Friday, August 16, 2019


Ten Years After are a British blues rock band, most popular in the late 1960s and early 1970s. Between 1968 and 1973, Ten Years After scored eight Top 40 albums on the UK Albums Chart. In addition they had twelve albums enter the US Billboard 200, and are best known for tracks such as "I'm Going Home", "Hear Me Calling", "I'd Love to Change the World" and "Love Like a Man". Their musical style consisted of blues rock and hard rock.

1   feel it for me                 ten years after
2   help me                      
3   woodchoppers ball              undead
4   two time mama                  sssh
5   i woke up this morning
6   the stomp
7   i'm coming on                  watt
8   my baby left me
9   sweet little sixteen
10  50000 miled beneath my brain   cricklewood green 
11  working on the road
12  love like a man  
13  roll over beethoven            live at the fillmore
14  baby won't you let me
              rock and roll you    a space in time
15  here they come  
16  one of these days
17  i'd lovr to change the world
18  you can't win them all         rock and roll music to the world 
19  choo choo mama
20  tommorrow i'll be out of towm
21  rock and roll music to the world
22  i wanted to boogie             positive vibrations
23  positive vibrations 
24  i'm gpimg home                 live at woodstock

Tuesday, August 6, 2019


Crosby, Stills And Nash (and sometimes Young)
Four Way Harmonies [no label, 1CD]
Outtakes and unreleased tracks from the early years, plus a few live recordings.

Track 01. Our Mouse (Crosby-Nash dialogue) (446k)
Track 02. Wooden Ships (embryonic first demo - no lyrics yet) (2.4MB)
Track 03. Laughing (1968 Crosby demo) (5.6MB)
Track 04. Wooden Ships (first studio take by Crosby and Stills, 1968) (6.7MB)
Track 05. Suite: Judy Blue Eyes (instrumental with bass and drums) (6.6MB)
Track 06. Marrakesh Express (early rough mix; overdubs missing) (3.7MB)
Track 07. Guinnevere (alternate mix with full band - electric guitars, drums and bass) (6.9MB)
Track 08. Guinnevere (early acoustic version) (7.0MB)
Track 09. Lady of the Island (rough mix with discarded Crosby duet vocal) (3.9MB)
Track 10. Pre-Road Downs (rough mix with missing chorus vocal) (4.2MB)
Track 11. Helplessly Hoping (with full band - guitars drums and bass) (3.6MB)
Track 12. Cinnamon Girl (1969 instrumental studio take of Neil Young's song) (3.6MB)
Track 13. I've Loved Her So Long (CSNY live, Aug. 26, 1969, Los Angeles, Neil's song) (2.9MB)
Track 14. And So Begins the Task (CSNY live, Dec. 13, 1969, Chicago, Stephen Stills' song) (6.3MB)
Track 15. Little Miss Bright Eyes (unreleased Stills song, late 1969 studio outtake) (2.9MB)
Track 16. Long Time Gone (Tom Jones with CSNY, Sept. 6, 1969, "This Is Tom Jones" TV show (5.6MB)
Track 17. Come One in My Kitchen (Stills coaxing Crosby into singing the blues song) (1.5MB) 

Saturday, August 3, 2019


Riders On The Storm 
Live at the Tempodrom, Berlin, Germany; April 13, 2006. Very good to excellent audience recording.

Ray Manzarek grew up in Chicago, then moved to Los Angeles in 1962 to study film at UCLA. It was there he first met Doors singer Jim Morrison, though they didn’t talk about forming a band until they bumped into each other on a beach in Venice, California in the summer of 1965 and Morrison told Manzarek that he had been working on some music. “And there it was!” Manzarek wrote in his 1998 biography, Light My Fire. “It dropped quite simply, quite innocently from his lips, but it changed our collective destinies.”

They quickly teamed up with drummer John Densmore and guitarist Robby Krieger and began playing gigs around Los Angeles. About a year later, the Doors recorded their debut album for Elektra Records. “We knew once people heard us, we’d be unstoppable,” Manzarek wrote in his memoir. “We knew what the people wanted: the same thing the Doors wanted. Freedom.”…

“Morrison required all three of us diving into his lyrics and creating music that would swirl around him,” Manzarek told Rolling Stone in 2006. “Without Jim, everybody started shooting off in different directions… The Doors was the perfect mixture of four guys, four egos that balanced each other. There were never any problems with ‘You wrote this’ or ‘I wrote that.’ But [after Jim died] the whole dynamic was screwed up, because the fourth guy wasn’t there.”

Track 101. Intro (4.1MB)
Track 102. Roadhouse Blues (10.6MB)
Track 103. Break On Through (11.0MB)
Track 104. Love Me Two Times (10.3MB)
Track 105. When The Music’s Over (28.5MB)
Track 106. The Alabama Song (6.1MB)
Track 107. Back Door Man (10.9MB)
Track 108. Five To One (14.4MB)
Track 109. Robbie Krieger Flamenco Solo (6.8MB)
Track 110. Spanish Caravan (5.3MB)

Disc 2
Track 201. band introduction (2.5MB)
Track 202. Peace Frog (8.4MB)
Track 203. Wild Child (7.1MB)
Track 204. Eagle In A Whirlpool (6.2MB)
Track 205. Not To Touch The Earth (8.5MB)
Track 206. Touch Me (7.8MB)
Track 207. L.A. Woman (15.0MB)
Track 208. audience (3.3MB)
Track 209. Riders On The Storm (16.0MB)
Track 210. audience (5.2MB)
Track 211. Light My Fire (false keyboard sound) (628k)
Track 212. Light My Fire (19.3MB)

Ray Manzarek - keyboards, vocals
Robbie Krieger - guitars
Ian Astbury - vocals
Philip Chen - bass
Ty Dennis - drums

Friday, August 2, 2019


01 fiberglass jungle - crossfires
02 clearout - cream
03 nut popper #1 - paul butterfield
04 four hundred and five - beacon street union
05 the witch doctor life - captain beefheart
06 highland fling - nicky hopkins
07 the traveler - don strandburg
08 albatross - fleetwood mac
09 more - main theme - pink floyd
10 dismal swamp - nitty gritty dirt band
11 portrait of jan with flowers - bill nelson
12 sultan - neil young
13 dust to dust - ginger baker
14 natural magic - rolling stones
15 cherry ball blues - ry cooder
16 hodge,podge strained through a leslie - steppenwolf
17 banjo - kaleidoscope
18 turtle - deadbeats
19 hummingbirds - love
20 jerry's breakdown - old and in the way
21 white lightning pt2 - byrds
22 juggling suns - solar circus
23 funky zena - mickey hart
24 big noise from speonk - lovin' spoonful

Monday, July 29, 2019


Raga rock is rock or pop music with a heavy Indian influence, either in its construction, its timbre, or its use of instrumentation, such as the sitar and tabla. More recently, scholars have included British rock music from the 1960s and 1970s that utilizes South Asian musical materials and instruments and Western ideas of South Asia.

Raga rock is not normally considered a specific genre of music, but rather a general aspect of any rock significantly influenced by Indian classical music. Since Indian influences are primarily limited to 1960s rock, most raga rock is limited to that decade, although heavily Indian-derived sounds are found in some post-1960s rock.

Ragas are specific melodic modes used in classical music of South Asia. Thus, any rock songs with obvious Indian influences may be deemed "raga-rock" although the term is frequently used to refer to much more explicitly Indian musical outings. A major influence on raga rock was the Indian classical raga music of Bengali sitarist Ravi Shankar, who himself had become a pop music icon by 1966, following the rise of the raga rock trend.

The advent of raga rock is often traced to the July 1965 release of "See My Friends", a Top 10 single for The Kinks in the UK, although The Yardbirds' "Heart Full of Soul", released the previous month, featured a sitar-like riff by guitarist Jeff Beck.The Byrds' March 1966 single "Eight Miles High" and its B-side "Why" were also influential in originating the musical subgenre. Indeed, the term "raga rock" was coined by The Byrds' publicist in the press releases for the single and was first used in print by journalist Sally Kempton in her review of "Eight Miles High" for The Village Voice. However, in his 1968 Pop Chronicles interview, Byrds member Roger McGuinn denied that "Eight Miles High" was in fact raga rock. The Paul Butterfield Blues Band further elevated the concept of Indian influenced rock music with a 13-minute instrumental titled "East-West", which became the title track of their 1966 album, East-West.

The Beatles' song "Norwegian Wood (This Bird Has Flown)", which first appeared on the band's 1965 album Rubber Soul, was the first Western pop song to incorporate the sitar (played by lead guitarist George Harrison). Harrison's interest in Indian music popularized the genre in the mid-1960s with songs such as "Love You To" and "Tomorrow Never Knows" (Revolver, 1966),"Within You Without You" (Sgt. Pepper's Lonely Hearts Club Band, 1967) and "The Inner Light" (released in 1968 as the B-side of the "Lady 

In the early 1970s, the British progressive rock band Quintessence began to mix elements of Indian classical music with rock and jazz. Later in the decade, guitarist John McLaughlin and his band Shakti introduced a jazz-influenced version of raga rock over the course of three albums.

01 norwegian wood( this bird has flown)  hour glass
02 om  moody blues
03 i'm the light - blue cheer
04 venus in furs - velvet underground
05 see my friends - kinks
06 raga - buffalo springfield
07 juggling suns- solar circus
08 she's leaving home - big jim sullivsn
09 blue jay way -  lord sitar
10 acka raga - shocking blue
11 turn me on - rotary connection
12 babaji (twilight raga)- blue cheer
13 the light of love - humble pie
14 within you without you - jimmy herring
15 swami - william penn and this friends
16 moog raga - byrds
17 raga rock - folkswingers
18 the mad hatter's song - incredible string band
19 girl in your eye - spirit
20 gomper - ro;;ing stones
21 raga riff - punjabs
22 white summer - yardbirds
23 square room - them
24 east-west - butterfield blues band

Tuesday, July 23, 2019


Best remembered for their 1968 acid rock classic "Journey to the Center of the Mind," Detroit's Amboy Dukes also introduced the world to the Motor City Madman, guitarist Ted Nugent. The group's roots date to 1965, a period when a teenage Nugent was living in Chicago; there he formed the first incarnation of the Amboy Dukes, borrowing the moniker from a recently disbanded Detroit band who themselves took the name from an infamous exploitation novel of the period. When Nugent returned to Southeastern Michigan in 1967, he assembled a new Dukes lineup including vocalist John Drake, his former bandmate in the Lourds, as well as rhythm guitarist Steve Farmer, bassist Bill White, keyboardist Rick Lober, and drummer Dave Palmer. Famed for its snarling closer, an incendiary cover of Them's "Baby Please Don't Go," the group emerged as one of the hottest attractions on the Detroit club circuit.

Journey to the Center of the Mind Still, when the Amboy Dukes' self-titled debut LP appeared on the Mainstream label in 1967, it was the group's originals that became the focus -- while Nugent handled the music, Farmer penned the drug-fixated lyrics, adding a psychedelic sensibility to an otherwise proto-metal sound. After a series of lineup shifts that saw White and Lober exit in favor of bassist Greg Arama and keyboardist Andy Solomon, in 1968 the Dukes issued Journey to the Center of the Mind, riding the title track into the U.S. Top 20. Vocalist Rusty Day replaced Drake in time for 1969's Migration, which failed to equal the success of its predecessor; Marriage on the Rocks, issued later that same year, was also a disappointment, and after 1971's Survival of the Fittest Nugent dismissed Day and Solomon after Palmer left the group to accept an engineering gig. After recording a handful of albums as Ted Nugent & the Amboy Dukes, he finally dropped the group's name altogether and mounted a solo career.

01  baby please don't go              amboy dukes
02  down on phillip's escalator         
03  mississippi murderer         .      journey to the center of the mind
04  flight of the byrd                 
05  surrender to your kings
06  dr. slingshot
07  scottish tea
08  journey to the center of the mind
09  why is a carrot oranger than an orange
10  ivory castles
11  death is life
12  saint phillip'a friend
13  i'll prove i'm right
14  conclusion
15  you talk sunshine, i breathe fire  bonus track 
16  loaded for bear                    migration
17  for his namesake
18  migration
19  good natured emma
20  prodigal man
21  inside the outside
22  call of the wild                   call of the wild
23  free flight                        tooth fang and claw
24  hibernation

Saturday, July 20, 2019


If you ask Deadheads to name their all-time favorite Grateful Dead show, a resounding answer would likely be 5/8/77 at Cornell University’s Barton Hall in Ithaca, NY. Of course, choosing a favorite Grateful Dead concert is remarkably subjective, ultimately swayed by personal experience more than any other factor. Yet, for many, 5/8/77 stands alone—so much so that an entire book, Cornell ’77: The Music, The Myth, and the Magnificence of the Grateful Dead’s Concert at Barton Hall  has been written on it.

So why is that? First, you have to consider the point in the band’s career. The Grateful Dead had grown from a psychedelic novelty in the 1960s to a reckoning force of musical creation, putting out albums like Workingman’s Dead and American Beauty at the start of the 1970s. Tragedy struck, however, when beloved keyboardist and founding member Ron “Pigpen” McKernan passed away from a number of health complications. His death occurred shortly after the band’s famed Europe ’72 trip, leaving the members heartbroken. While 1973 and 1974 were great in their own right, the band took a hiatus shortly after, only playing four shows throughout all of 1975.

The time off did the band members well, as each got to work on their own music without the pressures of their collective creative entity. By the time they returned, the Grateful Dead were freshly equipped with new music and released the Terrapin Station album towards the end of 1977. A few tracks from that release were already in rotation, including “Terrapin Station” and “Estimated Prophet”—songs that would become legendary in the Dead’s canon.

That, more or less, brings us to the 5/8/77 Cornell show. By the middle of Spring in 1977, the Grateful Dead were in a true peak. Their lineup was settled, and their catalog was packed with so many glorious songs. Semantically, what separates this show from similarly potent performances on adjacent days was its distribution. A soundboard recording from Betty Cantor-Jackson made its way onto a tape, and magically wound up in the hands of Grateful Dead fans nationwide. Because of the widespread access to these high-quality recordings, the show became a well-known go-to show among Deadheads in the know.
The show itself is flawless, packing so much energy into first set tunes like “Jack Straw” and “Brown Eyed Women.” The second set featured just about all the songs a fan could want, like “Scarlet > Fire,” “Estimated,” and a “St. Stephen > Not Fade Away > St. Stephen > Morning Dew” run that is purely sublime. The band ended the show with their classic exclamation point, “One More Saturday Night.”
In an interview with Rolling Stone in May of 2017, guitarist Bob Weir spoke about the mythical status the 5/8/77 Cornell show has attained among fans.
For me it was just another tour. I remember feeling like we were hot back when were doing it. But, for instance, that Cornell show that that people talk about, I can’t remember that specifically. It didn’t stand out for me on that tour. The whole tour was like that for me. I think that show became notable because there was a particularly good audience tape made of it. And that got around. I think it was the quality of the recording was good and the guy’s location was excellent. And whoever it was that made that recording made every attempt to get it out there so that people could hear it.
According to Weir, “[Our label] was freaking about the phenomenon of tapers showing up at our shows. They were insisting that we put an end to this. And we just didn’t want to do that. We didn’t feel comfortable doing that, so we didn’t. [Laughs] And through simple benign neglect we get credit for inventing viral marketing.”
info from Live Music blog

Barton Hall (Cornell University) - Ithaca, NY
Set 1:
New Minglewood Blues
El Paso
They Love Each Other
Jack Straw
Lazy Lightnin'
Brown-Eyed Women
Mama Tried
Row Jimmy
Dancin' In The Streets
Set 2:
Scarlet Begonias
Fire On The Mountain
Estimated Prophet
St. Stephen
Not Fade Away
St. Stephen
Morning Dew
One More Saturday Night

Thursday, July 18, 2019


Box of Frogs were a band formed in 1983 by former members of the Yardbirds, who released their first album in 1984. The core group consisted of Chris Dreja, Paul Samwell-Smith, and Jim McCarty. Vocals on their eponymous album were done by John Fiddler, formerly of Medicine Head and British Lions; on the second album Fiddler sang on five tracks with guests including Graham Parker, Ian Dury and Roger Chapman singing lead on the others. Many musicians guested on their albums (including Rory Gallagher, Earl Slick and Mark Feltham), with several tracks featuring Steve Hackett. Former Yardbirds guitarists Jeff Beck and Jimmy Page guested on their first and second albums respectively.

The group formation and name were explained on the sticker affixed to original LP releases:

"On June 23, 1983, as part of London's historic Marquee Club's 25th Anniversary celebrations, three original Yardbirds -- Paul Samwell-Smith, Chris Dreja and Jim McCarty -- found themselves together on stage again. This same venue had been a regular nightspot for the legendary guitar-based blues-rock band that was the springboard for the likes of Clapton, Beck and Page. For Paul, Chris and Jim, the reunion made them realize they had to make more music in the Yardbirds' tradition. They added Medicine Head's John Fiddler on vocals to form the nucleus of the band. On Christmas Eve 1983, Jeff Beck joined them at a recording session at a farmhouse south of London and added his unique touch to four of the tracks. As other old friends jumped into the sessions the idea for the group's new name came about. Now with a fresh spirit and basic rock and roll roots there is a new band from across the pond."

The group showed promise on the first album of rock radio friendly tunes, featuring Jeff Beck. The album was popular on college campuses. Plans were made for a U.S. tour, but it is alleged that Samwell-Smith, Dreja, and McCarty nixed the idea of the tour, much to John Fiddler's dismay. Jeff Beck, who along with Dzal Martin was considered as the lead guitarist for such a tour, was reportedly disgusted at his ex-bandmates' refusal to tour America. He took no part on the second album, Strange Land (1986), and Fiddler barely chose to do so before walking out. "Asylum" is one of the few songs Fiddler sang on, and was the only one featuring Page.

Box of Frogs - 1984
Back Where I Started (3:54) (P. Samwell-Smith, C Dreja, J McCarty, J Fiddler)
Harder (3:44) (J Fiddler, R Majors)
Another Wasted Day (4:12) (Samwell-Smith, Dreja, McCarty, J Fiddler)
Love Inside You (2:47) (J Fiddler)
The Edge (4:02) (Samwell-Smith, Dreja, McCarty, J Fiddler)
Two Steps Ahead (4:33) (Samwell-Smith, Dreja, McCarty, J Fiddler)
Into The Dark (4:07) (Samwell-Smith, Dreja, McCarty, J Fiddler)
Just A Boy Again (5:38) (Samwell-Smith, Dreja, McCarty, J Fiddler)
Poor Boy (4:26) (Samwell-Smith, Dreja, McCarty, J Fiddler)
All lead vocals by John Fiddler.

Produced by Paul Samwell-Smith

Strange Land - 1986
Get it While You Can (G. O'Connor) Graham Parker, lead vocals
You Mix Me Up (Samwell-Smith, Dreja, McCarty) John Fiddler, lead vocals (?)
Average (Samwell-Smith, Dreja, McCarty) Ian Dury, lead vocals
House on Fire (Samwell-Smith, Dreja, McCarty) John Fiddler, lead vocals
Hanging from the Wreckage (Samwell-Smith, Dreja, McCarty) John Fiddler, lead vocals
Heart Full of Soul (G Gouldman) Roger Chapman, lead vocals
Asylum (Samwell-Smith, Dreja, McCarty) John Fiddler, lead vocals
Strange Land (Samwell-Smith, Dreja, McCarty) Roger Chapman (?)
Trouble (Samwell-Smith, Dreja, McCarty) John Fiddler, lead vocals
Bonus track:10 I Keep Calling

Produced by Paul Samwell-Smith

The Frogs:

John Fiddler - lead and backing vocals, guitars, percussion, synthesizers
Chris Dreja - rhythm guitar, percussion, occasional backing vocals
Paul Samwell-Smith - bass guitar, backing vocals, percussion, synthesizers
Jim McCarty - drums, percussion, 

Monday, July 15, 2019


Them were a Northern Irish band formed in Belfast in April 1964, most prominently known for the garage rock standard Gloria and launching singer Van Morrison's musical career.
] The original five member band consisted of Morrison, Alan Henderson, Ronnie Millings, Billy Harrison and Eric Wrixon. The group was marketed in the United States as part of the British Invasion.
Them scored two UK hits in 1965 with Baby, Please Don't Go (UK No.10) and Here Comes the Night (UK No.2; Ireland No.2). The latter song and Mystic Eyes were Top 40 hits in the US.

Morrison quit the band in 1966 and went on to a successful career as a solo artist. Although Them had a short-lived existence, the Belfast group had considerable influence on other bands, such as the Doors.

In late August 1965, Billy Harrison and Pat McAuley formed a rival Them, competing with the MorrisonHenderson line-up and leading to legal action. In March 1966, the latter won the rights to the name while the former, now without Harrison but with Pat's brother Jackie McAuley (born John McAuley, 14 December 1946, in Coleraine, County Londonderry, Northern Ireland; ex-Them, ex-Kult), were only allowed to call themselves 'Other Them' in the U.K. The McAuley brothers became, unofficially, the Belfast Gypsies (or Gipsies), though they were never actually billed as such, and recorded two singles on Island Records (one released under the name Freaks of Nature) and one Swedish-only album, all produced by Kim Fowley. They toured Europe billed as Them and released a French EP under that name but broke up in November 1966 Not long after that the Morrison line-up also reached the end of the road. In March 1967 Morrison did a short tour of the Netherlands backed by Cuby & the Blizzards and then left for New York to start his highly successful solo career. The rest regrouped in Belfast, recruited Kenny McDowell (born Kenneth McDowell, 21 December 1944, in Belfast, County Antrim, Northern Ireland) (ex-Mad Lads) as lead singer and continued touring and recording steadily after relocating to the USA in early 1967 at the invitation of producer Ray Ruff. Two albums, Now and Them and Time Out! Time In for Them, found the band experimenting with psychedelia. Then Jim Armstrong and Kenny McDowell returned to Belfast to perform as Sk'boo (Armstrong, McDowell and Ray Elliot reunited in Chicago in 1969 as Truth and recorded a number of demos and soundtrack songs later released as Of Them And Other Tales). Henderson hired session musicians for two more records for Ray Ruff's Happy Tiger Records, in a hard rock vein with country and folk elements; Them (1970) featured Jerry Cole as guitarist while Them In Reality (1971) featured lead guitarist Jim Parker and drummer John Stark (both ex-Kitchen Cinq). Henderson also co-wrote a rock opera, Truth Of Truths, produced by Ray Ruff in 1971.] These efforts were met with consumer indifference and in 1972 Them dissolved. Alan Henderson, Billy Harrison and Eric Wrixon reunited in 1979, without Morrison, recording another album, Shut Your Mouth and undertaking a tour of Germany using Billy Bell on guitar and Mel Austin as vocalist. Since the 1990s, Wrixon had toured under the moniker of Them the Belfast Blues Band, at one point comprising ex-Them guitarists, Jim Armstrong and Billy Harrison.

This post does not focus on the Morrison led band but looks at music from the 6 lp's the band somehow managed to make before they finally faded out.

Tracks 1-5 from the "In Reality" Lp

Tracks 6-10 from the "Now And Them" LP

Tracks 11 -15 from the "Them" Lp on Happy Tiger

Tracks 16-20 from the "Time Out" Lp

Tracks 21-23 From the "Belfast Gypsies-Them" Lp

Track24 from the "Shut Your Mouth" Reunion Lp

Sunday, July 14, 2019


01 green onions - booker t & the mg's
02 the new breed = ike turner
03 stranger on the shore - acker bilk
04 sleepwalk - santo & johnny
05 seregetti - grateful dead
06 eucalyptus - odin
07 the petergunn theme - blues brothers
08 orange blossom special - hellecasters
09 meadowlands - jefferson airplane
10 the ox - who
11 the shape of surf to come - hawaii-samurai
12 sonido amazonico - los mirlos
13 out of limits - marketts
14 bad times - paladin
15 dead man theme - neil young
16 ice - spirit
17 universal mind decoder - byrds
18 forever autumn - jeff wayne
19 elephant walk - mickey hart
20 early morning - troyka
21 scorpio 6 - satan's pilgrims
22 hole in the wall - packers
23 the happy organ - dave baby cortez
24 telstar - tornados

Thursday, July 11, 2019


1   Signe Toly Anderson -  Chauffeur Blues  -  Jefferson Airplane
2   Janis Joplin -  Bye Bye Baby  -  Big Brother and the Holding     Company
3   Grace Slick -  Sally Go Round The Roses - The Great Society
4   Lynne Hughes -  Cherry Ball ( Shake Mama Shake)  - Tongue and Groove
5   The Ace Of Cups -  Music
6   Jan Errico -   I Still Love You  -  The Vejatables
7   Tina Meltzer - Flying Away - Serpent Power
8   Patti Santos - Ridin' Thumb - It's A beautiful Day
9   Lydia Pense - Let me Down easy - Cold Blood
10  Tracey Nelson - Seven Bridges Road - Mother Earth
11  Toni Brown - The War You Left - Joy Of Cooking
12  Barbara Mauritz - Cross Between - Lamb
13  Lydia Moreno(Phillips) - Bad News - Stoneground
14  Annie Rizzo - I'm Funky But I'm Clean - Grootna
15  Linda Tillery - Danger Heartbreak Dead Ahesd - The Loading Zone
16  Clara Miles - Tell Me - Under Milkwood
17  Janis Joplin - One Good Man - Kosmic Blues Band
18  Kathi McDonald - I Need A Man To Love - Big Brother and the Holding Company
19  Lynne Hughes -  Gypsy Good Time - Solo
20  Deirdre LaPorte - Ajax - Stoneground
21  Ellen McIlwaine - Bow'd Up - Fear Itself
22  Donna Jean Godchaux - Sunrise - The Grateful Dead
23  Suzy Fischer - Pride Of Man - The Dinosaurs
24  Grace Slick - Fast Buck Freddie - Jefferson Starship