Archive for the ‘CLASSIC ALBUMS’ Category

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Me and Bobby McGee turned into Joplin’s signature song. The song was on her last album Pearl. this was a slightly different vocal for Janis. There is more control in her voice in this one. The producer Paul A. Rothchild was working with Janis to use her voice more efficiently so she could continue to sing later on in her career. Unfortunately, she never got a chance.

This was Janis Joplin’s only top ten hit although her songs are still played today.

This was released after Joplin died of a heroin overdose. Her death gave the album a lot of attention, and Pearl went to #1 in the Billboard Album Chart in 1971. It was the second song to hit #1 in the US after the artist had died…”Dock Of The Bay” by Otis Redding was the first.

The song was written by Kris Kristofferson: “I had just gone to work for Combine Music. Fred Foster, the owner, called me and said, ‘I’ve got a title for you: ‘Me and Bobbie McKee,’ and I thought he said ‘McGee.’ I thought there was no way I could ever write that, and it took me months hiding from him because I can’t write on assignment. But it must have stuck in the back of my head. One day I was driving between Morgan City and New Orleans. It was raining and the windshield wipers were going. I took an old experience with another girl in another country. I had it finished by the time I got to Nashville.” 

If this song was good enough for Janis it’s good enough for us! ‘Me And Bobby McGee’ is an American classic, originally performed by Roger Miller and later covered by Janis Joplin in 1970, a few days before her death. October 4, 1970 (aged 27) in Hollywood, California, Unfortunately, the song she’s best known for is one that we never got to see her perform live. Lucky for us though, Janis Joplin’s rendition of ‘Me And Bobby McGee’ was included on her 1971 posthumous release, “Pearl”.

This was written by Kris Kristofferson, who has written hundreds of songs for a wide variety of artists. Kristofferson would become a successful solo artist and appear in several movies, but it was Janis Joplin’s hit cover of this song that brought his career to the next level. “‘Bobby McGee’ was the song that made the difference for me,” he told Performing Songwriter in 2015. “Every time I sing it, I still think of Janis.”

The founder of Kristofferson’s record label, Fred Foster, rang him just as the struggling musician was about to leave Nashville for his helicopter pilot sideline job. He said that he had a song title for the songwriter – “Me And Bobby McKee.” Kristofferson recalled in Mojo magazine March 2008 that his label boss suggested: “‘You could make this thing about them traveling around, the hook is that he turns out to be a she.'”

Kristofferson was not sure at first. “I hid from Fred for a while but I was trying to write that song all the time I was flying around Baton Rouge and New Orleans. I had the rhythm of a Mickey Newbury song going in the back of my mind, ‘Why You Been Gone So Long,’ and I developed this story of these guys who went around the country kind of like Anthony Quinn and Giuletta Masina in (Fellini’s) La Strada. At one point, like he did, he drove off and left her there. That was ‘Somewhere near Salinas, I let her slip away.’ Later in the film he (Quinn) hears a woman hanging out her clothes, singing the melody she (Masina) used to play on the trombone, and she told him, ‘Oh, she died.’ So he goes out, gets drunk, gets into a fight in a bar and ends up on the beach, howling at the stars. And that was where ‘Freedom’s just another word for nothing left to lose’ came from, because he was free from her, and I guess he would have traded all his tomorrows for another day with her.”

The song’s final defining image came to Kristofferson as he was driving in heavy rain to the airport for the flight home. “I went, ‘With them windshield wipers slapping time and Bobby clapping hands we finally sang up every song the driver knew.’ And that was it.”

Fred Foster used a secretary’s name as inspiration for the title. Her name was actually Bobbi McKee. By naming the character in the song “Bobby,” it made sure a female singer could sing it without changing the name, since “Bobby” could refer to a man or woman. 

This was first recorded in 1969 by a country singer named Roger Miller, who is known for his hit “King Of The Road.”

Kris Kristofferson released this in 1970 on his first album, Kristofferson. A year later, when it became a hit for Joplin, Kristofferson’s album was re-released as Me And Bobby McGee to take advantage of the song’s new popularity.

The lyrics tell the story of two young lovers who travel together, but break up so they can discover the world on their own. The characters in the song were a lot like Joplin, who was known as a free spirit.

In the March 2006 issue of Esquire magazine, Kristofferson was asked where he was when he came up with the line, “Freedom is just another word for nothing left to lose.” His reply: “I was working the Gulf of Mexico on oil rigs, flying helicopters. I’d lost my family to my years of failing as a songwriter. All I had were bills, child support, and grief. And I was about to get fired for not letting 24 hours go between the throttle and the bottle. It looked like I’d trashed my act. But there was something liberating about it. By not having to live up to people’s expectations, I was somehow free.”

The line, “I pulled my Harpoon from my dirty red bandana” can be interpreted two ways. The more sanitized version considers the “Harpoon” as a slang word for harmonica. The second interpretation considers it a hypodermic needle, since a bandana was often used to tie off the arm before an addict shot up. 

The version on Joplin’s 1995 Greatest Hits album 18 Essential Songs contains an alternate version recorded as a demo.

Jerry Lee Lewis covered this in more of a country style several months after Joplin’s version was released. His version hit #40 in the US.

This was Joplin’s only Top 10 hit. She was a very influential and well-known singer, but her bluesy sound kept most of her songs off the pop charts.

The same year Joplin’s version was issued, Kris Kristofferson released The Silver Tongued Devil and I, which was a successful album and finally solidified his place as a singer/songwriter.

Kristofferson performed an acoustic version of this song when Joplin was honored with a star on the Hollywood Walk of Fame in 2013. Kristofferson, who had a brief affair with Joplin, recalled hearing her rendition on the day of her death. He explained to Rolling Stone magazine: “Her producer gave me the record and it was pretty hard to listen to. I was listening to it at my publisher’s office where we used to hang out, there was nobody there and I was playing it over and over again just so I could hear it without breaking up.” >>

The B-side of the single was a song called “Half Moon,” which also appeared on the Pearl album. That song was written by John Hall and his wife Johanna. It was the first song they wrote together, and a huge break for the couple, who were able to buy a buy a house and a sailboat with the royalties. John Hall got a lot of credibility in the rock realm from co-writing it, and his career took off. A few years later, he formed the group Orleans, which had hits with two songs he wrote: “Still The One” and “Dance With Me.”

Did you know…That this was Janis Joplin’s only top 10 hit? The greatest white female rock singer of the 1960s, Janis Joplin was also a great blues singer, making her material her own with her wailing, raspy, supercharged emotional delivery.

Janis Joplin’s signature bluesy style always kept her off of the pop charts. After her death in October 1970, ‘Me And Bobby McGee’ immediately shot to the #1 spot on U.S. music charts!.

Janis Joplin charted five singles, and other popular songs from her four-year career include “Down On Me”, “Bye, Bye Baby”, “Coo Coo”, “Summertime”, “Piece of My Heart”, “Turtle Blues”, “Ball ‘n’ Chain”, “Try (Just A Little Bit Harder)”, “Maybe”, “To Love Somebody”, “Kozmic Blues”, “Work Me, Lord”, “Move Over”, “Cry Baby”, “A Woman Left Lonely”, “Get It While You Can”, “My Baby”, “Trust Me”, “Mercedes Benz”, “One Night Stand”, “Raise Your Hand” and her only number one hit, “Me and Bobby McGee”.

Joplin was well-known for her performing abilities, and her fans referred to her stage presence as “electric”. At the height of her career, she was known as “The Queen of Rock and Roll” as well as “The Queen of Psychedelic Soul”, and became known as Pearl amongst her friends. She was also a painter, dancer and music arranger.

Ever the trendsetter even in death, this feat made hers the second ever song to reach the #1 spot after the artist died. While it’s sad that her talent wasn’t fully realized while she was still here to enjoy it, I think that her death is what made people really sit up and pay attention to this lonely girl from Port Arthur, Texas with a big voice and an even bigger heart!

Music video by Jeff Lynne’s ELO performing “When I Was A Boy”. (C) 2015 Big Trilby Records, under exclusive license to Columbia Records, a division of Sony Music Entertainment.

Jeff Lynne fans have a lot to be excited about. he annouced that Jeff Lynne’s ELO will release the first ELO album in over a decade.

The long player represents the first new music from the (one man?) band in over a decade and you can already listen to a typically Beatlesy song from the album.

The deluxe CD edition of Alone in the Universe adds two bonus tracks to the standard ten-track album – Faultline and Blue.

Called “Alone in the Universe”, the album will debut November. 13th via Columbia Records and is available for pre-order Friday. He also dropped the collection’s first single, “When I Was A Boy,”

ELO_alone

“Music is such a powerful force in our lives. A good song can make people feel much less alone in this universe,” Lynne said in a press release. “And trying to create one of those songs somehow makes me feel less alone too. My whole life—from being that kid with a dream in Birmingham right until today—proves how much music can do.”

Earlier this year Lynne performed “Evil Woman” and “Mr. Blue Sky” at the Grammys

1977 TOM PETTY broadcast from MY FATHER S PLACE, NEW YORK, After gaining local popularity in Gainesville, Florida with his band Mudcrutch, Tom Petty hooked up with The Heartbreakers (Mike Campbell, guitar; Benmont Tench, keyboards; Stan Lynch, drums; Ron Blair, bass), went to L.A., signed to Leon Russell s Shelter Records, and cut Tom Petty & The Heartbreakers, the debut album released in 1976. Although Petty, as the primary singer and songwriter (and a solid rhythm guitarist), deserved top billing, The Heartbreakers (at the time causing some confusion as ex New York Dolls Johnny Thunders and Jerry Nolan in tandem with Television s Richard Hell were calling their new group the same name) were a great band in their own right, Campbell and Tench (also fine songwriters) in particular being much sought after session players. Anyway, Tom Petty and co. were unique in 1976 in that they didn t really have an image beyond being a really good 60s influenced (The Beatles and The Byrds most obviously) rock n roll band; while trends such as punk and new wave came and went, Tom Petty & The Heartbreakers have always done their own thing. Tom Petty & The Heartbreakers was a solid debut album that, like much of their consistently strong output, is primarily remembered for its singles: Breakdown , American Girl and Anything That s Rock N Roll . The group supported Nils Lofgren in Europe during the summer of 1977 but returned to the US for the fall and played a number of shows as headliners including the gig presented on this CD, on Long Island, New York at the famous My Father s Place venue on 29th November. Largely pulling tracks form their debut and sophomore albums (You re Going To Get It would come out in May 1978) they also covered two 1960s classics in the form of Shout and Route 66 , alongside an early version of a song that wouldn t receive its studio album debut until the release of Southern Accents in 1985, the wonderfully titled Petty/Campbell composition Dogs on the Run . What this fine show, broadcast as it was on WMIR FM New York, illustrates nicely and to full effect is that while Tom and the Boys were largely influenced by the music of the previous decade they were not immune to the energy and dynamism of the punk and new wave genres then making waves in the UK, Europe and in New York, and this show reveals a unit as tight and punchy as any then knocking em dead at CBGB s or at London s Vortex club.

I Need To Know
American Girl
Fooled Again (I Don’t Like It)

Breakdown
Listen To Her Heart
Band Intros

Anything That’s Rock ‘n’ Roll
Dog On The Run

Shout
Shout Reprise
Encore Applause

Southern Accents In The Sunshine State (2Cd)

2CD FM BROADCAST CAPTURES TOM PETTY s COMPLETE 1993 Homecoming Concert, I think this is excellent. It’s a fine record of Tom Petty and his band The Heartbreakers at his absolute peak, and it’s both exciting and satisfying. Stephen C O’Connell Center, Florida, University Of Florida,
Gainesville, Florida; November 4, 1993.

This is an FM radio broadcast of a 1993 concert in Gainesville, Florida. It’s a good, varied set with fine performances of real classics like Learning To Fly, Refugee, Don’t Come Around Here No More and many others, which makes it, among other things, a great reminder of how many brilliant songs Tom and the Heartbreakers have recorded. There is also a good smattering of more rare tracks and some covers, some of which are very good and some of which – like Something In The Air – don’t work so well. Mike Campbell’s guitar playing is superb throughout. The track selection includes most of the standards but also some material that to my knowledge has never been recorded

The sound is very good. It’s certainly plenty clear enough to forget about sound quality and enjoy the music, and although occasionally there are some of the usual balance and fade problems with a live recording they don’t interfere. The engineers have done a fine job on the balance of audience noise and music, capturing the genuine excitement of the event without interfering with the sound of the band overmuch. There are some great audience moments, like them all singing “And I’m free falling,” or all yelling “Stop!” in exactly the right places in Don’t Come Around Here, which really get the thrill of the concert and make me wish I’d been there. (I join in anyway, mind you.) There’s a bit of chat in which you can feel Tom Petty’s rapport with the audience, but not too much. It’s pretty well an ideal live recording,
I’m a bit dubious about the release of old live material nowadays after some terrible-quality recordings have been released over the last few years, but I think this is a terrific album and it’s warmly recommended.

 

Now available at Amazon.UK

THREE DISC BROADCAST COLLECTION DISC 1 – The Coliseum, Jacksonville, FL, 24th July 1987

DISC TWO Deans Dome, Chapel Hill, NC, 13th September 1989 DISC 3 – RARE TV BROADCASTS 1978 – 1994

This three disc set adds to Tom Petty’s body of work by making available in one collection these broadcast recordings from the live canon of one of Pop & Rock music’s most respected and successful performers

His first album hit the streets in 1976 and initially its arrival caused few heads to turn. Music fans were confused; were these a bunch of punks or 1960s revivalists with a liking for Gene Clark era Byrds? Fortunately, as is so often the case, the UK seemed to ‘get it’ pretty soon after the record s release there and it reached #24 on the British chart. News traveled West, and a full year after the home turf release Tom Petty and the Heartbreakers entered the Billboard chart. Shortly thereafter second album You’re Gonna Get It! was released, and became a hit right away. The rest, as they say, is history. But it s relatively recent history about which any number of books, films and of course superlative albums are readily available for students of this remarkable performer to delve into. What a fantastic release! Three CDs of Tom Petty & The Heartbreakers live and at their very best. Good sound quality and some of their best material

Love

Love have unearthed four previously unheard Arthur Lee songs for a remastered deluxe reissue of their final LP, 1974’s ‘Reel to Real’ . Pioneering psychedelic band Love are reissuing their final LP, 1974’s Reel to Real, in remastered deluxe format with 12 bonus tracks (including four newly discovered Arthur Lee originals). High Moon Records – the same label responsible for last year’s limited-edition reissue of the band’s lost-then-found 1973 LP, Black Beauty – will release the first-ever CD/digital versions of Reel to Real on November 27th; vinyl editions, available for the first time in over four decades, will be available February 19th, 2016.
The CD version will be packaged in a deluxe custom Digipak with the full-color, 32-page booklet. The LP edition, pressed on “high-quality RTI vinyl,” features a 28-page booklet and download card for all tracks. The digital version comes with a 26-page PDF booklet.


The deluxe Reel to Real will include a booklet featuring an essay from Rolling Stone contributor David Fricke and unpublished photos. The set will also feature 12 bonus tracks, 11 of which are previously unreleased; these include alternate takes and mixes, live-in-the-studio rehearsal versions and four newly discovered Lee songs (“Do It Yourself,” “I Gotta Remember,” “Somebody” and “You Gotta Feel It”). A statement describes the tracks as “three fully-produced rockers and a spare, Imagine-era John Lennon-by-way-of Sly Stone studio sketch.”
The CD version will be packaged in a deluxe custom Digipak with the full-color, 32-page booklet. The LP edition, pressed on “high-quality RTI vinyl,” features a 28-page booklet and download card for all tracks. The digital version comes with a 26-page PDF booklet.

High Moon Records, the label behind the recent releases of Love’s Black Beauty and Gene Clark’s Two Sides to Every Story, has announced its next title. On November 27th, High Moon will reissue Love’s 1974 album “Reel to Real” as a newly-expanded Deluxe Edition in the following formats:

Expanded CD packaged in a deluxe custom digipak with a full-color, 32-page booklet;
LP pressed on high-quality RTI vinyl with full-color, 28-page LP-sized booklet;
LP includes download card for high-quality album plus bonus tracks; and
Digital Download includes full-color, 26-page PDF booklet.
Reel to Real was the first album from Arthur Lee’s groundbreaking rock band since 1970’s Blue Thumb album False Start. Originally released on Robert Stigwood’s RSO label and produced by Skip Taylor, it featured Lee alongside his Black Beauty band (drummer Joe Blocker, guitarist Melvan Whittington, and bassist Robert Rozelle) and presented a more soulful side of the frontman. He wrote or co-wrote every track on the album other than a cover of William DeVaughn’s “Be Thankful for What You Got.” Long the rarest item in the Love catalogue, Reel to Real has never previously been available on CD. Sweetening the pot, High Moon’s upcoming deluxe edition will feature 12 bonus tracks, 11 of which are previously unreleased.

These bonus cuts encompass alternate takes and mixes, live-in-studio rehearsals, and four newly-discovered Arthur Lee originals: “Do It Yourself,” “I Gotta Remember,” “Somebody” and “You Gotta Feel It.” Other bonus track highlights include an extended, alternate mix of “Busted Feet,” the single mix of “You Said You Would,” and an impromptu studio rehearsal of Forever Changes outtake “Wonder People (I Do Wonder).”

The album has been remastered from the original tapes, and the CD features a 32-page booklet with a new essay by David Fricke of Rolling Stone as well as a number of candid, previously unpublished photos. The CD edition is due on November 27, while the LP is scheduled for release on February 19, 2016. Both editions are currently available for pre-order at the links below!

Love, Reel to Real (RSO SO 4804, 1974 – reissued High Moon Records, 2015)

CD: Amazon U.S. / Amazon U.K. TBD
LP: Amazon U.S. / Amazon U.K. TBD

Time Is Like A River
Stop The Music
Who Are You?
Good Old Fashion Dream
Which Witch Is Which
With A Little Energy
Singing Cowboy
Be Thankful For What You Got
You Said You Would
Busted Feet
Everybody’s Gotta Live
Do It Yourself [Outtake]
I Gotta Remember [Outtake]
Somebody [Outtake]
You Gotta Feel It [Outtake]
With A Little Energy [Alternate Mix]
Busted Feet [Alternate Mix]
You Said You Would [Single Mix] (RSO single SO-506, 1974)
Stop The Music [Alternate Take]
Graveyard Hop [Studio Rehearsal]
Singing Cowboy [Alternate Take]
Everybody’s Gotta Live [Electric Version]
Wonder People (I Do Wonder) [Studio Rehearsal]
Tracks 12-23 are previously unreleased except Track 18 as indicated above

The late, great, self-proclaimed “first black hippie” gets a deluxe reissue. “Black Beauty”, the never-before-released masterpiece by Arthur Lee’s legendary band Love is making its first-ever official release in any format, anywhere! Chosen as one of Time Magazine’s most anticipated releases, critics are hailing the album as an instant classic. ‘Black Beauty’ is that rarest of rock artifacts: an unreleased, full-length studio album, from an undisputed musical genius. It represents the missing link in a catalog that also includes ‘Forever Changes’, the seminal 1967 Love album the New York Times called “one of the most affecting and beguiling albums of all time. With ‘Black Beauty’, Arthur Lee manages to combine searing ’70’s rock with gorgeous melodies and stellar songwriting – topped off by his most distinctive, snarling, soulful vocals ever. With unparalleled sound, and a wonderfully eclectic collection of songs, the album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee’s career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love. David Fricke wrote about the album in Rolling Stone: “Black Beauty” might have been received as a strong comeback for Lee, a turn to steamy R&B, with heavy-guitar punch – if it had come out.” High Moon Records is honored to finally grant Arthur Lee’s wish for ‘Black Beauty’ to be available to music fans worldwide.

Before his untimely death in 2006, Arthur Lee claimed that without him, there’d be no Jimi Hendrix or Sly Stone. Sure enough, the extended Black Beauty rocks loud and funks hard. By 1973, Love was a vacuum-tight all-black band. Vestiges of their early psychedelic sophistication surface in “Lonely Pigs.”

Songs: Ohia ‘The Magnolia Electric Co.’ (10th Year Anniversary Edition) out now on Secretly Canadian, a fine year for reissues although none can be more welcome than this 10 Year Anniversary Edition of Magnolia Electric Co confusingly the last album by Songs: Ohia before Jason Molina took the name of this album for his new band. No surprises there, “Magnolia Electric Co” is Molina’s masterpiece and celebrating its decade long existence is right and proper. Molina died at the age of 39 as a result of chronic alcoholism. His music had a dark heart and a desolate core. He sung about it, lived it and possibly died of it. Often compared to Neil Young the music of Jason Molina went well beyond that of a mere copyist. He was a true original, always located on the fringes of success and a man whose recognition that he was “paralysed by emptiness” led him towards destruction that played out in “bad luck lullabies”. His music is Americana gold including classics like the uber powerful seven minutes of the epic “Farewell Transmission”, the quiet wonder of one of his greatest songs “Just be simple”, the power surge of “John Henry Split my Heart” and the wasted country beauty of “Hold on Magnolia”. The album was also unique in that Molina relinquished his vocal duties on two songs, the Merle Haggard-esque “The Old Black Hen” and the sauntering “Peoria Lunch Box Blues”, giving the lead vocals respectively to Lawrence Peters and Scout Niblett.

Beyond the core of the released album the 10th Anniversary Edition are extra rare tracks and a second disc consisting only of demos, which was originally released, in its first pressing. Taking the demo album first this truly does add weight to the originals. Firstly it has Molina doing his own versions of “Old Black Hen” and “Peoria” which are rough, ready and heartbreaking. There are also sterling versions of “Farewell Transmission”, an uber poignant “Hold on Magnolia”, a stripped back version of “I’ve been riding with the ghost” that this reviewer prefers to the original and two acoustic demos of the extra tracks “Whip Poor Will” and what must rank as one of Molina’s greatest songs “The Big Game is Every Night”. The former appeared in a polished version on 2009’s “Josephine” but both sweet versions here beg the question why Molina left them of “MEC”. The lines on “Whip Poor Will” still resonate not least “so all of you folks in heaven not too busy ringing the bell/some of us down here ain’t doing very well/ some of us with our windows open in the Southern Cross motel”. When it comes to the “The Big Game is Every Night” this was originally included on the Japanese pressing of the album. It picks up the whole gamut of Molina themes of the moon, NFL football (“Unitas to Berry – so good its scary”), blues, musicians and a hardy perennial – references to snakes. The acoustic version of the song is actually less harrowing than the electric version which stretches to 10 minutes. In it he finishes with the embittered (and self reflective) observation “Show an American if really I am the snake they’re all saying/If they look up here do they see just my black tail swaying?/If I’m all fangs and all lies and all poison/If I’m really what they’re saying/I don’t want to disappoint them”. Like “Blue Factory Flame” it is utterly engrossing and compelling. The raw power of the songs conclusion sees Molina reach the pinnacle of his recording career.

The passage of ten years and the passing of Jason Molina confirms that “Magnolia Electric Co” is every bit the equal of Neil Young’s “On the Beach”, Will Oldham’s “I See A Darkness” and Johnny Cash’s “American III – Solitary Man”. Sadly we just didn’t know how great Jason Molina was.

 

 

Next year marks the 10th anniversary of the album “Rabbit Fur Coat”, the debut solo album from Singer Songwriter Jenny Lewis featuring The Watson Twins. To commemorate, the singer-songwriter will reissue the Album , also on special edition red vinyl on January 29th.

Additionally, Jenny Lewis will embark on a short US tour in early 2016, where she’ll be accompanied by the Watson Twins and M Ward. Both acts joined her for her original  “Rabbit Fur Coat” tour back in 2006; M. Ward also contributed to the album, appearing on Lewis’ cover of the Traveling Wilburys track “Handle with Care”.

Check out the reissue tracklist below,

Rabbit Fur Coat (10th Anniversary Reissue) Tracklist:
01. Run Devil Run
02. The Big Guns
03. Rise Up with Fists!!
04. Happy
05. The Charging Sky
06. Melt Your Heart
07. You Are What You Love
08. Rabbit Fur Coat
09. Handle with Care
10. Born Secular
11. It Wasn’t Me
12. Happy (Reprise)

Stoned — A Psych Tribute To The Rolling Stones

EVERYBODY MUST GET STONED! Check out the new release from Cleopatra Records, Stoned – A Psych Tribute To The Rolling Stones featuring 14 shining stars of the neo-Psych scene reinterpreting classic songs of The Rolling Stones.

00:00. Lorelle meets The Obsolete – What A Shame
03:50. The KVB – Sympathy For The Devil
08:40. Shiny Darkly – Under My Thumb
12:14. YETI LANE – Sway
17:06. Clinic – It’s Only Rock & Roll (But I Like It)
20:15. Sons of Hippies – Gimme Shelter
24:45. THE VACANT LOTS – She Smiled Sweetly
28:15. Celestial Bums – Child Of The Moon
33:53. Tashaki Miyaki – Take It Or Leave It
37:12. Allah-Las – Stoned
39:48.Pink Velvet – (I Can’t Get No) Satisfaction [CD ONLY]
42:31. Pure X – Beast Of Burden [CD ONLY]
46:45. Cheval Sombre – As Tears Go By
50:30. The Tulips – Wild Horses