Kim Fowley & Ben Vaughn - Kings of Saturday Night (1995)

Don't imagine because I re-uped all previous Kim Fowley's stuff I'll stop. Now he's dead, we have the mission to make all his work available without fearing he's stolen. Here the first of a series of highly underrated albums he releases between 1994 and his death. I'll try to post them in chronological order. I'll skip the ones I personally consider as failed attempts although some of you may find them tasty but honestly it's too much work to post here to indulge myself in albums I don't like. This one is thus the first after a rather chaotic 14 years period without a true new studio album. Another album, called Wormculture (much more interesting than this one and soon to be posted here) will be recorded in the same year. This one is conceived according to the traditional "distant way" to record an album, that means that Ben Vaughn would send tapes with music on to Kim Fowley and the latter would put his voice on. Really stunning to see how the result sounds as a true duo captured live in the studio and the gift Kim Fowley had to make any used riff sounds fresh because of his vocal transmutation. There's a little Chris Spedding - John Cale flavour in this association but of course Cale and Fowley are differently mad. Actually Ben Vaughn provided the whole spectre of classic rock'n' roll riffs (from "Hey Bo Diddley" to "You Really Got Me" via "Gloria" or "I'm A Man" etc.) but it's never an "exercice-de-style" neither a passeist approach. And there's always the moving autobiographical Dylanian ballad that Kim Fowley creates even in his most jokish albums, here it's the wonderful "Back in my Childhood". I must confess I didn't know Ben Vaughn (who would work the next year with Alex Chilton and Alan Vega) when this album was released and that I didn't really followed him then but here he did a good job for Kim Fowley and it was the start of prolific period for our hero. Catch it here.


Dr John - Gris-Gris II (1995-2010)

One of my last year best moment was the concert that Dr John and his Lower 911 not forgetting the fabulous Sarah Morrow, gave to the Sète's audience last July. A really magical moment I'll (we'll) never forget. So, 6 months later, under a winter chilling rain of melted snow, and with numerous health problems, I would like to think that listening to the voodoo songs of the Doctor will chase the demons from our bodies and bring back joy and happiness. I'm proud of this compilation that I always keep with me on my smartphone and regularly play when I need to wash my head of all the filth of triviality. Let yourself hypnotised here. Dedicated to the one who will recognise herself if she reads this post.

That's a project I had for several months: gather on the same record (virtual one) all the songs Dr John wrote and sung over the last 15 years (at least since he returned on a more regular basis in studio) in the Gris-Gris vein, that means music in which floats this special voodoo ambiance he was one of the rare in history to bring to rock music. Shame that he never done once again a complete Gris-Gris LP such as his first one. Anutha Zone, released in 1998 and recorded in London, one of his best in the last 15 years (thanks to John Leckie and his great production work) is the closest to this style but in almost each one (except the hommage albums and cover ones) there was at least a track belonging to this genre. There are the nine tracks I found (I don't think I forgot anyone but if I did, please tell me). Listening to them in a row, just as it was a real album, makes honestly of this compilation the best record he ever did (except for Gris-Gris the first of course). I know I'm not allowed to do that but I hope I'll be spared by the ferocious watchdogs of the net. There are quite pitiless these days. Of course I did the cover. Not gorgeous but correct I think.


Traffic - Live at Santa Monica Civic Auditorium (1972)

A rather weird contradiction is that I usually dislike so much long and never-ending tracks the seventies so often indulged in, but appreciate so much Man or Traffic live(who indulged in such tracks). I never tried to understand it. I only observe and note it, that's all. This live set from Traffic (in my fave line-up of the band) was captured in California for their Low Spark of High Heeled Boys album promotion tour. Actually, I'm not totally proud of me since this concert has been laid on video and released as a visual testimony (see below) but I think it's nice to have songs in audio formats to be listened to everywhere. So I created this fake sleeve for providing here this concert. There have been other bootlegs LPs of this concert under rather awful sleeves (and even the DVDs have quite ugly facings). Not a major adding today but a way to feature this great band on this blog. Catch it here.


Third World War - II (1972)

A year Sleaford Mods are one of the hot sensation (god blesses these guys) it's time to listen again (and again and again) to this fantastic band and their greatest release to date. When some talk to me about how legendary and revolutionary is this or that classic rock album (for example London Calling or Raw Power), I can't help to answer that this one (and Kiss Ass Godhead! from the Membranes) are what I call legendary and revolutionary. And as usual they treat me as an asshole who knows nothing to music. Time will tell. Catch this re-up here and cut cane for Castro rather than lick politicians' arses.

I'm a little fed up to see Clash's "London Burnin'" as the sole musical reference for the recent British riots. Before them, there were other political bands for JC sake. And even much more political since the rock 'n roll dimension in Clash has always been more pregnant than the political one. And for me, the strongest of all these bands is Third World War, with Terry Stamp on vocals and Jim Avery on bass. Clearly left wing and Marxists, they have released two essential albums, not only in a political perspective, but more largely in musical history. Never the fusion between music and politics has been so perfect. They are often considered as proto-punk but they are primary proletarian rock (we'd call it prolo-rock in France). Not far from what Slade could have been if they didn't chose to go in the glam world, cos' Slade had not any political idea (at least they hided them behind their "clap-your-hands" rock n'roll attitude). Actually, I understand this dilemna, being a kid from the working class at the times, I also digged glam and quite omitted any political preoccupation until punk arrived 5 years later. Third World War was unfortunately not here anymore (they disbanded after this album due to shortage of money, what a surprise). Bands like Sham 69 or Menace (or even Ian Dury and later Dead Kennedys, Jello Biafra was a fan of the band, as was Paul Weller from Jam who covered Terry Stamp songs) are the ones that reminded me the most the band, but they had not their musical genius (and they were rather embarrassing sometimes when various fascists began to adopt them, I'm talking about Sham 69 and Menace of course). This is their second opus. The first is not weaker, just that in this second one, there are the rudest lyrics and the sound is maybe more professionnal. And there are their 2 masterpieces ("Castro" and "Hammersmith Guerrilla"). Cos' you must read (at least listen to) lyrics when you hear 3WW. You can read things totally unexpected in these times. The album was nearly shelved because of the text in "Coshing Old Lady Blues" (on which one could believe he listens to Joe Cocker) and they had to change of label or the Who's Track one. Don't search them on the net, nobody had uploaded them. So, you should buy the CD, they're on it. For me, this LP is a masterpiece I never ceased to listen throughout my existence, any period, cos' it's transtemporal by nature. To note that on the keyboards, some will be surprised to find John Hawken before he joined Renaissance and then Strawbs. Quite amazing cos' the universe is rather different but who cares. He brings to this album something brilliant that would have missed without him (listen to the piano on "Rat Crawl"). So, now, it's up to you, don't believe all the bullshit you can read here or there about this band (their music would be poor, what a joke), listen by yourself, you won't say after it that before Clash there was nothing. A site about these 2 great guys here.


Kim Fowley - Failure Rock / 1983: Year of the Bleeding Trees fake 7" (1983)

Another re-up in tribute. See below for details. Catch here.

A putative aborted single, these 2 tracks seem to have been recorded in 1983 and maybe Chris Spedding was involved or at least the guitarist tries to sound similarly. Included on the Hotel Insomnia heteroclyte compilation, here they are coupled on the same fake single in order to be heard separately as an individual entity. Not the best he did but pleasant basic rock stuff actually. And the lyrics are, as usual, full of this mix between fake megalomania and real self-disgust. Although I chose "Failure Rock" as A-side (more commercial power), "1983: Year of the Bleeding Trees" (what a song title) is actually much better. Let's go 30 years back and enjoy this putative single (I tried to use a picture of the master in the first hald of the eighties for this fake cover sleeve).

Kim Fowley - Gonna See My Name In Lights / Angel Of Fire fake 7" (1980)

Another re-up in tribute. See below for details. Catch here.

Our beloved Kim Fowley is having a hard chemotherapy journey these days, in order to cure his damned bladder cancer. So here's a modest way to share a thought  for him with visitors of this blog. These 2 songs were composed and recorded with Kari Krome (on electric piano) from the Runaways, somewhere between 1976 and 1985. I chose to write 1980 but I'm not sure and maybe it was sooner or later. You'll be surprised to hear the quiet and intimate atmosphere of these gems, showing KF has never been this clown too many consider he was, but rather a touching and impressive multi-talented genius who, moreover, has this strange faculty to say a lot about human condition (pathetic, romantic, free, wild, doomed, damned, human, animal and so much more). I did the cover sleeve of this faked single with a picture of little Kim on a real horse for a ride who took him through epic and musical stories. Enjoy it here. Below, a picture of Kari Krome. A salute from someone who wears him in his heart for 40 years now and who never interrupted his constant support and admiration for the bad boy of rock'n' roll.

Kim Fowley - California Summertime / Hollywood Nights 7" (1974)

Another re-up in tribute. See below for details. Catch here.

A 2-songs pack recorded in 1974 for a single released this time under the name of Lance Romance (strange idea this constant change of names). Recorded after the International Heroes, it's clear on the picture that he decided to jump in the glam wagon. But it will short-lived. These songs are not the best he did I admit and sometimes are not far from being a little jokey but they are good. Recorded on the same afternoon (always with unknown musicians), they are impossible to ignore for any real fan of unconventional music (and I know you are). "Hollywood Nights" in particular, could have been included on Outrageous or Good Clean Fun. This is Kim in his delirious genius. Enjoy it here. I took a Dennis Stock pix taken on a California beach at the end of the 60's to to the cover sleeve. Below the cheapest video ever made.

Kim Fowley - Motorboat / 25 hrs a Day 7" (1973)

Another re-up in tribute. See below for details. Catch here.

This is the first from a series of posts about Kim Fowley. Previously I posted a single with "Bubble Gum" on it (see here) but there are so much more it would be a crime not to use this blog to share them with who-wants-it. Here a single issued in 1973 under the silly pseudo of Jimmi Jukebox. Surely because he was under contract with Capitol and that the label would not agree to release such unconventional songs. Recorded and released between the I'm Bad LP and the International Heroes one, it is Kim at his best. Both are actually very good. Enjoy here. More to come from the real bad guy of rock 'n' roll. I did the cover sleeve. Not a masterpiece but suits well with the sonic atmosphere I think.

Kim Fowley - Animal God Of The Street (1971)

Another re-up in tribute. See below for details. Catch here.

Between the Outrageous-Good Clean Fun period (in 1968-69) and the I'm Bad-International Heroes one (in 1972-73), it seems Kim Fowley tried to release unsuccessfully 2 albums. One in 1970 called The Day The Earth Stood Still, and released only in Sweden, and another one never released, but Kim Fowley sent to Marc Zermati some songs that the latter issued on this album (in 1974) called Animal God Of The Streets. Maybe these songs were not really intended to feature on an LP, difficult to say. Unfortunately, 3 songs are common to both LPs ("Night of the Hunter", "Long Live Rock And Roll" and "Is America Dead?", these 3 being more in their context in "The Day The Earth Stood Still" than here). Actually, the 6 other songs are more Beefheart meets the Velvet in a garageland that true Kim. But we love Kim whatever style he's doing. So this one is lovable. The cover sleeve is the one that was on the first original vinyl pressing of the LP (in France). But the songs are ripped from CD. 

Kim Fowley - Big Bad Cadillac / Man Without A Country 7" (1970)

Another re-up in tribute. See below for details. Catch here.

Recorded in Sweden and released there under the name of King Lizard (didn't find any cover sleeve), these 2 songs could have been a good single by here but was not. It's Kim at it's rawest and we like it for this don't we? The B-side is still better, with a shouted final in the Kim's sludgy way. This man was really something else. Not far from Beefheart's van Vliet but with this something more sexy and glamour that did the thing for me and my alikes. More to come from this great mad guy. And the cover sleeve is an hommage to the Elvis who changed the music history. And the picture below is a one of Kim as a child near great big cars in the 50's. 

Kim Fowley - Born To Make You Cry / Thunder Road 7" (1970)

Another re-up in tribute. See below for details. Catch here.

Some months after the "Big Bad Cadillac" single (see here), Kim Fowley released this new one under his name this time this time. Music's here has nothing of a joke or a style exercise as many Kim's singles, but is pure Outrageous style. Recorded with Steppenwolf members and friends (+ Mars Bonfire), it's more or less sure that it was actually recorded at the time of Outrageous (maybe prior to it) and could have featured on this LP but was actually recorded for Original Sound label. It was not released in the USA but was in UK and in France (the cover sleeve is the French one). Issued in 1977 on the Living In The Streets album, it deserves to be seen in its singularity. There a text about this single from the Julian Cope site.


Television Personalities - Singles 2006-2011

A re-up of another essential collection of songs from the great Dan Treacy released during 5 creative-return-in-full-form years that, unfortunately, stopped with our hero's stroke. It's sad not to have any news from him but I suppose it's better for everyone including him. Let's try to make his music alive in our (h)ear(t)s with this modest do-it-myself compilation. Meanwhile, let's buy the official albums so that he can get the money he deserves for his art. Catch it here.

Like for the 1989-99 decade, I gathered on this compilation all the singles and EPs released by the band (actually Dan Treacy for the most part) between 2006 and 2011 and posted individually on this blog recently. I only omitted the My Dark Places Remixes but maybe I should have added them. Was not sure. Listening to this collection of songs in its continuity is a perfect way to understand what a great singer songwriter is Dan Treacy. Actually much more than a simple fucking singer songwriter, it's, like Pessoa, Bloy or Amielle, a true diary writer putting his fragments of internal states in songs as few others were able to do it. I don't see why add words to that. Let's enjoy the chance to get this 12-load in a once and be prepare for a weird but moving trip in the inner mind of a tortured grown-up boy. PS. I tried to do a cover sleeve respecting the content.


Kim Fowley & Snow Mercy (featuring JFG) - The Madhouse Tour Live In Nantes (2012)

And to finish this series (but there are others to be re-up soon), this testimony of the tour Kim Fowley did in Europe, and more specifically in France, during spring 2012. Here he was backed by jfg (you can listen lot of stuff from him on this blog here) and some others. Largely based on impro, it was a sort of rock-in-progress concert. I doubt that many were aware in the audience to have such a legend in front of them. I wish jfg had made a studio album (in the vein of the ones he did with Ben Vaughn or Francis McDonald). There was a project, but nothing happened. And nothing will now. Catch this chaotic but jubilatory set here.

Gather round girls and boys, I've got a sonor candy for you, an untasted one, the experi/mental and physical stage experience of Kim Fowley during the recent European Madhouse tour, during which he more or less improvized with bands found where he played, some stage happenings, scenic work in progress alternatively sublime and awful, and sometimes simultaneously sublime and awful. The Paris concert was great. I was there, I can attest. The Nantes concert seems to have been rather different (more Velvet-like) but great too, the proof here with this live recording featuring some (but not all) songs (but "songs" is maybe not the correct word). It must be said that Mr Fowley had the chance to be backed by JFG (you can find stuff from him on this blog here, go, you won't regret it) and his all-girl band in which Julie on accordion, Lea on violin and Cecile on drums digged the perfect garden of notes for our soon-to-die-but-not-yet Hollywood hero. Sorry not to mention the 2 other guys, I was not able to determine who they were except that they were from Nantes. Maybe they will add a comment at the bottom of this post. Here are 8 tracks from the evening. So, enjoy this piece of history, it's nowhere else available.

Kim Fowley (& Francis MacDonald) - Fantasy World (2003)

This one is a great one. Shows how Kim Fowley was still able to write fantastic pop songs in the XXIst century (listen to "Captured By The Darkness" to hear what's a great song) that suited him perfectly or could be used and adapted by anyone else. Sad that nobody noticed. But they have better to do certainly. Don't miss this gem here.

This post has several justifications. First, to celebrate the victory of the bad man of rock 'n' roll on death, this bitch was waiting for him during his last bladder cancer operation, but she missed him. He's back and we're proud of him not to have leave us alone. Then because he'll be in France in April and it's a marvellous perspective to, at least, see on stage a man I listen to since 1973 (I was 15 and Outrageous changed my life). Last, to show to those who would think that KFdid only great things during the late 60's early 70's that they are wrong. He had done great ones all over his "career", and even if some of his albums are really nonsense bullshit, some in the last 20 years are jewels. This is one of them. Consisiting in a collaboration with Francis MacDonald, the drummer of Teenage Fan Club and member of BMX Bandits, who plays and arranged everything on the album, KF doing the lyrics and the voice. The result is a wonderful album full of songs that would deserve to be standards (just listen to the 4 below). KF is very severe with him in the booklet (included in the rar file), saying he's not the good one to sing these songs and wishing they would be covered by real singers. I disagree. Everything is better when KF sings it. We don't need good singers. We need real men. And Kim Fowley is real. Few are. So enjoy this gem here. More to come.

Kim Fowley - Snake Document Mascarade (1979)

Second re-up. Not one of his best but a rare one so important to feature here. Actually here.

One year after the excellent Sunset Boulevard (here), Kim Fowley releases this rather weak album (with a very clever cover sleeve allowing a porno image to be shown on the front side of an album), much more in the mood of the times than he used to be previously. That means that it's full of cheap synth and easy melodies with rudimentary beat. There are some interesting songs, when he becomes more experimental, but over all, it's quite difficult to hear it for pleasure today. Not to be attributed to an adventurous collaboration cos' most of the tracks and the arrangements are credited to him. So let's say it was his present state of mind. The next one would be the great Son of Frankenstein. It's also on this blog (there). Of course, this Snake Document Mascarade has never been released on CD.

Kim Fowley - Automatic (1974)

I suppose I don't need to explain why I re-up this album. But if you've not been informed, let know that Kim Fowley died yesterday. I discovered this singular, weird and touching man 40 years ago, and never stopped listening to him (one of the rares I never abandoned in my so varied musical periods). Even these later years, he was creative and funny, and moving, and pathetic too but oh so human. So here the first of a series of posts I will re-up this evening for you to have the privilege to hear his music. Cos' for me Kim Fowley never was the "producer and creator of the Runaways" as the lazy and ignorant press summarizes his artistic life. He was a music-man, and his greatness was to have never taken himself seriously as Zappa or Beefheart and finally to be, in my eyes and ears, much more interesting. But I've surely shitty tastes. Meanwhile catch his Automatic unreleased album here (details below)

Following the recording and the release of his London and oh how much underrated International Heroes album, an album that tried to bandwagon the glitter movement although it was not really relevant to this movement musically, Kim Fowley went back to California and recorded another LP called Automatic that will be left unissued and only available some years later. Difficult to understand why since it was once again a fine piece of work with very varied climaxes, from the sublime and delicate "Mom & Dad" to the glam-flavored "Visions Of The Future" through the exquisite soul oriented "Save Love For A Rainy Day", sung with Becky Hobbs. Quite short but really a good with much to love album. The CD cover sleeve was awful (a picture from the International Heroes series) so I took pictures from the Visions Of The Future compilation (released in 1978) to illustrate this album correctly. Enjoy this great Kim forgotten album here.


Mandy Morton and the Spriguns - Magic Lady (1978)

A non-request re-up but this album is so great (and expensive to buy) that it's an absolute necessity to have it available on this blog. If there is one (actually there are more than one) undiscovered musical treasure in history it's this one. Doom folk at its best with one of the greatest singer (totally monotonous tone I know but this reaches genius to my ears). If you are into Comus or String Driving Thing you'll be stunned. So here it is again. Don't miss it. 

Until recently, the only women that could inspire to me intense emotions were Billie Holiday and Melanie Safka. But this was before I discovered Mandy Morton, specially this album, and found that another woman voice could make me shiver. Mandy Morton has a very quiet voice but with something severe and a resignation in it that produces a feeling of fatal fate that I would call doom. She really is the perfect vehicle to carry a quality of despair more often represented in the funeral doom movement than in the classic folk one. It is true that traditional songs are often full of morbid visions and tragic destinies, but here Mandy Morton never seems to mimic these old times and makes these words as relevant today than they were in their times. It must be specified that all the songs are originals and none old ones arranged. The miracle is that the music perfectly suits her vocal approach, whereas in the english folk planet of the seventies, virtuosity and demonstration often ruined any emotional quality. Not here. The album is her first released under the name of Mandy Morton and the Spriguns. The previous ones were released only as the Spriguns. Honestly, no one of these previous works can rivalize with this masterpiece. They all have too much "exercices de style" on them to convince and Mandy has only a secondary role. Here, the band is at her service and she deserves it. All the songs are gems. It has been really difficult to chose one for a streaming listening. This post is the first of a long series from S'Heaven Tease, articles published in the music mag Xroads and in which I comment some obscure treasures of the seventies. These LPs are often impossible or very hard to find in CD, and most of the time quite expensive. So, to propose them here in reduced quality format such as the MP3 is, will help to know if you think they are worth the financial sacrifice. Mandy has published 2 other albums after this one, no more under the name of the Spriguns, certainly because of her separation from her companion, one of the founders of the band. They are not as fantastics as this one but still very good. She works for now several years in a radio in which she has a cultural show and I hope she doesn't miss the music since the music does miss her. Enjoy this magic lady here (the magic lady is Sandy Denny, dead the previous year and to whom the eponymus song is dedicated)

Here the text from "Witchfinder", that you can hear below

"They’re going to hang a witch". Shall we build the scaffold high to stretch their necks until they die? Shall we build the fire up to send them straight to hell? Oh it doesn’t matter how they go as long as we can make a show. Down through the mist comes the rider. The death bell tolls a warning to his prey. He’ll see us all in hell the witchfinder by torturing our life and souls away. And what kind of man is this the witchfinder, who calls himself a holy man of the cloth? His wretched form a constant reminder of all the night black hags that he’s turned off. He’ll seek out all our covens and destroy them, and cruelly send our sisters to their deaths, and rid our lands of powers that defy him until our dark lord has no servants left. And when he sees the marks of his destruction, he’ll think that he rests easy in his bed. But we’ll come in the night to instruct him. In the rules of the land of the living dead.



Melanie - Garden in the City (1972)

No real reason to re-up this LP except someone asked me to. But at the end of a day where people were like millions blades of grass in the streets of Paris, it's maybe not an irrelevant post. Catch it here.

It's a great pleasure to post this LP not in a-vinyl ripped version but after gathering the songs from various CDs that contained each a sample of this collection released by Buddha to cash on her when she left them to create a own label and release her first solo album under her own (the fantastic Gather Me). Impossible to overlook this LP since it contains many gems and is an important musical piece in any Melanie's collection. There are only 4 original tracks, others being covers, but I'm really fond of the treatment she prescribes to songs such as Dylan's Lay Lady Lay or the Stones' Jigsaw Puzzle. But actually I don't see any lowpoint here (I must be a fan). Several songs have an eastern flavor (eg. the splendid "Love in Mind"). And there's "People in the Front Row" and her incredible vocal challenge. This album has been issued with a smelly garden stick. So here's for you. In high sound quality (at least for MP3). Enjoy it here.

All sections written by Melanie Safka except "Lay Lady Lay" written by Bob Dylan, "We Don't Know Where We're Going" written by DeVorzon and Botkin Jnr, "Stop! I don't Wanna Here It" written by DeVorzon, Botkin Jnr and Safka, "Somebody Loves Me" written by Gershwin, DeSylva and MacDonald and "Jigsaw Puzzle" written by Mike Jagger and Keith Richards
People in the Front Row. I was out of love, and out of heart I couldn't quite stop something that I didn't startYeah yeah, the critics said "No"I didn't know how I came, so I couldn't go I was third on the bill of a second rate show The audience asked me what, but I didn't know Oh oh my predicament grew but now I got friends And I think that my friends are you, yeah.You know I looked around for faces I'd know I fell in love with the people in the front row My predicament grew but now I got friends And I think that my friends are you, yeah You can put me here and I'm all yours,Not for the money and it's not for the applause, no 'Cause after is nothing it's doing the song I don't have to hear a thing to know I've been grooved on These chords that I'm using are usually sad I had to use them, they're the best chords that I have Oh yeah, this progression is usually sad But it felt my sorrow and I wanted it to feel me glad, yeah.


Strawbs - Strawberry Music Sampler (1969)

I just finished the Dave Cousins autobiography (Exorcising ghosts, not so good that I hoped after the first chapters, the long segments on his work in various ILR are of poor interest and he seems much more happy with himself that I expected, maybe a sort of common trait in many singer-songwriters) so it's an opportunity to re-up this strange album they had sent to labels for proposing their songs to be covered by who wanted them (see below for the details). It's a very fine collection of songs with some real gems. I'll post others from this rich era of the band. I changed my first fake sleeve that was quite ugly actually. This one is much better. This picture is not ancient as it seems to be but recent and shot by Anette Skuggedal, from Norway. Beautiful. Catch this fine collection of antiques and curios here.

A very very strange album actually since it was done to "sell" songs to anyone would want them in the British music world of the times. Some months after their first real LP under the Strawbs name (released in May 1969) they gathered 17 songs on this LP (released in 99 copies), several from the Sandy and the Strawbs LP (here) and some more that would appear (or not) later on in the further LPs. The arrangements are quite heavily pop-oriented and the whole climax reminds us more the Mama's and Papa's, the Bee Gees or PJ Proby than the folk scene from which were Cousins and Hooper. But it's a very interesting collection with very fine versions of some songs. Not to be missed. I'm unsure whether anyone was interested by any song presented here. Some months later, they would release a real proper album: Dragonfly. Menawhile, enjoy this unidentified discographic object. I created a new cover sleeve since the original one was rather rudimentary (see below).

Stay Awhile With Me. It seems that loving is a game that I can't win No sooner are you here than gone again Is there nothing I can say To change your mind and stay Alone with you is all I long to be Will you stay awhile with me. I've often gazed into my crystal ball To find out if you think of me at all But there's no reason why You should even try For there's nothing I can give as you can see If you stay awhile with me. Stay awhile with me And I will show you I'm true Stay awhile with me That's all I'm asking you to do. I see you in the street lamp's rusty gleam It casts a magic spell as in a dream The night is growing old Come in from the cold I'll lock the door and throw away the key If you stay awhile with me.

The English cover (original vinyl and CD)

The Japan cover (CD)