Sunday, 23 October 2016

Deep Purple - Scandinavian Nights (Live in Stockholm, Sweden FM Broadcast 1970)

Size: 215 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included

Scandinavian Nights is a live album by Deep Purple. It was originally recorded by Swedish National Radio for a radio show called Tonkraft at the Stockholm Konserthuset on 12th November 1970.

Live in Stockholm is a live album by English hard rock group Deep Purple. The album was recorded in the capital of Sweden on November 12 1970, at Stockholm Konserthus and recorded by Swedish "Tonkraft" (a radio show).

This concert was originally released in 1988 as Scandinavian Nights in Europe and as Live and Rare in the USA. The original mastertapes were later discovered and are remixed for this release.

Additionally, the Scandinavian Nights 2CD had the same running-order as the vinyl release, the set being adjusted to fit the timing-restrictions of vinyl. For Live in Stockholm the correct order was restored and this, together with the improved sound-quality, makes it the definitive release of this recording.

Songs on the album are from the Deep Purple in Rock album, and long instrumentals from earlier albums. The two songs "Mandrake Root" and "Wring that Neck" took up half the concert in the early days, until the Fireball tour.

This early live set by Purple Mark II, complete on two discs, was recorded in Stockholm, Sweden in 1970, and it showcases the band at its most extended. The jams on "Wring That Neck" and "Mandrake Root" clock in at around half an hour apiece. 

An instrumental version of the Rolling Stones' "Paint It Black" leads into the requisite drum solo, and also included is the longest-ever recording of "Child in Time." Some of this (especially "Mandrake Root") can be trying to the patience of someone who wasn't there.

But this was the era when hundreds of bands were stretching out every night, and Purple, with the skills and imaginations of Jon Lord and Ritchie Blackmore to call on, did it better than many, at its climaxes reaching a fiery intensity matched by few others.

Disc 1: 
01."Wring That Neck" (Blackmore, Nick Simper, Lord, Paice) - 32:06  
02."Speed King" - 10:20  
03."Into the Fire" - 04:00
04"Paint It, Black" (Mick Jagger, Keith Richards) - 09:08

Disc 2:  
01."Mandrake Root" (Rod Evans, Blackmore, Lord) - 28:42  
02."Child in Time" - 20:29 
03."Black Night" - 06:54

Part 1: Deep Purple 1
Part 2: Deep Purple 2
Part 1: Deep Purple 1
Part 2: Deep Purple 2
Part 1: Deep Purple 1
Part 2: Deep Purple 2

Frank Zappa - Armadillo World, Austin Texas 1973-10-26 (FM Broadcast)

Size: 196 MB
Bitrate: 320
Found in OuterSpace
FM Broadcast
Some Artwork Included

This has got to be one of the finest sounding shows ever to circulate and this version delivers an astonishing upgrade to all known previous versions of this excellent show. All thanks to the tape contribution provided by fzmoi69, which was diligently transferred via NAK DR-1 by doctorzap then made available in the Shoebox. 

If you have heard this show from any other known source, then be prepared to experience an absolute jaw dropping experience. It captures FZ & The Mothers Of Invention during their final North American Tour in 1973 with superb clarity and amazingly detailed stereo separation. Speed correction advice by flambay." 

Armadillo World Headquarters Music Hall: The Armadillo World Headquarters (usually called simply The 'Dillo) was a music hall and entertainment center in Austin, Texas, United States from 1970 to 1980.

In 1970, Austin's flagship rock music venue, the Vulcan Gas Company, closed, leaving the city's nascent live music scene without an incubator. One night, Eddie Wilson, manager of the local group Shiva's Headband, stepped outside a nightclub where the band was playing and noticed an old, abandoned National Guard armory.

Wilson found an unlocked garage door on the building and was able to view the cavernous interior using the headlights of his automobile. He had a desire to continue the legacy of the Vulcan Gas Company, and was inspired by what he saw in the armory to create a new music hall in the derelict structure. The armory was estimated to have been built in 1948, but no records of its construction could be located. 
The building was ugly, uncomfortable, and had poor acoustics, but offered cheap rent and a central location. Posters for the venue usually noted the address as 525½ Barton Springs Road (Rear), behind the Skating Palace (approximate coordinates 30.258 -97.750).

The name for the Armadillo was inspired by the use of armadillos as a symbol in the artwork of Jim Franklin, a local poster artist, and from the building itself. In choosing the mascot for the new venture, Wilson and his partners wanted an "armored" animal since the building was an old armory. The nine-banded armadillo (Dasypus novemcinctus) was chosen because of its hard shell that looks like armor, its history as a survivor (virtually unchanged for 50 million years), and its near-ubiquity in central Texas. 

Wilson also believed the building looked like it had been some type of headquarters at one time. He initially proposed "International Headquarters" but in the end it became "World Headquarters."

In founding the Armadillo, Wilson was assisted by Franklin, Mike Tolleson, an entertainment attorney, Bobby Hedderman from the Vulcan Gas Company and Hank Alrich. Funding for the venture was initially provided by Shiva's Headband founder, Spencer Perskin, and Mad Dog, Inc. an Austin literati group.

The Armadillo World Headquarters officially opened on August 7, 1970 with Shiva's Headband, the Hub City Movers, and Whistler performing. The hall held about 1,500 patrons, but chairs were limited, so most patrons sat on the floor on sections of carpet that had been pieced together.

The Armadillo caught on quickly with the hippie culture of Austin because admission was inexpensive and the hall tolerated marijuana use. Even though illicit drug use was flagrant, the Armadillo was never raided. Anecdotes suggest the police were worried about having to bust their fellow officers as well as local and state politicians.

Soon, the Armadillo started receiving publicity in national magazines such as Rolling Stone. Time magazine wrote that the Armadillo was to the Austin music scene what The Fillmore had been to the emergence of rock music in the 1960s. The clientele became a mixture of hippies, cowboys, and businessmen who stopped by to have lunch and a beer and listen to live music. At its peak, the amount of Lone Star draft beer sold by the Armadillo was second only to the Houston Astrodome. The Neiman-Marcus department store even offered a line of Armadillo-branded products.

The unique blend of country and rock music performed at the hall became known by the terms "The Austin Sound," "Redneck Rock," progressive country or "Cosmic Cowboy." Artists that almost single handedly defined this particular genre and sound were Michael Martin Murphy, Jerry Jeff Walker and The Lost Gonzo Band. Many upcoming and established acts such as Willie Nelson, Ray Charles, Stevie Ray Vaughan, and ZZ Top played the Armadillo. Freddie King, Frank Zappa, and Commander Cody all recorded live albums there. Bruce Springsteen played five shows during 1974. The Australian band AC/DC played their first American show at the Armadillo with Canadian band Moxy in July 1977.

The Clash played live at The Armadillo with Joe Ely on October 4, 1979 (a photo from that show appears on the band's London Calling album). The show was so successful that Joe Ely and The Clash teamed up for a 1980 U.S. tour.

Despite its successes, the Armadillo always struggled financially. The addition of the Armadillo Beer Garden in 1972 and the subsequent establishment of food service were both bids to generate positive cash flow. However, the financial difficulties continued. In an interview for the 2010 book Weird City, Eddie Wilson remarked:

"People don’t remember this part: the months and months of drudgery. People talk about the Armadillo like it was a huge success, but there were months where hardly anyone showed up. After the first night when no one really came I ended up crying myself to sleep up on stage."

With the success of the Armadillo and Austin's burgeoning music scene, KLRN (now KLRU), the local PBS television affiliate, created Austin City Limits, a program showcasing popular local, regional, and national music acts.

The Armadillo Christmas Bazaar began in 1976 at the Armadillo, and is still held annually during the Christmas season. The Bazaar was another attempt to improve cash flow for the hall. When the Armadillo closed, the Bazaar first moved to Cherry Creek Plaza (1981–1983), and then on to the Austin Opry House (1984–1994). In 1995, the Bazaar settled at the Austin Music Hall for twelve years. Due to remodeling of the Austin Music Hall, the Bazaar had to move its 2007 show to the Austin Convention Center. 

The Bazaar has become one of the top-ranked arts and crafts shows in the nation with a long waiting list of artisans who wish to show their work.

On August 19, 2006, the City of Austin dedicated a commemorative plaque at the site where the Armadillo once stood. Co-founder Eddie Wilson was on hand and stated:

"It is still on the lips and minds of a lot of people 26 years after it closed. 

This is noteworthy for me because of the zero-tolerance mentality, and now the city erected a memorial that glorifies the things of the past that are not accepted today."

Frank Zappa & The Mothers Of Invention 
Armadillo World Headquarters 
Austin, Texas 1973 10 26

Frank Zappa
 Napoleon Murphy Brock 
 Tom Fowler 
 George Duke 
 Ruth Underwood 
✪ Bruce Fowler 
 Ralph Humphrey Chester Thompson 

01. Cosmik Debris (06:59) 
02. Inca Roads (10:29) 
03. Pygmy Twylyte (4:56) 
04. The Idiot Bastard Son (2:15) 
05. Cheepnis (3:38) 
06. Big Swifty (9:25) 
07. San Clemente Magnetic Deviation Preamble (1:26) 
08. Dickie’s Such An Asshole (world premiere) (8:41) 
09. Farther Oblivion (14:41) 
10. Encore Tune Up (1:41) 
11. Mr Green Genes Medley (16:07)

Medley includes: Son Of Mr. Green Genes, King Kong, Chunga’s Revenge, Mr. Green Genes & Dickie’s Such An Asshole reprise. 

1. Zappa Armadillo 1973
2. Zappa Armadillo 1973
3. Zappa Armadillo 1973

Graham Bell - Selftitled (Blues, Art & Progressive Rock UK 1972)

Size: 88.3 MB
Bit Rate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Graham Bell (vocals) Veteran vocalist from the British scene. He released a solo single in 1966! It was 'How do you say I don't love you / If you're gonna go'.

It was early 1966, when The Chosen Few get a new singer, Graham Bell, and change their band name to Skip Bifferty. They established themselves in London. After several years as a tight unit, they released a self-titled album, Skip Bifferty, in 1968. Some of their songs were produced by Ronnie Lane, and arranged by Steve Marriott. 

In 1969, due to legal problems with their manager Don Arden, they changed their name (again), this time to Heavy Jelly, releasing a single,'I keep singing that same old song / Blue'. But they parted ways that same year. Bell was to reunite with Gibson and White very soon, while Gallagher and Turnbull formed Arc in 1970, but they soon were to rejoin Graham, as we're going to read. After the Skip Bifferty/Heavy Jelly separation, Gibson and White formed a new band, Happy Magazine, still in 1969. When their vocalist left, Graham Bell was called, and the band changed the name to Griffin. A terrific lineup. But they only released two singles, being 'I am the dark noise in your head / Don't you know' (1969) the first one.

Colin Gibson and Craddock joined Ginger Baker's Airforce, and Alan White joined Balls (with Denny Laine) for a while, also going to Ginger Baker's Airforce. Graham joined a new band in May 1970: Every Which Way, formed by drummer Brian Davidson (ex-The Nice). The band was short-lived, and after a debut album, Every Which Way, and a successful presentation at The Marquee, they sadly split. Graham started thinking about a solo career. He wrote some demos, and called his old mates (now in Arc) to back him. All went so well, that they decided forming a stable lineup, under the name Bell & Arc.

They released Bell & Arc, with lots of great guests: Kenny Craddock (guitar, keyboards), Bud Beadle (sax), Steve Gregory (sax), Jeff Condon (trumpet), John Woods (percussion), Alan White (drums, percussion). But after the album, Rob Tait left, being replaced by John Woods. But John Woods wasn't to stay too much time in the band. For their American tour in November/December 1971, they got Alan White. After the tour, Alan White left, being replaced by a great drummer, Ian Wallace.

In January 1972, Gallagher left, and another great replacement arrives, Kenny Craddock. But, after one month, they disbanded in February 1972. Graham Bell went solo again. He released his first solo album, Graham Bell, that same year, with these musicians (some parts were recorded in UK, some parts in Nashville).

He also appeared in the symphonic version of The Who's Tommy, released in November 1972. It was recorded with The London Symphony Orchestra, The English Chamber Choir, plus a cast of thousands: Sandy Denny, Graham Bell (who sings lead in '1921'), Maggie Bell, Steve Winwood, Richie Havens, Merry Clayton, Ringo Starr, Rod Stewart, Richard Harris, plus The Who, of course.

To celebrate the release, on December 9th, 1972, the whole work was played live at The Rainbow, with mostly the same artists as in the album, plus some added stars, such as actor Peter Sellers, Roy Wood, Roger Chapman, Elkie Brooks, David Essex, Marsha Hunt, Vivian Stanshall, etc. Graham Bell was also there.

And now I have a very big gap in Graham Bell's career. Any help with info would be very appreciated. Some time later, he formed a band with old mate Kenny Craddock. They were called Stotts, but their live was too short. The next (happy) news was finding Graham Bell again! 

It was in 1988, when he joined exquisite guitarist Snowy White, in a new venture, Snowy White's Blues Agency. 

They released two albums, Change my life and Open for business (rereleased under the title Blues on me). But they sadly split in 1990. All the members (except Graham) went to play with Mick Taylor All Star Band.

Does anybody know what is Graham doing now, please?

01. Before You Can Be A Man
02. The Thrill Is Gone
03. After Midnight
04. Down In The City
05. Watch The River Flow
06. Too Many People
07. How Long Will It Last
08. The Whole Town Wants You Hung
09. The Man With Angeless Eyes
10. So Black And So Blue

1. Graham Bell
2. Graham Bell
3. Graham Bell

Saturday, 15 October 2016

The Fraternity of Man - Selftitled (Psychedelic Rock US 1969)

Size: 83.8 MB
Bit Rate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The short-lived Fraternity of Man is undoubtedly best known for the pro-pot anthem "Don't Bogart Me," which showed up during an unforgettable scene in the genre-defining biker film Easy Rider (1969). The original quintet included an overhaul of the Lowell George-led Factory, featuring Martin Kibbee (bass), Warren Klein (guitar/sitar/tamboura) and Ritchie Heyward (drums/vocals). George split and became a very temporary Mothers of Invention member, while the other three joined up with Freak Out (1966) era Mother Elliot Ingber (guitar). 

The personnel was completed with the addition of Lawrence "Stash" Wagner (vocals/guitar) and the band recorded its 1968 self-titled release Fraternity of Man. Another Frank Zappa connection could be found in the guise of Tom Wilson, who produced the Mother's earliest studio efforts. 

As one might anticipate, there are several prominent musical dynamics carried over into the Fraternity of Man from its former incarnation. The stoner wake-n-bake anthem "In the Morning," as well as "Blue Guitar" and "Plastic Rat" retain the psychedelic garage rock that pervaded much of the Factory's sound. The band's variation of Zappa's "Oh No" -- titled "Oh No I Don't Believe It" -- is a gassed-up rocker replete with Ingber's nimble lead fuzz fret work. 

Those decidedly more belligerent outings are contrasted by the intricate and Baroque qualities of "Wispy Paisley Skies" and the aforementioned steel guitar-driven "Don't Bogart Me." However, the comfortable misfit rockers "Candy Striped Lion's Tail," "Field Day," or the slightly perverse R&B-flavored "Bikini Baby" are among the best sides on the album. The latter was revived on the utterly dismissible dash for cash EP titled X (1995). The Fraternity of Man issued one follow-up, Get It On (1969) for Dot Records, prior to its dissolution in the waning months of the decade.

This US band was formed in Los Angeles, California, USA in 1967 when Elliot Ingber (guitar, ex-Mothers Of Invention) joined forces with three members of struggling aspirants the Factory: Warren Klein (guitar/sitar), Martin Kibbee (bass) and Richie Hayward (b. Richard Hayward, 6 February 1946, Clear Lake, Iowa, USA; drums). Lawrence ‘Stash’ Wagner (lead vocals/guitar) completed the line-up featured on The Fraternity Of Man, a musically disparate selection ranging from melodic flower-power (‘Wispy Paisley Skies’) to rhetorical politics (‘Just Doin’ Our Job’). The album also featured a version of Frank Zappa’s ‘Oh No I Don’t Believe It’, but is best recalled for the ‘dopers’ anthem ‘Don’t Bogart Me’, later immortalized in the movie Easy Rider. 

The blues-influenced Get It On! lacked the charm of its predecessor, but featured contributions from pianist Bill Payne and former Factory guitarist Lowell George, both of whom resurfaced, with Hayward, in Little Feat. Ingber was also involved with the last-named act during its embryonic stages, but left to join Captain Beefheart, where he was rechristened Winged Eel Fingerling. In later years he emerged as a member of the Mothers’ offshoot, Grandmothers. Many years later, Ingber and Wagner briefly reunited under the Fraternity Of Man banner to record the dreadful 1995 EP X.

The Fraternity of Man was an American blues rock and psychedelic rock group from the 1960s. They are most famous for their 1968 song "Don't Bogart Me," which was featured in the 1969 road movie Easy Rider. Its original members included three musicians from Lowell George's band The Factory – Richie Hayward later of Little Feat, Warren Klein, and Martin Kibbee – who joined Elliot Ingber from the Mothers of Invention and Larry Stash Wagner. Blues leads were handled by Ingber, and psychedelic leads were played by Klein, including "Oh No I Don't Believe It" (widely attributed to Ingber due to his association with the Mothers). The band broke up after recording two albums.

Lawrence "Stash" Wagner - lead vocals, guitar
 Elliot Ingber - guitar
 Warren Klein - guitar, sitar, tambura
 Martin Kibbee - bass
 Richard Hayward - drums, backing vocals

01. "In the Morning" - 4:22
02. "Plastic Rat" - 3:41
03. "Don't Bogart Me" - 3:00
04. "Stop Me Citate Me" - 2:50
05. "Bikini Baby" - 2:03
06. "Oh No I Don't Believe It" - (Frank Zappa) - 6:15
07. "Wispy Paisley Skies" - 2:22
08. "Field Day" - 3:59
09. "Just Doin' Our Job" - 2:21
10. "Blue Guitar" - 4:23
11. "Last Call for Alcohol" - 3:25
12. "Candy Striped Lion's Tails" - 5:17

1. The Fraternity of Man
2. The Fraternity of Man
3. The Fraternity of Man

Shape of the Rain - Riley, Riley and Waggett (UK Underground 1971)

Size: 86.2 MB
Bit Rate: 256
Riped by: ChrisGoesRock
Artwork Inluded
Source: Japan 24-Bit Remaster

SHAPE OF THE RAIN - Riley, Riley, Wood & Waggett (In demand 1971 UK 10-track LP on the short-lived RCA subsidiary Neon, where the more eclectic progressive albums ended up, each Neon release now highly sought after. This one-off is a fine example of West Coast influenced psych and British whimsy merging together to create a unique blend and gorgeous sound of the era.

IN the late Sixties a band from the Sheffield area called Shape Of The Rain were making a name for themselves, playing venues such as Sheffield University students’ union, Shades and Esquire clubs and open air concerts at Weston Park. They were reaching wider audiences by performing at The Marquee in London and The Cavern in Liverpool and by supporting the likes of Pink Floyd, Jethro Tull, Free, Fleetwood Mac, Love and Joe Cocker.

And they were one of the few local bands to go on to secure a major record deal. “Riley Riley Wood and Waggett” was released in 1971, named after Keith Riley, his brother Len, Brian Wood and Ian ‘Tagg’ Waggett. Influenced by American West Coast music and the British psych/progressive scene, Sound of The Rain’s debut album didn’t quite take the world by storm but it did become something of a collectors’ item, which continues to sell on the internet.

Back Cover

Almost 40 years later the band is not only recording again but reworking that first collection of songs, taking the opportunity to update them with modern equipment. “This is the album recorded from the Sixties by people in their 60s,” says Brian, who still plays bass and sings with Dave Berry’s Cruisers. Drummer Ian says: “The LP that came out in 1971 is still selling in different parts of the world and all the band members have kept in contact with each other and are still playing. We decided to get together and see if we could come up with some good music. 

The tracks sound fantastic.” The group is using the S21 Live studio in Eckington where Brian works on a project designed to help take young people off the streets – people who are now gaining the experience of watching the group go through their paces again. “We are reliving it and it’s a great atmosphere,” says Brian. “We are trying to do the album as we perceived it initially. It didn’t quite work out as we would have liked because of time schedules and involving people who didn’t see it as we saw it.” The band, mainly based originally in Eckington and Chesterfield, is the same as in 1971 with the exception of Len Riley, who has been replaced by Pete Dolan on guitar. 

Working on the sound and production are Andrew Sully and Dave Riley. They have been encouraged by eBay sales of the original album, with fans in America, Japan and Holland prepared to pay up to £600. The updated version will include some new material and will probably be released around February. Live performances may follow. Sound Of The Rain started in the Sixties as The Gear and then The Reaction. “If we couldn’t get gigs because they didn’t like us, we’d just change the name,” says guitarist and singer Keith. “If they liked us we’d stick with the same name…” Brian adds: “We had a fanastic time touring with Pink Floyd, Cream and Jethro Tull. It was really exciting. We did all the clubs. And there is still the buzz now.”

Keith Riley - guitar, vocals
Len Riley - bass
Tag Waggett - drums, percussion
Brian Wood - guitar, vocals

Eric Hine - electric piano, production
Tony Hall - production

01. Woman — 3:57
02. Patterns — 3:21
03. Castles — 1:57
04. Wasting My Time — 3:09
05. Rockfield Roll — 0:48
06. Yes — 5:47
07. Dusty Road — 3:49
08. Willowing Trees — 3:48
09. I’ll Be There — 3:39
10. Broken Man — 5:57 including:
a). Every One A Gem
b). After Collapsing At Kingsley’s

1. Shape of The Rain
2. Shape of The Rain
3. Shape of The Rain

Thursday, 29 September 2016

Andy Roberts & The Great Stampede - Selftitled (Great Folkrock UK 1973)

Size: 114 MB
Bitrate: 256
Ripped by: chrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Andrew "Andy" Roberts (born 12 June 1946, Harrow, Middlesex) is an English musician.

He gained a violin scholarship to Felsted School. He then attended Liverpool University. He has played with The Liverpool Scene, Plainsong, The Scaffold, Roy Harper, Chris Spedding, Pink Floyd, Hank Wangford, Kevin Ayers, Vivian Stanshall and Grimms. He has also done many sessions for artists such as Richard Thompson, Paul Korda, and Maddy Prior, and has been a musical partner to Iain Matthews for 30 years. He has also written film scores, themes for TV series, backed Billy Connolly, provided music and voice for Spitting Image and continues to create musical backdrops for the poetry of Roger McGough.

PT: Let's start at the beginning.

AR: I was born in North London, a place called Hatchend and I lived there until I went to University in Liverpool in 1965.

PT: Were you playing by then?

AR: Yeah. I was always musical. I was lucky because my parents really wanted to involve me in things. My dad was nuts about The Crazy Gang and I remember being taken to see three Crazy Gang shows at the Victoria Palace - it was like the end of Music Hall, really. And my Mum took me to symphony concerts. When I was nine I decided that I wanted to play violin, so they fixed it for me to have violin lessons. I stuck with the violin until I was eighteen.

I got a plastic ukelele for Christmas one year - 19/11s it was, I wish to hell I'd kept it. That was around 1957, the skiffle era and I was into Lonnie Donegan and Johnny Duncan and listening to Radio Luxembourg. I got a music scholarship to a public school in Essex - when I went there, there was already a band called Flash Sid Fanshawe and the Icebergs. This was in 1959, they'd got guitars which they'd made in the school workshops and played very simple stuff which I thought sounded fantastic. I used to go and listen to them rehearsing and just hang around because I was extremely junior, and they all had quiffs and looked fantastic (laughs). By the time I left the school there was half a dozen quite good bands there, we'd rehearse on Saturdays and Sundays. You could plug in and just make as much racket as you wanted. 

PT: So what was your band called at school?

AR: We ended up as Monarch T. Bisk. Originally it was Monarch T. Bisk and The Cherry Pinwheel Shortcakes but nobody could remember it all. By then we were attempting to have long hair and not get caught and were playing real R&B - Howlin' Wolf and Muddy Waters, that kind of stuff. We went though several stages - at one time we were The Sinners, that was our Shadows period. But I never thought of doing it for a living. I guess I got my first guitar in 1959 or '60 - a Spanish guitar, which I've still got. 

It was a series of total accidents which led me to going to Liverpool and being thrust into a performance situation. I went to the Edinburgh Festival in 1963 and '64 playing violin with a rehearsal orchestra. One night in '64 I went out and found this place called the Traverse Theatre Club where there was a late-night folk show - it was Owen Hand and Hamish Imlach, the first time I'd ever seen anything like that and I thought it was fantastic.

A bit later on that year I ran into a guy at a party who was the older brother of the drummer in the band I'd had at school, a chap called Max Stafford-Clark. Max said he was going to Edinburgh to do a play and would I write a tune for it? I was eighteen and kind of drunk or stoned or something and I didn't take it seriously. Then he phoned up and asked where it was and of course I hadn't done anything. So I got his brother John, the drummer, in and wrote this little guitar thing - just electric guitar and drums. Recorded it on a Grundig at home and sent it to Max. He liked it, used it, and phoned me up a couple of weeks later to say this guy who was going to play guitar for a late-night review they were doing couldn't make it and could I come up and write and play the music? I took an electric guitar and an amplifier and John took his drum kit and we went up and played this review, which happened to be at the Traverse Theatre Club. We played for a fortnight, about an hour each night, and after us was Lindsay Kemp with Jack Burkett, The Great Orlando, plus this young student of his called Vivian Stanshall, doing mime and playing the tuba and generally camping around. I was sharing a dressing room with Viv, the Bonzo Dog Doo Dah Band had just started and he told me all about that. 

Following us in for the third week of the Festival was this funny theatre team from Liverpool called The Scaffold. Didn't know anything about them. Somebody said oh yes, Paul McCartney's brother' - ooh! Really impressed, you know. I went to see their show and thought it was wonderful and that's how I met Roger McGough, John Gorman and Mike. With them was all these other people like Pete Brown, Spike Hawkins, Brian Patten, Adrian Henri, all these poets - they were doing a poetry show at The Traverse in the afternoon. All these people who have remained friends and collaborators were all focused on this one little theatre.

After I got back to London I accepted a place at Liverpool University and the day I got there I bumped into Roger McGough in a bookshop in Renshaw Street. He later suggested some poetry and music collaborative stuff and February 1966 was the first time I did a thing with him and Adrian Henri, at The Bluecoat Theatre in Liverpool. It just took off from there. Within a couple of months I was doing poetry events at The Cavern and playing with a band at the University. It was a town where there was loads going on and was very much the community serving itself - two and six to get in, and everybody got together.

Of course, the Merseybeat thing would be on its way out by then? The people that were left were the also-rans and wannabees. There were bands that missed the boat. We think of Liverpool in terms of Gerry & The Pacemakers and Billy J. Kramer and obviously The Beatles. That was the public image of it. But the people who lived in Liverpool had a different perspective on it entirely. They were into bands like The Roadrunners and The Clayton Squares. The scene was moving towards soul and R&B. Faron's Flamingos, that was the other band that people said were really the best band - much better than The Beatles had ever been. But, of course, they never did anything. I mean, Bill Faron is still playing up there now. 

PT: You were in The Clayton Squares, weren't you?

AR: No, that's a myth. It's because it was in this book (Encyclopedia of British Beat Groups & Solo Artists of the Sixties, compiled by Colin Cross with Paul Kendall & Mick Farren, Omnibus Press, 1980). Mike Evans was the sax player with The Clayton Squares, that was the tie-up with The Liverpool Scene. Mike Hart (also of The Liverpool Scene) was working under the name of Henry Hart with The Roadrunners. There was a really lively club scene. I wasn't really part of that though, I was part of the poetry and latterly the theatre thing. I did a lot of stuff, largely unpaid, for the Everyman Theatre.

We started getting things like a spot on the BBC2 arts programme 'Look At The Week' - 5th March 1967, so it was a bit before the Summer of Love. Roger, me and Adrian went with The Almost Blues. Joe Boyd asked us to play the U.F.O. - we did a Liverpool Love night, when it was at The Blarney Club in Tottenham Court Road. London seemed a long way away and what was happening there didn't really affect us. We had our weekly gigs at O'Connors Tavern which was just individuals coming together doing shows. We started getting booked as The Liverpool Scene Poets - it was the book (The Liverpool Scene, Rapp & Carroll 1967) that really focused that. And also the Penguin Modern Poets No. 10 (Adrian Henri, Roger McGough, Brian Patten) came out within a year of that. Initially it was Adrian and Roger particularly, they were really into the performance thing - Brian was a bit stoned out in those days and very much into being the lyric poet. Mike Evans also wrote poetry and played saxophone, Mike Hart wrote songs and played guitar, I wrote songs and did accompaniments for poetry. So the five of us would go out as The Liverpool Scene Poets and get booked at local Domestic Science colleges. Nothing further afield than Warrington really, all local stuff. I was working with The Scaffold as well by then, as a back-up musician. And then The Scaffs started having their hits. 'Goodbat Nightman'... That didn't make it. '2Days Monday' was the first one that got a sniff, then 'Goodbat' didn't happen, then 'Thank U Very Much' really became huge, and then 'Lily The Pink' which came out of a show I'd worked on. I was there the day Roger said I've got these words, it's an old rugger song we used to do......

We thrashed it out in John Gorman's flat, I also played on the record. So that was moving, which meant Roger couldn't do the poetry thing. At that time I suggested to Adrian that all we had to do was add a drummer and bass player and we'd be a band. So I got Percy Jones, who later on was with Brand X and now lives in America and has become a sizeable jazz player - he was the bass player in The Trip, which was my university band. And we found Bryan Dodson (drums) who was playing cabaret at the Wookey Hole or somewhere, and went out and did the first gigs like that. And that was The Liverpool Scene band from the first show.

Then we met John Peel. I used to listen to his radio programme 'The Perfumed Garden' when I came down to London. He played a track off 'The Incredible New Liverpool Scene' which was the very first album (prior to the band forming) on CBS. That album was recorded in two hours one night after a gig at the ICA at Regent Sound in Denmark Street - in mono. It was going to be Roger, Adrian and Brian - Pete Brown couldn't make it. Then Brian ducked out on the night, got pissed and didn't want to do it. It ended up just Roger, Adrian and me. I went up to The Roundhouse for an Implosion or something and Peel was there, so I said Hi - I'm Andy Roberts, thanks for playing the record and so-on. He started visiting us in Liverpool, he loved the scene up there and then he started getting us booked on shows. People would come and ask him to come and talk and play some records because of his clout on the radio, very much an underground thing. He'd do it for nothing but expenses, but he would want them to book two of certain acts. Like Tyrannosaurus Rex, Davey Graham, Roy Harper, Liverpool Scene, Principal Edwards - things he was very much into at the time.

Then Sandy Roberton wanted us to do an album and Peel nominally produced it - he sat there and listened while we made it, basically. That was the first album ('Amazing Adventures Of', RCA 1968). I graduated from University in 1968 and immediately turned professional and went on the road with Liverpool Scene, having already had quite a big taste of showbiz with The Scaffold. But I ducked out of that after 'Lily The Pink' 'cause it was all so big. They were working every night and I was a student, I couldn't do it. In 1967 though we did that 'McGough & McGear' album. That's the one with Hendrix on it. Oh, everybody, yeah. John Mayall, Graham Nash, and of course Paul McCartney produced it and played on it. It was just everybody who was around really. Done in a couple of nights at De Lane Lea when it was in Kingsway. I was not professional at the time, but I was doing jobs that many professionals would have envied. I'd get calls to do a bit of recording in London, and I'd just get into the back of Mike's car and go down and stay at Paul McCartney's house. I'd go off and do stuff and come back by tube and walk up and ring the doorbell, and there'd be eighty-five girls hanging around outside. You'd go into this house which had the 'Sergeant Pepper' drumskin hanging on the living room wall, and Paul'd be playing you his stuff. I didn't even think about it twice. 1968 was really when the working life started. 

PT: The Liverpool Scene was still together when you did your first solo album, 'Home Grown' in 1969?

AR: That's right, 1969 was a great year because we got on the first Led Zeppelin tour - Blodwyn Pig, Liverpool Scene and Led Zeppelin. We played The Albert Hall, we played the Bath Festival of Blues which was great, there were twelve really great acts on. We ended up, July of that year, at the Isle Of Wight Festival, playing on the same day as Bob Dylan and The Band to 150,000 people. About a week after that we flew to America for a three month tour. Disaster - absolute disaster. That was when we suddenly came up against the utter reality of it. What we could make work with a British audience, given this poetry and a band that were never rehearsed, we got away with it through being so different and our verve and irreverence - the fact that we would take the piss out of things. None of which worked in America. Our first show there was playing to 17,000 people supporting Sly and the Family Stone at Kent State University, in a sort of aircraft hanger. We were still using 30 watt amps, Sly had got in thousand watts for everything. We came up against a very stark reality. So, although we slugged through the tour and played a lot of interesting places, there were nice shows that I remember with great affection, it really caused the whole thing to be re-appraised. We played at the Midtown Theatre in Detroit, the bill was Joe Cocker & The Grease Band headlining, The Kinks were second, Grand Funk Railroad were third, Liverpool Scene were fourth and bottom of the bill was The James Gang with Joe Walsh on guitar. I had to follow Joe Walsh in 1969! Unbelievable. I was stupid enough to still think I could be Jimi Hendrix. I wanted to be a star. You do when you're young - you don't realise that everybody has their role, and that wasn't mine. 

PT: You'd had some personnel changes by then, hadn't you?

AR: Yes, we lost our drummer. Bryan got TB. It was half-way through the Led Zeppelin tour. We had no idea he was desperately ill, we thought he was just being a drag. He was within days of dying when we got this panic 'phone call from his girlfriend, Jackie, to say he had tuberculosis and that we all had to go to hospital to be tested - none of us had it though. We had a gig that night in Southampton as well. So we phoned up this guy called Pete Clarke who had been the drummer with The Escorts and asked him to help us out, which he did. The rehearsal for the Southampton gig consisted of me telling him in the van how the numbers went! He was a great drummer though and actually it was better than it had been with Bryan, because Bryan had been dying behind his kit for the previous two months. Clarkey became permanent after that. Bryan recovered eventually - he's still around, in Liverpool. The Liverpool Scene put out quite a few albums. Only three while we were still together. 'Bread On The Night' was recorded before we went to America, and when we came back we did 'St. Adrian Co., Broadway & Third' - one side of which was live, and it was ghastly, horrible. The other side was the first of the things I'm proud of though, although I had very little to do with it and at the time had resisted the band going in that direction. I thought it was too 'arty' - I wanted to take the band into the realms of rock & roll stardom. But looking back on it I can see that it's a bloody good job of work. That's the best legacy for what the Liverpool Scene was about, I think, we broke up, rather messily, on stage at the London School of Economics in May 1970 with Adrian attacking Mike Evans with a mike stand. Horrendous.   

 PT: It was that bad, was it?

AR: Terrible. There'd been a lot of tensions. By then we were onto our third drummer. Pete had left and we had a guy called Frank Garrett. He was only in the band for two or three weeks - nice lad, good player.

PT: What about the 'Heirloon' album?

AR: A lot of that was recorded for a show we did at the ICA about Guillaume Appollinaire called 'J' Emerveille' or 'I Wonder' with Tom Kempinski who later wrote 'Duet For One' and became a good playwright. He was in this just as an actor - he played Appollinaire. Other than that it was just out-takes from the live show at Warwick. We had nothing to do with it, it was like RCA's contractual obligation album. The band were gone by the time it came out. 

PT: Your first solo album 'Home Grown' was also on RCA. Then it was re-released, re-mixed a bit and with different tracks on B&C Records. 

AR: I had this idea of putting a band of my own together. I stopped off at Kettering in Northants to see Principal Edwards who'd got a farm there. Stayed over a couple of days, got pissed with Les their lights man in the pub, came back and started racing motorbikes around the farmyard. And I came a terrible purler - ripped all up one elbow and was out of it for four months. About August we rehearsed the new band, Everyone. Unfortunately I was terribly naive. I could play, but I didn't know anything about bands. I thought all you needed was to get together a good bunch of people and the rest of it would happen. By then I'd met Dave Richards, bass player, who I got on terrifically well with. John Pearson was on drums. John Porter was a guy I'd met in Newcastle that I liked so I got him in as another guitarist. He recommended Bob Sergeant to play organ and sing. Which was probably the worst of several bad moves. Bob was a terrific singer, he came out of his own band Junco Partners and had a big bluesy voice and played very bluesy organ which wasn't at all what I needed. Anyway we put a band together and recorded an album which was frankly a bit schizoid, a bit of a mess because there was Bob's stuff and my stuff and it didn't really meet in the middle.

Then we had a horrendous experience... we'd driven back to London after a gig at Southampton University and were sitting in John Pearson's flat. We'd left one of our two roadies, Andy Rochford, in Southampton - he'd stayed there with a girl, and Paul the other roadie, had driven the van back to London. The phone rang and Andy and the girl wanted to come back to London and he asked Paul to go back and get them. So Paul drove down and picked them up, and on the way back, on the A33 at Basingstoke, they had the most horrendous accident. Paul was killed outright, Andy and the girl were badly hurt and the van, with all the equipment in it, was wrecked. So suddenly everything that kept the band on the road was smeared across the A33. Paul was nineteen and had roadied for me in the latter stages of the Liverpool Scene and had stuck through all my being smashed up in the Summer, so I felt very guilty. It wasn't my fault, but his loyalty had cost him his life. It's still a very difficult thing to think about. There were still some obligation gigs I had to do, which I did as an acoustic three-piece with Dave Richards and John Pearson playing tablas. Come December 1970 that was it, I didn't want to do anything. 

I was at home, living with my parents, and one day the 'phone rang - it was Paul Samwell Smith, who I didn't know although I knew who he was because he'd been the bass player with The Yardbirds. He was looking for a guitarist to work with an artist he'd just taken on... could I go round and see this guy, see if we could get on and help him sort out the songs - and that was Iain Matthews. This was for 'If You Saw Thro' My Eyes', it was the post-Southern Comfort Iain Matthews. Lovely album. So he was sussing me out, and I was sussing him out. We started getting on OK and that put me into seven months intense studio work with Iain and Cat Stevens and so-on. That was how I met all those guys like Dave Mattacks, Gerry Conway, Pat Donaldson. Then Sandy Roberton was saying I hadn't done a solo album for a year and should do something. I did 'Nina & The Dream Tree' which came out of a poetry tour I did with Adrian Henri in Norway in 1970. Largely to promote that I went out as a solo act at the end of 1971 with Dave Richards on bass and Bobby Ronga. In the meantime I'd been to America with Iain for two and a half months - with Iain and Richard Thompson as an acoustic three-piece in the Summer of '71. We were going to go as a band with Timi Donald playing drums and Dave Richards playing bass, but Iain decided he didn't want to do it that way. Bobby Ronga was our roadie. We co-opted him to play a bit of bass while we were over there, then I brought him to work with me on a tour I did with Steeleye Span at the end of 1971. I'd done a single show with Mighty Baby at the Queen Elizabeth Hall supporting Procol Harum - that went very well, and I was put on the Steeleye tour.

When I was on the tour Iain came backstage at one gig and suggested we became a band. So we got together in Iain's flat in Highgate and decided that if we could come up with a good version of 'Along Comes Mary', the Association song, we'd work on that. So we worked on it and recorded it at the end of the day and it came out really good so we decided yeah - let's do it. But we had to get Iain out of his management deal with Ken Howard and Alan Blaikley which cost money. We got the Elektra deal because Jac Holzman was into Iain, and that's how Plainsong started. It lasted the whole of 1972.

Also, in 1970 I'd worked with the Bonzo Dog Band for a while as the Bonzo Dog Freaks, which was only Viv Stanshall and Neil Innes by then as the others had left, with Ian Wallace and me. We had this idea of working together as Grimms, which was Gorman, Roberts, Innes, McGough, McGear, Stanshall. We actually did a couple of shows in 1970 - one at Greenwich Town Hall with Keith Moon on drums. While I was doing Plainsong in 1972 Grimms had finally gone on the road, initially with Mike Giles playing drums. Iain split at the end of 1972 and Plainsong finished before the second album. 

PT: You actually recorded the second album though, didn't you?

AR: Yeah, it does exist, there's a finished version of it. And the demos leading up to it have just come out on a German CD.

PT: How did Plainsong finish - what happened?

AR: There's a lot of background that I've only really come to know about since re-establishing a working relationship with Iain eighteen years later. It was all more to do with what was happening in his life than what was happening in the band. He was tempted away from the Plainsong situation by something that looked better at the time - to go to America and work with Mike Nesmith. Iain admits quite frankly that it was a mistake and that he shouldn't have done it, but that's part of life's rich pattern. There was tension between him and Dave Richards which was beginning to build up, and it got worse when the band split. I immediately went off and joined Grimms and got on with my solo things and put it all behind me. I did my first Grimms tour in March 1973, and it must have been soon after that 'Urban Cowboy' (the next solo album) came out, because one of the tracks was played by the Grimms band - 'Home At Last'. Then came the 'Great Stampede' album. At that point I thought I was going to be a solo artist, with Grimms on the side. I was really into it, psyched-up and ready, writing well. Everybody in the 'Great Stampede' band was willing to go on the road with me; Gerry Conway, Pat Donaldson, B.J. Cole, Mick Kaminski... I had a really hot band to go out. Then it all got screwed up. In 1973 Jac Holzman sold Elektra to David Geffen, which altered the distribution over here from Warner to EMI, and then the three-day-week hit. It had to be pressed by EMIs pressing plant at Hayes and they were overstretched due to only being able to press records three days a week and having to get their Beatles albums out in time for Christmas. So the thing never got a proper release - there wasn't enough copies, they weren't available on the declared day and the review copies didn't go out. It was heartbreaking. 
PT: Following the demise of 'Great Stampede' you went into theatre work?

AR: I'd done some work as a student with Peter James who had been the artistic director of the Everyman Theatre in Liverpool. He offered me the chance to write the music for a musical, 'Mind Your Head' by Adrian Mitchell. It had been produced in Liverpool initially, but the problem was that ordinary actors couldn't sing the music, it was all too clever. They wanted something simpler and more direct for the London production. I had ten days over the Christmas of '73 to write it, then straight into rehearsal. The stage set was a 'bus, cut up and rebuilt. Through that I was asked to do my first television work, which was a thing called 'Something Down There Is Crying', a half-hour drama for BBC2 starring Elkie Brooks as a blues singer. By 1976 I was settling down to doing a bit of theatre, a bit of telly, the odd solo date. Then the next of the magical phone calls was from Roy Harper, who asked me to go out and play lead guitar in a band with him in America, which I did. And I got sacked after being there for a month or so, 'cause I got caught up in some desperate political situation with Chrysalis Records. I came back, Roy carried on for a couple or months or so and when he came back to England he apologised and suggested that we form a band, which became Black Sheep. I worked with him for five years, in bands and as a duo, which was pretty much the main thing I did until 1980.

Meanwhile, B.J. Cole, who was a mate from Plainsong days, said he was doing this album with Sam Hutt who worked under the name of Hank Wangford and invited me to play on it. Initially the money was put up by United Artists. We recorded four tracks and UA didn't like them, so they wouldn't put up any more money. So B.J. just begged everybody to finish the album anyway, which we did. Then he wanted to promote it - I said, listen, the last thing I wanted was to be involved in is country music... but he said it was only three dates to promote the album and the inevitable thing happened - I just took to it like a duck to water, I loved it. We had a hysterical time

PT: Where does your stint with The Albion Band fit into all this?

AR: That was in 1979. I knew the Albions quite well because they'd played on the same bill as the Roy Harper band quite often. Ashley Hutchings wanted to put together more of a rock band, like the early Fairport - he wanted to feature Sandy Denny songs. He was going to get Julie Covington in to sing, but she got cried off at the last moment, I don't know why, so they got Melanie Harrold in. The band was Mattacks on drums, Ashley on bass, myself and Dougie Morter on guitars, Mel Harrold playing keyboards - we borrowed Dolly Collins' little organ - and Martin Simpson and Barry Dransfield. Terrific line-up, the music was superb. We did it in '79 and revived it in 1980 for about four dates. Mel later resurfaced with the Wangford band - the end of 1981 was when we really started putting that together. We'd done the early dates in 1980, but then we decided that we'd definitely make a go of it and be a band, which was the line-up that stayed constant until 1983. At one stage the whole band had to go off the road because B.J., drummer Howard Tibble, bass player Gary Taylor and myself with Ricky Cool went off to do a tour with Billy Connolly. He saw us at The Hope And Anchor one night and hired the whole band - apart from Hank and Mel, so it was a bit rotten for them, but he was offering us decent money to tour for a month, so we went off and did that. 

PT: I believe you also had a stint with Pink Floyd around that time.

AR: Dave Gilmour was a friend of Roy Harper and would occasionally show up, and it was always a great joy. I loved playing with him. He 'phoned me up in December 1980 and offered me a gig playing with Pink Floyd, so I left the Wangfords to their own devices for a period. Initially it was to play eight dates in Germany; then we came and played five dates at Earls Court after that because they wanted some concert footage for a film, which they ultimately never used.

PT: What was it like doing their music?

AR: Well basically you've just got to stand there and look good and get the notes right. There was still quite a lot of room for improvisation though. The whole first part of the show they had to build The Wall, so it would take longer some nights than others - there were pad areas built in where Dave and I would just jam until certain sections were completed, then it was time to move on to the next bit. It had to be organised so that the last brick went in on the last note of the first half. Because of my involvement with theatre it was interesting to see - it was a theatrical event. But any one person was easily replaceable. They had expanded to an eight piece, so they had a surrogate band... you got The Floyd, and then Pete Woods on bass, Willy Wilson on drums, Andy Bown playing keyboards and myself on guitar. At times the surrogate band would put on latex masks of the Floyd and go out and be the Floyd, just to confuse the audience. We would open the show for instance, you'd get the roar from 25,000 people and actually it was the four surrogates - the Floyd weren't on the stage. It was Roger Waters thumbing his nose at the crowd really - a bit sinister. We'd do the opening and the lights would go down on the front stage after the aircraft had crashed, then the lights would go on back stage and the same band would appear to be there, so people would think hang on - I've just seen them down there, what's going on?!? 

PT: You left the Hank Wangford band in 1983 - to do what?

AR: To do very little, in 1984 or 1985. I did my first feature movie - 'Loose Connections'. I did a touring play, 'Oi For England', about skinheads, it had previously been done for television which I had nothing to do with. I was also still doing little poetry gigs with Adrian. When the Wangford band broke up I had Bad Breath and his Two Buttes Band, just for a couple of dates.

PT; Why had the Wangford band broken up?

AR: It just wasn't going anywhere. It was totally co-operative when we first started, but it was obvious that that wasn't going to work, that the band had to feature Hank as a personality above the band, which of course was nonsense because Hank was a semi-pro, he was a doctor. The solid work was being done by the professionals behind him, but it was plainly not going to total up to anything... I mean, I couldn't devote my career to putting a semi-pro on the map, fun though it had been. I left a bit before everybody else, apart from Gary who had been replaced by a guy called Pete Dennis who worked under the name of Terry Lee Lewis. I loved the Wangfords, we had a terrific time. The Bad Breath thing was just for a couple of dates, then we decided we would carry on playing the London pubs for fun. I wasn't doing much else, they were pretty lean years. I had a band called The Tex Maniacs, which Mike Berry joined - it was good for him to do new music rather than old Sixties stuff. That folded, then we had a band called Irma And The Squirmers which was when Mel Harrold came back and started singing with us. They were great gigs, great fun but just only as a pub band. And then re-enter Paul Kriwaczek, who was by then a producer at the BBC doing adult education programmes. He was doing 'Welcome To My World', which featured Robert Powell as a sort of futuristic eminence grise, this man who wafted through the year 2020 and looked with a jaundiced eye back to the year 1985, seeing all the damage computers had done - the implications for international banking, for police surveillance, not being able to get your names off police files etc. Kriwaczek wanted me to use a computer to write all the music. Most of the programmes had about twenty minutes or so of music that I came up with through my use of computer and MIDI, and that started the ball rolling - I was asked to do music for Continuing Education all the time, then 'Thin Air', a five part drama serial. A producer who heard 'Thin Air' loved it and asked me to do an eight-parter for Central Television called 'Hard Cases' in 1988, and the TV ball started rolling really. Then in 1990 we were looking for something to do on a night out and in the Brighton Evening Argus we saw Iain Matthews was playing at a pub in Brighton....

01. Speed Well Andy Roberts, The Great Stampede 03:59 
02. Clowns On The Road Andy Roberts, The Great Stampede 04:47 
03. Lord Of The Groves Andy Roberts, The Great Stampede 05:24 
04. Bottom Of The Garden Andy Roberts, The Great Stampede 02:22 
05. Kid Jealousy Andy Roberts, The Great Stampede 03:02 
06. The Great Stampede Andy Roberts, The Great Stampede 03:27 
07. High Time Andy Roberts, The Great Stampede0 5:38 
08. Home In The Sun Andy Roberts, The Great Stampede 03:58 
09. (53 Miles From) Spanish Town Andy Roberts, The Great Stampede 03:41

Bonus Tracks: 
10. Home At Last Andy Roberts, The Great Stampede 02:22 
11. Lost Highway Andy Roberts, The Great Stampede 03:02 
12. Living In The Hills Of Zion Andy Roberts, The Great Stampede 03:29 
13. New Karenski Andy Roberts, The Great Stampede 03:31 
14. Having A Party Andy Roberts, The Great Stampede 02:40