Tetsu Yamauchi - Kikiyou (Japan 1976)

260:- (24-Bit Limited Remaster Edition. Mycket liten utgåva.)

Tetsu Yamauchi a.k.a. Tetsuo Yamauchi (山内哲夫 Yamauchi Tetsuo, born October 21, 1946) is a Japanese bass guitarist.

Yamauchi was born in Fukuoka. In the late 1960s he played with Mickey Curtis and his band called Samurai. His involvement with Samurai led to him working as a session musician in both Tokyo and London. He became close friends with Ginger Baker and Alan Merrill. 

In 1972 he recorded the album Kossoff, Kirke, Tetsu and Rabbit with Free guitarist Paul Kossoff and drummer Simon Kirke, together with keyboard player John “Rabbit” Bundrick. He subsequently joined Free for their final album. 

He then replaced Ronnie Lane in the Faces as their bass guitarist, but according to Ian McLagan, Yamauchi’s recruitment turned out to be a mistake, because he was not the right type of bassist and had been hired to replace Lane without the rest of the band listening or meeting him beforehand and it was all too hasty; furthermore, McLagan stated that Yamauchi was a party boy who thought it would be all about drinking when McLagan, Rod Stewart, Ronnie Wood and Kenney Jones tried to minimize the drinking and be more creative.

Pete Buckland believes that Phil Chen, being more versatile, might have been a better choice of replacement bassist, but McLagan disagreed and believed that it wouldn’t have worked with Chen either, but did concede that Yamauchi wasn’t a good choice and had they been in London, they might have found a decent bassist after Lane quit. 

According to Stewart, Yamauchi was “a sweet Japanese guy who barely spoke English”, but because of his inability to speak the same language as his bandmates, they found it difficult to understand how he was feeling.

After the Faces dissolved, Yamauchi continued working as a session musician after the Faces broke up.

In the late 1970s he returned to Japan, working as a session musician as well as touring and recording with bands and artists such as Tetsu and the Good Times Roll Band. He retired from the music industry in the mid 1990s and moved to the countryside with his family to live a quiet life, refusing to speak to anyone from the press. He considers it juvenile and vain for people his age to still be performing rock and roll, and refused invitations to take part in a Faces reunion…

Solo: Tetsu (1972)
* Kikyou (1976)
*Dare Devil (1992) with Peter Brötzmann, Shoji Hano, Haruhiko GotsuFriends (1998), with Hiroshi Segawa, Ken Narita
*Tetsu & The Good Times Roll Band Live (2009). Recorded in 1976

With Samurai
*Samurai (1970)
* Kappa (1971)

With Kossoff, Kirke, Tetsu and Rabbit
*Kossoff, Kirke, Tetsu and Rabbit (1972)

With Free
*Heartbreaker (1973)

With The Faces
Coast to Coast: Overture and Beginners (1974)
You Can Make Me Dance, Sing or Anything (1974)

01. It happens rhino
02. One life
03. Song of the Heart
04. Mash river
05. Seasons
06. Poems from London
07. Sweet Dreamer
08. Traveling alone
09. Dreamland
10. I used to laugh at the end
11. Sunset in Ibiza

The Young Rascals - Groovin' (US 1967)

240:- (24-Bit Limited Remaster Edition. Innehåller en poster.)

Groovin' is the third album by rock band The Young Rascals. The album was released on July 31, 1967 and rose to #5 on the Billboard Top LPs chart and number 7 on the R&B chart. Eight of the songs were released on singles with the title track reaching number 1 on the Pop chart in the U.S.

This was the last album on which the band was billed as "The Young Rascals"; their next album, Once Upon a Dream, would be credited to simply "The Rascals". The album began the Rascals' first forays into the psychedelic genre that they would explore further on Once Upon a Dream.

Eight of Groovin's eleven songs were issued by Atlantic Records as single A- or B-sides. The three songs specific to the album are "Find Somebody", "I Don't Love You Anymore", and the Rascals' cover of "A Place in the Sun". "If You Knew", upon its initial release as the "B" side of the single "(I've Been) Lonely Too Long", was jointly credited to all the Rascals' members; the writing credit was changed upon the album's release. 

Atlantic Records was at first reluctant to release the title song as a single, but its popularity was such that Italian and Spanish versions were released on different sides of a subsequent single.

Flutist Hubert Laws is featured in a sessions role on the album's final track, "It's Love".

Booker T. & the MG's took a cover of "Groovin'" to the charts later in 1967 and the song "You Better Run" was later covered by Pat Benatar and was a hit for her in 1980.

The front cover design was conceived (but not illustrated) by the Young Rascals' drummer Dino Danelli. Affixed to the front cover was one of two stickers indicating: "THIS LP HAS THE BIG HIT", followed by either "How Can I Be Sure" (as shown in the cover photo on the right) or "A Girl Like You" as both tracks climbed into the Top 10.

01."A Girl Like You" – 2:51 - Lead Vocals: Felix
02."Find Somebody" – 3:48 - Lead Vocals: Eddie
03."I'm So Happy Now" (Gene Cornish) – 2:50 - Lead Vocals: Gene
04."Sueño" – 2:48 (Ron Sasiak)- Lead Vocals: Felix
05."How Can I Be Sure" – 2:56 - Lead Vocals: Eddie
06."Groovin'" – 2:33 - Lead Vocals: Felix
07."If You Knew" – 3:04 - Lead Vocals: Eddie & Felix
08."I Don't Love You Anymore" (Cornish) – 3:09 - Lead Vocals: Gene
09."You Better Run" – 2:28 - Lead Vocals: Felix
10."A Place in the Sun" (Ronald Miller, Brian Wells) – 4:52 - Lead Vocals: Eddie
11."It's Love" – 3:15 - Lead Vocals - Felix

Motorhead - Bomber (deras 3:e Album UK 1979)

200:- (24-Bit Limited Remaster Edition. Utgången utgåva.)

Bomber was the third studio album by the British heavy metal band Motörhead. It was recorded in 1979, the same year as Overkill. The album reached number 12 on the UK charts and brought some of Motörhead's most popular songs, like "Bomber", "Dead Men Tell No Tales" and "Stone Dead Forever".

During the recording of this album, the producer Jimmy Miller was increasingly under the influence of heroin, at one point disappearing entirely from the studio, later being found asleep at the wheel of his car. Ironically the album features the band's first anti-heroin song - "Dead Men Tell No Tales".

This album caught Lemmy at his most ferocious, hitting hard at the police in "Lawman", marriage and how his father left him and his mother in "Poison", television in "Talking Head" and show business in "All the Aces". The title track was inspired by Len Deighton's novel Bomber. On one track, "Step Down", "Fast" Eddie Clarke is featured on vocals.

The single "Bomber" was released on November 23, 1979, one month ahead of the album, the single's initial pressing of 20,000 blue vinyls were soon sold out and was replaced by black vinyl.The 'Bomber Tour' followed, for which a forty foot aluminium tube replica of a Heinkel He 111 bomber was made. This lighting rig could fly backwards and forwards, and side to side - the first to be able to do so. The album was released on October 27, 1979 and like the single was pressed in blue vinyl.

One critic suggests that the album is well regarded by the fans, and packed full of essential Motörhead tracks, with "Dead Men Tell No Tales", "Stone Dead Forever" and the album's title track itself being phenomenally good metal songs. Going on to say that with the exception of the bluesy "Step Down", the tracks are full of the characteristic sound of the classic line-up of Lemmy, Clarke and Taylor, with Clarke’s solo in "All the Aces" described as "blistering" and Lemmy spitting out intentions to ‘poison his wife’ in the life-reflecting "Poison" making it a sound of metal-dripping brilliance. Another critic reviewing the two-disc expanded edition of the album stated "Bomber is an often forgotten but is an absolute classic" and it featuring "a slew of classic Motor-boogie tracks".

01."Dead Men Tell No Tales" – 3:07
02."Lawman" – 3:56
03."Sweet Revenge" – 4:10
04."Sharpshooter" – 3:19
05."Poison" – 2:54
06."Stone Dead Forever" – 4:54
07."All the Aces" – 3:24
08."Step Down" – 3:41
09."Talking Head" – 3:40
10."Bomber" – 3:43

Bonus Tracks:
11."Over the Top" - 3:20
12."Stone Dead Forever [Alternative Version]" - 4:34
13."Sharpshooter" [Alternative Version]" - 3:16
14."Bomber [Alternative Version]" - 3:35
15."Step Down [Alternative Version]" - 3:29
16."Leaving Here [Live]" (Dozier, Holland, Holland) - 3:02
17."Stone Dead Forever [Live]" - 5:31
18."Dead Men Tell No Tales [Live]" - 2:44
19."Too Late Too Late [Live]" - 3:20
20."Step Down [Live]" - 3:49

John Lennon - Walls and Bridges (UK 1974)

230:- (24-Bit Limited Remaster Edition. Original gimmick konvolut. Utgången utgåva sedan 2007.)

Walls and Bridges was recorded during John Lennon's infamous "lost weekend," as he exiled himself in California during a separation from Yoko Ono. Lennon's personal life was scattered, so it isn't surprising that Walls and Bridges is a mess itself, containing equal amounts of brilliance and nonsense. 

Falling between the two extremes was the bouncy Elton John duet "Whatever Gets You Thru the Night," which was Lennon's first solo number one hit. Its bright, sunny surface was replicated throughout the record, particularly on middling rockers like "What You Got" but also on enjoyable pop songs like "Old Dirt Road." 

However, the best moments on Walls and Bridges come when Lennon is more open with his emotions, like on "Going Down on Love," "Steel and Glass," and the beautiful, soaring "No. 9 Dream." Even with such fine moments, the album is decidedly uneven, containing too much mediocre material like "Beef Jerky" and "Ya Ya," which are weighed down by weak melodies and heavy over-production. It wasn't a particularly graceful way to enter retirement. 

01. Going Down On Love  
02. Whatever Gets You Through The Night  
03. Old Dirt Road  
04. What You Got  
05. Bless You  
06. Scared  
07. #9 Dream  
08. Surprise Surprise (Sweet Bird Of Paradox)  
09. Steele And Glass  
10. Beef Jerky  
11. Nobody Loves You (When You're Down And Out)  
12. Ya Ya  

Oregon - Our First Record (Superb laidback Jazzrock US 1970)

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Oregon is a jazz and world music group, with core members Ralph Towner (guitar, piano, synthesizer, trumpet), Paul McCandless (woodwind instruments), Glen Moore (double bass, violin, piano), and Collin Walcott (percussion, sitar, tabla)


Towner, McCandless, Moore, and Walcott met as members of world music pioneer Paul Winter's "Consort" ensemble in the late 1960s. Their contributions were seminal in establishing the Winter Consort "sound" in compositions like Towner's "Icarus."


The four musicians broke away from Winter in 1970 to form their own group, Oregon (Towner and Moore met while students at the University of Oregon). They recorded their first record in 1970, but the label, Increase Records, went out of business before it could be released. (It was released by Vanguard in 1980 as Our First Record.) The group's first release was Music of Another Present Era in 1972. With that debut and its follow-ups Distant Hills and Winter Light (all on Vanguard), Oregon established itself as one of the leading improvisational groups of its day, blending Indian and Western classical music  with jazz, folk, space music and avant-garde elements. The group released numerous albums on Vanguard throughout the 1970s, then made three records for Elektra. After a couple years hiatus devoted to their individual projects, the group resumed recording for ECM in 1983.


During a 1984 concert tour, Walcott was killed in an automobile accident in East Germany. Oregon temporarily disbanded, but reformed by 1985 with new percussionist Trilok Gurtu, Walcott's own choice for his replacement should it become necessary. Gurtu made two further records as a member of the group, but by 1993 he had left; the group recorded two albums as a trio after his departure. With new member Mark Walker on drum kit, Oregon assumed a more conventional jazz orientation beginning with the 1996 album Northwest Passage. In 2001 the ensemble traveled to Moscow, Russia to record with the Tchaikovsky Symphony Orchestra of Moscow Radio. The recording garnered four Grammy nominations.


The group enjoys an avid and eclectic following. Apollo astronauts took a recording of Oregon's music to the moon and named two lunar craters after compositions by the ensemble "Icarus" and "Ghost Beads".


For over three decades OREGON has inspired audiences in renowned concert halls including Carnegie Hall, Lincoln Center, Berlin Philharmonic Hall, and Vienna’s Mozartsaal; at international jazz clubs and major festivals such as Montreux, Pori, Berlin, Montreal, and Newport Jazz; and on tours throughout the U.S., Canada, Mexico, South America, Eastern and Western Europe, India, Pakistan, Nepal, Sri Lanka, Bangladesh, Algeria, and Australia.


OREGON began in 1960 at the University of Oregon with undergraduate students Ralph Towner and Glen Moore who formed a musical friendship on bass and piano inspired by Bill Evans and Scott LaFaro and later by Brazilian music. Moore earned a degree in history and literature and Towner completed his in composition, taking up guitar in the process. In the mid 60’s, they both traveled to Europe. Towner studied classical guitar in Vienna with Karl Scheit; Moore studied classical bass in Copenhagen and sat in with such greats as Ben Webster and Dexter Gordon. By 1969, both were living in New York City, playing with a community of young musicians who formed the great fusion bands of the ‘70’s including Weather Report and the Mahavishnu Orchestra.


Performing with folksinger Tim Hardin at the ‘69 Woodstock Festival, Towner and Moore encountered two members of the Paul Winter Consort who introduced them to the music of that group. In the studio with Hardin, Ralph and Glen connected with sitar and tabla player Collin Walcott. He was a graduate of Indiana University under George Gaber, studied ethnomusicology at UCLA and served as road manager for Ravi Shankar and Alla Rakha. On a break at that session, Ralph and Collin played their first guitar/sitar duet in the hallways of Columbia Studios.   


By 1970 Ralph, Glen, and Collin had joined the Paul Winter Consort for a 50-concert U.S. tour where they quickly formed an alliance with its oboist, Paul McCandless, who had studied at the Manhattan School of Music under Toscanini’s first oboe player, Robert Bloom. During that initial tour, Ralph began composing a new repertoire of original material including “Icarus”, which has since become a standard. The early development of OREGON took root in motel rooms and college dormitories where in private jam sessions, Towner, Walcott, Moore and McCandless began investigating new musical possibilities after getting a taste of collective improvisation on tour with the Consort. Winter’s group introduced them to the idea of performing concerts with uncommon combinations of instruments in an eclectic variety of musical styles. Incorporating these elements, OREGON emerged with a unique synthesis of European classical instrumentation, American jazz harmony, and ethnic influences from around the globe. The notion of recording their own music first arose at a party, where Towner and Walcott were entertaining friends in their guitar/sitar configuration. The group was offered the use of an 8-track studio in the Hollywood Hills, known as “The Farm.” A short-lived independent label in Los Angeles subsidized six weeks of taping and mixing. The company did not succeed in selling the results to a major label and the tape went into storage for ten years before its Vanguard release on disc called—Our First Record.


In 1971 the band made its debut in New York City, calling themselves Thyme—Music of Another Present Era, a phrase designed to answer the question. “ What kind of music do you play?” McCandless later proposed the name “OREGON” alluding to Ralph and Glen’s nostalgic reminiscences of their home state. The next year, Vanguard signed OREGON, recording a new set of original compositions which became the band’s debut LP, Music of Another Present Era. In that same period, they made Trios and Solos for ECM, a new label in Europe. The Vanguard album introduced them to their American audience and through their association with ECM, they developed their European following with tours beginning in 1974 where they received critical acclaim and growing recognition in the international community.


Six years and nine albums later, OREGON moved to Elektra/Asylum Records. Its first release on that label, Out of the Woods, reached a decidedly wider audience and was included in the 101 Best Jazz Albums list by Len Lyons. As the years spanned and the group’s versatility grew, bass clarinet, soprano and sopranino saxes, ethnic flutes, flugelhorn, French horn, clarinet, dulcimer, electric bass, violin, viola, and a myriad of percussion instruments all found their way into OREGON’s instrumentation which already included Towner’s nylon and 12 string guitars and piano, McCandless’ oboe and English horn, Moore’s 1715 Klotz bass and Walcott’s sitar and tablas.


At the end of OREGON’s contract with Elektra, and with the birth of Collin Walcott’s daughter in 1980, the band members took a year long sabbatical during which they pursued their individual solo careers. When they reassembled, OREGON’s unique fusion gained an electric dimension through Towner’s addition of keyboard synthesizers. The group recorded two more albums for ECM with the original personnel.


They had reached a peak of popularity when in November 1984, Walcott died in an auto accident in the former East Germany, leaving the ECM album Crossing as his final document. This left OREGON with the seemingly impossible task of filling an enormous vacuum. They reunited for the first time in May 1985 at a memorial concert for Walcott in New York where the dazzling Indian percussionist Trilok Gurtu joined them to pay tribute. Trilok, who studied tablas and jazz drumming, accepted an invitation to work with OREGON in 1986 which included a State Department tour of the Indian subcontinent. Over a five-year period, he played on three albums with the band: Ecotopia on ECM, 45th Parallel on Epic, and Always, Never, and Forever, the band’s first recording on Intuition. After the departure of Gurtu, the three original members continued their creative development as a trio making two CDs—Troika and Beyond Words.


For the 1996 Intuition recording "Northwest Passage", the group incorporated two masterful percussionists, former Chicagoan Mark Walker and Arto Tuncboyician of Armenia. Walker, who also performs and records with Cuban expatriate Paquito D’Rivera, has become the new fourth member of OREGON and together with Towner, Moore, and McCandless traveled to Moscow in June 1999 to record the double CD for Intuition entitled "Oregon In Moscow." This project is the band’s debut recording of their orchestral repertoire. Developing since the Winter Consort days, this prodigious body of work had been performed with the St. Paul, Philadelphia, Indianapolis, Stavanger, Freiburg, and Stuttgart Orchestras, but never documented. Oregon In Moscow, produced by Steve Rodby of the Pat Metheny Group fame, features the band members as composers, orchestrators, and soloists in collaboration with the Moscow Tchaikovsky Symphony Orchestra. In 2001 this album garnered four Grammy nominations. OREGON's most recent production, a live CD recorded during a spirited week at Yoshi's, San Francisco Bay Area's premier jazz club, was released in 2002. Not since 1980 has the group's electrifying and poignant performances been captured on tape.


01. Canyon Song - Oregon, Towner, Ralph  
02. Full Circle - Oregon, Towner, Ralph  
03. Japan/Charles St. Melancholy - Oregon, Oregon  
04. Collin's Delite - Oregon, Walcott, Collin  
05. Cry of the Peacock/Coral - Oregon, Towner 
06. Maty's New Bloom - Oregon, Moore, Glen  
07. Aheer - Oregon, Walcott, Collin  
08. Recuerdos - Oregon, Tarrega, Francisco  
09. L' Histoire du Farm Suite - Oregon, Oregon  
10. Jade Visions - Oregon, LaFaro, Scott  
11. Molecular - Oregon, Oregon  
12. Margueritte - Oregon, Walcott, Collin  
13. Entrez Devotée Compagne - Oregon, Traditional

Roger Nichols & The Small Circle of Friends - S/T (2CD) (US 1968)

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260:- (2CD, SHM-CD Limited Remaster Edition. Utgången utgåva med bonusomslag. Mycket svår att hitta nu.)

A true sleeper in the context of California pop. As a songwriter, Roger Nichols wrote with such luminaries as Paul Williams and Tony Asher (fresh from his collaboration with Brian Wilson on Pet Sounds, who co-wrote several of the selections here). The album is a lot of things at once. Soft pop, a smattering of rock, and a heavy dose of easy listening. The group itself has a great vocal blend. Nichols is joined by Murray MacLeod and his sister, Melinda. The three voices combined create a wonderful, soft sheen, equally effective on the ballads (Bacharach's "Don't Go Breakin' My Heart") and uptempo numbers ("Don't Take Your Time"). There is an extremely gorgeous version of the Goffen & King song "Snow Queen," which is a graceful waltz, underpinned by the groups' superb vocals. The credits on the album are a virtual who's who of California pop at the time. 

Among those who helped out on the project on one way or another are Lenny Waronker, Van Dyke Parks, Bruce Botnick, and Randy Newman. Superbly produced by Tommy LaPuma, the album unfortunately didn't do very well at the time of its release, which is an incredible injustice. The music, though, holds up extremely well today, and is an authentic slice of California pop. Delicious.

Born in Missoula, MT, Roger Nichols and his parents moved to Santa Monica, CA, when he was a one-year-old. His household brimmed with music when he was growing up. His dad was a journalism graduate and a professional photographer who played sax in local jazz bands. His mother was a music major and a classical pianist. When Nichols started grade school, he picked up the violin, continuing his violin and classical studies throughout grammar and high school. His attention turned to basketball and Nichols forsook violin for the hoops but played guitar on the side.

Recruited to U.C.L.A. on a basketball scholarship, Nichols played on the team for a year or two. Confronted to make a choice between music or basketball by his coach John Wooden, Nichols chose music. While in college, he majored in music and cinematography while still playing the guitar and adding the piano. After a brief hiatus, he returned to U.C.L.A. and began taking songwriting courses. After he left college, Nichols took a variety of jobs, working in a bank for two years, a liquor store for a year and a half, and serving six months in the navy. On weekends, he worked in clubs with his group, Roger Nichols and a Small Circle of Friends, that performed original songs written by Nichols.

Around 1965, the group was signed to a recording contract by Liberty Records. While at the label, the group briefly had the opportunity to work with Tommy Li Puma. Li Puma thought the group had some potential, but left Liberty shortly thereafter. With the label for eight months without having a record released, Nichols called A&M Records expressing interest in playing some demos for label co-owner Herb Alpert. He was switched to Li Puma who had been hired as the A&R man for the new label. Li Puma was still enamored of the group. Nichols then asked for and received a release from Liberty Records.

Bonus CD med omslag

While Nichols waited for Li Puma to finish producing the Sandpipers and Claudine Longet, he wrote an instrumental for Alpert that he promptly recorded a week after hearing it. Though Roger Nichols and a Small Circle of Friends wasn't a big seller, Alpert urged A&M publishing company head Chuck Kaye to sign Nichols as a songwriter to their company.

During his second year with the company, Kaye introduced Nichols to lyricist Paul Williams. The first song that wrote was recorded by Claudine Longet, "It's Hard to Say Goodbye." The duo wrote together for four years, resulting in lots of album cuts, B-sides, even A-sides, but no hits.

An advertising executive approached a friend of Nichols asking for help with an under-budget commercial project for Crocker Bank. Nichols' friend gave him a copy of the Roger Nichols and a Small Circle of Friends album. The ad exec called A&M and made an appointment with Nichols and Williams to discuss the project. The exec said that he only had 300 dollars to make a demo and the rest of the project had to be done on speculation that the project would pan out and become a successful ad campaign, in which case this would lead to more money. 

Hoping to capture the youth market by softening the bank's image, Nichols and Williams were given the slogan, "You've got a long way to and go and we'd like to help you get there." They had just ten days to create a song, essentially a jingle. Waiting until the last day, after they've completed other projects, Nichols started noodling around on the piano and wrote the basic verse melody in a half hour. Williams joined him later and come up with some lyric lines. On the demo, Nichols overdubbed piano, bass, and guitar while Williams sang. It was approved by the bank who requested that they complete the song, which at that time included two verses and a bridge.

Bonus CD med omslag

Crocker Bank had the advertising rights to the song, but the duo, along with A&M, retained the recording and publishing rights.

Richard Carpenter of the Carpenters heard the jingle on a TV commercial, and although signed to A&M, didn't know who wrote the track. He found out and the Carpenters recorded the song. "We've Only Just Begun" was nominated for a Grammy for Song of the Year, was included on BMI's million performances list, and received an award for selling a million copies of sheet music. Another Nichols-Williams song, "Out in the Country" by Three Dog Night, landed in the Top Ten. Six months later, "Rainy Days and Mondays" was another gold record by the Carpenters and Nichols' third gold record in a single year. Other hits were the Carpenters' "I Won't Last a Day Without You," "Travelin' Boy," and "I Never Had It So Good," covered by Barbara Streisand.

In 1972, the Nichols-Williams team parted ways. Somewhat disgruntled, Nichols returned to his native Montana, bought a house, and relaxed. A few years later, he returned to composing and primarily background scoring. In later years, Nichols' hits were more associated with the TV shows that he scored like "Love Theme From Hart to Hart."


(DISC.1 STEREO)
1. Don't Take Your Time
2. With A Little Help From My Friends
3. Don't Go Breaking My Heart
4. I Can See Only You
5. Snow Queen
6. Love So Fine
7. Kinda Wasted Without You
8. Just Beyond Your Smile
9. I'll Be Back
10. Cocoanut Grove 
11. Didn't Want To Have To Do It
12. Can I Go

(BONUS TRACKS)
13. Let's Ride
14. The Drifter
15. Trust

(DISC.2 MONO + SINGLES)
1. Don't Take Your Time
2. With A Little Help From My Friends
3. Don't Go Breaking My Heart
4. I Can See Only You
5. Snow Queen
6. Love So Fine
7. Kinda Wasted Without You
8. Just Beyond Your Smile
9. I'll Be Back
10. Cocoanut Grove 
11. Didn't Want To Have To Do It
12. Can I Go

(BONUS TRACKS)
13. Don't Go Breaking My Heart (Mono Single Version)
14. Our Day Will Come (Mono Single Version)
15. Love Song, Love Song (Mono Single Version)
16. Snow Queen (Mono Single Version)
17. Just Beyond Your Smile (Mono Single Version)
18. I'll Be Back (Mono Single Version)
19. Let's Ride (Mono Single Version)
20. The Drifter (Mono Single Version)
21. Trust (Mono Single Version)
.