Ronnie Hawkins – A Legend In His Spare Time (1981)

FrontCover1.JPGRonnie Hawkins was born on Jan 10,1935 in Huntsville Arkansas,making him 81 this year.He went to the University of Arkansas,,unlike most C & W legends, who didn’t attend university.He started his career in 1956 and continues today,He released his first album in 1959 at the age of 24.He left Arkansas and came to Toronto,and has remained here ever since,and was a key artist in the 60 ‘s. .Hawkins is the first artist to come to mind when one thinks of Rockabilly music in Canada. He has been known as Dynamo, Rompin’ Ronnie and The Hawk.He is particularly well known for wearing a black T-Shirt with a white hawk,which is also popular with his many fans.His favorite music is R & R,Rockabilly,Rythm and Blues, Country and Bluegrass.
Although this album does not include his best known songs,it still has some real good ones.
Always a great performer,he had to cut back his hectic schedule when he contacted pancreatic cancer.with little expectations for beating it.However he beat the odds and survived. (by Jerry Guild)


This is a real worthwile album, including 2 songs of Chuck Berry and John Fogerty (both were one the greatest Rock N Roll songwiter of all time !)

And he had a great band in the studio (listen to the solo in “Travelling Band” or the  opening of “Louisiana Backroad”, written by Lonnie Mack).

Unfortunaley we hear not enough solos … what a shame ! Buit we hear one of the great shouters of Rock n Roll and C & W !


Ronnie Hawkins (vocals)
Dave Lewis (drums)
John Lewis (guitar, slide-guitar)
Lonnie Mack (guitar)
Fred Mollin (guitar, percussion, synthesizer, background vocals)
Richard Page (background vocals)
Gerry Penfound (saxophone)
Tom Szczesniak (bass)
Stan Szelest (keyboards, synthesizer)
Terry Bush (guitar on 09.)
Ken King (bass on 09.)


01. Only The Lucky (Egan) 2.49
02. Back On The Road Again (Mack/Labunski) 2.47
03. (Stuck In) Lodi (Fogerty) 2.53
04. Brown Eyed Handsome Man (Berry) 2.29
05. 300 Pounds Of Heavenly Joy (Dixon) 3.32
06. Travelling Band (Fogerty) 2.07
07. Eighteen Wheels (Stewart) 2.35
08. Louisiana Backroad (Mack/De Barnes) 4.00
09. Down The Line (Orbison) 3.12
10. Havana Moon (Berry) 3.35




Ronnie Hawkins receives Order of Canada in 2014

Jean Couroyer & His Dance Orchestra – International Hit Parade (1962)

FrontCover1“A popular melody is as international a language as you will find anywhere in this world of ours. You don´t have to know the text to hum or whistle a happy tune – no matter what country of origin.

It is therefore little wonder that dance band leader Jean Couroyer roams musically across many borders in gathering material for his recording and makes sure of the widest possible acceptance by selecting the most popular dance rhythms.” (J.H. Watson from the liner notes to International Hit Parade)

This is another Swiss Varieton LP that I bought together with the Aprés-Ski in Kitzbühel album. Varieton was a sub-label of the main Swiss label Ex-Libris, used for budget releases like this one. The production is not so bad though, using thick cardboard and slick printing. It looks almost like an american album. The illustration on the sleeve however looks like it was drawn in five minutes by somebody who was not into the job at all. And it probably was. Regrettably I have had similar experiences in the past. The customer doesn´t really care or know the difference and I don´t really care or have the Jean Couroyer01Atime either. So I rush a job. But receiving some product weeks later that reeks of all the reluctance it was crafted with feels bad. It´s embarassing to do poor work. Luckily those jobs are the exception, but at least for some reason they are always the best paying.

The raw and bold brush work and the combination of the innocent big girl dancing with the bald little man stands out though. He´s hanging in mid-air and she´s missing an arm but there´s a primitive charm to it. Most certainly the rest of the album´s design was done by other people than the guy who did the sketch. The Ad Lib font used for the title of the album was designed in 1961 by Freeman Craw for the American Type Founders (ATF), so it was pretty hip at the time. When I see the font I think of Crypt Records, because they have used it excessively on their album covers and for their catalogues since the 1980´s.

Sure, all this analysis is redundant considering that apart from three twist songs the album is pretty forgettable, at least to my ears. But I buy some records for other reasons than the music and I do enjoy this restrained orchestra rock´n´roll that was made for old people. Maybe because I am old. Not a lot of information on the Internet about Jean Couroyer, but I guess he is from Switzerland. (by

Yes, Jean Couroyer was a guitar player based in the french part of Switzerland. amd he active till the early Seventies as an Easy Listening conductor for many projects.

Here we can hear his versions of popular Twist and High Scholl Rock n Roll from the Fifites … a nice addition for every Easy Listening collection.

Jean Couroyer02A.jpg

Jean Couroyer & His Dance Orchestra


01. Let’s Twist Again (Mann/Appell) 1.42
02. La Bamba (Traditional) 2.29
03. Il Fault Savoir (Aznavour) 2.34
04. The Boogie-Twist (Davido) 2.03
05. You Don’t Know (Schroeder/Hawker) 2.48
06. Sucu-Sucu (Rojas) 2.06
07. Peppermint Twist (Dee) 2.30
08. The Lion Sleeps Tonight (Weiss/Peretti/Creatore) 2.41
09. La Pachanga (Davidson) 2.06
10. Midnight Twist (Davido) 2.33
11. Vamos A Ver (Davido) 2.11
12. La Novia (Prietto/Mogol) 2.28
13. The Twist (Ballard) 2.42
14. Coco Cha-Cha (Davido) 2.37



Shakin’ Stevens – This Ole House (1980)

FrontCover1.jpgThis Ole House is a 1980 album by Welsh rock and roll singer Shakin’ Stevens. The album was originally released under the name Marie, Marie but failed to chart. When “This Ole House” reached No.1 in the UK Singles Chart the album was re-issued in March 1981 with the new title and song added, peaking at No.2 in the UK Albums Chart.

The album was originally released in October 1980 on the back of his first top 20 hit “Marie, Marie”. However, his next single “This Ole House” became a much bigger hit, peaking at No.1 for three weeks in March 1981. The album was quickly re-issued with the same cover but now under the title This Ole House. It peaked at No.2, giving Stevens’ his first top ten album. It spent 28 weeks on the UK Charts and was certified Gold by the BPI. The album also contains earlier singles “Hey Mae” and “Shooting Gallery”.

“Marie, Marie” is a song by Dave Alvin and his band The Blasters, released on their album American Music.

“This Ole House” replaced the song “Two Hearts” (later titled “Two Hearts Two Kisses”) from the original album. The album retained most of the same musicians from the Take One! album, with the addition of Welsh guitarist (and ex-member of Stevens’ previous backing group the Sunsets) Mickey Gee. (by wikipedia)


The album that opened the door to Shaky’s upcoming dominance of the U.K. in the 1980s, Marie Marie catches him still poised between the “vintage” rocker he used to be and the family friendly superstar he would become. The hits “Marie Marie” and “This Ole House” echo deliciously with the ghosts of idols past, and further highlights “Slippin’ and Slidin’,” “Shooting Gallery,” and “Baby If We Touch” establish the album as very much the son of its predecessors. And there can be few higher recommendations than that! (by Dave Thompson)


B.J. Cole (steel guitar)
Stuart Colman (bass)
Mickey Gee (guitar)
Tony Hall (saxophone)
Eddie Jones (guitar)
Albert Lee (guitar)
Roger McKew (guitar)
Sid Phillips (saxophone)
Shakin’ Stevens (vocals)
Howard Tibble (drums)
Geraint Watkins (piano)


01. Hey Mae (R.Kershaw/D.Kershaw) 2.34
02. Baby If We Touch (Stevens) 3.06
03. Marie Marie (Alvin) 2.47
04. Lonely Blue Boy (Weisman/Wyse) 3.15
05. Make It Right Tonight (Stevens) 2.59
06. Move (Green/McNabb) 3.11
07. Slippin’ And Slidin’ (Penniman/Bocage/Collins/Smith) 2.36
08. Shooting Gallery (Hodgson/Colton) 3.09
09. Revenue Man (Young) 2.46
10. Make Me Know You’re Mine (Schroeder/Hill) 4.34
11. This Ole House (Hamblen) 3.05
12. Nobody (Thompson) 3.19





Shakin´ Stevens today

Jokers Wild (feat. Dave Gilmour) – Same (1964)

FrontCover1.jpgJokers Wild were an English Rock band formed in Cambridge in 1964. The line-up included guitarist David Gilmour and saxophonist Dick Parry. Gilmour went on to join the band Pink Floyd and Parry went on to become a session musician, playing on three Pink Floyd studio albums and one live album. Parry also went on to join Gilmour’s 2006 solo tour.

Their only releases were a privately pressed, single-sided studio album (carrying catalogue number RSLP 007) and single (RSR 0031), of which only forty or fifty copies each were made. These were recorded at Regent Sound studio in Denmark Street, London. A tape recording of the LP is held by the British Library’s British Library Sound Archive.

Together with record producer Jonathan King, they recorded what was to have been a UK cover version of Sam & Dave’s “Hold On, I’m Comin'”, but the original was released in the UK, so Jokers Wild’s version was not released.

Wills later played with, Peter Frampton, Foreigner and Bad Company. Both he and Wilson played on David Gilmour’s eponymous first solo album; Parry played on four Pink Floyd records, Dark Side of the Moon, Wish You Were Here, Division Bell and the live double album Pulse and had a career as a session musician.


Wilson later played drums and bass on Syd Barrett’s solo albums, The Madcap Laughs and Barrett, the later sessions of which were produced by Gilmour. He also was a surrogate drummer on the live shows and soundtrack for Is There Anybody Out There? The Wall Live 1980–81 which came out in 2000. Between 1973 and 1978 he was a member of Quiver. (by wikipedia)


Alternate front+ back cover

David Gilmore, before getting into Pink Floyd in 1968, began to play in the Cambridge group of Jokers Wild. The group existed from 1964 to 1966., Managed to produce only a single disc in 1965 This is 11 minutes released in the form of one-sided LP.


“…Jokers Wild never made an official record, but are remembered as a band that included David Gilmour before the guitarist joined Pink Floyd. From the scant evidence that does survive, it seems rather incredible that Gilmour could have made the transition. Jokers Wild did not entertain lofty artistic ambitions, but played covers of pop-rock material, often emphasizing harmonies in the style of the Four Seasons and the Beach Boys…” (by musicofsixties.blogspot)


Single 1964 (private edition)

David Altham (vocals)
Dave Gilmour (guitar)
John Gordon (guitar)
Tony Sainty (bass)
Clive Welham (drums)


01. Why Do Fools Fall In Love (Lymon/Santiago/Merchant) 1.51
02. Walk Like A Man (Crewe/Gaudio) 2.12
03. Don’t Ask Me (What I Say) (Jones) 2.58
04. Big Girls Don’t Cry (Crewe/Gaudio) 2.15
05. Beautiful Delilah (Berry) 2.01



50 copies were pressed of this 5-track, 1-sided LP featuring David Gilmour of Pink Floyd.
Did not come with a sleeve. B-side features silent groove and a plain label.

Chuck Berry – St. Louis To Liverpool (1964)

LPFrontCover1St. Louis to Liverpool is the seventh studio album and tenth album overall by rock and roll artist Chuck Berry, released in 1964 on Chess Records, catalogue number 1488. It peaked at number 124 on the Billboard album chart, the first of Berry’s studio albums to appear on the chart. Music critic Dave Marsh named it “one of the greatest rock & roll records ever made”.

On October 18, 1963, Berry was released from prison after having spent 20 months incarcerated owing to conviction on a charge under the Mann Act. During his time in prison, emerging rock groups had found inspiration in his work. The Beach Boys had based their number 3 hit single “Surfin’ U.S.A.” on his “Sweet Little Sixteen”; the Beatles had included “Roll Over Beethoven” on their second American album;[5] the debut single in the United Kingdom by the Rolling Stones was their cover of “Come On,” and they had included “Carol” on their first American album, England’s Newest Hitmakers.

Wishing to capitalize on his popularity during the British Invasion, Berry and Chess Records fashioned this album to appeal to young buyers. St. Louis to Liverpool includes four of the five charting singles he enjoyed in 1964, the final year he would have multiple records appearing on the Billboard Hot 100: “No Particular Place to Go,” “You Never Can Tell,” “Promised Land,” and “Little Marie,” a sequel to “Memphis, Tennessee.” The additional eight tracks included the four b-sides of those singles; “Our Little Rendezvous,” a b-side from 1960; a previously unreleased alternate take of his 1958 Christmas single “Merry Christmas Baby”; an instrumental outtake from a 1950s session; and “Liverpool Drive,” a recent instrumental.


On April 13, 2004, the Chronicles division of the Universal Music Group remastered the album for compact disc with three bonus tracks as part of its 50th anniversary commemorative of Chess Records, including “O’Rangutang,” the flip side of the fifth of his 1964 charting singles “Nadine (Is It You?),” and a track that had appeared on the 1990 rarities album Missing Berries. In 2008, Mobile Fidelity Sound Lab reissued the album with Chuck Berry Is on Top on an Ultradisc II Gold compact disc. (by wikipedia)


This album puts the lie to the popular myth that Chuck Berry’s music started to fade away around the same time that the Beatles, the Rolling Stones, et al. emerged covering his stuff. His songwriting is as strong here as ever — side one is packed with now-familiar fare like “Little Marie” (a sequel to “Memphis, Tennessee”), “No Particular Place to Go,” “Promised Land,” and “You Never Can Tell,” but even filler tracks like “Our Little Rendezvous” and “You Two” are among Berry’s better album numbers, the latter showing off the slightly softer pop/R&B side to his music that many listeners forget about. Side two includes a bunch of tracks, including the hard-rocking “Go Bobby Soxer” and the even better “Brenda Lee,” the slow blues “Things I Used to Do” (with a killer guitar break), and the instrumentals “Liverpool Drive” and “Night Beat,” one fast and the other slow, that never get reissued or compiled anywhere. (by Bruce Eder)

Chuck Berry

Fred Below (drums on 10, + 11.)
Chuck Berry (vocals, guitar)
Leroy C. Davis (saxophone on 02., 06., 13, + 14.)
Willie Dixon (bass on 02., 06., 13. + 14.)
Ebby Hardy or Jaspar Thomas (drums on 02.)
Johnnie Johnson (piano on 02., 06., 08., 11. 13. – 15.)
Lafayette Leake (piano on 05., 10. + 12.)
Matt “Guitar” Murphy (guitar on 02.)
Odie Payne (drums)
James Robinson (saxophone on 06., 13. – 14.)
Paul Williams (piano on 03., 04. + 09.)

01. Little Marie (Berry) 2.37
02. Our Little Rendezvous (Berry) 2-03
03. No Particular Place To Go 2.44
04. You Two (Berry) 2.11
05. Promised Land (Berry) 2.24
06. You Never Can Tell (Berry) 2.43
07. Go Bobby Soxer (Berry) 3.00
08. Things I Used To Do (Jones) 2.42
09. Liverpool Drive (instrumental) 2.56
10. Night Beat (instrumental) 2.46
11. Merry Christmas Baby (Baxter/Moore) 3:14
12. Brenda Lee (Berry) 2.15
13. Fraulein (Williams)  2.51
14. O’Rangutang (instrumental) (Berry) 3.02
15. The Little Girl From Central (early version of “Brenda Lee”)  (Berry) 2.39



Mamie van Doren – The Girl Who Invented Rock ‘n’ Roll (1986)

FrontCover1She was born Joan Lucille Olander in the tiny town of Rowena, South Dakota. By the time the was in her midteens, she was doing photo modeling and began to make connections with name photographers and show business types. In 1951, she caught the eye of famed illustrator Alberto Vargas and posed for him. She became a popular model and made her first screen appearance in 1951’s “Footlight Varieties” starring Jack Parr, and by 1953, she had been signed as a contract player at Universal. Mamie Van Doren was on her way (her new name, by the way, picked from Dwight Eisenhowers wife Mamie, and from Mark Van Doren, who had become a national celebrity with his egghead victories on several TV Quiz Shows.)

At age 22 came her first leading part in Universals low budget exploitation pictore “Running Wild”. This was one of the first Hollywood films to cover the newly emerging trends of juvenile delinquency and rock ‘n’ roll. The soundtrack included “Razzle Dazzle” by Bill Haley and the Comets, and the film was sent out on a co-bill with “Tarantula”. In 1955, Mamie married bandleader Ray Anthony. Now she was the stuff of movie magazines, and even the popular scandal magazines, who deemed her important enough for numerous stories. She finished up her tenure at Universal with “Star In The Dust,” and “Jet Pilot” while also making occasional appearances on Ray’s weekly television variety show. In 1957, she appeared in “The Girl In Black Stockings,” where she was co-billed with Lex Barker and Anne Bancroft, but it was Mamie’s sexy portrait that dominated all the ads.


In 1957, she appeared in Warner Brothers’ teen epic “Untamed Youth.” Here was a true exploitaition film in all its glory. Sex, violence, corruption, and rock ‘n’ roll. What more could you ask for? This eighty-minute wonder placed Mamie in a corrupt rural prison farm (she was picked up for hitchhiking). She got to sing her first on-screen songs. “Untamed Youth” is today, Mamie’s favorite picture. She recalls having Eddie Cochran (who was featured in the film’s musical breaks) over to her house several times, where he would write rock ‘n’ roll songs for her. He played guitar on all the recording sessions for the film featuring Mamie. “I don’t think he got credit for all his work back then,” Mamie remembers, “but he contributed an awful lot.

vanDoren02In 1958 came Mamie’s first featured appearance in a certified “A” picture, Paramount’s “Teacher’s Pet.” The light farce took stars Clark Gable and Doris Day to a seedy nightclub, where Mamie performs “I’m The Girl Who Invented Rock ‘n’ Roll” and “Teacher’s Pet Mambo,” while Doris gets to do her impersonation of Mamie, and later warbles the film’s theme song, “Teacher’s Pet.” Also in 1958, Mamie teamed up with B-movie master Albert Zugsmith, who promised to have Mamie star in all his pictures. First came the now classic “High School Confidential”, and the year was rounded out with a quick lead role in “Guns, Girls and Gangsters.”

By now Mamie Van Doren was a household name, the pictures just kept on coming, and at a certain point Mamie ran into a problem. Producers and studios only wanted to put her roles in as a dumb blonde. She rebelled, but was told either she’d get no other parts, or she’d be on suspension – neither of which was much of a choice. “It got so that everybody started calling you a dumb blonde on screen and in magazines”, she recalled, “It was really the ultimate putdown.”


So in 1960, the parts stopped coming. “If you were thirty years old back then, your career was over. They’d rather find some eighteen year-old to play these parts, and then dress them up with a lot of make-up to look older.” Mamie stayed in the public eye. She brought an act to Las Vegas where she was a big draw. Her marriage with Ray Anthony was over, but she was still seen and written about at various clubs and events with movie stars, celebrities and sports stars.

vanDoren04Then in 1964, producer/director Tommy Noonan, who had worked closely with Marilyn Monroe and later Jayne Mansfield, got Mamie to return to films and star in “Three Nuts In Search Of A Blot”. The film is best remembered for Mamie’s nude beer-bath scenes. She looked better than ever! Over the years, Mamie went through several husbands and did some theatre and singing tours. In 1973, she made a splash as Henry Kissinger’s date and in 1976, she appeared on the TV series “General Hospital” for a while.

Looking back, Mamie is glad that she made many of her pictures, and is pleased that many have become cult films. She also feels that she contributed to the early days of rock ‘n’ roll as one of the only major Hollywood stars to sing rock ‘n’ roll in their films. And, considering many of the songs and scenes were “written as we went along,” they hold up surprisingly well. (by by Alan Betrock, taken from the original liner notes)

And this is a very nice collection of her songs (I call this music highschool Rock N Roll) from the Fifties, used in all these B-movies – and yes she was a real hot woman !

Running Wild

Mamie van Doren (vocals)
a bunch of unknown studio musicians


01. The Girl Who Invented Rock ‘N’ Roll (Smith) 1.39
02. Something To Dream About (Singleton/Coreman) 1.36
03. Salamander (Baxter) 2.17
04. Go-Go Calypso (Baxter) 2.34
05. Rolling Stone (Adelson/Baxter) 2.25
06. Do Ba La Baby (Cochran/Adelson/Baxter) 2.26
07. Separate The Men From The Boys (Robin) 2.37
08. I Fell In Love (Davis) 2.27
09. The Beat Generation (Walton/Kent) 2.09
10. I’m Grateful (Rogers/Corpora) 3.05
11. Nobody But You (Clark) 2.33
12. Lifetime Of Love (Kent) 1.58




Pic from the Playboy photo shooting in 1964


George Thorogood & The Destroyers – Live: Let’s Work Together (1995)

FrontCover1.jpgLive: Let’s Work Together is the second live album by George Thorogood & the Destroyers.

It was recorded on December 2–3, 1994 at Mississippi Nights in St. Louis, Missouri and December 5, 1994 at Center Stage in Atlanta, and released in 1995 on the EMI Records label.

The album featured guest appearances by musicians Elvin Bishop and Johnnie Johnson. (by wikipedia)

George Thorogood and his Delaware Destroyers have been raisin’ rock ‘n’ roll Shenanigans now for over thirty years. Coming out of Detroit in 1974, they got to release their first self-titled studio album in 1977. However, it was not until another nine years of roadwork, and several studio albums later, that the band hit pay-dirt with their first live album, simply titled `Live’ in 1986. It made the live Destroyer experience available to the world. And after all is said and done, it is not surprising that this is where the band finally clicked on album. George Thorogood and the Destroyers have always been a live beast, bursting into life when they hit the boards in front of a frenzied audience, but wilting slightly when cooped up in a recording studio.

In the Destroyers career so far there have been three live albums, the original from 1977, then lately there was Live in 1999, but it’s this middle one from 1995 that I picked as the best of a good bunch. The simple reason is that the performance is explosive, well recorded, chock-a-block full of Thorogood classics, the odd surprise here and there, and, like any good live recording, it is topped and tailed by a good solid slab of Mr. Chuck Berry.
The ever dependable Destroyers, stripped down to a basic four piece which this dog prefers (I’d rather have four musicians working hard than a nine piece being able to take it easy), put out a good solid sound. Apart from the amazing George out front on lead guitar and vocals, you have the exuberant Hank Carter on saxophone, who also contributes a touch of keyboards when the feeling takes. These two are backed by one of the most solid rhythm sections in history – Bill Blough on bass and Jeff Simon on drums. Over the years these two have welded together a mighty partnership.
For the first eleven songs the boys crank up their audience with a set full of Thorogood destroyers, working the fifth member of the band, the audience, to frenzy. Particularly on the tribute to John Lennon with their version of Larry Williams’ ‘Bad Boy’, which the Beatles would of first started playing in their days in Hamburg nightclubs back in the early sixties. But when George introduces Elvin (Bad Boy) Bishop to the crowd to join the band for some slide guitar on `Let’s Work Together’, the audience can barely contain themselves with excitement.


To top that, out from the wings for the final two songs comes Mr. Piano of Rock ‘n’ Roll/Blues/Boogie, Mr. Johnny Johnson. In his past Johnson has been chief sideman to all the greats including Chuck Berry, Buddy Guy, etc., and if you have never heard barrel house, honky-tonk piano, lend an ear to the last two tracks on this album. The first of the two is a storming version of ‘St. Louis Blues’, then we are led away by the rock ‘n’ roll national anthem ‘Johnny B. Goode’. By this time the excitement contained in the grooves of your CD can barely be controlled as your CD player hangs onto the disc by the skin of its teeth. The band members shoulder each other out of the way to take turns at soloing. Finally George breaks back in to take control and brings the song to a shattering climax.
All in all a very satisfying live recording of a band at the top of their game. Not many people know that when George sings…
“Why don’t you get a haircut and get a real job,
Just like your big brother Bob”
…he is of course singing about his soul brother `The Prince of Darkness’, Bob Finch of Tahitian Queen fame. Well, now you know.
Rocked by Mott the Dog
Rolled by Ella Crew (by Kim Fletcheron)

That´s what I call high energy Rock N Roll …


Bill Blough (bass)
Hank Carter (saxophone, keyboards, background vocals)
Jeff Simon (drums)
George Thorogood (guitar, slide-guitar, vocals)
Elvin Bishop (slide-guitar on 12.)
Johnnie Johnson (piano on 13. – 14.)

01. No Particular Place To Go (Berry) 5.14
02. Ride On Josephine (McDaniel) 6.57
03. Bad Boy (Williams) 4.51
04. Cocaine Blues (Amall) 3.34
05. If You Don’t Start Drinkin’ (I’m Gonna Leave) (Thorogood) 4.28
06. I’m Ready (Dixon) 5.12
07. I’ll Change My Style (Parker/Villa) 4.40
08. Get A Haircut (Avery/Birch) 5.42
09. Gear Jammer (Thorogood) 6.11
10. Move It On Over (Williams) 6.08
11. You Talk Too Much (Thorogood) 6.17
12. Let’s Work Together (Harrison) 6.47
13. St. Louis Blues (Handy) 7.03
14. Johnny B. Goode (Berry) 5.55