James Brown And The Famous Flames – Try Me (1959)

FrontCover1.jpgJames Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, songwriter, dancer, musician, record producer and bandleader. A progenitor of funk music and a major figure of 20th century popular music and dance, he is often referred to as the “Godfather of Soul”. In a career that lasted 50 years, he influenced the development of several music genres.

Brown began his career as a gospel singer in Toccoa, Georgia. He joined an R&B vocal group, the Gospel Starlighters (which later evolved into the Flames) founded by Bobby Byrd, in which he was the lead singer. First coming to national public attention in the late 1950s as a member of the singing group The Famous Flames with the hit ballads “Please, Please, Please” and “Try Me”, Brown built a reputation as a tireless live performer with the Famous Flames and his backing band, sometimes known as the James Brown Band or the James Brown Orchestra (by wikipedia)

And here´s the very young James Brown:

When James Brown and His Famous Flames finally scored a second hit with their 11th single, “Try Me,” King Records constructed this 16-track LP, including the hit along with both sides of three of its follow-ups, “I Want You So Bad”/”There Must Be a Reason,” “I’ve Got to Change”/”It Hurts to Tell You,” and “Got to Cry”/”It Was You”; the B-side of a fourth follow-up, “Don’t Let It Happen to Me”; the 1957 single “Can’t Be the Same”/”Gonna Try”; the 1957 B-sides “I Won’t Plead No More” and “Messing With the Blues”; the B-side of Brown’s first hit (“Please Please Please”), “Why Do You Do Me”; and three other stray tracks. The earliest work especially sounded more like that of a doo wop group rather than that of a gritty R&B solo singer. None of it measured up to “Try Me,” but you could see what Brown had been aiming at, and if the set list comprised what were in effect James Brown’s greatest flops, circa 1959, it demonstrated that he possessed as much promise as fervor. (Try Me! was reissued in 1964 under the title The Unbeatable James Brown: 16 Hits.) (by William Ruhlmann)


James Brown (vocals)
Kenny Burrell (guitar)
Edwyn Conley (bass)
C. Davis (saxophone)
George Dorsey (saxophone)
Ray Felder (saxophone)
Panama Francis (drums)
Alvin “Fats” Gonder (piano)
Edison Gore (drums)
Reginald Hall (drums)
Ernie Hayes (piano)
Nat Kendrick (drums)
Clarence Mack (bass)
Louis Madison (piano, background vocals)
Bernard Odum (bass)
Carl Pruitt (bass)
Bobby Roach (guitar)
Clifford Scott (saxophone)
Nafloyd Scott (guitar)
background vocals:
Bobby Byrd – Bill Hollings – Sylvester Keels – Wilbert Smith – Johnny Terry


01. There Must Be A Reason (Brown) 2.29
02. I Want You So Bad (Brown) 2.48
03. Why Do You Do Me (Byrd/Keels) 3.02
04. Got To Cry (Brown) 2.39
05. Strange Things Happen (Hawkins/Love/Melcher) 2.12
06. Fine Old Foxy Self (Brown) 2.11
07. Messing With The Blues (Hunt) 2.13
08. Try Me (Brown) 2.35
09. It Was You (Brown) 2.45
10. I’ve Got To Change (Brown) 2.28
11. Can’t Be The Same (Brown) 2.22
12. It Hurts To Tell You (Brown/Shubert) 2.55
13. I Won’t Plead No More (Byrd/Keels) 2.29
14. You’re Mine, You’re Mine (Brown/Scott) 2.34
15. Gonna Try (Brown) 2.47
16. Don’t Let It Happen To Me (Brown) 2.50




Trini Lopez – The Rhythm & Blues Album (1965)

FrontCover1Trinidad “Trini” López III (born May 15, 1937) is an American singer, guitarist, and actor. His first album included a version of “If I Had a Hammer”, which earned a Golden Disc for him. Other hits included “Lemon Tree”, “I’m Comin’ Home, Cindy” and “Sally Was a Good Old Girl”. He designed two guitars for the Gibson Guitar Corporation, which are now collectors’ items.


Trini Lopez was born in Dallas, Texas, son of Trinidad Lopez II (who was a singer, dancer, actor, and musician in Mexico) and Petra Gonzalez, who moved to Dallas from Mexico. Lopez has four sisters (two are deceased) and a brother, Jesse, who is also a singer. He grew up on Ashland Street in the Little Mexico neighborhood of Dallas[1] and attended grammar school and N. R. Crozier Tech High School. He had to drop out of high school in his senior year because he needed to earn money to help support the family.

Lopez formed his first band in Wichita Falls, Texas, at the age of 15. In 1958, at the recommendation of Buddy Holly, Trini and his group “The Big Beats” went to producer Norman Petty in Clovis, New Mexico. Petty secured a contract for them with Columbia Records, which released the single “Clark’s Expedition”/”Big Boy”, both instrumental. Lopez left the group and made his first solo recording, his own composition “The Right To Rock”, for the Dallas-based Volk Records, and then signed with King Records in 1959, recording more than a dozen singles for that label, none of which charted. In late 1962, after the King contract expired, Lopez followed up on an offer by producer Snuff Garrett to join the post-Holly Crickets as vocalist. After a few weeks of auditions in Los Angeles, that idea did not go through. He landed a steady engagement at the nightclub PJ’s, where his audience grew quickly. He was heard there by Frank Sinatra, who had started his own label, Reprise Records, and who subsequently signed Lopez.

TriniLopez01His debut live album, Trini Lopez at PJ’s (R/RS 6093), was released in 1963. The album included a version of “If I Had a Hammer”, which reached number one in 36 countries (no. 3 in the United States), and was a radio favorite for many years. It sold over one million copies, and was awarded a gold disc.[4] He also performed his own version of the traditional Mexican song “La Bamba” on the album; his recording of the tune was later reissued as a single in 1966. Another live album from PJ’s was recorded later that same year under the title By Popular Demand More Trini Lopez at PJ’s (R/RS 6103) which contains the song “Green Green” which was written by Randy Sparks and Barry McGuire and originally recorded by the New Christy Minstrels earlier that year for their Columbia album Ramblin.

His popularity led the Gibson Guitar Corporation to ask him in 1964 to design a guitar for them. He ended up designing two: the Trini Lopez Standard, a rock and roll model based on the Gibson ES-335 semihollow body, and the Lopez Deluxe, a variation of a Gibson jazz guitar designed by Barney Kessel. Both of these guitars were in production from 1964 until 1971, and are now highly sought-after among collectors.[citation needed] Owners of the guitar include Dave Grohl of Foo Fighters and Noel Gallagher of Oasis.

He scored 13 chart singles through 1968, including “Lemon Tree” (1965), “I’m Comin’ Home, Cindy” (1966), and “Sally Was a Good Old Girl” (1968). On the adult contemporary chart, he racked up 15 hits, including the top-10 singles “Michael” (1964), “Gonna Get Along Without Ya’ Now” (1967), and “The Bramble Bush” (1967). Beyond his success on record, he became one of the country’s top nightclub performers of that era, regularly headlining in Las Vegas. In 1968, he recorded an album in Nashville entitled Welcome to Trini Country (R/RS 6300).


In 1969, NBC aired a Trini Lopez variety special featuring surf guitar group The Ventures, and Nancy Ames as guests. [8] The soundtrack, released as “The Trini Lopez Show” has him singing his hits with The Ventures as his backing band.

During the 1960s and 1970s, Lopez moved into acting, though his film career was not as successful as his music. He continued his musical career with extensive tours of Europe and Latin America during this period; an attempt to break out by releasing a disco album in 1978 proved a flop. Lopez produced a single promoting the Coca-Cola soft drink Fresca in 1967.

In 1993, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him.


In 2002, Lopez teamed with Art Greenhaw for Legacy: My Texas Roots. The album used the “Texas Roots Combo” including Lopez, Greenhaw, and Lopez’ brother, Jesse. Said reviewer Steve Leggett of All Music Guide, “The album has an easygoing feel very similar to Lopez’ classic live sets from the 1960s, only it rocks a good deal harder.” Since then, Lopez has done charitable work and received honors such as being inducted into the International Latin Music Hall of Fame in 2003.

On May 15, 2008, his 71st birthday, Lopez was inducted into the Las Vegas Walk of Stars.[

Trini was still recording and appearing live in recent years. He took part in a benefit concert to raise money for the victims of the 2004 Indian Ocean earthquake and tsunami and has recently appeared as a guest performer in a number of shows held in Maastricht in the Netherlands with the Dutch violinist and composer André Rieu. Trini Lopez has continued to record, and in 2008, his 63rd album, “Ramblin Man,” was released. “El Immortal” was released in 2010 and in 2011, Trini released his 65th album “Into The Future.”

Lopez’s first film role was in Marriage on the Rocks (1965), in which he made a cameo appearance in a nightclub scene; Lopez’s soundtrack song, “Sinner Man”, became a hit single (no. 54 pop/no. 12 adult contemporary). He was one of The Dirty Dozen (1967), appeared as himself in The Phynx (1970), and starred in Antonio (1973). He made two appearances (playing different characters) on the television program, Adam-12. In 1973, Lopez played the lead role of Antonio Contreras in “Antonio.” In 1977, he played the role of Julio Ramirez in “The Mystery of the Silent Scream” which was part of The Hardy Boys/Nancy Drew Mysteries TV series. (by Wikipedia)


Trini’s ninth album and only three years since his first.

Trini’s go-go guitar sound which was part rock n roll, part pop, and all California was still the rage still in 1965. His audience wanted to dance to songs they knew but with a beat that didn’t require them to change their dance moves.

It’s all about the beat.

And here he serves up some solid R&B hits from years, but not distant years, past.

A good idea it was as in the immediate preceding two years Trini had served up similar themed albums all cashing in on his go-go beat … “The Latin Album” (1964), “The Folk Album” and “The Love Album” (both 1965).

The only odd thing is that Trini stays away, largely, from the heavy R&B and plays it safe with the more pop oriented tracks. There is nothing wrong with that but the thought of Trini tackling heavy R&B and pop-i-fying them is perhaps more interesting than tackling R&B material which already leans to pop.

TriniLopez05But as it stands this is an album for parties and would sound great as background at a dinner gathering ..one where any number of Screwdriver cocktails have been consumed whilst nibbling on Spicy Cheese Balls or dipping into a Clam or Guacamole Dip. The sit down menu would start off with a Shrimp Cocktail, followed by Zesty Pork Chops and Pork with Sauerkraut Pinwheels, and then for desert a Strawberry Shortcake Baked Alaska or any fruit in gelatin.

Fuck it … that sound’s a lot better than a generic Domino’s pizza.

Of course there is every chance that your guests would be dancing … especially if they had enough Screwdrivers.

The album was apparently “recorded live” … maybe it was but I suspect its was recorded in the studio with added on chatter and claps.

Producer Don Costa “discovered” Trini Lopez but is best known for his work with Frank Sinatra (whose label, “Reprise”, Trini is on).

And …

Not the best Trini but it’s still perfect for parties …. I’m keeping it. (by whatfrankislisteningto.negstar.com)


Trini Lopez (vocals, guitar)
a bunch of unknown studio musicians


01. Wee Wee Hours (Berry) 3.08
02. Ooh Poo Pah Doo  (Hill) 2.44
03. Hurtin’ Inside  (Benton/Colacrai/Otis/Randazzo) 2.05
04. Double Trouble (Greenback/Larson/Marcellino) 2.15
05. Watermelon Man  (Hancock/Hendricks) 2.48
06.  Don’t Let Go (Stone) 2.51
07. I Got A Woman  (Charles) 3.20
08. So Fine (Randazzo/Weinstein) 2.25
09. She’s About A Mover (Sahm) 2.26
10. Little Miss Happiness (Greenback/Larson/Marcellino) 2.40
11. Let The Four Winds Blow (Bartholomew/Domino) 2.11
12. Shout (O’Kelly Isley/Ronald Isley/Rudolph Isley) 3.00



Albie Donnelly – The Spirit In Me (1994)

frontcoverALBIE DONNELLY, Liverpool- born singer/saxophonist and bandleader began his career in London as a session musician playing on recordings by Bob Geldof and the Boomtown Rats, Graham Parker and many others.

In 1973 he formed the now legendary band SUPERCHARGE. The band’s blend of R. ‘n’ B. and Funk plus their wild on- (and off!) stage-show made them a sensation on the British 70’s live- club scene.

In the 80’s the band signed with Virgin Records and toured extensively in GB and all over Europe with such names as Ray Charles, Fats Domino, B. B. King, Chuck Berry and Queen – culminating in the Hyde Park concert in front of more than 100,000 people.

From then on ALBIE has led successful tours all over Europe (Germany, Netherlands, Spain, Portugal, France, Poland, Italy, Austria, Switzerland, Denmark, Sweden, Finland) and recently back home again in GB, confirming the bandleaders consistent popularity.

His soulful voice and unique horn-sound attest to his R. ‘n’ B. roots and his being steeped in the music of the all-time greats

Quote from B. B. King: “SUPERCHARGE is Europe’s finest Rhythm ‘n’ Blues Band.”

This is his first soloalbum …  which contains a selection of some personal favourite songs.

And you will hear Albie … crazy and loud and you will hear Albie in a sometimes very sentimental mood … both sides of Albie are real great.

He is one of these criminal underrated musicians !

Listen to this album and you will believe me !


Albie Donnelly

Mal Bowers (keyboards)
Albie Donnelly (vocals, sacophone)
Lance Donnelly (drums)
Gaz Gaskell (saxophone)
Dick Hanson (trumpet)
Terry Kennaugh (guitar)
John Lewis (guitar)
Phil Loughran (guitar)
John McCormick (bass)
Roger Morris (percussion)
Paul Owens (saxophone, strings, keyboards)


01. Don’t Do That She Might Get Mad (Cracklin) 3.19
02. Main Squeeze (A.Donnelly/Shepley) 3.17
03. I Won’t Cry Anymore (Brown) 2.34
04. You Had Your Chance (A.Donnelly/Shepley) 2.43
05. Hold It (Vinson) 4.10
06. Sir La Dude (A.Donnelly) 4.35
07. Personal Manager (Jones/King) 4.19
08. The Spirit In Me (Fahey) 3.27
09. Cried Last Night (Brown) 3.30
10. In A Sentimental Mood (Ellington/Mills) 3.10
11. Cakewalk Into Town (Mahal) 2.27
12. Gotta Be The Boy (A.Donnelly/Shepley)  2.57
13. Every Time We Say Goodbye (Porter) 3.40




The Marvelettes – Same (1967)

FrontCover1The Marvelettes a.k.a. The Pink Album is a 1967 album by American vocal group The Marvelettes, also their seventh LP.

Recording began in 1966. Smokey Robinson handled much of the production. There is also production from James Dean and William Weatherspoon who would provide material for the The Marvelettes’ next album. Producers felt that the group needed to offer a sound more mature and developed that contrasted their previous recordings. This album contains only two singles: “The Hunter Gets Captured by the Game” (#13 US, # 2 R&B) which was written and produced by Robinson, and its follow-up, a remake of Ruby & the Romantics’ “When You’re Young and in Love” (#23 US, #9 R&B, #13 UK) which was the group’s only single to reach UK charts. The Marvelettes stopped at #129 US and was more successful on the R&B chart, at #13. (by wikipedia)

TheMarvelettes01Perhaps the best studio album the Marvelettes ever recorded. The spotlight was shared between Horton and Young, and one can attest to the differences in their styles (Horton was earthier, Young the more pop-oriented). In addition to their classic hit “The Hunter Gets Captured By the Game” and what is the best version of the Van McCoy warhorse “When You’re Young and In Love,” there are some would-be hits such as “The Day You Take One (You Have to Take the Other)” and the lovely ballad “This Night Was Made For Love.” This was an artistic triumph and proof that girl groups can mature with age. (by John Lowe)

Katherine Anderson (background vocals)
Gladys Horton (vocals)
Wanda Young (vocals)
The Andantes (background vocals)
The Funk Brothers – instrumentation (all tracks)
Detroit Symphony Orchestra

01. Barefootin (Parker) 2.18
02. Message To Michael (Bacharach/David) 3.01
03. The Hunter Gets Captured By The Game (Robinson) 3.13
04. When You’re Young And In Love (McCoy) 2.37
05. I Know Better (Taylor/Whitfield) 2.28
06. I Can’t Turn Around (Wilson) 2.56
07. He Was Really Sayin’ Somethin’ (Holland/Stevenson/Whitfield) 2.31
08. The Day You Take One (You Have to Take the Other) (Robinson)
09. When I Need You (Broadnax/Paul) 2.42
10. Keep Off, No Trespassing (Bristol/Gordy) 3.07
11. Tonight Was Made For Love (Jones/Staunton) 2.51
12. I Need Someone (Dean/Weatherspoon) 2.41


Van Morrison – Too Long In Exile (1993)

FrontCover1Too Long in Exile is the twenty-second studio album by Northern Irish singer-songwriter Van Morrison. The album was produced by Morrison and draws on urban blues and soul jazz sounds, including collaborations with John Lee Hooker and Georgie Fame. Released in 1993 by Polydor Records, Too Long in Exile received positive reviews from most critics and reached number four on the UK Albums Chart.

Too Long in Exile received generally positive reviews. Rock critic Peter Paphides wrote in Melody Maker at the time, “never has one man’s regression therapy sounded this exhilarating”, while Gavin Martin from the Daily Mirror remarked that Morrison has “rediscovered his ‘earthy, elemental fire’. He is still the foremost blues auteur.” Chicago Tribune critic Greg Kot found his singing “freer than ever” and most of the performances “joyful”, praising the music’s urban blues and soul-jazz sounds. Kot said the album is a “casual tour de force”, with the exception of the cover song “Moody’s Mood for Love”, which he felt would nevertheless be enjoyed by fans of Morrison’s “Moondance” (1970). In The Village Voice, Robert Christgau said Morrison draws on the spiritual guidance of blues greats for the album’s best material, highlighting the collaborations with John Lee Hooker on “Gloria” and “Wasted Years”, although he lamented some aimless songs such as “In the Forest”.

Morrison+HookerIn The Rolling Stone Album Guide (2004), Rob Sheffield said Too Long in Exile was the “breeziest” of Morrison’s post-1980s albums. Rolling Stone included the album in its list of the “Essential Recording of the 90’s”.

Van Morrison celebrates today  his 70th birthday !

Richard Cousins (bass)
Candy Dulfer (saxophone, recorder)
Geoff Dunn (drums)
Georgie Fame (organ, background vocals)
Howard Francis (keyboards)
Kevin Hayes (drums)
John Lee Hooker (vocals)
Bob Lifton (guitar)
Teena Lyle (organ, percussion, vibraphone, background vocals)
Van Morrison (guitar, vocals, harmonica, saxophone)
Paul Robinson (drums)
Jonn Savannah (organ, background vocals)
Nicky Scott (bass)
Kate St. John (saxophone)

01. Too Long in Exile (Morrison) 6.18
02. Big Time Operators (Morrison) 6.03
03. Lonely Avenue (Pomus) 6.24
04. Ball and Chain (Morrison) 5.36
05. In the Forest (Morrison) 4.38
06. Till We Get the Healing Done (Morrison) 8.29
07. Gloria (Morrison) 5.19
08. Good Morning Little School Girl (Williamson) 4.07
09. Wasted Years (Morrison) 3.57
10. The Lonesome Road (Austin/Shilkret) 3.16
11. Moody’s Mood For Love (Fields/McHugh/Moody) 2.52
12. Close Enough For Jazz (Morrison) 2.39
13. Before The World Was Made (Morrison) 4.24
14. I’ll Take Care of You (Benton) 5.19
15. Instrumental/Tell Me What You Want (Morrison) 8.08




Johnny Otis – The New Johnny Otis Show With Shuggie Otis (1981)

FrontCover1If you think of any job in the music industry, Johnny Otis has done them all. During the ’40s, he cut his teeth on big band swing music, and was a driving force during the early years of rock `n’ roll. At the time (1981), this was Johnny Otis’ first recording in almost a decade. He contributes songs, piano, vocals, and vibes. His 26-year-old son Shuggie, a brilliant child prodigy, expertly handles all guitars. Together they are backed by distinguished newcomers and seasoned veterans on a steaming collection of new songs. The result is a CD full of merriment.

“Drinkin’ Wine Spo-Dee-O-Dee” has a bit of rhythm from Johnny’s biggest hit “Willie and The Hand Jive”. During this pleasure of drinking wine tale, the Greek-American delivers 1950s style rock `n’ roll vocals with lots of emphasis on the bass – Bowzer from Sha Na Na comes to mind. In the vein of “Tramp”, “Jonella and Jack” contains hilarious bantering. “Every Beat Of My Heart” is a love ballad that’s lovely. It features Charles Williams’ fantastic voice over a classic arrangement from a past era. Surely, teenage dancers would have packed their high school gymnasium during this song. Williams’ vocals and Shuggie’s guitar are as smooth as fine scotch on the radio-friendly “What Else Can I Do?” This pop soul number is made of hit material. “Half Steppin’ Woman” features Shuggie’s bottleneck guitar rocking out while Johnny’s rumbling piano keeps the song on track.

Johnny+ShuggieOtisJohnny Otis with his son Shuggie …

With a large and diverse singing cast, you are sure to prefer certain vocalists over others. Without a doubt, Vera Hamilton (a former Otisette) and Charles Williams steal the show on “Why Don’t You Do Right?” At a youthful age, Williams displays talent usually begot by years of experience. This 37-minute rock `n’ roll and R&B revue-style CD is a complete package. The winning songs, robust vocals, and splendid band augmented by Shuggie on guitar makes for a wildly entertaining disc. This is the only Alligator recording by the legendary Johnny Otis. It is a witness to his renewal. (by Tim Holek)


Johnny Otis (* 28. Dezember 1921 in Vallejo; † 17. Januar 2012 in Los Angeles)

Talmadge Baker (percussion)
Zaven Jambazian (harmonica)
Plas Johnson (saxophone)
Johnny Otis (piano, vocals)
Nicky Otis (percussion)
Shuggie Otis (guitar)
Earl Palmer (drums)
David Pridgen (piano)
Edgar L. Willis (bass)
The singers:
Linda Dorsey – Delmar “Mighty Mouth” Evans – Vera Hamilton – Wendell D. Perry – David Pridgen – Charles Williams

01. Drinkin’ Wine Spo-Dee-O-Dee (Williams/McGee) 2.40
02. Every Beat Of My Heart (J.Otis) 4.50
03. Jonella And Jack (J.Otis) 3.26
04. What Else Can I Do? (Pridgen) 2.46
05. Half Steppin’ Woman (J.Otis) 4.13
06. Why Don’t You Do Right? (McCoy) 4.01
07. Big Time Scoop (J.Otis) 3.46
08. I Never Felt This Way Before (Pridgen) 3.14
09. Don’t Deceive Me (Willis) 4.16
10. So Fine (J.Otis) 2.48
11. Unknown (hidden track) 0.11.


ShuggieOtisShuggie Otis

Georgie Fame – Shorty Featuring Georgie Fame (1970)

FrontCover1Though not too untypical for a Georgie Fame release, Shorty Featuring Georgie Fame has an odd place in the Fame discography. First, it was billed to a group, Shorty, with the words “Featuring Georgie Fame” printed in very small type beneath “Shorty” on the cover, with no picture of Fame (or, for that matter, Shorty) to be found anywhere in the artwork. Second, it was only released in the U.S., although Fame’s commercial profile, even at the time of its 1970 appearance, was considerably bigger in his native U.K. It was also recorded live (in a fairly small club judging by the sound of the applause), though no mention of this is made anywhere on the packaging, and in fact even the author of the Rev-Ola CD reissue’s fine liner notes remains unaware of the location. For all that, it’s not that unlike Fame’s other records from the era, and does prominently feature him as singer, songwriter, and instrumentalist, even if he seemed almost to be hiding behind a group persona (à la David Bowie with Tin Machine many years later). If there’s anything to distinguish it from other GeorgieFame1AFame albums, it’s that the guitar sometimes has a more prominent role, and the songs sometimes stretch out in the manner that was fashionable in the psychedelic/hard rock era. That’s especially noticeable on the nearly six-minute opener, “Oliver’s Gone”; you don’t hear many Fame cuts with long blues-rock solos. Yet Fame’s customary attributes — assured jazz/R&B vocals and glowing organ — remain in place, and some tracks, like “Bluesology” and “Seventh Son,” are pretty much of a piece with his more straightforward mid-’60s work (though here Mose Allison’s “Parchman Farm,” which he’d recorded in September 1963 on his first live LP, is extended to seven minutes). Georgie gets more personal and introspective than usual, to good effect, on “Saskatchewan Sunrise” and “Inside Story,” while the 12-minute “Fully Booked” is especially epic by Fame standards. This isn’t the best or most representative Fame album, but one that should be heard by his fans, even if it doesn’t include his most outstanding material. (by Richie Unterberger)

Harvey Burns (drums)
Georgie Fame (vocals, keyboards)
Colin Green (guitar)
Brian Odgers (bass)
Alan Skidmore (saxophone)

01. Oliver’s Gone (Fame) 5.47
02. Bluesology (Jackson) 4.30
03. Saskatchewan Sunrise (Ryan/Jones) 3.19
04. Parchman Farm (Allison) 7.09
05. Is It Really The Same (Garrett/O’Neill) 5.48
06. Seventh Son (Dixon) 5.48
07. Somebody Stole My Thunder (Lacey/Ryan) 4.03
08. Inside Story (Fame/Ryan) 4.27
09. Fully Booked (Fame/Ryan) 12.50