Steve Ashley – Stroll On (1974)

FrontCover1Steve Frank Ashley (born 9 March 1946) is an English singer-songwriter, recording artist, multi-instrumentalist, writer and graphic designer. Ashley is best known as a songwriter and first gained public recognition for his work with his debut solo album, Stroll On (Gull, 1974). Taking his inspiration from English traditional songs, Ashley has developed a songwriting style, which is contemporary in content while reflecting traditional influences in his melodies, poetry and vocal delivery.

Stroll On is the debut album by British singer-songwriter Steve Ashley. It was released in April 1974 in LP format on Gull Records and was critically acclaimed in the UK, being awarded “Contemporary Folk album of the Year” in the leading monthly folk magazine, Folk Review.[5] It has been described as “a masterful, beautifully textured and gentle epic” and “a masterpiece of its kind – a beautiful, rich and deeply atmospheric collection of very English songs, like a musical impression of Dickens, Victorian Christmas cards and Thomas Hardy’s Wessex with a running concept concerning seasonal change”.[6] According to the music collectors’ magazine Goldmine, it is “one of the key albums in the SteveAshley01entire history of English Folk Rock”.

An extended version with three additional tracks, Stroll On Revisited, was released in 1999 as a CD on Market Square Records.

In 1971 Austin John Marshall arranged a production and publishing deal for Steve Ashley with Harbrook Music which gave Ashley free access to recording time at London’s Olympic Studios to record his first album. At this time Marshall also played the early demo tapes to music critic Karl Dallas, who interviewed Ashley for Melody Maker.

Acting as producer for Harbrook Productions, Marshall hired Robert Kirby to create string arrangements for many of Ashley’s songs. He also hired a number of musicians to back Ashley, including members of Fairport Convention and Pentangle, plus a section of the London Symphony Orchestra, directed by Kirby. By the late summer of 1971 the first version of Ashley’s debut album was completed and offered to a number of major and independent labels.



By the spring of 1972 however, the album was still unplaced with a label, and then Ashley was invited by Ashley Hutchings to join the first touring ensemble of The Albion Country Band. This line-up included ex-Fairport members Hutchings, Simon Nicol and Dave Mattacks, plus American fiddler Sue Draheim and ex-Young Tradition singer, Royston Wood. Sharing the lead vocal role with Wood, Ashley performed a few of his own songs plus a number of folk songs, including a 17-verse ballad, “Lord Bateman”. The Albion Country Band was signed to Island Records but the band broke up before recording, after just nine months together.

In November 1972, Ashley signed a solo recording deal with Gull Records and, with a few track changes, his long-delayed first album was finally released in April 1974, entitled Stroll On.


The original track listing was changed prior to release when the deal with Gull was signed and “Silly Summer Games” was re-recorded, while “Love in a Funny Way” was removed along with “Spirit of Christmas” to make way for “Lord Bateman” (with the Albion Country Band).

After its UK release in April 1974 the album was also licensed for release in the Netherlands and Belgium through Dureco; in Germany, Austria, and Switzerland through the German record label Teldec; and in Australia and New Zealand through Astor Records. In 1975 the album was licensed for manufacture and distribution in the United States and Canada through Motown.

“Old Rock ‘n’ Roll”, with “Fire and Wine” on the B side, was issued in 1974 as a single in the UK and in New Zealand.


Stroll On was met with widespread critical acclaim in the UK. In The Daily Telegraph, Maurice Rosenbaum declared: “Ashley’s own songs are the product of an extraordinary gift for creating material of true folk quality” and, in Melody Maker, Karl Dallas hailed it as “the finest album since folk became contemporary”. At the end of 1974 it was awarded “Contemporary Folk album of the Year” in the leading monthly folk magazine, Folk Review.

Music journalist Colin Harper described it as “a masterful, beautifully textured and gentle epic” and “a masterpiece of its kind – a beautiful, rich and deeply atmospheric collection of very English songs, like a musical impression of Dickens, Victorian Christmas cards and Thomas Hardy’s Wessex with a running concept concerning seasonal change”.

The June 1999 issue of Mojo magazine featured the original Stroll On in its regular full-page series “Buried Treasure”.

Lee Blackstone, writing in RootsWorld, said: “Stroll On: Revisited is a classic album in every sense. The musical guests run the gamut of the English folk-rock scene, but, mind you, this isn’t a case of spoiled broth. Rather, Stroll On manages to be a well-orchestrated calendar album, with the play of seasons the overarching theme… Incredibly, the entire album has worn remarkably well and it bears the stamp of timelessness that the best British folk-rock can conjure… As a debut album, Stroll On is remarkably mature, and Ashley’s magical achievement can now be savored again.”


Keith Hadad, reviewing the album on Record Crates United, said: “[T]he range of influences on Stroll On is daringly unique. British and American folk and rock traditions have been seamlessly blended in with elements of Irish and classical music as well… Ashley’s starkly echoing vocals [on “Springsong”] sometimes harken back to Celtic choral singing while Kirby’s string arrangement is reminiscent of the Pastoral composers, like Ralph Vaughan Williams. Meanwhile the only percussion present in the song is a tabla being played in the traditional Hindustani style… [it] works beautifully here, making this an absolute highlight of the record.”

Alan Rose, for The Living Tradition magazine, said: “‘Stroll On’ was released in 1974 amid critical acclaim, which all these years later seems eminently justified. The very first track led to his alternative title of ‘The Fire and Wine Guy’, and after twenty-five years its lush harmonies, electric arrangement and sound philosophy ensure that its magic is undiminished… Ashley’s songs are packed with life-affirming, earth-touching sentiments, deceptively simple at first hearing but unfolding at each repeat to display deeper meanings with staggeringly intelligent and original use of language.” (wikipedia)


Steve Ashley (vocals, guitar, harmonica, whistle)
Richard Byers (guitar, mandolin, background vocals)
B. J. Cole (pedal steel guitar)
Claire Dawson (background vocals)
Brian Diprose (bass)
Barry Dransfield (fiddle)
Thom Friedlein (bass)
Chris Karan (tablas)
Dave Mattacks (drums)
Redd McReady (harpsichord)
Lea Nicholson (concertina)
Dave Pegg (bass, mandolin)
Daryl Runswick (bass)
Danny Thompson (bass)
Albion Country Band Mk1 1972:
(Ashley Hutchings, Royston Wood, Steve Ashley, Simon Nicol, Sue Draheim and Dave Mattacks) on 10.)


01. Fire And Wine (Ashley) 4.36
02. Finite Time (Ashley/Menday) 2.54
03. Silly Summer Games (Ashley) 4.51
04. Springsong (Ashley) 3.30
05. Monkey Puzzle Tree (Ashley) 2.58
06. Farewell Green Leaves (Ashley) 4.28
07. Morris Minor (Ashley) 1.35
08. Candlemas Carol (Ashley) 3.03
09. John Donne Song (Donne/Ashley) 5.24
10. Lord Bateman (Child 53; Roud 40) (Traditional) 8.45
11. Follow On (Ashley) 3.31



Steve Ashley is a unique performer whose voice can convey great power and great tenderness. He has performed since the 1960s, when he was popular in the folk clubs of West London, and his style might be described as folk-influenced social commentary. He is one of the great treasures of English music. (

Still alive & well: Steve Ashley and his website from 2020:

Greg Kihn Band – Live At The Paradise Club, Boston (1985)

FrontCover1Greg Kihn began his career in his hometown of Baltimore, MD, working in the singer/songwriter mold, but switched to straightforward rock & roll when he moved to San Francisco in 1974. The following year, he became one of the first artists signed to M. Kaufman’s now-legendary Beserkley Records. Along with Jonathan Richman, Earthquake, and the Rubinoos, G. Kihn helped to carve the label’s sound (a melodic pop with a strong ’60s pop sensibility) a refreshing alternative to the bloated prog rock of the time. In 1976, after his debut on the compilation Beserkley Chartbusters, he recorded his first album with his own band. Through the ’70s, he released an album each year and built a strong cult following through constant touring, becoming Beserkley’s biggest seller. In 1981, he earned his first bonafide hit with the Top 20 single, “The Breakup Song (They Don’t Write ‘Em),” from the “Rockihnroll” album. He continued in a more commercial vein through the ’80s with a series of pun-titled albums: “Kihntinued” (1982), “Kihnspiracy” (1983), “Kihntageous” (1984), and “Citizen Kihn” (1985). He scored his biggest hit with 1983’s “Jeopardy” from the “Kihnspiracy” album. One more single broke the Top 40, 1985’s “Lucky,” but by the time “Love and Rock and Roll” was released in 1986, the puns had run out and so had the hits. Kihn kept a relatively low profile throughout the ’90s, releasing “Mutiny” in 1994 and “Horror Show” in 1996. “All the Right Reasons” followed in mid-2000. (


And here´s an exciting live show (excellent broadcast recording) and we can enjoy thi brilliant Power-Pop-Rock of The Greg Kihn Band.

This album includes mny cover bersions (2 by Them) and one of the countless highlights is his version of “Land Of 1.000 Dances” … possibly the best version ever !

Enjoy this album !


Greg Douglass (guitar)
Tyler Eng (drums)
Greg Kihn (vocals, guitar )
Pat Mosca (keyboards)
Steve Wright (bass, vocals)

01. Stage and Radio Intro 0.29
02. Route 66 (Troup) 3.22
03. Go Back (Wright/Kihn) 4.42
04. Land Of 1.000 Dances (Kenner) 6.10
05. Lucky (Wright/Kihn) 4.26
06. The Boys Won’t Leave The Girls Alone (Wright/Kihn) 4.05
07. Thunder Road (Intro) (Springsteen) > Twist And Shout (Berns/Medley) 4.52
08. Can’t Stop Hurting Myself (Kihn) 4.43
09. They Rock By Night (Wright/Kihn) 4.23
10. Jeopardy (Wright/Kihn) 7.00
11. I Can Only Give You Everything ((Coulter/Scott)) > Gloria (Morrison) 4.40
12. Reunited (Phillips/Kihn/Wright) 4.07
13. The Break Up Song (Wright/Kihn) 4.08
14. Radio Announcer Encore Break 1.15
15. Lucille (Collins/Penniman) 6.08
16. Announcer Wrap Up 0.21



Barbara Thompson & Paraphernalia – Everlasting Flame (1993)

FrontCover1One of the finest saxophone player ever… Barbara Thompson:

Barbara Gracey Thompson MBE (born 27 July 1944) is an English jazz saxophonist. She studied saxophone and classical composition at the Royal College of Music, but the music of Duke Ellington and John Coltrane made her shift her interests to jazz and saxophone. She was married to drummer Jon Hiseman of Colosseum from 1967 until his death in 2018.

Around 1970, Thompson was part of Neil Ardley’s New Jazz Orchestra and appeared on albums by Colosseum. Beginning in 1975, she was involved in the foundation of three bands:

United Jazz and Rock Ensemble, a ‘band of bandleaders’ …
Barbara Thompson’s Jubiaba and:
Barbara Thompson’s Paraphernalia, her most recent band

Barbara_Thompson01he was awarded the MBE in 1996 for services to music. Due to Parkinson’s disease, which was diagnosed in 1997, she retired as an active saxophonist in 2001 with a farewell tour. After a period of working as a composer exclusively, she returned to the stage in 2003.

Thompson has worked closely with Andrew Lloyd Webber on musicals such as Cats and Starlight Express, his Requiem, and Lloyd Webber’s 1978 classical-fusion album Variations. She has written several classical compositions, music for film and television, a musical of her own and songs for the United Jazz and Rock Ensemble, Barbara Thompson’s Paraphernalia and her big band Moving Parts.

She played the incidental music in the ITV police series A Touch of Frost starring David Jason. She also played flute on Jeff Wayne’s Musical Version of The War of the Worlds.

From 1967, until he died in June 2018, Thompson was married to the Colosseum drummer Jon Hiseman. The couple’s son Marcus was born in 1972, and their daughter Anna (now known as singer/songwriter Ana Gracey) in 1975. (wikipedia)


And here´s another brilliant album … criminally underrated …

”This recording produces breathtaking impressions in the listener.” (Extra Dry, 06/94)
What an album!
Barbara Thompson herself feels this is one of her best albums and I tend to agree. Featuring her daughter’s vocals, it is a rich aural experience that draws on Egyptian rhythm and harmony. Listeners won’t regret buying this wonderful album. (Agadoo)


Anna Gracey Hiseman (vocals)
Jon Hiseman (drums)
Peter Lemer (keyboards)
Malcolm MacFarlane (guitar)
Hossam Ramzy (percussion)
Barbara Thompson (saxophone, flute)
Paul Westwood (bass)


01. Everlasting Flame (Thompson) 5.15
02. In The Eye Of A Storm (Thompson) 5.06
03. Emerald Dusky Maiden (Thompson) 4.59
04. Unity Hymn (Thompson) 3.54
05. So Near, So Far (Hiseman/Thompson) 3.20
06. Tatami (Lemer) 4.56
07. Ode To Sappho (Thompson) 9.27 (*)
08. The Night Before Culloden (MacFarlane) 5.10
09. Ancient Voices (Thompson/Westwood) 6.33
10. The Fanaid Grove (Thompson) 7.15

(?) This composition based probably on an song, written by Marika Papagika called “Ta Pedia Tis Gitonias Sou”, written in 1925





More from Barbara Thompson:

Various Artists – From Tunis – Kasbah To Kairo – Tahrir Square And Back (2011)

FrontCover1This very important sampler is subtitled “Our dreams are our weapons soundtracks of the revolutions in Tunisia and Egypt”, this is an intriguing reminder of the role music has been playing in the Arab Spring; upheavals across north Africa and the Middle East have been helped by the protesters’ use of social networking sites, with songs of struggle often intercut with news footage and posted on YouTube. The musical variety is remarkable particularly in Tunisia. There are sturdy, revolutionary pop songs and folk-rock anthems, but also furious rap from Hamada Ben-Amor, better known as El Général, whose protests landed him in jail earlier this year. There’s rousing orchestral work and oud songs, and an experimental, compelling call to arms from Alia Sellami, who creates unsettling effects by singing into bottles. In Egypt the emphasis is more on rock bands. There’s a powerful lament for a martyr from Ahmed Farahat and an emotional song of patriotism and freedom by Aida el Ayoubi, written nearly 20 years ago and now revived on the internet. (Guardian)


At first this bifurcated selection of eight liberation songs from Tunisia and six from Egypt sounds noble and no more. Although the 14 tracks vary considerably, all are on the respectable side except for one Tunisian rap, which was recorded well before the revolt got the rapper imprisoned. But soon the Tunisian sequence hits home: uplifting neotrad opener to songpoem with crowd chatter to haunting rap to marchlike hymn right through a rock anthem that swept all the way to Tahrir Square. Unfortunately, after a Nubian opener the Egyptians’ contributions don’t connect as deep. The two oud-and-percussion features by two Coptic brothers are too many, and the saved-for-last “The Challenge,” by Tunisian oud-and-zither brothers with their own album on this very label, strives a little too solemnly to, as the notes put it, “build a bridge between Orient and Occident.” A matter of taste, of course–tragic sacrifices and momentous changes merit some solemnity. But I’d love to hear just one beat from the rappers I know damn well were taking their A game to the Cairo streets. (by Robert Christgau)

This album should remind us, how many people in the world have to live unfree !


01. Zorah Lajnef: Tounis Hurra! (Free Tunisia) 3.04
02. Skander Guetari & Khaled Waghleni: Itkallem Ya Tounis (Speak, Oh My Tunisia) 5.37
03. El Général: Rais Lebled (Head Of The Country) 3.53
04. Rabii Zammouri: Nasheed Ath’thawra (Hymn To The Revolution) 2.05
05. Alia Sellami: Revelation 4.57
06. Amine & Hamza: N’seyem Tounis (Breezes From Tunisia) 7.48
07. Hany Adel & Amir Eid: Sawt El Hourreya (The Voice Of Freedom) 4:03
08. Mohamed Mounir: Ezzayy? (Why?) 3.33
09. Mohamed Rashad & Aya Farouq: Wallahi Al-Azim Ya Baladna (Oh Our Country, We Swear) 4.06
10. Joseph Tawadros & James Tawadros Helm: Ash-Shaab (People’s Dream) 4.48
11. Ahmad Farahat: Ash-Shaheed (The Martyr) 4.10
12. Joseph Tawadros & James Tawadros: Gomaa Hayran (Uncertain Friday) 5.47
13. Aida El Ayoubi: Bahebbek Ya Balady (I Love You Oh My Country) 4.08
14. Amine & Hamza: The Challenge 8.10
15. Arabian Knightz feat. Lauryn Hill: Rebel 3.43
16. Rayes Lebled: El Général (Tunisia) 3.49




I got this rare item from Mr. Sleeve … thanks again !!!

The Connells – Ring (1994)

FrontCover1The Connells are an American band from Raleigh, North Carolina. They play a guitar-oriented, melodic, jangle pop style of rock music with introspective lyrics that reflect the American South. Though mostly dormant, the band continues to play to this day. The band is best known for their song “’74–’75”, which was successful across Europe, topping the charts in Sweden and Norway and becoming a UK Top 20 hit in 1995.

Ring is the fifth studio album by the American alternative rock band The Connells, released in 1993.

The album (and band)’s biggest hit was the single “’74–’75,” which also appeared on the soundtrack of the 1995 film Heavy. In the UK, the album reached #36 on the UK Albums Chart while “’74-’75” peaked at #14 on the UK Singles Chart. In the US, the album reached #199 on the Billboard 200 with the single “Slackjawed” reaching #9 on the Hot Modern Rock Tracks chart.

“The record contains some brilliant pieces of pop songcraft (‘Carry My Picture,’ ‘Eyes on the Ground’) and some bittersweet lyrical ruminations, but slower numbers like ‘’74-’75’ are so sweet they border on cloying.” (Trouser Press)


After scoring a college radio hit with “Stone Cold Yesterday” from 1990’s One Simple Word, the Connells followed up with their strongest effort to date, the radio-ready Ring. While muddy production and underdeveloped songs occasionally plagued their earlier releases, Ring is an album aimed squarely at the mainstream, and is a clear attempt to pick up on fans of R.E.M., alt-country like Uncle Tupelo, and rootsy power pop like Marshall Crenshaw. The album’s first single, a lilting and seemingly unassuming acoustic ballad entitled “’74-’75” became an unexpected smash hit in Europe, topping the pop charts in many countries across the continent. The song was equally indebted to acoustic-based roots rock as it was to Celtic music (as witnessed in the ornate backing vocals) and was one of the band’s most successful concoctions.


Subsequent singles, such as the poppy “Slackjawed” and the nostalgic “New Boy” (which sounds like it was written as musical accompaniment to a James Thurber story) each managed to garner some alternative radio attention as well. The album tracks were equally as strong, especially the tense “Carry My Picture,” a stark portrait of a vindictive relationship. Ring established the Connells as the forerunners in the group of jangle pop bands that had previously lived largely in the shadow of R.E.M. and helped the band become a moderate commercial success. While time has not been kind to the band or this album, the Connells clearly held some influence. In 2000, Fran Healy of the British guitar pop band Travis admitted that his band’s 1999 hit “Writing to Reach You” was written while listening to “’74-’75” on the radio, and was, in effect, a bit of a rip-off. The songs sound unmistakably similar, and it’s enough proof that the Connells deserve much more credit for their contributions to guitar-based pop than they have previously been given. (by Jason Damas)

In other words: A forgotten masterpiece !


David Connell (bass)
Mike Connell (guitar, vocals on 07. + 11., background vocals)
George Huntley (guitar, mandolin, vocals on 04., background vocals)
Doug MacMillan (vocals, guitar)
Steve Potak (keyboards)
Peele Wimberley (drums, percussion)
Tim Harper (keyboards, background vocals)
Caro Giordano (cello)


01. Slackjawed (M.Connell) 4.00
02. Carry My Picture (M.Connell) 3.58
03. ’74–’75 (M.Connell) 4.39
04. Doin’ You (Huntley) 3.33
05. Find Out (MacMillan) 3.31
06. Eyes On The Ground (MacMillan) 3.03
07. Spiral (M.Connell) 3.07
08. Hey You (D.Connell/M.Connell/MacMillan) 3.23
09. New Boy (M.Connell) 4.39
10. Disappointed (M.Connell) 5.04
11. Burden (M.Connell) 4.00
12. Any Day Now (MacMillan) 2.39
13. Running Mary (M.Connell) 4.36
European bonus tracks:
14. Logan Street (M.Connell) 3.39
15. Wonder Why (M.Connell) 3.14
16. Living In The Past (Anderson) 2.43






Kenny Clarke – Same (Telefunken Blues) (1955)

OriginalFrontCover1Kenneth Clarke Spearman (January 9, 1914 – January 26, 1985), nicknamed Klook, was an American jazz drummer and bandleader. A major innovator of the bebop style of drumming, he pioneered the use of the Ride cymbal to keep time rather than the hi-hat, along with the use of the bass drum for irregular accents (“dropping bombs”).

Born in Pittsburgh, Pennsylvania, he was orphaned at the age of about five and began playing the drums when he was eight or nine on the urging of a teacher at his orphanage. Turning professional in 1931 at the age of seventeen, he moved to New York City in 1935 when he began to establish his drumming style and reputation. As the house drummer at Minton’s Playhouse in the early 1940s, he participated in the after-hours jams that led to the birth of bebop. After military service in the US and Europe between 1943 and 1946, he returned to New York, but from 1948 to 1951 he was mostly based in Paris. He stayed in New York between 1951 and 1956, performing with the Modern Jazz Quartet and playing on early Miles Davis recordings. He then moved permanently to Paris, where he performed and recorded with European and visiting American musicians and co-led the Kenny Clarke/Francy Boland Big Band between 1961 and 1972. He continued to perform and record until the month before he died of a heart attack in January 1985.

Telefunken Blues is an album led by jazz drummer Kenny Clarke recorded in late 1954 and early 1955 and first released on the Savoy label. (wikipedia)


Everyone’s in good form on these two sessions from the mid-’50s. The earlier 1954 set, though, is the more interesting. It teams Modern Jazz Quartet alumni Kenny Clarke, Milt Jackson, and Percy Heath with West Coast beboppers Frank Morgan, Walter Benton, and Gerald Wiggins. Jackson’s spirited solos and strong presence in the ensembles make clear he is enjoying a change of pace from the austere formalism of the MJQ. Altoist Frank Morgan, too, comes to play, tempering tart Parker-isms with sounds that Jackie McLean, a Morgan contemporary, was also exploring at this time. Section partner Walter Benton counters with a rich, sonorous Websterian fog, rounding out a horn section that has range, depth, ideas, and chops. Wiggins, a commanding, understated presence, is in a role that would probably have gone to Wynton Kelly or Red Garland if the casting had not been for a West Coaster. Between them, Wiggins, Morgan, and Benton further undermine the artificial and meaningless dichotomy of West Coast cool versus New York City heat.

Alternate frontcover:

The four tracks from the later 1955 date feature a familiar Savoy grouping of Count Basie band members: Frank Wess, Henry Coker, Charlie Fowlkes, and Eddie Jones, with Jackson, and Clarke. In the company of the Count’s men, Clarke and Jackson create a successful hybrid of bop and Basie-style swing. Frank Wess’ tenor and flute playing, both on form, is most at home with the Jackson and Clarke direction. Bassist Jones and Clarke are an effective study in contrasts, with Jones walks his bass unperturbedly as Clarke throws curves and change-ups to his cohorts. Telefunken Blues is recommended for the set with Morgan, Benton, and Wiggins, although the session with the Count’s men does offer several pleasures, notably, the work of the rhythm section, Wess’ flute, and Ernie Wilkins’ arrangements. (by Jim Todd)

Recorded November 1, 1954 in Hollywood, CA (tracks 01-04) & February 7, 1955 at Van Gelder Studio, Hackensack, NJ (tracks 05-08)


Walter Benton (saxophone on 01. – 04.)
Kenny Clarke (drums)
Henry Coker (trombone on 05. – 08.)
Charlie Fowlkes (saxophone on 05. – 08.)
Percy Heath (bass on 01. – 04.)
Milt Jackson (vibraphone on 01. – 04., piano on 05 – 08.)
Eddie Jones (bass on 05. – 08.)
Frank Morgan (saxophone on 01. – 04.)
Frank Wess (saxophone, flute on 05. – 08.)
Gerald Wiggins (piano on 01. – 04.)

01. Strollin’ (Clarke) 4.24
02. Sonor (Wiggins/Clarke) 4.51
03. Blue’s Mood (Clarke) 4.19
04. Skoot (Beal/Garner) 3.49
05. Telefunken Blues (Wilkins) 5.51
06. Klook’s Nook (Wilkins) 5.11
07. Baggin’ The Blues (Wilkins) 5.41
08. Inhibitions (Wilkins) 3.53




Kenny Clarke (January 9, 1914 – January 26, 1985)

Crispian St. Peters – You Were On My Mind + What I´m Gonna Be (1966)

FrontCover1Crispian St. Peters (born Robin Peter Smith, 5 April 1939 – 8 June 2010) was an English pop singer-songwriter, best known for his work in the 1960s, particularly hit songs written by duo The Changin’ Times, including “The Pied Piper” and Ian & Sylvia’s “You Were on My Mind”.

Robin Peter Smith was born in Swanley, Kent, and attended Swanley Secondary Modern School. He learned the guitar and left school in 1954 to become an assistant cinema projectionist. As a young man, he performed in several relatively unknown bands in England. In 1956, he gave his first live performance, as a member of The Hard Travellers. Through the late 1950s and early 1960s, as well as undertaking National Service, he was a member of The Country Gentlemen, Beat Formula Three, and Peter & The Wolves.

While a member of Beat Formula Three in 1963, he was heard by David Nicholson, an EMI publicist who became his manager. Nicholson suggested he use a stage name, initially “Crispin Blacke” and subsequently Crispian St. Peters, then promoted his client as being nineteen years of age, shaving off five years from his actual age of 24. In 1964, as a member of Peter & The Wolves, St. Peters made his first commercial recording. He was persuaded to turn solo by Nicholson and was signed to Decca Records in 1965. His first two singles on this record label, “No No No” and “At This Moment”, proved unsuccessful on the charts. He made two television UK appearances in February of that year, featuring in the shows Scene at 6.30 and Ready Steady Go!

SheetMusicIn 1966, St. Peters’ career finally yielded a Top 10 hit in the UK Singles Chart, with “You Were on My Mind,”a song written and first recorded in 1964 by the Canadian folk duo, Ian & Sylvia, and a hit in the United States for We Five in 1965. St. Peters’ single eventually hit No. 2 in the UK and was then released in the US on the Philadelphia-based Jamie Records label. It did not chart in the US until after his fourth release, “The Pied Piper,” became known as his signature song and a Top 10 hit in the United States and the UK.

Although his next single, a version of Phil Ochs’ song “Changes,” also reached the charts in both the UK and US, it was much less successful. In 1967, St. Peters released his first LP, Follow Me…, which included several of his own songs, as well as the single “Free Spirit”. One of them, “I’ll Give You Love,” was recorded by Marty Kristian in a version produced by St. Peters, and became a big hit in Australia. St. Peters’ album was followed by his first EP, Almost Persuaded, yet by 1970, he was dropped by Decca. “You Were on My Mind” was featured in the 1996 German film Jenseits Der Stille (Beyond Silence).

Later in 1970, he was signed to Square Records. Under this new record deal, St. Peters released a second LP, Simply, that year, predominantly of country and western songs. Later still they released his first cassette, The Gospel Tape, in 1986, and a second cassette, New Tracks on Old Lines in 1990. His third cassette, Night Sessions, Vol. 1 was released in 1993.


Several CDs also came from this record deal, including Follow Me in 1991, The Anthology in 1996, Night Sessions, Vol. 1 in 1998, The Gospel Tape in 1999, and, finally, Songs From The Attic in 2000. He also performed on various Sixties nostalgia tours, and continued to write and arrange for others until his later ill health.

From 1969 to 1974, St. Peters was married to Collette. The marriage produced a daughter, Samantha, and a son, Lee.

On 1 January 1995, at the age of 55, he suffered a stroke. His music career was severely weakened by this, and in 2001 he announced his retirement from the music industry. He was hospitalised several times with pneumonia after 2003.

St. Peters died on 8 June 2010, after a long illness, at the age of 71. (wikipedia)


And here´s is very sucessful single … a soft Folk-Pop version of the classic song written by Sylvia Fricker.


Crispian St. Peters (vocals)
a bunch of unknow studio musicians


01. You Were On My Mind (Fricker) 2.42
02. What I´m Gonna Be (St. Peters) 2.23



Crispian St. Peters (5 April 1939 – 8 June 2010)

The Only Ones – Live At The Paradiso (1979)

FrontCover1The Only Ones were an English rock band formed in London in 1976, whose original band members are Peter Perrett, Alan Mair, John Perry and Mike Kellie, they first disbanded in 1982. They were associated with punk rock, yet straddled the musical territory in between punk, power pop and hard rock, with noticeable influences from psychedelia.

The Only Ones reformed in 2007 after their biggest hit “Another Girl, Another Planet” experienced a resurgence of public interest. The band completed a comeback UK tour in June 2007, and continued touring throughout 2008 and 2009. New material was recorded in 2009 and played live, but was never released.

The Only Ones were originally formed in August 1976 in South London by Peter Perrett. Perrett had been recording demos since 1972, and in late 1975 he was looking for a bass player. He was introduced to John Perry as a possible candidate, but Perry wanted to concentrate on playing guitar instead. By August 1976, Perry and Perrett had found drummer Mike Kellie (ex-Spooky Tooth) and bass guitarist Alan Mair, who previously had huge success with the Scottish band The Beatstalkers. Their first single, “Lovers of Today”, self-released on the Vengeance record label, was immediately made “record of the week” by three of the four main music papers. A year later they signed to CBS. Their next single “Another Girl, Another Planet” became a popular and influential song, and remains the band’s best-known song. It is often featured on various musical box-sets featuring a punk rock or new wave theme. After its inclusion on the 1991 compilation album The Sound of the Suburbs, it was re-released as a single and reached no. 57 in the UK singles chart.


The band released their debut studio album The Only Ones in 1978, which was well received by both reviewers and fans.[3] The band’s follow-up album, Even Serpents Shine, was released the following year. A year later, they released their final studio album, Baby’s Got a Gun. In the summer of 1980, they supported the Who on their tour of the United States, and in 1982 the band officially disbanded. In subsequent years, the Only Ones retained a following and their posthumously released records – live performances, BBC Television and radio shows, and compilation albums – now outnumber their studio albums. Unusually, The Only Ones’ discs were never deleted from the CBS catalogue and remain in-print.


In an interview published in the 10 November 2006 issue of the tabloid newspaper, The Daily Record, Alan Mair commented that he was set to reform The Only Ones after “Another Girl, Another Planet” was used in a Vodafone ad campaign in 2006, and picked up as the introduction theme to Irish DJ Dave Fanning’s radio show.[4] On 21 February 2007, Perry confirmed via his MySpace page that the band would reform for a five-date UK tour in June. Besides these dates, they played a number of festivals, debuting at All Tomorrow’s Parties festival in Minehead, England, on 27 April. During the summer, they also played at the two-part Wireless Festival in Hyde Park, London, Harewood House, (near Leeds), and the Connect Music Festival at Inveraray Castle in Scotland on 1 September.

News of the tour prompted coverage in several UK national newspapers and the dates were met with positive reviews. During these gigs, the band played a new song called “Dreamt She Could Fly”.


The press also reported that three of the band were keen to record a new studio album following the tour, but that Perrett seemed hesitant. In April 2008, the band were seen on Later… with Jools Holland performing their song, “Another Girl, Another Planet”, and a new song entitled “Black Operations”. The band also played other new songs including “Is This How Much You Care” and “Magic Tablet” live on a Canal+ TV special in Paris and an acoustic/unplugged session for Radio 6 Queens of Noize. A live DVD of the Shepherds Bush Empire show was released in March 2008. Other rumoured releases included DVDs from a show on the band’s last US tour, and a re-release of Faster Than Lightning, which was released on VHS in 1991 and on DVD in 2012.

All three CBS studio albums, remastered by Alan Mair, were re-released with bonus tracks in February 2009. “Another Girl, Another Planet” was used in the film D.E.B.S. (2004), as well as in the 2010 hit film Paul. Sony BMG announced a January 2012 release date for an Only Ones box set in the “Original Album Classics” series. The set comprised the three remastered studio albums, plus various B-sides and out-takes. The Only Ones topped the bill at the 2012 Rebellion Festival in Blackpool on 4 August of that year.

TheOnlyOnes02In late 2014 the Only Ones (minus Mike Kellie) played some gigs in Tokyo, co-headlining with the Flamin’ Groovies. In August 2014 Perrett began playing solo shows (Felipop festival, Spain) using his sons’ band Strangefruit, followed by more dates in 2015 (Hebden Bridge, Bristol, London etc.) with the same formation. The band ceased activity after the death of drummer Mike Kellie, but Perrett, Mair and Perry reunited to play a three-song set in summer 2019.

The band members’ musical proficiency distinguished them from most of their peers. Their dominant drug-related lyrical themes on songs such as “Another Girl, Another Planet,” and “The Big Sleep,” also fit in with the Zeitgeist of the era on both sides of the Atlantic. Perrett and Kellie caught the eye of Johnny Thunders, founding member of the New York Dolls and the Heartbreakers, and worked as sidemen on Thunders’ solo debut album, So Alone, notably appearing together on the classic “You Can’t Put Your Arms Around a Memory”. However, drug addiction, particularly heroin use,[11] derailed their career, and singer/guitarist/songwriter Perrett has only sporadically been heard from since the band split in 1982. He briefly resurfaced in the mid 1990s with the album, Woke Up Sticky, and released his debut solo album, How The West Was Won in 2017.

Lead guitarist Perry went on to play as a session guitarist for artists including The Sisters of Mercy, Evan Dando and Marianne Faithfull. More recently, he has written several well received music biographies on the Who’s seminal hits compilation Meaty Beaty Big and Bouncy, the Rolling Stones’ double album Exile on Main Street and in 2004, Jimi Hendrix’s Electric Ladyland. During 2005–2006, he played and recorded with singer-songwriter Freddie Stevenson.

The Only Ones have been influential on the indie rock and alternative rock scenes ever since their initial success, on bands such as The Replacements, Blur, Nirvana, and more recently The Libertines. Several bands have covered their song “Another Girl, Another Planet”, including The Libertines (at London Forum with Perrett guesting),[13] The Replacements and Blink 182. Their song “The Whole of the Law” was covered by Yo La Tengo on their album, Painful. (wikipedia)


And here´s is an excellent bootleg:

This show was recorded at the Paradiso, the famous Amsterdam concert hall, and captured on the 3rd of November 1979, some months before their last LP Baby’s Got A Gun was released. It was apparently broadcasted by a Dutch radio but I don’t know which one. If the playing is far from being perfect and often Peter Perrett seems a little elsewhere (not too much vocally, but his guitar is quite erratic , there are some stunning versions of “Big Sleep” or “The Beast” where one can understand why for some of us the Only Ones will remain among the greatest and most exciting and moving band of our lives. (

Recorded live at The Paradiso, Amsterdam, Holland  November 3, 1979
(excellent broadcast recording)


Mike Kellie (drums)
Alan Mair (bass)
John Perry (guitar)
Peter Perrett (vocals, guitar)

Alternate frontcover:

01. As My Wife Says 3.27
02. In Betweens 4.43
03. Programme 2.17
04. Oh Lucinda Love Becomes A Habitb 3.31
05. Big Sleep 5.27
06. Language Problem 3.02
07. Miles From Nowhere 4.10
08. The Beast 6.09
09. Another Girl, Another Planet 3.11
10. Peter And The Pets 3.17
11. City Of Fun 3.43
12. Trouble In The World 3.20
13. Me And My Shadow 4.39
14. The Immortal Story 3.05

All songs written by Peter Perrett



Michael Alexander Kellie (24 March 1947 – 18 January 2017):

…from the iconic introduction of “Waiting For The Wind” by Spooky Tooth to the manic psychedelic rhythm pictures of “Another Girl, Another Planet” by The Only Ones, Mike Kellie’s career has spanned over 3 decades & his picturesque drumming accompanied some of contemporary music’s most successful artists…..

Paradiso World Aids Night, Amsterdam

The Paradiso is a Dutch music venue and cultural centre located in Amsterdam.

It is housed in a converted former church building that dates from the nineteenth century and that was used until 1965 as the meeting hall for a liberal Dutch religious group known as the “Vrije Gemeente” (Free Congregation). It is located on de Weteringschans, near the Leidseplein, one of the nightlife and tourism centers of the city. The main concert hall in the former church interior has high ceilings and two balcony rings overlooking the stage area, with three large illuminated church windows above the stage. The acoustics are rather echoey, but improvements have been made over the years. In addition to the main concert hall, there are two smaller cafe stages, on an upper floor and in the basement.

Paradiso was squatted by hippies in 1967 who wanted to convert the church to an entertainment and leisure club. The police ended the festivities the same year. In 1968, the city opened Paradiso as a publicly subsidized youth entertainment center. Along with the nearby Melkweg (Milky Way), it soon became synonymous with the hippie counterculture and the rock music of that era. It was one of the first locations in which the use and sale of soft drugs was tolerated. From the mid-1970s, Paradiso became increasingly associated with punk and new wave music, although it continued to program a wide variety of artists. Starting in the late 1980s, raves and themed dance parties became frequent.

The Paradiso Amsterdam02

In 1994, Paradiso, along with the Institute for Sonology and The ArtScience Interfaculty (Amsterdam), initiated Sonic Acts together. In recent years, the venue has settled into an eclectic range of programming, which, besides rock, can include lectures, plays, classical music, and crossover artists. Long associated with clouds of tobacco and hashish smoke, Paradiso banned smoking in its public areas (except for a small smoking room) in 2008 in accordance with a nationwide ban on smoking in public venues. (wikipedia)

The Underdogs Blues Band – Same (1968)

FrontCover1Formed in New Zealand in the late 60s, this blues rock band started out in a similar vein to that which Cream and the Doors mined so successfully. The band grew out of a mid-60s meeting in Auckland of like-minded musicians, including guitarist and vocalist Archie Bowie, guitarists Tony Rawnsley and Harvey Mann, bass player Neil Edwards and drummer Barry Winfield. Known casually as the Magee Street Underdogs, the group underwent personnel changes over the next couple of years during which time they made some singles for Zodiac Records and appeared fleetingly on television’s C’mon. By 1967 the personnel had become vocalist Murray Grindley, guitarists Mann and Lou Rawnsley (brother of Tony), bass player Edwards and drummer Tony Walton. Mann’s departure (he did not like the orthodoxy required by television producers) led to an adjustment of the remaining band members. They made some more recordings, including the popular Sitting In The Rain EP and the Blues Band album, and also toured in a road show version of C’mon.

Now based in Wellington, and with more personnel changes, Edwards was replaced by Dave Orams who was in turn succeeded by George Barris, the band lasted only a few more months. This was 1968 and when the band re-formed later that year it had Grindley, Mann, Lou Rawnsley, and drummer Doug Thomas. The following year, by which time Chaz Burke-Kennedy had replaced Rawnsley, this line-up, too, folded. Through the 70s various combinations of former members and newcomers regrouped, sometimes using the name Underdogs, sometimes not. Most members played with other groups and some also formed and briefly led their own bands. Grindley in particular did well with some solo hits in the early 70s and also 1982’s ‘Shoop Shoop Diddy Wop Cumma Cumma Wang Dang’, as Monte Video, which was placed number 2 in New Zealand and number 11 in Australia. Some of the Underdogs’ early material was released on vinyl under different titles on obscure labels, but most of their recordings were reissued on CD in 2000. (by

The Underdogs Blues Band01

Here´s their debut album from 1968.

Lovers of John Mayall and his Bluesbreakers (note the Eric Clapton tribute paid on the sleeve of this album) will love this album. The Underdogs formed in 1964 and shared the scene with other greats from the country like The La de Da’s, The Action (NZ band, not to be confused with the UK mod godfathers) and The Pleazers. They spread the rhythm and blues word from their native Auckland through several 45s on the Zodiac label and went through a series of line-up changes prior to the release of their fabulous first long player.

The Underdogs Blues Band05

The Underdogs Blues Band LP shows the group’s appreciation for Mayall’s combo – just like The Bluesbreakers’ Crusade LP the Underdogs open their album with a cover of Albert King’s ‘Oh, Pretty Woman,’ one of three ‘Bluesbreakers’ songs covered on the LP. On this first long player the band storm into a world of guitar led rave-ups a la Yardbirds, organ blues grinders and even give a sight to what’s to come next with some incipient heavier sounds a la Cream. (Press release)

Indeed … one od finerst John Mayall cover bands in this time …anf these guys knows how to celebrate this very special British Blues style … listen to the guitar solo on “It´s Hurts Me Too” for example.

A great addition for collectors of the British Blues in the Sixites.


Neil Edwards (bass)
Murray Grindlay (vocals, harmonica)
Lou Rawnsley (guitar)
Tony Walton (drums)
unknown organ player

The Underdogs Blues Band04

01. Oh, Pretty Woman (Williams/King) 3.27
02. Snowy Wood (Mayall/Taylor) 3.07
03. Main Line Driver (Grindlay/Rawnsley) 2.18
04. Mary Anne (Grindlay/Rawnsley) 2.00
05. Pauline (Grindlay/Rawnsley) 3.08
06. Pretty Girls (Church/Williams) 2.35
07. Yonder Wall (Traditional) 3.46
08. All Your Love (Rush/Dixon) 3.40
09. Hey Gyp (Leitch) 2.52
10. It Hurts Me Too (London) 3.15
11. Rubber Duck (Green/Dunbar) 2.24



The Underdogs Blues Band03