Hank Crawford - Dig These Blues (1966) [re-rip]

This is one of Hank Crawford's finest albums. Issued in the mid-'60s, it showcases Crawford in fine company. "Dig These Blues" is a down-home affair, in the pocket for the most part with midtempo blues tunes as well as a touch of Memphis-style Ellingtonia in "Don't Get Around Much Anymore." The utterly elegant and beautiful version of Charlie Warfield's "Baby Won't You Please Come Home" is done septet style, with Marcus Belgrave on trumpet. This album's closer, "Bluff City Blues," like "The Crazy Saloon" features Crawford on piano. Released in 1966, this LP contains some deep soul grooves and illustrates perfectly the enormity of his reputation. ~ Extracts from by Thom Jurek, AMG. 

Hank kicks back and blows soulfully - working in a variety of groups with hip players that include Wendell Harrison, Ali Mohammed, Wilbur Brown, and Leroy Cooper. The overall sound is similar to Crawford's other work on Atlantic - nothing too challenging, but in a soulful mode that's always pretty tight. Titles include "New Blues", "Hollywood Blues", "These Tears", "HC Blues", and "The Crazy Saloon". © Dusty Groove, Inc.

Atlantic Records, SD 1436, 1966
Recorded 13th April, 1964 (A4,B1,B3); 10th December, 1964 (#A1,A3,A5)
and 11th February, 1965 (#A2,B2,B4) in New York City 

Musicians:
Hank Crawford - Alto Sax (#A1,A2,A4-B3), Piano (#A3,B4)
Oliver Beener, Phil Guilbeau - Trumpet (#A1,A3,A5)
Jimmy Owens, Marcus Belgrave - Trumpet (#A2,B2,B4)
John Hunt, Julius Brooks - Trumpet (#A4,B1,B3)
Wendell Harrison - Tenor Sax (#A1,A3,A5)
Abdul Baari - Tenor Sax (#A2,B2,B4)
Wilbur Brown - Tenor Sax (#A4,B1,B3)
Leroy Cooper - Baritone Sax (#A1,A3-B1,B3)
Howard Johnson - Baritone Sax (#A2,B2,B4)
Ali Mohammed - Bass (#A1,A3,A5)
Charlie Green - Bass (#A2,B2,B4)
Edgar Willis - Bass (#A4,B1,B3)
Bruno Carr - Drums (#A1,A3-B1,B3)
Milt Turner - Drums (#A2,B2,B4) 

Tracks:
A1. Dig These Blues {Hank Crawford} (4:33)
A2. Don't Get Around Much Anymore {Duke Ellington, Bob Russell} (5:03)
A3. The Crazy Saloon {Hank Crawford} (2:59)
A4. H. C. Blues {Hank Crawford} (2:49)
A5. These Tears {Hank Crawford} (2:36)
B1. Hollywood Blues {Hank Crawford} (3:19)
B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (5:46)
B3. New Blues {Phineas Newborn} (4:24)
B4. Bluff City Blues {Hank Crawford} (3:52) 

Total Time: 35:21 

Credits:
Supervision - Nesuhi Ertegun & Arif Mardin
Recording Engineer – Phil Iehle, Tom Dowd
Cover Design - Marvin Israel
Liner Notes - Nat Hentoff

LINK

Don't Get Around Much Anymore

Billy Harper - Capra Black (1973)

Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.  ~ by Jason Ankeny, AMG. 

Strata-East Records, SES-19739, 1973
Bellaphon International, 660.51.022, 1993 

Personnel:
=========
Billy Harper - Tenor Saxophone, Voices
Jimmy Owens - Trumpet
Julian Priester - Trombone
Dick Griffin - Trombone
George Cables - Piano
Reggie Workman - Bass
Billy Cobham - Drums
Elvin Jones - Drums
Warren Smith - Drums
-----------------------------
Barbara Grant - Voices
Eugene McDaniels - Voices
Laveda Johnson - Voices
Pat Robinson - Voices 

Tracklist:
=======
Capra:
1. Capra Black (11:22)
2. Sir Galahad (8:08)
3. New Breed (4:34)
Black:
4. Soulfully, I Love You / Black Spiritual Of Love (9:39)
5. Cry Of Hunger (10:49) 

All Compositions by Billy Harper 

Total Time: 44:33 

Credits:
Producer, Arranger - Billy Harper
Engineer - Orville I'Brien
Photography - Richard Mayeda
Digital Transfer - Phil Klum 

This album is dedicated to Lee Morgan and to Kenny Dorham (who inspired my uncle-who inspired me), and the many other messengers who have passed this road before me. ~ Billy Harper. 

Capra Black

Weldon Irvine - Time Capsule (1973)

The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ("Soul Sisters") and anger ("Watergate") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. ~ by Jason Ankeny, AMG. 

Nodlew Music, NM-1002, 1973
Hubbub Records, HUBCD13, 1996
Recorded and Re-Mixed 17th May, 1973 At Sound Ideas Studio, New York 

Musicians:
Weldon Irvine - Hammond B-3 (#3), Fender Rhodes (#1,2,4,7) Melodica (#5,6),
Piano [Solo] (#6), Narrator (#1), Vocals (#3,4)
Jimmy Owens - Trumpet (#2,3), Flugelhorn (#4)
Preston Williams - Flugelhorn (#2-4)
George Cables - Fender Rhodes (#3,5,6)
John King - Guitar, Vocals (#2)
Alex Blake - Electric Bass [Fender] (#2,4)
Clint Houston - Bass (#3,5,6)
Anthony Wiles - Congas (#2,4,5,6) Percussion (#3)
Lenny White - Drums (#2-6)
Napoleon Revels - Percussion (#3-6)
Charlette Cook - Voice [Recitation] (#1,4,7)
Emerson Cain Vocals (#2,4)
Willa Vaughn - Vocals (#2) 

Tracks:
1. Time Capsule {Weldon Irvine} (2:24)
2. Feelin' Mellow {Weldon Irvine, John King} (3:44)
3. Soul Sisters {Weldon Irvine} (7:36)
4. Deja Vu {Weldon Irvine} (9:26)
5. Watergate---Don't Bug Me! {Weldon Irvine} (7:10)
6. Spontaneous Interaction {Weldon Irvine} (6:02)
7. I Am {Weldon Irvine} (1:27)
8. Bananas {Weldon Irvine} (2:18) 

Total Time: 40:07

Credits:
Producer, Liner Notes, Arranger - Weldon Irvine
Engineer - George Klabin
Photography, Design, Layout - Collis H. Davis, Jr.

David "Fathead" Newman - Concrete Jungle (1978) [vinyl]

David "Fathead" Newman has appeared through the years in both straight-ahead and commercial settings. This LP leans towards latter category; Newman here is and was a versatile performer and, on this album, he divides his time almost equally between alto, soprano, tenor and flute showcasing his ability to produce some wonderful Soul/Jazz-Funk. On this date he is accompanied by an electrified rhythm section that includes Pat Rebillot on keyboards and guitarist Jay Graydon backed by a string orchestra arranged by William Fischer. Included in the assemble are other players such as Jimmy Owens, Earl McIntyre, Babe Clarke, Clarence Thomas, Kenneth Harris and Kermit Moore. The tunes include McCoy Tyner's "Blues For Ball", Buddy Johnson "Save Your Love For Me", Stevie Wonder’s "Knocks Me Off My Feet", Bob Marley's "Concrete Jungle" and Marvin Gaye's "Distant Lover" and one of his own "Sun Seeds." Fischer’s arrangements truly compliment this material which can be criticised as being a bit dated, but David's skills are a truly masterful example of this late great player, Enjoy!

Prestige Records, P-10104, 1978

Recorded November, 1977 At Fantasy Studios, Berkeley, CA & New York City

Musicians:

David "Fathead" Newman - Flute, Soprano, Alto and Tenor Saxophones

Pat Rebillot - Keyboards

Jay Graydon - Electric Guitar

Abraham LaBoriel - Electric Bass

Idris Muhammad - Drums

Bill Summers - Congas, Percussion

Tracks:

A1. Knocks Me Off My Feet {Stevie Wonder} (3:58)

A2. Save Your Love For Me {Buddy Johnson} (5:20)

A3. Blues For Ball {McCoy Tyner} (4:22)

A4. Dance Of The Honey Bee And The Funky Fly {William Fischer} (6:17)

B1. Concrete Jungle {Bob Marley} (7:25)

B2. Sun Seeds {David Newman} (5:17)

B3. Distant Lover {Fuqua, Gaye, Greene} (7:25)

Total Time: 40:04

Credits:

Producer - Orrin Keepnews, William Fischer

Arranger, Conductor - William Fischer

Engineer [Basic Recording], Remix - Eddie Bill Harris

Engineer [Assistant] - Wally Buck

Engineer [Additional Recording-Strings] - Vince McGarry

Mastering Engineer - John Golden

Art Direction - Phil Carroll

Cover Art - Dennis Gassner, Roberto Morrison

Photography - Phil Bray

Note:

See Track [Personnel].txt for more player details.

Buddy Terry - Electric Soul! (1967) [re-rip]

Cool lost album by tenorist Buddy Terry, who plays Varitone on a number of tracks (hence the title of the LP). Jimmy Owens is on trumpet, Harold Mabern's on electric piano, and the set has a nice electric groove that's unusual for Prestige sessions at the time – and which points the way ahead to later jazz work on Kudu and CTI. Tracks include "The Band Bandit", "The Ubangi That Got Away", "Jimmy", and "Electric Soul". © Dusty Groove, Inc.

This is the finest first outing I have heard in many years. Buddy Terry's talent and determination, his superior and well cultivated musicianship are sure to win him many admirers. I can only hope that the reader of these notes is fortunate to have this album on his turn-table at this moment, It's a winner. ~ excerpt from Liner Notes by Michael Gold.

Prestige Records, PRST 7525, 1967

Recorded 23^rd February, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Buddy Terry - Varitone (#A1-A4,B2), Tenor Saxophone (#B1,B3)

Jimmy Owens - Trumpet, Flugelhorn

Harold Mabern Jr. - Electric Piano

Ron Carter - Bass

Freddie Waits - Drums

Tracks:

A1. Electric Soul {Buddy Terry} (6:35)

A2. Alfie {Burt Bacharach, Hal David} (4:44)

A3. Hey, Nellie {Buddy Terry} (4:42)

A4. Everything Is Everything {Whitaker} (4:38)

B1. The Ubangi That Got Away {Buddy Terry} (7:15)

B2. Jimmy {Jay Thompson} (5:14)

B3. The Band Bandit {Buddy Terry} (6:37)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Cover Design/Photo - Don Schlitten

Liner Notes - Michael Gold (April, 67)

David "Fathead" Newman - The Many Facets Of David Newman (1969) [re-rip]

This set along with "Bigger & Better" from 1968 'are among tenor-saxophonist David "Fathead" Newman's more commercial efforts. The Many Facets of David Newman is less poppish and more blues-oriented with the lengthy "Children of Abraham" showing some passion.' According to Mr. Yanow he states that 'overall the material is rather weak and has not aged very well. Skip this set in favor of Newman's more recent efforts.' However, I am not sure he truly listened to this album. Even though he did make mention of "Children of Abraham" there is still some great playing and artistry going down across many other tunes found on this LP. Listen with an open mind and judge for yourselves. Enjoy!

Atlantic Records, SD 1524, 1969

Recorded 7/03/68 (#A2,B2,B3); 2/12/68 (#A1,B1); 3/12/68 (#A3);
4/12/68 (#B4) and 11/2/69 (#A4) in New York City

Personnel:

David "Fathead" Newman - Alto, Tenor & Soprano Saxophones, Flute

Seldon Powell - Tenor Saxophone

Haywood Henry, Jerome Richardson - Baritone Saxophone

Melvin Lastie, Joe Newman, Jimmy Owens, Ernie Royal - Trumpet

Bennie Powell - Trombone

Paul Ingram, Julius Watkins - French Horn

Jack Knitzer - Oboe

Gene Orloff, Emanuel Green, Leo Kruczek, Richard Elias, Leo Kahn - Violin

Selwart Clarke, Alfred Brown - Viola

Kermit Moore - Cello

Joe Zawinul, George Stubbs - Piano

Billy Butler, Eric Gale - Guitar

Richard Davis, Ron Carter - Acoustic Bass

Chuck Rainey - Electric Bass

Bernard Purdie, Bruno Carr - Drums

Omar Clay - Percussion

Tracks:

A1. Shiloh {David "Fathead" Newman} (4:29)

A2. We're A Winner {Curtis Mayfield} (3:06)

A3. Children Of Abraham {William Fischer} (10:06)

A4. Headstart {David "Fathead" Newman} (2:53)

B1. Chained No More {David "Fathead" Newman} (6:23)

B2. The Funky Way To Treat Somebody {Calvin Arnold} (3:05)

B3. Sylvia {Henry Cosby, Stevie Wonder, Sylvia Moy} (3:17)

B4. That's All {Alan Brandt, Bob Haymes} (6:11)

Credits:

Producer - Joel Dorn

Recording Engineer - Adrian Barber, Bruce Tergesen, William Arlt

Arranger - Arif Mardin (#A2,B2,B3), David "Fathead" Newman (#A1,A4), William Fischer (#A3,B1,B4)

Archie Shepp - For Losers (1968+1969) [vinyl]

One of the grooviest albums from Archie Shepp's post-new thing years for Impulse - a nicely grooving session that mixes soul-based tracks with more righteous spiritual jazz moments! The approach here is a nicely varied - a laidback, collaborative spirit that's even quite different from Shepp's work in France at the time, or even from some of his other sessions for Impulse. At one moment, Archie's playing in a gently spare and soulful mode - foreshadowing his late 70s sides - but at another, he'll be opening up with intensity, egged on by a group of well-matched players who include Woody Shaw, Grachan Moncur III, James Spaulding, and Cedar Walton. Side 2 features the extended "Un Croque Monsieur" - a modally building number with some free post-Coltrane energy, and a righteous poem from Chinalin Sharpe. Sharpe returns in a completely different spirit on "I Got It Bad" - singing the lyrics in a Billie Holiday mode alongside Shepp's solo - and Leon Thomas sings on the soul-based number "Stick Em Up", again very different than usual! Titles also include a great version of Cal Massey's "What Would It Be Without You" and the funky groover "Abstract". © Dusty Groove, Inc.

Impulse! Records, AS-9188, 1970

Recorded 9^th September, 1968 (#A1) at RCA Studios, New York City

Recorded 17^th February, 1969 (#A2) at RCA Studios, New York City

Recorded 26^th August, 1969 (#A3,A4,B) at RCA Studios, New York City

Personnel:

A1. Stick 'Em Up {Archie Shepp} (2:05)

Archie Shepp - Tenor Saxophone

Robin Kenyatta - Alto Saxophone

Grachan Moncur III - Trombone

Martin Banks - Trumpet, Flugelhorn

Andrew Bey - Piano

Mel Brown - Organ, Guitar

Bert Payne - Guitar

Albert Winston - Fender Bass

Wilton Felder - Fender Bass

Beaver Harris - Drums

Doris Troy - Vocals

Leon Thomas - Vocals

Tasha Thomas - Vocals

A2. Abstract {Archie Shepp} (4:21)

Archie Shepp - Tenor Saxophone

James Spaulding - Alto Saxophone

Charles Davis - Baritone Saxophone

Grachan Moncur III - Trombone

Jimmy Owens - Trumpet, Flugelhorn

Wally Richardson - Guitar

Dave Burrell - Organ

Bob Bushnell - Fender Bass

Bernard Purdie - Drums

A3. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Webster} (5:15)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Clarence Sharpe - Alto Saxophone

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

Chinalin Sharpe - Vocals

A4. What Would It Be Without You {Cal Massey} (4:05)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Cecil Payne - Baritone Saxophone, Flute

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

B. Un Croque Monsieur [Poem: For Losers] {Archie Shepp} (21:47)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Cecil Payne - Baritone Saxophone

Clarence Sharpe - Alto Saxophone

Woody Shaw - Trumpet

Matthew Gee - Trombone

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

Chinalin Sharpe - Vocals

Credits:

Producer - Ed Michel

Supervision - Bob Thiele (#A1,A2), Ed Michel (#A4,A4,B)

Artwork Design - George Whiteman

Photography - Chuck Stewart

Liner Notes - Archie Shepp

Tracklist:

A1. Stick 'Em Up {Archie Shepp} (2:05)

A2. Abstract {Archie Shepp} (4:21)

A3. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Webster} (5:15)

A4. What Would It Be Without You {Cal Massey} (4:06)

B. Un Croque Monsieur [Poem: For Losers] {Archie Shepp} (21:47)

At the time this record was recorded, Shepp was bouncing back and forth between Paris and New York. He also bounced between the Impulse! and BYG labels. He also bounced between styles. For BYG, his music reached to grasp the bare beginnings of black music, back to Africa and the blues. His music for Impulse! tried to embrace the contemporary sounds of R&B, with very mixed results that to this day divide his fans. This record is a transitional one. For the traditionalists, there's his shattering and amusing cover of "I've Got It Bad" performed by the usual suspects one would think to find on an Archie Shepp record, including Cecil Payne and Joe Chambers. For those enraptured by albums like Attica Blues, songs like "Stick 'Em Up" will fascinate, as Shepp's raspy tenor is joined not only by a legion of avant-garde brethren (including names like Beaver Harris and Grachan Moncur), but also by the funky wood of electric bass, guitar, and organ. Some will find those later tracks a bit hard to take. Some will even find themselves snickering. But for anyone wishing to understand the music and career of this brilliant musician, this is an undervalued piece of the puzzle. ~ Rob Ferrier, AMG.

Eric Kloss - Life Force (1967) [vinyl>flac]

Much of this music is unconventional, avant-garde by the standards of anyone reared in the structural tradition of 12-bar blues, 16- and 32-bar pop standards, and infinite variations thereon. Here, other structures and idioms are freely borrowed and explored, and the listener can never be sure what avenue the boys will ramble down next. But experiment, free experiment, has ever been the soul of jazz (as of the Life Force itself, according to its admirers). At 18, Eric Kloss is a worthy representative of both conceptions, and a welcome newcomer to the ranks of those select pros who can usually be counted on for something fresh and exciting in almost any vein they choose. ~ Extract from Liner Notes by Ralph Berton.

Prestige Records, PRST 7535, 1968

Recorded 18^th September, 1967

Musicians:

Eric Kloss - Alto Sax (#A2,B1,B3), Tenor Sax (#A1,A3,B2)

Jimmy Owens - Trumpet, Flugelhorn (except #B1)

Pat Martino - Guitar

Ben Tucker - Bass

Alan Dawson - Drums

Tracks:

A1. Soul Daddy {Charles Austin} (3:55)

A2. You're Turning My Dreams Around {Eric Kloss} (4:54)

A3. Life Force {Eric Kloss} (11:23)

B1. Nocturno {Bud Shank} (6:37)

B2. St. Thomas {Sonny Rollins} (5:23)

B3. My Heart Is In The Highlands {Eric Kloss} (8:28)

Credits:

Producer - Don Schlitten

Recording Engineer - Richard Alderson

Design - Don Schlitten

Artwork - Irving Riggs

Liner Notes - Ralph Berton (Jan. 1968)

Eric Kloss - We're Goin' Up (1968) [re-rip]

‘We're Goin' Up’ is the sixth album by saxophonist Eric Kloss which was recorded in 1968 and released on the Prestige label. ~ Wiki

The album finds the 18 year old Kloss in serious company with Jimmy Owens on trumpet, Kenny Barron on piano, Bob Cranshaw on bass and the great Alan Dawson on drums. The music is stunning post-bop. ~ KingCake

Personally, I just love this LP. Eric playing is brilliant and as KC said clearly supported by equally marvellous players. Enjoy!

Prestige Records, PR 7565, 1968?

Recorded 22^nd December, 1967, New York City [Taken from Jazzdisco Discography]

Musicians:

Eric Kloss - Alto Saxophone

Jimmy Owens - Trumpet & Flugelhorn

Kenny Barron - Piano

Bob Cranshaw - Bass

Alan Dawson - Drums

Tracks:

1. Get The Money Bluze (2:28)

2. I Long To Belong To You (6:33)

3. Gentle Is My Lover (7:35)

4. We're Goin' Up (5:24)

5. Of Wine And You (5:53)

6. Blues Up Tight (5:48)

All Compositions by Eric Kloss

Credits:

Producer - Don Schlitten

Recording Engineer - Richard Alderson

Cover Design/Art - Irving Riggs

Curtis Amy - Mustang (1967) [re-rip]

A fantastic LP of beautiful modal tracks, played by one of the most underrated reed players ever, during the most fruitful time of his career. At this point, Amy's moved away from his bluesy Texas roots, and has discovered a freer Coltrane-esque sound that works beautifully with his spiritual, strident compositions. Although the record was pushed by Verve with the funkier track "Mustang" (also recorded by Donald Byrd), the record really sounds more like a Nathan Davis record, with a mix of tenor and soprano sax that is extremely spiritual. Tracks include "Mustang" (2 versions), "Shaker Heights", "Enojo", and "Old Devil Moon". © Dusty Groove, Inc.

The Texas Tenor tears it up on this release for Verve from 1966. It's a fantastic LP of beautiful modal tracks, played by one of the most underrated reed players ever, during the most fruitful time of his career. At this point, Amy's moved away from his bluesy Texas roots, and discovered a freer Coltrane-esque sound that works beautifully with his compositions. Although the record was pushed by Verve with the funkier track "Mustang" -also recorded by Donald Byrd- the record really sounds more like a Nathan Davis record, with a mix of tenor and soprano sax that is extremely spiritual. This has never made it to CD or a vinyl re-issue -suprising given the popularity of the very funky title track and the fact it's on Verve. ~ Orgyinrhythm

He might have been known as a Texas tenorman but Amy plays more soprano sax here (probably due to the Coltrane influence of the era). The band is mostly of unknowns (local Texas players?) except for pianist Kenny Barron but create quite a energetic stir often with a Latin tinge. Verve needs to reissue this! It's not easy to find but keep your eyes open in those dusty record bins. ~ RateYourMusic

Verve Records, V6-8684, 1967

Recorded 26^th January, 1967 at Bell Sound Studios, New York

Personnel:

Curtis Amy - Tenor Sax (#A1,B1,B2), Soprano Sax (#A2,A3,B3)

Leroy Cooper - Baritone Saxophone

Jimmy Owens - Trumpet, Flugelhorn

Kenny Barron - Piano

Carl Lynch - Guitar

Edgar Willis - Bass

Bruno Carr - Drums

Eva Harris - Vocals (#B2)

Track Listing:

A1. Mustang [Short Version] {Sonny Red} (3:18)

A2. Shaker Heights {Curtis Amy} (11:51)

A3. Enojo [Peevish] {Curtis Amy} (3:36)

B1. Mustang [Long Version] {Sonny Red} (5:08)

B2. Please Send Me Someone To Love {Percy Mayfield} (3:28)

B3. Old Devil Moon {E.Y. "Yip" Harburg, Burton Lane} (6:07)

Credits:

Producer - Joel Dorn, Jack Shaw

Director Of Engineering - Val Valentin

Remix Engineer - Norman Baker

Cover Design - Acy R. Lehman

Cover Photo - Jon Henry