Poco – Live At Columbia Studios, Hollywood, September 30, 1971 (2010)

FrontCover1.jpgCombining the natural excitement and added vibrancy that a live performance provides, while recording in a studio environment with better acoustics, proves the best of both worlds for a recorded concert. The small invited audience to this label showcase consisted mostly of family, friends, and music company executives from the Columbia/Epic imprints, giving the proceedings a homey, more comfortable vibe. Poco’s live album of predominantly new material, Deliverin’, which came out earlier in the year, was a big seller and the band had just released the studio follow-up, From the Inside, which introduced Paul Cotton into the outfit, replacing Jim Messina. This was Cotton’s first tour with the existing members, and although his contributions on electric guitar and soon-to-be primary songwriter are still on low boil, it’s clear that Poco is headed in a more commercially rock-oriented direction. Not surprisingly, half the 14-song set consists of material from their new album, with four more from Deliverin’, and Furay even diving back to his Buffalo Springfield days to resurrect “A Child’s Claim to Fame” as part of a medley that also includes “Pickin’ Up the Pieces.” It’s a spirited performance with the quintet’s distinctive three- and four-part harmonies — a clear blueprint for what the Eagles would take to the bank just a year later — sounding particularly vibrant. The more intimate atmosphere is evident on a three-song acoustic mini-set where the unplugged songs take on a rootsy flair somewhat at odds with the harder-edged electrified approach the band was leaning towards.


Rusty Young’s inimitable and inventive pedal steel consistently stands out, especially when he makes his instrument sound like a B-3 organ on a rollicking, soulful version of “Hurry Up,” a tune from the group’s second album that acquires new life in this setting. Cotton’s three contributions include “Bad Weather,” one of his finest compositions that would later be a staple of their early catalog. Furay’s lovely “What If I Should Say I Love You” is another standout, with this version even more soulful and slightly slower than the studio take. These guys could play and sing with a taut professionalism that always seemed a little ragged but was never sloppy. With sparks fueled by the live experience, this long-lost professionally recorded show is a necessary addition to any country-rock-loving listener’s collection. (by Hal Horowitz)


Paul Cotton (guitar, vocals)
Ritchie Furay (guitar, vocals)
George Grantham (drums)
Timothy B. Schmidt (bass, vocals)
Rusty Young (pedal steel guitar, guitars, banjo, dobro, vocals)


01. I Guess You Made It (Furay) 4.55
02. A Man Like Me (Furay) 5.41
03. Ol’ Forgiver (Cotton) 4.27
04. Hear That Music (Schmidt) 3.21
05. Hurry Up (Furay) 5.54
06. You Are The One (Furay) 3.04
07. Bad Weather (Cotton) 5.56
08. Medley: Hard Luck / Child’s Claim To Fame / Pickin’ Up The Pieces (Furay/Schmidt) 5.23
09. Hoe Down (Furay/Young) 2.15
10. What A Day (Messina/Furay) 2.25
11. Railroad Days (Cotton) 3.20
12. What If I Should Say I Love You (Furay) 4.16
13. Just For Me And You (Furay) 3.36
14. C’mon (Furay) 5.36




Wishbone Ash – Argus (1972)

FrontCover1.jpgArgus is the third album by the rock band Wishbone Ash. It is their most commercially and critically successful album. It peaked at No. 3 in the UK Albums Chart.

The album is medieval-themed, featuring a blend of progressive rock, folk, and hard rock, and is considered a landmark album in the progression of twin-lead guitar harmonisation later adopted by bands such as Thin Lizzy and Iron Maiden. The sound engineer on Argus was Martin Birch, who also worked with Deep Purple, later with Black Sabbath, Iron Maiden and other hard rock bands.[6] The bulk of the lyrics were provided by bassist/lead vocalist Martin Turner, although all members are credited with the music and arrangements.

It was named “Album of the Year” in the 1972 year-end issue of Sounds magazine. (by wikipedia)

If Wishbone Ash can be considered a group who dabbled in the main strains of early-’70s British rock without ever settling on one (were they a prog rock outfit like Yes, a space rock unit like Pink Floyd, a heavy metal ensemble like Led Zeppelin, or just a boogie TShirt.jpgband like Ten Years After?), the confusion compounded by their relative facelessness and the generic nature of their compositions, Argus, their third album, was the one on which they looked like they finally were going to forge their own unique amalgamation of all those styles into a sound of their own. The album boasted extended compositions, some of them (“Time Was,” “Sometime World”) actually medleys of different tunes, played with assurance and developing into imaginative explorations of new musical territory and group interaction. The lyrics touched on medieval themes (“The King Will Come,” “Warrior”) always popular with British rock bands, adding a majestic tone to the music, but it was the arrangements, with their twin lead guitar parts and open spaces for jamming, that made the songs work so well. Argus was a bigger hit in the U.K., where it reached the Top Five, than in the U.S., where it set up the commercial breakthrough enjoyed by the band’s next album, Wishbone Four, but over the years it came to be seen as the quintessential Wishbone Ash recording, the one that best realized the group’s complex vision. (by William Ruhlmann)

Wishbone Ash01.jpg

Warrior, The King Will Come, Time Was, Blowin Free are such Classics..In fact every track on this album is at least very good if not excellent! This is the “Must Have” Ash recording and has become regarded by most as their finest hour..Its a master piece of prog rock, mystical, diverse and exciting and every track is delivered with conciseness and consistently high quality. One of the best Prog Albums ever! (Steve Smith)

Wishbone Ash were a staple of me and my friends’ mainly English, Progressive leaning lineup of early 70’s bands, and Argus is undoubtedly one of, if not the best, of their albums from that period and this lineup. It is very typical of the then newish, album-oriented, rather than singles, days, in that it is to be listened to as a whole, and indeed, with only two tracks coming in under four minutes, this wasn’t AM radio material (AM radio was still the predominant format in the U.S., esp outside cities). Those were the days of the complete ‘album experience’.

Wishbone Ash02.jpg

You put it on, you listened to both sides, in order (Argus only had 2 songs on the second side, so it was a typical listening ‘experience’, then). And that was a big achievement, to put out an album with no fillers and is what brought forth many masterpieces of that time. Argus is full of many songs with strong hooks, however; even the long, ‘proggy-ier’ songs, which change in tempo, etc, have many memorable moments. Powell’s and Ted Turner’s dual guitars turn in joyous performances here, landing them on many ‘best of’ lists. There are softer tracks on this album (the lovely Leaf and Stream) as well as hard rockers, like the majestic Warrior. The King Will Come, and overall theme were often looked upon as Tolkien references, as Lord of the Rings was extremely popular and mined by many bands at that time Although I own and love all of their first four albums, this is my go-to Ash album, and certainly the most cohesively proggy of those. (S BB)


Andy Powell (guitar, vocals)
Martin Turner (bass, vocals)
Ted Turner (guitar, vocals)
Steve Upton (drums, percussion)
John Tout (organ on 07.)


01. Time Was 9.46
02. Sometime World 6.57
03. Blowin’ Free 5.20
04. The King Will Come 7.08
05. Leaf And Stream  M. Turner 3:55
06. Warrior 5.54
07. Throw Down The Sword 6.00
09. No Easy Road (single version) 3.39

All songs written by Andy Powell – Martin Turner – Ted Turner – Steve Upton




I’m leaving to search for something new
Leaving everything I ever knew
A hundred years in the sunshine
Hasn’t taught me all there is to know

The valley, we will gather there
Helpless in our surrender
Tomorrow the plow becomes the sword
Make us stronger in our danger

Time will pass away
Time will guard our secret
I’ll return again
To fight another day

I’d have to be a warrior
A slave I couldn’t be
A soldier and a conqueror
Fighting to be free

Man – Do You Like It Here Now, Are You Settling In (1971)

FrontCover1.JPGDo You Like It Here Now, Are You Settling In? is the fourth album by the Welsh rock band Man and was released in November 1971. The album was recorded in August at Charles and Kingsley Ward’s Rockfield Studios near Monmouth in Southeastern Wales. Sessions took place soon after the renowned ‘All Good Clean Fun’ tour of Switzerland, although a brief break in the hectic German tour schedule during the late spring had resulted in two tracks being written at a studio in Swansea, Wales. Critical reaction to the new album was positive. The album title is apparently a Swansea saying, usually directed at pub landlords of exceptionally long standing. (by wikipedia)

From the opening bars of the first track, ‘Angel Easy’, Man’s fourth album; ‘Do You Like It Here Now, (Are You Settling In Alright?)’ exudes a growing confidence. Released in November 1971 it was recorded in August at Charles and Kingsley Ward’s Rockfield Studios near Monmouth. Sessions took place soon after the renowned ‘All Good Clean Fun’ tour of Switzerland, although a brief break in the hectic German tour schedule during the late spring had resulted in two tracks being written at a studio in Swansea. The band were booked into Rockfield for a period of one week, this being the maximum time that the budget would run to. With only two songs written, the classic ‘Many Are Called But Few Get Up’ and the superb ‘Angel Easy’, they hot-housed the rest of the album, writing, recording and mixing on a kind of panic-stricken conveyor belt. They beat the deadline and then it was straight back on tour again.


Critical reaction to the new album was positive, with encouraging suggestions of a band on the verge of breaking into the big time. The album was promoted during an Autumn tour of Germany, and as the official cover wasn’t yet available it was issued in a promotional sleeve during October and November. The release of the familiar ‘Angels’ cover neatly coincided with the end of the German tour and the start of an intensive four month UK tour. The omens were good.

Special German cover for their German tour in October/November 1971

The album title is apparently a Swansea saying, usually directed at pub landlords of exceptionally long standing. The cover design was left to Andrew Lauder, United Artists’ head of A&R, and the man who had been responsible for bringing the group to their new label. The LP label introduces a Manband logo for the first time, a cartoon man holding aloft the Welsh flag. The front cover with its staged angelic poise, a touch of Victorian whimsy if ever there was one, perhaps alludes to the opening track. The back cover includes the traditional ‘band on steps’ photograph, and of course there was plenty of space for all the lyrics. (manband-archive.com)


Long a fan favorite, Man’s fourth studio album was recorded in 1971 during a harried one-week studio session that found the group having to write nearly the entire album, barring the tight and rocking “Angel Easy” and the group’s multi-part masterwork “Many Are Called but Few Get Up.” Frankly, the album sounds like a record that was largely jammed in the studio; the eight-minute-plus jams that close each side, “We’re Only Children” and “Love Your Life,” are particularly tiresome, good instrumental and lyrical ideas stretched well past their breaking points. However, besides the superior “Angel Easy” and “Many Are Called but Few Get Up,” the album does include the rather wonderful “All Good Clean Fun,” a showcase for pianist Clive John and lead guitarist Deke Leonard that has a delightful prog pop playfulness akin to some of Genesis’ more lighthearted early moments or the daffiness of the later band Hatfield & the North. The album may be only half good, but that half is among Man’s very best work. (by Stewart Mason)

Martin Ace (bass, guitar, vocals)
Clive John (keyboards, vocals)
Michael “Micky” Jones (guitar, vocals)
Roger “Deke” Leonard (guitar, vocals)
Terry Williams (drums)


01. Angel Easy 5.05
02. All Good Clean Fun 4.34
3. We’re Only Children 8.35
04. Many Are Called But Few Get Up 7.33
05. Manillo 5.20
06. Love Your Life 9.06

All songs written by Martin Ace – Clive John – Michael Jones – Deke Leonard – Terry Williams



Status Quo – Dog Of Two Head (1971)

1971 Dog Of Two Head - Status Quo (L.P Francia Pye Records SLDPY 818)Dog of Two Head is the fourth studio album by the English rock band Status Quo released by Pye Records. At the time of recording, the band consisted of Francis Rossi (credited on the sleeve as Mike Rossi), Rick Parfitt (credited as Ritchie Parfitt), Alan Lancaster and John Coghlan (credited as John Coughlan).

March 1971 saw the new four-man lineup of the band release another non-album single: a Rossi/Young song called “Tune to the Music”. The single was not a hit. The band then set to work writing and recording a new album. A couple of the songs, such as the opening track “Umleitung” (German for ‘diversion’) had been written as far back as 1970.

In November 1971 the album was released.

A single from the album, Rossi and Young’s “Mean Girl”, was to become a UK #20 hit some time later, in April 1973, after they had their third top ten British hit single with “Paper Plane”, from their next album Piledriver.

When “Mean Girl” charted, the record company decided to release another single from the album: a rerecording of “Gerdundula”, the B-side to their 1970 single “In My Chair”. This was released in July 1973, and failed to chart. The B-side to this single was Rossi and Parfitt’s “Lakky Lady”, taken from the band’s previous album Ma Kelly’s Greasy Spoon. (by wikipedia)


The change was going on. In 1971, while Led Zeppelin, Deep Purple, and Black Sabbath were competing to be considered the genuine pioneers of the hard rock genre, Status Quo was involved in an inner struggle to find themselves and their own sound. Nobody would have said then that a few years later, Francis Rossi, Rick Parfitt, Alan Lancaster, and John Coghlan would be fighting in the peak of European charts with the groups before mentioned. Dog of Two Head was going to be their first step, a very powerful one, in being considered a serious and significant rock band and not another easy-come, easy-go psychedelic group. This was their first record where the basic wall of sound formed by mighty guitar-bass-drums won the game to the more flavored sound of their beginnings. The band forsook psychedelic experimentation and delved into more blues-oriented rock rhythms.


The record contained the revision of the Arabesque “Gerdundula,” one of their most intriguing tunes and a favorite in the concerts of years to come. They began to show that year their love for boogie rock in the long and powerful “Umleitung” and in “Someone’s Learning,” which proved to be one of the rare occasions the band touched on political issues (Irish terrorist quarrels, in this case). The album also contains the intimate ballad “Na Na Na,” a two-minute résumé of the composition techniques and humble philosophy of Status Quo (“Writing words that I feel I should change/It’s all right if they sound just like other songs/Making sounds that can go on and on/It’s all right if you stay right on to the end”). Finally, Dog of Two Head includes one of the most brilliant compositions of the band, the stunning “Railroad.” Maybe the record is not as representative of Status Quo’s sound as Hello! or On the Level, but it keeps being one of the band’s more unusual and inspired achievements. They were going to find their characteristic sound in their posterior effort, Piledriver, but never again were they going to sound as innovative and inventive as they sound here. (by Robert Aniento)


John Coghlan (drums, percussion)
Alan Lancaster (bass, guitar)
Rick Parfitt (guitar, piano, vocals on 07.,  background vocals)
Francis Rossi (guitar, vocals)
Bruce Foster (piano)
Grass (background  vocals on 02.)
Bob Young (harmonica)


01. Umleitung (Lancaster/Lynes) 7.11
02. Nanana (Extraction I) (Rossi/Young) 0.53
03. Something’s Going On In My Head (Lancaster) 4.45
04. Mean Girl (Rossi/Young) 3.54
05. Nanana (Extraction II) (Rossi/Young) 1.13
06. Gerdundula (Manston/James) 3.51
07. Railroad (Rossi/Young) 5.29
08. Someone’s Learning (Lancaster) 7.09
09. Nanana (Rossi/Young) 2.30
10. Tune To The Music (previously unreleased version (Rossi/Young) 3.36
11. Good Thinking (previously unreleased version) (Rossi/Parfitt/Coghlan/Young) 3.41
12. Time To Fly (Lancaster) 4.18
13. Nanana (previously unreleased version) (Rossi/Young) 2.59
14. Mean Girl (previously unreleased version) (Rossi/Young) 3.58




Quiver – Same (1971)

FrontCover1.jpgQuiver was a melodic UK progressive rock band, Quiver occasionally followed a country rock path but achieved more success following their merger with the Sutherland Brothers. The line-up comprised Tim Renwick (b. 7 August 1949, Cambridge, England; guitar, vocals, flute) and Cal Batchelor (guitar, vocals, keyboards). Renwick had formerly been with Junior’s Eyes, and he and Batchelor recruited Cochise drummer John ‘Willie’ Wilson (b. 8 July 1947, Cambridge, England). Subsequently, the line-up of Wilson, Renwick, Batchelor, and ex-Village bass player Bruce Thomas (b. 14 August 1948, Middlesbrough, Cleveland, England; bass/vocals), recorded the self-produced Quiver. For the recording, they were augmented by Dick Parry (saxophone). The same line-up recorded Gone In The Morning, but due to lack of commercial success the band was subsequently dropped by Warner Brothers Records. The members were not coming up with new songs, and so they decided to join the Sutherland Brothers, the two line-ups merging in late 1972 with the addition of Pete Wood (b. Middlesex, England, d. 1994, New York, USA; keyboards).


Shortly afterwards they were signed to Island Records, and with a number of personnel changes, achieved a degree of chart success. Renwick went on to form 747 and Kicks and is now an in-demand session guitar player, touring with bands such as Pink Floyd and Mike And The Mechanics. Wilson plays with the Coyotes, and Thomas with Elvis Costello’s backing band the Attractions. Quiver’s greatest claim, however, is being the first ever band to play the legendary Rainbow Theatre in London. (by allmusic)
I give this release 4 stars because the playing is just so good.Where it falls down slightly is due to the lack of really memorable tunes.When they palled up with Iain and Gavin Sutherland the Sutherlands got a red hot band to replace the workmanlike but dull band on their debut album and Quiver got some tunes and what tunes they were.Tim Renwick is one of my favourite guitar slingers,his work on Al Stewarts “Modern Times” album is ace. (woody123)

One of my all-time favorite albums but I can see that is not the case with most reviewers. It’s kinda mellow country rock with a couple toe tappers. The guitar player is masterful and the bass player is excellent.

I guess it takes a few listens and some mental adjustments but I think this is an outstanding recording. It just pushes all the right buttons for me and I seem to be alone in that regard.

Killer Man is a killer track and Tim Renwick is a killer guitarist. From the best year for music ever … 1971. (rod45)

Surprising progressive folk band. Its progressiveness derives of the fact that Quiver plays a folk rock in a low pace with elaborated arrangements and excellent execution of instruments. An special comment deserve the bass player (Bruce Thomas). Voices are relaxed and the band do harmonies, according to the general ambient: relaxed and beautifully executed.
Some songs are normal folk songs, But some songs like “Cool Evening” are extra reflective songs including flutes to create the ambience.
t’s hard to understand why the low rate as this band deserve more. IMHO people who likes folk with an special touch can’t miss this first attempt of Quiver band. (DaremoS)

USFront+BackCoverUS front + back cover

Cal Batchelor (guitar, keyboards, vocals)
Tim Renwick (guitar, flute, vocals)
Bruce Thomas (bass, vocals)
Willie Wilson (drums, percussion, vocals)
Dick Parry (saxophone)


01. Glad I Came Around (Batchelor) 5.05
02. Down Your Way (Batchelor) 3.47
03. Killer Man (Renwick) 7.54
04. Take A Train (Batchelor) 5.08
05. Cool Evening (Batchelor) 4.16
06. Barnes County (Renwick/Batchelor/Thomas/Wilson) 4.27
07. Back On The Road (Thomas) 3.28
08. Just Loving You (Batchelor) 2.00
09. Reason For Staying (Batchelor/Renwick) 7.02



Cal Batchelor.jpgCal Batchelor has been a long time fixture in the music scene both here (Canada) and in the UK.
Born Calvin Batchelor, he was a fantastic Canadian guitarist (also a skilled keyboardist).
Cal went to England in 1969, and he helped form Quiver. They were the first group to play at Rainbow Theatre in London (supporting The Who). After leaving Quiver, Cal formed a band called 747. He then joined Long John Baldry for a while (as supporters for Faces). There, he met Ronnie Lane, joining his band later.
In February 1977, Cal formed another notable band called Kicks. In the 80s, Cal returned to Canada. He fronted his own Cal Batchelor Band for a number of years in Vancouver.

Cal’s beloved wife Yvonne passed away in recent weeks from cancer, and Cal certainly missed her in his life. Cal passed away on Sunday December 20, 2015. (rcmusicproject.com)

Jerry Reed – Ko-Ko Joe (1971)

FrontCover1.jpgJerry Reed Hubbard (March 20, 1937 – September 1, 2008) was an American country music singer, guitarist, composer, and songwriter, as well as an actor who appeared in more than a dozen films. His signature songs included “Guitar Man”, “U.S. Male”, “A Thing Called Love”, “Alabama Wild Man”, “Amos Moses”, “When You’re Hot, You’re Hot” (which garnered a Grammy Award for Best Country Vocal Performance, Male), “Ko-Ko Joe”, “Lord, Mr. Ford”, “East Bound and Down” (the theme song for the 1977 blockbuster Smokey and the Bandit, in which Reed co-starred), “The Bird”, and “She Got the Goldmine (I Got the Shaft)”.

Reed was announced as an inductee into the Country Music Hall of Fame on April 5, 2017, and was officially inducted by Bobby Bare on October 24.

Reed died in Nashville, Tennessee, on September 1, 2008, of complications from emphysema at the age of 71. One week later, during their debut at the Grand Ole Opry, Canadian Country Rockers The Road Hammers performed “East Bound and Down” as a tribute. In a tribute in Vintage Guitar Magazine, Rich Kienzle wrote that “Reed set a standard that inspires fingerstyle players the way Merle and Chet inspired him.” He was Jerry Reed01survived by Mitchell and their two daughters. Mitchell died following a short illness on September 24, 2014, at the age of 73.

Reed was a smoker for many years. Thom Bresh, son of Merle Travis and a close friend of Reed’s, produced a 1990s video with Reed acting out his desire to quit smoking the addictive cigarettes (“Jerry Reed-Another Puff”) that serves as a public service video from Reed himself on the dangers of smoking cigarettes. (by wikipedia)

A largely eclectic and overproduced work, Ko-Ko Joe isn’t a great Jerry Reed album. From the loose Creedence Clearwater Revival meets the Charlie Daniels Band boogie of the title cut, to the countrified Tom Jones-like quality of the more pop-oriented “You’ll Never Walk Alone” and “A Stranger to Me,” the set lacks consistency. A four-minute mock anti-smoking dialogue, which appears to be more of a comedy piece than anything, is followed by a dead-serious cover of Gordon Lightfoot’s “Early Morning Rain.” Anthemic pop songs, straight country, and more blues-oriented songs are also included, making this a rather confusing and difficult listen. (by Matt Fink)

Jerry Reed02

Jerry Reed (vocals, guitar)
a bunch of unknown studio musicians


01. Ko-Ko Joe (Reed) 2.31
02. Another Puff (Reed) 4.07
03. Early Morning Rain (Lightfoot) 3.04
04. Brand New Day (Dennie/Dugan/Reed) 2.49
05. Not As A Sweetheart (But Just As A Friend) (Walker) 2.56
06. You’ll Never Walk Alone (Hammerstein II/Rodgers) 2.33
07. Love Is A Stranger To Me (Reed) 2.26
08. Country Boy’s Dream (Dennie/Dugan/Reed) 2.35
09. Seasons Of My Mind (Dennie/Dugan/Reed) 2.54
10. Framed (Leiber/Stoller) 2.29




Alexis Korner – Live In Bremen (1971)

FrontCover1.jpgWithout Alexis Korner, there still might have been a British blues scene in the early 1960s, but chances are that it would have been very different from the one that spawned the Rolling Stones, nurtured the early talents of Eric Clapton, and made it possible for figures such as John Mayall to reach an audience. Born of mixed Turkish/Greek/Austrian descent, Korner spent the first decade of his life in France, Switzerland, and North Africa, and arrived in London in May of 1940, just in time for the German blitz, during which Korner discovered American blues. One of the most vivid memories of his teen years was listening to a record of bluesman Jimmy Yancey during a German air raid. “From then on,” he recalled in an interview, “all I wanted to do was play the blues.”

After a well-received appearance at the Cambridge Folk Festival in the early ’80s, there were rumors afterward that he intended to become more active musically, but his health was in decline by this time. A chain smoker all of his life, Korner died of lung cancer at the beginning of 1984. (by Bruce Eder)

And here´s a pretty good and extremly rare and good broadcast recording from 1971 …

… it´s another item from my large tape collection.

And you can hear this very special blues musician … who was so important for the Blues scene in UK.

And all the stage announcements are in German, because Alexis Korner´s mother comes from Austria.

Enjoy this rarity !

Recorded live at the Theater am Goetheplatz, Bremen/Germany,
June 6, 1971


Alexis Korner (guitar, vocals)
Zoot Money (piano, vocals, guitar)
Peter Thorup (guitar, vocals)


01. Mary Open The Door (Power) 5.57
02. Tuning 0.58
03. Mighty Mighty (Spade And Whitey) (Mayfield) 7.25
04. Will The Circle Be Unbroken (Traditional) 5.53
05. Going Down Slow (Oden) 3.34
06. Announcement 0.19
07. It Ain´t Easy (Davies) 3.35
08. Cannon Ball Blues (Rider/Morton/Bloom) 2.30
09. You Got The Power (To Turn Me On) (Chambers) 8.14
10. Lo And Behold (Taylor) 6.24
11. Six Days On The Road (Montgomery/Greene) 3.32
12. The Wind Cries Mary (Hendrix) 4.39
13. Live in Bremen (uncut edition) (Part 1) 30.51
14. Live in Bremen (uncut edition) (Part 2) 23.31