Tee Set - Ma Belle Amie

Name: Tee Set
Album: Ma Belle Amie
Year: 1970
Style: Oldies, Baroque Pop
Similar Bands: Box Tops, Kinks, Tom Jones, Association
"One-Word" Review: Wispy Jovial Pop
Based Out Of: Delft, Netherlands
Label: Colossus Record Corp.

Cover, Back, Record

Inner Gatefold, Record

Ma Belle Amie (1970)

1. Ma Belle Amie 3:10 (single)
2. What Can I Do 1:55
3. Walk On By My Door 2:27
4. I Don't Want to Know 2:10
5. Charmaine 3:23
6. Finally In Love Again 3:20 /
7. If You Do Believe in Love 2:47 (single)
8. Since i Lost Your Love 2:17
9. Long Ago 2:41
10. Here in My House 3:05
11. Bring a Little Sunshine 2:45
12. Magic Lantern 4:30

Album Rating (1-10): 8.0

Members & Other Bands:

• Peter Tetteroo - Vox, Producer (Tinus Plotseling, Defenders, The Shats, The Delft Blues, Musicians Union Band)
• Franklin Madjid - Bass (James Mean)
• Joop Blom - Drums
• Dill Bennink - Guitar (Black Albinos)
• Hans Van Eijck - Organ, Guitar, Composer, Arranger (Rattles, Spencer Davis Group, After Tee, Abdul Hassan Orch, Jumping Pop-In, Carmen Sars, Lee Towers, Musicians Union Band, Bart Kaell, Helmut Lotti)
• David Krieger - Art Direction
• Cover Art - Tim Lewis
• Jerry Ross - American Representative

Unknown-ness: I never heard of the Tee Set. No date on the record, but it felt like a 60's psych band, which can really be hit or miss...original or packaged to piggy backed to mimic and rip off another band. But even those bands are not always terrible. So it was a gamble of quality, but i am pretty sure it is going to be wispy psych pop.

Album Review: With an undertone of blues on occasion, this is an upbeat collection of sunny pop reminds me an awful lot of the Box Tops, but occasionally spills over from a band effort into lounge/vocalist production ala Tom Jones ("Magic Lantern" & "If You Do Believe In Love"). But the more bluesy stuff, like "What Can I Do" is really good. And part of the verse and piano work of "Finally In Love Again" reminds me of Elvis Costello's lighter work.

They are a Dutch band, and broke out in the US with this record and title track reaching #5 on the Billboard chart. They lasted about 10 years, 1966 - 1975, with occasional reunions. They were the first Dutch band to start their own record label (Tee-Set Records). "She Likes Weeds" was a hit in NZ, but because it was suspected to be a drug reference (it was not: was a reference to 1965's Michael Caine film "The Ipcress File") it was banned in the US. Singer Tetteroo passed away from liver cancer in 2002 (55).

Stand Out Track: What Can I Do

Links:

Spotify extended album
Wiki

Discogs

Allmusic

All but forgotten oldies

Bad Cat Records

imdb

Second Hand Songs

Rate Your Music

Band Name Explained

Seatrain - s/t

Name: Seatrain
Album: s/t
Year: 1970
Style: Bluesy, Roots Rock, Bluegrass
Similar Bands: Credence Clearwater, Grateful Dead, Kavaret, The Band, Fairpoint Convention
"One-Word" Review: Smokey Mountain Blues Barn Jigs
Based Out Of: Marin County, CA
Label: Capitol, EMI

Cover, Back. Record

Lyrics, Credits, Record

Seatrain (1970)

1. I'm Willin' 3:32 (Lowell George/Little Feat cover)
2. Song of Job 6:04
3. Broken Morning 3:04
4. Home to You 3:22 (Earth Opera cover)
5. Out Where the Hills 5:48 /
6. Waiting For Elijah 3:35
7. 13 Questions 2:58 (single)
8. Oh My Love 2:50
9. Sally Goodin' 2:09
10. Creepin' Midnight 5:20 (Carol King cover)
11. Orange Blossom Special 5:07

Album Rating (1-10): 6.5

Members & Other Bands:

• George Martin - Producer (Beatles)
• Larry Atamanuik - Drums, Percussion (Emmylou Harris, Hawks, Nash Ramblers, King Biscuit Boy, Paul Winter, Marksmen, Tony Rice, Peter Rowan, Mike Cross, Jon Randall, Alison Krauss, Linda Ronstadt, Dave Mallett, Continental Divide, Tim O'Brien, Jim Lauderdale, Blue Highway, Sam Bush, Johnny Saculla, Tom Dundee, Rob Ickes, Barry & Holly Tashian, Paul Craft, Bap Kennedy, John Prine, Ron Block, Trout Fishing in America, Shawn Camp, Rowan Bros, Stevens Sisters, Natalie MacMaster, Anne Feeney, Pine Mtn Railroad, Claire Lynch, Alison Brown, Bearfoot, Dierks Bentley, V-Roys, Nashville Cast, Chas Williams, Todd Burge)
• Peter Rowan - Lead Vox, Guitar (Earth Opera, Blue Grass Boy, Muleskinner, Bill Monroe, Old & In The Gray/Way, Panama Red Riders, The Train Band, Rowans, Richard Greene, Usual Suspects, Ricky Skaggs, Art of Noise, Bela Fleck, Northern Lights,   more)
• Lloyd Baskin - Lead Vox, Keys (Orphan)
• Jim Roberts - Lyricist (Emmylou Harris)
• Richard Greene - Violin, Viola, Keys. Vox (Jim Kweskin Jug Band, Muleskinner, Bill Monroe, Blue Grass Boys, Blue velvet Band, Dry City Scat Band, Grass is Greener, Great American String Band, Greene String Quartet, Blues Project more)
• Andy Kulberg Bass, Vox, Flute (Blues Project, Sensational Guitars of Dan & Dale, Blue Velvet Band, David Soul, Daniel Kobialka, Parallax, Al Kooper, Chris Michie)
• Bill Price - Engineer
• Bob Cato & Friends - Photography & Design
• Ira Friedlander - Design
• Al Vanderberg - Photos

Unknown-ness: Never heard of this band, but it looks like a knock-off version of the Grateful Dead, down to their logo with a boat that looks like a train in the gatefold. They look like nice enough mountaineering hippies, and i bet they did a lot of drugs. So I have a feeling this may be a proggy jam band, so focused on the music loops that it goes on forever.

Album Review: This is the immediately following, and due to contractual obligations; overlapping, band of The Blues Project. In fact, the first Sea Train album had to be released as The Blues Projects for those exact reasons. This and their first album are both named Seatrain, with the only difference is a space in the name between Sea & Train on the first record. This and their follow-up record were both produced by Beatles main man, George Martin, and this is the first post-Beatles project that he produced. They blend various genres of the time, going back to bluesy rock with Blues Project, adding in country bluegrass, fiddle band barn dance, roots rock, and some prog elements. It has a very renaissance mountain jug and string band folksy feel, but produced very well with talented musicians. Single "13 Questions," an alien abduction song from the alien's POV, broke top 50 on the charts, and has a little funk / pre-disco element to it, that reminds me a little of The Go! team.

Stand Out Track: 13 Questions

Links:

Full Album Youtube
Wiki

Discogs

Allmusic

derek's music blog

Blues Project & Seatrain

Rate Your Music

grateful Dead Disc

George Starostin Reviews

Road (the) - s/t

Name: The Road
Album: s/t
Year: 1970
Style: Psych Oldies & Bubblegum Pop, Funk, R&B
Similar Bands: Bee Gees, Stones, Beatles, Tom Jones, Zombies, Hollies, 
"One-Word" Review: 60's Wedding Cover Band on drugs
Based Out Of: Buffalo, NY
Label: Kama Sutra, Buddah Records , Viewlex Inc

Cover, Promo Sleeve, Record

Back, Promo Sleeve, Record

The Road (1970)

1. She's Not There 3:43 (single, Zombies Cover)
2. Love Is All 3:21
3. Love It Is 4:42 (J. Geils cover)
4. A Taste of Honey 2:32 (Ric Marlow cover)
5. I Can Only Give You Everything 2:47 (single b-side, Them cover)/
6. Dance To The Music 5:29 (Sly & Family Stone cover)
7. Never Gonna Give You Up 3:11 (Jerry Butler cover)
8. Mr. Soul 2:40 (single, Neil Young cover)
9. In Love 1:55 (single b-side)
10. See You There 2:12
11. Rock N Roll Woman 2:52 (Stephen Stills cover) 
12. The Grass Looks Greener on the Other Side 2:31 (single)

Album Rating (1-10): 7.0

Members & Other Bands:

• Hal Wheeler - Arrange, Conducted
• Bill Radice - Engineer
• J. Pinto / Joey Reynolds / Rencore - Producer
• Jerry Hudson -Lead Vox (Madmen, 6 Pact, Mellow Brick Rode)
• Phil Hudson - Lead Vox (6 Pact, Mellow Brick Rode)
• Joseph Hesse - Bass (Mellow Brick Rode, Just Us 5)
• Jim Hesse - Organ (Mellow Brick Rode, Just Us Five, Caesar & The Romans)
• Ralph Parker - Lead Guitar (Madmen, 6 Pact, Mellow Brick Rode)
• Nick Distefano - Drums (Mellow Brick Road, Just Us 5, Marie Osmond, Billy Joe Royal, Janie Frickie, Johnny Rodriguez, David Loggins, Marshall Chapman, Wheetstone Bridge)
• James S. Bush Jr - Cover Photo
• Silver & Morris - Prepared
• Frank Iannello - Album Design
• Gordon James - Photography

Unknown-ness: Never heard of this band, but from the logo/font, hairstyles and their clothes, plus being on Buddah Records, I imagine it will be some Psych/Bublegum Pop

Album Review: The Road, as shortened / updated form of their previous name Mellow Brick Rode, was a band of solid musicians who made their own arrangements on other people's songs for the most part (3 tracks are written by band members). Their arrangement of the Zombie's "She's Not There" was their biggest hit, making top 40 lists in and around their home of Buffalo NY. They never toured further than Massachusetts, per direction from their management, but their reach was across the country. The were comfortable being an ever-present act in the Buffalo area. They had one more album after this one for Kama Sutra records, and after that were then were not a band for many years like an on/off light switch with a revolving door of members. There is brass present on this record, but no mention of who played on it with a credit(s).

Stand Out Track: She's Not There

Links:

Spotify full album
Wiki

Discogs

Rate Your Music

top shelf oldies

Buffalo Music HoF

Jerry Hudson 2019 obit

Listening Post song of the day

Western NY Music

Jeannie C. Riley - The Generation Gap

Name: Jeannie C. Riley
Album: The Generation Gap
Year: 1970
Style: Country Pop, Southern Bluesy Rock
Similar Bands: Tammy Wynette, Brenda Lee, Dolly Parton, Dusty Springfield, Lorletta Lynn, Connie Smith
"One-Word" Review: Spunky Country Oldies
Based Out Of: Stamford, TX
Label: Plantation Records, Shelby Singleton Corp.

Cover, Record

Back, Record

The Generation Gap (1969)

1. The Generation Gap 2:44 (single B-side)
2. Fine Feathered Friend 3:25
3. Words, Names, Faces 2:03
4. My Man 2:58 (single)
5. He Made A Woman Out Of Me 2:15 /
6. Duty Not Desire 2:26 (single)
7. Games People Play 2:54
8. Darkness Falls 2:49
9. Holdin' On 2:02
10. Okie From Muskogee 2:35
11. To the Other Woman 2:45

Album Rating (1-10): 6.0

Members & Other Bands:

• Southern Graphics Industry - Design & packaging
• The Belmont Agency - Cover Photo
• Jeannie C. Riley - Vox
• Shelby Singleton Jr - Producer

Unknown-ness: Never heard of this singer. But it looks really mod, and hippie with a strong foothold in the Dollywood country south. So oldie, catchy country pop is my guess.

Album Review: There is a lot of pop, catchy melodies, and slightly psych production to fit into the 60's mod sound, but there is also the same amount of country/gospel bluesy swagger to the songs, and Riley's vocals are versatile enough to easily handle both sounds. In 1968, she won the Grammy award for best female country vocal performance on Harper Valley PTA, which held the #1 Billboard spot for both pop & country and spawned movies and tv series, along with a major network variety show for her. Due to the content of the song: a widowed mother who dated and dressed in the 60's mini skit and go go boots style responded to a hypocritical PTA who judged her style negatively, she herself was pressured to match that style against her personal comfort. In the late 70's she became born-again and focused her recordings on gospel music. The songs on here were written by an array of people from Margaret Lewis & Myra Smith (4 tracks), Merle Haggard "Okie From Muskogee" and even Gary US Bonds + Swamp Dogg: Jerry Williams Jr "To The Other Woman," which is kind of a companion piece to her Harper Valley PTA single. Before she moved to Nashville, just out of high school, her four year marriage produced a daughter, Kim, in 1966, who later would accompany her on stage, singing back up, touring with her, and trying out her own career as Riley Coyle.

Stand Out Track: The Generation Gap

Links:

Spotify full album
Wiki

Discogs

Allmusic

Sun Records bio

IMDB

classic country

KXRB what happened to?

unofficial Facebook

Cocaine & Rhinestones

KRFO Kat Kountry 1-hit wonder

TX Music

Grammy page

New York Rock and Roll Ensemble (Manos Hadjidakis) - Reflections

Name: New York Rock and Roll Ensemble (Manos Hadjidakis)
Album: Reflections
Year: 1970
Style: Folk, Baroque, Chamber Music, World Music
Similar Bands: Theodore Bikel, Kaveret,
One Word Review: Folksy-Classical Pop
Based Out Of: NYC, NY
Label: Atlantic Recording Corp. ATCO

 Cover & Record

Back & Record

Reflections (1970)

1. Orpheus 2:31
2. The Day 3:40
3. Love Her 4:17
4. Dance of the Dogs 2:58
5. Kemal 4:01 /
6. Dedication 2:47
7. The Three Answers 3:48
8. Street Song 3:26
9. Bitter Way 4:15
10. Noble Dame 3:11

Album Rating: 4.5

Members & Other Bands:

• Dorian Rudnytsky - Vox, Bass, Cello (Invicta)
• Brian Corrigan - Vox, Guitar (Invicta)
• Clifton Nivison - Vox, Guitar (Invicta)
• Mike Kamen - Vox, Keys , Oboe (Emil & the Detectives, Bowie, Metallica, Eric Clapton, Pink Floyd...many more big names)
• Martin Fulterman - Drums, Oboe (Emil & the Detectives, X-Files Theme)
• Manos Hadjidakis - Composer, Producer
• Adrian Barber - Recording Engineer, Producer
• Chuck Davidson - Cover Photo
• Alyse Kaylan - Album Design
• Bruce Tergesen - Producer

Unknown-ness: I never heard of this band, and have no idea what to expect. Will it be chamber style ensemble music? It says Rock & Roll, but what is their definition of that style? The cover art & photo location makes them look like a wedding band playing classical music in full rock band uniforms, but that begs the question, what could that sound like?

Album Review: This 5 man band has taken composer Manos Hadjidakis (never heard of him either), and put lyrics over 8/10 of his songs, which was to become a film score (was never made). Some sound like Israeli traditional scores, some are just folky, and some are classical music with male vocal choirs over top. Kemal sounds like a klezmer version of Nightmare Before Christmas b-sides.

Stand out Track: Kemal

Links:
Wiki
Discogs
Allmusic
Rate Your Music
Rockasteria
Darius

Haack, Bruce - The Electric Lucifer

Name: Bruce Haack
Album: The Electric Lucifer
Year: 1970
Style: Electronic Psychedelic
Similar Bands: Doors, Ghostwriters, Strawberry Alarm Clock, Ben, Ween, Mystic Knights of Oingo Boingo
"One-Word" Review: Psychedelic-Techno-Sermon
Based Out Of: Alberta, Canada
Label: Columbia

The Electric Lucifer - Cover & Sheet

The Electric Lucifer - Back & Lyrics
The Electric Lucifer - Record

The Electric Lucifer (1970)

1. Electric To Me Turn 1:50
2. The World (Narration) 0:30
3. Cherubic Hymn 2:20
4. Program Me 4:39
5. War 3:45
6. National Anthem to the Moon 2:38
7. Chant of the Unborn 1:22/
8. Incantation 3:15
9. Angel Child 1:01
10. Word Game 3:48
11. Song of the Death Machine 3:00
12. Super Nova 5:22
13. Requiem 3:21

Album Rating (1-10): 7.0

Members & Other Bands:

Bruce Haack - Creation, Synth, Narration, Vox, Bass Moog, (Miss Nelson & Bruce)

Gary Dersarkissian - Vox

Farad - Synth, Vox

Peter Granet - Engineer

Chris Kachulis - Vox, Inner Drawing

Andrew Kazdin - Programming

Arthur Kendy - Engineering, Stereo Effects

Ray Moore - Engineering

Leroy Parkins - Producing

Jon St. John - Vox

Tony Taylor - Vox
William H. Englander - Manager
Isadore Seltzer - Cover Art
Karenlee Grant - Back Cover Design

Unknown-ness: I’ve never heard of Bruce Haack, but at first sight of this record, I assumed it was a religious album. But I read a little on the back, and it talked about the instrumentation he’s used for the album. I liked the quote on the top “Electricity becomes sound” so I wanted to see what this would be like. I don’t really know what to expect, since I have a predetermined idea that it will be churchy, but it is made with Moog and is more rock oriented. I am expecting lots of odd quirky sounds and some great bombastic pieces, as the fight between heaven and hell is usually quite a stereotypically explosive story.

Album Review: I’ve heard that Bruce Haack is responsible for lots of techno pioneering in the field of electronic music. I’ve also read that he has had alenghty career with commercials and children’s oriented music both before and after this record, so that will be great insight to this music.

“Electric To Me Turn” begins the album with electronic chirping and a carnival organ atmosphere. Vocals are vocoded and sound like many hip hop albums will use today, I’m thinking Chromeo. It’s very good, as it sounds like a combination of carnival pop and garage psych. It reminds me a bit of the Ghostwriters, but that’s probably just because the similar electronics they use
“The World (Narration)” is just buzzing noises played out behind a sullen narrator speaking about the devil and begins the storyline for this genre album
“Cherubic Hymn” has Doors-like smooth, bold and confident harmonic vocals, mixed over swirling electronics and a quiet bouncy bass electro-groove.
“Program Me” is a layered and looping psych with lots of ringing guitars and echoing effects that could become very trippy on the right drugs. Or so I could imagine. This is the first real song in the concept of a child asking to be told, or programmed (since this is very computer/electronic). The song ends with an organ that sounds like it belongs in a church’s ritual procession.
“War” is a marching drum beat, reminding me of Violent Femmes “Machine” It then quickly changes pace and sprints ahead in a fast scampering electronic note section. And it switched off with different paced sections. Some are quite fast, some are plodding, and some are just happy and merry in their happy carnival atmosphere. Then the song takes a dark turn around 2:15, and it feels like a soldier lost on the battle field with no place to go. Just wandering peaks and valleys of sonic topography, fulfilled by the electronic bells.
“National Anthem to the Moon” is a great title, and I want to like the song very much. It is a psych song with vocals, and the music consists of a bubbling vocoded repetition of the lead psych vocals, along with a constant ringing that just barely fills in the background. This really reminds me of the simple, bare bones style of the artist Ben (whom is from Jersey, and I only discovered because Dean Ween has worked with him).
“Chant of the Unborn” is an electronic woodwind song, mixed with jangly metallic spring effects, for a sort of southern rock stomp of a song. It is short, but it is a pleasant bit of controlled ritual mayhem.

“Incantation” is a dark psych campfire cult chant. Not only are the usual electronic bouncing effects mixed down low in the back, but a mouth harp takes center stage and echoes the vocal melodies as they are sung and after. The musical breaks consist of a pleasant royal sounding electronic horn section. This has a sort of Native American ritual dance feel to it.
“Angel Child” is a short, lovely sung lounge piece mixed with renaissance ridiculousness of lyrical themes. Two voices over lap singing in the round, and it sounds like something comically over exaggerated for the theater.
“Word Game” gets us back to the bubbling and jazzy electronic noises that were prevalent on the first side. The vocals are computer vocoded phrases, and are not sung at all. The fantastic moog bass effect bounces around dancing the song along where you barely notice the dull sounding vocals uttering words of some supposed importance.
“Song of the Death Machine” starts with a futuristic breaking crystal sound, and then there is a chorus of vocals singing along to a basic melody similar to “Oh My Darling Clementine.” Of course the song is warped with twinkling electronic effects and dizzying swooping spring sounds. Later in the song, the vocals get distorted with static and fuzz, like the station is being tuned out of reception.
“Super Nova” begins with winds whistling over the sound-scape, like the effects science shows would give to imagery of solar flares. Buzzing and random electronic effects swirl around fading in and out in loudness like on a wobbly spiral. Vocals whisper (quite a loud whisper, actually) over the music that pips and waves in the background. The music in the background is a little minstrel-like, just played through a moog. But the swirling hum (near middle eastern sounding) is the main effect in the song, and really focused any attention from any other part of the song. The end of the song creates a musical strobe light effect where the static sounds quickly pulse in and out as they fade.
“Requiem” aptly ends the album with a groovy psychedelic freak out. It is like the end credits dance-a-thon as the entire cast comes out on stage to bow for the audience. Swirling effects compliment and create the visual interpretation of long hair twisting and waving around with beads, tassels and tinted glasses. And the song ends with a moog version of the Christmas carol NOEL.

Stand Out Track: Electric To Me Turn

Links:Wikipedia

Allmusic

Bruce Haack.com

Haack Doc & Interview

Haack movie.com

Reviews

NNDB

Haack...king of techno IMDB

Intuitive Music Bio

Undomondo review

J. Geils Band - s/t

Name: J. Geils Band
Album: S/T
Year: 1970
Style: Bluesy Pub Rock
Similar Bands: Blasters, Del Fuegos, Ace, Paul Butterfield Blues Band, Rolling Stones
"One-Word" Review: Bluesy Dance Rock
Based Out Of: Boston, Mass
Label: Atlantic

J. Geils Band - Cover & Record

J. Geils Band - Back & Record

J. Geils Band (1970 )

1. Wait 3.25
2. Icebreaker (For the Big "M") 2.15
3. Crusin For A Love 3:22
4. Hard Driving Man 2:18
5. Serves You Right To Suffer 5:01/
6. Homework 2.45
7. First I Look At The Purse 3.54
8. What's your Hurry 2.44
9. On Borrowed Time 3.03
10. Pack Fair & Square 2.01
11. Sno-Cone 3.24

Album Rating (1-10): 10

Members & Othe Bands:

Peter Wolf - Vox

Seth Justmam - Piano, Organ, Vox, Producer

Magic Dick - Harp, Harmonica, Trumpet (Bluestime)

J. Geils - Guitar (Bluestime)

Danny Klein - Bass

Stephen Bladd - Drums, Vox

Jay Messinam - Recording Engineer

Geoffrey Haslam - Remix Engineer

Stephan Paley - Photo

Lloyd Ziff - Album Design

Fred Lewis - Special Assistance

Dave Crawford - Producer

Brad Sharpiro - Producer

Unknown-ness: Now, this is one of those curious bands that I have definitely heard of, but never really heard them. I was familiar with their 80’s hits, however was never fully aware of their back catalogue and the completely different style. I’ve grown to love this debut album, and retrospectively, like I did with Thomas Dolby, I will review this album knowing I like it already. But when I got it, I had no idea it was good or bad, so it qualifies in that way. When I first saw it at the thrift store, I had a small inkling that they were more than “Centerfold” and “Love Stinks.” But I did not know how different it would be from what I knew or how good they used to be. So I bought the beat up, written on, once loved copy and took it home to check out. I was surly impressed and raved about them to my housemate who claimed that his parents liked them.

Album Review: “Wait” starts their debut record, with a barroom piano, bass and drumbeat and harmonica. The gritty vocals begin the bluesy tune. The call back response in the chorus hooks the song into your memory, as does its start and stop musical play. This is blues mixed with rock and roll oldies, and illustrates that sometimes, there ain’t much difference. This is one of those catchy songs that could potentially go on forever. But after a flurry of the harmonica over top of the vocals, the song fades. “Icebreaker (For the Big "M")” begins with a repetitively strummed single guitar note and the harmonica and guitar parallel each other musically. The harmonica and guitar separate and take turns in the spot light for this instrumental. The organ gets a chance to shine too, adding to the upbeat danceable bar bluse sound. The song winds down before it has a chance to get going, but the harmonica makes up for it in the next song “Crusin For A Love.” It is a basic storytelling blues number. The gruff, gravelly vocals drop off syllables when it seems appropriate and the instruments are given ample time to represent the melody. “Hard Driving Man” is a faster train engine like driving song. The chorus is repetitive and melodically breaks form from the steady chuggin’ verse rhythm. “Serves you Right to Suffer” gets down to the true blues; with its slow sulking bass and guitar accompaniment. The vocals are struck down, sullen and sadly deep and quiet. It slowly slinks along, and the harmonica is played representing the strain and inner emotional strife. The piano is repetitively beaten, and picks up the emotional mood, followed by guitar. The instrumental section takes up a good portion of the song, leaving the vocals to sound like sporadic fill-ins.

“Homework” is a blues cover done right by converting it through a classic rock filter. It possesses a slightly evil beat, and deep dirty vocals. This is going to be hard picking out a stand out track. This song is just a great, solid song. The sections are short and compact; there is no excess or indulgement. It is all tied up in a nice neat package. Next comes the oldie Motown cover “First I Look At The Purse.” They make it sound like they can covert any song into a great bar room rock song. The quick Motown ending sounds great as a rushed guitar and drums bring it to the fade out in the end. “What's your Hurry” sounds like another oldie, but is an original. It combined Motown and 50’s Rock N Roll, which makes it seeming to be able to fit in the movie “Stand By Me.” Such a solid song, again, this whole album is fantastic. The bluesy and gospel “On Borrowed Time” follows as the next original song. It is repetitive and drives home the theme of a blues crooner accepting his own end. It reminds me of the Stone’s “Time is on My Side.” “Pack Fair & Square” plays with its rockabilly beat, and feels like the song “Shake, Rattle and Roll.” A bongo-drum sound begins “Sno-Cone,” followed by the harmonica and guitar. Quickly the organ chimes in, making the danceable blues song fully fleshed out. A drum solo is planted near the end, just in time for all the instruments to come back and finish off the song, and subsequent album.

Stand-Out Track: Wait 

Links:

Wikipedia

Allmusic

Website

Funky Judge Fan Site

Geils Files

Artist Facts