Original Recordings was Dan Hicks' initial solo effort as well as the debut of his "Hot Licks." Unlike the overamplified electric jug band music that the Charlatans had been creating during Hicks' stint as their drummer and occasional vocalist, this new band performed a refreshing blend of jazz swing with country & western. Their understated performance style stood in stark contrast to the burgeoning heavy metal and acid rock that were en vogue as the '60s became the '70s. Featured on this album is a seminal version of the "Hot Licks" that were only together briefly. Included are John Weber (guitar) and Terry Wilson (drums) as well as vocalists Tina Viola Gancher and Sherry Snow. Both Sid Page (violin/vocals) and Jaime Leopold (acoustic bass) would remain with Hicks (guitar/vocals/spoken word) as core members of the band.
Of the 11 original compositions on this disc, "How Can I Miss You When You Won't Go Away" followed Hicks from the Charlatans, while "Canned Music," "I Scare Myself," and "Shorty Falls in Love" would be slightly reworked for their inclusion on the upcoming long-players Where's the Money? and Striking It Rich, respectively. Perhaps because of Hicks' background as a drummer, his sense of timing is a key element to his deceptively complex melodies. Likewise, this has a great deal to do with the success of the call-and-response vocals between Hicks and the female background vocalists he would dub "the Lickettes."
Within these pastoral melodies and slightly askew lyrics is the somewhat out-of-sync and acid-tinged "It's Bad Grammar, Baby." In retrospect, the prominently distorted acoustic guitar lead overwhelms the track -- which would have otherwise fit nicely within the context of the remainder of the album. This might have had something to do with it being conspicuously left off the 2001 Sony/Legacy reissue Canned Music: The Most of Dan Hicks and His Hot Licks. Those who can locate a copy of these Original Recordings are urged to do so. For Hicks-ophiles or Dan-ophites, it is a vital entry into his canon.
by Lindsay Planer
Tracks
1. Canned Music - 4:05
2. How Can I Miss You When You Won't Go Away? - 2:39
3. I Scare Myself - 5:18
4. Shorty Takes A Dive - 3:11
5. Evenin' Breeze - 3:56
6. Waitin' For The "103" (Dan Hicks, Bob Johnston) - 3:44
7. Shorty Falls In Love (Dan Hicks, Bob Johnston) - 3:23
8. Milk Shakin' Mama - 4:09
9. Slow Movin' - 3:09
10.It's Bad Grammar, Baby (Dan Hicks, Bob Johnston) - 2:32
11.Jukies' Ball - 5:11
All songs by Dan Hicks except where noted
The Hot Licks
*Dan Hicks - Vocal, Rhythm Guitar, Harmonica, Drums
*Jon Weber - Lead Guitar
*Sid Page - Violin
*Sherry Snow - Vocal
*Christina Viola Gancher - Vocal, Celeste, Piano
*Jaime Leopold - Bull Fiddle
St. Thomas Pepper Smelter was formed by Gerardo Manuel Rojas on vocals and tambourine, Beto Tataje on rhythm guitar and lead guitar, Juan Carlos Barreda on bass and vocals, Carlos Manuel Barreda on drums and backing vocals (all from the famous group Los Shains), and Freddy Macedo on keyboards. Their first single was a cover of ‘Purple Haze’ b/w one of their own compositions, ‘A New Summer.’ The band then began to record their only LP. That album contains twelve tracks—six written by the band, and the other half cover versions.
The band’s music could be described as freak beat; in many ways, it is a preview of the garage /surf style of Los Shain’s, heading towards the heavy psychedelic rock of Gerardo Manuel & El Humo. At the time, St. Thomas Pepper Smelter simply called it “underground music.” Gerardo’s voice is soft in the band’s own songs, and aggressive on the cover tunes; his guitar style oozes fuzz. The foundation of bass and drums by the brothers Barreda is very powerful and strong; and the songs benefit from the layers of keyboard played by Freddy Macedo.
Tracks
1. In-A-Gadda-Da-Vida (Doug Ingle) - 5:16
2. Pepper's Boogaloo (Gerardo Manuel Rojas, Beto Tataje) - 3:10
3. Strange Brew (Eric Clapton, Jack Bruce) - 2:44
4. Words Of Pain (Gerardo Manuel Rojas, Beto Tataje) - 2:53
5. People In Me (Sean Bomniwell) - 2:57
6. Heart Teaser (Tim O' Brian, S. English, Gary St Clair) - 3:55
7. Can You See Me? (Jimi Hendrix) - 2:38
8. Answer (Gerardo Manuel Rojas) - 3:26
9. Betty Boom-Little Monster-Doggie And Peggie At The Witches Castle (Gerardo Manuel Rojas, Beto Tataje) - 3:39
10.Hey, Joe (Billy Roberts) - 3:50
11.Is My Guitar (Carlos Martinez) - 2:36
12.Raga Gag (Instrumental) - 5:21
The St. Thomas Pepper Smelter
*Gerardo Manuel Rojas - Vocals, Percussion
*Beto Tataje - Guitar, Vocals
*Juan Carlos Barreda - Bass, Vocals
*Freddy Macedo - Organ
*Carlos Manuel Barreda - Drums
Holy Mackerel were formed in 1970 from the ashes of Kent-based psychedelic band Jason Crest. Three members of that highly regarded outfit - singer and chief songwriter Terry Clark, drummer Roger Siggery and guitarist Derek Smallcombe joined forces with local musicians Tony Wood and Chris Ware in an attempt to move towards a more contemporary rock sound. After a brief flirtation with the name Highway, the band settled for the more distinctive soubriquet of Holy Mackerel. They gigged incessantly, occasionally as headliners but often as support act to bands as diverse as Three Dog Night and the Sweet. As a result of their punishing live schedule, Holy Mackerel slowly established a considerable reputation on the thriving college and university circuit; indeed, the sheer volume of live work undertaken by the band ensured that they were financially secure enough to survive without the aid of a recording contract.
By 1972 Holy Mackerel were attracting capacity crowds in their own right, an achievement that did not go unnoticed within the music industry. The band finally accepted an offer from management agency General Artistes, who also handled unabashed pop acts like Vanity Fayre and Chicory Tip. Fronted by high profile entrepreneur Roger Easterby, General Artistes succeeded in obtaining a recording contract for Holy Mackerel from CBS Records.
The first of Holy Mackerel's four singles appeared on 27 October 1972 ('Rock-A-Bye' c/w 'New Black Shoes', CBS 8447). However, this was merely a taster for the band's eponymously-titled debut album which emerged three weeks later. 'Holy Mackerel' (CBS 65297) was a slightly tentative first step that bore the familiar hallmarks of a popular live band struggling to adapt to the differing demands of the recording studio environment. Nevertheless there were sufficient glimpses of quality to suggest that a second album might prove to be an altogether more substantial affair.
Shortly after the release of the Holy Mackerel album, Roger Easterby formed a new label entitled Santa Ponsa. Naturally enough Holy Mackerel were enticed away from CBS to become one of Santa Ponsa's first signings: the perils of a joint management and recording contract would only become evident at a later date. At the time a brave new world beckoned, particularly when Santa Ponsa quickly hit paydirt with the chart success of Guy Darrell's 'I've Been Hurt' (a mid-1960's recording leased with delicious irony from CBS).
Flushed with this early success, Easterby instructed Holy Mackerel to record a version of an old Bruce Channel song called 'We Got It Nailed Down' (Santa Ponsa PNS6). This track failed to register commercially when issued as a single in September 1973, as did the country chestnut 'Tennessee Waltz' (Santa Ponsa PNSI1) a few months later.
Undeterred, Easterby urged the band to proceed with the recording of their second album. They responded enthusiastically, with three members writing material of sufficient calibre to ensure that this album (given a working tide of 'Take A Deep Breath And Smile') would represent a quantum leap forward from their CBS debut. Holy Mackerel were already established as a crowd-pulling live act: with the aid of a supportive record company and some outstanding new material, surely this album would prove to be the vinyl breakthrough that they needed?
By the time that the album had been painstakingly pieced together in the studio, Santa Ponsa were floundering badly. Guy Darrell's unexpected hit had proved to be a one off rather than the start of something big: the label subsequently released a further two dozen singles without securing a second success. As a result, Easterby wasn't in a position to gamble with the release of an album without the financial safety net of a hit single. One of the more commercial tracks - Terry Clark's 'Ballad of Joe McCann', fortunately a better song than the tide would suggest - was selected as a single (Santa Ponsa PNS18) in early 1974. Its lack of success ensured that, by the time Santa Ponsa ceased trading later that same year, the second Holy Mackerel album had still not emerged.
Having lost both their management and recording company in one fell swoop. Holy Mackerel's career was plunged into a protracted state of limbo. They briefly delayed the inevitable by electing to struggle on, although drummer Roger Siggery hailed out and was replaced by Dennis Elliott, who would subsequently join Foreigner. Terry Clark recorded a handful of solo singles under a variety of ludicrous aliases, the most notable being a version of 'Best Part of Breaking Up' credited to Eddie Fontana (Santa Ponsa PNS23 in October 1974). Overwhelmed by events. Holy Mackerel had slowly disintegrated by this stage: ironically the album that may have been their salvation remained unissued.
Twenty years later, 'Closer to Heaven' (which has been digitally remastered from the sole surviving acetate copy) is a fascinating but frustrating glimpse of what might have been. Perhaps the band were too eclectic for their own good, but their consummate mastery of various musical styles enabled them to mould a wide variety of disparate elements into a distinctive and fully coherent sound. Many rock bands of the era may have laid claim to the raging dual guitar onslaught of 'Judgement Day', but few would have been equally well-equipped to tackle the delicate beauty of 'Walk Through The Valley' without stumbling into mawkishness or parody.
Had "Closer to Heaven' been released at the time, the Holy Mackerel story may have had a rather differentending. This belated issue at least provides the band with a suitably impressive epitaph.
by David Wells, September 1993
Tracks
1. Gemini (Derek Smallcombe) - 3:27
2. Ballad Of Joe McCann (Terry Clark) - 3:28
3. Burglar Man (Derek Smallcombe, Terry Clark) - 3:56
4. Blue Eyed Redeemer (Chris Ware) - 2:52
5. (Closer To Heaven On) Judgement Day (Terry Clark) - 4:11
6. Hard Times, Good Times (Terry Clark)- 2:57
7. Near You (Terry Clark) - 4:17
8. Walk Through The Valley (Derek Smallcombe, Terry Clark) - 2:51
9. Waterfall (Derek Smallcombe) - 7:46
The Holy Mackerel
*Terry Clarke - Lead Vocals
*Derek Smallcombe - Guitars, Vocals
*Chris Ware - Guitars
*Tony Wood - Bass
*Roger Siggery - Drums
Here are lengthy multi-part suites, excellent musicianship and an overall very appealing early 70's, very jazzy progressive rock sound with lots of flute, sax, keyboards and guitar. But closer inspection of the material on the album reveals that you've been cheated. All of the four tracks are made up of tiresome extended jams and solos that are built around themes and melodies.
‘Ben’ was the band’s only release on the progressive Vertigo ‘spiral’ label in 1971. It is packed with ambitious instrumental arrangements of inspired jazz-rock, performed by a talented five that represented the best of the Canterbury scene, the movement that flourished in the early 1970s.
Tracks
1.a.The Wooing Of The Child (Keith Jarret)
1.b.The Innocence Of The Child (Peter Davey)
1.c.The Interest Of The Youth (Gerry Reid, Peter Davey)
1.d.The Involvement Of The Man (Peter Davey)
1.e.The Realization (Alex Macleery)
1.f.The Wooing Of The Man (Keith Jarret)
1.g.The Conclusion (Alex Macleery, David Sheen, Gerry Reid, Len Surtees, Peter Davey) - 10:05
2. Gibbon (Peter Davey) - 9:32
3. Christmas Execution (Peter Davey) - 7:21
4. Gismo (Peter Davey) - 11:50
A legend in its own lifetime, Keep Them Freaks a Rollin' was, as its subtitle makes plain, recorded live at Abbey Road Studios in 1969, as a possible first album by the then newly signed Broughton Band. However, the tapes were shelved in favor of a more conventional studio recording, and only one excerpt ever made it out, a harshly edited 45 of the closing "Out Demons Out," already established as the band's live tour de force. The full-length version, however, remained unheard and, like the rest of the show, it eventually faded into mythology.
The tapes were finally resuscitated in 2004, to herald EMI's CD remastering of the full Edgar Broughton Band catalog. And, though 35 years had now passed, the primal energy and majesty of the Broughtons in full flight still burns through. Egged on by a studio full of friends and fans, the band recounts its entire period live show, with a churning "Smokestack Lightning" and an evil "Dropout Boogie" pinpointing the two influences that collided to create the Broughtons' own unique brew. "American Boy Soldier," still one of the most potent protest songs of the entire Vietnam era (and an equally valid component in the modern-day outfit's live show) is spellbinding and, at almost 15 minutes, spotlights the band's improvisational powers to perfection.
And then there's "Out Demons Out," restored to its full ten-minute glory once again, and still capable of swaying the stoniest heart. Would history have been different had this become the band's debut album? Probably not -- and besides, what would have become of Wasa Wasa if it had? But still, any survey of the British underground through the early '70s would be woefully incomplete without an evening spent with this album and, alongside Hawkwind's Doremi Fasol Latido, the first Pink Fairies album, and Mick Farren's Carnivorous Circus, it remains the key to what that entire movement was all about.
by Dave Thompson
Tracks
1. Smokestack Lightning (Chester Burnett) - 10:43
2. What Is A Woman For? (Edgar Broughton) - 11:02
3. Yason Blues (Arthur Grant, Edgar Broughton, Steve Broughton) - 4:23
4. Refugee (Edgar Broughton) - 9:06
5. Dropout Boogie (Don Van Vliet) - 5:30
6. American Boy Soldier (Arthur Grant, Edgar Broughton, Steve Broughton) - 14:52
7. Momma's Reward(Keep Them Freaks A Rollin') (Edgar Broughton) - 6:56
8. Out Demon's Out (Arthur Grant, Edgar Broughton, Steve Broughton) - 9:56
The Edgar Broughton Band
*Edgar Broughton - Guitar, Vocals
*Steve Broughton - Drums
*Arthur Grant - Bass, Vocals With
*Terry Yason - Harmonica
Bump 2 was recorded in 1971, just a year later after the debut album, also on Pioneer Records and produced by Gary A. Rubin. Paul Lupien - organ / George Runyan - bass, vocals / Alan Goldman - guitar / Jerome Charles Greenburg - drums, recorded 8 great tracks which never came out so far. We could even use the original artwork. This is a fantastic prog / psychedelic monster LP, a mixture of dreamy organ psych with heavy fuzz bluster, very much like CA Quintet. Ghostly swirly organs, burning rough guitars, sound effects, fuzz/wahwah guitars, trippy lysergic vocals and great melodies. A killer album from start to end.'
Tracks
1. Winston Built The Bridge - 3:08
2. Such Pretty Scenery - 6:33
3. The Song - 3:18
4. Sea Of Tranquility - 2:52
5. Concerning Your Invitation - 2:23
6. Promises To You - 3:30
7. Let Me Lie - 2:10
8. Boris The Black - 10:52
The Bump
*Paul Lupien - Organ
*George Runyan - Bass, Vocals
*Alan Goldman - Guitar
*Jerome Charles Greenburg - Drums
The Bump emerged in the spring of 1969 out of Detroit's psychedelic pop scene. The band's founding members, bassist/vocalist George Runyan and keyboardist Paul Lupien, held open auditions to fill the open guitar and drum positions, finally settling on Alan Goldman and Jerome Charles Greenberg, respectively, who had themselves been a team of several years going back to their high school friendship. Runyan came up with the band name after seeing a roadside sign. Lupien was the band's primary songwriter; he already had a backlog of songs coming into the band. Runyan and Greenberg were, although less prodigious, also writers, so the band instantly had original material to practice and perform. By the late summer of 1969, the Bump had sufficiently worked up their material and were signed by a local 8-track recording studio, Pioneer, which also provided the band with management, equipment, booking, rehearsal space, recording facilities, even its own label.
They recorded two singles and two LPs for the label. The first, self-titled album received favorable reviews in publications such as Billboard and Record World magazines, but was not enough promoted to chart nationally. The second album was never released. Still, the Bump made its name with a dramatic live show that included theatrical stage costumes and make-up. They also made several local television appearances, and had a local hit with their second single, "Sing Into the Wind/State of Affairs." In 1971, Runyan and Lupien dissolved the band, yet remained a writing and performing team with numerous other bands, none of which experienced any measure of success, over the next couple years.
by Stanton Swihart
Tracks
1. Sing Into The Wind (Jerome Charles Greenberg) - 2:26
2. State Of Affairs - 3:11
3. Daydream Song - 3:26
4. Holly Thorndike - 0:56
5. Got To Get You Back (Jerome Charles Greenberg) - 2:37
6. Spider's Eyes - 5:29
7. Clean Myself - 5:08
8. From My Slot (George Runyan) - 2:27
9. Lifelines, Decisions, You Can't Even Think - 10:48
10.Winston Built The Bridge (Bonus Track) - 3:06
11.Sing Into The Wind (Bonus Track) (Jerome Charles Greenberg) - 2:26
Somewhere in Bournemouth 1968, the green giant emerged largely through vibrant concert performances. The Hulk started with the thunderous vox of Pete Thorpe who fronted the Harvey Wells Soul Band that become legendary through the ballrooms of the ‘Boscombe Hippodrome’ warming up for Status Quo, Small Faces and Pretty Things. The stirring grit of "In The Midnight Hour" could only hold them for long and by 1969 Thorpe recruited ex Free Love rhythm guitarist Pete Granville Frazer, ex Big Idea vocalist / guitarist Phil Clough, ex Push drummer Bernard James and Free Love bassist James Haines as Elias Hulk, with the latter recruitment of guitarist Neil Tatum.
The groups stomping ground was the South West of England where rural hippy communities were loyal and astute enough to enjoy lengthy solos. Eric referred them to ‘Youngblood Records’ who handled the likes of Dando Shaft and Python Lee Jackson. Far from green the Hulk launched Unchained in 1970 with zealous bass and drum solo in the opening "We Can Fly". Elias Hulk were not a typical rock band but more wrapped in the entrails of psyche with extreme tempo changes and sensitive mood swings, stamped by Granville’s innovative raga spillage through the Coltrane influenced "Delhi Blues". Tatum’s urgent axe reaches severing angst through the compelling "Nightmare", while the free harmonies of "Been Around Too Long" evolve into latent jazz snare by Bernard James. Granville dazzled with a touch of guitar phasing (Caleb Quaye style) in the middle bridge of "Yesterday's Trip".
The blues slides superbly into "Free" with a nourishing Peter Green delta feel. Often likened to Geronimo they were closer to Hookfoot or Capability Brown. "Delhi Blues" is really their opus riff that quells all the way from Brighton to Bombay. The Hulk epitaph "Ain't Got You" sizzles with creative bass from Haines and squelching Tatum wah wah. By 1971 the great Hulk had fallen with Granville writing material for The Ckreed which included future Babe Ruth bassist Dave Hewitt. Thorpe sang for Magic Muscle, one part of the Hawkwind / Pink Faeries acid garden that evolved into The Rat Bites From Hell. Bernard James went on to Pro-Eyes and Flyer while Frazer entered Jenny Haan’s Lion. Clough joined Pinkerton’s Colours and Flying Machine.These days Hulk’s influence lies with Dr Brown and Bevis Frond.
by Shiloh Noone
Tracks
1. We Can Fly (Granville Frazer, Peter Thorpe) - 6:16
2. Nightmare (Bernard James, Granville Frazer, James Haines, Neil Tatum, Peter Thorpe) - 3:11
3. Been Around Too Long (James Haines, Neil Tatum, Peter Thorpe) - 3:01
4. Yesterday's Trip (Granville Frazer, Neil Tatum, Peter Thorpe) - 3:56
5. Anthology Of Dreams (Granville Frazer, Peter Thorpe) - 3:08
6. Free (Granville Frazer, Neil Tatum, Peter Thorpe) - 3:37
7. Delhi Blues (Bernard James, Granville Frazer, James Haines) - 4:18
8. Ain't Got You (Granville Frazer, Peter Thorpe) - 3:29
Elias Hulk
*Peter Thorpe "Big Pete Thorpe" - Lead Vocals
*Neil Tatum - Lead Guitar
*Granville Frazer - Rhythm Guitar
*James Haines - Bass Guitar
*Bernard James - Drums Free Text the Free Text
Tidal Wave are probably best known for their bubblegum pop hits ‘Spider Spider’ and ‘Mango Mango’ in 1969 and 1970 respectively, but they were so much more than that.
Yes, they did play pop and they had a few hits, which were featured on the top radio stations at the time, Springbok Radio and LM Radio. Both stations are long gone, but sadly missed and fondly remembered by many South Africans who grew up without TV. However Tidal Wave also played some very interesting psychedelic pop rock enhanced by the fuzz guitar sounds of Mike Pilot, who formed the hard rock band Stingray in the late 70s. They also played backing for various musicians.
It all started with a man named Terry Dempsey, songwriter and record producer. Dempsey was born in England and came to South Africa in 1968. He wrote and produced The Staccatos first song, ‘Butchers And Bakers’ in 1968. This song had originally been recorded by UK freakbeat band Les Fleur De Lys in 1967, though they called themselves Chocolate Frog at the time.
In August 1970, an album titled simply ‘Tidal Wave’ was released and included ‘Spider Spider’, ‘Green Mamba’ and their next big hit ‘Mango Mango’. This song, with its nonsensical lyrics and repeated phrase of ‘sixty-nine, sixty-nine’, hit number seven on Springbok in late 1970 and achieved top five on LM Radio in January 1971.
In 1971, according to the History Of Contemporary Music Of South Africa by Garth Chilvers and Tom Jasiukowicz, Tidal Wave supplied the music for the soundtrack of the movie, ‘Lindi’, composed and produced by Terry Dempsey.
Mike Koch and Roy Naturman left Tidal Wave and a last single was released in 1971 titled ‘Money Baby’ (b/w ‘I’ve Got To Get Away’) that featured drummer Kevin Kruger and keyboardist Aidan ‘Dooley’ Mason. This song went to number 15 on the Springbok charts and did even better on LM Radio going to number nine. After a couple more line-up changes, sadly, Tidal Wave was no more.
There is a wide variety of music styles covered on this Tidal Wave retrospective release. Lovers of end-of-the-sixties psychedelic pop and rock will discover many hidden gems here including the progressive rock sounds of ‘Get It Out Of Your System’ which would not have been out of place on an Abstract Truth album. This Disc also includes the funky soul sounds of ‘Town Girl’, featuring Peter Vee’s lead vocal, which was previously unreleased.
Tidal Wave is fondly remembered by many and now all their music; the hits, misses and rarities can be found in one place.
by Brian Currin, April 2007
Tracks
1. Put It All Together - 3:07
2. I've Got To Get Away (Aidan Mason) - 2:30
3. With Tears In My Eyes - 3:14
4. Green Mamba - 2:43
5. Town Girl - 3:01
6. Spider Spider - 2:41
7. Morning Light - 3:32
8. Mango Mango - 4:03
9. Give Ma An A - 3:13
10.Money Baby (Aidan Mason) - 3:13
11.We Wanna Know - 2:35
12.Colonel Mustard - 2:41
13.Get It Out Of Your System (Aidan Mason) - 2:49
14.All In A Dream - 2:56
15.Man On A String - 2:46
16.That's Why The Girl Is Crying - 4:09
17.Crazy Horse - 2:25
All songs by Terry Dempsey except where stated
The saga of Orang-Utan is one of classic 60s-style music-biz skulduggery, contrived by dodgy late impresario Adrian Millar who, according to Jeremy Cargill’s sleevenotes, had the group name and King Kong-style sleeve design. All he needed was some gullible rockers to provide the music.
Enter North London’s Hunter, stalwarts of Freddie Mac’s soul revue, armed with a clutch of songs by drummer Jeff Seopardi, which became proto-metal juggernauts in the hands of lung-busting singer Terry ‘Nobby’ Clark, bassist Paul Roberts and dueling axemen Mick Clarke and Sid Fairman. The group knew it was doomed from the moment Seopardi signed Millar’s contract in a Soho alley, later discovering the album had been released by Bell in the US. 45 years later, Orang-Utan is being released in the UK for the first time, complete with that sleeve, which now stands as a tacky classic of the time.
Devotees of the kind of riff-heavy blues-rock ground out back then by the likes of Free and Cactus will relish the monolithic but dynamic bombast of outings such as Love Queen and Chocolate Piano. Proto-prog rears its head in the episodic arrangement of Magic Playground.
by Kris Needs
Tracks
1. I Can See Inside Your Head - 3:15
2. Slipping Away - 6:12
3. Love Queen - 4:31
4. Chocolate Piano - 6:33
5. If You Leave - 5:22
6. Fly Me High - 4:38
7. Country Hike - 4:20
8. Magic Playground - 3:20
All songs written by Jeff Seopardie
The Orang-Utan
*Terry "Nobby" Clark - Vocals
*Mick Clarke - Guitar
*Sid Fairman - Guitar
*Paul Roberts - Bass
*Jeff Seopardie - Drums
