The Pretty Things “Get the Picture?”

Garage,Psych

In London’s early 60s it seemed all the kids wanted to play American R&B and Chicago blues. Kids all throughout England exchanged guitar licks with one another in the front room of their parent’s flat – trying to emulate the sounds of Jimmy Reed, Slim Harpo or Elmore James. There was a group of young Londoners in particular who did just this, jamming after art school at the childhood home of budding guitarist Dick Taylor. When these boys, who coined themselves Little Boy Blue & The Blue Boys, started to get serious about their music and parted ways to form other groups, half of the camp went on to form a little band called The Rolling Stones while the other half formed The Pretty Things.

The Pretty Things had a hard-driving, raw, and energetic soul that poured out in their loose and urgently chaotic music. While The Stones skyrocketed into the stratosphere of success, The Pretty Things didn’t prove to be as lucky. Though they quickly gained immense notoriety around London by playing their guitar amps louder, their arrests and social punch-ups coupled with outrageous behavior (drummer Viv Prince was The Pretties’ Keith Moon…nuf’ said).  Though they never achieved the commercial success of their shaggy haired brethren, they did manage to influence many younger garage bands including The Shadows of Knight and The Primitives. The Pretties’ unique sound was propelled by Viv’s primeval drumming and Dick Taylor’s jagged & piercing guitar runs. Not to mention the main ingredient of The Pretty Things sound – Phil May, the man behind the painfully soul-filled vocal that exalted these tunes beyond the reach of mere mortals.

“Get The Picture” is The Pretty Things at their best, with two sides of amazing material. “You Don’t Believe Me” starts the record with a jangled pop-soul fever featuring Jimmy Page on supportive guitar and percussion duties. “Buzz The Jerk” comes next which has, quite possibly, one of the coolest intro riffs to come out of England. The title track “Get the Picture” has that head bobbing swagger that is truly infectious. They do a stellar job on Slim Harpo’s “Raining in My Heart,” with its tremolo soaked guitar work and May’s sorrowful vocals. The album closer, “Gonna Find Me a Substitute” oozes with cool. The fuzz bass drives and pushes this track while Dick Taylor lays down great guitar riffs throughout the song backing May’s perfect vocal performance. The Pretty Things may not have received the recognition and success they deserved, but they did and still continue to burn up turntables across the world. I guess some things are best kept secret.

“Get The Picture”

:D CD Reissue | 2000 | Snapper | buy here ]
:) Original Vinyl | 1965 | Fontana | search ebay ]

Michaelangelo “One Voice Many”

Baroque,Folk,Psych

The use of the humble autoharp in rock may come as a surprise. Isn’t that the triangular doodad your elementary school teacher used to pull out of the cupboard to strum along to class sing-a-longs of Go Tell Aunt Rhody? And why take an instrument specifically designed for simplicity and bust a gut to play complicated stuff on it? Nevertheless, several intriguing instances of its use have come to light on rare albums from the late sixties and early seventies.

A zither is a small harp with its strings stretched across its soundbox; it has a beautiful, ethereal ringing sound, but is fiendishly difficult to play. To simplify matters, someone came up with the idea of spring-loaded bars that could be pressed down on to the strings so that felt pads under each bar deadened all the strings except those needed to sound a certain chord. Thus the auto-harp was born, and bingo “ a simple rhythm instrument with from 3 to 21 chords, each available at the press of a button. Almost immediately other folks started working out how to put all the complexity back into the autoharp by using it for playing melodies, and some of those Appalachian guys got pretty good at this despite the instrument’s patent unsuitability for this purpose. Then a genial sixties folksinger called John Sebastian customised his harp with an electric pickup, and rock autoharp was born. Sebastian’s playing was fairly limited, but a certain Billy Miller developed an astonishing electric autoharp technique with his late sixties Texas psych outfit, Cold Sun.

Classically-trained pianist and autoharp enthusiast Angel Petersen probably never heard of Billy Miller, but she certainly caught John Sebastian toting his harp around the Village and forthwith obtained a similar electric 15-bar model, making it the centrepiece of the mildly psychedelic folk-rock combo she christened Michaelangelo, after the name she’d already given her harp. In 1971 Michaelangelo (the group) came to the notice of Columbia Records through a fortuitous meeting with electronic music producer Rachel Elkind and her partner, the synthesiser genius Wendy Carlos of Switched-On Bach fame. An album, One Voice Many, was cut in New York with Elkind and Carlos producing, and the band’s major label future should have been assured. However, the story goes that Columbia president Clive Davis was perpetually at loggerheads with Elkind and conspired to have the album suppressed. It was released but received absolutely no record label backup and quickly disappeared. Dispirited, the band dissolved soon afterwards and the album became a collector’s rarity until reissued on CD almost forty years later.

Although likely to be described in current-day reviews as Acid Folk, One Voice Many’s signature sound is predominantly folk-Baroque, with the autoharp frequently sounding more like a harpsichord than the Fender Rhodes-like tone of Billy Miller, particularly on the Bach-influenced instrumentals Take It Bach and 300 Watt Music Box. Elsewhere, it sounds not unlike a Farfisa organ. Either way, there’s nothing remotely schoolmarmish about Petersen’s virtuoso playing. The picture of the band on the cover shows an earnest, studious-looking quartet, and the carefully-arranged music within generally bears this out, though it’s by no means sombre and there are some rocking and even exhilarating touches. The autoharp’s main foil is Steve Bohn’s clean, countrified electric guitar, and the two frontline players interweave their lines exquisitely within the four instrumental numbers. On the six songs, Petersen’s and Bohn’s respective lead vocals are workmanlike rather than attention-grabbing, but when harmonised and multi-tracked they produce a breezy, floating Harpers Bizarre-style texture. The highlights for me are the opening funky country-rocker West, the tinkling, twinkling 300 Watt Music Box, the pulsating generation-gap rocker Son (We’ve Kept The Room Just The Way You Left It) and the shameless sunshine pop of Okay with its whistled accompaniment. Avoid the 2007 Fallout bootleg and go for the 2009 Rev-Ola licensed pressing.

“Son (We’ve Kept the Room Just the Way You Left It)”

:D CD Reissue | 2009 | Revola | buy here ]
:) Original Vinyl | 1971 | Columbia | search ebay ]

The Electric Prunes “Underground”

Garage,Psych

When the Electric Prunes are remembered at all, it’s for their seductive nightmare of a 1967 single, “I Had Too Much to Dream (Last Night).”  Culled from their first album, “I Had Too Much to Dream” set a template for the best of the band’s work: distorted guitars and vocals, bizarre lyrics and a spooky vibe.

By the time of their second album, the Prunes were tired of being considered a prefab band.  Fed songs from some of L.A.’s best psych-garage writers, controlled in the studio by producer/Machiavelli Dave Hassinger and often replaced on record by studio musicians, the band broke out of the prefab mold and wrote many of the songs on Underground.

The result was a more cohesive album than their first album, even if the many of the album’s best songs were contributed by other songwriters. Goffin-King’s “I Happen to Love You” is one of the disc’s strongest tunes, and the duo of Annette Tucker and Nancie Mantz of “I Had Too Much to Dream” fame, contributed “Antique Doll,” another standout track.

But the songs contributed by band members are not throwaways by any means.  “The Great Banana Hoax” by members Jim Lowe and Mark Tulin has as much in common with the Monkees as the Standells, but is nevertheless memorable (and not banana flavored in the least), as are the pair’s other contributions, especially the brooding “Everybody Knows You’re Not in Love” and “Wind-Up Toys.”

Alas, Underground would be the last album for the real Electric Prunes; subsequent albums of pseudo-religious music (sung in Latin at times) used studio musicians playing under the moniker “the Electric Prunes,” while the actual Electric Prunes faded from view. Dirty shame.

“Wind Up Toys”

:) Vinyl Reissue | 2009 | Hi Horse | buy here ]
:D CD Reissue | 2000 | Collector’s Choice | buy here ]
8-) Spotify link | listen ]

Vernon Wray “Wasted”

Americana,Country Rock

Born at Fort Bragg, NC in ’24, Vernon “Lucky” Wray is the much lesser known but no less talented older brother  of the original Shawnee rocker Link Wray of “Rumble” fame. Having learned to play guitar by the age of 11, Vernon played rhythm guitar and bass behind Link for the better part of Link’s career.

Vernon was a tortured innovator. He ran one of the country’s first DIY record labels called Rumble Records named after the family hit in 1958, and was host to an American Bandstand knock-off out of DC called “The Milt Grant Show”.  Around this time Vernon acting as manager and producer of the Ray Men, decided to set up a family recording studio, which had a number of temporary homes that included the family grocery store before coming to a temporary rest in a ramshackle shed on the family property in Accokeek, Maryland where it was famously dubbed “Wray’s Shack 3 Tracks”. This humble set-up produced a genuine musical treasure trove which included the classic Ray Men cuts on the Swan imprint, the spectacular Link Wray LP as well as a bevy of recordings from other local musicians.

Despite his success, life on the east coast was just a bit too hectic for Vernon. In the spring of ’72 he packed up the back wall of the recording shack and high-tailed it to Tuscon, AZ to “mellow out”. In Tuscon he rebuilt the recording studio renaming it Vernon Wray’s Record Factory after upgrading it to eight tracks from three. It was here that Vernon was able to put to tape his much mellower solo work released in two batches as “Superstar at My House” and “Wasted”. The former being released exclusively on cassette and 8-track tape, and the latter by Vermillion Records on vinyl in a run of about 400 copies sold only at shows in Tuscon. Both albums are extremely rare and prized.

Prized for good reason. “Wasted”, released in ’72 is rare in more ways than just its limited availability – as a lost classic it’s pure gold. Laced throughout with the sparkling guitar work of his brother Link, the tasteful drumming of his other brother Doug, Vernon’s understated piano and a host of interesting stereo production effects, the album has a lot to offer musically.

More countrified in its spirit and laid-back in tone than his earlier work with his brother at the front, “Wasted” is lyrically lonely and heartfelt while managing to not become mired in depression.  On songs like “Facing All the Same Tomorrows” and “Prison Song” Vernon’s smooth honey voice is balm to the world weariness that he speaks to. The heavy themes Vernon sings about are at the same time personal and universal as exemplified by the cut “Faces in the Crowd” in which Vernon confronts the isolation that he must have felt in the cities of the East coast and offers the hope of a salvation tendered by “Mother Nature out West”, as embodied by the lively flute playing in the background.

Even though there is a common thread of world weariness throughout, not all of it is expressed in a heavy musical manner. Vernon romps through the swampy floor stomper “Tailpipe” in which he likens the effect of his latest romance on his person to a dilapidated car – you can decipher the analogy in the title. The relatively upbeat country bar-room “tear in my beer” vibe of “When I Start Drinking” has just the right amount of twangy drunken camaraderie to make you smile.

The casual listener might find some of his lyrical themes dated or trite on songs such as “God is Color Blind”, however someone familiar with the other songwriting of the early 70’s Wray brothers can see the unabashed sincerity shine on in a way that is still relevant. Vernon wanted a better world. I hope he found it in 1979 after he passed away. Our world is about to get much better as “Wasted” has recently been licensed for a vinyl rerelease by Sebastian Speaks out of Nashville.

“Tailpipe”

:) Original Vinyl | 1972 | Vermillion | search ebay ]
:) Vinyl Reissue | 2011 | Sebastian Speaks | order here ]

Lee Hazlewood “Love and Other Crimes”

Americana,Concept Albums,Country Rock

Shortly after the release of the million-selling Nancy & Lee, Lee Hazlewood exercised his newfound clout with Reprise and headed to Paris to record a new solo album. Along for the ride were rhythm guitarist extraordinaire Donnie Owens and Wrecking Crew members James Burton, Hal Blaine, Chuck Berghofer, and Don Randi. If Hazlewood’s stream of consciousness notes on the back of the album are to be believed, they lived the life of the jet set, their days and nights a bacchanal of fine wine, beautiful women, and Lotus Europas with all the extras. Fortunately for us, Hazlewood and crew still managed to find the time to record the stunning Love and Other Crimes.

A baroque precursor to his minimalist Requiem For An Almost Lady, Love and Other Crimes finds Hazlewood in a reflective mood, sifting through the ashes of a love gone wrong. Yet the album isn’t all loser’s tears and raindrops – by the end of side two, Hazlewood is unbowed, undefeated, and above all, unrepentant.

This is prime Hazlewood and essential listening for fans of the man and his work. With its sophisticated production, this is a truly great sounding album, and at just under thirty minutes, it demands to be listened to from start to finish. James Burton and company effortlessly shift from country-fried pop to jazzy lounge to elegant ballads and back again. Among the inventive arrangements, She Comes Running and Pour Man’ successfully pair twangy guitar and harpsichord, with Pour Man’ coming off like a mash-up of Merle Haggard’s Mama Tried and Paul Mauriat’s Love Is Blue. And you haven’t heard Burton’s trademark volume swell technique until you’ve heard it on full display in Rosacoke Street. Even Chuck Berghofer’s distinct upright bass work deserves special mention “ listen for his famous These Boots Are Made For Walkin’ bass slide at the end of Pour Man’.

Tracking down an original copy of this album is highly recommended – to these ears, Hazlewood’s voice has never sounded better. Although Love and Other Crimes doesn’t appear to have been reissued as a stand-alone CD, tracks from the album are available on several compilations. However, note that the import LHI compilation, which inexplicably shares the same title and cover art as Love And Other Crimes, only contains four tracks from the album. A better bet is Rhino Handmade’s two-disc Strung Out On Something New, which presents Hazlewood’s three Reprise albums in their entirety, as well as a handful of hard‘to-find singles produced by or featuring Hazlewood.

“Forget Marie”

:) Original Vinyl | 1968 | Reprise | search ebay ]
:D CD Reissue | 2008 | Rhino Handmade | 2CD Comp | buy here ]

The Honeycombs “All Systems Go!”

Garage,Pop

Before the dust settled on their million-selling debut single “Have I the Right?” produced by Joe Meek, the Honeycombs released their self-titled debut LP on Pye records in September of 1964.

Dismissed by some as a novelty act for having a female drummer (bandleader Honey Lantree), they cut consistently good material at Meek’s Holloway Road home studio throughout 1965 and released their finest effort All Systems – Go! on Pye in December of that year.

Mostly a mix of freakbeat and the bubblegum-pop of their singles, All Systems- Go! also features some great experimenting from a band trying to maintain their success. It’s these genre hopping tracks that make this a solid record, but also account for some of the lesser numbers.

There are a few throwaways, like the light R&B fare of “Ooee Train” (which starts strong but dies at the verse) and “Don’t Love Her No More” (which has a great guitar sound but a terrible chorus). The version of “I Can’t Stop” featured here is not as catchy as the single, but the Honey-sung “There’s Something I’ve Got To Tell You Baby” has been improved from the Glenda Collins version. This time it’s slowed down and more sincere, replacing the strings with a mellow organ and classical guitar musings. “Our Day Will Come” expands on the exotica vibe of “Totem Pole” and displays Honey Lantree’s strong prowess as a drummer. The rhythm section is especially tight on this album and really pops out.

“If You Should” could be mistaken for an early Brian Wilson production, and is easily among the best here. “Nobody But Me” stands out with its persistent guitar line and another solid performance from Honey, but the title track is the most single-worthy, with its anthemic full band chant of “ALL…SYSTEMS…GO!!”. Most of the songs here were written by Howard & Blaikley, with the exception of the Ray Davies penned “Emptiness”, which was never recorded by The Kinks. It’s very Kinks-like and bears a striking similarity to “Something Better Beginning” which had also been recorded by the Honeycombs earlier in the year. The disc closes with the Roy Orbison sounding “My Prayer” that works strangely well and highlights the uniqueness of Denis D’Ell’s voice.  Probably the most grandiose recording here, it shows the Honeycombs as far from their core sound as they ever got, but also comes across as the most confident.

Forty six years on and All Systems Go is still an interesting and rewarding listen. It’s full of unique sounds and rhythms and is definitely one of the best of the few LP’s Joe Meek recorded.

“All Systems Go”

:D CD Reissue | 2fer | buy here ]
:) Original LP |  1965 | Pye | search ebay ]

The Best Reissues of 2010

Featured Reissues,uReview

Last year’s top reissues, all ranked by readers and contributors to The Rising Storm, were from an excellent lot. The best of these included some Mono Beatles, Archives from Neil Young and Big Star, and of course the Elevators’ Sign of the Three Eyed Men. This year we have another fine selection of warranted releases from an ever expanding crew of dedicated labels dishing out vintage sounds.

In order to shine a light on some lesser known gems, we’re deliberately excluding a few of this year’s heavy hitters.  Don’t miss out on these big name essentials and box sets:

So with those out of the way, here are our favorite reissued records for 2010, unranked and submitted for your review in the poll below:

Spur “Spur Of The Moments”
Drag City MP3/FLAC/Vinyl”Cowboy rock” from 67-72 Illinois. Offered on vinyl FLAC and MP3 formats (no CD).  A good one to own if you’re into Moby Grape, The Byrds or Buffalo Springfield. read our review…
The Rationals “Fan Club Album”
Big Beat CD/VinylRare and coveted release from the most important early Detroit/Ann Arbor group. Restored tracklist (save for one cut) and detailed liner notes. read our review…
R. Stevie Moore “Phonography”
Sundazed VinylFirst full length LP from an underground hero. HD Vinyl pressing comes with restored Vital artwork and insert. read our review…
The Orkustra “Adventures in Experimental Electric”
Mexican Summer LP/MP3Bobby Beausoleil’s mid-sixties psychedelic experiment explores unusual instrumentation as “the first electric symphony orchestra”
Maffit/Davies “The Rise and Fall of Honesty”
Revola CDA visionary slice of American music that predates the alt. country/folk boom with dark lyrics, strings, and a vibe similar to Texas band Euphoria. Includes liner notes by Tim Forster. read our review…
Ted Lucas “The Om Album”
Yoga Records/Riverman CD/LPLost and found psychedelic folk solo with a remarkably current sound. CD comes in a faithfully reproduced LP-style package with a facsimile of the original insert and new liners. read our review…
Jim Sullivan “UFO”
Light in the Attic CD/LP/MP3″ Ultra rare 1969 private press psych-folk-rock masterpiece “ featuring the legendary Wrecking Crew (Beach Boys, Phil Spector)” First time on CD, LP reissue comes with detailed liners.
Luke Gibson “Another Perfect Day”
True North CD/MP3Long thought of as one of the best singer songwriter albums to come out of Canada. Digital download includes 2 bonus tracks. read our review…
The Psychedelic Aliens “Psycho African Beat”
Academy Records CD/Vinyl/MP3″Voodoo Funk tracked down the complete recorded output of this Ghana group that combined
elements of American soul, funk, garage rock
and psych with African rhythms and melodies. LP packaging includes booklet.”
Up “Rising”
Applebush CD/MP3″The real precursors of punk. Complete recordings, deluxe packaging includes DVD of unseen film plus a set of facsimile gig flyers, extensive liner notes and never before seen photographs of the band.”
The Zakary Thaks “Passage to India”
Cicadelic CDUnreleased recordings of the Thak’s psychedelic exursion. CD includes twenty-page booklet of recollections by lead singer Chris Gerniottis plus rare band memorabilia, posters, and lyrics.
The Third Power “Believe”
Relics CDHard psychedelic rock from early 70s Detroit. Originally released on Vanguard in 1970 and now reissued by Relics on Digipak CD.
Scott Richard Case “SRC”
Micro Werks CD”The long out of print CD by the SRC. One of Michigan s psychedelic gems, the band remains a favorite along side MC5, The Amboy Dukes, and the Stooges.”
Moby Grape “Live 1966-1969”
Sundazed Vinyl/CDNo Live Grape  has ever been officially released with such pristine sound quality. David Fricke’s notes are the icing on the cake. read our review…
The Knickerbockers “One Track Mind”
Grapefruit CD”The definitive, all-killer-no-filler compilation of thirty original Knickerbockers artifacts from the first psychedelic era.”
The Index “Black Album/Red Album/Yesterday & Today”
Lion CD”Three LPs worth of rare psychedelia from The Index “ the uber rare Black Album and Red Album on one disc, and the epic length Yesterday And Today set of newly discovered rarities on the second disc”
Kris Kristofferson “Publishing Demos 1968-1972”
Light in the Attic CD/2LP/MP3″A selection of Kristofferson’s unreleased demos from the late 1960s and early ˜70s. Includes 60-page full-color CD booklet featuring interviews with Kristofferson and the musicians.”
Blaze Foley “The Dawg Years”
Fat Possum CD/MP3A collection of 20 Foley songs, cut during three home studio sessions between February of 1976 and September of 1978. Some of Foley’s first recordings that have been unheard for 25 years.
Steve Young “Rock Salt & Nails”
Big Pink CDSteve Young’s first solo record is adventurous, way ahead of its time, and gorgeous. A masterful production combining outlaw country, rock, folk, blues, and a touch of gospel. Long out of print, this is a Korean pressing in a paper sleeve. read our review…
Various Artists “Troubled Troubadours”
Omni Recording CDRare classic country from the likes of Hank, Waylon, Porter, and Dolly. Most tracks unreleased. Collector’s edition includes liner notes and rare photos.
Various Artists “Local Customs: Lone Star Lowlands”
Numero Group CD/LP/MP3″Southern boogie rock, CSNY clones, British blues thunder, garage-psych hangovers from Beaumont Texas’ Lowland studio. Limited bonus CD includes 20 extra songs.”
Space Opera “Safe at Home”
101 Distribution CD”2010 archive release from the Texas Prog legends consisting of tracks that were recorded before and immediately after their debut album in 1970.”
Richard & Linda Thompson “Shoot Out the Lights”
Rhino Handmade Deluxe CD”The couple’s legendary swan song as a two-disc deluxe edition that includes the original album along with a bonus disc of 11 unreleased live performances from the tour.”

[poll id=”6″]

Q. Anything we missed from your list this year?
Note: This is our 500th post!


Tripsichord “Tripsichord”

Classic Rock,Psych

This notorious San Fransisco group is known to have toured in the late 60’s/early 70’s as “the fake Moby Grape” – a marketing scam created by the evil Matthew Katz, who himself was trying to capitalize on the legendary Grape’s short-lived success.

Tripsichord (also referred to as the Tripsichord Music Box) was actually a fine band, a real group too, who would go on to release a very good album in 1970.  Prior to their sole album (a Janus label release), the group recorded material for Katz that ended up on the Fifth Pipe Dream compilation.  These cuts are solid SF acid rock – heavy on intensity and dark aura, brooding harmony vocals and great guitar work.

Their only LP release is a midpoint between the psych sounds of early Quicksilver Messenger Service and Moby Grape’s shorter, more concise material – psych influenced rural rock/folk rock with plenty of stoned ruminations and lots of melodic guitar work – the classic SF sound.  Regarding the Tripsichord album, Fuzz, Acid & Flower’s Clark Faville added, “their self-titled album (recorded in 1969) proves conclusively that they alone carried the torch during that year that was once shared by Quicksilver Messenger Service, Frumious Bandersnatch and Moby Grape. The Tripsichord album is essentially what the world was hoping Shady Grove would be! The record is an embarrassing wealth of riches both musically and in its dark and menacing lyrical imagery. The dual guitar interplay on this under-rated gem is as good as anything by the three groups mentioned and has stood the test of time well.”   If the album has a weak spot, it’s “Short Order Steward,” a boring blues jam that’s nearly rescued by fine guitar soloing.   The remaining cuts are excellent.  “Fly Baby” and “Black Door” are two of the better unknown SF psych cuts (Fly Baby features great tribal rhythms) while the album’s last cut, “Everlasting Joy,” lifts off with inspired guitar leads.  Other gems are the relaxed country rock of  “We Have Passed On” and the mystical musings of “Narrow Way.”  If you’re interested in hearing this unsung band’s music, the Akarma reissue is probably the best bet.  Besides including the album in its entirety, this disc also features the Fifth Pipe Dream tracks along with Tripsichord’s two 45s.  A very classy reissue with lots of great music.

“Black Door”

;) MP3 Album | 2010 | Akarma | download here ]
:) Original Vinyl | 1971 | Janus | search ebay ]
8-) Spotify link | listen ]

Don Van Vliet

Uncategorized

uReview: “Nilsson Sings Newman”

Classic Rock,Pop,uReview

[ratings]

Today is a day to remember John Lennon, but I just finished the watching the 2006 biopic on his good pal, Harry Schmilsson. Maybe I’m just a big Nilsson fan, but I thought Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him?) was moving, revealing, an excellent film; every great artist deserves a tribute this devoted. But when they got to Nilsson Sings Newman I remembered that I never really fell for this record, for whatever reason.

Q. Am I missing out on a knockout LP? Does Harry really improve on Newman’s tunes? Why wouldn’t I just listen to Randy sing em? Have you seen the doc and what’d you think?

“Livin’ Without You”

:D Deluxe CD Reissue | 2008 | buy here ]
:) Original Vinyl | RCA | 1970  | search ebay ]
8-) Spotify link | listen ]