An ambitious though awkward country-rock outing from a group with clear folkie roots. The liner notes detail how the core duo of singers Dan Daley and Michelle Conway played a bunch of "hoots" in the NYC folk scene, and later picked up a backing band that gave them more opportunity to branch out musically. They harmonize nicely, particularly when he takes the lead with his enthusiastic (and pleasantly dorky) vocals, hitting sort of a Gram Parsons-like vibe; when Conway sings lead, she inevitably leaps into a too-serious, Joan Baez-ian folkie warble, undercutting the country feel that Daley was building up. There's a spiritual-religious undercurrent to some of the songs, though many just seem like spaced-out, word-salad hippie-druggie stuff, which often takes on a quasi-religious tone, just because that's what sometimes happens when you realize you have hands and could fly the spaceship on your own. Musically, the rest of the band is kind of iffy -- the rhythm section is pretty stiff -- but there's some noteworthy pedal steel from Hank DeVito (later a key member of the Emmylou Harris band) and nice fiddling by Larry Packer, of the Cat Mother band. This album isn't really a classic, but it is a nice, authentic slice of early, hippiedelic country-folk. This was the first album featuring Dan Daley, who later struck gold as a songwriter, penning the Charlie Daniels Band hit, "Still In Saigon," a decade later.
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