Kaleidoscope (US) - Pulsating Dreams (1967-1991/2007 Remastered 3CD Edition)
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Album: Kaleidoscope - Pulsating Dreams: The Epic Recordings (Remastered 3CD Edition)
Released: 2007 (1967-1991)
Genre: Psychedelic, Psych-Folk, Proto-Prog
Gnosis Ratings: 10.19/ 10.21/ 9.0/ 8.73
Acadia - ACAD 8059
Kaleidoscope is the great lost band of the '60's. Great musicianship and a most electic taste in music. Bluegrass, San Francisco styled rock and roll, Middle Eastern jams, country-rock, jug band music, Zappa/Mothers type weirdness, its all here played with confidence and style. A must for any late 60,s collection - ProgFiles
This ultimate CD set contains the Epic recordings from 1967 to 1970 including all four Epic studio albums. With the multi-instrumental wizardry of David Lindley leading the way, Kaleidoscope weaved dreamy, middle eastern exotica into psychedelic rock songs better than anybody before or since. This 3-CD set contains all their Epic recordings, including the four albums'Side Trips', 'Beacon from Mars',' Incredible Kaleidoscope' and 'Bernice' (the only place you will find this gem on CD) plus a bunch of hard-to-find singles, B-sides and rarities. 45 brain melting tracks in total. Wow what more could a music lover want? - Freak Emporium
A spectacular 3 CD set that includes all 4 albums (in total 45 tracks) released by this San Franciscan band of the late 1960's, plus singles, B-sides and material previously unavailable in Europe. The band fused a variety of musical genres including Blues, Middle Eastern, Folk, and good ole Acid Rock. Features David Lindley on guitar and various exotic stringed instruments and Chris Darrow who later replaced Jackson Browne in the Nitty Gritty Dirt Band. - Malesch Records
The U.S. psych band Kaleidoscope, not to be confused with the U.K. band of the same name, featured multi-instrumentalist David Lindley and fused world music influences to folk- and blues-based tunes like their signature song, an epic version of the ballad "Oh Death," as shown on this comprehensive three-CD box that includes the entirety of their 1967-'70 catalogue for Epic Records.
3CD set, complete output by the US Kaleidoscope while signed to Epic Records from 1967 to 1970. Includes all four of their albums plus bonus tracks. - ProgNews
Evangeline Recorded Works, Ltd has just released Pulsating Dream - the Epic Recordings, a 3CD set that includes all four of the albums Kaleidoscope recorded for Epic, along with the singles. Also included are the rarities that were previously only available on the Epic compilation, Egyptian Candy. The liner notes by David Biasotti incorporate new interviews with Stuart Brotman, Chester Crill, Chris Darrow, Solomon Feldthouse, David Lindley, &Frazier Mohawk. - Kaleidoscope
Kaleidoscope was an American psychedelic folk band who recorded 4 albums and several singles for Epic between 1966 and 1970. They are not to be confused with the British Psychedelic group Kaleidoscope.
The original line-up featured Solomon Feldthouse, David Lindley, Chris Darrow, Chester Crill (a.k.a Max Budda, Fenrus Epp, Templeton Parcely) and John Vidican. Between them, they played a wide range of stringed instruments and world-music influences, deployed in their early psychedelic songs such as Egyptian Gardens and Pulsating Dream and then in longer pieces such as Taxim, which they also performed live at the Berkeley Folk Festival on July 4 1967. They were also unusual among rock bands in being able and willing to feature music by Cab Calloway and Duke Ellington in their repertoire.
Their 1967 piece Stranger in Your City/Beacon from Mars, recorded live in the studio, was also influential, with Led Zeppelin admiring Lindley's controlled feedback solo.
Darrow and Vidican left and were replaced by Stuart Brotman and Paul Lagos for their 3rd and 4th albums. The release, "Bernice," is deep, amazing psych with phenomenal electric guitar work that was missing from some of the other albums, and while it looks as though it may be more country influenced, which many of their albums surely were, this one is WAY overlooked. At the end of 1969, Kaleidoscope contributed 2 new songs ("Brother Mary" and "Mickey's Tune") to Michaelangelo Antonioni's Zabriskie Point. - Chocoreve: Kaleidoscope - Pulsating Dream
There's simpiy no escaping the use of the word "eclectic" when describing the music of Kaleidoscope, and it's been that way ever since influential critic Pete Welding first dubbed them "eclectic electric" in a Down Beat review. No other band of the time employed such an exotic array of instrumentation or played so many different styles of music with such fearless authority. Be it jug band, Appalachian, Middle Eastern, blues, Cajun, folk-rock anthem, or psychedelic freak-out, Kaleidoscope put the distinctive stamp of their collective musical intelligence on everything they touched.
They never quite made it to the front ranks of the groups of their day. Epic, certainly, was ever parsimonious with studio time and marketing, while always insisting on singles from a band that was never about singles in the first place. Dubious management didn't help things either, and Kaleidoscope managed the feat of almost but not playing both the Monterey Pop Festival and Woodstock. Also lacking was conventional sex appeal, although the sight of gypsy-garbed Solomon Feldthouse playing the hell out of his saz while standing on one leg or David Lindiey generating feedback frenzy in his embroidered Chinese frock coat must have left a visual imprint. In the end what they could do was ready play. Says Feldthouse, "We were never a group for screaming teeny boppers, but you can bet your sweet ass every damn town we'd play in, ail the other professional musicians would show up to catch every last set we'd play." One of those who early on completely got Kaleidoscope was Jimmy Page, who caught them
at the Avalon Baiiroom in San Francisco and some years later enthused in the pages of Zigzag, "They're my favorite band of ail time-my ideal band."
Kaleidoscope came out of the same LA. musical scene that produced Taj Mahal, Ry Cooder, the Kentucky Colonels, Canned Heat and the Chambers Brothers, among others. "There were three camps," says Lindiey. "There was the Ash Grove, the Troubadour, and then there was The Cat's Pajamas in Arcadia. Schools, I should say. The Ash Grove was a school." A devotee of flamenco early on, Lindiey was inspired by the musicians he heard around the clubs to tackle most of the instruments in the folk music arsenai, especially the banjo, on which he earned his early reputation. His early string bands, the Mad Mountain Ramblers and the Dry City Scat Band, played a mix of bluegrass, old-timey, jug band and jazz, much as Kaleidoscope would later do. A band mate in both of these groups was another multi-instrumentalist and future Kaleidoscope member, Chris Darrow.
For Darrow, the Beatles changed everything. Of his initial reaction to them Darrow recalls, '"Oh, I get it. Everly Brothers, Buddy Holly, Wuegrass harmonies with a beat.' Suddenly, rock'n'roll had a purpose and a sound we could rally around." After departing the Scat Band, Darrow formed the Floggs, a band that played both covers and the originals Darrow had begun to write. A number of Floggs songs, including ft the Night, Keep Your Mind Open, Come On In, and Hesitation Blues, would appear on the first Kaleidoscope album, Side Trips. Pulsating Dream is yet another tune from the Fioggs songbook. Originaiiy titled "Move on Down the Line," it got a quick lyrical re-write during the album sessions to make it more "psychedelic." The Floggs recorded a 7-song demo that didn't go anywhere, and eventually went their separate ways. Darrow was enrolled in art classes at Claremont Graduate School when the phone call came from Lindiey, asking him if he'd like to join this new band he was putting together.
73160;73160;73160;After several shifts in personnel, Lindiey felt he finally had the makings of a group. First and foremost was the lead singer, Solomon Feldthouse. Says Lindiey, "The Scat Band did a concert at Pasadena City College and Solomon did the opening act. He did this flamenco stuff on a saz and it was really scary.. .He was a demon and I said 'Oh God, that guy's really good.' And his singing-I couldn't remember anything like it." Idaho-born, Feldthouse had spent six years in izmit, Turkey with his family. "I started playing while I was over there," says Feldthouse. "Greek, Turkish and Persian music, 'coz that's what I heard every day. I started playing flamenco around the same time, too. I wasn't any good at it, but I started at it." Another key ingredient was Chester Crill. Aithough, strangely enough, initially hired by Lindiey to play bass, Crill was actually proficient in violin, keyboards, and blues harp. Crill had bumped into Feidthouse and Lindiey in Berkeley, where they were appearing as a duo called David and Solomon, the Kings of Israel. Sometime later, as Crill recalls, "Lindiey said, 'Quit your job and I'll guarantee you ten thousand bucks this year.' Rounding out this proto-Kaieidoscope was the drummer, John Vidican. They had a promising song called Please they had management and a recording contract as well. What they didn't have was much, if any, experience playing electric instruments. Darrow, however, did know his way around amps and electric guitars, and when he signed on, the original line-up of Kaleidoscope was set.
Rehearsing and getting their act together was a learning experience for all concerned. Says Darrow, "The music was something that tied all the personalities together and allowed for this strange kind of tolerance we all had for each other. Solomon staying up all night and playing the clarinet while you're trying to sleep at four or five in the morning is not something that ingratiates the guy to you, but you put up with it to some degree because it was so good. Everybody kind of knew what they were supposed to do and everybody seemed to know what their role was. Everybody took a role."
There were two Kaleidoscopes, really. As Chester Crill says, "There was the real band and then there was the recording band. They always wanted a single. What we said was 'Let us make an album every six or seven months-we're an album band. 'OK, we'll let you have an album," which they did yearly. 'But you gotta have two sessions of singles.'" "They" refers to, of course, Epic Records, with whom the management team of Michael Goldberg and Stuart Eisen secured a recording contract for the band. Barry Friedman, later to be known as Frazier Mohawk, was brought in to produce. One thing that needed ironing out was what Lindiey and co. were going to call themselves. They did have one name they were fond of, though.
"The Neoprene Lizards," says Lindiey. "Me and Chris came up with that one. I can remember us sitting out at the house in the orange groves and trying to come up with a ****ing name and we came up with the Neoprene Lizards and laughed until we peed. There were probably stains on his Navajo rug. Neoprene Lizards. We wanted that, but they wouldn't go for it. Some secretary came up with the name Kaleidoscope, but we wanted to be the Neoprene Lizards, because it was so ****ing cool. "
When the freshly-named Kaleidoscope entered Columbia Studios they were well-rehearsed and ready to go. Says Mohawk, "These guys had more of an idea of what they were about than I did." The lovely ballad Please, backed with Elevator Man, was released as the first single in December, 1966. Mohawk recalls making a suggestion for the chorus hook of the A-side. "I remember adding those extra couple of beats in that sustain on the 'Please' so that it didn't resolve like it was supposed to. That's actually based on something I'd heard about, 'hypnotic threes.' The basis for hypnosis is anticipating the third count. When they're counting, hypnotists will count 1,2,3,4,5.. .6. It's that half beat in there that supposedly creates the hypnotic state." Of the single's fate in the marketplace, Mohawk says, "I seem to remember it was like #98 with an anchor. I know it was played in L.A. and in a few other stations, hither and yon." .
The first album, Side Trips, was released in June, 1967. Though only 26 minutes in length, it's filler-free and amply showcases the band's musical diversity, from the exotic opener, Egyptian Gardens to the closing track, a quite authentic reading of Cab Calloway's Minnie the Moodier. The group's shared fondness for jug band music is displayed on Hesitation Blues and Come On In. Darrow and Lindley's old-timey roots are evident in the strong, high harmonies they employ throughout the album, and, most especially on the stark version of Dock Boggs' Oh Death. In live performance, Feldthouse would launch mid-song into a hair-raising anti-war rant: "Death is a banjo player and he plays a banjo made out of somebody's head bone, with the top sawed off, It has a leg bone for a neck, with knuckle bones for tuning pegs, twisted hair for strings and teeth for a bridge. That's so you can adjust them all individually..." 73160;73160;73160;Pulsating Dream is the most Byrdsian track they ever recorded, with a discernible biuegrass feet to the harmonies. One of the album's standouts is the atmospheric Keep Your Mind Open, which became an underground FM favorite of the day and has been since rated by both Mojo and the Rock and Roti Hall of Fame as one of the ail-time greatest psychedelic recordings. Why Try, with its percolating saz and rocking bridge, was issued as the second single (in a different version from that on the album), backed with Little Orphan Nannie, the zaniest track Kaleidoscope ever recorded. (It would be reprised, much altered, on Bernice, as Ltriu Arfin Nanny ) Goofy as the latter is, the instrumental passages reveal that Kaleidoscope could give Fairport Convention a run for their money in the jig department.
For reasons ultimately known only to himself, Grill appears on Side Trips as Fenrus Epp, and on the three succeeding albums he'd go under the names Maxwell Buda, Templeton Parcely, and Connie Crii!. Says Oarrow, "Chester won't admit that he has a serious side."
February, 1967 saw the release of the second album, A Beacon from Mars. (The story that it was really to have been titled Bacon from Mars turns out to be a charming fiction concocted by Pete Frame and Mac Garry in their monumental 3-parter on Kaleidoscope for Zigzag some years later.) Produced-nominally, it would seem-by co-managers Goldberg and Eisen, the album sports far fewer production fripperies than its predecessor, presenting an accurate picture of what Kaleidoscope must have been like live. "Recorded Under Derress [sic]" it reads on the back cover of the LP, and, by all accounts, it wasn't an easy record to make. Says Crili, "They had tube machines in the control room that blew up and caught fire...On one song Christopher requested to overdub his mandolin part and the fight that caused, because we only had three hours at a gulp and it usually took-with all the union guys moving real fast you didn't get started 'til 35 minutes into it."
The album opens with the stately and psychedelic i Found Out, written by Alex (Earl) Shackelford. Former front man for The Deepest Blue, Shackelford had been encouraged by Darrow to try his hand at writing some songs for Kaleidoscope. Two other Shackelford songs were recorded, which would first see the light of day on Epic's Egyptian Candy CD compilation many years later: Egyptian Candy and the eerily REM-like Love Games. The second track on the album is the band's dramatic performance of the infanticide ballad, Greenwood Sidee. Time Will Pass You By, one of the finest songs Darrow ever wrote for Kaleidoscope, prefigures the country rock he would pursue after his departure from the band. The quite magnificent Taxim, long a centerpiece of their live sets, was the first instrumental to appear on a Kaleidoscope album. Here the mutual admiration society that was Lindtey and Feldthouse is recorded in all its glory. Eclecticism is further paraded on Baldheaded End of a Broom, the Cajun fiddle tune Lousiana Man and the heavy blues workout of You Don't Love Me, which features Crili's considerable blues harp chops. The title track, Beacon from Mars remains, for good reason, the track for which the album is most remembered. "I think we were all pretty much stoned out of our gourds when we did that one," says Feldthouse, who remembers banging on a standing metal ashtray for the gong sound at the beginning, and singing through an old wooden-coned speaker he'd bought at an antique store. Built on the bass riff from "Smokestack Lightning," the track was recorded, remarkably, without overdubs. Crill moves between harmonica and keyboards, and Lindley launches into one of the most amazing excursions in controlled feedback ever caught on tape.
Had Kaleidoscope been more successful, perhaps the rifts developing between the members might have been papered over but, in the event, Darrow and, not long after, Vidican would depart the scene. For his part, Darrow was becoming frustrated that his songs were seldom, if ever, played in live performance. Before Darrow and Vidican left, though, the original Kaleidoscope line-up did some memorable sessions as a backing band. They were drafted by R&B legends Larry Williams and Johnny "Guitar" Watson to back them up on the criminally-underheard Nobody, a slice of psychedelic soul never equaled. On their otherwise fairly horrible first tour of the East Coast, Kaleidoscope were also enlisted by Leonard Cohen to help him out on two tracks for his debut LP, ("Teachers" and "So Long, Marianne.")
Stuart Brotman, who replaced Darrow on bass in the midst of that East Coast tour, was a perfect fit for Kaleidoscope. A child of that same Ash Grove scene, Brotman was proficient in both blues and ethnic music. Says Lindley, "He could plug in with Lightning Hopkins-he could play with anybody.. .He's the real article." Brotman remembers Lindley telling him at a Kaleidoscope Ash Grove gig, '"Don't go away, I want to talk with you. Our bass player is leaving.'" John Vidican was also soon on the way out, and eventually Paul Lagos was brought in. "I lobbied heavily for him," remembers Brotman. "Sol and I had a wavelength that we were on together with the Middle Eastern rhythm and Vidican was a slow (earner of that stuff-Paul was right there."
The new Kaleidoscope line-up was a powerhouse, and the one Lindley regards as the best. "The thing about the Brotman, Lagos, Solomon, Chester and Lintfree version is that we reaiiy knew what we were doing and could play it all." The straight-ahead California country Hello Trouble, backed with Just a Taste, was the first single issued by the new aggregation. While the lyrics of Just a Taste are nothing much, the production was more grandiose than anything they'd before recorded. The rather awesome bass sound was achieved, Brotman remembers, by using a split cable, one jack plugged into an amp, me other into a custom Benson fuzz box plugged into another amp. Says Grill of the track, "I think we probably spent 20 minutes recording it, and men the post-production began. They put layers and layers of sound on it, because it was such a vapid piece of material it didn't make any difference. They spent more money on that one single than on any other thing I can mink of."
Incredible Kaleidoscope, produced by veteran jazz drummer Jackie Mills, remains the only Kaleidoscope album for which Lindley retains any fondness. While some listeners have long rated the first two more highly, it's not difficult to hear why Lindley remains so proud of it. Though lacking the presence of Darrow's vocals and songwritjng, the album can otherwise be seen as the one on which the Kaleidoscope experiment is most fully realized. The opening track, Lie to Me, is arguably the most exuberant song they ever recorded, a distillation of all the things that made the band what it was. Cuckoo, a third installment of the dark old-timey trilogy they established with Oh Death and Greenwood Sidee takes a bluesy, Zeppelin-esque approach. Petite Fleur continues in the Cajun vein they'd first explored on Louisana Wan, and Let the Good Love Flow is simply rollicking, goofy good fun. On Banjo j lindley displays, for the first time on a Kaleidoscope album, the banjo virtuosity with which he'd first made his name. Seven-Ate Sweet, the closer, remains the most masterful ! instrumental they ever recorded. An Around the World in 11 '37", it's the one that if forced to choose, you'd put in the Time Capsule, to tell future generations, "See, this is what Kal?idoscope could do."
The fourth album, Bernice, as enjoyable as the individual ' tracks are, is where tilings begin to unravel, rf it is, as an album, a disjointed listening experience, there's good reason for it "It's a mess," says Grill. "Because it was going to be an album pretty much of singles, we decided that everybody would write two or three, it was pretty much a committee decision and it was one of the dumbest I've ever been involved in." The opening tracks, Chocolate Whale (an ode to the 1939 GMC truck Feldthouse had acquired for touring purposes) and Another Lover reveal a new and funkier sound. Bassist Ron Johnson had been brought in to the sessions, and Brotman was out. Says Brotman, "I started hearing there was a chance I'd be replaced. Couldn't I sound more funky...My playing started coming more and more under attack." Feldthouse too is a somewhat diminished presence on the album, though he does have a final moment in the spotlight on Soft and Easy, which reveals, yes, a softer and easier version of Solomon Feldthouse. He was, in any case, soon to be history, as the talented but troubled singer-guitarist Jeff Kaplan joined the line-up during the sessions. Tracks like Sneakin' Thru the Ghetto and Lie and Hide display a Mothers-like propensity to rock satire, while Ballad of Tommy Udo records Lindley's infatuation with the Richard Widmark movie, Kiss of Death, Criil doesn't recall New Blue Ooze being a serious candidate for inclusion on th? album, but the heavy jam became the closing track on the last album Kaleidoscope would record for Epic.
Kaleidoscope expired not long after, and it wasn't pretty. Says Lindley of the band, "It was a genetjcal experiment that produced several strains of unknown origin and eventually ate itself." The ex-members have stayed true to the forms of music that inspired them in their youth, and, while keeping their minds open, have navigated the ensuing decades without embarrassing concessions to whatever was considered hip at the time. In 1976 the ex-members recorded a reunion album, When 'Scopes Collide, with Lindley appearing as "D. Paris Letante." Fourteen years later they reconvened, with Stuart Brotman (but minus Lindley), to make a second, Greetings from Kartoonistan: We Ain't Dead Yet.
Kaleidoscope's legacy is assured. As Zigzag writer Mac Garry so memorably put it some years ago, "They were,pioneers... rolling across all that uncharted land in search of the unknown, the undreamed of. Before long, of course, at least a thousand and one bands had stampeded in the grooves of their wheels. " - David Biasotti
CD 1
1 Egyptian Gardens (03:06)
2 If The Night (01:47)
3 Hesitation Blues (02:28)
4 Please (03:19)
5 Keep Your Mind Open (02:18)
6 Pulsating Dream (01:57)
7 Oh Death (03:27)
8 Come On In (02:08)
9 Why Try (03:40)
10 Minnie the Moocher (02:16)
11 Elevator Man (02:56)
12 Little Orphan Nannie (01:57)
13 I Found Out (02:10)
14 Greenwood Sidee (04:17)
15 Life Will Pass You By (03:26)
16 Taxim (11:23)
17 Baldheaded End Of A Broom (03:14)
18 Louisiana Man (02:46)
19 You Don't Love Me (03:59)
David Lindtey - Banjo, Fiddle, Mandolin, Guitar, Harp Guitar, 7 String Banjo
David Saul Feidthouse - Saz, Bouzouki, Dobro, Vina, Oud, Doumbek, Dulcimer, Rddie, 12 String Guitar and Vocals
Fenrus Epp (aka Maxwell Buda) - Violin, Viola, Bass, Piano, Organ & Harmonica
Chris Darren - Bass and Vocals, Mandolin and Guitar
John Vidtean - Percussion (Drums and Timpani)
Pete Madtem - Dobro
Tracks 1-10 Formed the album "Side Trips" original release on Epic LN 24304 (Mono) & Epic BN26304 (Stereo) in 1967 (USA) • "Please" / "Elevator Man" issued as a single on Epic 45-10117 in 1967 (USA) • "Why Try" (single version) / "Little Orphan Nannie" issued as a single on Epic 45-10219 in 1967 (USA) • Track 11 issued as B side of "Please" only on above listed smgle (45-10117)• Track 12 issued as B side of "Why Try" only on above listed single (45-10219) • Tracks 13 to 19 were issued on "A Beacon from Mars" on Epic IH 24333 (Mono) & Epic 8N 26333 (Stereo) in 1967 (USA) • "I Found Out"/ "Rampé Rampé" issued as a single on Epic 45-10239 in 1967 (USA)
CD 2
1 Beacon From Mars (12:32)
2 Rampé Rampé (03:34)
3 Nobody (02:36)
4 Love Games (02:30)
5 Egyptian Candy (03:01)
6 Hello, Trouble (02:06)
7 Just a Taste (02:14)
8 Lie To Me (02:47)
9 Let The Good Love Flow (02:11)
10 Killing Floor (aka Tampe Arizona) (02:44)
11 Petite Fleur (03:31)
12 Banjo (03:35)
13 Cuckoo (04:16)
14 Seven-Ate Sweet (11:31)
Tracks 1-5:
David Lindtey - Banjo, Fiddle, Mandolin, Guitar, Harp Guitar, 7 String Banjo
David Saul Feidthouse - Saz, Bouzouki, Dobro, Vina, Oud, Doumbek, Duicimer, Rddie, 12 String Guitar and Vocals
Fenrus Epp (aka Maxwell Buda) - Violin, Viola, Bass, Piano. Organ & Harmonica
Chris Darren - Bass and Vocals, Mandolin and Guitar
John Vidtean - Percussion (Drums and Timpani)
Pete Madtem - Dobro
Tracks 6-14:
David Ltndley - Lead Guitar, Violin, Banjo and Vocals
Solomon Feidthouse -Guitar, Oud, Clarinet, Saz, Jumbus, Vocal and Feet
Tempteton Pareety - Lead Violin, Organ & Vocal
Stuart A Brotman - Bass and Vocals
Paul Lagos - Drums and Vocals
Max Buda - Harmonica
Track 1 was included on "A Beacon From Mars" (Details as above) • Track 2 was issued as The B side of "I Found Out" on above listed single (45-10239) • Track 3 was issued as the A side of a single credited to "Larry Williams and Johnny "Guitar" Watson" with Kaleidoscope on Okeh 45-7300 in 1967 (USA) • Tracks 4 & 5 were un-issued at the time and were re-rmxed for a CD set "Egyptian Candy" (A Collections on Epic/Legacy EK 47723 in 1991 (USA) • Tracks 6 & 7 were issued as a single "Hello, Trouble" /"Just A Taste" on Epic 45-10332 in 1968 (USA) • Tracks 8-14 formed the album "Incredible Kaleidoscope" on Epic 8N 26467 in 1969 (USA) • "Lie To Me"/"Let The Good Love Flow" issued as a single on Epic 45-10481 in 1969 (USA) • "Killing Floor" / "Lie To Me" issued as a single on Epic 45-10500 in 1969 (USA)
CD 3
1 Sefan (04:28)
2 Chocolate Whale (02:28)
3 Another Lover (02:47)
4 Sneakin' Through The Ghetto (03:19)
5 To Know Is Not To Be (02:16)
6 Lulu Arfin Nanny (03:13)
7 Lie And Hide (02:53)
8 Ballad of Tommy Udo (02:49)
9 Bernice (02:43)
10 Soft and Easy (02:57)
11 New Blue Ooze (09:41)
12 Why Try (02:46)
Track 1:
David Ltndley - Lead Guitar, Violin, Banjo and Vocals
Solomon Feidthouse - Guitar, Oud, Clarinet, Saz, Jumbus, Vocal and Feet
Tempteton Pareety - Lead Violin, Organ & Vocal
Stuart A Brotman - Bass and Vocals
Paul Lagos - Drums and Vocals
Max Buda - Harmonica
Tracks 2-11:
David Lindtey - Lead Guitar & Country Vocals
Jeff Kaplan - Vocals
Solomon Feidthouse - Guitar, Oud & Vocals
Connie Crill - Keyboards, Anemia
Stuart A Brotman - Bass
Ron Johnson - Bass on "Another Love" and "Chocolate Whale"
Paul Lagos - The voice of "Tommy Udo" and rap on "Lie And Hide" also Percussion (all of it)
Track 12:
David Lindtey - Banjo, Fiddle, Mandolin, Guitar, Harp Guitar, 7 String Banjo
David Saul Feidthouse - Saz, Bouzouki, Dobro, Vina, Oud, Doumbek, Dulcimer, Rddie, 12 String Guitar and Vocals
Fenrus Epp (aka Maxwell Buda) - Violin, Viola, Bass, Piano, Organ & Harmonica
Chris Darren - Bass and Vocals, Mandolin and Guitar
John Vidtean - Percussion (Drums and Timpani)
Pete Madtem - Dobro
Track 1 was un-issued at the time and were re-mixed for a CD set "Egyptian Candy" (A Collections on Epic/Legacy EK 47723 in 1991 (USA) • Tracks 2-11 formed the album "Bernice" on Epic BN 26508 in 1970 (USA) • Track 12 was an alternative single version which was issued as an A side on Epic 45-10219 in 1967 (USA)
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