I’d just left Ithaca College as a Music Ed. student when I joined Boffalongo. In pretty short order we cut 2 albums in New York City (released in 1969 and 1970).
The first LP is the original band, Keith Ginsberg on guitar/vocals, Basil Matychuk on keys/vocals, the late Ritchie Vitagliano on drums and me on bass; 7 of their songs and 5 written by me. I played some guitar, organ, trumpet and sang as well. Recorded in a ‘state of the art’ 4-track studio on 54th Street, it exemplifies the sheer energy / exploration of youth: a first effort from a group of kids with an eclectic, intellectual and sometimes ethereal idea of pop music.
A North-West London studio based quartet consisting of members best known as producers, engineers and session players, Fickle Pickle was actually a bit of an English psych pop supergroup consisting of Cliff Wade (lead guitar, rhythm guitar and bass guitar) and Geoff Gill (drums) from The Smoke, best known for their late 60’s acid classic “My Friend Jack” along with Wil Malone (piano, organ and electric piano) from Orange Bicycle and Steve Howden (lead guitar, rhythm guitar and bass guitar) from Red Dirt. Vocals for the band were supplied by all four members. The three bands had in common that they recorded at Morgan Studios in London, so it was rather inevitable that the four combined their talents and recorded a handful of singles as well as an LP that received very limited distribution. Luckily for fans of the band, albeit some fifty years later, the complete works of Fickle Pickle have been lovingly compiled and annotated by David Wells in a three CD box set aptly titled “A Complete Pickle” released on Morgan Music Co. Ltd.’s Morgan Blue Town imprint.
The three discs comprising “A Complete Pickle” are thematic. Disc one contains the twelve tracks from Fickle Pickle’s 1970 album “Sinful Skinful” which was released only in The Netherlands on the Explosion Records label along with nine non-LP single sides issued on various labels between 1970 and 1972. Disc two has twenty six tracks recorded, all but five previously unreleased, taken from the Morgan Blue Town tape library, while the box set’s real treat is disc three which contains fifteen previously unreleased studio tracks recorded during rehearsals for a Dutch tour, making for a total of sixty two tracks, thirty six of which make their debut on “A Complete Pickle” and making for an exhaustive document, nearly three and a half hours in length, of a finely tuned band who most certainly deserved a much better fate than they received.
Disc one begins with the LP tracks which unlike their singles, consist of only band originals, with Gill, Wade and Malone contributing the lion’s share of tunes. Throughout the band exhibits its ability to combine gorgeous melodies and beautiful vocal harmonies with skillful musicianship. Produced by Geoff Gill and Cliff Wade, the albums opens with “California Calling” co-written by Gill, a jazzy keyboard driven number that was a mainstay in Fickle Pickle’s live set. Originally released as a medley, the album’s title track, a Wade, Gill and Malone composition is a piano led tune with delicate vocal harmonies and a tastefully restrained lead guitar line, while the medley’s other half “Sandy” is a beautiful ballad featuring exceptional acoustic guitar work. “Doctor Octopus” hints at the heavier side of the band as well as serving as an example of the band’s Monty Pythonesque humorous element. “Let Me Tell You” the opening track on side two of the album begins with more delicate piano and gorgeous vocals before a fuzz guitar enters building to a mid-tune solo giving the tune a much heavier feel. “Down Misty Lane” is the LP’s longest tune at about four and a half minutes and has a Move like vibe with its 12 string guitar fitting perfectly.
Two other tracks in particular stand out. The vocal intro of “Sunshine Pie” brings to mind “Western Union” a smash hit by the US band The Five Americans before its tastefully restrained lead guitar line and solo take over, showcasing the rockier side of the band, and the album closing, Beatlesque “Our Time Is Thru” with its fuzzed out guitar leading to another hot solo, the tune being the album’s heaviest without question. As a finishing touch the band’s sense of humor shows once again as at the three minute mark the albums’ credits are read off. A very solid piece of melodic power pop one can only wonder why “Sinful Skinful” was a Dutch only release. With its combination of original material, masterful musicianship and excellent production there was certainly a place in music shops for an album of its quality. Disc one closes with nine non-LP single sides and includes some potential big sellers. The band’s take on Paul McCartney’s “Maybe I’m Amazed” is a prime example, with its piano intro and gorgeous vocals giving way to an uptempo lead guitar leading to a hot solo that plays the song out. With McCartney having not released the song as a single it seems Fickle Pickle’s label missed the perfect opportunity for a hit. The strongest track, however, may well be the band’s red hot cover of the Paul Williams classic “Just An Old Fashioned Love Song” a huge hit in the US for Three Dog Night. From the outset, the lead guitar is to the fore, with the piano, bass and drums all pushing the beat and the vocals much less prominent in the mix. This might just be the best recording of the song to date, and definitely another missed opportunity for a hit. One other single of note was “Millionaire” with its sitar-esque intro, delicately gorgeous vocals and lyrical social commentary.
Disc two consists of twenty six tracks, twenty one previously unreleased, taken from the Morgan Studios tape vaults. While the majority of tunes showcase the melodic side of Fickle Pickle and are dominated by keyboards and luscious vocals, there are five tunes in particular that remind the listener that the band was quite capable of rocking and deserve individual recognition. “Playing With Magic” opens with a heavy guitar intro before settling into a driving riff, supplemented by trippy phasing and an especially nice lead line. “Like A Good Man Should” has a driving beat as well as a stunning lead guitar line and solo complemented by Malone’s gorgeous piano interlude. “Ride Ride Ride” has plenty of punch supplied by its heavy guitar intro and stinging lead line, making for quite a snappy rocker. The group’s cover of Neil Young’s “Don’t Let It Bring You Down” features fine piano and organ work by Wil Malone with a smoking lead guitar line and an especially impressive solo, in addition to the band’s ever present melodic vocals.
Malone’s “Everyday” is a moody tune which adds strings for texture, while containing even more impressive guitar work. The tunes found on this disc also show the close relationship between The Smoke and Fickle Pickle, as “Guy Fawkes” for instance, was indeed recorded by both bands. In addition, two cover tunes in particular stand out. America’s “I Need You” is especially fitting as it is centered around the band’s vocal harmonies with melodic piano accompaniment. The disc closes with a reggae flavored take on “Do Wah Diddy Diddy” a huge hit for Manfred Mann and another wonderful fit for Fickle Pickle’s luscious vocals. All in all, the tracks found on this disc stand as evidence of the vocal, arrangement and production talents of Fickle Pickle and hint at the possibilities had the band only been able to break through in either the U.K. or U.S. market.
The third and final disc of “A Complete Pickle” contains fifteen tracks, all previously unreleased, recorded in the studio in preparation for a tour of The Netherlands, and as such is an incredible document of the band’s musicianship and showmanship. The material is a wonderful mix of band originals and covers, and includes tracks from “Sinful Skinful” and the group’s single sides as well as tunes that had not been previously dedicated to tape but were part of Fickle Pickle’s live repertoire. The disc offers an opportunity to experience one of the band’s gigs, something previously only available to those lucky enough to have seen them on their Dutch tour. The set opens with a laid back, keyboard oriented take on “Maybe I’m Amazed” which may lack the fiery guitar work of the single release, but stands up well thanks to its gorgeous vocals.
“Sinful Skinful” likewise relies on keyboards and vocal harmonies but is incredibly pleasant to the ear. A six minute version of Cliff Wade’s “People I Know” makes its debut in any form and does not disappoint, opening with gentle keyboards and vocal harmonies before the lead guitar takes over and delivers a memorable solo. A cover of Carole King’s “You’ve Got A Friend” fits the band perfectly with its mix of keyboards and vocal harmonies. As with the King cover, another track found only among the tour rehearsals is a ten minute plus take on Joni Mitchell’s “Woodstock” best known for the highly charting single release by Crosby, Stills, Nash & Young. The song differs greatly from typical performances by the band straight from its intro. The sound is dominated by its incendiary guitar and heavy beat and includes an impressive mid-tune solo, with Malone’s keyboards, especially his electric piano interlude, adding flavor to what is undoubtedly the heaviest song in the band’s live set. Two tracks taken from the group’s LP “Sandy” and “Down Sandy Lane” return the band to its more mellow, melodic side, showcasing the vocal abilities of the quartet.
One of the songs from their unreleased studio demos, “Buena Vista” is a gorgeous mix of tastefully restrained guitars and beautiful vocal harmonies. The group’s humor is present once again on “California Calling” taking the band full circle to the opening track of “Sinful Skinful” and adds a delightfully light hearted break in the action. Following “Let Me Tell You” a track which fluidly moves from its gentle keyboard intro to its more uptempo guitar section highlighted by yet another spright, yet somewhat restrained solo. The set ends with the aptly titled show closer “Time To Go” an uptempo keyboard driven tune yet again showcasing the band’s vocal harmonies and employing percussion in the form of drums and handclaps as an outro. A delightful mixture of up and mid-tempo numbers the rehearsal recordings serve as a teaser of what a joy it would have been to see these four incredibly talented musicians live. Rare indeed is a combo consisting of members, all proficient on their instruments as well as capable of delivering distinctively gorgeous vocals. But such was the quartet which bore the moniker Fickle Pickle.
“A Complete Pickle” comes in a tri-fold digipak with each of the three discs tucking into a panel of the digipak. Also included is a twenty four page full color booklet with a detailed essay by David Wells. The booklet contains photos of the band members, artwork of the album and singles releases, as well as press clippings and other memorabilia. The music on this box set sounds crisp and clean thanks to the mastering job by Pete Reynolds. An incredible documentation of a band that was comprised of great songwriters, musicians and producers “A Complete Pickle” has a place in the collection of any fan of early 1970s pop psych music and will be of special interest to those familiar with the band’s who gave birth to Fickle Pickle, namely The Smoke, Orange Bicycle and Red Dirt and comes most highly recommended.
by Kevin Rathert
Tracks
Disc 1
1. California Calling (Danny Beckerman, Geoff Gill) - 2:15
Formed in 1969 by Cub Koda, who later reaped the title as an honorable music historian, Brownsville Station issued a trio of albums prior to harvesting honey with this disc. Although such efforts received kind reviews, they failed to generate substantial sales. Despite the lack of vinyl interest, the Ann Arbor, Michigan band busted their butts touring the local circuit, where they drew a fanatical following.
Released in August 1973, Yeah! (Big Tree Records) featured Brownsville Station’s breakthrough hit, “Smokin’ In The Boys Room,” which zoomed to No. 3 on the national charts. Reflecting a wild orgy between Alice Cooper, the J. Geils Band, Slade and Paul Revere and the Raiders, the obnoxious ode to sneaking ciggies in the school’s loo, clanked, crunched and cackled to a raunchy repertoire of thumping rhythms and shouting choruses. A dozen years down the road, Motley Crue covered “Smokin’ In The Boys Room,” which cracked the Top 20.
Nearly every track on Yeah! could qualify as a jukebox favorite. It’s easy to hear how much fun Brownsville Station had singing and playing these punchy songs smacking of beer stains and the smell of nicotine. The band appears as if they have nary a care in the world. They eat, sleep and breathe rock and roll, and are thrilled to pieces to be sharing their passion with those willing to lend an ear.
Additional winners offered on Yeah! include the brawny bash and flash of “All Night Long” and the senselessly catchy “Let Your Yeah Be Your Yeah,” while a ripping revision of Hoyt Axton’s “Lightnin’ Bar Blues” and a spirited take of the Balloon Farm’s psychedelic scented “Question Of Temperature” should also be given special attention.
Carpeted with vintage guitar riffs gone mad, trashy drumming, shrill harmonica fills and wise-guy vocals, Yeah! serves as a scruffy synthesis of greasy garage rock, party hearty hard rock, bluesy boogie rock and sleazy glam rock. Relentlessly energetic, the album aptly blends slivers of corniness with killer sounds. Yeah! indeed…
by Beverly Paterson
With ten great songs, Yeah! is an album that lives up to its name -- quite possibly the only fully realized LP the band ever made. Eight covers, all given the treatment, and two originals -- one of which sold two million copies. Yeah! is the quintessential "nice little record" -- it won't take up a lot of your time, and it's got a very friendly vibe to it. The cover songs span a wide variety of musical styles, which isn't that surprising, considering that guitarist/vocalist Cub Koda has a deep knowledge of music history. From Hoyt Axton's "Lightning Bar Blues" to then-unknown Jimmy Cliff's "Let Your Yeah Be Yeah" to Lou Reed's "Sweet Jane," the band pumps out all of its songs in a chugging, lighthearted manner that ends up being nothing but fun.
Lead vocals were previously the exclusive domain of bassist Michael Lutz, but Koda emerges as a singer as well; Lutz may have been the more prototypical rock singer, but it was Koda's sleazy, nasal snarl that worked to perfection on the classic hit single "Smokin' In the Boys Room." While the success of "Smokin" opened a lot of doors for the band, it also pigeonholed them in such a way as to render them almost un-arrestable only a couple of years later. Between their wild onstage antics and the fact that the follow-up album, School Punks, was a blatant attempt at cashing in, the band lost a lot of the credibility they had earned by playing straight-ahead rock & roll. Although Brownsville Station would never again capture the magic here, Yeah! easily stands the test of time -- it's truly delightful.
by Geoff Ginsberg
Tracks
1. Question Of Temperature (Mike Appel, Ed Schnug, Don Henny) - 3:31
2. Lightnin' Bar Blues (Hoyt Axton) - 2:52
3. Take It Or Leave It (H. Cardell) - 3:00
4. All Night Long (Mike Lutz, Cub Koda) - 2:55
5. Let Your Yeah Be Yeah (Jimmy Cliff) - 3:37
6. Sweet Jane (Lou Reed) - 3:02
7. Love, Love, Love (Terry Knight) - 2:55
8. Go Out And Get Her (Doug Morris) - 2:56
9. Barefootin' (Robert Parker) - 2:55
10.Smokin' In The Boy's Room (Mike Lutz, Cub Koda) - 2:57
Why do so many people react with a sniff of the upturned runny nose when Detroit bands are mentioned, and why do Detroit bands come on so macho-honk self-conscious? Brownsville Station are from Ann Arbor, not Detroit, but they have always been lumped with the shortlived Detroit Bands hype, this despite the fact that most of the Detroit bands snubbed ’em mercilessly.
Why were they snubbed? Because Brownsville didn’t put on any badass streetpunk revolutionary airs, that’s why. They were just kids from the duplexes of America, not the belly of the beast, and cared shit less about politix and just wanted to rock ‘n’ roll. The Frut, good reviews of whose first album inspired a record number of why – did – you – fucking – critics – con – me – into – buying – this – piece – of – shit? letters to rock magazines around the country but were liked ’cause they played their part in the Detroit scene, once said that “We’re the guys who used to beat up Brownsville Station in the parking lot.” Maybe so, but Brownsville Station are the guys who right now will blow Frut right off the stage.
Still, I gotta admit that their new album ain’t as good as their first one, which is mainly a production problem, but so what? Their first, released on Warners nearly two years ago, was a monster, and there’s enough monstro moves in here to make this well worth shelling out a few sheckels for, in this day when most of the stuff on the radio is shit and you don’t know who to trust anymore and even the Rolling Stones have fucked up.
“Rack with the Music” isn’t particularly original, but it’ll get you off your ass. It sounds like Creedence and Sly together, but both of them are great and declining now along with lotsa other heavies, and besides, if you ever once heard Brownsville Station in your life and Leonard Feather hit you with this in a Blindfold Test you’d tag it right snappy.
“Mister Robert,” drives full throttle from here cross every dragstrip coast to coast, and is every bit as good as the fastest, furiousest things on the first Moby Grape album, and has a secret message. One thing I can tell you, it ain’t about Bob Dylan. And the lazied-back Rock Prince it’s addressed to (“Get up off your ass and move!”) could well be taken as Everystar who ever lost his fire in the fog of fame, but that ain’t quite the truth either. So listen and puzzle over it awhile, and if you’re really buffaloed you can write me a letter and I’ll tell you.
“Wanted (Dead Or Alive)” starts out with a riff so banal it took some nerve for Cub Koda to pick it up when he wanted to write a song one day, but that makes it even better, the gall and glee of that is what all this noise’s been about for most of our lifetimes now, and besides it gets into something a little more “inventive.” “Country Flavor” is currently the highlight of their live show, because it’s catchy as a bitch and has an indestructible hook and they always get the whole audience to clap and sing along and not a cynical zhlub in the house refuses, they’re that infectious. “Leavin’ Here” is Motown raved-up neat as Rod Stewart ever did and less axes to grind too, and “The Man Who Wanted More” is, believe it or don’t, a high energy takeoff on “When the Saints Go you know what.” And “Jonah’s Here To Stay” even has a fine soprano sax solo out of the Coltrane fakebook by lead singer Mike Lutz, and that takes care of side two making it 100 percent good, so what are you waiting for? The pick of the litter.
by Lester Bangs, July 6, 1972
Tracks
1. Rock With the Music (Michael Lutz) - 3:22
2. I Got Mine (Michael Lutz) - 2:46
3. Lovin' Lady Lee (Tony Driggins) - 3:33
4. Mad for Me (Pookie Shark) - 2:39
5. Mister Robert (Pookie Shark) - 4:06
6. Wanted (Dead or Alive) (Cub Koda) - 3:28
7. Country Flavor (Tony Driggins) - 4:27
8. Jonah's Here to Stay (Michael Lutz) - 6:48
9. Leavin' Here (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:04
10.The Man Who Wanted More (Saints Rock 'n' Roll) (Traditional) - 2:13
Brownsville Station
*Cub Koda - Lead Guitar,Vocals,Harmonica
*Michael Lutz - Lead Vocals,Guitar,Kaeyboards
*Tony Driggins - Bass,Vocal
*David Henri Weck - Drums
Renaissance made considerable impact and won an enthusiastic cult following when they first emerged at the beginning of the seventies. The British art rock band was born from the ashes of the original Renaissance founded by ex-Yardbirds Jim McCarty and Keith Relf in 1969. The new band continued with the concept of mixing classical music with poetry, blended with elements of rock, jazz and folk. The result was a highly individual sound blessed with hauntingly beautiful themes.
A variety of artists played with different versions of Renaissance, but the key members were guitarist and composer Michael Dunford, and singer Annie Haslam, who worked mainly with the gifted musicians John Tout (keyboards) and John Camp (bass). The lyrics to their romantic songs were contributed by the Cornish poetess Betty Thatcher, who listened to demo tapes of Dunford's songs and then posted on her lyrics. Annie Haslam, from Bolton, Lancashire, joined the band in 1972 to record their first album with the post McCarty-Relf line-up, called Prologue. Its success led to a more ambitious follow up album Ashes Are Burning.
Guitarist Rob Hendry who contributed to Prologue had left the band, and composer Michael Dunford joined the ranks as acoustic guitarist. "I went to visit the band and played them a few songs with my acoustic guitar," recalls Michael. "The acoustic sounded quite good and after a few rehearsals I became a full time member. In fact the piano was the main lead instrument which suited the orchestrated songs. There was a strong classical feel to the music. On Ashes Are Burning we worked with a string arranger called Richard Hewson who was great. The album was recorded at CTS Music Centre, which was than called De Lane Lea Studios, in Wembley.
The band line-up was John Tout, Terry Sullivan, John Camp, Annie and myself, and that was the line-up that continued until 1979. We used a 22 piece string section with woodwinds for two of the songs, "Can You Understand" and "Carpet Of The Sun". It was such an emotional feeling because we'd always wanted to work with an orchestra. Hearing the run through was absolutely fantastic, and we felt it was the way to go in the future. Over the next few years we did several "live" shows with orchestras. In the later years we changed too much, and got away from that sound, which was probably a bit of a mistake! But it was a breath of fresh air when we first recorded with the orchestra.
We didn't get any hit records off Ashes Are Burning but we gained a cult following and that album did very well in America. We were managed by Miles Copeland at the time and we went to America in 1974 for the first time. American audiences respond instantaneously and if they like you, they tell you. We were overwhelmed at the reaction to our first show, in a college in Brooklyn. We were astonished at the fact that people knew our songs. It was such a boost."
The title track "Ashes Are Burning" is an extended piece which became the band's encore number at concerts. "It gave everybody a chance to play a solo and have a bit of blow, because ninety per cent of the songs were heavily arranged. I remember one show we did at Radio City Music Hall in New York, where Betty Thatcher came out to see us play to 6000 people. We did three nights there on a huge stage, and I remember Betty introduced us. There was a cab strike in New York at that time, and we got hold of a Yellow Cab and put it on the hydraulic ramp under the stage and as the curtains opened, the cab came up with us inside it. We were greeted with rapturous applause!"
Annie Haslam remembers the Wembley recording sessions as: "A fantastic experience. We had a great engineer, Dick Plant, who really helped us a lot. The most incredible part of that album was when the orchestra came in. The first number they stuck up was "Carpet Of The Sun". I was standing next to John Tout and our eyes were welling up with tears, because all of a sudden, there was an orchestra playing our music. It felt so emotional because we had taken a step further from Prologue, and the music was progressing." The song title came from a child's inspired turn of phrase, as lyricist Betty Thatcher explains. "A child living in my home asked if the grass in the garden was a carpet, "Oh yes," I said, "It's the carpet of the sun", and I wrote the song for that child."
Renaissance rehearsed their new set of songs in a church hall before they took the plunge and started recording. Annie suggested they start the album with the sound of a gong, which can be heard on the opening track "Can You Understand". Says Haslam: "It's such a great album I love all tracks, but "At The Harbour" is one of the best things we ever did. Jim McCarty wrote "On The Frontier", which was the last time we used any of his music."
The title track "Ashes Are Burning" became one of the most important numbers in their act, and says Annie: "I have been doing it recently in my own stage shows. It's a great piece to show off the musicians in the band and I can do an operatic vocalise thing at the end. Of course since this album was made my vocal range has stretched, so I can sing higher than I did then. On the album the piece lasts about 12 minutes and Andy Powell from Wishbone Ash does a solo at the end. In the show it went on for half an hour." Betty Thatcher recalls that the song was inspired by a very strange set of circumstances. "I had a so-called "near-death experience" and I was told to go back as I didn't finished. I actually argued with God, but God won and I came back and wrote "Ashes Are Burning"."
After the album was released in 1973 Renaissance went on to create such works as Turn Of The Cards (1974), Scheherazade And Other Stories (1975), Live At Carnegie Hall (1976), Novella (1977), A Song For All Seasons (1978), Azure D'Or (1979), Camera Camera (1981) and Time Line (1983), before they finally broke up.
In recent years Annie Haslam has relocated to live in America where she tours with her own band and has released a solo album Blessing In Disguise with producer Tony Visconti. Michael Dunford has also returned with a new album called The Other Woman while in Spring 1995 there were plans afoot to revive the original Renaissance with Jim McCarty, John Hawken and Louis Cennamo. The music of Renaissance seems to be spreading outwards likes ripples in a sea of talent. Says Annie: "I don't think there was anything like the music Renaissance used to produce in the seventies and eighties. We were put in the pigeon hole of classical folk rock, but there wasn't another band like us and the albums just got better and better. Looking back - I feel blessed with everything that happened."
by Chris Welch
Tracks
1. Can You Understand - 9:53
2. Let It Grow - 4:18
3. On The Frontier (Jim McCarty, Betty Thatcher) - 4:58
4. Carpet Of The Sun - 3:31
5. At The Harbour - 6:49
6. Ashes Are Burning - 11:21
7. At The Harbour - 3:19
All compositions by Michael Dunford, Betty Thatcher except track #3
Renaissance
John Tout - Keyboards And Vocals
Annie Haslam - Vocals
Jon Camp - Bass Guitar And Vocals
Terry Sullivan - Drums, Percussion And Vocals
Michael Dunford - Acoustic Guitar With
Andy Powell - Guitar On "Ashes Are Burning"
Richard Hewson – Strings Arrangements
Although perhaps less adventurous, Illusion was on a par with its predecessor, being more disciplined and tunefully stronger, sign posting later Renaissance albums and the growing maturity of Relf and McCarty as songwriters. Unsurprisingly given its title, the opening song Love Goes On is a straight forward ballad with a chorus that’s both compelling and hypnotic. Golden Thread harks back to the first album with an extended piano intro although it’s more melodic in its structure. It develops into another memorable choral chant, with lead vocals by McCarty, interspersed with intimate piano moments that put me in mind of very early Genesis.
Love Is All echoes the sentiments of the opening song with a very similar feel whilst Mr. Pine is the track recorded with the Dunford/Crowe/Korner/Slade line-up. Written by Dunford, it’s arranged in three separate sections. The short opening song is folky and engaging, the mid-section more strident with echoes of King Crimson and Hawken (uncharacteristically) playing Hammond which he swops for harpsichord when the song returns to the mellow opening.
The tranquil Face Of Yesterday shows how Jane has developed as a vocalist, sounding more confident for the most delicate song recorded by the line-up thus far with beautiful instrumental work from Hawken, Cennamo and Relf. It’s a perfect foil for the bands lengthiest piece to date, Past Orbits Of Dust which follows. The edgy atmosphere is characterized by the rhythmic electric piano of guest keyboardist Don Shin and although very well played, for my money the more refined playing of Hawken is sadly missed. It also drags on longer than necessary with much self indulgent soloing contributing to the tracks length.
The three bonus tracks included by Esoteric are not in reality Renaissance material but are worthy additions anyway. These include two songs composed by McCarty and recorded in September 1970 for the soundtrack of the film ‘Schizom’. The dreamlike Prayer For Light is reminiscent of KC’s Epitaph although taken at an even slower pace and Walking Away continues in a similar vein with some lovely classical guitar playing. The last track All The Fallen Angels is a demo assembled by Keith Relf in April 1976 for a new band Illusion which was to feature the original Renaissance line-up. His voice seems to have deserted him on this occasion although the Mellotron backdrop and Cennamo’s poignant bass compensate. Sadly Relf was the victim of a fatal heart attack the following month after he was electrocuted at home playing guitar.
Possibly due to the fractured recording of the Illusion album it was only initially released in mainland Europe, Renaissance fans in the UK had to wait until 1976. In the meantime Michael Dunford assumed leadership of the band and the departure of Jane Relf soon after opened the door for Annie Haslam to begin another chapter in the bands history. But that’s another story, for now these two excellent releases, restored to pristine condition by Esoteric, are here to enjoy.
by Geoff Feakes, 2011
Tracks
1. Love Goes On (Keith Relf) - 2:50
2. Golden Thread (Jim McCarty, Keith Relf) - 8:15
3. Love Is All (Jim McCarty) - 3:39
4. Mr. Pine (Michael Dunford) - 6:59
5. Face Of Yesterday (Jim McCarty) - 6:05
6. Past Orbits Of Dust (Jim McCarty, Keith Relf) - 14:43
7. Prayer For Light (From The Film "Schizom") (Jim McCarty) - 5:27
8. Walking Away (From The Film "Schizom") (Jim McCarty) - 4:19
9. All The Fallen Angels (Jim McCarty, Keith Relf) - 5:27
Tracks 1 - 6 recorded at Olympic Studios, Barnes, London and Island Studios, Basing Street, London.
Track 7,8 recorded at Advision Studios, London for the soundtrack to the film "Schizom" in September 1970.
Track 9 recorded during the Illusion demo sessions in April 1970.
Outward Bown is the first album by the R&B/psych-pop ensemble led by English trumpeter Alan Bown, recorded in 1967 and released in 1968 on Music Factory.
One of the most popular club bands of the Swinging London era, the Alan Bown Set abruptly changed direction in the Summer of 1967, shedding their soul/R&B togs to reinvent themselves as flower power pop merchants the Alan Bown! Under this new guise, they cut one of the lost jewels of the British psychedelic pop scene, the magnificent Outward Bown.
In this release features the original album plus obscure B-sides and alternative single versions. Pieced together from recording sessions that spanned the summer of 1967 to spring 1968, Outward Bown deftly embraces all points of the psychedelic pop compass, taking in proto-hard rock, blue-eyed mod soul and, perhaps most notably of all, the voguish toytown pop sound.
Tracks
1. Toyland (Tony Catchpole, Jess Roden) - 2:32
2. Magic Handkerchief (Alan Bown, Jeff Bannister, Tony Catchpole, Jess Roden) - 3:16
3. Mutiny (Alan Bown, Jeff Bannister) - 2:59
4. All Along The Watchtower (Bob Dylan) - 3:09
5. Sally Green (Alan Bown, Jeff Bannister) - 3:18
6. Penny For Your Thoughts (Alan Bown, Jeff Bannister) - 3:38
7. Story Book (Alan Bown, Jeff Bannister) - 3:09
8. Technicolor Dream (Alan Bown, Jeff Bannister) - 2:51
9. Love Is A Beautiful Thing (Lee Pearl, Lewis Bellin, Harvey Pearl) - 3:31
10.Violin Shop (Tony Catchpole) - 2:59
11.You're Not In My Class (Alan Bown, Jeff Bannister) - 3:33
12.My Girl The Month Of May (Dion DiMucci) - 2:45
13.Little Lesley (Single B Side,1968) (Tony Catchpole, Jess Roden) - 2:10
14.We Can Help You (Single A Side,1967) (Alex Spyropoulos, Patrick Campbell-Lyons) - 2:25
15.Toyland (Single A Side,1967, Mono Mix) (Tony Catchpole, Jess Roden) - 2:53
16.Technicolor Dream (Single B Side 1967, Mono Mix) (Alan Bown, Jeff Bannister) - 2:52
17.Penny For Your Thoughts (BBC Session, September 1967) (Alan Bown, Jeff Bannister) - 2:41
18.Technicolor Dream (BBC Session, September 1967) (Alan Bown, Jeff Bannister) - 2:59
19.My Girl The Month Of May (BBC Session, September 1967) (Dion DiMucci) - 3:06
20.Pandora's Golden Heebie Jeebies (BBC Session, November 1967) (Gary Alexander) - 2:56
21.Toyland (BBC Session, November 1967) (Tony Catchpole, Jess Roden) - 2:32
22.Love Is A Beautiful Thing (BBC Session, Novovember 1967) (Lee Pearl, Lewis Bellin, Harvey Pearl) - 2:26
23.Magic Handkerchief (BBC Session, July 1968) (Alan Bown, Jeff Bannister, Tony Catchpole, Jess Roden) - 3:17
24.All Along The Watchtower (BBC Session, July 1968) (Bob Dylan) - 3:13
25.Gypsy Girl (BBC Session, June 1969) (Alan Bown, Jeff Bannister) - 2:02
26.Movie Star Baby (BBC Session, June 1969) (Tony Catchpole, Jess Roden) - 2:47
Bonus Tracks 13-26
Musicians
*Alan Bown (Alan James Bown) - Trumpet
*Jess Roden - Vocals
*John Anthony Helliwell - Tenor Saxophone, Clarinet, Recorder
*Jeff Bannister - Organ, Piano
*Tony Catchpole - Lead Guitar
*Stan Haldane - Bass Guitar
*Vic Sweeney - Drums 1965-67 The Alan Bown Set - Emergency 999
Among the many bands to have albums released by EMI in 1968 none may have had a stranger back story than Rainbow Ffolly, whose “Sallie Fforth” hit record shops the first week of May. EMI, home to The Beatles, among others, was one of the most respected labels of the day, with “The Beatles” better known as the “White Album” being perhaps the best known LP issued on the label that year. January, 2019, more than fifty years after its original release sees “Sallies Fforth” reissued on Cherry Red’s Grapefruit Records imprint as part of its three disc box set “Spectromorphic Iridescence” containing the complete works of Rainbow Fflolly.
First formed under the moniker Force Four, by 1967 brothers John and Richard Dunsterville, on lead and rhythm guitar respectively, along with bassist Roger Newell and drummer Stewart Osborn had rechristened themselves Rainbow Ffolly, as John Dunsterville was reading a book on names with impact that suggested using colours and misspellings. Rainbow included all colours and the double F in Folly meant fun, and so in April or May of that year the quartet entered Jackson Recording Studio run by brothers Malcolm and John Jackson and laid down their first two tracks, “Come On Go” and “Sun Sing.” The former was a rather restrained number featuring John Dunsterville’s Chet Atkins style guitar work, while the latter was a harder,edged psychedelic number. The Jackson Brothers were sufficiently impressed to request the band return in a week or so with a dozen songs of different styles, which the Jacksons would record and see if they could get a recording deal for the band, and do this cost free. With John Dunsterville being a prolific writer capable of penning that many new tunes within the time restraint it seemed a no brainer that Rainbow Ffolly accept the offer.
Thinking these would be demo recordings of song ideas Dunsterville did not craft the songs, in fact he said “he spent no time on them whatsoever, they just happened.” The band returned to the studio and by the end of 1967 the LP was recorded. The Jacksons decided to link the songs with the aid of various jingles and sound effects to form their “sound package.” Without the knowledge of the band the Jacksons shopped the LP and the first label they offered the recordings to, EMI, took them up on the offer, but on the condition that the album be taken as was, with no re-recording. The group was frustrated by what they considered sketches being released, not fully realized paintings, but having no contract at all, everything being done on a handshake with band members having never heard of “artistic control” the release of “Sallies Fforth” came in the first week of May, 1968. The best the band could do was take control of the album artwork which was filled with inside jokes like codes for birthdays, eye colour and instrument played of members without including their names. To add insult to injury, the album itself garnered rather good reviews while the artwork was panned by all the major publications of the day such as New Music Express, Melody Maker and Record Mirror.
However, when taken in proper context, “Sallies Fforth” stands as an accurate documentation of the works of a band of eccentric musicians who were much more closely related to The Bonzo Dog Doo Dah Band than true psychedelic bands of the day on EMI such as Tomorrow and Pink Floyd. In fairness to the band, it is in this light that the musical output of Rainbow Ffolly must be, and is examined in this review. “Spectromorphic Iridescence” is the final word on the band, containing the mono and stereo mixes of “Sallies Fforth” as well as the band’s lone single, early demos and outtakes from the Jackson Studio sessions, unreleased recordings done for broadcast on Radio One, radio jingles recorded for a hospital, the 2016 reunion LP “Follow Up!” recorded by John Dunsterville, Alan Stewart and Stewart Osborn, and all ancillary recordings related to the reunion album. But, let us begin at the beginning.
Disc one opens with the thirteen tracks comprising “Sallie Fforth” in its stereo mix. “She’s Alright” is an acid pop type number with vocals reminiscent of The Beatles, a theme that was employed nicely on several tracks by the band. Following its humorous intro including a female speaking in French the band enters with jangling guitars and the light hearted tune includes a nice guitar solo and luscious vocal harmonies. “I’m So Happy” reflects the band’s love of British musical hall tradition, employing gentle country style guitar and within its cabaret influenced lyrics are a reference to “Itchycoo Park” a hit by The Small Faces. “Montgolfier ‘67” is based around medieval lute music, celebrated the 185th anniversary of the Montgolfier brothers first public demonstration of their hot air balloon and features a folk rock intro and more gorgeous vocal harmonies mixed with the band’s unique brand of humor, this time including references to giraffes. With “Drive My Car” the band took a Beatles title and wrote something completely different around it. The track is heavier while retaining gorgeous vocal harmonies and the ever present element of humor. The track was also released as the a-side of the band’s sole single, hitting record shops about a month after “Sallies Fforth.” “Goodbye” is a winsome McCartneyesque ballad with gentle guitar intro and vocals reminiscent of Ruby & The Romantics hit single “Our Day Will Come.” “Hey You” opens with sound effects of a thundershower and ping pong match before settling into a fuzz laden guitar track with a legitimately psychedelic edge. “Sun Sing” is another psychedelic rocker with lots of fuzz and a tasty guitar solo. “Sun And Sand” is a bit of acid pop in the style of South African singer Miriam Makeba and with its Beatlesque vocals is a good indication of the talent the band possessed and the potential of their music. “Labour Exchange” is a tongue in cheek number referencing unemployment offices, with its heavy bass and drums hinting at the rock sensibilities of the band and includes another nice guitar solo. “They’m” reflects the band’s love of good time music a la The Lovin’ Spoonful. “No” arose from the guitar/bass battle between John Dunsterville and Alan Thomas and has flashes of heaviness with horns added for texture even as the beat roars. “Sighing Game” is a gentle pop rocker with nicely echoed vocals and gorgeous harmonies.
The album closer “Come On Go” begins with a humorous reference to acne treatment before settling into a country style melody with John Dunsterville displaying the influence Chet Atkins played in his guitar work. The bonus tracks begin with the single version of “Drive My Car” and its non-LP b-side “Go Girl” which features primitive phasing with John Dunsterville singing into a hair dryer hose, evidence of the group’s creativity, which coupled with beautiful vocal harmonies, results in a very nice pop tune A demo version of “Sun Sing” features a lovely guitar intro and is a mixture of The Beatles and The Bonzos, featuring humor and heaviness with John Dunsterville supplying another tasty guitar solo. A demo take of “Come And Go” features jangling 12-string guitar supplemented by delightful percussion in the form of tambourine with an organ interlude complementing more gorgeous vocals which taken together are further indications of what Rainbow Fflolly was capable of and leaves one wondering what “Sallies Fforth” would have sounded like had the band been given an opportunity to flesh out the recordings released on the album. The disc closes with a cover of the Beatles’ classic “The Continuing Story Of Bungalow Bill” with Rainbow Fflolly’s version featuring a recorder intro, piano interlude, impressive changing beats and more of the band’s vocal harmonies and humor. An impressive closer for the disc reminding the listener of the possibilities contained in the performances of Rainbow Ffollly…
Disc two contains the mono version of “Sallies Fforth” as well as no less than twenty five bonus tracks, thirteen of which are radio jingles done for a hospital located near the home base of the band which opened just prior to the release of Rainbow Ffolly’s album. The radio jingles are short takes reworking famous tunes, the most creative and humorous of the lot being a redo of Louis Armstrong’s “What A Wonderful World” which in the hands of the band morphs into “What A Wonderful Ward” and is definitely good for a smile. The real highlights of the disc are seven home demos recorded throughout 1968 and five tunes recorded for the Dave Cash Show and Radio One Club in December, 1968, but were never aired and have remained unreleased until this box set. Ten of the twelve cuts are covers but serve as examples of what Rainbow Ffolly was capable of and what fans experienced seeing the band live. First up is an incendiary cover of Cream’s “Sunshine Of Your Love” with screaming lead guitar, booming bass and pounding drums. This track takes away any doubts one might have as to whether Rainbow Ffolly was capable of rocking. A take on The Beatles’ classic Sgt. Pepper track “Lucy In The Sky With Diamonds” is filled with trippy guitar and gorgeous vocal harmonies. In typical fashion the band could not help but mention other Beatles titles during the outro. A soulful pop rendition of “Gimme Some Kind Of Sign” a huge hit for Brook Benton appears as “Gimme Little Sign” with a spoken intro followed by another prime example of the lead and harmony vocals delivered so effortlessly by the band. “I Can’t Let Maggie Go” made popular by The Honeybus, gives the band a chance to show how nicely they could handle a ballad, and includes yet more incredible vocal harmonies. “Sabrosa” finds John Dunsterville in Chet Atkins mode once again as the band delivers a wonderful rendition of this energetic instrumental and features some delicate guitar picking.
Pete Seeger’s “Bells Of Rhymney” a hit for The Byrds, another of the band’s major influences, is filled with jangling guitars and lovely vocal harmonies. The final home demo “Bonita” is another instrumental that the band runs through handling the lovely melody effortlessly and makes this listener wish Rainbow Ffolly had been afforded the opportunity to record more instrumentals as they seem to fit the band so well. The tunes recorded for radio broadcast begin with a cover of The Move’s “I Can Hear The Grass Grow” which the band handles with ease, showcasing John Dunsterville laying down some heavy rock guitar and the group reprising their vocal harmony abilities. The band’s cover of Eddie Cochran’s “Something Else” is short and sweet, the guitar and vocals again shining. Johnny Nash’s “Hold Me Tight” suits the band perfectly as they again disply the ease with which they could handle ballads, including this reggae style number. A partial take of the band original “I’m So Happy” is a crisp pop number. “She’s Alright” features jangling lead guitar and swirling vocals over the top of a heavier sounding rhythm section, a fine bit of pop rock. It’s truly a shame that record buyers were never afforded the chance to hear these radio recordings as they could have helped prolong the band’s life.
Disc three centers around the reunion album “”Ffollow Up!” released in 2016 by John Dunsterville, Roger Newell and Stewart Osborn, as Richard Dunsterville had relocated to the US and was not available for the recording. The tracks on the album span several decades, “My Love Has Gone” was written in 1965 but was not included on “Sallies Fforth” and features bassist Alan Thomas, having been dedicated to tape while the band was still known as the Force Four. “Noah” was recorded for a second album that didn’t happen, “Cars” was from 1975 when Roger and John were working with keyboardist Rick Wakeman and “Shy Angels” was written in 1976 for the English Rock Ensemble a year after they had parted ways with Wakeman. “Bathers Of The Lost Ark” includes a laugh lifted from “Sallies Fforth.” Furthermore, the artwork for “Ffollow Up” was mostly drawn by John Dunsterville 1969. The style and sound of the band is completely different on the album, as the whimsical element was replaced by serious tunes that display the talent of Rainbow Ffolly hinted at on their 1968 LP. .
“Ffollow Up!” opens with “Single Cell Amoeba” a short, one minute, sound effects number with a nod to“Sallies Fforth.” A 2014 band original “Postcard” is a story about the need to rush to the aid of a distant love if she calls for help, told with a driving beat, bouncing bass line and tasty lead guitar with wah wah added for accentuation. A heavy guitar solo segues into an Eastern influenced sound, the tasty rocker containing few of the signature sound effects found on “Sallies Fforth.” “My Love Has Gone” narrowly missed inclusion on the band’s debut LP, having been written in 1965. The mid-tempo number is dominated by jangling 12-string guitar and vocal harmonies with stinging lead guitar stabbing in and out of the mix, the tune’s heavy bass line and fiery solo soaring over the top before the tempo slows again with the return of jangling 12-string, flute and vocal harmony outro. “White Swan” a 2016 composition by Dunsterville and Newell uses a bowed electric dulcimer to create nostalgic images aided by flute as it tells the story of lost love in a dramatically changing world. “Cars” is a road song describing John Dunsterville and Newell endlessly traveling the world with Rick Wakeman. The song has a sound bringing The Who to mind with its strumming guitar, bounding bass and driving drums which eventually give way to steel and strumming acoustic guitars and gentle percussion flavored with a jazzy guitar interlude. “Sky Angels” features an expansive sound with choral effects and lead guitar sat to stun over solid bass and drums.
The vocals are absolutely ethereal and this magnum opus’ fuzz guitar fills the air, complemented by horns guiding the way to an Eastern influenced outro. “Noah” uses the classic Rainbow Ffolly sound in telling the tale of God trying to convince Noah to build an ark. Waterfall and thunderstorm sound effects are perfect as the song gently glides in all its majesty. “Slow Down Zone” is a Simon and Garfunkel type number and lives up to its title with no forcing of any instruments, just the gentle beauty of woodwinds and acoustic guitars with the lead guitar restrained as it bounces from channel to channel. “Countdown” is a psychedelic rocker with its heavy bass driving the tempo over a lead guitar that holds back as it chugs and the drums keep perfect time while the song reminds people to think before they act, with a gorgeous guitar solo playing the song out. “Shoes” is a jazzy blues tune mixing horns and drums with relaxed vocals and a perfectly measured lead guitar. “Is It Over” is another “lost love” song with forlorn vocals joined by a breezy guitar solo and relaxed keyboards.
The first of five non-LP tunes “Wot Do They Know” is an uptempo number with driving lead guitar and snarling vocals. The songs’ chorus gives way to an all out guitar and keyboard attack a la Mott The Hoople as the sound rises to a crescendo, before relenting. “Crazy Woman” is a country type tune with gentle guitar, percussion and vocals, a most pleasantly short, minute and a half, ditty. “All We Have Left” opens with growling guitar and machine gun drums, but the vocals are gorgeous as ever on this tasty rocker that is deceptively heavy with its driving drums and gorgeous lead guitar to the fore. “Parcel Of Pigs” is a delightful ditty with restrained guitar and vocals which gives a nod to early Rainbow Ffolly opening with a voice counting in German. “Nonesuch Sweetness” is an uptempo tune, its climbing guitar having a jazzy feel and delivering a tasty solo. The beat is driving but not overplayed, with a keyboard interlude perfectly timed.
The disc closes with the last two tunes from “Ffollow Up!” the first “Tour De Force” is an autobiographical story about band manager John Sparrowhawk who sadly the band have lost touch with. It is a country folk flavored acoustic tune, with vocals and a feel reminiscent of “Sallies Fforth.” The track’s mid-tempo beat rises as fiery guitars fill the air, but the tune returns to its relaxed tempo with its folkish outro. “Bather Of The Lost Ark” closes “Follows Up!!” with a return to the irreverent humor of “Sallies Fforth” having been written in 1967, an absolutely perfect ending to an incredibly well realized reunion album. “Ffollow Up!” is evidence sure of the talent within Rainbow Ffolly and proof positive of what the band could have delivered if only given the chance by EMI and the Jackson Brothers. Though it may have come some fifty years later it certainly deserved wider distribution and with only 500 LP’s printed it already fetches $50-$100 per copy, while “Sallies Fforth” will set collectors back $400 or more for original Parlaphone pressings in very good plus condition and near mint or mint minus copies going for considerably more. The hefty price and collectable interest in the band’s original album lead one to wonder what would have happened had the band been able to polish the album up and release it as they envisioned, but that is a matter of pure speculation left to the mind’s of collectors of rare 1960’s recordings that can never be truly answered.
“Spectromorphic Iridescence” and its seventy four tracks come in a tortoise shell box with each disc housed in a mini-LP sleeve with the original artwork. The twenty page full color booklet comes with an essay by David Wells, who compiled and annotated the collection, and is filled with photos of the band and its recordings as well as related memorabilia. Rainbow Ffolly has never sounded better, thanks to the mastering job of Simon Murphy for Another Planet Music. The set will be of great interest to fans and collectors of obscure 1960’s recordings, psychedelic and otherwise, but will also be a wonderful discovery for those not familiar with the 2016 LP “Ffollow Up!” a fine bit of British rock and roll in its own right which has hitherto been nigh on impossible to procure. Many thanks to the folks at Cherry Red Records, UK, for offering this wonderful collection and at a most reasonable cost as icing on the cake.
by Kevin Rathert, 2019
Tracks
Disc 1
1. She's Alright - 3:43
2. I'm So Happy - 2:34
3. Montgolfier '67 - 2:37
4. Drive My Car - 2:15
5. Goodbye - 3:42
6. Hey You - 2:20
7. Sun Sing - 4:00
8. Sun And Sand (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:33
9. Labour Exchange - 2:26
10.They'm - 1:55
11.No (Jonathan Dunsterville, Roger Newell) - 3:11
12.Sighing Game (Jonathan Dunsterville, Roger Newell) - 2:49
13.Come On Go - 3:03
14.Drive My Car - 2:18
15.Go Girl - 2:39
16.Sun Sing - 3:31
17.Come On Go - 2:09
18.The Continuing Story Of Bungalow Bill (John Lennon, Paul McCartney) - 3:25
All compositions by Jonathan Dunsterville except where noted
Tracks 13 The album Sallies Fforth, Parlophone PCS 7050, released May 1968
Tracks 14-15 Single, Parlophone R5701, released May 1968
Tracks 16-17 Previously unreleased studio demos, recorded circa May 1967
Track 18 Previously unreleased studio demo, recorded circa December 1968
Disc 2
1. She's Alright - 3:44
2. I'm So Happy - 2:34
3. Montgolfier '67 - 2:38
4. Drive My Car - 2:16
5. Goodbye - 3:44
6. Hey You - 2:22
7. Sun Sing - 4:05
8. Sun And Sand (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:33
9. Labour Exchange - 2:26
10.They'm - 1:56
11.No (Jonathan Dunsterville, Roger Newell) - 3:13
12.Sighing Game (Jonathan Dunsterville, Roger Newell) - 2:51
13.Come On Go - 3:05
14.Hospital Radio Jingle #1 - 0:17
15.Sunshine Of Your Love (Eric Clapton, Jack Bruce, Pete Brown) - 4:01
16.Hospital Radio Jingle #2 - 0:14
17.Lucy In The Sky With Diamonds (John Lennon, Paul McCartney) - 3:11
18.Hospital Radio Jingle #3 - 0:07
19.Gimme Little Sign (Alfred Smith, Jerry Winn, Joseph Hooven) - 2:41
Disc 3
1. Single Cell Amoeba (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 0:52
2. Postcard (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:10
3. My Love Has Gone - 5:15
4. White Swan (Jonathan Dunsterville, Roger Newell) - 3:27
5. Cars - 3:35
6. Sky Angels (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 6:46
7. Noah - 4:13
8. Slow Down Zone - 3:50
9. Countdown (Jonathan Dunsterville, Roger Newell) - 3:17
10.Shoes - 3:14
11.Is It Over - 4:25
12.Wot Do They Know? (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 2:36
13.Crazy Woman - 1:24
14.All We Have Left (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 4:14
15.Parcel Of Pigs (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 1:04
16.Nonesuch Sweetness (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 3:39
17.Tour De Fforce (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 2:41
18.Bathers Of The Lost Ark (Jonathan Dunsterville, Roger Newell, Stewart Osborn) - 0:43
All tracks by Jonathan Dunsterville except where stated
Tracks 11, 17, 18 The album Ffollow Up!, Footprints Vinyl Records FV 16002, released
Tracks 1,16 Extra tracks, previously unreleased Rainbow Ffolly
*Jonathan Dunsterville - Vocals, Guitar
*Richard Dunsterville - Vocals, Guitar
*Roger Newell - Vocals, Bass
*Stewart Osborn - Vocals, Drums
