The concept album rears its head -- and rears back about 500 years. While other progressive rock groups were doing album-length suites dealing with apocalyptic themes, Amazing Blondel were doing 20-minute multi-part pieces ("fantasia" is the best classical music term) depicting idealized love between man and woman, man and nature, and man and God. It all plays a little like the Strawbs' work of this same era without the sardonic edge, and is all achingly beautiful.
by Bruce Eder
Tracks
1. Fantasia Lindum - 20:13
.a Prelude and Theme
.b Song: Swifts, Swains, Leafy Lanes
.c Dance: Jig Upon Jig; Theme (Lutes And Recorder)
.d Dance (Galliard): God Must Doubt
.e Song: Lincolnshire Lullaby
.f Dance: Basse Dance Theme (Lute Duet)
.g Dance: Quatre Dance Pavan
.h Song: Celestial Light (For Lincoln Cathedral)
.i Dance: Coranto; Theme (Lutes And Recorder)
.j End
2. To Ye - 3:24
3. Safety In God Alone - 4:49
4. Two Dances - 1:56
.a Almaine (Edward Baird)
.b Bransle For My Ladys' Delight
5. Three Seasons Almaine - 3:32
6. Seige of Yaddlethorpe (Terence Alan Wincott) - 2:30
Music and Lyrics by John David Gladwin unless as else stated
Personnel
*John David Gladwin - Second Lute, Lead Vocals, Double Bass, Theorboe.
*Terence Alan Wincott - Recorders, Vocals, Piano, Crumhorn, Harpsichord, Harmonium, Other Woodwind
*Edward Baird - First Lute, Vocals, Glockenspiel, Dulcimer, Guitar
*Jim Capaldi - Drums
This is generally considered by Man fans to be one of the band's best works. Produced during one of Deke Leonard's periods of absence, it saw Phil Ryan and Will Youatt welcomed into the fold. There had been a huge amount of touring going on around this time, much of it on the continent, and this is the period they really established a solid reputation as a live band, and evidence to back this up was clear in the form of the many live albums (and bootlegs!) that came out of this era.
There are just four tracks, which probably reflects the serious jamming that was going on while performing live, allowing space for individual soloing. Also, it made it easier to fit in the quieter passages, such as in C'mon, where there is some especially effective organ and electric piano form Phil. Keep on Crinting further explores this laid back groove, which at times takes on an almost pastoral feel. Mellow picked guitar, steady, simple drumming, and cool synth sets this mood, before giving way to more aggressive wah wah.
Bananas became an immediate favourite and remains one to this day. The studio version is pretty much an organ driven piece and though the guitars make their presence felt later on, the organ does give this original version a sound not really reflected in the way the song developed in later years when performed live.
Life On The Road I see as the weakest song on the album. If you like shuffles, fine, but to me it's pretty nondescript. It was part of the live set for a while, but I can't work out how this studio version could have been thought to have advanced Man's cause as being a major act.
The playing throughout is excellent. As already hinted, it's very keyboard driven, and not having Leonard on board meant there was not as much of a contrast in guitar styles as in other band versions. Terry Williams... simply does not know how to play badly. The easy, relaxed style of this album never seems to stretch him though, which is a bit of a shame.
Time to own up : this actually isn't one of my favourite Man albums. It sounds like the band had got carried away with their live successes, and came out of the studio with an album which might just as well have been recorded on stage. I don't think it's a coincidence that the cover photo is a live shot (unusual in itself for a studio album). There's not much wrong with the songs, but nothing really stands out as having been crafted, and no effort seems to have been made to take advantage of the sophistication of the recording facilities. Of course, when they came to Rhinos, I think someone had noticed this tendancy, and they perhaps over compensated. Whatever. Anyway, for me this is a bit of an underachievement - the material is there, but more effort could have been put into the presentation.
Boasting an immensely talented line up consisting of singers/guitarists Eddie Baird, John Gladwin and Terry Wincott, The Amazing Blondel were easily as talented as fellow English folk-rock contemporaries such as Fairport Convention and Steeleye Span. Unfortunately, over the course of five early-'70s American album, the band never managed to attract the attention lavished on their competition. Part of the explanation may stem from the fact the group remained devoted to acoustic English folk music, largely avoiding rock overtones, sticking almost exclusively to acoustic jigs and ballads until relatively late in their recording career.
Gladwin and Wyncott actually started their musical collaboration in the rock band Methuselah (see separate entry). Following its break up the duo decided to continue their partnership as an acoustic duo. Subsequently joined by Baird, as The Amazing Blondel (the name drawn from Richard the Lionheart's favorite minstrel), the group was quickly signed by Bell Records (Chris Blackwell's Island Records acquiring American distribution rights).
Co-produced by Phil Brown and the band, 1973's "England" saw the trio retaining their interest in English folk, though the set saw a shift to a more commercial sound. That said, with all three members contributing material (Gladwin credited with the majority of six selections) the results were frequently stunning. For us the highlights included Gladwin's beautiful side-long suite "The Paintings" and the group's stunning harmony vocals (check out "Seascapes"). Acoustic material such as "Landscape" and "Cantus Firmus to Counterpoint" was soft, warm and highly melodic. While you couldn't exactly call it rock and roll (thoughts of an evening in an Irish pub quickly come to mind), it made for a great choice to play on a cold winter night, or an early Sunday morning.
Tracks
1. The Paintings (Three Pastoral Settings for Voices, Flute, Guitars and Orchestra) (John David Gladwin) - 17:31
...a) Seascape
...b) Landscape
...c) Afterglow
2. A Spring Air (John David Gladwin) - 3:41
3. Cantus Firmus to Counterpoint (John David Gladwin, Edward Baird, Terence Alan Wincott) - 3:21
4. Sinfonia for Guitar and Strings (From the Suite For My Ladys Delight) (Edward Baird) - 3:11
5. Dolor Dulcis (Sweet Sorrow) (John David Gladwin, Edward Baird) - 3:25
6. Lament to the Earl of Bottesford Beck (Terence Alan Wincott) - 3:11
Flood were an act based in New York City, their sole album issued only as a promo on a private label in 1970. This garage flavoured psych album contains some killer fuzz guitars. This edition is transfert from a vinyl copy.
Tracks
1. Vacumn - 4:11
2. Idle Time - 4:28
3. Blessed Be The Young Children - 4:31
4. Pain - 3:58
5. Songbird Of Time - 3:30
6. Mr. Wickett - 6:18
7. Don't Take Me - 3:27
8. Hurting Time - 4:01
All songs by John T. Magazino, Fred Covino, George Cabating
The Flood
*John T. Magazino - Vocals, Conga, Tamborine
*Fred Covino - Bass, 2nd Guitar
*George Cabating - Acoustic, Electric Guitars
*Billy Carroll - Drums, Conga
The story of the making of the Czap lp started in 1969 when Tuesday's Children were asked by Philips Records to make an album. The line up of the band was then Mick Ware on guitar, Paul Kendrick on bass guitar, Bob Hodges on Hammond organ and Derrick Gough on drums. Tuesdays Children had already recorded a single for Philips which had been released on the Mercury label and staff producer Brian Shepherd was designated to work with the band.
The recording sessions started on the 17th January 1969, there were 12 in total, the final session being on the 27th February 1970. All the sessions took place at the Philips headquarters studio at Stanhope Place, near Marble Arch London.
Although Brian Shepherd was the nominal producer of the album, he did not attend many of the sessions and the two engineers, Dave Voyde and Roger Wake did the production in conjunction with the band. They are credited as 'Production Engineers' on the LP sleeve and whilst they looked after the technical side of the recording, it was left up to the band themselves to arrange the music in the way that they wanted.
The first songs that were recorded were covers, which included long version of the Byrds '8 Miles High'. After a couple of verses this went into a long improvisation section that included Mars from the Planets Suite by Gustav Holst. This had been a highlight of the live set but although this song was finished it was not included on the album, there are probably two reasons for this: the estate of Holst wouldn't let anyone release different versions of his music, and secondly, Philips wanted an album of original material.
One day in the spring of 1969 the band were round at Paul Kendrick's parents house in Leyton when Paul mentioned that he had written and recorded some songs. Both Paul and Mick Ware had bought stereo reel to reel tape recorders on which it was possible to bounce tracks which meant that you could multitrack, although there was significant loss of quality if you did it more than 4 or 5 times.
Anyway we sat and listened to Paul's songs and liking what we heard we decided to rehearse and record some of them. Armed with this original material we then went back into the studio and continued to record.
As 1969 progressed Paul wrote more songs which we recorded, Mick Ware was also busy and we recorded his song 'Today' later in the year. The band was also performing a lot, still as Tuesdays Children, and although some of the sessions were 3 hour mixing or vocal sessions, some of them were all nighters when the studio was not being used by anyone else, which gave us the freedom to experiment and also for me to use any of the hired instruments that were in the studio at the time ie. Mellotron, harpsichord, celeste.
We did perform all the songs on the album live, although I had to make do with just Hammond organ and electric piano on stage. One of our specialities was 3 part harmony vocals (we all sung except Derrick Gough), and we spent a lot of time in the studio on the vocals. Most of the vocals are double tracked, in those days you would lay down one vocal track and then sing another over the top of it which thickened up the vocal sound as the second track would be slightly out of synch. with the first.
Eventually we got to the end of 1969 and the band had completed most of the album, we had also decided to change the name and relaunch the band as 'Czar'. We felt that 'Tuesday’s Children' was too 'poppy' and as we were heading in a new direction, a new name was needed to go with the new music and image. the first gig as 'Czar' was at Londons' Marquee Club in Wardour Street on 17th January 1970, and although we still had a couple of gigs booked as Tuesday’s Children, after that we became known as Czar.
Unfortunately in January 1970 Derrick Gough decided to quit the band and we held auditions for a new drummer on 15th February 1970 at Bells Studios in Ilford, Essex.
by Bob Hodges
Tracks
1. Tread Softly On My Dreams - 6:42
2. Cecelia - 8:18
3. Follow Me - 3:23
4. Dawning Of A New Day - 6:12
5. Beyond The Moon - 3:47
6. Today (Mick Ware) - 8:01
7. Day In September - 7:39
8. Ritual Fire Dance (Manuel De Falla) - 7:39
9. Oh Lord I'm Getting Heavy- 4:03
10.Why Don't We Be A Rock and Roll Band - 3:38
11.(She's A) Lady Of Love - 3:21
12.I'll Try Hard - 4:15
13.Good Morning Sunshine - 2:56
14.Oh Darlin' - 2:41
15.I Laid It On The Line - 3:28
All compositions by Paul Kendrick except where stated
It’s quite a challenge for me to write a good, subjective review on these guys. I’ve been a big fan of their music for some time now, probably since the first time I heard the opening chords of “The Viper” from Whistler, Chaucer, Detroit and Greenhill’s 1968 album, The Unwritten Works of Geoffrey, Etc - I was hooked. That album was more of a collection of studio experimentation/tracks whereas Space Opera (1973) was conceived as an actual album – the band played lots of live festivals/gigs during the Space Opera years.
The Space Opera LP shares many of the same characteristics that made the WCD&G album so enjoyable but in place of psychedelia (or psych pop) are the more structured, studied sounds of a good progressive rock band. It’s a classic record too, very different from the majority of “progressive rock” and “country-rock” albums being released at the time. Not many unknown groups who release one album in their lifetime have this many quality tracks lying around the cutting room floor. Therefore, I was shocked and excited to find out the release of these early demo tracks from the group’s prime years.
Space Opera are closer in sound to latter day Byrds or more distantly, Moby Grape. They had a knack for mixing blues, rock n roll, country, folk, and psych/progressive rock into something that still sounds fresh today and uniquely American (they were from Texas). Space Opera’s guitar sound leans towards the jazz/progressive end of the spectrum. Also, some of the tracks like the trippy reprise of ”Singers and Sailors” feature vibes and David Bullock’s trance-like flute work. The Exit 4 (named after Exit 4 studios) demos are the first 9 tracks (approximately 40 minutes) of this album, cut in 1970/1971, before Space Opera’s self title debut.
While the remaining 6 tracks, cut between 1975-1978 are very solid and musical (check out folk-rock gem “Snow Is Falling”), the Exit 4 demos are the real meat of the Safe at Home project. Exit 4 should have been Space Opera’s debut album. Both “Country Max” (their most popular song) and a heavily phased “Over and Over” make appearances on the Exit 4 album albeit in very good, early versions. The remaining cuts are unique to this compilation and are nearly the equal of anything on Space Opera - these cuts sound like finished tracks rather than demos.
Every track is strong and worth multiple spins. The album leads off with ”Singers and Sailors/Father,” a tough bluesy hard rocker with spiraling guitar leads and gutsy vocals. This track segues into the excellent “Journey’s End.” This cut has a country folk intro that eventually morphs into soft, tuneful rock that would have been fine radio fodder. The guitar playing throughout is outstanding. These guys were intelligent musicians that could have played any style well. Space Opera also knew how to balance out their instrumental prowess with quality songwriting.
Check out “Psychic Vampire”, another creative gem, which is similar to “Journey’s End” in it’s mixture of soft progressive sounds and fluid, expressive guitar work. Songs like “Marlow” and “Fly Away” show off the groups country and folk origins (with interesting chord progressions) and are no less potent than the aforementioned tracks. All in all, Exit 4 (and Safe at Home as a whole) is a superb album by one of America’s great lost bands.
by Jason Nardelli
Tracks
1. Singers And Sailors/Father (Scott Fraser, David Bullock) - 3:25
2. Journey's End (Phil White) - 5:11
3. Fly Away (David Bullock) - 5:08
4. Singers And Sailors (Scott Fraser, David Bullock) - 4:24
5. Country Max (David Bullock) - 3:15
6. Unless I'm Gone (Phil White) - 4:50
7. Marlow (Scott Fraser) - 4:00
8. Over And Over (Scott Fraser) - 6:24
9. Psychic Vampire (Phil White) - 3:54
10.Bells Within Bells (David Bullock) - 3:00
11.Still Life (David Bullock) - 4:19
12.Caledonia (Scott Fraser) - 3:37
13.Snow Is Falling (David Bullock) - 4:26
14.Play It Rough (Phil White) - 3:30
15.Squeeze Play (Scott Fraser) - 4:27
The Space Opera
*David Bullock - Flute, Guitar, Harmonica, Vocals
*Scott Fraser - 12 String Guitar, Keyboards, Vocals
*Phil White - Guitar, Bass, Keyboards, Vocals
*Brett Wilson - Drums, Percussion
I was totally enchanted the moment I heard this. Granted, I was flying blind at the time, given that I was listening to a CD sight unseen which had been lifted completely at random from the current review pile; but nevertheless Bolotin’s voice leapt out at me immediately, and the exquisitely understated guitar work sent tiny shivers up my spine. There was a slight tinge of disappointment when I unearthed the cover, read up on it and discovered that this isn’t in fact a contemporary recording - but then, I long ago gave up hoping to hear new artists with genuinely distinctive vocal phrasing and one foot planted firmly in the psych-folk camp and the other in jazz and vaudeville (the last was arguably Jeff Mangum of Neutral Milk Hotel, and that was back in 1990 or so)
The story goes that Jay Bolotin’s eponymous debut album was released in 1970 on the major label subsidiary Commonwealth United Records. The collection of sad, low-key introspective ballads were written in New York city, a long way from home for the 20 year old Kentucky native; the songs are haunted by images from his family and childhood. A band was assembled for him consisting of Kenny Lyon on Bass and Mark Taber on Piano and Harpsichord, both of who were even then veterans of Providence, Rhode Island music scene; Bobby Mason (of the Fugs) on drums and percussion, and David Mowry on guitar.
You can almost taste the yearning in his voice, but unlike (say) Leonard Cohen there’s a warmth and Southern resonance to it, and it’s little surprise that at the time he was championed by keen eared artists such as Kris Kristofferson. The arrangements are sympathetic yet unfussy, with just voice and guitar when that's all that's called for, plus electric bass, keys and drums when the mood requires it - plus less common touches such as harpsichord, celeste and miscellaneous percussion.
‘It’s All in That’ is arguably the strongest song on here – very much in a similar mould to David Ackles’ ‘Road to Cairo’, and the equal of it in terms of sheer originality. The opening ‘Dear Father’ will also pull you in and hold you close, with a visceral immediacy which pervades the whole album.
Obviously here at the Terrascope we have an affinity for both Kentucky and Providence given the Terrastock festivals we have staged there, but the mental sparks and flickers that this album ignites don’t end there. Fans of Tom Rapp and Pearls Before Swine and in particular, the aforementioned late lamented David Ackles will want to check this out immediately.
by Phil McMullen
Tracks
1. Dear Father - 5:53
2. Jimmy's Got a Music Box - 3:41
3. It's All In That - 5:00
4. Pretty Burmah - 2:48
5. Trinketman - 2:36
6. You Are a Woman - 4:18
7. For the Love of a Summer Evening - 2:48
8. I'm Not Asking You - 4:10
9. For Kristy - 3:35
10.Winter Woman - 6:36
Words and Music by Jay Bolotin
Hoi’ Polloi’s only self-titled private press LP is a true lost gem. Record Collector Magazine referred to this album as “a buried treasure” while Acid Archives writer Aaron Milenski said of the album, “Here’s proof that great finds are still out there awaiting us.” Family Vineyard reissued this strange but engaging album on vinyl and digital download.
The group, which hailed from Richmond, Indiana, mixes various early 70s pop/rock styles (CSN&Y styled singer songwriter pop, country rock, power pop, folk rock, progressive rock, lite psychedelia) into an appealing whole. Hoi’ Polloi was recorded at Earlham College during spring break using two stereo deck tapes. Album opener “Who’s Gonna Help Me” sounds like a lost Emitt Rhodes track – this is radio friendly and highly accomplished pop for a self released disc. The folk-rock tracks such as “Stories,” “Devil Song,” and “Old Bootstrap” are the group’s greatest strength as they are tuneful and finely crafted pieces of music – how was this excellent band overlooked? Other winners are the acid soaked but brief “Last Laugh,” the progressive harpsichord instrumental “Sid Stoneman Gets Scaled,” and the catchy singer songwriter styled “15 Miles To Mexico.”
While influences are easy to spot, Hoi’ Polloi had a unique quirkiness and strong sense of musicianship that keeps this music original and fresh. They were a group that could sing, write and play better than most major label acts of their time. There are no rough spots or dull moments to be found on this very entertaining set, which is highly recommended to fans of early 70’s pop rock.
by Jason Nardelli
Tracks
1. Who's Gonna Help Me? (Charles Bleak) - 3:34
2. Old Bootstrap (Bruce Wallace) - 4:23
3. 7 Deviations (Charles Bleak) - 1:06
4. Last Laugh (Bruce Wallace, Dan Mack) - 1:35
5. Hoi' Polloi Peeks Out (Hoi' Polloi) - 0:45
6. Instead Boogie (Ace Corrector) - 1:38
7. Satisfaction Guaranteed (Bruce Wallace, Dan Mack) - 5:52
8. It's A Nice Day (Charles Bleak) - 2:09
9. Devils Song (Bruce Wallace, Dan Mack) - 3:18
10.Sid Stoneman Gets Scale (S. Stoneman, Vince Lash) - 2:40
11.15 Miles To Mexico (Dan Mack) - 2:45
12.Stories (Dan Mack) - 2:16
13.I Used To Think (Bruce Wallace) - 1:26
Critics have pigeonholed Pirana as mere Santana clones, and while comparisions are understabdlble and the influence of Santana is obvious, this arguably did the group a considerable disservice. Its dynamic and rhythmic performance at the definitive Sunbury music festival in 1972 drew inevitable comparisons to the Latin-rock champions of Woodstock, due in no small measure to their superb performance of Santana's "Soul Sacrifice". But there was much more to Pirana than that facile categorisation allows
Let's acknowledge, then set aside for a moment, the band's obvious debt to Santana as their early musical template. Beyond that, we can hear examples of fine, melodic songwriting -- mainly from keyboardist Stan White on the first album, but consummately taken over by guitarist and vocalist Tony Hamilton on the second -- that displays a diversity of influences while still keeping the band's innate individuality. It's a bit like their contemporary peers, Sebastian Hardie or Sherbet, who also had a hard time living down copious (and mostly bogus) comparisons while they tried to forge an original path.
For a start, Tony Hamilton's guitar was never less than wonderful. He sang commandingly, with soul, atop Jim Yonge's fluid drumming, supported by the anchorage of Graeme Thompson's throbbing bass. Keyboards were vital to the Pirana sound, and Stan White and his successor, Keith Greig, provided rich Hammond organ reinforcement for the overall feel of the band.
In Pirana, members came and went, but it is essentially the core band comprising Duke-Yonge, Thompson, Hamilton and Greig (who replaced Stan White after the first LP), who made the records and sustained the bulk of the band's performing tenure, and must be most remembered as the definitive entity. Hamilton, Thompson and Yonge were all ex-members of Gus & The Nomads, a 60s R&B/pop band fronted by "the wild man of Sydney rock" Gus McNeil. Gus was executive producer on Pirana's debut album, and several others including the legendary A Product Of A Broken Reality for Company Caine, Greg Quill's early solo recordings (including the Fleetwood Plain). Gus also set up his own publishing company, Cellar Music, which (besides Pirana) also handled publishing for Mike Rudd, Greg Quill, Ross Wilson and Gulliver Smith.
Pirana's first recordings were as the backing group for Greg Quill's 1970 solo album Fleetwood Plain. They signed to Harvest in 1971 and issued two singles. Here It Comes Again (May) was reputedly the first local single released in stereo, and can still be found on Raven's Golden Miles compilation CD; the same month they toured nationally as support band on the historic package tour by Deep Purple, Free and Manfred Mann's Chapter Three. Their second single was "I Hope You Don't Mind" (Nov.) Late in the year Stan White left to join pop band The Going Thing, and he was replaced by Keith Greig.
In concert they were always regarded as a top-drawer act; they went down a storm at the inaugural Sunbury rock festival, and their live version of Santana's "Soul Sacrifice" earned them a track on the Sunbury '72 album. EMI issued their second LP Pirana II in November 1972, by which time Richard McEwan had replaced Hamilton on guitar. Andrew James replaced Greig in 1973 and Phil Hitchcock replaced Graeme Thompson on bass in 1974. The band continued to work on the dance and pub circuit, but they didn't record again, and they eventually broke up in late 1974.
Duke-Yonge (aka Jimmy Tonge) went on to work with Corroborree, the Anne Kirkpatrick Band and Bullamakanka and in the late 1970s Keith Greig was a founding member of The Brucelanders, who went on to considerable acclaim in their later incarnation as The Reels (minus Keith).
by Paul Culnane
Tracks
1. Elation (Stan White) - 9:27
2. Sermonette (Stan White) - 5:54
3. Time Is Now (Tony Hamilton) - 6:28
4. Find Yourself A New Girl (Stan White) - 3:58
5. The River (Stan White) - 4:32
6. Easy Ride (Stan White) - 3:45
7. Stand Back (Tony Hamilton, Stan White) - 10:10
8. Pirana (Tony Hamilton) - 6:33
9. Then Came The Light (Tony Hamilton) - 3:57
10.I've Seen Sad Days (Tony Hamilton) - 6:11
11.Persuasive Percussion (Tony Hamilton, Jim Duke-Yonge, Graeme Thompson, Phil Hitchcock, Keith Greig) - 0:55
12.I've Got To Learn To Love More Today (Tony Hamilton) - 2:18
13.Jimbo's Blow (Tony Hamilton, Jim Duke-Yonge, Graeme Thompson, Phil Hitchcock, Keith Greig) - 1:01
14.Thinking Of You (Tony Hamilton) - 8:00
15.Here It Comes Again (Tony Hamilton) - 2:52
16.Move To The Country (Tony Hamilton) - 2:58
For most intents and purposes, Graham Parker emerged fully formed on his debut album, Howlin' Wind. Sounding like the bastard offspring of Mick Jagger and Van Morrison, Parker sneers his way through a set of stunningly literate pub rockers. Instead of blindly sticking to the traditions of rock & roll, Parker invigorates them with cynicism and anger, turning his songs into distinctively original works. "Back to Schooldays" may be reconstituted rockabilly, "White Honey" may recall Morrison's white R&B bounce, and "Howlin' Wind" is a cross of Van's more mystical moments and the Band, but the songs themselves are original and terrific.
Similarly, producer Nick Lowe gives the album a tough, spare feeling, which makes Parker and the Rumour sound like one of the best bar bands you've ever heard. Howlin' Wind remains a thoroughly invigorating fusion of rock tradition, singer/songwriter skill, and punk spirit, making it one of the classic debuts of all time.
by Stephen Thomas Erlewine
Tracks
1. White Honey - 3:32
2. Nothin's Gonna Pull Us Apart - 3:20
3. Silly Thing - 2:53
4. Gypsy Blood - 4:36
5. Between You And Me - 2:24
6. Back To Schooldays - 2:53
7. Soul Shoes - 3:13
8. Lady Doctor - 2:50
9. You've Got To Be Kidding - 3:28
10.Howlin' Wind - 3:56
11.Not If It Pleases Me - 3:11
12.Don't Ask Me Questions - 5:38
13.I'm Gonna Use It Now - 3:11
All songs written by Graham Parker
