Can't find the second side...

Of that TEMPTATIONS LIVE! album, thought I had it. Oh well, I'll keep an eye out.

Aretha Franklin-SPIRIT IN THE DARK (1970)

Spirit in the Dark was one of Aretha Franklin's more overlooked albums from her Atlantic prime, despite the inclusion of a couple hit singles (the title track and "Don't Play That Song"). The disc includes five of her own compositions (the most she ever recorded for a single album) and her usual eclectic choice of cover material. On this record, the covers ranged from B.B. King and Dr. John to Jimmy Reed and Goffin/King's "Oh Not My Baby." The album also benefits from great backup players: Both the Muscle Shoals rhythm section and the Dixie Flyers contributed to the sessions, and Duane Allman lends his guitar to a couple of tracks. Though it doesn't rank with her very best Atlantic LPs, it's an exuberant and remarkably consistent effort.

-Richie Unterberger, allmusic.com

DOWNLOAD:
Aretha Franklin-SPIRIT IN THE DARK (1970)
320kbps

Harpers Bizarre-FEELIN' GROOVY (1967)

One of the bands that came to Warner Bros. in their buyout of Autumn Records were the Tikis. They had only recorded a handful of singles, and in terms of musical direction and group identity, they definitely had potential. Enter producer Lenny Waronker and session musician/arranger/songwriter/general musical architect Van Dyke Parks. The two of them brought then-drummer Ted Templeman up to the front as co-lead vocalist, along with Dick Scoppettone, and created a soft-rock identity for the group, renaming them Harpers Bizarre. Their first single was perhaps their greatest shot: a cover of the then-brand new Paul Simon song, "Feelin' Groovy." Buttressed by an amazing Leon Russell arrangement and some great performances from the A-list of L.A. session cats, the song quickly went into the Top Ten. The resulting album is almost as great as the single, with songs by Van Dyke Parks ("Come to the Sunshine"), Randy Newman ("Debutante's Ball"), and others. An excellent and definitive slice of California soft pop.

-Matthews Greenwald, allmusic.com

DOWNLOAD:
Harpers Bizarre-FEELIN' GROOVY (1967)
320kbps

Gloria Scott-WHAT AM I GONNA DO (1974)

How does this remarkable little album still remain unknown? I found it recently on an obscure label in a CD Store and grabbed it, as the legendary prices it commanded on Ebay were common knowledge to followers of the neo-soul movement.

For newcomers to the album, this album was released in 1974 in limited quantities on vinyl, and to date is vocalist Gloria Scott's only album (no one knows what happened to her either). As the only album she recorded, it failed within the US, but for some reason developed a cult following in Europe, and strangely enough, in Japan. In fact, the Japanese audience was sizable enough that the first ever CD release of this happened only within Japan.

Cut to 2003, when Mercury Records finally decide to release this on CD within the States, but again in limited quantities, which is bad news for you because you might not be able to find this as easily as you think you might be able to.



So what does the music sound like - well, think of some old school Diana Ross, slowed down even more and layered with a luscious jazz and blues ambience. Its stripped down, almost acoustic, and yet every track manages to sound different and unique. My personal favorite is "Its Better to have no Love" which best exemplifies the kind of superb songwriting that was present back in the 1970s. "A Case of too Much Lovemakin" was actually a minor R&B hit within the US in 1974 - but ask anyone who followed music back in that year about Gloria Scott and they'd go "Who?"

I love obscure, rare releases such as this one. Gloria Scott created an instant classic, and it holds up just beautifully. I'd suggest you get your hands on this as soon as possible. I think Mary J Blige possibly has this album though, as almost EVERY song on this album sounds like it could have inspired almost all of the best songs in Blige's catalog. Either way, this is a must-have.

-Cabir Davis, amazon.com

DOWNLOAD:
Gloria Scott-WHAT AM I GONNA DO (1974)
320kbps

Does anyone have a 320 rip of the unreleased David Ruffin album recorded 1969-1971, the one that was put out in 2004 and is OOP now? Big thanks if you can help me out.

Gene Clark-GENE CLARK WITH THE GOSDIN BROTHERS (1967)

The first album that Gene Clark released after his departure from the Byrds followed very closely on the model of his earlier efforts on the Byrds' first two albums. His backing musicians included ex-bandmates Chris Hillman and Michael Clarke, as well as future Byrd Clarence White and Clark collaborator Doug Dillard, not to mention the Gosdin Brothers, whose harmonies resembled a rockier Everly Brothers and brought the sound very close to that of the Byrds. The album contains a number of fine pop-oriented tunes and stellar folk-rock/country-rock numbers (a year before the Byrds' Sweetheart of the Rodeo, which employed both White and Dillard) and established Clark as a major songwriter, rivaling his old band and often coming close to the fabness of the Beatles. Still, despite such solid songs and backing musicians, Gene Clark with the Gosdin Brothers failed to make much of an impact, perhaps due to its being released in the same week as the Byrds' Younger Than Yesterday, itself a tour de force that cemented their influence. However, in the realm of Clark's recorded output, this album stands as the one of the best, if not the best, example of how powerful a singer, writer, and bandleader he was.

-Alex Stimmel, allmusic.com

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Gene Clark-GENE CLARK WITH THE GOSDIN BROTHERS (1967)
320kbps

Various Artists-JOE MEEK: THE ALCHEMIST OF POP (2002 compilation)

Joe Meek was the UK's first independent record producer. Between 1960 and his untimely demise in 1967, he churned out hundreds of discs from his home-made studio at Holloway Road in London. He had nearly 50 UK chart entries, with 3 number 1s.
This double CD contains all of what music journalists would call the 'essentials'. All Meek's top 10 productions are here - Johnny Remember Me, Telstar, Have I The Right, Just Like Eddie, Don't You Think It's Time etc. Some of the rest are pretty weak, however, proving that a song didn't need to be top-notch to get into the charts. Most of Meek's classic non-hits are on other compilations, or not on CD at all, sadly.



This is 85% right, as far as Meek fans would put out on a compilation. Due to Meek's prolific and diverse output, though, a 'definitive' compilation would be 3 or 4 times as long. For early 60s music fans who just want the basics to go with their existing collections, this is great. For those wishing to get a more complete picture of Joe Meek's output, then 'Alchemist Of Pop' is a good place to start, but they should investigate the CDs of the major artists on here (Leyton, Tornados, Heinz, Glenda Collins etc.)

-M. Laurenson, amazon.com

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Various Artists-JOE MEEK: THE ALCHEMIST OF POP (2002 compilation)
320kbps

The Beau Brummels-TRIANGLE (1967)

The jewel in the Beau Brummels' crown, Triangle was an unexpected departure from the band's earlier hit-making formula -- and demonstrated Ron Elliott's growing maturation as a songwriter. All the band's signature styles (folk, country swing, and Brit-pop) are still heard in the mix, but the tunes here assume an added aura of mysticism. Buried commercially by the likes of Sgt. Pepper, Triangle shared its premise of songs loosely united by a common theme -- in this case, a ruminative dream cycle (though to call Triangle a concept album might be overstating the case). The exquisite "Magic Hollow," graced by Van Dyke Parks' delicate harpsichord, was surely the LP's highlight. Plucked as a single, it barely dented the charts, yet remains one of the most beautiful tunes in the entire Brummels canon. The album's first five songs -- "Are You Happy," "Only Dreaming Now," "Painter of Women," "Keeper of Time," and "It Won't Get Better" -- form a surprisingly coherent and cohesive whole despite marked differences. "Dreaming"'s accordion transports the listener to Paris' Montmartre, while "Painter" suggests the shifting sands of the Middle East. Elliott's lyric imagery in these tunes and a third track -- "The Wolf of Velvet Fortune" -- is particularly striking, and Sal Valentino's richly expressive voice elevates all three to sublime heights. Too long ignored by rock cognoscenti, Triangle is (all hyperbole aside) a fine album which deserves to be heard by a wider audience.

-Stansted Montfichet, allmusic.com

DOWNLOAD:
The Beau Brummels-TRIANGLE (1967)
320kbps

Dillard & Clark-THE FANTASTIC EXPEDITION OF DILLARD AND CLARK (1968)

Gene Clark was the greatest underrated singer/songwriter to emerge from the '60s rock explosion, and deserves to be mentioned in the same breath as Neil Young. This album, his debut as a duo with virtuoso banjoist/guitarist Doug Dillard, is perhaps his most brilliant recording. Out of the ashes of the Byrds and a brilliant false start of a solo career (the excellent Echoes album), the 1968 Dillard & Clark project found Clark collecting some of his finest material (basically the entire album) and putting it in the familiar context of bluegrass and country, a good year before these elements became vogue in the pop world. But Gene Clark was always ahead of his time. Bookended by two exquisite autobiographical explorations into consciousness -- "Out on the Side" and "Something's Wrong" -- the album's other tracks run from mournful ballad statements such as "Radio Song" to joyous celebrations like "With Care from Someone." There is also a very hot cover of the gospel number "Git It on Brother," which features Chris Hillman on mandolin. Doug Dillard's playing on the record is uniformly excellent. Not only a virtuoso musician, Dillard is a truly smart player who never gets in the way of the songs. Graceful, spellbinding, and tasteful all at the same time. Absolutely essential.

-Matthew Greenwald, allmusic.com

DOWNLOAD:
Dillard & Clark-THE FANTASTIC EXPEDITION OF DILLARD AND CLARK (1968)
320kbps

Wendy & Bonnie-GENESIS (1969)

Uh, wow. Constant rotation. -Ian!

Who gave acid to these kids? Chemically induced or not, they committed a psychedelic gem of “Present Tense” (1968, by Sagittarius) and “Begin” (1968, by Millennium) proportions, lyrically and musically. The uniqueness and charm of the release is increased by the stripped down treatment of the vocals, which sound like voices of the best girls at their respective primary school – drowsing choir – and given a record deal, and it worked handsomely.



If we compare with the superbly carried out the studio piloting backing up The Millennium, we will easily see that Curt Boettcher – the spiritual father of XTC’s Andy Partridge – was confirming his innovative ways of commanding recording knobs, facing this task as substantial part of the artistic direction, which became a kind of common sense in current rock-pop productions. With Wendy & Bonnie we have to take another vintage point. The release is the epitome of studio simplicity and technical straightforwardness, which more than often leads to utter crap, but not in “Genesis”. Wendy & Bonnie Flower knitted a masterpiece, and in the Palaeolithic way. In an era of hardcore industrial reproduction of works of art to which music is no exception, the album at stake sounds hand-made. A superior hymn to obsolescence, the way masterpieces mechanically produced should sound.

-docperkins, rateyourmusic.com

DOWNLOAD:
Wendy & Bonnie-GENESIS (1969)
320kbps

WE ALL MAKE THE FLOWERS GROW: A Mix from Ian! for Winter 2009/2010

Very happy with the feel of this mix. I wanted to start off with a winter theme but it's hard to stick to a theme like that without it being an unlistenable bummer. I've been really into psychedelic cowboy and Los Angeles 1960s studio pop lately. Lee Hazlewood, The Monkees, Curt Boettcher. Speaking of that, man you gotta get the new NUGGETS comp.

This mix feels, to me, like traveling. The reality of traveling. The excitement of inertia and its fade into tedium. Sits well with being stuck in the airport, wondering if you have time to get the all important drink before boarding, jetlag. Taxis and Taxiing. Not knowing what's day or night anywhere anymore. Not knowing the language anyone is speaking.


Click for biggens.

Works in iTunes, just use the .M3U file included. It's actually a pain in the ass to get tags to work between iTunes and Foobar, iTunes tends to mess tags up or do something proprietary to them. Dunno. But this worked okay.

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WE ALL MAKE THE FLOWERS GROW: A Mix from Ian! for Winter 2009/2010
VBR

The Shadows of Knight-GLORIA / BACK DOOR MEN (1966 / 1967)

Although revisionist historians will claim that any Shadows of Knight best-of that includes "Gloria" will cover just about everything you'll ever need on this Chicago punk band (and usually acting as if Van Morrison's and Them's original was the actual hit -- wrong), true believers have long championed their two original albums for the Dunwich label, especially their debut long-player named after their big hit. Why? Simply because it positively rocks with a raw energy of a band straight out of the teen clubs, playing with a total abandon and an energy level that seems to explode out of the speakers. Equal parts Rolling Stones, Yardbirds, Who, and snotty little Chicago-suburb bad boys, the Shadows of Knight could easily put the torch to Chess blues classics, which make up the majority of the songs included here. Their wild takes on "I Just Want to Make Love to You," "Oh Yeah," and "I Got My Mojo Working" rank right up there with any British Invasion band's version from the same time period. Original material was never plentiful on either SOK long-player, but worth checking out are "Light Bulb Blues," the blues ballad "Dark Side," and the why-me? rocker "It Always Happens That Way." Completing the package is the inclusion of three bonus tracks, the single-only "Someone Like Me" and an alternate version, and "I Got My Mojo Working," which is vastly superior to the take on the original album. A not-too-vastly-different alternate mix of "Oh Yeah" completes the bonus tracks, although the original album version is curiously missing from this otherwise excellent package. Nonetheless, a reissue well worth adding to the collection. If you're only going to own one Shadows of Knight package, you could, and should, start right here.


The original LP version of BACK DOOR MEN, the second by the legendary white Chicago garage punk/blues outfit, was one of the most sought-after artifacts of mid-'60s punk rock. Back Door Men was a loud, feedback-laden, sneering piece of rock & roll defiance, mixing raunchy anthems to teenage lust ("Gospel Zone," "Bad Little Woman"), covers of Chicago blues classics (Willie Dixon's "Spoonful," Jimmy Reed's "Peepin' and Hidin'"), raga rock ("The Behemoth"), folk-rock ("Hey Joe," "Three for Love," "I'll Make You Sorry"), and a blues-punk grab off of commercial Top 40 ("Tomorrow's Gonna Be Another Day") all on one 12" platter. What makes the record even more startling is that every one of these tracks, however far afield they go from one another, works. The band strides across the music spectrum with a reach and boldness that most listeners usually only associate with the likes of the Beatles or the Rolling Stones, and a grasp that, for a moment here, may have exceeded either of those groups, as they slide from electric guitar into extended Chess-style blues instrumentals ("New York Bullseye").

-Cub Koda, Bruce Eder, allmusic.com

DOWNLOAD:
GLORIA (1966)
BACK DOOR MEN (1967)
320kbps

Tangerine Dream-POLAND (1984)

I threw in TD's tracks from RISKY BUSINESS because a) they're from the same era b) they're probably their best soundtrack songs, and c) not everyone really wants the Bob Seger and Phil Collins tracks from the soundtrack. -Ian!

The early to mid-'80s were a particularly fertile time for Tangerine Dream: the Froese/Schmoelling/Franke lineup had been together for several years, and they had been quite busy with soundtrack work and had just signed with Zomba Records after a longtime association with Virgin. For this concert (their second appearance behind the Iron Curtain), Tangerine Dream turned in an excellent performance, despite battling technical problems and the extreme cold of the Polish winter. The four long tracks build and unfold slowly, in classic Tangerine Dream style. Poland captures Tangerine Dream at a high point in their career -- before the advent of sampling and the departure of Schmoelling (in 1985).

-Sean Westergaard, allmusic.com

DOWNLOAD:
Tangerine Dream-POLAND (1984)
320kbps

Buck Owens & His Buckaroos-BUCK OWENS SINGS HARLAN HOWARD / DUST ON MOTHER'S BIBLE (1961 / 1966)

Harlan Howard wrote many of Buck Owens' biggest hits and best songs, including "I've Got A Tiger By the Tail," "Above and Beyond," "Excuse Me (I Think I've Got A Heartache)," and "Under the Influence of Love," so it's only natural that Buck recorded an entire album of Howard's material. And it's also not surprising that it's a stunner, too. Owens sang Howard better than nearly anybody and Buck Owens Sings Harlan Howard is full of wonderful songs and performances. Only "Foolin' Around" is regularly featured on Buck's hit compilations, which means there's a wealth of lesser-known gems --- including "Heartaches By the Number," "Pick Me Up on Your Way Down," "Keys in the Mailbox" and "Let's Agree to Disagree" -- that form the core of this record, one of Owens' most enjoyable LPs of the '60s.

It took the Sundazed label a while to reissue this one on CD. They did the Buck Owens Capitol catalog back in the 1990s and did a stellar job, but this one they waited on. Perhaps it was best. In 2003 there were far more people interested in country gospel again. But this is no ordinary country gospel album. This isn't the Carters or the Louvins. This is honky tonk country gospel done Bakersfield style. Owens toned down his Buckaroos approach not a bit to record this. If anything, in listening to the opener, "Pray Every Day," or "When Jesus Calls All His Children In" or "Bring It to Jesus" or the rollicking "Would You Be Ready," the slippery guitar and pedal steel-heavy arrangements make this record feel more like a late-night barroom drinking and dancing set than something to be played for church. And that makes perfect sense. Didn't Jesus come to call sinners and not the righteous? What better way than to have the careening sound of the Buckaroos as a soundtrack for salvation? Dust on Mother's Bible is one of the great Buckaroos albums and once again displays Owens' singular place in the pantheon of country music.

-Stephen Thomas Erlewine, Thom Jurek, allmusic.com

DOWNLOAD:
BUCK OWENS SINGS HARLAN HOWARD (1961)
DUST ON MOTHER'S BIBLE (1966)
256/320kbps

La Monte Young / Marian Zazeela with The Theatre Of Eternal Music-DREAM HOUSE 78' 17" (1974)

George Maciunas started to use the term Fluxus in 1961 for a series of lecture-demonstrations and performance in New York, since then a continuous on-going series of exhibitions, performances, concerts and publications have traversed all the world, and much has been written and theorised, more or less accurately, about this art movement. Therefore I believe that the best introduction to this first anthology of Fluxus music an sound events should be to publish a selection of texts written by some flux-people, each one dealing with his own individual view point.



Around 1962, La Monte formulated the concept of Dream House as a piece that would be played continuously, experienced as a living organism with a life of its own, and exist in time as a tradition to itself. […] Time is so important for experiencing and understanding this piece that the exhibition was specially designed to give visitors the chance to offer themselves for longer stretches of time to the environment, and, perhaps, during the time span to frequently return to their own existence. It follows the principle that musical atmosphere is a function of time. […], and can be essential to experiencing frequencies over longer time periods, in order to adjust one’s nervous system and vibrate with the frequencies of the environment.

-http://www.medienkunstnetz.de/works/dream-house

DOWNLOAD:
La Monte Young / Marian Zazeela with The Theatre Of Eternal Music-DREAM HOUSE 78' 17" (1974)
V0

Buffy Sainte-Marie-ILLUMINATIONS (1969)

Come on, look at that cover. -Ian!

In the year 2000, the Wire magazine picked this spaced out gem from Native American folksinger and activist Buffy Sainte-Marie as one the "100 Albums That Set the World on Fire." Released in 1969, and now on CD, as of 2001, it was reissued as an import on 180 gram vinyl with its original glorious artwork and package. Interestingly enough, it's a record Sainte-Marie doesn't even list on her discography on her website. It doesn't matter whether she cares for it or not, of course, because Illuminations is as prophetic a record as the first album by Can or the psychedelic work of John Martin on Solid Air. For starters, all of the sounds with the exception of a lead guitar on one track and a rhythm section employed on three of the last four selections are completely synthesized from the voice and guitar of Sainte-Marie herself. There are tracks whose vocals are completely electronically altered and seem to come from the ether -- check out "Mary" and "Better to Find Out for Yourself" as a sample. But the track "Adam," with its distorted bassline and Sainte-Marie throwing her voice all over the mix in a tale of Adam's fall and his realization -- too late -- that he could have lived forever, is a spooky, wondrous tune as full of magic as it is mystery and electronic innovation. The songs here, while clearly written, are open form structures that, despite their brevity (the longest cut here is under four minutes), break down the barriers between folk music, rock, pop, European avant-garde music and Native American styles (this is some of the same territory Tim Buckley explores on Lorca and Starsailor). It's not a synthesis in any way, but a completely different mode of travel.

This is poetry as musical tapestry and music as mythopoetic sonic landscape; the weirdness on this disc is over-exaggerated in comparison to its poetic beauty. It's gothic in temperament, for that time anyway, but it speaks to issues and affairs of the heart that are only now beginning to be addressed with any sort of constancy -- check out the opener "God Is Alive, Magic Is Afoot" or the syncopated blues wail in "Suffer the Children" or the arpeggiated synthesized lyrics of "The Vampire." When the guitars begin their wail and drone on "The Angel," the whole record lifts off into such a heavenly space that Hans Joachim Rodelius must have heard it back in the day, because he uses those chords, in the same order and dynamic sense, so often in his own music. Some may be put off by Sainte-Marie's dramatic delivery, but that's their loss; this music comes from the heart -- and even space has a heart, you know. One listen to the depth of love expressed on "The Angel" should level even the crustiest cynic in his chair. Combine this with the shriek, moan, and pure-lust wail of "With You, Honey" and "He's a Keeper of the Fire" -- you can hear where Tim Buckley conceived (read: stole) the entirety of Greetings From LA from, and Diamanda Galas figured out how to move across octaves so quickly. The disc closes with the gothic folk classic "Poppies," the most tripped out, operatic, druggily beautiful medieval ballad ever psychedelically sung. That an album like Illuminations can continue to offer pleasure 32 years after it was recorded is no surprise given its quality; that it can continue to mystify, move, and baffle listeners is what makes it a treasure that is still ahead of its time.

-Thom Jurek, allmusic.com

DOWNLOAD:
Buffy Sainte-Marie-ILLUMINATIONS (1969)
V2

Various Artists-CLEVELAND CONFIDENTIAL (1982)

Back in the day, 20 years ago now, I found an osteopath in Euclid, Ohio, who would prescribe for any pretty girl who walked through the door 30 clean American football-shaped amphetamine tablets each month for a nominal fee. It wasn’t long before I had my wife, my sister, my niece and the lady who lived across the road going regularly. On the street, you could get $10 for three tablets and I was making money hand over fist.

Such was largely how the financing for the two Cleveland Confidential records came together. That, and a few common robberies. Nowadays I write for money and play the horses. Currently, I reside in Niagara Falls, New York and am on assignment writing a press release for Overground Records, an English label that is releasing the 21 tracks that made up the Cleveland Confidential LP and EP.

There are a lot of familiar names on this disc. Robert Longo, the film director and artist, appears here as the lead singer on Menthol Wars’ "Even Lower Manhattan." David Thomas of Pere Ubu sings backup on the Pagans’ "Boy Can I Dance Good," and Jimmy Jones of the same outfit plays guitar on the Easter Monkeys classic "Cheap Heroin." Anton Fier of the Lounge Lizards provides percussion the Styrenes’ "Jaguar Ride" and the legendary Dave E. croons on the Jazz Destroyers’ "Love Meant to Die."

The Cleveland Confidential records bridged the gap between the well-known 70s scene -- dominated by the Dead Boys, Devo, Pere Ubu and the Pagans -- and that of the late 80s, which would result in the Nine Inch Nails and Marilyn Manson.

Of course it’s the lesser known acts that appeal to me now. The Dark, who were 12 and 13 years old at the time they made their recording of "I Can Wait." Robert Griffin, the guitar player, went on to form the band Prisonshake and become the head of Scat Records. Or the Impalers, whose singer later changed her sex and became notorious. For my money, the AK-47s’ "Accident" is the most underrated punk track of the 70s and Red Decade’s "Scars of Lust" represents everything Glen Branca was trying to do but couldn’t manage.

There are a lot of different kinds of songs on this record and the nice thing is that, if you don’t like one, you can go to the next and the chances are it will be completely different.

It’s been a long time since I made these records. I think they still hold up.

-Mike Hudson

DOWNLOAD:
Various Artists-CLEVELAND CONFIDENTIAL (1982)
320kbps

October Country-OCTOBER COUNTRY (1968)

October Country's self-titled album -- long out-of-print -- is today revered and highly prized by collectors who have managed to find a copy. It certainly deserves to be reissued on CD. Other soft rock and sunshine pop/soft rock obscurities -- including those by the Millennium, Sagittarius, and Eternity's Children, to name just a few -- are just now becoming available again on CD, so why not October Country? This 1968 album is one of the better examples of songwriter/producer/musician Michael Lloyd's overall influence and impact on the West Coast-based genre.



Lloyd -- who was certainly influenced by important albums like the Beatles' Sgt. Pepper's Lonely Hearts Club Band, the Beach Boys' Pet Sounds, and various psych-pop sounds of the Brit-pop invasion, even harmony vocal groups like the Bee Gees -- always seemed to find interesting ways to incorporate various sophisticated instrumentation (organ, horns, harpsichord, and string arrangements) into his productions. During this particular group's first recording sessions, Lloyd began transforming this We Five-ish folk-rock group into a formidable group (he also played the various instruments himself -- because the group wasn't that proficient on their own). There are numerous highlights here, including the title track (later recorded by the Smoke, the U.S. band who was another Lloyd "Sidewalk" production), "Cowboys and Indians," and "My Girlfriend Is a Witch."

-Bryan Thomas, allmusic.com

DOWNLOAD:
October Country-OCTOBER COUNTRY (1968)
320kbps