Bob Dylan & The Band – Isle Of Wight (1969)

OriginalFrontCover1Bob Dylan (legally Robert Dylan, born Robert Allen Zimmerman, May 24, 1941) is an American singer-songwriter. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning more than 60 years. Much of his most celebrated work dates from the 1960s, when songs such as “Blowin’ in the Wind” (1963) and “The Times They Are a-Changin'” (1964) became anthems for the civil rights and antiwar movements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture. 8wikipedia)


Bob Dylan’s influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-consciousness narratives. As a vocalist, he broke down the notion that a singer must have a conventionally good voice in order to perform, thereby redefining the vocalist’s role in popular music. As a musician, he sparked several genres of pop music, including electrified folk-rock and country-rock. And that’s just the tip of his achievements. Dylan’s force was evident enough during his height of popularity in the 1960s — the Beatles’ shift toward introspective songwriting in the mid-’60s never would have happened without him — but his influence echoed throughout several subsequent generations, as many of his songs became popular standards and his best albums became undisputed classics of the rock & roll canon.

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Dylan’s influence on folk music was equally powerful, and he marks a pivotal turning point in its 20th century evolution, signifying when the genre moved away from traditional songs and toward personal songwriting. Even when his sales declined in the ’80s and ’90s, Dylan’s presence rarely lagged, and his commercial revival in the 2000s proved his staying power. (by Stephen Thomas Erlewine)

Bobl Dylan2022

And here´s a very interesting bootleg LP from Dylan and the Band’s concert on Isle of Wight, UK, 31 Aug 69. This 1972 LP contains the complete concert. All photos on the cover are from the actual show.

There are several other bootlegs with the same or other titles, and about the same content, e.g. Isle of Wight, UK 1970 (Blank Labels, CT A(B), GWA 44A), Isle of Wight, US 1970 (Isle 509A/B – white cover with insert), Isle of Wight, USA 1972 (TMQ GWA45,), Belle Isle, Europe 1983, Island Man, Germany 1986, Isle of Wight, CD 1994 (Wanted Man Music WMM 39), Bob Dylan in Concert, and Minstrel Boy.

Sound quality basically sucked big time on all of the boots from the Isle of Wight. Following the Great White Wonder, boots of this concert understandably turned a lot of people off to bootlegs.(


Bob Dylan (guitar, piano, harmonica, vocals)
The Band:
Rick Danko (bass, background vocals)
Levon Helm (drums)
Garth Hudson (organ)
Richard Manuel (piano, drums)
Robbie Robertson (guitar)

So many alternate frontcovers:

01. She Belongs To Me 2.48
02. I Threw It All Away 3.07
03. Maggie’s Farm 4.34
04. The Wild Mountain Thyme 3.07
05. It Ain’t Me Babe 3.18
06. To Ramona 2.19
07. Lay Lady Lay 3.40
08. Highway 61 Revisited 3.39
09. One Too Many Mornings 2.27
10. I Pity The Poor Immigrant 3.45
11. Like A Rolling Stone 4.56
12. I’ll Be Your Baby Tonight 3.16
13. The Mighty Quinn 2.53
14. Minstrel Boy 3.20
15. Rainy Day Women # 12 & 35 1.01
16. Mr. Tambourine Man 3.37
17. I Dreamed I Saw St. Augustine 3.19

All songs written by Bob Dylan



George Harrison was perhaps the biggest Bob Dylan fan of all the Beatles and he remained friends with the American throughout his life. It was George, his wife Pattie Boyd and Beatles roadie Mal Evans who travelled to Portsmouth in late August 1969 to greet Dylan upon his arrival to the UK. The initial meeting was only short as that evening Dylan and his family took the ferry over to the Isle of Wight, to Forelands Farm in Bembridge where they were staying and rehearsing. George, Pattie and Mal in the meantime returned to London to take care of some business before joining up with Bob and his family on the island two days later.

GH + JL Isle Of Wight

On 30th August 1969, the day before Dylan’s scheduled headline performance, John Lennon and Ringo Starr arrived on the island along with their wives Yoko and Maureen and a number of other celebrity attendees including Keith Richards of the Rolling Stones and Eric Clapton, all eager to see Dylan perform. (

More from Bob Dylan:

Bob Dylan received the Nobel Prize for Literature in 2016:
Nobel Prize

The official website:

Janis Joplin – Texas International Pop Festival 1969 (1991)

FrontCover1Janis Lyn Joplin (January 19, 1943 – October 4, 1970) was an American singer and musician. One of the most successful and widely known rock stars of her era, she was noted for her powerful mezzo-soprano vocals and “electric” stage presence.

In 1967, Joplin rose to fame following an appearance at Monterey Pop Festival, where she was the lead singer of the then little-known San Francisco psychedelic rock band Big Brother and the Holding Company. After releasing two albums with the band, she left Big Brother to continue as a solo artist with her own backing groups, first the Kozmic Blues Band and then the Full Tilt Boogie Band.

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She appeared at the Woodstock festival and on the Festival Express train tour. Five singles by Joplin reached the Billboard Hot 100, including a cover of the Kris Kristofferson song “Me and Bobby McGee”, which reached number one in March 1971.[9] Her most popular songs include her cover versions of “Piece of My Heart”, “Cry Baby”, “Down on Me”, “Ball and Chain”, “Summertime”, and her original song “Mercedes Benz”, her final recording.

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Joplin died of a heroin overdose in 1970, at the age of 27, after releasing three albums (two with Big Brother and the Holding Company and one solo album). A second solo album, Pearl, was released in January 1971, just over three months after her death. It reached number one on the Billboard charts. She was posthumously inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked Joplin number 46 on its 2004 list of the 100 Greatest Artists of All Time and number 28 on its 2008 list of 100 Greatest Singers of All Time. She remains one of the top-selling musicians in the United States, with Recording Industry Association of America certifications of 18.5 million albums sold. (wikipedia)

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And here´s one of the finest Jais Joplin bootleg ever:

Excellent but ridiculously short recording of the Texas performance. Just a little more than 30 mins.
Looking at the available recordings from the festival it seems strange more wasn’t recorded. Could have been wiped accidentally I suppose! Real shame as the performance seems more together than Woodstock.

Festival PosterSome releases state Sam Andrew on guitar, but I’m pretty sure he’d left the Kosmic Blues Band by this time. (DamnFooFoo)

Really excellent quality live recording of this festival, from the soundboard. Better than some of the official live releases for sure with Janis in full flow & super-tight live band. (Roger_C)


Sam Andrew (guitar, background vocals)
Maury Baker (drums)
Brad Campbell (bass)
Terry Clements (saxophone)
Cornelius “Snooky” Flowers (saxophone, background vocals)
Luis Gasca (trumpet)
Janis Joplin (vocals)
Richard Kermode (keyboards)
Gabriel Mekler (keyboards)

Alternate frontcover:
Alternate FrontCover1

01. Announcement by Wavy Gravy 5.26
02. Raise Your Hand (Cropper/Floyd/Isbell) 5.14
03. As Good As You’ve Been (Gravenites) 6.52
04. Try (Just A Little Bit Harder) (Taylor/Ragovoy) 6.24
05. Maybe (Barrett) 3.46
06. To Love Somebody (B.Gibb/R.Gibb) 4.58
07. Summertime (G.Gershwin/I.Gershwin) 4.38
Live in Frankfurt(Germany, 1969:
08. Raise Your Hand (Cropper/Floyd/Isbell) 3.06
09. Try (Just A Little Bit Harder) (Taylor/Ragovoy) 4.23
10. Maybe (Barrett) 3.42
11. Ball & Chain (Thornton) / Piece Of My Heart (Ragovoy/Berns) 10.00



The concert poster for the show in Frankfurt/Germany, 1969:
Concert Poster Frankfurt

More from Janis Joplin:

More from Big Brother & The Holding Company:

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Wolfgang Dauner Quintet – The Oimels (1969)

LPFrontCover1Wolfgang Dauner (30 December 1935 – 10 January 2020) was a German jazz pianist who co-founded the United Jazz + Rock Ensemble. He worked with Hans Koller, Albert Mangelsdorff, Volker Kriegel and Ack van Rooyen and composed for radio, television, and film.

Dauner attended the Musikhochschule in Stuttgart, where he focused on composition, piano, and trumpet. In the 1960s he belonged to a sextet led by Joki Freund. As the leader of his trio, he recorded for the first time in 1964, an early session in the history of European free jazz. In 1969, he was leader and composer for Radio Jazz Group Stuttgart. A year later he started the jazz rock band Et Cetera. With Hans Koller, he began the Free Sound & Super Brass Big Band. In 1975, he was a founding member of the United Jazz and Rock Ensemble.


It was a collaboration of trombonist Albert Mangelsdorff, trumpeter Ack van Rooyen, sax player Charlie Mariano, bassist Eberhard Weber and guitarist Volker Kriegel.Additionally, he worked as a composer in radio, film, and television. He composed two chamber operas.

Dauner was married to Randi Bubat, a stage and costume designer. He was the father of German drummer Florian Dauner.

He died in Stuttgart on 10 January 2020. (wikipedia)


This 1969 record has more in common with the Beatles and sixties psychedelic pop-rock than that period’s jazz. The Oimels also highlights three internationally acclaimed eclectic European musicians: keyboardist Wolfgang Dauner is a German jazz institution; fellow Stuttgarter bassist Eberhard Weber is known for his band Colours with Charlie Mariano, and his work with Jan Garbarek, while guitarist Sigi Schwab’s career spans work with a host of headliners, film, theatre, and TV music, and his own projects. Oh Baby I Don’t Love You Anymore starts out with an old-fashioned honky-tonk blues before electric guitar distortions take the music to the edge. With Schwab’s sitar and the band vocals,


Take Off Your Clothes To Feel The Setting Sun shows its Beatles influence. Gershwin’s My Man’s Gone Now is reinterpreted in a Latin-rock feel with lots of affects. Come On In On In starts off with Weber’s electrified cello melding into an Indi-country-rock rhythm guitar riff and a raga-like vocal line before ascending into chaos. Dig My Girl moves to the mysteries of India, with sitar and vocals ala George Harrison. Dauner takes an acidic electric organ solo and the guitar is ablaze with distortion. The Traditional English ballad Greensleeves is given the Latin treatment. Uwii has a funk groove with Dauner scatting along with his solo. Rolling Stone rated A Day In The Life as the Beatles’ greatest song. Dauner and Co. rework it into a minimalistic masterpiece. Dauner in the Sky with Diamonds. (press release)


Originally released in 1969 on the famous German MPS label The Oimels presented Wolfgang Dauner & co. in a very different setting, namely as a psychedelic pop band. Full of surprises, this collection even included a version of The Beatles’ ‘A Day In The Life’ alongside twisted pop, beat and ethnic music. Over-the-top fuzz guitars, one primal punky stomper and sitar-drenched lounge freakouts are the order of the day. Truly superior stuff, especially the great guitar work from Siggi Schwab, who appears on Vampyros Lesbos, Roland Kovac Set and numerous MPS label releases. An outstanding album!


Pierre Cavalli (guitar)
Wolfgang Dauner (keyboards, vocals)
Siegfried Schwab (guitar, sitar)
Roland Wittich (drums, vocals)
Eberhard Weber (bass, cello, vocals)


01. Oh Baby I Don’t Love You Anymore (Dauner) 4.20
02. Take Off Your Clothes To Feel The Setting Sun (Dauner) 4.03
03. My Man’s Gone Now (Dauner) 3.29
04. Come On In On In (Dauner) 3.35
05. Dig My Girl (Dauner) 7.33
06. Greensleeves (Traditional) 3.53
07. Uwiii (Dauner) 2.57
08. A Day In A Life (Lennon/McCartney) 2.58




More from Wolfgang Dauner.

The official website:

Burt Bacharach – Plays His Hits (1969)

FrontCover1Burt Freeman Bacharach ( May 12, 1928 – February 8, 2023) was an American composer, songwriter, record producer, and pianist who composed hundreds of pop songs from the late 1950s through the 1980s, many in collaboration with lyricist Hal David. A six-time Grammy Award winner and three-time Academy Award winner, Bacharach’s songs have been recorded by more than 1,000 different artists. As of 2014, he had written 73 US and 52 UK Top 40 hits. He was one of the most important composers of 20th-century popular music.

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Bacharach’s music is characterized by unusual chord progressions, influenced by his background in jazz harmony, and uncommon selections of instruments for small orchestras. Most of Bacharach and David’s hits were written specifically for and performed by Dionne Warwick, but earlier associations (from 1957 to 1963) saw the composing duo work with Marty Robbins, Perry Como, Gene McDaniels, and Jerry Butler. Following the initial success of these collaborations, Bacharach went on to write hits for Gene Pitney, Cilla Black, Dusty Springfield, Jackie DeShannon, Bobbie Gentry, Tom Jones, Herb Alpert, B. J. Thomas, and the Carpenters, among numerous other artists. He arranged, conducted, and produced much of his recorded output.

Songs that he co-wrote which have topped the Billboard Hot 100 include “This Guy’s in Love with You” (1968), “Raindrops Keep Fallin’ on My Head” (1969), “(They Long to Be) Close to You” (1970), “Arthur’s Theme (Best That You Can Do)” (1981), and “That’s What Friends Are For” (1986).

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A significant figure in easy listening music, Bacharach is described by writer William Farina as “a composer whose venerable name can be linked with just about every other prominent musical artist of his era”. In later years, his songs were newly appropriated for the soundtracks of major feature films, by which time “tributes, compilations, and revivals were to be found everywhere.” He influenced later musical movements such as chamber pop and Shibuya-kei. In 2015, Rolling Stone ranked Bacharach and David at number 32 for their list of the 100 Greatest Songwriters of All Time. In 2012, the duo received the Library of Congress Gershwin Prize for Popular Song, the first time the honor has been given to a songwriting team.

Bacharach died of natural causes at his home in Los Angeles on February 8, 2023, at the age of 94. (wikipedia)

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Composer and arranger Burt Bacharach is perhaps best known for his work with lyricist Hal David. The pair practically unleashed an entire subgenre of pop music beginning in the late ’50s. After racking up numerous hits for other folks — notably female vocalists Dionne Warwick stateside and Dusty Springfield in England — the artist began exploring his considerable back catalog. While living in London in the early ’60s, Bacharach recorded his first collection of Bacharach/David songs, aptly titled Hit Maker! (1965). As the package was issued under the Burt Bacharach moniker, many thought that the tunes would actually feature him singing and playing. Instead, the slightly updated arrangements are scored for a decidedly more discerning and mature ear. Although listeners would never know it by the practically ersatz interpretations, future Led Zeppelin members and mid-’60s London recording session musicians Jimmy Page and John Paul Jones were contributors to the likes of “Walk on By,” “Don’t Make Me Over,” “Blue on Blue,” “(There’s) Always Something There to Remind Me,” “Wives and Lovers,” and “Anyone Who Had a Heart.”

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In the context of those familiar melodies, some of the second-tier selections, such as “And So Goodbye, My Love,” “The Last One to Be Loved,” and “Saturday Sunshine” are among the most memorable. Hit Maker! became just that in the U.K., as the album rocketed into the Top Ten and the single “Trains and Boats and Planes” took off after being aired on BBC Radio, eventually spending 11 weeks on the charts. The unqualified success didn’t translate stateside, even though the package was reissued — with some slight modifications — twice, first as The Man! Burt Bacharach — His Songs (1965) and then several years later as Burt Bacharach Plays His Hits (1969). Nearly four decades later, Hit Maker! was included — along with a rare mono version of “Saturday Sunshine” from the same time frame — as part of the limited-edition five-disc Something Big: The Complete A&M Years…And More (1994) box set. (by Lindsay Planer)

But of course I have to say that this music never really hit my taste and yet he is of course an important part of music history.


unknow orchestra conducted by Burt Bacharach
Joel Grey (vocals on 11.)
Tony Middleton (vocals on 02.)

Burt Bacharach06Tracklist:
01. Trains And Boats And Planes 2.46
02. My Little Red Book (All I Do Is Talk About You) 2.13
03. Anyone Who Had A Heart 2.59
04. (There’s) Always Something There To Remind Me 2.57
05. 24 Hours From Tulsa 2.37
06. Walk On By 2.58
07. Wives And Lovers 2.55
08. Don’t Make Me Over 2.57
09. Blue On Blue 2.00
10. Don’t Go Breaking My Heart 2.23
11. What’s New, Pussycat 2.12

Music: Burt Bacharach
Lyrics: Hal David


Burt Bacharach02

The Second Coming (pre-Allman Brothers Band) – Jacksonville Florida (1969)

FrontCover1Mostly this bootleg is offered under the name “Allman Brothers Band”. That’s wrong !

This a really nice and rare live recording ny a group called “Second Coming”, foundesby Dickey Betts and Berry Oakley.

Dickey Betts, orn in West Palm Beach on December 12, 1943 and raised in Bradenton, Florida, Betts grew up in a musical family listening to traditional bluegrass, country music and Western swing. He started playing ukulele at five and, as his hands got bigger, moved on to mandolin, banjo, and guitar. At sixteen and feeling the need for something “a little faster”, he played in a series of rock bands on the Florida circuit, up the East Coast and into the Midwest before forming Second Coming with Berry Oakley in 1967. According to Rick Derringer, the “group called the Jokers” referenced in “Rock and Roll, Hoochie Koo” was one of Betts’ early groups. (wikipedia)


But things changed in 1969:

Dickey Betts met Duane Allman … and the rest is history !

This album was recorded just four days after the legendary March 26, 1969 “Jacksonville Jam” where The Allman Brothers Band was founded.
But this is actually a “Second Coming” concert. Gregg Allman did not perform.

Alternate front + backcover:

And so here we hear an important part of the later Allman Brothers Band … The Allman Brothers Band in their embryonic phase … it’s a good soundoard recoding and listen to their roots.

Enjoy this rarity !


Dickey Betts (guitar, vocals)
Don Finney (saxophone)
Jai Johanny Johanson (Jaimoe) (drums)
Richard Hombre Price (bass)
Butch Trucks (drums)
Reese Wynans (organ)
Duane Allman (guitar, cocals

One more alternate front + backcover:

01. Don’t Want You No More (Hardn/Davis) 9.00
02. Rock Me Baby (King/Taub) 2.07
03. Crossroads (Johnson) 3.12
04. Born In Chicago (Gravenites) 5.36
05. Willie Jean Jam (Oakley/Trucks/Betts/Allman/Johanson/Wynans) 10.58
06. Born Under A Bad Sign (Bell/Jones) 3.31
07. She Has Funny Cars (Kaukonen/Balin) 8.04
08. Hey Joe (Roberts) 10.52
09. New Shoes Blues (Oakley/Trucks/Betts/Allman/Johanson/Wynans) 11.29
10. Travellin’ Music Jam (Oakley/Trucks/Betts/Allman/Johanson/Wynans) 13.49



One more another alternate front + backcover:

Bee Gees – First Of May + Lamplight (1969)

FrontCover1I have to reduce my singles collection:

The Bee Gees were a musical group formed in 1958 by brothers Barry, Robin and Maurice Gibb. The trio were especially successful in popular music in the late 1960s and early 1970s, and later as prominent performers in the disco music era in the mid-to-late 1970s. The group sang recognisable three-part tight harmonies; Robin’s clear vibrato lead vocals were a hallmark of their earlier hits, while Barry’s R&B falsetto became their signature sound during the mid-to-late 1970s and 1980s. The group wrote all of their own original material, as well as writing and producing several major hits for other artists and have been regarded as one of the most important and influential acts in pop music history.[4] They have been referred to in the media as: The Disco Kings, Britain’s First Family of Harmony, and The Kings of Dance Music.

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Born on the Isle of Man to English parents, the Gibb brothers lived in Chorlton, Manchester, England, until the late 1950s. There, in 1955, they formed the skiffle/rock and roll group the Rattlesnakes. The family then moved to Redcliffe, in the Moreton Bay Region, Queensland, Australia, later to Cribb Island. After achieving their first chart success in Australia as the Bee Gees with “Spicks and Specks” (their twelfth single), they returned to the UK in January 1967, when producer Robert Stigwood began promoting them to a worldwide audience. The Bee Gees’ Saturday Night Fever soundtrack (1977) was the turning point of their career, with both the film and soundtrack having a cultural impact throughout the world, enhancing the disco scene’s mainstream appeal. They won five Grammy Awards for Saturday Night Fever, including Album of the Year.

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The Bee Gees have sold over 120 million records worldwide[8][9] (with estimates as high as over 225 million records sold worldwide), making them among the best-selling music artists of all time. They were inducted into the Rock and Roll Hall of Fame in 1997; the Hall’s citation says, “Only Elvis Presley, the Beatles, Michael Jackson, Garth Brooks and Paul McCartney have outsold the Bee Gees.” With nine number-one hits on the Billboard Hot 100, the Bee Gees are the third-most successful band in Billboard charts history behind only the Beatles and the Supremes.

Following Maurice’s sudden death in January 2003 at the age of 53, Barry and Robin retired the group’s name after 45 years of activity. In 2009, Robin announced that he and Barry had agreed that the Bee Gees would re-form and perform again.[15] Robin died in May 2012, aged 62, after a prolonged period of failing health, leaving Barry as the only original surviving member of the group. (wikipdia)

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And here is one of their – from my point of view – superfluous singles … sorry … but I’m just not a Bee Gees fan.


Barry Gibb (guitar, vocals)
Maurice Gibb (vocals, bass)
Robin Gibb (keyboards, vocals)
Vince Melouney (guitar)
Colin Petersen (drums)

Alternate frontcover:

01. First Of May 2.43
02. Lamplight 4.50
03. First Of May 4.50

All songs written by:
Barry Gibb, Robin Gibb & Maurice Gibb.



More from The Bee Gees:

The now deleted website:

Fleetwood Mac – Then Play (Deluxe Expanded 2013 Edition) (1969)

LPFrontCover1Fleetwood Mac are a British-American rock band, formed in London in 1967. Fleetwood Mac were founded by guitarist Peter Green, drummer Mick Fleetwood and guitarist Jeremy Spencer, before bassist John McVie joined the line-up for their self-titled debut album. Danny Kirwan joined as a third guitarist in 1968. Keyboardist and vocalist Christine Perfect, who contributed as a session musician from the second album, married McVie and joined in 1970.

Primarily a British blues band at first, Fleetwood Mac scored a UK number one with “Albatross”, and had other hits such as the singles “Oh Well” and “Man of the World”. All three guitarists left in succession during the early 1970s, to be replaced by guitarists Bob Welch and Bob Weston and vocalist Dave Walker. By 1974, Welch, Weston and Walker had all either departed or been dismissed, leaving the band without a male lead vocalist or guitarist. In late 1974, while Fleetwood was scouting studios in Los Angeles, he heard American folk-rock duo Lindsey Buckingham and Stevie Nicks, and asked Buckingham to be their new lead guitarist, and Buckingham agreed on condition that Nicks could also join the band.


The addition of Buckingham and Nicks gave the band a more pop rock sound, and their 1975 self-titled album, Fleetwood Mac, reached No. 1 in the United States. Rumours (1977), Fleetwood Mac’s second album after the arrival of Buckingham and Nicks, produced four U.S. Top 10 singles and remained at number one on the American albums chart for 31 weeks. It also reached the top spot in countries around the world and won a Grammy Award for Album of the Year in 1978. Rumours has sold over 40 million copies worldwide, making it one of the best-selling albums in history. Although each member of the band went through a breakup (John and Christine McVie, Buckingham and Nicks, and Fleetwood and his wife Jenny) while recording the album, they continued to write and record music together.


The band’s personnel remained stable through three more studio albums, but by the late 1980s began to disintegrate. After Buckingham and Nicks each left the band, they were replaced by a number of other guitarists and vocalists. A 1993 one-off performance for the first inauguration of Bill Clinton featured the line-up of Fleetwood, John McVie, Christine McVie, Nicks, and Buckingham back together for the first time in six years. A full reunion occurred four years later, and the group released their fourth U.S. No. 1 album, The Dance (1997), a live compilation of their hits, also marking the 20th anniversary of Rumours. Christine McVie left the band in 1998, but continued to work with the band in a session capacity. Meanwhile, the group remained together as a four-piece, releasing their most recent studio album, Say You Will, in 2003. Christine McVie rejoined the band full-time in 2014. In 2018, Buckingham was fired from the band and replaced by Mike Campbell, formerly of Tom Petty and the Heartbreakers, and Neil Finn of Split Enz and Crowded House.

Fleetwood Mac have sold more than 120 million records worldwide, making them one of the world’s best-selling bands. In 1979, the group were honoured with a star on the Hollywood Walk of Fame. In 1998 the band were inducted into the Rock and Roll Hall of Fame and received the Brit Award for Outstanding Contribution to Music. In 2018, the band received the MusiCares Person of the Year award from The Recording Academy in recognition of their artistic achievement in the music industry and dedication to philanthropy.


Then Play On is the third studio album by the British blues rock band Fleetwood Mac, released on 19 September 1969. It was the first of their original albums to feature Danny Kirwan (although he is also listed on two tracks on the earlier compilation The Pious Bird of Good Omen) and the last with Peter Green. Jeremy Spencer did not feature on the album apart from “a couple of piano things” (according to Mick Fleetwood in Q magazine in 1990). The album offered a broader stylistic range than the straightforward electric blues of the group’s first two albums, displaying elements of folk rock, hard rock, art rock and psychedelia. The album reached No. 6 on the UK Albums Chart, becoming the band’s fourth Top 20 LP in a row, as well as their third album to reach the Top 10. The album’s title, Then Play On, is taken from the opening line of William Shakespeare’s play Twelfth Night — “If music be the food of love, play on”.

Then Play On is Fleetwood Mac’s first release with Reprise Records after being lured away from Blue Horizon and a one-off with Immediate Records. The label would be the band’s home until their self-titled 1975 album. The initial US release of the album omitted two tracks that were previously issued on the American compilation English Rose, while the second US pressing further abridged the tracklist with the addition of the hit single “Oh Well”. The original CD compiled all the songs from the two US LP versions, both of which omitted the “English Rose” tracks that are on the original UK version. In August 2013, a remastered edition of the album was reissued on vinyl and CD, restoring its original 1969 UK track listing and adding four bonus tracks from the same era.


Fleetwood Mac’s previous albums had been recorded live in the studio and adhered strictly to the blues formula. For the recording of Then Play On, editing and overdubbing techniques were used extensively for the first time. Green had recently introduced improvisation and jamming to the band’s live performances and three of the tracks on the album including “Underway”, “Searching for Madge”, and “Fighting for Madge”, which were compiled by Green from several hours of studio jam sessions.

Green, the de facto band leader at the time, delegated half of the songwriting to bandmate Danny Kirwan so he could sing more lead vocals. Music journalist Anthony Bozza remarked that Green “was a very generous band leader in every single way. And Peter gave Danny all of that freedom. You just don’t hear about things like that.” Jeremy Spencer, the band’s other guitarist, was retained even though he did not play on any of the album’s original tracks. Green and Spencer had planned to record a concept album — “an orchestral-choral LP” — about the life of Jesus Christ, although the album never came to fruition. Instead, Spencer released a solo album in 1970 with the members of Fleetwood Mac as his backing band.

A German re-issue edition from 1973:

Although “Oh Well” was a hit in the UK, it was not the group’s first single released in America. Instead, Clifford Davis, who was Fleetwood Mac’s manager at the time, selected “Rattlesnake Shake” to be released in the US. While Davis thought “Rattlesnake Shake” would become a big hit, it failed to chart anywhere. After the failure of “Rattlesnake Shake”, “Oh Well” was chosen as the second single for the US market. The second single fared much better, becoming the band’s first song to chart on the Billboard Hot 100. Mick Fleetwood ranked the song in his top 11 favourite Fleetwood Mac songs list.

The “Oh Well” single … all ove the world:
Oh Well Singles

It incorporated the freedom to go off on a tangent, to jam – the classic ‘Do you jam, dude?’ We learned that as players. You hear that alive and well in the double-time structure that I put in at the end, which on stage could last half an hour. It was our way of being in The Grateful Dead.

The painting used for the album cover artwork is a mural by the English artist Maxwell Armfield. The painting was featured in the February 1917 edition of The Countryside magazine, which noted that the mural was originally designed for the dining room of a London mansion.


Contemporary reception of the album was mixed. Writing for Rolling Stone magazine, John Morthland said Fleetwood Mac had fallen “flat on their faces”, and later dismissed the album as mostly “nondescript ramblings”. On the other hand, Robert Christgau was more positive. He described the album’s mixing of “easy ballads and Latin rhythms with the hard stuff” as “odd” but “very good”.

However, modern reviews of the album are highly positive; The New Rolling Stone Album Guide labeling the album as a “cool, blues-based stew” and considered it the second best Fleetwood Mac album. The Telegraph described Then Play On as a “musically expansive, soft edged, psychedelic blues odyssey”. Clark Collins of Blender magazine gave the album five stars out of five, and described “Oh Well” as an “epic blues-pop workout”. (wikipedia)


This Peter Green-led edition of the Mac isn’t just an important transition between their initial blues-based incarnation and the mega-pop band they became, it’s also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of “Bare Trees” and “Kiln House” with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. The immortal “Oh Well,” with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band’s most enduring progressive composition. “Rattlesnake Shake” is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green’s fiery improvisations power “Searching for Madge,” perhaps Mac’s most inspired work save “Green Manalishi,” and leads into an unlikely symphonic interlude and the similar, lighter boogie “Fighting for Madge.”


A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on “Coming Your Way” not only defines the Mac’s sound, but the rock aesthetic of the day. Of the songs with Kirwan’s stamp on them, “Closing My Eyes” is a mysterious waltz love song; haunting guitars approach surf music on the instrumental “My Dream”; while “Although the Sun Is Shining” is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged “Underway,” the folky “Like Crying,” and the final outcry of the ever-poignant “Show Biz Blues,” with Green moaning “do you really give a damn for me?” Then Play On is a reminder of how pervasive and powerful Green’s influence was on Mac’s originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus. (by Michael G. Nastos)


Peter Green (vocals, guitar, harmonica, bass, percussion, cello on 16.)
Mick Fleetwood (drums, percussion)
Danny Kirwan (vocals, guitar)
John McVie (bass)
Jeremy Spencer (piano on 16. only)
Sandra Elsdon (recorder on 16.)
Big Walter Horton (harmonica)
Christine Perfect (piano)


01. Coming Your Way (Kirwan) 3.46
02. Closing My Eyes (Green) 4.52
03. Fighting For Madge (Fleetwood) 2.43
04. When You Say (Kirwan) 4:31
05. Show-Biz Blues (Green) 3.52
06. Underway (Green) 3.05
07. One Sunny Day (Kirwan) 3.12
08. Although The Sun Is Shining (Kirwan) 2.26
09. Rattlesnake Shake (Green) 3.30
10. Without You (Kirwan) 4.35
11. Searching For Madge (McVie) 6.57
12. My Dream (Kirwan) 3.32
13. Like Crying (Kirwan) 2.26
14. Before The Beginning (Green) 3.28
15. Oh Well – Pt. 1 (bonus mono track) (Green) 3.25
16. Oh Well – Pt. 2 (bonus mono track) (Green) 5.40
17. The Green Manalishi (With the Two-Pronged Crown) (Green) 4.37
18. World In Harmony (Kirwan/Green) 3.27



LinerNotes Re-Issue1973_1

The inlets of the 1973 re-issue:
Inlets (Re-Issue)


More from Fleetwood Mac:

The official website:

Colosseum – Transmissions – Live At The BBC (CD 1 + 2) (2020)


Colosseum are an English jazz rock band, mixing blues, rock and jazz-based improvisation. Colin Larkin wrote that “the commercial acceptance of jazz rock in the UK” was mainly due to the band. Between 1975 and 1978 a separate band Colosseum II existed playing progressive rock.

Colosseum, one of the first bands to fuse jazz, rock and blues, were formed in early 1968 by drummer Jon Hiseman with tenor sax player Dick Heckstall-Smith, who had previously worked together in the New Jazz Orchestra and in The Graham Bond Organisation, where Hiseman had replaced Ginger Baker in 1966. They met up again early in 1968 when they both played in John Mayall’s Bluesbreakers, during which time they played on the Bare Wires album. Childhood friend Dave Greenslade was quickly recruited on organ, as was bass player Tony Reeves who had also known both Hiseman and Greenslade since being teenage musicians in South East London. The band’s line-up was completed, after lengthy auditions, by Jim Roche on guitar and James Litherland (guitar and vocals), although Roche only recorded one track before departing.


Their first album, Those Who Are About to Die Salute You, which opened with the Bond composition “Walkin’ in the Park”, was released by the Philips’ Fontana label in early 1969. In March the same year they were invited to take part in Supershow, a two-day filmed jam session, along with Modern Jazz Quartet, Led Zeppelin, Jack Bruce, Roland Kirk Quartet, Eric Clapton, Stephen Stills, and Juicy Lucy.

Colosseum’s second album, later in 1969, was Valentyne Suite, notable as the first release on Philip’s newly launched Vertigo label, established to sign and develop artists that did not fit the main Philips’ brand, and the first label to sign heavy metal pioneers Black Sabbath.


For the third album, The Grass Is Greener, released only in the United States in 1970, Dave “Clem” Clempson replaced James Litherland. Louis Cennamo then briefly replaced Tony Reeves on bass, but was replaced in turn by Mark Clarke within a month. Then Hiseman recruited vocalist Chris Farlowe to enable Clempson to concentrate on guitar. This lineup had already partly recorded the 1970 album Daughter of Time.

In March 1971, the band recorded concerts at the Big Apple Club in Brighton and at Manchester University. Hiseman was impressed with the atmosphere at the Manchester show, and the band returned five days later for a free concert that was also recorded. The recordings were released as a live double album Colosseum Live in 1971. In October 1971 the original band broke up. (wikipedia)


“This is the BBC Radio 1 Service. We proudly present one of the world’s greatest bands… Colosseum!” Fans tuning into their wireless sets during the great age of progressive rock would have been thrilled to hear the announcer introduce one of their favourite bands about to hit the airwaves. They wouldn’t be disappointed. Few bands played with such power, fire and intensity whether in a club, at a festival or even in the confines of a radio station studio. Led by drumming legend Jon Hiseman, Colosseum was guaranteed to give an exciting performance as soon as the red recording light went on and the engineer gave the thumbs up. Even so, it seemed like a fleeting moment, once the broadcasts were over, never to be heard again. But here is the exciting news.


Many of the shows when Colosseum roared into epic arrangements like ‘Walking In The Park,’ ‘Daughter Of Time’, ‘Tanglewood ’63’ and ‘Rope Ladder To The Moon’ were captured on tape for posterity, not only by the BBC but by listeners armed with their own home recorders. So now it is Repertoire’s turn to proudly announce the release of an amazing 6CD set Transmissions Live At The BBC featuring shows like John Peel’s ‘Top Gear’ and ‘Sounds Of The 70s’, and comprising some 60 tracks recorded between 1969 and 1971. We hear the earliest version of Colosseum with founder members Jon Hiseman, Dick Heckstall-Smith, Dave Greenslade and Tony Reeves joined by guitarist/vocalist James Litherland. Later classic line-ups include Dave Clempson on guitar with Chris Farlowe (vocals) and Mark Clarke (bass) with guest appearances by Barbara Thompson (sax/flute) and the New Jazz Orchestra. This vast treasure trove of material has been rescued from the BBC and Colosseum archives, along with rare recordings by fans and enthusiasts. It has been painstaking collected, collated, restored and digitalised by the combined forces of historian and archivist Colin Harper, Jon’s daughter Ana Gracey and Repertoire’s own audio genius the mighty Eroc. With liner notes by Repertoire’s Chris Welch including new interviews with Dave Greenslade, Tony Reeves and Chris Farlowe, this promises to be the biggest classic rock album release of the year. So ‘The Machine Demands A Sacrifice’? Here it is! (press release)


I have just taken delivery of this set & am very impressed. I haven’t listened to a note though – that goes without saying. What I wish to comment on is the packaging. The box is beautifully made & the 6 discs & booklet fit snugly so whole thing takes up a minimum of space (& apart from the actual discs, contains no plastic) so it will easily be stored with other CDs. Would that all CD boxed sets were like this. (The Duckmeister)


Superb collection of high class radio broadcasts. Brings me back to those fabulous days when I heard them when first broadcast when I was a teenager. Brilliant music. (Bob Mitchell)

Without any doubts: a must for every serious Colosseum collector !



From Top Gear Januar 1969 to Radio 1 Jazz Workshop July 1969:
Dave Greenslade (organ, vibraphone)
Dick Heckstall-Smith (saxophone)
Jon Hiseman (drums)
James Litherland (guitar, vocals)
Tony Reeves (bass)
Barbara Thompson (saxophone, flute on Top Gear July 1969)

from Top Gear November 1969 to Sounds of the 70’s April 1970:
Dave Clempson (guitar, vocals)
Dave Greenslade (organ, vibraphone)
Dick Heckstall-Smith (saxophone)
Jon Hiseman (drums)
Tony Reeves (bass)
Barbara Thompson (saxophone, flute on Top Gear November 1969



CD 1:

Top Gear, 19 January 1969:
01. The Road She Walked Before (Heckstall-Smith) 2.51
02. Backwater Blues (Leadbetter) 5.01
03. A Whiter Shade Of Powell (Pale) (Brooker/Bach) 2.46

Symonds On Sunday, 16 March 1969:
04. Walking In The Park (Bond) 3.23
05. Interview with Jon Hiseman 1.00
06.Beware The Ides Of March (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 4.08
07. Plenty Hard Luck (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 2.41

Johnnie Walker, 24 May 1969:
08. Elegy (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3.04
08. Walking In The Park (Bond) 4.19
10. Butty’s Blues (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 5.59
11. I Can’t Live Without You (Litherland) 4.48

Top Gear, 6 July 1969:
12. Elegy (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 2,51
13. The Grass Is Greener (Heckstall-Smith/Hiseman) 7.25
14. Hiseman’s condensed history of mankind 2.30
15. February’s Valentyne (Heckstall-Smith/Hiseman(Greenslade) 6.18

Symonds On Sunday, 20 July 1969:
16. Elegy (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3.07
17. The Road She Walked Before (Heckstall-Smith) 2.24
18. Walking In The Park (Bond) 3.41
19. Butty’s Blues (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3.12

CD 2:

Radio 1 Jazz Workshop, 17 July 1969:
01. Elegy (take 1) (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 3:01
02. I Can’t Live Without You (Litherland) 4.45
03. Walking In The Park (Bond) 4.17
04. Those About To Die (take 1) (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 6.29
05. Butty’s Blues (take 1) (Reeves/Hiseman/Heckstall-Smith/Litherland/Greenslade) 6.50
06. Mandarin (Reeves/Greenslade) 6.32
07. The Grass Is Greener (Heckstall-Smith/Hiseman) 2.02

Top Gear, 22 November 1969:
08. Interview with Dick Heckstall-Smith 1.41
09. Lost Angeles (Greenslade/Heckstall-Smith)  8.47
10. Arthur’s Moustache  6.26

Unknown Session late 1969 / early 1970:
11. Jumping Off The Sun (Taylor/Tomlin) 3.29
12. Theme For An Imaginary Western (Bruce/Brown) 3.57
13. Take Me Back To Doomsday (Greenslade/Clempson/Hiseman) 2.32
14 Lost Angeles (partial) (Farlowe/Greenslade/Heckstall-Smith) 1.28
15. Angle 3:52
16. The Machine Demands A Sacrifice (Hiseman) 2.44



Box front + backcover:

Coming soon: CD 3 + 4, 5+ 6 + booklet

More from Colosseum:

Arlo Guthrie – Running Down The Road (1969)

LPFrontCover1Arlo Davy Guthrie (born July 10, 1947) is an American retired folk singer-songwriter. He is known for singing songs of protest against social injustice, and storytelling while performing songs, following the tradition of his father Woody Guthrie. Guthrie’s best-known work is his debut piece, “Alice’s Restaurant Massacree”, a satirical talking blues song about 18 minutes in length that has since become a Thanksgiving anthem. His only top-40 hit was a cover of Steve Goodman’s “City of New Orleans”. His song “Massachusetts” was named the official folk song of the state, in which he has lived most of his adult life. Guthrie has also made several acting appearances. He is the father of four children, who have also had careers as musicians.

Arlo Guthrie01

Running Down the Road is the second studio album by American folk singer Arlo Guthrie. Guthrie’s version of the traditional folk tune “Stealin'” was featured in the film Two-Lane Blacktop. The cover shows the artist upon a Triumph TR6 Trophy motorcycle which is also pictured in the album’s ‘gate’. (wikipedia)

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Although this album’s “Coming in to Los Angeles” crossed Guthrie over and into the rock LPBookletunderground, especially via its performance at Woodstock, most of his third record is actually far more laid-back country-rock. Very much a production of its time, in a slightly negative sense, Running Down the Road features Guthrie employing the cream of L.A.’s top country-rock players as session men: Ry Cooder, James Burton, Clarence White, Jim Gordon, Gene Parsons, Jerry Scheff, and Chris Etheridge. The tone is good-natured and easygoing — too good-natured and easygoing sometimes, in fact, as on the unexciting cover of “Stealin’.” Guthrie acknowledges his folk roots with covers of tunes by his father Woody Guthrie (“Oklahoma Hills”), Pete Seeger (“Living in the Country”), and Mississippi John Hurt. These are surrounded by originals that follow the Dylan “back to basics” mold of the late ’60s, both in musical and lyrical concerns (“My Front Pages” might even be taken as a gentle Dylan satire). As such, much of the record is inoffensive but inconsequential, although the drug smuggling ode “Coming into Los Angeles” adds a touch of much-needed urgency. The title track is entirely uncharacteristic of the album, with its harsh blasts of distorted psychedelic guitar and tough, walking-blues stance — for these reasons, it’s a standout. (by Richie Unterberger)


James Burton (guitar)
Ry Cooder (guitar, mandolin, bass)
Chris Ethridge (bass)
Jim Gordon (drums)
Arlo Guthrie (vocals, guitar, piano)
Milt Holland (percussion)
Gene Parsons (drums, guitar, harmonica)
John Pilla (guitar)
Jerry Scheff (bass)
Clarence White (guitar)


01. Oklahoma Hills (W.Guthrie/J.Guthrie) 3.27
02. Every Hand In The Land (A.Guthrie) 2.20
03. Creole Belle (Hurt) 3.46
04. Wheel Of Fortune (A.Guthrie)  2.31
05. Oh, In The Morning (A.Guthrie) 4.54
06. Coming Into Los Angeles (A.Guthrie) 3.07
07. Stealin’ (Cannon) 2.49
08. My Front Pages (A.Guthrie) 3.47
09. Living In The Country (Seeger) 3.18
10. Running Down The Road (A.Guthrie) 4.30



More from Arlo Guthrie:

The official website:

Andwella’s Dream – Love and Poetry (1969)

LPFrontCover1In his teens, singer/guitarist/keyboard player Dave Lewis joined the Belfast-based soul band The Methods. Managed by George Mechan, the group attracted some attention performing on the Belfast and Dublin club scenes, going though a stream of members, including briefly future Thin Lizzy members Phil Lynnot and Gary Moore. In 1967 Lewis, drummer Wilgar Cambell, and bassist Nigel Smith decided to strike out on their own. The trio relocated to London, where they caught the attention of Andrew Cameron Miller’s CBS affiliated Reflection Records. Dubbing themselves Andwellas Dream, still in their teens, the trio ended up signing with CBS. During the resulting recording sessions drummer Campbell became homesick and returned to Ireland. He was quickly replaced by Gordon Barton and within a couple of months the revamped line-up debuted with a 45 produced by former The Konrads bassist Shahan Chowdhury (aka Rocky Shahan):

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Produced by Shahan, 1969’s “Love and Poetry” has been widely labeled as a psych classic. While there are clearly psych influences across these grooves, that’s not a particularly apt description of the album. It’s actually one of the most musically diverse LP’s in my collection. My ears detect as least six genres scattered across these 13 tracks. The influences included Byrds-styled folk-rock (‘Man Without a Name’), jazz-rock (‘Clockwork Man’), Hendrix-styled hard rock (‘Sunday’), psychedelia (the lysergic-tinged ballad ‘Midday Sun’), and even a stab at world music (the first half of ‘Lost a Number Found a King’).

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Given the album’s diversity, Lewis was clearly the trio’s point-man. In addition to writing all the material he handled lead vocals, guitar and organ. He certainly had a nice voice; capable of easily handling the band’s diverse repertoire. He was also a gifted guitarist and had a knack for crafting catchy melodies. Virtually every one of these tracks had an appealing hook. That’s not intended to downplay the contributions of the Barton-Smith rhythm section. On tracks like the single ‘Sunday’ drummer Barton demonstrated he could easily keep up with the likes of a Keith Moon. Smith was a gifted bassist; highly inventive and melodic – check out his work on the opener ‘The Days Grew Longer for Love.’

No idea who he was, but I’ve always liked C. Nevil Boussmayeff’s abstract cover art.(


Love & Poetry was one of those albums that raised psychedelic rock high and made it domineering genre of the time. “The man from the dam said it was a shame about her she never planned on staying here for long. He looked rather pale as he mentioned the name Andwella she came with the gong that sat on top of her basket there was none pleasant to my eyes as she. She came like a breeze in the middle of the day, then gone she brought us the air that looked about it serving her until the day you die with her crimson cape she rolled across the valley”. Love & Poetry is diverse and melodious and as the title suggests it is lovely and poetic. (Babe_N_Co)


Gordon Barton (drums)
Dave Lewis (guitar, keyboards, vocals)
Nigel Smith (bass, vocals)
Wilgar Campbell (drums on 12.)
Bob Downes (flute, saxophone, percussion)


01. The Days Grew Longer For Love 3.56
02. Sunday 3.14
03. Lost A Number, Found A King 6.04
04. Man Without A Name 2.42
05. Clockwork Man 2.44
06. Cocaine 5.00
07. Shades Of Grey 3.37
08. High On A Mountain 2.32
09. Andwella 3.16
10. Midday Sun 3.41
11. Take My Road 3.23
12. Felix 4.17
13. Goodbye 2.18
14. Mrs. Man (45 A-Side) 4.00
15. Mr. Sunshine (45 B-Side) 3.17
16. Every Little Minute (45 A-Side) 3.55
17. Michael Fitzhenry (45 B-Side) 3.43
18. Take My Road (alternate mix) 3.27
19. Man Without A Name (alternate mix) 2.39
20. . Miles Away From My Baby (2008) 4.37
21. Paradise Isle (2008) 3.45

All songs written by Dave Lewis



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