Mike Harrison (ex Spooky Tooth,The V.I.P.s,Art -1945-2018) "Mike Harrison" 1971 UK Pop Rock,Classic Rock

Mike Harrison (ex Spooky Tooth,The V.I.P.s,Art -1945-2018)  "Mike Harrison" 1971 UK Pop Rock,Classic Rock

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For those of us who remember Spooky Tooth, Gary Wright was the leader but Mike Harrison was “The Voice”. Wright sang in two voices: a falsetto which in today’s world sounds strained and in his natural voice; tries to sound like Mike Harrison. The classic album “Spooky Two” is a gem waiting to be rediscovered. 
Mike Harrison is one of many singers who tried to emulate the soulful sounds of Ray Charles and he pulls it off in his own way. 
The music is progressive 1970s which is a form waiting to be rediscovered (in my opinion) along with groups like Traffic and unfortunately; the price of this CD is way off the charts and probably a collector’s item. 
I don’t own the CD but I did have the original record album and it’s in my memory even after 40 years when this was originally produced. If ever there was a singer to emulate a style in order to create a “current” vocalist, Mike Harrison ranks high on the list. 
I’ll wait until the price becomes more affordable but to those of you who are looking for an “undiscovered” vocalist to inspire you………….Mike Harrison and this album/CD is worth considering…..by.. Philipgstekel…~

Mike Harrison was best known as the gravelly-voiced lead singer of Spooky Tooth, which he fronted off and on from 1967 to 1974 (not counting the revivals.) In this solo effort, he stepped back from the hard-rocking music of Spooky Tooth and joined with some old friends, at least one of which (guitarist Frank Kenyon) had been involved in his previous band, the VIPs. Together, the ensemble backing Harrison was called “Junkyard Angel”. The result was a laid back, gospel-inflected album with soul-searching lyrics and pleasant if not overly memorable tunes. In 1971 their was a brief wave of “Jesus rock” (long before the “Christian Rock” movement got going)… George Harrison, Billy Preston, “Jesus Christ Superstar”, and “Godspell” got it going. Even Steve Miller dipped his finger into the trend with his album “Rock Love”. With this first solo album, Mike Harrison seems to have followed suit. “Mother Nature”, “Damian”, “Lonely People” and “Call it a Day” all have a confessional, meditative, quasi-religious feel– although “Damian” may be an oblique reference to the Hermann Hesse novel, which was also popular at the time. “Call it A Day” is even topped off by a religious choral segment, done up a capella. There are other nice touches in the arrangements, like the vibraphone solo in “Damian”. 

Harrison plays piano in addition to doing some fine singing. Some of the songs were co-written with band members, including bass player Peter Batey, who wrote the best original (“Lonely People”). There are two nice cover songs… “Hard-Headed Woman”, the Cat Stevens song, has a sort-of-heavy jam tacked onto the end with uncredited saxophone playing ( sounds sort of like Ian McDonald of King Crimson). The jam may have been included to extend the album length. The album ends with Harrison’s cover of Luther Grosvenor’s “Here Comes the Queen”. 

Harrison followed this album with a second that was done with the backing of the Muscle Shoals rhythm section. That, too, was a good effort that drew on Harrison’s VIP days with a cover of Joe Tex’s “ I Wanna Be Free”, and another cut (“Turning Over”) that was an obvious hash-up done to flesh the album out. 

Mike Harrison had an unbelievable voice, and some good instincts, but on the evidence of his solo records he didn’t quite have the confidence to make it big on his own. This album is too slight to be a classic, but it has some nice moments, and a comfortable feel, sort of like a well-worn leather jacket or a letter from a friend. Their were far worse albums in 1971 that got a lot more attention than this quietly charming effort….by…. Peter Baklava…~

Following the release of 1970’s aptly titled “The Last Puff”, Spooky Tooth called it quits with singer Mike Harrison striking out in pursuit of a solo career. Signed by Chris Blackwell’s Island Records (which had been Spooky Tooth’s label), Harrison made his solo debut with the release of 1971’s cleverly-titled “Mike Harrison”. Self-produced, the album found Harrison teamed with the band Junkyard Angel (who were from his hometown of Carlisle), showcasing the talents of bassist Peter Batey, guitarist/keyboard player Ian Herbert, drummer Kevin Iverson, and lead guitarist Frank Kenyon. 
Anyone expecting to hear a pseudo-Spooky Tooth album was probably going to be disappointed by the collection. Mind you, Harrison’s voice was enough to ensure there were some comparisons to Spooky Tooth (check out the ballad ‘Damian’), but the very fact Harrison kept things low keyed and somewhat un-commercial had a lot to do with making the album such a pleasure to hear. None of the eight tracks was particularly flashy; the majority firmly in the mid-tempo folk-rock, blues-rock realm, but the performances were all energetic - you got the distinctive impression that Harrison and company were having a blast recording music for themselves. ….by…Bad-Cat….~

It’s always a pleasure to go back to Mike Harrison’s solo debut; it’s an album I have such a strong and ancient emotional bond with that I have to admit it may eventually disturb my objectivity; in any case it deserves being discovered as much as most of the Spooky Tooth catalogue; 
In a program consisting of laid-back, mid-tempo or slightly accelerated Folk or Country tinged Rockers with a sonic signature partly comparable to the one on Elton John’s seminal “Tumbleweed Connection”, Harrison displays an intimacy he wasn’t able to express in the company of the more flamboyant Spooky Tooth. 
He’s supported by the Junkyard Angel, an obscure but instrumental and vocal competent band; with Kevin Iverson on drums, percussion and backup vocals, Peter Batey on bass and percussion, Ian Herbert on acoustic and lead guitars, piano, organ, vibes and backup vocals and Frank Kenyon on acoustic and lead guitars and backup vocals, they produce enough tonal variety and an American tinged sound that adequately substitutes Gary Wright’s and Co, and this includes several individually or co-written with Harrison titles, efficient even when kept short and simple as on Batey’s “Mother Nature”. 
It’s an album of deep spiritual moments exacerbated by the eerie vocal harmonies and liturgics chants that close “Call it a Day” or by the exaltation of motherhood on “Damian”: Harrison is sometimes so emotional and impassioned hairs can stand-up on the back of my neck; but whereas the Rocker his not often heard, the troubadour feels equally comfortable on nasty and angered tales or when he contrasts mourning with hopefulness on “Pain” or on “Wait Until the Morning”. 
The track list is complemented by an unexpected cover of Cat Stevens “Hard Headed Woman” which is driven to an accelerating Rocking pulse and crisscrossed by some sonic guitars before slowing down and changing to a menacing ambience instigated by the fat tenor courtesy of guest Arthur Belcher and some biting and spiraling guitar leads intertwined in a controlled rendition of an emotional apocalypse; and by the lilting “Here Comes the Queen”, courtesy of fellow Spooky Luther Grosvenor, where Harrison finds the occasion to blow some bluesy harmonica lines amidst active guitar work. 
OK! Wiped out the emotionally inspired ½ star and rationally left 4 well-deserved stars….by..comusduke …~

Mike Harrison’s first album with Junkyard Angel resembles a poor man’s Spooky Two. The same voice with some of the angst and a few familiar rhythms give a hint of Spooky Tooth in their prime. The material isn’t quite as good but that is asking a lot in comparison. The featured cover song is Cat Stevens “Hard Headed Women”. It’s a perfect fit for Harrison’s voice and he certainly does it justice. Former bandmate Luther Grosvenor supplied his best song “Here Comes the Queen” and it closes out the album nicely. 
File this one under obscure as no one has rated or reviewed it until now. However it would be a nice find for fans of early Spooky Tooth….by…otismidnight …~
According to the BBC, British rock legend Mike Harrison passed away of unreported causes on Sunday, March 25th, 2018; Harrison was 72 years old. 
Harrison is best known as the voice of revered ‘70s-era rockers Spooky Tooth, the band he co-founded with guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie. The four were originally in a band called The V.I.P.s, the band including future superstar Keith Emerson. When Emerson left to pursue fame and fortune, they changed their name to Art.
As Art, the band released a single album in 1967 titled Supernatural Fairy Tales. Released by Chris Blackwell’s Island Records label, the album’s sales were mediocre at the time but it has since been reconsidered as a psychedelic-era classic, and notable for its Hapshash & the Coloured Coast cover design. Blackwell was supportive of the band, and urged them to add American singer, songwriter, and keyboardist Gary Wright to the line-up, at which time they changed their name again to Spooky Tooth. 
Spooky Tooth released four critically-acclaimed albums between 1968 and 1970, and enjoyed a modicum of success with 1969’s Spooky Two, which was fueled by FM radio hits in “I’ve Got Enough Heartaches” and “Hangman, Hang My Shell On A Tree.” At Wright’s insistence, the band recorded a 1970 album, Ceremony, with French electronic composer Pierre Henry; after its release, Wright left the band for a solo career. After the release of 1970’s The Last Puff (credited to Spooky Tooth featuring Mike Harrison), the band broke up for the first time.
Harrison pursued a solo career with the 1971 release of his self-titled debut, the singer backed by a band from his hometown of Carlisle, Junkyard Angel, which included his former V.I.P.s bandmate, guitarist Frank Kenyon. A second solo album, titled Smokestack Lightning, was recorded at the Muscle Shoals Sound studio in Alabama with the Muscle Shoals Rhythm Section and released in 1972. Not much happened commercially with either album, prompting Harrison to re-form Spooky Tooth to record 1973’s You Broke My Heart So…I Busted Your Jaw. Wright returned to the band while Luther Grosvenor – who had joined Mott the Hoople (as ‘Ariel Bender’) was replaced by future Foreigner guitarist Mick Jones; Ridley and Kellie were also gone, the bassist to Humble Pie and the drummer to the Only Ones. 
Spooky Tooth released one more album with Harrison, Witness, in late 1973, after which time Harrison left the band once again, Wright and Spooky Tooth later releasing The Mirror in 1974 with singer Mike Patto on the microphone. Harrison released his third solo album, Rainbow Rider, in 1975, but when he allegedly discovered that Island Records was taking royalties from his solo work and applying the money towards debts owed by his former band, he retired from music for nearly 25 years, reportedly working in a warehouse in Canada and various other odd jobs like bartender and milk man
In 1999, Harrison decided to inch back into the world of music, which resulted in a reunion with Grosvenor, Ridley, and Kellie and the release of the underrated Cross Purpose album under the Spooky Tooth name. Around the same time, the Hamburg Blues Band offered Harrison a monthly gig singing with the band, which yielded the 2001 album Touch, which featured lyrics by Pete Brown, longtime songwriting partner of Cream’s Jack Bruce. Harrison reunited with Wright and Kellie in 2004 (Ridley had passed away in 2003) as Spooky Tooth, their short tour documented by the 2007 concert DVD Nomad Poets. Harrison released his fourth and final solo album, 2006’s Late Starter, the album recorded with members of the Hamburg Blues Band and, along with Wright, he was still touring as Spooky Tooth as late as 2009. 
Harrison’s contributions to British rock history are unassailable; although often overshadowed in the band by Wright, he was nevertheless a soulful singer that imbued both his solo work and that band’s songs with powerful emotion and no little nuance. His 1970s-era solo albums have withstood the test of time, and Spooky Tooth’s hard rockin’ proggish sound influenced bands like Blodwyn Pig, Patto, Marillion, and Kansas while providing battle-tested veteran musicians to outfits like Humble Pie, Mott the Hoople, Widowmaker, and Foreigner. Harrison never received anywhere near the accolades he deserved, dying in relative obscurity when he should be considered as a rock ‘n’ roll legend….~

Personnel: 
Mike Harrison - Vocals, Piano, Harmonica, Organ 
Kevin Iverson - Drums, Percussion, Background Vocals 
Peter Batey - Bass, Percussion 
Lan Herbert - Guitar, Piano, Organ, Vibes, Background Vocals 
Frank Kenyon - Guitar, Background Vocals 

Tracklist 
A1 Mother Nature
A2 Call It A Day
A3 Damian
A4 Pain
B1 Wait Until The Morning
B2 Lonely People
B3 Hard Headed Woman
B4 Here Comes The Queen 

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Dirk Hamilton “Meet Me At The Crux” 1978 US Classic Rock,Folk Pop Rock

Dirk Hamilton “Meet Me At The Crux” 1978 US excellent Classic Rock,Folk Pop Rock..recommended..!

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This is the third major label album from poetic genius, Dirk Hamilton. His extensive music career began in the early 1970s. He quickly caught the attention of influential producer Gary Katz–at the time working with Steely Dan. Katz arranged a deal with ABC Records and produced Dirk’s first album, You Can Sing on the Left or Bark on the Right using elite session musicians that included Elliott Randall, Jeff Porcaro, Victor Feldman, and Larry Carlton. Katz wanted to continue producing Dirk and Steely Dan almost exclusively, but after co-producing his second album, Dirk had his own vision about the way he wanted to make his music. He put together his own band, left ABC for Elektra/Asylum, and made 1978’s Meet Me at the Crux, which was called hilarious and chilling by Ken Tucker in the Rolling Stone Record Guide. Years later (1990), respected music journalist Steve Pond named it as one of the essential albums of the 1970s in an article also published in Rolling Stone. Dirk toured with Warren Zevon and produced one other album for Elektra, but his adamant stance on making music for those who wanted to hear it–not for the money it would make, ended his affiliation with the company. After leaving the business for a number of years, Dirk realized that his life was one of making music, and he embarked on a career of his own design that continues to this day. Dirk has been called “A true American master” by well-known producer Dusty Wakeman (who produced his 1996 album Sufferupachuckle), and he has been compared over the years to Van Morrison, Bob Dylan, and Bruce Springsteen. Music reviewers have also been quoted as saying that Dirk’s music is one of the few legitimate poets on the scene (Los Angeles Times), and lucid, intelligent, and distinctive (New York Press). Dirk Hamilton is all that and more, and he continues to hold true to his stance that his career be conducted without compromise…..by…. L. Andres-McCabe…~

Great lyrics - Jackson Browne with equal parts Dylan, Leonard Cohen, and early Springsteen. Rocking sound - think early Van Morrision crossed with John Prine and John Hiatt. I love all of these artists, but they still don’t adequately describe Dirk’s music. 
They’re only reference points for you - this is a wild ride thru some unique territory, from the opener “Mouth Full Of Suck” (about the vampire-like people we all know and hate), through the bite of “Tell-A-Vision Time” (“You don’t really wanna talk, ya just want friendly monkey noise”) and the insanity of the battle tune that is “How Do You Fight Fire” to the bliss of self-awareness in “Every Inch A Moon”. 
Check out the lyrics on Dirk’s website … or listen to a sound sample on this page … but this album can only be properly experienced in its entirety, over time, as it grabs you with constantly unfolding new delights. Long unavailable on cd - grab it if you like Van or Bruce or great lyrics or … pleasant surprises. You say there’s no good music anymore? Hey, it all comes down to you!….by….Brickbats…~

Long overdue for a re-release, Dirk Hamilton’s “Meet me at the Crux” is easily one of the best albums of 1978 (and my personal favorite). Hamilton’s writing is quirky (Egg a duck?), soulful and at times profound. His vocals are all his own. His unique delivery sells every song - his way. 
The standouts for me are “How Do You Fight Fire”, “Meet Me at the Crux”, “Billboard on the Moon”, Mouth Full of Suck, and the beautiful “Every Inch a Moon”. The deluxe addition of this CD includes several tracks that were not included in the original release. One of these, “Santa Cruz Mountain Monologue” appears to be a personal reflection and is really an excellent inclusion. 
All of these will stand the test of time. The album is 28 years old and still sounds as fresh as the day it was released. “Meet me at the Crux” is back. There is a God!…by…Admit One….~

Dirk Hamilton’s first recording for Elektra Records, Meet Me at the Crux, expands on the promise of his sporadically brilliant first two releases. This time out, with a core band providing solid backing throughout, Hamilton achieves a cohesive sound to support his material, which – as always – can be biting, sensitive, strange, and funny. Tales of love, culture, and society gone awry, as well as the woes of the unsung artist, had long been a staple of the ‘70s singer/songwriter, but Hamilton has always had the ability to bring something new to these well-worn subjects. He also possesses a soulful edge, reminiscent of Van Morrison, in his acoustic-based mix of folk, pop, rock, and R&B, which also distinguishes him from the pack. This includes instrumental, melodic, and rhythmic hooks that were scarce on his ABC work, but at the same time, the wit and insight that made the best parts of these records so special is still there. Tighter songs and arrangements also give Hamilton the freedom – like Morrison – to play with the words, vocally tugging and stretching them, pushing his voice and lyrics to the limit. Cuts such as the melancholy “Billboard on the Moon,” the slightly twisted title track, and the closer “Every Inch a Moon” are the cream of an album filled with highlights. Though it failed to do much commercially and has been deleted for years, Meet Me at the Crux is among the finest the '70s singer/songwriter genre has to offer, and is worth looking for…..by Brett Hartenbach….allmusic….~

Indiana-born singer/songwriter Dirk Hamilton possesses a distinctive, raspy tenor, along with a rock & roll passion, stinging wit, and keen eye for the peculiarities of life. After leaving Indiana and relocating to L.A., he gained the notice of Steely Dan producer Gary Katz, who helped him get a deal with ABC Records. The subsequent album, the acoustic-based You Can Sing on the Left or Bark on the Right, produced by Katz, was released in 1976. The record, which quickly distinguished itself artistically, if not commercially, from the ‘70s singer/songwriter pack, was honest and insightful, yet with a quirkiness all it’s own. With his next couple of releases, Alias I (1977) and Meet Me at the Crux (1978), Hamilton’s songs drifted even further to the left of center, which helped garner positive press but did little for his commercial appeal. If lyrically Hamilton was hard to pigeonhole, musically he probably had more in common with an artist like Van Morrison than most ‘70s singer/songwriters. And though his earliest work lacked Morrison’s musical direction and gift for hooks, he gained focus with Meet Me at the Crux, which is considered by many to be a minor classic. After five years of critical praise failed to translate into sales, Hamilton became disillusioned and left the music business following 1979’s Thug of Love, eventually becoming a counselor in California for emotionally disturbed adolescents. A few years later, after playing for fun in a local cover band in Stockton, CA, he was inspired to start writing again and released two self-produced cassettes (Rough Takes (Rough Times) [1986] and Big at the Blackwater [1989]). He entered back into the music world full-time with three records between 1990 and 1994 for the Italian-based Appaloosa Records (Too Tired to Sleep [1990], Go Down Swingin’ [1991], and Yep! [1993]), and Sufferupachuckle, a 1996 release for Core Records, all of which showed his singular talent still intact. Shortly after the release of Sufferupachuckle, Core declared bankruptcy, leaving Hamilton without a U.S. label. An unofficial live recording, The Road, the Light, the Night … (1998) and Orphans (2000), a collection of demos from the ‘80s, were issued in the interim. His first record of new material in five years, SEXspringEVERYTHING followed in January of 2001. ~ Brett Hartenbach….~

If the world had been a fair place, and sadly we know it’s not or at least we can identify justice only in the vest of a spoiled lady, the recent reissues of the first three record by Dirk Hamilton would have benefited of a wide echo on papers and they would have been printed in luxurious remastered SACD formats with HDCH. But, as far as we know, things went different and the three albums just mentioned - You Can Sing On The Left Or Bark On The Right (1976), Alias I (1977) e Meet Me At The Crux (1978) - saw the digital enlightenment only thanks to an Italian label. 
Meet Me At The Crux, originally issued by Elektra, is the last excerpt of the trilogy and it’s also Hamilton’s best record. Dirk abandoned the scenes after the commercially unsuccessful Thug Of Love (’79) and came back only several years after, at first with some self produced cassettes and then with three records issued, starting from 1990, by the label Appaloosa. This, however, is another side of the story. Today, I want to invite you all to buy an album - Meet Me At The Crux – that Rolling Stone simply defined as “unknown gem of the 1970s” and, maybe, it is even something more. 

If previous works outlined the basic references of the artist, capable of moving on the same lines of Bruce Springsteen, Bob Dylan or the Stones adding touches of gospel, r&b (tons of r&b) and even reggae (and all these influences merge into some visionary frames worth the most genuine Van Morrison), Meet Me At The Crux represents the squaring of the circle, thanks to a bunch of songs that have never been so organic, complete and enthralling. 
In the speedy shuffle of Mouth Full Of Suck there’s also Bill Payne’s organ directly from Little Feat, although the greatness of this album doesn’t pay a fee to the appearances of it guests. 
The harrowing poetry of Billboard On The Moon, the overwhelming r&b of Welcome To Toylan and Heroes Of The Night, the fabulous How do You Fight Fire?, the Springsteen-alike rock of the title track, the limping soul goodbye of Every Inch a Moon and the doo-wop epic of Tell A Vision Time only deserved a public less vacantly absorbed by the punk explosion and more disposed towards a bunch of sublime songs, so vivid and shrill to resemble more a little concert than a studio record. 

Who will give a shot to this reissue will enjoy also the mid-tempo between country and Stones of The Condo Row, the semi-acoustic beating of the wonderful Dylan-esque Santa Cruz Mountain Monologue and a “tour-de-force” in Van Morrison style of the burning Don’t Laugh At Me Louise, an outtake of Alias I that it would be a pity not to know. Better late than ever, as they say, and I really hope that this way of saying this time can become true also for the ones that either don’t know Dirk Hamilton or have always underrated him…..Gianfranco Callieri …..~

Credits 
Acoustic Guitar, Vocals, Words By, Music By – Dirk Hamilton 
Backing Vocals – Clydie King, Darrell*, Dirk*, Don*, James*, Sherlie Matthews, The Waters 
Bass – James Rolleston 
Drums – Darrell “Big Dog” Verdusco* 
Horns – Don Menza, Gary Grant, George Bohanon, Jerry Hey, Kim Hutchcroft, Larry Williams 
Keyboards – Jai Winding 
Lead Guitar – Don Evans 
Percussion – Dirk*, Don Evans, Steve Forman 


Tracklist 
A1 Mouth Full Of Suck 4:43 
A2 Billboard On The Moon 4:46 
A3 All In All 3:25 
A4 Welcome To Toyland 3:14 
A5 Tell A Vision Time 4:10 
B1 Heroes Of The Night 3:16 
B2 Meet Me At The Crux 5:16 
B3 How Do You Fight Fire? 6:32 
B4 Every Inch A Moon 5:47 

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James Leroy With Denim ‎"James Leroy With Denim" 1973 Canada Country Pop Rock

James Leroy With Denim  ‎"James Leroy With Denim" 1973 Canada Country Pop Rock 

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James Leroy spent his childhood and adolescence in Martintown, Ontario, prior to relocating to Ottawa, where he had been born. His music career commenced as a folk singer and songwriter for local bands. Local impresario Harvey Glatt agreed to produce and manage Leroy. Glatt produced Leroy’s first single, “Touch of Magic”, which reached Number 6 on the Canadian Top Singles Chart, published by RPM Magazine. In 2002, the song received the Classic Award from the Society of Composers, Authors and Music Publishers of Canada, for achieving more than 100,000 plays on Canadian radio.

Glatt also arranged for Adam Mitchell to produce the subsequent album, James Leroy and Denim, released by GRT Records in 1973. Denim, Leroy’s supporting group, included Gary Comeau,[1] one of the founding members of The Esquires, a nationally recognized Canadian band and Val Tuck. Two further singles from the album, “You Look Good in Denim” and “Make It All Worthwhile” were top 20 Canadian singles.
James Leroy dissolved Denim in 1974 and attempted to develop a solo career. Two singles were produced by Ian Thomas, but were not successful. An anticipated solo album did not materialize.[2] In 1976, he joined Major’s Hoople’s Boarding House and later the name was changed to Boarding House. They toured the Maritimes. 
In late 1978, Leroy and new manager, Martin Onrot, began assembling a band, composed on several ex-Denim players and some new musicians. This band undertook a cross-Canada tour.He also had plans to crack the U.S. market at this time. 
James Leroy committed suicide in an Ottawa hotel on May 10, 1979, at the age of 32…~

Folksinger James Leroy began recording in the early ‘70s. After several singles became popular in his native Canada, he released Denim (named after his backup band) in 1973. Leroy joined Major Hoople’s Boarding House in 1976, but his life was cut short three years later…. by John Bush…..~

Credits 

Backing Vocals – Valerie Tuck 
Bass, Backing Vocals – Chuck Bergeron 
Drums – Gibby Lacasse 
Lead Guitar, Backing Vocals – David Oslund 
Pedal Steel Guitar – Gary Comeau 
Vocals, Piano, Organ, Acoustic Guitar – James Leroy (2) 

Tracklist 
A1 You Look Good In Denim 3:15 
A2 Anniversary Waltz 3:08 
A3 Someday Soon 3:59 
A4 Comin’ To A Party 2:34 
A5 Make It All Worthwile 3:19 
B1 Touch Of Magic 3:04 
B2 Comin’ On Home 3:22 
B3 Lady Of The Night 3:05 
B4 Take A Look At Life 2:46 
B5 Friends And Brothers 4:57 

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