Among the working titles for The Rolling Stones’ 1978 album Some Girls was More Fast Numbers. With that in mind, I’m opening a fast numbers set with a Stones’ rocker not from Some Girls (that’s just what you’d be expecting 🙂 ) but from their 1989 release Steel Wheels. Then into some interconnected hard rock and metal for a Monday, finishing off with heavy psychedelia from Iron Butterfly. My track-by-track tales follow the bare-bones list.

1. The Rolling Stones, Hold Onto Your Hat
2. Led Zeppelin, Achilles Last Stand
3. Coverdale/Page, Absolution Blues
4. Whitesnake, Take Me With You
5. Rainbow, Stargazer
6. Gillan, Don’t Want The Truth
7. Black Sabbath, Warning
8. Heaven & Hell, Double The Pain
9. Judas Priest, Dissident Aggressor
10. Fight, Little Crazy
11. Iron Maiden, Powerslave
12. Blue Oyster Cult, 7 Screaming Diz-Busters
13. AC/DC, Kick You When You’re Down
14. Van Halen, Pleasure Dome
15. The Joe Perry Project, Rockin’ Train
16. MC5, Sister Anne
17. Pantera, Cemetery Gates
18. Brian May, Resurrection
19. Iron Butterfly, Termination

My track-by-track tales:

1. The Rolling Stones, Hold Onto Your Hat . . . Bill Wyman was still in the Stones at the time of this rocker from 1989’s Steel Wheels album, Wyman’s last with the group, but he doesn’t play bass on it. Ron Wood, who played bass in the original Jeff Beck Group, handles the bottom end while Mick Jagger and Keith Richards trade guitar licks, with Charlie Watts on drums. That’s it, just the four guys, on a stripped-down ‘belter’ as a music writer termed it, akin to, say, Rip This Joint from Exile On Main St. nearly two decades previous. I considered opening this hard-rocking set with Rip This Joint but have played that recently so I figured I’d go with something newer from the Stones although, time flying as it does, this song is already 35 years old (!?).

2. Led Zeppelin, Achilles Last Stand . . . Epic opener to Zep’s 1976 album Presence, as we embark upon a series of songs released by artists who are all connected in one way or another.

3. Coverdale/Page, Absolution Blues . . . From the one-off collaboration between Whitesnake (and onetime Deep Purple) singer David Coverdale and Zeppelin’s Jimmy Page, released in 1993. The collective wisdom at the time, which Page called BS but only Page really knows, was that Page partnered with Coverdale to tick Robert Plant off and push Plant into a Zeppelin reunion because the success of the Coverdale/Page album prompted rumours that a new Led Zeppelin, featuring Coverdale, Page, John Paul Jones and Jason Bonham on his father John’s drum stool, would take flight. Plant, who to that point had rebuffed Page’s seemingly endless overtures to reunite (and good for Plant, I thought, move on, you know?), had been critical of Coverdale and Whitesnake, particularly the later 1980s glam/hair metal version of Whitesnake, for ripping off Plant’s vocal style and Led Zeppelin’s music. It’s an argument with some merit but is also a case of pot meeting kettle, given Zep’s own issues over the years in terms of plagiarism problems or, at best, borrowing. In any case, Page and Plant did reunite a year later, without Zeppelin bassist John Paul Jones, who was apparently miffed at not being invited, for the 1994 Page/Plant live album/MTV Unplugged film No Quarter: Unledded, featuring reinterpretations of Zep songs. And, later, for the 1998 Page/Plant studio album Walking Into Clarksdale and in 2007 the famous reunion concert, with John Paul Jones and Jason Bonham, at the O2 in London.

As for the Coverdale/Page album, it divided critics and likely some fans, but I’ve always liked it, but then I like Led Zeppelin, Deep Purple and, certainly, earlier, more blues-rock Whitesnake. Coverdale has said there are a few unreleased tracks from the Coverdale/Page sessions that may see release at some point in an expanded version of the album.

4. Whitesnake, Take Me With You . . . Speaking of early Whitesnake, this propulsive rocker is from that band’s first album, Trouble, released in 1978. White Snake, two words, was the name of Coverdale’s first solo record, released in 1977 after Deep Purple, Mark IV version with Tommy Bolin on guitar replacing Ritchie Blackmore who had formed Rainbow, broke up after the 1975 album Come Taste The Band. Along with Coverdale’s second solo effort, 1978’s Northwinds, White Snake the album was produced by Roger Glover, who had been the bass player in the pre-Coverdale days of Deep Purple (and is again now) when Ian Gillan, as he is now, was Purple’s lead singer before being replaced by Coverdale. Coverdale went on to name his band Whitesnake and Trouble included his former Deep Purple mate Jon Lord on keyboards, soon to be joined in early Whitesnake by Purple drummer Ian Paice for three studio albums – Ready and Willin’ (1980), Come An’ Get It (1981) and Saints & Sinners (1982). Paice and Lord then departed for the 1984 reunion of the famed Mark II version of Purple – Blackmore, Gillan, Lord, Paice and Glover – and the Perfect Strangers (1984) and House Of Blue Light (1987) albums before another breakup and round round we go . . . Did I mention how these bands/artists are all connected? Or, perhaps better expressed, convoluted?

5. Rainbow, Stargazer . . . And we’re not done yet with the wider Deep Purple population, which soon enough will bleed into Black Sabbath. But first, here’s Ritchie Blackmore and Rainbow, Ronnie James Dio on lead vocals, from the classic second Rainbow album, Rising, released in 1976.

6. Gillan, Don’t Want The Truth . . . Here’s Ian Gillan, who from 1976 to early 1978 did a jazz fusion/progressive rock thing with The Ian Gillan Band. That group released good, interesting stuff over the course of three studio albums, like Clear Air Turbulence which I’ve previously played on the show, before Gillan returned to hard rock with songs like Don’t Want The Truth from his band simply titled Gillan. The song is on the 1981 release Future Shock, one of five Gillan band studio albums through 1982 after which Ian Gillan joined Black Sabbath. Sabbath had just lost Dio (who after leaving Rainbow had replaced Ozzy Osbourne on lead vocals) to a solo career and had considered Robert Plant and David Coverdale, before settling on Gillan for what became his lone effort with Sabbath, the 1983 album Born Again. As the Robert Shaw character in the 1973 Paul Newman-Robert Redford movie The Sting was wont to say, ‘ya falla?” (follow).

7. Black Sabbath, Warning . . . The original Black Sabbath – Ozzy, Tony Iommi (guitar), Geezer Butler (bass) and Bill Ward (drums) – from the self-titled first album, released in 1970. Warning is a cover of a late 1960s song by The Aynsley Dunbar Retaliation that Sabbath expanded from three minutes and change into a 10-minute epic. Dunbar, a drummer, has an extensive musical resume including stints with John Mayall’s Bluesbreakers and appearances or full band membership on albums by countless artists including Frank Zappa, David Bowie, Lou Reed, Ian Hunter, Journey, UFO, Michael Schenker and, them again, Whitesnake.

8. Heaven & Hell, Double The Pain . . . Black Sabbath with Dio in all but name, Heaven And Hell the band – Ronnie James Dio, Tony Iommi, Geezer Butler and Vinny Appice – was named after the 1980 Sabbath album on which Ronnie James Dio first replaced Ozzy Osbourne, who went on to a hugely successful solo career, later to reunite with the original Sabbath members at various times although drummer Bill Ward has not been involved in recent years. Appice replaced Ward for the 1981 Mob Rules album and the 1992 Dio/Sabbath release Dehumanizer, and when that lineup came together to record three new songs for the 2007 compilaton Black Sabbath – The Dio Years, the band went on tour as Heaven & Hell. They did so to fully differentiate themselves from the Ozzy-fronted Sabbath which by that point had reunited various times for concerts and eventually released a new studio album, 13, in 2013. Double The Pain is from Heaven & Hell’s lone studio release, The Devil You Know. It came out in 2009, a year before Dio died of cancer.

9. Judas Priest, Dissident Aggressor . . . Early Priest, kick butt hard rock/metal from the 1977 album Sin After Sin, produced by Roger Glover in another one of those myriad connections within the set. I’m probably over-emphasizing it, there were similar connections among artists in an early rock ‘n’ roll mostly 1950s set I played last Monday, Aug. 19, and such is true of any industry and it’s natural that there would be such cross-pollination within the hard rock/metal genre but I do find it interesting. And it’s why we have things like English music journalist/historian Peter Frame’s Rock Family Trees books, which were turned into a 1990s BBC TV series, and various similar books and websites. And going from a Sabbath with Ronnie James Dio song situation is a reminder that Judas Priest’s Rob Halford sang lead vocals for Black Sabbath at two 1992 shows in Costa Mesa, California, part of the Los Angeles metropolitan area. Ozzy Osbourne, who had announced a retirement he didn’t follow up on, was playing there and asked Black Sabbath, then on their Dehumanizer tour fronted by Dio, to open for him. Dio refused and quit, and Sabbath guitarist Tony Iommi asked Halford to fill in and he pulled off two Sabbath shows, opening for Ozzy. And then Sabbath’s musicians, sans Dio or Halford, backed Ozzy for an encore of Sabbath songs on the second night of his Costa Mesa dates.

10. Fight, Little Crazy . . . Halford was available for those Sabbath shows in part because he had left Judas Priest to form his thrash metal band Fight, which in 1993 released its first of two studio albums, War of Words, from which I pulled this song. Halford returned to Priest – which continued with Tim “Ripper’ Owens on lead vocals for two studio albums and several live releases – in 2003. I saw the reunion tour with Halford in 2004 with Slayer, who covered Priest’s Dissident Aggressor on their 1988 album South of Heaven, opening an excellent double bill. Owens is now the lead singer in former Priest guitarist K.K. Downing’s band, KK’s Priest which has released two studio records in the last four years.

11. Iron Maiden, Powerslave . . . Somewhat typical ‘galloping’ type of Iron Maiden cut, a 7-minute title track to the band’s 1984 album. It was one of many Maiden albums produced by the late Martin Birch. Birch was at the helm for all of Deep Purple’s 1970s albums in addition to the early Rainbow and Whitesnake albums and Black Sabbath’s Ronnie James Dio-fronted records Heaven and Hell and Mob Rules. And two albums – Cultosaurus Erectus (1980) and Fire Of Unknown Origin (1981) featuring the hit single Burnin’ For You – by the next band in the set, Blue Oyster Cult.

12. Blue Oyster Cult, 7 Screaming Diz-Busters . . . Birch wasn’t involved with the album from which this track comes, Tyranny and Mutation, BOC’s second record, released in 1973. Not sure how to describe this one but it’s typical of early BOC. Dark, great riffing, psychedelic in spots, mysterious and spooky in others, an intoxicating 7-minute (one for each titular scream, I suppose) listening experience in my opinion.

13. AC/DC, Kick You When You’re Down . . . As someone on YouTube commented, tasty riff. Hypnotic, irresistible shake and shimmy. From the band’s most recent album, the 2020 release PWR/Up. Recorded at The Warehouse studio in Vancouver, owned by Bryan Adams and where AC/DC has cut its last four studio releases. Other bands/artists having recorded there include Adams himself, The Tragically Hip, Billy Joel, Elvis Costello, R.E.M., Slayer and Colin James.

14. Van Halen, Pleasure Dome . . . I’d describe this, from the Van Hagar-era 1991 For Unlawful Carnal Knowledge album, as progressive hard rock/metal. There’s no real rythmic hook, just Alex Van Halen’s incessant drumming and brother Eddie’s guitar licks but the song itself is the overall hook, careening along in a compelling fashion.

15. The Joe Perry Project, Rockin’ Train . . . Aerosmith was in a chaotic state of drug abuse and other issues when guitarist Perry left during the recording of their 1979 album Night In The Ruts, although he played on six of that album’s nine tracks. I love that raunchy, rocking album, actually; it’s arguably the last featuring the original Aerosmith sound before they cleaned up and ascended massive commercial heights from the late 1980s onward but maybe lost some of their soul what with bringing in outside songwriters and getting into the power ballad hit-making business. I like the later stuff, too, the band still rocks for the most part outside the power ballads, but given a choice I’d take the earlier material.

Anyway, back then Perry formed his own band with a gent named Ralph Morman, who had been in an early 1980s version of Savoy Brown, on lead vocals. At least, he sang on the first of three albums done with various vocalists by Perry’s Project, the 1980 release Let The Music Do The Talking from where I pulled this funky, R & B type rocker. The title track for the Perry Project album was later re-recorded by Aerosmith and released on their 1985 reunion album Done With Mirrors, which to me and many fans comes closest to early Aerosmith as it’s the last of their albums where every song is fully group-penned. Yet, most of the band is on record as being dissatisfied with it. Perry did two more Project albums, 1981’s I’ve Got The Rock ‘n’ Rolls Again and 1983’s Once A Rocker, Always A Rocker, before returning to the mother ship for Done With Mirrors.

16. MC5, Sister Anne . . . Pulsating proto-punk garage rock from the influential Michigan mavens’ 1971 album High Time.

17. Pantera, Cemetery Gates . . . A power ballad with, hey, it’s Pantera, some powerfully heavy passages to it, from the thrash/groove metal band’s breakthrough 1990 album Cowboys From Hell. The album marked the completion of Pantera’s transition from their gla/hair metal beginnings in the 1980s, spandex and all, to what they became. But, while the band has for the most part disowned its earlier material and its then-look, it was pretty heavy, too, albeit probably too derivative of, say, Judas Priest or Kiss to be successful in its own right.

18. Brian May, Resurrection . . . A space rock ethereal intro into some heavy riffing from the Queen guitarist’s first solo album, 1992’s Back To The Light. The late Cozy Powell, whose extensive credits included stints with Jeff Beck, Rainbow, Whitesnake and Black Sabbath, on drums. Powell died in a car crash at age 50 in 1998.

19. Iron Butterfly, Termination . . . As we terminate the show with some hard rocking psychedelia from 1968’s In-A-Gadda-Da-Vida album. This is a good tune, but like every other song on that album was overshadowed by the 17-minute title cut that was edited down to 2:52 for single release.

An album replay show: on the menu are Warren Zevon’s Excitable Boy, Elton John’s Honky Chateau and Naturally, J.J. Cale’s debut album, from 1971.

Playing Zevon was inspired by a friend mentioning him during the week and I haven’t played him in a while, so I figured I’d go with likely his best-known album, largely due to its hit single Werewolves of London. But while that song drew many to Zevon and the 1978 album, his third studio release, there’s depth to the record – and Zevon’s entire catalog, which I do dig into fairly often on the show. Still, perhaps a case for many listeners where a song drives purchase of an album or, nowadays, an online listen at least, one is rewarded with a classic and an entry point into an artist’s work.

The hit singles from 1972’s Honky Chateau were Honky Cat and Rocket Man, but Elton John’s work had such depth in the early to mid-1970s that, like Zevon’s Excitable Boy, every album was a solid song-for-song listen. Examples on Honky Chateau are Amy, one of my favorite EJ deep cuts, Slave, Salvation, Mellow and Mona Lisas and Mad Hatters which is pretty well known and was a single in the UK. Ah, just listen to the whole thing; I’ve already listed seven of the 10 tracks. Depth, as mentioned.

J.J. Cale’s Naturally, a typical laid back effort, features two songs covered by other artists. Lynyrd Skynyrd did Call Me The Breeze on their 1974 album Second Helping while Eric Clapton (who also later had a hit with Cale’s Cocaine) had a hit single with a speeded up version of After Midnight in 1970, a year before Cale’s album was released. Cale had cut a fast version of After Midnight in 1966 as the B-side to an unsuccessful single, Slow Motion and it was Cale’s fast version that Clapton heard and covered in the same style. Cale was then encouraged to put After Midnight on his album to capitalize on the success of Clapton’s version but decided he’d done his own uptempo take already, so he slowed it down for Naturally. I’ve included all three versions, after the bare-bones song list, below.

Warren Zevon – Excitable Boy

1. Johnny Strikes Up The Band
2. Roland The Headless Thompson Gunner
3. Excitable Boy
4. Werewolves Of London
5. Accidentally Like A Martyr
6. Nighttime In The Switching Yard
7. Veracruz
8. Tenderness On The Block
9. Lawyers, Guns And Money

Elton John – Honky Chateau

1. Honky Cat
2. Mellow
3. I Think I’m Going To Kill Myself
4. Susie (Dramas)
5. Rocket Man (I Think It’s Going To Be A Long, Long Time)
6. Salvation
7. Slave
8. Amy
9. Mona Lisas And Mad Hatters
10. Hercules

J.J. Cale – Naturally

1. Call Me The Breeze
2. Call The Doctor
3. Don’t Go To Strangers
4. Woman I Love
5. Magnolia
6. Clyde
7. Crazy Mama
8. Nowhere To Run
9. After Midnight
10. River Runs Deep
11. Bringing It Back
12. Crying Eyes

A set comprised of mostly early rock and roll, done by the original artists and/or those who were inspired by them, before veering off into other musical territory near the end of the 24-piece program. My track-by-track tales follow the bare-bones list.

1. Johnny and Edgar Winter, Rock & Roll Medley (live: Slippin’ And Slidin’, Jailhouse Rock, Tutti-Frutti, Sick And Tired, I’m Ready, Reelin’ And Rockin’, Blue Suede Shoes, Jenny Take A Ride, Good Golly Miss Molly)
2. The Rolling Stones, Mona (I Need You Baby)
3. Bo Diddley, She’s Fine, She’s Mine
4. Ronnie Wood & Bo Diddley, Crackin’ Up (from Live At The Ritz)
5. The Plastic Ono Band, Money (from Live Peace In Toronto 1969)
6. Paul McCartney, Hi-Heel Sneakers (from Unplugged – The Official Bootleg)
7. The Beatles, A Shot Of Rhythm And Blues (from Live At The BBC)
8. Jerry Lee Lewis, Crazy Arms
9. The Ventures, Walk – Don’t Run
10. Chuck Berry, Guitar Boogie
11. The Champs, Tequila
12. Buddy Holly/The Crickets, Fool’s Paradise
13. Roy Orbison, Go Go Go (Down The Line)
14. Charlie Rich, Lonely Weekends
15. Eddie Cochran, Nervous Breakdown
16. Carl Perkins, (The Right String, Baby, But The) Wrong Yo-Yo
17. Rufus Thomas, Bear Cat
18. Danny & The Juniors, Rock And Roll Is Here To Stay
19. Django Reinhardt, Djangology
20. Jeff Beck with the Jan Hammer Group Live, Scatterbrain
21. Peter Green, White Sky (Love That Evil Woman)
22. Van Morrison, Listen To The Lion
23. Steve Winwood, Night Train
24. Tony Banks, Siren

My track-by-track tales:

1. Johnny Winter and Edgar Winter, Rock & Roll Medley (live: Slippin’ And Slidin’, Jailhouse Rock, Tutti-Frutti, Sick And Tired, I’m Ready, Reelin’ And Rockin’, Blue Suede Shoes, Jenny Take A Ride, Good Golly Miss Molly) . . . Nine rock ‘n roll classics, or at least snippets of them, some longer than others but it works, whipped up in a torrid six minute package. From the Winter brothers’ 1976 live album Together.

2. The Rolling Stones, Mona (I Need You Baby) . . . From their early days, the Stones doing the Bo Diddley beat. The song was first released on the band’s UK debut album, simply titled The Rolling Stones but, with a different track listing that didn’t include Mona, subtitled England’s Newest Hitmakers in North America. The colonies had to wait for 1965’s The Rolling Stones, Now! album to get Mona on an LP, back in the days when British bands like the Stones, Beatles and others, thanks in part to the practice of singles in the UK not usually also being released on albums outside of compilations, often saw their records repackaged and/or bastardized, depending how one looks at it.

For instance: The cover art for the Stones’ 1965 US release December’s Children (And Everybody’s), a photo of the band, was the same photo used for the UK album Out Of Our Heads while the US Out Of Our Heads cover used a different photo (and track listing) of the group. The Beatles, for one, hated the practice and what Capitol Records in the US did to their albums, understandable in terms of artistic integrity, album titles (Beatles ’65, Beatles VI etc. which didn’t exist in the UK) song sequencing, sound mixes and such. But on the flip side, those were the records many North American fans grew up with and were accustomed to, hence things like the 2014 box set CD release The U.S. Albums and, previous to that, the respective 2004 and 2006 boxes The Capitol Albums Volume 1 and 2. As a Stones and Beatles completist, I have all of it and while I grew up in Canada and first heard and had the North American ones, I do prefer the UK versions of the early albums, in at least some measure as a way of honoring the artists’ intentions.

3. Bo Diddley, She’s Fine, She’s Mine . . . And here’s Bo himself, from 1955 with the B-side to Diddley Daddy, the A-side hitting No. 11 on the R & B charts. Diddley’s She’s Fine, She’s Mine was in 1960 adapted by American blues singer/songwriter/harmonica player Willie Cobbs and became his You Don’t Love Me, later to be given an epic 19-minute treatment on The Allman Brothers Band’s classic 1971 live album At Fillmore East.

4. Ronnie Wood & Bo Diddley, Crackin’ Up (from Live At The Ritz) . . . And Bo again, this time with Stones’ guitarist Wood on a rollicking live album recorded in New York City in 1987 and released in 1988. A 10-song trip through mostly Bo’s catalog including Crackin’ Up but also showcasing Plynth (Water Down the Drain) from the Jeff Beck Group’s Beck-Ola album, Ooh La La by another of Wood’s former groups, Faces, and the Stones’ Honky Tonk Women, the album hit No. 40 on the Japanese charts.

5. The Plastic Ono Band, Money (from Live Peace In Toronto 1969) . . . Heavy, gritty version of the rock and roll standard, as performed by the hastily put together band of John Lennon (vocals, guitar), Eric Clapton (guitar), longtime Beatles’ associate Klaus Voorman on bass and future Yes drummer Alan White … and Yoko Ono, literally in the bag for at least part of the performance at the Toronto Rock ‘n’ Roll Revival festival at Varsity Stadium. The festival featured, among others, rock and roll pioneers Bo Diddley (him yet again, not obsessed with him he just keeps popping up; it’s that type of interconnected song set), Jerry Lee Lewis, Chuck Berry and Little Richard along with Chicago, The Doors and Alice Cooper, whose band also served as the backing group for Gene Vincent of Be-Bop-a-Lula fame.

6. Paul McCartney, Hi-Heel Sneakers (from Unplugged -The Official Bootleg) . . . From McCartney’s terrific 1991 release, part of the then-popular MTV Unplugged series that eventually became too much of a good thing. The album, which includes Gene Vincent’s Be-Bop-a-Lula but I decided to play Hi-Heel Sneakers instead, is a nice combination of early rock and roll standards and some Beatles’ material like I’ve Just Seen A Face, Here, There and Everywhere, We Can Work It Out plus McCartney solo stuff like Junk and That Would Be Something. It also includes a great version of Bill Withers’ Ain’t No Sunshine, sung by one of McCartney’s guitarists at the time, Hamish Stuart. Stuart, an original member of the Average White Band, is currently in Ringo Starr’s All-Starr Band.

7. The Beatles, A Shot Of Rhythm And Blues (from Live At The BBC) . . . The many connections within the set continue with the Fab Four’s cover of Alabama songwriter/guitarist Terry Thompson’s tune, which was the B-side to American soul singer Arthur Alexander’s hit single You Better Move on, which in 1964 was covered by The Rolling Stones. The Beatles either recorded or performed live on the BBC countless times between 1962 and 1965, many of the results of which appeared on Live At The BBC, a 2-disc set first released in 1994 and then re-released in expanded form along with On Air – Live At The BBC Volume 2 in 2013. A Shot Of Rhythm And Blues, sung by John Lennon, was recorded in early August, 1963 and aired on the BBC later that month.

8. Jerry Lee Lewis, Crazy Arms . . . A No. 1 country hit and top 30 overall chart placing for Ray Price in 1956, it was the first single recorded by Lewis, also in 1956 although it didn’t chart. The song was later released on Lewis’s self-titled debut album in 1958. That record is sometimes referred to as High School Confidential due to that single’s presence on the record, by which time The Killer was a star via hits like Whole Lot of Shakin’ Goin’ On, Great Balls Of Fire and Breathless.

9. The Ventures, Walk – Don’t Run . . . The first of three consecutive instrumentals. Written by American jazz guitarist Johnny Smith, The Ventures took it to the top of the charts in 1960 and yes, this is a deep cuts show but as I often mention, I do play the occasional singles that either didn’t chart, ones by relatively obscure artists or songs that may not have been heard, at least by me, in ages. I pulled this one, along with some others in the set, from my trusty 3-CD Totally Essential Rock ‘N’ Roll collection. Not sure how to describe it in words but it’s one of those tunes that one recognizes immediately upon it starting to play.

10. Chuck Berry, Guitar Boogie . . . Perfectly descriptive title for this instrumental from Berry’s 1958 album One Dozen Berrys. It’s got Berry’s signature intro to the point one almost expects him to start singing Johnny B. Goode or something but it works perfectly well without vocals. There’s way more than a dozen strawberries on the cool cover, but the album is called One Dozen Berrys due to its 12 tracks including the hits Sweet Little Sixteen and its B-side Reelin’ and Rockin’ (later an A-side hit) and Rock and Roll Music.

11. The Champs, Tequila . . . Last one in the mini-instrumental set although I suppose it’s technically a semi-instrumental with this one because the word ‘tequila’ is spoken, in a fun and effective way, three times during the two minute, 13-second track. A No. 1 hit in 1958, it’s one of those cool cases where an A-side, in this case Train To Nowhere, a fine song in its own right but unsuccessful, was flipped over by a DJ who played the B-side Tequila at a Cleveland radio station, and the rest is history. The song has been covered countless times by artists from every genre of music one could name and has a big popular culture presence. It’s appeared in movies like Breakfast At Tiffany’s, Pee-wee’s Big Adventure, Cheech and Chong’s Next Movie and the TV series Happy Days.

12. Buddy Holly/The Crickets, Fool’s Paradise . . . It sounds instantly familiar which I suppose most if not all Holly tunes do, similar to, say, Chuck Berry, which some might consider repeating themselves but I find a testament to the effective hooks and melodies inherent in their work. This was the B-side to the top-30 charting A-side Think It Over which also made No. 9 on the R & B list. Fool’s Paradise made No. 58 on the main charts.

13. Roy Orbison, Go Go Go (Down The Line) . . . B-side to the 1956 single Ooby Dooby and the first song written by Orbison although, according to Wikipedia, Sun Records owner and founder Sam Phillips later bought out out Orbison’s songs and put his own name on the credits. It was later covered and released as Down The Line by both Jerry Lee Lewis and Ricky Nelson, among others including Orbison himself, who reworked it for his 1970 album The Big O.

14. Charlie Rich, Lonely Weekends . . . Does the great country singer ever sound like Elvis Presley on this 1960 rockabilly release, but I suppose lots of these types of songs sound like Elvis, or vice-versa. In any event, it’s all such quality, infectious stuff – short, sweet, effective.

15. Eddie Cochran, Nervous Breakdown . . . As I was saying, about the Charlie Rich tune – short, sweet, infectious, effective. Best known for hit singles like Summertime Blues, Twenty Flight Rock, C’mon Everybody, Somethin’ Else and Cut Across Shorty, Cochran – like his friends Buddy Holly and Ritchie Valens – died young in an accident. In Cochran’s case it was in a car crash in 1960 at age 21, just over a year after Holly, 22 and Valens, 17, along with The Big Bopper (J.P. Richardson), 28, perished along with pilot Roger Peterson in the February, 1959 plane crash immortalized as The Day The Music Died in Don MacLean’s 1971 hit American Pie. Chillingly, apparently Cochran was spooked by the death of his friends and developed a premonition that he, too, would die young and wanted to cut down on touring to reduce chances of an accident. The single car crash came while he was riding in a taxi on tour in England.

16. Carl Perkins, (The Right String, Baby, But The) Wrong Yo-Yo . . . Terrific toe-tapper by the man likely best known for Blue Suede Shoes, famously covered by Elvis Presley among countless renditions by various artists. Perkins also is responsible for Honey Don’t, Matchbox and Everybody’s Trying To Be My Baby, all covered by The Beatles to the point Paul McCartney was once quoted as saying “if there were no Carl Perkins, there would be no Beatles.” I think there would have been, talent of that level tends to emerge regardless but no doubt Perkins was influential and provided at least some degree of push towards prominence.

17. Rufus Thomas, Bear Cat . . . A fun response to the song Hound Dog, by the man who gave the rock and roll world the 1963 hit single Walking The Dog which has been covered by artists like The Rolling Stones, Aerosmith, Roger Daltrey, Johnny Rivers, Mitch Ryder, Jason & The Scorchers, Green Day and many others.

18. Danny & The Juniors, Rock And Roll Is Here To Stay . . . Best known for their 1957 chart-topping At The Hop, this similar-sounding (especially the intro with the doo-wop vocal harmonies) 1958 followup made No. 19 on the hit parade.

19. Django Reinhardt, Djangology . . . Genre change as we bridge into some more modern, longer material via this 1935 recording by the renowned and influential Belgian jazz/gypsy jazz guitarist.

20. Jeff Beck with the Jan Hammer Group Live, Scatterbrain . . . Beck, hardly a slouch himself, once described Django Reinhardt, in an interview with Guitar World Legends magazine, as “by far the most astonishing guitar player ever” so I figured let’s see what Beck himself has to play in the jazz fusion idiom as on this collaboration with the Czech-born composer/musician/producer Hammer, released on their 1977 album. Hammer, who was in the original lineup of John McLaughlin’s Mahavishnu Orchestra starting in 1971, also played on Beck’s studio albums Wired (1976), There & Back (1980) and Flash (1985). Hammer is well known for various movie and TV scores including the Miami Vice Theme which was a top 20 worldwide hit, including No. 1 on some lists, in 1985.

21. Peter Green, White Sky (Love That Evil Woman) . . . Propulsive near-nine minute title track to the Fleetwood Mac founder member’s 1982 album. Among the personnel on the album was drummer Reg Isidore, best known for his work in Robin Trower’s band on albums between 1973 and 1981 including Trower’s first two solo releases after leaving Procol Harum, the excellent Twice Removed From Yesterday and its followup a year later, the 1974 classic Bridge Of Sighs. Isidore died of a heart attack in 2009 at age 59.

22. Van Morrison, Listen To The Lion . . . An 11-minute voyage into Van The Man’s vocal style from his 1972 album Saint Dominic’s Preview. His voice as I often suggest and marvel at is an instrument in itself. Of course that is true of all singers, and it’s obviously subjective but Morrison’s voice in this regard is exceptional, as demonstrated on this epic as he sings, chants, moans . . . in short, vocalizes. In the words of noted music journalist/critic Robert Christgau in his review of the album and this song, vocals are sometimes more important than words. Also of note on the song is Ronnie Montrose, best known for hard rocking guitar in his band Montrose (from whence singer Sammy Hagar emerged), showing his versatility with some beautiful acoustic playing in tandem with Morrison.

23. Steve Winwood, Night Train . . . Funky, extended closing cut on Winwood’s hit album (No. 1 in Canada, No. 3 in the US) Arc of a Diver, released on the third-last day of 1980. While You See A Chance was the big hit, the title track also made the charts from a true solo album as Winwood sang and played every instrument – guitar, bass, various keyboards and synthesizers, and drums.

24. Tony Banks, Siren . . . And why not a little classical music from the Genesis keyboardist to conclude a set that went down some avenues that – after I intentionally started with lots of early rock and roll – I didn’t expect or necessarily intend. But in the end that’s a lot of the fun of it for me and the results come from having assembled the song list over a period of a few days, meaning I put things down, so to speak, then picked them up the next day and the day after that, in different musical moods each time. Composed by Banks and performed by the City Of Prague Philharmonic Orchestra, this piece is from Banks’ second of now three classical albums, the 2012 release Six Pieces For Orchestra. The others are Seven: A Suite For Orchestra (2004) and Five, depicted as ‘5’ on the album cover, released in 2018. I don’t own any of them but I clued in to Sirens via the 3-CD Genesis compilation R-Kive, a 2014 set that features Genesis band material from all periods of the group plus solo work by Banks, Phil Collins, Mike Rutherford, Peter Gabriel and Steve Hackett.

An album replay show featuring releases, in descending order, from 1974, 1973 and 1972: Stormbringer by Deep Purple, Goats Head Soup from The Rolling Stones and Lou Reed’s Transformer. Track listing after my long preamble.

I’ve been revisiting full albums from my formative musical years of late so I expect I’ll be doing album replays for a few weeks at least, on Saturdays. Such an approach works well for my Saturday show because, unlike Mondays when I’m actually live in studio, the Saturday morning set, which I volunteered long ago to do to help the station fill an empty time slot, is one I program via the station computer system. So the songs/albums play straight through, no DJ talk to interrupt anyone should they be recording the record off the radio, and yes I’m dating myself 🙂 from the days we did those sorts of things when a new album was released and an FM station would play the whole thing and you got your blank cassettte tapes ready. And then, me at least, if I liked the album wound up buying it, anyway. Not that such is necessary these days given streaming and such but that’s, for instance, how I got into Joe Jackson, via a Toronto station playing his first album, Look Sharp! in its entirety.

I always remember such a taping circumstance with AC/DC’s Back In Black album where, at the time, shortly after college, I had moved to northern Alberta to start my journalism career and the house I was sharing with a bunch of people was beside a construction zone so every now and then a dump truck would drive by, cross the railroad tracks and shake the foundations of the building. Yes, a deliberate nod to a later AC/DC song Shake Your Foundations from the Fly On The Wall album. So, my cassette tape of Back In Black, recorded off radio, had a brief ‘rumble’ in it because the tape deck shook. As I recall, it was during Shoot To Thrill, so the truck driver’s timing (or mine) was off as obviously the rumble should have come during You Shook Me All Night Long but you can’t have everything. In any event, when I actually bought Back In Black, I kinda missed that dump truck-induced distortion I had grown used to hearing on playback.

Back to Saturday’s set . . .

Stormbringer is from the Mark III version of Deep Purple featuring David Coverdale on lead vocals supported by bassist/vocalist Glenn Hughes. The lineup’s first outing was the critically acclaimed and commercially successful Burn album but by the next record, Stormbringer, Hughes in particular was pushing Purple towards a more funky, soulful sound which – while the album was still successful on the charts – guitarist Ritchie Blackmore found distasteful, leading to his eventual departure from the band.

As a forever Purple fan, all personnel versions of the band and they’re up to Mark IX now, I’ve always found Blackmore’s stance interesting given that, while Purple always purported to be a democracy, if the band did have a leader it was Blackmore, so if he didn’t like the direction one wonders why he didn’t put his foot down. But, the ever-mercurial Blackmore was also at the time looking to explore other hard rock musical avenues and had become enamoured of the band Elf, which supported Purple on tour and was led by singer Ronnie James Dio, with whom Blackmore eventually partnered to form the first (and best, to me) versions of Rainbow. Yet despite his misgivings, Blackmore still contributed his usual excellent guitar playing to the Mark III albums and Stormbringer features some of my favorite Deep Purple songs, any era and personnel configuration. Things like the beautiful Holy Man and Soldier of Fortune, featuring the vocals of Hughes and Coverdale, respectively, plus the opening rocker of a title cut.

The Stones’ Goats Head Soup received mixed critical reviews at the time of release and was considered as not measuring up to the so-called ‘big four’ studio albums that preceded it: Beggars Banquet, Let It Bleed, Sticky Fingers and Exile On Main St. (likely my favorite album by anyone). That four-album run is one of the greatest in rock music history, but to dismiss, or sell short an album like Goats Head Soup that features songs like Angie, Doo Doo Doo Doo Doo (Heartbreaker), Winter, 100 Years Ago and the infamous Star Star (aka Starfucker, the original title, rejected by the record company) is, well, I’m a big Stones fan so wrong guy to ask I suppose.

And in listening to Transformer again for the first time in ages, in preparing the show, wow, what an album, co-produced by David Bowie and Mick Ronson. The record of course features Reed’s most commercially successful song, Walk On The Wild Side, but is full of great stuff like Vicious, Andy’s Chest, Satellite Of Love, Perfect Day and others.

Here’s the set list:

Deep Purple – Stormbringer

1. Stormbringer
2. Love Don’t Mean A Thing
3. Holy Man
4. Hold On
5. Lady Double Dealer
6. You Can’t Do It Right
7. High Ball Shooter
8. The Gypsy
9. Soldier Of Fortune

The Rolling Stones – Goats Head Soup

1. Dancing With Mr. D
2. 100 Years Ago
3. Coming Down Again
4. Doo Doo Doo Doo Doo (Heartbreaker)
5. Angie
6. Silver Train
7. Hide Your Love
8. Winter
9. Can You Hear The Music
10. Star Star

Lou Reed – Transformer

1. Vicious
2. Andy’s Chest
3. Perfect Day
4. Hangin’ Round
5. Walk On The Wild Side
6. Make Up
7. Satellite Of Love
8. Wagon Wheel
9. New York Telephone Conversation
10. I’m So Free
11. Goodnight Ladies

My track-by-track tales follow the bare-bones list.

1. Meat Loaf, Everything Louder Than Everything Else
2. Bruce Springsteen, Jungleland
3. Argent, Thunder And Lightning
4. Rod Stewart, The Balltrap
5. Long John Baldry, Intro: Conditional Discharge/Don’t Try To Lay No Boogie Woogie On The King Of Rock & Roll
6. Stephen Stills/Manassas, Johnny’s Garden
7. Steve Miller Band, Space Cowboy
8. ZZ Top, Groovy Little Hippie Pad
9. Elvis Presley, The Girl Next Door Went A ‘Walking
10. Blackfoot, Highway Song
11. The Sensational Alex Harvey Band, The Faith Healer
12. Beck Bogert Appice, Lady
13. Bachman-Turner Overdrive, Woncha Take Me For A While
14. The Rolling Stones, I Just Want To See His Face
15. Groundhogs, Thank Christ For The Bomb
16. Howlin’ Wolf, Poor Boy (from The London Howlin’ Wolf Sessions)
17. David Bowie, Stay
18. Little Feat, Dixie Chicken (live, from Waiting For Columbus)

My track-by-track tales:

1. Meat Loaf, Everything Louder Than Everything Else . . . Typically bombastic Meat Loaf, but that’s the point with him. It’s from Bat Out Hell II: Back Into Hell, released in 1993. It’s unclear whether they were inspired by the Meat Loaf song title but Motorhead released a live album in 1999 called Everything Louder Than Everyone Else.

2. Bruce Springsteen, Jungleland . . . Epic track from the Born To Run album, 1975. Violin intro by Suki Lahav, who worked with Springsteen on Born To Run and the preceding album The Wild, The Innocent & The E Street Shuffle before returning to Israel where she continued her varied career as an actress, lyricist, singer, screenwriter and novelist. And, of course, Jungleland features the memorable saxophone solo by The Big Man, longtime E Street Band member Clarence Clemons until his death at age 69 in 2011, to be replaced by his nephew Jake Clemons.

3. Argent, Thunder And Lightning . . . Propulsive rocker, released in 1974, from the band best known for the hit single Hold Your Head Up. Argent leader Rod Argent was also a founding member of The Zombies and co-wrote such Zombies’ hits as She’s Not There and Time Of The Season.

4. Rod Stewart, The Balltrap . . . Chugging rocker that opened the ‘Fast Side”, side two (side one of course being the ‘Slow Side’) of the original vinyl release of Stewart’s chart-topping 1976 album A Night On The Town.

5. Long John Baldry, Intro: Conditional Discharge/Don’t Try To Lay No Boogie Woogie On The King Of Rock & Roll . . . Speaking of Rod Stewart, he produced six songs on one of his heroes’ albums, Baldry’s 1971 release It Ain’t Easy. Among the other ‘name’ helpers on the record: Elton John (who produced four songs), Ron Wood and Caleb Quaye, Quaye at various times during the 1970s in and out of Elton John’s band.

6. Stephen Stills/Manassas, Johnny’s Garden . . . I got to discussing how great Stephen Still is, with a buddy of mine this past week. So, here he is, a relatively well-known song, from the Manassas album (also the name of the band) although it perhaps surprisingly wasn’t one of the singles released from that renowned 1972 record.

7. Steve Miller Band, Space Cowboy . . . That’s what he truly was early in his career, Miller starting his career as a psychedelic blues rocker. Space Cowboy, from 1969’s Brave New World album, references two Miller tunes – Living In The U.S.A. and Gangster Of Love – from his 1968 album Sailor and Space Cowboy and Gangster Of Love are referenced in the opening lines – ‘some people call me the space cowboy, yeah, some call me the gangster of love’ – of Miller’s breakthrough hit The Joker. That was the title cut from the 1973 album that presaged the hit singles machine period of Miller’s career that included tracks like Fly Like An Eagle, Take The Money And Run and many others.

8. ZZ Top, Heaven, Groovy Little Hippie Pad . . . At the time, a sign of things to come for ZZ Top, the use of synthesizer played by an uncredited Linden Hudson, a longtime friend and confidant of the band members and one of the group’s sound engineers, on this infectious little ditty from the 1981 album El Loco. ZZ Top guitarist Billy Gibbons was apparently inspired to go in the synthesizer direction in part by witnessing a Devo soundcheck. The ZZ Top book Sharp-Dressed Men, by former band crew member David Blayney, includes a section detailing Hudson’s extensive contributions to the shift in sound that reached full-blown status on the next album after El Loco, 1983’s Eliminator which featured such hits as Legs, Sharp Dressed Man and Gimme All Your Lovin’. Hudson, according to the book, later sued over credits that were denied him and the case was reportedly settled out of court for $600,000. Aside from the legal machinations, what’s fascinating, as related in the book, is how Hudson studied song tempos and beats per minute in hit songs, something ZZ Top, and Gibbons in particular, then used to help write songs whose beats and hooks would prove irresistible to listeners. Calculated, yes. Successful, yes.

9. Elvis Presley, The Girl Next Door Went A ‘Walking . . . Rockabilly type tune from Elvis’s 1960 album Elvis Is Back! The album was his first stereo album and first one of fresh material, outside of compilations, issued after his 1958-60 stint in the U.S. Army. Elvis served in West Germany as a regular soldier despite offers to enlist in Special Services, the entertainment branch of the U.S. military where he, like many who did serve in that branch, would have entertained the troops and lived in priority housing. There’s lots of interesting reading about Presley’s military stint available including how Presley’s manager Colonel Tom Parker kept the machine going, so to speak, in terms of releasing music while Elvis was overseas.

As for the Elvis Is Back! album, as I was telling a friend the other day, while I’m a big fan, I suppose not big enough of one because, like perhaps many people, I’ve always owned various Elvis hits compilations but never any of his actual studio records which of course go deeper. That is, until last week when I was in my neighborhood independent music shop and for $15 there sat a used, great condition, 4-CD, 8-individual albums remastered with a plethora of bonus track singles box set of Elvis’s early stuff. It runs from his 1956 debut “Elvis Presley” (the one with ‘Elvis’ printed vertically down the left hand side with ‘Presley’ horizontally on the bottom and the man himself pictured playing his guitar, a cover later copied by The Clash on their London Calling album) through to the 1960 gospel album His Hand In Mine. So I quickly checked the web, confirmed this was a legit release, saw that the same set was available online for a minimum of $50 and a maximum of the sky’s the limit, and now it’s mine. Sounds great, is great, it’s Elvis, what more can one want? Especially for $15, plus tax, $18.07 total. I am pleased.

10. Blackfoot, Highway Song . . . I say this every time I play one of them, which I have, so at risk of and in fact repeating myself I’ll say it again: Every so-called southern rock band seems to have a lengthy, signature tune. Think Lynyrd Skynyrd with Freebird, the Outlaws with Green Grass and High Tides and Molly Hatchet with Fall Of The Peacemakers, all amazing tunes. This is Blackfoot’s such song, from the band’s 1979 album Strikes with a cool cover of a cobra about to, er, strike. There are so many connections between the various successful southern rock bands. Blackfoot leader, guitarist, singer and frontman Rickey Medlocke was in early versions of Lynyrd Skynyrd, as a drummer and sometime singer before that band released an official album although his work is all over the 1978 original band post-plane crash compilation of early material called Skynyrd’s First . . . And Last which was later expanded and re-released in 1998 as Skynyrd’s First: The Complete Muscle Shoals Album. By then, Medlocke had become a permanent member of the reconstituted Skynyrd, in which he remains to this day. And the late Hughie Thomasson, a founding member of the Outlaws, was Medlocke’s guitar sparring partner with Skynyrd from 1996 to 2005 before he left to reform the Outlaws, dying of a heart attack at age 55 in 2007.

11. The Sensational Alex Harvey Band, The Faith Healer . . . A relentless groove to this one from the Scottish band’s second studio album, the 1973 release Next.

12. Beck Bogert Appice, Lady . . . I’ll just repeat what I said/wrote about the previous track by The Sensational Alex Harvey Band. Different song of course, but same effect. From the lone studio album, the self-titled 1973 record, issued by the supergroup of guitarist Jeff Beck, bass player Tim Bogert and drummer Carmine Appice, the latter two having previously played together in Vanilla Fudge and Cactus. Appice later was a member of Rod Stewart’s band for the albums Footloose and Fancy Free, Blondes Have More Fun, Foolish Behaviour and Tonight I’m Yours, issued from 1977 to 1981. Appice’s drummer brother Vinny is best known for his work in the Ronnie James Dio lead singer version of Black Sabbath as well as Dio the band.

13. Bachman-Turner Overdrive, Woncha Take Me For A While . . . Typically gritty C.F. (Fred) Turner vocal on this part ballad, part rocker, a power ballad in today’s parlance, from the 1975 album Head On, perhaps best known for the hits Take It Like A Man, Lookin’ Out For #1 and the original packaging where the album cover expanded into a poster featuring head shots of the four band members at the time – bass player Turner, guitarist Randy Bachman, drummer Rob Bachman and guitarist Blair Thornton. Little Richard played piano on two songs on the album – Take It Like A Man and Stay Alive.

14. The Rolling Stones, I Just Want To See His Face aka Just Wanna See His Face . . . I mentioned gospel music earlier while discussing Elvis’s 1960 album His Hand In Mine and I also had a discussion about gospel music in general over the weekend with a friend who mentioned an album of gospel tunes he had recently purchased. One doesn’t have to be religious, or spiritual, to enjoy what is simply a great genre of music. Here’s the Stones’ successful stab at it, from Exile On Main St.

15. Groundhogs, Thank Christ For The Bomb . . . A multipart piece about war. Initially acoustic with vocals followed by a low-key instrumental passage that develops into a heavy rock coda ending in, of course, explosions. It’s the title track to the English blues rock band’s 1970 album.

16. Howlin’ Wolf, Poor Boy (from The London Howlin’ Wolf Sessions) . . . This one came to mind to play thanks to having attended the annual Kitchener Blues Festival over the weekend. One of the artists, the noted Canadian musician and producer Colin Linden, not only played a fine set on Saturday afternoon but, earlier that day, held one of the festival’s ‘workshops’, where artists interact with an interviewer, and the audience, telling tales of their careers. It’s fascinating stuff, and I got to thinking of The London Howlin’ Wolf Sessions album because Linden mentioned it while relating a story – both at the workshop and later at his actual show – about how as a youngster his musical life was changed when he discovered the blues great, then later met him when the Wolf, real name Chester Burnett, was playing at a Toronto club. The London Howlin’ Wolf Sessions album was originally released in 1971 and was re-released in an expanded deluxe edition in 2002. Receiving top billing with Wolf on the album cover are Eric Clapton, Steve Winwood and The Rolling Stones’ rhythm section of drummer Charlie Watts and bassist Bill Wyman. Clapton and the two Rolling Stones play on the entire album, Winwood contributes piano or organ to five songs while among others contributing are Beatles’ drummer Ringo Starr, Beatles associate Klaus Voorman on bass and Stones’ pianist Ian Stewart.

17. David Bowie, Stay . . . Great funk/soul rocking number from the 1976 album Station To Station. It was released as a single but didn’t chart. Golden Years was the big hit from the album.

18. Little Feat, Dixie Chicken (live, from Waiting For Columbus) . . . Little Feat was backed by the Tower Of Power horn section on the shows from which Waiting For Columbus was drawn. This is an extended 9-minute workout of the title track from the band’s 1973 album.

A blues-blues rock-oriented show, leading with Colin James in recognition of his headlining slot at the annual Kitchener Blues Festival which began Thursday night here and runs through Sunday.

Included in the set are blues legends/influencers like John Lee Hooker, his cousin Earl Hooker and Muddy Waters, the early, Peter Green-led blues version of Fleetwood Mac, Chicken Shack with Christine Perfect, later Christine McVie and a future Mac member on lead vocals, Jethro Tull from that band’s first, blues-oriented album This Was and atypical AC/DC with the bluesy Ride On. It’s from the 1976 album (not released in North America until 1981) Dirty Deeds Done Dirt Cheap and later appeared on the 1986 album Who Made Who which is the soundtrack to the movie Maximum Overdrive, loosely based on Stephen King’s short story Trucks.

1. Colin James, Real Stuff
2. Fleetwood Mac, Cold Black Night
3. Ten Years After, I Woke Up This Morning
4. The Butterfield Blues Band, Morning Blues
5. Chicken Shack, I’d Rather Go Blind
6. The Allman Brothers Band, You Don’t Love Me (live, from At Fillmore East)
7. Jethro Tull, It’s Breaking Me Up
8. John Lee Hooker, It Serves You Right To Suffer
9. Earl Hooker, Wah Wah Blues
10. Muddy Waters, The Blues Had A Baby And They Named It Rock & Roll
11. Johnny Winter, Like A Rolling Stone
12. The Rolling Stones, Ventilator Blues
13. Stevie Ray Vaughan, Dirty Pool
14. Rory Gallagher, I Could’ve Had Religion (from Live In Europe)
15. Eric Clapton, Double Trouble (live, from Just One Night)
16. Boz Scaggs, Loan Me A Dime (Duane Allman slide guitar)
17. Led Zeppelin, Tea For One
18. AC/DC, Ride On