King Curtis – Live At Fillmore West (1971)

lpfrontcover1Live at Fillmore West is an album by King Curtis, released in 1971. The album showcases the concert he played with his band The Kingpins at the Fillmore West venue in San Francisco in March 1971 who were supporting and backing soul singer Aretha Franklin. A week after its release in August 1971, Curtis was stabbed to death outside his brownstone apartment in New York City.

It was reissued on compact disc in the 1990s through Rhino Records and was released in an expanded edition in 2006. In addition it was released as an expanded edition four-CD box set entitled, Don’t Fight the Feeling: The Complete Aretha Franklin & King Curtis Live At Fillmore West by Rhino Handmade in 2005, featuring the complete concert by King Curtis and Aretha Franklin. This edition was limited to 5000 numbered copies.

Recorded at the Fillmore West concert hall, the storied rock venue in San Francisco, over three nights, March 5, 6 and 7, 1971. King Curtis and his band the Kingpins were supporting Aretha Franklin as well as being her backing band. The album opens with his own composition “Memphis Soul Stew” but the bulk of the album is taken with cover versions of recent rock and soul recordings including Stevie Wonder’s “Signed, Sealed, Delivered (I’m Yours)” and Led Zeppelin’s “Whole Lotta Love”. His version of Procol Harum’s “A Whiter Shade of Pale” found renewed fame when used in the opening title sequence of cult British comedy film Withnail and I. The film is set in 1969, two years before its performance.

Professionally Curtis was having a prolific and successful summer that year. Aretha Franklin’s Live at Fillmore West album was a huge hit, he had contributed to two tracks on John Lennon’s album, Imagine, recorded the theme to the television show Soul Train and had made a highly acclaimed performance at the Montreux Jazz Festival. It was in this climate that his album Live at Fillmore West was released in August 1971. A week after its release, Curtis was stabbed to death outside his brownstone apartment in New York City following an argument with two junkies. The day after he died the album peaked at No. 54 on the Billboard 200 album chart, his greatest success as a solo artist. (by wikipedia)

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Recorded in front of an enthusiastic audience and released just one week before Curtis’ murder in 1971, Live at Fillmore West is a brilliant confirmation of the saxophonist’s place in popular music. Backed up by Atlantic’s top session men, as well as Billy Preston and the Memphis Horns, Curtis rips through some of the biggest hits of the day, transforming them into showcases for his soulful playing and the group’s outstanding rhythmic interplay. Beautiful renditions of “A Whiter Shade of Pale” and “I Stand Accused” are highlights, but it’s full-throttle rockers like “Changes” and “Memphis Soul Stew” that comprise the heart of the album. Curtis occasionally gets lost in the mix, but it doesn’t matter; with so much great music going on, you probably won’t notice. (by Jim Smith)

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Personnel:
King Curtis (saxophone)
Cornell Dupree (guitar)
Jerry Jemmott (bass)
Pancho Morales (percussion)
Billy Preston (organ)
Bernard Purdie (drums)
Truman Thomas (piano)
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The Memphis Horns:
Jack Hale (trombone)
Roger Hopps (trumpet)
Wayne Jackson (trumpet)
Andrew Love (saxophone)
Jimmy Mitchell (saxophone)

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Tracklist:
01. Memphis Soul Stew (Ousley) 7.41
02. A Whiter Shade of Pale (Brooker/Reid) 5.26
03. Whole Lotta Love (Dixon/Plant/Page/Jones/Bo2.16
04. I Stand Accused (Butler) 6.05
05. Them Changes (Miles) 7.01
06. Ode To Billie Joe (Gentry) 3.22
07. Mr. Bojangles (Walker) 4.30
08. Signed, Sealed, Delivered I’m Yours (Garrett/Hardaway/Wonder/Wright) 2.37
09. Soul Serenade (Dixon/Ousley), King Curtis 5.32

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“King” Curtis Ousley (February 7, 1934 – August 13, 1971)

 

Chris Rea – Dancing With Strangers (1987)

frontcover1Dancing with Strangers is the ninth studio album by Chris Rea, released in 1987.

It became Rea’s first major success in UK, peaking at #2, behind Michael Jackson’s Bad, and spent 46 weeks in the charts, achieving Platinum accreditation.

It reached the Top 10 in six other countries, including New Zealand where it became a number one album.

“Let’s Dance” was released as the first single and, like the album, became a major hit for Rea in UK, peaking at #12.

In tone with the success of the album, “Let’s Dance” became a major hit in New Zealand as well, peaking at #2. The other singles released from this album were “Loving You Again” (UK #47), “Joys of Christmas” (UK #67) and “Que Sera” (UK #73).(by wikipedia)

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Album no 3 in Chris’ ‘imperial’ phase, and the all-important one before The Road To Hell set the seal on the legend. A splendid album, with something for everyone. Of it’s time, yes, but none the worse for that. ‘Side One’ is just about faultless, with each song a sign of styles to come, combining pop, rock & blues just so (I Can’t Dance to that being a particular favourite).

‘Side Two’ kicks off with the always great Let’s Dance (the slightly superior original version to my mind), and while not quite as strong as the first half, still holds it’s own. The album may be a couple of tracks too long, but it shows an artist on top, confident form, with the best yet to come. (by Jason Brown)

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Personnel:
Robert Ahwai (guitar)
Martin Ditcham (percussion, drums)
Jerry Donahue (guitar)
Kevin Leach (keyboards)
Dave Mattacks (drums)
Max Middleton (keyboards)
Eoghan O’Neill (bass)
Adrian Rea (drums)
Chris Rea (vocals, guitar, keyboards, slide guitar, synthesizer, accordion)
Davy Spillane (guitar, uilleann pipes)

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Tracklist:
01. Joys Of Christmas 5.15
02. I Can’t Dance To That 4.19
03. Windy Town 4.25
04. Gonna Buy A Hat 4.25
05. Curse Of The Traveller 6.26
06. Let’s Dance 4.07
07. Que Sera 5.23
08. Josie’s Tune 2.19
09. Loving You Again 5.40
10. That Girl Of Mine 3.41
11. September Blue 3.09
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12. I Don’t Care Any More 2.10
13. Donahue’s Broken Wheel 3.02
14. Danielle’s Breakfast 4.33

All songs written by Chris Rea

Tracks 12, 13, 14 are bonus tracks not available on the initial LP release.

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Quartetto Klimt – Quartetti Con Pianoforte (2000)

frontcover1Formed in 1995 at the Scuola di Musica di Fiesole, the Klimt Quartet is today one of the most interesting young chamber music groups in Italy. Since its foundation it has performed in numerous concerts including prestigious Festivals in Italy and abroad. Between 1997-1999 the quartet attended for two years the master classes held by Trio di Milano in Fiesole; since 2000 the quartet has studied for various years with M.° Pier Narciso Masi. In April 1998 the quartet won first prize at the International Chamber Music Competition “Gaetano Zinetti” at Sanguinetto (VR).
A few months after its foundation the quartet was invited by: “Encontre Internationale des Enseignements Artistiques” organized by the Institute de le Marionette a Charleville-Meziéres (France); the Orchestra Giovanile Italiana ad Aosta; the “Ater Festival” in Rimini; and by the “Elba Isola Musicale d’Europa” Festival, where it captured the attention of the great Yuri Bashmet.
The following years have seen the group participating in prestigious musical seasons among which “Lingotto Musica” in Turin, the “Festival di Ravello”, “Musica Insieme” in Bologna and at the Bologna Festival, “Amici della Musica” in Florence, “Amici della Musica” in Perugia, the “Accademia Filarmonica Romana” in Rome, the “Serate Musicali di Milano”, the “Festival Mozart” in Rovereto. The quartet has also played a leading part in numerous live television and radio performances for the RAI (Radio Televisione Italiana).

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In these years of intense activity, the quartet has benefited from the advice and support of artists such as Carlo Maria Giulini, Natalia Gutman and Maurizio Pollini; the latter invited Klimt to perform during the award ceremony of “Una vita nella Musica” in 1999 in Venice, and in 2001 gave them the scholarship “Arturo Benedetti Michelangeli”. In April 2001 the quartet inaugurated the first edition of “I Concerti del Quirinale” in Rome; in July 2001 the Klimt Quartet was invited to the prestigious “Oleg Kagan Musikfest di Kreuth” (Germany) and the “Festival of Santander” (Spain).
In 2010 the prestigious magazine Amadeus published the two quartets for piano and strings by Robert Schumann performed by the Klimt Quartet and was later invited by the RAI to perform these pieces live for Euroradio for the bicentenary of Schumann’s birth. In 2011 it has been invited by Columbia University in New York, gaining a warm success by audience and press.
In recognition of Klimt’s unfailing, passionate commitment to the promotion and diffusion of contemporary music, various composers, such as A.Solbiati, F.Antonioni, M.D’Amico and I. Vandor have dedicated compositions to the Quartet.
Since 2008 the violinist of the group has been Duccio Ceccanti. (by livornomusicfestival.com)

And this is the debut album …. what a great debut album, recorded by this young Italian ensemble … if you like classic music (like me) … you should listen … what a unbelieveable sound !

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Personnel:
Lorenza Borrani (violin)
Matteo Fossi (piano)
Alice Gabbiani (violincello)
Edoardo Rosadini (viola)

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Tracklist:

 Johannes Brahms: Quartetto op. 25 in sole minore:
01. Allegro 13.09
02. Intermezzo 7.40
03. Andante con moto 9.11
04. Rondo alla zingarese 8.51

Robert Schumann: Quartetto op. 47 in Mib maggiore:
05. Sostenuto assai – Allegro ma non troppo 9.30
06. Scherzo – molto vivace 3.49
07. Andante cantabile 7.23
08. Finale – vivace 8.01

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Jack Bruce Band feat. Ginger Baker – Almost Cream (1992)

frontcover1Jack Bruce is one of my favorite musician … who was a real strong part of my life … and here´s a great bootleg from him …

It would be a 5 Star rating, hadn’t it been a bootleg and therefore the limited sound quality. The concert was recorded in New York at the Bottom Line on 7 December 1989. The concert is rough and comes from the heart. A great moment to share with this great artist. Are on board  Ginger Baker on a limited amount of songs, Bernie Worrell on keyboards, Blues Saraceno on guitar, and others. (by luchenzig; rateyourmusic.com)

Listen to Jack Bruce and his wonderful world of music … Did I tell you, that Jack Bruce is one of my favorite musician ? … Many fantastic colors …

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Personnel:
Ginger Baker (drums on 10. – 18.)
Jack Bruce (bass, vocals, harmonica)
Malcolm Bruce (guitar)
Gary “Bone” Cooper (percussion, background vocals)
Tom Goss (drums on 01. – 09.)
Blues Saraceno (guitar)
Bernie Worrell (keyboards)

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Tracklist:

CD 1:
01. Life On Earth (Bruce) 4.49
02. No Surrender (Bruce/Brown) 6.14
03. Make Love (Bruce/Brown) 4.41
04. Born Under A Bad Sign (Bell/Jones) 8.28
05. Blues You Can’t Lose (Dixon) 8.44
06. Theme From An Imaginary Western (Bruce/Brown   7:09
07. Blues Saraceno Guitar Solo (Saraceno) 3.03
08. Keep It Down (Bruce/Brown) 8.27
09. Grease The Wheels (Bruce/Brown) 9.10

CD 2:
10. N.S.U. (Bruce) 5.13
11. Obsession (Bruce/Brown) 5.08
12. White Room (Bruce/Brown) 6.00
13. Rollin’ & Tumblin’ (Morganfield) 5.16
14. Toad (Baker) 7.35
15. Sitting On Top Of The World     7:35
16. Politician (Bruce/Brown) 5.10
17. Sunshine Of Your Love (Bruce/Brown(Clapton) 7.44
18. Spoonful (Dixon) 13.01

 

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Jefferson Airplane – Live At The Monterey Festival 1967 (1990)

frontcover1Live at the Monterey Festival is a live album by the San Francisco rock band Jefferson Airplane, which was released in the United Kingdom and Europe by Thunderbolt Records in 1990. The album was authorized by the band and features the entire set from the group’s June 17, 1967 performance at the Monterey Pop Festival. The album marked the first time that Jefferson Airplane’s entire Monterey Pop Festival performance had been given a release by a legitimate record company. (by wikipedia)

Jefferson Airplane was unique among San Francisco psychedelic groups for actually charting a pair of hit singles (“White Rabbit” and “Somebody to Love”), but apart from those two radio staples, it was their albums and their live performances that made their reputations. Yet it wasn’t until 1969 that they issued an official live album, by which time their repertory and sound had become much heavier than the way it started out. Live at the Monterey Festival captures them earlier in their history, on June 17, 1967, dead-center in the middle of the Summer of Love that their two hit singles helped usher in. They were still a somewhat folk-based group with an interest in blues as well, riding the initial tide of their success four months after the release of Surrealistic Pillow (whose songs make up the bulk of the eight-song set that they played) and with the two hits still fresh; it was also less than a year after Grace Slick joined, when Marty Balin was still playing a prominent (if not dominant) role in shaping the group’s sound.

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The group’s sound is very lean and muscular, especially Jorma Kaukonen’s razor-sharp lead playing and Spencer Dryden’s pounding beat, over Jack Casady’s surprisingly melodic bass work — Slick and Balin’s voices meld perfectly on “High Flying Bird” and soar on the individual featured numbers. “Today” gets almost a definitive performance, and “Somebody to Love” isn’t far behind. “The Ballad of You and Me and Pooneil” as performed here is possibly the best single live track ever issued by the band. Additionally, the audio version of this set works better than elements of the film of it do — for much of “Today,” director D.A. Pennebaker ended up focusing on Grace Slick, who was only playing the keyboard, rather than Marty Balin, who was singing. (by Bruce Eder )

And I guess, Patti Smith was very impressed by, very influenced by Grace Slick !

Enjoy the early magic of Jefferson Airplane !!!

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Personnel:
Marty Balin (vocals)
Jack Casady (bass)
Spencer Dryden (drums, percussion)
Paul Kantner (guitar, vocals)
Jorma Kaukonen (guitar)
Grace Slick (vocals, piano)

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Tracklist:
01. Somebody to Love” (D.Slick/G.Slick) 3.16
02. The Other Side Of This Life (Neil) 6.53
03. White Rabbit (G,Slick) 2.41
04. High Flying Bird (Wheeler) 4.02
05. Today (Balin/Kantner) 3.07
06. She Has Funny Cars (Kaukonen/Balin) 3.20
07. Young Girl Sunday Blues (Balin) 3.26
08. The Ballad Of You & Me & Pooneil (Kantner) 11.13

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Mott The Hoople – Live At HMV Hammersmith Apollo (2009)

frontcover1“Mott the Hoople storm back to London for a dazzling night at the Hammersmith Apollo.

The stakes in heritage rock reunions are getting so high that, soon, only the exhumation of some demised old stager will up the ante. This latest one, however, was pretty far-fetched.

Mott the Hoople were titans of mid-Seventies glam. In their early career, they struggled as unreconstructed rockers, until David Bowie, no less, remodelled them in satin suits and platform boots. He donated them a fabulously dissolute glam anthem, ‘All the Young Dudes’, and thus began their tenure in the Top Five.

This, however, was a band destined to fail. They didn’t handle whirlwind fame well at all, and quickly disintegrated, only to be championed retrospectively by fans such as Morrissey, for their raunchy, wry take on the rock ‘n’ roll life.

Forty years on from their inception, and thirty years since some of the members had concertposteractually spoken to each other, Mott stormed back into London for the first of five sold-out nights at the Apollo. Their singer, Ian Hunter, agelessly shrouded in corkscrew curls and face-blotting sunglasses, led straight into a ballad, ‘Hymn For the Dudes’, his gnarly, Dylan-esque voice roaring at the high notes. This was not to be a half-hearted canter through the hits.

The first hour was mostly devoted to the band’s pre-Bowie, high-voltage rock ‘n’ roll material. Hunter, a busy solo artist for more than three decades, and the silver-topped lead guitarist, Mick Ralphs, riffed vigorously, in active defiance of Time’s subsequent intervention. The partisan crowd — at least eighty percent of whom, gloriously, unrepentantly, were old enough to remember it all from the turn of the Seventies — responded with commensurate enthusiasm.

The electricity crackled to a new intensity, however, when Hunter moved to a piano stage-left, and finally unleashed a dazzling run of glam classics — songs about little more than rock itself. Glam, originally, existed purely to overturn prog-rock’s tedious virtuosity, to revive the raw, sexy thrill of Fifties rock’s simple, thumping beats and clanging riffs.

Perhaps it was daft, witnessing a seventy-year old man with a blond afro singing, “I get my kicks from guitar licks”, but also fabulously empowering, given his heedless dedication to the cause.

The sense of lifelong commitment was heightened during the encore, when the band’s original drummer, Dale Griffin, entered the fray.

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Martin Chambers with Ian Hunter and his daughter Tracy Hunter

Griffin has Alzheimer’s, and had to be led by the hand to a drum kit alongside his substitute for the evening, the Pretenders’ Martin Chambers. Soon, he was pounding away the rhythm to ‘Roll Away the Stone’, grinning from ear to ear. ‘All the Young Dudes’, then, was simply breath-taking, with Def Leppard’s Joe Elliott joining in for a verse.

And the rockin’ went on, unrestrainable, deafening, totally life-affirming.”(by Andrew Perry; The Telegraph, 02 October, 2009)

Okay, most of th time, Mott Te Hoople sounds like a “Mott The Hoople Revival Band” … but it´s still a very important document of one of the finest bands from the Seventies.

Note: This show was recorded and transferred to CD on the night. This means you hear a CD-R rather than factory-pressed CDs.

Recorded live at the first Mott The Hoople re-union show
at HMV Hammersmith Apollo 1st October 2009.

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Personnel:
Verden Allen (keyboards)
Martin Chambers (drums)
Ian Hunter (vocals, guitar, piano, bass on 11.)
Mick Ralphs (guitar, background vocals)
Overend Watts (bass, vocals on 11.)
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Joe Elliott (vocals on 20.)
Dale Griffin (drums on 21. + 22.)
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background vocals:
Maggie Ronson – Tracy Hunter

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Tracklist:

CD 1:
01. Jupitor Intro  (Holst) 1.12
02. Hymm For The Dudes (Allen/Hunter) 5.34
03. Rock & Roll Queen (Ralphs) 4.44
04. Sweet Jane (Reed) 4.51
05. One Of The Boys (Hunter/Ralphs) 6.15
06. Sucker (Hunter/Ralphs/Watts) 5.15
07. Moon Upstairs (Hunter/Ralphs) 6.32
08. The Original Mixed Up Kid (Hunter) 4.41
09. I Wish I Was Your Mother (Hunter) 6.36
10. Ready For Love (Ralphs) 8.13
11. Born Late ’58 (Watts) 4.33
12. Ballad Of Mott The Hoople (GriffinHunter/Ralphs/Watts) 6.18

CD 2:
13. Walking With A Mountain (Hunter) / Jumpin Jack Flash (Jagger/Richards) 5.56
14. Like A Rolling Stone (Dylan) / Laugh At Me (Bono) /The Journey (Hunter) 9.02
15. Golden Age Of Rock & Roll (Hunter) 3.35
17. Honaloochie Boogie (Hunter) 3.43
18. All The Way From Memphis (Hunter) 9.46
19. Roll Away The Stone (Hunter) 4.41
20. All The Young Dudes (Bowie) 4.52
21. Keep A Knockin’  (Penniman) 3.53
22. Saturday Gigs (Hunter) 6.28

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Bernie Marsden – And About Time Too (1979)

frontcover1Bernard John “Bernie” Marsden (born 7 May 1951) is an English rock and blues guitarist. He is primarily known for his work with Whitesnake, having written or co-written with David Coverdale many of the group’s hit songs, such as “Fool For Your Loving” and “Here I Go Again.”

After playing with a Buckinghamshire band called Skinny Cat, Bernie Marsden got his first professional gig with UFO. He next played with Glenn Cornick’s Wild Turkey in 1974, before Bernie Marsden joined Babe Ruth in 1975, and played on two releases, Stealin’ Home (1975) and Kid’s Stuff (1976), before moving on to Paice Ashton Lord in 1977, with Tony Ashton and ex-Deep Purple members, Ian Paice and Jon Lord. (by sessiondays.com)

And this is his first solo-album during his Whitesnake period:

Bernie Marsden was well into a recording career when he struck out on his own for 1979’s And About Time Too, which may explain the album’s joking title. At the time, Marsden was playing guitar in Whitesnake, following years with UFO, Wild Turkey, Cozy Powell’s Hammer, and Babe Ruth, among others, so he had a significant résumé, all suggesting that he was ready for a spot of heavy rocking, but And About Time Too is much softer than his past or present, a slick and phased collection of ’70s album pop and rock featuring such impressive players as Powell, Jack Bruce, Ian Paice, and Jon Lord. Again, all this suggests a harder record than what And About Time Too actually is. Certainly, much of its appeal is down to its period stylings, particularly when he indulges himself on a piece of sprightly pop like “Love Made a Fool of Me” or “Sad Clown” — songs that could’ve crossed over from album rock to adult contemporary — and these tunes are strong enough that they make such heavy blues workouts as the grinding “Brief Encounter” and the woozy, solo-laden closer “Head the Ball” feel like detours even when they’re much closer to Marsden’s main line of work. Other remnants of the time, such as the heavy layers of analog synths from Don Airey and the long stretches of instrumental pyrotechnics, keep this somewhat at a remove from modern listeners, but it is those aforementioned poppier numbers that do make this worth a spin; they may not capture Marsden at his most representative but they may capture him at his best. (by Stephen Thomas Erlewine)

This edition includes the single B-side “You & Me,” a pretty good arena rockerand two more live recordings, including a great version of the classic “Shakey Ground”.

And itßs the jazz-rock part of this album, that is more than brilliant (listen to “Head The Ball” sounds a little bit like “Colosseum II”)

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Personnel:
Don Airey (keyboards, synthesizer on 01., 02., 03.,  04.,  05., 07., 09.)
Jack Bruce (bass on 01., 02., 04., 06, 07., 08., 09.)
Jon Lord (organ on 06., 07. , 08, clavinet on 08.)
Bernie Marsden (guitar, vocals)
Neil Murray (bass on 03., 05.)
Ian Paice (drums on 01., 07., 08.)
Simon Phillips (drums on 02., 04., 06., 09.)
Cozy Powell (drums on 03., 05.)
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background vocals:
Alan Carvell – Stuart Calver – Tony Rivers – Doreen Chanter – Irene Chanter

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Tracklist:
01. You’re The One (Marsden) 3.58
02. Song For Fran (Marsden) 2.52
03. Love Made A Fool Of Me (Marsden) 3.48
04. Here We Go Again (Marsden) 3.30
05. Still The Same (Marsden) 6.27
06. Sad Clown (Marsden) 5.13
07. Brief Encounter (Marsden) 4.25
08. Are You Ready (Marsden) 3.38
09. Head The Ball (Marsden(Airey) 5.30
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10. You And Me (Marsden) 2.53
11. Who’s Fooling Who (live) (Marsden) 4.17
12. Shakey Ground (Bowen/Boyd/Hazel) 4.20

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