elite hotel

Emmylou Harris and The Hot Band were hooked in the first degree on sin and salvation and gone like the wayward wind walking the long way home just to think of an alibi.   Elite Hotel came out less than a year after her acclaimed Pieces of the Sky album. It was a busy year during which she made appearances on  Heart Like a Wheel   and  Prisoner in Disguise  with Linda Ronstadt, Home Plate  with Bonnie Raitt,    Two Lane Highway  with Pure Prairie League,    All I Can Do  with Dolly Parton,  Desire  with Bob Dylan,   Mike Auldridge  with Mike Auldridge,  Sleepless Nights  with The Flying Burrito Brothers,   Starland Vocal Band  with Starland Vocal Band,   and   Texas Cookin' with Guy Clark.   


Warner Brothers executives agreed to record her next album as long as she got herself "a hot band".  She brought in a revolving cast of studio aces, including guitarist James Burton and pianist Glen Hardin from Elvis Presley's touring band.    Elite Hotel was recorded during June with producer  Brian Ahern and engineers Bradley Hartman, Rudy Hill, Stuart Taylor, and Miles Wilkinson.   The Hot Band included:     Brian Ahern on acoustic guitar and bass;   Mike Auldridge on dobro;   Byron Berline on fiddle and mandolin;   Dianne Brooks on backing vocals;   James Burton electric guitar;   Rodney Crowell on  electric guitar and backing vocals;   Rick Cunha on acoustic guitar;  Nick DeCaro on string arrangements;  Hank DeVito on pedal steel;   Jonathan Edwards on backing vocals;  Amos Garrett on electric guitar;   Emory Gordy, Jr. on bass  and backing vocals;   Glen D. Hardinon piano, electric piano, and string arrangements;  Emmylou Harris vocals and acoustic guitar;   Ben Keith on pedal steel;   Bernie Leadon acoustic guitar and backing vocals;   Bill Payne on piano;   Herb Pedersen on acoustic guitar, banjo, and backing vocals;   Mickey Raphael and harmonica;   Linda Ronstadt on backing vocals;   Fayssoux Starling on backing vocals;   John Starling on acoustic guitar and backing vocals;   Ron Tutt on drums;   and  John Ware on drums.    

Harris says the album and tour with The Hot Band made her reputation; but left her $250,000 in debt:    "Well, we were damn good, but [the name of the band] was slightly tongue-in-cheek.  It came about because someone at the record company – and this was the early 1970s, remember – decided, 'We gotta put the chick singer together with a hot band.' ... I made it all back in record sales – so it turned out to be a smart business move. That was something else I learned from Gram, 'If you pay the best, you'll play with the best.'...Right at the beginning, the Hot Band was just me and Rodney [Cromwell], sitting late into the night, singing harmony and strumming guitars,"

The eclectic mix of songs on the album set her apart from other country artists at the time:    “Elite Hotel had country hits with ‘One Of These Days’, ‘Together Again’ and ‘Sweet Dreams’, remakes of hits by serious country artists [George Jones, Buck Owens and Patsy Cline, respectively]. ‘Satan’s Jewel Crown’ was there to celebrate the Louvins. The hits themselves were classic country, but the LP had a Beatles song [‘Here, There And Everywhere’], so there were murmurings from country purists, and I started to wonder: ‘Am I being true to Gram? Is this what I set out to do?’ I wanted to be a country artist. But I was being true to who I was, greatly influenced by The Beatles and Dylan. I was a child of my generation who’d discovered country, which became the Big Bang for me, but all these other elements were still swirling around in there. So the eclecticism of those early records was very real for me as I was finding my voice. I needed to do that to get to the point where I could narrow my parameters.”

Elite Hotel  became her first number one album on the country chart riding the wave of two number one country singles.  Harris would admit:   “I know what’s happening but it hasn’t really hit me yet...I guess it’s just been a kind of long hard road. In a way I’ve been at this for almost ten years on almost all kinds of levels – from waiting tables to playing in New York clubs and not having anybody listen to me, to making a terrible first record for a bankrupt company to working with Gram.  I suppose working with Gram was the most amazing thing that ever happened to me. There was just something very magical about the experience. It was so much fun to just get up there, sing with him, and not worry about carrying a show myself. Everyone paid all this attention to me and told me how good I was and all that. It was really like being some kind of fairytale princess. Somehow that affected me more than all this that’s happening now...Maybe I’m on time delay.”





http://www.emmylouharris.com/



lyrics:
http://genius.com/albums/Emmylou-harris/Elite-hotel




"Together Again" 




"Sweet Dreams"

"One of These Days"







Elite Hotel 
full album:





"Amarillo" (Emmylou Harris, Rodney Crowell) – 3:05
"Together Again" (Buck Owens) – 3:56
"Feelin' Single, Seein' Double" (Wayne Kemp) – 2:34
"Sin City" (Gram Parsons, Chris Hillman) – 3:57
"One of These Days" (Earl Montgomery) – 3:03
"Till I Gain Control Again" (Rodney Crowell) – 5:40
"Here, There and Everywhere" (John Lennon, Paul McCartney) – 3:59
"Ooh Las Vegas" (Gram Parsons, Ric Grech) – 3:47
"Sweet Dreams" (Don Gibson) – 4:03
"Jambalaya (On The Bayou)" (Hank Williams) – 3:05
"Satan's Jewel Crown" (Edgar L. Eden) – 3:13
"Wheels" [with Jonathan Edwards] (Chris Hillman, Gram Parsons) – 3:13

bonus tracks:
"You're Running Wild" [with Rodney Crowell] (Ray Edenton, Don Winters) – 1:44

"Cajun Born" [with Jo-El Sonnier] (Jo-El Sonnier, Kermit Goell) – 3:19

z

My Morning Jacket moved on from the fissure with the soulful cosmic swoon of this rearranged reggae rock reverie.   They had released two albums (The Tennessee Fire in 1999  and  At Dawn in 2001) on independent Darla Records before signing with the Dave Matthews RCA imprint ATO Records for It Still Moves in 2003).   Danny Cash and Johnny Quaid left the band in 2004 and were replaced by Bo Koster and Carl Broemel.   For their next album 'Z', the band decided to forgo recording again at the Above the Cadillac Studio and its 'magical' grain silo at the Olliges family farm in Shelbyville, Kentucky.   Jim James (James Edward Olliges) and John Leckie  co-produced the sessions in the Catskill Mountains at Allaire Studios in Shokan, New York which featured  Tom Blankenship on bass guitar;   Carl Broemel on guitar, vocals, pedal steel, and saxophone;   Patrick Hallahan on drums and percussion;   Jim James on vocals, lead guitar, and rhythm guitar;   and  Bo Koster on keyboards, vocals, piano, organ, looping, and percussion;   with   Andrew Bird adding strings, and whistles on "Gideon", "Into the Woods", and "It Beats 4 U";  and  M. Ward doing the acoustic guitar and choirs on "Into the Woods".  

Blankenship:  "It didn't feel right, it felt like a ghost town, going out there to the studio [in Shelbyville]. We had milked that place creatively. Then we decided, 'Hey, we have two new members in the band, so we should just do everything differently.'...[Allaire is] so secluded, it took a half-hour just to drive up the driveway. We had been talking for years about really locking ourselves in when we did an album, and now there was no excuse but to be in the studio all the time. You'd wake up and have breakfast and grab your coffee and walk into the control room."

James: The place we recorded, was like an old mansion, that they built back in the 20's, that sits on top of its own mountain and overlooks like, all the rest of the mountains and it was blizzarding and snowing and we were locked in there for like a month. It's kinda like the Shining. 

Broemel: "Jim's voice is a huge part [of our sound]. Patrick's right foot is a huge part of it. Everybody has their own little thing to contribute. As far musical ideas, the sky's the limit. There's things we probably don't think about that will always be there, but I have no idea what the next record will be like. We'll work and rework a song. "Into The Woods" had three or four incarnations that we thought were pretty cool before we finalized what we wanted to do with it. The same goes for "Off the Record" which wasn't a reggae-feeling song at first. All the songs are great as just acoustic songs, too."

Hallahan:   "If you don't have any prejudice in the music you listen to you shouldn't have any prejudice in the music you play."

Koster:   "There's a certain mysterious quality to everything. I always feel like I'm in another time or place when I play this music. Sometimes I feel like I'm in a movie or something. That's a testament to Jim and his imagination. His songwriting is very non-literal a lot of the time, and there's a fantasy element to some things."

James:  "Just one letter not connected to any other letters or vowels at all. I like the shape of it. You can bend it to make a triangle. You can lop off one end to make a 7. I feel like it had a lot going for it. It’s also the last letter, the 26th letter in the alphabet, and I wrote all the songs when I was 26...I thought [the cover art by Louisville artist Kathleen Lolley] set a good tone about the world within us and going inside and being more within yourself, is how I took it. It’s something that I try really hard to do, to stop thinking and stop the mental noise and chatter in my mind. It really is like static, just a thousand voices and mental movies in your mind and when you stop and you just concentrate on your surroundings or where you are, it’s really like turning off a loud radio that’s just playing a bunch of shit"

Blankenship:  “Whenever I was talking about the title people would think it was going to be our last record. I thought that was funny. Or someone said we were going to start going backwards. After Z we’d do Y and just keep going that way...Obviously, the reverb-- especially on the vocals and drums. I think those sounds are kind of a signature [to our sound]. You always know it's My Morning Jacket when you hear the drums start. Songwriting-wise we'll always be all over the map but production wise there's always little hints of what came before, a My Morning Jacket vein that runs through everything."

'Z'  reached number seventy-four in the UK, seventy-one in Belgium, and sixty-seven in the US.







http://www.mymorningjacket.com/









Gideon




Off the Record






'Z'
full album:



All songs written by Jim James, except where noted:


00:00 - Wordless Chorus
04:09 - It Beats 4 U
07:51 - Gideon
11:21 - What a Wonderful Man
13:43 - Off the Record (James, Tom Blankenship, Patrick Hallahan)
19:09 - Into the Woods
24:25 - Anytime
28:16 - Lay Low
34:18 - Knot Comes Loose
38:09 - Dondante

cosmo's factory

Creedence Clearwater Revival forged a wond'rous apparition in clouds of mystery to ponder perpetual motion in this ramble tamble travelin' ooby dooby.   After releasing their debut album Creedence Clearwater Revival in 1968, they cranked out three more in 1969 Bayou Country,   Green River , and  Willy and the Poor Boys before returning to Wally Heider Studios in San Francisco, California to record 'Cosmo's Factory' with John Fogerty on lead guitar, lead vocals, piano, saxophone, and harmonica;   Tom Fogerty on rhythm guitar;   Stu Cook on bass;   and  Doug Clifford on drums.   Russ Gary was the engineer.   

The sessions were produced and arrangered by John Fogerty:   "When I did 'Cosmo’s Factory', in my mind, it was sort of — at the time — a culmination. I was really kind of going to pack it full, thinking that I was then going to turn a corner and go off into a new place. Unfortunately, there was so much tension within the band that the new place wasn’t necessarily happy. (Laughs.) . . . When I look back now, I can sure see how pretty amazing “Cosmo’s Factory” is. There’s at least six charted singles on that album, and if you also want to include “Heard It Through the Grapevine,” that’s seven. I mean that’s kind of like Michael Jackson territory. (Laughs.) But at the time I just sort of took that in stride. That was what we were doing back then...As you probably know, the history of the band — I was a very strong leader, and I had a mountain, a whole roomful of musical ideas. So I was sort of an unstoppable force. Basically the hardest part was just getting the band up to speed musically so they could record and accomplish these songs. And also just to be in sync and on the same page, wanting to do it. As the success and time went on and got greater there was more and more dissension within the band. You mention how other bands are. What happens then is you spend half your time in the political realm, meaning, well, “I don’t know if I want to do that song.” Or, “I want to come up with my own song.” That takes time. There’s a lot of time being consumed in bands where everybody’s having their say, then you have a meeting, you take a vote — you see what I’m getting at. But basically, “Cosmo’s Factory” was really the very end of me being very strong and very pure and very clear in my direction. And after that . . . (laughs) . . . the fine running machine was starting to get a little wobbly. Democracy’s a wonderful thing. But as we all know in America, it’s really hard to manage."

'Cosmo's Factory' reached number ten in Japan; four in Germany; two in the Netherlands; and number one in Australia, Canada, Norway, the UK, and the US.  

http://www.creedence-online.net/


http://creedence-revisited.com/








"Lookin' Out My Back Door"
https://www.youtube.com/watch?v=TVeyC849E54



"Who'll Stop the Rain"  
https://www.youtube.com/watch?v=kmrwAW5-5rU



"Travelin' Band"




"Run Through The Jungle"
https://www.youtube.com/watch?v=bf_xZVhaAKs




"Up Around the Bend" 
https://www.youtube.com/watch?v=2QMdN1y-omg










'Cosmo's Factory' 
full album:



All songs written and composed by J.C. Fogerty, except where noted. 

Side one
1. "Ramble Tamble"   7:09
2. "Before You Accuse Me" (Ellas McDaniel) 3:24
3. "Travelin' Band‡"   2:07
4. "Ooby Dooby" (Wade Moore, Dick Penner) 2:05
5. "Lookin' Out My Back Door"   2:31
6. "Run Through the Jungle†"   3:09
Side two
1. "Up Around the Bend†"   2:40
2. "My Baby Left Me" (Arthur Crudup) 2:17
3. "Who'll Stop the Rain‡"   2:28
4. "I Heard It Through the Grapevine" (Norman Whitfield, Barrett Strong) 11:05
5. "Long as I Can See the Light"   3:33

Note: All tracks recorded June 1970, except for † recorded March 1970 and ‡ recorded late 1969

no depression

Uncle Tupelo laid their burden down and sparked a new flame with thrash and twang; persuaded, paraded, inebriated and down in a land of paradise and a land of pain.   The group had begun with Jay Farrar and his brothers Wade and Dade in Belleville, Illinois as The Plebes.  After Jeff Tweedy and Mike Heidorn joined they became The Primatives before taking the name Uncle Tupelo.  They recorded a demo 'Not Forever, Just for Now' with producer Matt Allison in Champaign, Illinois, leading to a deal with Giant Records which would soon change its name to Rockville Records.    They recorded their debut album 'No Depression' over ten days in January 1990 at Fort Apache South, a musician-run studio in the Roxbury neighborhood of Boston, Massachusetts.  The sessions featured Jay Farrar on vocals, guitar, banjo, mandolin, fiddle, and harmonica;   Mike Heidorn on drums and cymbals;   and   Jeff Tweedy on vocals, acoustic guitar, and bass guitar;    with   Rich Gilbert adding pedal steel guitar;   Paul Q. Kolderie on production, audio engineering, and sound effects;   and  Sean Slade on production, piano, engineering, and background vocals.     J. Hamilton did the photography.

Heidorn considers:   "The punk rock, the garage rock was definitely the common element that Jeff and Jay had. Jay’s family and his upbringing lent itself to the acoustic instruments by way of the Missouri Ozarks [his mother’s home], a very rural area southwest of Belleville. But his folks had banjos—I remember going there as a 14-year-old—fiddles, harmonicas, pianos, acoustic guitars galore. Jeff, his upbringing brought acoustic [instruments] to the family gatherings. I think he had some uncles who played country, so those two were in touch with the country. When they brought those acoustic guitars and harmonicas to band practice, that was really fascinating. It was like ‘Hell, we can do all these things!’"

Farrar says:    "Belleville’s where we were growing up, getting our start, playing in bars. St. Louis has always represented the gateway to the rest of the world. We were late teens and early twenties around the time these recordings were made. Belleville was a relatively economically depressed area, and it was also a relatively small town. I think its population was around 40,000. There weren’t that many high-profile businesses in Belleville, but there was one, the Stag Beer Factory, which closed down during that time period—or shortly before. I think it was mid ‘80s. It’s interesting to see how pervasive the references to the small-town lifestyle are in these songs..There’s definitely a sense of place. Another thing that is remarkable to me is how intertwined the music and bar culture were. That’s where we played the music, was in bars, and so much of the lyrical content reflects that. The overriding aspect of the lyrics is that so many references to moving on—seeing the rest of the world outside of Belleville...We started writing songs when we were about twenty years old, and then you hit twenty-one and all of a sudden you’re exposed to a different world and a different culture. Bar culture. It’s both a problem and a solution, and it’s something our society is still trying to figure out...We tried to stake a musical claim that shaped the band, and we put everything we listened to in a blender and came up with music to call our own."

Tweedy confesses:   “I thought I knew everything there was to know about alcoholism because I grew up in a house full of people who were alcoholics. My dad would be devastated to hear me say he’s an alcoholic, but the consensus would be that someone who drinks a 12-pack of beer every day is one. He’s a highly functioning alcoholic, he’s been able to maintain for a long time. My brothers, on the other hand, haven’t been able to and have suffered a lot. One of them is recovering and one of them is still very active in his addiction...Even at a very young age I knew that I was an alcoholic, before I ever took a drink. But when I quit drinking, I thought I was saved for the rest of my life – which isn’t how addiction works. I had to find something else, because I really only treated a symptom.”

http://uncletupelo.com/








"Graveyard Shift"
https://www.youtube.com/watch?v=nblSYuIVGlU







 'No Depression' 
full album:

https://myspace.com/uncletupelomusic/music/album/no-depression-8114683





All songs written by Jay Farrar, Jeff Tweedy, and Mike Heidorn except as indicated.

"Graveyard Shift" – 4:43
"That Year" (Farrar, Tweedy) – 2:59
"Before I Break" – 2:48
"No Depression" (A.P. Carter) – 2:20
"Factory Belt" – 3:13
"Whiskey Bottle" – 4:46
"Outdone" (Farrar, Tweedy) – 2:48
"Train" (Tweedy) – 3:19
"Life Worth Livin'" – 3:32
"Flatness" (Tweedy) – 2:58
"So Called Friend" (Farrar) – 3:12
"Screen Door" – 2:42

bonus
"John Hardy" (traditional, arr. Lead Belly) – 2:21
"Left in the Dark" (Draznik) – 3:09
"Won't Forget" – 2:51
"Sin City" (Parsons, Hillman) – 3:53
"Whiskey Bottle" (Live Acoustic) – 4:40
"No Depression" (1988 Demo) – 2:19
"Blues Die Hard" (1987 Demo) (A. P. Carter) – 4:08

tonight's the night

Neil Young opened up tired eyes and sent chills up and down the spine standing on the sound of this shaky searching salutation.  In the wake of the deaths of Crazy Horse guitarist Danny Whitten on November 18, 1972 and roadie Bruce Berry on June 4, 1973, Young recorded a live album of new material called 'Time Fades Away' during the tour for his blockbuster album 'Harvest'.  His next project directly dealt with the deaths of his friends.  Most of the album was recorded during August and September of 1973 at Studio Instrument Rentals in Hollywood' with The Santa Monica Flyers (Ben Keith, Nils Lofgren, and the Crazy Horse rhythm section of Billy Talbot and Ralph Molina).   "Come on Baby Let's Go Downtown" was recorded live with Crazy Horse at the Fillmore East in New York in March of 1970; and "Lookout Joe" and "Borrowed Tune" laid down at Broken Arrow Ranch in December 1972 and  December 1973, respectively.  "Lookout Joe" features his 'Harvest' band The Stray Gators (Jack Nitzsche, Tim Drummond, Ben Keith, and Kenny Buttrey) while "Borrowed Tune" is Neil solo.   The album was produced by David Briggs and Neil Young with Tim Mulligan.  

'Tonight's The Night' credits  Neil Young on vocals, guitar,  piano, harmonica, and vibes;    Ben Keith on pedal steel guitar, vocals, and slide guitar;   Nils Lofgren on piano, vocals, and guitar;   Danny Whitten on vocals and electric guitar;   Jack Nitzsche on electric piano and piano;   Billy Talbot and Tim Drummond on bass;   Ralph Molina on drums and vocals;  Kenny Buttrey on drums;  and  George Whitsell on vocals.    Reprise was not happy with the dark tone of the album and did not want to release it.  In the meantime, Young recorded and released 'On The Beach' , but continued to pressure the record company to put out 'Tonight's The Night', which they finally did in June of 1975.    The album went to number sixty-one in Canada, forty-eight in the UK, forty-two in Australia, and twenty-five in the US.  Along with  'Time Fades Away'  and  'On The Beach' , it is part of what is called Young's "Ditch Trilogy".  

Young would confess:     "The album 'Tonight's the Night' is the best I have ever made. It's recorded live. On one side there are four songs recorded in one take without stopping. In a hall belonging to Studio Instrument Rentals in LA. The owner of the firm, Ken Berry, is the brother of the former roadie Bruce and he let me use that hall. The atmosphere was so relaxed that we began recording immediately. And it's the most honest thing I have ever done. The guys I'm playing with at the moment make me feel relaxed and that's why I can be so honest. But I think the public thinks I'm trying to trick them ... Tonight's the Night is like an OD letter. The whole thing is about life, dope, and death. When we played that music we were all thinking of Danny Whitten and Bruce Berry, two close members of our unit lost to junk overdoses. We played Bruce and Danny on their way all through the night ... All of these things happen to people, so I figured it happened to me so I'll write about this, and I'll just write from my heart, and if other people have this happen to them they'll relate to this."

"It's odd.  I don't know why, it was a subconscious move, I think Tonight's the Night is the most grand example of that resistance [to success]. It was actually recorded in August of '73 at SIR [LA's Studio Instrument Rentals], where we had the party last night. Everything on Tonight's the Night was recorded and mixed before On the Beach was started, but it was never finished or put into its complete order till later. Everybody said that Harvest was a trip. To me I'd happened to be in the right place at the right time to do a really mellow record that was really open, 'cause that's where my life was at the time. But that was only for a couple of months. If I'd stayed there, I don't know where I'd be right now, if I'd just stayed real mellow. I'm just not that way anymore. I think Harvest was probably the finest record that I've made, but that's really a restricting adjective for me. It's really fine, but that's it."

 "Tonight's the Night didn't come out right after it was recorded because it wasn't finished. It just wasn't in the right space, it wasn't in the right order, the concept wasn't right. I had to get the colour right, so it was not so down that it would make people restless. I had to keep jolting every once in a while to get people to wake up so they could be lulled again. It's a very fluid album. The higher you are, the better it is. And it really lives up to that, a lot of records don't … you should listen to it late at night...Those mixes were a little unorthodox. Like it's real music. Sometimes I'd be on mic and sometimes I'd be two feet off it. Sometimes I'd be lookin' around the room and singin' back off mic…we'd have to bring it way back up in the mix to get it. And you can hear the echo in the room. We were all on stage at SIR just playing, with the PA system and everything, just like a live thing.

"I got tired of … I think what was in my mind when I made that record was I just didn't feel like a lonely figure with a guitar or whatever it is that people see me as sometimes. I didn't feel that laid back – I just didn't feel that way. So I thought I'd just forget about all that … wipe it out. Be as aggressive and as abrasive as I could to leave an effect, a long-term effect, that things change radically sometimes, it's good to point that out ... At SIR, when we were playing, and these two cats [Berry and Whitten] who had been a close part of our unit, our force, our energy, were both gone to junk, both of them OD'd. And now we're playing in a place where we're getting together to make up for what is gone and try to make ourselves stronger and continue. Because we thought we had it with Danny Whitten. At least I did. I thought that a combination of people that could be as effective as groups like the Rolling Stones had been … just for rhythm, which I'm really into. I haven't had that rhythm for a while and that's why I haven't been playing my guitar: because without that behind me I won't play. I mean, you can't get free enough. So I've had to play the rhythm myself ever since Danny died. Now I have someone who can play rhythm guitar, a good friend of mine...Nils is a lead player, basically. And when I use Nils – like on Tonight's the Night I used him for piano, and I played piano on a couple of songs and he played guitar. In the songs where he plays guitar he's actually playing the way Bruce Berry played guitar. The thing is I'm talking about him and you can hear him. So Nils just fits in – he plays that hot rock'n'roll-style guitar...It's just that there was a lot of spirit flyin' around when we were doin' it. It was like a tribute to those people, you know? Only the ones we chose no one had really heard of that much, but they meant a lot to us. That's why it gets spooky. 'Cause we were spooked. If you felt that I'm glad because it was there...The first horror record, a horror record …"

http://www.neilyoung.com/

'Tonight's The Night'
full album:

https://www.youtube.com/playlist?list=PL94gOvpr5yt3Gz94uu1UztA5cD_iIq_k-






All songs written by Neil Young except where noted. 

Side one
1. "Tonight's the Night" (with the Santa Monica Flyers) 4:39
2. "Speakin' Out" (with the Santa Monica Flyers) 4:56
3. "World on a String" (with the Santa Monica Flyers) 2:27
4. "Borrowed Tune" (Mick Jagger, Keith Richards, Neil Young) 3:26
5. "Come on Baby Let's Go Downtown" (live from the 1970 tour with Crazy Horse) Neil Young, Danny Whitten 3:35
6. "Mellow My Mind" (with the Santa Monica Flyers) 3:07
Side two
1. "Roll Another Number" (with the Santa Monica Flyers) 3:02
2. "Albuquerque" (with the Santa Monica Flyers) 4:02
3. "New Mama"   2:11
4. "Lookout Joe" (with The Stray Gators) 3:57
5. "Tired Eyes" (with the Santa Monica Flyers)  4:38
6. "Tonight's the Night" (with the Santa Monica Flyers) 4:52