Michael Gatley – Gately’s Cafe (1972)


FrontCover1.JPGIt´s hard to find some informations about Michael Gatley.

Michael Gately is unknown purely for reasons unknown. He shares the same melodic stage and songwriting prowess as Harry Nilsson and Curt Boettcher (of Millenium/Sagittarius) yet he’s basically never been mentioned anywhere as far as I’ve ever read. He’s largely replaced the latter artists as my unconscious wafting into head, bits of chorus sung aloud while aimlessly wandering song source. AKA highest melody regards. He recorded two singles, released two unbelievably good solo albums within the same year then disappeared without a trace.

It took a long time to find out more about the mysterious A.M. Gately and his recording career. It turns out that he wrote and recorded mostly under the name Michael Gately, releasing several singles (perhaps the least obscure with Robert John, a rather lovely Beach Boys inflected bit of sunshine pop called If You Don’t Want My Love) and two US albums, Gately’s Cafe (1971) and Still Round (1972), both on the Janus label.


Both LPs feature contributions from Gately’s regular collaborator Al Kooper (for whom he seems to have returned the favour, appearing as a writer, arranger and backing vocalist on Kooper’s own records) but despite his links to better-known musicians, a berth on a major label, and the fact that it’s clear he was a highly distinctive singer-songwriter, with plenty of commercial promise, it seems none of Gately’s various releases left the kinds of mark they deserved to, and Gately himself eventually died of a heart condition in 1982 at the age of 39.

Before is death in 1982 aged 39, Gately was working as the night recepcionist in Record Plant studio in Hollywood.

On this firt album he was accompanied by musician from british group Hookfoot (some of this musician are in the Elton John Band, too).


Initialy the sound is soft, melancholy, whimsical, almist aimless. Then Gatley´s intensity manifests itself, given purpose and direction by a superb Al Kooper production. Hßghlights are his own “Karo” and “Love Of My Life” and “Color All The World” oenned jointly with Robert John who also handeld background vocals. Reaction to this deut LP should bbe  immediate favorable. (Billboard, January 1972)


Ian Duck (guitar)
Herbie Flowers (bass)
Michael Gately (vocals, guitar)
Robert John (background vocals)
Al Kooper (keyboards)
Roger Pope (drums)
Caleb Quaye (guitar)
Jerry Goodman (violin)
Paul Kossoff (guitar)


01. Introduction (My Heart Sings) (Gately) 2.07
02. The Way Your Love Is Going (Gately) 3.18
03. Love Of My Life (Gately(John) 3.22
04. Karo (Gately) 2.00
05. Lonesome Song (‘Bout Someone Who’s Gone He’s Got To Carry On I Wonder Can He Make It?) (Kooper/Major) 3.05
06. The Piano Player’s (Kooper) 4.33
07. Sometimes I Get A Notion (Gotta See The Country) (Gately) 2.10
08. You’re What’s Been Missing From My Life (Gately(John) 3.00
09. Hook Another Horse (To Your Love Carriage) (Gately) 3.52
10. Over Now (Gately(John) 2.51
11. Color All The World (Gately(John) 5.13




Michael Gately
(October 28, 1942 in New Jersey – April 12, 1982 in Los Angeles, California)


Stan Kenton and His Orchestra – The World We Know (1967)

FrontCover1.jpgThe World We Know is an album by bandleader Stan Kenton recorded in 1967 by Capitol Records.

Remarkably, after over two decades as an active recording artist, Stan Kenton (piano/arranger) could still pull off efforts as interesting as World We Know (1968). Combining divergent reworkings of pop music standards with his own undeniably unique originals, Kenton applies his trademark intricate and individual harmonic phrasings. The consistent results bear out his ability to augment his highly stylized arrangements within a framework of familiarity. While there is no mistaking this platter for rock or even what would be considered as ‘pop’ circa 1968, Kenton’s adaptation of Bobby Hebb’s soulful “Sunny” is given a spry up-tempo demeanor, building from a bop-influenced piano line to a full-blown big band drill. Similarly, Neal Hefti’s “Girl Talk,” taken from the film Harlow (1965) , is also rerouted, bringing out the smouldering and scintillating melody as it perpetually yields to a brash and bouncy conclusion. Another mid-’60s soundtrack-derived side is “Man and a Woman,” from the Claude Lelouch film Un Homme et une Femme (1966), which has been turned around into an affective, if not somewhat darker piece. Kenton’s compositions present his own formidable talents with an equally broad spectrum of sonic techniques. At the heart of “Changing Times,” or the moody and romantic “Theme for Jo,” is Kenton’s uncanny marriage of memorable tunes and interpretive keyboard lines leading the larger ensemble through his voicings and contrasts in tempo. While enthusiasts of the artist’s work will undoubtedly be impressed, to modern ears the easy listening orchestration may seem heavy-handed, if not lackluster.  (by Lindsay Planer)

Stan Kenton

Jim Amlotte (trombone)
Don Bagley (bass on  01., 04-, 06., 07., 09. + 11.)
Dee Barton (drums)
Monty Budwig (bass on  02., 03., 05. 08. + 10.)
Bob Dahl (saxophone)
Jay Daversa (trumpet)
Graham Ellis (trombone, tuba)
Bill Fritz (saxophone, flute)
Stan Kenton (piano)
Jack Laubach (trumpet)
Carl Leach (trumpet)
John Mitchell (saxophone)
Clyde Raesinger (trumpet)
Ray Reed (saxophone, flute)
Alan Rowe (saxophone)
Tom Senff (trombone)
Dick Shearer (trombone)
Dalton Smith (trumpet)
Adolpho “Chino” Valdez (percussion)
Tom Whittaker (trombone)


01. Sunny (Hebb) 3.07
02. Imagine (Lai/Cahn) 3.03
03. A Man And A Woman (Lai/Cahn) 4.46
04. Theme For Jo (Kenton) 3.33
05. Interchange (Kenton) 3.03
06. Invitation (Kaper/Webster) 3.21
07. Girl Talk (Hefti/Troup) 4.36
08. The World We Know (Kaempfert/Rehbein/Sigman) 2.25
09. This Hotel (Keating/Quine) 2.35
10. Changing Times (Kenton) 3.30
11. Gloomy Sunday (Seress/Jávor/Lewis) 4.49



Available again: 3 x Paul Brett – 1x Frankie Miller – 1x Bradley´s Roadshow – Live At The Marquee

Just click on the links:

Paul Brett – Songs From The Compleat Angler (2009)

Paul Brett – Earth Birth – The First Twelve String Guitar Suite (1977)

Paul Brett – Eclipse (1979)

Various Artists – Bradley´s Roadshow – Live At The Marquee (1973)

Frankie Miller – Amsterdam (1979)

Let me know, if links are dead and I will make them available again …
Please write to:


Traffic – Far From Home Tour (Giants Stadium – East Rutherford, NJ) (1994)

FrontCover1.jpgThe album “When the Eagle Flies,” released in 1974, was yet another Top Ten album in the USA, and moderately successful in the UK. However, a subsequent tour of the USA, while successful in terms of ticket sales,[9] was emotionally exhausting for the band. Capaldi later recalled “Rosko Gee and I were the only ones in anything like normal shape. Steve was having recurrent problems with the peritonitis, and Chris’s body was suffering from chemical warfare.”[10] Winwood ultimately passed his boiling point, walking off the stage in the middle of what would prove the band’s final show, in Chicago. The following day he left the tour without a word to anyone, leaving the rest of the band waiting for him at the venue for that night’s scheduled performance.[10] Feeling Winwood had been integral to Traffic’s music, the remaining members opted not to continue the band without him.

Traffic’s break-up was followed by two compilations from United Artists (Heavy Traffic and More Heavy Traffic), both of which only drew from the first half of their output.

Steve Winwood embarked on a solo career, while Rosko Gee and Rebop Kwaku Baah joined German band Can. Kwaku Baah died in 1983, and Capaldi dedicated his solo album Fierce Heart to his memory. Chris Wood also died that year from pneumonia.
Winwood and Capaldi, 1994


All the still living members of Traffic’s most recent lineup reunited in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir’s (of the Grateful Dead) hotel in Chicago during the 1992 “Scaring the Children” tour, and suggested it would be cool if Traffic toured with the (then Grateful) Dead. Traffic opened for the Grateful Dead during their summer tour. The flute/sax role on the tour was played by Randall Bramblett, who had worked extensively with Steve Winwood. Mike McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes, Jr. played drums and percussion. Winwood and Capaldi recorded and released a new Traffic album, Far from Home, with no involvement from the other four members. It broke the top 40 in both the UK and USA. The Last Great Traffic Jam, a double live album and DVD released in 2005, documents the band’s 1994 reunion tour. (by wikipedia)

And here´s a souboard recording from theier 1994 tour … it must bei a real great tour !

Listen and enjoy !


Randall Bramblett (flute, saxophone, keyboards)
Jim Capaldi (drums, percussion, vocals)
Rosco Gee (bass)
Michael McEvoy (keyboards, guitar)
Walfredo Reyes, Jr. (percussion, drums)
Steve Winwood (vocals, guitar, keyboards)
Jerry Garcia (guitar on 11.)


01. Riding High (Winwood/Capaldi) 6.24
02. Some Kinda Woman (Winwood/Capaldi) 5.22
03. Medicated Goo (Miller/Winwood) 5.31
04. Mozambique (Winwood/Capaldi) 6.55
05. Rock And Roll Stew (Capaldi) 7.09
06. Rainmaker (Winwood/Capaldi) 7.59
07. Empty Pages (Winwood/Capaldi) 4.24
08. Low Spark Of High Heeled Boys (Winwood/Capaldi) 13.43
09. Light Up Or Leave Me Alone (Winwood/Capaldi) 13.19
10. John Barleycorn (Traditional) 7.54
11. Dear Mr. Fantasy (Winwood/Capaldi/Wood) 8.03



Los Paraguayas – A Banda (1966)

FrontCover1.JPGLos (3) Paraguayos is a music group consisting of musicians from Paraguay. Since its foundation in the 1950s, the group has featured many singers and musicians, playing guitars, bongo drums and a Paraguayan harp, including Luis Alberto del Paraná, Reynaldo Meza, Angel “Pato” Garcia and Carlos Espinoza. The group performs many South American and Mexican tunes and songs, including classics, such as Guantanamera, El Cóndor Pasa and La Bamba. Having had many changes in their line-up, the group has retained its popularity, selling many albums and appearing at many concerts throughout the world. In 2007, Los Paraguayos played a world tour, including appearances in The Netherlands and Israel.

Alberto y Los Trios Paraguayos was a trio from Paraguay formed by Luis Alberto del Paraná, with Digno García (1919-1984) and Agustín Barboza. They toured the UK in the late 1950s and early 1960s, and released a number of UK records in the 1960s. The band leader, del Paraná, died in England in 1974. (by wikipedia)

And this is another sampler, released in Germany during the sixites.

And this is another chance to listen to this beautiful trio, this time as a quartet.


Carlos Espinoza (guitar, vocals)
Angel “Pato” Garcia (harp, vocals)
Reynaldo Meza (guitar, vocals)
Luis Alberto del Paraná (guitar, vocals)


01. Cuando calienta el sol (C.Rigual/M.Rigual) 2.53
02. Vaya con Dios (May God Be With You) (Russell/James/Pepper/Dasca) 2.42
03. Amor, amor (Ruiz/Mendez) 3.14
04. Cu-cu-rru-cu-cu Paloma (Mendez) 3.45
05. María Dolores (Garcia/Morcillo) 3.57
06. A banda (de Hollanda) 2.45
07. La felicidad (Ortega) 2.53
08. La Paloma (Yradier) 3.22
09. México (Lopez/Vincy/del Parana) 3.59
10. El porom pompero (Solano/Ochaita) 2.52
11. Canción de Orfeo (Maria/Bonfa/de Arozamena) 3.01
12. La bamba (Traditional/Zuber) 2.55



Chris Barber With John Lewis & Trummy Young – Swing Is Here (1978)

FrontCover1.jpgTaken from the original liner notes:

The only surprising thing about Chris Barber – according to BBC jazz presenter Peter Clayton – would be if he failed to surprise. “Surprise” puts mildly the initial reaction of many people when Eumig’s “Swing Is Here” package was first announced. After all, The MJQ, The Louis Armstrong All-Stars and “British trad Jazz” are still, in the minds of many so-called jazz fans as musically removed from each other as any three galaxies you may care to name.

Trummy Young does not live exactly a galaxy away from Britain – but he was persuaded away from his haven in Hawaii to join the tour – his first visit to Europe since touring with Louis in 1964. That he had turned down all previous offers of work in Europe is no small compliment to Chris and the Band. John Lewis has for many years been a confessed admirer of the Chris Barber Band – even before they recorded his “Golden Striker” in 1960. The suite that he composed specially for this tour was written with the sound of the original six-piece Chris Barber Band in mind. These days, of course, the Barber Band has evolved to an eight man line-up but the additional reed and string instruments have, naturally, been written into the suite.

In the year that Chris Barber was to form his first amateur band (1949) John Lewis was forming the MJQ and Trummy Young was embarking upon his marathon stint with the Louis Armstrong All-Stars. The backgrounds of John and Trummy in music prior to that time (Swing, be-bop, blues) make their coming together with the Chris Barber Band far less of a surprise than may at first sight appear to be the case.


The biggest surprise during the tour was to learn from John Lewis that when the package played at Southport we were just down the road from a venue where he had played his first ever gig in England: it was a Saturday night hop with a local dance band during the war! The pearls such as “Yes we have no Bananas” and “The Palais Glide” that John played in that Lancashire ballroom are NOT featured on this album! (Vic Gibbons)

The catalyst of Jazz and Jazz based popular music in Europe over the last fifteen years has been Chris Barber and his band. He has discovered that wonderful and rare experience of Jazz ensemble playing which can only be achieved by long time association (I know it from my years with the MJQ), and has also developed into one of the great and unique trombone soloists in Jazz. I enjoyed and appreciated the experience of performing with his great institution the Chris Barber Band. (John Lewis)

Recorded live during the “Swing Is Here” European tour


Chris Barber (trombone, vocals)
John Crocker (saxophone, clarinet)
Pat Halcox (trumpet)
Roger Hill (guitar)
Johnny McCallum (banjo, guitar)
Vic Pitt (bass)
Sammy Rimmington (saxophone, clarinet)
Pete York (drums)
John Lewis (piano)
Trummy Young (trombone, vocals)


01.  Home Folks (Lewis)
02. Time (Lewis)
03. Mood Indigo (Bigard/Ellington)
04.  ‘Tain’t What You Do (Oliver/Young)
05. Georgia (Carmichael)
06. Some Say You’ll Be Sorry (Armstrong)
07. Muskrat Ramble (Ory)
08. When The Saints Go Marchin’ In (Traditional)
09. Outro
10. Swing Is Here (part one)
11. Swing Is Here (part one)




Alternate frontcover

Guitar Legends (Special Collector´s Edition) – The Guitar Genius Of Eric Capton (2007)

FrontCoverEric Patrick Clapton, CBE (born 30 March 1945), is an English rock and blues guitarist, singer, and songwriter. He is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist and separately as a member of the Yardbirds and Cream. Clapton has been referred to as one of the most important and influential guitarists of all time. Clapton ranked second in Rolling Stone magazine’s list of the “100 Greatest Guitarists of All Time” and fourth in Gibson’s “Top 50 Guitarists of All Time”. He was also named number five in Time magazine’s list of “The 10 Best Electric Guitar Players” in 2009.

In the mid-1960s Clapton left the Yardbirds to play with John Mayall & the Bluesbreakers. Immediately after leaving Mayall, Clapton formed the power trio Cream with drummer Ginger Baker and bassist Jack Bruce, in which Clapton played sustained blues improvisations and “arty, blues-based psychedelic pop”. Furthermore, he formed blues rock band Blind Faith with Baker, Steve Winwood, and Ric Grech. For most of the 1970s Clapton’s output bore the influence of the mellow style of J. J. Cale and the reggae of Bob Marley. His version of Marley’s “I Shot the Sheriff” helped reggae reach a mass market.[6] Two of his most popular recordings were “Layla”, recorded with Derek and the Dominos; and Robert Johnson’s “Crossroads”, recorded with Cream. Following the death of his son Conor in 1991, Clapton’s grief was expressed in the song “Tears in Heaven”, which was featured on his Unplugged album.

Clapton has been the recipient of 18 Grammy Awards, and the Brit Award for Outstanding Contribution to Music. In 2004 he was awarded a CBE at Buckingham Palace for services to music. In 1998, Clapton, a recovering alcoholic and drug addict, founded the Crossroads Centre on Antigua, a medical facility for recovering substance abusers. (by wikipedia)

And here´s a very interesting magazin about Eric Clapton, a special collector´s edition from the “Guitar Legends” magazine. Discover the world of one of the finest guitar player ever !



























Jerry Garcia & Merl Saunders – Live from The Record Plant, Sausalito (1973)

FrontCover1.jpgJerry Garcia was once asked what he liked to do when he wasn’t playing music. “Play music!” was his response. For about five years, the Grateful Dead guitarist spent many nights collaborating with organist Merl Saunders both in concert and in the studio. The five-year association of Saunders, who’d worked primarily as a jazz organist, and Garcia took root in early1970 with a weekly jam session featuring Saunders, Garcia, bassist John Kahn, and drummer Bill Vitt, at San Francisco’s Matrix.

From February 1971 to July 1975, Merl Saunders and Jerry Garcia often played live shows together when the Grateful Dead were not on tour. For many of those concerts, their band had the lineup featured on this album — Saunders on keyboards, Garcia on guitar and vocals, John Kahn on bass, and Bill Vitt on drums.

And here´s a pretty jam album from that period … here the relaxed sound of the Westcoat !

Live at The Record Plant, Sausalito, CA; July 8, 1973.
Very good KSAN FM broadcast.


Jerry Garcia (guitar, vocals)
John Kahn (bass)
Merl Saunders (organ)
Bill Vitt (drums)


01. Introduction (Tom Donahue) 0.38
02. Someday Baby (Estes) 6.34
03. My Funny Valentine (Hart/Rodgers) 1108
04. That’s Alright Mama (Crudup) 8.24
05. It’s Too Late (She´s Gone) (Willis)12.14
06. Finders Keepers (Saunders/Kahn) 6.34
07. Announcements (Tom Donahue) 1.20
08. Second That Emotion (Robinson) 11.44
09. Georgia On My Mind (Carmichael/Gorrell) 12.02
10. Positively 4th Street (Dylan) 8.38
11. How Sweet It Is( Holland/Dozier/Holland) 8.05



Juicy Lucy – Get A Whiff A This (1971)

FrontCover1Blues-rock band “Juicy Lucy” was founded in London in 1970 on the ruins of the American band “The misunderstood”, moved from California town of Riverside in the British capital in 1965.
Back in America, “The misunderstood” released on the label “Blues Sound” heels singles, starting with “You Do not Have To Go”. After the release of the single “I Can Take You To The Sun” band leader, vocalist Rick Brown raked into the army. Guitarist Tony Hill went into “Hightide”. The team was disbanded, but in 1969 the band back together. At that time, the composition was as follows: “oldies” Glenn Ross Campbell (guitar) and Guy Evans (drums), former lead singer of “Grease band” Steve Hord, guitarist Neil Hubbard (ex- “Graham Bond organisation”), bassist Nick Potter and former member of the “Bluesbreakers” John Mayall keyboardist Chris Mercer.
Revived team has released three singles, the latter, “Never Had A Girl (Like You Before)”, was released under the guise of a stupid long “The misunderstood featuring Glenn ‘Fernando’ Campbell”.
Juicy Lucy next year the team changed its name to “Juicy Lucy”. By the time Harry went to the “Van Der Graaf generator”. His place was taken by “vandergrafovets” Keith Ellis. In addition, the group has a new vocalist Ray Owen. The debut album “Juicy Lucy” took the 41 th position in the British charts, and the first single “Who Do You Love?” was also present in the charts. Owens briefly stayed in the team and soon left to organize his solo project “Ray Owen’s moon”, issued the 1971 self-titled album.

Paul Williams

The next singer “Juicy Lucy” was Paul Williams of “Blue whale”. But staff turnover has not ended, as soon piled up at the same time guitarist and drummer. For drums now sat Rod Coombs, and new guitarist Micky Moody became (ex- “Roadrunners” and “Tramline”).
After the release of their second album “Lie Back And Enjoy It” was a regular change in the composition – China Ellis took place former member of the “Fat mattress” Jim Leverton. The group slowly progressed, but still constant rearrangements hampered business. In 1971, the “Juicy Lucy” signed “Bronze Records”.

Micky Moody
Juicy LucyTogda as the team came keyboardist Gene Russell. After the release of their third album, “Get A Whiff Of This”, the band have Leverton, joined the “Hemlock”, and he was replaced by Andy Pyle (ex- “Savoy brown” and “Blodwyn pig”). Coombs also served on the side, in the “Steeler’s wheel”, replaced by Ron Berg. From the “old men” at that time were only Campbell and Mercer. In 1972 came the last album, “Pieces”. After his record Pyle decided to return to “Savoy brown”, taking with him Berg. Unable to endure the constant routine work “Juicy Lucy” ceased to exist. Williams then played in “Tempest”, Moody beat a bunch of different teams, starting with “Snafu” and ending with “Whitesnake”, Pyle “marked” Gary Moore in “Kinks” and “Wishbone Ash”.
In 1997, Moody’s re-assembled “Juicy Lucy” in Addiction with Paul Williams, Andy Pyle and drummer Henry Spinetti. As always, they played together for long, and at the end of the millennium, Ray Owen has once again revived “Lyuska.” This time he helped Glenn Campbell, Chris Mercer and Neil Hubbard. (by 60’s-70’s ROCK)

Glenn Campbell

Juicy Lucy’s third album in 18 months, and the third to draw as much attention for its artwork as its contents, would prove to be the band’s last. Although a fourth Juicy Lucy album would appear in 1972, not a single founding member was left on board. Get a Whiff of This itself was very much the son of its predecessor, still locked firmly into a country groove (the twanging “Mr. A. Jones,” the fast-pickin’ “Jessica”), but looking out toward more unexpected pastures.


The funky “Big Lil.” and the blistering antiwar anthem “Midnight Sun” were both strong inclusions, while a take on the Allmans’ “Midnight Rider” remains one of that particular anthem’s most dynamic revisions. Despite at least half an album’s worth of highlights, however, still there was nothing that really leaped out and grabbed the listener — and nothing that could ever displace the band’s debut from its sacred spot on the turntable, a fate that Glenn Campbell admitted he predicted when he conjured up that most distinctive title. It was his way of saying “the whole thing stinks.” (by Dave Thompson)

Chris Mercer.jpg

Glenn Campbell (steel-guitar)
Rod Coombes (drums)
Jim Leverton (bass)
Chris Mercer (saxophone, keyboards)
Micky Moody (guitar)
Paul Williams (vocals)


01. Mr. Skin (California) 3.46
02 Midnight Sun (Williams) 3.40
03. Midnight Rider (Allman) 3.16
04. Harvest (Darin) 4.19
05. Mr. A. Jones (Williams) 3.08
06. Sunday Morning (James/Williams) 3.52
07. Big Lil (Campbell/Coombes/Leverton/Mercer/Moody/Williams) 4.38
08. Jessica (Moody/Williams) 4.06
09. Future Days (James) 4.07



Various Artists – Surfbeat Behind The Iron Curtain (Planetary Pebbles, Vol. 3) (1999)

FrontCover1.jpgPart one of this series got a little flak because about half the tracks were recorded by bands that were not from behind the Iron Curtain. No such problem with the follow-up; all 24 cuts were done by groups from East Germany, Russia, Hungary, Romania, Czechoslovakia, and Poland between 1963-1967. Many of them are instrumental, and despite the “Surfbeat” in the album title, it’s striking how much they’re influenced not by surf music or the Ventures, but by the Shadows. Those galloping rhythms, the tremolo-laden sound with hints of country and Hawaiian music — it’s beyond a doubt that the Shadows, through radio broadcasts or clandestine means, were getting heard in Eastern Europe. Of course the recording conditions and execution were more primitive in these socialist lands, which puts on a layer of spookiness that gives it a certain charm.

Karel Duba

There are also some vocal numbers that show the more expected British Invasion influence, like the Olympics (from Czechoslovakia) singing in very clumsy English on “Story of the Girl with the Bass Guitar”; the East German Team 4, who sound like a credible American folk-rock garage band; and Romania’s Mondial, who do a song that quite resembles Paul Revere & the Raiders’ “Just Like Me.” Oddly, the T. Schumann Combo (from East Germany) do a pretty faithful and competent cover of Booker T. & the MG’s “Hip Hug-Her.” (by Richie Unterberger)

In other words: This album means fun, fun and much more fun !


01. Singing Guitars: Torpedo 1.48
02. Singing Guitars: Perfida 2.19
03. Hungarian Ensemble: Konzerta marson 2.45
04. Satelliten; Scary night 1.51
05. Karel Duba & Guitarmen: Winnetou 2.28
06. Sputniks: So much love 1.36
07. Mefistos: I Am Coming Home Baby 2.57
08. Taifuns: The West Wind 2.33
09. Olympics: Story Of The Girl With The Bass Guitar 1.56
10. Spuzniks: Spanish Gypsy Dance 1.52
11. Karel Duba & His Big Band: Steps In The Sand 2.50
12. Theo Schumann Combo: Puszta Beat 2.21
13. Cornel Fugaru & Sincron: The Jodler From Gorj 2.32
14. Studio 6: Party Time 2.44
15. Illes: Oh mondd 2.23
16. Hungarian Ensemble: Rollin Rollin 2.23
17. Team 4: Ich hab ihr ins Gesicht gesehn 3.40
18. Sincron: Play With The Maiden 2.56
19. Olympics: Mary Mary 2.18
20. Theo Schumann Combo: Hackepeter 2.48
21. Amigos: Komm gib mir deine Hand 2.21
22. George & Beathovens: Lez blaznihevo basnika 2.35
23. Mondial: Omule 3.00
24. Mondial: Orbul 3.27



Theo Schumann Combo