Love-Da Capo

Info By Wiki:

Da Capo is the second album by the Los Angeles-based rock group Love.

The bulk of Da Capo was recorded between September 27 and October 2, 1966. "Seven & Seven Is" was recorded on June 20, and had been released as a single in July of 1966 backed with "No. Fourteen", an outtake from their debut album. After the recording of "Seven and Seven Is", Love's line-up expanded to include Michael Stuart on drums and Tjay Cantrelli on saxophone and flute, moving previous drummer Alban "Snoopy" Pfisterer, a classically-trained pianist, to harpsichord and organ. Guitarists Johnny Echols and Bryan MacLean, bassist Ken Forssi and vocalist and leader Arthur Lee retained their respective positions.

The album's first half is a departure from the group's debut, and in some ways anticipates the group's third album, Forever Changes, with its detailed, delicate arrangements. Abrasive, proto-punk rockers like "Seven and Seven Is" and the harpsichord-driven "Stephanie Knows Who" are balanced by lighter fare such as McLean's florid "Orange Skies", and playful, barely-classifiable pop tunes like "¡Que Vida!".

The album's second half is a single track, notable for being among the very first rock songs to take up an entire LP side. (Bob Dylan's "Sad Eyed Lady of the Lowlands" from Blonde on Blonde predated it by a few months, and Frank Zappa's "The Return of the Son of Monster Magnet" suite, on the Freak Out! album, followed Dylan's) The 19-minute jam, entitled "Revelation" (originally "John Lee Hooker") began life as a live showcase for the group. (Another song from Da Capo's first side, "She Comes In Colors", is also said by Keith Richards to be the inspiration for the Stones' "She's a Rainbow".[citation needed])

The album's critical reputation has suffered as a result of the inclusion of this track, and many blame producer Paul Rothchild for failing to capture the group's live energy and truncating their performance. It is interesting to note, though, that in a contemporary review of the album, critic Robert Christgau praised "Revelation" faintly for its "excellent guitar and harmonica work and great screaming by a lead singer (I don't know his name; the new style in record jackets is to reveal nothing)". [1]

Though "Seven and Seven Is" had been a minor hit for the group, the album, like its predecessor, was a comparative flop peaking at #80.

Love-Da Capo @320

1 Stephanie Knows Who
2 Orange Skies
3 Que Vida!
4 7 and 7 Is
5 The Castle
6 She Comes in Colors
7 Revelation

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Focus- Hocus Pocus (live '73)

Focus-In And Out Of Focus

Info By Wiki,Vintageprog,Dutch Rock Institute:


A Short History Of The Group


1969



Thijs van Leer, a classically trained pianist and flute player, forms the Thijs van Leer Trio with Hans Cleuver (drums) and Martijn Dresden (bass). The trio initially performs as a backing group for Dutch artists such as Ramses Shaffy and Liesbeth List and also takes part in the musical Hair. Late 1969 they are joined by guitarist Jan Akkerman (ex-Brainbox) and the name of the group is changed into Focus.



1970

In the autumn the band releases its debut album In And Out Of Focus. First single to be taken from the album is Why Dream. Focus is still in two minds about the musical direction of the band: on the one hand there is the classically oriented work of the old Thijs van Leer Trio, and on the other there is the more rough guitar-oriented music of Jan Akkerman. Nevertheless, the album gets pretty good reviews.Akkerman, however, refuses to work with Dresden and Cleuver any longer and tells Van Leer that it's either him or them. Van Leer gives in, because he realizes that without Akkerman there simply is no Focus. Consequently, Dresden and Cleuver are replaced by Cyril Havermans on bass and Pierre van der Linden (ex-Brainbox) on drums.



1971

The group receives an Edison Music Award for its debut album and scores a hit with the single House Of The King. The band's second album, Focus 2, is recorded in London. Focus has managed to find a successful combination between classical, rock and jazz, in which there is ample opportunity for Akkerman to do his thing (like on Eruption). Van Leer is not really a singer, but someone who yodels incomprehensible words. The band plays the Pinkpop festival for the first time. The single Hocus Pocus tops the charts in the Netherlands and Germany. Cyril Havermans leaves to form his own band and is replaced by Bert Ruiter. The foursome is on stage almost every night and their sets can sometimes last for over three hours.



1972

With producer Mike Vernon Focus records Focus 3. The single Sylvia is a big hit. The double compilation album Moving Waves is released. Moving Waves, which contains re-recorded material from the albums In And Out Of Focus and Focus 2, is the band's international breakthrough and Sylvia and Hocus Pocus top the charts on both sides of the Atlantic.In The Netherlands Focus is by far the most popular band. The group tops the various polls: Best Band, Best Instrumentalist (Akkerman, Van Leer is third), Album Of The Year for Focus 2, and trend setter of the year (1971). For the second time the band plays the Pinkpop festival and also tours the UK for the first time. New single Tommy also enters the charts.At the end of the year Focus 3 comes out. The album remains in the album charts for no less than 23 weeks. In the UK the band is chosen Most Promising New Act for 1973 by Melody Maker. The band crosses the Canal on a regular basis. Both Akkerman and Van Leer record successful solo albums. Van Leer's Introspection even stays in the album charts for over 18 months.



1973

The band is busy touring and scores another big hit with the re-release of the single Hocus Pocus/Sylvia. The LP Focus At The Rainbow, which was recorded at the Rainbow Theatre in London, is released and the band goes on a successful tour of the US. In the Netherlands the band is awarded a gold record (for Moving Waves) and the Exportprijs ('Export Award'). By the time Rainbow is released the band is at the high point of its popularity in the UK.Akkerman is awarded Best Guitarist in the World by Melody Maker and has also, as a lute-player, entered the Top 10 of best instrumentalists. He releases the solo album Tabernakel. In the autumn the foursome again goes Stateside. This time Focus shares the bill with Chick Corea's Return To Forever and Joe Walsh. Pierre van der Linden, however, is having doubts about his position within the band and when the band is recording Hamburger Concerto he decides to quit. He then forms Trace with Rick van der Linden (ex-Ekseption) and Jaap van Eik (ex-Cuby & The Blizzards).Focus in the meantime makes its debut on national TV. VARA TV broadcasts a special about the band and TROS TV broadcasts the Rainbow concert.



1974

The recordings for Hamburger Concerto are rounded off with new drummer Colin Allen (ex-John Mayall and Stone The Crows). The album is, however, greeted with negative reviews and sales are disappointing. Jan Akkerman has a hit with his version of House Of The King, which can be found on Tabernakel. Focus has a modest hit with the track Harem Scarem. The band goes on an extensive tour abroad. Also released this year is the compilation LP Masters Of Rock.



1975

Focus is the only Dutch band performing at the Roskilde festival in Denmark. Colin Allen has lasted only a year before leaving. The relationship between Van Leer and Akkerman is not improving. From the very beginning the two have had opposing views, but mutual respect and the same musical point of view have kept them together. This time, however, musical differences seem the cause of an obvious split between the two. When Mother Focus is recorded (with American drummer David Kemper) Jan Akkerman publicly disassociates himself from the album. He states that the album has been recorded for the US market only. When Mother Focus is released, Akkerman seems to have been right: the album is rather smooth and has little of the magic that Focus once was. The album merely sells on the Focus name.



1976

The problems between Akkerman and Van Leer are getting so much out of hand that Van Leer kicks Akkerman out of the band. The single P's March is released with without any success. Eef Albers and Belgian Philip Catherine replace Akkerman. The band is also having problems in finding a new drummer: Over a relatively short Pierre van der Linden picks up the drums sticks. The album Ship Of Memories is released and consists of a compilation of odds and ends, remixed by Mike Vernon.



1977

an Leer tries to revive the band with Bert Ruiter on bass, Catherine and Albers on guitar and Steve Smith (ex-Jean Luc Ponty, later Journey) on drums. Most noteworthy, however, is the fact that the legendary British singer P.J. Proby has joined Focus. This line-up of Focus records the album Focus Con Proby, but Proby's performance is sadly disappointing due to an excessive use of alcohol. The album is welcomed negatively upon its release.



1978

Focus is disbanded.



1985

Unexpectedly, Akkerman and Van Leer record the album Focus. On this album they make use of drum computers, sequencers and other electronic equipment. The result is a mixture of jazz rock the, at the time, very popular variant of classical music as provided by the band Flairck. Although the album gets particularly bad reviews in the rock press, it sells reasonably well.
2002

Thijs van Leer, Jan Dumée (vocals/guitar), Ruben van Roon (drums) and Bobby Jacobs (bass) perform under the name Focus. In April Roon is replaced by Bert Smaak (ex-Bots). The group tours the UK (Whitchurch Progrock Festival in August and Astoria Theatre with Caravan in November), the US (Classic Rock Festival, Trenton, New Jersey, with Uriah Heep, Asia and Nektar in October), Chile, Brazil, Mexico, Venezuela, Argentina and Peru. The CD Focus 8 is released worldwide in the autumn.



2003

In January Focus 8 is presented in Theatre De Maagd in Bergen op Zoom, the Netherlands. In March the band kicks off for a lengthy tour in South-America, Japan, and the UK. On March 17 Jan Dumée plays at the Mistura Fina, a famous club in Rio de Janeiro. Proceeds go to young patients suffering from cancer at a local hospital.



2004

On February 21 Focus is headliner at the Mexican Chihuahua festival. The album Live At The BBC contains a concert at London's New Victoria Theatre from March 21, 1976. Jan Akkerman had already left the band at the time. His replacement is Belgian guitarist Philip Catherine, while David Kemper from Los Angeles plays the drums. In August Pierre van der Linden again plays the drums at the Aarschot Festival in Belgium. After a concert at the Progday Festival in the US, Focus tours the UK in September and October.



2005

In the spring Thijs van Leer, Pierre van der Linden (back on drums), Bobby Jacobs and Jan Dumée embark on a Brazilian tour. The band opens with the Bobby Jacobs-penned song Sylvia's Stepson. With the song Jippijippieayo the band gets on Brazilian TV show Jô Soares. Jan Dumée writes The Girl From Bangu a tribute to his Brazilian girlfriend. In the fall Focus performs live in the UK and Ireland.



2006

The new album is called New Skin. Apart from some Dutch shows, the band plays on Norway's Classic Rock Festival (May 26, Lillehammer) and on Spain's Minnuendö Festival (July 22). Guitarist Jan Dumée founds new band On The Rocks with John Lawton. Niels van der Steenhoven is his replacement in Focus.



2007

In March the band embarks on a 10-day UK tour. By the end of March Focus is headliner on the Baja Prog Festival, the biggest prog rock festival in Mexico. The album Focus 9/New Skin also comes out in Japan. Focus is invited for the Sweden Rock Festival in June in Sölvesborg. Focus shares the bill with the likes of Aerosmith, Scorpions, Motörhead and Meatloaf. After Sweden, shows are scheduled in Norway and Poland.







In And Out Of Focus



The album was initially recorded in 1969 in Amsterdam, the Netherlands, and subsequently re-recorded in London, UK. For these sessions vocalist/keyboardist Thijs van Leer, bassist Martijn Dresden, and drummer Hans Cleuver---a cabaret trio---were joined by ex-Brainbox guitarist Jan Akkerman.
Generally speaking, the songs on this recording are more pop-oriented than most subsequent Focus releases, though tinges of classical, jazz, and blues styles do come to the fore on certain tracks.In and Out of Focus" featured only three classic Focus-gems. First you had the 9-minute instrumental version of the track "Focus" that more or less demonstrated all sides of the classic Focus-sound: Akkerman's melodic and distinctive guitar-playing, Leer's atmospheric organ and his furious flute-playing that really came to the fore at the energetic ending. "House of the King" was a cheerful little flute-based instrumental that reminded a lot of Jethro Tull. And "Anonymous" showed Focus from their most aggressive and energetic side. The rest of the album was made up by a bunch of rather forgettable and pop-oriented vocal-tracks that clearly showed that the band had not yet fully found their direction. Fortunately, the next album would take care of just that.


1Focus (Vocal)
2Black Beauty
3Sugar Island
4Anonymus
5House of the King
6Happy Nightmare (Mescaline)"
7Why Dream
8Focus (Instrumental)


Focus-In And Out Of Focus @320

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Byrds-Greatest Hits

Info By Wiki:

This compilation serves as the survey of the group's hit singles from 1965 to 1967 inclusive, the time when they were a force on the singles chart. Every A-side from this time period appears, with the exceptions of "Set You Free This Time," #79 "Have You Seen Her Face" #74, and "Lady Friend," #82 none of which cracked the Top 40. The set includes three favored album tracks, with the remaining eight singles tracks peaking at the following positions on the Billboard Hit 100: "5D (Fifth Dimension)" #44; "All I Really Want to Do" #40; "Mr. Spaceman" #36; "My Back Pages" #30; "So You Want to Be a Rock 'n' Roll Star" #29; "Eight Miles High" #14; "Turn! Turn! Turn!" #1; and "Mr. Tambourine Man" also #1. I'll Feel A Whole Lot Better peaked at #103 on the Billboard Singles Chart as the B-Side of All I Really Want To Do. The last three records were among the most innovative and influential of the entire decade, at a time when singles, at least in rock and roll, were as important entities in their own right as albums, and generally more so. "Turn! Turn! Turn!" summed up sixties countercultural values as much as "Blowin' in the Wind," "(I Can't Get No) Satisfaction," or "All You Need Is Love," while "Mr. Tambourine Man" and "Eight Miles High" helped to introduce the sub-genres of folk-rock and psychedelia respectively into the popular music of the day.


1 Mr. Tambourine Man
2 I'll Feel a Whole Lot Better
3 The Bells of Rhymney
4 Turn! Turn! Turn!
5 All I Really Want to Do
6 Chimes of Freedom
7 Eight Miles High
8 Mr. Spaceman
9 5D (Fifth Dimension )
10 So You Want to Be a Rock 'n' Roll Star
11 My Back Pages

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The Who-My Generation US Release

Info By Wikipedia:

My Generation is The Who's first album. It was released in the U.S. in 1965 under the title The Who Sings My Generation, with a different cover and a slightly different track listing than the UK version.
The album was made immediately after The Who got their first singles on the charts.Critics often rated it as one of the best rock albums of all time in the 1970s and 1980s when such list-making was common. In 2003, the album was ranked number 236 on Rolling Stone magazine's list of the 500 greatest albums of all time. In 2006, it was ranked #49 in NME's list of the 100 Greatest British Albums.
The album is also included in the book 1001 Albums You Must Hear Before You Die.
The title song was inducted into the Grammy Hall of Fame in 1999 and remains one of The Who's best known songs and, indeed, one of the most acclaimed songs in rock and roll history.

Many of the songs on the album saw release as singles. Aside from "My Generation", which preceded the album's release and reached #2 on the UK Singles Chart, "A Legal Matter", "La-La-La Lies", and "The Kids Are Alright" were also released as domestic singles, though none were as commercially successful as "My Generation". "The Kids Are Alright" was a top 10 single in Sweden, peaking at #8.
"My Generation" and "The Kids Are Alright" in particular remain two of the group's most-covered songs; while "My Generation" is a raw, aggressive number that presaged the heavy metal and punk rock movements. "The Kids Are Alright" is a more sophisticated pop number, with chiming guitars, three-part harmonies, and a lilting vocal melody, though still retaining the driving rhythm of other Who songs of the period. Along with other early Who numbers like "I Can't Explain" and "So Sad About Us", it is considered an important forerunner of the "power pop" movement. "Circles" was notably covered by contemporaries of the group, British freakbeat outfit Les Fleur de Lys. The cover version has found some notice after its inclusion on Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964-1969.
The U.S. release also substituted a portrait of the band with Big Ben in the background for the original UK cover depicting the band standing beside some oil drums and looking upward to the camera, with splashes of color added by the red and blue stenciled letters of the title and a jacket patterned after the Union Flag thrown over John Entwistle's shoulders

The Who-The Who Sings My Generation @320

Out in the Street

I Don't Mind

The Good's Gone
La-La-La Lies

Much Too Much

My Generation
The Kids Are Alright

Please, Please, Please
It's Not True

The Ox
A Legal Matter
Instant Party

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The Who-My Generation (Smothers Brothers Comedy Hour)

Syd Barrett-Opel

Info By Wikipedia:

Opel is a 1988 compilation album consisting of unreleased and alternate versions of previously released songs, recorded by former Pink Floyd frontman Syd Barrett between 1968 and 1970.
While Barrett only released two albums in 1970, The Madcap Laughs and Barrett, the existence of unreleased studio work was widely reported. After years of demand from Barrett's considerable fan base, Opel was compiled and released. Despite its positive reviews, it failed to chart.

Syd Barrett-Opel @320 Artwork Included

Tracks 15-20: Bonus tracks
1Opel
2Clowns and Jugglers
3Rats
4Golden Hair
5Dolly Rocker
6Word Song
7Wined and Dined
8Swan Lee (Silas Lang)
9Birdie Hop
10Let's Split
11Lanky (Part One)
12Wouldn't You Miss Me (Dark Globe)
13Milky Way
14Golden Hair
15Gigolo Aunt (Take 9)
16It Is Obvious (Take 3)
17It Is Obvious (Take 5)
18Clowns And Jugglers (Take 1)
19Late Night (Take 2)
20Effervescing Elephant (Take 2)

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Syd Barrett-The Madcap Laughs

Review By Andrian Denning

Roger Waters and Dave Gilmour helped finish this album, taking over production duties and

encouraging Syd at a point where it looked like 'The Madcap Laughs' was never going to be finished at all. Syd had bought a new flat that was so close to where Dave Gilmour lived, that Dave could see right into Syd's kitchen. Although Dave had replaced Syd in Pink Floyd, he was the one member of the group that remained closest to Syd. It's often mistakenly believed that the decline of Syd Barrett occurred seemingly overnight, the first time he took LSD, which is not the case at all. Syd's consumption of LSD was large and significant in precipitating his downfall, there's no doubt about that, but Syd was predisposed to mental-illness in any event. He was uncomfortable with the level of fame he'd achieved with Pink Floyd. Those things would have been the case, LSD or no LSD. It certainly shortened his career, battling not only with images his own mind gave him, but also the bad effects of LSD must have been extremely difficult and frightening. Personally, I was once diagnosed as suffering from 'Severe Depressive Psychosis', that psychosis part worrying me especially. I had audio and visual hallucinations, and the only drugs I'd taken were a variety of prescribed anti-depressants. Mental Illness is a terrible debilitating disease that is too often misunderstood or under-estimated. Severe depression is a very difficult thing to overcome, more often than not, a life-time battle. Chances are, you'll never achieve what you were once capable of. It hurts me. When I went to university, there was a certain time a drug related to LSD was offered to me, I turned it down flat, quite aware of what it could do to me, given the way my mind was pre-disposed. At the time Syd took LSD, the after effects were a lot less well known, and his taking of this drug certainly contributed heavily to his downfall, but was not at all the only reason he became the way he became. Another myth is that Syd was artistically washed up following his departure from Pink Floyd and had nothing more to offer bar a backlog of old compositions. At least one of the songs on this album was written virtually on the spot, in the studio. Others definitely post-date his final days with Pink Floyd, and others were indeed written whilst he was still an active member of Pink Floyd. Does any of this matter? It should give everybody a greater understanding, Syd was still writing good songs all through 1968 and 1969, his decline was harrowing but gradual. One of Syd's best new songs, 'Opel' was inexplicably left off this debut set replaced by a couple of songs produced by Roger and Dave that openly let everyone see exactly how difficult it was for Syd to record these songs at all. The sound of Syd audibly breaking up on record amid the sound of pages of lyrics being turned whilst he loses his place does nobody any favours at all, least of all Syd. The other way to look at the songs, 'Feel', 'If It's In Me' and 'She Took A Long Cold Look' is that they painted an accurate picture of the state Syd was in at the time. That was the justification Dave Gilmour later gave for their inclusion, but the oversight of 'Opel' was a tragic omission, not 'corrected' until it gave it's name to a 1988 LP of out-takes. But, given the sound of a man falling apart, I've still given this album a '9'? How so? Well, plenty of the songs, the actual words and melodies, the vocal sounds and emotionally affecting qualities - are of the highest order. The sound of the music is usually sparse, certainly in comparison with Syd's Pink Floyd material, but this light, sparse feel suits the material, and suits the state Syd was in at the time. 'Terrapin' is a lovely song with nice acoustic strumming and very interesting lyrics. 'No Good Trying' features a fuller group performance with electric instrumentation, sounds messy but somehow still holds itself together. The differing rhythms and instrumentation that seemingly doesn't know what it's doing at all actually create a very satisfying and interesting musical track. 'Love You' is super-sweet and delightfully bouncy and silly, 'No Mans Land' another performance featuring bass, electric and drums and it's pretty damn fine, actually. The distortion, the lyrics, the vocals. There is something captivating about this loose, yet still just about together performance. 'Dark Globe' is Syd and guitar, the lyrics are again something striking and worthy, the vocal here reveals the strains and state of Syd's mind. There is an incredible affecting loneliness and humanity that is pretty much unsurpassed in Rock music. 'Here I Go' for a song reputedly written on the spot in the studio is pretty damn great, very charming. 'Octopus' evolved from a composition called 'Clowns And Jugglers' and it's this type of material Syd may have brought to Pink Floyd had he still been a member. It's no great stretch of the imagination to picture this as a 'Piper' styled psychedelic adventure. As recorded here, it's still a mighty good song. This albums closing sequence is difficult, beautiful, ugly, saddening - still captivating. Syd was reportedly very proud of 'Golden Hair', a James Joyce poem set to music, and very beautiful in its simplicity and pure quality it is. 'Long Gone' is Syd, a jaunty guitar figure, another good song. 'She Took A Long Cool Look', 'Feel' and 'If Its In Me' combined together..... words fail me completely. Why does 'If Its In Me' have to include Syd singing completely waywardly, before the song falls apart? On the otherhand, there's a resonance and such emotion here. This isn't a sequence of songs, especially this latter 'If Its In Me' that is easy or 'enjoyable' in the usual sense, but if you like music that affects your emotions in a way that isn't music to party or dance to, then here's a great example. The closing song on the other hand is totally 'together' in an admittedly fragile fashion. The song is soft, delicate - the guitar sounds absolutely beautiful and gorgeous, sparse, interweaving, pretty and hypnotic. There is little else in music like this 'A Madcap Laughs' album. From an objective viewpoint, it'd be hard to justify giving this a '9', but from an emotional viewpoint and a subjective viewpoint, it's easy to give this a '9'. There's something about this album, a certainly character, that is unmatched anywhere else

Wikipedia:

The Madcap Laughs was Syd Barrett's first solo album after being replaced in Pink Floyd by his old school friend David Gilmour. After leaving his parent group, Barrett began recording sessions with former Pink Floyd-turned-Syd Barrett manager Peter Jenner in May 1968. Although the sessions were brief, and they produced some fine material, the project was abandoned for almost a year while Barrett spent much of the year as a recluse.
In April 1969, Malcolm Jones took over the project and Barrett began working on newer material, while reworking the 1968 recordings. Session musicians, namely, members of The Sof Machine, as well as Humble Pie drummer Jerry Shirley were also called in to augment Barrett's songs. It is still a mystery why Jones abandoned production responsibilities, at the end of May ,so soon after having assumed them.The Making of the Madcap Laughs Jones recollections of the sessions, show that he and Barrett got on well together and had in fact completed half of the album before the new producers took over. Roger Waters and David Gilmour were in the process of completing Pink Floyd's ambitious Ummagumma album when they got involved with The Madcap Laughs that July and helped Barrett finish his album, "in a two-day sprint" according to Rick Sanders author of 'Pink Floyd' (Futura Publications, 1976). .
The album featured a rather unorthodox recording process, in which Syd would provide a backing track of his own singing accompanied by acoustic guitar, over which the session musicians would overdub the rest of the arrangement. Unfortunately, Syd's playing and singing were highly erratic and unpredictable--he skipped or added beats seemingly at random, or otherwise he would strum on a single note for a long time before unexpectedly reverting back to the main portion of the song. This was all much to the frustration of the session musicians; a close listen to several tracks [in particular "No Good Trying" and "Love You"] will reveal the backing band hovering uncertainly here, or being caught off-guard by a chord change there. (During an interview, Robert Wyatt recounted that musicians would ask "What key is that in, Syd?" and Barrett would reply "Yeah", or "That's funny") Syd would not allow the musicians to rehearse or re-record their overdubs, insisting that they sounded fine. After several months of intermittent recording, the album was finally deemed complete.
"Octopus" was released as a single in November 1969 and the album itself followed in January 1970. It reached #40 in the UK at the time[1] and was fairly well-reviewed

Syd Barrett-The Madcap Laughs @320

Tracks 14-19: Bonus tracks
1Terrapin
2No Good Trying
3Love You
4No Man's Land
5Dark Globe
6Here I Go
7Octopus
8Golden Hair

9Long Gone
10She Took a Long Cold Look
11Feel
12If it's In You
13Late Night
14Octopus (Takes 1 & 2)

15It's No Good Trying (Take 5)
16Love You" (Take 1)
17Love You" (Take 3)
18She Took A Long Cold Look At Me (Take 4)
19Golden Hair (Take 5)

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