Yardbirds – Five Live Yardbirds (1964)

FrontCover1.jpgFive Live Yardbirds is the live debut album by English rock band the Yardbirds. It features the group’s interpretations of ten American blues and rhythm and blues songs, including their most popular live number, Howlin’ Wolf’s “Smokestack Lightning”. The album contains some of the earliest recordings with guitarist Eric Clapton.

Recorded at the Marquee Club in London on 20 March 1964, it was released in the United Kingdom by Columbia Records nine months later. Despite several favourable retrospective reviews, the album did not reach the UK album charts. It was not issued in the United States; however, four songs were included on the Yardbirds’ second American album, Having a Rave Up.

In October 1963, the Yardbirds took over the Rolling Stones’ position at the Crawdaddy Club and had signed a management contract with club owner Giorgio Gomelsky. After touring with Sonny Boy Williamson II, the band signed a contract with Columbia Records. In 1964, they recorded two singles, “I Wish You Would” and “Good Morning Little Schoolgirl”. These had limited success and Gomelsky was able to persuade Columbia to release a live album as the Yardbirds’ debut album.

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The Yardbirds were a popular live attraction at music clubs. Much of their reputation was built on their use of a “rave up” musical arrangement, an instrumental interlude that builds to a climax. Clapton credits the rave up to bassist Paul Samwell-Smith and explains: “While most other bands were playing three-minute songs, we were taking three-minute numbers and stretching them out to five or six minutes, during which time the audience would go crazy”. In was at such performances that Clapton often broke a guitar string. While he was putting on a new one, the audience would slowly clap their hands (slow handclapping). This led manager Gomelsky to nickname him “Eric ‘Slowhand’ Clapton”.

Five Live Yardbirds was recorded at the Marquee Club in London. Yardbirds’ biographer Gregg Russo describes the conditions and equipment for recording at the club was less than ideal, they were able to capitalise on their greater popularity there than at the Crawdaddy.

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He adds: The recording date for the album has been previously listed as Tuesday, March 10, 1964, but Gomelsky distinctly remembers the show taking place at Wardour Street. On March 10, the club was still at Oxford Street, and combined with the fact that the Yardbirds played on Fridays at the Wardour Street location, the March 20, 1964 recording date seems much more likely.

All of the songs that appear on Five Live Yardbirds were written by American blues and rhythm and blues artists and several of the original recordings appeared on the American record charts. The band’s early material reflects the repertoires of the early British rhythm and blues groups, such as the Rolling Stones and the Animals.[6] Clapton biographer David Bowling described the album as “a lot of straight electric blues, but at times they come close to a rock sound.” Their version of Chuck Berry’s “Too Much Monkey Business”, which is the album opener, is the most rock-oriented song on the album.

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18th May 1964: British rock group the Yardbirds, (left to right) lead guitarist Eric Clapton, bassist Paul Samwell-Smith, singer Keith Relf, drummer Jim McCarty, and rhythm guitarist Christopher Dreja performing on a backyard patio for British playwright Lord Willis and his daughter Sally. (Photo by Daily Express)

Several songs feature extended instrumental improvisation. Bo Diddley’s “Here ‘Tis” and the Isley Brothers’ “Respectable” are high-energy tunes, which represent the use of double-time feature of the rave up for the entire songs. AllMusic critic Matthew Greenwald describes “Here ‘Tis” as “driven by a furious “Bo Diddley” beat and rhythm … Clapton’s interplay with bassist Paul Samwell-Smith is one of the great moments in the band’s recorded history” The instrumental spotlight was also shared with singer and blues harmonica player Keith Relf. Clapton and Relf trading riffs is one of the highlights of “Smokestack Lightning”. The Howlin’ Wolf song was the Yardbirds’ most popular live number and a regular in their sets. Performances of the song could last up to 30 minutes.[10] Howlin’ Wolf reportedly referred to the group’s 5:35 album version as “the definitive version of his song”.

The slow blues standard, “Five Long Years”, features extended guitar soloing by Clapton in a style he further developed with John Mayall & the Bluesbreakers. Clapton and Samwell-Smith share the lead vocals on “Good Morning Little Schoolgirl”, which is based on the version by the American R&B duo Don and Bob. Bo Diddley’s “I’m a Man” (which became a hit when the Yardbirds later recorded it with Jeff Beck) and songs by Slim Harpo and John Lee Hooker round out the album.

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Five Live Yardbirds was released before critical rock music journalism became popular. However, Clapton biographer Christopher Sandford notes “When Five Live Yardbirds was released that winter, to generally favourable reviews (‘Raucous interplay … great guitar …feral energy of the ensemble’) it, too, failed to materially benefit the group.” The album did not appear in the British record charts and subsequently was not issued in the US.

Later, several critics have also given the album favourable reviews. AllMusic’s Eder gave the album four and a half out of five stars and describes it as “Five Live Yardbirds was the first important—indeed, essential—live album to come out of the 1960s British rock & roll boom. In terms of the performance captured and the recording quality, it was also the best such live record of the entire middle of the decade”. In a separate review for AllMusic, Rick Clark noted “Smokestack Lightning” [and other songs] were open-ended improvisations that helped lay the groundwork for groups like Cream and the Jimi Hendrix Experience.” Bowling calls the material “raw and powerful” and Russo adds it is “a completely faithful reproduction” of the group’s early shows. “Ultimate Classic Rock” ranked the album in the “Top 100 Live Albums, and called it an “explosive document of a British blues band fueling a decidedly American music with power, fireworks and amped-up resourcefulness. (by wikipedia)

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Personnel:
Eric “Slowhand” Clapton (lead guitar, co-lead vocals on 03.)
Chris Dreja (guitar)
Jim McCarty (drums)
Keith Relf (vocals, harmonica, maracas)
Paul “Sam” Samwell-Smith (bass, vocals on 03.)

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Tracklist:
01. Too Much Monkey Business (Berry) 3.49
02. I Got Love If You Want It (Moore a.k.a. Slim Harpo) 2.37
03. Smokestack Lightnin’ (Burnett) 5.35
04. Good Morning Little Schoolgirl (Demarais) 2.41
05. Respectable (K.Isley/R.Isley(R.Isley) 5.30
06. Five Long Years (Boyd) 5.16
07. Pretty Girl (McDaniel) 3.02
08. Louise (Hooker) 3.41
09. I’m A Man (McDaniel) 4.30
10. Here ‘Tis (McDaniel) 5.09
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11. You Can’t Judge A Book By Looking At The Cover (Dixon) 2.56
12. Let It Rock (Berry) 2.17
13. I Wish I Would (Arnold) 5.54
14. Who Do You Love (McDaniel) 5.07
15. Honey In Your Hips (Relf) 2.28
16. A Certain Girl (Neville) 2.17
17. Got To Hurry (Rasputin2.48
18. I Ain´t Got You (Carter) 1.59
19. Good Morning Little Schoolgirl (Single) (Demarais)

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The Rolling Stones – Chicago Chess Sessions (1998)

FrontCover1In the beginning, the Stones wanted nothing more than to be a blues band. And for a long time, they were — albeit one that realized it could never, ever be as good as the musicians who schooled them from overseas. Dixon once told the Tribune that he remembered playing Piccadilly Square in London during the early ’60s. The callow Jagger, Richards and Jones were in the audience. “(These kids would) tell us, ‘Look, man, we got a little group and we want to do some of your songs,'” Dixon said. “We put a lot of songs on tape for them … and then some years later, somebody played me a record of (Dixon’s classic) ‘Little Red Rooster’ and told me some fellows called the Rolling Stones had done that song out of England. … (But) back then they were just little kids, no hair on their faces or anything, so how would I remember them?”

The Stones early albums were stuffed with cover versions of American blues and soul music, and as soon as the quintet became popular enough to tour America in the late spring of 1964, they beelined to Chess studios in Chicago for a two-day recording session. There they were greeted by the mighty Waters himself, who, according to the oft-repeated story, was slapping a coat of paint on the studio walls. Waters had no idea who these long-haired kids were, but helped them unload their gear anyway. While there, the Stones recorded the master’s “I Can’t Be Satisfied,” which appeared on their second album, “Rolling Stones No. 2,” while Dixon’s “Little Red Rooster” wound up on its U.K. companion, “Rolling Stones Now!”

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The Stones early recordings — newly reissued on the boxed set “The Rolling Stones in Mono” (ABKCO) — affirm how much the Stones borrowed from the Chicago blues: the songs, the mix of jazzy swing and backstreet menace, even the recording engineer, Ron Malo. All told the Stones recorded more than two dozen songs in three visits to Chess studios in 1964-65, which they sprinkled across several albums. (chicagotribune.com)

And here´s  very fine bootleg from this period … excellent soundoard recording … the early days of the British Blues … what a great period, what an unforgetable period !

Listen and enjoy !

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Personnel:
Mick Jagger (vocals, harmonica)
Brian Jones (guitar)
Keith Richards (guitar)
Charlie Watts (drums)
Bill Wyman (bass)
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Ian Stewart (piano)

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Tracklist:
01. 2120 South Michigan Avenue (long version) (Nanker/Phelge) 3.57
02. Confessin’ The Blues (stereo version) (McShann/Brown) 3.16
03. High Heel Sneakers (Higginbotham ) 3.16
04. Reelin’ And Rockin’ (Berry) 3.57
05. It’s All Over Now (B.Womack/S.Womack) 3.49
06. If You Need Me (Domino/Bartholomew) 2.30
07. Empty Heart (Nanker/Phelge) 2.59
08. Around And Around (Berry) 3.24
09. Good Times, Bad Times (Jagger/Richards) 2.59
10. Down The Road Apiece (stereo version) (Raye) 3.20
11. I Can’t Be Satisfied (stereo version) (Morganfield) 3.57
12. Look What You’ve Done (stereo version) (Morganfield) 2.51
13. Stewed And Keefed (Brian´s Blues) (Nanker/Phelge) 4.34
14. Tell Me Baby (How Many Times) (Broonzy) 2.18
15. Down In The Bottom (Dixon) 3.07
16. Confessin’ The Blues (McShann/Brown) 3.07
17. I Can’t Be Satisfied (Morganfield) 3.49
18. Look What You’ve Done (Morganfield) 2.51
19.  2120 South Michigan Avenue (stereo version) (Nanker/Phelge) 2.30
20.  It’s All Over Now (stereo version) (B.Womack/S.Womack) 3.53

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Guido Toffoletti´s Blues Society – Ways Back (1987)

FrontCover1Unfortunatly I can´t speak or read the Italian language, and because I found only information about in Italian Website … I can´t give you many informations about Guido Toffoletti.
He was born in 1951 Venice and 15 years later he “run away from his Venice home in search of a tumultuous myth: The music world.

In Milan, he got to know Kim Brown from England and his group “The Renegades”. managed to get taken on as their Roadie ans was thus able to pass hours and hours admiring guitarist Mick Webley´s playing.

After various musically formative experiences, determined to make his career take a decisive turn, in 1975 he went to London where he worked as a dishwasher to make Ends meet and played in his free time.

In London het met his spiritual “father”, Alexis Korner, and thanks to him managed to find his feet in what was at the time Europe´s top blues circuit.

Toffoletti came back toItaly in 1976 with the precise aim of forming the “Blues Society”, an “open” Group of some of Italy´s top blues-men.

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As well as bearing testimony to a period from 1979 to the present day with unreleased songs, covers and alternative tracks, “Ways Back” ideally gathers round Guido all his English and Italian friends; those who helped him, loved him and in some cases let him down.” (taken from the liner notes by Guiseppe Barbieri)

And you´ll hear finest Britsh blues, recorded with musicians like Paul Jones, Dick Heckstall-Smith, Zoot Money, Mel Collins, Ian Stewart and Mick Taylor.

A forgotten jewel of the British blues music, recorded by a great guy from Italy !

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SideTwo

I was too lazy, to type all these informations down …

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Italian bluesman Guido Toffoletti
Born 1951 – † 22 August 1999 (Car accident injuries)

 

 

The Blues Band – Official Bootleg Album (1980)

OriginalFrontCover1England’s the Blues Band is led by ex-Manfred Mann vocalist Paul Jones and guitarist/vocalist Dave Kelly, who, before forming the group in 1979, had been a member of the John Dummer Blues Band and issued several solo recordings on his own (Kelly had also received praise for his playing by such blues legends as Howlin’ Wolf and John Lee Hooker). After hooking up with friend/bassist Gary Fletcher, the seeds for the Blues Band were sown, resulting in countless albums (by Greg Prato)

The Blues Band is a virtual who’s who of the British blues scene. An ’80s supergroup of sorts, the band consists of Paul Jones, solo artist and former member of Manfred Mann (lead vocals and harmonica ); Dave Kelly, solo artist and former member of the John Dummer Blues band (lead vocals and slide guitar); Tom McGuinness, former member of Manfred Mann and McGuinness Flint (lead guitar and back-up vocals); Hughie Flint, also former McGuinness Flint (drums); and Gary Fletcher, formerly of Sam Apple Pie (bass and backup vocals).

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Taken from the inlets of this album

Although formed in 1979, the band released its debut album, The Bootleg Album, in 1980 as supposedly a one-time live project. The album was originally a private pressing, recorded live and released by the band themselves, but it sold so well it was re-released intact by Arista after signing the band to a contract. The Blues Band became so popular that they got together as a permanent unit.

A must for any fan of British blues music. (by by Keith Pettipas)

The Blues Band in their own words:

BluesBand01The individual members of The Blues Band were already held in admiration by generations of rhythm & blues fans when they formed back in 1979. Almost two and a half decades and over 16 albums later they continue to add to their growing army of followers, and it’s not unheard of to find three generations from the same family at a gig.

The band are today acknowledged throughout Europe and beyond as being amongst the very finest purveyors of rhythm & blues. They have inspired numerous other blues bands, many of which have come and gone …The Blues Band have remained a constant, increasingly popular fixture, however, and all with only a modicum of help from the record business – as Gary’s oft quoted comment states “the music industry doesn’t bother us and we don’t bother them.”

This independent streak goes right back to their early days when in an unusual move the band “bootlegged” their own first album – certain copies of which are now collector’s items. The ‘bootlegging’ came about because, having recorded their first album, the so called ‘major label’ which was to release it changed their minds and the band didn’t have the cash to pay the studio bill. So they got 1000 copies pressed up, mastered from a copy tape that they had, signed the plain white numbered sleeves and sold them at gigs & via mail order etc. Only then did another ‘major label’ pick up the album and release it widely. (taken from the website of The Blus Band)

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Personnel:
Gary Fletcher (bass)
Hughie Flint (drums)
Paul Jones (vocals, guitar)
Dave Kelly (guitar, slide-guitar, vocals)
Tom McGuinness (guitar, background vocals)
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Bob Hall (piano)

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Tracklist:
01. Talk To Me Baby ((James) 3.55
02. Flatfoot Sam (Willis/Lewis) 2.57
03. Two Bones And A Pick (Walker) 3.09
04. Someday Baby (Estes) 3.21
05. Boom Boom (Out Go The Lights) (Jacobs) 3.33
06. Come On In (Stonebridge/Jones/McGuinness) 2-03
07. Death Letter (House) 3.03
08. Going Home (Kelly) 3.54
09. I Don’t Know (Mabon) 4.55
10. Diddy Wah Diddy (Blake) 2.44

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And here you´ll find The Blues Band Songbook (click on the pic):

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Savoy Brown – A Step Further (1969)

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With Kim Simmonds and Chris Youlden combining their talents in Savoy Brown’s strongest configuration, 1969’s A Step Further kept the band in the blues-rock spotlight after the release of their successful Blue Matter album. While A Step Further may not be as strong as the band’s former release, all five tracks do a good job at maintaining their spirited blues shuffle.

Plenty of horn work snuggles up to Simmonds’ guitar playing and Youlden’s singing is especially hearty on “Made up My Mind” and “I’m Tired.” The first four tracks are bona fide Brown movers, but they can’t compete with the 20-plus minutes of “Savoy Brown Boogie,” one of the group’s best examples of their guitar playing prowess and a wonderful finale to the album.

This lineup saw the release of Raw Sienna before Lonesome Dave Peverett stepped up to the microphone for Looking In upon the departure of Youlden, but the new arrangement was short lived, as not long after three other members exited to form Foghat. As part of Savoy Brown’s Chris Youlden days,

A Step Further should be heard alongside Getting to the Point, Blue Matter, and Raw Sienna, as it’s an integral part of the band’s formative boogie blues years. (by Mike DeGange)

Savoy Brown Live 1969

 Personnel:
Roger Earl (drums, percussion)
Lonesome Dave Peverett (guitar)
Kim Simmonds (guitar)
Tony Stevens (bass)
Chris Youlden (vocals)
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David Bellman (viola)
Eddie Blair (trumpet)
Des Bradley (violin)
Percy Coates (violin)
Raymond Davis (flugelhorn, horn)
John Edwards (trombone)
Bob Efford (saxophone)
Jack Fields (violin)
Bob Hall (piano)
Bobby Haughey (flugelhorn, horn)
Don Honeywell  (saxophone)
Don Honeywill (saxophone
Butch Hudson (trumpet)
Maurice Loban (viola)
Don Lusher (trombone)
John Meek (viola)
Rex Morris (saxophone)
Phil Reid (violin)
John Ronayne (violin)
Louis Rose (viola)
Louis Rosen (viola)
Lionel Ross (cello)
John Shineborne (cello)
John Tonayne (violin)
Mike Vernon (percussion)
Charles Vorzanger (violin)
Kenny Wheeler (trumpet)

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Tracklist:

Studio Side:
01. Made Up My Mind (Youlden) 2.59
02. Waiting In The Bamboo Grove (Simmonds) 3.38
03. Life’s One Act Play (Youlden) 6.31
04. I’m Tired (Youlden) + Where Am I (Willie/Brown) 5.05

Live Side:
05. Savoy Brown Boogie (Youlden/Simmonds) 22.07
including
05.a. I Feel So Good (Willis)
06.b. Whole Lotta Shakin Goin On (Williams/David)
06.c. Little Queenie (Berry)
06.d. Purple Haze (Hendrix)
05.e. Hernando’s Hideaway (Ross/Adler)

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Chicken Shack – Imagination Lady (1972)

FrontCover1Imagination Lady is the fifth studio album by the blues band Chicken Shack, released in 1972 on the Deram record Label.

Imagination Lady is much in the same tradition as the great British bluesmen Alexis Korner and John Mayall, Webb’s revolving-door personnel landed the band several notable members, including: John Almond (tenor/alto sax), Hughie Flint (drums), and Christine Perfect (keyboards/vocals). For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). Enthusiasts of the more traditional 40 Blue Fingers, Freshly Packed and Ready to Serve and OK Ken albums have been quick to dismiss the latter-era band, often citing the whole over amplified power metal trip as detracting from their blues origins.

While certainly valid assessments, the power trio featured on Imagination Lady brings more than sheer volume to this release. As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes. The album opens with a ferocious cover of B.B. King’s “Crying Won’t Help You.” This version is highlighted by Glascock’s thrashing basslines and Webb’s wah-wah driven lead guitar and gin-soaked vocals. In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge. The folkie “If I Were a Carpenter” is speared with searing electric guitar leads that rip throughout the likewise spirited contributions from Glascock and Hancox. The tune is also afforded an unexpected sensitivity that contrasts well between the all-out sonic onslaught of the chorus and the restrained polyrhythms of the verses. In regards to original material, “Daughter of the Hillside” is without a doubt Webb’s most impressive contribution to the album. It is arguably the strongest side on the disc. This straight-ahead rocker is an ideal trio effort with equal contributions from all three recalling the intense instrumentality of Cream or early Led Zeppelin. With so much potential, it’s unfortunate that the 11-minute epic “Telling Your Fortune” — which is nothing more than a 12-bar blues platform for solos from Webb and Hancox — is so erratic. In an ironic contrast, the closing number “The Loser” is upbeat and almost pop-oriented, again displaying the immense strength of this short-lived incarnation of Chicken Shack. (by Lindsay Planer)

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Chicken Shack were chief beneficiaries of the 1968 Brit blues boom, but the sales graph was flatlining by the time of 1972’s Imagination Lady. Shame, really: some of us will strip to the waist, grease up and wrestle for the right to proclaim it the worthiest thing they ever did. Wildcard guitarist and sole constant Stan Webb had commandeered drummer Paul Hancox and bassist John Glascock to create a brawny blues-rock trio with the pedal constantly to the metal – and the transfusion of new blood duly created a rampaging ogre.

Listen to them, positively steaming in with Crying Won’t Help You Now: lack of blues feel is more than compensated for with unruly, unpolished, first-take excitement. Hancox in particular – recommended by John Bonham – is a flailing Tasmanian devil in the Philthy Animal Taylor mould. The insane phased drum solo in Telling Your Fortune perhaps indulges the man a tad too far – but you try stopping him.
Thrillingly, the band lunge at If I Were A Carpenter like pub drunks: it’s a Vanilla Fudge-style, taste-free disembowelment, and all the better for it. Truthfully, Imagination Lady is closer in spirit and execution to May Blitz than Fleetwood Mac, in the grand tradition of fractious, E-major wah-wah sludge-rock. (by record collector)

For me is this album a masterpiece of heavy blues rock !

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Personnel:
John Glascock (bass)
Paul Hancox (drums)
Stan Webb (guitar, vocals)

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Tracklist:
01. Crying Won’t Help You Now (King) 5.10
02. Daughter Of The Hillside (Webb) 3.53
03. If I Were A Carpenter (Hardin) 6.35
04. Going Down (Nix) 3.33
05. Poor Boy (Webb) 5.11
06. Telling Your Fortune (Webb) 11.11
07. The Loser (Webb) 2.32

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Wentus Blues Band & Dick Heckstall-Smith – Man Of Stone (2015)

FrontCover1Dick Heckstall-Smith was much more than “only” the Saxophone Player for one of the best Jazz-Rock bands, we ever had … Colosseum !
He was an extraordinary solo Artist and session Player, too. Here we can hear him with the Wentus Blues Band from Finland !

What can I say about Dick Heckstall-Smith? Brilliant jazz and blues sax player, composer and owner of the largest tea cups in history, and most importantly for me, my friend.

In 1998, I first met Dick Heckstall-Smith, at a recording session for his “Blues And Beyond” album. Soon afterwards I started running his official website, and soon after that, Dick asked me to be his manager. Dick lived to play on stage. He had semi regular gigs with The Hamburg Blues Band, then there were Colosseum tours, a jazz gig here and there, but that still left a lot of time to fill, gig wise.
In 2002, Dick wanted to put a blues based live band together. His ideal line-up would have included Clem Clempson on guitar and Gary Husband on drums. There hadn’t been much movement on this when we were contacted by Robban Hagnas of The Wentus Blues Band. They hailed from Kokkola in Finland. An accomplished blues act, they had found a unique way round the limited touring opportunities in Scandanavia by touring with classic blues artists such as Mick Taylor, centering their sets around each special guest. That way, they could tour several times a year, rather than just once.

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It was agreed that Dick would go out on a Scandanavian tour with them, and and he was as excited by the prospect as I had ever seen him. I remember him dragging me around pretty much every army surplus store in North London one Saturday afternoon in order to find enough cold weather clothing to combat whatever conditions might be faced on the road. I was very aware that my main role with Dick was to maintain a level of hope in the future for him, and this tour constituted the most hopeful he had been for some time.
Once Dick had travelled to Finland for rehearsals and the tour itself, I got daily updates from him by phone. He was particularly impressed by The Wentus Blues Band guitar attack which reminded him of Peter Green era Fleetwood Mac. They had tailored their set to him, with numbers associated with Blues Incorporated, Graham Bond ORGANization and The Bluesbreakers, as well as numbers from Dick’s jazz orientated solo work, such as the song that had become something of a signature for him, “Woza Nasu.” Dick enjoyed the tour immensely, and felt, (as I did when hearing the live recording) that his playing was near his best. I recall one particularly “up” call from Dick. He was staying in an isolated hotel not a million miles from the Arctic Circle, and raved about His ride there, via Reindeer and Sleigh. Dick came back from the tour as invigorated and enthused as I ever saw him in those later years, and I will always thank Robban Hagnas and his band for that.

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A few months later, I got to see Dick in action with the Wentus boys in action at a one off gig in Oxford. Dick drove myself and Pete Brown there, via Canada it seemed. Dick could be directionally challenged now and then. However, we did get there in time for the show, and it was wonderful how the band interacted with a true master of his instrument. This live album is testament to that wonderful interaction. (by Pete Grant; taken from the original liner-notes)
Such a great concert … including one of Dick Heckstall-Smith´s masterpieces … his own composition “Woza Nasu ” … Listen !

Recorded live in Helsinki at Cantina West April, 5th, 2002.

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Personnel:
Mikael Axelqvist (drums)
Robert Hagnäs (bass)
Nike Riippa (guitar)
Anders Sjöberg (vocals)
Kim Vikamn (guitar)
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Dick Heckstall-Smith (saxophone)
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Tracklist:
01. Key To Love (Mayall) 3.46
02. Missing You (Everton/Edward) 3.53
03. You Got Me (Where You Want Me) (Robey) 5.23
04. Suspicions – Part 2 (Mayall) 6.34
05. Woza Nasu (Heckstall-Smith) 17.04
06. Man Of Stone (Kirkland) 8.16
07. Have You Heard (Mayall) 8.41
08. Pretty Things (McDaniels) 3.06
09. Before You Accuse Me (McDaniels) 5.02
10. Looking Back (Watson) 4.25
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