In The Land of Free, we still keep on Rockin'

Plain and Fancy

"I hope for nothing, I fear nothing, I am free"


Tuesday, July 26, 2016

Rainbow Ffolly - Sallies Fforth (1968 uk, beautiful orchestrated swinging psychedelia, 2005 remaster)



Spectromorphic Iridescence from a Tube of Smarties
For years, Rainbow Ffolly Sallies Fforth, PMC 7050 (stereo PCS 7050), has been the ultimate mystery album for collectors. Mint copies change hands at upwards of £120, an Italian bootleg has been issued, and yet the group members have remained anonymous. Time to unffold the tale of the Rainbow Ffolly, a band influential on the careers of the Moody Blues, possibly the Who and even the Beatles.

The Ffolly's story, with its incredible string of 'ffirsts', is unique amongst groups of the time. Only when it reaches the part where the band is forced to split through lack of income does the tale become the sadly-familiar 'Sixties shot-at-stardom that failed'.

Rainbow Ffolly, an art college band, evolved in High Wycombe, Buckinghamshire, from a group called Force Four. Jonathan Dunsterville picked the new name to conjure up the eye-searing colours associated with psychedelia, doubling the 'f' on Ffolly in tribute to Wally Ffolks, jazz clarinettist and creator of the 'Flook' cartoon strip.

Roger Newell and Stewart Osborn were neighbours who had known each other since the age of three. Later in life they both took up the guitar, but according to Roger: "We found there were loads of guitarists better than us, but few bass players and few drummers."

Roger shrewdly moved to playing bass and Stewart, to drums. In book-binding classes at college, John became intrigued by Stewart's habit of carrying sticks in his pockets and drumming on the desk when he got bored.

"This bloke in evening class going 'chika chika chika bash bash bash!'... (had) to be an interesting character," John realised. "He could play trills and things that no other drummer could do at the time, so I thought, 'that'll do'!"

John and his brother, Richard, came from a musical family, John's guitar skills stemming from finding a ukulele in the loft at the age of eleven. The brothers honed their talents by copying Elvis and the Everlys. When John first considered Roger for the band, he rejected him because he "only looked about thirteen" and was dwarfed by his guitar. Alan Thomas subsequently became Force Four's bassist, leaving after a year or so because he was not in tune with the others' art school ideas. By this time, Roger, whom John describes as "a perfect bass player," had "doubled in size" and finally passed the audition.

Roger recalls seeing John entertaining a group of people in the local park, and thinking:
"'Wow! He plays Scotty Moore stuff!' And (John) 'picked', which was not a style currently in vogue."

Group manager, John Sparrowhawk's claim to fame was that he was the vocalist on the 'Light up a Richmond' cigarette commercial, fondly remembered by Sixties pirate radio aficionados.


Tracks
1. She's Alright - 3:42
2. I'm So Happy - 2:33
3. Montgolfier '67 - 2:37
4. Drive My Car - 2:15
5. Goodbye - 3:54
6. Hey You - 2:05
7. Sun Sing - 3:57
8. Sun And Sand - 4:02
9. Labour Exchange - 1:55
10.They'm - 1:55
11.No - 2:58
12.Sighing Game - 3:06
13.Come On Go - 2:57
14.Go Girl (Mono Single Version) - 2:41
15.Drive My Car (Mono Single Version) - 2:09
All tracks written by Jonathan Dunsterville

Rainbow Ffolly
*Jonathan Dunsterville - Vocals, Guitar
*Richard Dunsterville - Vocals, Guitar
*Roger Newell - Vocals, Bass
*Stewart Osborn - Vocals, Drums

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Saturday, July 23, 2016

The Next Morning - The Next Morning (1971 trinidad, stunning psych rock)



The late-1960s found guitarist Scipio Sargeant having left his native Trinidad for New York City.  Living in Brooklyn his lightening quick guitar began attracting attention, including that of  fellow Trinidadian/guitarist Bert Bailey.  Discovering a shared interest in hard rock, the pair decided to form a band, quickly recruiting keyboardist Earl Arthur, brother/drummer Herb Bailey and singer Lou Phillips.  With Scipio switching to bass the quintet began attracting attention on the city's club circuit.

Almost signed by Columbia, the group ended up with a recording contract on the Roulette Records affiliated Calla label.  Recorded at New York's Electric Lady Studios, their 1971 debut "The Next Morning" was produced by Dick Jacobs and clearly drew inspiration from Jimi Hendrix.  Propelled by Arthur's insane keyboards and Bert Bailey's wicked feedback drenched guitar, self-penned material such as "Changes of the Mind", "Life Is Love" and "Back To the Stone Age"  offered up impressive slices of Hendrix-styled heavy rock. The overall performances were quite attractive, making for a first-rate set that should appeal to all guitar rock lovers.


Tracks
1. The Next Morning (Lou Phillips, Scipio Sargeant, Bert Bailey) - 4:56
2. Life (Lou Phillips, Bert Bailey) - 2:57
3. Changes Of The Mind (Lou Phillips, Scipio Sargeant, Bert Bailey) - 6:01
4. Life Is Love (Lou Phillips, Earl Arthur) - 5:33
5. Back To The Stone Age (Lou Phillips, Scipio Sargeant, Bert Bailey) - 5:28
6. Adelane (Lou Phillips, Bert Bailey) - 2:51
7. A Jam Of Love (Lou Phillips, Scipio Sargeant, Herbert Bailey, Bert Bailey, Earl Arthur) - 4:24
8. Faces Are Smiling! (Lou Phillips, Bert Bailey) - 6:28

The Next Morning
*Earl Arthur - Keyboards
*Bert Bailey - Guitar
*Herbert Bailey - Drums
*Lou Phillips - Vocals
*Scipio Sargeant - Bass, Guitar

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Wednesday, July 20, 2016

The Gosdin Brothers - Sounds Of Goodbye (1968 us, country folk rock milestone, 2003 remaster)



Once you've heard them, how can you not like the Gosdin Brothers? Their 1968 album SOUNDS OF GOODBYE is one of the most satisfying blends of country, pop and folk-rock that the era produced, yet because it was aimed at the country market rather than the hip scene, the record, and indeed the act's importance, has been overshadowed by the frankly more copy-worthy Byrds and Burritos. As charter members of the country rock brotherhood that included Clarence White, Gib Guilbeau and Gene Parsons - all of whom provided the sparkling musical support for the duos studio recordings - Vern and Rex Gosdin brought a knowing savvy to the music that was tempered by the innocent freshwater sensibilities of their stunning harmonies, and the unsurpassed warmth of Vern's lead vocal. With its array of fine songs, and sympathetic production by maverick Gary S Paxton, SOUNDS OF GOODBYE is a true jewel of early country rock.

On a personal level, this reissue has been a very long time coming. It was probably about 1982 that I first forked over a portion of my meagre student income to Alie at Rhythm Records in Camden High Street, in order to secure an original copy of SOUNDS OF GOODBYE. Like most neophytes, I knew the Gosdins only from their credit on Gene Clark's eponymous debut, a favourite record that even at that stage I had worn out almost as much as my treasured Byrds LPs. With its country-cool cover graphics and an intriguing tracklist, I reckoned this rarely-espied Gosdins album had to at least be worth a listen. I certainly wasn't prepared to fall so deeply in love with the voices, the songs, the sound. And in my amazement at Rex and Vern's complete lack of visibility in the vintage country-rock milieu, I felt just had to spread the word about this incredible duo.

In subsequent years I endeavoured to track down more of that magic Gosdin Brothers sound. I picked up copies of their mid-60s 45s, including the 1967 country hit Hangin' On, and the rare 1966 Edict Records single, produced by Chris Hillman. I somehow acquired lo-fi copies of unissued material from the same period. And most importantly, I learned of Vern Gosdin's enormous stature in the back to basics 'hard' country movement of the late 1980s and early 1990s, where he had numerous number ones and became known amongst his legions of fans as the Voice, all without altering one iota the style or sound he had espoused with brother Rex in the late 1960s.

Which brings us to this compilation, of which I am most proud. It collects together the contents of the SOUNDS OF GOODBYE album, plus the aforementioned non-LP singles on World-Pacific, Edict and Bakersfield International, and some truly stellar unissued sides. Foremost is Tell Me, an out-take from the Edict session featuring accompaniment from Hillman, Michael Clarke and Clarence White, the jaw-dropping final fifty seconds of which are concrete proof that technically and melodically, White was already in a class of his own on electric guitar. Yep, it's that good.

Putting this thing together has been a blast too, as it has been with all the Big Beat Bakersfield releases - whether it be remixing those fabled out-takes, gleaning words of wisdom from biz legends Gary S Paxton and former Byrds/Gosdins manager Jim Dickson, or hanging out with the brothers' former collaborators Chris, Gib and Gene. But perhaps the most fun of all was the time Cindy and I amusedly looked on as Vern, draped in enough chains and jewellery to make a rap star envious, held court in a Cracker Barrel restaurant near Opryland, enduring a never-ending procession of middle-aged fans ooh-ing and aah-ing over him - not to mention the repeated insistence of the waitress in passing on her latest demo tape. And Vern was loving every minute of it. I realised that, to these folks at least, the Voice is still very much a country music superstar. As he should be. Take a listen to SOUNDS OF GOODBYE and see if you don't agree.
by Alec Palao 


Tracks
1. Sounds Of Goodbye (Eddie Rabbit, Richard Heard) - 2:30
2. Tell Me (Vern Gosdin, Rex Gosdin) - 3:05
3. There Must Be A Someone (I Can Turn To) (Vern Gosdin, Rex Gosdin, Cathy Gosdin) - 2:41
4. Woman's Disgrace (Floyd Guilbeau, Wayne Moore) - 2:41
5. Multiple Heartaches (Kenneth Johnson, Don Hinson) - 2:17
6. Love At First Sight (Vern Gosdin, Rex Gosdin) - 1:48
1. The Victim (Vern Gosdin, Rex Gosdin) - 2:53
8, Uncommitted Man (Kenneth Johnson, Jan Paxton) - 2:58
9. Catch The Wind (Donovan Leitch) - 2:25
10.She's Gone (Jan Paxton. Clarence White) - 2:08
11.No Matter Where You Go (There You Are) (Floyd Guilbeau) - 2:41
12.Hangin' On (Buddy Mize. Ira Allen) - 2:51
13.Wishing (Vern Gosdin Rex Gosdin) - 1:54
14.Louisiana Man (Douglas Kershaw) - 2:27
15.I'll Live Today (Floyd Guilbeau) - 2:56
16.For Us To Find (Vern Gosdin. Cathy Gosdin) - 3:02
17.One Hundred Years From Now (Vern Gosdin, Rex Gosdin) - 2:48
18.Bowling Green (Trad An Terry Slater, Jaqueline Ertel) - 2:02
19.I'll Live With God (To Die No More) (Charlie Louvin, Ira Louvin, Eddie Hill) - 2:42
20.The First Time Ever I Saw Your Face (Ewan MacColl) - 3:06
21.Low, Of The Common People (John Hurley, Ronnie Wilkins) - 3:15
22.She Still Wishes I Were You (Paul Nuckles, Buddy Mize) - 2:48
23.Had A Lot Of Friends (Vern Gosdin, Rex Gosdin) - 1:53
24.Let It Be Me (Gilbert Becaud, Manny Curtis, Pierre Delanoe) - 1:57

Musicians
*Vern Gosdin - Vocals, Guitar
*Rex Gosdin - Vocals
*Gib Guilbeau - Guitar, Vocals, Fiddle
*Gene Parsons - Harmonica, Banjo, Drums
*Clarence White - Guitar
*Wayne Moore - Rhythm Guitar, Bass
*Chris Hillman - Guitar, Bass, Madolin
*Michael Clarke - Drums
*Gary Paxton - Keyboards
*Kenny Johnson - Piano
*Jim Troxel - Drums
*Jerry Scheff - Bass
*Mike Deasy - Guitar

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Saturday, July 16, 2016

Lighthouse - Thoughts Of Movin' On (1971 canada, beautiful brass rock with prog traces, 2016 edition)



This 1971 Lighthouse album was produced by Jimmy Ienner. The album starts out on a strong note with "Take It Slow (Out In The Country)." It boasts a memorable melody and an impassioned lead vocal by Bob McBride, and should have been a big hit. The same could be said for the song "I Just Wanna Be Your Friend," which was written by Keith Jollimore and Larry Smith. Another highlight of the album is the love song "I'd Be So Happy." That song was covered by Three Dog Night, but has inexplicably not appeared on any Lighthouse compilation.

The late Bob McBride wails away on the rockers "What Gives You The Right," "Fly My Airplane," and "Insane." Bob also turns in heartfelt vocals on the power ballads "I'm Gonna Try To Make It" and "Walk Me Down" (written by Bob McBride). My least favorite track is "You And Me," written and sung by Howard Shore. Howard is a much better saxophonist than a vocalist. 

The rocking "Rockin' Chair," co-written and sung by Skip Prokop, is almost a novelty song. Although somewhat uneven, this album is an essential purchase for all fans of Lighthouse, along with the albums "One Fine Morning" (1970), “Lighthouse Live!” (1972), and "Sunny Days" (1972). 
by Michael King 


Tracks
1. Take It Slow (Out In The Country) (Ralph Cole, Larry Smith, Keith Jollimore) - 3:12
2. What Gives You The Right (Howard Shore) - 3:23
3. You And Me (Howard Shore) - 4:51
4. Fly My Airplane (Paul  Hoffert) - 3:46
5. I'd Be So Happy (Skip Prokop) - 4:05
6. I Just Wanna Be Your Friend (Skip Prokop, Bob McBride) - 3:10
7. I’m Gonna Try To Make It (Larry Smith, Keith Jollimore) - 3:54
8. Rockin’ Chair (Skip Prokop, Ralph Cole) - 3:39
9. Walk Me Down (Bob McBride) - 3:51
10.Insane (Skip Prokop, Bob McBride) - 3:57

Personnel
*Skip Prokop - Drums, Percussion, Vocals
*Paul Hoffert - Keyboard, Vibes
*Ralph Cole - Guitar, Vocals
*Louie Yacknin - Bass
*Bob McBride - Lead Vocals, Percussion
*Don Dinovo - Electric Violina
*Dick Armin - Electric Cello
*Mike Malone - Trumpet, Flugelhorn
*Keith Jollimore - Sax, Flute, Vocals
*Howard Shore - Sax, Flute, Vocals
*Larry Smith - Trombone, Vocals

Lighthouse
1969  Lighthouse (2012 extra tracks edition)
1969  Lighthouse - Suite Feeling (2010 Korean remaster)
1970  Peacing It All Together (2010 korean remaster)
1971  One Fine Morning
1972  Sunny Days (2008 RDI issue)
1973  Can You Feel It?  (2008 RDI issue)
Related Acts
1967  The Paupers - Magic People
1968  The Paupers · Ellis Island  (2008 remaster)
1969  The Live Adventures Of Mike Bloomfield And Al Kooper
1969  Michael Bloomfield with Nick Gravenites And Friends - Live At Bill Graham's Fillmore West (2009 remaster and expanded) 

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Wednesday, July 13, 2016

Demian / Bubble Puppy - Demian / A Gathering Of Promises (1969-70 us, awesome heavy bluesy psych rock, 2008 digipak remaster)



Bubble Puppy was a Texan psychedelic rock band, formed in 1966 in San Antonio, Texas, by Rod Prince and Roy Cox. Looking to form a "top gun rock band" based on the concept of dual lead guitars, Prince and Cox recruited Todd Potter, a gymnast, saxophone player and guitarist. With the addition of Danny Segovia, the original line up of Bubble Puppy was complete. Bubble Puppy's live debut was as the opening act for The Who in San Antonio.

After several line-up changes, the final roster for Bubble Puppy settled at Rod Prince and Todd Potter on lead guitars, Roy Cox on bass guitar and David "Fuzzy" Fore on drums. In 1967, Bubble Puppy moved to Austin, Texas, and signed a recording contract with Houston-based International Artists, home to the 13th Floor Elevators and the Red Krayola.

Bubble Puppy scored a Top-20 U.S. hit in 1969 with their single, "Hot Smoke and Sasafrass"; it peaked at number 14 on the Billboard 100.

In 1969, Bubble Puppy released their only full-length album, A Gathering of Promises. However, despite Bubble Puppy's early success with the "Hot Smoke and Sasafrass" single, they experienced numerous conflicts with International Artists, and parted ways with the label in 1970. Signing Nick St. Nicholas of Steppenwolf as a manager, Bubble Puppy moved to Los Angeles, changed their name to Demian and signed to ABC-Dunhill Records. 

Demian released one self-titled album in 1971, but its failure to perform on the charts led to financial difficulties with the label and, in 1972, Bubble Puppy split up.

The members of Bubble Puppy continued to be active in the music industry after the band's demise. Potter and Prince played with Sirius through the late 1970s, and Fore drummed with the Texas punk rock band, D-Day, co-writing their cult hit, "Too Young to Date". In 1987, the original Bubble Puppy lineup reunited, for their comeback LP, Wheels Go Round.

The name "Bubble Puppy" was taken from "Centrifugal Bumble-Puppy", a fictitious children's game in Aldous Huxley's Brave New World. Demian was named after Herman Hesse's 1919 novel, and "Hot Smoke and Sasafrass" was a line lifted from an episode of "The Beverly Hillbillies".
CD Liner-Notes


Tracks
1. Demian - Face In The Crowd (Roy Cox) - 2:56
2. Demian - Windy City (Roy Cox) - 5:20
3. Demian - Love People (Todd Potter) - 2:18
4. Demian - Coming (Rod Prince, Roy Cox) - 5:33
5. Demian - Todd's Tune (Todd Potter) - 3:21
6. Demian - No More Tenderness (Rod Prince, Roy Cox) - 3:53
7. Demian - Are You With Me Baby (Todd Potter) - 4:56
8. Demian - Only A Loner (Rod Prince, Roy Cox) - 4:37
9. Bubble Puppy - Hot Smoke And Sassafrass (Rod Prince, Roy Cox) - 2:33
10.Bubble Puppy - Todd's Tune (Todd Potter) - 3:13
11.Bubble Puppy - I've Got To Reach You (Roy Cox, Todd Potter) - 7:52
12.Bubble Puppy - Lonely (Rod Prince, Roy Cox) - 2:55
13.Bubble Puppy - A Gathering Of Promises (Mike Taylor, Rod Prince) - 2:25
14.Bubble Puppy - Hurry Sundown (Rod Prince, Roy Cox) - 4:00
15.Bubble Puppy - Elizabeth (Rod Prince, Roy Cox) - 2:56
16.Bubble Puppy - It's Safe To Say (Jim Mings) - 2:26
17.Bubble Puppy - Road To St. Stephens (Rod Prince, Roy Cox) - 4:07
18.Bubble Puppy - Beginning (Rod Prince, Roy Cox) - 3:54

The Demian / The Bubble Puppy
*Rod Prince ‒ Lead Guitar, Vocals
*Roy Cox ‒ Bass Guitar, Vocals
*Todd Potter ‒ Lead Guitar, Vocals
*David Fore ‒ Drums, Vocals

1969/84  Bubble Puppy - Hot Smoke  

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Sunday, July 10, 2016

Exit - Exit (1975 swiss, good blend of guitar drivin' psych prog and krautrock, 2008 digipak remaster)



Exit emerged in 1972 in the Swiss Frauenfeld. The band around guitarist Andy Schmid and drummer Kafi Kaufmann was live very hardworking, played the opening act for Birth Control and Jane and published in 1975 their first and only, self-titled album on their own. The group existed until 1979'

Schmid and Kaufmann were then further musically active. Schmid died in 2001 when he suffered a cerebral hemorrhage during a performance of his band in Cairo. Kaufmann published from time to time solo albums to date.

Originally produced "Exit" in an edition of 350 pieces of the band, was first published in 1993 by Black rills Records as LP again. In 2008, the album was released there as a CD, extended by a handful of bonus.

Electric guitar, organ, synthesizer, bass and drums there on "Exit" to hear. Then there is the not terribly remarkable singing, for no one wants to show responsibility in the credits. The short Beihefttext of CD reissues but you can see that it is Andy Schmid, who can here mostly sounded his institution. That exit with the two above mentioned German bands on tour, had already indicated some of the music that had the Swiss offer. A dominated by the organ, herbaceous Symphoprog with slight Hard Rock bonds there on "Exit" to hear the partly quite reminiscent of the somewhat earlier productions of Birth Control and Jane. Significantly keys-heavy music of the Swiss, however, slightly jazzy and coated with a thin, easy-fuzzy West Coast flair. In addition, Pink Floyd tracks have in this music left (which, for some numbers of Jane applies).

For the Year 1975, the music sounds but quite dusty. Rather, one would tap the late 60s or early 70s. Protoprog is thus almost what play Exit here tolerably varied rock numbers, provided with some ausladenderen key deposits, swirling organ excursions, jazzy sprinklings, instrumental Jamabschnitten and subdued synth escapades ( "Talk Around"). The music is quite timid and behaved as if the band would dare to rock never really. Accordingly, the pace of the events offered rather slowly (only the introductory "Paradise" has a little more momentum), which does not necessarily increase the listener's attention (the reviewer). This is for awakened by the occasionally quite amusing pronunciation of English texts (especially in "Balade of live" - ​​what should probably be called "Ballad of life").

The subsequent numbers of very neat sounding, originating from various studio sessions bonus material are slightly jazzy and funky occasional also failed ( "Take a little more time"). With Gallus Bachmann Sax another tone comes in the music, while Martin Beerli to the latest pieces (tracks 7-9) enhances the jazz-rock direction of music with a lively electric piano (in addition to the organ and synthesizer classic progressively employed). "II" is a varied instrumental number with nice, sounding slightly Canterbury Symphojazzrock that makes quite fun. With "Clarinetto" then provides the band with a not quite to the rest matching Dixie Swing pun for a humorous conclusion.

"Exit" is a somewhat half-baked disc, but at least shows that you could make quite a decent Key Programming in Switzerland in the 70s. However, had bands like crocodile, Iceland, Circus, Welcome or Kedama but much more interesting in the offer. 
by Adamus67


Tracks
1. Paradise - 7:59
2. Balade Of Live - 11:29
3. Talk Around - 11:55
4. Bad Gossip - 6:36

The Exit
*Roman Portail - Organ, Synthesizer
*Kafi Kaufmann - Drums, Percussion
*Edwin Schweizer - Bass
*Andy Schmid - Guitar, Harmonica

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Saturday, July 9, 2016

The Magic Mixture - This The Magic Mixture (1967-69 uk, brilliand psychedelic rock, 2008 extra tracks issue)



The Magic Mixture were a British psychedelic band comprised Terry Thomas (guitar/vocals), Melvyn Hacker (bass), Jack Collins (drums) and Stan Curtis (organ) . Mel and Terry were  both students at the Central Foundation Boys School in London in the early of 60's. After some line up changes they released their sole album in 1968. It is regarded as one of the better examples of the psych genre, featuring engaging instrumental work on tracks such as ‘(I’m So) Sad’, ‘Urge To Leave’ and ‘Slowly The Day’.

Originally released on Saga, this superb piece of psychedelic freakbeat should be in every record collection sharing section with UK psych gods like July, Skip Bifferty, Forever Amber, Five Day Week Straw People, The Open Mind and the likes

Even though according to The Tapestry Of Delights book the Saga LPs are supposed to have been recorded at a school premises rather than in a proper studio, this album has become a classic of the genre on its own, containing some killer psychedelic sounds delivered mainly by the guitar of leader Jim Thomas and his bandmate Stan Curtis' organ riffs The line up was completed with Jack Collins on drums and Melvyn Hacker on bass guitar.

The songs are all original Magic Mixture compositions, and they are all excellent samples of what was going on in the UK when the genres who had been en vogue during the sixties (modern jazz, folk, r'n'b, pop) were all put into the same cauldron in the search of a special mixture, eventually obtaining some great pop tunes played with a freakbeat edge and some early psychedelic sounds, all pretty simple and without many gimmicks or studio trickery, but amazingly lovely and very cool It is one of the most sought after Saga releases and one that commands high sums when it shows up on eBay Wah Wah's is the first ever legit reissue, with best sound quality and best sleeve quality ever.


Tracks
1. (I'm So) Sad - 4:13
2. Urge To Leave - 2:29
3. You - 2:57
4. Slowly The Day - 3:53
5. New Man - 2:59
6. Living On A Hill - 2:56
7. It's Alright By Me - 2:59
8. When I Was Young - 2:54
9. Hey Little Girl - 2:23
10.Tomorrow's Sun - 3:20
11.Motorbike Song - 2:32
12.Moonbeams - 4:05
13.It's Alright By Me - 3:03
14.Slowly The Day - 3:09
15.Captain Marvel - 4:10
16.Pearly Queen (Steve Winwood, Jim Capaldi) - 3:01
17.Fresh Garbage (Jay Fergusson) - 2:53
18.My Days Are Numbered (Al Kooper) - 3:53
All compositions by Terry Thomas except where indicated
Bonus Tracks 13-18

The Magic Mixture
*Terry Thomas - Guitar, Vocals
*Simon Kirke - Drums (Tracks 13-14)
*Stan Curtis- Organ, Vocals
*Melvyn Hacker - Vocals
*Jack McCulloch - Drums, Vocals
*Cliff ''Fifi'' Reuter - Drums (Tracks 15-18)

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