Peter Green's Fleetwood Mac - Live At The BBC (1967-71 uk, classic blues rock, double disc issue)

After many years of wailing I am proud to be able to present to you an incredible selection of Fleetwood Mac songs found deep from within the archives of the BBC. I searched tor a way in this first release to portray the magic of those early Fleetwood Mac days and to also show a very different side of the hand that many of 'you may not have even known existed.

This journey into my past was one that has not only reconnected me with main personal memories, hut one that has given me insight; a reminder of why the passion of playing has stayed with me for all these years. Now you may be asking who all these young players are? We are Peter Green. John Mc-Vie. Jeremy Spencer. Danny Kirwan and Mick Fleetwood. In simple language, we were a group of young Englishmen who assembled themselves around one person - Peter Green.

Even looking back now it amazes me how Peter's vision came through his music, and how that vision helped to create, and to leave behind an incredible feast of work. These BBC recordings may for the first time allow many of you an insight into Peter's live performances with Fleetwood Mac. Peter was a player with passion, a special touch and incredible talent. He was a player I am proud to say I was able to play drums with!

Jeremy Spencer, now how does one describe this tiny man of 5 feet 3 inches with the power of a giant. As you will hear on these recordings. Jeremy brought not only his love of the blues (which is demonstrated with his passion for Elmore .lames), but also his obsession for rock and roll, a side of him that in many ways would leave its imprint on the band's history. While performing live Jeremy always had a sense of f u n with the music.

I only wish that some of these sessions had been caught on film, for seeing was believing this crazy man on stage, Lest we not forget, he was also one hell of a slide guitar player. John Mc-Vie and myself I put together, for we are still just that - together. Musically he is a Bass player that has an innate ability to be there always in the right amounts and at the right time.  His sense of knowing is still very- often my guiding light.

Danny Kirwan was to join the original four members of Fleetwood Mac and to add a freedom to our music. This freedom of having 3 guitars was something especially Peter had found the need to explore. On these tapes you will certainly hear that musical magic between Peter and Danny. I believe there was an innocence in Danny that lent itself to the bands journey into the world of harmonies and melody.

In the end I think it is fair to say that all five original members contributed their own musical steps to the dance that was Fleetwood Mac.
I hope you like myself, enjoy the spirit of these BBC recordings.
by Mick Fleetwood

Tracks
Disc one
1. Rattlesnake Shake (Green) - 7:37
2. Sandy Mary (Green) - 4:58
3. I Believe My Time Ain't Long (Johnson arr. Spencer) - 2:58
4. Although the Sun Is Shining (Kirwan) - 2:30
5. Only You (Kirwan) - 2:49
6. You Never Know What You're Missing (Spencer) - 2:50
7. Oh Well (Green) - 2:24
8. Can't Believe You Wanna Leave (Price) - 3:25
9. Jenny Lee (Spencer) - 2:19
10.Heavenly (Unknown) - 2:35
11.When Will I Be Loved (Everly) - 2:11
12.When I See My Baby (Kirwan) - 2:09
13.Buddy's Song (Holly) - 2:07
14.Honey Hush (Turner) - 3:08
15.Preachin' (Unknown) - 3:03
16.Jumping at Shadows (Bennett) - 3:33
17.Preachin' Blues (Johnson) - 1:56
18.Need Your Love So Bad (Mertis John Jr.) - 3:48

Disc two
1. Long Grey Mare (Green) - 2:52
2. Sweet Home Chicago (Johnson) - 3:08
3. Baby Please Set a Date (McCoy) - 2:58
4. Blues with a Feeling (Jacobs) - 2:54
5. Stop Messin' Round (Green) - 2:14
6. Tallahassee Lassie (Slay, Picariello, Crewe) - 3:22
7. Hang on to a Dream (Hardin) - 2:56
8. Linda (Spencer) - 2:02
9. Mean Mistreatin' Mama (Carr) - 4:01
10.World Keeps Turning (Green) - 2:37
11.I Can't Hold Out (James) - 2:25
12.Early Morning Come (Kirwan) - 2:27
13.Albatross (Green) - 2:46
14.Looking for Somebody (Green) - 2:39
15.A Fool No More (Green) - 3:38
16.Got To Move (James, Seahorn) - 2:55
17.Like Crying Like Dying (Kirwan) - 2:32
18.Man of the World (Green) - 2:49

Fleetwood Mac
*Peter Green – Guitar, Vocals
*Jeremy Spencer – Guitar, Vocals, Piano
*Danny Kirwan – Guitar, Vocals
*John McVie – Bass
*Mick Fleetwood – Drums, Percussion

1968-71  The Best Of Peter Green's Fleetwood Mac
1969  Shrine '69

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Gift - Gift (1972 germany, excellent heavy prog rock)

 Gift were one of those "no compromise" heavy progressive bands, who've now achieved a considerable cult status. They started up in 1969 as the school band Phallus Dei. Three years later Uwe Patzke (bass, vocals), Helmut Treichel (vocals), Rainer Baur (guitar) and Hermann Lanze (drums, percussion) recorded the first Gift album at Union Studios in Munich, produced by Otto B. Hartmann.

Nick Woodland (guitar) was listed on the sleeve of their first album, but he had quit Gift before the recording session began, to join Subject Esq., later Sahara. The album comprised eight songs with no flutes, no woodwinds and no keyboards, just plain hard guitar riffs, to be compared to Hairy Chapter. Some of the lyrics had clear anti-drugs messages.

by Dag Erik Asbjornsen

Tracks
1. Drugs - 05:21
2. You'll Never Be Accepted - 06:43
3. Groupie - 03:17
4. Time Machine - 03:16
5. Game Of Skill - 05:35
6. Don't Hurry - 05:13
7. Your Life - 04:39
8. Bad Vibrations - 03:38

Gift
*Rainer Baur - Lead Guitar
*Hermann Lange - Drums, Percussion
*Uwe Patzke - Bass, Vocals
*Helmut Treichel - Lead Vocal
*Nick Woodland - Lead Guitar, Vocals

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Aphrodite’s Child - End of the World (1968 greece, debut album, splendid melodic psychedelia, 2010 esoteric remaster)

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Their 1968 debut, End of the World, is a splendid piece of often eerie psychedelia, which hints at the progressive road down which they’d soon be travelling.

The title track immediately lets you know what they’re all about. Expect lightly accented (though completely English) vocals, delivered in a near-operatic warble by Roussos. Expect psychedelic effects to be heavily interwoven throughout, giving it an altogether eerier edge. And expect a very faint, but slightly disconcerting, feel of 1970?s Eurovision.

‘Mister Thomas’ is the Aphrodite’s Child take on the very English sub-genre of baroque Toytown-psych, and a fine one at that. If it wasn’t for the Eurovision accent it could easily pass for a lost recording from the likes of the Idle Race or Tomorrow.

‘Rain and Tears’, the band’s biggest success, becoming a hit in a host of countries across Europe, is a bit of a sappy ballad, but one that’s lifted by the Vangelis sonic arrangement, which excuses the insipid lyrics and hoists what could’ve been a painful listen out of the murky trough of mundanity.

And so it goes on. Some great, some good. There’s a certain darkness entwined along the seam of End of the World, as demonstrated on songs such as the aforementioned title-track, ‘The Grass is no Green’ and the histrionically enhanced, near-terrifying ‘Day of the Fool’, which, incidentally, features the bizarre couplet “… she knows what’s up in my mind, she smells like a tree …”

Very much so. It’s more common than you think. But enough of that. From top to tail End of the World is good stuff. Slightly off-kilter, creepy psychedelic rock, with a hint of the continental thrown in for good measure.This reissue of End of the World offers two bonus tracks, the single ‘Plastics Nevermore’ and its B-side ‘The Other People’.
Nick James

Tracks
1. End of the World - 3:14
2. Don't Try to Catch a River - 3:39
3. Mister Thomas - 2:50
4. Rain and Tears - 3:12
5. The Grass Is No Green - 6:05
6. Valley of Sadness - 3:13
7. You Always Stand in My Way - 3:55
8. The Shepherd and the Moon - 3:03
9. Day of the Fool - 5:56
10.Plastics Nevermore (Bonus Track) - 2:30
11.The Other People (Bonus Track ) - 3:08
Music by Vangelis Papathanassiou, lyrics by Boris Bergman except track 4, lyrics co-written by Johann Pachelbel.

Aphrodite’s Child
*Demis Roussos - Vocals, Acoustic, Electric Guitars, Bass, Bouzouki
*Vangelis - Keyboards, Percussion, Vibes, Flute, Vocals
*Loukas Sideras - Drums, Percussion, Guitar, Vocals.
*Claude Chauvet - Additional Vocals on "End Of The World" & "Rain And Tears"

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Woodbine - Roots (1971 us, nice blended folk with slight country flavor, 2010 korean remaster)

Woodbine was a Milwaukee local folk rock band fromed by Bill Camplin early 70's. "Roots" is a live album recorded at a coffee house and the entire perfomance was captured live. The album contains eight excellent tracks. An obscured American Folk Rock album at its top. 

Tracks
1. Jezebel 03:29
2. Jesse's Mountain Range 06:28
3. Old Man 05:17
4. The Harvest 07:50
5. Red Velvet 03:16
6. Save The Life Of A Simple Child 05:24
7. Hold On 04:59
8. Can A Star Disappear 09:51

Woodbine
*Bill Camplin – Guitar, vocals
*Bob Mueller – Drums
*Ken Pfaff – Bas, vocals
*Bruce Riddiough - Guitar

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Country Funk - Country Funk (1969-71 us, beautiful psych country folk rock)

Country Funk was a folk-rock/country-rock group whose members at one point played in earlier psych pop combo Adam. The group materialized in Los Angeles but then moved out to Boston where they played all the well known venues of the day. Country Funk shared the stage with many of rock’s biggest names and because of their affiliation with Beantown, the group are usually remembered (unfairly so) as part of the Bosstown Sound.

From 1968 to 1970/1971 they recorded quite a bit of studio material, enough to fill out two albums. In 1970, Polydor would release Country Funk’s only album in a generic blue sleeve with a black and white photo of the band. While no classic, Country Funk is still a very good album (kind of a mini gem) thats appeal lies in its consistency (no weak tracks) and timeless sound – think Buffalo Springfield, The Byrds, CSN&Y and Poco. The group clearly had a knack for blending the blues, country, hard rock, folk, and psych into something that’s refreshing. The members of Country Funk could also play and write with the best of them, never overextending their songs or falling prey to dated 60s cliches.

The album opens with “Apart of Me,” a track that was issued as a single in 1970 and some years down the line, sampled by alternative pop star Beck Hansen. Clearly one of the LP’s highlights, this excellent track begins as a care-free country folk-rocker, exploding midway through into a soulful fuzz guitar rave-up. The vocals are a dead ringer for Stephen Stills circa Buffalo Springfield Again - definitely a compliment here. Other winners are the trippy folk-rock of “Phoebe,” a track that recalls David Crosby’s work on the Byrds’ Younger Than Yesterday and the spritely country-rock of “A Way To Settle Down.”

Country Funk tempers the album’s softer moments with hard edged fuzz tone guitar workouts such as “Another Miss” and “When I’m Without You.” These cuts give Country Funk an attractive classic rock/psychedelic edge. Also, songs like “Poor Boy,” “For Me,” and “Really My Friend” deliver the classic West Coast style folk-rock goods with aching melodies and harmonies to spare – not to mention tambourines and fine, world weary vocals. Given the quality of Country Funk, one wishes the group had stuck around long enough to record a follow up to this very promising LP.

Solid songs and thoughtful songwriting, succinct guitar solos, good use of fuzzbox and spirited vocals make Country Funk one of the finer, unsung American LPs of it’s time. Its been reissued no less than three times but our nod goes to British label Slipstream, who is now offering a group authorized version of Country Funk, which includes the single sides by precursor group Adam.
by Jason Nardelli

Tracks
1. Apart of Me - 3:36
2. Phoebe (Mourning Pink) - 2:10
3. Really My Friend - 4:05
4. Not This Time - 2:03
5. For Me - 2:59
6. Poor Boy - 4:46
7. A Way to Settle Down - 2:24
8. When I'm Without You - 4:54
9. Comin' In - 3:06
10.If I Find a Way (Song of Love) - 3:05
11.Another Miss - 2:52
12.Want - 4:40
All songs by Hal Paris, Adam Taylor

Country Funk
*Adam Taylor - Lead Guitar,
*Hal Paris - Rhythm Guitar, Piano
*Jeff Lockwood - Bass
*Verne Johnson - Percussion, Vocals
*Joe Pfeifer - Drums, Vocals (Tracks 4,5,7,12)

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Neil Merryweather, John Richardson And Robin Boers - Neil Merryweather, John Richardson And Robin Boers (1970 canada, incredible heavy psych blues rock, Vinyl edition)

After his exit from the band “Merryweather”, Neil and his manager flew to Toronto where Neil found his new band members. He recruited Robin Boers as drummer. Robin was in the “Ugly Ducklings”, a local Toronto band that had a single on the Canadian charts. For guitarist, he chose John Richardson who had played with the “Lords of London” and “Nucleus”, two popular bands on the Toronto scene. Neil and Morey Alexander flew them back to LA.

The “Merryweather, Richardson & Boers” album was recorded for Kent Records as a one-off deal to raise money to support the band, with the advance being used to rent a house to live and rehearse in. The LP was recorded in one night at Paramount Studios. Neil wrote the songs on the fly, they did a couple of cover songs, and it was done in about four hours. It was quickly mixed at Village Recorders.

Neil brought Jack Velker into the crew to play organ. He was a member of a Canadian band called the “49th Parallel” that disbanded in LA.

“Merryweather, Richardson & Boers” added Neil’s girlfriend, Lynn Carey, to the band for some more recordings at Kent Studios. They did covers of “Shop Around” and “Lucille” with Neil and Lynn singing a two-part harmony. Kent Records put the songs out as a single by “Mama & Papa Rock ‘n’ Family”.

“Merryweather, Richardson & Boers” never played a live date.
Neil Merryweather

Tracks
1. Aren't You Glad That You Know (Merryweather) - 3:08
2. City Boy (Steven Stills) - 3:00
3. Dust My Blues (Elmore James) - 2:38
4. Flat Black (Richardson, Merryweather, Boers) - 4:15
5. You Must Live It (Carey, Merryweather) - 2:48
6. Your Real Good Thing Is About To End (David Porter, Isaac Hayes) - 3:32
7. Local 149 (Velker, Richardson, Merryweather, Boers) - 10:57

Band
*Neil Merryweather – Vocals, Bass
*John Richardson – Guitar
*Robin Boers – Drums
*J.J. Velker – Organ

1969  Merryweather
1971  Neil Merryweather And Lynn Carey - Vaccum Cleaner
1973  Heavy Cruiser - Lucky Dog

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Siegel-Schwall Band - R.I.P. Siegel-Schwall (1974 us, fantastic blues rock, Vinyl issue)

Before the Siegel-Schwall Band decided to wrap things up, they released one more album, and it became one of their best. With their bountiful, down-on-the-farm blues sound led by Corky Siegel's harmonica, R.I.P. became an excellent sendoff for one of the most enjoyable groups ever to play this style of blues music.

Most of the cuts belong to the band's favorite musicians and songwriters, but are wonderfully molded in the SSB's traditional style of rollicking piano riffs and greasy mandolin. "Take Out Some Insurance" kicks things off with a wallop, followed by a respectful cover of John Prine's "Pretty Good."

Although the lyrics aren't exactly dead-on, the band's version of Little Richard's "I Can't Believe You Wanna Leave" fairs as one of the album's strongest tracks, and the background vocals on "Night Time's the Right Time" give the song its character as the band humorously tries to imitate a horn section.

Little Walter's "Tell Me Mama" and Jimmy Reed's "You Don't Have to Go" are equally impressive, right down to Sheldon Plotkin's loosely knit percussion work, and the whistles and foot-stomping that fill the album's last track are proof that these guys weren't just another blues band. 

Every one of the Siegel-Schwall Band's albums have something to offer, but they really outdid themselves on R.I.P., their farewell album.

by Mike DeGagne

Tracks
1. Take Out Some Insurance (Charles Singleton, Wadense Hall) – 3:19
2. Pretty Good (John Prine) – 2:53
3. (I) Can't Believe You Wanna Leave (Leo Price, Richard Penniman) – 2:54
4. Wild About My Lovin' (Traditional) – 4:07
5. Night Time's The Right Time (Nappy Brown, Ozzie Cadena, Lew Herman) – 4:52
6. I'm A Hog For You Baby (Jerry Leiber, Mike Stoller) – 4:38
7. Tell Me Mama (Walter Jacobs) – 1:52
8. You Don't Have To Go (Jimmy Reed) – 3:31
9. Long Distance Call (McKinley Morganfield) – 4:51
10.It's Too Short (W. R. Calaway, Clarence Williams) – 2:46
11.Women Make A Fool Out Of Me (Johnny Bond) – 3:20

The Siegel-Schwall Band
*Corky Siegel – Piano, Harmonica, Vocals
*Jim Schwall – Guitar, Mandolin, Vocals
*Rollo Radford – Bass, Vocals
*Shelly Plotkin – Drums, Percussion

The Siegel Schwall tales
1971  The Siegel-Schwall Band
1972 Sleepy Hollow

1973 953 West

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Caravan - Caravan And The New Symphonia (1974 uk, brilliant art progressive rock, japan SHM remaster)

The newly mined creative energies that guided For Girls Who Grow Plump in the Night continued into the Caravan & the New Symphonia project. Fusing with a 39-piece orchestra is a daring move that pays off. The remastered CD includes over a half an hour of unissued material from Caravan, with and without the New Symphonia, during the same October 28, 1973 Theatre Royal concert.

Subtitled "The Complete Concert," this performance captures Caravan at a creative zenith. The newly restored program commences with a brief introduction from BBC Radio's Alan Black. The band then presents three from For Girls Who Grow Plump in the Night: "Memory Lain, Hugh"/"Headloss" suite, "The Dog, the Dog, He's at It Again," and "Hoedown."

This mini-set sparkles with the frenetic energy that a live audience will often provide. The intense interaction during the waning moments of "The Dog, the Dog, He's at It Again" allow Caravan to reach a whole different stratum. The second set features the orchestra with the band and commences with "Introduction," an orchestrated piece which leads into the very delicate preface of "The Love in Your Eye."

The synergies truly begin to flow as the band weaves in and out of the orchestra. Pye Hastings composed two new pieces specifically for this recording: "Mirror for the Day" and the brilliant "Virgin on the Ridiculous"; the latter became a performance standard for Caravan. The remainder of the set features some of their most formidable performance numbers, including an emotive "For Richard." The newly restored encore, "A Hunting We Shall Go" is stunning in it's scope and perfectly encapsulates what Caravan & the New Symphonia is really all about: allowing good music and good musicians the chance to be mutually superior.
by Lindsay Planer

Tracks
1. Introduction By Alan Black/Memory Lain, Hugh Headloss - 11:00
2. The Dog, The Dog, He's At It Again - 6:36
3. Hoedown - 3:54
4. Introduction - 6:49
5. The Love In Your Eye (Simon Jeffes) - 12:49
6. Mirror For The Day - 4:29
7. Virgin On The Ridiculous - 7:57
8. For Richard (Coughlan, Hastings, D. Sinclair, R. Sinclair) - 14:18
9. A Hunting We Shall Go - 10:23
Music and Lyrics by Pye Hastings except where indicated

Caravan
*Richard Coughlan - Drums
*Pye Hastings - Vocals, Guitar
*John G. Perry - Bass, Vocals
*Geoff Richardson - Electric Viola
*David Sinclair - Keyboards
With
*Jimmy Hastings - Flute, Alto Saxophone
*Morris Pert - Percussion
*The New Symphonia Orchestra
*Vicky Brown, Tony Burrows, Helen Chappelle, Robert Lindop, Margot Newman, Danny Street, Liza Strike - Backing Vocals

the journey of Caravan
1968  Caravan (Japan SHM remaster)
1970  If I Could Do It All Over Again, I'd Do It All Over You (Japan SHM remaster)
1971  In The Land Of Grey And Pink (Japan SHM remaster)
1972  Waterloo Lily (Japan Mini LP)
1973 For Girls Who Grow Plump In The Night (japan SHM remaster)

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Mother Tuckers Yellow Duck - Home Grown Stuff (1969 canada, spectacular west coast psych)

Mother Tucker’s Yellow Duck were a folk rock group from Vancouver, British Columbia formed in 1968. Commercial success eluded them although they managed to release two fine albums that melded blues, country, folk, hard rock and psychedelia seamlessly. The group had a few interesting non-LP 45s as well, “I” being the best of these forgotten releases.

Most psych fans prefer their highly regarded Home Grown Stuff album from 1969 (Capitol). Mother Tucker’s Yellow Duck has a strong SF influence, at times sounding like Kak or more accurately, the late 60s Youngbloods. “Someone Think,” the album’s best song, features plenty of fuzz guitar distortion and a superb psych styled guitar solo.  This cut is mandatory listening and a true classic of underground psychedelia. “One Ring Jane,” which isn’t far off in terms of quality, was released on 45 and is another excellent psych jam with lots of chaotic electric guitar soloing. Much of this record is folk-rock best exemplified by bouncy, uptempo numbers like the “Times Are Changing” and “Blue Dye.” Other gems are the sparkling country rock track “One Glass For Wine” and the folk psych cut “Elevated Platform.”

Admittedly this album has three or four dud tracks but is still notable for it’s strong songs (it’s highs are pretty high) and fluid SF style guitar work – it’s a firm favorite among late 60s Canadian/American psych rock collectors.  Their second album, Starting a New Day, is more of a country rock record but a good one that’s perhaps more consistent than the great Home Grown Stuff album.

by Jason Nardelli

Tracks
1. Times Are Changing (McDougall, R. Law, Patrick Caldwell) - 2:41
2. No One In Particular (McDougall) - 3:41
3. Little Pony (H. Law, R. Law) - 2:10
4. One Glass For Wine (McDougall, W. Iveniuk) - 3:13
5. Elevated Platform (Patrick Caldwell, R. Law) - 2:37
6. Walk Your Head Around (Patrick Caldwell, R. Law, McDougall) - 4:36
7. One Ring Jane (McDougall, W. Iveniuk) - 4:19
8. Pot O' Gold (McDougall) - 3:27
9. Intermission Poetry (Patrick Caldwell) - 3:09
10.Funny Feeling (Patrick Caldwell, McDougall) - 5:44
11.Blue Dye (McDougall, R. Law, Patrick Caldwell) - 2:41
12.Someone Think (McDougall) - 3:55

Mother Tuckers Yellow Duck
*John Patrick Caldwell - Vocals, Harmonica
*Roger Law - Guitar
*Charles Faulkner - Bass
*Hugh Lockhead - Drums
*Donnie McDougall - Guitar, Vocals

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Merryweather - Merryweather (1969 canada, excellent hard psych blues rock)

 We recorded our first album “Merryweather”. Morey and I set up “Merryweather Music”, and with BMI. The songs I wrote generated some cash advances and I used the money to help support the band.

The band lived in a series of motels and finally found a rehearsal space in Hollywood where we could also sleep. Some months before, Dave Burt met a girl at “Big Pink” and was staying miles away in Reseda most of the time.

I was becoming frustrated with his choices and attitude; there were some tense moments at rehearsals and a petty jealousy was growing. Sadly their history was short-lived, but nevertheless, “Merryweather” made an imprint on the LA scene. They headlined at Thee Experience Club many times, played the Whisky where they shared the bill with “Chicago Transit Authority (Chicago)” and again with “Mountain”. They also played Newport ’69, a 3-day festival at Devonshire Downs with Credence Clearwater Revival, The Byrds, The Jimi Hendrix Experience, Marvin Gaye, Joe Cocker, Ike and Tina Turner, and many others.

Club owner Marshall Brevitz told me that Jimi liked us a lot and on several occasions, he snuck into the back of the club to watch us play. One night, Jimi and Johnny Winter came on stage to jam at the end of our set. Merryweather also played Balboa Stadium in San Diego with “Country Joe and the Fish”, “Chicago”, and “Poco”, and there was even a “Merryweather Day” at Universal City where the band played in the square.

I was working with Robert Lockert, the Art Director at Capitol Records, and photographer Ivan Nagy on the album cover and we were putting together the liner notes – that’s when I decided to become Neil Merryweather. I had previously talked to Morey Alexander about changing my name and mentioned it to our producer John Gross, and they thought it was a good idea. Also, one day as I was sitting on the curb in front of Capitol Records and I met Linda Ronstadt.

We talked about music for awhile and our new deals with Capitol. She was waiting for her producer. When she was leaving, she turned around and said “Nice meeting you, Neil Merryweather”, and I really liked the sound of it!

I put the band together to come to Los Angeles and make a career out of music, so calling myself Neil Merryweather was a logical choice. Through musical history, it wasn’t unusual for bands to be named after the lead singer – some were even named after a member of the band. Nevertheless, as far as I was concerned, "Merryweather" was the whole band and not just me.

by Neil Merryweather

Tracks
1. Mr. Rich Man - 3:40
2. Feeling of Freedom (N. Merryweather, Ed Roth) - 3:20
3. Littleman (Nobody's Home) - 4:46
4. Annie Don't Let Me Down - 2:25
5. We Try Softer (N. Merryweather, D.C. Burt) - 4:30
6. Curiosity - 3:23
7. Something - 3:24
8. Listen to Me - 4:55
9. What's It All About? - 2:45
10.No Passenger Allowed - 4:37
All songs by Neil Merryweather except where noted.

Band
*Neil Merryweather – Vocals, Bass
*Edward M. Roth – Organ, Piano, Flute
*Coffi Hall – Drums, Percussion
*David Colin Burt – Guitar

1971  Neil Merryweather And Lynn Carey - Vaccum Cleaner

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