James Leroy With Denim ‎"James Leroy With Denim" 1973 Canada Country Pop Rock

James Leroy With Denim  ‎"James Leroy With Denim" 1973 Canada Country Pop Rock 

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James Leroy spent his childhood and adolescence in Martintown, Ontario, prior to relocating to Ottawa, where he had been born. His music career commenced as a folk singer and songwriter for local bands. Local impresario Harvey Glatt agreed to produce and manage Leroy. Glatt produced Leroy’s first single, “Touch of Magic”, which reached Number 6 on the Canadian Top Singles Chart, published by RPM Magazine. In 2002, the song received the Classic Award from the Society of Composers, Authors and Music Publishers of Canada, for achieving more than 100,000 plays on Canadian radio.

Glatt also arranged for Adam Mitchell to produce the subsequent album, James Leroy and Denim, released by GRT Records in 1973. Denim, Leroy’s supporting group, included Gary Comeau,[1] one of the founding members of The Esquires, a nationally recognized Canadian band and Val Tuck. Two further singles from the album, “You Look Good in Denim” and “Make It All Worthwhile” were top 20 Canadian singles.
James Leroy dissolved Denim in 1974 and attempted to develop a solo career. Two singles were produced by Ian Thomas, but were not successful. An anticipated solo album did not materialize.[2] In 1976, he joined Major’s Hoople’s Boarding House and later the name was changed to Boarding House. They toured the Maritimes. 
In late 1978, Leroy and new manager, Martin Onrot, began assembling a band, composed on several ex-Denim players and some new musicians. This band undertook a cross-Canada tour.He also had plans to crack the U.S. market at this time. 
James Leroy committed suicide in an Ottawa hotel on May 10, 1979, at the age of 32…~

Folksinger James Leroy began recording in the early ‘70s. After several singles became popular in his native Canada, he released Denim (named after his backup band) in 1973. Leroy joined Major Hoople’s Boarding House in 1976, but his life was cut short three years later…. by John Bush…..~

Credits 

Backing Vocals – Valerie Tuck 
Bass, Backing Vocals – Chuck Bergeron 
Drums – Gibby Lacasse 
Lead Guitar, Backing Vocals – David Oslund 
Pedal Steel Guitar – Gary Comeau 
Vocals, Piano, Organ, Acoustic Guitar – James Leroy (2) 

Tracklist 
A1 You Look Good In Denim 3:15 
A2 Anniversary Waltz 3:08 
A3 Someday Soon 3:59 
A4 Comin’ To A Party 2:34 
A5 Make It All Worthwile 3:19 
B1 Touch Of Magic 3:04 
B2 Comin’ On Home 3:22 
B3 Lady Of The Night 3:05 
B4 Take A Look At Life 2:46 
B5 Friends And Brothers 4:57 

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Beaverteeth "Beaverteeth" 1977 US Southern Rock,Country Rock,Soft Rock

Beaverteeth  "Beaverteeth" 1977 US Southern Rock,Country Rock,Soft Rock

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One of the more talent, if overlooked 1970s and 80s-era Southern rock bands, these guys had an interesting history that most folks were completely unaware of. In 1970 music engineer Rodney MIlls raised enough money to build a music studio in the Atlanta suburb of Doraville, Georgia. Known as Studio One, Mills the decided he needed a house band and quickly rounded up a collection of local talent including local players Barry Bailey and Paul Goddard, Buddy Buie and guitarist J.R. Cobb (both former members of The Classics IV), as well as ex-Candymen keyboardist Dean Daugherty, singer Rodney Justo and drummer Robert Nix. 

Serving as the Studio One house band the group played on a stream of 1970-71 releases by acts like Bonnie Bramlett, Al Kooper, Joe South, B.J. Thomas, and a late inning version of Dennis Yost and the Classics IV. 

Continuing their sessions work, the band somehow found time to record a follow-on LP, but not before original singer Rodney Justo decided to tender his resignation. Increasingly frustrated by the band’s lack of financial reward (being told the band was going to cut some tracks for a kiddy cartoon program apparently pushed him over the edge), Justo headed off to New York and stints as B.J. Thomas’ band leaders, an in-demand jingle writer/singer, a couple albums with the band Beaverteeth and a real job working for a Southern beverage distributor. Originally hired as an engineering assistant at Studio One, Ronnie Hammond was subsequently brought in as Justo’s replacement. 

In spite of the personnel shaek-up,1972’s Buddy Buie produced “Back Up Against the Wall” proved more consistent and rock-oriented than the debut. Exemplified by tracks like ‘Cold Turkey Tenn.’, their cover of Joe South’s 'Redneck’ and the title track Hammond’s likeable voice proved a nice match for the band’s blend of pop, blues and Southern rock moves. While nothing here was particularly original, the performances were all professional and worth a couple of spins. Probably the most overlooked album in their catalog (okay, maybe that distinction went to the debut), this one displayed a laidback charm that they never managed to recapture. Highlights included the pretty leadoff ballad 'Wrong’, 'Superman’ and 'What You Gonna Do About It?’. Elsewhere Decca tapped the album for a single in the form of 'Conversation’ v/w 'Cold Turkey, Tenn.’ (Decca catalog number 7-40059). While the band hit the road in support of the album, absent a breakout single the LP did little commercially. …~

Ah, Rodney Justo … one of my favorite vocalists. Nah, he’s never achieved the national recognition he deserves, but that shouldn’t cast any doubts on the man’s talents. 
Unless you’re now in your 70s, or you’re a hardcore music fan, it’s doubtful you’ve ever heard of The Candymen. Shame, since they were a truly talented mid-'60s band, that actually came close to national success. Anyhow, Justo was the band’s lead singer. Justo was also the original lead singer for The Atlanta Rhythm Section. He handled vocals on the band’s first studio album, splitting with the group prior to the release of 1972’s “Back Up Against the Wall.”   If you believe the stories, Justo was unhappy with the band’s lack of commercial success and their management teams decision to have the band record music for a cartoon program.
Freed from ARS, in 1972 Justo headed to New York where he was hired as B.J. Thomas’ band leader.
During the same timeframe brothers David and John Rainey Adkins had formed the band Beaverteeth along with bassist Jimmy Dean and singer/drummer Charlie Silva. Beaverteeth were playing clubs throughout the Florida panhandle and Southern Alabama when, needing a touring band for Thomas, Justo recruited them for the job. They stayed with Thomas for the next three years, splitting up when Thomas hired a new management team. Beaverteeth then headed back to their native Dothan, Alabama. Original singer/drummer Silva was subsequently diagnosed with cancer and replaced by Larry Hunter and Justo on vocals. The following year bassist Dean left the band, replaced by Jeff Cheshire.
Signed by RCA Victor, the band made their recording debut with 1977’s “Beaverteeth”. Self-produced, the album offered up an odd mixture of conventional southern rock, pop moves, and an occasional nod to more contemporary musical influences (synthesizers and dance rhythms). As you might guess, it wasn’t the greatest mix you’ve ever heard. That was unfortunate since with four of the five members contributing to the writing chores, these guys were quite talented. Justo remained a first-rate singer, capable of handling everything from '20s-styled ballads ('Where No Man’s Been Before’) to hardcore Southern rockers ('Dixie Fried’). Exemplified by tunes like 'Sacred Harmony’ and 'I’m calling’ he remained one of the best Southern rock balladeers. Elsewhere, collectively the band were quite strong; probably as capable as The Atlanta Rhythm Section. From my perspective, their big creative mistake was trying to showcase their sheer versatility. At times it almost felt like you were listening to a wedding band promotion tape, with the group trying to prove they could handle virtually any genre that the audience might request. Their cover of Carl Perkins 'Dixie Fried’ was a killer Southern rock tune. 'You Wanna Go To Heaven (But You Don’t Wanna Die)’ was a nice horn-propelled slice of funk. 'Hope’ was tasty Mike Nesmith-influenced country-rock. In contrast, 'The World’s Really Flat’ sounded like a good Badfinger tune. They really could handle it all, but you were ultimately left to wonder who these guys really were…..Bad Cat…..~

Credits 

Backing Vocals – Jay Scott (tracks: A1, A3), Laura Scott (2) (tracks: A1, A3) 
Bass, Vocals – Jeff Cheshire 
Drums, Vocals – Larry Hunter 
Guitar, Vocals – John Rainey Adkins 
Horns – Jay Scott (tracks: A1, A3), Laura Scott (2) (tracks: A1, A3) 
Lead Guitar, Keyboards, Vocals – David Adkins 
Lead Vocals, Guitar – Rodney Justo 

Tracklist 
A1 I’m Callin 5:13 
A2 Just Another Local Band 3:47 
A3 You Wanna Go To Heaven (But You Don’t Wanna Die) 4:27 
Where No Man’s Been Before (Heartaches) (1:53) 
A4a Where No Man’s Been Before
A4b Heartaches
A5 Dixie Fried 3:31 
B1 Sing For You 5:10 
B2 Sacred Harmony 3:58 
B3 Hope 2:37 
B4 The World’s Really Flat 3:10 
B5 Where Does Love Go (When It Goes Away) 3:09 

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Delaney & Bonnie with The Allman Brothers & King Curtis “A&R Recording Studios FM 1971″ recorded 1971 released 2015 US Country Rock,Blues Rock,Jazz,Soul,Gospel (Bootleg)

Delaney & Bonnie with The Allman Brothers & King Curtis “A&R Recording Studios FM 1971″ recorded 1971 released  2015 US Country Rock,Blues Rock,Jazz,Soul,Gospel (Bootleg)

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This (71 minutes) set is from 1971 and the sound is very decent considering the era and the conditions. There’s a few sonic glitches along the way but the music comes shining through nicely. The booklet has a very short essay on the concert and the music along with a couple of b&w photos of the band. Is this the best place to hear D&B? Probably not. But if their music is your thing, and if you can find this set at a decent price you should probably buy it. Be aware there’s some talk between songs that some fans may not like. But the comments mostly add to the atmosphere of the concert. The whole thing has a relaxed feel–like friends getting together to sing and play some old favorites. 

A few highlights. After some ads from concert sponsor Singer, the band begins an acoustic set with Robert Johnson’s "Come On In My Kitchen”, with Delaney & Bonnie (D&B) on vocals and Duane Allman on slide guitar for a nice easy version of this great tune. Basically the first half of this concert is acoustic based which is fine because the front porch style feel of the vocals along with some fine playing make this pretty cool if you’re a D&B fan. Similarly “Goin’ Down The Road Feeling Bad” is another great version of this well known song. There’s a jarring tape glitch for a couple of seconds but once you know it’s there you pass over it and listen to the tune. “Poor Elijah” is another fine performance with a down home gospel feel that ends seemingly because the players just felt like it. Sam Clayton played the conga drums along with Delaney on guitar/vocals, Bonnie on vocals and Allman on slide guitar on this acoustic set. 

After the acoustic song “The Ghetto” there’s a lengthy (6 minutes) announcement before the band comes back for the electric set. Hearing this long musical pause once is enough for atmospheric purposes–Delaney especially sounds very relaxed.. Members of this band (but not all) include D&B, members of Little Feat, Duane Allman on guitar, Gregg Allman on piano, and King Curtis on tenor sax. 

Beginning with “Livin’ On The Open Road” this is reminiscent of the D&B and Friends band albums. The band has tightened up some which helps the music. “Better Relations” is a nice up tempo performance with slide guitar and horn fills and some good vocals from D&B. “The Love Of My Man” slows things down a bit with Bonnie on lead vocals with some nice slide guitar fills from Allman along with another guitarist. Curtis’ tenor sax has some fills that help this tune’s soulfulness. After a short “chat” the band get into the blues with a lengthy (7 minutes) “12 Bar Blues (Don’t Want Me Around)”, with Delaney on lead vocal. King Curtis gets a good solo in that really adds to this tune with more horns in the background comping away. Duane Allman comes in for a solo with some laid back slide guitar sounding like you’d hope. At one point the band lays out letting Allman do his thing. This is one of the best performances here. 

Another 2+ minutes “chat” and then the band ends things with a jam on “Only You Know & I Know” which stretches out for 18 minutes. This is one of those times you wish you were sitting in the audience. D&B blend their voices that’s reminiscent (if you’re a D&B fan) of past performances, and all the while the whole band (including some fine percussion work and a drum solo) works out behind them. Allman gets another chance to play some slide guitar here and there along with a nice organ solo–not Gregg Allman–who gets in a piano solo later on, and Curtis’ always great tenor sax blowing. Sitting in the audience must’ve been quite something listening to all the great musicians on this long, good time jam. 

Is this some long lost treasure? Well, maybe not. Is this the first place to hear D&B? No. Or the Allman brothers? No. But as a curiosity from that period when D&B were making some good records, and had a band made up of some of the best musicians of the era, this is worth adding to your D&B shelf to pull out once in a while. The loose, jammy, come-together feel is pretty cool. It’s an example of that whole period when musicians came together to play and have some fun playing some favorite tunes. Not essential, but at a good price–for deep D&B/Allman fans–there’s some nice moments…..by Stuart Jefferson…..~


There’s a whole lot to like, and a little not to like. Of the 71 minutes and 15 tracks, there are only 9 songs due to all the stage banter. The music, though, is phenomenal. The first half is all acoustic, which is a real treat. I’ve never heard Duane Allman play so much acoustic guitar, and his slide really shines, especially on “Poor Elijah” (a tribute to Robert Johnson). The electric section is even better. Greg Allman joins the full Delaney & Bonnie band on piano (they already had a Hammond organist), and King Curtis sits in spectacularly on sax. While the stage banter is, at times, interesting (Delaney’s hype for the upcoming Concert for Bangladesh), I wish they would have saved the room for more songs. The DJ promises an hour-plus electric set, but if they played that long, only 5 songs made the album. While some of the detail are a bit puzzling, it does not detract from the overall effect. It’s some of the best music I’ve purchased in quite some time….by… Misterian….~


- Bonnie Bramlett - vocals 
- Delaney Bramlett - guitar, vocals 
- Duane Allman - slide guitar 
- Greg Allman - piano, vocals 
- King Curtis - saxophone 
- Kenny Gradney - bass 
- Sam Clayton - congas 
- Joe Johansen - guitar 
- Chuck Morgan - drums 
- Daryl Leonard - trumpet 
- Larry Britt - trombone 
- Jerry Jummonville - saxophone 
- Gordon De Witty - piano, organ

Recorded at A & R Studios, New York City, NY, July 22, 1971 
for a live WPLJ FM Broadcast Duane Allman plays on tracks 2, 4, 6, 7, 9, 10, 11, 13 & 15. 

1. announcer 
2. Come On In My Kitchen 
3. chat 1 
4. Goin’ Down The Road Feeling Bad 
5. chat 2 
6. Poor Elijah 
7. The Ghetto 
8. announcer 
9. Livin’ On The Open Road 
10. Better Relations (= Alone Together) 
11. The Love Of My Man 
12. chat 3 
13. 12 Bar Blues (Don’t Want Me Around) 
14. chat 4 
15. Only You Know & I Know Jam 

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Crosby & Nash “Wind On The Water” 1975 US Folk Rock Country Rock

Crosby & Nash “Wind On The Water” 1975 US Folk Rock Country Rock

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As two of the most distinctive artists from the ‘60s and '70s given their work in CSNY, Crosby & Nash also did great work as a duo act. Wind on the Water was released in 1975 after the previous year’s CSNY reunion tour and the dissolution of their contract at Atlantic. In many respects, this alliance made perfect sense. When it was just the two of them, they were often more likable. Crosby wasn’t as much of a blowhard and Nash became more pragmatic. Wind on the Water’s virtues are apparent with the first song, the warm and pensive single “Carry Me.” “Homeward Through the Haze,” “Low Down Payment,” and “Naked in the Rain” are gems that all but sum up their complicated harmonic and melodic style. Besides Crosby & Nash being on their game, the studio players here are impeccable. Lovers of '70s pop/rock will love to hear players like Danny Kortchmar and David Lindley effortlessly doing their identifiable riffs. James Taylor, Carole King, and Jackson Browne also showed up for these sessions, but do not intrude or overshadow Crosby & Nash. Without a doubt, despite the strong production, the stars of the show here are Crosby & Nash. The album concludes with “To the Last Whale…: Critical Mass/Wind on the Water.” The song is not only a testament to the album’s skill at making the complex seem effortless, but it also gets its point across without being mushy. Wind on the Water has an instant classic, lived-in sound and is a definite must-have…..by Jason Elias….~

In 1975 this was a very good album with some great harmonies and guest musicianship. This album reflects the times (mid 70’s) with the songs having that soft rock sound that a lot of other groups in those days had (Seals and Crofts, Loggins and Messina, Steely Dan, Jackson Browne). For me Nash’s songs have aged better than Crosby’s, but despite the sometimes weak songwriting the two often do sound really sweet together. 
However, what really makes this album worth getting and still listening to is David Lindley who plays electric and acoustic slide and fiddle on 7 out of the 11 tracks, and in his usual understated way really tears it up. His playing is always just so tasteful, and I have to chuckle when I think it took me 20 years to discover just how good he is on his own after unconsciously getting a taste of him here. On this recording his contributions ….~

We’ve heard CSN, CSN&Y, and now we have just C/N. David and Graham’s vocals and harmonies are amazing. Their selection of tunes are so varied that you can listen to it while in a kick-back mood, or driving down the highway. From “Critical Mass” to “Take the Money and Run,” from “Carry Me” to “Love Work Out,” the myriad of songs they sing on this introspective record keep you in touch with what these guys were feeling and experiencing when they wrote them: death of a family member, a plea for love to finally come to fruition, greed, etc. The clincher, however, is the title song, “Wind on the Water,” a depiction of the merciless killing of whales just for the sake of their by-products (read = make-up products industry). The harmony and orchestration of this song could make even the most jaded person shed a tear. And speaking of orchestration, this particular record had the good fortune of the mightiest of the mighty when it came to its backing band. Nicknamed The Session (other monikers were bestowed, but we’ll skip them for now), Danny Kortchmar, Craig Doerge, Leland Sklar, Russ Kunkle, Tim Drummond, were, and still are, plainly and simply, the best in the business. Still playing gigs today (they recently performed with James Taylor and Carole King on a PBS special touting Taylor and King’s Troubadour Tour), and they haven’t lost (pardon the pun) a beat. If I had to come back to life as any musician, playing any instrument (sorry all you guitar fanatics), I would become Craig Doerge. This keyboardist is a genius. If any of you are interested in hearing how great these musicians are, pick up a copy of Jackson Browne’s “The Pretender” CD. Listen carefully to the piano performances on “The Fuse” and The Pretender.“ Not only is this CD one of Jackson’s finest productions as a phenomenal artist in his own right, but the combination of his heart-felt lyrics, singing, and The Session as his back-up band, make this record, in my opinion, his best (and I have them all). Back to C/N. Buy the CD. I’m sorry if you don’t enjoy it, but I think it’s very much worth the purchase….by….Browne-Eyed Girl…..~

Crosby & Nash’s first album together in more than three years represents their best studio work since CSN&Y’s Deja Vu. While it exhibited a refreshing spareness of texture, Crosby & Nash’s other dual effort suffered from a lack of strong material, with the notable exception of Nash’s haunting "Southbound Train.” Crosby’s and Nash’s solo albums have also emphasized each artist’s weaknesses – in Crosby’s case, spiritless lack of direction; in Nash’s, simplicity verging on the simplistic. Though neither artist can be counted a great writer or singer, together on Wind on the Water their strengths are abundantly in evidence. An impressive coproduction, Wind features many well-known guest musicians, the most important contributions those of guitarist Danny Kortchmar and David Lindley, keyboardist Craig Doerge and drummer Russ Kunkel. 
These talents mesh with astonishing force on the album’s rock centerpiece, Nash’s “Love Work Out.” A harmonized chant, performed in the style of Neil Young’s “Ohio,” the song concludes with an extended arrangement for four guitars that keeps accumulating intensity before being faded. Two other rockers, Crosby’s “Low Down Payment” and Nash’s “Take the Money and Run,” both bitterly cynical commentaries on success, also evidence a resurgence of energy and emotion. 
Several songs feature the acoustically textured lyricism with multiple vocals that Crosby & Nash pioneered so successfully with “Guinnevere” and “Lady of the Islands.” The loveliest are the joint compositions, “Naked in the Rain,” a philosophical mood piece, and “To the Last Whale,” a song in two segments. The first part, written by Crosby, is called “A Critical Mass” and consists of beautiful, fugal part singing without words or instrumentation. The second part, Nash’s “Wind on the Water,” must rank with “Lady of the Islands” and “Southbound Train” as one of his three finest songs; it also boasts the only one of Nash’s politically motivated lyrics whose imagery sustains its rhetoric: 
Over the years you have been hunted 
By the men who threw harpoons 
And in the long run he will kill you 
Just to feed the pets we raise, 
Put the flowers in your vase 
And make the lipstick for your face. 
If Wind on the Water shows Crosby & Nash at the height of their musical powers, it is also suffused with melancholy, resignation and anger. In Crosby’s “Carry Me,” he pictures his dying mother; in “Bittersweet,” he communicates a feeling of being cold, confused and near middle age. Nash’s surrealistic “Cowboy of Dreams” faces the fear of death, and “Love Work Out” violently asserts the need for a lasting personal relationship. Wind on the Water is not an album made by, for or about kids, but the work of men who face being beached like whales on a sandbar by the youth culture and who are determined to survive. They will….. Stephen Holden, Rolling Stone, 12/4/75…….~

After a 1974 tour with Crosby, Stills, Nash & Young, it only made sense that David Crosby and Graham Nash carry on and make their second album as a duo. Just because the members of CSN&Y rarely got along didn’t mean that the rich blending of Crosby and Nash’s voices should go to waste. This was 1975, and the two gents were now a little older. The music reflected that; it’s an album as gentle as its title. The songs play off a dynamic of Nash’s sing-along pop (listen to “Love Work Out” and “Cowboy of Dreams”) and Crosby’s more figurative turns. It’s rich with themes of death (the beautiful “Carry Me” about the passing of Crosby’s mother), music-biz thievery (“Take the Money and Run,” which features David Lindley’s wonderful violin), the fruitless search for emotional security (the slow-rising “Homeward Through the Haze,” complete with references to Samson and Caesar), and the environment (“To the Last Whale: I. Critical Mass: II. Wind on the Water”). Guests include Jackson Browne, James Taylor, and Carole King, as well as unheralded pedal steel player Ben Keith and The Band’s Levon Helm……~

In my review of Graham Nash – David Crosby, I wrote: 'Now I finally get it. I don’t think David Crosby was an essential musician while I am almost a fan of Graham Nash.’ However, on Wind on the Water the setting amazingly turns upside down! Nash has said that this was a fun album to make; I bet, that was because Crosby was delivering excellent songs and Nash himself took the whole thing lightly and loosely. In most ways, Wind on the Water is a personal triumph of David Crosby – it finds him as powerful as in the best days with The Byrds. 

“Carry Me” (by Crosby), “Bittersweet” (Crosby), “Take the Money and Run” (Nash), “Naked in the Rain” (Crosby), “Low Down Payment” (Crosby) and “To the Last Whale” (Crosby/Nash) are excellent little songs. The rest are not so. “Love Work Out”, featuring Jackson Browne, might be OK but it is overlengthy, while “Homeward Through the Haze” is average despite featuring Carole King. The fact that King, Browne and James Taylor are present unites Wind on the Water with so many singer/songwriter albums of the 1970s. (See: Crosby and Nash were featured on Gorilla by James Taylor and Thoroughbred by Carole King, also featuring Taylor who was featured on some other Carole King albums as well; King was featured on the James Taylor albums One Man Dog and Mud Slide Slim and the Blue Horizon, while the latter also featured Joni Mitchell who was featured on Tapestry by Carole King, too, as well as on Diamonds and Rust by Joan Baez…) 

The lyric of “Wind on the Water” (the part B of “To the Last Whale”) reminds us that it was the hippies who first had the global ecological consciousness that is going to be required now. There are also socially conscious lyrics on the album. Anyway, Wind on the Water is a good album and actually as close to four star rating as a 3.5 album can be, though it is still a 3.5 album…by…fairyeee ….~

Joel Bernstein, guitar 
Jackson Browne 
David Crosby 
Craig Doerge, keyboards 
Tim Drummond, bass 
Levon Helm, drums 
Ben Keith, guitar 
Carole King, keyboards 
Russ Kunkel, drums 
Danny Kortchmar, bass/guitar 
David Lindley, guitar/violin 
Graham Nash 
Lee Sklar, bass 
Stan Szelest, keyboards 
James “J. T.” Taylor, vocal

Tracklist 
Carry Me 3:34 
Mama Lion 3:15 
Bittersweet 2:37 
Take The Money And Run 3:23 
Naked In The Rain 2:25 
Love Work Out 4:50 
Low Down Payment 4:53 
Cowboy Of Dreams 3:27 
Homeward Through The Haze 4:04 
Fieldworker 2:45 
To The Last Whale… 5:30 
Critical Mass
Wind On The Water 

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