Psychedelic Rock U.S.A. 1970s (Tracks) Morning Dew – “Crusader’s Smile”

Morning Dew – “Crusader’s Smile” Video on YouTube

Morning Dew – “Morning Dew” Full Album Audio Playlist on Spotify 

Category/Music Genres :

Psychedelic Rock U.S.A. 1970s (Tracks)

Band :

Morning Dew (Topeka, Kansas, U.S.A)

Morning Dew Band’s Photo


Related Artists/Bands :

The Burlington Express
Members :
Mal Robinson (vocals, guitar), Don Anderson (organ, keyboards, guitar, 1966-70), Don Shuford (bass, 1966-68), Don Sligar (drums), Blair Honeyman (bass, vocals, 1968-71), Dave Howell (guitar, organ, keyboards, 1970-71), Ferdy Baumgart (organ, guitar, 1971)

Track :

“Crusader’s Smile” (written by  Mal Robinson) A1 track (opening track) included on the album “Morning Dew”

Album :

“Morning Dew” released on Roulette Records ( SR42049) in 1970

Morning Dew – “Morning Dew” Album cover photo (front)


Morning Dew – “Morning Dew” Full Album Video on YouTube

Line-up/Credits :

Mal Robinson — guitar
Blair Honeyman — bass, vocals
Don Anderson — organ, keyboards
Don Sligar — drums

Arranged By – F. Munao (tracks: B2), M. Robinson (tracks: A1 to B1, B3 to B5), Morning Dew (2) (tracks: A1 to B1, B3 to B5)

Design [Album] – Rebecca Ladner

Engineer – Lee De Carlo

Photography By – Stephen Ladner

Producer – Fredric Munao

Written-By – Kerry Livgren (tracks: B4), Mal Robinson

Track-list :

01. Crusader’s Smile — 3:40
02. Upon Leaving — 2:09
03. Young Man — 2:28
04. Then Came The Light — 4:12
05. Cherry Street — 4:07
06. Gypsy — 5:45
07. Something You Say — 4:26
08. Country Boy Blue — 2:35
09. Save Me — 3:36
10. Epic — 4:31 including:
a). The Mann
b). Death Is A Dream

Information about the album/band/track :


The Morning Dew was an American garage rock band formed in Topeka, Kansas, and active between 1966 and 1971. In the group’s existence, they became a popular attraction, spearheading the growth of psychedelic music in the region. They produced one now sought after studio album that exemplifies their experimental transition into psychedelic rock.

n 1963, lead guitarist Mal Robinson and drummer Don Sligar formed The Impacts, a band composed of fellow Holiday Junior High School students that performed Top 40 songs. The band went through several incarnations, and name changes before emerging as a three-piece folk rock group, known as The Toads, that included Robinson, Don Sligar, and Don Shuford on bass guitar. No recordings of these early groups exist, however, it established them as a popular regional act, and in June 1966, with the addition of rhythm guitarist, Don Anderson, the band became The Morning Dew, which was a reference to the Bonnie Dobson song of the same name. As the band members graduated from high school, they all attended Washburn University and based themselves in the area.

The group began rehearsing and performing extensively to hone their playing form abilities for potential recordings. In August 1966, the band travelled to Lawrence to record four demo tapes, two of which were cover versions and the other two were original compositions. The two covers, “I’m Not Your Steppin’ Stone” and “The Sportin’ Life”, became favorites in The Morning Dew’s live act. Their two self-penned songs, “Winter Dreams” and “Touch of Magic”, were both written by Robinson, and represented a transitional period for the band as they delved into complex musical structures. Subsequently, the demos completed were not released in the group’s active duration, but they succeeded in attracting promoters and agents to record a single.

In late 1966, the band was signed by Fairyland Records to produce their debut single. By April 1967, the group entered Fairyland Studios to record the single, the first to be distributed by the label. Even with his inability to read music, Robinson, again, composed the two songs for the band. It required ten hours and ten takes each for the two songs, “No More” and “Look at Me Now”, to be prepared at the expense of $200. In total, 2000 copies were issued for distribution, and the single managed to peak at number nine on the Topeka regional chart, KEWIAs a result of the record’s success, The Morning Dew extended their touring throughout the Midwest. As psychedelic music became popularized, the band, then considered a typical rock outfit, completely morphed into a harder-edged psychedelic rock act, which was reflected in their elaborate light shows and stage performances. On July 14, 1967, The Morning Dew became the featured house band for a month at a nightclub near the Bagnell Dam Lake of the. Ozarks, Missouri. To correlate with the venture and future touring, KEWI radio maintained daily interviews with the group.

The band’s excelling popularity necessitated another single, accordingly they registered further recording in Fairyland Studios in late 1967. Resulting, was the single “Be A Friend” b/w “Go Away”, which included involvement with the regional groups, Plato and the Philosophers and Goldilocks and the Three BearsMusicically, it displayed their versatility, as the compositions explored psychedelic influences, and it retained the band’s folk rock roots. Their fan base was afflicted by the band’s lack of focus on a specific genre, still the single charted in the top 30 in Topeka. Although the release was not near the success of their debut, the band’s popularity did not show signs of declining. Throughout 1967 and 1968 the group performed with prominent acts like Strawberry Alarm Clock, The Drifters, Gary Puckett and The Turtles.

In 1968, The Morning Dew were sporadically involved in recording sessions that spanned from July into August. Ten songs were recorded, nine of which were originals by Robinson. The demos garnered interest from Roulette Records in 1969, making the band the earliest rock group from Kansas committed to a major label. Robinson later said the process of searching for a label was difficult, mainly due to their geographical location not being regarded as an epicenter of the psychedelic rock scene. The current songs were examples of the group’s advancement into psychedelic music, along with unreleased material showing that the band was venturing outside the genre. Before the Roulette sessions, Blair Honeyman replaced Don Shuford on Bass guitar, due to the military draft in 1969. Finally, in 1970 The Morning Dew’s debut album, At Last, was released and was poorly marketed, but has since become a collector’s item. It saw the band replicating their live act by utilizing fuzz-tone guitars and other abnormal sound effects.

Still under contractual agreements, the band expected to produce another album. The band recorded demos with an altered lineup that swapped Anderson for Dave Howell on guitar and keyboards and added Ferdy Baumgart on a Hammond B3 and guitar. Baumgart was highly influential on the band’s arrangements, which embraced a direction toward progressive rock. However, for financial and legal reasons, Roulette Records did not commit The Morning Dew to a recording schedule, so the practice tapes went unreleased. The final personnel change for the band, was Bill Stahlin, replacing Blair Honeyman on Bass guitar. Discouraged by the improbability of their second album being released, the band decided to disband in May 1971.

In 1995, Collectables Records released Second Album, which featured the material intended for the botched album when the group was active. In 2010, a compilation album titled No More 1966-1969 was distributed, and contained all of the group’s recordings before their first album. Also in 2010, the Morning Dew was inducted into the Kansas Music Hall of Fame, where they had a reunion performance during the induction ceremony at Liberty Hall in Lawrence, Kansas.

“Plain and Fancy” “All Music”

The Morning Dew began as a good but not especially remarkable garage band from Topeka, Kansas, but as the mid-1960s became the late 1960s, their sound grew increasingly adventurous, and their approach became harder but more complex at the same time. The Morning Dew cut an album for Roulette that was released in 1970 not long before the band broke up, and Cicadelic Records have paired that album with some unreleased late-period recordings from the group on the collection At Last: 1968-1970.
While an earlier Morning Dew anthology charts the band’s growth from their early days to their rise to regional fame, At Last captures them at the peak of their instrumental powers — Mal Robinson had grown into a fluid, expressive guitarist and powerful singer, Don Anderson’s rhythm guitar provided plenty of muscular support, and drummer Don Shuford and bassist Blair Honeyman kept the songs rolling along and gave the melodies a firm bottom end. By this time, the Morning Dew had also learned to stretch out, and frankly a few of the four and five minute songs on their LP could have lost some noodling without hurting them a bit, but Robinson was a good enough soloist, gutsy and forceful, to keep the tunes from getting lost, and songs like hard rocking “Gypsy” and “Crusader’s Smile,” the folky “Something You Say,” the twangy “Country Boy,” and the trippy finale “Epic:The Mann/Death Is A Dream” prove this band had more on the ball than most second-string psych acts of the era.
The disc also includes five songs recorded for a second album that was never completed, and though the nine and a half minutes of “Lions>Away From It All” are mostly filler, the other tracks are solid, especially the rocking “1849” — if three final tracks from a 1968 session don’t add up to much, they at least point out to the melodic ambition that came to fruition on the album. At Last: 1968-1970 isn’t quite the work of a great lost band, but if Cicadelic Records were trying to provide evidence that the Morning Dew at least deserves a larger cult following, then consider this collection a success.
by Mark Deming

The Morning Dew Story (continued from the previous CD release “No More”). The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968. Ten songs were recorded, eight of them penned by Robinson. He reflected on the songs of The Morning Dew by saying “We’re the Morning Dew twenty four hours a day, so we’ve got plenty of time to do this”. Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that “anyone can write a dirty song, besides, if you’re not high on drugs, it’s hard to write about it”. The changes from their previous singles could be explained in one word “psychedelic”. The influence of The Beatles’ “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator. Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”. “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions). “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music. Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men. Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”. A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records. This occurred in the fall of 1968. A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording). Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.

A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days. Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”. Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries. Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception. The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.

“Progressive Rock Net”
Morning Dew’s 1967 self-titled LP has a distinct sound; it was the beginning of the psychedelic phase of rock music. And that is firmly in place on the record. According to the back cover of the LP it was released in 1971 on Big Seven Music. There are moments of a heavier metal sound, but very few. The peace, flowers, and summer of love influence abounds throughout most of this record. Check out the cover, this couple looks as though like they are frolicking in the fields of Woodstock. It’s all very good rock music; in fact, this is a solid album without one throw-away on the entire recording. The musical style remains consistent throughout with the exception of one surprise, the closing track “Epic: The Mann/Death Is A Dream,” which starts off with a Spanish flamenco guitar and then launches into one of their rockers, it’s a step away from the norm and a nice change showing how the band was talented enough to go into an entirely different direction. For the most part the folk, rock, and psychedelic sounds are what dominate this record, and a nice balance is managed with male and female vocals taking turns. It’s a great album!!! (review by Keith Hannaleck from
“Tyme Machine Blog”
With a line up of Mal Robinson-lead guitar and lead vocals; Don Sligar-Drums; Don Anderson-rhythm guitar and keyboards; and Blair Honeyman-bass guitar and vocals the band entered the studio in New York to record the Roulette album. The recording consisted of  ten songs and the tracks were completed in about 30 hours with many songs using one take.  Lee DeCarlo was the recording engineer(who’s claim to fame was the engineer on the U.S. mix for Jumpin Jack Flash by the Rolling Stones) and Fred Munao was the Producer. This represented Munao’s first major project with Roulette, having previously worked with The Left Banke for another label. Songs included in the session were: “Something You Say”, “Then Came the Light”, “Cherry Street”, and “Young Man” previously recorded at Fairyland Studio and new additions to their sound “Crusader’s Smile”, “Upon Leaving”, “The Gypsy”, “Country Boy Blue”, “Save Me”, and “The Mann”/”Death is a Dream”.  All songs were written by Mal Robinson with the exception of “Save Me” which was co-written with Kerry Livgren of the band Kansas. Don Sligar and Mal Robinson had known Livgren playing in local bands and attending the local university. At the time the song was written, Livgren and Sligar were good friends and living together with several other musicians in Topeka.  Although the album’s main focus is the psychedelic rock sound, several easier listening songs are included.  Interestingly, Roulette leaned to wanting to use the easier listening sounds of “Country Boy Blue” and “Something You Say” for potential singles with the label. No singles were ever released and for some unknown reason the album did not get released until one year later in August, 1970.
Photos related to the album/band/track :
Morning Dew – “Morning Dew” Album cover photo (front)
MORNING DEW 1970 (2)
Morning Dew – “Morning Dew” Album cover photo (back)
Morning Dew – “Morning Dew” Album photo (A’ Side)
Morning Dew Band’s Photos
Morning Dew2
Morning Dew1
Links related to the album/band/track :

Morning Dew -“Morning Dew” Full Album Download Link on Rock Archeologia 60-70

Morning Dew Band’s Page on Discogs

Morning Dew Band’s Page on Rate Your Music

Morning Dew – “Morning Dew” Full Album Download Link on Back In Purple Blog

Morning Dew – “Morning Dew” Full Album Download Link on Plain and Fancy Blog

Morning Dew Band’s Page on Cicadelic Website