GLI APOSTHOLI - HO SMESSO DI VIVERE 1973

Another group from Vicenza, active since around 1964, Gli Apostholi released two pop albums with very light prog influences (especially their first); both are very rare and expensive.
It seems that the first album, initially issued in very few copies, was newly recorded by the group in 1983 and pressed in a second issue in 500 copies. The 2007 CD reissue of Un'isola senza sole refers to the 1983 edition.
The group is still active (Augusto Croce)

Tracks :

01 - Il pesce rosso
02 - Foglie rosse d'autunno
03 - Dolce
04 - Se cerchi se ascolti
05 - Un altare di farfalle
06 - Ho imparato a distruggere
07 - Ho smesso di vivere
08 - Una contadina
09 - Ho voluto insistere
10 - Ho acceso un fiore
11 - Profumo sorriso
12 - Tema da un altare di farfalle

JESSE WINCHESTER - JESSE WINCHESTER 1970

Jesse Winchester first gained notice as a protege of the Band's Robbie Robertson, who produced and played guitar on his debut album and brought along bandmate Levon Helm to play drums and mandolin. The album had much of the rustic Southern charm and rollicking country-rock of the Band. Winchester's other immediate appeal was a certain sense of mystery. A Southern American expatriate living in Canada, he was unable to appear in the U.S. to promote the album, which was released in a fold-out LP jacket that featured the same sepia-toned portrait (which looked like one of those austere Matthew Brady photos from the Civil War era) on each of its four sides. Winchester emphasized the dichotomy between his southern origins and his northern exile in songs like "Snow" (which Robertson co-wrote), "The Brand New Tennessee Waltz" ("I've a sadness too sad to be true"), and "Yankee Lady." Jesse Winchester was timely: It spoke to a disaffected American generation that sympathized with Winchester's pacifism. But it was also timeless: The songs revealed a powerful writing talent (recognized by the numerous artists who covered them), and Winchester's gentle vocals made a wonderful vehicle for delivering them. (Originally released by Ampex in 1970, Jesse Winchester was reissued by Bearsville Records in 1976 and again in 1988 by Rhino/ Bearsville).
--William Ruhlmann, All-Music Guide

Tracks :

1. Payday
2. Biloxi
3. Snow (J.Winchester/J.R.Robertson)
4. Brand New Tennessee Waltz
5. That's a Touch I Like
6. Yankee Lady
7. Quiet About It
8. Skip Rope Song
9. Rosy Shy
10. Black Dog
11. Nudge

JUNIOR WELLS - IN MY YOUNGER DAYS 1972

He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack. Amazingly, Junior Wells kept at precisely this sort of thing for over 40 years -- he was an active performer from the dawn of the '50s to his death in the late '90s. Born in Memphis, Wells learned his earliest harp licks from another future legend, Little Junior Parker, before he came to Chicago at age 12. In 1950, the teenager passed an impromptu audition for guitarists Louis and David Myers at a house party on the South Side, and the Deuces were born. When drummer Fred Below came aboard, they changed their name to the Aces.

Little Walter left Muddy Waters in 1952 (in the wake of his hit instrumental "Juke"), and Wells jumped ship to take his place with Waters. That didn't stop the Aces (who joined forces with Little Walter) from backing Wells on his initial sessions for States Records, though -- his debut date produced some seminal Chicago blues efforts, including his first reading of "Hoodoo Man," a rollicking "Cut That Out," and the blazing instrumentals "Eagle Rock" and "Junior's Wail." More fireworks ensued the next year when he encored for States with a mournful "So All Alone" and the jumping "Lawdy! Lawdy!" (Muddy Waters moonlighted on guitar for the session). Wells was already exhibiting his tempestuous side -- he was allegedly AWOL from the Army at the time.

In 1957, Wells hooked up with producer Mel London, who owned the Chief and Profile logos. The association resulted in many of Wells' most enduring sides, including "I Could Cry" and the rock & rolling "Lovey Dovey Lovely One" in 1957, the grinding national R&B hit "Little by Little" (with Willie Dixon providing vocal harmony) in 1959, and the R&B-laced classic "Messin' with the Kid" in 1960 (sporting Earl Hooker's immaculate guitar work). Wells' harp was de-emphasized during this period on record in favor of his animated vocals. With Bob Koester producing, the harpist cut an all-time classic LP for Delmark in 1965. Hoodoo Man Blues vividly captured the feel of a typical Wells set at Theresa's Lounge, even though it was cut in a studio. With Buddy Guy (initially billed as "Friendly Chap" due to his contract with Chess) providing concise lead guitar, Wells laid down definitive versions of "Snatch It Back and Hold It," "You Don't Love Me," and "Chittlin' Con Carne."

The harpist made his second appearance on the national R&B lists in 1968 with a funky James Brown-tinged piece, "You're Tuff Enough," for Mercury's feisty Blue Rock logo. Wells had been working in this bag for some time, alarming the purists but delighting R&B fans; his brass-powered 1966 single for Bright Star, "Up in Heah," had previously made a lot of local noise. After a fine mid-'70s set for Delmark (On Tap), little was heard from Wells on vinyl for an extended spell, though he continued to enjoy massive appeal at home (Theresa's was his principal haunt for many a moon) and abroad (whether on his own or in partnership with Guy; they opened for the Rolling Stones on one memorable tour and cut an inconsistent but interesting album for Atco in the early '70s).

Toward the end of his career, Wells just didn't seem to be into recording anymore; a pair of sets for Telarc in the early '90s were major disappointments, but his last studio session, 1997's Come on in This House, found him on the rebound and the critics noticed -- the album won the W.C. Handy Blues Award for Traditional Blues Album in 1997. Even when he came up short in the studio, Wells remained a potent live attraction, cutting a familiar swaggering figure, commanding the attention of everyone in the room with one menacing yelp or a punctuating blast from his amplified harmonica. He continued performing until he was diagnosed with lymphatic cancer in the summer of 1997. That fall, he suffered a heart attack while undergoing treatment, sending him into a coma. Wells stayed in the coma until he passed away on January 15, 1998. A handful of compilations were released shortly after his death, as was the film Blues Brothers 2000, which featured a cameo by Wells. ~ Bill Dahl, All Music Guide

Tracks :

01 - Cut That Out
02 - So All Alone
03 - Eagle Rock
04 - 'Bout the Break of Day
05 - Lawdy! Lawdy!
06 - Junior's Wail
07 - Tomorrow Night
08 - I Could Cry
09 - Cha Cha Cha In Blues
10 - Lovey Dovey Lovey One
11 - Little By Little
12 - Universal Rock
13 - Messin' With The Kid
14 - You Sure Look Good To Me
15 - It Hurts Me Too (When Things Go Wrong)
16 - I Need Me A Car

JETHRO TULL - THIS WAS 1968

This Was (1968) is the first album by the rock band Jethro Tull. Recorded at a cost of only £1200 GBP, the album received generally favorable reviews and sold well upon its release. In the documentary film of the Woodstock Festival, portions of the songs "Beggar's Farm" and "Serenade to a Cuckoo" may be heard on the PA system, indicating the level of notice the album achieved in the United States. The album reached number 10 on the UK Album Chart[1] and number 62 on the Billboard 200.

Unlike their later albums, vocalist Ian Anderson shared songwriting duties with guitarist Mick Abrahams. Due to his influence, the album overall has more of a rhythm and blues feel than the progressive rock the band later became known for.

This album also contains the only non-instrumental Jethro Tull song not sung by Ian Anderson to be released on a studio album, "Move On Alone", where Mick Abrahams sings. David Palmer provided the horn arrangement.

Abrahams left the group following this album in a dispute over "musical differences".

The album includes a cover version of the jazz tune "Serenade to a Cuckoo" by Roland Kirk, whose flute technique was an influence on Anderson.

"Dharma for One" was later covered by Ekseption, Pesky Gee! and Ides Of March.

"Cat's Squirrel" was later used by Mick Abrahams in Blodwyn Pig, Abrahams' post-Jethro Tull band.

A deluxe two-CD fortieth anniversary edition was released in 2008. It contains the original mono version, a stereo version remixed from the original four-track session tapes, and two additional bonus studio tracks, "Sunshine Day" and "So Much Trouble".

Tracks :

"My Sunday Feeling" (Anderson) – 3:43
"Some Day the Sun Won't Shine for You" (Anderson) – 2:49
"Beggar's Farm" (Abrahams/Anderson) – 4:19
"Move on Alone" (Abrahams) – 1:58
"Serenade to a Cuckoo" (Kirk) – 6:07
"Dharma for One" (Anderson/Bunker) – 4:15
"It's Breaking Me Up" (Anderson) – 5:04
"Cat's Squirrel" (Traditional, arranged by Abrahams) – 5:42
"A Song for Jeffrey" (Anderson) – 3:22
"Round" (Anderson/Abrahams/Bunker/Cornick/Ellis) – 1:03
"One for John Gee" (Abrahams) – 2:06
"Love Story" (Anderson) – 3:06
"Christmas Song" (Anderson) – 3:08

HARMONIUM - SI ON AVAIT BESOIN D'UNE CINQUIEME SAISON 1975

Si On Avait Besoin D'Une Cinquième Saison is one of the forgotten gems of progressive folk and I would surely not have found this album if it hadn't been presented in the top 10 of the Progarchives. Everyone who knows the French language a bit, can understand what the general concept of this album is: the musical performance of the four seasons, plus the portrayal of an imaginary fifth season, an epic which takes the most of the total running time and is evidently the center piece of the record. Overall, the music is kept acoustically: besides the omnipresent steel string acoustic guitar and the French (!) vocals we get to hear several wind instruments (flutes, clarinets, saxophones etc.), a plucking bass guitar, some nice tape fooling-arounds, occasional electric and acoustic pianos and - which makes the LP especially interesting for me - the Mellotron. In the short pieces (Spring, Summer and Winter) we do not get to hear it at all, but the two main pieces (Autumn and the fifth season) are nearly brimmed with the infatuating sound of this cultic keyboard instrument. I didn't mention the drums until here, and this is because there aren't any to be heard here at all, except for some rare percussion.
The first piece, Vert (Green) - a collaboration of band leader Fiori and guitarist Normandeau - represents the spring and is a dreamy and mellow opener starting off with a leaping flute until the acoustic guitar and the bass guitar enter. Already at this place we can hear that the French-Canadian band is clearly influenced by the French chanson music although the jazzy electric piano which later consorts with the other instruments is somehow more reminiscent of the Canterbury scene, somehow like a mix of Caravan, Simon & Garfunkel and Genesis in French. Serge Fiori's vocals which have some superb solos in this song are always great and perfectly blend in the music; in this song this groovy flow of the vocals and vocalizations, like the acrobatic improvisations around the text, is just awesome and creates a positive and happy mood. The second half of the song consists of a jam of the soprano saxophone, flute, the acoustic guitar and the vocals - never without the tape echo effects - on a cool funky and folksy riff.
Dixie, the summer song, is the finger-picking exercise on this record (when Steve Howe does this, everyone is highly delighted, but when Fiori and Normandeau record something, this is just 'awful'). After some short vocal verses the piece, easily the fastest one of the five seasons, becomes a good-mood-jam with some swift acoustic guitar and zither harp playing (superb backing and solo!), virtuosic piano and clarinet improvisations, one of the finest spoons which I have ever heard and even a short piece of Russian folklore in the very end. Dixie may not be demanding enough for a real progger, but for me it is a superbly played Dixieland track where you cannot keep your feet still.
Depuis L'Automne (Since the autumn) is the song which touched me most on this LP and is actually a thoroughbred prog folk piece. The beginning, after some somber and creepy synthesizer sounds, attracts as little 'progressive' attention as the other two pieces, starting off gently with an intricate, picking acoustic guitar and Fiori's vocals. But already the second verse is somehow hectic, and who knows about the band's 'sovereignistic' attitude ("We wanted to sing in the street, not to be as lost anymore, pity that this is the street that we have lost") will also know that this is not going to be a singalong song: a strained piano prelude discharges into a celestial mellotron bridge with superb harmony vocals, one of those very short moments - just like parts of Genesis' Trespass - which can transport and express plenty of different feelings problemlessly. The next stanza is acoustic again, but more rhythmical and with a loping bass accompaniment while the next one contains dense, Anthony Phillips-like multitracked guitars and beautiful piano arpeggios. Afterwards the mellotron resumes full power, the restrained bass guitar keeps the rhythm (a very clever idea which saves the piece from disappearing in mist) and an echoed acoustic guitar and a superb soprano saxophone swirl around: classy and entrancing King Crimson feeling without sounding like a rip-off. A reprise of the mellotron bridge leads us to the last part, at first in a slowly crescending instrumental part where an exciting bass/electric piano-riff (does anybody remember Circles of the Manfred Mann's Earth Band?) and textless vocals turn around some simple acoustic guitar strumming. The restless coda consists of angry questioning (the same question which in the originaly poem was situated right in the middle of it) where I believe the vocals - or the harmony between the lead and the backing voice - to be very exciting.
After this masterpiece the listener gets a short rest with the winter piece of this record, En Pleine Face (On the plain face), for me the most beautiful one of the three shorter pieces on this LP. At first we hear the same melody that was also to be heard before Depuis L'automne, albeit in the higher and faster originally-sped version, played by Marie Bernard on the historic synthesizer instrument "Ondes Martenot" which is similar to the more popular Theremin and creates a floating tone. This instrument is present in the whole piece and again is the important 'spice' which makes the very good ballad become especially compelling. The can be divided into two parts, the first being a beautiful guitar-vocals part which shows Fiori's undeniable talents as a poet and songwriter ("Another turned page, what a shame for this day. Melt away the ice, or better go away, cos it's me who has fallen flat on his plain face"). The winter correlation is self-evident, and the discreet accordeon backing as well as the icy synthesizer wavering do the rest to create this chilly and cold mood. The stomping second part, with a very French accordeon solo, leaves the singer asking wistfully "Where are you, I don't hear hear you anymore, where are you?" on to the fade-out. Quite a nice ending!
Actually the year would be over now, but si on avait besoin d'une cinquième saison, i.e., if we needed a fifth season, and - at least on this record - we do (-; , we still have the big opus
Histoires Sans Paroles (Stories without words), la plâte de Résistance of this record, waiting for us. This one may have the biggest prog-relation of all, an instrumental epic which is Mellotron-drenched all over. The storyline seems to deal with the isolation and reunion of a couple and the grand prom afterwards; quite interesting to express this merely instrumentally.
Again, the beginning ("L'Isolement (Isolation)) remains charming and beautiful with sea sounds, acoustic guitar and a fine arrangement for two flutes. Then secretly the mellotron and a sparkling piano appear in the background, but after two and a half minutes the mellotron starts to lead the whole piece in majestic windrows, pulverizing into a flaky, more driving and accelerating part (L'appel (The Plea)) with piano arpeggios and well-divided acoustic guitar arrangements which somehow always reminds me of the "Fortuna" part of Carl Orff's Carmina Burana. But when the dissonant zither and flute lines enter at 5:04, the opus completely drifts into surreality and takes the listener into a symphonic and slightly psychedelic dream-scape, again with the mellotron as the lead stallion which leaves all the other instruments behind at 6:53. Not later than at this place the Mellotron fanatics will surely fly on cloud nine, but again the group doesn't sink down in kitsch, but goes on to a short vocal part (La Rencontre (The Meeting)) featuring Judy Richard who does some beautiful vocalizations to a romantic piano backing. The mellotron and a low-register-recorder enter again and Mme. Richard heightens her voice more and more - a very fine moment of this piece. At 10 minutes 30 the band prepares the last part of the piece, a fast, swinging 3/4-waltz (L'union (The Union)) which begins with some very fine, dissonant and mellow Robert Fripp-like guitars - in general this piece reminds me of King Crimson's Lizard - while the sea sounds of the beginning add more texture. Gradually, the acoustic guitar which virtually sounds like a harpsichord at this place, the flute, the piano and the saxophone come in and dance around this rhythm while especially the improvisations of the soprano saxophone are incredible and not short of those which Mel Collins did for King Crimson.
The big finale starts at 14:40 where Le grand Bal (The Big Prom) begins: just like in "Lizard" the piece ends with carnivalesque music, although here it isn't as strange - at least the band stops at the place where the Mellotron accompaniment starts to become quite surreal. After some new themes the leitmotif from the very beginning, played by two flutes, is also reprised in this 3/4-measure until the end.
Overall this album is a very fine one which I really like listening to. Yet, I wouldn't call it a masterpiece - on the one hand because actually very few albums are true 'masterpieces' in my book and on the other hand because the band achieves a celestial standard with Depuis L'Automne (5/5) which the other pieces cannot really maintain. The three short songs (4/5) are great, but probably a bit too unobstrusive and they don't really fit the two longtracks: the instrumentation is simpler, most of the progressive ingredients aren't to be heard there so that these songs seem like relics from the singer/songwriter-style of Harmonium's debut LP. Of course I like them very much and of course they do not do the record something bad at all, but they simply aren't real masterpieces which deserve a full rating.
Histoires sans Paroles is great all over, too; there is no minute to be critizised, but probably the overall image is a bit too 'loose' (4,5/5): the autumn track (Depuis L'Automne) touches me more - probably because it combines the infatuating soundscapes with the poetic chanson-beauty. Perhaps I also didn't listen to the Histoires as frequently as I actually ought to: I own this album about 4 months now and "Depuis" has always been my most-played song. Anyway, at this moment this are 4,5/5 points overall, and as the highest note shall be reserved for some few, really 100% perfect albums, I will give a good 4-star-rating for an excellent addition to listeners of Prog Folk (Celeste and Anthony Phillips) and Prog (King Crimson or the early Genesis). Mellotron and 'Lizard' lovers will of course love this record, and as well the others - if they do not necessarily need the "rock" in "prog" - will be satisfied. Listen to "Depuis l'Automne" and decide. :-)

Einsetumadur ( http://www.progarchives.com/Review.asp?id=243065)


Tracks :

1. Vert — 5:35
2. Dixie — 3:26
3. Depuis l'Automne — 10:28
4. En Pleine Face — 4:50
5. Histoires Sans Paroles — 17:12

WILLIS ALAN RAMSEY - WILLIS ALAN RAMSEY 1972

Willis Alan Ramsey is the first, and only, album ever recorded by the Texas songwriter Willis Alan Ramsey. The album's genre is hard to categorize with touches of country, country rock, folk, and folk rock. The tunes range from the reflection and regret of "The Ballad of Spider John" to a heartfelt tribute to Woody Guthrie on "Boy from Oklahoma". It was recorded on Leon Russell's Shelter label in 1972, and Leon sat in on piano, keyboards, vibraphone. Other guest musicians include: Carl Radle, Jim Keltner, Red Rhodes and Russ Kunkel. The song "Muskrat Candlelight" was later covered by the band America in 1973 and then by Captain & Tennille in 1976, both using the title "Muskrat Love."

This, the lone album by enigmatic Texas singer-songwriter Willis Alan Ramsey, gave the world one of the most poignant songs ever written about Woody Guthrie (the pedal-steel drenched "Boy from Oklahoma") as well as "Muskrat Love," the whimsical hit for the soft-rock group the Captain and Tennille (here titled "Muskrat Candlelight"). That spread tells something about the Alabama-born tune-smith, whose works have been memorably covered by Jimmy Buffett ("The Ballad of Spider John") and Waylon Jennings ("Satin Sheets"). A storyteller with a quick wit and a penchant for catchy melodies, Ramsey helped develop the sound and the sensibility of "progressive" or "alternative" country associated with everyone from Lyle Lovett to Son Volt. And then he went underground.

Recorded quickly for a small label in 1972, Ramsey's debut has acquired mythic status over the years, in part because he's been so stingy with his work. He cowrote a few songs with Lovett in the 1990s, but has yet to release a follow-up. One website claims he moved to the British isles to study Celtic balladry.

The genius of Willis Alan Ramsey lies in his vocals. Ramsey's songs are salt-of-the-earth stuff, with zero pretension—no cornpone wizardry needed. Ramsey sings with a slightly bemused affect, a raconteur who counts on his slight drawl to keep his story at least plausible. This unassuming delivery makes you want to follow Ramsey's characters around and be there when the title character of "Watermelon Man," who's been awaiting the arrival of the sweet fruit for months, gets that first juicy bite.

Tracks :

1. "Ballad of Spider John" (Ramsey) – 4:16
2. "Muskrat Candlelight" (Ramsey) – 3:18
3. "Geraldine and the Honeybee" (Ramsey) – 2:15
4. "Wishbone" (Ramsey) – 2:42
5. "Satin Sheets" (Ramsey) – 2:32
6. "Goodbye Old Missoula" (Ramsey) – 4:53
7. "Painted Lady" (Ramsey) – 3:02
8. "Watermelon Man" (Ramsey) – 3:25
9. "Boy from Oklahoma" (Ramsey) – 3:54
10. "Angel Eyes" (Earl Brent/Matt Dennis) – 3:07
11. "Northeast Texas Women" (Ramsey) – 5:43

FREEDOM - FREEDOM AT LAST 1969

FREEDOM was formed in the autumn of 1967 by two ex members of PROCOL HARUM, drummer BOBBY HARRISON and guitarist RAY ROYER. Following the release of “Black On White” Harrison sacked the other group members and invited super cult guitarist ROGER SAUNDERS and bass player WALTER MONAGHAN to join him playing heavy blues rock.

During 1969 they released “Freedom At Last” followed in 1971 by “Through The Years” They got to tour the USA supporting BLACK SABBATH and JETHRO TULL where both albums got released.

Whilst they could sell out live shows and had toured extensively throughout their career the goal of a hit album eluded them and in 1972 they threw in the towel.

Bobby Harrison went on to form SNAFU with MICKY MOODY, Roger Saunders joined MEDICINE HEAD then spent most of the 80’s as a member of GARY GLITTER’S band. Freedom never quite made it to the first division of British rock. Not because of lack of ability, just sheer lack of luck. What we are left with is perhaps more a case of “what might have been” than what actually was, at least in a commercial sense.

Tracks :

Enchanted Wood
Down in the Bottom
Have Love Will Travel
Cry Baby Cry
Time of the Season
Hoodoo Man
Built For Comfort
Fly
Never Loved a Girl
My Life
Can't Stay With Me
Dusty Track

THE KAPLAN BROTHERS - NIGHTBIRD 1978

An album of easy listening standards which rather anomalously includes a lengthy version of King Crimson's "Epitaph", complete with mellotron.

"Kaplan Brothers: California lounge duo. "Nightbird" is a real people classic. low rent genius schmaltz kings with proggy ballad supperclub Holiday Inn moves and Arcesiaesque vocal stylings. These guys were the real thing for lounge lizard prog. This kitchen sink symphony with Grudzienesque cut-and-paste production is apparently a concept lp but you'll never figure it out sober. tinkling piano, synth washes, flutes. Highlight: King Crimson's "Epitaph" segued into a rewrite of the Cascades' "Rhythm of the Rain"! lots of sounds most of which have no business being there like the sound generators. Their previous lps are odd lounge but not nearly as high concept so the fall was much less disastrously interesting."








Tracks :

01 Ode to life
02 Vodka and caviare
03 Epitaph
04 Listen to the falling rain
05 Life and me
06 Love is life
07 Night bird
08 Happy
09 He

TRISKELL - CELTIC HARP 1995

At the end of the 60's, the breton twins Pol & Hervé Quefféléan from Brest city discover Alan Stivell. So, they decided to play harp, then to make a band called « An Triskell » in 1970 but some years later, they changed it to « Triskell ».

Tracks :

Plangstigh Ewen
Dainty Davie
Dime Ramo Verde
Iona
Sun and Shadow
Vincenta
Enezenn Du
Planxty George Brabazon
Vieux chateau sous la lune
Boulavogue
King William's March
Dafydd y Garreg Wen
Pardon Sant Fiakr
Plijadur ha Displijadur

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Artwork Included

BUSTER BROWN - SOMETHING TO SAY 1974

Cult band feat Angry Anderson, pre ROSE TATOO and Phil Rudd of AC DC. Of course what we find here is hard hitting rock & roll hard rock with mean down under guitars and the harsh vocals of Angry Anderon. Aztec Music also adds 6 bonus tracks "Rock and roll lady-Single version", "Roll over Beethoven-Live", "Buster Brown-Live", "Rock and roll Lady-Live", "Buster Brown-Live" and "Release legalize". Comes in good looking digipack, and is very recommended !!!

Tracks :

Rock & Roll Lady
Let Me In
Buster Brown
Roll Over Beethoven
Young Spunk
Apprentice
Something to Say
Rock & Roll Lady (Single Version) (Bonus Track)
Roll Over Beethoven (Live at Sunbury 1974) (Bonus Track)
Buster Brown (Live at Sunbury 1974) (Bonus Track)
Rock & Roll Lady (Live on Gtk 1974) (Bonus Track)
Buster Brown (Live on Gtk 1974) (Bonus Track)
Release Legalise (Rose Tattoo 1980) (Bonus Track)