Donovan – Lady Of The Stars (1983)

FrontCover1.JPGLady of the Stars is the seventeenth studio album, and nineteenth album overall, by the British singer-songwriter Donovan. It was released in the UK (RCA PL 70060) and the US (Allegiance Records AV 437) in January 1984.

By 1983, Donovan’s albums were receiving little distribution in the UK and none in the US. His popularity had steadily decreased through the 1970s and early 1980s and mainstream record companies were not convinced that Donovan’s albums could generate enough record sales to warrant release. Donovan decided that to win over the record companies and reach his American and British fans, he would record new versions of both “Sunshine Superman” and “Season of the Witch” for inclusion on his next album. Both songs were released on the Sunshine Superman album in 1966 and Donovan’s Greatest Hits in 1969. The name recognition of these two songs would give the record companies marketing leverage and guarantee release.

In addition to “Sunshine Superman” and “Season of the Witch”, Donovan updated three other songs from his canon. Two of these songs, “Lady of the Stars” (written for Donovan’s wife Linda Lawrence) and “Local Boy Chops Wood” (written about Brian Jones) were as well recorded and released on Donovan in 1977, “Boy for Every Girl” had been recorded for his 1973 album Essence to Essence. Donovan also included five new songs and titled the album Lady of the Stars for his wife Linda.

Lady of the Stars was released in Britain through RCA, and licensed in the US to Allegiance Records. It became the first Donovan album to receive a US release since Donovan in 1977.

After this, Donovan took an extended hiatus from recording, and would not release another studio album until Sutras twelve years later. (by wikipedia)


Donovan re-recorded some old hits — “Season of the Witch” and “Sunshine Superman” — and cut some new songs for this independent label release. The result is a pleasant, but inconsequential, effort. (by William Ruhlmann)

Back in the early 1980s I became interested in Donovan and his music. Donovan had been most succesful during the 1960s and early 1970s. At that time it was very difficult to get hold of any of his back catalogue on vinyl. His album success had declined anyway and in order to gain interest from record companies Donovan decided to update a few songs for his next album.
In 1983 Donovan recorded the new album which was released at the beginning of 1984. This was that album,. Lady of the Stars. It was great to get a brand new album from Donovan. For this album there were new versions of Sunshine Superman and Season of the Witch. Both tracks originally on the Sunshine Superman album in the mid 1960s were very popular. Also there is an update version of Local Boy chops wood that appeared on the album Donovan from 1977.


There is another update with the song Boy for every girl, that appeared on the Essence to Essence album from 1977. The last update is for the title track Lady of the Stars originally written for his wife Linda. Finally the album does have five new songs. The albums new tracks were welcome additions and the updated tracks only add familiarity and I much prefer the original versions. However as an album it is not too bad. Not the best Donovan album by any means but it was welcome back in the 1980s and the new and more original five tracks make it worth it. (by Marcia)


Barry Beckett (keyboards on 01. – 04., 06. + 07.)
Bonnie Bramlett (background vocals on 06.)
Pete Carr (guitar on 01. – 03., 05., 06. – 08. + 10)
Paulino De Costa (percussion on 07.)
Wilton Fender (bass on 08. + 10.)
James Gadson (drums on 03.)
Bob Glaub (bass on 03., 04., 08. + 09.)
Rayford Griffin (drums on 04., 05, 07. – 10.)
Jim Horn (saxophone, flute on 02., 04. – 06. + 09.)
Donovan Leitch (vocals, guitar)
Astrella Leitch (background vocals on 04.)
Dave Mason (guitar on 06.)
Graham Nash (background vocals on 01., 02. + 09.)
Jeff Paccaro (drums on 02.)
Lezlee Pariser (background vocals on 06.)
Billy Payne (keyboards on 01., 03., 05., 06. + 09.)
Mike ‘Reedo’ Reed (drums on 01. + 06.
Bruce ‘Fingers’ Robb (organ on 02.)
John Sebastian (autoharp on 02.)
Jim Strauss (bass on 06.)
Lee Sklar (bass on 02.)
Jim Strauss (bass on 01.)
Jai Winding (keyboards on 05. + 07.)
Richie Zito (guitar on 04.)


01. Lady Of The Stars 4.37
02. I Love You Baby 3.28
03. Bye, Bye Girl 3.24
04. Every Reason 3.06
05. Season Of The Witch (New Version) 5.26
06. Boy For Every Girl (New Version) 4.36
07. Local Boy Chops Wood (New Version) 3.27
08. Sunshine Superman (New Version) 4.03
09. Living For The Love Light 3.47
10. Till I See You Again 3.16



Big Country – Wonderland (Special Limited Edition) (1984)

FrontCover1.jpgBig Country are a Scottish rock band formed in Dunfermline, Fife, in 1981.

The height of the band’s popularity was in the early to mid 1980s, although it retained a cult following for many years after. The band’s music incorporated Scottish folk and martial music styles, and the band engineered their guitar-driven sound to evoke the sound of bagpipes, fiddles and other traditional folk instruments.
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Big Country comprised Stuart Adamson (formerly of Skids, vocals/guitar/keyboards), Bruce Watson (guitar/mandolin/sitar/vocals), Tony Butler (bass guitar/vocals) and Mark Brzezicki (drums/percussion/vocals). Before the recruitment of Butler and Brzezicki an early incarnation of Big Country was a five-piece band, featuring Peter Wishart (later of Runrig and now a Scottish National Party MP) on keyboards, his brother Alan on bass, and Clive Parker, drummer from Spizz Energi/Athletico Spizz ’80. Parker had approached Adamson to join his new band after the demise of Skids.


Adamson auditioned Parker (1980) at The Members’ rehearsal room in Ladbroke Grove, London and the next day was called on to play drums on demos for CBS Records at their Whitfield Street studios. The demos were produced by Adam Sieff and just featured Adamson, Parker and Watson. Adamson had asked bassist Dave Allen from Gang of Four to join the band but he declined. Adamson asked Parker to join the band, which led to eight months of rehearsal in Dunfermline in a disused furniture warehouse.

The culmination was a concert at the Glen Pavilion at Dunfermline and an interview with BBC Radio Scotland where the CBS Studio demos were utilised. The band then played live with Alice Cooper’s Special Forces tour for two concerts in 1982 at The Brighton Centre.

Butler and Brzezicki, working under the name ‘Rhythm for Hire,’ were brought in to play on “Harvest Home.” They immediately hit it off with Adamson and Watson, who invited them to join the band.


Big Country’s first single was “Harvest Home”, recorded and released in 1982. It was a modest success, although it did not reach the official UK Singles Chart. Their next single was 1983’s “Fields Of Fire (400 Miles)”, which reached the UK’s Top Ten and was rapidly followed by the album The Crossing. The album was a hit in the United States (reaching the Top 20 in the Billboard 200), powered by “In a Big Country”, their only US Top 40 hit single. The song featured heavily engineered guitar playing, strongly reminiscent of bagpipes; Adamson and fellow guitarist, Watson, achieved this through the use of the MXR Pitch Transposer 129 Guitar Effect. Also contributing to the band’s unique sound was their use of the e-bow, a device which allows a guitar to sound more like strings or synthesizer. The Crossing sold over a million copies in the UK and obtained gold record status (sales of over 500,000) in the US. The band performed at the Grammy Awards and on Saturday Night Live.

Big Country released the non-LP extended play single “Wonderland” in 1984 while in the middle of a lengthy worldwide tour. The song, considered by some critics to be one of their finest, was a Top Ten hit (No. 8) in the UK Singles Chart[2] but, despite heavy airplay and a positive critical response, was a comparative flop in the US, reaching only No. 86 on the Billboard Hot 100. It was the last single by the band to make the US charts. (by wikipedia)

And here´s is of their many “Special Edition” singles from the Eighties:

Booklet03A.jpg“Wonderland” and “Giant (one of their rare Insrumentals; it was the instrumental version of “All Fall Together”)  … not released on their second album “Steel Town” and “Lost Patrol” recoded live at their legendary New Year´s Eve Concert at Barrowland, Glosgow 1993/1994.

So, here´s another cance to discover “Big Country”, one of the finest bands from the Eighties … Listen and enjoy !


Stuart Adamson (guitar, vocals)
Mark Brzezicki (drums)
Tony Butler (bass)
Bruce Watson (guitar)


01. Wonderland 3.51
02. Giant 5.12
03. Lost Patrol (live) Part 1) 2.27
04. Lost Patrol (live) Part 2) 2.26

All songs written by Stuart Adamson – Mark Brzezicki – Tony Butler – Bruce Watson



Adamson returned for the band’s ‘Final Fling’ farewell tour, culminating in a sold-out concert at Glasgow’s Barrowland Ballroom on 31 May 2000. They played what turned out to be their last gig in Kuala Lumpur, Malaysia, in October that year.

In November 2001, Adamson disappeared again. Numerous appeals were put on the Big Country website asking for Adamson to call home and speak to anyone in the band, the management company, or his ex-wife. The website also requested that any fans who might have been ‘harbouring’ the singer to contact the management company and alert them to his whereabouts. Mark Brzezicki and Tony Butler had indicated they were concerned but the reason Big Country had lasted so long was they stayed out of one another’s personal lives, and both later noted they were unaware of the extent of Adamson’s problems. He was found dead in a room at the Best Western Plaza Hotel in Honolulu, Hawaii on 16 December 2001. (by wikipedia)

More from Big Country:


Elizabeth Cotten – Live! (1983)

FrontCover1.jpgElizabeth Cotten, born January 5, 1895 in Chapel Hill, S.C., died June 29, 1987 in Syracuse, N.Y., was a self taught blues and folk musician, singer and songwriter. She developed her own style of playing left-handed by holding a normally tuned guitar upside down so she played the melodies with her thumb and the bass lines with her fingers. Her style of playing became known as “Cotten picking”.

Cotten wrote most of her music in her early teens and earlier (she wrote “Freight Train” at age 11). After marrying at 15 and getting work as a maid she stopped playing music for 40 years. It wasn’t until she was working as a maid for Charles Seeger, an avid music lover, that she relearned how to play the guitar.

In the 1950s Mike Seeger began to record Cotten on reel to reel tape. In 1960 she began to play live for the first time, her first show was with Mike Seeger and she went on to perform with musicians such as Mississippi John Hurt, John Lee Hooker, and Muddy Waters. Because of the positive reaction Cotten began to write, record and tour with new material which she continued to do into her 80s. In 1984 she won the Grammy “Best Ethnic or Traditional Recording” for the album Elizabeth Cotten – Live!.

Elizabeth died when she was 92 in Syracuse, New York. (


I’m not lying when I said that I weeped when I heard “Freight Train” the first time. Every song on this CD moved me as well as her lovely storytelling. This incredible woman was 85 when it was recorded and she sounds so hip and cool. Her guitar playing was very impressive and very ahead of its time. As a musician myself, I have learned a great deal about “Cotten Picking” and melodies. This album is a must have for Elizabeth fans and for people who have an interest in true blue acoustic music. (by Rose Natalie Grullon)

Alternate Front+BackCover.jpg

Alternate front + back cover

Elizabeth Cotten (vocals, guitar, banjo)


01. Freight Train 4.56
02. Washington Blues 4.36
03. Jumpin’ Jack 3.30
04. Shake Sugaree 4.28
05. Shake Sugaree / Banjo Story, Rattler 5.23
06. Vastopol 4.52
07. Guitar Story 4.20
08. Oh Baby, It Ain’t No Lie 7.14
09. Elizabeth Story, et al., / Honey Babe, Your Papa Cares for You 7.56
10. Spanish Flangdang 2.44
11. ‘Til We Meet Again 1.23

All songs written by Elizabeth Cotten




Elizabeth Cotten  (January 5, 1893 – June 29, 1987)

Dorothy Ashby – Concierto De Aranjuez (1983)

FrontCover1.jpgDorothy Jeanne Thompson (August 6, 1932 – April 13, 1986) better known as Dorothy Ashby, was an American jazz harpist and composer. Hailed as one of the most “unjustly under loved jazz greats of the 1950’s” and the “most accomplished modern jazz harpist,”[6] Ashby established the harp as an improvising jazz instrument, beyond earlier use as a novelty or background orchestral instrument, proving the harp could play bebop as adeptly as the instruments commonly associated with jazz, such as the saxophone or piano.

Ashby had to overcome many obstacles during the pursuit of her career. As a black woman musician in a male dominated industry, she was at a disadvantage. In a 1983 interview with W. Royal Stokes for his book Living the Jazz Life, she remarked of her career, “It’s been maybe a triple burden in that not a lot of women are becoming known as jazz players. There is also the connection with black women. The audiences I was trying to reach were not interested in the harp, period—classical or otherwise—and they were certainly not interested in seeing a black woman playing the harp.” Ashby successfully navigated these disadvantages, and subsequently aided in the expansion of who was listening to harp music and what the harp was deemed capable of producing as an instrument.


Ashby’s albums were of the jazz genre, but often moved into R&B, world music, and other styles, especially her 1970 album The Rubaiyat of Dorothy Ashby, where she demonstrates her talents on another instrument, the Japanese koto, successfully integrating it into jazz.

Dorothy Thompson grew up around music in Detroit, where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, she would provide support and background to their music by playing the piano. She attended Cass Technical High School, where fellow students included such future musical talents and jazz greats as Donald Byrd, Gerald Wilson, and Kenny Burrell. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

DorothyAshby4.jpgShe attended Wayne State University in Detroit, where she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument.[15] At first her fellow jazz musicians were resistant to the idea of adding the harp, which they perceived as an instrument of classical music and somewhat ethereal in sound in jazz performances. So Ashby overcame their initial resistance and built support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio.[15] She recorded with Jimmy Cobb, Ed Thigpen, Richard Davis, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby’s trio, including her husband, John Ashby, on drums, regularly toured the country, recording albums for several record labels. She played with Louis Armstrong and Woody Herman, among others. In 1962, Ashby won Down Beat magazine’s critics’ and readers’ awards for best jazz performers. Extending her range of interests and talents, she also worked with her husband in a theater company, the Ashby Players, which her husband founded in Detroit, and for which Dorothy often wrote the scores. In the 1960s Dorothy Ashby, together with her husband, formed a theatrical group to produce plays that would be relevant to the African-American community of Detroit. This production group went by several names depending on the theater production.

They created a series of theatrical musical plays that Dorothy and John Ashby produced together as this theatrical company, the Ashby Players of Detroit.[17] In the case of most of the plays, John Ashby wrote the scripts and Dorothy Ashby wrote the scores.[16] Dorothy Ashby also played harp and piano on the soundtracks to all of her plays. She DorothyAshby5starred in the production of the play “3–6–9” herself. Most of the music that she wrote for these plays is available only on a handful of the reel to reel tapes that Dorothy Ashby recorded herself. Only a couple of the many songs she created for her plays later appeared on LPs that she released. Later in her career, she would make recordings and perform at concerts primarily to raise money for the Ashby Players theatrical productions.

The theatrical production group “The Ashby Players” not only produced black theater in Detroit and Canada but provided early theatrical and acting opportunities for black actors. Ernie Hudson (of Ghostbusters 1 actor, credited as Earnest L. Hudson) was a featured actor in the Artists Productions version of the play 3–6–9. In the late 1960s, the Ashbys gave up touring and settled in California, where Dorothy broke into the studio recording system as a harpist through the help of the soul singer Bill Withers, who recommended her to Stevie Wonder. As a result, she was called upon for a number of studio sessions playing for more pop-oriented acts.

Ashby died from cancer on April 13, 1986, in Santa Monica, California. Her recordings have proven influential in various genres. The High Llamas recorded a song entitled “Dorothy Ashby” on their 2007 album Can Cladders. Hip-hop artists have sampled her work often, including Jurassic 5, on their album Feedback, as well as Andre Nickatina on his song “Jungle”. Bonobo included the track “Essence of Sapphire” on his mix album Late Night Tales.


Concierto de Aranjuez is a studio album by jazz harpist Dorothy Ashby released via the Philips Records label in 1984. The record is her final album as a leader. (by wikipedia)

The harp is such a phenomenally beautiful instrument and I don’t understand why it isn’t much more prominent in jazz, or music in general. Dorothy Ashby plays with grace and feeling. Listening to this album feels like being swept away into some mystical fairy tale land. It’s soothing but also kind of melancholy in a way that I don’t think can really be described properly with words. (ClipsMcGrips)

And this is a very intimate, quit album and this fits to my sad mood today …

A great album … if you would like to relax …


Dorothy Ashby (harp)


01. Concierto de Aranjuez (Rodrigo) 9.26
02. Gypsy Airs (de Sarasate) 3.50
03. Green Sleeves (Traditional) 4.31
04. Gershwin Melody (Gershwin) 7.45
04.1. Summer Time
04.2. Someone To Watch Over Me
04.3. Porgy
05. Autumn Leaves (Kosma) 5.15
06. Dear Old Stockholm (Traditional) 4.15
07. Yesterday (Lennon/McCartney) 2.54




Dorothy Ashby (August 6, 1932 – April 13, 1986)

Van Morrison – Inarticulate Speech Of The Heart (1983)

LPFrontCover1.jpgInarticulate Speech of the Heart is the fourteenth studio album by Northern Irish singer-songwriter Van Morrison, released in 1983. Morrison said he arrived at the title from a Shavian saying: “that idea of communicating with as little articulation as possible, at the same time being emotionally articulate”. As his last album for Warner Bros. Records, he decided to do an album of mostly instrumentals. As he explained in 1984, “Sometimes when I’m playing something, I’m just sort of humming along with it, and that’s got a different vibration than an actual song. So the instrumentals just come from trying to get that form of expression, which is not the same as writing a song.” Although not expanded upon, of note is that a special thanks is given to L. Ron Hubbard in the liner notes. The reissued and remastered version of the album contains alternative takes of “Cry for Home” and “Inarticulate Speech of the Heart No. 2”.

The recording sessions took place in California, Dublin, and a series of marathon sessions at the Town House in London. Morrison played piano, guitar and saxophone on these sessions. Two Irish musicians played on the album (Arty McGlynn and Davy Spillane) and overall the music had a strong Celtic colouring. Four of the songs were instrumentals. (by wikipedia)


Almost a forgotten album, Inarticulate Speech of the Heart takes listeners to the deepest, most inward areas of Van Morrison’s renegade Irish soul, the culmination of his spiritual jazz period and also — perhaps not coincidentally — the last record he made for Warner Bros. Four of the 11 tracks are moody instrumentals, which might partly explain the indifference of many rock critics toward the album, although the album’s very title gives a clue to their presence. The mood is predominantly mellow but never flaccid or complacent; there is a radiance that glows throughout. “Higher Than the World” is simply one of the most beautiful recordings Morrison ever made, with Mark Isham’s choir-like synthesizer laying down the lovely backdrop. The instrumental “Connswater” is the most Irish-flavored piece that Morrison had made up to that point, and would continue to be until he recorded with the Chieftains in 1988. “Rave on, John Donne” — in part a recitation invoking a roster of writers over a supple two-chord vamp — seems to have had the longest afterlife, reappearing in Morrison’s live shows and greatest-hits compilations. “The Street Only Knew Your Name” is the only piece that could be classified as a rocker, tempered even here by the synthesizer overlays. The record sold poorly, but many of those who bought it consider it one of the most cherished items in their Van Morrison collections. (by Richard S. Ginell)


John Allair (keyboards)
Tom Donlinger (percussion, drums, percussion)
Pee Wee Ellis (saxophone, flute)
David Hayes (bass)
Peter van Hooke (drums, tambourine)
Mark Isham (synthesizer, trumpet)
Arty McGlynn (guitar)
Chris Michie (guitar)
Van Morrison (guitar, piano, saxophone, vocals)
Davy Spillane (uilleann pipes, flute)
background vocals:
Annie Stocking –Bianca Thornton – Mihr Un Nisa Douglass – Stephanie Douglass – Pauline Lozana


01. Higher Than The World 3.39
02. Connswater 4.08
03. River Of Time 3.00
04. Celtic Swing 5.03
05. Rave On, John Donne 5.15
06. Inarticulate Speech Of The Heart No. 1 4.52
07. Irish Heartbeat 4.38
08. The Street Only Knew Your Name 3.36
09. Cry For Home 3.42
10. Inarticulate Speech Of The Heart No. 2 3.53
11. September Night 5.14

All songs written by Van Morrison



Mushi & Lakansyel – Koté Ou (1983)

SAMSUNGOnce upon a time, a musician named Gerald Merceron was Haiti’s most important music critic. Merceron had been a jazz critic for US and French publications, and had moved back to Haiti with a deep understanding. At his side, youngsters came to the their own, including a young man named Mushi Widmaier. Mushi played on Merceron’s little known avant-guard albums (and others) before launching the group Zekle on his own, and then a second, Mushi & Lakansyel. Zekle made history as popular music, Mushi & Lakansyel as art music.

Granit Records has reissued Mushi & Lakansyel’s one album “Kote Ou,” or “Where Are You,” first released in 1983. It’s an album of songs constructed as jazzlike enclaves of beauty and depth in a Haiti of violent politics, strife, of “dilere” (a woman left her husband / to live in a beautiful house / it’s where she got sick / god take her, o) as a classic rara sons titles itself to mean misery. Thus the names of the albums songs, like “Port Salut” or “Kalalou”: things that are phenomenal about Haiti. They, coupled with the name of the album, make it an intensely philosophical album, a proposition of truth.


Lakansyel? I have no real idea, though I can say that lakansyel or rainbow is very important in Haitian Vodou. For one, the serpent and the rainbow are father and mother to this world. Secondly, the Boumba deities, the ones that Dessalines served, according to houngan Andre Basquiat, from the Congo, are rainbow deities, for serving Eskalye Boumba brings you to heaven.

“Kote Ou” is a brilliant album, one of the best that Haiti has to offer. It tells of Haitian beauty, blatantly. It asks of us to sit and feel, to make a wish. (by Adolf Alzuphar)

Mushi & Lakansyel recorded Koté Ou? in Haiti in 1983, marshalling the finest Hatian musicians for a set of unusual jazz and creole fusion. The music is smooth, cool, and distantly sad, and well worthy of rediscovery.


Joe Charles (bass)
D.T. Richard (guitar)
Joël Widmaier (drums, percussion, vocals)
Mushi Widmaier (piano, synthesizer)
Raoul Denis Jr. (synthesizer on 01.,02. + 04., cello on 02.)
Oswald Durand Jr. (flute on 07.)
Jacques Fatier (trumpet, saxophone on 04. + 06.)
Arius Joseph (perussion on 04.)
Lyrics: Ralph Boncy


01. Port Salut (M.Widmaier) 7.15
02. Sab Lan Mé (M.Widmaier) 5.07
03. Distances (M.Widmaier) 8.19
04. Kalalou (M.Widmaier) 9.33
05. Tout S’En Va (M.Widmaier) 3.06
06. Saut Mathurine (Sylvain) 5.14
07. Koté Ou? (M.Widmaier) 5.03


Betts, Hall, Leavel & Trucks – Geneva , NY (1983)

FrontCover1.jpgBetts, Hall, Leavell & Trucks features Dickey Betts and Butch Trucks (Allman Bros), Jimmy Hall (Wet Willie) and Chuck Leavell (Allman Bros & Sea Level). Unlike most Southern Rock bands in the early 80’s, this band did not venture into AOR territory. Instead, this is fairly classic Southern Rock, with songs of The Allman Brothers, and Jimmy Hall and Dickey Betts solo cuts. It’s a soundboard recording of a gig they played in Geneva, NY, on Jimmy’s birthday. The sound is a little thin at the start, but it gets better with the second song. Vocal duties are being shared by both Dickey and Jimmy. I don’t know if they ever recorded any studio demos, but this is very nice anyway. The kind of band you’d love to hear on a Charlie Daniels Volunteer Jam. I’m guessing you’ll enjoy hearing this lot keep playing Southern Rock like the 80’s never happened (by skydogselysium.blogspot)

Dickey Betts

Dickey Betts (guitar, vocals)
David Goldflies (bass)
Jimmy Hall (saxophone, vocals, harmonica)
Chuck Leavell (keyboards)
Danny Parks (violin, vocals)
Butch Trucks (drums)


01. There Ain’t Nothin’ You Can Do (Betts) 3.47
02. Whole Lotta Memories (Betts) 4.31
03. One Track Mind (Duke/Hall) 6.00
04. Need Somebody’s Help Tonight (Betts) 5.05
05. Pick A Little Boogie (unknown) 4.27
06. Ramblin’ Man (Betts) 4.42
07. Rain (Betts) 5.10
08. Stop Knockin’ On My Door (unknown)
09. Lorraine (unknown) 4.40
10. Cadillac Tracks (Hall/Berwald) 13.36
11. Jessica (Betts) 10.12
12. Southbound (Betts) 7.34