The original City Blues Band was formed in Fullerton, Calif. in 1966. It made an LP, financed by David R. Hall, a local DJ, in 1967 that sold in in record shops in LA and Orange Counties of So. Calif. About five copies even made it to Victoria around this time. Today it is a sought after collectors item, mostly in Europe.
The band then went through several personel changes, mostly guitarists. In it's final So. Calif. inception, Bob Lesher was the only original member left. He moved to Victoria in April, 1969, soon to be followed by Mike Balfe (drummer) and Bill Burdick (bassist).
For it's Victoria version the band featured Tim Zurowski and Phil Rossner, Victoria guitarists and borrowed Paul Iverson, on bass, from Frendlyn Page prior to Burdick arriving in town. As a result, the band's first gigs were opening for Frendlyn Page.
The City Blues dissolved in early 1970 as all the players mixed more into the "Victoria scene" to form Bayside Blues, an eventually, Blues Union.
Phil Rossner was into Elmore James when I was introduced to him by Tim Zurowski. I seem to recall that He was taking over Tim's spot in City Blues and thought him to be perfect for the position as he was so well educated about the blues idiom.
Unfortunately, the band was in such a state of flux we never got a real chance to play much together, and I regret that as he was/is such a fine, ego-free guitarist.
by Bob Lesher
Tracks
1. I'm In A Groovy Mood (Ed Soldberg, Steve Eliot) - 2:57
2. Blues For Lawrence Street (Dick Payne, Bob Lesher) - 4:40
3. Steal My Chickens (Jimmy Rodgers) - 2:47
4. Goin' To New York (Jimmy Reed) - 4:02
5. All Blues (Dick Payne) - 6:52
6. You Gotta Help Me (Sonny Boy Williamson, Willie Dixon, Ralph Bass) - 4:26
7. Goin' Down To The River (Ray Charles) - 4:38
8. Smokestack Lightning (Chester Burnett) - 9:50
One of the most versatile mid-'60s garage groups -- indeed, they were for the most part too accomplished and pop-savvy to truly merit the garage band tag -- We the People had some big hits in Florida, but never broke out nationally, despite releases on the large RCA and Challenge labels. Veterans of Orlando garage combos the Trademarks, the Offbeets, and the Nonchalants all found their way into We the People, who made their first single for the local Hotline label, "My Brother the Man," in early 1966. "My Brother the Man" was a smoking, almost-crazed, hard garage-punk number, a path the band continued to follow on their early Challenge singles "Mirror of Your Mind" and "You Burn Me Up and Down."
Grinding guitar chords, organ, aggressive vocals, and crazed guitar distortion (particularly on the swooping noises and feedback that introduce "You Burn Me Up and Down") were their initial trademarks. Yet at the same time they could throw in gentler and more lyrically and melodically subtle originals, like the beautiful, tremolo-laden ballad "(You Are) the Color of Love," on the B-side of "Mirror of Your Mind." Unusual for a garage band, they boasted two prolific and talented songwriters in Tommy Talton and Wayne Proctor. Proctor was the more interesting of the pair, penning one of the great raga rock tunes (the gutsy "In the Past," covered by the Chocolate Watch Band), the Baroque-psychedelic "St. John's Shop," and "(You Are) the Color of Love." All had uncommonly elusive, vague, but evocative lyrics for a young regional band of the time; Proctor even wrote a love song to a nun ("Love Wears Black (None)"), although that wasn't issued until more than 30 years later.
We the People had a good share of chart success in Florida, but suffered a major setback when Proctor left the band in early 1967. The music recorded subsequent to his departure had its moments: the nasty "When I Arrive" made its way onto a Pebbles compilation, and "The Day She Dies," although written by Talton, recalled Proctor's work with its harmonic pop, melodic base and odd lyrical slant. Some of the last numbers they cut in the studio were derivative soul-rock tunes, though, and Talton's departure at the end of the '60s, as well as the expiration of their recording deal, sealed the death of the group, although they continued for a bit longer. As part of the Southern rock group Cowboy, Talton was the only We the People member with a visible music career after the '60s.
by Richie Unterberger
Tracks Disc 1
1. The Trademarks - Everything'll Be Alright (Wayne Proctor) - 2:06
2. The Offbeets - Drivin' Me Out Of My Mind (David Duff) - 2:23
3. My Brother The Man (Version 1) (Wayne Proctor) - 2:11
4. Mirror Of Your Mind - 2:45
5. (You Are) The Color Of Love (Wayne Proctor) - 2:28
6. She Does Everything For Me (Rod Argent) - 2:10
7. He Doesn't Go About It Right - 2:29
8. You Burn Me Up And Down - 2:23
9. Nothing Like A Vision (Demo) - 3:10
10.Proceed With Caution (David Duff) - 2:17
11.By The Rule - 2:05
12.Look At The Girls (Version 1) - 3:01
13.Love Is A Beautiful Thing (Eddie Brigati, Felix Cavaliere) - 2:45
14.The Nonchalants - Double Trouble (Dennis Messimer) - 2:16
15.The Trademarks - Don't Say You Love Me (Wayne Proctor) - 2:23
16.St. John's Shop (Version 1) (Wayne Proctor) - 2:45
17.Love Wears Black (None) (Version 1) (Wayne Proctor) - 2:33
18.Beginning Of The End (Wayne Proctor) - 1:56
19.The Day She Dies - 2:27
20.There's Gonna Be A Storm - 2:55
All songs by Tommy Talton except where noted
Disc 2
1. When I Arrive - 3:08
2. No, No Boys - 3:01
3. In The Past (Wayne Proctor) - 2:35
4. Alfred, What Kind Of Man Are You (Wayne Proctor) - 2:27
5. Boy, She Just Don't Feel It (Demo) (Wayne Proctor) - 2:55
6. Declaration Of Independence (Wayne Proctor) - 2:19
7. Look At The Girls (Version 2) - 2:43
8. Follow Me Back To Louisville (Bill Davison) - 2:00
9. Lovin' Son Of A Gun - 2:18
10.St. John's Shop (Version 2) (Wayne Proctor) - 2:27
11.Half Of Wednesday (Wayne Proctor) - 2:17
12.Fluorescent Hearts - 2:33
13.The Nonchalants - I Wanna Do It (Bob Feldman, Jerr Goldstein, Richard Gottehrer) - 3:37
14.The Offbeets - She Lied (David Duff) - 2:41
15.Ain't Gonna Find Nobody (Better Than You) (David Duff) - 2:32
16.My Brother, The Man (Version 2) (Wayne Proctor) - 2:08
17.Free Information - 2:26
18.You Like Me, You Love Me (Demo) - 2:28
19.Too Much Noise - 2:26
20.Love Wears Black (None) (Version 2) (Wayne Proctor) - 2:32
All songs by Tommy Talton except where stated
We The People
*Tommy Talton - Vocals, Guitar
*Wayne Proctor - Guitar
*Lee Ferguson - Drums
*Randy Boyte - Keyboards
*David Duff - Bass
The only album from the French progressive quartet (including one British member) appeared on the market in 1972, and featured English lyrics sung by Ian David Jelfs former guitarist of the UK prog rock formation Circus (of Mel Collins fame).
This rare album balances between Caravan, Traffic and Brian Augger's Trinity, with dominant and powerful Hammond organ sounds, tight rhythm section, jazzy guitar licks (similar to Allan Holdsworth and Robert Fripp)
Tracks
1. Let It Get Higher (Ian David Jelfs) - 3:38
2. Summer Song (Ian David Jelfs) - 3:33
3. Ba'Albeck Stone (Philippe Combelle) - 3:37
4. Out In The Open (Ian David Jelfs) - 3:47
5. Green Star (Philippe Combelle, Michel Coeuriot) - 3:19
6. Tiahnanaco Road (Philippe Combelle, Gilles Papiri) - 3:07
7. Aledebarente (Michel Coeuriot) - 4:52
8. Mesopotamie Natale (Gilles Papiri) - 5:38
9. Proxima (Gilles Papiri) - 2:40
Seven years after 1960s girl group poster-girls The Shirelles scored a number one smash hit with “Will You Love Me Tomorrow” and three years before recording one of the best selling pop albums of all time, singer-songwriter Carole King was a member of a fledgling west-coast folk-rock outfit called The City. Built around King’s heavily refined Brill building song-craft and the tight, funky guitar playing of one Danny Kootchmar, The City had an extraordinarily brief moment in the spotlight – if the spotlight is even what you could call their momentary spark into existence – before King’s stubborn reluctance to perform sealed the band’s fate. Nonetheless, they managed to cut a very solid record with 1968’s Now That Everything’s Been Said, and it deserves to be slid back into the popular radar, not only as a curious artifact from one of pop’s most legendary songstresses, but as an extremely well-polished disc of mellow rock and roll from a period when even the popular mainstream was starting to dip its sticky fingers in the electric currents of the musical counterculture.
The opening track is one of the album’s finest moments, with the hiccup of a tape deck cutting into Kootchmar’s fluid electric guitar and King’s floating, elemental piano chording. “Snow Queen” has all the Laurel Canyon trademarks, from soaring harmonies and textured instrumental interplay that never intrudes on the vocals but rather elevates them above the laid-back rhythm section into a sort of ethereal timelessness. Perhaps this record’s second biggest claim to fame, besides the obvious presence of King herself, is her own performance of “Wasn’t Born To Follow,” a quiet assertion of individuality and counterculture ideals taken to the charts by The Byrds around the same time that Now That Everything’s Been Said first saw the light. The City’s arrangement is not far removed from McGuinn and company’s, but King’s singing does throw a new spin on the number that lets it rival its more famous counterpart rather than being subsumed by it. For whatever reason I never realized the blatant similarities between this song and Leonard Cohen’s “Suzanne” until I heard this less well-known take – open-handed plagiarism or the old folk-revival card, who’s to say; either way both songs retain their beauty and this particular selection remains a City highlight.
Taken as a whole this is a relatively safe and consistent record, without many real surprises save for Kootchmar’s star turn on the soulful “A Man Without A Dream.” It’s unfortunate that he was not given more chances to shine here (though he does do a sort of informal duet with King on the rambling “My Sweet Home”) as his strong and earthy voice helps ground his partner’s occasional flights into Tin Pan Alley melodramatics. His one song at least manages to add some variety to the proceedings and make this more than just another Carole King record. One wonders how much collaboration there was between musicians here, for despite King’s obvious claim on songwriting credits there are a couple of moments that sound as though they’d been born in an atmosphere of collective improvisation. “That Old Sweet Roll” even sees the band dipping its hands into a sort of rollicking American blues bag, though the song ends up channeling Cab Calloway in a prom dress more than it does Howlin’ Wolf or the Reverend Gary Davis.
So where does this leave us? I’d argue that The City helps illuminate a time in which even the more conservative members of the American popular music establishment were willing to dip their fingers in the new wave of artistic expression that would in a few years simply become old guard. The results are an unlikely mixture of mainstream talent and late-sixties rebelliousness – a powerful combination, however questionable the concept’s street cred may sound. Considering the personnel here it’s rather surprising that Now That Everything’s Been Said is out-of-print, but with enough scrounging one of the three past reissues should turn up. Maybe you’ll get lucky: my own copy came from the cut-out bin at my local record store mixed in with a bunch of latter-day Carole King records.
by Nik Rayne
Tracks
1. Snow Queen (Gerry Goffin, Carole King) - 3:43
2. I Wasn't Born To Follow (Gerry Goffin, Carole King) - 3:42
3. Now That Everything's Been Said (Carole King, Toni Stern) - 2:19
4. Paradise Alley (Carole King, David Palmer) - 2:52
5. Man Without A Dream (Gerry Goffin, Carole King) - 3:46
6. Victim Of Circumstance (Carole King, David Palmer) - 2:31
7. Why Are You Leaving (Carole King, Toni Stern) - 3:29
8. Lady (Gerry Goffin, Carole King) - 2:57
9. My Sweet Home (Toni Stern, Margaret Allison) - 3:09
10. I Don't Believe It (Carole King, Toni Stern) - 2:38
11. That Old Sweet Roll (Hi, De, Ho) (Gerry Goffin, Carole King) - 3:22
12. All My Time (Gerry Goffin, Carole King) - 3:16
The City
*Charles Larkey - Bass
*Danny Kortchmar - Guitar, Vocals
*Carole King - Piano, Vocals With
*Jim Gordon - Drums
When Belgian Portuguese duo Jess and James (Tony Lam and Wando Lam) released their third LP in 1969, they already had an impressive body of work under their belt.
Playing a highly energized blend of pop and soul, they achieved great success in Europe with singles like '' Move'' and '' Something for nothing'' . Oddly enough, they were often presented as British musicians origin instead of Portuguese.
Jess and Jamed released a couple of well*received albums in the same style of the singles, a brilliant mix of soul, pop and psych, recorded along with the legendary J.J.Band: “Move!” (Palette MPB S*3114, 1968 / Belter 22.281) and “Revolution, Evolution, Change!” (Palette MPB S*3237, 1969 / Belter 22.305).
Their next record wouldn't bear the name Jess and James but instead the quite adventurous name of Free Pop Electronic Concept. “A New Exciting Experience” was a joint effort with experimental composer Arsène Souffriau, one year before the much*lauded “Ceremony”, where composer Pierre Henry is joined by rock group Spooky Tooth.
Later in 1969, Jess and James released their self titled third and final album which is widely regarded as their best. This time they are joined by top session musicians Scott Bradford (keyboards) and Stu Martin (drums) and the sound changes toward a more hard*psych*prog approach, featuring superb Hammond work and some long jams, at times reminiscent of early Caravan.
Here you can find this fabulous album reissued for the first time, licensed from Belter Portugal, plus three bonus tracks taken from non*LP 45s released in 1970*71, in the same musical style.
Tracks
1. Straight Man (Scott Bradford, Wando Lam) - 3:32
2. Mrs. Davis (Wando Lam, Scott Bradford) - 4:41
3. Perdition Again (Wando Lam, Scott Bradford) - 4:39
4. Lip Service (Wando Lam, Scott Bradford) - 1:56
5. A Passing Car (Scott Bradford, Wando Lam) - 5:23
6. She’s A Woman (John Lennon, Paul McCartney) - 4:05
7. Skathing (Stu Martin, Wando Lam, Scott Bradford) - 3:56
8. James Stuff (Wando Lam, Tony Lam) - 7:55
9. Change (Scott Bradford, Wando Lam) - 3:09
10.Julie's Doll (Wando Lam, Scott Bradford, Tony Lam) - 2:09
11.Let The Day Go By (Wando Lam, Tony Lam, Ralph Benetar) - 2:37
12.Something For Nothing (P. Tubbs) - 2:31
Bonus Tracks 9-12
The Jess And James
*Antonio 'Jess' Lameirinhas - Vocals, Bass
*Fernando 'James' Lameirinhas - Vocals, Guitar
*Stu Martin - Drums
*Scott Bradford - Keyboards With
*Major Belshaw - Bass
*Nathan Davis - Sax, Clarinet
*Pete Mcgregor - Sax
*Janot Morales - Trumpet
*John John Perilli - Sax
*Dave 'Hip' Rose - Trumpet, Horns
*Phil Rosenberg - Lead Guitar
*Freddie Rottier - Percussion
*Bob Salmons - Percussion
*Willy Vande Walle - Sax, Flute
*Ralph Benetar - Saxophone
Mason Proffit earned a major-label contract with Warner Bros. Records in 1972 after its second and third albums, Movin' Toward Happiness and Last Night I Had the Strangest Dream, both made the charts in 1971 despite being released on small independent labels. Warner probably thought it was getting in on the country-rock trend already receiving national exposure via the Flying Burrito Brothers on A&M and Poco on Epic, and it might well have worked out that way. Rockfish Crossing, the group's Warner debut, was an accomplished blend of country and rock on which the Talbot brothers, who led the band, sang pure harmonies on folk-rock songs, played convincing country hoedowns, covered country standards like "You Win Again," and even included some timely social consciousness in "Were You There," with its references to My Lai and Wounded Knee.
They dressed up in Western gear on the album cover like 19th century desperadoes, Civil War soldiers, and buffalo hunters. It's hard to say why this appealing and apparently trendy package wasn't successful, but Rockfish Crossing, unlike its two predecessors, didn't sell well enough to make the charts, much less expanding Mason Proffit's following. The country-rock hybrid was a delicate mixture, one not really perfected until the Eagles did it a little later. (Neither the Flying Burrito Brothers nor Poco actually sold records in significant quantities.) It may be that Mason Proffit, despite earlier indications, simply fell between the stools of being too country for the rock audience and too rock for the country audience. But the group's music was an accomplished blend of the two styles.
by William Ruhlmann
Tracks
1. Jesse - 3:56
2. You Win Again (Hank Williams) - 4:09
3. Better Find Jesus - 3:17
4. Summer Side Of Love - 3:20
5. Breakin' Down - 1:48
6. Were You There - 4:32
7. Hobo - 4:32
8. A Thousand And Two - 4:36
9. Medley: Cripple Creek/Quit Kickin' My Dog Around - 3:33
10.Wetback - 3:25
11.Medley: George's Jam/Call Me The Breeze (John Talbot, Terry Talbot, J.J. Cale) - 5:26
All songs written by John Talbot, Terry Talbot unless as else noted.
This was The Pink Fairies’ last stand right before the rot of inactivity from lack of funds set in and cancelled their Polydor contract. An album of soaring Marshall Superfuzz anthems and Ladbroke Grooves, this was their last album while they were still (for a short time, anyway) a cohesive unit. The undertow of Paul Rudolph leaving in 1972, the sacking Mick Wayne after one shite single and a tour cancelled after a few gigs left The Fairies down to just the rhythm section of drummer Russell Hunter and bassist Sandy Sanderson. Their old friend Mick Farren suggested a replacement guitarist he knew from years earlier who had performed at the Phun City festival he had organised.
The guitarist was none other than Larry Wallis, who had moved onto later-period Blodwyn Pig and then UFO before Farren’s suggestion. Lazza Wallis: a true Pink Fairy if there ever was one! He brought not only his cranked Stratocaster riffing and a good sense of structured songwriting to hang his flowing reckless guitar style upon, but a gleeful sense of humour and overall wiseacre rock and roll sensibility. “City Kids” (co-written by Wallis and Sanderson) is a street punk anthem of raving, speeding, hanging out and when Wallis sings the line “Park the car/And ruuuuuun” it’s about as “Under My Wheels”-era Alice Cooper as it gets. “I Wish I Was A Girl” begins another musical fray with soaring intro guitar and Russell Hunter spraying all his cymbals like a Merseybeat Ringo on methedrine and if that’s Sanderson on bass it was his most pronounced playing ever on record.
An elongated bridge in the middle continues as Wallis’ guitars have now four-folded into an overdubbed, pile driving ecstasy, yet it’s beyond mere boogie as the momentum keeps plateau-ing up and up. Lazza’s guitar is not only melody but rhythm as well, as Hunter and Sanderson keep getting in and out of sync and overcompensate with just thrashing it out. The title gets repeated over and over as a faded mantra to the back of this rough and ready work out. “When’s The Fun Begin?” is a Notting Hill Gate doper weaving down a deserted West London street, the only light his blurred vision can see is the reflection of street lights on the wet tarmac. It’s coiled and tense yet opiate-slackened at the same time, and Hunter’s bashing over Wallis’ foot-controlled police siren solo make the bust inevitable as the vocals are shoved into the back of a police van -- the last words a panned, repeated phrase on the fadeout.
By this time the album has such a weirdly energetic and wasted atmosphere, you wonder how they can JUST keep it from falling apart. Larry Wallis’ structured songwriting and stunningly raw liquid-feel guitar playing keeps the sole surviving rhythm section busy, and the riotous instrumental, “Raceway” is where the three-man Fairies blast-out in a mid-sized hall at full volume with bright white overhead spotlights flicker on and off in an off-beat pattern catching the three longhairs in the act of proceeding to pummel their disbelieving audience. If Russell Hunter had four arms, he still wouldn’t be hitting half as many cymbals as he does here while multiple Wallis solos are bending in the air over the trio.
The coda is a flurry of high-pitched “Axe Victim” riffing, but trapped in a mandrax haze at twice the speed. “Chambermaid” and “Street Urchin” round out an album most people weren’t expecting from The Pink Fairies at this point in time: a strong, vibrant testimony to their no-bullshit rock and roll. And live it was even shatteringly LOUDER than before, which is damn near incomprehensible and frightening to even think about.
by The Seth Man
Tracks
1. City Kids (Larry Wallis, Duncan Sanderson) - 3:42
2. I Wish I Was A Girl (Larry Wallis) - 9:38
3. When's The Fun Begin? (Larry Wallis, Mick Farren) - 6:09
4. Chromium Plating (Larry Wallis) - 3:44
5. Raceway (Larry Wallis) - 4:05
6. Chambermaid (Larry Wallis, Duncan Sanderson, Russell Hunter) - 3:14
7. Street Urchin (Larry Wallis) - 7:02
8. Well, Well, Well (Single Version) (Mick Wayne) - 3:56
9. Hold On (Single Version) (Mick Wayne, Duncan Sanderson, Russell Hunter) - 4:06
10.City Kids (Alternate Mix) (Larry Wallis, Duncan Sanderson) - 3:38
11.Well, Well, Well (Alternate Mix)(Mick Wayne)- 3:20
Signed by CBS's Date subsidiary,1969's "Wilkinson Tri-Cycle" was co-produced by Warren Schatz and Stephen Schlake. Musically the set offered up an engaging mix of heavy blues-rock ('Leavin' Trunk' and 'Antique Locomotives') more trippy, pseudo-psych attack ('What Of I' and the atypical heavily orchestrated 'Pourscha Poe') and occasional unexpected jazzy touches. In the negative column the trio lacked a truly distinctive lead singer (the limited liner notes didn't credit vocalists) and their overall sound was occasionally a bit thin giving the impression this was recorded quickly and without a lot of post-production touch up.
Positives included some great guitar work from Mello - check out his work on the rocker '9-5 '59' and with the exception of the heavily orchestrated 'David's Rush' the material boasted surprisingly memorable melodies. Curiously, a couple of reference works I've seen describe material like 'Pourscha Poe' and 'Yellow Wall' as being Beatlesque (always a creative kiss of death). Wrong. Think along the lines of late-1960s San Francisco bands and you'll be closer to the mark. Unfotunately Date did nothing to promote the album so sales proved limited with the band calling it quits before they could release anything else. Too bad since these guys had considerable talent.
This album, coupled with their live gigs, has shown that Christie have a lasting potential which may not have been all that evident in their brace of international gold-plated singles Yellow River and San Bernadino. Indeed, Christie are one of the few British bands to have achieved an enviable worldwide acceptance in the past few years.
But it could well be that this success has slightly inhibited the thinking of the group's namesake Jeff, for on this new album it appears that he is striving to encompass both the commercial and heavy markets — a commendable but also dangerous line to follow.
It is still the immediacy of pop which is the mainstay of the industry. There is absolutely no disgrace to sell millions of singles and keeping an equal number of people entertained.
Christie have made the first inroads, and this album shows that collectively they have the ability to exploit this asset to their utmost advantage. It would be a pity if they allowed their judgement to be swayed by the inverted snobbery of others who are perhaps less successful.
For All Mankind is perhaps the first time Christie have recorded to their own personal satisfaction, and is an album which should gain them a degree of respect to add to their reputation for discovering the secret of commercial success.
With a bit of thought, more experience and careful production, their next album could well prove to be a blinder, for between them, Jeff, Vic Elmes and Paul Fenton produce some excellent instrumental work.
The plaintive title track and If Only are commendable and make a good contrast to the hardness of Martian King and Magic Highway.
Christie was a UK band built around singer-songwriter Jeff Christie, and fleshed out with drummer Mike Blakely, and Blakely’s former Acid Gallery bandmate Vic Elmes on guitar. The band’s one brush with fame was their first single, “Yellow River,” which reached #23 in the U.S., supported an album that sold well, and produced three separate videos (see below!).
The follow-up single, the country-tinged “San Bernadino,” scraped its way to #100, keeping the band (technically, at least) from being labeled a one-hit wonder. The album stretches out on the pop-inflections the band found in Creedence Clearwater Revival’s roots sound, and though they didn't manage any more chart singles, neither did they load up on filler. With a lucky break, or better promotion from their U.S. label, the band could easily have been remembered for more than “Yellow River.” If you like early ’70s country-rock from Gallery, the Stampeders, as well as their more famous peers, you should check this out. This 21-track reissue expands upon this straight up digital reissue of the album’s original thirteen tracks.
Tracks
1. Yellow River - 2:46
2. Gotta Be Free - 3:11
3. I've Got A Feeling - 2:49
4. New York City (Mike Blakley, Vic Elmes) - 3:07
5. Inside Looking Out - 2:42
6. Put Your Money Down - 2:43
7. Down The Mississippi Line - 2:52
8. San Bernadino - 3:12
9. Country Boy - 2:38
10.Johnny One Time - 3:25
11.Coming Home Tonight - 2:58
12.Here I Am - 2:37
13.Until The Dawn - 2:39
14.Everything's Gonna Be Alright - 2:37
15.Freewheelin' Man - 2:54
16.Inside Looking Out (Single B-side Version) - 2:42
17.Iron Horse - 2:52
18.Every Now And Then (Vic Elmes) - 3:19
19.Fools Gold - 3:10
20.California Sunshine (Lem Lubin) - 3:06
21.Born To Lose (Vic Elmes) - 2:47
All songs by Jeff Christie except where stated
Bonus Tracks 14-21
