Terry Reid - Selftitled (Great Rock Album UK 1969)

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Terry Reid (born 13 November 1949, Huntingdon, England) is an English rock vocalist and guitarist. He has performed with high profile musicians, as a supporting act, a session musician, and sideman.

After leaving school at the age of 12, Reid joined Peter Jay's Jaywalkers after being spotted by the band's drummer, Peter Jay. At the time Reid was playing for a local band, The Redbeats. His public profile was enhanced in 1966 when The Jaywalkers were named as a support act for The Rolling Stones for their concert at the Royal Albert Hall. Graham Nash of The Hollies became friends with Reid at that concert and suggested The Jaywalkers sign up with Columbia Records to record with producer John Burgess. Their first single, the Soul-inspired "The Hand Don't Fit the Glove" was a minor hit in 1967, but by then The Jaywalkers had decided to disband.

Reid came to the attention of hits producer Mickie Most, who became his manager. His first single with Most, "Better By Far," became a radio favourite, but the album, Bang Bang, You're Terry Reid, was not a commercial success. With accompanying musicians Peter Solley on organ and Keith Webb on drums, a 1968 tour of the United States with Cream did much to gain Reid a loyal following. His final performance of the tour at the Miami Pop Festival garnered positive reviews from the music press.

The song "Without Expression" by Reid and Graham Nash, from Bang Bang, You're Terry Reid, was recorded by The Hollies in 1968 as "A Man With No Expression" and by Crosby, Stills, Nash and Young in 1969 as "Horses Through a Rainstorm", with Nash singing lead on both. Both versions were not released until years later.

Yardbirds guitarist Jimmy Page became interested in Reid's work, and when The Yardbirds disbanded, Page wanted Reid to fill the vocalist spot for his proposed new group, the New Yardbirds, which was to become Led Zeppelin. Reid had already committed to go on the road with Cream (as an opening act on the 1968 US Tour). So he suggested to Page that he consider a young Birmingham based singer, Robert Plant, instead, having previously seen Plant's Band of Joy as a support act at one of his concerts. Reid later was offered a position as a member of Deep Purple when they decided to replace singer Rod Evans; Ian Gillan was given the position instead.

In 1969, Reid supported British tours, notably Jethro Tull and Fleetwood Mac. Reid, Solley and Webb toured the United States again when he opened for The Rolling Stones on their 1969 American Tour. He did not appear at the infamous Rolling Stones concert at Altamont Music Festival.

In December 1969 Reid had a falling out with producer Mickie Most, who wanted Reid to become a balladeer, and to strictly follow his own formula. Reid left England and settled in California to sit out the remainder of his contract with Most, making only sporadic live performances during that period. In 1970, he returned briefly to England to perform at the Isle of Wight Festival, supported by David Lindley and Tim Davis. During this period he also performed at the Atlanta II Pop Festival.[3] Reid was filmed performing in Glastonbury Fayre, the 1971 film by David Puttnam and Nicolas Roeg. In 1973, Reid returned with a new contract with Atlantic Records and a new album entitled River. Produced by Yes' Eddie Offord, the album received favourable reviews, but failed commercially.

Over the next decade, Reid switched to different labels in search of a winning formula; Seed of Memory released by ABC Records in 1976 (produced by Graham Nash), and Rogue Waves released by Capitol Records in 1979. He retired his solo career in 1981 to concentrate on session work, appearing on albums by Don Henley, Jackson Browne, UFO, High Stakes & Dangerous Men and Bonnie Raitt. In 1991, Reid returned with former Yes producer Trevor Horn, on the album The Driver. The album featured a cover version of the Spencer Davis Group classic written by Steve Winwood: "Gimme Some Lovin'", which had earlier appeared on the Days of Thunder soundtrack. "The Whole of the Moon", written by Mike Scott, was released as a single and received considerable airplay, with backing vocals performed by Enya. Reid has since been playing occasional live gigs with a band which has included Brian Auger. In the 1990s he also toured in the US and Hong Kong with ex-Rolling Stones guitarist Mick Taylor. In 1998, Rich Kid Blues was the eponymous song on an album released by Marianne Faithfull, produced by Mike Leander in 1984 but unreleased for 14 years. Touring in support of her 2002 album Kissin Time, Faithfull included a performance of Rich Kid Blues in her playlist.

In late 2005, Reid returned to the UK for his first tour in years. One venue billed him as 'The Man With A Hell Of A Story To Tell'. That same year, three of his songs, "Seed of Memory", (the title track to Seed of Memory), "To Be Treated Rite", and "Brave Awakening", appeared in the movie The Devil's Rejects (2005), directed by Rob Zombie. Also, his song "Faith To Arise" was in the 2003 film Wonderland. In July/August 2007 Reid returned for another six week UK tour being backed by The Cosmic American Derelicts, a band out of northern New Jersey and Southern New York.

On 26 June 2009, Reid appeared with Cosmic American Derelicts guitarist Eddie to perform at ex-band mate Peter Jay's Great Yarmouth club The Residence. At this gig Terry appeared on stage with the local support band Second Hand Blues to perform a cover of the Donovan song "Season of the Witch", this song has become one of the most watched videos of Terry Reid on YouTube, Terry also performed with Peter Jay for the first time in over 15 years on a cover of The Beach Boys song "Don't Worry Baby". On 28 June 2009, Reid and his band performed on The Park stage at the Glastonbury Festival.

The American rock group Cheap Trick recorded Reid's "Speak Now" for their debut album. Also, in 1973, the American rock group REO Speedwagon recorded Reid's "Without Expressions (Don't Be The Man)" for their Ridin' The Storm Out album. Without Expression (Don't be the man) was also recorded by John Mellencamp on his greatest hits album, The Best That I Could Do: 1978-1988.

The Raconteurs with Jack White recorded a version of Reid's "Rich Kid Blues" for their second album Consolers of the Lonely in 2008.

The pairing of Shine and Reid debuted at the Pigalle Club in London on 26 August 2009. A studio collaboration, Shine featuring Terry Reid, was released as an MP3 EP in November 2009.

01. Superlungs My Supergirl 2:42  
02. Silver White Light 2:54  
03. July 3:32  
04. Marking Time 3:46  
05. Stay With Me Baby 4:11  
06. Highway 61 Revisited/Friends/ 8:00  
07. May Fly 3:41  
08. Speak Now Or Forever Hold Your Peace 4:25
09. Rich Kids Blues 4:15

Bonus Tracks:
10. Zodiac Blues 2:57
11. Penny 6:03
12. Funny How Time Slips Away (First 'Demo' Version) 3:57
13. I'll Take Good Care Of You (First 'Demo' Version) 2:07
14. It's Gonna Be Morning (w. Jaywalkers) 2:58
15. I'll Take Good Care Of You (w. Jaywalkers) 2:07
16. Funny How Time Slips Away (w. Jaywalkers) 3:40
17. Just Walk in My Shoes (w. Jaywalkers) 2:21
18. The Hand Don't Fit the Glowe (w. Jaywalkers) 2:56
19. This Time (w. Jaywalkers) 1:51
20. Highway 61 Revisited [Demo] 4:26

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Barry McGurie - Eve of Destruction (Great Album US 1965)

Size: 76.2 MB
Bitrate: 256
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Source: Japan SHM-CD Remaster

"Eve of Destruction" is a protest song written by P. F. Sloan in 1965. Several artists have recorded it, but the best-known recording was by Barry McGuire. This recording was made between July 12 and July 15, 1965 and released by Dunhill Records. The accompanying musicians were top-tier LA session players: P. F. Sloan on guitar, Hal Blaine (of Phil Spector's "Wrecking Crew") on drums, and Larry Knechtel on bass. The vocal track was thrown on as a rough mix and was not intended to be the final version, but a copy of the recording "leaked" out to a DJ, who began playing it. The song was an instant hit and as a result the more polished vocal track that was at first envisioned was never recorded.

The song had initially been presented to The Byrds as a Dylanesque potential single, but they rejected it. The Turtles, another LA group who often recorded The Byrds' discarded or rejected material, recorded a version instead. Their version was issued as a track on their debut album It Ain't Me Babe, shortly before McGuire's version was cut; it was eventually released as a single and hit number 100 on the Billboard Hot 100 in 1970. The song was also recorded by Jan and Dean on their album Folk 'n Roll in 1965, using the same backing track as the McGuire version, and by The Grass Roots on their first album Where Were You When I Needed You in 1966.

McGuire also mentioned that "Eve of Destruction" was recorded in one take on a Thursday morning (from words scrawled on a crumpled piece of paper), and he got a call from the record company at 7:00 the following Monday morning, telling him to turn on the radio—his song was playing.

Barry McGuire became a born-again Christian, and as a result renounced the song for many years, refusing to perform it. Though he is now known primarily as a singer of contemporary Christian songs, McGuire has resumed singing "Eve of Destruction" in recent years, often updating the lyrics to refer to such events as the Columbine High School massacre.

In the first week of its release, the single was at number 103 on the Billboard charts. By August 12, Dunhill released the LP, Nick Featuring Eve of Destruction. The LP reached its peak of number thirty-seven on the Billboard album chart during the week ending September 25. That same day the single went to number one on the chart, and repeated the feat on the Cashbox chart, where it had debuted at number thirty. McGuire would never again break into the top forty of the Billboard Hot 100. It went to number one in Norway for two weeks.

The American media helped popularize the song by using it as an example of everything that was wrong with the youth of that time. The song also drew flak from conservatives. A group called The Spokesmen released an answer record entitled "The Dawn of Correction". A few months later, Green Beret medic Sgt. Barry Sadler released the patriotic "Ballad of the Green Berets". Johnny Sea's spoken word recording, "Day For Decision", was also a response to the song.

The song was banned by some radio stations in the USA ("claiming it was an aid to the enemy in Vietnam") and by Radio Scotland. It was placed on a "restricted list" by the BBC, and could not be played on "general entertainment programmes".

Barry McGuire Early Biography from http://barrymcguire.com/:
After Barry left the Christys, work was hard to find. He spent the Winter and part of Spring, 1965 contacting producers, to no avail. But in April, Barry went to Ciro’s in L. A. to see his old friends Roger McGuinn and Gene Clark, whose band, the Byrds, was celebrating the release of their single, “Mr. Tambourine Man.” 
Bob Dylan was there, and so was producer Lou Adler. During the show, Barry saw a guy on the dance floor just bopping up and down while looking up at the ceiling. So he decided to try it out himself, and was bouncing around on the dance floor. Lou Adler spotted him and said, “Aren’t you McGuire?”
“Yeah.”
“Well, are you doing any singing?”
“Well, not recently.”
“Would you like to?”
“Well, yeah.”
Then Lou said, “Come over to my office next week. I’ve got some tunes I think you might like.”

Lou Adler was a man who knew the music business inside and out. He had written songs for people like Sam Cooke, had been one of Jan and Dean’s managers, had worked in music publishing and for various record companies. By 1965, Adler, along with Jay Lasker and Bobby Roberts, had started a publishing company called Trousdale and a production company called Dunhill. P. F. (Phil) Sloan and Steve Barri, who had written some surf songs that became hits and had a band called the Fantastic Baggys, worked for Adler as songwriters and musicians. 

Lou introduced Barry to Phil Sloan, who was now writing songs that contained serious social messages born from an overwhelming sense of frustration, disgust, and outrage at the system and the way things were going in the world. Barry was ready to start singing songs that reflected these ideas and feelings. “When I left the Christys,” Barry says, “ I left looking for answers. I was in a kind of a spiritual, philosophical search at that time. We were going through the whole social question, turmoil of the day within ourselves. Why not do this? Why shouldn't we do that? How come we have to do this? Who says we gotta do that?

 And then we started to get down to, well, what is the basic ultimate truth, and what is life? What is the universe? Where did it come from? Where is it going? What's on the other side of death? What was on the backside of birth? ‘Eve Of Destruction’ was just a continuation down that road. At least I felt I could compile all the problems, and I thought that's what Phil did in the song. All the problems, but no answers." Unlike the cheery tunes of the Christys, "Eve of Destruction" was a grave, prophetic warning of imminent apocalypse. It was a song that expressed the frustrations and fears of young people in the age of the Cold War, Vietnam, and the arms race.

Barry signed with Dunhill in May, 1965, and started recording with Phil Sloan (guitar, harmonica and co-production with Adler), Larry Knetchel (bass), Tommy Tedesco (guitar). Barry played guitar and percussion. Sometime between July 12th and the 15th, they recorded “Eve of Destruction.” Barry recalls that the song was recorded in one take. There were only thirty minutes left in the recording session. Barry remembers, “I got my lyrics that I’d had in my pocket for about a week. I smoothed all the wrinkles out of them, and we wrote the chords down on a piece of brown paper that somebody got some chicken in or something, and we folded little creases and hung them on the music stands and went through it twice. They were playing and I’m reading the words off this wrinkly paper. I’m singing, ‘Well, my blood’s so mad feels like coagulatin’, that part that goes, ‘Ahhhhhh, you can’t twist the truth,’ and the reason I’m singing ‘Ahhhhhh’ is because I lost my place on the page. People said, ‘Man, you really sounded frustrated when you were singing.’ Well, I was. I couldn't see the words. I wanted to re-record the vocal track, and Lou said, ‘We're out of time. We'll come back next week and do the vocal track.’ Well, by the next weekend, the tune was released. The following Monday, it was being played on the #1 rock music station in Los Angeles, and it was incredible what happened. It all just exploded.”

It turns out that a photographer and record promoter by the name of Ernie Farrell visited Lou Adler’s office on July 16th to see if Lou had any records to promote, and he picked up a couple of 45s off of Adler’s desk without Lou’s knowledge. That afternoon, Farrell was scheduled to take photos at a birthday party at the home of the program director at KFWB. Farrell was taking pictures, went to get some flashbulbs out of the trunk of his car, and he saw the 45s there. He played the 45s for the kids at the party, and they really didn’t respond to any of them until Farrell played “Eve of Destruction.” They demanded that he play it repeatedly. The kids took it into their father and asked him to listen to it. He phoned KFWB and said, “I’ve got next week’s pick to hit.” The folks at Dunhill rushed the one take of “Eve” back into the studio to get it ready for immediate release, but Barry wasn’t around that weekend, so they mixed it, pressed it and shipped it out by that following Monday, July 19th (although the official release date is July 21st). So Barry never got a chance to re-record the vocals.

In the first week of its release, “Eve” was at #30 in the Cash Box charts, and #103 in the Billboard charts. By August 12th, Dunhill released the LP, Barry McGuire Featuring Eve of Destruction. The LP reached it’s high of #37 on Billboard the week ending September 25th, the same day that the single “Eve of Destruction” soared to #1 in both the Cash Box and Billboard charts. One would think that any musician whose single had such quick and huge success would be propelled into ever-increasing stardom and opportunities in the music industry. But “Eve of Destruction” actually had the opposite effect, because its success came in sales before success in airplay. It was a song that captured the ear of the public before it caught the attention of most radio stations. A lot of radio station managers, DJs, and playlist controllers were upset that “Eve” made it big without going through them. Barry says, “I don’t know if it’s true or not, but I heard that the word was that no matter what I came out with next, nobody was gonna play it because I was a loose cannon in the music business. They didn’t have control of the last one, and they weren’t gonna let the next one get away from them.”

Then there was the reaction of the media. Phil Sloan remembers, “The media frenzy over the song tore me up and seemed to tear the country apart. I was an enemy of the people to some and a hero to others, but I was still only 20 years old and nobody really was looking. I have felt it was a love song and written as a prayer because, to cure an ill you need to know what is sick. In my youthful zeal I hadn't realized that this would be taken as an attack on The System!

The media headlined the song as everything that is wrong with the youth culture. First, show the song is just a hack song to make money and therefore no reason to deal with its questions. Prove the 19-year old writer is a communist dupe. The media claimed that the song would frighten little children. The United States felt under threat. So any positive press on me or Barry was considered un-patriotic. A great deal of madness, as I remember it! I told the press it was a love song. A love song to and for humanity, that's all. It ruined Barry's career as an artist and in a year I would be driven out of the music business too.”

On top of all this, there was flack from both conservatives and liberals. On the right wing, a group called The Spokesmen released an “answer” record called “The Dawn of Correction,” and a few months later, Barry Sadler released “Ballad of the Green Berets.” On the left, musicians who had been writing and singing protest songs for years were not happy that a kid who wrote surf songs and a former member of the Christys had found success with a protest song of their own. Phil Ochs, for example, said that the quality of “Eve of Destruction” was terrible, and called its philosophy “juvenile.” He cautioned that protest songs by their very nature could never maintain a popular status, adding, “The Top Forty revenge is one of the fastest revenges in the country. When people get turned off, that’s it: instant death. I think the protest thing will die out pretty fast.”

There were some exceptions to the ill treatment "Eve" received. For example, on September 20th, 1965, Barry sang "Eve of Destruction" on NBC's Hullabaloo. But Barry looks back now and thanks God that the reaction to “Eve of Destruction” kept him from further fame and fortune. He believes it would have killed him. “It’s just as well I didn’t get another hit tune,” he says. “I would have gone the way of Jim Morrison, Hendrix, or Joplin. I say ‘Thank God,’ and I do thank God for that, too, because I wouldn’t have survived. I think God did ‘Eve of Destruction.’ It was supernatural. I was just dumbing my way through the day, and it all happened. I came up with some great tunes after ‘Eve of Destruction,’ and none of them happened, and I couldn’t figure out what was going on. But I’m sure glad nothing did, because I would have been history by now.”

Partial discography:
♦ Barry Here and Now (1962)
♦ The Barry McGuire Album (1963)
♦ Eve of Destruction (1965)
♦ This Precious Time (1965)
♦ The World's Last Private Citizen (1967)
♦ McGuire and the Doctor (1971)
♦ Seeds (1972)
♦ Lighten Up (1974)
♦ Narnia (1974)

01. Eve of Destruction 3:38
02. She Belongs to Me 2:47
03. You Never Had It So Good 3:06
04. Sloop John B. 3:04
05. Baby Blue 3:16
06. The Sins of a Family 3:01
07. Try to Remember 3:23
08. Mr. Man on the Street 6:05
09. You Were on My Mind 2:32
10. Ain't No Way I'm Gonna Change My Mind 2:30
11. What Exactly's the Matter With Me 2:32
12. Why Not Stop and Dig It While You Can 2:15

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Marc Benno & The Nightcrawlers - Crawlin (Great Bluesrock US 1973)

Size: 99.3 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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Source: Japan 24-Bit Remaster

The album recorded in 1973 @ sunset sound Studio Hollywood for A&M

Marc Benno brought a treasure for his Japanese fans!

The recordings which never released for last 32 years....
Marc Benno recorded 7 songs with his band The Nightcrawlers featuring Stevie Ray Vaughan, Doyal Bramhall etc. at Sunset Sound Studio inHollywood for A&M Records in 1973. But A&M decided not to release the record.

This is the special album with the 7 songs and plus another 5 songs of the studio sessions tracks with SRV (G),RussKrunker(Dr.) Mike Utley(key.) Lee Skiar(B.) etc.

This historic document seems to have escaped the attention of all but the most hardcore and curious Stevie Ray Vaughan fan. The story goes like this...by 1973, Texas singer, songwriter, guitarist, and piano player Marc Benno had spent better than a decade as an all-star studio pro, lending his talents to recordings by folks like Rita Coolidge and the Doors. Benno recorded a pair of albums with friend and fellow session-player Leon Russell as the Asylum Choir, Benno subsequently launching his solo career with a self-titled album in 1970, Russell hooking up with singer Joe Cocker before discovering mid-decade stardom.

Benno had put together a Texas-styled blues-rock band that included bassist Tommy McClure (who had played with Coolidge and Jim Dickinson, among others), drummer Doyle Bramhall, keyboardist Billy Etheridge, and a hot-shot young guitarist by the name of Stevie Vaughan (the "Ray" would be added later). Benno and the Nightcrawlers were managed by rock 'n' roll heavyweight Dee Anthony, and put on tour opening for the J. Geils Band and Humble Pie (which featured its own hot-shot fretburner in Peter Frampton). Benno and the band recorded what was to become their debut album for A&M Records, but when the label soured on blues-rock, Crawlin – which included Vaughan's first recordings – was put on the shelf and remained unreleased until 2009 when Blue Skunk Music resurrected the album.

As shown by the funky album-opening "Last Train," Benno had his finger firmly on the pulse of the soul-and-blues-infused rock sound of the early 1970s, the song's foot-shufflin' beat paired with twangy, chicken-scratched guitar solos and a chaotic mix that works in spite of the mess of instruments. By turns, the New Orleans-flavored "Coffee Cup" sounds like Dr. John, Benno's growling vocals and spry piano-pounding displaying the undeniable musical link between Texas blues and Louisiana's more jazz-influenced style.

The lively "Take Me Down Easy" mines turf similar to what Delaney and Bonnie and Friends were exploring at the time, cleverly mixing blues, rock, gospel and country into an inspired whole, some hot guitar licks sizzling in the background beneath Benno's energetic honky-tonk piano and an overall spirited instrumental jangle. Running in the other direction, "Hot Shoe Blues" blends a 1940s-styled jump-blues aesthetic with rollicking keyboards, red-hot guitar runs, and mile-a-minute echoed vocals to create an exhausting and entertaining musical romp. The title song is virtually an instrumental, barely-audible gang-vocals rising and falling beneath an innovative soundtrack that displays some of Stevie Vaughan's early talents.

Benno considered Stevie Ray Vaughan (or "Little Stevie" as he was often known at the time) to be the Nightcrawlers' secret weapon, a young guitarist of unusual skill and vision that could liven up any performance with his instrument. Crawlin includes four "bonus tracks," songs cut by Benno in anticipation of a solo release that would feature Vaughan's maturing guitarplay at its center. Using a variety of L.A. session pros and friends like bassist Lee Sklar, drummer Russ Kunkel, and keyboardists Gordon DeWitty and Mike Utley, these songs add more of a pop sheen to Benno's writing while not forsaking the artist's blues foundation.

"Friends" is a gospel-tinged soft-rocker that features some beautifully emotional Stevie Ray slide-guitar licks alongside Benno's testifying vocals and gentle piano play. By contrast, "Whole Thang" is a short, sharp shocker with scorching guitar solos riding low in the mix, Benno's bouncy electric piano creating an irresistible melody on top of which Vaughan weaves his magic; given a proper release in the mid-1970s, the song could have been a big hit and brought SRV to stardom that much quicker. "World Keeps Spinnin" is another Dr. John soundalike, with bits of sharp guitar and an underlying funky heartbeat while "Long Ride Home" is a dark, rich instrumental track and the stand-out on Crawlin, Vaughan and Benno swapping guitar licks while the band choogles along in the background with a rock-solid rhythm.

Jim Morrison & Marc Benno

Marc Benno's Crawlin is a mixed bag, derived as it is from disparate sources and circumstances. The four bonus tracks are better-written and better-produced than the seven songs from a previous recording, and they feature Stevie Ray Vaughan in a much more prominent role. What the earlier songs lack in sonic quality and overall construction they more than make up for in energy and enthusiasm, Benno finally afforded the opportunity to chase stardom on his own terms.

While the earlier material on Crawlin, quite honestly, wasn't ready for primetime...I'll blame it on sub-par production that seemingly robs the performances of their edge and vitality...there's no doubt that Benno and the Nightcrawlers were on to something, and listening to these songs today one can't help but wonder what might have been. 

You'll find the material to be representative of the era of its creation, entertaining but not particularly innovative, and of interest mostly to hear Benno's underrated piano playing and Stevie Ray's first tentative steps towards blues-rock stardom.

After suffering the indignities of the record biz – Benno was subsequently dropped by his high-profile manager (who hitched his star exclusively to Frampton's fortunes) – and seeing his recordings buried in a vault somewhere in Hollywood, Marc Benno regrouped and re-dedicated himself to the blues. He spent years touring as second guitarist for the legendary Lightnin' Hopkins, honing his skills and learning the blues from a master. Benno continues to make music, fusing blues, rock, jazz, and pop music into his own original creation in spite of the industry, and Crawlin is a perfect example of his unique vision and talent.

The Nightcrawlers: 
♣ Marc Benno - Guitar and Vocal
♣ Stevie Ray Vaughan - Lead Guitar
♣ Doyal Bramhall - Drum and Vocals
♣ Billy Ethridge- Keyboards
♣ Tommy McClure - Bass

*Session Recording with:
♣ Marc Benno - Guitar, Piano and Vocal
♣ Stevie Ray Vaughan- Lead Guitar / Russ Krunkel- Drums
♣ Johnny Perez - Drums / Mike Utley-Keyboards
♣ Gordon Dewitty-Hammond B3 Organ / Lee Skiar- Bass

01. Last Train  02:04
02. Coffee Cup  03:19
03. 8 Ball  06:22
04. Take Me Down Easy  03:23
05. Love is Turnin Green  05:36
06. Hot Shoe Blues  02:09
07. Crawlin  03:22
08. Friends*  04:33
09. Whole Thang*  01:57
10. Slammer Jammer*  04:35
11. World Keep Spinnin*  02:51
12. Long Ride Home*  04:48

*Bonus Tracks Please note and understand there are some noise on Track 10 due to the old recording material.

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