperate passion on funked-up, bluesy rockers, ballads both dramatic and tender, and her signature song, the posthumous number one hit "Me and Bobby McGee." The unfinished "Buried Alive in the Blues" features no Joplin vocals -- she was scheduled to record them on the day after she was found dead. Its incompleteness mirrors Joplin's career: Pearl's power leaves the listener to wonder what else Joplin could have accomplished, but few artists could ask for a better final statement. AMG.

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Bert Sommer - Inside Bert Sommer 1970

Bert Sommer's second album was the work of a singer/songwriter with too much talent to dismiss as inconsequential, yet not enough talent or originality to qualify as a notable overlooked performer. His voice is the kind that will not be to every listener's taste, as it's so high and shaky at times that it can be mistaken for female singing. At others, however, he's rather reminiscent of the Guess Who's Burton Cummings, though certainly not as ballsy; sometimes he sounds a bit like Paul Simon (whose "America" he unwisely covers here). Though Sommer's songs have a Baroque prettiness, there's also a peculiar undercurrent of melancholy to many of them, as if he's trying to cheer himself up through musical means. Never is this more apparent than in what's by far the record's strangest song, "I've Got to Try/Zip Zap," a first-person lament of a junkie trying to rise out of his personal ashes, though you get the feeling that this is one struggle not destined to succeed. A bit too ornately pop to fit into the early singer/songwriter movement, the record's also way too serious to fall into the sunshine pop camp. Those who've been made aware of Sommer via his Left Banke connections will be interested in the presence of his own version of "The Grand Pianist," also included around the same time on the sole album by the Michael Brown-produced Montage (on which Brown had a strong songwriting and instrumental role). AMG.

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The Barry Goldberg Blues Band - Blowing My Mind 1966

Chicago-style blues practitioner Barry Goldberg (keyboards/vocals) first came to prominence after appearing with Bob Dylan (guitar/vocals) at the 1965 Newport Folk Festival. Shortly after that, he teamed up with Steve Miller (guitar/vocals) to form the Goldberg-Miller Blues Band, releasing a pair of mostly ignored 7" singles. After Miller split to the Bay Area to form his own blues band, Goldberg and the remnants of the short-lived Goldberg-Miller union headed to Music City U.S.A. to cut Blowing My Mind (1966) . Joining Goldberg were several up-and-coming notables, including Charlie Musselwhite (harmonica), Harvey Mandel (guitar), Roy Ruby (bass), and Maurice McKinley (drums). This quintet drives through a blend of high-energy originals as well as an interesting combination of equally commanding cover tunes. However, Goldberg's "Mean Old World" stands as an anomaly. It mirrors a decidedly traditional blues style and incorporates a slower -- if not somewhat methodical -- pace with plenty of room for well-crafted solos. Mandel's projections notably help to coalesce the band's sound and overall direction. On tracks such as the rowdy and playful "Twice a Man," he foreshadows the aggressive and full-bodied approach that his solo fretwork would eventually follow. The same side is also highlighted by Musslewhite's remarkable ensemble interplay as he interjects some tasty amplified mouth harp accents. The title cut is a midtempo Goldberg/Ruby tune with an edgy garage rock feel, slightly reminiscent of Dylan's "Positively Fourth Street." The pair also contribute the upbeat and soulful "Put Me Down." McKinley really shines with a solid backbeat that is fleshed out by some clever licks and fills. Again, front and center is Musslewhite's reserved yet expressive co-lead as he responds to Goldberg's vocals. "Whole Lotta Shakin' Going On" and "That'll Be the Day" are recommended reworkings that perhaps best exemplify the bluesy synthesis that defined the Barry Goldberg Blues Band, at least on this initial effort. Rather than attempting a note-for-note re-creation, they fuse their own blend of electric blues onto the well-known and already-established melodies. The same holds for the cover versions of Jimmy Reed's "Can't Stand to See You Go" and Jimmy McCracklin's seminal side, "Think." The 1998 CD reissue on the Collectables label also includes a previously unreleased and highly effective reading of Geoff Muldaur's "Ginger Man." AMG.

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1619 Bad Ass Band - 1619 Bad Ass Band 1976

The 1619 Bad Ass Band was a soul-funk aggregation that hailed from New Jersey and played gigs around the tri-state area of New York - New Jersey - Philadelphia in the mid to late 1970s. The band was formed by Khalid Abdul Shalid, who played keyboards and wrote most of the band's material along with bass player Karl Harris. Harris' younger sister Phyllis was the main vocalist with the band. Their self-titled album from 1976 is one of the most sought-after records on the rare 1970s soul scene and vinyl copies of the album remain scarce.
 

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Southern Comfort - Frog City 1971

Comprised of members Carl Barnwell (guitar, vocals), Ray Duffy (drums), Mark Griffiths (guitar), Gordon Huntley (pedal steel guitar), and Andy Leigh (bass, vocals), country rockers Southern Comfort formed in 1970 and issued several releases during the early part of the decade. The group's debut, Frog City, was issued in 1971, which was followed up by both a sophomore self-titled release and Stir Don't Shake in 1972 before the quintet split up. Afterward, Carl Barnwell went on to form his own group, Ray Duffy played with the pop duo Gallagher & Lyle, while the rest of the members went on to session work. A post-mortem compilation, Distilled, followed in 1976. AMG.

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Lefty Frizzell - Saginaw Michigan 1964

The career of this great country singer in some ways went in the opposite manner of other performers who came out of the honky tonk tradition. Usually, the earlier recordings of this genre of country singers are the really good ones, with later productions tending to be saturated with the background choruses, string sections, and downplayed picking which passed for fancy productions once Nashville started going Pop like the weasel. However, in the case of Frizzell, this earlier album is one of the ones with somewhat excessive production, and the later recordings sport a more toned-down bar band sound, heavy on the barrelhouse piano. Not that the production here is really that obtrusive. Certainly, other country singers have fallen much more victim to their background singers than this man, who would sound good with a steam hammer and the entire roller-skating staff of a drive-in diner trying to back him up. The title song was of course a huge hit, and if there was ever a town that is too dull to deserve such a great song, "Saginaw, Michigan" would be it. "There's No Food in This House" is a chillingly understated Merle Kilgore number, the singer admitting that he "used to ask what there was for supper, now I don't ask anymore." The conclusion of the song involving a delivery of food from the good-hearted folks at a nearby church may rub some cynical listeners the wrong way. "Hello to Him" is an out-and-out classic, one of the best songs the artist ever recorded, while the jumping "James River" even sports a banjo in the arrangement, despite this instrument having been practically banned from Nashville recording studios. The best of this material is typical Lefty Frizzell -- in other words, some of the best country music around. AMG.

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Grupo Pan - Pan 1970

One of the essential and most sought-after Venezuelan rock albums, originally released in 1970, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years.

Grupo Pan was led by Carlos “Nené” Quintero, a former member of Los Dementes, Ray Pérez's group, and through this record, he aims to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitar.

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The Four Tops - Reach Out 1967

Though it's one of the best Four Tops records of the '60s, Reach Out still feels weighted down by a few vain attempts at adult pop crossover. It certainly starts out right, with the glorious "Reach out, I'll Be There," the group's second pop/R&B chart-topper. After a faithful cover of the Left Banke's "Walk Away Renee," though, listeners are forced to sit through trite versions of "If I Were a Carpenter," "Last Train to Clarksville," and "I'm a Believer" to get to real highlights like the dramatic, impassioned "Standing in the Shadows of Love" and "Bernadette." There is room for a great lesser single ("I'll Turn to Stone"), but the flip side finds the Four Tops taking on "Cherish," which could've worked well but didn't. Reach Out still did better than any other original LP by the group, almost breaking the Top Ten. AMG.

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Providence - Ever Sense The Dawn 1972

They were from Boise, Idaho, and Portland, Oregon. Which is part of what makes this album so interesting. This kind of music was not really coming out of the American Northwest in 1972. For fans of early Gentle Giant or later Jethro Tull. Or Jon Anderson's first solo album. Or the softer side of the Moody Blues. Great stuff. AMG.

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Child - Child 1969

The short-lived band released this one and only album in the late sixties. The sound is close to Vanilla Fudge heavy psych with floods of organ/keyboard tight rhythm section and dramatic vocals.

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Charlee - Charlee 1972

An excellent rock trio group from Montreal, Canada. Give it a listen. 

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The Main Ingredient - Euphrates River 1974

While nothing soared as high as "Everybody Plays a Fool" from the Bitter Sweet LP, Euphrates River is tighter and has more zap than the previous year's beautiful but hitless Afrodisiac. They nailed Seals & Croft's "Summer Breeze" -- the New Yorkers almost surpassed the Isley Brothers' soulful version. Cuba Gooding sings the upbeat and funky "California My Way" from the heart (the soul singer moved his family to L.A. -- the only Main Ingredient to do so). The trio gives Stevie Wonder's "Don't You Worry About a Thing" all they can muster; this is an excellent rendition that should have done better on the charts. Their version of "Just Don't Want to Be Lonely" helped sell this LP; it was previously done by Blue Magic and Ronnie Dyson, but the Main Ingredient's version reigns supreme. Rolling, midtempo beaters make up the bulk of the tunes with "Euphrates" and "Happiness Is Just Around the Bend" as prime examples. AMG.

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Geno Washington & The Ram Jam Band - Running Wild 1968

Initially stationed in England for the Air Force during the early '60s, American soul shouter Geno Washington fronted a British group known as the Ram Jam Band for a series of moderate U.K. chart hits during 1966-1967. Though he was born in Indiana, Washington had the grit of a deep soul testifier like Wilson Pickett or Don Covay. While stationed in East Anglia, Washington became known as a frequent stand-in at gigs around London. When guitarist Pete Gage saw him at a club in 1965, he asked Washington to join his new group with bassist John Roberts, drummer Herb Prestige, organist Jeff Wright, Lionel Kingham on tenor sax, and Buddy Beadle on baritone.

Geno Washington stayed in England after his release from the Air Force, and the band earned notice around the Southeast for an infectious live show that packed dozens of up-tempo R&B/soul nuggets into a half-hour. Signed to Piccadilly by early 1966, the group just broke into the Top 40 with "Water." Though it was their highest-charting single, Geno Washington and the Ram Jam Band hit the charts three times in the next year with "Hi-Hi Hazel," a cover of "Que Sera Sera," and "Michael." The band's first two LPs -- Hand Clappin' Foot Stompin' Funky-Butt...Live! and Hipsters, Flipsters, Finger-Poppin' Daddies! -- were much better documents of the band at work, and both hit the British Top Ten. Still, Geno Washington recorded only two more albums with the Ram Jam Band before splitting by 1970. Gage went on to join Vinegar Joe, while Washington returned in 1976 with Geno's Back! Four years later, Washington earned his only number-one hit (of a sort), when Dexys Midnight Runners took the tribute track "Geno" to the top of the charts. He recorded another LP (Put Out the Cat) in 1981 and continued to tour sporadically during the '80s and '90s, often incorporating a blues stance as well as a hypnotism act. AMG.

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Bob Ray - Initiation of a Mystic 1968

Los Angeles psych-folkie Bob Ray first earned attention as a session player, contributing bass to Donovan's now-legendary May 1966 sessions that yielded the classic "Season of the Witch." The following year he teamed with singer/guitarist James Smith and drummer Terry Hand in the sunshine pop trio Thorinshield, signing to Phillips to record their debut single, "The Best of It," produced by famed session saxophonist Teenage Steve Douglas and arranged by the great Perry Botkin, Jr. A self-titled LP soon followed, but after just one more single, 1968's "Family of Man," Thorinshield splintered, and Ray signed to Johnny Rivers' Soul City label. With Rivers assuming production duties, veteran Hal Paich handling the string arrangements, and the famed Wrecking Crew (studio virtuosos including Hal Blaine on drums, Joe Osborne on bass, and Larry Knechtel on keyboards) providing support, he cut his lone solo LP, Initiation of a Mystic, recalling Donovan with his lush, ambitious psych-pop. Ray essentially dropped from sight soon after the record's 1968 release, although Initiation of a Mystic remains a collector's item. AMG.

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Evol - Evol 1970

Evol was born in 1968, at the Seabreeze Lounge, in Huntington, West Virginia. The original members were Randall Hackney, Mike Blair, Roger Caines, and Roger Dillon. Over the next two years, the band began developing its identity; their sound became unique in the Tri-State area.

By 1970, the Seabreeze had far outgrown its space, and "Papa Ross" Scarvelli moved his business a few blocks away to a huge building, which he called the Club Romair. The crowd followed and grew. EVOL was the only band in the entire area to play the difficult stuff: Black Sabbath, Uriah Heep, Grand Funk Railroad, and about anything else that required genuine talent to play. During the early years at the Seabreeze, guitarist, and songwriter Jeff Hanichen sat in with the band on a very regular basis. In fact, he became known as the unofficial fifth member. In the fall of 1970, the band signed a contract with a music company in Nashville, Tennessee. At the same time, Jeff officially joined EVOL as a guitarist and songwriter. The band now added original music to its list of music no one else played.

The company the band signed with was operated on a shoestring budget by an engineer for Columbia Records, but he was able to secure studio time at Nugget Studios in Goodletsviite (outside Nashville). The album took about ten days, twelve hours a day to finish, at which time four of the guys returned to Huntington to prepare to go on the road. Jeff was writing for two other groups and had to stay behind for a few more weeks. Upon their return home, Roger Caines left the group and Dave Tatum joined as the drummer. These are the four members that went to the Rose Garden, in Huntington's Ritter Park, to shoot the album cover. Consequently, Jeff is not on the cover. Jeff left the band in 1971, and the remaining four continued to tour and play locally until 1977. Randall eventually retired from a cable company, Mike retired from construction work, Dave, the youngest, still works for Nabisco, and Jeff is a retired history professor. Thanks to Rockasteria.

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