Circus Maximus
Band members Related acts
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line up 1 (1967-68) - Bob Bruno -- vocals, lead guitar, keyboards - David Scherstrom (RIP 2017) -- drums, percussion - Peter Troutner (RIP 2008) -- vocals, tambourine - Jerry Jeff Walker (aka Ronny Crosby) (RIP 2020) -- vocals, lead guitar - Gary White -- bass
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- The Gonzo Compadres (Jerry Jeff Walker) - The Lost Gonzo Band (Jerry Jeff Walker) - Jerry Jeff Walker (solo efforts)
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Genre: folk rock Rating: **** (4 stars) Title: Circus Maximus Company: Vanguard Catalog: VSD
79260 Country/State: Austin, Texas Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $35.00
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I started seriously collecting albums in the late-'80s. Over those collecting years the first Circus Maximus album was one I frequently came across, but for some reason never bothered to pick up a copy. That was in spite of the fact the late Jerry Jeff Walker was a member of the band and when I saw a copy of the LP it was never particularly expensive. Well, I finally picked up a copy and shame on me for having bypassed it for so many years.
Lead guitarist Bob Bruno, drummer David Scherstrom, singer Peter Troutner, rhythm guitarist Jerry Jeff Walker and bassist Gary White came together in 1967. I found a YouTube comment Bruno made about their introduction: "I met Jerry and Pete Troutner in Austin Texas September ,1965 at "The Clown's Den", a bar where I was auditioning . They were playing pool in the back and came up after I finished my set and we connected immediately hanging out ." Calling Austin, Texas home they were originally known as The Lost Sea Dreamers. Relocating to New York City where they became part of the Greenwich Village scene, they were spotted and signed by Vanguard Records. The label immediately demanded a name change, feeling the Lost Sea Dreams (aka LSD) nameplate was too risky from a marketing standpoint. Remember that within a year, under the stewardship of Mike Curb, MGM Records would fire a significant part of it's recording roster due to their "druggy images". Rechristened Circus Maximus the band was subsequently ushered into the recording studio with Samuel Charters and Dan Elliott serving as co-producers. Charters was riding high on successes with Country Joe and the Fish and some of the album's more West Coast psych influences bore at least a mild resemblance to Joe McDonald and company's early work.
"Circus
Maximus" showcased a collection of eleven band originals with
Bruno contributing seven songs and Walker responsible for the remaining four
compositions. In addition to Country Joe social commentary ("Lost
Sea Shanty") a
"Circus
Maximum" track listing: 1.) Travelin' Around (Bob Bruno) - 3:56 rating: **** stars Propelled by a thundering White bass line, "Travelin' Around" sounded like a good, if slightly stoned, garage band who called Texas home. Contrary to popular belief that Walker played lead guitar, Bruno was responsible for the speed of light, fuzz powered jangle guitar solo (played on a rented Rickenbacker). The result was a thing of beauty, every bit as The Byrds "Eight Miles High" adding a majestic lysergic edge to the opener. I'm pretty sure any West Coast psych band lead guitarist hearing the solo would have slunk away in shame at their own limitations. 2.) Lost Sea Shanty (Jerry Jeff Walker) - 4:06 rating: **** stars Like me, if you were familiar with Walker's country-oriented solo career, then the folk-rock styled "Lost Sea Shanty" was likely to come as a major surprise. Powered by jangle rock guitars, activist lyrics ("But what human being can do to each I wouldn't do to a dog; they do it in the name of freedom, in the name of their God...") and lysergic energy, "Lost Sea Shanty" had a distinctive Byrds feel. Nice. 3.) Oops, I Can Dance (Jerry Jeff Walker) - 3:31 rating: **** stars "Oops, I Can Dance" found Walker trotting out his best Byrds impression. The jangle rock melody was a very good approximation of Roger McGuinn and company, though Walker's dry and brittle voice was no match for McGuinn. Still, got to admit I love this one. 4.) You Know I've Got The Rest Of My Life To Go (Bob Bruno) - 2:56 rating: *** stars Well the title was a mouthful. Another Byrds wanna-be performance with Bruno's fuzz guitar providing the standout characteristic. 5.) Bright Light Lovers (Bob Bruno) - 2:50 rating: *** stars Bruno's "Bright Light Lovers" initially reminded me an early Merseybeat tune, but it quickly shifted into a garage rock direction. Interesting to hear these guys were capable of some nice harmony vocals. 6.) Chess Game (Bob Bruno) - 3:26 rating: **** stars
Certainly not the album's most melodic or commercial tune, but given the jazzy flavor and intriguing lyrics and cool refrain "Chess Game" has always been one of my favorite performances. The song was subsequently rearranged for a pair of December,1967 "Electric Christmas" concerts undertaken with the New York Pro Musica early music ensemble at Carnegie Hall. The Pro Musica Director John White, subsequently suggested Bruno's composition had been "influenced" by a16th-century lute piece entitled "Romanesca". Personal opinion - seems unlikely that a talent young musician like Bruno would have ripped off such an obscure source
(side
2) More folk than rock ... The harmony rich "People's Games" actually sounded quite dated (almost a Peter, Paul and Mary vibe), though that wasn't to imply the track didn't have a certain charm. Powered by strumming guitars and their multi-part harmonies, it was quite fun to hear. 2.) Time Waits (Bob Bruno) - 3:50 rating: *** star More Byrds influenced folk rock with a nice bass line from White. 3.)
Fading Lady (Jerry Jeff Walker) - 5:34 rating:
**** stars
With Walker having written it and handled the lead vocals, the ballad "Facing Lady" sported the album's prettiest melody. Best way to describe it - sweet. Another awesome White bass line. Walker fans will know he re-recorded the track for his 1969 "Drifting Way of Life" LP (Vanguard catalog number VSD-6251).
4.) Short-Haired Fathers (Bob Bruno) - 3:00 rating: **** stars Funny that I'm listening to this album on Father's Day ... "Short-Haired Fathers" found the band returning to ? and the Mysterians-styled garage rock; in this case what sounded like an amphetamine powered, speed of light romper. Pretty cool and I always liked Bruno's Farfisa organ fills. 5.) Wind (Bob Bruno) - 8:07 rating: ***** stars Just when I was starting to get my arms around the band's sound, along came the totally unexpected "Wind". An extended, piano-powered jazzy ballad, it was one of those song's that could drop your blood pressure in a matter of moments. (Funny that it you read some of the comments on YouTube, you'll see several from former prisoners who say the song helped them calm down and get to sleep). Written and sung by Bruno, there's just something mesmerizing about the tune, which actually includes some atonal, discordant piano (Dave Brubeck would have approved). Darn, now I'm humming the base melody again. In April 2009 Bruno posted a solo version of the song on YouTube. It's pretty cool: Circus Maximus ,"Wind" Solo by Bob Bruno , Circus Maximus Tune from 1967
© Scott R. Blackerby, June 2026
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other West Coast psych bands influences, judging by folk-rock numbers like
"Oops, I Can Dance",
"Time Waits"
and "You Know I've
Got The Rest Of My Life To Go" the
band had clearly been listening to lots of Roger McGinnis and The Birds.
Bruno's jazz roots were also on display; notably on the quirky "Chess
Game" and the epic
eight minute closer "Wind". Powered by some cool, jazzy
piano and Bruno's best vocals, "Wind" was easily the album's
strangest, yet most provocative number. As lead vocalist Troutner was
good, though he was no McGinnis and Bruno and Walker frequently handled
vocals on their own compositions. On the other hand Bruno was an
impressive lead guitarist. He wasn't particularly flashy, but be sure
to check out his Rickebacher powered solo on "Travelin'
Around". Bassist White was also a
strong player, His tight and melodic playing anchored tracks like the
opening garage rocker "Travelin' Around", "Time
Waits"
and "Fading Lady".
And while none of the performances were bad; the overall sound was just kind
of derivative. Still, derivative is better than bad and they had good taste
in their sources. If you're into Byrds-styled mid-'60s folk rock this
album was well worth checking out; plus you can still find affordable copies
in good shape. (Their sophomore album's a little tougher to score.)
