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John Cale & Chris Spedding: Stockholm 1975

I have just written a letter to Record Collector defending bootlegs as providing music that could and should have been officially released. This recording is a prime example.

The all-encompassing Fear Is A Man’s Best Friend website has full details of the recording here. It was made for Swedish Radio from a live concert at Jarlateatern, Stockholm on November 3 and broadcast two days later when some enterprising soul recorded the gig on a cassette, which subsequently formed the basis for the Massive Attack bootleg. As of today you can download the gig from Mega using this link

I first came across these tracks when five were released on the vinyl bootleg Down At the End Of Lonely Street…Hard Rock Cafe (details here ) together with a grab bag of other Cale live tracks. So it is great to have the whole gig in one place, albeit without the encore Baby What You Want Me To Do (does anyone have this ?).

The brilliant touring band that Cale put together in 1975 to promote his Helen Of Troy LP is woefully under documented. There are a couple of tracks from the June 1975 Crystal Palace Garden Party on YouTube. There was also a first rate session for John Peel, accessible from the always reliable Aquarium Drunkard blog

Stockholm is the only live gig I have found in listenable quality. The Pat Donaldson / Timmi Donald rhythm section were by now used to following Cale’s live detours. Record producer Chris Thomas had been seduced away from his safe studio environment for the first and last time to play keyboards. “Touring with Cale was great fun and I enjoyed it a lot. When we started off that tour, it was insane, because we didn’t know the songs, we didn’t know the keys, we didn’t know what the hell we were doing, so there were a lot of theatrics in the hope audience wouldn’t spot what was going on”.

And on lead and slide guitar – the Very Great Chris Spedding. “The Cale band of 1975 was perhaps the most exciting live band I’ve ever played with. John was very challenging and inspiring to play with. I learned a great deal from him. He works very hit and miss, though. You don’t get a chance to craft a finished thing. It’s a bit like painting a picture by throwing paint against the wall and seeing what sticks – his way of working. It was interesting. Very effective on stage, but quite frustrating in the studio.”

It is the interplay between Spedding and Cale that makes this such a great listen. On the quieter tracks such as Child’s Christmas In Wales Spedding has to invent a guitar part to complement Cale’s vocal and piano, which he does with characteristic restraint. Then Pablo Picasso shows Spedding’s more raucous side. Throughout Cale allows Spedding plenty of space to embellish and solo and at no point does Spedding abuse this freedom with overlong or overplayed parts.

Cale admits in his autobiography that one of his major career mistakes was to disband this band when he moved to New York at the end of the tour. Spedding would follow, and the two would continue to play together on an occasional basis, both live and in the studio. Highly recommended is their sprint through Jim Carroll’s People Who Died from the soundtrack of the film Antartida (hear it here ). But playing together every night brought out the best in both Cale and Spedding and they would never be as good again, together or apart. We are fortunate to have this record of their collaboration at its peak.

And let us not forget what this band achieved in the studio. All three of Cale’s studio LPs recorded for Island have been combined with the surviving outtakes to give The Island Years, a definitive 2CD compilation. Buy it now, if only to see where Nick Cave got it all from.





Why The First Clash LP Could Have Been So Much Better

The first time I saw the Clash live they were a five piece with Keith Levine, and I followed closely their development via gigs at the 100 Club and the Screen On The Green through 1976 and into March 1977, when CBS released their debut, self-titled LP. The previous month had seen the release of debut single White Riot, whose poppy catchiness had been remarked upon by Nick Kent in the NME.

I wore that LP out. It was a flat out raver, the only non-amphetamined track being the cover of Juniour Marvin’s Police and Thieves. At 8m 56s this was about four times longer than the other tracks and was more Hawkwind than Bob Marley. Eventually I got to see the Clash on a proper stage with a decent PA (Guildford Civic, May 1st 1977)  and I bought all their records and went to every gig I could , right up to the London Calling  Tour (Manchester Apollo, February 3rd 1980). I loved both Give’ Em Enough Rope and London Calling but rarely played the debut . Compared to what followed, the songs on The Clash sounded one-paced, Mickey Foote’s production was flat and the drumming was unimaginative – the explosive Topper Headon only took over the drum stool after the first LP was recorded.

Eventually during one of my periodic purges I sold the Clash LP to free up some shelf-space and didn’t miss it. After all, if I wanted to play White Riot or Police And Thieves they were on my 3CD Broadway Clash box set.

And yet it felt wrong not to have a vinyl version of Police And Thieves. So this year I thought about rebuying that first LP, but the thought did not fill me with much enthusiasm. If only Police & Thieves had been released as a 12” single…

But what I had forgotten about was the US version of the first Clash LP. Issued by Epic in 1979 it combined the best tracks from the1977 UK release with the A and B sides of the amazing singles the Clash released around this time.  So Side One includes Clash City Rockers, the immaculate Complete Control, White Man In Hammersmith Palais, and their rocked-up version of I Fought The Law plus a version of White Riot different to the single. Side Two includes Police and Thieves (yeh!) and the groovy Jail Guitar Doors. The album I found on Discogs was a Japanese copy called Pearl Harbour ’79, which came with a free single Groovy Times / Gates Of The West and a fold out triple booklet with a pretty fair stab at Strummer’s lyrics.

It is a great record, The two minute wonders from the initial LP like Janie Jones and I’m So Bored With The USA are tempered by the more varied tracks that followed, lending the LP a little more light and shade whilst still remaining ridiculously exciting.

Around the time of Bankrobber the Clash announced they were not releasing LPs any more, they were only going to release single after single. The plan was curtailed after an unnamed CBS exec described Bankrobber as sounding like David Bowie backwards (no, me neither). When the Clash should have pursued this strategy was in 1977 and 1978. They would have unleashed a series of five stunning singles – let’s leave Remote Control out of this – all of which could have and should have been included on their debut LP. The only way the US version of The Clash could have been improved was by adding the original version of Capital Radio, sent out free to NME readers who sent in a red sticker contained inside early copies of the UK  LP.

But that is my only criticism. Buy the US version of The Clash and show Never Mind The Bollocks who’s the boss…

The Greatest Hits (That Aren’t)

Record companies, why do you do it ?

If the record is called Greatest Hits why do you put on a track that was rejected as no good / issued as a B side / only available in Argentina ? Surely a Greatest Hit is a track that has been a Hit i.e. issued as single and made it into the charts ? I realise with some bands that means their Greatest Hits would actually be an EP or maybe even a double A-side single but surely that’s what the term means.

Let’s get specific. The Eagles Greatest Hits. Best selling record in the history of the Universe. Ten tracks, all released as singles. I can hum every song, and I loathe the Eagles. Target audience; people who don’t like music much, people who like songs that are in the charts  but don’t buy singles because they are too fiddly, hipsters who like the Eagles ironically, Joe Walsh so he could learn the songs.

Contrast this with the new Tom Petty 2CD compilation The Best Of Everything “featuring 38 of Tom Petty’s best and definitive hits culled from his career”. Amazingly one of these “best and definitive hits” turns out to be a song called For Real that no-one has ever heard before. Also included is a version of the (brilliant) ballad Southern Accents with new lyrics. This compilation was announced the week after American Treasure, another “definitive” compilation which had plenty of room for these two tracks. And there is a perfectly serviceable Tom Petty Greatest Hits still in the catalogue, 18 tracks released in 2008, all singles, all hits.

So who is the target audience for The Best Of Everything? It’s us. The collectors (ie suckers) who shell out for 36 tracks we have got just to buy the two that we have not. And it sucks.

I have been buying music for 43 years and in that time have repeatedly bought compilations that have just one or two unreleased tracks. My most recent example is the Guts compilation LP by John Cale, which contains the single B-side Mary Lou plus eight other tracks I already have on Cale’s three essential Island LP’s (recently praised and rightly so by Luke Haines in Record Collector mag).

Next time you figure the market can stand another compilation from one of your heritage artists don’t call it a Greatest Hits unless every tracks has been issued as a single. Ideally they would also have all featured in the upper echelons of the singles chart but in a world where ‘Another Girl Another Planet’ never charted this may not be possible.

If however you are going to issue a compilation of 95% previously released material with one or two rare tracks chucked in to tempt the collector then please have the honesty to title your release “Special Collectors Fleecing Edition”. And then we would all know where we stood.


Live On WLIR – Big Star

Omnivore CD/LP

I am looking at my 1992 copy of BIG STAR Live. It came in one of Ryko’s distinctive sea green cases, packed in a wildly environmentally-unfriendly “long box”. Three CDs were released at the same time – Live, Third/Sister Lovers and Chris Bell’s I Am The Cosmos. For me this was a significant expansion of Big Star, since all I had heard thus far was #1 Record and Radio City.

Today we are all a lot better informed about the whole Big Star Thing. Third is now regularly feted as a ground-breaking and influential LP and Chris Bell’s contribution to the artistic success of Big Star is now well established.

So that leaves Live as the runt of the litter. Certainly it was an unsophisticated recording , done direct to two track in front of an invited audience in New York’s Ultrasonic Studios in March 1974. There are fourteen tracks and a revealing interview with Alex Chilton: listen to the relish with which he describes touring conditions as ‘pretty scummy’. Whilst original drummer Jody Stephens was still in the band his colleague in rhythm Andy Hummell had gone back to college and was replaced by John Lightman on bass. The mix underplays Alex’s guitar until the third track Mod Lang.

Big Star were always an erratic proposition in performance. No live tapes exist of the original Chlton/Bell/Stephens/Hummell line up, although their live-in-the-studio take of In The Street done for a promo single is impressive. So all extant live recordings are of the three-piece band, which in no way resembled other power trios such as Cream or the Jimi Hendrix Experience. Jody is a powerful drummer, but Lightman is tentative and Alex is also economical with his guitar parts: no lengthy jamming here. I am reminded of the Kinks, who had a similar endearingly uncertain live sound before they tightened up and went balls-out professional after signing to Arista in the late 70s.

Omnivore have remastered the original WLIR recording. Compared to the original Ryko disc this new version is more of a Rock sound, louder and heavier. It is probably more commercial and may even be better suited to modern playback devices but I prefer my lighter, poppier Ryko version. Robert Gordon has upgraded his original liner notes and there is an interesting interview with John Lightman. Recommended if you do not have the Rykodisc original.

Also recommended but harder to find is Beale Street Green , a CD which contains 8 tracks recorded at rehearsals for the WLIR performance with a looser and more punchy sound. These tracks are also available on the official Norton Records release Nobody Can Dance. And watch out for a recording from the same tour made in Cambridge on 31/3/74 : lesser sound quality but interesting covers of Baby Strange, Candy Says, Til The End Of The Day and We Gotta Go.


Eat A Peach CD  EAT 105

In May 1976 the Patti Smith Group stunned London with two nights of rock’n’roll quite unlike anything we had seen before. And now thanks to Eat A Peach we have an excellent aural document of those amazing gigs, a mere 42 years ago.

The gigs were highly anticipated and had quickly sold out. Patti was the first of the CBGB crowd to make it to London and her image preceded her. Time Out ran a cover story which featured “New York’s rock’n’roll poetess” in a battered leather biker jacket, too tough to prove it. Then there was Maplethorpe’s front cover picture of debut LP Horses, where Patti wore the men’s black suit / white shirt / skinny black tie combo featured by all her band. As a clueless teenager I found her sexy as hell, but in a different way to previous girl singers. Patti was fierce – more Sandie Shaw than Marianne Faithful.

The Roundhouse was then having a renaissance with incessant Hawkwind Sunday afternooners now replaced by a new wave of bands of which Patti was the harbinger. Support was the deeply unpleasant Stranglers, managed by Dai Davies who just so happened to book the Roundhouse. Unsurprisingly The Stranglers were the support band on the other epic Roundhouse gig of that summer, the Ramones / Groovies double header on July 4th.

I went on the Sunday night, May 16th. As the lights went down I recognised the opening tune – it was We’re Gonna Have Real Good Time Together! At that point only available on the Velvet Underground 1969 Live double LP, it remains a perfect set opener and message of intent, and reminds us that guitarist Lenny Kate always had impeccable taste. Free Money started off with Richard Sohl’s solo piano before the rest of the band piled in. Another obscurity follows, Paul Jones’ Set Me Free from the soundtrack to the movie Privilege. The set then dipped with three unfamiliar tunes  – Pissing In A River, Pumping (My Heart) and Radio Ethiopia. All three would appear on album number two Radio Eithiopia but none of them match prime Horses material. Which then follows in the form of a phenomenal Land which merged seamlessly into a reckless Gloria, the group by now the garage band of your dreams. Encore was Patti’s patented version of My Generation without the John Cale bass solo but with Patti’s rewritten lyrics (wonder if Pete Townshend gave his approval?). On the Sunday night we were treated to a second encore of a Patti poem that ended “tick tock…f*ck the clock” and swang seamlessly into a lovely Time Is On My Side.

The CD from Eat A Peach does a great job in conveying the atmosphere and music from these gigs. Recorded on the Monday night (May 17) there is no Time Is On My Side but the other 12 tracks are here in remarkably good quality for an audience recording. The entertaining sleeve notes tell how ‘Mike B’ and ‘Pete’ taped the gig from centre-stage upstairs at the Roundhouse. After our intrepid duo blagged their way into the aftershow Patti and Lenny listened approvingly to the cassette and suggested it would make a fine bootleg one day. They were right. The CD looks as good as it sounds. Front cover is a colour repro of the gig ad, inside is a printed inner sleeve and fold out insert, all featuring great pics from the gig itself as well as a reproduction of the afore-mentioned Time Out cover.

Patti Smith would never be this groundbreaking again. The Jack Douglas production on Radio Ethiopia did the band no favours, and whilst Todd Rundgren was more sympathetic on Easter the material was now inconsistent, although the singles Frederick, Dancing Barefoot and Because The Night still sparkled. Then marriage, motherhood, retirement.

So remember the Patti Smith Group this way. From its release in December 1975 Horses rarely left my turntable and being able to relive the live version via this CD is a real thrill. Bravo!


MC50 Shepherds Bush Empire 12/11/18

Fifty years on from the live recording of the MC5’s incendiary Kick Out The Jams debut LP Wayne Kramer fronted a five-piece band who reproduced those eight tracks with a professionalism the original 5 could never muster. In addition to Wayne on trademark Stars ‘n’ Stripes guitar the band was Kim Thayil (Soundgarden) on rhythm guitar, Brendan Canty (Fugazi) on drums, Billy Gould (Faith No More) on bass and Marcus Durant (Zen Guerilla) on vocals, looking unnervingly like Mick Farren. Ramblin’ Rose and Kick Out The Jams made for a knockout opening duo and if Starship remains a sub-Hawkwind dirge then Borderline and Rocket Reducer 62 more than compensated.

Support Michael Monroe (ex-Hanoi Rocks) leant his pink saxophone to the coda of a sizzling Sister Anne and stayed on for the ballad Let Me Try, a welcome change of pace. Absent comrades Fred Sonic Smith. Michael Davies, Dennis Thompson and Rob Tyner were all saluted and the set concluded with a ferocious cover of Van Morrison’s I Can Only Give You Everything and a politically charged encore of Looking At You. Brother Wayne at 70 – still testifying, still dancing and an example to us all.

Review written for Record Collector magazine

Picture Credit: Simon Nicholl

Here are the first three songs from the gig

And finally here is how my review looked when it appeared in the January 2019 edition of Record Collector magazine:


The most arresting opening line in pop history

Yes, even more than “I am an antichrist”.

Try this: “Who cares if you’re Jewish and your breath smells of garlic and your nose is a shiny red light…”.

It actually gets worse after this.

The song When I Turn Out The Living Room Light comes from a time when Ray Davies was writing extraordinary songs at such a rate that there was no room for them on regular Kinks LPs. So the first time I heard this delicate melody was on the now impossibly rare vinyl LP The Great Lost Kinks album. Thankfully the track has been added to the excellent  expanded re-issue of The Village Green Preservation Society so now everyone can hear it and be gobsmacked. Only right at the end of the song do you realise that the singer is equally challenged in the physical attraction stakes and so we have that rarest of things, a love song that involves real people. Or as Todd Rundgren was to put it a few years later “But love between the ugly is the most beautiful love of all”.

Laugh in a slightly embarassed way as you listen here 




























The Sound Of 1968

Looking forward to the MC5 gig at London’s Shepherds Bush Empire on Monday ? Me too. I was hoping to be your DJ for the evening but I lost out to someone rather better known…

Had I got the gig I planned to play only 7″ singles released in 1968, this gig celebrating the 50th anniversary of Kick Out The Jams. So there follows a list of what I would have been playing. Seem to me that 1968 was not such a vintage year for singles as 1966 or 1967. Some great tracks, but lacking the depth of the previous two years. Why should this be ? A growing emphasis on the LP, FM radio playing less chart singles, changes in drug consumption – who knows?

Let me know what tracks I’ve missed! Must have been released as the A or B side of a single during 1968…

Amboy Dukes – Journey To The Centre Of A Mind

Beach Boys – Never Learn Not To Love

Beatles – Revolution / Helter Skelter / While My Guitar Gently Weeps / Birthday / Back In The USSR

Jeff Beck Group – I’m Drinking Again

Boxtops – Cry Like A Baby

Eric Burdon and the Animals – Sky Pilot

Byrds – You Ain’t Going Nowhere

Canned Heat – On The Road Again / Going Up The Country

Cream – Anyone For Tennis / Crossroads

Dave Davies – Lincoln County

Deviants – Let’s Loot The Supermarket

Doors – Hello I Love You

Julie Driscoll / Brian Auger Trinity – This Wheel’s On Fire

Easybeats – Falling Off The Edge Of The World

Fleetwood Mac – Need Your Love So Bad / Shake Your Moneymaker / Black Magic Woman / Albatross / Jigsaw Puzzle

Grateful Dead – Dark Star

Jimi Hendrix Experience – All Along The Watchtower / Crosstown Traffic

Honeybus – I Can’t Let Maggie Go

Kinks – Days / She’s Got Everything

Monkees – Valleri

Tommy James & The Shondells – Mony Mony

Move – Fire Brigade

Nazz – Open My Eyes

Nice – America

Nirvana – Rainbow Chaser

Rolling Stones – Jumping Jack Flash / Child Of The Moon

Sly & The Family Stone – Life / Everyday People

Small Faces – The Universal

Spirit – I’ve Got A Line On You

Steppenwolf – Born To Be Wild

Syndicate Of Sound – You’re Looking Fine

Traffic – Feelin Alright?

Turtles – Sound Asleep / Elenore

Velvet Underground – White Light/White Heat

West Coast Pop Art Experimental Band – Smell Of Incense

Who – Dogs / Magic Bus

Yardbirds – Think About It

Zombies – Time Of The Season



Re-imagining Tom Petty

The recent release of the 4CD set An American Treasure has bought some new outtakes and alternate versions into the public domain. Whilst I regard some Petty LP’s as unimproveable (Hard Promises fits into this category) there are others that I think could use some help. By also utilising tracks from the earlier Playback set I have reconfigured two LPs which at the time of release I found disappointingly inconsistent.

Long After Dark Revisited

  1. A One Story Town
  2. You Got Lucky
  3. Deliver Me (alt)
  4. Change Of Heart
  5. Finding Out
  6. Keep A Little Soul
  7. Straight Into Darkness (alt)
  8. Turning Point
  9. Between Two Worlds

Tracks 1, 2, 4. 5, 8 and 9 from the original Straight Into Darkness (1982)

Tracks 3, 6 and 7 from An American Treasure (2018)

Tom Petty and the Heartbreakers were in fine form when they toured this LP around Europe in 1982 but for me the original LP rather ran out of steam after Side 1.  Adding Keep A Little Soul – the best unreleased track from An American Treasure – and the tougher live TV version of Straight Into Darkness makes for a better listen. The band really like another outtake called Keeping Me Alive which is included on both An American Treasure and Playback but it means nothing to me. Talking of which…

Southern Accents Revisited

  1. Rebels (alt)
  2. Walkin’ From The Fire
  3. Southern Accents
  4. Dogs On The Run
  5. Trailer
  6. Cracking Up
  7. The Apartment Song (demo)
  8. Big Boss Man
  9. The Image Of Me
  10. The Best Of Everything (alt)
  11. Don’t Come Around Here No More

Tracks 1, 2 and 10 from An American Treasure (2018)

Tracks 3, 4 and 11 from the original Southern Accents (1985)

Tracks 5, 6, 7, 8 and 9 from Playback (1995)

Southern Accents was originally planned as a double LP and it could have been terrific, it could have been their Exile On Main Street. What eventually emerged was a mess. Whilst Dave Stewart did a brilliant job on Don’t Come Around Here No More – only placed last here because of over-familiarity – the other three tracks he produced were total turkeys. However the LP also contained two of Tom Petty’s best ever ballads in The Best Of Everything and Southern Accents. Adding the more country/roots orientated material such as the cover of Nick Lowe’s Cracking’ Up delivers a more consistent listen.

So sacrilege or creative improvement ? Let me know…


It’s Here Luv! Rolling Stones Live 1965-66

Let The Airwaves Flow 1 : Live At Olympia , Paris 1965-66 – The Rolling Stones

Side One

  1. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  2. Around and Around (Berry)
  3. Off The Hook (Nanker, Phelge)
  4. Carol (Berry)
  5. Little Red Rooster (Dixon)
  6. Route 66 (Troup)
  7. I’m Alright (McDaniel)
  8. Crawdad (McDaniel)


Side Two

  1. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  2. The Last Time (Jagger, Richard)
  3. The Spider And The Fly (Jagger, Richard)
  4. 19th Nervous Breakdown (Jagger, Richard)
  5. Hang On Sloopy (Berns, Farrell) / Get Off My Cloud (Jagger, Richard)
  6. (I Can’t Get No) Satisfaction (Jagger, Richard)


Recorded live at the Olympia, Paris for RTL Radio

Side One 1-8 and Side Two 1-2 First Show April 18th 1965

Side Two 3-6 Second Show March 29th 1966


Mick Jagger – lead vocals, harmonica

Brian Jones – guitar

Keith Richard – guitar, backing vocals

Bill Wyman – bass

Charlie Watts – drums

Sleeve Notes

The lengthy career of the Rolling Stones divides fairly neatly into three eras, each defined by the identity of their second guitarist. So 1962-1969 is Brian Jones: 1969 – 1974 Mick Taylor and 1975 to date Ronnie Wood. Whilst we have an abundance of good quality live releases from the Taylor and Wood years there are virtually no good quality live recordings from the Jones period. Admittedly there is the Got Live If You Want It EP from 1965 and a selection of BBC Sessions, released in 2017 as On Air: both are welcome but the former is primitively recorded and the latter lacks an enthusiastic audience. So the real value of the record you have in your hands is that it is well-recorded and delivers an accurate representation of the mid-60’s Stones live set delivered to a very vocal and largely female audience. It is simply the most exciting live record of the Brian Jones era yet to emerge.

A brief snippet of Everybody Wants To Someone To Love acts as the introduction to a rockin’ Around And Around, Jagger’s vocal exuberance matched by the Richards / Jones guitar team tearing into the solos. The loping rhythm of overlooked B-side Off The Hook highlights the dexterity of Watts and Wyman. Carol kicks off with an electrifying intro from Keith Richards, whilst  Brian Jones’ slide guitar is the focus of Little Red Rooster (introduced here by the rarely-vocal Charlie Watts). Sheer punk energy drives Route 66.

A lengthier Everybody Needs Somebody To Love kicks off Side 2, Jagger really testifying here. The Last Time features Richard’s distinctive backing vocals. Then it’s a flashback to the Crawdaddy club in Richmond for two rarely-played Bo Diddley covers I’m Alright and Crawdad itself, both of which have the desired effect of making the crowd go completely bonkers.

Finally we have four Stones originals from their return to Olympia the following year. The wry Spider And The Fly is the second ace B side to receive an airing. Next up is a driving 19thNervous Breakdown that features more Keith Richards harmonising, giving the middle eight a country feel. Get Off My Cloud is preceded by the intro to Hang On Sloopy but it is a momentary distraction. The intertwined twin guitars really come into their own here, beautifully complementing the call-and-response vocals. Finally the unmistakable riff of Satisfaction brings the set to a close, a role the song is still performing 52 years later!

The NME review of the 1965 gig was published on April 24th. Jack Hutton reported that he band performed “exceptionally well and they got wild acclaim”. That was it for the music – the remainder of the 600 wordarticle was spent criticising French bouncers, although the Stones are described as “producing mild pandemonium” and Jagger’s “latest innovaton in the leaping and jumping department brought ecstasy and uproar”. Nicole Portier in Disc (April 24th) was more circumspect in her assessment that “four days in Paris with the Stones seems like a couple of years”. Paris would remain a Stones stronghold, with audience reaction at their most recent shows in October 2017 proving equally adulatory.

Sleeve notes: Elmo Lewis