J.D. BLACKFOOT

with CRAIG FULLER, PHIL STOKES, DAN WALDRON, JEFF WHITLOCK, STERLING SMITH

This group was from Columbus, Ohio. They started out as a combination of two local groups, The Ebb Tides and Tree. They continued as Tree and won a recording deal from Mercury as a prize in a local band competition. Craig Fuller was added to the group after some of the material for the Ultimate Prophecy had already been written.The album credits two people who don't play a note on it - Phil Stokes on bass (the actual bass player was Kenny May - he was replaced after the recording), and Sterling Smith (ex-Grayps) on keyboards (also joining after the recording, there are no keyboards on the album!). The line-up with Phil and Sterling did record some unreleased material...(Fuzz Acid & Flowers)

"THE ULTIMATE PROPHECY"

1970     LP     MERCURY RECORDS     SR 61288    STEREO

PRINTED IN USA    ORIGINAL PRESSING

SINGLE SLEEVE   NO INSERT

THICK CARDBOARD COVER (AMERICAN STYLE)

Barcode and Other Identifiers

Barcode: none

LABEL:  MERCURY - RED LABEL w/WHITE MERCURY LOGO on TOP - BLACK TEXT

Catalog on cover:  (front & spine) SR 61288  (rear) SR-61288

Catalog on labels: SR-61288

Matrix / Runout (Side A, Stamped & Etched): SR 61288-A- M2 -I-I  PR

Matrix / Runout (Side B, Stamped & Etched): SR 61288-B- M2 -I-I  PR

On labels: Produced by Dale Frashuer for M.T.S. Productions

rim text "manufactured and distributed by Mercury record Productions, Inc."

On back cover: All selections published by MRC Music, Inc. / M.T.S. Productions (BMI)

produced by Dale Frashuer for M.T.S. Productions

A product of Mercury Record Productions, Inc., 35 East Wacker Dr., Chicago, Illinois 60601

tracklisting

Side A: ONE TIME WOMAN - ANGEL - WE CAN TRY

GOOD DAY EXTENDING COMPANY - I'VE NEVER SEEN YOU

Side B: THE ULTIMATE PROPHECY

DEATH'S FINALE - CYCLES - WAITING TO BE BORN - PINK SUN

grading

RECORD VG+ but (please, read above description)

SLEEVE VG but (please, see pictures and read above description)

J.D. Blackfoot's first LP -- recorded when future Pure Prairie League member Craig Fuller was in the lineup -- was a curious affair that very much reflected prevalent trends in the world of album-oriented rock in 1970. The songs were diverse enough that they sounded as if they could have been the work of several bands, and emulated more famous acts in both good and bad ways. The first side of the album was definitely the more song-oriented one. The second side, however, takes a turn for the more bombastically progressive, offering a song suite of sorts with much of the pretentious lyricism-mysticism to which this genre was particularly prone. The multi-movement structure used by some British art rock bands of the time is dusted with some West Coast psychedelic-influenced guitar arrangements...(AllMusic)