Buddy Holly – Same (1958)

BuddyHollyFrontCover1Charles Hardin Holley (September 7, 1936 – February 3, 1959), known professionally as Buddy Holly, was an American musician and singer-songwriter who was a central and pioneering figure of mid-1950s rock and roll. He was born in Lubbock, Texas, to a musical family during the Great Depression, and learned to play guitar and sing alongside his siblings. His style was influenced by gospel music, country music, and rhythm and blues acts, and he performed in Lubbock with his friends from high school.

He made his first appearance on local television in 1952, and the following year he formed the group “Buddy and Bob” with his friend Bob Montgomery. In 1955, after opening for Elvis Presley, he decided to pursue a career in music. He opened for Presley three times that year; his band’s style shifted from country and western to entirely rock and roll. In October that year, when he opened for Bill Haley & His Comets, he was spotted by Nashville scout Eddie Crandall, who helped him get a contract with Decca Records.

Holly’s recording sessions at Decca were produced by Owen Bradley, who had become famous for producing orchestrated country hits for stars like Patsy Cline. Unhappy with Bradley’s musical style and control in the studio, Holly went to producer Norman Petty in Clovis, New Mexico, and recorded a demo of “That’ll Be the Day”, among other songs. Petty became the band’s manager and sent the demo to Brunswick Records, which released it as a single credited to “The Crickets”, which became the name of Holly’s band. In September 1957, as the band toured, “That’ll Be the Day” topped the US and UK singles charts. Its success was followed in October by another major hit, “Peggy Sue”.


The album Chirping Crickets, released in November 1957, reached number five on the UK Albums Chart. Holly made his second appearance on The Ed Sullivan Show in January 1958 and soon after, toured Australia and then the UK. In early 1959, he assembled a new band, consisting of future country music star Waylon Jennings (bass), famed session musician Tommy Allsup (guitar), and Carl Bunch (drums), and embarked on a tour of the midwestern U.S. After a show in Clear Lake, Iowa, he chartered an airplane to travel to his next show, in Moorhead, Minnesota. Soon after takeoff, the plane crashed, killing Holly, Ritchie Valens, The Big Bopper, and pilot Roger Peterson in a tragedy later referred to by Don McLean as “The Day the Music Died”.


During his short career, Holly wrote and recorded songs. He is often regarded as the artist who defined the traditional rock-and-roll lineup of two guitars, bass, and drums. He was a major influence on later popular music artists, including Bob Dylan, The Beatles, The Rolling Stones, Eric Clapton, and Elton John. He was among the first artists inducted into the Rock and Roll Hall of Fame, in 1986. Rolling Stone magazine ranked him number 13 in its list of “100 Greatest Artists”. (by wikipedia)


When Buddy Holly & the Crickets broke through nationally in 1957, they were marketed by Decca Records as two different acts whose records were released on two different Decca subsidiaries — Brunswick for Crickets records, Coral for Holly records. But there was no real musical distinction between the two, except perhaps that the “Crickets” sides had more prominent backup vocals. Nevertheless, coming three months after The “Chirping” Crickets, this was the debut album credited to Buddy Holly. It featured Holly’s Top Ten single “Peggy Sue” plus several songs that have turned out to be standards: “I’m Gonna Love You Too,” “Listen to Me,” “Everyday,” “Words of Love,” and “Rave On.” The rest of the 12 tracks weren’t as distinctive, though Holly’s takes on such rock & roll hits as “Ready Teddy” and “You’re So Square (Baby I Don’t Care)” provide an interesting contrast with the more familiar versions by Elvis Presley. This was the final new album featuring Holly to be released during his lifetime. Every subsequent album was an archival or posthumous collection. (by William Ruhlmann)


The companion album to “The Chirping Crickets”, Buddy Holly’s lone solo album released while he was still alive (barring his pre-fame Decca singles compilation “That’ll Be the Day”) finds him stretching the boundaries of early rock with unusual-for-the-time instrumentation such as acoustic guitars and organs, and the piano is a little more prominent. This album shows its age a little more with its support tracks in comparison to his Crickets album, and is thus the slightly weaker entry in his catalog, but this album is still as influential and timeless.


Following the template established in the first album, Holly runs through twelve songs, most of them self-written with Crickets band members and manager Norman Petty. There are a few cover tunes sprinkled in, mainly songs Elvis had already done. The big single “Peggy Sue” is here, along with other standards such as “I’m Gonna Love You Too” (turn up the volume at the end, you’ll hear a real cricket singing along!), “Everyday”, “Mailman, Bring Me No More Blues”, “Words of Love” and “Rave On”. The songs are just as catchy and play to Holly’s strengths both as a vocalist and a guitarist.

Like the Chirping Crickets, this album is piece of music history, and just as important. With these two albums, Holly has already left an impressive mark on popular music, and they must be included in any representative collection of early rock’n’roll. (Russell Newton)


Jerry Allison (drums)
Buddy Holly (vocals, guitar)
Joe B. Mauldin (bass)
Niki Sullivan (guitar)
Donald Arnone (guitar on 11.)
Al Caiola (guitar on 11.)
C. W. Kendall Jr. (piano on 03.,  10. + 12.)
Norman Petty (organ on 03, piano on 11.)
Vi Petty (piano on 03., 05., 06. + 08., celesta on 07.)
background vocals on 11.:
William Marihe – Robert Bollinger – Robert Harter – Merrill Ostrus – Abby Hoffer


01. I’m Gonna Love You Too (Maudlin/Petty/Sullivan) 2.08
02. Peggy Sue (Allison/Petty/Holly) 2.27
03. Look At Me (Allison/Petty/Holly) 2.07
04. Listen To Me (Hardin/Petty) 2.16
05. Buddy Holly Valley Of Tears Antoine Domino, Dave Bartholomew Rate
06. Read Teddy (Blackwell/Calco) 1.30
07. Everyday (Hardin/Petty) 2.04
08. Mailman, Bring Me No More Blues (Roberts/Katz)Clayton) 2.46
09. Words Of Love (Holly) 1.50
10. You’re So Square (Baby I Don’t Care) (Stoller/Leiber) 1.48
11. Rave One (West/Tilghman/Petty) 1.53
12. Little Baby (Holly/Petty/Kendall Jr.) 1.55


  • (coming soon)


Buddy Holly (September 7, 1936 – February 3, 1959)

Jerry Lee Lewis – Memphis Beat (1966)

FrontCover1.JPGMemphis Beat is an album by Jerry Lee Lewis released on the Smash label in 1966.

More than half the songs on Memphis Beat were recorded on January 5 and 6, 1966 at Phillips Studio in Memphis. The remaining selections were taken from a rare New York City session eight months earlier and Lewis’s earliest sessions at Smash in 1963. The album includes a rare Lewis original called “Lincoln Limousine,” a garbled tribute to John F. Kennedy. In his book Jerry Lee Lewis: Lost and Found, Joe Bonomo calls the track “simply weird, so ambiguous and amateurishly written that it’s impossible to determine exactly what motivated him to write it.” The album also includes “Too Young,” a piano lounge number that Bonomo deems “a real laugher” and “hysterically uncomfortable.” Lewis fares better on “Wine Spo-Dee-O-Dee” and the George Jones classic “She Thinks I Still Care,” but the collection contained no new hits.

After Memphis Beat was released in May 1966, it stalled at 145 on the Billboard albums chart despite solid promotion from Smash and decent reviews.[citation needed] Lewis’s commercial slump would continue until 1968, when he finally broke on the country charts with “Another Place, Another Time.” In 2014 Lewis biographer Rick Bragg wrote, “Throughout the mid-1960s he cut one album after another of other people’s music…But none of it was new, not really.” Bruce Eder of AllMusic praises the album: “After veering hard into country (and country-pop) territory with Country Songs for City Folks, Jerry Lee Lewis came roaring back with Memphis Beat in 1966, featuring his hardest rocking sounds in years, and a band who were as good as any with whom he’d ever recorded.” (by wikipedia)


Jerry Lee Lewis with fans at the Club Marimba, M’boro, October 1966

Considering that nearly half of the songs on this album are outtakes from previous albums it blends together remarkably well! The song Memphis Beat itself though OK is a slightly contrived combination of Breathless & Chuck Berry’s Memphis. Far better are Just Because, Drinkin’ Wine Spo-Dee-O-Dee (though both earlier & later versions are probably superior), Big Boss Man & George Jones’ She Thinks I Still Care. Again there’s a couple of unnecessary covers that add little to the originals, particularly Hallelujah, I Love Her So & Too Young (great piano solo though!), & there’s the notorious Lincoln Limousine, his “tribute” to John F. Kennedy that sounds more like a car commercial! 3 out of 5

Outtakes: What A Heck Of A Mess / Rockin’ Jerry Lee

What A Heck Of A Mess was issued as the B-side of Sticks & Stones, while Rockin’ Jerry Lee (one of the stronger rock ‘n’ roll performances from this era) was first issued on a 70s bootleg & then officially in the late 80s.

Non-Album Session: Memphis Beat / Twenty Four Hours A Day / Swinging Doors / If I Had It All To Do Over


Presumably dissatisfied with the album version, Memphis Beat was re-cut here for a single, backed with If I Had It All To Do Over. Swinging Doors was released on the 1971 Would You Take Another Chance On Me album, & Twenty Four Hours A Day remained unissued until a bootleg EP in the early 80s (& then an official release a few years later). Additionally, an alternate take of Memphis Beat was issued on the 1969 I’m On Fire compilation, & remixes (minus strings) of the other 3 songs were released via Bear Family in the 80s. (by Peter Checksfield)


US labels

Jerry Lee Lewis (piano, vocals)
a bunch of unknown studio musicians

01. Memphis Beat (Haddington/Lipscomb/Reynolds) 2.49
02. Mathilda (Khoury/Thierry) 2.14
03. Drinkin’ Wine, Spo-Dee-O-Dee (McGhee/Williams) 2.14
04. Hallelujah I Love Her So (Charles) 2.28
05. She Thinks I Still Care (Lipscombe) 2.49
06. Just Because (Robin/B. Shelton/J. Shelton) 1.58
07. Sticks And Stones (Turner) 2.04
08. Whenever You’re Ready (Harrelson) 1.48
09. Lincoln Limousine (Lewis) 2.37
10. Big Boss Man (Dixon/Smith) 2.52
11. Too Young (Dee/Lippman) 2.58
12. The Urge (Fritts) 2.41



On February 28, 2019, Lewis suffered a minor stroke in Memphis.He is expected to fully recover and had to cancel a few upcoming appearances

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 mischalke04.wordpress.com)

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