exception to the general tone of the album is Quicksilver's interpretation of folk-rock (remember?) singer Hamilton (Bob) Camp's "Pride of Man." This is an unusual number for them to have done, but it's really a better version than Camp's original. Another rock group, Clear Light, started off their album with a folk-oriented cut, Tom Paxton's "Mr Blue," which they butchered unmercifully. Not so this version of "Pride," which the Quicksilver carry off admirably. The song itself has some surprisingly profound lyrics: "Oh God/Pride of man/Broken in the dust again."

The first inkling of the Flag influence is evident on "Light Your Windows," which is spaced by some obvious Bloomfieldian guitar breaks. John Cipollina is an excellent guitarist and his susceptibility to Bloomfield's techniques is understandable, and, since he plays so well, readily acceptable.

The guitar on "Dino's Song" wanders in and out of a Kaukonen, Garcia and Bloomfield-like garden of sounds, supporting a strong vocal of simple but intensely reflective lyrics endeavoring to explain that "All I ever wanted to do was know you/And maybe hope you could know me too."

"Gold And Silver" is (whether intended or not) a rock arrangement of Dave Brubeck's "Take Five." Cipollina's guitar excursions are singularly evocative of Paul Desmond's sax changes. They manage to get away from the "Take Five" theme a bit by going into some Vanilla Fudgish, sluggish tempo drags which develop into a takeoff reminiscent of the Flag's "Another Country," even adding some fluttery, tinkly sounds a la Country Joe & the Fish.

Gravenites' composition, "It's Been Too Long," is done in typical Flag style. The vocal is as close a duplication of Gravenites' singing as it could possibly be. It's a great piece, though, from its raw, Albert King intro, to a campy "whoa whoa whoa" Dion imitation and old 50's R&R fade out.

"The Fool" takes up most of Side Two but, unfortunately, not very justifiably. It starts out carefully, waiting for the guitar to move out, spaced by some beautiful bass runs which cut into some hard-rock movements only to be lost in a series of impotent semi-buildups. Some very handsome guitar phrasing sneaks through but whatever good it does winds up buried halfway through the track. It digresses into some disappointing, ineffable routines, including a guitar-growling sequence, followed by a Claptonesque wah-wah pe