Kip Hanrahan – Vertical’s Currency (1995)

FrontCover1Kip Hanrahan (born December 9, 1954) is an American jazz music impresario, record producer and percussionist.

Hanrahan was born in a Puerto Rican neighborhood in the Bronx to an Irish-Jewish family. He has an unusual role in the albums released under his name, one which he has analogized to that of a film director. He assembles players and materials, combining modern/avant-garde/free jazz figures like Don Pullen and Steve Swallow, Latin jazz players such as Milton Cardona and Horacio “El Negro” Hernandez, and occasionally rock musicians like Sting, Jack Bruce and Grayson Hugh, also Bassist,singer,song writer,producer Fernando Saunders.

He produced a number of significant recordings by the nuevo tango master Ástor Piazzolla in the last decade of Piazzolla’s life, as well as recordings by Latin music figures including Jerry Gonzalez. Hanrahan also worked with the poet Ishmael Reed on three recordings with the Conjure Ensemble, featuring Taj Mahal on the first release. These side projects were not the only poetry-based discs: Darn It from 1994 celebrates the work of Paul Haines (by wikipedia)


Sting founded the Pangea label in the mid-’80s, unearthing some important and overlooked recordings from the defunct American Clave catalogue, much to the delight of ears lucky enough to hear (as a side note, some of tango sensation Astor Piazolla’s most important work would be lost were it not for the mining of such treasure). Such is the case for Kip Hanrahan, a soulful, New York-based percussionist and producer who unleashed two particularly fantastic albums — Days and Nights of Blue Luck Inverted and Vertical’s Currency — a lush, sensuous Afro-Cubano feast for the ears that is so warm as to engulf the listener with flames. There is a wonderful spirit to “Shadow Song,” an instantly recognizable anthem of Ricky Ricardo cliché that roars with boisterous horn arrangements, congas, cowbells, and vocals of uncanny, third-person self-analysis: “Today I have these blues that are wittier than me/That jokes with my girlfriend while drinking my rum.” “Smiles and Grins” follows with tight polyrhythms that snap and clap along with syncopated piano clusters, as vocalist Jack Bruce hurriedly lilts beat poetry through the chord changes that only twice pause for contemplation.


Elsewhere in the disc there is an element of sultry longing and hot Miami sunsets, as with “Two Heartedly, To the Other Side,” “Make Love 2,” and “Dark (Kip’s Tune).” It is with this all-star cast of the New York underground jazz fusion scene that Hanrahan finds such rich moods, textures, and symbiosis. Steve Swallow on the bass rarely disappoints, and both guitarist/avant-gardist Arto Lidsay and keyboardist Peter Scherer, who together comprise the group Ambitious Lovers, fill out the room with equally reliable musicianship. Vertical’s Currency overflows with rich contributions in an organic stew of worldly fusion that slinks through the city streets after hours. Find this album and pounce on it. (by Keir Langley)


Taken from the American Clave catalogue
(is a part of the file)

Frisner Augustin (quinto, tambou, tamboura)
Ignacio Berroa (drums)
Jack Bruce (bass, piano, vocals)
Milton Cardona (percussion)
Anton Fier(drums)
Kip Hanrahan (percussion)
Nancy Hanrahan (vocals)
Andriau Jeremie (saxophone)
Arto Lindsay (guitar)
Claudette Mitchell (chekere)
David Murray (sacophone)
Elysee Pyronneau (guitar) (Electric)Charles Reilly PhotographyOrlando
Orlando “Puntilla” Rios (percussion)
Mario Rivera (saxophone)
Ned Rothenberg (saxophone)
Peter Scherer (organ, synclavier, synthesizer)
Lew Soloff (trumpet)
John Stubblefield (saxophone)
Steve Swallow (bass)
Richie Vitale (trumpet)
Nancy Weiss (vocals)


01. A Small Map Of Heaven (Hanrahan/Swallows) 5.17
02. Shadow Song (Mario’s In) (Hanrahan/Hernandez) 4.06
03. Smiles And Grins (Bruce/Brown) 3.02
04. Two Heartedly To The Other Side (Hanrahan/Swallows) 3.03
05. Chances Are Good (Baden’s Distance) (Hanrahan/Powell) 5.08
06. Make Love 2 (Bruce/Brown) 4.27
07. One Casual Song (After Another) (Bruce/Hanrahan) 3.03
08. Intimate Distances (Jack’s Margrit’s Natasha) (Hanrahan) 3.01
09. Describing It To Yourself As Convex (Hanrahan/Scherer) 4.07
10. What Do You Think ? That This Mountain Was Once Fire ? (Hanrahan/Swallows)v 1.41
11. Dark (Kip’s Tune) (Hanrahan/Lindsay) 2.59




Weekend At Waikiki – Perfect Punisment (1986) + demo tape (1984)

FrontCover1Unfortunatly I have not many informations about this group:

Formed in 1983, Wolvega, Friesland, Netherlands and I guess they disbanded in 1994 …

Other sources said, that they are still alive … Maybe they come togehter from time to time for some live Shows …

Weekend At Waikiki is a New Wave band, with a real dark and gloomy Sound … like Simple Minds, Talking Heads or David Bowie.

Here is their debutalbum, recorded at the Spitsbergen Studios, Holland April 1986

This is not my kind of music but … you know … many fantastic Colors …

I add a rare demo tape from 1984 with 3 Songs:

Not the best recording quality even when it was recorded by Dutch radio… but:
Despite the lesser audio quality – the music is drop dead gorgeous, absolute New Wave killer. (by soundmill)


Jan Dijksma (bass)
Henk Gubbels (guitar)
Jelke Haisma (percussion)
Thijs Helfrich (vocals)
Wijnand Helfrich (keyboards, vocals)
Han Raggers (guitar)

Boelie Winter (drums)
Maarten de Reus (saxophone on 05.)


01. Love In A Most Peculiar Way 4.21
02. Fight 4.18
03. Snake Attack 3.57
04. No Way To Go 3.42
05. Kling Around ….. The Desk 4.50
06. The Night 4.29
07. Let’s Invite Mary 3.08
08. Wonderschoon 3.01
09. Perfect Punishment

All songs written by Weekend At Waikiki



Deep Purple – Warm Up In Australia (1984)

FrontCover1.JPGAPRIL 1984: The five members of Deep Purple Mk 2’s original line-up all met together in Kentucky for talks. Blackmore personally called Jon Lord in Scandinavia on April 13th (where he was on tour with Whitesnake) to ask him over. Although the various members had been in touch with one another over the years, this was the first time they’d all been together since June 1973 in Japan. The musicians then met up again the following week at the offices of manager Bruce Payne’s Thames Talent company in New York, where they agreed to reform Deep Purple to both record and tour.

OCTOBER / NOVEMBER 1984: By October Deep Purple had begun rehearsals for the first tour. It might seem hard to believe now, but they chose to do this in an old community room at St. Peter’s Hall in Bedford! They were there for a fortnight, and re-learnt many of the old Mk 2 “Made In Japan” era classics as well as some of the new material.


DECEMBER 1984: The late November and December shows were so far away that it took a while for the first reports to filter back home to the UK (hard to imagine a world without the internet!). They kicked off in Australia, hit New Zealand on December 2nd, and then returned to Australia to play three more cities. The schedule was leisurely, allowing for extra shows to be dropped in where demand was high, and sunbathing when it wasn’t.

The set-list was a mix of old and new – Highway Star, Nobody’s Home, Strange Kind Of Woman, Gypsy’s Kiss, Perfect Strangers, Under The Gun, Knocking At Your Back Door, Lazy, Child In Time, Difficult To Cure, Space Truckin’ and encores, with Smoke On The Water saved for the end. Reviews were mixed, although the enthusiasm for having the band back was immense.

Gillan was struggling at times, and Blackmore often seemed happy to settle back and watch the others. It was obviously going to take the band a while to settle in to working with one another again but with half the set new they were at least determined not to rest too heavily on past glories.


The tour finished in Melbourne on the 18th, and barring a mini riot in Adelaide (where ticketless fans had tried to crash the stadium before the show) gone down well.

George Harrison turned up to guest at one gig (Sydney, December 13th), and football matches provided relaxation for members of the band and crew, as well as lucky fans. It was back home for a couple of weeks off before the start of the American tour after Christmas. (by

And here´s the full concert from their last gig in Australia in 1984.

But, to be honestly … this is the classic Deep Purple Mk. II line-up, but this is not their best live recording … much to much screaming by Ian Gillan … and much to much distracted solos by Ritchie Blackmore and Jon Lord … sorry Folks … but it´s yet a nice addiion to every Deep Purple record collectiion.

The sound quality is okay, but please don´t forget, that this a bootleg !

Recorded live at the Entertainment Centre, Melbourne, Australia, December 16, 1984.


Ritchie Blackmore (guitar)
Ian Gillan (vocals)
Roger Glover (bass)
Jon Lord (keyboards)
Ian Paice (drums)


01. Highway Star 5.15
02. Nobody’s Home 3.46
03. Strange Kind Of Woman 8.29
04. Ritchie’s Blues / A Gipsy’s Kiss 5.35
05, Perfect Stranger 5.56
06. Under The Gun 6.02
07. Knocking At Your Backdoor 9.39
08. Lazy 7.24
09. Child In Time 10.13
10. Difficult To Cure 9.05
11. Space Trucking 13.57
12. Speed King 6.15
13. Introduction to the band members 1.17
14. Black Night 4.11
15. Smoke On The Water 7.37
16. Warm Up In Australia (uncut version) 1.45.58

All songs written by Ritchie Blackmore – Ian Gillan – Roger Glover – Jon Lord – Ian Paice




Big Country – Steeltown (1984)

FrontCover1Steeltown is the second studio album by Scottish band Big Country. The album was recorded at ABBA’s Polar Studios in Stockholm with Steve Lillywhite producing. It was released on 19 October 1984, in the UK and 29 October 1984, in the United States. It was released on CD only in Germany, as well as remastered and reissued there.

Steeltown is the band’s only UK number 1 album, topping the chart for 1 week in October 1984. The title track Steeltown was written about the town of Corby, telling how many Scots went to work at the Stewarts & Lloyds steelworks when it opened in 1935, at the height of the Great Depression, but later found themselves unemployed when the steelworks declined in the early 1980s. (Source: Melody Maker, 1984)

The 1996 reissue contains all of the B-sides from the album’s single releases as well as the extended version of “Wonderland”

“East Of Eden” was the only Top 20 single from the album, reaching #17 in the UK chart. (by wikipedia)

Ad“Clanging and crackling with energy, this second album from Big Country rings natural evolutionary changes on the band’s stirring twin-guitar sound even as it frames still better news: bandleader Stuart Adamson has rapidly matured into a songwriter capable of bringing meticulous craft to his obvious passion. (Fred Schruers, Rolling Stone)

For their second album, Big Country took a heavier direction, both in terms of sound and in lyrical content. Where their exuberant, mega successful 1983 debut, `The Crossing’, used their bagpipe guitar technique to tell somewhat mythical `Boys Own’ stories of heroic soldiers, ships and soaring romance, `Steeltown’ was a darker, more political work. It was full of social observation and examinations of the problems of the British working classes. The romance was still there, but it had become muted and tragic, the soldiers angry and disillusioned. In a way, `The Crossing’ could be seen as a patriotic call to arms and `Steeltown’ the awful post-war reality of husbands killed in war, dole queues and domestic violence.

Lead singer and guitarist, Stuart Adamson’s lyrics are more developed and poetic on `Steeltown’, telegraphing that he had very serious intentions for this band, which went far beyond the gimmick of their guitar sound. In grand imagery, the soaring hard rock attack of the opening track, `Flame of the West’, tells the tale of a visit by a rich politician or industrialist (US movie star President, Ronald Reagan?), to the impoverished mining towns. Adamson sets the tone for the album here – it is working class outrage. The slower, dirgier second track, `East of Eden’, is beautiful and angry, as he takes on the part of a worker in the modern industrial machine (“I looked west in search of freedom and I saw slavery, I looked east in search of answers and I saw misery”). Then the aggression of the towering, anthemic title track makes it abundantly clear that exploitation of the working classes is his main concern this time out (“We built all this with our own hands, But who could know we built on sand”).


The songs that follow look at the hypocrisy used to motivate young men to go to battle (`Where the Rose is Sown’), the plight of a young mother whose husband is killed in war (`Come Back to Me’) and the frustration of dead end work that ends in relationship breakdown (`Just a Shadow’). Other songs are less overt, but take on a resonance from those around them (`The Girl with Grey Eyes’, `The Great Divide’).

Adamson’s vocals are an impassioned cry on much of this album, but beautifully tender and sadly contemplative on the slower tracks (`The Girl with Grey Eyes’, `Just a Shadow). The musicianship is first rate throughout and Mark Brzezicki’s drumming is fantastic. Steve Lillywhite (U2, Peter Gabriel, Souxie and the Banshees, XTC) once again produces, coating proceedings with a slick sheen while retaining just enough grit to keep it sounding authentic.


Though `Steeltown’ indisputably retains the Big Country sound, it is not an immediately accessible album, but it is one that delivers great rewards with repeated listens. (by B S Marlay)

I added the remastert versions from this LP as a bonus.


Stuart Adamson (guitar, piano, vocals)
Mark Brzezicki (drums, percussion, vocals)
Tony Butler (bass, vocals)
Bruce Watson (guitar, mandolin, sitar, vocals)


01. Flame Of The West 5.01
02. East Of Eden 4.29
03. Steeltown 4.39
04. Where The Rose Is Sown 4.58
05. Come Back To Me 4.35
06. Tall Ships Go 4.38
07. Girl With Grey Eyes 4.47
08. Rain Dance 4.19
09. The Great Divide 4.50
10. Just A Shadow 5.38

Music: Stuart Adamson – Mark Brzezicki – Tony Butler – Bruce Watson
Lyrics: Stuart Adamson



More Big Country, one of my favorite bands from the 80´s (click on the pic):


Bryan Adams – Reckless (1984)

FrontCover1Reckless is the fourth studio album by Canadian singer-songwriter Bryan Adams. Released on 5 November 1984 through A&M Records, the album was co-produced by Adams and Bob Clearmountain, and it was arguably Adams’ most successful solo album. The album was a huge international hit, selling over 5 million units in the United States for a total of 12 million worldwide. It was the first Canadian album to sell more than a million units within Canada. The album reached number 1 on the Billboard 200 and reached high positions on album charts worldwide. (by wikipedia)

Bryan Adams capitalized on the momentum of Cuts Like a Knife with 1984’s Reckless, a virtually flawless collection of melodic hard rock which would dominate radio for years to come. “Run to You” was a brilliant lead-off single which remains one of Adams’ best songs ever, but its success still pales in comparison to follow-up smashes such as “Summer of ’69,” “It’s only Love,” (a duet with Tina Turner), and the ballad to end all ballads, “Heaven.”


Although some songs haven’t aged very well (especially the overtly cheesy “Kids Wanna Rock”), these weak links are easily eclipsed by further highlights such as the cool rock of “One Night Love Affair” and the irrepressible pop chorus of “Somebody.” Sales figures may point to 1991’s Waking Up the Neighbors as the peak of Bryan Adams career, but the songs from Reckless will most certainly prove to be his lasting legacy. (by Eduardo Rivadavia)

This album is a killer album … and “Summer Of ´69” was and is an anthem of a whole generation:

I got my first real six-string
Bought it at the five-and-dime
Played it ’til my fingers bled
Was the summer of sixty-nine

Me and some guys from school
Had a band and we tried real hard
Jimmy quit, Jody got married
I should’ve known we’d never get far

Oh, when I look back now
That summer seemed to last forever
And if I had the choice
Yeah, I’d always wanna be there
Those were the best days of my life

Ain’t no use in complainin’
When you’ve got a job to do
Spent my evenings down at the drive-in
And that’s when I met you, yeah

Standin’ on your mama’s porch
You told me that you’d wait forever
Oh, and when you held my hand
I knew that it was now or never
Those were the best days of my life

Oh, yeah
Back in the summer of sixty-nine, oh

Man, we were killin’ time, we were young and restless
We needed to unwind
I guess nothin’ can last forever, forever, no


And now the times are changin’
Look at everything that’s come and gone
Sometimes when I play that old six-string
I think about you, wonder what went wrong

Standin’ on your mama’s porch
You told me that it’d last forever
Oh, and when you held my hand
I knew that it was now or never
Those were the best days of my life

Oh, yeah
Back in the summer of sixty-nine, oh
It was the summer of sixty-nine, oh, yeah
Me and my baby in sixty-nine, oh
It was the summer, the summer, the summer of sixty-nine, yeah

Oh yeah …


Bryan Adams (vocals, guitar, piano, harmonica)
Keith Scott (guitar, background vocals)
Pat Steward (drums, background vocals)
Dave Taylor (bass)
Jim Vallance – percussion
Mickey Curry (drums)
Tommy Mandel (keyboards)
Jody Perpick – backing vocals, background sounds
Steve Smith (drums on 04.)
Tina Turner (vocals on 08.)


01. One Night Love Affair 4.32
02. She’s Only Happy When She’s Dancin’ 3.14
03. Run To You 3.54
04. Heaven 4.03
05. Somebody 4.44
06. Summer Of ’69 3.35
07. Kids Wanna Rock 2.36
08. It’s Only Love 3.15
09. Long Gone 3.57
10. Ain’t Gonna Cry 4.06

All songs written by Bryan Adams and Jim Vallance.



And here´s the best live recording ever of “Summer Of ´69”
directed by Andrew Catlin:



Herbie Armstrong – Back Against The Wall (1985)

FrontCover1The young Herbie Armstrong spent his teens and early twenties touring Ireland and the North of England with Irish show bands, and also worked for six months in late 1967 as the lead guitarist in Screaming Lord Sutch’s backing band.

In the early 1970s, after a period living abroad in Portugal in which he ran a riding school, Armstrong founded in London the pop band Fox, with the American songwriter and musician Kenny Young (who had written the 1964 hit, ‘Under the Boardwalk’, for the Drifters) and Australian singer Noosha Fox. Fox had two major chart hits, 1974’s ‘Only You Can’ and 1976’s ‘S-S-S Single Bed’, both of which sold over 200,000 copies. While ‘Only You Can’ reached number three in the UK charts, ‘S-S-S Single Bed’ stalled at number four, but was also a number one hit in Australia. There were also three Fox albums, ‘Fox’ (1975), ‘Tails of Illusion’ (1975) and ‘Blue Hotel’ (1977).

HerbieArmstrong2When Noosha left Fox after ‘Blue Hotel’, Armstrong and Young maintained their song writing partnership and formed new wave act Yellow Dog. Yellow Dog released three albums, ‘Yellow Dog’(1977), ‘Beware of the Dog’(1978) and ‘Strangers in Paradise’(1981), and in 1978 had two chart singles, ‘Just One More Night’ and ‘Wait Until Midnight’ (the latter of which was the first single that this writer bought as a twelve year old).

Herbie Armstrong spent the late 1970s and early 1980s touring the world with his childhood friend Van Morrison, and played lead guitar on four of his albums, ‘Wavelength’(1978), ‘Into the Music’(1979), ‘Common One’(1980) and ‘Beautiful Vision’(1982). He then embarked on a solo career, which saw him release one album, ‘Back Against the Wall’, in 1983 on the short-lived Making Waves label, before he moved on from music to take up a career in management in the licensed trades.

He ran in London for a while Armstrong’s, a restaurant, whose regular customers included Yellow Dog’s old label boss Richard Branson at Virgin Records and the comedian Kenny Everett, for whom Fox had written his TV theme tune. Armstrong then went on to open two live venues in Sheffield including the renowned Boardwalk, and now runs The Fountain, an inn, live venue and restaurant in the village of Rowland’s Castle near Portsmouth. (by John Clarkson)

And here´s his first solo ablum … and it´s a superb album … This should have been so much more successful … if you like Van Morrison … than is this album a must.

A forgot hewel in the history of Irish rock, including a great band (Pee Wee Ellis !).


Herbie Armstrong + rare single

Herbie Armstrong (guitar, vocals)
Mitch Dalton (guitar)
Pee Wee Ellis (saxophone)
Peter Van Hooke (drums, percussion)
Mark Isham (bass, keyboards, saxophone)
Patrick O’Hearn (bass, synthesizer)
Phil Palmer (guitar)
background vocals:
Linda Taylor – Sharon Campbell


01. Losing You (Armsrong) 4.34
02. Horses Of Steam (Kelly/Richmond) 5.04
03. You Take Me Up (Armstrong) 4.08
04. Friday’s Child (Morrison)
05. Back Against The Wall (Armstrong) 3.55
06. Heaven Only Knows (Armstrong/Platania) 3.48
07. Josie (Armstrong) 5.17
08. Let It Run (Armstrong) 3.33
09. Save The Last Dance (Pomus/Shuman) 4.14
10. Coming In From The Rain (Armstrong) 4.38


Herbie Armstrong in 2011

Dumpy´s Rusty Nuts – Somewhere In England (1984)

FrontCover1Dumpy’s Rusty Nuts are a British rock band founded in 1981 by the lead singer Graham “Dumpy” Dunnell. Though unsuccessful as recording artists the band have been a successful and popular live act for decades. The band attracted a cult following for their live performances in small rock venues. Playing classic blues rock, their initial audiences were drawn from the new wave of British heavy metal[2] and ‘Bikers’ and they became particularly well-known at the London Marquee Club, where they were a regular and popular attraction. In the early to mid-1980s the band toured extensively around the UK playing at small rock/’Biker’ pub and club venues including the Isle of Man TT, and music festivals, cementing their name and following.

The band were not successful recording artists, preferring to concentrate on live work. They released a debut single “Just For Kicks” in June 1982 but in order to get airplay the band had to change their name to “Dumpy’s Rusty Bolts”. Sales of the single were poor, and the original band name was restored. A second single, “Box Hill Or Bust”, was released. Subsequent sporadic releases have only found favour with their small core audience.

They released a double live album, Somewhere in England, in 1984, which was recorded at the Marquee Club.

Despite the group’s longevity, they became for a time a favourite target for mockery from the British music press, especially Melody Maker, where they were regularly portrayed as claiming to be jumping on the latest improbable bandwagon in the humorous section “Talk Talk Talk” written by David Stubbs.

As of 2010, the band is still performing in small venues, music festivals and bike rallies across Europe. The band has toured with and supported many bands including Hawkwind, Motörhead and Status Quo. (by wikipedia)

Dumpy01Dumpy’s Rusty Nuts are a biker rock band in every sense of the term — not only do they play the sort of loud, heavy, riff-driven bar boogie you’d expect, but singer and lead guitarist Graham “Dumpy” Dunnell actually started out as a motorcycle mechanic before making the switch to rock & roll. Dunnell’s first gig was with a pub rock band called Borzoi, which didn’t survive the punk revolution; he briefly joined an Elvis Costello-influenced new wave band called the Rivvits before deciding it didn’t reflect his musical taste. In 1981, Dunnell formed a boozy blues/boogie unit called Dumpy’s Dirt Band; early the following year, he assembled the more focused Dumpy’s Rusty Nuts, with bassist Mac McKensie and drummer Chris Hussey. In June 1982, Dumpy’s Rusty Nuts issued their debut single, “Just for Kicks,” which became a minor metal hit in the U.K. The follow-up, “Boxhill or Bust,” became a British biker anthem; it featured new bassist Jeff Brown, and was actually released as Dumpy’s Rusty Bolts since the BBC banned their proper name. Both singles were released on the Blues Band’s house label, Cool King, and the Rusty Nuts’ subsequent tour supporting the Blues Band (the post-Manfred Mann group of Paul Jones) cemented their reputation. By that time, bass duties had passed to Kerry Longford, in a revolving-door situation that would continue for most of the band’s history. Dumpy’s Rusty Nuts released their debut album,

ConcertPosterSomewhere in England (which contained their two prior singles), in 1984 and hit the road in support. Hot Lover followed in 1985, as did 1987’s Get Out on the Road — an apt description of the band’s philosophy, since even as their recording activity diminished and their rhythm section personnel came and left, they remained an active touring and performing unit. Starting in 1995, the lineup stabilized with bassist Martin Connolly and drummer Andy Smith, and the band continued to play hard rock and motorcycle festivals around the U.K. (by Steve Huey)

DRN’s roots lie mainly in the Heavy Rock/ Blues music of the late sixties and seventies, taking influences from Eric Clapton and Jimi Hendrix through to Pink Floyd, Dr Feelgood and Motorhead.

In other words: Heavy Metal meets Blues, Boogie & Rock N Roll …  and you can hear a great version of Peter Green´s “Out Of Reach” (from the John Mayall album “So Many Roads”, 1967)

But this crazy album starts with Vivaldi  … and than … the ride beginns …

Mark Brabbs (drums)
Graham “Dumpy” Dunnell (guitar, vocals)
Kerry Langford (bass)l


01. It’s Got To Be Blues (Dunnell) 4.21
02. Ride With Me (Dunnell)  4.28
03. I’m A Hog For You Baby (Leiber/Stoller) 3.18
04. Rip It Up (Blackwell/Marascalco) 6.20
05. Night Rider (Dunnell) 2.58
06. Woke Up This Morning (Dunnell) 3.48
07. Look In The Mirror (Dunnell) 6.36
08. Whole Lot Of Blues (Dunnell) 2.48
09. Out Of Reach (Green) 5:27
10. Box Hill Or Bust (Dunnell) 3.07
11. Tush (Gibbons/Hill/Beard) 2.13
12. Just For Kicks (unknown) 3.34
13. Cross Keys (Dunnell) 4.19
14. Wee Wee Baby (Reed) / Wildy Thing (Taylor) (Guitar Jam (Dunnell) 14.18
15. Route 66 (Troup) 2.37
16. Somewhere In England (uncut version with lots of noise and stage announcements) 1.18.34