Hashish ’‘A Product Of’’ 2016 Swedish Psych,Electronic Minimal Synth

Hashish  ’‘A Product Of’’ 2016 Swedish Psych,Electronic Minimal Synth

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http://www.psychedelicbabymag.com/2016/07/hashish-product-of-2016-review.html

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Swedish psych outfit Hashish, headed by Subliminal Sounds honcho Stefan Kéry, bring us their debut full-length A Product Of. If the clever combination of album title and band name doesn’t imply a kaleidoscopic experience, then fear-not; from start to finish the record provides, or perhaps provokes, a dream-funk out-of-body journey. 
Opener ‘Bliss’ begins with the calming pulsing of ocean waves, feeding slowly into modulating synths and doing so sounds like the beginning of some New Age meditative retreat. Indeed, this effect remains throughout but thankfully is explored through less ambient avenues. Repetition is one of the key trance-inducing effects employed by the band, as with the looping of funk-infused bassline and yodelling flutes that hark back to late-Sixties experimental jazz on ‘Fly Away’. This track continues the therapeutic energy of the opener, with a soft vocal lead assuring us to ‘Touch the sky, you’re beautiful’. 
Things aren’t angelic for long however, and take a dark and abstract turn as the muddy, Kraut synths of tracks like ‘The Light’, ‘Revel’ and ‘Outer Spaced’ come into play. 
But interestingly, whilst the up-beat drive of funk has been often been used as an energetic counterpart to the stupefying chaos of psychedelia, Hashish layer elements of lounge-jazz to weird effect. Indeed the biggest but welcomed surprise of the record is its closer ‘The Light pt. 2’, which is reminiscent of Bonobo with its jazzy snare rolls and soundtrack-esque emotive chord progressions. 
A Product Of treads the line between music and musak very finely, and perhaps borders too close to the latter at times, but this is of course done consciously given that the record seems to have a dissociative agenda….By JOHN BELL…~

The label says: “The long awaited debut album from Hashish This is top notch psychedelia that both challenges the genre and takes it to a whole new level. Inspired by the 60s and 70s psychedelic scene and by creating the perfect combination of retro baselines and kraut drums layered with an all over crisp electronic lounge sound, Hashish has managed to create a record that is both genre crossing, experimental and top modern. Hashish is the finest kind of occult Scandinavian psychfunk, a project that by some has been said to pick up what GOAT started. “A Product Of Hashish” could go hand in hand with Salvador Dalís dream sequence in Spellbound. It could be a sibling to Bulgakows The Master And Margarita or Stanley Kubricks 2001 Space Odyssey. The album is a dream inspired way of expressing and expanding the mind. Call it psychedelic, call it conceptual or arty. When everyone is throwing todays reality back in it’s face, or stripping off social problems and injustice in our society, Hashish is a dream to escape into. Hashish is the answer. 

”Hashish sound like the lovechild between a 70s soft porn soundtrack composer and a wide-eyed teen experiencing hallucinogens for the first time” ”Get ready to feel like dropping some acid and going bowling” – Noisey/Vice/UK
”. Welcome to tomorrow. The sounds transport you into a forgotten world where the future looked different from what it became. On his soft subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun. Raining sacred melodies on the hearts and minds of man, driving him with desperate loves and yearnings by songs of Sainthood and madness. Transient temples of the flesh, laughing at death, clothes our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire…..Subliminal Sounds …..~

After last years 7" the Swedish Prog-Rock-Band HASHISH are finally releasing their debutalbum now. “A Product Of” is a thrilling trip into the depth of the 60/70s. It comes on CD (COLLINE NOIRE) and LP (WOAH DAD!). Psychedelia and Progressice, mixed with a fairly touch of Afrofunk and a lot of Groove. This ingrediants form the base for this awesome release from sweden. Supported by full synthsizer soundscapes and vocoder effects the band manages to create a sureal appearing album with a great retro-charm. HASHISH mastermind Stefan Kery, who is known as the labelowner of the swedish psych label SUBLIMINAL SOUNDS, held his hands firmly over this project. Altogehter (lyrics, sounds, videos) an experimental, krautrock-like, occult album emerged. This one is definetely “outer space”. HASHISH easily combined all this so genuine that they can hardly be distinguished from the originals 40 years ago…..~

The long awaited debut album from Hashish. Top class psychedelia that definitely takes the genre to a new level with a sophisticated approach to an afro-funk groove accompanied by dreamy and playful melodies that goes by a spectrum from Scandinavian Occult Psychedelia to Minimal Synth and Surreal Electronic Soul Disco with rare groove. Hashish is a project that has been described by some to pick up what Goat started, this is not the time to sleep kiddies! Welcome to tomorrow. The sounds transport you into a forgotten world where the future looked different from what it became. On his soft subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun. Raining sacred melodies on the hearts and minds of man, driving him with desperate loves and yearnings by songs of Sainthood and madness. Transient temples of the flesh, laughing at death, clothes our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire….~

Credits 

Stefan Kery - guitar, vocals, vocoder, keyboard 
Moussa Fadera - Drums, Percussion 
Lisa Maria Isaksson - Lead Vocals, Harp 
Erik Lundin - Flute 
Anna Emilia Nilsson - Vocals 
Fredrik Swahn - Bass, Keyboards 
Mattias Uneback - Vibraphone 
Jason Urick - Voice

Tracklist 
A1 Bliss
A2 Fly Away
A3 The Light
B1 Revel
B2 Outer Spaced
B3 Make It
B4 Miracles
B5 The Light Pt. II 

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Jean-Bernard Raiteux “Les Demons” 1973 France Soundrack,Psych,Avant Garde,Folk,Pop

Jean-Bernard Raiteux “Les Demons” 1973 France Soundrack,Psych,Avant Garde,Folk,Pop

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In 1973, legendary Spanish independent filmmaker Jess Franco made an X-rated version of The Devils meets The Witchfinder General, spawning this as-yet-unreleased masterpiece of funked up, wah-driven pornadelica. Ominous piano chords and funereal organs (The Inquisition) give way to wig-out jazz funk of the title and then it’s into the fluid groove of Kathleen Writhing. Taking in psychedelia, folk and pop on the way, Les Demons is the motherlode of vintage Euro-porn soundtracks. ….~

If that creepy cover image alone isn’t more than enough to make you want this record, the magical music within will certainly tip the balance! Jean-Bernard Raiteux may be best known for his French funk sounds in the Harlem Pop Trotters, but he’s even more weird and wonderful here – turning in a wickedly groovy score for Jess Franco’s film Les Demons (aka The Devils), with trippy sounds that are every bat as great as the music used in Franco’s classic Vampyros Lesbos! The music has currents of jazz, funk, and psych – often all operating at once, with cool keyboards, fuzzy guitar, and lots of these fluttering flute lines that almost sound like Harold McNair or Roland Kirk on acid – blowing their minds, as they blow their minds out through their reed instruments too….Dusty Groove…~

The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos/De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere (Sinner/Harlem Pop Trotters) and presented here in full soundtrack form for the first time. 

Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. 

Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. 

Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. 

Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art. 

Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of De Sade (FKR069) this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. 

UNDERground, OVERambitious, RIGHT on, LEFTfield, BELOW the radar but ABOVE criticism. INdulgent and OUTrageous, but never middle of the road, Jess Franco was many things but he wasn’t pretentious and never delivered art for art’s sake and I feel honoured to have spent time with him. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal……~

Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of ‘De Sade’, this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. 
“Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. 
Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art.”

Tracklist 
A1 The Inquisition
A2 Les Démons
A3 Kathleen Writhing “Kathleen”
A4 The Weakness Of Rosalinda “Melodious Modulation”
A5 The Visit / Margaret’s Hallucination
A6 Three Serpents To Karen’s Dwelling
B1 The Second Inquisition
B2 A Witch’s Daughter?
B3 The Seduction Of Winter “The Last Frolic”
B4 Kathleen & The Horses
B5 The Stake
B6 Kathleen & The Serpents 

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Phase 4 “ What Do You Say About That / Think I’ll Sit Down And Cry” 1966 single 7" UK Psych Rock

Phase 4 “ What Do You Say About That / Think I’ll Sit Down And Cry” 1966  single 7" UK Psych Rock

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The Englishmen from Newcastle-upon-Tyne formed in the mid-60s by guitarist and vocalist Norman Nossiter and bass guitarist Allan Minnikin, played mod & rhythm ‘n’ blues, released two singles in 1966

Tracklist 
What Do You Say About That 2:37 
Think I’ll Sit Down And Cry 2:29 

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Los Delfines "Estamos Seguros" 1969 Uruguay Garage Psych Rock

Los Delfines  "Estamos Seguros" 1969 Uruguay Garage Psych Rock

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In 1968, the dissolution of large Uruguayan groups such as Shakers, Mockers, Damned and Cats, left the way clear for the definitive consecration of The Dolphins within the beat in English. This group was one of the few that systematically improved its equipment (getting to buy Vox equipment in London), and that acquired an enviable level of professionalism. His presentations with the Modern Electronic Sextet were the preferred package for an important sector of middle class youth who used to dance every weekend at the “five star” circuit. The Sexteto’s “sweetened” proposal was complemented with the Dolphins hard-beat, who, in addition to their own songs in English, also performed good versions of English bands, such as “You really got me” by The Kinks. The vocal game (with the three solo voices of July, Coyo and Mario) and the instrumental cohesion of the band commanded from the battery of Chocho Vila (brother of Caio), were enriched harmonically at the end of 68 with the entrance of former Mocker Esteban Hirschfeld on keyboards. 
In 1969 they recorded “We are Safe”, their only LP; presented on August 16, 1969 at the Auditorio Sodre Studio. It was a revolutionary spectacle for the time, which featured lights, slides and slides, and the accompaniment of Julio Frade orchestras and the Sodre Symphony Orchestra. 
After a brief hiatus, and before most of its members emigrated, Los Delfines recorded a simple story in 1972: ‘Amigos sigue igual’ and 'With that voice’, two songs sung in Spanish that would become hymns of several generations thanks to the versions that the nickel group will make in 1990. 
The initial movement of Uruguayan rock had a date of death: December 1974. The institutional break imposed an adverse context, so the groups began to gradually dismember and a large number of its members emigrated to other countries…..

Los Delfines  are one of the great Uruguayan rock bands of the sixties. It began to take shape from “Los Cinco De La Costa” (1960) one of the first bands to play rock in Uruguay. It was something like a mix of The Beach Boys with the Teen Tops …Los Delfines  was the band with more years on the Uruguayan stages. And the only “big” band of the national rock, which did not emigrate to Buenos Aires in the 60`s … Its first simple was a great success that followed more … Until only in 1969 they recorded their first and only album: “Estamos Seguros” a great album already with “touches” of psychedelia, for which, to listen to them in a more “rocker” sound “” Garage “” Punky “or” Brit “is only possible through its simple ones. Despite not having recorded more lp`s, his songs appeared in compilations of bands … like Discodromo. In 1972 they released a simple that has truly become one of those simple ones that has the ability to delight us with its "dos caras”.“Con esa Voz” & “Amigo, Sigue Igual”, is a milestone (at least for me) regarding Rock in Uruguay. In my last talk with Esteban (keyboardist of the band, after leaving Los Mockers), he did not know how to answer the question about the existence or not of more recordings, unpublished recordings. Who without doubt has that answer is Jorge Abuchalja. It would not be at all strange that this was something real. 
I guess maybe a cover of Los Kinks or another type of recording, like some live recital, well known is that the recital in the SODRE was recorded, we consider those as an unpublished, I would rather refer to some study … Maybe the “VAULTS”, of the sounding or one of the members treasure something like this … 
Its great live sound, its equipment, everything was perfect for the band to perform like it did, the first level musicians, … and a lot of rehearsal! 
The Defines should not be forgotten, and we wait for their prompt edition on CD!

Credits 
Bass – Mario Aguerre 
Drums – Jorge “Chocho” Vila* 
Guitar – Jorge “Coyo” Abuchalja* 
Lead Guitar – Julio “July” Fontenla* 
Organ – Esteban Hirschfeld 
Vocals – Jorge “Coyo” Abuchalja*, Julio “July” Fontenla*

1-Jacinta 
2-Don`t Fear 
3-No Time To Live 
4-May I Madamme 
5-Look Without Seeing 
6-We Are Shure 
7-Everything 
8-It Never Stops 
9-Like Sunshine in the Rain 
10-Two Blind Mice 
11-La Red 

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Levi Smith’s Clefs “Empty Monkey” 1970 Australia Psych Hard Blues Rock

Levi Smith’s Clefs “Empty Monkey” 1970 Australia Psych Hard Blues Rock

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https://www.mcaskill.com.au/levi_smiths_clefs_history.html

Rated as “the best Rock Album ever produced in Australia” by the local press, it’s about time that this album can reach a wider audience after 35 years. 
Mayfair Music is very proud to present Levi Smith’s Clef’s superb album ‘Empty Monkey’. This group played a dynamic Progressive Rock with a heavy organ and riffing guitars. But what makes this album really outstanding is the roaring Soul-voice of the band’s founder Barrie “The Bear” McAskill ! 
As we had the full support of Barrie during this project a lot of unreleased material popped up, including a test pressing of the first recording session. The songs on the album were re-recorded versions, making the First Session-Tracks a special treat because they sound much rawer and full of sweat ! 
Due to the vast amount of additional tracks we decided to release this as a Double - LP in the original Gatefold Cover…..music emporium….~

Paving the way for soul and R&B music in Australia during the 1960s, Scottish-born singer Barrie McAskill fronted the ever-changing Levi Smith’s Clefs lineup from 1967 to 1975. The band was started by organ player Tweed Harris in Adelaide in 1963 as the Clefs and soon developed a strong local reputation. McAskill joined in 1965 and the lineup became Tweed Harris, Bruce Howe (bass), Les Tanner (guitar), Bob Jeffrey (sax), and Vince Jones (drums). 

The Clefs released three singles in 1966: “I Can Only Give You Everything”/“Roberta,” “Last Night”/“March of the Siamese Twins,” and “A Boy Like Me”/“Bring It to Jerome.” Harris left to join the Groove in 1967 and McAskill became the leader. After a suggestion from their manager, the Clefs changed their name to the Levi Smith’s Clefs that year. The band then moved to Sydney where they took up a residency at the Whisky a Go Go club. The lineup changed several times and by 1968 was composed of McAskill, Inez Amaya (vocals), Michael Carlos (organ), John Blake (drums), Mick Jurd (guitar), Richard Lockwood (flute, sax), and Robert Taylor (drums). 

By the end of 1968, Carlos, Lockwood, Blake, and Taylor left to form the band Tully, which backed the Australian production of Hair later that year, followed by Amaya, who left to join the cast. A new lineup of McAskill, Mick Jurd, John Bissett (organ), Bruce Howe (bass), and Tony Buettel (drums) recorded and released the Empty Monkey album in 1970. Two singles were released from the album, “Lisa”/“Roadrunner” (January 1970) and a cover of Junior Walker’s “Shotgun”/“Who Is It That Shall Come?” (April 1970). 

Several lineup changes followed and a new band known as Barrie McAskill’s Levi Smith’s Clefs released the singles “Live Like a Man”/“Piece of My Heart” (September 1970) and “Gonna Get a Seizure”/“Dancing and Drinking” (April 1971), as well as a shared EP with the band Autumn, Best of Whisky A Go Go. The band played Sydney’s infamous Chequers club throughout 1971. 

Several lineup changes followed again, and by late 1971, the lineup of McAskill, Carlos, Stirling, Henson, and Jeffrey toured as Barrie McAskill’s Bear Brigade and McAskill’s Marauders. By mid-1972, McAskill was touring with another Levi Smith’s Clefs lineup, but the band was coming to an end, and by 1976, McAskill was touring under his own name. In the coming years he played in and formed several bands in Adelaide, the Levi Smith’s Clefs among them. ~ Brendan Swift….~

This is essentially a perfect marriage of blues rock and prog rock with a number of other related genres thrown in: soul, jazz rock and even a little bit of pop. I don’t think I have heard an album that so effortlessly blends prog with another genre (in this case blues rock) while maintaining such respect for both genres. The main highlights are the guitars, all the way from big and bluesy to quiet and atmospheric, and Barrie McAskill’s vocals, which are generally big and gravelly but also extremely soulful in parts. The organ also adds a lot of depth to the sound but is very much a “second fiddle” as even in the quiet, atmospheric sections, most of the “heavy lifting” is still done by the guitars. 
The opening instrumental 'Relief From a Lighted Doorway’ is monumental and a perfect introduction to the band’s sound. This track effortlessly progresses from a quiet soulful guitar introduction and slowly builds guitar layer by guitar layer into a monster of a track with tons of driving solos backed by dense keyboards. 
'Shotgun’ is a cover of a song originally by Junior Walker and is far less subtle than the opening track. This is a no holds barred workout showcasing McAskill’s big wailing voice over soaring lead breaks and swirling organs. 
'You Can’t Do That’ is a Beatles “cover” although the term “reworking” would be fairer. Supposedly inspired by Joe Cocker’s substantial reworking of 'With a Little Help From My Friends’, the band takes the short 2:37 original and turns it into an 11:37 prog epic. The main theme is of course nice and melodic (the amateurish harmonies notwithstanding), but the real meat of the track is the lengthy instrumental break in the centre. I can’t say that I enjoy it all, but there are quite a few nice guitar and organ passages. 
'Lisa’ is a somewhat soulful and emotional soft rock ballad, although for me the only real strength is the melody in the chorus with the rest of the track being quite bland. Better is the folksy 'Who is it That Shall Come’ with a really strong and catchy vocal performance and really cool atmospheric organs. 
'Shake and Finger Pop’ (another Junior Walker cover) offers some relatively light hearted relief with a cool groovy pop influenced blues track. Compared to the rest of the album 'The Hunter’ (yet another cover) is a relatively straightforward reading of the blues song made famous by Led Zeppelin’s “borrowing” for 'How Many More Times’ and, as good as that riff is, the track is a little bit too straight and forgettable on the album. 
After all that the title track closes the album with a fairly standard but respectable jazz-funk workout. It doesn’t really seem to fit in with the rest of the album to me; it seems to be more a statement to let everyone know that we can play jazz-funk as well as everything else here. 
While I certainly don’t like the entirety of the album, there are just too many good ideas and good sections for this album to be ignored. It’s a real shame then that this album is pretty much forgotten except by Australian 70s rock aficionados and only the most earnest prog rock fans….by….Bitterman …~

This band comes from Adelaide, South Australia and what we have here is a brilliant blend of Rock and Blues driven by Hammond accompanied by a brilliant singer Barrie McAskill, the only constant in the group who is always changing his lineup. In an attempt to describe his vocal style, I think it is right on the line of Chris Farlowe in its work with the COLOSSEUM. 
Before this album was done the band moved to the biggest city in Australia, Sydney and constantly stood at the notorious club Whisky A Go Go. Their performances were very good and full of energy which gave a certain fame in the early years of the band . 
The album opens with an instrumental, “Relief From A Lighted Doorway” and then the band continues with the original “Shotgun” before reaching the midpoint of the album, an amazing version of the Beatles “You Can not Do That”, in which more than 11 minutes, the music of Lennon and McCartney, is only recognizable at the beginning and at the end when McAskill adds his raspy voice, the media is full of great solos and inventions, !!! impressive. Very Blues-Rock below before the album finishes with, title track instrumental and very Jazz Rock. 
This remastered version is full of tracks in the first and second CDS including many tracks recorded live. A rarity to meet and fall in love……~

Credits 
Bass – Bruce Howe 
Drums – Tony Buettel 
Guitar – Mick Jurd 
Organ – John Bisset (2) 
Vocals – Barrie McAskill

Tracklist 
A1 Relief From A Lighted Doorway 6:42 
A2 Shotgun 5:08 
A3 You Can’t Do That 11:37 
B1 Lisa 3:31 
B2 The Hunter 2:39 
B3 Shake & Finger Pop 6:51 
B4 Who Is It That Shall Come 3:32 
B5 Empty Monkey 3:26 

Tracks: 

CD 1 
«Empty Monkey», 1970 
01. Relief From A Lighted Doorway — 6:42 
02. Shotgun — 5:08 
03. You Can’t Do That — 11:37 
04. Lisa — 3:31 
05. The Hunter — 2:39 
06. Shake And Finger Pop — 6:51 
07. Who Is It That Shall Come — 3:32 
08. Empty Monkey — 3:26 

Singles 
09. I Can Only Give You Everything — 2:47 
10. Roberta — 2:22 
11. A Boy Like Me — 2:20 
12. Bring It To Jerome — 2:32 
Live In The Studio, 1969 
13. Hey Jude — 4:18 
McAskill’s Marauders, Live In The Studio, 1971 
14. Bye Bye Blackbird — 4:22 

CD 2 
The First Session, 1969 
01. Shake And Finger Pop — 11:26 
02. Road Runner — 2:40 
03. Empty Monkey — 4:10 
04. Cool Spot — 3:20 
05. The Hunter — 2:36 
06. You Can’t Do That — 12:14 
07. The Weight — 5:01 
08. Lisa — 3:54 
09. Relief From A Lighted Doorway — 7:43 
The Best of Whisky A Go Go EP, 1971 
10. Down In The Valley — 3:31 
11. Lawdy Miss Clawdy — 3:33 

Singles 1970-1971 
12. Love Like A Man — 3:20 
13. Piece Of My Heart — 3:01 
14. Dancing And Drinking — 3:13 
15. Gonna Get A Seizure — 2:20 
McAskill’s Marauders, Live In The Studio, 1971 
16. Lawdy Miss Clawdy — 3:57 

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