Ten Years After - At The Olympic Auditorium LA 1970-03-21 (Bootleg)

Kamis, 07 Maret 2013 0 komentar

Size: 172 MB
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Born in Nottingham England, ALVIN LEE began playing guitar age 13 and formed the core of the band Ten Years After by aged 15. Originally influenced by his parent's collection of jazz and blues records, it was the advent of rock and roll that truly sparked his interest and creativity, and guitarists like Chuck Berry and Scotty Moore provided his inspiration. 

Alvin Lee in Concert 1974
The Jaybirds, as Lee's early band was called, were popular locally and had success in Hamburg, Germany, following the Beatles there in 1962. But it wasn't until the band moved to London in 1966 and changed its name to TYA that international success beckoned. The band secured a residency at the legendary Marquee Club, and an invitation to the famous Windsor Jazz & Blues Festival in 1967 led to their first recording contract. 

The self titled debut album surprisingly received play on San Francisco's underground radio stations and was enthusiastically embraced by listeners, including concert promoter Bill Graham who invited the band to tour America for the first time in the summer of 1968. Audiences were immediately taken with Lee's distinctive, soulful, rapid fire guitar playing and the band's innovative mix of blues, swing jazz and rock, and an American love affair began. TYA would ultimately tour the USA 28 times in 7 years, more than any other U.K. band. 

Alvin Lee New Album 1973
Appearing at the famed Woodstock Festival, Lee's virtuoso performance was one of the highlights and remains today a standard for many other guitarists. Captured on film in the documentary of the festival, his inspired playing catapulted him into superstardom, and soon the band was playing arenas and stadiums around the globe. Although Lee later lamented that he missed the intimacy of smaller venues, there is no denying the impact the film made in bringing his music to a worldwide audience. 

TYA had great success, releasing ten albums together, but by 1973 Lee was feeling limited by the band's style. With American gospel singer Mylon LeFevre and a host of rock talents like George Harrison, Steve Winwood, Ron Wood and Mick Fleetwood , he recorded and released On The Road To Freedom, a highly acclaimed album that was at the forefront of country rock. A year later, in response to a dare, Lee formed Alvin Lee & Company to play a show at the Rainbow in London and released it as a double live album, In Flight. 

Ten Years After 1967
An energetic mix of rhythm & blues and rock, with a tribute to Elvis Presley thrown in for good measure, Lee once, in his understated fashion, called this band "a funky little outfit". They were far more than that and various members of the band continued on with Lee for his next two albums, Pump Iron and Let it Rock. He finished out the 70s with a powerhouse trio he called Ten Years Later who also released two albums, Ride On and Rocket Fuel, and toured extensively throughout Europe and the United States. 

The 80s brought another change in Lee's direction, with two albums that were strong collaborations with Rarebird's Steve Gould and an extensive tour with the Rolling Stones' Mick Taylor joining his band. 

Lee's overall musical output includes more than 20 albums, including 1985's Detroit Diesel and the back to back 90s collections of Zoom and 1994 (I Hear You Rocking). Guest artists on both albums include George Harrison, whose brilliant slide guitar perfectly complements Lee's lead. Their duet on 1994's The Bluest Blues led one reviewer to call it "the most perfect blues song ever recorded."

In Concert 1971
Formed in Nottingham, England, as the Jaybirds in 1965, they abandoned their pedestrian title for a name that slotted in with the booming underground progressive music scene. The quartet of Alvin Lee (b. 19 December 1944, Nottingham, England; guitar, vocals), Chick Churchill (b. 2 January 1949, Mold, Flint/Clywd, Wales; keyboards), Ric Lee (b. 20 October 1945, Cannock, Staffordshire, England; drums) and Leo Lyons (b. 30 November 1943, Bedford, England; bass) played a mixture of rock 'n' roll and blues that distinguished them from the mainstream blues cognoscenti of Fleetwood Mac, Chicken Shack and Savoy Brown. 

Their debut album was largely ignored and it took months of gruelling club work to establish their claim. The superb live Undead, recorded at Klooks Kleek club, spread the word that Lee was not only an outstanding guitarist, but he was the fastest by a mile. Unfortunately for the other three members, Lee overshadowed them to the extent that they became merely backing musicians in what was described as the Alvin Lee show. The band began a series of US tours that gave them the record of more US tours than any other UK band. Lee's furious performance of 'Goin' Home' at the Woodstock Festival was one of the highlights, although that song became a millstone for them. 

Ten Years After - August 28 1971
Over the next two years they delivered four solid albums, which all charted in the UK and the USA. Ssssh, with its Graham Nash cover photography, was the strongest. 'Stoned Woman' epitomized their sound and style, although it was 'Love Like A Man' from Cricklewood Green that gave them their only UK hit. A Space In Time saw them briefly relinquish guitar-based pieces in favour of electronics. By the time of Rock 'N' Roll To The World the band were jaded and they rested from touring to work on solo projects. This resulted in Lee's On The Road To Freedom with gospel singer Mylon Le Fevre and a dull album from Chick Churchill, You And Me. 

When they reconvened, their spark and will had all but gone and remaining albums were poor. After months of rumour, Lee admitted that the band had broken up. In 1978 Lee formed the trio Ten Years Later, with little reaction, and in 1989 the original band re-formed and released About Time, but only their most loyal fans were interested. 

Ten Years After are similar to Jethro Tull, if only in the sense that it's yet another unjustly forgotten great rock group. They have a serious difference, though: they don't exist as a group any more (unless you count the occasional reunions, but that's something really rare and really peculiar). So if the Tullers are still able to remind the world of their presence on the Planet, they usually do it by releasing one more mediocre or horrible album (sorry Tull fans). To dig Ten Years After, though, one can only rummage through their back catalog. 

Ten Years After - Cricklewood Green 1970
Which is actually splendid! The only hit that people usually recall is Alvin's finger-flashing on "Goin' Home", and that's only because it's in the Woodstock movie. So they like to think of the band as 'oh yeah, the one with the fast-finger guitar guy, what was his name again?..' So his name is Alvin Lee, yes, and he is fast-fingered, which made him a semi-god in the late sixties. 

But fast-fingeredness isn't everything, in the end; I wouldn't really appraise the band were its reputation based exclusively on Alvinguitar heroics. There are plenty guitar heroes in the world, and many have demonstrated a far more perfect finger-flashing technique than Alvin (take Ritchie Blackmore or Yngwie Malmsteem, for instance). Nay, there's more to the band than that. 

It's not exactly songwriting, though: I couldn't really say Alvin was a great songwriter. In the earliest days, most of his output simply consisted of stolen blues melodies with new lyrics to them; only somewhere around 1969 did he finally upgrade his skills to writing something creative. (If it's Alvin's creativity you're looking for, start with 1972's A Space In Time, one of the most unfairly dismissed rock classics of all time.) 

Ten Years After - February 8 1969
On the positive side, one shouldn't make the mistake of overlooking his talents in that direction completely. From time to time, he managed to churn out an effective killer riff, equalling both those of his predecessors (Richards, Townshend) and of his contemporaries (Page), or produce a gorgeous, heartfelt ballad. The problem is that none of these efforts are at all innovative or interesting from a 'scientific' point of view: apart from TYA's pioneering use of synthesizers in the early Seventies, together with the Who and Stevie Wonder, they can't really lay claim to any serious achievements in the arsenal of the musical world.

What really sets the band's music apart from a lot of their contemporaries is the sheer level of energy, passion, authenticity and youthful drive that fills the best of their studio records and both of their outstanding live records. Like I said, Alvin wasn't the most superb, technically gifted musician in the world. But he never stood on stage with a cold grin on his face, churning out his lightning-speed guitar fills out of pure self-indulgency and a burning desire to fill the top spot in any of the innumerable 'best guitar players' chart. 

What he did was completely giving himself into the music - and the result is that, while his guitar might sound a bit sloppy and raw at times, it also sounds completely enthralling, almost magically so, and intoxicating. Just a young, unexperienced, blueswailing kid from some murky British suburb putting on a guitar and ripping it up with a nearly punkish energy, but not to a devastating effect - he always had a con-, rather than de-structive edge, to everything he played.

Ten Years After - Record Mirror March 16 1968
A good comparison would be the music of the Faces: another sloppy (much more so than TYA, actually), boozy band with few new ideas to proclaim, but tons of reckless, mind-blowing energy and fury to display both on stage and on record. The big difference is that Ten Years After never contended themselves with the 'formula': throughout their best years, they always displayed a wish to find something new, even if they rarely found it. 

A Space In Time is as close to 'progressive' as they ever got, and even that one is not as close as could be. They definitely lose to the Faces in terms of vocal power, as Alvin was never that great a vocalist, and, furthermore, few vocalists could ever compete with Rod Stewart in his prime; but they definitely win in terms of musical power and tightness - Ten Years After's sloppiness is the kind of intentional sloppiness that only really skilled and talented players can allow themselves, simply letting their hair down a little to allow the music be somewhat more downhome and hard-hittin', while the Faces usually played sloppy because they had one too many Martini before the show. 

Ten Years After - June 14 1968
And, of course, they win in terms of songwriting: the Faces never had a song even approaching the direct power of Alvin's immaculate riffage on 'You Give Me Loving' or 'Love Like A Man'. Of course, fate had it that the Faces are still more popular - simply because skilled vocalists tend to get more respect than skilled guitarists, much as Alvin was, guitar-wise, the complete equivalent of Rod Stewart vocals-wise.

So their music never had a lot of impact. So they didn't have any serious chart-toppers - some of the albums sold well, some not, but nothing special. And of course Lee wasn't the best guitarist on Earth, and his colleagues weren't above 'satisfying' with their instruments. So what? Taken together, they were still a prime band - not the best one around, but very decent, at times approaching brilliant. 

And even if Lee isn't the best guitarist, he certainly has a unique style - you can't mistake a great Alvin Lee guitar solo for anything in the world. 

Review of Ten Years After's 1st Album 1967:
Not bad for a first effort. A decent blues album with lots of drive and energy.

Ten Years After 1st Album UK 1967
Ten Years After actually started out as more of a fast jazz band: Leo Lyons was certainly a jazz bass player, and Alvin's fast'n'furious playing really fitted the jazz pattern much more than standard R'n'B. The track that opens their first album, McLeod's 'I Want To Know', really says it all: magnificent, entertaining, swift, funny guitar lines, a jazz rhythm and Alvin's nasal vocals quickly set the scene for an absolutely self-assured, tight and very raw bunch of covers and 'originals'. And I do mean these quotes: Alvin's contributions to this album are just standard blues melodies set to a different set of, often misogynistic, lyrics. In fact, the only problem the record suffers from is an obvious lack of songwriting skills. 

Besides that, the production is somewhat lame: the engineers, including future Elton John starmaker Gus Dudgeon, were probably told not to bother very much with this 'experimental' band. So it ends up sounding like a lot of this stuff was recorded with just a hand-held tape recorder, and the production is just as muddy and dizzy as the album cover. All the better: this really gives the effect of a raw, young, happy, energetic and powerful band letting go - unlike the later, much more polished records. 

Ten Years After August 7 1968
Some of the numbers are just extended bluesfests, and not very exciting at that. 'Spoonful', for instance, was done far more convincingly by Cream, and this particular version suffers horrendously because of muddy, 'undermixed' vocals and because they really overdid the instrumental bit - after all, Alvin Lee is no Eric Clapton when it comes to constructing a slow, calculated blues solo on record. Moreover, the main riff to the song, its usual main attraction, is for some strange reason donated to Mr Churchill who plays it on an organ and thus misses all the heavy bombast that was such a great fun on Cream's version. 

And the famous cover of Willie Dixon's 'Help Me', the band's most essential stage favourite from the album, does pick up steam near the end, but in the middle it's just a lengthy marathon of rather average soloing. I mean, Alvin does the 'tension build-up' bit rather well, steadily going from modest, self-contained licks to an all-out guitar hell, but ten minutes of tension build-up are a bit too much even for good-natured Blues Tolerators like me.

Most of the other songs, however, easily compensate for the lengthy wankfests - short, compact and snappy. My all-time favourite here is 'Losing The Dogs', co-written by Alvin with Gus Dudgeon: its intoxicating guitar rhythm interspersed with some piano boogie chops really lifts you off the ground, and (specially for all you haters of bleeding guitars) there's not even a tiny bit of soloing to be found - just those awesome guitars going in and out, in and out, in and out!

Ten Years After in Concert 1971
Wow! And how can you beat such a great whistle section as is presented here in the beginning? Teenage boozy-bloozy fun with protest elements in the lyrics at its very, very best. Another cool number is the classic ballad 'I Can't Keep From Crying (Sometimes)' (credited to 'Kooper' in the liner notes; presumably the jazz-rock genius Al Kooper, I guess) - another jazzy number with fascinating organ in the background and a good jazzy solo that puts Jethro Tull's Mick Abrahams to shame. In concert they would stretch out the number, transforming it into a mini-rock symphony with lots of alternating fast and slow parts; here, though, they don't stray much too far from the source, giving you all the opportunities for simply sitting back and relaxing to that tasty guitar groove of Alvin's solo.

All the other tracks are minor efforts, but most are quite delectable. Churchill's solo spot - one more jazzy shuffle, this time the instrumental 'Adventures Of A Young Organ' - is quite hilarious, with some of his best, funniest organ passages; and the three Alvin Lee 'originals' on the second side are passable, acceptable blues numbers, especially the acoustic 'Don't Want You Woman' that borrows its melody from the traditional acoustic blues 'Hey Hey' (find it on Clapton's Unplugged, for istance, with Eric churning out exactly the same chords). The contrast between the cheerful, nonchalant atmosphere of this one and the immediately following gloomy, grizzly 'Help Me' is particularly stunning.

Ten Years After 1970
Indeed, even if this does not pretend to be anything more than a hardcore jazz/blues album, it is still different from any other hardcore jazz/blues albums. Now don't you bug me with useless questions - try as I may, I really couldn't guess what exactly makes this difference. I'll just content myself with the vague phrase that it definitely has that 'Ten-Years-Afterish' feel to it, which means it's much more raunchy, funny, uncompromised, memorable and just generally good than ninety-nine percent of such albums. 

Maybe it's Alvin's raucous vocals that do the trick. Maybe it's the rudimentary elements of studio gimmickry - like the mighty bass/drums line on 'Help Me'. Maybe it's the crystal clear (ah what the hell, forget all these things I've said about the bad production) electric and acoustic guitars obeying the hand of a real master. I dunno. But I highly recommend this debut album for everybody - even for those who don't have no freakin' penchant for blues music. Maybe this'll help you love it.

“The Lost Cricklewood Green Show” 
Ten Years After Live At The Olympic Auditorium 
Los Angeles California, March 21, 1970

Alvin Lee – guitar, vocals, harp (1966–1974, 1983, 1988–2003; died 2013) 
Leo Lyons – bass (1966–1974, 1983, 1988–present) 
Chick Churchill – keyboards (1966–1974, 1983, 1988–present) 
Ric Lee – drums (1966–1974, 1983, 1988–present)

Ten Years After Albums:
 Ten Years After Deram, 1967 
• Stonedhenge Deram, 1969
• Ssssh Deram, 1969
• Cricklewood Green Deram, 1970
• Watt Deram, 1970
• A Space in Time Columbia, 1971
• Rock & Roll Music to the World Columbia, 1972
• Positive Vibrations Columbia, 1974
• About Time Chrysalis, 1989
• Now 2004

• Evolution 2008

Ten Years After Live Albums:
• Undead Deram, 1968  
• BBC Sessions 1967–1968  
• Recorded Live Columbia, 1973  
• Live at the Fillmore East 1970 (double live album) 2001  
• One Night Jammed (Live) 2003  
• Roadworks (double live album) 2005  
• Live at Fiesta City (live DVD) 2009 

Alvin Lee Solo Albums:
• On the Road to Freedom (with Mylon LeFevre) (1973) 
• In Flight (1974) 
• Pump Iron! (1975) 
• Let It Rock (1978) 
• Rocket Fuel (1978) 
• Ride On (1979) 
• Free Fall (1980) 
• RX5 (1981) 
• Detroit Diesel (1986) 
• Zoom (1992) 
• Nineteen Ninety-Four (1994) 
• In Tennessee (2004) 
• Saguitar (2007) 
• Still on the Road to Freedom (2012)

01. Love Like A Man 8:15 
02. Good Morning Little School Girl 6:55 
03. Working On The Road 3:30 
04. Spider In My Web 3:45 
05. 50,000 Miles Beneath My Brain 9:25 
06. I’m Going Home 11:10 
07. Help Me 14:20

Added tracks:   
08. I’m Going Home 11:00    
09. Somebody Calling Live 6:40

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Alvin Lee R.I.P. Ten Years After - Boston WBCN-FM 1989-11-14

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Size: 249 MB
Bitrate: 320
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Alvin Lee (born Graham Alvin Barnes, 19 December 1944 – 6 March 2013) was an English rock guitarist and singer. He was best known as the lead guitarist and singer with blues-rock band Ten Years After.

Born in Nottingham, he began playing guitar at the age of 13, and with Leo Lyons formed the core of the band Ten Years After in 1960. Influenced by his parents' collection of jazz and blues records, it was the advent of rock and roll that sparked his interest, and guitarists such as Chuck Berry and Scotty Moore provided his inspiration.

Lee began to play professionally in 1962, in a band named the Jaybirds, who enjoyed popularity in their native England, but moved on to seek a wider fan base. They began that year to perform in the Star-Club in Hamburg, Germany, following closely behind The Beatles. There, with Alvin Lee assuming the permanent role of lead vocalist in addition to that of lead guitarist, they began to build a following. It was not until the band moved to London in 1966 and changed its name, first to Jaybird, dropping 'The' and 's' to make it sound more contemporary; then to Blues Yard (for one gig at the Marquee Club); and finally to Ten Years After, that international success beckoned. The band secured a residency at the Marquee Club, and an invitation to the Windsor Jazz & Blues Festival in 1967 led to their first recording contract. The self-titled debut album received airplay on San Francisco, California's underground radio stations and was embraced by listeners, including concert promoter Bill Graham, who invited the band to tour the United States for the first time in 1968. Ten Years After would ultimately tour the U.S. twenty-eight times in seven years, more than any other UK band.

Appearing at the Woodstock Festival, Lee's performance was captured on film in the documentary of the festival and his playing helped catapult him into stardom. Soon the band was playing arenas and stadiums around the globe. Although Lee later lamented that he missed the intimacy of smaller venues, the impact the film made brought his music to a worldwide audience.

Ten Years After had success, releasing ten albums together, but by 1973, Lee was feeling limited by the band's style. Moving to Columbia Records had resulted in a radio hit song, "I'd Love To Change the World," but Lee preferred blues-rock to the pop to which the label steered them. He left Ten Years After after their second Columbia LP. With American gospel singer Mylon LeFevre and George Harrison, Steve Winwood, Ronnie Wood and Mick Fleetwood, he recorded and released On the Road to Freedom, an acclaimed album that was at the forefront of country rock. Also in 1973 he sat in on the Jerry Lee Lewis double album "The Session" recorded in London featuring many other guest stars including Albert Lee, Peter Frampton and Rory Gallagher. A year later, in response to a dare, Lee formed Alvin Lee & Company to play a show at the Rainbow in London and released it as a double live album, In Flight. Various members of the band continued on with Lee for his next two albums, Pump Iron! and Let It Rock. In late 1975, he played guitar for a couple of tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. He finished out the 1970s with Ten Years Later who also released two albums, Rocket Fuel (1978) and Ride On (1979) and toured extensively throughout Europe and the United States.

The 1980s brought another change in Lee's direction, with two albums that were collaborations with Rare Bird's Steve Gould, and a tour with the former John Mayall and Rolling Stones' guitarist Mick Taylor joining his band.

Lee's overall musical output includes more than twenty albums, including 1985's Detroit Diesel, and the back to back 1990s collections of Zoom and Nineteen Ninety-Four (U.S. title I Hear You Rockin' ). Guest artists on both albums included George Harrison.

In Tennessee, recorded with Scotty Moore and D. J. Fontana, was released in 2004. Lee's most recent album, Still on the Road to Freedom, was released in September 2012.

Lee died on 6 March 2013 in Spain. According to his website, he died from "unforeseen complications following a routine surgical procedure." He was 68. His former bandmates lamented his death, Leo Lyons called him "the closest thing I had to a brother", while Ric Lee (no relation) said "I don't think it's even sunk in yet as to the reality of his passing." Billboard Magazine wrote of his passing, highlighting such landmark performances as "I'm Going Home" from the Woodstock festival and his 1971 hit single "I'd Love to Change the World."

Ten Years After are an English blues rock band, most popular in the late 1960s and early 1970s.

After several years of local success in the Nottingham/Mansfield area as a band known since 1962 as The Jaybirds (its core was formed in late 1960 as Ivan Jay and the Jaycats), and later as Ivan Jay and the Jaymen, Ten Years After was founded by Alvin Lee and Leo Lyons. Ivan Jay sang lead vocals from late 1960 to 1962 and was joined by Ric Lee in August 1965, replacing drummer Dave Quickmire, who had replaced Pete Evans in 1962. In 1966 The Jaybirds moved to London, where Chick Churchill joined the group. That November the quartet signed a manager, Chris Wright, and decided to change their name to Blues Trip, Blues Yard (under which they played a show at the Marquee Club supporting the Bonzo Dog Doo-Dah Band), and finally in November 1966, to Ten Years After (in honour of Elvis Presley, an idol of Lee's whose momentous year in rock, 1956, helps to better explain the band's title). They became the first band of the soon-to-be Chrysalis Agency. They secured a residency at the Marquee, and received an invitation to play at the renowned Windsor Jazz Festival in 1967. That performance led to a contract with Deram, a subsidiary company of Decca – the first band so signed without a hit single. In October, their 1967 self-titled debut album was released.

In 1968, after touring Scandinavia and the United States, Ten Years After released their second album, live Undead, which brought their first classic, "I'm Going Home." This was followed in February 1969 by studio issue, Stonedhenge, a British hit, that included another classic, "Hear Me Calling" (it was released also as a single, and covered in 1972 by British glam rock rising stars, Slade). In July 1969 they appeared at the Newport Jazz Festival, in the first event to which rock bands were invited. In August, the band performed a breakthrough American appearance at Woodstock; their furious-to-soft-to-furious rendition of "I'm Going Home" featuring Alvin Lee as the lead singer was featured in both the subsequent film and soundtrack album and catapulted them to star status.

During 1970, Ten Years After released "Love Like a Man", their only hit in the UK Singles Chart. This song was on their fifth album, Cricklewood Green. The name of the album comes from a friend of the group who lived in Cricklewood, London. He grew a sort of plant which was said to have hallucinogenic effects. The band did not know the name of this plant, so they called their album Cricklewood Green. It was the first record to be issued with a different playing speed on both sides – one a three-minute edit at 45rpm, the other, a nine-minute live version at 33rpm. In August, Ten Years After played the Isle of Wight Festival 1970 to an audience of 600,000.

In 1971, the band released the album A Space in Time which marked a move toward more commercial material. It featured their biggest hit, "I'd Love To Change The World". But a few albums later, the band broke up after the 1974 album Positive Vibrations. They re-united in 1983 to play the Reading Festival and this performance was later released on CD as The Friday Rock Show Sessions - Live At Reading '83' . In 1988, they re-united for a few concerts and recorded the album About Time (1989). Finally, in 1994, they participated in the Eurowoodstock festival in Budapest.

Alvin Lee has since then mostly played and recorded under his own name. In 2004, the other band members replaced him with Joe Gooch and recorded the album Now. Material from the following tour was used for the 2005 double album Roadworks. Ric Lee is currently in a band called The Breakers, along with Ian Ellis (Clouds). 

UK Single 1969
Ten Years After is a British blues-rock quartet consisting of Alvin Lee (born December 19, 1944), guitar and vocals; Chick Churchill (born January 2, 1949), keyboards; Leo Lyons (born November 30, 1944) bass; and Ric Lee (born October 20, 1945), drums. The group was formed in 1967 and signed to Decca in England. Their first album was not a success, but their second, the live Undead (1968) containing "I'm Going Home," a six-minute blues workout by the fleet-fingered Alvin, hit the charts on both sides of the Atlantic. Stonedhenge (1969) hit the U.K. Top Ten in early 1969. Ten Years After's U.S. breakthrough came as a result of their appearance at Woodstock, at which they played a nine-minute version of "I'm Going Home." Their next album, Ssssh, reached the U.S. Top 20, and Cricklewood Green, containing the hit single "Love Like a Man," reached number four. 

Watt completed the group's Decca contract, after which they signed with Columbia and moved in a more mainstream pop direction, typified by the gold-selling 1971 album A Space in Time and its Top 40 single "I'd Love to Change the World." Subsequent efforts in that direction were less successful, however, and Ten Years After split up after the release of Positive Vibrations in 1974. They reunited in 1988 for concerts in Europe and recorded their first new album in 15 years, About Time, in 1989 before disbanding once again. In 2001, Ric Lee was preparing the back catalog for rerelease when he discoverd the Live at the Fillmore East 1970 tapes. He approached Alvin about getting back together to promote the lost album, but Alvin Lee declined. The rest of the band was up for it, though, and together with guitarist Joe Gooch, Ten Years After started touring again. In addition to touring the world, this new incarnation recorded their first new material in about a decade and a half and released Now in 2004 and added the live double CD set Roadworks in 2005. [AMG & Wikipedia]

November 14, 1989 Tuesday 11pm
Paradise Theatre,
Boston, Ma.
WBCN-FM Stereo

* Chick Churchill - keyboards
* Alvin Lee - guitar, vocals
* Ric Lee - drums
* Leo Lyons - bass 

Disc One: 
01. Rock 'n' Roll Music To The World  4:54
02. Hear Me Calling  5:54
03. Good Morning Little Schoolgirl  8:08
04. Slow Blues In C  6:53
05. Let's Shake It Up  4:13
06. Hobbit  5:41
07. Love Like A Man  6:41
08. Saturday Night  4:04
09. Bad Blood  6:57
10. Johnny B. Goode  2:35

Disc Two   
01. Scat Thing > I Can't Keep From Crying Sometimes  19:19
02. Victim Of Circumstance  5:28
03. I'm Going Home  12:58
04. ovation & dj  1:36

First Encore
05. Choo Choo Mama  4:11
06. Ovation & dj  1:09

Second Encore
07. Rip It Up  3:56
08. Ovation & dj  3:09

Part 1: Link
Part 2: Link
Part 1: Link
Part 2: Link

Crosby, Stills, Nash & Young - Déjà Vu (Classic Album UK 1970)

Rabu, 06 Maret 2013 0 komentar

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Bitrate: 256
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Déjà Vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash, & Young. It was released in March of 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: "Teach Your Children," "Our House," and "Woodstock."

Déjà Vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group, who at the time remained largely unknown to the general public. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. The songs, except for "Woodstock", were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on "Teach Your Children" and John Sebastian plays mouth-harp on the title track.

Four singles were released from the album with all but the last, "Carry On," charting on the Billboard Hot 100. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà Vu — Neil Young's After the Gold Rush, Stephen Stills' self-titled solo debut, David Crosby's If I Could Only Remember My Name, and Graham Nash's Songs for Beginners.

Crosby, Stills & Nash (CSN) is a folk rock supergroup made up of David Crosby, Stephen Stills and Graham Nash, also known as Crosby, Stills, Nash & Young (CSNY) when joined by occasional fourth member Neil Young. They are noted for their intricate vocal harmonies, often tumultuous interpersonal relationships, political activism, and lasting influence on American music and culture. All four members of CSNY have been inducted into the Rock and Roll Hall of Fame twice, though Young's inductions were for work not involving the group.

Prior to the formation of CSN, each member of the band had belonged to another prominent group. David Crosby had performed rhythm guitar, vocals and songwriter with folk-rock group The Byrds; Stephen Stills had been a guitarist, vocalist and songwriter in the band Buffalo Springfield; and Graham Nash had been a guitarist, vocalist and songwriter with The Hollies, one of the "British Invasion" acts.

Friction existed between David Crosby and his bandmates in the Byrds, and he was dismissed from the band in late 1967.[2] By early 1968, Buffalo Springfield had also disintegrated over personal issues, and after aiding in putting together the band’s final album, Stephen Stills found himself unemployed by the summer. He and Crosby began meeting informally and jamming, and the result of one encounter in Florida on Crosby’s schooner was the song “Wooden Ships,” composed in collaboration with another guest, Jefferson Airplane's Paul Kantner.

Graham Nash had been introduced to Crosby when The Byrds had toured the United Kingdom in 1966, and when The Hollies ventured to California in 1968, Nash resumed his acquaintance with Crosby. At a party in July 1968 at Cass Elliot's house, Nash asked Stills and Crosby to repeat their performance of a new song by Stills, “You Don't Have To Cry,” with Nash improvising a third part harmony. The vocals jelled, and the three realized that they had a unique vocal chemistry.

Billboard 4 jul 1970
Creatively frustrated with The Hollies, Nash decided to quit the band and work with Crosby and Stills. After failing an audition with The Beatles' Apple Records, they were signed to Atlantic Records by Ahmet Ertegün, who had been a fan of Buffalo Springfield and was disappointed by that band's demise.[6] From the outset, given their respective band histories, the trio decided not to be locked into a group structure, using their surnames as identification to ensure independence and a guarantee against the band simply continuing without one of them, as had both The Byrds and The Hollies after the departures of Crosby and Nash. Their record contract with Atlantic reflected this, positioning CSN with a unique flexibility unheard-of for an untested group. The trio also picked up a unique management team in Elliot Roberts and David Geffen, who had engineered their situation with Atlantic and would help to consolidate clout for the group in the industry. Roberts kept the band focused and dealt with egos, while Geffen handled the business deals, since, in Crosby’s words, they needed a shark and Geffen was it. Roberts and Geffen would play key roles in securing the band’s success during the early years.

When it was announced that the band was forming, they ran into a slight contractual problem. Nash was already signed to Epic Records, the North American distributor of records by The Hollies, while Crosby and Stills were signed to Atlantic. In order to resolve this problem, Geffen engineered a deal whereby Nash was essentially traded to Atlantic for the rights to Richie Furay's band Poco; Furay was signed to Atlantic as a result of his membership in Buffalo Springfield.

Mexico EP 1970
The trio's first album, Crosby, Stills & Nash, was released in May 1969 and was an immediate hit, spawning two Top 40 hit singles and receiving key airplay on the new FM radio format. With the exception of drummer Dallas Taylor, Stills had handled the lion's share of the instrumental parts himself, which left the band in need of additional personnel to be able to tour, now a necessity given the debut album’s commercial impact.

Neil Young joins the group:
Retaining Taylor, the band decided initially to hire a keyboard player. Stills at one point approached Steve Winwood who was already occupied with newly formed group Blind Faith. Atlantic label head Ahmet Ertegün suggested former Buffalo Springfield member Neil Young, also managed by Elliot Roberts, as a fairly obvious choice. Initial reservations were held by Stills and Nash, Stills owing to his history with Young in Buffalo Springfield, and Nash, due to his personal unfamiliarity with Young. But after several meetings, the trio expanded to a quartet with Young a full partner. The terms of the contract allowed Young full freedom to maintain a parallel career with his new back-up band, Crazy Horse.

The band initially completed the rhythm section with bassist Bruce Palmer, who previously played with Young in the short-lived Mynah Birds (fronted by a young Rick James) and with both Young and Stills in Buffalo Springfield. However, whether due to Palmer's persistent personal problems (he had a tendency to get busted for drugs and get deported back to Canada) or due to the simple fact that, with Stills, Young and Palmer handling the instruments, the band looked and sounded like Buffalo Springfield with Crosby and Nash doing little more than some background vocals. Whatever the true reason, Palmer was forced out of the band, and, at Rick James' recommendation, nineteen-year-old Motown bassist Greg Reeves replaced him.

Billboard 1970
With Young on board, the restructured group went on tour in the late summer of 1969 through the following January. Their first gig was on Aug. 17, 1969 at the Auditorium Theater in Chicago with Joni Mitchell as their opening act. They mentioned they were going to some place called Woodstock the next day, but they had no idea where that was. They began their second set that night with the same line they uttered at Woodstock, "This is only the second time we've performed in front of people. We're scared shitless." They opened with "Suite: Judy Blue Eyes" before launching into a harmony-drenched version of The Beatles' "Blackbird".

Their second show was a baptism by fire at the Woodstock Festival. CSNY's recording of the Joni Mitchell song memorializing Woodstock would later become a hit and the recording most associated with the festival. By contrast, little mention is made of the group's following appearance at the violence-plagued Altamont Free Concert, with CSNY having escaped mostly unscathed from the fallout of the show. The group's Altamont performance was not included in the subsequent film Gimme Shelter, at the band's request. Two performances from the Big Sur Folk Festival, 13-14 September 1969, appear in the movie Celebration at Big Sur.

Netherlands Single 1970
Great anticipation had built for the newly expanded supergroup, and their first album with Young, Déjà Vu, arrived in stores in March 1970 to zealous enthusiasm, topping the charts and generating three hit singles. Déjà Vu was also the first release on the Atlantic Records SD-7200 "superstar" line, created by the label for its highest-profile artists; the subsequent solo albums by Crosby, Stills, and Nash would also be the next releases in this series.

In April 1970, Greg Reeves began behaving erratically and was fired by Stills. Reeves was replaced by Calvin "Fuzzy" Samuels.

Young and Crosby were staying at a house near San Francisco when reports of the Kent State shootings arrived, inspiring Young to write the protest song "Ohio", recorded and rush-released weeks later and providing another Top 20 hit for the group.

However, the deliberately tenuous nature of the partnership was strained by its success, and the group imploded after their tour in the summer of 1970. Concert recordings from that tour ended up on the 1971 double album Four Way Street; years would pass between subsequent trio and quartet recordings.

Shifting configurations:
Between September 1970 and May 1971, each of the quartet released high-profile solo albums: Young's After the Gold Rush in September; Stills' eponymous debut in November; Crosby's If I Could Only Remember My Name in February, and Nash's Songs for Beginners in May. All four solo LPs placed in the top 15 on the Billboard 200, with Stills' entry peaking the highest at No. 3. Stills released an additional record in 1971, Stephen Stills 2, which also went top ten. Crosby and Nash embarked on a successful acoustic tour accompanied only by their own guitars and piano, captured for the 1998 documentary Another Stoney Evening. For a while, it seemed as if the group could simply not fail, either singly or in any permutation.

Though there were no official CSN or CSNY projects during the year, 1972 proved a fruitful year for all the band members in their solo efforts. Young achieved solo superstardom with the chart-topping Harvest and its attendant No. 1 single, “Heart of Gold”. Stills joined with ex-Byrd Chris Hillman to form the country-tinged band Manassas, releasing a self-titled double album; counting the three CSN records, Manassas became Stills' sixth top ten album in a row. Nash also joined Young to record Young's single "War Song". On tour, Nash and Crosby rediscovered the joy they had originally felt with CSN, minus the egotistic in-fighting that had made the last CSNY shows so difficult. That enthusiasm led to their first album as a duo, Graham Nash David Crosby, which peaked at No. 4 on the pop album chart.

The group members fared less well in the following year. Young embarked on a solo tour noted for its dark tone, with Crosby and Nash joining in mid-tour for recordings that would be issued on Time Fades Away; his Crazy Horse bandmate Danny Whitten had died of a heroin overdose before the tour. Crosby spearheaded a reunion album of the original Byrds quintet which sold only marginally well. Nash delivered his second solo album, and Stills released a second Manassas record; neither disc sold to expectations.

In June and July of that year, Crosby, Stills, Nash, and Young met at Young's ranch and recording studio in Hawaii for a working vacation, ostensibly to record a new album, tentatively titled Human Highway. However, the bickering that had sunk the band in 1970 quickly resumed, scattering the group again.

Shaky reconciliation:
Roberts finally prevailed upon the group to realize their commercial potential. The quartet reassembled once again in the summer of 1974, with sidemen Tim Drummond on bass, Russ Kunkel on drums, and Joe Lala on percussion, to embark on the first-ever outdoor stadium tour, arranged by San Francisco impresario Bill Graham, fresh off the large-scale indoor arena tour he had developed for Dylan’s return to the spotlight earlier in the year. The band typically played three and a half hours of old favorites and new songs, many of which never appeared in a definitive CSN or CSNY studio format.[16] Graham Nash's unreleased film of the Wembley Stadium show highlights the scope and quality of these performances; the four principals would often switch instruments within the context of the same song.

While they would have the press believe that their characteristic arguments were a thing of the past, excesses typical to the era took their toll. Stills began supplementing his trademark wardrobe of football jerseys with military fatigues, insinuating that he was a deep-cover CIA agent. Crosby's entourage included two quarreling girlfriends, furthering the tension. Throughout the tour, Young isolated himself from the group, traveling in an RV with his son and entourage and was reportedly resentful that his songs made up the bulk of the group's new material. An attempt at the new CSNY LP in the fall was scrapped, the label having compiled So Far to have something to promote during the tour. Nash viewed the re-shuffling of items from only two albums and one single as absurd; it topped the charts anyway. Songs performed on the 1974 tour later appeared on various releases including Stills, Zuma, American Stars 'n Bars, Long May You Run, Comes a Time, Hawks & Doves, Wind on the Water, Earth and Sky, and Whistling Down the Wire.

Reaching an impasse with the parent band, Crosby and Nash decided to re-activate their partnership, inaugurating the duo act Crosby & Nash, touring regularly, signing to ABC Records and producing two additional studio albums, Wind On The Water in 1975 and Whistling Down The Wire in 1976. They continued to use the sidemen known as “The Section” from their first LP. This crack session group contributed to records by many others of similar idiom in the seventies, such as Carole King, James Taylor, and Jackson Browne, in addition to the CN concert album released in 1977, Crosby-Nash Live. Crosby and Nash also became a cottage industry themselves, their vocal prowess adding to the appeal of various songs, including hits like Taylor’s "Mexico" and Joni Mitchell’s "Free Man in Paris."

Stills and Young returned to their own careers, with Young gaining in critical accolades during the remainder of the century and beyond. The non-aligned pair also united for a one-off tour and album credited to The Stills-Young Band Long May You Run. At one point in the spring of 1976 in Miami the album promised to be the third attempt at a CSNY reunion, but when Crosby and Nash were bound to return to LA to finish Whistling Down the Wire, Stills and Young wiped the vocal contributions of the other pair off the master tape. The old tensions between the pair, dating back to the Buffalo Springfield days, resurfaced, exacerbated by Stills’ choice of professional studio musicians to back them rather than Young’s preferred Crazy Horse. After their July 18, 1976 show, Young's tour bus took a different direction. Waiting at their July 20 show, Stills received a laconic telegram: Dear Stephen, funny how things that start spontaneously end that way. Eat a peach. Neil. Young's management claimed that he was under doctor's orders to rest and recover from an apparent throat infection. Stills was contractually bound to finish the tour, though Young would make up dates with Crazy Horse later in the year.

Crosby & Nash's album Wind On The Water was the only disc by any member of the quartet to fare well in the marketplace during the period from 1973 to 1976. Stills approached the pair at one of their concerts in Los Angeles, setting the stage for the return of the trio. [Wikipedia]

David Crosby — vocals, rhythm guitar 
Stephen Stills — vocals, lead guitars, guitars, bass, keyboards 
Graham Nash — vocals, rhythm guitar, keyboards 
Neil Young — vocals, lead and rhythm guitar, keyboards, harmonica 

Additional personnel:
Dallas Taylor — drums, percussion 
Greg Reeves — bass on "Almost Cut My Hair," "Helpless," "Woodstock," "Déjà Vu," "Country Girl," and "Everybody I  Love You" 
Jerry Garcia — pedal steel guitar on "Teach Your Children" 
John Sebastian — harmonica on "Déjà Vu" 

01. "Carry On"   Stephen Stills 4:26 
02. "Teach Your Children"   Graham Nash 2:53 
03. "Almost Cut My Hair"   David Crosby 4:31 
04. "Helpless"   Neil Young 3:33 
05. "Woodstock"   Joni Mitchell 3:54 
06. "Déjà Vu"   David Crosby 4:12 
07. "Our House"   Graham Nash 2:59 
08. "4 + 20"   Stephen Stills 2:04 
09. "Country Girl (Whiskey Boot Hill/Down Down Down/Country Girl I Think You're Pretty)" Neil Young 5:11 
10. "Everybody I Love You"   Stephen Stills, Neil Young 2:21

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2. Link

Some of you want more: Marvin Gaye - That Stubborn Kinda' Fellow (Classic R&B US 1963)

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That Stubborn Kinda Fellow is an album by Marvin Gaye, released on the Tamla label in 1962. The LP yielded several hit singles including "Stubborn Kind of Fellow", "Hitch Hike" and "Pride and Joy" and helped to establish Marvin as a rising star on the R&B music scene.

An unreleased single, "Wherever I Lay My Hat (That's My Home)", became a popular standard and was later covered by British singer Paul Young and his version became a hit in the UK in 1982.

One of the most gifted, visionary, and enduring talents ever launched into orbit by the Motown hit machine, Marvin Gaye blazed the trail for the continued evolution of popular black music. Moving from lean, powerful R&B to stylish, sophisticated soul to finally arrive at an intensely political and personal form of artistic self-expression, his work not only redefined soul music as a creative force but also expanded its impact as an agent for social change.

Man, I’d totally forgotten how much fun this record is. One of the real joys of the Complete Motown Singles series is that you don’t just get to hear the obscure novelties and hidden gems; by putting the familiar, heard-it-a-million-times numbers in their proper context, they shine even brighter than before. And that’s the case here.

This was Marvin Gaye’s first hit record, and not coincidentally it’s also his first proper R&B outing, following four singles of decidedly drippy fare (and of varying but generally unimpressive quality).

Up until this point, Marvin Gaye’s ambition in life was pretty much to be the new Nat King Cole. His first two records ((I’m Afraid) The Masquerade Is Over and Let Your Conscience Be Your Guide) were fairly turgid, both born of a battle for Gaye’s musical soul, the result of Marvin himself being at odds with his label, who wanted him to ditch the standards, get up and dance to a backbeat; nobody had been satisfied with the finished product. Things had then reached a nadir with a genuinely horrible whitebread rendition of Mr Sandman at the start of the year. His last record, the endearing Shirelles pastiche Soldier’s Plea, while hardly pulling up any trees, was nonetheless a step in the right direction, a step away from the musical wilderness back towards the pop world.

This one, though, blows all of those previous mis-steps away. It brings with it the arrival of the Marvin Gaye we all know today – and he’s such a new character that it’s virtually a début single. It’s a real breath of fresh air; not in terms of quality, since Motown were already releasing some damned fine sides in the summer of 1962, but more in terms of bringing something new to the mix: a charismatic male solo star. Someone with enough pop appeal to distinguish him from the rougher, bluesier male vocalists on Motown’s books like Henry Lumpkin or Singin’ Sammy Ward, but with enough R&B edge to make him quite different from the dapper, clean-cut image put forward by Eddie Holland or Mickey McCullers.

This record represented a victory for Motown boss Berry Gordy Jr., who’d insisted all along that Marvin was a star in the making, that he’d rack up big sales and crazed fans if he just did what he was obviously born to do. Acquiescing to Gordy’s wishes can’t have been easy for Marvin Gaye, who by most accounts felt as though he was “selling out” by doing this record (lots of them also mention pressure from fiancée Anna Gordy, Berry’s big sister, who wasn’t keen to see her husband-to-be struggling to pay the bills, let alone buy her fancy stuff). There had even been dark mutterings in the corridors of Hitsville about preferential treatment for the boss’ brother-in-law; were it not for Gaye’s relationship with Anna, it’s tempting to ask whether the moody, difficult, jobbing session drummer from Washington DC would have been quite so readily accommodated at Motown.

But the real pressure came from within. Four flops in a row, and an album that gathered no plaudits and sat languishing on the shelves, hadn’t done wonders for Marvin’s self-esteem; he must have been entertaining doubts about whether he would really make it in the industry. Back in 1962, the supper-club circuit didn’t take kindly to performers – and particularly black performers – cutting loose and making young, noisy records. Marvin must have known that doing a raucous R&B platter like this would put paid to his ambitions of MOR jazz-lite crooner stardom, and he still chose to do it, without the benefit of hindsight to reassure him that his decision would lead directly to I Heard It Through The Grapevine and What’s Going On, as well as a parallel career as one half of Motown’s greatest ever duo, performing to packed, adoring houses every night. He wasn’t to know any of that, and he still did it anyway – because deep down he must have known Gordy was right, that if he deigned to do R&B, he’d be bloody good at it. When he took the plunge, he did it wholeheartedly, co-writing this song (the first time he’d performed his own material on a Motown 45) and giving it his all.

The results sing for themselves. This is a great pop record, still full of joy and youthful energy almost fifty years later. The tune is a winner, a really catchy bit of work full of very tiny changes to keep the listener’s interest, all bolstered by some killer hooks. The band are on fine form, opening the record with a drum fill before settling into a steady backbeat that drives the song like a train; there’s even a busting Beans Bowles jazz flute solo amongst the fine horn work in the middle eight, aping the very first Motown single, Marv Johnson’s Come To Me a million years before.

The best thing here, though, are the vocals. Martha Reeves and the Vandellas, who filled in for the Andantes on backing vocals at Motown during the summer of 1962, and who seem to have recorded their accompaniment live with Gaye in the studio, are a natural fit with Gaye’s newfound persona, both in voice and attitude; according to Reeves in the liner notes to The Complete Motown Singles: Volume 2, one-time lead Vandella Gloria Jean Williamson ad-libbed the sensational “Doo-doo-doo-OW!” opening hook. There’s a real excitement running through the record, a frisson of energy caused by the interplay between Gaye and his newfound backing group; such was the effect that even after finishing their duties as backup singers and embarking on their own hitmaking career, the Vandellas were still co-opted into appearing on numerous Gaye singles in the future, in an attempt to get lightning to strike again. It never quite worked the same, though not for want of trying.

But if the Vandellas are the best thing on it, then by far the most interesting thing about this record is Marvin Gaye himself. The lyrics, all about Marvin not giving up the chase for a girl despite her hostility, are supposedly semi-autobiographical – Gaye was already becoming known even at this early stage as a dogmatic, moody prima donna, and this was a way to both emphasise his phlegmatic qualities and poke fun at his image – and the raw, half-screamed feel he brings to his delivery is a really weird one to quantify, with hints of both desperation and resentment mixed up with the overridingly positive lyrical message of refusing to quit.

The nature of his vocal has prompted much debate. Was Marvin singing himself raw, wearing his heart on his sleeve, desperate for a hit? Was he turning in a sloppy, undisciplined, even jokey take as a way of sticking two fingers up to the label, angry with himself for betraying his principles? Was he simply breaking through, revelling in finding his element at last? All three theories have been widely advanced since this record was released, and we’ll never know for sure whether any of them is close. For me, it’s more the third – he sounds excited despite himself, feeding off the energy from the Vandellas and the band, knowing he was making something good.

This is one of the most important of all Motown records, not just because it’s so much fun, or because audiences have had so much fun with it (the record shot up the charts, landing Marvin in the R&B Top Ten and the Pop Top 50, a very useful calling card – and of course, there’s the oft-repeated (though probably apocryphal) story that hearing this blasting from his car radio caused Phil Spector to veer off the road) – but because it marks the start of Marvin Gaye’s career proper. If he was going to make a living and carve out a life from music, it would be this sort of music. Stubborn he may have been, but he was also pragmatic, and now he’d discovered something he was really good at; for twenty more years, listeners worldwide would be the beneficiaries. 
[Source: http://motownjunkies.co.uk]

01."Stubborn Kind of Fellow" (Gaye, William "Mickey" Stevenson, George Gordy)
02."Pride and Joy" (Gaye, Stevenson, Norman Whitfield)
03."Hitch Hike" (Gaye, Stevenson, Clarence Paul)
04."Got To Get My Hands on Some Lovin'" (Gaye, Stevenson)
05."Wherever I Lay My Hat (That's My Home)" (Gaye, Norman Whitfield, Barrett Strong)
06."Soldier's Plea" (Stevenson)
07."It Hurt Me Too" (Gaye, Stevenson, Junior Knight)
08."Taking My Time" (Stevenson)
09."Hello There Angel" (Stevenson)
10."I'm Yours You're Mine" (Stevenson, Anna Gordy Gaye)

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Tamla Motown Records