Here's a curio that may stir memories, particularly for those of a generation who had an early rock crush on Elkie Brooks (not me, I hasten to add). Brooks was singing the blues with Humphrey Lyttelton when she hooked up with Pete Gage, who'd graduated from his soul-pop roadshow Geno Washington and the Ram Jam Band. Dada was their transitional phase before hitting pay dirt with the affectionately remembered rockers, Vinegar Joe. Dada though was a bigger, bolder project, bolstered by a brass section. Gage's vision was presumably a Brit Blood, Sweat and Tears, with bits of Zappa style riffing (check out the reworking of the Stones' ‘This Could Be the Last Time’). There's also echoes of contemporary rock operas, notably Hair, from where Korda had graduated. So you have epically scaled, mock gospelly productions like ‘Seed of Peace’ (compare and contrast to Laura Nyro), brassy rockers with BS&T overtones like ‘Big Dipper’ and flute-flecked hippy idylls like ‘Aspen, Colorado’. With its three-voice frontline and Shinn's prog rock keys, Dada is a vivid peek at another era, best enjoyed bathed in patchouli and with flowers in your hair.