Electric Flag “An American Music Band” 1968 US Psych, Blues Soul Jazz Rock.R & B masterpiece

Electric Flag “An American Music Band” 1968 US Psych, Blues Soul Jazz Rock.R & B masterpiece …highly recommended..!

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Electric Flag Discography 

http://www.deaddisc.com/GDFD_Electric_Flag.htm

http://www.softshoe-slim.com/lists/e/electric_flag.html

The Electric Flag Michael Bloomfield “Over Lovin’ You” Live at Monterey 1967  with Buddy Miles on google+

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Electric Flag  "Wine “ 1967 Monterey Live on google+

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Although this rather dubious collection hints that original Electric Flag members Mike Bloomfield, Harvey Brooks, Barry Goldberg, Nick Gravenites, and Buddy Miles are involved in all of these nine tracks, it seems doubtful, as is the claim that these are live archival cuts. "I Should Have Left Her” (which is really a version of Howlin’ Wolf’s “Killing Floor”) is definitely live, but most of these tracks appear to have been drawn from the band’s rather lifeless mid-‘70s reunion. Versions of this set have appeared under various titles over the years, including An American Music Band, Groovin’ Is Easy, Small Town Blues, I Found Out, and even under the title Great Hits (Electric Flag never even came close to having a hit). Starved Flag fans might find it worth a few bucks, but truthfully, Electric Flag were a one-album act, 1968’s A Long Time Comin’. The band fell apart as soon as it left the station, and although it managed a couple more albums in various combinations, it was the Flag in name only……by Steve Leggett….~

The original Electric Flag album, “A Long Time Comin’” was such a shot of fresh air and creativity that some of the cuts from this still send a charge up my spine: Killing Floor, Texas, Easy Rider are all wild rides that stimulate the relational centers of my brain. Mike Bloomfield was in razor-sharp form on these cuts - his guitar sound was and is Unparalleled. Yes, oh yes this is an uneven production - by this time, Bloomfield was on his way out - it was weighing him down, man. 
The second one, The Electric Flag, An American Music Band is just doggone good right through, psychedelic sould as put across by a ridiculously talented band headed by Buddy Miles. Wow! This is a rare album, for sure, but one that deserves to be heard. I particularly like Buddy’s song “Qualified”. The ballads are all spot-on and the instrumentation is ENERGIZED. Too bad this little experiment of Michael’s didn’t pan out. They started as the hit of the Monterrey Pop Festival and then sort of faded quickly away. 
Oh, I remember when and this CD sort of flashes me back to my wonderment at the excellent playing here when I was a lad. I appreciate all of this still, after 46 or so years. Impressive music!…. John F. Browning….~

For those who grew up in the 60s and 70s the Electric Flag was still an obscure band. However, there were two legendary bluesmen who featured on their album, A Long Time Coming. The late Michael Bloomfield on lead guitar was one of the greatest blues guitarist of his era. Featured on other albums such as Super Session with Stephen Stills and Al Kooper, he was a brilliant blues guitarists whose smooth soulful playing is still as good today as it was then. Buddy Miles and Bloomfield team up for Texas which, in this reviewer’s opinion, is one of the best blues songs ever written. Similarly, You Don’t Realize is one of the most beautiful blues ballads ever written. Richie Havens makes a surprise appearance on the original album as well. Killing Floor becomes Led Zeppelin’s The Lemon Song a few years later. The Electric Flag was the first major group to bring a brass sound to blues (before Chicago did). This is a great American album that you can’t go wrong with…..~

Out of the two 1968-9 Electric Flag studio albums, the second, self titled one is the better. True, it does not have Mike Bloomfield, but the sound is far superior, the arrangements are tighter, and the band seems more sure of itself. 

The album is less ambitous, but the execution is better, and there are creative flurishes: listen to the segue from Sonny into With Time There Is Change, using the flute for transition. It is all part of the dark, smokey vibe, which focuses the album more than Long Time Commin, which is great, but never quite acheives an overall mood.( I wonder what would have happened if they had started with a basic blues album like this, then tackled the more lofty work of Long Time Commin'0 
It is a shame this band broke up so soon. Both records show they had plenty of potental. Buy this twofer, and you’ll see the many ways they could have gone……~

When guitarist Mike Bloomfield left the Paul Butterfield Blues Band in 1967, he wanted to form a band that combined blues, rock, soul, psychedelia, and jazz into something new. The ambitious concept didn’t come off, despite some interesting moments; maybe it was too ambitious to hold all that weight. Bloomfield knew for sure that he wanted a horn section in the band, which he began forming with a couple of friends, keyboardist Barry Goldberg and singer Nick Gravenites. Although the three were all veterans of the Chicago music scene, the group based itself in the San Francisco area. Bloomfield, Goldberg, and Gravenites were in turn bolstered by a rhythm section of bassist Harvey Brooks (who had played on some of Bob Dylan’s mid-'60s records) and drummer Buddy Miles; on top of them came a horn section. 

Oddly, before even playing any live concerts, Electric Flag recorded the soundtrack for the 1967 psychedelic exploitation movie The Trip, which afforded them the opportunity to experiment with some of their ideas without much pressure. Their live debut was at the 1967 Monterey Pop Festival (although they didn’t make it into the documentary film of the event; they do appear in the bonus footage on the DVD version), but their first proper studio album didn’t come out until the spring of 1968. 

A Long Time Comin’ was an erratic affair, predating Blood, Sweat & Tears and Chicago as a sort of attempt at a big-band rock sound. Calling it an early jazz-rock outing is not exactly accurate; it was more like late-'60s soul-rock-psychedelia that sometimes (but not always) employed prominent horns. Indeed, it sometimes didn’t always sound like the work of the same band – or, at least, you could say that it seemed torn between blues-rock, soul-rock, and California psychedelic influences. The album’s success is even harder to judge in light of the facts that Gravenites really wasn’t a top-notch vocalist, and that the bandmembers’ instrumental skills outshone their songwriting ones. 

There was enough promise on the album to merit further exploration, but it had hardly been released before the Flag began to droop. Goldberg left, followed shortly by Bloomfield, the most important component of the group’s vision. A fragmented band recorded an inferior follow-up, but by 1969 Electric Flag had split up. They did reunite (with Bloomfield) in 1974 for a Jerry Wexler-produced album that got little notice. ~ Richie Unterberger…..~

Mike Bloomfield left the Electric Flag shortly after the release of their debut album, as exhaustion and his heroin addiction got the better of him. The band went on without him, with drummer Buddy Miles now in control, and they found a replacement lead guitarist in Horshal Wright. Their second album was thus recorded with the lineup of Buddy Miles (drums/vocals), Nick Gravenites (vocals/rhythm guitar), Herbie Rich (keyboards/sax/vocals), Harvey Brooks (bass), Horshal Wright (lead guitar), Stemzie Hunter (sax/vocals), Peter Strazza (sax) and Marcus Doubleday (trumpet). It was produced by John Simon (who also played some keyboards), and was released in late 1968. 
Without the presence of Bloomfield interest in this second album has never been high, which is a shame as its a truly great mix of rock, blues, soul and jazz, and arguably just as good (if not better!) than the band’s better-known debut, featuring strong original material (plus Dr John’s “Qualified), great arrangements, talented musicianship, and vocals shared between the different members. However this version of the band did not last, and before long they had split. Buddy Miles went on to form his own group (Buddy Miles Express), which Herbie Rich also joined, and he later worked with Jimi Hendrix. Nick Gravenites went on to work as a producer and briefly joined Big Brother & The Holding Company, whilst Harvey Brooks returned to session work…..~

Mike Bloomfield didn’t play on the album as he had left in May 1968.Herbie Rich now played a more active part on the album. His organ solos can be heard on "Hey, Little Girl”, and their rendition of Bobby Hebb’s “Sunny” with Buddy Miles on vocals. Rich also did the sax solo and sang lead on a song called “Qualified”. He also did the sax solo for “ My Woman That Hangs Around The House” and took care of the horn arrangements for “ Mystery”. Buddy Miles also was now more prominent and he was the only member featured on the album’s cover….~

The short-lived but successful Electric Flag was formed in 1967 by guitarist Mike Bloomfield after he’d left The Paul Butterfield Blues Band, ostensibly to give original guitarist Elvin Bishop, in Mike’s words, “A little space.” Undoubtedly he had also become uncomfortable with Paul Butterfield’s position as bandleader and was anxious to lead his own band. When Bloomfield left, he brought vocalist Nick Gravenites with him. The rest of the original group was a collection of seasoned professionals from some of America’s most successful bands. Drummer Buddy Miles had done session work with Otis Redding and Wilson Pickett, bassist Harvey Brooks had been with Bob Dylan, Phil Ochs and Judy Collins. Keyboard player Barry Goldberg had previously played with Steve Miller and Mitch Ryder, Peter Strazza on tenor saxophone had also played for Miller. Trumpeter Marcus Doubleday had backed The Drifters, Jan And Dean as well as Bobby Vinton. Herbie Rich, a well seasoned session man, completed the ensemble on baritone sax . 
Oddly, before even playing any live concerts, the group recorded the soundtrack for the 1967 psychedelic exploitation movie, The Trip, which afforded them the opportunity to experiment with some of their ideas without much pressure. Their live debut was at the 1967 Monterey Pop Festival, although they didn’t make it into the documentary film of the event. Their first album, “A Long Time Comin’” was released in the Spring of 1968 with additional members Stemziel (Stemsy) Hunter and Mike Fonfara. It was an erratic collection, predating Blood, Sweat And Tears and Chicago as an attempt to fuse the Big Band sound with Hard Rock. The album’s success is difficult to judge, in light of the facts that Gravenites really wasn’t a top-notch vocalist, and that the band’s instrumental skills outshone their songwriting. It did manage to reach # 31 in the U.S. album charts. 

There was enough promise on the album to merit further exploration, but it had hardly been released before The Flag began to droop. Drugs, egos, and poor management started to take their toll. Goldberg left, followed shortly by Bloomfield, the most important component of the group’s vision. Buddy Miles, however, was determined to keep the band together and recorded a second album titled simply, “The Electric Flag”. Despite climbing to number 76, the record failed to mask the internal turmoil that hard drug abuse and internal stresses had created and which led to the band’s disintegration in 1969. They did reunite for a studio project with Mama Cass shortly after, which was completed, then promptly shelved. 

Miles went on to form The Buddy Miles Express and later joined Jimi Hendrix’s Band Of Gypsies, while Gravenites worked briefly for Big Brother And The Holding Company before becoming a songwriting legend in San Francisco. He would later produce Brewer And Shipley’s US Top Ten hit, “One Toke Over The Line”. Brooks, following years of session work that included the Bloomfield/ Al Kooper / Stephen Stills Super Session, reappeared as a member of Sky. 

Bloomfield, weary of the road, suffering from insomnia, and uncomfortable in the role of guitar superstar, returned to San Francisco to score movies, produce other artists, and play studio sessions. One of those sessions was a day of jamming in the studio with keyboardist Al Kooper, who had previously worked with Bloomfield on the 1965 Dylan sessions. “Super Session”, the resultant release, with Bloomfield on side one and guitarist Stephen Stills on side two, once again thrust Bloomfield into the spotlight. Kooper’s production and the improvisational nature of the recording session captured the quintessential Bloomfield sound: the fast flurries of notes, the incredible string bending, the precise attack, and his masterful use of tension and release. Although “Super Session” was the most successful recording of his career, Bloomfield considered it to be a scam, more of an excuse to sell records than a pursuit of musical goals. After a follow-up 'live’ album, he retired to San Francisco and lowered his visibility. 

In the seventies Bloomfield played gigs in the San Francisco area and infrequently toured as Bloomfield And Friends, a group which usually included Mark Naftalin and Nick Gravenites. Bloomfield also occasionally helped out friends by lending his name to recording projects and business propositions, such as the ill-fated Electric Flag reunion in 1974. In the mid-seventies Bloomfield recorded a number of albums with a more Traditional Blues focus for smaller record labels. He also recorded an instructional album of various Blues styles for Guitar Player magazine. 

By the late seventies Bloomfield’s continuing drug and health problems caused erratic behavior and missed gigs, alienating a number of his old associates. In the Summer of 1980 he toured Italy with classical guitarist Woody Harris and cellist Maggie Edmondson. On November 15, 1980, he joined Bob Dylan on stage at the Warfield Theater in San Francisco and jammed on “Like A Rolling Stone”, the song they had recorded together 15 years earlier. Sadly, Michael Bloomfield was found dead in his car of a drug overdose in San Francisco, California on February 15th, 1981. 

On July 28th and 29th, 2007, a one-time reunion of The Electric Flag, anchored by original members Gravenites, Goldberg and Hunter, took place at a show at the Monterey County Fairgrounds, commemorating the 40th Anniversary of the Monterey Pop Festival. The original members were backed by members of the Tower Of Power and The Blues Project. They played a one hour set featuring material from the first album, as well as several Blues covers. 
Drummer Buddy Miles passed away on February 26th, 2008 at the age of 60…….~

Credits 
Alto Saxophone, Vocals – Stemsy Hunter 
Baritone Saxophone, Soprano Saxophone, Flute – Virgil Gonsalves 
Bass, Guitar, Vocals, Producer, Liner Notes – Harvey Brooks 
Drums, Vocals – Buddy Miles 
Guitar – Hoshal Wright 
Organ, Tenor Saxophone, Vocals – Herbie Rich 
Piano, Producer – John Simon 
Tenor Saxophone – Terry Clements (2) 
Trumpet – Marcus Doubleday 
Vocals, Rhythm Guitar, Percussion, Liner Notes – Nick Gravenites

Tracklist 
A1 Soul Searchin’ 2:58 
A2 Sunny 3:43 
A3 With Time There Is Change 3:30 
A4 Nothing To Do 4:50 
A5 See To Your Neighbor 2:42 
B1 Qualified 7:08 
B2 Hey, Little Girl 2:55 
B3 Mystery 3:53 
B4 My Woman That Hangs Around The House 3:15

Former members 
Mike Bloomfield — lead guitars, vocals (1967–1968, 1974; died 1981) 
Barry Goldberg — keyboards (1967, 1974, 2007) 
Harvey Brooks — bass (1967–1969) 
Stemzie Hunter - saxophone (1967–1969, 2007) 
Buddy Miles — drums, vocals (1967–1969, 1974; died 2008) 
Nick Gravenites — rhythm guitars, vocals (1967–1969, 1974, 2007) 
Peter Strazza — saxophone (1967–1969) 
Marcus Doubleday — trumpet (1967–1969) 
Michael Fonfara — keyboards (1967) 
Herb Rich — keyboards, saxophone (1967–1969; died 2004) 
Roger Troy — bass, vocals (1974) 
John Simon - keyboards, arranger (1969) 

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Dirk Hamilton “Meet Me At The Crux” 1978 US Classic Rock,Folk Pop Rock

Dirk Hamilton “Meet Me At The Crux” 1978 US excellent Classic Rock,Folk Pop Rock..recommended..!

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This is the third major label album from poetic genius, Dirk Hamilton. His extensive music career began in the early 1970s. He quickly caught the attention of influential producer Gary Katz–at the time working with Steely Dan. Katz arranged a deal with ABC Records and produced Dirk’s first album, You Can Sing on the Left or Bark on the Right using elite session musicians that included Elliott Randall, Jeff Porcaro, Victor Feldman, and Larry Carlton. Katz wanted to continue producing Dirk and Steely Dan almost exclusively, but after co-producing his second album, Dirk had his own vision about the way he wanted to make his music. He put together his own band, left ABC for Elektra/Asylum, and made 1978’s Meet Me at the Crux, which was called hilarious and chilling by Ken Tucker in the Rolling Stone Record Guide. Years later (1990), respected music journalist Steve Pond named it as one of the essential albums of the 1970s in an article also published in Rolling Stone. Dirk toured with Warren Zevon and produced one other album for Elektra, but his adamant stance on making music for those who wanted to hear it–not for the money it would make, ended his affiliation with the company. After leaving the business for a number of years, Dirk realized that his life was one of making music, and he embarked on a career of his own design that continues to this day. Dirk has been called “A true American master” by well-known producer Dusty Wakeman (who produced his 1996 album Sufferupachuckle), and he has been compared over the years to Van Morrison, Bob Dylan, and Bruce Springsteen. Music reviewers have also been quoted as saying that Dirk’s music is one of the few legitimate poets on the scene (Los Angeles Times), and lucid, intelligent, and distinctive (New York Press). Dirk Hamilton is all that and more, and he continues to hold true to his stance that his career be conducted without compromise…..by…. L. Andres-McCabe…~

Great lyrics - Jackson Browne with equal parts Dylan, Leonard Cohen, and early Springsteen. Rocking sound - think early Van Morrision crossed with John Prine and John Hiatt. I love all of these artists, but they still don’t adequately describe Dirk’s music. 
They’re only reference points for you - this is a wild ride thru some unique territory, from the opener “Mouth Full Of Suck” (about the vampire-like people we all know and hate), through the bite of “Tell-A-Vision Time” (“You don’t really wanna talk, ya just want friendly monkey noise”) and the insanity of the battle tune that is “How Do You Fight Fire” to the bliss of self-awareness in “Every Inch A Moon”. 
Check out the lyrics on Dirk’s website … or listen to a sound sample on this page … but this album can only be properly experienced in its entirety, over time, as it grabs you with constantly unfolding new delights. Long unavailable on cd - grab it if you like Van or Bruce or great lyrics or … pleasant surprises. You say there’s no good music anymore? Hey, it all comes down to you!….by….Brickbats…~

Long overdue for a re-release, Dirk Hamilton’s “Meet me at the Crux” is easily one of the best albums of 1978 (and my personal favorite). Hamilton’s writing is quirky (Egg a duck?), soulful and at times profound. His vocals are all his own. His unique delivery sells every song - his way. 
The standouts for me are “How Do You Fight Fire”, “Meet Me at the Crux”, “Billboard on the Moon”, Mouth Full of Suck, and the beautiful “Every Inch a Moon”. The deluxe addition of this CD includes several tracks that were not included in the original release. One of these, “Santa Cruz Mountain Monologue” appears to be a personal reflection and is really an excellent inclusion. 
All of these will stand the test of time. The album is 28 years old and still sounds as fresh as the day it was released. “Meet me at the Crux” is back. There is a God!…by…Admit One….~

Dirk Hamilton’s first recording for Elektra Records, Meet Me at the Crux, expands on the promise of his sporadically brilliant first two releases. This time out, with a core band providing solid backing throughout, Hamilton achieves a cohesive sound to support his material, which – as always – can be biting, sensitive, strange, and funny. Tales of love, culture, and society gone awry, as well as the woes of the unsung artist, had long been a staple of the ‘70s singer/songwriter, but Hamilton has always had the ability to bring something new to these well-worn subjects. He also possesses a soulful edge, reminiscent of Van Morrison, in his acoustic-based mix of folk, pop, rock, and R&B, which also distinguishes him from the pack. This includes instrumental, melodic, and rhythmic hooks that were scarce on his ABC work, but at the same time, the wit and insight that made the best parts of these records so special is still there. Tighter songs and arrangements also give Hamilton the freedom – like Morrison – to play with the words, vocally tugging and stretching them, pushing his voice and lyrics to the limit. Cuts such as the melancholy “Billboard on the Moon,” the slightly twisted title track, and the closer “Every Inch a Moon” are the cream of an album filled with highlights. Though it failed to do much commercially and has been deleted for years, Meet Me at the Crux is among the finest the '70s singer/songwriter genre has to offer, and is worth looking for…..by Brett Hartenbach….allmusic….~

Indiana-born singer/songwriter Dirk Hamilton possesses a distinctive, raspy tenor, along with a rock & roll passion, stinging wit, and keen eye for the peculiarities of life. After leaving Indiana and relocating to L.A., he gained the notice of Steely Dan producer Gary Katz, who helped him get a deal with ABC Records. The subsequent album, the acoustic-based You Can Sing on the Left or Bark on the Right, produced by Katz, was released in 1976. The record, which quickly distinguished itself artistically, if not commercially, from the ‘70s singer/songwriter pack, was honest and insightful, yet with a quirkiness all it’s own. With his next couple of releases, Alias I (1977) and Meet Me at the Crux (1978), Hamilton’s songs drifted even further to the left of center, which helped garner positive press but did little for his commercial appeal. If lyrically Hamilton was hard to pigeonhole, musically he probably had more in common with an artist like Van Morrison than most ‘70s singer/songwriters. And though his earliest work lacked Morrison’s musical direction and gift for hooks, he gained focus with Meet Me at the Crux, which is considered by many to be a minor classic. After five years of critical praise failed to translate into sales, Hamilton became disillusioned and left the music business following 1979’s Thug of Love, eventually becoming a counselor in California for emotionally disturbed adolescents. A few years later, after playing for fun in a local cover band in Stockton, CA, he was inspired to start writing again and released two self-produced cassettes (Rough Takes (Rough Times) [1986] and Big at the Blackwater [1989]). He entered back into the music world full-time with three records between 1990 and 1994 for the Italian-based Appaloosa Records (Too Tired to Sleep [1990], Go Down Swingin’ [1991], and Yep! [1993]), and Sufferupachuckle, a 1996 release for Core Records, all of which showed his singular talent still intact. Shortly after the release of Sufferupachuckle, Core declared bankruptcy, leaving Hamilton without a U.S. label. An unofficial live recording, The Road, the Light, the Night … (1998) and Orphans (2000), a collection of demos from the ‘80s, were issued in the interim. His first record of new material in five years, SEXspringEVERYTHING followed in January of 2001. ~ Brett Hartenbach….~

If the world had been a fair place, and sadly we know it’s not or at least we can identify justice only in the vest of a spoiled lady, the recent reissues of the first three record by Dirk Hamilton would have benefited of a wide echo on papers and they would have been printed in luxurious remastered SACD formats with HDCH. But, as far as we know, things went different and the three albums just mentioned - You Can Sing On The Left Or Bark On The Right (1976), Alias I (1977) e Meet Me At The Crux (1978) - saw the digital enlightenment only thanks to an Italian label. 
Meet Me At The Crux, originally issued by Elektra, is the last excerpt of the trilogy and it’s also Hamilton’s best record. Dirk abandoned the scenes after the commercially unsuccessful Thug Of Love (’79) and came back only several years after, at first with some self produced cassettes and then with three records issued, starting from 1990, by the label Appaloosa. This, however, is another side of the story. Today, I want to invite you all to buy an album - Meet Me At The Crux – that Rolling Stone simply defined as “unknown gem of the 1970s” and, maybe, it is even something more. 

If previous works outlined the basic references of the artist, capable of moving on the same lines of Bruce Springsteen, Bob Dylan or the Stones adding touches of gospel, r&b (tons of r&b) and even reggae (and all these influences merge into some visionary frames worth the most genuine Van Morrison), Meet Me At The Crux represents the squaring of the circle, thanks to a bunch of songs that have never been so organic, complete and enthralling. 
In the speedy shuffle of Mouth Full Of Suck there’s also Bill Payne’s organ directly from Little Feat, although the greatness of this album doesn’t pay a fee to the appearances of it guests. 
The harrowing poetry of Billboard On The Moon, the overwhelming r&b of Welcome To Toylan and Heroes Of The Night, the fabulous How do You Fight Fire?, the Springsteen-alike rock of the title track, the limping soul goodbye of Every Inch a Moon and the doo-wop epic of Tell A Vision Time only deserved a public less vacantly absorbed by the punk explosion and more disposed towards a bunch of sublime songs, so vivid and shrill to resemble more a little concert than a studio record. 

Who will give a shot to this reissue will enjoy also the mid-tempo between country and Stones of The Condo Row, the semi-acoustic beating of the wonderful Dylan-esque Santa Cruz Mountain Monologue and a “tour-de-force” in Van Morrison style of the burning Don’t Laugh At Me Louise, an outtake of Alias I that it would be a pity not to know. Better late than ever, as they say, and I really hope that this way of saying this time can become true also for the ones that either don’t know Dirk Hamilton or have always underrated him…..Gianfranco Callieri …..~

Credits 
Acoustic Guitar, Vocals, Words By, Music By – Dirk Hamilton 
Backing Vocals – Clydie King, Darrell*, Dirk*, Don*, James*, Sherlie Matthews, The Waters 
Bass – James Rolleston 
Drums – Darrell “Big Dog” Verdusco* 
Horns – Don Menza, Gary Grant, George Bohanon, Jerry Hey, Kim Hutchcroft, Larry Williams 
Keyboards – Jai Winding 
Lead Guitar – Don Evans 
Percussion – Dirk*, Don Evans, Steve Forman 


Tracklist 
A1 Mouth Full Of Suck 4:43 
A2 Billboard On The Moon 4:46 
A3 All In All 3:25 
A4 Welcome To Toyland 3:14 
A5 Tell A Vision Time 4:10 
B1 Heroes Of The Night 3:16 
B2 Meet Me At The Crux 5:16 
B3 How Do You Fight Fire? 6:32 
B4 Every Inch A Moon 5:47 

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