V/A - Book A Trip/The Psych Pop Sounds Of Capitol Records

V/A - Book A Trip/The Psych Pop Sounds Of Capitol Records
Now Sound Records CRNOW 10 (2010)










Track Listing:
1. Book A Trip
2. Chris Craft No. 9
3. I Need You
4. Yesterday Noontime
5. Strawberry Tuesday
6. Popcorn Double Feature
7. Autumn Afternoon
8. Robins Robins
9. Lady in Lace
10. Whisper Words
11. I Think I'll Just Go and Find Me a Flower
12. Cynthia At the Garden
13. Written Charter
14. My Mind Goes Traveling
15. Hitchhiker
16. Mr. Sun
17. Let the Trumpets Sound
18. Poster Man
19. When Charlie's Doin' His Thing
20. (Would You Believe) It's Raining Flowers in My House
21. Flying on the Ground
22. Pleasure of Her Company
23. Yours Till Forever
24. Yesterday Holds On
25. Don't Take the Night Away
26. Seventeenth Summer











Personnel:
This Side Up - Book A Trip
John Sherrill - Bass, Backing Vocals
Allen Arkus
Stuart Royal - Keyboards, Backing Vocals
Ronnie Seitel - Guitar, Backing Vocals
David Rosenthal - Vocals, Percussion
Kelso Herston - Producer
Frank Friedman - Rhythm Guitar, Harmonica

The Shanes - Chris Craft No. 9
Svante Elfgren - Bass
Tor-Erik Rautio - Drums
Anders "Henkan" Henriksson - Producer
Tommy Wahlberg - Guitar, Vocals
Lennart Grahn - Vocals
Kit Sundqvist - Keyboards, Guitar, Vocals

Chris And Craig - I Need You
Carol Kaye - Bass
Hal Blaine - Drums
Steve Douglas - Producer
Chris Ducey - Vocals, Guitar
Craig Smith - Vocals, Guitar

The Act Of Creation - Yesterday Noontime
Bill Franz - Drums
Ken Whitman - Guitar, Backing Vocals
Marc Sampson - Bass, Vocals
Eric Sampson - Rhythm Guitar, Reeds, Backing Vocals

Sidewalk Skipper Band - Strawberry Tuesday
Tom Jukem - Drums, Percussion
Joe Ballestrieri - Vocals, Bass
Rick Novak - Vocals, Twelve-string Guitar, Bass, Percussion
Ken Mansfield - Producer
Brian Ballestrieri - Vocals, Guitar, Hammond B3 Organ
D.A. McDowell - Vocals, Guitar, Harpsichord, Bass

Tim Wilde - Popcorn Double Feature
Tim Wilde - Vocals
Art Wayne - Producer
Bob Halley - Producer, Arranger

Teddy Neeley Five - Autumn Afternoon
Perry Botkin Jr. - Arranger
Billy Patton, Ray Pohlman - Bass
Hal Blaine, Paul Tabet - Drums
Michael Melvoin - Electric Piano
Al Casey, Lynn Ready, Mike Deasy, Jerry LeMire - Guitar
Larry Knechtel - Keyboards
Teddy Neeley - Vocals
Producer – Steve Douglas
Gary Coleman - Timpani, Percussion, Vibraphone, Congas, Bongos

Fargo - Robins Robins
Dean Wilden - Bass
Tony Decker - Guitar
Marty Cooper, Ray Ruff - Producer

Stained Glass - Lady In Lace
James Bond - Arranger
Jim McPherson - Bass, Vocals
Dennis Carrasco - Drums
Bob Rominger - Guitar
John Gross, Max Hoch - Producer

The Staccatos - Whisper Words
Brian Rading - Bass
Mike "Bell" Belanger - Drums
Rick "Bell" Belanger - Drums, Vocals
Vern Craig - Guitar, Vocals
Nick Venet - Producer
Les Emmerson - Guitar, Vocals

Moorpark Intersection - I Think I'll Just Go And Find Me A Flower
Terry Johnson - Bass
James Kehn - Drums, Vocals
Michael Dean - Flute, Piano, Vocals
Jay Lewis, Matthew Hyde - Guitar, Vocals
David Axelrod, Bob Padilla - Producer

Sidewalk Skipper Band - Cynthia At The Garden
Tom Jukem - Drums, Percussion
Joe Ballestrieri - Vocals, Bass
Rick Novak - Vocals, Twelve-string Guitar, Bass, Percussion
Ken Mansfield - Producer
Brian Ballestrieri - Vocals, Guitar, Hammond B3 Organ
D.A. McDowell - Vocals, Guitar, Harpsichord, Bass

The Tuneful Trolley - Written Charter
Brian Parks - Bass
Jerry Vance - Musical Director
Jack Riolo - Drums
Santo Ciccarello, Anthony Bordonaro - Guitar
Joey DeSane - Vocals
Paul Conocenti - Organ
Sandy Yaguda - Producer

The Exception - My Mind Goes Traveling
Frank Tesinsky - Arranger
Billy Herman - Drums
James Vincent Dondelinger - Guitar, Vocals
James Nyeholt - Keyboards
Peter Cetera - Vocals, Bass

The Four Preps - Hitchhiker
Leon Russell - Arranger, Conductor
Glen Larson - Baritone Vocals
Ray Pohlman - Bass
David Somerville - Bass Vocals
Jim Gordon - Drums
John Gallie - Electric Piano
Al Casey, Glen Campbell, Mike Deasy - Guitar
Larry Knechtel - Piano
Al De Lory - Producer
Martin Inabnett, Bruce Belland - Tenor Vocals
Emil Richards - Vibraphone, Percussion

The Lettermen - Mr. Sun
Perry Botkin Jr. - Arranger
Kelly Gordon - Producer
Bobby Engemann, Jim Pike, Tony Butala - Vocals


The Lively Set - Let The Trumpets Sound
John Guerin - Drums
Hank Levine - Arranger
James Bond - Bass
Benjamin Barrett - Conductor
Arthur Wright, Howard Roberts, Louis Morell - Guitar
Gerald Wiggins - Piano
David Axelrod - Producer
James Henderson - Trombone
Allen DeRienzo, Anthony Terran - Trumpet
Charles Stokes, Dave Practman, Diane Roshay, Jerry McLain, Kenneth Ballard, Susanne Roshay, Terry Smith - Vocals

The Carnival Connection - Poster Man
Jimmy "Wiz" Wisner - Arranger
Joe Mack, Pete Carson - Bass
Al Rogers, Buddy Salzman, Nicky Katsos - Drums
Charlie Macey, Jean-Pierre Lauzon - Guitar
Artie Butler, Leroy Glover, Paul Griffin - Keyboards
Bill Hill - Guitar
Allan Nicholls - Vocals

The Phoenix Trolley - When Charlie's Doin' His Thing
Christie Thompson - Vocals
Charlie Weiss - Keyboards, Guitar, Vocals, Producer, Arranger
Stephen Schlaks - Keyboards, Vocals, Producer, Arranger

Sidewalk Skipper Band - (Would You Believe) It's Raining Flowers In My House
Tom Jukem - Drums, Percussion
Joe Ballestrieri - Vocals, Bass
Rick Novak - Vocals, Twelve-string Guitar, Bass, Percussion
Ken Mansfield - Producer
Brian Ballestrieri - Vocals, Guitar, Hammond B3 Organ
D.A. McDowell - Vocals, Guitar, Harpsichord, Bass

The Summer Snow Featuring Phoenix Trolley - Flying On The Ground
René Hall - Strings Arrangement
Jimmy Faragher - Bass, Backing Vocals
Danny Faragher - Celesta, Clavinet, Backing Vocals
Casey Cunningham - Drums
Greg Tornquist - Guitar
Pam Parker, Rudy Parker - Vocals
Dan Dalton, Rusty Evans - Producer

Burgundy Street Singers - Pleasure Of Her Company
Jimmie Haskell - Arranger
Carol Kaye - Bass
Jesse Ehrlich - Cello
Hal Blaine - Drums
Don Peake, Mike Deasy - Guitar
Michael Rubini, Robert McPherson - Keyboards
Gary Coleman - Percussion
Wes Farrell - Producer
Lew McCleary - Trombone
John Audino, Oliver Mitchell - Trumpet
Arnold Belnick, Philip Goldberg, William Kurasch - Viola
Bill Bridges, Craig Helwig, Dave Warner, Dick Dow, Flo Ann Fountain, Jan Bunker, Jill Bunker, Jim Aikin, Leon Woofter, Scott Davis - Vocals

Griffin - Yours Till Forever
Tommy Oliver - Arranger
Lyle Ritz - Bass
Jim Gordon, Ron Tutt - Drums
John Morell, Michael Anthony, Mike Deasy - Guitar
Don Randi, Larry Muhoberac, Pete Jolly - Keyboards
Frank Capp - Percussion
Kelly L. Gordon - Producer
Thomas Scott - Saxophone
Anthony Zungolo, Harry Bluestone, Mischa Russell, Richard S. Kaufman, Shari Zippert - Strings
Gilbert Falco - Trombone
William Peterson, A.D. Brisbois, Lou Klass - Trumpet
Gary Duckworth, George Green, Mike Brady, Vince Morton - Vocals
James Horn - Woodwind

Moorpark Intersection - Yesterday Holds On
Terry Johnson - Bass
James Kehn - Drums, Vocals
Michael Dean - Flute, Piano
Jay Lewis, Matthew Hyde - Guitar, Vocals
David Axelrod, Bob Padilla - Producer

Pleasure Featuring Billy Elder - Don't Take The Night Away
Tandyn Almer - Producer, Bass, Keyboards
Billy Elder - Producer, Vocals

Sidewalk Skipper Band - Seventeenth Summer
Tom Jukem - Drums, Percussion
Joe Ballestrieri - Vocals, Bass
Rick Novak - Vocals, Twelve-string Guitar, Bass, Percussion
Ken Mansfield - Producer
Brian Ballestrieri - Vocals, Guitar, Hammond B3 Organ
D.A. McDowell - Vocals, Guitar, Harpsichord, Bass

The Lively Set - Let The Trumpets Sound/The Green Years

The Lively Set - Let The Trumpets Sound/The Green Years
Capitol Records CL 15472 (1966)







Side One:
Let The Trumpets Sound



Side Two:
The Green Years










Personnel:
John Guerin - Drums
David Axelrod - Producer
Hank Levine - Arranger
James Bond - Bass
Benjamin Barrett - Conductor
Arthur Wright, Howard Roberts, Louis Morell - Guitar
Gerald Wiggins - Piano
James Henderson - Trombone
Allen DeRienzo, Anthony Terran - Trumpet
Charles Stokes, Dave Practman, Diane Roshay, Jerry McLain, Kenneth Ballard, Susanne Roshay, Terry Smith - Vocals

Joni Mitchell's Musical Exploration (1971-1979)

In Search Of Love and Music: Joni Mitchell's Musical Exploration (1971-1979)





"You have two options. You can stay the same and protect the formula that gave you your initial success. They're going to crucify you for staying the same. If you change, they're going to crucify you for changing. But staying the same is boring. And change is interesting. So of the two options, I'd rather be crucified for changing."1 – Joni Mitchell, Rolling Stone, 1979.

In June of 1971, a 27-year old woman named Joni Mitchell released Blue. The name was not entirely new - she had already gained attention for writing songs such as “The Circle Game” and “Big Yellow Taxi,” but it was Mitchell’s 4th album, Blue, that would prove to forever outshine the relevance of most of her other albums, bringing her up to the same plateau that her male counterparts like Bob Dylan and Neil Young had been standing on for quite some time. Indeed, in a career that has resulted in twenty proper albums, few argue that any of Mitchell’s efforts top Blue, a mature and confessional diary that is undoubtedly female in its subject matter and delivery, and an album considered by fans and critics alike to be one of the greatest ever recorded.

Blue was more than just a hint at the genius and beauty of Mitchell’s work. After a decision to stop touring, she allowed herself the time to reflect and discover herself more thoroughly. Equipped with alarmingly strong songwriting, her acoustic guitar style was also innovative, incorporating avant-garde tunings and chords seldom used by anyone else. She played the piano, the guitar, and the dulcimer (which she learned while vacationing in Crete) with equal skill: not in a virtuosic sense as much as in an experimental sense. Her lyrics were reflective and mature, well beyond her 27 years. They convey a sense of her experience and self-education, as well as a crucially important ingredient to her music: independence. Joni had overcome disease, marriage and separation, and relocation all by the age of 24. Songs like “Carey” and “California” explicitly deal with her experiences traveling, while “Blue”, “River”, and “A Case Of You” explore nostalgia and raw emotion. Mitchell tells stories of the past, whether it be her own past or the past of others, and she deals with history in a very prosaic way. Had it been attempted by any other artist, Blue may have faltered and seemed overly egotistical. Timothy Crouse said it best in his 1971 Rolling Stone review of the album: “In portraying herself so starkly, she has risked the ridiculous to achieve the sublime. The results though are seldom ridiculous”2

As mentioned already, Blue conveys the genius and beauty of Mitchell’s work. What would change over the decade, however, was this idea of genius and beauty. Her lyrical and musical style would change at a remarkable pace over the next eight years. The unique rhythmic guitar style and avant-garde tunings would remain, but a growing interest in jazz and lyrical exploration would characterize much of her further output of this period. Indeed, by the time Mingus was recorded in 1979, little was left of the simplicity and raw emotion of Blue, and yet, who else than Mitchell could grow in a way that remained so true to her musical vision?

After relocating to British Columbia, Joni began working on a follow-up to Blue. For The Roses (1972) is different to its predecessor in that it utilizes additional instrumentation. The stark mood and minimalism that resulted from Blue’s limited use of instrumentation is exchanged for a fuller and more explorational sound. Mitchell’s distinctive acoustic strumming is augmented by the woodwinds of Tom Scott, guitar by the legendary James Burton, and Russ Kunkel’s drums. Indeed this would mark the beginning of Mitchell’s mission to seek out musicians who best convey her musical vision. The album marked Mitchell’s return to live performance, and gave her a hit single, “You Turn Me On, I’m A Radio.” The song titles themselves point to an expansion in subject matter (“Banquet”, “Electricity”, “Cold Blue Steel and Sweet Fire”) that the lyrics only prove to confirm, but they remain earthed in honesty and emotion.

Legend tells it that upon hearing Mitchell’s Court & Spark prior to its release in 1974, Bob Dylan fell asleep. Quite a surprising reaction from His Bobness, considering that Mitchell was well on her way to surpassing his relevance (indeed, if it weren’t for Blood On The Tracks, one could argue that Mitchell had surpassed Dylan at this point, in terms of songwriting and innovation).

The album was Mitchell’s commercial peak, including a big hit in “Help Me,” but Mitchell made no sacrifices, only continuing to develop as a songwriter and performer in the way that she chose for herself. Following her musical involvement with Tom Scott on For The Roses, Mitchell decided to utilize the rest of his band, the L.A. Express on Court & Spark. Many of these musicians would continue to perform on Mitchell’s albums that followed, particularly guitarist Larry Carlton and drummer John Guerin, with whom Mitchell became romantically linked. The album was more instrumentally involved than anything Mitchell had previously done.

The true highlight of the album (and certainly Mitchell’s career as a whole) is “Free Man In Paris,” a song Mitchell wrote for David Geffen while the two visited Paris. Other highlights include “Raised on Robbery”, Mitchell’s first true foray into rock ‘n’ roll (with guitar from Robbie Robertson), and the album’s closing rendition of “Twisted”, featuring comedy duo Cheech & Chong(!). Mitchell must have been delighted to see an album so true to her personal vision receive radio play and a Grammy nomination for Album of the Year in 1975. Of course, by that time she had continued to move further along in her musical journey.

1975’s The Hissing Of Summer Lawns allowed Mitchell to use the luxury of having a talented guest list of musicians to continue experimenting both lyrically and musically. “Edith and the Kingpin” is one of the best narratives Mitchell has ever written, conveying the story of a simple girl’s relationship with an organized crime leader. “The Jungle Line” introduced African rhythms and lyrics about Rousseau and featured an odd musical backing with Moog synthesizers. Although it peaked at #4 on the Billboard charts, the critical response was mixed. Yet those who respected Mitchell’s musical progression raved about the album. Melody Maker’s Michael Watts wrote of the album: “As indicated before, the nature of her music is now leagues away from the generally straightforward folk songs of the past, and she has forged a form of personal expression that is beyond imitation. This, her most mysterious and ambitious record, breathes with her cool and damaged beauty that lingers long after the last playing.”3

The playing of legendary bass player Jaco Pastorius was crucially defining for Mitchell’s work in the late 1970s, particularly on her 1976 album Hejira. After the album had already been recorded with many of the same musicians utilized on her past few albums, Joni invited Pastorius to overdub bass parts on four of the album’s songs. Of the bassist, she has since said, “Jaco was doing something I was dreaming of at the time that I came to work with him. I kept asking bass players to do certain things and they'd say ‘the bass doesn't do that.’”4 His inventive bass playing went on to play a key role on Don Juan’s Reckless Daughter (1977) and Mingus (1979), as well as the great live album Shadows & Light (1980).

Hejira continued as a solid progression from where The Hissing Of Summer Lawns left off, yet when even compared to what Mitchell was doing two years earlier with Court & Spark, it is much more different than similar. Like Blue, it is bare and stark. Mitchell still utilizes talented instrumentalists like Larry Carlton and John Guerin, but leaves the instrumental arrangements sparse. Lyrically, the album is much more sophisticated in its message than Blue. It once again deals with coming to terms with being alone, but does so from a more learned perspective. Mitchell, now 33, can allude to even more experiences, as if she were a prophet or sage. The album’s highlight, “Amelia” is a musical biography of Amelia Earhart, with whom Mitchell identifies:

A ghost of aviation
She was swallowed by the sky
Or by the sea, like me she had a dream to fly
Like Icarus ascending
On beautiful foolish arms
Amelia, it was just a false alarm

Much more challenging and ambitious than any of her albums that preceded it was Don Juan’s Reckless Daughter (1977), a double album that expanded upon Mitchell’s interest in improvisational jazz. The album marked the beginning of an era where critics would refuse to respect her for a musical innovation that had pushed herself well past the critical acclaim of Court & Spark and even Hejira. In Janet Maslin’s review in Rolling Stone, she criticized the “painful banality” of Mitchell’s lyrics and of the concept itself the journalist wrote:

“Don Juan's Reckless Daughter is a double album that should have been a single album. It's sapped of emotion and full of ideas that should have remained whims, melodies that should have been tiffs, songs that should have been fragments.”6

Charles Mingus, on the other hand, must have decided that music critics were simply nitpicking the work of an artist who clearly had talent. The legendary jazz bassist contacted Mitchell in hope that she would consider collaborating with him on a musical adaptation of T.S. Eliot’s Four Quartets. Mingus, who was suffering from Lou Gehrig’s disease, had written six melodies, “Joni I” through “Joni VI” specifically for Mitchell to add lyrics to.

Mingus had been intended as more of a collaboration than it ended up being. The resulting album was more of a tribute, as Mingus died before most of it had been recorded. Interspersed with the album’s six songs are five ‘raps’ (no, not rap music, but dialogue) - recordings of Mingus with family and friends, including Mitchell herself. Joined once again by Jaco Pastorius, the album also includes other jazz musicians like Herbie Hancock and Wayne Shorter. The album’s one true collaboration between Mitchell and Mingus is “The Dry Cleaner from Des Moines,” an upbeat jazz vocal composition that is credited as a Mitchell/Mingus composition. However, Mitchell took it to task to close the album with an updated Mingus classic, “Goodbye Pork Pie Hat.” The song had initially been released by Mingus in 1959 as a jazz instrumental tribute to the late Lester Young. Mitchell reworked the piece, adding new lyrics, as a fitting farewell to not only Lester young, but Mingus as well:

When Charlie speaks of Lester
You know someone great has gone
The sweetest swinging music man
Had a Porkie Pig hat on
A bright star
In a dark age
When the bandstands had a thousand ways
Of refusing a black man admission
Black musician
In those days they put him in an
Underdog position
Cellars and chitlins’

In 1979, after the completion of Mingus, Cameron Crowe interviewed Joni Mitchell for Rolling Stone. It was an interview he had been trying to get for seven years. Of his days with the magazine he has said: "I became identified with Southern California musicians: The Eagles; Joe Walsh; Crosby, Stills, Nash and Young . . . and I'd run across Joni Mitchell in various situations for seven years. And I pestered her for an interview for seven years. I even wrote her a letter when Don Juan's Reckless Daughter came out (in early 1978), saying, this was the time for her to talk. She was not interested."8 The interview came at a crucial time, when Joni could finally reflect a decade worth of growth that for another artist could have easily spanned several.

Since the creative explosion that resulted in Joni Mitchell finding her own throughout the 1970s, she has continued to be a musical chameleon, moving into a pop arena into the 1980s. Her love of jazz remained consistent throughout, and by the 1990s she had moved almost exclusively into jazz standards and jazz-oriented updates of her old material.

The 1970s was an important time for Joni, introducing her to the genre and musicians that would define the latter part of her career, far away from the folk-oriented pop of “Big Yellow Taxi” and “The Circle Game.” She took many risks in regards to her credibility with fans, but surprised and influenced a world of musicians as a result, an influence that continues to have impact today.

by Adam D. Miller

December 2004

Lori Lieberman - Becoming

Lori Lieberman - Becoming
Capitol Records 5C 062-85090 (1973)







Side One:
1. I Go Along
2. Becoming
3. A House Full Of Women
4. It Didn't Come Easy
5. No Way Of Knowing




Side Two:
1. Someone Come and Take It
2. Sweet Morning After
3. Eleazar
4. The Seed First
5. Song Of the Seventies











Personnel:
John Guerin - drums
Lori Lieberman - vocals, acoustic guitar
Dean Parks - guitar
Charles Fox - piano, keyboards, producer
Larry Carlton, Dennis Budimir, Ben Benay - guitar
Tom Scott, Bud Shank - saxophone
Norman Gimble - producer
Max Bennett - bass
John Boyd - vocals
John Wilson - drums

Lori Lieberman - Straw Colored Girl

Lori Lieberman - Straw Colored Girl
Capitol Records 5C062-81868 (1975)







Side One:
1. Raise Up Off Of Me
2. Downhill Walker
3. Nothing To Do With Me
4. Mystery Man
5. Straw Colored Girl




Side Two:
1. Airports
2. For More
3. I Keep On
4. Willie Run
5. The Last Free Man











Personnel:

John Guerin - drums
Lori Lieberman - vocals, acoustic guitar
Larry Carlton, Ben Benay - guitar
Larry Nash - keybords
Max Bennet - bass
 Bud Shank - saxophone
Tom Scott, Bud Shank - saxophone
Charles Fox - piano, keyboards, producer
Norman Gimbel - producer

Lori Lieberman - Lori Lieberman

Lori Lieberman - Lori Lieberman
Capitol Records 5C062-81264 (1972)






Side One:
1. Killing Me Softly With His Song
2. Michael and the Children
3. And the Felling's Good
4. Double-Decker Jet Plane
5. My Lover Do You Know



Side Two:
1. Time For Me To Go
2. Back To Before
3. There's a Harbor
4. To That Time
5. A Day Our Love Has Put Together









Personnel:

John Guerin - drums
Lori Lieberman - vocals, acoustic guitar
Max Bennet - bass
Bud Shank - saxophone
Larry Carlton, Dean Parks, Dennis Budimir - guitar
Charles Fox - piano, keyboards, producer
Norman Gimbel - producer

Phil Everly - Star Spangled Springer

Phil Everly - Star Spangled Springer
RCA Records APL1-0092 (1973)








Side One:
1. The Air That I Breathe
2. Sweet Grass County
3. God Bless Older Ladies (For They Made Rock & Roll)
4. It Pleases Me to Please You
5. Lady Anne





Side Two:
1. Red, White and Blue
2. Our Song
3. Poisonberry Pie
4. La Divorce
5. Snowflake Bombardier











Personnel:
John Guerin, Earl Palmer - drums
Phil Everly - guitar, vocals
Duane Eddy - guitar, producer
Sam McCue - guitar, pedal steel guitar, keyboards
Warren Zevon - guitar, keyboards, arranger
Dean Parks, Donnie Lanier, James Burton, Richard Bennett, Neil Levang - guitar
Jay Dee Maness, Buddy Emmons - pedal steel guitar
James R. Horn - flute, piccolo, saxophone
Victor Feldman - percussion
Reinie Press, Lyle Ritz - bass

V/A - Sci-Fi's Greatest Hits Vol. 4/Defenders Of Justice / OST

V/A - Sci-Fi's Greatest Hits Vol. 4/Defenders Of Justice / OST
Edel Records 0044292 ERE (1975)








Track Listing:
1. Astro Boy by Donald Rockwell, Tatsuo Takai
2. Gigantor by Euene Raskin, Louis C. Singer
3. Speed Racer by N. Koshibe
4. Thunderbirds by Barry Gray
5. Captain Scarlet And The Mysterons by Barry Gray
6. Captain Video And His Video Rangers - The Flying Dutchman Overture (Edit) by Richard Wagner
7. Tom Corbett, Space Cadet - Space Academy Theme Song by Hank Sylvern
8. Space Patrol - Main Title / End Title
9. Underdog by W. Biggers
10. Atom Ant by Hoyt S. Curtin, William Hanna & Joseph Barbera
11. Batman (TV) by Neal Hefti
12. Batman: The Animated Series by Danny Elfman
13. Batman (Film) by Danny Elfman
14. Batman Returns - End Credits by Danny Elfman
15. Superman (Film) by John Williams
16. Lois And Clark - The New Adventures Of Superman by Jay Gruska
17. The Green Hornet by B. May
18. The Amazing Spider-Man by J. Hobert Harris, Paul Francis Webster
19. Spider-Woman by David DePatie, Fritz Freleng
20. Wonder Woman by Charles Fox, Norman Grimbel
21. The Flash by Danny Elfman
22. Teenage Mutant Ninja Turtles by Chuck Lorre, Dennis Brown
23. Mighty Morphin Power Rangers by Shuki Levy
24. The Tick by Doug Katsaros
25. X-Men by H. Saban, S. Levy
26. The Six Million Dollar Man by Oliver Nelson
27. The Bionic Woman by Jerry Fielding
28. The Incredible Hulk by Joe Harnell
29. Knight Rider by Glen Larson, Stu Phillips
30. Max Headroom by Michael Heunig
31. The Terminator by Brad Fiedel
32. Robocop - Main Title / Showdown by Basil Poledouris
33. Robocop - The Series by Basil Poledouris, John Stroll, Kevin Gillis
34. Quantum Leap by Mike Post
35. Escape From New York by Alan Howarth, John Carpenter
36. The Road Warrior - Montage / Main Title by Brian May
37. Mortal Combat - A Taste Of Things To Come










Personnel on track 20:
John Guerin - Drums
Bud Shank, Plas Johnson, Terry Harrington, Bob Tricarico - Woodwinds
Malcolm McNab, John Audino, Chuck Findley, Oscar Brashear - Trumpet
Charlie Loper, Lloyd Ulyate - Trombone
Bill Reichenbach, Phil Teele - Bass Trombone
Vince DeRosa, Richard Perissi, Henry Sigimonti, Art Maebe - Horns
Tommy Johnson - Tuba
Pete Jolly - Piano
Carol Kaye - Bass
Tommy Tedesco, Dennis Budimir - Guitar
Emil Richards, Joe Porcaro - Percussion
The Charlie Fox Singers:
Ron Hicklin - lead tenor
Tom Bahler - tenor
John Bahler - tenor 2
Jackie Ward - alto
Sally Stevens - soprano
Gene Morford - bass

John Guerin On The Stage & In The Studio

Jeff Porcaro, Louis Bellson, John Guerin

John Guerin with The Byrds

Joni Mitchell, John Guerin, Tom Scott

Plas Johnson, Louie Bellson, Joe Sample, Steve Tyrell, Harry "Sweets" Edison, John Guerin, (kneeling William Claxton)

Tom Scott, Max Bennett, Robben Ford, Larry Nash, John Guerin, Joni Mitchell

John Guerin, Bob Magnusson, Joe Sample, Steve Tyrell, Bob Mann

Bob Sarabia (bass), John Guerin (drums), Mike Wofford (piano), Don Sleet (trumpet), Barry Farrar (baritone saxophone)

Todd Rundgren - The Ballad Of Todd Rundgren

Todd Rundgren - The Ballad Of Todd Rundgren
Ampex Records A10116 (1971)








Side One:
1. A Long Time, A Long Way To Go
2. Boat On The Charles
3. Be Nice To Me
4. Hope I'm Around
5. Parole
6. Remember Me




Side Two:
1. Long Flowing Robe
2. The Ballad (Denny & Jean)
3. Bleeding
4. Wailing Wall
5. The Range War
6. Chain Letter









Personnel:
John Guerin (B3, B4), N.D. Smart, Hunt Sales - Drums
Todd Rundgren - Vocals, Instruments, Arrangeer, Producer
Jerry Sheff, Tony Sales - Bass
Hunt Sales - Congas
Tony Sales - Congas, Tamburine, Vibraslape
N.D. Smart - Maracas, Timbales

Pat Williams - Threshold

Pat Williams - Threshold
Capitol Records ST-11242 (1973)








Side One:
1. And On The Sixth Day
2. The Witch






Side Two:
1. Threshold
2. A Lady Beside Me
3. Mr. Smoke











Personnel:
John Guerin - Drums
Patrick Williams - Composer, Arranger, Conductor, Producer
Jim Hughart - Bass
Gloria Strassner - Cello
Dennis Budimir, Larry Carlton - Guitar
Tommy Morgan - Harmonica
Alan Robinson, Gale Robinson, Jim Decker, Gus Klein - Horns
Mike Melvoin - Keyboards
Larry Bunker - Percussion
Neely Plumb - Producer
Bill Byers, Chauncey Welsh, Ken Shroyer - Trombone
Buddy Childers, Marvin Stamm
Tommy Johnson - Tuba
David Schwartz, Milton Thomas - Viola
Jerry Vinci, Jacob Krachmalnick, Jimmy Getzoff - Violin
Tom Scott - Woodwind

Howard Roberts - Equinox Express Elevator

Howard Roberts - Equinox Express Elevator
Impulse! Records IMPL 8004 (1972)






Track Listing:
1. Unfolding In
2. Timelaps
3. T T T T
4. Growing National Concern
5. 2dB, Eyes of Blue
6. (The Single) (On This Side)
7. Real Freak of Nature Historical Monument
8. Slam
9. Harold J. Ostly, The Country Tax Assessor
10. Unfolding In (On Itself)










Personnel:
John Guerin - drums
Howard Roberts - electric guitar, 12 string guitar, acoustic guitar, synthesizer guitar, vocals
Dave Grusin - organ
Mike Wofford - electric piano
Ed Michel - synthesizer
Jerry Scheff - electric bass
Mayuto Correa - percussion
Diana Lee - vocals
Ed Michel, Bill Szymczyk - producer

Howard Roberts ‎- Antelope Freeway

Howard Roberts ‎- Antelope Freeway
Impulse! Records AS-9207 (1971)






Side One:
1. Antelope Freeway - Part 1
2. That's America Fer Ya
3. Dark Ominous Clouds
4. De Blooz
5. Sixteen Track Firemen




Side Two:
1. Ballad Of Fazzio Needlepoint
2. Five Gallons Of Astral Flash Could Keep You Awake For Thirteen Weeks Santa Clara River Bottom
4. Roadwork










Personnel:
John Guerin, Bob Morin - Drums
Howard Roberts - Electric Guitar, Acoustic Guitar
Brian Garofalo, Max Bennett - Bass
Mike Deasy - Guitar
Larry Knechtel, Mike Wofford, Pete Robinson - Keyboards
Ed Michel, Bill Szymczyk - Producer
Bobby Bruce - Violin

Gerry Mulligan - The Age Of Steam

Gerry Mulligan - The Age Of Steam
A&M Records SP 3036 (1972)








Side One:
1. One To Ten In Ohio
2. K-4 Pacific
3. Grand Tour
4. Over The Hill And Out Of The Woods





Side Two:
1. Country Beaver
2. A Weed In Disneyland
3. Golden Notebooks
4. Maytag











Personnel:
John Guerin (A4, B3) - Drums
Gerry Mulligan - Baritone Saxophone, Soprano Saxophone, Piano
Bud Shank - Alto Saxophone, Flute
Chuck Domanico - Bass
Howard Roberts - Guitar
Ernie Watts, Jimmy Cleveland, Kenny Schroyer, Roger Bobo - Horns
Emil Richards - Percussion
Joe Porcaro - Percussion, Drums
Roger Kellaway - Piano
Producer – Stephan Goldman
Tom Scott - Tenor Saxophone, Soprano Saxophone
Bob Brookmeyer - Trombone
Harry "Sweets" Edison - Trumpet

Randy Edelman - The Laughter And The Tears

Randy Edelman - The Laughter And The Tears
Lion Records LN 1013 (1972)







Side One:
1. I Can't Make Music
2. Mexico
3. Waterfall
4. On Sunday Afternoon
5. The Laughter And The Tears





Side Two:
1. Lost
2. Paris
3. Kentucky Blue
4. End Of December
5. It's Nice To Have Something To Believe In










Personnel:
John Guerin - Drums
Lyle Ritz - Bass
Michael Stewart - Producer
Randy Edelman - Vocals, Keyboards, Arranger

Tom Scott - Great Scott!

Tom Scott - Great Scott!
A&M Records SP-4330 (1972)








Side One:
1. Lookin' Out For Number Seven
2. Woodstock
3. Mantra
4. Bass Walk





Side Two:
1. Liberation
2. Dahomey Dance
3. Visions Off The Highway
4. Malibu










Personnel:
John Guerin - Drums
Tom Scott - Flute, Clarinet, Tenor Saxophone, Baritone Saxophone, Soprano Saxophone, Vocals, E-flat Soprano Saxophone
Jerry Scheff, Ray Brown - Bass
Howard Roberts, Larry Carlton - Guitar
Emil Richards, Victor Feldman - Percussion
Mike Wofford - Piano, Clavinet, Fender Rhodes
Don Christlieb - Bassoon
Pete Christlieb - Clarinet
Bill Hood - Bass Clarinet
Dominic Fera - Contrabass Clarinet
Roger Kellaway - Conductor
Gene Cipriano - English Horn
Bud Shank - Flute
Arthur Gleghorn - Flute, Piccolo Flute
Stephan Goldman - Producer

Tom Scott - Rural Still Life

Tom Scott - Rural Still Life
Impulse! Records AS-9171 (1968)







Side One:
1. Rural Still Life #26
2. Song #1
3. Freak In





Side Two:
1. With Respect To John Coltrane
2. Just Messin' Around
3. Body And Soul









Personnel:
John Guerin - Drums
Tom Scott - Soprano Saxophone, Tenor Saxophone
Chuck Domanico - Bass
Mike Lang - Piano
Bob Thiele - Producer

Tom Scott Quartet - Paint Your Wagon

Tom Scott Quartet - Paint Your Wagon
Flying Dutchman Records FDS-114 (1970)







Side One:
1. The Gospel Of No Name City
2. I Still See Eliza
3. I Talk To The Trees
4. Hand Me Down That Can O' Beans




Side Two:
1. Gold Fever
2. They Call The Wind Maria
3. Wand'rin' Star
4. Main Title (I'm On My Way)








Personnel:
John Guerin - Drums
Tom Scott - Soprano Saxophone, Tenor Saxophone, Flute
Chuck Domanico - Bass
Roger Kellaway - Piano, Harpsichord, Clavinet

Tom Scott Quartet - Hair To Jazz

Tom Scott Quartet - Hair To Jazz
Flying Dutchman Records FDS-106 (1969)








Side One:
1. The Flesh Failures (Let The Sunshine In)
2. Be I
3. Hair





Side Two:
1. Aquarius
2. Easy To Be Hard
3. Where Do I Go









Personnel:
John Guerin - Drums
Chuck Domanico - Bass
Tom Scott - Flute, Tenor Saxophone
Roger Kellaway - Piano, Electric Piano, Harpsichord