-= 7-FLOOR =-

Friday, January 30, 2009

Rufus Zuphall - Weiss Der Teufel (1971)

Rufus Zuphall is one of the significant German rock bands of the early seventies. This first CD, part of a series of three CDs, describes their musical development - beyond the first LP thro' to the farewell concert in '72. With this - the "complete work" of Rufus Zuphall is available for the first time on CD.

Formed in Aachen in 1969 and initially with a keyboard player as fifth man, the band melted together blues elements, the ease of Anglo-Saxon folk, classical influences and driving guitar rock with progressive song structures into an autonomous instrumental dominated style and live programme. The titles "Hollis Brown" and "Granum Cerebri" from forthcoming third CD "Avalon And On" are from this period.
In the beginning the band was not so Germany-orientated but more towards the neighbouring countries Belgium and particularly Holland and their breakthrough came accordingly in 1970 in front of a 30.000 crowd at the Jazz Festival in Bilzen (Belgium). Actually planned as a sideshow, they then played as the only amateur band next to such stars as Black Sabbath, Cat Stevens or May Blitz and were celebrated by the press as "surprise of the festival". Previously Rufus Zuphall had even appeared with Living Blues and Cuby and the Blizzards, in the same year this was followed by gigs with Curtis Jones, Group 1850 and Golden Earring.

The front man on stage was the flutist Klaus Gülden. He had a decisive influence on the Rufus Zuphall sound. Bass player Helmut Lieblang wrote the lyrics. Günter Krause, a creative guitar talent, composed most of the titles and with Udo Dahmen Rufus Zuphall had a drummer, who later, after his music studies, then played with Kraan, Lake, Eberhardt Schöner and Achim Reichel and is even today much asked after. He is also studio drummer and worked as a lecturer at the Hamburg College of Music. Today he is headmaster of Mannheim College of Popular Music. Apart from Udo Dahmen, the only other one of the various Rufus Zuphall members who remained true to a musical career was Günter Krause. After Rufus Zuphall had come to a close, he too studied music, he then played jazz and jazz rock in various formations - he played into the 80s as a jazz guitarist in a sextet making records. Today he's working as a musician, composer and guitar teacher.

At the beginning of December 1970, Rufus Zuphall produced live in Holland their first LP "Weiß der Teufel" in only three days. It was released in 1971 as a private pressing on Good Will Records - a masterpiece of progressive rock. The titlesong was a secret "scene hit" and the track "Spanferkel" taken from the LP became the signature tune for one of the best known German radio rock programmes. The LP, although the release was limited and despite bad marketing conditions, was a success.

In spring 1971 Rufus Zuphall recorded their second LP "Phallobst" and third album "Avalon And On" was planned to release in late 1972. But it was never finished. The band disbanded in September 1972.

In 1999 their was a reunion followed by a lot of gigs and the release of the CD "Colder Than Hell" in 2000. Between June and September 1972 their was a short series of 6 farewell concerts. The last was at the beginning of September in Eindhoven (Holland). The first was a concert for their fans in Aachen on June 17th 1972, in the eyes of the band one of the true musical highlights of Rufus Zuphall. Here is dynamism, creativity and enthusiasm to be heard, one can feel the stage experience and intimacy of a group that despite all other activities in 1971 alone managed to make over 50 appearances.

Bonustracks:"Farewell Live Aachen '72", as bonus tracks split on this and the following "Phallobst"-CD, shows the musical range of Rufus Zuphall, the full bounds of Rhythm'n Blues - inspired beginnings with songs like "Wade In The Water" or "See See Rider" thro' to rockers like "Prickel Pit" or progressive titles like "Avalon Suite", it shows classical influences, free song structures with jazz elements and includes with "Summertime" or "Spanferkel" fundamental group hits.

(info by: CGR)

01. Walpurgisnacht (3:00)
02. Knight Of 3rd Degree (7:32)
03. Spanferkel (2:20)
04. Freitag (7:14)
05. Weiß der Teufel (17:09)
Total Time: 37:15

Bonus Tracks Farewell! Live Aachen 1972
06. 900 Miles
07. I Put A Spell On You
08. See See Rider
09. Avalon Suite
10. Summertime
11. Prickel Pit

Size: 139 Mb
Bitrate: 256 mp3
Artwork Included

Friday, January 23, 2009

The Allman Brothers - Martin Scorsese Presents (1969-71)

As any fan knows — heck, as anyone who's listened to the radio since 1970 knows — there was much more to the Allman Brothers Band than blues. Blues-rock, however, was a foundation of their music, and that's what you'll hear on this compilation, which is part of the Martin Scorsese Presents the Blues CD series, issued in conjunction with the television documentary series The Blues. As is proper, almost all of this is from the band's early years; all but two of the songs were recorded between September 1969 and June 1971, and none of them postdate 1979. So the accent falls very heavily on their Southern rockified covers of blues songs by Elmore James, T-Bone Walker, Muddy Waters, Blind Willie McTell, and Sonny Boy Williamson, including tunes that were among the group's most popular, among them "Trouble No More," "Statesboro Blues," "One Way Out," "You Don't Love Me," and "Dimples." That means there's no room for the considerable chunk of their repertoire that also mixed in pop, straight-ahead hard rock, jazz, and country, like "Dreams," "Ramblin' Man," "Whipping Post," and "In Memory of Elizabeth Reed." But if you are in the mood for the blues and the blues only, this is certainly a good (and long, running 74 minutes) sampler of the sounds that made them the most esteemed American blues-rock interpreters.

(info by: CGR)

1. Trouble No More (Waters) - 3:47
2. Done Somebody Wrong [live] (James) - 4:16
3. Stormy Monday (Walker) - 8:50
4. Can't Lose What You Never Had (Morganfield) - 5:51
5. Statesboro Blues [live] (McTell) - 4:13
6. One Way Out [live] (James/Sehorn/Williamson) - 4:57
7. (I'm Your) Hoochie Coochie Man (Dixon) - 4:57
8. I'm Gonna Move to the Outskirts of Town [live] (Jordan/Weldon) - 9:19
9. Dimples [live] (Bracken/Hooker) - 4:59
. Need Your Love So Bad (Mertis) - 4:04
11. You Don't Love Me [live] (Cobbs) - 19:17

Size: 102 Mb
Bitrate: 256 mp3
Artwork Included

The Common People - Of The People (1968)

The Common People's only album is melancholy psychedelia, quirky but in a pretty forgettable way. The mood's set by the opening "Soon There'll Be Thunder," where an appealing two-chord melancholy melody is set to raindrop-falling haunting electric keyboard and sweeping, gloomy strings. It's a groove that's mined too often by the subsequent tracks, which are passably pleasing moody pop-psychedelia in limited doses, but too similar to each other when grouped so closely. The constant rain-cloud-hovering-over-a-hung-head ethos begins to turn sour rather than soothing after a few songs, even though the string arrangements used on just a few cuts have a nicely shivering, weepy quality. "They Didn't Even Go to the Funeral" is a most unfortunate departure into mock vaudeville humor, and while a couple other songs get dressed up with some peppy horns, it's hard to tell whether the embarrassing grunts in "This Life She Is Mine" are an attempt at funky soul or simulations of the moment of orgasm. The pace does get broken up by the hard but monotonous fuzz-guitar piano rock of "Go Every Way," as well as some more folk-rockish and melodically limited sullen stuff. (by Richie Unterberger).

(info somewhere from internet)

Size: 46.4 Mb
Bitrate: 224 mp3
Artwork Included

Sunday, January 18, 2009

The End - Introspection (1969)

24bit Digitally Remastered Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork. "Introspection" is a Lost Nugget from the Psychedlic Era of the Late 60s, Produced by Bassist Bill Wyman of the Rolling Stones. Includes Two Bonus Tracks: The Mono Single Versions of "Shades of Orange" and "Loving, Sacred Loving".

Biography by Jon 'Mojo' Mills:Although never achieving the success they deserved, the End are best remembered for their Bill Wyman-produced psychedelic-pop that was a masterful mixture of swirling, dream-like numbers, and flowery, but never twee, pop. Their Introspection album is now viewed as one of the finest examples of British psychedelia. Dave Brown and Colin Giffin formed the End in 1965 following the demise of beat group the Innocents. Nicky Graham and John Horton were drafted in from Dickie Pride's backing group, the Original Topics, and the line-up was completed with former Tuxedos drummer Roger Groom. After recording at the now legendary R.G. Jones' Morden studio, successful friend Bill Wyman arranged a tour with the Rolling Stones. They also appeared with Spencer Davis on ITV television's Thank Your Lucky Stars playing "Hallelujah I Love Her So." At this time their music was very much in the club-soul/blue-eyed soul style that was sweeping England by storm. Following the tour, Roger Groom quit to be replaced by Hugh Atwooll, a former school friend of Nicky Graham. John Horton also quit, but the split was amicable as he continued to help out on their second single, "Shades of Orange." Cut by Bill Wyman, with the addition of Charlie Watts on tabla, the song was recorded during the sessions for the Rolling Stones' psychedelic foray, Their Satanic Majesties Request. "Shades of Orange" epitomizes British Psychedelia and is one of the genre's most sought after items.

Following the single's release, Gordon Smith also left and was replaced by former Mode guitarist Terry Taylor. The band then decamped to Spain, where several singles were released domestically, including "Why," a Top Five hit in April 1967. By Christmas 1968, both Colin Giffin and Hugh Attwooll had left after recording the Introspection album, and although a new drummer, Paul Francis, was enlisted, the writing was on the wall. With the arrival of another Mode refugee, Jim Henderson, the End metamorphosed into the more progressive-sounding Tucky Buzzard. Introspection was delayed for over a year due to a fallout from the Rolling Stones' bust-up with Allen Klein and was musically the type of psychedelia that had gone out of fashion by the time of its December 1969 release. The band had changed name and style, leaving this glorious album to sink without a trace.

(info by: CGR)

01. Dreamworld
02. Under The Rainbow
03. Shades Of Orange
04. Bromley Common
05. Cardboard Watch
06. Introspection (Part One)
07. What Does It Feel Like?
08. Linen Draper
09. Don't Take Me
10. Loving , Sacred Loving
11. She Said Yeah
12. Jacob's Bladder
13. Introspection (Part Two)
14. Shades Of Orange (Mono Single Version) (Bonus Track)
15. Loving, Sacred Loving (Mono Single Version) (Bonus Track)

Size: 75.4 Mb
Bitrate: 256 mp3
Artwork Included

Thursday, January 08, 2009

Twenty Sixty Six And Then - Reflections (1972)

The group created this uncommon name by adding thousand years to the historic battle of Hastings in 1066. Unfortunately, their lifespan was rather short: from Spring 1971 to Summer 1972.
Their one and only album is nothing short of an all time classic: Reflections On The Future (1972), recorded during Autumn 1971 at the Dierks Studio, Stommeln near Cologne. This album contained five long heavy progressive tracks with a dramatic mood and a quite unique German styling. "At My Home", a fast tempo opener, kicked off the album with stunning heavy guitars, swirling hammond organs and Geff Harrison's great, though slightly soul-influenced vocals. The next track "Autumn" brought in the topics of death and desintergration. The melancholic lyrics predated Pink Floyd's "Time":
"Butterking" had weird, trippy lyrics dealing with the arrival of the Butterking (??) - the king of butterflies! The track is an uncommon masterpiece, featuring jungle sound effects, very slow and heavy organ and guitar riffs interrupted by perverted "ragtime" piano interludes.

The 15 minute title track offered some great instrumental excursions, ending with a psychedelic space flight! "How Do You Feel" rounded off the album in a marvellous way, featuring a haunting vocal arrangement. The original version of this song (recorded some months prior to the album sessions) lasted for 13 minutes! The musicians of the group excelled throughout the album. Engineer Dieter Dierks ensured great sound quality and added his patented "cosmic" phasing effects.
(Those who have heard the Kosmische Kuriere albums will know what I'm talking about!) Due to poor sales and a ruined economy, one of Germany's best groups had a premature death only months after the album's release. A projected 1972 single was never released. Their legacy is an album that should be in every serious German rock collection! It's quite rare that so many talented musicians are assembled in one group. They were later involved in many other projects: Geff Harrison and Cagey Mrozeck joined Kin Ping Meh, in time for their third album (released on Zebra). Steve Robinson (his real name was Rainer Geyer!) played with Nine Days' Wonder and Aera.
Veit Marvos recorded with Emergency, Tiger B. Smith and Midnight Circus. Konstatin Bommarius played drums for Abacus and on Karthago's Rock'n'Roll Testament. None of these later projects have stood the test of time as well as Reflections On The Future. United Artists originals sell for DEM 500 in mint condition.

Geff Harrison lead vocals, lyrics Gagey Mrozeck guitars Veit Marvos keyboards Dieter Baucer bass Steve Robinson keyboards Konstantin Bommarius drums guest: Wolfgang Schöonbrot flute Curt Cress drums

(Info by: CGR)

01. At My Home - 7.58
02. Autumn - 9.06
03. Butterking - 7.17
04. Reflections On The Future - 15.48
05. The Way That I Feel Today - 11.11
06. Spring - 13.02
07. I Wanna Stay - 3.59
08. Time Can't Take It Away - 4.38

Size: 136 Mb
Bitrate: 256 mp3
Artwork Included

Them - Time Out Time In For Them (1969)

Released in 1968 this is the second release by Them after the departure of Van Morrison and the bands relocation to California. The band had really started to incorporate the best that the West Coast scene had to offer and the album shows this to good effect, with sitars and loads of trippy effects. The CD contains bonus non LP singles in the original mono. Fully detailed booklet is included within the package. Highly recommended!!

The third part of our THEM trilogy finds the California bound edition of THEM, having explored softpop, psych, full-on garage punk and even their Maritime Club roots on NOW AND THEM (CRREV29), plunging full on into the Psychedelic maelstrom they helped create.
Being on the same label as The Chocolate Watchband was just a red rag to these Belfast boys!.... Like The Shadows Of Knight, these upstarts will have to learn who are the real Daddies!..... THEM!.....produced once more by Texas rockabilly maverick Ray Ruff, this is the sound of THEM through the bizarro filter of California Acid tests..from a psychpunk historical perspective, Van Morrison made a BIG mistake leaving...though his buddy Kenny McDowell does the job just fine

With a bonus of as many non-LP singles as we can cram on, this is THE essential lost artifact of Irish Psychedelia....just the sleeve is worth the price of admission!!

Classic psychedelia first time on CD anywhere, plus bonus non-LP singles in the original MONO! Plus the usual full-monty Rev-Ola remastering extravaganza...it never sounded so good! Including Extensive linernotes by Jon 'Mojo' Mills of the celebrated "Shindig!" magazine, fearturing input from band members.... Essential for all fans of quality Psychedelia, Garagepunk and 1960's psychpop...also all THEM and Van Morrison collectors, and the entire population of Belfast!...see what it was all about!

(Info by: CGR)

01. Time Out for Time In
02. She Put a Hex on You
03. Bent Over You
04. Waltz of the Flies
05. Black Widow Spider
06. We've All Agreed to Help
07. Market Place
08. Just on Conception
09. Young Woman
10. Moth
11. But It's Alright
12. Square Room [2nd Single Version]
13. Dirty Old Man [2nd Single Version]
14. Corinna [Single Version]
15. Dark Are the Shadows [Single Version]
16. Dirty Old Man [Original Single Version]
17. Square Room [Original Single Version]
18. But It's Alright [Original Single Version]
19. Square Room [Single Edit/Remix]

Size: 104 Mb
Bitrate: 256 mp3
Artwork Included

Friday, January 02, 2009

The Other Half - Selftitled (1966-69)

Released 1968 on ActaReviewed by The Seth Man, 4th September 2001ce

“When The Other Half records, all their amplifiers are turned to maximum volume…it is the hope of The Other Half that you enhance your enjoyment of this record by playing it at least once at FULL VOLUME.”-Anonymous original liner notes to “The Other Half” (1968).
Despite the cover looking like every inch a typical San Franciscan 1967 cash-in after the fact like the cover of the “Revolution” soundtrack, The Other Half’s sole album contains awesome incendiary rock performed with amplifier knobs glued to the most clockwise position available, and there they stayed for the duration. Of their five singles, all but the first (the legendary “Mr. Pharmacist”/”I’ve Come So Far”) were on the Acta label and of those four, all but one B-side (“No Doubt About It”) provided the bedrock upon which a further two tracks were recorded, creating an album with a running time just squeaking under 28 minutes. But for all its brevity, an inordinate supply of elevating mind destruction prevailed, most of which was provided by the guitar work of Randy Holden. Already more than halfway on the road between his previous group and side 2 of Blue Cheer’s third album, Holden had been continually pushing the sonic envelope as his forays into controlled feedback, sustain and pure channeling of power through volume nearly blew all the fuses as his extraordinary battery of customised pedals and amps wove sound into towers of near-uncontrollable feedback, howls and unending lines of sustain. Oh, Holden steps out in a most roughshod manner here, despite the album’s straight-jacketing record company hi-jinks like adding fake audiences to the first two tracks. As the liners explain, they took the advice of engineer Leo De Gar Kulka, and “faithfully duplicate their live performance such as at The Avalon Ballroom in San Francisco, where they draw ‘turn away crowds.’” It’s about as fake as Jack Nicholson’s ponytail in “Psych Out”, and the first track that suffers from this clued-out direction is “Introduction”, where a snootful of snot comes shooting from vocalist Jeff Nowlen, Holden joining in on second vocals on a wooden “call and response” routine which quickly breaks down into laughter and an exchange of words. Holden then quietly informs Nowlen after his harmonica solo that he’s in the wrong key, and It’s clear they’ve already given up with playing along with the charade, so they sneak in a final exchange that probably sent ol’ Leo De Gar Kulka’s blood pressure skyward:
“Ain’t gonna say it!”“Every time you sing it --““--Clap hard.”“I don’t want the clap.”(Wild applause)

Just as the torrential downpour of Beatlemania screaming ensues into the red, OH NO…
The album really begins from this point on as the group have now hurtled themselves headlong into a blistering whirlwind of Arthur Lee’s unissued classic, “Feathered Fish” (which for some reason is credited to Country Joe on the album). Holden has now unhitched his guitar from the main wagon train and is now running rampant on a steed of his own in true longhair noise mongering fashion with no apologies at all. Following is “Flight Of The Dragon Lady”, opening with a jaunty bass line and lightly-tapped drums’n’cymbals when -- WHOOOM!!! -- right into another Golden Holden Opus of ultimo sustaino, navigating completely controlled, earsplitting guitar through hairpin back alleys of silence with a super-slowed grace that manages to JUST FIT the tempo and what the rest of the band are doing. If anyone else had blinked for even one millisecond, it would’ve fallen apart, but Holden just keeps reigning it in with a lot of space, control and even more volume. He hits a note in the middle section break that is placed sonically somewhere between the lowest foghorn and the worst public fart never lived down. It’s a wonder someone had not only the ability or desire to play that, but got it down as early as Holden did. On record, no less. But it just gets better…Despite its title, “Wonderful Day” is a first Love LP moody downer with its heart planted firmly in the ‘66 greaser tradition of beaten-off women frustration. And I’m frustrated, too, because Holden has temporarily suspended all fuzz and sustain monopolization for the time being. But he returns like he never left for the penultimate outing of side one, “I Need You”. A freakin’ high-energy releasing shit storm whose opening is a ’65 live Who guitar and drum freak out/destructo-barrage, it settles into an immediate course into the late night railroad junction of “Baby, Please Don’t Go”. Except here Holden releases a stentorian double slash of guitar after every line as accent AND IT IS LOUD AS ALL FUCK. It’s so sawtoothy and savage,it applies even more of a crunch as vocalist Nowlen has taken to enunciate ala Mick Jagger during his highly affected “Lady Jane” fop period. It works hilariously well as the vocals are pitched high in the mix as the now adenoidally-endowed Nowlen is issuing forth the word “way” like “WAUHHHYY” in yet another woman’n’frustration epic, encased in a flower punker with Holden operating like he’s already in Blue Cheer, tugging constantly on the sleeves of his compatriots to kick it out even half as brutally loud and sloppy. He then raises the stakes to unbelievable heights with a solo accompanied by nothing but vertiginous drum rolls into a resounding fury-fuck of all time. The freakily titled “Oz Lee Eaves Drops” opens with tight, hammering drumming that serves to shore up Nowlen’s proclamations of unearthly powers (“I can bring the sun up/Yes, and I can turn the tide”). Everything cuts out for a sudden, near-random harmonica and guitar interplay except those moronic insistently, non-stop spazzaroo drums. Finally, Nowlen states “Only I can get you high!” and repeats it during the stuttered ending, guffawing up a storm in all certainty because that quip probably sent old man De Gar Kulka’s hypertension to hover even above the decibel level of Holden’s amps.

“Bad Day” begins the second side, almost an “answer song” to the previous side’s “Wonderful Day” bum-out as it runs at a carefree clip, sunny and clean being the forecast for this particular sublimated “Satisfaction”-riff out, with extra fuzz guitar snarling-age thrown in for good measure. “Morning Fire” opens with a bass line all tippy-toes creeping in the dark and set against a bleeping UFO signal with military snare work. Holden’s ringing playing is as loud as it is downered, adding to the wandering loveless in the wilderness scene, complete with the mantra-like chorus: “I sat in front of a morning fire/With the kindling of our love/I sat in front of a morning fire/With a burning moon above…” The fragility of the vocal delivery and the ringing, rippling guitar lines create a piece of gruff punk that is supremely transcendental. The album concludes with the elongated “What Can I Do For You”, subtitled into two sections, “First Half” and “Other Half”. An initial rallying cry of “HEY!” bursts in as the band is already into their slow, druggy sexual come-on piece. Like a hornier, hashish’ed and altogether heavier “Viola Lee Blues”, it grinds on throughout the more vocal based “First Half” segment. A short silence demarcates the beginning of “Other Half”, the “half song” that wasn’t included on the single version because of its length and harrowing guitar penetrations. The drums scatter fill and the group have taken it WAAAYY down. And Holden’s guitar is WAAAYY up, and this indelicate balance allows him to wrench out a sonic run-on sentence of outbursts that send vibrato, howling sustain and plain NOISE riffing to rebound left, right and centre, almost irregardless of what the rest of the band are playing. When the vocals return, Holden mimics them on guitar and soon chases them down a wormhole of abstractions. He’s breaking in his bucking bronco guitar, and it’s not giving in a single inch although it’s rearing up on its hind legs. When the final build erupts, he is conspicuously absent…that is, until the final, circuit-breaking feedback howl that ends the album and must’ve sent all three of their co-producers scattering from the studio in record time. Perfect.

(Info by: CGR)

01 - Introduction - 1.53
02 - Feathered Fish - 2.30
03 - Flight of The Dragon Lady - 2.29
04 - Wonderful Day - 2.16
05 - I Need You - 2.41
06 - Oz Lee Eaves Drops - 2.27
07 - Bad Day - 2.14
08 - Morning Fire - 2.32
09 - What Can I Do For You (First Half) - 2.42
10 - What Can I Do For You (The Other Half) - 6.48
11 - I´ve Come So Far (Bonus) - 2.22
12 - Mr. Pharmasist (Bonus) - 2.30
13 - No Doubt About It (Bonus) - 2.36
14 - It´s Too Hard (Without You (Bonus) - 2.13
15 - I Know (Bonus) - 2.41

Size: 76 Mb
Bitrate: 256 mp3
Artwork Included

The Graham Bond Organization - Live At Klooks Kleek (1964)

What was it like to be sitting in a club in London during the 1960s with one of the top R&B bands of the time playing on the stage in front of you? This is probably about the nearest you can get with the Graham Bond Organisation rocking Klooks Kleek. Former members of Alexis Korner's Blues Incorporated, the Graham Bond Organisation contained Jack Bruce and Ginger Baker who later made up two-thirds of Cream. At the time, London was full of blues bands, many of which, like the Graham Bond Organisation, had developed from roots in the jazz clubs of the capital.
The album was recorded towards the end of 1964 in-between the release of the band's two albums. Jack Bruce had left by the time the second album was available so presumably it was not long after this gig.
The album opens with the powerful Wade in the Water. This is a taste of what is to come later in the gig. Released as the b-side to the second single Tammy, the instrumental Wade in the Water is far more representative of the band. The track acts as a good introduction, showcasing the different instruments. Listen out for the amazing bass guitar solo in Big Boss Man. This sounds like a guitar solo but bear in mind that Jack Bruce is playing bass.
Early in the Morning is introduced as a Ginger Baker song but, like Wade in the Water it is a traditional song that has been arranged by the group and again it is an instrumental. Person to Person Blues features Graham Bond on vocals.
The instrumentals continue with Spanish Blues. Presumably this has a Moorish influence as the track sounds more Middle Eastern than Spanish!
Train Time will be familiar to Cream fans. This is noted as a group composition although Cream's BBC Sessions credits it to Jack Bruce. The track features a superb harmonica performance by Bruce.
The final track is the Ray Charles standard What'd I Say.

(Info by: CGR)

01.Wade in the Water
02.Big Boss Man
03.Early in the Morning
04.Person to Person Blues
05.Spanish Blues
06.Introduction by Dick Jordan
07.The First Time I Met the Blues
08.Stormy Monday
09.Train Time
10.What'd I Say

Size: 81.6 Mb
Bitrate: 320 mp3
Artwork Included