This reissue of The Velvet Underground's 1969 (not to be confused with 1969 Live) compiles 1969-era Velvet Underground classics, including some rare mixes, instrumentals and alternate takes. Lou Reed, Doug Yule, Sterling Morrison and Maureen Tucker spent much of their time on the road in ’69 resulting in the “lost” live album 1969 Live. Several original 1969 mixes from this era are featured here including “Foggy Notion,” “I’m Sticking with You,” “Andy’s Chest,” “I’m Gonna Move Right In,” and “Ocean,” as well as 2014 mixes of “One of These Days,” “Lisa Says,” and more.
Green on Red on fire here in Hamburg burning through a 21 song setlist for their first ever German tour. Recorded at the great jazz club which closed down shortly after they played there. Superb.
Milwaukee 1980-1982 power pop! The Sidewalks (also released on CD by the “guru” of the history of american New Wave, Chuck Warner) complete studio sessions.
Fifteen amazing tracks that includes their rare and great single “Natalie”. If you like bands like The Nerves, Gary Valentine, The Shivvers, these guys will broke your heart! Great straight-ahead garage-pop with cool lyrics.
The lone album by Milwaukee's Baroques was recorded in 1967 and issued on Chess Records as part of the label's effort to market music to a new audience. It's a beautifully-grungy affair; somewhat lo-fi, featuring many incredible originals, such as "Mary Jane," issued as the lead-off single - and promptly banned by radio for it's supposed drug references. Filled with moody vocals atop clattering and chiming guitar work.
The Baroques' one and only long-player seemingly came out of nowhere in 1967. The first non-R&B act signed to the famed Chess Records, the Milwaukee based Baroques mixed garage intensity with sonic experimentation that would come to define the later part of the decade. Though widely overlooked, their debut album was rumored to outsell Sgt. Pepper's on a local level.
Fronted by the dark baritone vocals of Jay Berkenhagen, the Baroques weave through the structures of early 60s rock, adding a subtly gloomy touch and at times departing into chaotic bursts of noise. Almost as quickly as they appeared, the Baroques quickly dissolved, but not before making their unique statement with an eclectic array of eccentric tracks.
The Austin based 13th Floor Elevators represent the quintessence of American psychedelic rock. A visionary mixture of primitive riffs and lysergic melodies played with an uncommon level of intensity. Here is a great collection of live recordings from various performances held between 1966 and 1967, the band's golden era which gave birth to their first two studio masterpieces.
Named after a Milwaukee cemetery, Wanderer’s Rest was anything but peaceful. Led by the fuzzed-out twin guitar attack of brothers Richard and Mike Podraza, the quartet cut four records at Cuca in ’67 and ’68, leaving behind a treasure trove of unissued garage, surf, teener, and soft-psych in the process. Anywhere, Anytime gathers all thirteen recordings in one convenient place for the first time.
Enigmatic power-pop quartet the Fans formed in 1978, spurred into action by the Bristol area's vibrant new wave scene. Singer/guitarist George Smith previously fronted the Dragons (with future Tom Robinson collaborator Jo Burt) and guitarist Rob Williams was in Uncle Po (with future Dexy's violinist Helen Bevington); they split after two singles for Fried Egg, but regrouped in 2010 following a Japanese hit cover of their dejected "You Don't Live Here Anymore". This dynamite collection joins the Fried Egg work with rare demos and live recordings, the definitive picture of one of Avon's most impressive new wave guitar bands.
Northwest Company were one of the most hard-working bands from the Vancouver scene of the Sixties. Famous for their monster garage-punk double sider from 1967, the reverberating "Hard To Cry"/ "Get Away From It All", the group released seven singles between 1966 and ‘73. Eight Hour Day features a selection of those 45 sides, their cool & raw studio demos from 1966 and their final 7-minute long hard-blues live freakout "Police's Coming". Including all-time garage classics like “Get Away From It All”, “Hard To Cry”, “Each Day”, "Eight Hour Day" and more!
The Preachers were together for less than eighteen months, but they packed a hell of a lot of action into that brief lifespan, racking up three terrific 45 releases in the space of five months, making TV appearances, and playing countless live gigs in the Los Angeles area and as far afield as Tucson and Las Vegas.
In the short time they were together, the Preachers did better than all right. Decades later, “Who Do You Love” and “Stay Out of My World” were hailed as outstanding examples of pure, visceral sixties garage punk.
Two full discs of legendary Jesus Rock, all sourced from the original mastertapes! The first CD contains the complete tracks of Spirit of Elijah and Heaven's Gonna Be a Blast (Wilson McKinley's two most famous and oft-pirated albums) in a completely new digital remix, rounded out with three other album tracks making their CD debut. For others that might be enough, but there's also an entire second CD of unreleased material that contains some of their best writing and ranges from straight- ahead rock to country-rock to harmony- rich ballads, recorded between 1970 to 1976 and only hinted about before, including several live tracks where the vocals had to be remixed to be audible, but the musicianship is outstanding. In addition, founding members Randy Wilcox and Mike Messer have provided several unreleased tracks each for the second disc.
Released in 1980 as a private edition of 300 copies, "Time and Money" finds outlaw rock hero Ray "McKay" Pierle abandoning the rural rock sounds of his famous "Into You" album for a more hard–rock approach.
Twin guitar attacks charged with fuzz–wah and catchy songs full of memorable hooks and melodic vocals.
Recorded mostly at Ray Pierle’s home–made studio and mixed by Moe Whittemore at the legendary 700 West studios in Indiana, resulting in a warm, fabulous analog sound.
Master tape sound. Insert with lyrics and liner notes
"Among the three records with Ray Pierle involvement, "Time & Money" is the heaviest guitar LP" – Stan Denski (Acid Archives)
From his early work with ’50s/’60s hit makers The Royaltones (who also backed other artists like Del Shannon)—to his run through the Motor City’s independent labels as a session ace—to his pioneering and legendary work with The Funk Brothers, backing band to massive Motown hits like “Just My Imagination,” “Ball Of Confusion (That’s What The World Is Today),” “War,” “Cloud Nine,” “Someday We’ll Be Together” and “Band Of Gold” among many others—Dennis Coffey is a guitar legend.
The ’70s didn’t slow him down for one second as he struck out on his own and had a million selling hit with “Scorpio,” in 1971. He continued his studio session work (notably appearing on “Boogie Fever” by The Sylvers), scored films and produced other artists’ albums like Gallery’s Nice To Be With You and Rodriguez’ Cold Fact.
The 2000s have found Dennis appearing on the big screen including the 2002 film Standing In The Shadows Of Motown and the 2012’s Searching For Sugarman. And to this very day you can find him playing every Tuesday night in Detroit.
One Night At Morey’s: 1968 is drawn from the residency at Morey Baker’s Showplace Lounge in Detroit by the Lyman Woodard Trio. The trio consisted of Coffey on guitar, brilliant organist, Lyman Woodard, and drummer Melvin Davis, and could be found at Morey’s once a week. They played to a dedicated, often repeat, audience so the band kept the repertoire fresh and changing. One Night At Morey’s: 1968 follows last year’s Hot Coffey In The D: Burnin’ At Morey Baker’s Showplace Lounge released by Resonance Records, also drawn from the Morey’s residency, but with an entirely different track list.
All tracks on One Night At Morey’s: 1968 are previously unissued and come directly from the vaults of Dennis Coffey and producer partner, Mike Theodore. Tracks include original compositions, “Big City Lights,” “Mindbender,” and “Union Station,” as well as surprising and funky covers of “Billie’s Bounce” by Charlie Parker, “Burning Spear” by The Soul Strings, “Cissy Strut” by The Meters, “Eleanor Rigby” by The Beatles, “Groovin’” by The YoungRascals, and “I’m A Midnight Mover” by Wilson Pickett from the pen of both Pickett and Bobby Womack.
The most popular and productive line-up of The Athenians beat group came together in Edinburgh in late 1963 and comprised Rick Alcorn (Bass), Ally Black (Guitar), Keith Henderson (Guitar), Arthur Mackey (Drums) and Ian Orr (Vocals). After a deep delve into the catalogues of Sue, Chess, Atlantic, Motown etc. a pretty sassy outfit became the exponents of some very acceptable R&B/ Rock. Having now acquired a fan club, a manager and a large following, the band were playing seven nights a week, two of these as residents of the famous Gamp Club, allegedly their second home.
Although only part-time, they were relishing their situation especially the attention coming from the student fraternity at Edinburgh University and soon they'd be performing with Manfred Mann, The Hollies, The Animals, The Pretty Things, Diana Dors (what?) and many, many more. The University connection was to introduce them to their first taste of recording as a request was made to cut a single to promote the Charity Appeal for that year. Entering Craighall Studios in early Feb. 1964 tracks 'You Tell Me/ Little Queenie' are produced and released in all their glory (It has now been confirmed by rock historians/pundits that this record is the first 7" Single to be released by a Scottish beat group).
Expanded reissue of 1976 indie-pop classic featuring future members of The dB’s and Let’s Active.
Ultra rare, sought after French acid folk psychedelic masterpiece, Long Orme is the work of singer-guitarist-songwriter Yves Fajnberg, his girlfriend singer Anne Marie Butel plus a full cohort of musician friends. The LP was laid down to a 2 track Revox Reel To Reel recorder between late 1974 and early 1975 and originally released in 1975 by Sonart Disques to such a limited run that an original copy sells nowadays for no less than 400 euros.Together with Yves Chauvet, Fajnberg had worked on Dominique Droin’s Wave On LP issued by Le Kiosque d’Orphée, all done on a small home studio set by Chauvet. They used the same facilities, mainly two 2-track Revox reel-to-reel magnetophones and an 8-track mixer, to produce a delightful peace of poetry and acoustic guitar.
This exclusive concert event feature Iggy and the Stooges playing songs from The Stooges, Fun House, and Raw Power, along with performances by Deniz Tek, Henry Rollins, and many more special guests.
14 tracks from the Louisville late 60s/early 70s garage–psych scene.
These cuts (all of them previously unissued except for one originally released on a rare 45) were found in the archives of the city’s well known Allen–Martin Studio, after the owners retired and the place closed down.
Including some rather well known names such as The Rugbys, The Illusions, The Keyes and The Oxfords, as well as more obscure local heroes like Free Reign, The Premieres, Roc, Conception...Highlights include fabulous psych rockers by Rugbys and Oxfords; fuzzed out garage by Blues and Illusions; psychedelic hard–rock by Babylon and Free Reign; jangly teen beat by JB and The Young Wheels; killer psych covers of Beatles and Traffic by Keyes and Company Front, ...
It is almost impossible to over-estimate the effect of Slow on Canadian music. Formed in the mid-80s in Vancouver, and releasing only one album and one 7" on Zulu Records, the band has consistently been called one of the most influential punk rock bands in Canada and forerunners of the Seattle grunge scene. Perhaps most infamously, Slow is also the band that brought Expo 86 to its knees.
Not bad for a band that recorded only eight songs.
Slow was formed by Thomas Anselmi, Christian Thorvaldson, Stephen Hamm, and Terry Russell. Ziggy Sigmund was added to the line-up soon after as a second guitarist. The band released the 7" I Broke the Circle in 1985, followed by Against the Glass in 1986, which featured the legendary "Have Not Been the Same," one of the most iconic songs in Canadian music history. The song's name was even taken as the name for the CanRock Encyclopedia, published by ECW Press.
Slow's brand of rock n roll and punk rock has not aged one bit: Anselmi's voice is monstrous, the guitars seriously rock n roll, and the drummer is all energy and destruction. Against the Glass is the kind of album that could only be delivered by a veteran act of 20 years---or a bunch of genius teenagers with not much better to do. Artoffact Records present the first-ever official reissue of Slow's only album, complete with both tracks from the first 7".
That is how the New Creation's Chris Towers summed up the difficulties of fusing psychedelic rock music with Christian ideals. He and his deeply spiritual mother Lorna were what were known as Jesus People, having even written a Christian-themed play that they had entered in a CBC contest. But it was 1967 and the budding guitarist was equally smitten with the near-possessed fingering of Jimi Hendrix and the leaden riffs of Cream. In a couple of years he would discover 'Gimme Shelter', the Stones' apocalyptic anthem that would become his favourite song.
Their play never did win. But in an attempt to prove the devil wrong, Towers and his mother continued writing devotional poems that eventually evolved into songs. With an acquaintance, 21-year-old Janet Tiessen, on drums, the Vancouver trio set themselves up in a rec room in nearby Coquitlam, hashing out their trippy, folk-inspired music and dubbing themselves the New Creation. Before long the group, which Lorna described as "unpretentious and unsophisticated", had amassed a sizeable cache of songs.
"How the songs, in their astonishing force, suddenly 'arrived' was a miracle," Lorna recalled. "And more so the tunes - they kept coming with blazing speed, some fifty of them. What were we to do with what we had? We had no agenda, and the world of music, out there, was hi-tech."
Of course, the believers out there - and even the cynics, sarcastically - might suggest some divine intervention at work. And you would not be so far off the mark. "With the encouragement of family and friends, we prayed much and we practised, we sorted out songs, and, by the grace of God, suddenly found ourselves with a studio." The New Creation allegedly had to pool their resources to come up with the thousand dollars they needed for the six-hour graveyard slot at Studio 3. Once there, the songs poured out with lightning speed, with most needing no more than a single take. The studio crew, she adds, seemed almost alarmed at the group's efficiency.
The resulting LP, Troubled, was pressed up in a tiny run of just a hundred copies and distributed mostly among family and friends. Oh to see their faces when they dropped the needle on 'Countdown to Revolution!', the opening track on side 1! It's a jaw-dropping seven-minute mash-up of religious and anti-religious slogans, Zappaesque feedback and musique concrete that could have fit comfortably on the last side of the Mothers of Invention's Freak Out. Those who hadn't already yanked off the tonearm and had continued listening would have heard a beguiling collection of folk-infused, mostly amateurish tracks (um, one take, eh?). Most are forgettable. Some, like the eponymous 'New Creation' touch on the haunting psych-folk that bubbled under in the late-sixties, while the uptempo groove on 'The Status Quo Song' even hints at the early Velvet Underground, if you strain the imagination a bit. Mostly, though, Troubled is a clumsy mess, leading some to dub the group 'the Xian Shaggs' (which, depending on your views on outsider music, is either an insult or compliment).
Troubled rightfully languished in total obscurity for some three decades until a California collector named Will Louviere happened upon a copy and sought to reissue it on his Companion label. When he finally managed to track down Thiessen, she thought it was a joke. After all, she was not in contact with the Towers nor had the group heard anything about the LP in ages. "No one had ever mentioned the record to them in thirty years," an incredulous Louviere explained. "It was truly and completely lost."
These days it is precisely the 'lost and then found' nature of Troubled that leads collectors to fork over such huge sums - $2900 USD according to Popsike - for an original copy. Some will dismiss it as pure rubbish, while others will hear in it a purity of intent that comes with the best naive art. Irwin Chusid, author of Songs in the Key of Z: The Curious Universe of Outsider Music and longtime WFMU program host, is clearly in the latter camp, writing, "Troubled is just a terrific album, a showcase of raw, inventive musicality. Categorically, it's - I dunno - Sixties Garage Godcore? Yet it transcends being a mere period piece. The songwriting is deliriously brilliant, the lyrical perspective haunting. The band's sincerity is unquestionable, even if its meters are unfathomable. And its appeal - undeniable.
Tracks 1 to 6 are the earliest live recordings on January 10th 1968.
Tracks 7 to 14 are a 1970 rehearsal at the Matrix, San Francisco.
Reissue of the first album by Brazilian musician, poet and plastic artist Manduka. Originally released in 1972 on IRT, the album is a sought-after collectors' item, especially among those who seek in its cultural richness, fundamental episodes of Chilean popular musical history. An essential record almost entirely written by Manduka during his exile years in Chile, away from his home in Brazil. It includes improvised jams and songs about Brazilian history, his own exile and the new cultures he got exposed to. A sublime combination of acoustic guitar sounds, percussions and delicate songwriting that may remind you of some other Brazilian artists like Os Novos Baianos or even Caetano. It includes a special cover version of Violeta Parra's Qué dirá el Santo Padre and features guest artists like Soledad Bravo, Patricio Castillo, Baltasar Villaseca from Congregación, brothers Gabriel and Eduardo Parra, members of Los Jaivas, and Numhauser himself.
Canadian punk rock history! This exclusive collection of rare Diodes tracks contains alt versions, demos, and archive treasures, including two versions of the band's hit Tired Of Waking Up Tired.
In the intervening 20 years the Prisoners’ legend has grown. Graham Day and Allan Crockford have formed a variety of groups, from Planet to the Solar Flares (and Allan is currently in the Billboard Garage charts with his group the Stabilisers), organist James Taylor formed his Quartet and virtually invented Acid Jazz. The Prisoners are now lauded as the great pioneers of modern day garage, lauded in the NME as one of the most influential bands of the 80s and recently having their “Last Fourfathers” album described by Uncut as “one of the most important in British rock”. Everyone from Oasis’ Noel Gallagher to Radio One’s Steve Lamacq claim to love them, taking in Ian Brown and the Horrors along the way.
Big Beat version does not include a handful of tracks that are already available as bonus tracks on Big Beat’s reissues of the Prisoners’ original albums, but otherwise sees the Hangman album present and correct with great live tracks, live cuts and early B-sides showing a truly breathtaking outfit in action. Includes two wonderful undiscovered cuts, an instrumental called Unbeliever (fast) from the “Wisermiserdemelza” sessions and a take of Love Me Lies recorded live in a studio some time before the its appearance at those sessions. Also added are two cuts recorded at a demo session in 1984 which appeared on various small run compilations – Joe 90 and an amazing version of Hush.
Demo recordings from October 1988/June 1989
When Geoff Milne joined the Plunderers in October 1988 – replacing Peter Velzen on the drums – the band rehearsed every Monday, and most Thursday nights, originally at White Room in Surry Hills and then at the newly-opened Troy Horse in Newtown.
The twelve songs on the aptly named Every Monday, Sometimes Thursday album were recorded during these rehearsals. In the case of the first six songs, they were all recorded on Monday 24th October 1988 at White Room and it was only the fourth time Geoff had played with Stevie and Nic. Three songs (“La La”, “Take A Ride”, and “Take This…)” were old Plunderers songs from 1984-86 and the other three (“Is My Time Up”, “I Didn’t Even See Them At All” and “Peggy”) were new ones.
The version of “Take A Ride” is unique amongst the many versions of one of the first songs that Stevie and Nic wrote together for the band in 1984 because they try out a possible chorus: “What a perfect sail, what a sail, what a sail”. This looks to be the only time the song was given a new arrangement and, after this recording, it went back to the original way.
Private UK - ultra rare 1978 stoned, eccentric and depressed UK acid/folk gem in Barrett/Spence vein … Stoned effects, fuzz outbursts, great guitar work, Tyrannosaurus Rex-like bongo jammers, out-there vocals, Parachute’s era Pretty Things like compositions, stoned vibe …
This album was only pressed as demo.
"Either / Or" is a perfectly played and professionally recorded album (something very unusual for a private pressing). Top–notch psychedelic folk–rock / acid–folk with male–female vocals, flute, electric–acoustic guitars, bass, drums and some freaky / weird arrangements–effects. The album is now also famous for including "A gay song", which is probably the earliest known example of a pro–open gay song.
The original pressing of 1000 copies was never distributed or sold at stores, all the copies were given away for free (even to people passing on the street!). One of the members even buried a large number of them in a time capsule at the Amazonas rainforest!
Needless to say, the original album is a highly sought–after artifact since the early days of obscure psych–prog record collecting.
This reissue reproduces the original embossed cover and includes repros of the two rare inserts, including the giant fold–out poster with new linernotes and info printed in the revers. We’ve also included a repro of the "Save Piccadilly" 7" single released in 1972, featuring a non–album track: "The circus keeps on turning".
What may be called the second life of Avvoltoi takes shape at the end of 1991.
Moreno Spirogi together with Sandro Piu, after the Ugly Things, decided to dust off the old initial, Gli Avvoltoi exactly. The line up is completed by Stefano "Pugnaro" Cervellati, also just back from the Ugly Things, bass player and Max Cippo, already active in many of the ‘ugly birds’ lives in the '80s, at the keyboards.
The sound changes in the references and intentions than the 80s, the approach is rocker, harder, with some excursions approaching some kind of popsike. In this collection we find the three official recordings of that period, two singles published by Destination X and the 12" released for Vu Ballè Vu plus many unreleased songs kept for many years in a drawer and some live tracks. Analysing the songs of this collection we find three important Italianised cover, I'm A Man, Get Yourself Together and Hush, cleverly combined to tracks signed by the band characterized by a very personal propensity.
This Gli Avvoltoi’s phase hadn't yet been assembled in a unique collection the less it has gone out on CD. Surely the most interesting part is the one of many unreleased songs, with original recordings most of them recorded on 4-track tape.
Finally, this album contains all the material recorded by the band in the years from 1992 to 1995 and it can be considered a "definitive" collection that resumes that awesome period and photographs it in its true shades and in its essence.
Carlos Fire Aguasvivas and a band of buddies recorded Eclipse of the City, the privately pressed, psychedelic funk rock album lost to time, sometime in the blur between 1975 and 1977, and made one master copy. Circumstance being what it was, Aguasvivas was unable to press the album for a handful of years.
Aguasvivas saved enough money to press three hundred copies of Eclipse in 1980. A self-taught artist and comic book fan, he drew the album’s distinctive artwork. Both sides were meant for the back cover, including a mise en scène of the Eclipse band drawn from memory, as they didn’t think to take any group photos around the sessions. Rare and in-demand, the record became a cult favorite among heads as the years passed by.
"Whoa! Here's a real sleeper for you. Overall, my experience with South American releases is that there aren't a whole lot of really good ones; a few, but not many. Most are respectable, though generally not worth the mega-buck price tags attached to many original albums. And most of the best LP's are from the early 70's period. The farther back into the late 60's you go, the weaker they get. Most of the releases from this time period consist largely of US/European hit covers. That's what makes this 1968 album, from Venezuela, so special. Sure it has a few covers: "Jumpin Jack Flash", "Hello I Love You", and "Revolution". And these are the best cuts on the record, done particularly well. But many of the originals are also well worth listening to. Except for "Hello..." and "Revolution", all vocals are in Spanish, backed by some pretty cool fuzz and Farfisa organ too. The end result is a decent (even by US. standards) garage album with mild psych influences. The way cool cover was ripped off for the Love, Peace, and Poetry compilation series. Originals are as rare as hen's teeth, so look for the bootleg; no doubt, your only hope!"
Tymeshifter
1977 Bristol & I was playing guitar in my very first band, a college rock band playing my first gig at The Granary, mostly doing covers with a few original songs thrown in. But for quite some time I had been writing lots of songs at home, experimenting and developing ideas on my trusty reel to reel tape recorder. College ended and so did that band.
But punk had just arrived like some gigantic bulldozer. Totally energized with what was happening, I decided this was the time to form my own band featuring these new songs that I had written & recorded.
In early '78 I put up adverts in various local music & record stores for a bass player and drummer.
This led to finding Richard White, who had moved down to Bristol from Ross-On-Wye in search of a band and glory. By a stroke of good luck, he also knew of a great drummer in Bristol intriguingly named Emil. So very quickly, Apartment just fell in to place.
We decided to keep to a three-piece line-up initially, and spent a lot of time rehearsing & learning the songs. We also checked out prospective venues to approach to play, but this was quite tough to break into without being known locally first.
ApartmentSo we ended up hiring a function room that was joined onto the back of The Bunch Of Grapes pub, called The Stonehouse for a fiver (this was down at the end of Newfoundland Road in Bristol-sadly now replaced by an office block & a 21st century mall) and started playing a gig there once every week.
After a short period of playing there we got more and more people turning up, and as a result developed a bit of a following. The word got out & other bands started to play at the Stonehouse, and by mid 1979 it had become a real thriving scene, like our own mini-CBGB's.
We also sent a demo cassette to Simon Edwards of Bristol's Heartbeat Records. He loved it and kindly offered us the chance to record a track ('The Alternative') for his new Bristol compilation album - Avon Calling.
We recorded 'The Car' and 'Winter' as a double A-sided single at Crescent Studios in Bath in Dec'79 in between a flurry of local gigs. 'The Car' gained a fair amount of national radio play which led to a Radio One Mike Read session. This got us more exposure & through various promoters we managed to get more gigs outside Bristol.
Around about this time we added Steve Street of the Europeans on bass, as Richard really wanted to switch to rhythm guitar. By early 1980 we were now playing quite a few support gigs in London at the Marquee, 100 Club and the Moonlight. We were also opening for bands like the Cure and Gang Of Four locally. But we got to a point where we should of released another single, but it didn't happen. In fact 'Poison' (the demo of which is on the CD release of Avon Calling) was to be the next possible candidate. By mid-summer of 1980 with no new single & no real deal on the horizon, Apartment stalled & we decided to split after not getting to the next level.
Alan Griffiths (guitar)
Apartment - Live in Bristol 1980
