Steady Nerves is a 1985 album by Graham Parker and The Shot. The album contains his only US Top 40 hit, “Wake Up (Next to You)”. Graham Parker moves to his third record label (following stints at Mercury and Arista), forms a backup band called the Shot (again led by guitarist Brinsley Schwarz) and continues alternately arguing with existence (“Break Them Down”) and praising his romantic life (“Wake Up [Next to You]”).
Once upon a time, Graham Parker was pub rock’s rawest nerve and, along with Elvis Costello, New Wave’s most literate malcontent. Nowadays, he’s a happily married man who can boast of steady nerves, having put emotional traumas behind him. The question is, What does an angry young man sing about when he’s no longer angry? While not a definitive answer, his ninth album is an encouraging step.
Steady Nerves is Parker’s most engaging work since Squeezing Out Sparks, his uncontested high-water mark. Instead of the whitewashing he has gotten lately from slick, market-oriented producers, who tried to contain his yearning wail inside a tidy bowl of studio niceties, the production by Parker and William Wittman lends personality and sparkle to the eleven songs on Steady Nerves. The record offers a smorgasbord of varied tastes and textures, from the fast-strumming modern pop of “Take Everything” to the intimate, atmospheric balladry of “Wake Up (Next to You).”
Lyrically, Parker is less obsessive. He sings affirmatively of love (“Mighty Rivers”), and his lone stab at documenting inner turmoil, “Lunatic Fringe,” rings false: he’s simply too sane to pull it off anymore. When Parker does get upset, it’s about things far removed from his experience — for instance, the Westernization of Venezuelan tribesmen by an American fundamentalist group, which is the subject of “Break Them Down.” Or, moving from an obscure target to a hopelessly obvious one, there is his paean to “Canned Laughter,” a topic too banal to care about.
Longtime Parker fans may be put off by this lighter touch. “Canned Laughter,” as silly as it is, sounds like Dylan’s “Masters of War” compared with “Locked in Green,” a song about the game of snooker set to a nock-Dixieland arrangement. And Parker’s newly anointed band, the Shot, doesn’t have the aim or impact of the Rumour, his original backup group. He is still essentially conservative in the studio, as he has been since 1982’s Another Grey Area, and he and his musicians seem locked into arrangements that leave little room for spontaneity or fervor.
But the arrangements themselves, however desiccated in their execution, are more inventive than they’ve been in quite a while, and Parker’s even-tempered reflectiveness offers subtler pleasures and a new angle on the man. In the ongoing dialectic between contentment and contempt, Graham Parker is now singing from greener pastures, but you can still hear him trying to come up with fresh challenges.
- “Break Them Down” (4:32)
- “Mighty Rivers” (3:22)
- “Lunatic Fringe” (3:15)
- “Wake Up (Next To You)” (5:10)
- “When You Do That To Me” (3:35)
- “The Weekend’s Too Short” (4:06)
- “Take Everything” (3:05)
- “Black Lincoln Continental” (3:10)
- “Canned Laughter” (2:25)
- “Everyone’s Hand Is On The Switch” (3:26)
- “Locked Into Green” (2:27)
- “Too Much Time To Think” [CD bonus track] (3:57)
All songs written by Graham Parker
- Graham Parker – lead and backing vocals, rhythm guitar
- Brinsley Schwarz – lead guitar, backing vocals
- George Small – keyboards
- Kevin Jenkins – bass
- Michael Braun – drums
- Huw Gower, William Wittman – additional backing vocals
- Louis Cortelezzi – saxophone on “Wake Up (Next to You)”
- Jay Leonhart – acoustic bass on “Locked Into Green”
- Uptown Horns – horns on “Locked Into Green”; arranged by Ralph Schukett
Style: Power Pop
Label – Elektra Records
OXO was an American dance-rock band formed in 1983 by Ish ‘Angel’ Ledesma, the former lead singer of Foxy. He formed the band with guitarist Orlando Nuñez, bass player Frank Garcia, and drummer Freddy Alwag. The band’s only Top 40 hit was “Whirly Girl,” a song about Ish’s wife, which, according to Ledesma, was originally titled “Worldly Girl.” This LP was huge for DJs and dance locations in Mar del Plata during the 80s. Despite its one-hit wonder, OXO’s success was not to last, and the band broke up a few years later.
Their selftitled debut album is, new wave early 80’s dance music a la Cars, INXS, or Thompson Twins. This is upbeat synth sound that is very well produced. “Whirly Girl” is the song that is most recognizable from this group, but the other songs fare well against that sole OXO hit.
The songs are enjoyable pop. The group is in the early wave of the groups that are now more defining as the 80’s sound. Oxo’s sound is brighter than later groups like Depeche mode but I can hear the prognostication of those dark groups in the sound of this group, while on other songs I hear the nods to the Beatlesque sounds of the 60’s.
This is a well produced album that will probably put a smile on your face if you’re trying to capture that evolving era when disco was dying and rock was coming back with a slicker sound than the pre-disco days. This album is like a musical time machine.
1. Whirly Girl (2:56)
2. Dance All Night (2:26)
3. My Ride (2:39)
4. Wanna Be Your Love (3:45)
5. In The Stars (4:14)
6. You Make It Sound So Easy (3:05)
7. Waiting For You (2:41)
8. Back In Town (2:37)
9. I’ll Take You Back (3:31)
10. Love I Need Her (2:36)
11. Runnin’ Low (2:20)
Release Date: 1983
Genre: Rock, Pop
Styles: New Wave, Punk
Label – Geffen Records
Patra (born Dorothy Smith, 22 November 1972 in Kingston, Jamaica) is a Jamaican dancehall singer. In her beginnings as a female dancehall deejay in the late 1980s, she used the stage name Lady Patra. She first made an impression on the US charts as a featured singer on the Shabba Ranks song, “Family Affair”.
In 1993, she released her debut album Queen of The Pack (#1 on the Reggae albums chart). It was led by the single “Think (About It)” in 1993. Her follow-up single “Worker Man” became a bigger hit. The album’s third and final single, “Romantic Call” was a collaboration with emcee Yo-Yo.
Patra’s debut, Queen Of The Pack is a classic in its own right. During the time of its release there wasn’t anything to compare nor come close. She begins with the “Hardcore” sound and sexiness that makes this type of music attractive. The slow “Sexual Feeling” featuring Christopher Williams and “In The Mood” has a mixture of reggae and mainstream r&b. On a more uptempo club type Patra has the title track and “Romantic Call” featuring Yo-Yo. Not only does she have a variety of subjects like “Poor People’s Song” and “Wok The Money” it becomes inviting with this lp’s diversity. Queen Of The Pack is filled with sex, sexuality, slow grinding (whining), and more sex! Now that’s sexy.
1. “Hardcore” (feat. The Sultry Siren Of Funk) (3:40)
2. “Think (About It)” (4:32)
3. “Queen Of The Pack” (3:26)
4. “Poor People’s Song” (3:52)
5. “Wok The Money” (3:56)
6. “Romantic Call” (feat. Yo-Yo) (3:03)
7. “Worker Man” (3:37)
8. “Sexual Feeling” (feat. Christopher Williams (4:22)
9. “Be Protected” (3:37)
10. “Whining Skill” (3:42)
11. “Knock Knock” (3:15)
12. “In The Mood” (4:27)
13. “Think (About It)” (Hip Hop Re-Mix) (feat. The Sultry Siren Of Funk) (4:43)
- Art Direction – Tony Sellari
- Cover [Album Cover Coordination], Photography By [Cover Shoot] – Angelo A. Ellerbee
- Design – Julian Peploe
- Executive-producer – Clifton “Specialist” Dillon, Vivian L. Scott
- Management – Specs-Shang Artiste Management
- Mastered By – Carlton Batts
- Photography By – Keith Major
- Photography By [Additional] – Ruven Afanador
Lyn Collins is listed as “The Sultry Siren of Funk” on tracks 2 and 13.
Release Date: September 28, 1993
Genre: Rap, Reggae
Styles: Dancehall, Ragga
Label – Epic Records
A Woman a Man Walked By arrived just a year and a half after PJ Harvey‘s equally difficult and brilliant White Chalk. That alone makes it notable, since the last time she released albums in such quick succession was the early to mid-’90s, around the same time of her last songwriting collaboration with John Parish, Dance Hall at Louse Point. That album’s unbridled experiments provided a sharp contrast to the subversive polish of its predecessor, To Bring You My Love; while A Woman a Man Walked By isn’t quite as overt an about-face from White Chalk, the difference is still distinct. Here, Harvey and Parish (who played on and co-produced White Chalk) trade sublime, sustained eeriness for freewheeling vignettes that cover a wider range of sounds and moods than her music has in years. They begin with “Black Hearted Love,” the equivalent of Dance Hall at Louse Point’s “This Was My Veil” — that is, the album’s most accessible moment: guitar-heavy yet sleek, its riffs full of pregnant pauses as Harvey hones in on the one she wants, the song’s sinister romance initially seems dangerously close to melodrama (“When you call out my name in rapture/I volunteer my soul for murder”), but she sings “you are my black-hearted love” so tenderly and knowingly that it transcends cliché.
This immediacy just makes the swift twists and turns the rest of A Woman a Man Walked By takes even more striking. The wildly jangling acoustic guitar and breathless vocals of the following track, “Sixteen Fifteen Fourteen,” make that clear right away, but despite its nervy intensity, the song — and the rest of the album — is remarkably direct. Similarly, Harvey‘s character studies are just as vivid as other artists’ really real, from-the-soul lyrics, and she embodies them just as completely: on “The Soldier,” she sings of “walking on the faces of dead women” with haunted fragility; on “Daniel,” she’s a mother so devastated by loss that she can only mention it by name at the last possible moment. A Woman a Man Walked By also boasts songs that rank among Harvey‘s most intimate and seemingly confessional. From its shimmering guitar and mournful flute to its carefully observed words (“you slept facing the wall”), “Passionless, Pointless” captures a dying romance with dreamy desolation, while “Cracks in the Canvas” closes the album with the beautifully simple yet open-ended admission “I’m looking for an answer, me and a million others.”
Best of all, though, are A Woman a Man Walked By‘s furious — and surprisingly hilarious — moments, which leave conventional notions about sex and sexuality trampled in their wake. The first part of “A Woman a Man Walked By/The Crow Knows Where All the Little Children Go” finds Harvey deriding and lusting after a “woman man” with “lily-livered little parts,” switching between a guttural snarl and fey soprano as she tears him to pieces (the second, instrumental part is Parish‘s only solo credit on the album, a riot of pianos and twitchy percussion that’s nearly as wound-up as what came before it). “Pig Will Not” is even rawer, mixing Rid of Me-like firepower with a wicked sense of humor and feral barking with lines like “true love is what we’re doing now.” Even the far quieter “Leaving California” reveals a surprising amount of mischief, invoking some of White Chalk‘s mist and gloom for its ironic kiss-off to the Golden State. Despite the album’s many dark and evocative moments, there’s a playfulness and liberated spirit underlying A Woman a Man Walked By. Parish and Harvey‘s idea of fun might be very different than that of many other artists, but hearing them cover so much musical and emotional territory is often exhilarating.
- “Black Hearted Love” – 4:40
- “Sixteen, Fifteen, Fourteen” – 3:35
- “Leaving California” – 3:56
- “The Chair” – 2:29
- “April” – 4:41
- “A Woman a Man Walked By/The Crow Knows Where All the Little Children Go” – 4:47
- “The Soldier” – 3:55
- “Pig Will Not” – 3:50
- “Passionless, Pointless” – 4:19
- “Cracks in the Canvas” – 1:54
All songs written by PJ Harvey and John Parish
- Mastered By – John Dent
- Mixed By, Producer – Flood
- Mixed By [Assistant] – Andrew Savours, Catherine Marks
- Music By [Music Written], Performer [Played By] – John Parish
- Photography, Sleeve – Maria Mochnacz
- Producer, Recorded By [Additional] – John Parish
- Producer, Recorded By [Additional], Lyrics By [Words Written], Vocals [Sung By] – PJ Harvey
- Recorded By – Ali Chant
- Sleeve – Rob Crane
- Additional musicians
- Eric Drew Feldman – bass guitar on “Black Hearted Love,” keyboard on “April”
- Carla Azar – drums on “Black Hearted Love” and “April”
- Giovanni Ferrario – guitar on “Black Hearted Love,” bass guitar on “April”
- Jean-Marc Butty – drums (live shows in support of A Woman a Man Walked By)
Released: 27 March 2009
Recorded at Toybox Studio, Bristol.
Additional recording at Honorsound, Bristol & at Hothead Studios.
Mixed at Assault & Battery, London.
Mastered at Loud.
Genre: Alternative rock, experimental rock
Label – Island Records
The O’Jays followed the spectacular Backstabbers and Ship Ahoy with the good, but not on the same level, Survival. It was unrealistic to expect masterpieces every time out, and the LP included many strong ballads and good message tracks. But while it may not have been as epic in its performances and compositions, it was certainly the other albums’ equal in sales strength.
The title tune provides a great example of the latter. A driving funk approach provides the perfect platform for the group to deliver its gritty vocals, which effectively convey the sense of desperation inside a man “busted, walkin’ around broke.”
“Rich Get Richer” also provides sentiments the man in the street could relate to — and still can. One of the best things the O’Jays do throughout the album is tell real, down-to-earth stories, and this tune rises above a diatribe with these great lines: “There’s an old friend of mine/He’s doin’ good, real good, as a matter of fact/He don’t know me now/But I can take him way, way, way back.” Great stuff.
Like all the great Philly groups, the O’Jays had a way with a ballad and could put tons of genuine emotion into the simplest lyrics. They weren’t afraid of romance, but they didn’t lapse into sappiness either: check out the straightforward “Let Me Love to You,” or the plaintive “What Am I Waiting For,” both of which combine well-crafted production with completely convincing and compelling vocals.
One finds a dated element or two in listening to this now 28-year-old album, but these are easily outweighed by the group’s pinpoint vocals, flawless arrangements and commitment to a musical concept. Recommended for those who were there and would like to relive it as well as for those coming to it for the first time. The old becomes new again.
The group had two number one R&B hits in 1975, “Give The People What They Want” and “I Love Music (Part 1).” In addition, the title track made the charts as the B-side to “Let Me Make Love To You,” another rousing ballad. Survival includes the R&B chart-topping single “Give the People What They Want” and “Let Me Make Love to You”, which reached #10 on the same chart. Survival matched exactly the chart performance of its predecessor Ship Ahoy, topping the R&B chart.
1. “Give the People What They Want” (4:14)
2. “Let Me Make Love to You” (Bunny Sigler, Allan Felder) (4:21 )
3. “Survival” (3:44)
4. “Where Did We Go Wrong” (3:40)
5. “Rich Get Richer” (4:24)
6. “How Time Flies” (5:15)
7. “What Am I Waiting For” (Sigler, Ron Tyson) (3:56)
8. “Never Break Us Up” (Huff) (3:18)
All songs written and composed by Gamble and Huff, except where noted.
Released: April 1975
Recorded 1974 at: Sigma Sound Studios, Philadelphia, Pennsylvania
Mastered at the Frankford/Wayne Recording Labs, Philadelphia, PA.
Genre: Funk / Soul
Style: Philadelphia Soul
Label – Philadelphia International Records
1977, and a South Wales band called Racing Cars appears on primetime TV show Top Of The Pops for the first and last time, playing their unexpected minor hit single, the maudlin ballad “They Shoot Horses, Don’t They?”, inspired by Sydney Pollack’s 1969 film on the marathon jitterbug dance contests of the thirties’ depression. The lead vocalist and principal songwriter is a stubby, bearded Welshman called Morty, or Gareth Mortimer to give him his full moniker. Aside from Morty the most notable name amongst these assorted sons of the Rhondda is that of Ray Ennis, sometime trad jazz banjoist and member of the celebrated sixties Merseybeat ensemble, the Swinging Blue Jeans.
Racing Cars came together in 1973 and belatedly joined the London Pub Rock circuit early in ‘76, playing with a degree of sophistication and instrumental virtuosity that marked them out above most of their contemporaries. Landing a contract with Chrysalis Records, they cut their first album Downtown Tonight just in time to see it swept away by the punk explosion. Very much the right product at the wrong time, it deserved better treatment: the single was briefly in vogue a year on, but the album predictably failed to set the record shop tills alight. Residual popularity on the college circuit kept the band going for four further years and two further albums, but the one-hit-wonders tag would stick till the end.
Apart from the atypical, string-quintet-laden “Horses”, Downtown Tonight features the honest, solidly-constructed sort of electric guitar-based music that the Pub Rock genre is still regarded with affection for: rocking mid-tempo songs mixing blues, country, soul and funk inflections, a powerful twin-lead attack, solid rhythm section, occasional guest piano, and warm rough-cut vocal harmonies. Ennis in particular plays mean slide and crafts some fine harmony runs with partner Graham Hedley Williams on “Pass The Bottle”, as well as exhuming his banjo for some rapid three-finger picking against Williams’s Albert Lee-style Telecastering on the unashamedly honkytonk “Get Out And Get It”. The stirring opener “Calling The Tune” offers some fine pentatonic widdling over its simple riff structure, whilst “Four Wheel Drive” is a butt-kickin’ funk instrumental right out of the Average White Band’s fakebook. Add in the languid ballads of the title track and “Horses” and the unassuming, lo-fi production and all in all it’s a set that would have been a modest pleasure heard live and loud one evening in some smoky tavern.
01. “Calling the Tune” (Gareth Mortimer) (4:17)
02. “Hard Working Woman” (4:13)
03. “Ladee-Lo” (4:32)
04. “Downtown Tonight” (Gareth Mortimer) (6:00)
05. “Pass the Bottle” (Gareth Mortimer) (4:41)
06. “Moonshine Fandango” (Gareth Mortimer) (3:51)
07. “Four Wheel Drive” (3:10)
08. “Get Out and Get It” (Gareth Mortimer) (3:04)
09. “They Shoot Horses Don’t They?” (Gareth Mortimer) (3:40)
10. “They Shoot Horses Don’t They?” (Gareth Mortimer) (6:12)
Acoustic Guitar – Morty, Graham Hedley Williams
Backing Vocals [Additional] – Bowles Bros. Band
Banjo – Ray “Alice” Ennis
Bass – David Land
Drums – Robert James Wilding
Electric Guitar – Graham Hedley Williams, Ray “Alice” Ennis
Engineer – Bill Price, Ric Stokes
Keyboards – Rod Edwards, Roger Hand
Lead Vocals – Morty
Mastered By – HTM
Mastered By [Metalwork] – EG
Percussion – Robert James Wilding, Tony Carr
Producer – Bill Price, Racing Cars
Slide Guitar – Ray “Alice” Ennis*
Vocals – David Land, Ray “Alice” Ennis
Written-By – G. Mortimer
First album with their hit single “They Shoot Horses Don’t They?”, inspired by the film of the same name.
Genre: Soft Rock
Label – Chrysalis Records
Pavlov’s Dog is a 1970s progressive rock/AOR band formed in St. Louis, Missouri in 1972. Pavlov’s Dog originally was composed of vocalist David Surkamp, guitarist Steve Levin, keyboardists David Hamilton and Doug Rayburn, bassist Rick Stockton, drummer Mike Safron, and violinist Siegfried Carver (born Richard Nadler).
Pampered Menial was the first album from Pavlov’s Dog, a band produced by Murray Krugman and Sandy Pearlman, the duo behind Blue Oyster Cult. The seven men in this group are revealed in the gatefold holding “Horace,” a dog, while three engravings from 1849 by artist Robert Vernon make up the front, back and inside cover. Those paintings are striking, and though the music, mostly written by vocalist David Surkamp, tries hard, it just isn’t as captivating as the package which surrounds it. Surkamp sounds like a chick singer, something that wasn’t quite in vogue yet — Journey and the Mickey Thomas Starship wouldn’t happen for another four years, not until 1979, and even Thomas’ hit with the Elvin Bishop Group was a year away, male vocalists were singing in lower registers at this point. With song titles like “Theme From Subway Sue” and “Of Once And Future Kings” the identity that a Blue Oyster Cult maintained was missing here. “Subway Sue” sounding very much like the 80s version of Mott, the band after Ian Hunter took his leave. If you thought Mott’s high pitched vocals were out of place and annoying, check out Surkamp’s strange warbling. The band itself isn’t half bad. “Episode’s mellotron, courtesy of Doug Rayburn and Siegfried Carver‘s violin, provide more than adequate sounds. Carver’s sole composition, “Preludin,” comes off as one of the best tracks, perhaps because it is an instrumental version of progressive rock that Triumvirat and early Journey were exploring, But when David Surkamp‘s vocals kick in again on the next tune, like Pavlov’s experiments, it makes the listener want to break things, including this record. “Julia” is a mediocre lyric and ok melody, just destroyed by the vocalist who composed it. If this were an instrumental group, the music would be much easier to take. The band provides elegant rock, majestic drums by Mike Safron, additional keyboards by David Hamilton augmenting Rayburn’s mellotron and flute, and solid 70s production from Krugman and Pearlman. Lead guitarist Steve Scorfina co-writes a beautiful piece with vocalist Surkamp in “Late November,” but its perfection is marred by the whining sounds of the frontman. It is really sad, as there seems to be much potential here, drummer Michael Safron’s “Song Dance” another highly creative number. A & R man Mark Spector had some kind of ears, what he was thinking here is anyone’s guess. The solid riffs, the wonderful blend of sounds, all destroyed by David Surkamp‘s forced vocals which sound like some experiment by Pavlov gone awry. The Mott band from Shouting & Pointing infamy should have been put on a stage with Pavlov’s Dog to see which act could clear the room first. “Fast Gun” is another solid progressive tune, but without the polish of a Brad Delp or Steve Perry, it just didn’t stand a chance. Columbia Records should re-issue an instrumental version of this disc via their Legacy series, the music deserves it.
- “Julia” (David Surkamp) – 3:10
- “Late November” (Surkamp, Steve Scorfina) – 3:13
- “Song Dance” (Mike Safron) – 4:59
- “Fast Gun” (Surkamp) – 3:04
- “Natchez Trace” (Scorfina) – 3:42
- “Theme from Subway Sue” (Surkamp) – 4:25
- “Episode” (Surkamp) – 4:04
- “Preludin” (Siegfried Carver) – 1:36
- “Of Once and Future Kings” (Surkamp) – 5:32
Bass – Rick Stockton
Composed By – Pavlov’s Dog
Engineer – Tim Geelan
Keyboards – David Hamilton
Lead Guitar – Steve Scorfina
Lead Vocals, Guitar – David Surkamp
Mellotron, Flute – Doug Rayburn
Mixed By – Ed Sprigg, Howie Lindeman
Percussion – Mike Safron
Producer – Murray Krugman, Sandy Pearlman
Recorded By – Lou Schlossberg
Violin, Viola – Siegfried Carver
Released: April 4, 1974
Recorded: 1973 – 1974
Genre: Progressive rock
Label – ABC Records
The Radiators, also known as The New Orleans Radiators, are a rock band from New Orleans, Louisiana, who combined the traditional musical styles of their native city with more mainstream rock and R&B influences to form a bouncy, funky variety of swamp-rock they called fish-head music.
The Radiators were formed in January 1978 after a jam session in keyboardist Ed Volker’s garage. At the time, Volker, Camile Baudoin and Frank Bua, Jr. were in a band called The Rhapsodizers, while Dave Malone and Reggie Scanlan were in a band called Road Apple. Scanlan had also, not long before, been a member of Professor Longhair’s touring band. The five musicians felt an immediate rapport. Scanlan later said, “we jammed for five hours straight, then all quit our old bands the next day.
Described by OffBeat magazine as “New Orleans’ longest-running and most successful rock band”, The Radiators’ had only limited commercial success, with only a handful of chart appearances, but, as a party band from a party town, their enthusiastic live performances, danceable beats and relentless touring earned the band a dedicated following and the admiration of many of their peers. In a feat of continuity rarely seen in the rock music world, the five-man line up in the year of their breakup (2011) is the same one as when the band formed in 1978.
Zig-Zaggin’ Through Ghostland is the fourth album by The Radiators, and their third studio album. There’s a slightly more aggressive approach here, but, in essence, The Radiators‘ albums are all of a piece, probably because the group had been together so long when they got signed. Some of the material here dates back to 1979, but it sounds fresh as well as seasoned.
- “Confidential” (Ed Volker) — 4:13
- “Zigzaggin’ Through Ghostland” (Volker) — 3:42
- “Fall of Dark” (Volker) — 4:56
- “Squeeze Me” (Volker) — 3:38
- “Love Grows on Ya” (Volker) — 3:56
- “Dedicated to You” (Volker) — 3:35
- “But It’s Alright” (J. J. Jackson, Pierre Tubbs) — 2:58
- “Memories of Venus” (Volker) — 3:49
- “Red Dress” (Dave Malone, Volker) — 3:35
- “Raw Nerve” (Malone, Volker) — 3:01
- “I Want to Live” (Volker) — 3:31
- “Hardcore” (Volker, Malone, Camile Baudoin, Frank Bua Jr., Reggie Scanlan, Glenn Sears) — 6:45
- “Meet Me Down in Birdland (Volker) — 4:08
- Ed Volker – keyboards, vocals
- Dave Malone – guitars, vocals
- Camile Baudoin – guitars, vocals
- Reggie Scanlan – bass
- Frank Bua Jr. – drums
- Glenn Sears – percussion
- Rodney Mills – producer, engineer
Recording information: Southlake Studio, New Orleans, LA Zig-Zaggin’ Thru Ghost Land
Audio Mixer: Joe Hardy.
Photographer: G. Andrew Boyd.
Genre: swamp rock
Label – Epic Records