Plain and Fancy

1970 Patto - Patto (2010 japan SHM remaster)

Thursday, July 10, 2025

Patto - Roll 'Em Smoke 'Em Put Another Line Out (1972 uk, warm jazz blues funk soul rockin’ with a big stoned grin, 2011 remaster and expanded)

Although Patto has exhibited a penchant for eccentricity in their previous efforts, not even from a bunch of loonies such as they could one expect an album as bizarre as this. Once a group noted for recording covers of Four Seasons hits and cutting demo tapes while under the influence of cough syrup, Patto (nee Timebox) have graduated to the school of album-as-a-singular-concept. Roll ‘em Smoke ‘em Put Another Line Out is, although it may sound absurd, the missing link between Abbey Road and the Mahavishnu Orchestra.

Patto consists of Olly Halsall (guitarist/pianist), Mike Patto (vocal/piano), John Halsey (percussion/speaking voice) and Clive Griffiths (bass guitar). They’ve been playing together for five long years and are virtuosos all. This, coupled with the Halsall/Patto song writing team’s block-busting ability of combining unusual chord structures with exceptionally witty lyrics, makes Patto one of my personal faves.

The album kicks off with their latest single, "Singing the, Blues on Reds," a funky number wish words intended, I suppose, to provide a sequel to "So You Want to Be a Rock ‘n’ Roll Star." Patto continues with a love song to a sweetie with a paw impediment, "Flat Footed Woman," a keen little tune which starts off rather slowly but picks up after some fooling around on the 88's. John Halsey’s song "Mummy" might easily go down as the farthest thing from a drum solo that a percussionist has ever written, and giving this particular track a listen is twice as necessary as solving the Riddle of the Sphinx. Side one closes with Patto indulging themselves in a heap of rock & roll noise, spotlighting on Olly Halsall’s ludicrous guitar wailing above the electrical commotion.

Side two continues in a similar vein, commencing with "Turn Turtle," an invigorating and woeful tale of a poor lad whose object of affection has a touch of frigidity—"When I touch you, you scream/ You turn turtle, play dead." Next comes the low point of the album, "I Got Rhythm," a dragged-out number which wouldn’t rate at all if it weren’t for Olly’s fluid and furious guitar runs. Patto closes the side with a two-part oceanic tale, the first segment being an infectious ditty from Olly, and part two tying up the loose ends, a crazed studio excursion capable of making both the Bonzo Dog Band and the Firesign Theatre pee in their trousers with delight.

Patto has succeeded in the pass with writing tunes capable of stopping the human heart and soloing in such a way that the tune is continuously interesting. With this new one, however, the band has cut a disc which ties together perfectly without sacrificing song quality, and they deserve fame, fortune and critical acclaim.

by Jon Tiven, November 23 1972

Tracks

1. Flat Footed Woman - 8:02

2. Singing The Blues On Reds - 4:56

3. Mummy (Ollie Halsall) - 2:18

4. Loud Green Sonfi - 3:51

5. Turn Turtle - 6:07

6. I Got Rhythm (Mike Patto) - 4:46

7. Peter Abraham (Ollie Halsall) - 6:14

8. Cap'n 'P' And The Attos - 5:32

9. San Antone - 3:37

10.Government Man - 5:15

11.Beat The Drum - 4:57

12.Sittin' Back Easy - 3:57

13.So Cold (Mike Patto) - 6:36

14.Love Me - 8:39

15.San Antone - 5:13

Songs 1,2,4,5,8 written by Mike Patto, Ollie Halsall

Songs 9-12,14,15 written by Mike Patto, Ollie Halsall, Clive Griffiths, John Halsey

Bonus Tracks 14-15 From The BBC Sessions (November 1970)

Bonus Tracks 9-13 From The BBC Radio - Live In Concert (March 1971)

Patto

*Mike Patto - Lead Vocals, Electric Piano

*Peter "Ollie" Halsall - Guitar, Piano, Organ, Vibes, Vocals

*Clive Griffiths - Bass, Vocals

*John Halsey - Drums, Percussion

1971 Patto - Hold Your Fire (2011 Japan SHM)

Related Acts

1967-69 Timebox - Beggin'

1975 Boxer - Below The Belt (2012 remaster)

1976 Boxer - Bloodletting (2012 remaster)

1977 Boxer - Absolutely (2015 reissue)

1974 Tempest - Tempest (2011 remater)
1973-74 Tempest - In Concert (2013 release)

1973-75 Tempest - Under The Blossom The Anthology (2005 double disc set)

Wednesday, July 9, 2025

Royal Servants - We (1970 germany, fine psych groovy rock, remaster and expanded)

The Royal Servants, forerunners of Eulenspygel, were formed in 1965 in the town of Reichenbach in Swabia. Starting out with beat, they gradually turned to bluesrock and, finally, progressive artrock. This development is well recognizable on their one and only LP "We" (Elite Special PLPS 30130), released in 1970 in a small edition. Whereas their first two singles, which were added to their CD as bonus tracks, are audibly in the 60s vein, the track presented here is the finest of laid-back underground and bears its title honestly. In early 1971, the Royal Servants were one of the first German bands to write their songs in German, and so it was only consistent that they changed their name into Eulenspygel that very year. Their CD "We", which was taken from the master tapes, contains their complete releases. With 32-page colored booklet.

Tracks

1. Work Part II - 5:20

2. We - 9:15

3. Someone To Be With Me - 2:48

4. Latin Underground - 12:40

5. Here's Where I'm Gonna Stay - 2:57

6. Private Man - 2:43

7. Doomsday Up To Date - 1:57

8. Burnin' Region (Matthias Thurow, Ronald Libal) - 3:48

9. Help Me Please (Matthias Thurow, Ronald Libal) - 4:14

10.Still I Belong - 3:50

11.The Blues 'Comin' My Way - 5:00

All songs by Detlev Nottrodt except where noted

Bonus-Tracks 8-11

The Royal Servants

*Detlev Nottrodt - Electric Guitar, Vocals

*Matthias James Thurow - Electric Guitar, Violin, Mellotron, Sitar

*Ronald Libal - Electric Bass

*Manfred Maier - Vocals

*Günter Klinger - Drums

*Reinhard Hetzinger – Organ

With

*Peter Mayer - Piano, Organ, Vibraphone (Tracks 1-7)

*Cornelius Hauptmann - Concert Flute (Tracks 1-7)

*Alex Alecke - Drums (Track 8,9)

*Michael Scheibner - Rhythm Guitar, Organ (Track 8,9)

1971-72 Dando Shaft - Dando Shaft • Lantaloon (2002 remaster)

Tuesday, July 8, 2025

Dando Shaft - An Evening With Dando Shaft (1970 uk, beautiful folk psych rock, 2006 japan remaster)

Dando Shaft led by Martin Jenkins, who had a firm position in the British folk scene and made a presence with his unique personality. They use various acoustic instruments and create their own unique world by blending the international feeling and acid flavor of the Incredible String Band with the warmth of American folk.

There is also a cool sense of acutolade, this unique world that you can't forget once you hear it brings a truly mysterious feeling.

Dando Shaft's debut album, "An Evening With", can be said to be ascetic, can be said to have established a shining monument in the history of British folk. A masterpiece that I would say is a must-have for anyone interested in British folk!

Tracks

1. Rain - 5:04

2. Cold Wind - 4:11

3. September Wine - 3:38

4. Cat Song - 2:30

5. In The Country - 6:48

6. Drops Of Brandy - 2:27

7. End Of The Game - 3:29

8. Lazily Slowly - 3:21

9. Spring Clog Dance - 2:53

10.Thruxton Flute - 3:28

11.Digging Up The Rose - 3:28

12.Don't Forget The Animal - 2:31

All songs by Dave Cooper, Kevin Dempsey, Martin Jenkins, Roger Bullen, Ted Kay

Bonus Tracks 9-12

Dando Shaft

*Dave Cooper - Guitar, Vocals

*Kevin Dempsey - Bass, Guitar, Vocals

*Martin Jenkins - Mandolin, Violin, Vocals

*Roger Bullen - Bass

*Ted Kay - Percussion

*Polly Bolton - Vocals (Track 12)

1969 Man - Revelation (2009 remaster and expanded)

Sunday, July 6, 2025

Man - All's Well That Ends Well (1977 uk, razor sharp guitar power jam psych rock, 2014 three disc clamshell box remaster)

Thirteen line-ups, twelve albums, a few bits and pieces and no fatalities. So went the opening text of the Man Family Tree poster included with the first 500 copies of the Welsh supremos last album before their six-year hiatus. In 1976 the musical scene was in flux with the first flowerings of the short-lived punk scene forcing their shoots through the established foliage. However, it wasn't fear of being pushed aside or sounding dated that prompted the split, the band were still selling out live concerts with ease, but after nine years on the road the band had all had enough.

Their label at the time, MCA, were owed a final album and although the band did make a half-hearted attempt to record some new material the sessions crumbled amongst in-fighting and the reluctance of anyone to submit any songs, preferring to keep what they were working on in the bag to be used in future projects of their own. Tensions between band members were not helped by guitarist and vocalist Deke Leonard offering to write the whole album himself, an offer that was seen by the rest of the band as Leonard trying to claim the writing royalties for himself. The day was saved, and litigation prevented, when booking agent Brian Marshall managed to persuade MCA that a farewell live album would sell, as the group always managed to achieve the greatest heights when playing on stage.

The recording was, perhaps inevitably, taken from a series of three concerts at the Round House in London's Chalk Farm, a venue where the band had recorded two previous live albums (the live half of 1973's Back Into The Future and the Maximum Darkness album recorded with John Cipollina of Quicksilver Messenger Service) as well as appearing on the bill and subsequent album of the infamous Greasy Truckers Party. Only the first two nights of the run were recorded, possibly because the final night was on a Sunday, with roughly half of the original album taken from each of the Friday and Saturday night's concerts. The newly remastered version of the original album is included as the first disc of this set but it is the second and third discs where the value of this release lies, a newly mixed rendition of the entire set list of the concerts taken from the original 24-track tapes which, fortunately, had been kept safe and secure in storage.

Because of technical issues arising from an electrical buzz emanating from a faulty on-stage monitor, only one of the extra numbers is included from the Saturday night so the bulk of the 90-minute concert derives from the first of the three nights. However, as the band were on scorching form that is not an issue. And what a band Man were at the heights of their powers. The twin guitars of Leonard and main man Micky Jones may not have provided the same intertwined complexities of the likes of Wishbone Ash, but support each other superbly, each of the guitarists providing a foil for each other to play off, the origins of the often lengthy jams the band would indulge in. Future Dire Straits sticksman Terry Williams occupied the kit, Phil Ryan had returned on keyboards and newest recruit John McKenzie, who reasonably enough was the most upset about the decision to call it a day, filled in the bass end.

So what of the music? The selection for the original album was chosen so as not to over replicate material that had appeared on previous live efforts so three tracks from the latest studio album, The Welsh Connection, the title track, The Ride And The View and Born With A Future, were a given as that album had only been released a few months prior to the concerts. All three concerts were kicked off with the Louis Jordan/Ray Charles standard Let The Good Times Roll, a song never previously performed live or recorded by the band which as well as providing an affirming statement to kick things off also ticked a couple of boxes on the commercial front, although I doubt very much if that was ever a consideration.

A Hard Way To Live, first released on Leonard's debut solo album Iceberg in 1973, is perfectly suited to the Manband approach making maximum use of the twin guitars and being an energetic, good time piece of music. It is also possible that it was chosen as a partial explanation for the bands reason for calling it a day as the lyrics bemoan the trials of surviving in a rock band. The album was completed by two live favourites, the seminal (excuse the pun!) Spunk Rock, the band's signature tune that was only reintroduced into the live set shortly before these final concerts, and Romain which had been the favoured closing number since it first appeared on the eponymous 1970 album. A decent enough collection that would satisfy the fans even if there was no band to push its release and MCA not putting any great effort into its promotion, something that is obvious from the totally half-arsed cover.

It is the remainder of the set that was left off the original album that entices with this re-release. Three of the culled tracks, 7171 551, originally titled after Monkee Mike Nesmith's telephone number and another number from Leonard's Iceberg album, the folk ballad Babe, I'm Gonna Leave you, also recorded in rocked-up versions by Led Zeppelin and Quicksilver Messenger Service and Many Are Called, But Few Get Up had all appeared on the 1975 live album Maximum Darkness, and the remaining two tracks, C'mon and Bananas, both from the classic Be Good To Yourself At Least Once A Day were regular favourites and were probably omitted because of internal weariness of the numbers and fear of over-reliance and exposure on specific numbers.

Although the concerts were perhaps more concise and featured less jamming - limited largely to tracks that did not appear on the original album (the limitations of vinyl!) - than other Man concerts the performances are excellent with the version of Bananas being particularly poignant and memorable. A fitting end to the classic era of this fine band and with the full set restored across two CDs an essential addition to any decent music collection. Just a shame that permissions for the full unedited film of the concerts could not have been obtained prior to this release as that would have made a perfect complete package, still one can hope that its release will eventually be sanctioned. In the meantime we have the audio recordings to relish in.

by Mark Hughes, Monday 21 April 2014

Tracks

Disc 1 The Original Album 1977

1. Let The Good Times Roll (Fleecie Moore, Sam Theard) - 3:03

2. The Welsh Connection (Micky Jones, Phil Ryan) - 8:01

3. The Ride And The View (Deke Leonard) - 6:04

4. A Hard Way To Live (Deke Leonard) - 3:08

5. Born With A Future (Deke Leonard, Micky Jones, Phil Ryan) - 7:44

6. Spunk Rrock (Deke Leonard, Micky Jones, Terry Williams) - 8:36

7. Romain (Deke Leonard, Martin Ace, Micky Jones) - 5:03

Disc 2 Man At The Roundhouse, December 1976

1. Let The Good Times Roll (Fleecie Moore, Sam Theard) - 2:47

2. 7171 551 (Deke Leonard) - 5:18

3. The Welsh Connection (Micky Jones, Phil Ryan) - 8:14

4. Babe, I'm Gonna Leave You (Edward Darling, Paul Bennett, Anne Bredon, Erik Darling, Patricia Bennetts) - 5:02

5. The Ride And The View (Deke Leonard) - 6:15

6. C'Mon (Clive John, Micky Jones, Phil Ryan, Terry Williams, Will Youatt) - 16:24

Disc 3

1. Born With A Future (Deke Leonard, Micky Jones, Phil Ryan) - 7:25

2. Many Are Called, But Few Get Up (Clive John, Deke Leonard, Martin Ace, Micky Jones, Terry Williams) - 10:31

3. A Hard Way To Live (Deke Leonard) - 3:29

4. Bananas (Clive John, Micky Jones, Phil Ryan) - 11:54

5. Spunk Rock (Deke Leonard, Micky Jones, Phil Ryan, Terry Williams) - 7:40

6. Romain (Deke Leonard, Martin Ace, Micky Jones) - 5:16

Man

*Micky Jones - Vocals, Guitar

*Deke Leonard - Vocals, Guitar

*Phil Ryan - Vocals, Keyboards

*John McKenzie - Vocals, Bass

*Terry Williams - Vocals, Drums

1969 Man - 2 Ozs Of Plastic With A Hole In The Middle (2009 remaster)

1971 Man - Man (2007 remaster)

1971 Man - Do You Like It Here Now Are You Settling In (2007 bonus tracks remaster)

1972 Man - Be Good To Yourself At Least Once A Day (2007 remaster with extra tracks)

1972 Man - Live At The Padget Rooms, Penarth (2007 double disc remaster and expanded)
1974 Man - Slow Motion (2008 remaster and expanded)
1974 Man - Rhinos Winos And Lunatics (2007 double disc remaster)

1975 Man With John Cipollina - Maximum Darkness (2008 remaster with bonus tracks)

1976 Man - Welsh Connection (2013 double disc remaster)

1974 Deke Leonard - Kamikaze (2015 remaster with extra tracks)

1975 Clive John - You Always Know Where You Stand With A Buzzard (2004 remaster)

1972 Various Artists - Christmas At The Patti (2007 remaster)

Saturday, July 5, 2025

First Friday - First Friday (1970 us, excellent classic psych brass rock, 2001 edition)

First Friday formed in South Bend in 1968 while band members were Notre Dame students, offering an appealing blues-rock sound. One album was released in 1970 on Chuck Perrin’s Webster’s Last Word label; Perrin also served as producer. With only 500 copies pressed, it has become an expensive collector’s item, especially without a proper reissue. The band’s name originated with a stack of First Friday event flyers promoting a monthly mass event in the dorm chapel; the band used the flyers instead to promote themselves.

While there are no other releases from First Friday, a second album was recorded in 1970 for King Records in Nashville, but not released. A reunion CD from 1997 was also recorded, but not released. The band reunites annually for performances. Guitarist Norm Zeller went to play with Undisputed Truth, Natalie Cole and others. Zeller and Wallace performed on Chuck and Mary Perrin’s Next of Kin LP.

Indiana-Musicpedia

Tracks

1. Nice Day For Something - 1:44

2. Got No More Home Than a Dog (W. C. Handy) - 4:26

3. Night Driving - 1:57

4. Maryanne (Ray Charles) - 6:28

5. Such a Lot to Say - 3:30

6. Wings to Fly - 3:43

7. Take Them All Away - 4:26

8. Ballad of John Doe Jr. (John Prendergast) - 2:43

All songs by Andy Wallace except where indicated

First Friday

*Andy Wallace - Organ, Vocals, Acoustic, Rhythm Guitars, Bass

*Bob Ewan - Vocals

*Jeff Hirschauer - Trumpet

*Jim Stynes - Drums

*John Prendergast - Bass, Organ, Piano, Saxophone, Flute

*Norman Zeller - Guitar

Friday, July 4, 2025

Polyphony - Without Introduction (1972 us, organ drivin' heavy psych experimental prog rock, 2011 remaster)

Polyphony were a Virginia US band who released this concept album originally in 1972. Polyphony proved to be even more deeply rooted in the sound of the psychedelic era than their British contemporaries. Despite this foundation in the sound of the late 1960s, their energetic compositions give the impression that the band simultaneously wanted to break away from this very heritage. They had undoubtedly arrived in the present day of the symphonic variant of progressive rock music, as evidenced by the frenetic use of the Moog synthesizer and powerful bass lines. The addition of Latin-inspired percussion in the form of a permanent conga player lends the whole a special touch.

In the opener, "Juggernaut," Polyphony presents themselves as torn between eccentric, exuberant psychedelia and progressive, dynamic symphonic music. It is precisely in this "battle" between these opposing poles that the appeal of the truly unique sound of "Without Introduction" lies. After the explosive Moog interlude "40 Second Thing In 39 Seconds," all of this is taken to the extreme in "Ariel's Flight," culminating in a "symphonic trip" sound rarely heard in other bands, the climax of the entire album. The late-entry vocals, combined with the euphoric keyboard sound, evoke memories of Lee Jackson in Refugee. The rather understated "Crimson Dagger," with its vocal lines still rooted in the 1960s, concludes the album as an impressive testament to the early phase of US progressive rock.

by Horst Straske

Tracks

1. Juggernaut (Craig Massey) - 13:58

2. 40 Second Thing In 39 Seconds (Glenn Howard) - 1:09

3. Ariel's Flight (Craig Massey) - 15:10

4. Crimson Dagger (Glenn Howard) - 6:53

Polyphony

*Glenn Howard - Vocals, Lead, Slide Guitars

*Craig Massey - Vocals, Organ, Moog

*Martin Ruddy - Bass, Backing Vocals

*Christopher Spong - Drums

*Chatty Cooper - Congo Drums, Timbales, Percussion

Wednesday, July 2, 2025

The Final Solution - Just Like Gold Live At the Matrix (1966 us, superb folk psych rock, 2024 remaster)

The Final Solution was among the more intriguing of the legions of bands populating the mid-1960s San Francisco rock scene. Though they rarely recorded, Just Like Gold: Live At The Matrix showcases a legendary Bay Area folk-punk quartet that never even got to release a record, yet whose cutting-edge sound and style brims with the heady air of early psychedelia.

The Solution was formed in 1965 by bassist Bob Knickerbocker and guitarist Ernie Fosselius, friends at San Francisco State, then a melting pot of personalities which would fuel San Francisco’s young-adult bohemian scene. Rounding out the band were John Chance on drums and John Yager on guitar and vocals. The group began by playing Haight-Ashbury dives like Haight Levels, but their constant rehearsals and growing notoriety soon bagged the Solution a month-long residency at the famed Red Dog Saloon in Virginia City, NV.

In July of 1966, The Final Solution stepped in to perform when The Great! Society were forced to cancel a gig at San Francisco’s famed club, The Matrix, in some ways the epicenter of the city’s incipient rock explosion. Peter Abram was running his tape deck that night and captured a dynamic set that clearly shows the band’s diversity and musical chops. From the opening raga “Tell Me Again” to the propulsive folk-rock of “Time Is Here And Now” and the Dylan-esque “Bleeding Roses,” these original songs leave unequivocal proof of The Final Solution’s untapped potential.

After Chance left the group in the fall of 1966 to return to his studies and was replaced by The Great! Society’s Jerry Slick on drums, The Final Solution moved into a more musically experimental phase. But when a hopeful recording contract remained unconsummated, the band’s members began to lose interest and eventually drifted apart. While they rose high enough to share a bill with Quicksilver Messenger Service at the Fillmore Auditorium, The Final Solution was over before the Summer of Love had even begun.

The Final Solution—Just Like Gold: Live At the Matrix 1966 marks the first in a planned series from High Moon Records of authentic location recordings from The Matrix. From 1965 to 1971, this tiny club hosted not only the top movers and shakers of San Francisco rock such as Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead, but also a host of lesser-known yet no less worthy acts in the rock, blues, jazz, and folk fields.

High-Noon Recs

Tracks

1. Tell Me Again (Ernie Fosselius, Bob Knickerbocker, John Yager) - 6:17

2. Bleeding Roses - 3:45

3. If You Want (John Chance, John Yager) - 4:41

4. Time Is Here And Now - 4:24

5. Just Like Gold (John Yager) - 4:04

6. You Say That You Love Me/Got My Mojo Workin' (John Chance, Ernie Fosselius, Bob Knickerbocker, John Yager / Preston Foster) - 3:27

7. Misty Mind - 7:27

8. So Long, Goodbye - 3:37

9. America The Beautiful (Traditional) - 6:11

10.Truck Driving Son-Of-A-Gun (Dixie Deen, Ray King) - 1:37

11.Nothing To Fear - 4:02

12.Misty Mind - 4:51

13.If You Want (John Chance, John Yager) - 3:49

14.Just Like Gold (John Yager) - 4:33

15.Blacklash - 5:17

16.Bleeding Roses - 2:55

All songs by Ernie Fosselius. Bob Knickerbocker unless otherwise noted

Tracks 1-10 recorded by Peter Abram at The Matrix, July 1966

Tracks 11-16 recorded at Pine Street, San Francisco November 1966

The Final Solution

*Ernie Fosselius - Lead Guitar, Backing Vocals

*Bob Knickerbocker - Bass, Backing Vocals

*John Yager - Lead Vocals, Rhythm Guitar

*John Chance - Drums, Backing Vocals

*Jerry Slick - Drums (Tracks 11-16)

1974 Chapman • Whitney - Streetwalkers (2009 edition and 2024 remaster and expanded)

Tuesday, July 1, 2025

Streetwalkers - Red Card • Vicious But Fair (1976-77 uk, fascinating multicolored rock, 2005 remaster)

Punk rock made the Streetwalkers seem like old farts, but Red Card proved (upcoming metaphor overuse intended) that they still had an ace up their sleeve. From the groove-heavy "Roll up, Roll Up" to the ferocious "Run for Cover," this is the first and last great gasp from this band. In fact, had it come a few years earlier, it could have been included along with some of the better work by Chapman and Whitney's previous band, Family. The highlight, perhaps the best reason to search out this record, is a cover of Otis Blackwell's "Daddy Rollin' Stone," which Roger Chapman absolutely sings the living sh*t out of. It's an exhilarating moment and proof positive that he has one of the great voices in rock & roll.

by John Dougan

In 1977, drummer McBain was replaced by David Dowle, who later joined Whitesnake, and keyboardist Brian Johnstone and new bassist Mickey Feat joined the band. With this lineup, the last studio album, “Vicious But Fair,” was recorded in 1977. However, the album was not successful at all in a period dominated by punk and new wave.

After the 1977 album Live, the band broke up. Bobby Tench left to join Van Morrison's band, along with Mickey Feat. Charlie Whitney formed the equally unsuccessful band Axis Point, while David Dowle joined the band Midnight Flyer. Singer Roger Chapman started a solo career and was/is particularly popular in Germany. He also scored a hit as a singer on the Mike Oldfield single Shadow On The Wall.

Tracks

1. Run For Cover - 5:47

2. Me An' Me Horse An' Me Rum (Bobby Tench, Roger Chapman) - 4:04

3. Crazy Charade (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:27

4. Daddy Rolling Stone (Otis Blackwell) - 3:15

5. Roll Up, Roll Up - 3:29

6. Between Us - 3:48

7. Shotgun Messiah (Bobby Tench, Charlie Whitney, Roger Chapman) - 4:49

8. Decadence Code - 6:44

9. Mama Was Mad - 4:15

10.Chilli-Con-Carne - 3:55

11.Dice Man - 9:30

12.But You're Beautiful - 3:57

13.Can't Come In - 4:03

14.Belle Star (Charlie Whitney) - 3:13

15.Sam (Maybe He Can Come To Some Arrangement) (Bobby Tench, Charlie Whitney, Roger Chapman) - 5:47

16.Cross Time Woman - 5:16

All Songs written by Charlie Whitney, Roger Chapman except where noted

Tracks 1-8 from "Red Card" LP 1976

Tracks 9-16 from "Vicious But Fair" LP 1977

The Streetwalkers

*Roger Chapman - Lead Vocals, Percussion

*Charlie Whitney - Electric, Slide Guitars, Keyboards

*Bob Tench - Electric Guitars, Vocals, Keyboards, Percussion

*Nicko - Drums, Percussion (Tracks 1-8)

*Jon Plotel - Bass, Backing Vocals (Tracks 1-8)

*David Dowle - Drums, Percussion (Tracks 9-16)

*Michael Feat - Bass Guitar, Vocals (Tracks 9-16)

*Brian Johnstone - Keyboards, Vocals (Tracks 9-16)

*Wilf Gibson - String Arrangements

*Mel Collins - Horns (Tracks 9-16)

*Poli Palmer - Synthesizer (Track 12)

*Louise, Eunice - Backing Vocals (Tracks 9-16)

1975 Streetwalkers - Downtown Flyers (2005 remaster)

1970 Family - A Song For Me ( 2004 japan remaster and expanded)